Acclaimed piano virtuoso, Rob Kovacs, illustrates his talents in his newest endeavor: Let Go. The 9 track album is emotional, momentous, and provides a raw demonstration of life’s ups and downs.
Having already been named “Best Pianist/Keyboardist” by the Cleveland Free Times, Kovacs is no stranger to the spotlight. Adding to his repertoire, the Cleveland native was the first pianist in history to perform both parts of Steve Reich’s Piano Phase live. I encourage you to look up the impressive feat if you wish to be amazed by the human capacity.
Let Go tells the story of one relationship from beginning to end, in chronological order. Having worked on the concept album for over a decade, Kovacs was sure to not leave anything out. “Phade” kicks off the album similarly to how many relationships often do; peacefully and hopeful. As time goes on however, and the tracks progress, heavier weight is involved. “Here in the Future” hints at traces of anxiety, and in “Should-Haves” regret becomes clear.
29 minutes and 55 seconds later, the listener has finished a musical three-course meal. From excitement, to the darker spaces of the world and back to a place of acceptance – one is left with a new perspective, as well as a scar. We only have Rob Kovacs to thank for all of that.
Since its inception in 1993, independent record label — Saddle Creek Records — has consistently earned itself a place on the shelf as being home to America’s favorite indie artists. From Bright Eyes, to Spoon and Big Thief; the Nebraska based college-project-turned-business’s roster draws fans from across the globe. Continuing Saddle Creek’s trajectory of success is rock band Ohtis, who just made their appearance on the label’s most recent project: the Document Series.
With roots dating back to 2004, the Ohtis trio is made up of Sam Swimson, Adam Pressley and Nate Hahn. Now presenting their single, “Schatze”, the three are joined by a feature from Saddle Creek’s very own, Stef Chura. The new track and accompanying music video foster a tech-savvy backstory that is irresistible for our current media-plagued generation. The song’s spacey beginning, strong rock anthem and head-bobbing bass line will undoubtedly land the group on top tier, alternative-loving playlists far and wide. Beyond that, Stef Chura provides authenticity– supplying us with realistic responses to someone who, quite simply, is bothering the shit out of you.
The Document Series serves as an effort, on Saddle Creek’s behalf, to allow bands not already a part of their label family to express their own musical communities, creations and desires. According to Ohtis themselves, “Schatze” lays out a character study of the “Selfish Antisocial Male”, primarily told through the lens of Sam’s longtime girlfriend.
London-based singer-songwriter, CLOVES, does not wait to ask for permission in her newest track and accompanying music video, “Sicko”. Every aspect of the artist’s persona demands attention. With vibrant pink hair, disjointed dance movements and an occasionally-pained facial expression; the twenty-four year old makes it hard to look away during the duration of her three-minute-long production.
In her music video, the Australian-born singer peels back the layers of what it means to be an outsider. We are first introduced to her character via the television: an immediate suggestion to cast judgment onto the girl we see through the screen. We are then brought in for a closer look at the haunting side of isolation and loneliness, and the frailty of it all. Most interesting of all: despite the sadness behind CLOVES’ words, we are led to a chorus that resembles the melody of a lullaby, and there is somehow a sense of acceptance of the singer’s depressed state.
Like a really good horror movie you can’t stop yourself from watching, CLOVES’ “Sicko” touches on the scarier subjects in life– but you can’t help but be obsessed nonetheless.
One object might particularly stand out the first time you watch couchwalker on film. I may or may not be speaking of the large brown couch placed in the middle of the set. Before you judge the couch, however, know that the couch is important. The inclusion of the couch is in fact, very intentional, and speaks to songwriter Jenny Banai’s individuality as an artist.
If you’ve recently been searching for a raw, emotional and authentic performance to satisfy your winter cravings, you might want to reconsider watching that two and a half hour long drama and indulge in Jenny Banai’s twenty minute film instead. With strong musicality, a clear vision and an empty warehouse-turned-living room, the British Columbia native imparts a true unconventional masterpiece.
After selecting various segments from her recent album, couchwalker, Banai and her team (including film director, Matej Balaz; and choreographers and dancers, Joanna Anderson and Kezia Rosen) present the tracks in a refreshing light, accompanied by visual representation. The resulting project features pleasing color coordination, purposeful fashion choices, and strategic bodily movements (fingers included)– providing an intimate explanation of Banais’ most personal questions and convictions.
In today’s world with the absence of live performances, Banai hoped to give an opportunity for fans to connect with her album on a deeper level. Throughout the short film, we are acquainted with an inquisitive yet glamorous girl, a melancholy yet daring girl, and there is both stagnancy and variety to her story. Banai creates a story we can all relate to.
It’s not too hard to find a good song that focuses on pain, loneliness or loss. Similarly, there’s never been a shortage of music that pays attention to life’s beauty. It is a unique uncovering, however, to come across a piece that acknowledges both sides of the coin. The result is a sense of connection between the artist and the listener, with both parties realizing that life’s emotional oscillations are a part of the human experience.
Mikey Ferrari’s new single, “standoff”, creates a space in which listeners can appreciate this connection. In the track, Ferrari opens himself to sheer vulnerability, reflecting on the loss of a close friend. Beginning with an electronic celestial sound, Ferrari adds color to his description of the longed for “space boy”. To enchant us even more, the Los Angeles-based singer puts to use his impressive falsetto, making it all too easy for us to indulge in his delicacy. By showing us his soft side, Ferrari only heightens the significance behind his words.
Despite the pain, profound beauty can be found when we are faced with a loss– along with an appreciation for what the loss teaches us. Ferrari reminds us of this lesson in “standoff”, coming off his upcoming album, SPACEBOY, set to release in early 2021.
Ethereal, delicate, light — these are just some of the words that can be used to describe singer-songwriter Charlee Remitz’s new single, “Movie Theatre”. Within the first 20 seconds, the listener is warmly greeted by Remitz’s gently layered vocals and peaceful instrumentation.
The 21-year-old from Bozeman, Montana makes it all too easy for us to melt into the pleasantness of this track. Swooned by her Maggie Rogers-like-sound, Remitz’s voice embraces us, and makes us feel at home. This sentiment is contrasted, however, by the message behind her lyrics. While providing us with extreme warmth in her sound, Remitz simultaneously discusses much darker topics – mainly, the doomsday that our current world seems to resemble, and wanting to share such tumultuous times with another human being. “Movie Theatre” comes from Remitz’s forthcoming album, Heaven’s a Scary Place, arriving on December 18. Her most recent album, Garden, was entirely self-written and produced and came to surface earlier this year.
Stephen Patchan commands all attention with his new single, “Thank You for the Panic”.
The independently released track arrives under Patchan’s artist name, The Ceiling Stares, and most certainly accomplishes his goal of illustrating the madness that has been 2020.
With a jarring start and an abrupt ending, discomfort is just one of the many sentiments that this song evokes. The piece includes overlapping vocals, pulsating synths and fast-moving brass instrumentation — creating a similar ambience to what we would expect from Alt-J and Moon Hooch coming together for a genius, impromptu recording session. It becomes clear that Patchan has a knack for building tension, as he leads us to a dead stop that no one was expecting. Suddenly, we find ourselves being prompted to, quite literally, “go insane”.
I don’t know about you, but it’s not too often that I am encouraged to go crazy… Yet, I think Patchan is on the right path with this notion.
What this song proves is that, from time to time, chaos is good. And if anything, listening to a chaotic song might just make the rest of life seem a little bit less chaotic in comparison.
In “Thank You for the Panic”, the born and raised Los Angeleno uses his synth rock sound to illustrate the personal and societal angst this year has brought. Patchan takes inspiration from groups such as Wire and Yellow Magic Orchestra, and this track serves as a nod to Golden Age hip hop.
Patchan’s debut album, Wicked Problem, was released this past August.
Today we can allow ourselves to be comforted by the soothing sound of an emerging indie-folk artist. After all the stress that comes with any election week, it is now time to decompress – and singer-songwriter Apollo Flowerchild has presented us with the means to do just that. With gentle, rustic verses that transform into a powerful chorus, this song will instantly upgrade your Autumn Acoustic playlist.
Released by the label Trans Trenderz, “Bloody Hands” surfaced on November 6. While the track is Flowerchild’s second release of the year, it is the first to be featured in a new collaborative series titled The Ghostly Beats Project. To make this series come to life, Trans Trenderz joined forces with the famously acclaimed Studio G Brooklyn. The multi-room recording facility is loved by New Yorkers and international musicians alike, and is co-owned by seven-time Grammy-nominated producer, Joel Hamilton. Together, Studio G Brooklyn and Trans Trenderz created The Ghostly Beats Project to provide a space for Black Trans artists. As a historically underrepresented group of individuals within the industry, members of the Black Trans community now have an opportunity to have their voices heard.
Apollo Flowerchild is a NYC based multi-instrumentalist who has spent the last five years developing a sound to call their own. Flowerchild’s “Bloody Hands” gushes with blossoming lyrics, and the accompanying music video uses visual representation to match the imagery behind Flowerchild’s words. It’s safe to say that the scene of the music video — showcasing rushing streams, looming trees and aesthetically pleasing clothing — is the quintessential Indie Folk lover’s dream.
Today, Kristen Schaeffer presents us with her rendition of the classic hit, “Don’t Dream It’s Over”.
Taking an altogether new approach to the piece, Schaeffer’s dreamy-yet-powerful cover illuminates a side to the song we didn’t even know we were missing. Compared to the upbeat original by the Australian rock band, Crowded House, Schaeffer takes the time to slow things down. The singer-songwriter proves the strength in simplified instrumentals, and allows us to appreciate her angelic vocals in their purest form.
Behind Schaeffer’s voice there is a story encompassing a multitude of experiences. Growing up in New York City, Schaeffer’s love for music and theatre became clear at an early age. After studying at Berklee College of Music, Schaeffer developed a sound for herself — one that combined her love for theatre with a folky/pop twist. Schaeffer’s most recent successes include her track “Shadows” being featured on the television drama, Charmed.
This cover is brought to us by Salinger Songs as the second installment in The Salinger (*not our) Songs Cover Series. The series showcases artists re-inventing various works, allowing their own interpretations and personal style to take charge. The series will continue throughout the upcoming months, featuring the roster and friends of the Virginia-based publishing company.
Schaeffer reflects on her cover of “Don’t Dream It’s Over”, describing it as even more relevant today than she originally thought:
It felt to me like an urgent call for hope and reflection. Are you who you want to be? Are you prepared to fight for truth, love, and optimism? Can you wade through all the noise to find what really matters? It’s never too late to ask yourself these questions and change course.
