It’s the start of pride month, and there’s only one form of music most synonymous with the queer experience: disco! The genre’s resurgence in popularity has only been growing in recent years, likely helped by pride’s more mainstream acceptance (well, by form of rainbow capitalism or not) and the fact that so many of those original disco hits are just that good.
When making dance music inspired by the golden ages of disco and house music, it’s important to acknowledge the genre’s origins to show you’re respectful of its history and creators. This is something Amber Riley and Micah McLaurin hit the mark perfectly on in their new cover of “MacArthur Park”, originally by disco goddess Donna Summer in 1978.
…well, okay, technically not originally. It was first performed in a more baroque style by Richard Harris and written by Jimmy Webb in 1968, then covered by Summer ten years later on her Live and More album.
Their version is obviously indebted to Summer’s cover by its disco flavorings, but it also captures the melodrama of Harris’ original by way of the theatricality of Riley’s voice. If you don’t know, Amber Riley (of Glee and several screen/stage musical productions, including Dreamgirls) is a monstrously talented performer, and I went into the single expecting a quality performance. Yet she goes full broadway on the track and sings her heart out, creating a dramatic buildup to when the song transitions from a modest but soulful rendition of heartbreak into a breathtaking blast of disco excess.
If the opening captures the icy cabaret of Harris’ original, the rest of the song recreates the loose and free-spirited energy that the best of Donna Summer’s singles had. Micah McLaurin’s mixture of dance-pop and orchestral music (by way of members of The Royal Philharmonic Orchestra) is the perfect complement to Riley’s vocals. McLaurin provides a dreamy piano solo in the second half, and the other musicians provide a sweeping string and horn section and a thumping four-on-the-floor disco beat that never lets up.
It works really well as a great way to kick off pride month, successfully honoring queer history by way of a killer dance party. Amber Riley and Micah McLaurin’s cover is available now, in both a 3-minute radio edit and a 6-minute full version.
In March, indie darling duo Byland – comprised of husband/wife talents Alie and Jake Byland – released their entrancing, 10-track full-length Heavy For A While. One of our favorites was a very emotional track for Alie, titled “Two Circles.” The music video was released today, and we are massive fans of the use of color to tell a story with the artful visuals.
Alie wanted to explore the idea of post-death limbo with this music video, which explains the stark contrast and richness in the colors chosen. “Chris Cunningham did a phenomenal job of imagining a weird, compelling visual concept and putting together an amazing team to bring it to life,” Alie says.
“As the protagonist (Alie) explores her home, she starts breaking through into this larger space that’s a little bit unfamiliar, but still populated with memories and objects from her past,” explains Cunningham. “She finds herself naturally searching for an exit, no longer content with just existing alone in her old familiar environment (perhaps unconsciously preparing to move on). Eventually, she finds an exit door that leads… well, somewhere else. Where the hell that is, I have no idea. Absolute death? A DMT fever dream in the final firework show of neurons in the brain? An afterlife? Who knows.”
The video has a haunting feeling to it, much like the song it was created to accompany. Check it out in full below.
VIDEO CREDITS: Music video for the Byland song, “Two Circles” off of the record “Heavy for a While.” Director: Dark Details Director of Photography: Dylan Priest Producer: Paul Breslin Gaffer: Matt Lindberg Photographer: Nick Ward Production Assistants: Ayla Cole, Brantley Duke, Marcus Chavez Special thanks to Kate Becker and Harbor Island Studios, as well as Chris Mosson and Retro Camera.
Genre-bending Americana artist Danielia Cotton is squaring up to release a tribute EP titled Charley’s Pride: Songs from a Black Cowboy Vol. I. In anticipation of that, she is sharing songs from the release in the lead-up. The first single came on Charley Pride’s birthday in March, and yesterday, the second hint of work was released with “Kiss an Angel Good Mornin'”.
Cotton’s spin on the song brings a bit of brightness to the classic, with her signature soulful crooning taking center stage.
Explains Cotton: “The lyric, ‘Kiss an Angel Good Mornin’, and love ‘em like the devil when you get back home,’ speaks to the dichotomy of a woman with respect to the parts of herself she displays within her relationship to keep things fresh and new. The playfulness of the track musically and vocally reflects this, while the hook is infectious as a summer hit you play to let your hair down.”
What a wild time to be exploring this dichotomy, and a beautiful time of year to release such an amazing cover.
The song in its original form is being recognized this month as it is inducted into the Grammy Hall of Fame at Grammy Museum’s inaugural Grammy Hall of Fame Gala and concert on May 21, 2024.
Julia Gargano is a mad talented singer-songwriter hailing from Staten Island. Her musical project, Ferry Townes – a clear homage to the Staten Island Ferry – blends her effortlessly sultry vocals with thoughtful lyrics and stand-out melodies. (I mean, if you have yet to hear her first single “Be Here”, check back in and agree with me later.)
Today, Ferry Townes releases her sophomore single. A mid-tempo release, Gargano’s raspy tinge on a wide range of notes is nothing short of captivating. This track is specific, incredibly moving, and entirely about a relationship that means a lot to her.
“’T.G.F.K’, which stands for ‘Thank God For Kyle’, is about my bestest friend,” explains Gargano. “The initial idea came from being so grateful that our relationship is what it is- that we’ll never have to fall in love and break up, but we will just be friends forever.”
The video is a true love letter in itself. Julia and Kyle are depicted throughout, having so much fun just living their lives in support of each other. The warm lighting, casual dancing, and adventure really make it feel like a montage in a romance film. And, if we are being honest, it totally is. How many relationships mean more to you than the ones you have with your best friends, truly?
Celebrate friendship this spring with the beautiful vocal stylings of Ferry Townes.
On Friday, genre-bending duo They Travel at Night – comprised of Chuck Howard and Lou Scanlon – released their debut EP, a 5-track feat named Entropy. Veterans of the industry in their respective rights, Howard and Scanlon’s influence is wide-ranging, a fact that is evidenced by this release, if you weren’t already familiar.
Beginning with the first track “Go On,” you can identify the quirky and endearing ways they enhance their tracks. It begins synth-heavy – like, 80s realm synth-heavy – and blossoms into something that, toned down, just as easily belongs in a 90’s movie. Cymbal-led “Fare Thee Well” changes pace for a while for dramatic effect, and lands more in the “I may belong on one of The O.C. soundtracks” category.
“Moment” begins with a guitar riff worthy of an oughts indie/emo band. The electronic breakdowns at 1:42 and 2:42 are really fun, I’m not sure how anyone could get through this song without a smile on their face. “Into It” builds dramatically, a ballad-like track that could, in my humble opinion, easily find its way to a Broadway musical. Entropy lands on “Colors,” an instrumental track that feels celebratory and squared to welcome success. I feel privileged to welcome false spring with this release in my back pocket.
Check out They Travel at Night’s Entropy below, and let us know what you think over on Instagram and Facebook!
Alt-rock outfit We The Kings – yes, THAT We The Kings – recently signed to Graveboy Records. The momentous partnership is marked with the release of their latest work, a single titled “Alien.” The song begins with a melancholic feel, rectified by a quintessential upbeat, fast-paced chorus. “We’re all just a bunch of kids who feel like aliens searching for the answer to the question – ‘does anybody else feel like I do,’” shares lead singer Travis Clark.
One part anthem and one part inquiry, “Alien” seeks the match to our souls, any minor detail to connect us to others. It asks everyone who feels “other” to be proud. The song itself seeks similarities in the irregularities and differences. Combine this journey with relatable lyrics and a catchy tune, and this release is poised for charting success.
“Every few albums or so I get a strong feeling about a song,” says Clark. “It’s hard to explain, but the last 2 times I felt this way were with ‘Check Yes Juliet’ and ‘Sad Song’. I have that same feeling about “Alien” so only time will tell what that means!”
Between global pandemics, burnout culture, and the rise of AI, the future seems more bleak than ever. The alt-rock artist Moon Walker expresses his frustrations with the present-day in the track “Give The People What They Want”, tackling the defects of American society via an arresting punk rock song. The music video from Tiltshift Visual sets the song in a nondescript American office—aka, the source of many societal frustrations—and features a zombification of its workers.
Opening with an arresting dialogue between the guitar and bass lines, the music primes the video for its imminent belligerent energy. Amid the beats of drums and panning synths, zombies type away at keyboards and make trips to the fax machine, ambling their way through dimly-lit, whitewashed corridors. Anyone who’s ever worked a corporate job can easily relate to this shuffling, fatigued movement. All the while, Moon Walker’s electrifying voice echoes the sentiments of discontented people across the globe: “We want children we can’t care for, houses we can’t pay for, jobs we can’t stay awake for”.
The two zombies in the video are ghostly pale and dingy, covered in wounds as raw as Walker’s lyrics. Moon Walker’s guitar shredding accompanies the human coworkers running away from their zombie counterparts, terrified of the decomposed future they will inevitably embody. There is nothing subtle about Walker’s message: we’ve all become slaves and zombies to our jobs and the political climate surrounding us. The end of the video features a ticking clock, reminding us that time does not stop for anyone, and our zombification could be imminent if nothing changes.
In a world where solutions are few and far between, belting rock songs with catchy melodic hooks is a good form of escapism. “Give The People What They Want” previews the alt-rock artist’s third LP, the aptly named Apocalypticism, due out on October 20th. Walker will expose the most troubling aspects of society with this release, challenging the status quo and pushing for change. Additionally, get tickets now for Moon Walker’s debut U.S. tour in October 2023.
Zach Gerzon of Twin Bridges is an up-and-coming songwriter and self-taught cellist, breaking into the music scene with a distinct mix of folk and instrumental chamber genres. The project’s latest single, “Carbon & Dust”, puts instrumental chamber music through an indie filter, mixing traditional orchestral instruments with wistful vocals. Durnis Markov’s animated music video is as heart-wrenching as it is breathtaking, providing context for the song as well as eye candy visuals.
While self-teaching, Gerzon experimented on his cello, incorporating playing it on its side like a guitar and using a looping pedal. He brings this experience into “Carbon & Dust”, incorporating a plucked cello motif as the crux of the piece. Its ambling tempo resembles how the characters in the music video lumber through a forest aimlessly. The music video’s description elaborates that the song “explores a conversation with a loved one who has passed… Slipping between a dream and reality, the lines get blurred from reality, the afterlife and reliving trauma / tragedy.”
Along with cello and vocals, “Carbon & Dust” includes a trumpet, bass clarinet, bassoon, clarinet, and saxophone, creating a mini symphony. Each drastic change in instrumentation accompanies the events in the video. When a car crashes in a head-on collision—recalling the moment the mourned person passed in this tragic accident—the winds suddenly break into the song. The wail of strings and blast of winds juxtapose Gerzon’s forlorn voice, encompassing the simultaneously agonizing and gloomy experience of grief.
“Carbon & Dust” is only the beginning of Twin Bridges’ exploration into folk-chamber pop, as the lead single to the upcoming Fertile Ashes full-length debut, out on 10/27. With a strong start, Twin Bridges and animator Durnis Markov helm the sail of an exciting new genre.
Does a new future of folk-chamber pop lie ahead of us? Find out below!
A soft electric riff of a guitar atop steady beats of the drum… It is that awfully calming but lingering aura that really sets this unsettlement within me. A constant motion that desires more. Curling‘s “URDoM” wraps me in its embrace, and I’m overwhelmed by a torrent of emotions.
“URDoM” thrives in its ability to evoke emotions without explicitly stating them. The production elements, such as the subtle layering of instruments and the careful balance between instrumentation and vocals, contribute to the song’s immersive quality. The minimalist yet well-crafted approach allows the listener to interpret and connect with the music in their own unique way. The song’s musical layers are carefully woven together, allowing each instrument to contribute to the overall mood. Distant echoes and subtle reverberations, add depth to the atmosphere, immersing the listener in a reflective space.
Throughout the track, the dynamics build and recede, creating a sense of tension and release that mirrors the emotional rollercoaster the song portrays. The instrumental and vocal synergy reaches its peak during the climactic moments, eliciting a cathartic release that draws the listener deeper into the narrative. The composition’s aural palette leans towards a fusion of alternative and ambient elements, creating a space that is both introspective and ethereal. The instrumentation, consisting of subtle guitar work, restrained percussion, and atmospheric synth layers, works in harmony to evoke a sense of inner struggle and self-exploration.
In the end, “URDoM” isn’t just a song – it’s an emotional journey. It’s a mirror that shows me my own complexities, my own struggles. It’s a reminder that we’re not alone in our battles, that music can hold our hands as we navigate the stormy seas of the heart. Curling’s creation isn’t just a song; it’s a lifeline, a chance to find solace in the shared human experience. And as the last note fades, I’m left with a profound sense of connection, a realization that I’m not alone in feeling alone.
North American Tour Dates ^ = w/ Nation of Language 8/11: Portland, OR @ Fixin’ To 8/12: Portland, OR @ Revolution Hall ^ 8/13: Portland, OR @ Gloomhouse 8/14: Vancouver, BC @ Rickshaw Theater ^ 8/16: Grass Valley, CA @ Unchuch 8/17: Upland, CA @ Hyrule Temple 8/18: Oakland, CA @ Oakland Secret 8/19: Seattle, WA @ Central Saloon 8/20: Centralia, WA @ Space Place House
