Nikki Smith

Nikki grew up in an imitation German town in Georgia by the name of Helen. It wasn’t until middle school that she started to get interested in the arts: painting, music, and writing. She wrote in her diary, sketched in art class and listened to regretful music. By high school, her tastes became a little more refined. She found Fiona Apple, Lou Reed and Giant Drag, and they remain her favorites in college. She was accepted to the University of Georgia in 2012 and is currently majoring in English. Upon moving to Athens from a town with more trees than people, Nikki was a bit overwhelmed. However, there is certainly no lack of inspiration in Athens, and she appreciates its love for the arts and its service as a platform.

Ha the Unclear: ‘Bacterium, Look At Your Motor Go’

Posted on by Nikki Smith

PromoImage

New Zealand shares yet another refreshing sound with Ha the Unclear’s newest album Bacterium, Look At Your Motor Go, which was released in the U.S. September 30th (yes, we are a little late to the game, but this was too good to pass up talking about). Michael Cathro leads the four-piece band in this vibrant and cool album. It takes me back to the melodies of The Shins and the vocals of The Wombats.

The album opens with “Corstorphine.” The track opens the album with a soft rock sound and a subtle background choir. We get our first listen to Cathro’s lively accent and upbeat lyrics. The songs range from strange accounts of inanimate objects (i.e. mannequins and furniture) to touching scenes of nostalgia.

“Once We Were Schoolkids (Drunk on Youth and Friendship)” exudes a fun and youthful beat that embodies being young and reckless. This mood defines the entire album in general. Cathro’s lyrics and vocals are exuberant and can make any listener want to dance, as is the case with “Mannequins.”

However, the album does have it’s slow and sensitive side. In contrast to the craziness that comes with remembering childhood adventures, “85” shows a different side of reminiscing. With a slow combination of folk and 50’s doo-wop, Cathro relays the story of a spouse looking back on a failed marriage. Expectations of an ideal future “with trinkets on the mantle” are replaced with disappointment. Cathro describes a relationship grown old and doomed from the start, “I was having sickening thoughts back then…But we stuck it out because the church told us to.” The track is heart wrenching and beautiful wrapped into a story of a generation much different from our own, and Cathro gives it the passion and emotion it requires.

The fluid melodies continue with “Mortality (A Million Years Ago)” and “Apostate” (another quick definition – Apostate: “A person who renounces a religious or political belief”). “Apostate” echoes aspects of “85” but with dreamy chants, “We all run around with ash on our heels.”

“Infatuated” follows and picks up the pace a little bit with light guitar picking, which continues throughout the track with more speed and creates a starry sound that reminds me a little bit of Devotchka. Ha the Unclear has created an album that has set a high standard for many records to come. The group combines layers and various styles to create something not quite rock, but not quite folk. Either way it is new, refreshing, and genuinely beautiful. We’re ready for your next album already.

4/5

Luke Winslow-King: ‘Everlasting Arms’

Posted on by Nikki Smith

lwk

The last time Vinyl Mag talked to Luke Winslow-King was during South by Southwest back in March.  At the time, Winslow-King was performing songs from his 2013 album, The Coming Tide, which features a more bluesy, alternative sound.

In the interview, he briefly mentioned his then-upcoming album, which dropped yesterday.  Everlasting Arms embodies the typical New Orleans style with a rock and roll twist. Having attended the University of New Orleans for the classical music program, Winslow-King really highlights the blues and jazz sound of the Louisiana heritage. He refers to the genres as “really the only original American forms that were created in America.”

Everlasting Arms opens the album with female vocals to harmonize with Winslow-King’s smooth, southern voice. The sweet and simple song transitions into “Swing That Thing,” a track that really shows off Winslow-King’s southern rock and roll sound and reminds me of Eric Clapton’s From the Cradle.

“Levee Man” is the definition of New Orleans sound. The track opens with a trumpet and a banjo that, with the help of a piano and some brass, transports the listener to different time.

“Graveyard Blues” exhibits a slower sound with the female harmonization to put a modern twist on a classic blues piece.  Going back to the genre-specific sound, “Cadillac Slim” follows with an upbeat sound and female back up singers that give the track a Louisiana-style doo-wop feel. The Louisianna sound continues with “La Bega’s Carousel,” which is reminiscent of New Orleans classic, “Iko Iko.”

Trumpets are unique instruments (not that I’ve ever had any personal experience with them), but one basically must vibrate his/her lips to create sound.  If you’ve ever seen a trumpet solo live, you’ve seen how red the player’s face gets.  I’m sure it takes serious lung power and a lot of Chapstick, and I commend anyone who can pull it off as well as this player does in “La Bega’s Carousel.”

“Wanton Way of Loving” features female dominant vocals and a more “country” sound with a violins and banjos; Winslow-King makes a subtle appearance. The album comes to an end with “Home Blues,” a somewhat slower track that’s maybe a tiny bit ominous, but true Blues nonetheless.  Winslow-King sings, “Blues’ll make you do things you would never do. They’ll make you mean; they will make you cruel…”

Finally, “Travelling Myself” ends with a southern sound that makes me think of O Brother Where Art Thou.

The album takes listeners to a different place and a different time. Winslow-King’s music education and sheer skill are prevalent throughout the album and create an embodiment of Louisiana blues and jazz. If Everlasting Arms doesn’t make you want to pack up and head to New Orleans, I don’t know what will.

Cory Branan at Caledonia Lounge on Sept. 25

Posted on by Nikki Smith

I arrive at Caledonia in the middle of Betsy Franck’s performance. The simple two-man show was enough to capture me. Alongside a killer electric violin, Franck’s vocals were deep and flowing. Furthermore, anyone with a Loretta Lynn autograph on his/her guitar has my vote.

Franck leaves the stage but lingers among the small crowd, the size of which can be attributed to the Reptar/New Madrid concert down the street at the Georgia Theatre. Sometimes these things happen. Nevertheless, I think all of the artists at Caledonia, although deprived of a proper Athens audience, left their emotions on the stage. On the bright side, the show becomes exceptionally personal and engaging.

Cory Branan makes his way to the stage with drink in hand. A quick sound check, and he’s ready to go. He has a very relaxed manner and a “unique” sense of humor. He starts by saying, “It’s not about the number” in regards to the intimate crowd.

The first song is one from his newest album, The No-Hit Wonder. With each hard strum of his guitar, Branan displays a little frustration and a little lightheartedness. After a few energetic songs, Branan gets the crowd loosened up and states, “Okay, I’m happy now,” confirming this with his performance of “You Make Me.”

One thing I know that the people at the packed-out Reptar/New Madrid concert aren’t getting – direct acknowledgment. Branan calls people out in the crowd by name and asks the audience for requests. “Survivor Blues!” someone yells, and Branan promptly accommodates.

Branan and Franck are both relatable, approachable. Although this is true for many artists, this show in particular seemed to make it easier. There’s no backstage at Caledonia.  There’s only one stage, one front door, one back door, and one bar. During Branan’s concert, it feels like we could have just as easily been sitting around the bonfire, sharing a bottle and a laugh.

Although Athens may not have been Branan’s favorite crowd, I can honestly say he gained a few more fans after his show at Caledonia. I took my cousin and her roommate along with me, and I was curious about how they would react to the music. After listening to and reviewing The No-Hit Wonder, I decided that Branan was the country for me, and I hoped my companions would feel the same way.  Success. This won’t be the last time I see Branan, and I suggest you do the same.

Alt-J: ‘This is All Yours’

Posted on by Nikki Smith

altJAlbumCover

Alt-J consists of Joe Newman, Gus Unger-Hamilton and Thom Green. Their second album, This Is All Yours, comes out September 23rd via Canvasback/Infectious Music.

If you do some Facebook stalking, as I like to do with all artists I review, you learn something about alt-J. The name translates into a symbol; the combination on a Mac creates a delta, ∆ (try it, it’s fun). The symbol represents the band’s transition in life, past and future. It can easily be applied to This Is All Yours, as it is an album of versatility and range.  ∆∆∆∆∆∆∆∆∆∆sorry∆∆∆∆∆∆∆∆

The album opens with “Intro,” a rhythmic entrance with echo effects and a tribal feel that reoccurs throughout the album; the track moves into distorted, deep lyrics. Slow it down in “Arrival in Nara,” which opens softly with a delicate piano.  The tempo picks up a bit in “Nara,” which also uses the combination of tribal, ambient and techno sounds. Both songs display alt-J’s folk persona. The album continues to journey through this place, finally ending with “Leaving Nara.” Based on the following tracks, might it resemble a jungle or garden of some sort? A place of serenity and youthful freedom? Alt-J, answer me.

“Every Other Freckle” transforms the slow and soft into quick and sensual with unaltered vocals. This track strays a little from the previous techno sounds and takes on a modern rock aura with vibrating bass and natural guitar combinations…and a little flute at 1:34 – can’t beat it. The sound expands into “Left Hand Free,” which is currently making its rounds on alternative radio stations nationwide, shows Alt-J’s upbeat, fun side. It’s fun to sing if you can keep up.

“Garden of England” acts as an ambient instrumental intermission, using bird sounds to imitate the feeling of being in a garden, and soothing wind instruments. Followed by “Choice of Kingdom,” a folk lullaby.

Enter a personal favorite, “Hunger of the Pine.” Although this song is great for feeling like a badass in the car driving 70 mph, context takes it to a new level. The music video is intense and moving. It features a man running through a field from a copious amount of arrows, source unknown. He is hit multiple times but is determined to keep running, destination unknown. The final shot is unexpected but does not deter the man. After watching the video, I felt more thoughtful than rebellious. Nevertheless, Alt-J’s combination of techno beats, horn instruments and a natural voice (not to mention an excerpt from Miley Cyrus’ song “4×4”) add to the albums layers and versatility.

On the other hand, “Pusher” is beautiful in its simplicity. Natural vocals and guitar make the track mellow and ethereal. Finally, “Leaving Nara” gets back to the ambient tribal sounds we hear in “Arrival in Nara,” as well as synthesizer beats that seem to complement the slower folk songs of the album. The entire album comes full circle, a complete journey through Nara. The unlikely combinations of tracks and the instruments within them make This is All Yours unique and hypnotizing.

Oh wait! Bonus track. One last track to end on an optimistic note with “Lovely Day:” “Just one look at you, and I know it’s gonna be a lovely day.”

6/5 – but seriously.  In love.

Aaron Behrens x Vinyl Mag

Posted on by Nikki Smith

10JKT [Converted]

Previously known for his role as frontman of Ghostland Observatory, Aaron Behrens, makes his debut as a solo artist with his new project, Aaron Behrens and the Midnight Stroll. Behrens new project features a style but elicits the same amount of energy and passion devoted listeners craved from Ghostland Observatory. Along with a new album, Behrens has a new label and will be going on a coast-to-coast tour this fall. Be on the look out for shows in your town!

Vinyl Mag has the newest single from The Midnight Stroll, “Keep On Rising.” If you enjoy it as much as we did, you can download it FUH FREE at Applauze.com.

Check out our interview with Aaron below!

Vinyl Mag: What challenges have you faced in breaking away from your former group and starting a solo career and a record label?

Aaron Behrens: Probably just reconnecting with my fan base. I think that’s the hardest thing is trying to communicate and help them understand why I would do such a thing and to just reconnect with them in order to show them my new thing. Not even my new thing – just my other creative outlet. I feel like people think they know who you are.  They think they’ve got you figured it out, and then you switch it on them – which I love to do – so you should always expect that. It throws them, and they’re like, ‘I was so used to this way,’ but this is another dimension of me so, yeah – getting across the point that I’m a multi-dimensional character.

VM: How have you changed as an artist in this transition?

AB: I’ve just been able to learn more, just different ways of doing songs, and I’ve gotten to work with other musicians that have opened some new doors creatively for me. I think I’ve gotten better as a musician, as a singer, as a writer with this new angle. So it’s helped me refine my craft.

VM: With the release of your new Skeleton Farm Records label, what style do you hope to maintain, and what is your role with the label?  How did you get involved? What is it like to be on the producing side?

AB: I don’t care what style to maintain in this record label. To me, it just has to be good, it has to be right, it has to be what I feel like is good and right. I don’t care what kind of package that comes in. When I hear it, when I see it, when I feel it, I’ll know I wanna be involved with it. Yeah, that’d be stupid for me to freakin’ go off and be like, ‘It has to be this way, this is what’s selling, this is what’s right.’ No, it’s an artistic venture.  You know, I understand it’s a fine line between what’s artistic and what sells, but I just want to put out what I think is cool. We shall see how that works out!

VM: What is your role with the label?

AB: Well, basically my role is….it’s my label. I just want to develop a pipeline for people to check out music that I think is cool and bands that I think should be heard. I just want to develop a pipeline and a connection from the label to them.  And I can put out my own tunes and program my own channel.

VM: What is it like it to be on the producing side of music?

AB: It’s great! It’s cool. It’s what I love to do. I love to come up with the idea – the concept – and push it. And let’s figure out how to get it sounding the way we want. I’m very new to it, because in Ghostland, I wasn’t such on the production side, so with this new project, I’ve definitely put on that hat a little bit more in watching Jonas [Wilson, co-producer] do his thing, too. Kind of learning stuff and knowing my angle and knowing my shape in the room. Knowing how to fit in and work as a team. That’s the really cool thing about doing productions with other people. It’s a team effort. I enjoy doing it a lot.

VM: Obviously, you’ve been very busy with your time away from Ghostland Observatory. Do you have any other creative outlets that you may have been working on, or still are?

AB: Uh, no. Not really. I’ve put a lot of energy into The Midnight Stroll. I’ve put all my energy into it, other than what I give to my family and friends. So no, there’s no time to be dibble-dabbling in multiple things. I really am a type of person that I really have to focus on one thing and one thing alone to get it accomplished, so all my energy has been focused on this project.

VM: What advice can you give a striving, blooming artist as they begin their musical career?

AB: Be real with yourself.  Be brutally honest with yourself, and freakin’ reach for the stars!  Go big, do everything that comes into your mind creatively.  Even if it sucks, at least you have the opportunity to learn from it.  Don’t be afraid. Fuck fear!  Be brash, be bold, and project from your heart.  So, there you go, advice for the newcomers: ‘Welcome, I’ve been waiting.’

 

TOUR DATES

09/11 – Houston, TX @ Warehouse Live

09/12 – Utopia, TX @ UTOPiAfest

09/13 – Dallas, TX @ Club Dada

09/14 – Tulsa, OK @ Cain’s Ballroom

09/17 – Kansas City, MO @ Riot Room

09/18 – Minneapolis, MN @ Triple Rock

09/19 – Chicago, IL @ Schubas Tavern

09/20 – St. Louis, MO @ Firebird

09/21 – Little Rock, AR @ Juanita’s

10/01 – El Paso, TX @ Lowbrow Palace

10/02 – Tucson, AZ @ Club Congress

10/03 – San Diego, CA            @ The Casbah

10/04 – Los Angeles, CA @ The Satellite

10/05 – Pomona, CA @ Glass House

10/06 – Los Angeles, CA @ School Night at Bardot

10/08 – San Francisco, CA @ The Chapel

10/10 – Portland, OR @ Hawthorne Theatre

10/12 – Seattle, WA @ The Crocodile

10/15 – Missoula, MT @ Stage 112

10/16 – Boise, ID @ Neurolux

10/17 – Salt Lake City, UT @ Kilby Court

10/18 – Denver, CO @ Bluebird Theater

10/25 – Austin, TX @ Scoot Inn

11/05 – Birmingham, AL @ The Bottletree

11/06 – Atlanta, GA @ Terminal West

11/07 – Athens, GA @ Georgia Theatre

11/08 – Nashville, TN @ High Watt

11/09 – Asheville, NC @ The Millroom

11/11 – Charleston, SC @ The Pour House

11/12 – Raleigh, NC @ Lincoln Theatre

11/13 – Washington, DC @ Rock & Roll Hotel

11/14 – Philadelphia, PA @ MilkBoy

11/15 – New York, NY @ Mercury Lounge

11/19 – Boston, MA @ Great Scott

11/20 – Pittsburgh, PA @ The Altar Bar

11/21 – Lexington, KY @ Cosmic Charlie’s

Cory Branan: ‘The No-Hit Wonder’

Posted on by Nikki Smith

image004

I’ve never really been a big fan of contemporary country.  However, Memphis native Cory Branan may have converted me. Here’s my beef with country music – it either transforms a mud-caked truck or a morning fishing trip into an emotional upwelling, or there’s too much boom-boom for my speakers. There is nothing wrong with country music and nothing wrong with a barn party with a little Kenny Chesney on the side; it’s just not my cup o’ Joe. Maybe, I’m just listening to the wrong country music (I’m totally open to some recommendations).  But Branan seems to transform the genre with his fourth album, The No-Hit Wonder, and I can’t help but admire when someone brings something new to the table.

First, Branan’s voice is so simple and smooth; you can’t help but turn each song into a duet. Second, the album is so versatile! It opens with some classic honky-tonk inspired rhythms. “You Make Me” and “The No-Hit Wonder” follow a simple melody with simple lyrics that make the songs easy to enjoy, and the exuberance embodies the country spirit: good times and good people. “The Only You” has a singer-songwriter vibe that features soft acoustics and a piano that brings to mind Mumford & Sons.

Branan continues to keep his style unique and fresh with “C’mon Shadow,” which opens with what sounds like a ukulele, and “All I Got And Gone.”  Both show a slower, sweeter side of the album. “All The Rivers In Colorado” is a personal favorite with its flowing melody and harmonization, as Branan sings, “All the rivers in Colorado couldn’t wash you off my mind…”

The album ends differently than the way it started. The No-Hit Wonder ends with “The Meantime Blues,” a song that displays a rare style and is beautifully accomplished. “The Meantime Blues“ is perfectly sublime and appropriate for a lazy summer day when you’re sitting in your hammock, sitting on a dock, or sitting on your couch.

Cory Branan will be an essential name in the singer-songwriter genre and will surely be a more than one-hit wonder. The No-Hit Wonder comes out tomorrow on Bloodshot Records.

Love it – 5/5

Aaron Behrens and The Midnight Stroll: “Keep On Rising”

Posted on by Nikki Smith

a

The energy remains in Ghostland Observatory frontman Aaron Behrens’ solo project, Aaron Behrens and The Midnight Stroll. The EP’s first single, “Keep On Rising” features Behrens’ familiar and passionate vocal vibrations. The single previews a more pop rock style in comparison to Ghostland Observatory’s electro pop sound.

The small change introduces Behrens’ signature style and elicits a high-energy listener response (aka rhythmic spasms of the extremities) just as much as Ghostland Observatory’s sound. “Keep On Rising” opens with mellow guitar riffs and explodes into vigorous beats with Behrens’ elevating lyrics and loud, gut wrenching voice. Behrens’ solo debut also signals the release of Behrens’ new label, Skeleton Farm Records, on September 16th.

Along with a fresh album and label, Behrens also plans on a cross-country tour this fall. The singer-songwriter wastes no time in getting his new sound out there, and for that we are thankful. Behrens’ solo break away from Ghostland Observatory has been long awaited, and not patiently I might add. If you can’t wait until September 16th, go to Applauze.com where all your wildest dreams will come true…and also there’s a free download of “Keep On Rising” waiting for you there.

The tour will start sooner than you think, so get your tickets now at the previously mentioned website. You’re gonna be real sorry when you drive by the Georgia Theater and see Aaron Behrens and The Midnight Stroll in small block letters on the marquee without a ticket to get in.

Tour Dates:

09/11 – Houston, TX @ Warehouse Live

09/12 – Utopia, TX @ UTOPiAfest

09/13 – Dallas, TX @ Club Dada

09/14 – Tulsa, OK @ Cain’s Ballroom

09/17 – Kansas City, MO @ Riot Room

09/18 – Minneapolis, MN @ Triple Rock

09/19 – Chicago, IL @ Schubas Tavern

09/20 – St. Louis, MO @ Firebird

09/21 – Little Rock, AR @ Juanita’s

10/01 – El Paso, TX @ Lowbrow Palace

10/02 – Tucson, AZ @ Club Congress

10/03 – San Diego, CA            @ The Casbah

10/04 – Los Angeles, CA @ The Satellite

10/05 – Pomona, CA @ Glass House

10/06 – Los Angeles, CA @ School Night at Bardot

10/08 – San Francisco, CA @ The Chapel

10/10 – Portland, OR @ Hawthorne Theatre

10/12 – Seattle, WA @ The Crocodile

10/15 – Missoula, MT @ Stage 112

10/16 – Boise, ID @ Neurolux

10/17 – Salt Lake City, UT @ Kilby Court

10/18 – Denver, CO @ Bluebird Theater

10/25 – Austin, TX @ Scoot Inn

11/05 – Birmingham, AL @ The Bottletree

11/06 – Atlanta, GA @ Terminal West

11/07 – Athens, GA @ Georgia Theatre

11/08 – Nashville, TN @ High Watt

11/09 – Asheville, NC @ The Millroom

11/11 – Charleston, SC @ The Pour House

11/12 – Raleigh, NC @ Lincoln Theatre

11/13 – Washington, DC @ Rock & Roll Hotel

11/14 – Philadelphia, PA @ MilkBoy

11/15 – New York, NY @ Mercury Lounge

11/19 – Boston, MA @ Great Scott

11/20 – Pittsburgh, PA @ The Altar Bar

11/21 – Lexington, KY @ Cosmic Charlie’s

AthFest 2014: Judah & the Lion x Vinyl Mag

Posted on by Nikki Smith

IMG_2368

Nothing compares to the comfort that southern music brings, and Judah & the Lion supplies just that. The Tennessee-based band brings energy and folk spirit to their music and performances. It’s one of those bands where you have to clap in rhythm to every song and really can’t fight it. Tennessee comes to Athens for Athfest, and Judah & the Lion are sure to provide a memorable show…and maybe a barrel of cookies?  Their newest music video for “Sweet Tennessee” embodies the bluegrass roots and gospel sound of the south, complete with shotguns and suspenders. Although Judah & the Lion are but mere cubs, there’s no doubt they will continue to create beautiful music that will remain timeless and comforting.

Vinyl Mag: Y’all are from Tennessee – how do you incorporate that culture and your roots into the music? When did you first know you wanted to make music?

Judah Akers: Well, we aren’t all from Tennessee. I am from Tennessee, and I think the culture, rootsy, Johnny Cash vibe definitely comes through, but you have to add a little Chicago sass and Colorado vibes to really get us as a band !

VM: Who (or what) is your inspiration in music?

JA: Backstreet Boys, Boys 2 Men, [The] Gap Band.

VM: How did the group come together? How do you hope to evolve in future albums?

JA: Came together randomly in college. I called the other guys on a wim, and we really hit it off. We hope to revolve and sculpt our craft as the years go. We hope to be the best at being us. Nothing else.

VM: Sweet Tennessee is your most recent album – what challenges have you had to face as a group in order to create the album? How has the response been?

JA: The response has been amazing. We are super grateful. Especially to Athens. We’ve felt so loved by this city since the start!! So thank you!

VM: Where was the video for “Sweet Tennessee” filmed? What process did you have to go through to create the video? How long did it take to make a bucket of chocolate chip cookies? Were there any left over?

JA: [Laughing} No cookies left over – luckily, we had moms and girls involved to help with the cookie-making. We filmed it in my hometown of Cookeville, Tennessee. Right down the road from my house. ‘Twas a special few days.

VM: What do you guys do when you aren’t playing music? Do you have any other creative outlets besides music?

JA: We have a special community of friends we love to be with. Lakes, cliff jumping, bon fires, The Office. We love writing and working on other things as well!

VM: Have you been to Athens before? How has your experience in Athens been so far? What are you looking forward to most during Athfest?

JA: WE LOVE ATHENS. ATHENS IS FAMILY. IT HAS CHANGED US! We have been three times now and will continue to come back, ’cause we love the culture, the people, and feel loved too!

VM: Athens is a hotbed of striving musicians. Since you have also just started, what advice can you give musicians who are trying to find a starting point? From personal experiences, what encouragement can you give artists, in general?

JA: Stay true to yourself. Don’t change for anything. Work hard, keep your head down, and have fun!!

VM: What is next for Judah & the Lion?

JA: New record drops in September, and be road warriors!!! We love it. And can’t wait to share it with people like you!

 

AthFest 2014: Ruby the RabbitFoot x Vinyl Mag

Posted on by Nikki Smith

After two long years, Athens native Ruby Kendrick has released her second album, New as Dew, under the moniker Ruby the RabbitFoot.  Her sophomore album exhibits an evolved sound, but remains soft and relaxed, since her first album in 2012, No Weight No Chain.

“New as Dew” and “Ways” are two personal favorites of the new album. “Ways” is accompanied by a vivid music video featuring flowers and solo shots; it is sweet and bright, like her awesome bangs. No doubt, Ruby’s southern heritage comes through in her guitar sound, but her simple voice appeals to modern listeners.

Ruby the RabbitFoot will soon be an essential Athens artist to add to your summer playlist. This year, she plays on hometown soil for Athfest. Although this is only her second album, there are sure to be more to come…at least we hope.

Vinyl Mag: You’re from Brunswick/Saint Simons Island [Georgia], right?  How long have you been involved with the Athens music scene? How do you judge Athens as a platform for artists?

Ruby Kendrick: I am from Brunswick/ Saint Simons. It’s a one of a kind place.  I’ve been involved in the Athens music scene since 2011. I think Athens is a great place to make music. Cheap cost of living and a supportive community.

VM: In general, how has music been an important part of your life? When did you first know you wanted to make music?

RK: I’ve always loved to sing. Before I knew how to play guitar or piano, I would sing everywhere and anywhere. When I was in third grade, my dad got me a keyboard from radio shack. After that, it was all over.

VM: Do have any other creative outlets other than music? 

RK: These days, I’m really into music video production. You can check them out at Cardio Barbie TV. Two more will be added later this summer.

VM: Who (or what) is your inspiration? Most of your sound is very soothing and light – what state of mind do you adopt, and what process do you go through to create a piece of music? 

RK: It’s funny to think that my music is described as soothing and light. I might have to give credit to my band for that. They keep things sunny for me in general.  Lyrically, I think the songs can get pretty dark… but that is a detail that folks can choose to acknowledge or ignore. I’m really inspired by pop music for the most part. Mostly female artists.

When I write a song, I’m not thinking about any of that. I’m kind of just vomiting something up. I don’t get to choose when, where or what. It just has to happen, and then I feel really good for a few days.

VM: It’s been two years since your first record, No Weight No Chain – what’s been happening in that time? 

RK: O lawwwddd… Just getting knocked around by life mostly. The New As Dew era was a very happy one in the RabbitFoot world. I spent those two years (after NWNC) just focusing on the New songs and traveling a bit.

VM: How has your music evolved since 2012? What goals did you have for New as Dew? 

RK: I think my voice has gotten stronger. I’m a very quiet singer…and it used to be even worse. I’m more confident in my live performance. I used to be terrified to play piano on stage – my fingers would shake violently.

My goal with New As Dew is to just stick with it as long as I can. I have a tendency to be ‘over it’ before anyone else hears it. I want to parade it around before moving on to the next album. Even though it feels like a part of my life that’s over, I want to share it.

VM: Of course, you have quite a following in Athens, which will surely be supporting you at Athfest. How is the local crowd compared to “out-of-towners?”

RK: Playing in Athens is like playing in front of your family. It’s much more nerve-racking, but much more rich. I want to make them proud.

VM: Have you been to Athfest before? 

RK: This will be my third Athfest.

VM: What are you most looking forward to [at Athfest] this year? 

RK: I want to see Kishi Bashi.

VM: Do you have plans for the rest of summer and the future, in general? Can we expect another album soon? 

RK: This summer, I am touring as much as I can. I’ll be flying to California right after Athfest, then I’ll be looping down to Texas and up to Chicago this Fall.

You can definitely expect another RabbitFoot album. I’m very excited about the new songs and hope to develop them more this winter. I’d love to say that you can expect it in 2015, but time is slippery.

Jun 21    Athfest Hull St. Stage    Athens, GA
Jul 05    CAMP OUTPOST    Piru, CA
Jul 25    Green Room    Athens, GA Tickets
Jul 29    The Beatnik    New Orleans, LA
Jul 30    Mudd & Water    Baton Rouge, LA
Jul 31    Mango’s    Houston, TX
Aug 01    502 Bar    San Antonio, TX
Aug 02    Holy Mountain    Austin, TX
Aug 03    Wild Detectives    Dallas, TX
Aug 21    King Dusko    Charleston, SC
Aug 22    Sky City    Augusta, GA
Aug 23    Green Room    Athens, GA
Sep 03    Southgate House Revival    Newport, KY
Sep 07    Daytrotter    Rock Island, IL
Sep 10    Sugarlands Distilling Co.    Gatlinburg, TN
Sep 26    Gram Parsons Festival    Waycross, GA

White Blush: ‘Loves Park’ EP

Posted on by Nikki Smith

Carol Rhyu’s independent project, White Blush, continues to grow and is well worth the listen this summer while you welcome warm winds and cool sheets. White Blush’s most recent EP, Loves Park, is one you’ll want to know sooner than later for its sheer simplicity and natural beauty. Rest and relaxation accompanies this EP.

Loves Park opens with “Wish,” featuring Rhyu’s signature airy voice and synthesizers. The ambient sounds are intensified by soft whispers and are untainted by harsh effects. Among the liveliest pieces are “Summer,” “Neptune,” and “Mysterieux.”  The quickest way to get my attention and my hidden dance secrets is with a light 80’s synthesizer, prevalent in “Summer.” I can easily imagine “Summer” playing at a swanky nightclub somewhere – not sure how the dancing would look, but I would try it.

“Neptune” exhibits a somewhat ominous sound with reverb guitar effects and rhythmic bass sounds that mimic drumbeats. Finally, “Mysterieux” ends the EP with Rhyu’s captivating synths. There was something familiar about “Mysterieux” when I listened to it, as if I had come across it on Stereomood months ago. It is always when I hear a song the second time that my ears naturally decide if they like it or not, and “Mysterieux” was accepted, its origin a literal mystery.

Loves Park will most likely be making an appearance on my playlist as I drive home from work during these summer afternoons. Loves Park radiates and encourages meditation and thoughtfulness essential for the long, hot summer to come.