Bury Me at Mitski's Rodeo



by Katie Burke

In a dark bar, clutching a phone to my ear, is where I decide that Mitski has a catalog of my sins. Someone has pulled up Lonesome Love and it’s my first time hearing it. When she sings, Nobody butters me up like you do and nobody fucks me like me, I feel an immediate urge to call a lyft. To go home to my apartment, light a candle for myself and put my ass to bed.

The first thing I do when I listen to a new Mitski album is think about myself.

Listen. I do the thing we all do. I beg to relate to whatever it is that I find beautiful or interesting. I assign a relationship or an experience to each song, and then I make it mine. Mitski makes this, not necessarily easy, but wonderfully possible. Like honesty. Like shifting weight.

There is more of a pop aspect to this album than there ever has been in Mitski’s music. There are bops like, “Why Didn’t You Stop Me” interspersed between the expected guitar-heavy ballads like, “Geyser” or “Pink in The Night”. Songs to scream-cry to.

I want to talk about the bops. Get in your car, or get on the train, or the bus while you listen to “Why Didn’t You Stop Me”. Look out the window and feel how everything can move as quickly as your heart does. How buildings can turn to blur as quickly as you begin to feel the twinge of shame from the lyrics I know I ended it, but why didn’t you chase after me? You know me better than I do. So why didn’t you stop me?

Put your hands on your head. What you’re feeling is whiplash.

There are multiple songs that function like breaks between paragraphs. A breather. Songs under two minutes that allow your heart to relax, to mend from all her honesty. Like the line in “A Horse Named Cold Air”,

I thought I had traveled a long way
but I had circled
the same old sin

I need a week in bed.

The first time I heard Mitski was in 2014 when Bury Me at Makeout Creek was released. I wrote a review of it. I had never felt compelled to review anything before. I wrote that it made me feel young, like a teenager. I wrote that I felt thankful that I was no longer in my teens, but my twenties. How did I imagine this being easier? I don’t want to assign an age to this album. But there is definitely a clarity to the sadness. Imagine a light getting turned on inside a room which darkness’ you have already adjusted to. Everyone is always getting older.

We should be thankful that Mitski has let her art become this kind of time capsule. A museum of what she was feeling at the time, with enough room for everyone else to engage. Space to say, I have felt this way, I have placed my hand on something marked OPEN FLAME and felt satisfaction. I have made the same mistake. Again. And again.

This album says here is what your desperation can sound like; beautiful. Here is how you are alone, and that is how you are always winning.

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Stream Be the Cowboy below


REVIEW: House of Vans brings together Lala Lala, Torres, Wolf Parade


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Photos by Cody Corrall


by Genevieve Kane

There are three words that have been on the lips of every DIY kid and concert junkie this summer and those words are: House of Vans. For those of you who are not familiar with the House of Vans, I’ll set the record straight. No, it is not a warehouse filled with boxes of old checkered sneakers and abandoned beanies.

The venue is actually held in an indoor skatepark in the West Loop which is repurposed as a concert venue equipped with a photo booth, luxurious beanbag chairs, a bar with complimentary beer, and wonderfully wacky art covering the walls. The great reputation House of Vans has earned is so pervasive that people will line up one to two hours before doors even open just to ensure that they won’t miss out on the concert experience of a lifetime. I also found myself waiting in that massive line to see Lala Lala, Torres, and Wolf Parade, who would all be the last to perform at House of Vans this summer.

The moment I set foot inside the venue I knew that the wait had been more than worth it. Lala Lala was the first band to perform, and they were who I was most looking forward to seeing. Lala Lala is Lillie West’s Chicago-based project and possibly the most slept on band to come out of Chicago’s music scene, which is not just my opinion but was the consensus of everyone I spoke with at the show. If a garage band and a grunge band had a musical lovechild it would be Lala Lala.

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Their songs have a reverberant quality that will ring throughout your body and steal your soul. When they performed the song “Okie Dokie Doggy Daddy,” off of their album Sleepyhead, I witnessed a bunch of bearded men succumb to the power of West’s deep and resounding vocals which resulted in some pretty vivacious head bobbing. The band also debuted a song off of their upcoming album The Lamb (out September 28th on Hardly Art), which promises only great things.

Overall, Lala Lala’s performance not only lived up to the hype, but blew any expectation I had out of the water. Watching West command the stage was so inspiring and I think I may have to dye my hair pink now.

The next performance of the night came from singer-songwriter Mackenzie Scott, also known as Torres. The way Torres began their set was the definition of iconic. Scott’s back was turned to the audience as she began moving her shoulder up and down. Picture that one vine where the girl with frizzy hair and athletic sunglasses is dancing to A-ha and whips around as the song begins, but imagine it in slow motion and with more allure than hilarity. Basically, it was riveting. Scott was in motion for more or less the entire set.

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Her spooky dance moves were heightened by dramatic lights that bathed the entire stage in crimson. The lighting and dancing combination was particularly powerful when Scott sang “Righteous Woman” these lyrics echoing throughout the warehouse: “Next time you're in the city/ Should you decide to call me/ Just know that I am dealing/ With a flesh that's far too willing.”

Torres finished strong with the song, “Helen in the Woods” off of the album Three Futures, which was incredibly raw and reminiscent of gothic new wave music. I was extremely jazzed after seeing back-to-back stellar performances from female-fronted groups. Throughout the whole concert I couldn’t help but think to myself, “This is why I am queer.”

The Canadian band Wolf Parade took everyone home with a power hour curated of classics and deep cuts. They opened with the song, “You Are a Runner and I Am My Father's Son” which is the first track on their 2005 album Apologies to the Queen Mary. Wolf Parade was beckoned back to the stage to play a 3 song encore, closing the night out on a song from their 2008 album At Mount Zoomer, “Kissing the Beehive.”

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One would think that after watching Wolf Parade perform a song that clocks in at a whopping 10 minutes and 52 seconds, I would be ready to call it a night and head home to my Hulu. However, I was genuinely disappointed to see the night come to an end. I was fully prepared to pound free water and jam out to some Canadian indie rock until the sun came up but unfortunately, this was not the case. Like all great things, the show came to an end, forcing us to vacate the building and kiss the sweet House of Vans goodbye. 


PREMIERE: Beach Bunny’s ‘painkiller’ Lets You Dance Away the Heartbreak


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beach bunny, 'painkiller'

Stream the single off their upcoming EP Prom Queen now.


Alternative pop music has had a reawakening. From Paramore’s 2017 release ‘After Laughter’ to Mitski’s newest single ‘Nobody,’ artists have learned to craft upbeat, dance-y tracks to underscore feelings that are often hard to deal with.

‘painkiller,’ the newest single from Beach Bunny, is the latest addition to the dance-away-the-heartbreak genre that’s taking over alt-pop. Beach Bunny is the project of Chicago native Lili Trifilio, whose lyrics over surf rock inspired grooves enchanted audiences with her 2017 release ‘Crybaby.’

‘painkiller’ is the first single off of Beach Bunny’s upcoming EP Prom QueenThe music video, which was surprise released on Thursday, features Trifilio alone in a poofy pink dress, looking dejected as she watches people couple up and take prom pictures. In efforts to console her, Trifilio’s mom comes up to her and says that “boys will be boys.”

The single perfectly encapsulates all of the feelings of a nasty breakup through medical motifs. She starts with a comparison to pulling teeth and gets more macabre as the song goes on: lyrics like “all of your apologies are only empty calories” and “is it reconstructive surgery? / can’t fix my anxiety” are contrasted by a sparklingly infectious dance track.

Halfway through, the song breaks down musically and lyrically. Bandmates Matt Henkels on guitar, Jon Alvarado on drums and Aidan Cada on bass show off their talents in a irresistible riff reminiscent of dancing by yourself on that perfect summer day. When joined by by Trifilio’s repetitive and melancholy lyrics, it quickly turns into a haunting trance you can’t help but dance to. “Take me to the hospital / I need pair of setamol / tramadol, ketamine / I just need some pain relief.”

Dancing to a list of painkillers seems odd on the surface, but Beach Bunny makes it effortless. Their enchanting musical style can make the most heartbreaking lyrics sound like candy – and it’s what makes them so special. They don’t compromise emotion for pop melodies, or vice versa. This has been a staple for the band from the beginning, but is especially prominent in their newer tracks: it’s going to get a little sad, but we’re still going to have a good time.

Historically, pop music has been pretty surface level. The burden of being a commercially viable genre is the limitations on what is allowed to be written about. Many artists have found them confining to music that’s widely relatable but still not a total bummer, resulting in songs that are overly repetitive and even emotionless. Beach Bunny, among many other acts, are challenging that standard by putting difficult emotions at the forefront without sacrificing great upbeat pop sensibilities.

Breakups and heartbreak are normal. It’s okay to sit with your emotions and understand them, even if they’re sad or hard to deal with. Sometimes processing those feelings is seen as unattractive, or results in dramatic metaphors and exaggerations – but it’s easier when someone, or something, understands it in the same way you do. And sometimes the only thing you can do is dance away the pain.


Stream painkiller Below:


by John Tuanqui

by John Tuanqui

REVIEW: RUINS - Self-titled EP


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ruins


self-titled EP

Released June 17th on Dumpster Tapes.


by Colin Smith

Given local band Cafe Racer’s affinity for melodic noise, ambience, and krautrock rhythms, I was excited to hear one of their members, Adam Schubert, decided to launch a solo project.

Ruins started during a brief period between moving from a relationship to another three-flat with his Cafe Racer bandmates. In turn, Schubert’s songs carry the sound of impermanence and isolation.

The songs aren’t breakup blues, though. They sound more sorrowful and lonely on a deeper level.

The self-titled EP echoes the likes of Atlas Sound, Kurt Vile, and a bit of lo-fi Elliot Smith. “Watch It Go” in particular borrows from Atlas Sound and Deerhunter with its minimal guitar playing and a tambourine washed in reverb. The record, and this song especially, uses textures masterfully.

As Schubert recorded the songs off an iPhone (“with just about every delay plug-in”), the bedroom songs have a bit of distance in the production that feeds into the record’s muddled mood.

Because of the lo-fi recording process and format, there’s also an intimacy to the songs. “Going Blind,” which features an acoustic guitar and a banjo, you can hear Schubert’s hands hitting and strumming the instruments. 

At its core, the songs are still written mostly in the familiar, pop format, even if they’re masqueraded under a veil of artful noise. Still, both a strength and a weakness of the songs is the heavy use of repetition. Schubert builds a large space with minimal instruments but the atmospheric music may require a listener to be in a particular mood.

On its best moments, the songs off of the EP hit deep, emotional space. The harmonica at the end of “So Long” sounds like a one long goodbye. And it’s impressive what moods Schubert can sculpt with just a guitar, as the tracks only include two or three instruments.

Ruins’ self-titled EP is music to listen to while on the train and noticing all the people hooked to their devices.


REVIEW: Cosmic Johnny, 'Good Grief'


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cosmic johnny


"good grief"

Now available via Bandcamp.


Cosmic Johnny has created an existential crisis you can dance to. The Boston four piece has a firm grasp on penning hooky melodies and mathy guitar riffs that stay in your mind all day.

Their latest album, Good Grief, is a visceral embodiment of the early twenties itch of suburban youth. Ironically, the album is a joyous tribute to life. Despite the focus on fear and anxiety, it finds a way to be brave in the face of it all. The lyrics are gritty and honest, openly discussing mental health in ways that are remarkably unafraid.

Standout tracks: “Theme from Good Grief,” “Hell is a Basement,” “Resentment,” and “Houston”

The first track, “Theme from Good Grief,” acts as the perfect introduction to the album. It’s like an opening paragraph of sorts, covering reclusive tendencies, lack of social connection, and the inability to open up. In what feels like a discussion within one’s head, Mike Suh goes back and forth between ideas. The guitars play complimentary broken chords leading into fuzzy stabs that answer one another. The recurring themes taking the place of recursive thoughts.

“And you never had a good time hanging out with the party kids/ But you never had a good time on your own.”

Hell as a concept first appears in the album’s third track, “Hell is a Basement.” The song immediately drew me in, with an intro reminiscent of Minus the Bear’s “Absinthe Party at the Fly Honey.” What follows is an achingly clever comparison of basement parties to the pits of hell. Suh describes their awareness of the mortality of everyone in the room. But even with such morbid themes, the song is lively and practically begging to be danced to.

“Resentment” recounts the unwanted downward trajectory of a relationship, overlaid with a relationship with regret and drinking as reactionary escapism. The song feels drowned in guilt, with the arms of hindsight keeping them submerged. “It might be my fault/ for not knowing how to look at you/ without this sinking feeling.”

The song takes an incredibly powerful turn in its refusal to continue living with crippling self-doubt. Suh indignantly states that “the back of the mind is not a nourishing place to live.” Finishing with the repeated refrain “I just want to live.”

The main riff in “Houston” climbs up in a series of arpeggiated notes only to rise and fall a half step at the end. It’s a theme mirrored in the lyrics’ exploration of the bounds of knowledge within ourselves and the universe. An exploration of how understanding is in some ways unattainable. Even in moments of clarity and bouts of productivity, there will always be unanswerable questions.

In a period of sleeplessness, Suh describes their lack of connection to the world and people around them. Picking apart individual personhood, they give in to the dread of meaninglessness and dissociation.

Yet in the repetition of the words “we’re all alone,” I can’t help but feel a sense of connection. Even in the prospect of our lives being inconsequential, there is beauty found in being together through the mess of it all.

Perhaps the best part of this album is the way the band presents opposing concepts, both musically and through lyrics. The sense of joy is placed side by side with dread, memory with loss, meaninglessness with purpose. It is in these comparisons that Good Grief is able to raise the subject of existence in a way that is still hopeful.


Stream Good Grief Below:


REVIEW: GRLwood, "Daddy"


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GRLwood
"daddy"

Now available on sonaBLAST! Records.


Many have described the Louisville duo GRLWood in terms of riot grrrl, and certainly guitarist Rej Forester’s singsong-to-scream vocal stylings against dissonance surf rock riffs lend to that comparison, it would sell their incredibly unique sound short to pigeonhole them into a certain sound or the aesthetic trappings that come with the riot grrrl name. Daddy, their debut album, invokes the B-52s as much as Bratmobile — a sardonic quality you can dance to as much as you can scream along with.

What stood out to me throughout Daddy were the ways GRLWood plays with tone and tempo in their songs. “I’m Yer Dad” leads off with a soft repeating of the phrase, while the drums and staccato guitar build the tension until the vocals reach a frenzy, bouncing from a scream back to the initial singsong cadence. The lyrics play off masculine tropes, mocking man caves and muscle cars alike from the perspective of the dad in question. The following track, “Nice Guy,” follows this pattern of parody as well. In this way, Forester embodies these incredibly loathsome kinds of men, and turns their catchphrases “all of the bad guys get all of the good girls / and I just don’t understand why they won’t fuck me” into weapons against them, skewering them on their own rhetoric.

On “Clean,” Forester begs the questions “who you gettin’ clean for?” She repeats it several times over before the track comes to a head in an earth-movingly volatile chorus, before dropping back to the gentler tempo of the first verse with a soft “woah oh". All of the songs seem to follow some variation on this; vacillating wildly between softer dissonant moments and then escalating all at once into something explosive, almost manic, and undeniably powerful.

There’s an overall hectic feeling to Daddy. The frenzied energy of trying to capture the anger and frustration of existing as a queer person is palpable in not only every scream, but in all of the subtle tongue in cheek quips as well.

Whether the frustration expressed is from trying to get a girl you’re pining over to dump her loser boyfriend (“Bisexual”), or a sarcastic response to the ignorance we’re bombarded with every day from those outside the community (“Vaccines Made Me Gay”), GRLWood delivers rage in a way that is attractive without seeming pandering or too polished up. It’s not contrived anger, it’s so deeply real and deeply felt. Listening to this album, it’s easy to forget that this band only has two members — they deliver an all encompassing sound, larger than life in order to best express all of the intricacies dealt with in the subject matter.

Daddy is an incredible album for someone who wants more rage in their pop music, or who doesn’t want to compromise melody or fun when they seek out heavier queer musicians. As a debut, it’s explosive, it simply does not sound like anything else right now and there’s no doubt that GRLWood is on the precipice of something truly great.


Stream Daddy Below:


REVIEW: Petal's Beautifully Cohesive 'Magic Gone'


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"magic gone"

Now available through
Run For Cover.


Kiley Lotz, under her moniker Petal, dropped the beautifully cohesive record, Magic Gone today via Run For Cover Records.

Lotz, who spent most of her life as a closeted queer person, has become very open the last few years about her sexuality and the accompanying mental health struggles she has been facing. Taking three years to write and perfect Magic Gone, taking a break to benefit her mental health by returning home to Pennsylvania for therapy, Lotz has grown immensely and tackles so many difficulties of adulthood within this record.

Overcoming these lows, as well as experiencing high points such as touring with Julien Baker and Kevin Devine this past year, helped inspire two distinct sides of Magic Gone that fit together perfectly. Precisely, Side A (titled Tightrope Walker) includes songs she wrote before entering treatment, with Side B (Miracle Clinger) featuring songs she wrote in recovery.

The record begins with Lotz’s catchy anthem and first released single, ‘Better Than You,’ in which she sings with a sense of urgency, naming the daily struggles artists face while trying to “succeed” in the music industry. The beautifully melodic ‘Tightrope’ follows, detailing a light Lotz actually saw in the sky while driving one night, prompting an analyzation of the wiggle room in which she gives herself to succeed or fail. “The truth is just a piece of coal dressed as gold,” she sings softly, but defiantly.

I was delighted to discover the return of the track that made me fall in love with Petal’s music years ago - ‘I’m Sorry,’ from her debut EP Scout, released in 2013. I challenge you all to listen to ‘I’m Sorry,’ especially in the context of the new record, and not admire Lotz and the journey she’s embarked upon as a musician. Although a slightly more polished rendition, the ballad and its lyrics remain as beautifully sorrowful as the first day I heard them. “When did it get so personal? / I can’t remember, even though I try,” she sings delicately over faded, steady guitar strokes. “Just like a black hole / We collapsed and all / Of our friends stayed in orbit / Because we lied.”

Magic Gone also welcomes the return of ‘Comfort,’ the heartbreaking title track from Lotz’s Comfort EP, released this past September. Title track, ‘Magic Gone’ is also a standout, “The magic gone, and that solemn look upon your face / That says, ‘we’re finally growing up,’” she sings earnestly. The harrowing truth is, right now we’re all growing up, slowly but surely feeling the magic slip from our fingers.

Closing track, ‘Stardust’ has stuck with me in a different way since the first time I played it. Building up slowly from a delicate piano ballad, the track grows to an emotional new height, guitars exploding under Lotz’s desperate singing, “Now we’re living in shitty apartments with mismatched dishes, unlike our parents / Maybe we’d make good parents? / Maybe not, I can’t say / I can’t say I didn’t love you,” she calls out cathartically.

Sonically perfect in every way, while encapsulating Lotz’s own personal journey facing many of her demons, Magic Gone has set the bar high for us all to let ourselves feel and learn.

“Really feeling what it’s like to be completely heartbroken, instead of just pushing it down so deeply, allowed me to see the true strength in vulnerability. That acknowledging pain, struggle, loss and heartbreak, is strong. That being out is strong. That being ill takes strength all it’s own.” - Kiley Lotz


Stream Magic Gone Below:


REVIEW: Courtney Barnett, "Tell Me How You Really Feel"


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courtney barnett
"tell me how you really feel"

Now available on MOM+POP Music.


by Anna DiTucci-Cappiello

On first listen, Tell Me How You Really Feel is a perfect summer record. Songs associated with summer are typically near nauseatingly upbeat and positive, evoking images of beaches. Barnett explores a more wistful sound, turning the trope of summer music sideways while delivering strong, surf influenced guitar riffs and deadpan vocal delivery that made her initial effort so well-loved. By panning away from introspection, Barnett turns the focus on to those around her. She speaks of the perceptions of friends, lovers, strangers, and all in between while still baring herself vulnerable yet confident manner.

One of Barnett’s strong suits lies in her lyrics. They convey a wry wit, speaking of personal interactions that have the possibility of being near-universal while also maintaining specificity — there’s a genius to being able to do that well without pandering, and she hits the nail on the head in that regard. This is seen again on “Nameless, Faceless,” exploring what it means to be a woman making art in the current social climate. Barnett bottles the tumultuousness and anger of creating under patriarchy and delivers it in a straightforward package.

“I’m Not Your Mother, I’m Not Your Bitch” speaks to the dichotomy in interpersonal relationships that nearly any non-man will be able to relate to. If you aren’t nurturing and self effacing, you’re classed under ‘bitch’ — angry, bitter, only worthy of scorn from others. A sense of exhaustion comes of that as the last lines ring out, "Put up or shut up, it's all the same / It's all the same, never change, never change.”

This type of lyrical prowess shines through on “City Looks Pretty.” Lyrics like "The city looks pretty when you been indoors/For 23 days I've ignored all your phone calls/And everyone's waiting when you get back home/They don't know where you been, why you gone so long.” will ring too true for anyone prone to bouts of self-isolation. This all is bookended by an impossibly catchy melody, assuredly leaving you dancing in catharsis while singing along to “sometimes I get sad/ it’s not all that bad.”

Sonically, Tell Me How You Really Feel verges on a very retro vibe, but it isn’t forced or hokey. Directness as explored in the lyrics is anchored by psychedelic inspired guitar riffs and simple yet evocative drums, ensuring the message she crafts are delivered successfully and pointedly. It’s rock and roll and folk and pop all simultaneously, interweaving the best things from all genres — sing-song melodies in the choruses, full but not extravagant guitar solos, and an extraordinarily clever storytelling ability.

On Tell Me How You Really Feel, Courtney Barnett finds the middle ground, panning away from introspection while still sticking true to the hallmarks that made her first album so well loved. Overall, Tell Me How You Really Feel is a summer album for the melancholic. Those who spent the winter indoors leaving texts on read and cancelling plans, can step out into the sun with this as their soundtrack — a smart, catchy record that feels as warm and complicated as the changing of the seasons.


Stream Tell Me How You Really Feel on Spotify:


COURTNEY BARNETT TOUR DATES

UK and Europe
Sat 25 May - Belfast at BBC’s Biggest Weekend (tix)
Tues 29 May - Leeds at O2 Academy (tix) +
Wed 30 May - Brussels at Ancienne Belgique (tix) +
Thurs 31 May - Utrecht at Tivoli Vredenburg Ronda (tix) +
Sat 2 June - Glasgow at Barrowlands (tix) +
Sun 3 June - London at All Points East Festival (tix)
Mon 4 June - Manchester at Academy (tix) +
Tues 5 June - Bristol at O2 Academy (tix) +
Wed 6 June - London at Roundhouse (tix) +
Sat 9 June - Paris at Bataclan (tix) +
Sun 10 June - Luxembourg at Den Atelier (tix) +
Mon 11 June - Berlin at Astra Kulturhaus (tix) +
Wed 13 June - Cologne at Live Music Hall (tix) +

USA and Canada
Fri 6 July - Winnipeg, MB at Winnipeg Folk Festival (tix)
Sat 7 July - Des Moines, IA at 80/35 Festival (tix)
Mon 9 July - Toronto, ON at Danforth Music Hall (tix) ^
Tues 10 July - Toronto, ON at Danforth Music Hall (SOLD OUT) ^
Wed 11 July - Ottawa, ON at Ottawa Blues Festival (tix)
Thurs 12 July - North Adams, MA at MASS MoCA (tix) ^
Sat 14 July - Columbus, OH at Newport Music Hall (tix) ^
Sun 15 July - Louisville, KY at Forecastle Festival (tix)
Tues 17 July - St. Louis, MO at The Pageant (tix) ^
Wed 18 July - Kansas City, MO at Truman (tix) ^
Fri 20 July - Chicago, IL at Pitchfork Music Festival (tix)
Sat 21 July - Minneapolis, MN at Surly Brewing Festival Field (tix) ~#
Sun 22 July - Edmonton, AB at Intersteller Rodeo (tix)
Tues 24 July - Washington DC at The Anthem (tix) ^#
Wed 25 July - Brooklyn, NY at Celebrate Brooklyn Prospect Park (tix) ^#
Thurs 26 July - Portland, ME at State Theatre (tix) #
Sat 28 July - Newport, RI at Newport Folk Festival (SOLD OUT)
Sat 29 Sept - Denver, CO at Ogden Theatre (tix) ++
Sun 30 Sept - Denver, CO at Ogden Theatre (tix) ++
Tues 2 Oct - Phoenix, AZ at The Van Buren (tix) ++
Wed 3 Oct - San Diego, CA at The Observatory North Park (tix) ++
Fri 5 Oct - Los Angeles, CA at The Greek Theatre (tix) ++
Mon 8 Oct - Seattle, WA at Paramount Theatre (tix) ++
Wed 10 Oct - Vancouver, BC at Vogue Theatre (tix) ++
Fri 12 Oct - Portland, OR at Crystal Ballroom (tix) ++
Sun 14 Oct - Oakland, CA at Treasure Island Music Festival (tix)
Wed 17 Oct - Milwaukee, WI at Pabst Theater (tix) ++
Sun 21 Oct - Boston, MA at House of Blues (tix) ++
Tues 23 Oct - Philadelphia, PA at The Fillmore (tix) ++
Thurs 25 Oct - Nashville, TN at Marathon Music Works (tix) ++
Sat 27 Oct - Austin, TX at Stubb's (tix) ++

Australia and New Zealand
Fri 17 Aug - Thebarton Theatre, Adelaide (tix) *
Sat 18 Aug - Metropolis, Fremantle (tix) *
Weds 22 Aug - The Tivoli, Brisbane (tix) *
Thurs 23 Aug - Sydney Opera House (tix)
Sat 25 Aug - Sydney Opera House (tix)
Weds 29 Aug - The Powerstation, Auckland (tix) *
Thurs 30 Aug - Opera House, Wellington (tix) *
Sat 1 Sept - Festival Hall, Melbourne (tix) *

% with Palehound
^^ with LALA LALA
+ with Loose Tooth
^ with Vagabon
~ with Lucy Dacus
# with Julien Baker
++ with Waxahatchee
* with East Brunswick All Girls Choir


REVIEW: Many Rooms "There is a Presence Here" Debut LP Engenders Beauty That Instills Faith in a Universal Order


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many rooms
"there is a presence here"

 

 

Released April 13th, 2018 through Other People Records.


by Ava Mirzadegan

There’s a feeling I get within the depths of my body when I hear music that I know I will connect with, similar to musical Stendhal Syndrome. An effervescent wave flushes up from within me, my skin rises to form mountain ranges, and I become immersed completely. It is a rare feeling, but I felt it the moment I began listening to There is a Presence Here, the debut LP from Many Rooms.

The project of Houston-based musician Brianna Hunt is a captivating series of revelations from a mind that is caught between faith. Hunt’s musings on divinity and nihilism speak from the visceral root of fear of the unknown - perhaps the most inherent human emotion. Yet in spite of this great unknown, There is a Presence Here engenders the kind of beauty that can instill faith in a universal order.

The opening track, “Nonbeing,” starts off with lyrical post-rock-esque guitar and dreamy vocals asking the question “what if I die and nothing happens?” It is a question that Hunt explores in every song, begging for meaning. She is painfully aware of the fleeting nature of the physical world around her, a sentiment that becomes clear in songs like “Which is To Say, Everything.” She speaks to the nameless “you,” an epithet for those who have passed on.

Even in the face of mortality, Hunt draws upon the courage to live fully. “Dear Heart” is a conversation between Hunt, her heart, and God. “Why did you refuse to answer me/ I’m trying to be more honest,” she cries, her quick diminuendo and tone capturing the desolate essence of spirituality. The song’s refrain acts as an affirmation. “Courage, dear heart.”

The piano in “Hollow Body” lifts and transforms the track into an airy soundscape. A left hand plays a simple four note bass-line while lightly tapped keys evoke the chiming of a chapel bell. Her bare voice gliding effortlessly above the spacious bed of sound - a tone that is recreated in “The Nothing.” The sixth track questions the existence of an omniscient and benevolent God that cares for every prayer that is brought to his ear. Hunt repeats “do you look into all those scars?” until a shaky hum takes the melody from her tongue. Uneasily, she states “I know that you won’t leave.”

The title track is carried by the resonance of a piano and layered vocals. Wearily, Hunt discusses the fragility of her body and mind, culminating in a request for the grace of God. A second voice comes in to sing another melody, creating polyphony appropriate for the question “When there’s nothing left/ Is there room in your chest?”

Through Many Rooms, Hunt is able to reach beyond the confines of her corporeal body. There is a Presence Here is a devastatingly raw expression of the human spirit. The album, released through Other People Records, is now available to buy or stream online.


Stream There is a Presence Here on Spotify:


REVIEW: Future Teens "Hard Feelings" / Vinyl Now Available


Hard Feelings  Vinyl Pressing Available through  Take This To Heart Records  / Co-released with Pine Box Records

Hard Feelings Vinyl Pressing Available through Take This To Heart Records / Co-released with Pine Box Records


by Tim Crisp

What started as a joke has now completed the full 180 degree turn for Boston’s Future Teens. The group formed around Daniel Radin’ intentions to play a 3-song set at a 4th of July party in 2014. Each step that’s followed has been a movement away from those lighthearted plans. A two-piece became four, then a couple of EP’s, and a debut record, Hard Feelings, in 2017. The record has now been pressed to vinyl and re-released by Take This To Heart, as Future Teens moves forward, as real as it comes.

Hard Feelings is a bright, charming LP rich with hooks and feelings. Radin and co-vocalist Amy Hoffman’s songs concern themselves with the smaller details of modern romance, giving insight into the particulars of life as it is today. “Been spending too much time on dating websites,” Radin sings on “In Love Or Whatever” following up with, “maybe I should just do something / figure my life out.” The second part encapsulates much of the mood that hangs over Hard Feelings. It’s the feeling of sliding into one’s mid 20s, when aimlessness starts to become unsettling, like you really should start to figure things out. But, where does on begin to start such a task?

Radin’s vocal melodies are effortlessly catchy and his soft tenor sits atop a set of earworm pop songs. Hoffman’s melodies are a little more jagged, offering an excellent mix-up from Radin’s more ABAB structures. “Learned Behavior” is similar to “In Love Or Whatever” in spirit, chronicling life after graduation. However, it works as a build, hitting catharsis as Hoffman proclaims, “I wonder if self-loathing is learned behavior / if so can I unlearn it too?”

Future Teens’ songs are mostly light-hearted, even when exploring deeper feelings. The guitars are bright and warm, lending themselves wonderfully to the four chord bounce of “What’s My Sign Again?” and to slower and heavier numbers “Expiration Dating” and “Kissing Chemistry.” The two slow jams, clocking in at just under six  and five minutes, are among the album’s highlights. “Kissing Chemistry” finds Hoffman analyzing the ends of a relationship over arpeggiated guitars. The song is expertly navigated, holding out on the payoff before tension boils over into an explosion of guitar layers. “Expiration Dating” is similarly withdrawn, utilizing a loud/quiet dynamic that stretches itself without getting long in the tooth. Radin clocks in with an excellent vocal performance, though it feels like a moment when bigger problems could be addressed. While it fits within the album’s themes of the difficulties pertaining to modern romance, a composition like this could handle a topic a little more profound than forgetting to text someone back. Everything doesn’t have to be life or death, though, and the take away from Hard Feelings is hardly disappointment. Rather, this is another step in the right direction for a band brimming with promise.


Stream Hard Feelings on Spotify:


REVIEW: Haley Heynderickx at Lincoln Hall


MORGAN MARTINEZ

MORGAN MARTINEZ


by Sara McCall

Beneath cerulean light, sans band (at home in Portland), a composed and graceful Haley Heynderickx opened her solo set with “The Bug Collector” — a symbolic tale of an effort to spare a loved one of the paranoia and anxiety that plagues them.

Following a reverent applause from the crowd, the artists’ deep and round voice earnestly declared “I don’t like writing romantic songs.” By “romantic”, I’d guess she meant “flowery” or “lovey-dovey”, because the driving force of Heynderickx’s writing style is how beautifully and romantically she writes about the unromantic parts of love.

With lyrics like “Fate is a sundress, / ripped at the thigh” or “I showed you a body like a cluttered garage” or even the playful interior monologue of her most popular song “Oom Sha La La” it’s no wonder Heynderickx easily awes her crowd.

Later on she bantered, “I realize I have this curse that, when people date me they find their soul partner right after.” Sympathetic coos erupted from the crowd, only to be met with “Oh no it’s okay. I feel like I’m helping.” Heynderickx then launched into, “Show You a Body” - a song known for its haunting mantra, “I am humbled by breaking down.”

Heynderickx is absolutely right— she is helping, her recently released record I Need to Start a Garden, helps. It helps if you’re healing from any kind of separation: from a partner, from your city, from your youth.

MORGAN MARTINEZ

MORGAN MARTINEZ

I Need To Start a Garden is a kind of emotional “spring cleaning” of one’s identity— a real-time account of which perspectives and behaviors from our past can stay and which must go.

Heynderickx’s lyricism and lush use of imagery make her one of my favorite new singer-songwriters. The minimal (but not at all lesser!) nature of Heynderickx’s performance commanded a level of attention and dedication from the audience that is seldom given to the opening act. It was a feeling more akin to witnessing.

Haley Heynderickx is easily my favorite new singer-songwriter, and one whose name I’d wager will continuously pop-up in the months to come.


REVIEW: Emily Yacina's "Katie" EP Confronts The Complex Questions of the Human Condition


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emily yacina
"katie"

Released February 10th on Bandcamp.


by Ava Mirzadegan

A little over a month ago, prolific bandcamp musician, Emily Yacina, released a three song collection entitled Katie. Short and bittersweet, Katie is seemingly simple yet laced with the complex questions of the human condition. The album art, a magic 8-ball icosahedron with "K A T I E" written on it, evokes the finding of an answer in the album's namesake.

On the first track, "Good graces," Yacina's voice mostly stays within the higher end of her register, accompanied by soft guitar strums and lilting synth harmonies. As the song goes on, the flow of energy builds and releases: a sonic representation of emotional tide lines.

"I come clean I want you on my team/ even if you’re miles ahead.” Her words describe the sensation of longing in the face of separation. Whether that separation is emotional or physical, Yacina's meditation can be applied to fit any experience.

"Where are all the certainties I knew?" she asks, of no one in particular. Her question setting the tone of the mini-album, with the theme reaching beyond feelings for a person into a more existential longing.

Either by way of serendipitous circumstance or clever circumspection, the second track, "So easy," clocks in at 1 minute and 23 seconds.

The song depicts the experience of falling in a love so effortlessly perfect that she is filled with questions of how it could be. "You hold my heart still/ how'd you find me here?" An instrumental passage fills the stillness before Yacina's voice returns to say "wipe the sugar off/ my mouth with your hand/ here I fall for you."

On the nominal track, "Katie," she sings about the fortitude of her emotions and desire for an omniscient view of the world around her. It’s a concept she's sung about before, in "As We Go" off her 2011 release, Reverie.

The final track brings back a focus on the past and present. She notices "a penny from 2010 is buried in the dirt." The reflective morbidity of the line is almost buried within the song itself, which is lighter at first listen.

"But I'm in the sky instead." Floating among the clouds, Yacina is grappling to maintain footing, using Katie as a means for grounding her.

Alternating between the strumming of muddy chords and arpeggiated picking, the tonal rise and fall are especially poignant. A shift during the last verse from ascending to descending notes reflects the return to reality in another's arms.

Katie is a well-thought-out body of work that exemplifies Yacina’s willingness to delve deeper. It’s available on Spotify and bandcamp, as a pay-what-you-can album. While you’re at it, spend some time with her other releases — you won’t regret it.

Keep up with Emily Yacina on Bandcamp, Twitter, Facebook, and Instagram.


REVIEW: Kississippi's 'Easier To Love' Vocalizes Strength, Change and Vulnerability


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kississippi
'easier to love'

Sunset Blush available April 6th.

MEGAN THOMPSON


by Arthi Selvan

Kississippi’s new single, ‘Easier To Love,’ makes you want to twirl around a sunlit apartment, spring breeze coming through the windows, wearing the outfit that makes you feel like the hottest person in the room, and hanging out with just yourself and your cat. The catchy lyrics have me singing along with the front-person, Zoe Reynolds, “Up to now I’ve given all I got / You can always keep it if you want / I’ll make myself easier to love” while reminiscing on all the relationships I’ve been in where I’ve been told that I am hard to love.

In conjunction with their December release of the single “Cut Yr Teeth”, these singles feel more grown up than their 2015 EP We Have No Future, We’re All Doomed. While the softness of this Philadelphia-based band is still apparent in this new single from their new album, Sunset Blush, which will drop on April 6th, there’s an ever-feeling presence of refinement.

The parts that helped this band score an opening spot on Dashboard Confessional’s US tour hold true: strong vocals, poignant lyrics, solid drum beats, melodic guitar riffs, and rhythmic bass lines, but all cultivated into one powerful single about celebrating independence and careful vulnerability.

The single starts off with cool synth overtones and brings in elements that allow Reynolds’ voice to sound more unadulterated. The climax of the song takes a pause before the crescendo of head-banging drums and reappearance of room-filling vocals. This gives this single, and hopefully the new album, a more sophisticated feel, like they have graduated from the dreamy lo-fi punk to the powerhouse pop punk that is about to take over music.

Catch Kississippi on tour with Dashboard Confessional and Beach Slang below:

3/26 – Raleigh, NC @ The Ritz
3/27 – Charlotte, NC @ The Fillmore Charlotte
3/29 – Brooklyn, NY @ Brooklyn Steel
3/30 – Boston, MA @ House of Blues
3/31 – Silver Spring, MD @ The Fillmore Silver Spring
4/02 – Asbury Park, NJ @ Stone Pony
4/03 – Cleveland, OH @ House of Blues
4/04 – Cincinnati, OH @ Bogart’s
4/05 – Detroit, MI @ St. Andrew’s Hall
4/06 – Grand Rapids, MI @ 20 Monroe Live
4/07 – Louisville, KY @ Mercury Ballroom
4/08 – Lawrence, KS @ The Granada Theatre
4/09 – Denver, CO @ The Summit Music Hall
4/13 – Portland, OR @ Roseland Theatre
4/14 – Seattle, WA @ The Showbox
4/16 – Sacramento, CA @ Ace of Spades
4/17 – San Francisco, CA @ The Fillmore
4/18 – San Diego, CA @ House of Blues
4/20 – Anaheim, CA @ House of Blue
4/21 – Hollywood, CA @ Hollywood Palladium