The valiant band Beautiful Dudes have channeled their determination and spunk into their newest single, “Nite Nite.” The single is first to be released from their upcoming EP Nite Songs, out August 14, the soundtrack to the current state of the world as it traverses dark, melancholic times with refreshing optimism. From Nevada City, frontman Tom Bevitori and the Dudes have always aimed to capture serious topics with infectious hooks and heavy riffs. There’s more to the band than meets the eye, however. Among the band’s brazen sounds are intimate lyrics that add a deeper dimension to their music.
“Nite Nite” embodies the courageous energy of four dudes who have tons of spirit and spite: “We are not afraid, we fear nothing.” It’s simple in structure– the opening combination of clashing drums, Bevitori’s turbulent voice, and the rumbling guitars including the persistent rising triplet figure continue basically throughout the entire song. This creates a feeling of static but excited energy, as though something is coming. And indeed, the first words we hear are “the revolution is coming.” The release of Nite Songs is coming as well, making this song the perfect first release to generate eager anticipation for the EP.
“Nite Nite” will only be released on a flexi vinyl record included with the purchase of their limited edition Skateboard deck. Beautiful Dudes will also be featured on the upcoming compilation album for the Nevada City Film Festival in August with their new song “Beverly Hills” and live performances and interviews.
Joshua Ackley released his debut single, “Working Class”, which is a part of his upcoming album Dark Arts. After moving to New York at the age of 19 to follow his music dreams, he has been on the scene in different bands such as the art-punk band The Dead Betties and rock band Teen Vice, with Tammy Hart. This album was recorded following a major skiing accident that caused him a 4 month recovery post-surgery. In a makeshift studio he recorded Dark Arts,which is the singer’s first solo album.
Ackley’s mystical voice fades in and out of the track on top of a light melody. The lyrics when you listen closely are much darker than the song sounds, but not in a bad way. There is some trouble being faced here between Ackley and another person. The lyrics that really stand out are, “Did everybody run away and leave you with nothing but shame? / did I treat you wrong, by staying way too long / I should’ve run away, I was so scared I had to stay”, and, “You want me to take your name / you want me to wrap my arms around you / you want me to have your back / but you treat me like a punching bag.” The Brooklyn-based singer really digs deep into these intimate issues, while presenting them perfectly. As the song buzzes through your speakers, make sure to pay attention to Ackley’s storytelling because his execution is on point.
Aja Volkman and Dan Epand of Nico Vega have come together to form the duo TWO, and just released their brilliantly painful EP Pull The Knife Out last Friday. The EP reflects a traumatic time in Volkman’s life, but while it certainly projects the feelings of sadness, loneliness, anger, and despair that plagued her at that time, a ferocious sense of empowerment surges from within the tracks and overshadows those negative emotions in favour of acceptance and self-worth. Written entirely by the duo and produced by Epand, Pull The Knife Out displays a varied set of seven songs that showcases the duo’s incredible talent in every facet of the record; the vocals, lyrics production, instruments, and even the structure of the songs and the EP as a whole are executed incredibly well.
“Live Forever More” is a hybrid song-poem with spoken word poetry verses and sung choruses. Not only are the lyrics expressive, narrative, and insightful, the rhythm of the words and the melody of the chorus invite you to sing along. The more you sing (or just listen) along, the more you believe in the words and their message. “Whoa Man” is also a spoken word performance, but the atmosphere is hauntingly empty, with Volkman’s voice and deep, throaty “mmm’s” intensified in the vastness. Her words reverberate into the silence when she pauses, amplifying their effect. Again, the words are profound. “If I am to be the woe, and you are to be the man, then let me blow your mind with just how great I am.” Even in this single line, you can recognize the trauma (“the woe”) and the empowerment (“how great I am”) that Volkman has gone through.
“Cage Fighter” also exudes confidence through its music and features more spoken word poetry in the bridge. It’s straight-up rock– heavy guitars, a pounding beat, and Volkman’s incredible gravelly vocals. From the music to the words, this track is powerful. In the bridge, sounding like she’s some higher being, hovering above. She says “when you’re small… it’s an opportunity to have humility and fall,” and “be a ball of fierce compact energy, waiting to explode,” and then the music does just that, launching into the chorus again with sustained energy. The only other song that rivals the energy of this track is “Phoenix”, a song that bleeds determination and resolution. It has a slow but firm beat that emphasizes her words– “you can’t take this song away from me.” Despite the slower tempo compared to “Cage Fighter”, even the quieter parts of this track are filled with energy that feels as though it can barely contain itself. Volkman’s astonishing vocals come to light once again as her voice sails at the climax of the line “for out of the fire I’ll rise again.”
The standout track “In This Rough” is also overflowing, not with energy, but with emotion. Volkman says that she “went through some dark times trying to find the kind of surrender expressed in this song.” As she sings her voice catches, brimming with emotion. The bridge has only drums and her voice in that classic anthemic manner, where, in a live performance, the audience would be screaming out the lyrics alongside her, tears streaming down their faces because at that moment– they’re understood. The guitar, spirited drums, and synths sound relatively carefree, but her words and voice are tortured. In a similarly contrasting way, the music of “Faces” sounds calm and nostalgic, with the initial guitar voices singing an easygoing duet and fun melodic “oohs” in the chorus. The lyrics, however, place the nostalgic sound in a more regretful context. Volkman’s vocals are especially intriguing in this track as well. Her inflections play with the placement of her voice, and it’s impossible to guess where she’s going to go next.
The closing track, “Crazy Love”, is full of conviction and honesty, something that’s easy to perceive in her voice. It begins with a unique drum part that sounds like deep water droplets. The rest of the track is an accessible song about exactly what the title says– a crazy love. In the transition to the bridge, the music feels as though you’re being submerged into water, and in the bridge itself, the classical background vocals contrast with Volkman’s sharp voice, creating quite a unique effect.
Pull The Knife Out is well done from the inside out. Volkman and Epand’s immense abilities as musicians create fantastic music, and their close relationship doesn’t hurt either. Volkman says “Dan and I have always remained close and supportive of each other. He has been my cheerleader for over a decade,” and Epand returns the sentiment in saying “We have been through a lot together, a friendship and a creative collaboration that continues to evolve.” It’s that close bond that truly makes their music shine, and combined with Volkman’s remarkable voice, it’s no wonder that the duo has been generating buzz and accumulating some influential fans including P!nk. The EP is out now, as is a music video for “In This Rough” that was shot in quarantine and written and directed by Epand.
Philadelphia-based duo Dom & Jesse share their latest single “Can’t Help Myself”. It is a mix of pop melodies with soulful rhythms, destined to be a song used in the next TikTok trend. In a time like we are in right now, you want to break all the rules to be with the one you love and that’s what the duo is trying to convey here. Sometimes there is just a magnetic connection that is so hard to resist, it will pull you in.
Produced by Grammy-nominated producer Dilemma, they were able to create an upbeat track that is perfect for their sound and will pull in new fans. Blending current styles and classic storytelling, Dom & Jesse have a similar style to artists like Liam Payne, Charlie Puth, and the Jonas Brothers. It is easy on the ears and would be a great addition to a pop workout playlist. Their vocals float through the track with a beat that will keep your head bopping. You won’t be able to help yourself from playing this song on repeat, so dive into the sounds of Dom & Jesse now.
There’s something about 6/8 time that can really amplify emotion in music. Sarah Barrios exploits the time signature and the passion it nurtures in her new single, aptly titled “Emotional.” The pop/indie/blues singer-songwriter has found great success in her musical career so far, including being a finalist in the Guitar Center’s National Singer Songwriter Competition. She has also won various musical awards, but she maintains that her music’s main purpose is to foster connections with her fans.
Her single, “Emotional”, is about the inner frustration that comes from being too sentimental, too emotional. This feeling manifests itself in the song in two ways. First, as the song begins, Barrios sings on top of soothing guitar and nothing else except hints of other instruments. This creates a wistful atmosphere, quiet and thoughtful. The song builds, however, and by the time it reaches the second verse it becomes stronger. Three pounds of a beat mark the first bar, and while they are subdued and fit the relaxed vibe of the song, they evoke– just for a moment– the image of someone pounding their fist on a surface in frustration. Barrios’ voice embodies the essence of “pop,” singing her varied vocal lines with an expert fluidity. For instance, “why am I so damn emotional” is a lovely, lilting melodic line. “Emotional” is a pop treasure that bonds with Barrios’ fans and first-time listeners alike. It’s now available to stream, as is her newly released EP Letters I Never Sent.
Beabadoobee, one of music’s most talked-about artists, dropped her new single, “Care”. The track is from her highly-anticipated debut full-length album Fake It Flowers, which is set to release later this year. “Care” is all about rejecting sympathy from people who aren’t interested in really getting to know and understand her. A cathartic, to-the-point chorus is a new and explicitly vulnerable direction for her music.
Bea Kristi, beabadoobee, gives fans another bedroom pop song to jam out to. You can feel the real emotions and the anger behind the lyrics, without overdoing it. Some of the first lyrics in the song that stand out are, “I need some help to forget about it / I don’t want your sympathy, stop sayin’ you give a shit / ‘cause you don’t really / care”. Everyone can relate to this feeling at some point in your life and can connect with the frustration felt in this type of situation.
Accompanied by a music video full of outrage and different trippy graphics shot in quarantine, it makes the song more personal. It’s the type of music video that you would love to see premiere on MTV in the early days. Talking about the track and the video, Bea explained, “This song has end-of-a-90s movie vibes, like you’re driving down a highway. It is pretty much me being angry at society, or people around me who I just don’t think know me and don’t care. I don’t want you to feel fucking sorry for me. I just want you to understand what I’ve been through. I never expected to be making the first video from my album during a pandemic! I was so lucky to be locked down with the bedroom guys, it feels like it turned out as one of the most personal, real videos I’ve made.”
“Care” is another great addition to her repertoire and the fans are all for it. The song is brutally honest and exemplifies her struggles, but shows how she still is the same person she’s always been. With praises from Rolling Stone and NPR along with her feature in the worldwide chart-dominating hit “deathbed (coffee for your head)”, which includes a sample of her song “Coffee”, beabadoobee really is something special.
The English post-punk legend Gang of Four’s new EP Anti Hero dropped today. The EP is a celebration of the life of band member Andy Gill who passed away in February. Gill’s widow Catherine Mayer joined together with the band to memorialize Andy through music and to fundraise for Guy’s and St Thomas’ Hospital– the hospital that worked tirelessly to try and save his life. All net receipts received by the band from sales and streams of the forthcoming EP and associated singles will be donated to Guy’s and St Thomas’ NHS Foundation Trust so that they can continue their valuable work. Anti Hero features two new tracks and new versions of old songs that were completed at the time of Andy’s death. “Change the Locks” and “Glass” were written before we were really in the throes of quarantine, but resonate with it nonetheless. “[Andy’s] ability to write songs that remain relevant was unparalleled,” says singer John Sterry. Bassist Thomas McNeice worked with Andy’s longtime friend and collaborator Santi Arribas to produce and mix the EP. McNeice says “I like to think that this EP exhibits a progression in Gang of Four, while paying tribute to a unique talent that I was extraordinarily lucky to work with.”
The title Anti Hero comes from the first single off the EP, “Forever Starts Now.” Written by Gill and Sterry, its original working title was “Hero,” referring to the lyrics which describe “a character who sees himself as the hero of his own life and manipulates his partner into supporting this fantasy,” according to Sterry. Andy was always wary of narratives surrounding supposedly great men, hence the word “anti” in the title. You can hear the aggression and conviction of the character in “Forever Starts Now”, especially in the bass. There are two bass parts, one electronic, one physical, and both attack each note with the ferocity of a deluded man. The rest of the music is made up of these short, fragmented motives in several different voices that give the track an unsettled quality, which also plays into the instability of the character. All these fragments create a really full sound, however, using mostly physical instruments but also some hints of electronica. It’s disjunct and edgy, yet incredibly easy to jam along to.
This unsteadiness is also mirrored in the second single, “Day Turns To Night”, but rather than being fueled by delusion, it’s fueled by the inner turmoil that one experiences after a loss. Sterry wrote the song only days after Andy’s death, and while he didn’t intend the song to be about him, it evolved into a tribute anyway. The track is made up of chaotic electronic sounds interspersed within a foggy musical atmosphere. Touches of angelic, but ghostly harmonies peek through every once in a while. This amalgamation of sounds are overwhelming, like a sensory overload, reflecting how grief can feel. However, the lyrics are clear. They are a plaintive but touching message to Andy with lines like “Is it too late to say thank you?” and “You forever changed my fate.” In some sense, it’s as though the mayhem in the music is giving you an out– something to focus on. Because if you pay attention to the lyrics, the emotions are piercing.
To complete the EP, the two reworked tracks “Change The Locks” and “Glass” update the sound to fit the vibe of the EP. “Glass” retains some of the 80’s energy from the original 1979 version, such as the DEVO-esque vocals, but it feels edgier with the pounding beat of the drums and guitar. The repetitive guitar licks and lyrics bring back the unstable sound of the first two tracks– as though the whole song is twitching. It’s short and restless, ending abruptly.
The original version of “Change The Locks” is much more recent than that of “Glass”, appearing on their 2019 album Happy Now, and consequently sounds more modern with lots of electronic elements and a pop-punk character. The Anti Hero version leans more towards alternative rock, with less bouncy electronic sounds and more distorted guitars that sound almost like buzzing. Funk comes into play in the bassline which maintains a steady groove throughout the track. The bridge adds a deep uniqueness that makes “Change The Locks” the standout track on the EP. It begins with simple, static drums, guitar, and bass. As Sterry sings “bang bang on the drums,” the drum beats ring out like shockwaves. It then dissolves into an old-timey sounding piano part before the chorus comes back, sounding familiar but also different after the mood shift that just occurred in the bridge.
Anti Hero is a wonderful celebration of a valuable band member. It honors him, not in a lachrymose way, but in a way that connects with who he was as a person and musician. The skilled musicians create music that has ties to the 80s post-punk roots of the band that Gills co-founded back in 1976, and highlights songs that Andy wrote, but also songs that capture the impact he had on those around him.
Laraaji is cracking open a new chapter in his music with his latest project Sun Piano. The twelve-track album reveals a whole new side to his sound for longtime listeners. From an early age, he had been playing music originally imitating his favorite piano players, such as Fats Domino or Oscar Peterson. Since the late 1970s, Laraaji has been a loved cult-icon based in New York City This is just another chapter in his story, so take a deep dive into Sun Piano.
Sun Piano begins calm, easing you into the album. “Hold On To The Vision” is soft and beautifully composed, the perfect track to play in the morning while you get ready for your day. Throughout the album, Laraaji picks up speed on tracks like “Shenandoah” and “Moods & Emotions”, with various tempos and style. “Moods & Emotions” stands out the most among the others. Through the notes of hard hitting keys, there definitely are tons of moods and emotions on this track. “Resonance” is almost six minutes long, weaving in and out of different keys and showing a range of emotions. The sound, especially on this track, is very rich and doesn’t even come close to falling flat. Closing out with “Embracing Timeless” wraps everything up and returns to a familiar calming sound introduced in the beginning. The uplifting are sure to soothe your soul.
His instrumental accomplishments are unmatched and show the craft has evolved, growing stronger with every release. Listening to this album is sure to put you in a relaxing mood and you can truly appreciate Laraaji’s talent. The rhythm and varying textures is a skill that he has perfected since the 80s. This is the first release in a trilogy all tracked at the same session. The companion LP, Moon Piano, will follow sometime later in 2020.
Kacy Hill released her new album Is It Selfish If We Talk About Me Again on July 10th, and we’ve been wrapping ourselves in its loving embrace ever since. But the official music video for “Everybody’s Mother” dropped recently, and we’re absolutely floored by the beauty.
Beauty in the color palette — look at those gorgeous oranges and greens — and in the artist’s bone structure. But aside from that, beauty in her movement, her lyrics, her vocals. There is both a helplessness and a hopefulness in her eyes that is so relatable, so emotional, so vulnerable. And this sense of loneliness has been amplified in recent months for absolutely everyone. So, for the first time in Imperfect Fifth history, I’m going to let the delicate lyrics and vibrant video speak for themselves.
I’m staring at the ceiling no sleep
Thinking what I’d do if you forget me
I know I can be a lot, but I just wanna talk
I just wanna give you all I’ve got, I need distractions
I’d do anything, do anything for a reaction
I’m everybody’s mother and nobody’s baby
been giving too much to feel lonely lately
And I think that I care more than you do, maybe
I’m everybody’s mother and nobody’s baby
Maybe I’m afraid of what’s next
Maybe I’m afraid of success
Am I even making sense?
I’m just asking for a friend
I wanna say it really doesn’t matter, but it’s deeper
The hours everyday move way too slow until I need them
I’m everybody’s mother and nobody’s baby
been giving too much to feel lonely lately
And I think that I care more than you do, maybe
I’m everybody’s mother and nobody’s baby
