Category: Music Reviews
St. Vincent shares “Teenage Talk” on latest ‘Girls’ episode
Girls has a reputation for being astute when it comes to the music that plays over final credits, and its 3/8/15 episode “Tad & Loreen & Avi & Shanaz” is no exception. After main character Hannah is given some bombshell news by her mom, her expression of confusion and fear cuts to an unreleased St. Vincent b-side called “Teenage Talk”. Annie Clark and Girls creator Lena Dunham are friends, and the show’s music supervisor reached out to Clark’s team, who had this unused demo lying around. Besides Clark’s pensive, honeyed voice, the 90s alt-synths and stuttering drums are immediate St. Vincent tip-offs. The song is way too short – as with most things surrounding this fabulously talented artist, we’ll never have enough.
In the track St. Vincent looks back on the past, specifically the generally overrated period of teenagerdom. Her sad and reflective lyrics (“I don’t think the past is better, better / Just cause it’s cased in glass / Protecting us from our now and later”) make the song sound like an update to Vanessa Carlton’s “White Houses”. Clark closes out “Teenage Talk” by wondering what her former beau thinks of her now. As is her wont, she uses esoteric imagery to get to the relatable heart of heartbreak.
An official version hasn’t yet been released, but fortunately a high-quality stream has been circulating around Tumblr. It’s that or deal with the monstrosity that is HBO Go, so choose wisely.
Madonna: ‘Rebel Heart’
Back in December 2014, the Internet was still repairing itself from the assault of Kim Kardashian’s nude photo shoot when 13 demos in various stages of completion from Madonna’s upcoming thirteenth LP Rebel Heart surfaced. This was met with severe backlash from Madonna herself, who broke an iPod and posted the picture on Instagram likening to situation to terrorism.
Despite the leaks, she insisted some of the tracks would not be used and the ones on the final album would be tweaked. Less than a week later, the floodgates opened, and by January 2015, not only had nearly every single demo from the recording sessions leaked, but so did an unmastered copy of the super deluxe edition.
While she remained quiet about the final batch of leaks, more and more information surfaced about how the record was supposed to be a double disc with one being Rebel and the other Heart. Though the product was not a double disc, the thematic duality of the record coupled with some of Madonna’s most genuine lyrics makes Rebel Heart her most sonically interesting release in the last decade of her 30+ year career.
Instead of focusing on working with a single producer much like her first few albums, the album includes production from Avicii, Diplo, Kanye West, and Ryan Tedder. The album opener “Living For Love” is a deep house cut that features a piano part played by Alicia Keys, background vocals by MNEK and a grandiose bridge. The album juxtaposes the concept of empowerment between a menacing bassline and an unrelenting beat, a common theme repeated throughout the duration of the record.
“Joan of Arc” showcases the vulnerable side of Madonna is a poignantly reflective first verse “Every time they write a hateful word / dragging my soul into the dirt / I wanna die / never admit it but it hurts.” It’s interesting to hear her deconstruct the image that media has constructed for her. My only complaint with the finished track is the seemingly out of place drums that weren’t present in the leaked demo.
“Iconic” and “Veni Vidi Vici (feat. Nas)” are two of the album’s most self-referential songs, the first being a trap track – yes, you read that correctly – with a spoken intro by none other than Mike Tyson and a rap verse by Chance the Rapper. The latter song sees Madonna’s voice somewhere between spoken word and singing as she describes her career by interpolating the titles of her previous singles (I opened up my heart / I learned the power of goodbye / I saw a ray of light / music saved my life) within the verses. If you listen closely you can hear a small “Ray of Light” sample and the horn section from “Holiday” during Nas’ fiery guest verse.
“S.E.X” is an interesting turn in the momentum of the album as it recalls the Erotica era with more spoken word, this time in a laundry list of objects needed for S&M: twisted rope, a leather mask, fish nets and raw meat. It’s a jarring transition before the orchestral “Messiah” but it stands as a testament to how Madonna strives to rebel ageism in the industry.
At 19 songs, the deluxe edition is one of Madonna’s longest albums clocking in at 74 minutes and is certainly one of her most diverse. Grab a listen when the album officially drops tomorrow.
4.25/5
Saturn Valley: ‘On The Rings’
Without a doubt, the streets of Athens consistently churn out exceptional musical talent. One particular band to take note of is the up and coming Saturn Valley. Consisting of five players Chris Freiberg on Keys, Christian McDaniel on percussion, Nick Jones on guitar, Zach Webster on drums, and Scott Andrews on bass (previous bassist/bassist on On The Rings Charlie Ferrell), this band channels the funk of Santana, the skills of Jimmy Page, and the overall essence of Widespread Panic. Each and every song consists of creatively different jazz tones, especially in their recent album, On the Rings.
The song “Odysseus” begins with one of the tastier riffs on the album. However, once the drums ensue, this tune starts to take on many different routes. The drums lead listeners into a metal-based synth spell and then bring listeners back to that original riff. Quite a fitting song title for such a journey.
“Rusty Bane” brings out the more sensual side of SV. The song begins with a horn section, opening the door to the keys and guitar’s simple, soul-filled notes. Then, all hell breaks loose when nothing but funk enters the mix, a surprising segue from the prior melancholy tone. Each note then ventures into classic funk, leaving you bouncing as there music fills your speakers. Billy Cobham fans, this one is for you.
“Tollbooth” is another great catch on this album, focusing primarily on the skills of Frieberg as he takes the lead in his own style. This song shows truly the skill and effort these lads have dedicated to this band, as well as their love for music. Miles Davis circa Bitches Brew would be so proud.
What’s truly beautiful about this album is the apparent and absolute hard work these guys have put into its creation. Each song was well mixed – including their live show, which you can find on ReverbNation.
Saturn Valley has created music that can relate to any music lover out there (unless you are truly against instrumentals). With their hard work and experience, Saturn Valley can really rise. Athenians, you can currently snatch this catch at Wuxtry.
3.8/5
Bright Light Social Hour: ‘Space Is Still The Place’
Touring legends Bright Light Social Hour are at it again with their kick-ass new album Space Is Still The Place. Courtesy of band mates Jack O’Brien, Curtis Roush, Edward Braillif, and Joseph Mirasole, this compilation will be just another step of progress in the name of Rock. Woven with funk, soul, psychedelic tones, and straight good ole fashion rock n’ roll, this album brings a unique sense to the scene moving this band up in the ranks alongside artist like Moon Taxi, The Tontons, and Quiet Company.
The premise behind the album comes straight from Bright Light’s insane touring schedule throughout the south. After their southern binge, they created the concept of “Future South” and collaborated to bring this idea to life.
The album starts off with a bang with the song “Sweet Mandele,” a western trip backed by a Beatles mentality. The drums provide an almost tribal element as the guitar rings out bluesy chords with the occasional post punk twist. However, you will receive inexplicable chills once the breakdown occurs. Slowing tempos and spacy vibes turn suddenly into the perfect indie dance tune.
The next song to turn to on this album is “Dreamlove.” Bringing out that synth that fans adore these days, this song brings you back to 80’s culture, releasing memories for those who remember when the Jam and Bauhaus reigned supreme. Diving deeper underneath the musical fills, the bass line is quite amazing. A total jam song you should play at your next party – trust me, the entire song seems to be about getting high.
The bass lines only get better with “Ghost Dance.” Starting off with killer bass runs accompanied by those Jimi-inspired guitar riffs, “Ghost Dance” is just another hit on this album. By this song, fans will get a sense of Jack White-esque writing.
Their slower tune, “Sea of the Edge,” is also noteable. The guitar gets more simplified, and a jazzy tone shines through. This song is one of the more generic sounding listens on this album, reminding us more of their genre counterparts, really.
Such basicness becomes completely overruled once “Outerboros” hits your speakers. With repetition, this band brings the blues back with yet another Jack Whitey sounding song, yet still possessing that badass southern feel.
The next song shows BLSH’s diversity by bringing forth a pop sounding beat. The drums are tight as the guitarist strums those chill chords. The song holds true to the BLSH sound, but adds more of a radio-sounding side to their portfolio.
The album overall is worth a listen. There truly is a song for anyone. Good job, boys.
Be sure to catch BLSH on tour (dates below), and pre-order Space Is Still The Place here and here for vinyl.
5/5
BLSH Spring Tour Dates:
3/5 New York, NY @ Mercury Lounge (Early Show)
3/6 New York, NY @ Mercury Lounge (Late Show)
3/7 Philadelphia, PA @ Boot & Saddle
3/27 Austin, TX @ Stubb’s **Official Album Release Show**
3/31 New Orleans, LA @ Gasa Gasa
4/1 Pensacola, FL @ Vinyl Music Hall
4/2 Jacksonville, FL @ Jack Rabbits
4/3 Orlando, FL @ The Social
4/4 St. Petersburg, FL @ The State Theatre
4/6 Macon, GA @ Cox Capitol Theatre
4/7 Atlanta, GA @ The Earl
4/8 Carrboro, NC @ Cat’s Cradle – Back Room
4/9 Washington DC @ DC9
4/10 Brooklyn, NY @ Baby’s All Right
4/11 Cambridge, MA @ Middle East (Upstairs)
4/12 Burlington, VT @ Higher Ground Showcase Lounge
4/14 Montreal, QC @ Quai Des Brumes
4/15 Toronto, ON @ Horseshoe Tavern
4/16 Grand Rapids, MI @ Founders Brewing Co
4/17 Chicago, IL @ Empty Bottle
4/18 Cincinnati, OH @ The Woodward Theatre
4/19 St. Louis, MO @ Off Broadway Nightclub
4/21 Nashville, TN @ The Stone Fox
4/22 Little Rock, AK @ Revolution Music Room
4/23 Tulsa, OK @ Vanguard
4/28 El Paso, TX @ Lowbrow Palace
4/29 Phoenix, AZ @ Valley Bar
4/30 San Diego, CA @ The Hideout
5/1 Los Angeles, CA @ Bootleg HIFI
5/2 Costa Mesa, CA @ The Wayfarer
5/3 San Francisco, CA @ The Chapel
5/5 Portland, OR @ Mississippi Studios
5/6 Vancouver, BC @ Media Club
5/8 Seattle, WA @ Tractor Tavern
5/9 Spokane, WA @ The Bartlett
5/10 Boise, ID @ Neurolux
5/12 Salt Lake City, UT @ Kilby Court
5/13 Denver, CO @ Bluebird
5/15 Dallas, TX @ The Kessler Theater
5/16 San Antonio, TX @ Jack’s Patio Bar
6/6-7 Houston, TX @ Free Press Summer Festival
My Morning Jacket Share Three New Tracks From Upcoming ‘The Waterfall’
Today, My Morning Jacket announced their upcoming LP The Waterfall (being released May 4 on ATO Records) and shared the studio version of their first single, “Big Decisions.” This will be their seventh studio album, with another due in 2016 arising from the same sessions that yielded The Waterfall. For this first set, its themes are centered around those midlife transitional periods that crop up after you’ve settled down. Lead singer Jim James likens the songs to embodying “a weird turning point for the universe. … the sound of the page turning and not being sure what’s coming next.”
All told, they’ve shared three of its tracks, all of which were premiered live in early February at the band’s yearly Mexican festival One Big Holiday. Though it’s hard to discerningly review live tracks because their sound quality is all over the map, Vinyl Mag makes its own rules, so here ya go.
“Big Decisions”
“Big Decisions” starts off like a tropical drink, but quickly switches to some of the best Flying V power chords the band has put to tape. Jim James puts on his best McCartney affectation for the chorus: “What do you want me to do?” becomes “What do you want me ta tooooo?”, and his falsetto doesn’t make itself as known as it has in the past. But the band’s formative pedal steel DOES, which is just one component that makes this a return to form. Jacketheads felt betrayed by the sonic departures of 2008’s Evil Urges, whose songs like “Highly Suspicious” felt even more like a drug trip than usual. But “Big Decisions” has the circa 2002 southern charm and big, tough choruses a la “One Big Holiday.” My Morning Jacket have proven time and again that they can reinvent themselves while staying true to their farm jam essence.
“Compound Fracture”
We’ll forgive MMJ for copping the drumbeat from Drake’s “Hold On, We’re Going Home,” because what follows is a swirling, anthemic ode to enduring friendship. Bits of “Compound Fracture” sound like a sped up War On Drugs melody, which makes sense given the band’s multiple stage collabs with TWOD frontman Adam Granduciel (including at this very festival).The warm guitar hugs you as the synth spurts send you skyward. In line with “Big Decisions” it’s a pretty straightforward classic rock take, but thankfully features some vintage James screamo.
“Only Memories Remain”
“Only Memories Remain” is the sleepiest, meandering-est of the trio. As with most MMJ album closers (“Good Intentions” doesn’t count), it’s the closest thing to a waking dream state. Live it clocks in at six minutes and change, which, unusually, is brief for them. Though the live recording masks the lyrics, its title and tracklisting placement heavily imply that it focuses on death. Given that My Morning Jacket like to present codified bodies of work, this parallels nicely with the track ender “Movin’ Away” on their last record Circuital, which examined how a life in transition can sometimes create another life entirely.
The tracklisting for The Waterfall is as follows, whose song names reinforce what themes we should expect to hear:
- Believe (Nobody Knows)
- Compound Fracture
- Like a River
- In Its Infancy (The Waterfall)
- Get the Point
- Spring (Among the Living)
- Thin Line
- Big Decisions
- Tropics (Erase Traces)
- Only Memories Remain
WATCH: Modest Mouse: “Of Course We Know”
Modest Mouse is a band with big ideas, and now that they’ve released “Of Course You Know,” that’s never been more apparent. Given everything we know about their forthcoming (3/17) release Strangers To Ourselves, we’re in for some heavy you-know-what.
“Of Course We Know” is the FIFTH new song we’ve heard, and you can bet the order the singles were rolled out in has been intentional. The first four, “Lampshades On Fire,” “The Best Room,” “The Ground Walks, With Time In A Box,” and “Coyotes” more or less sprouted up every couple of weeks. Their titles hint at a companion record to Arcade Fire’s The Suburbs, and their accompanying artwork thusly frames the target of choice: the dreaded suburban sprawl. With “Lampshades On Fire,” it was concentric circling waterfront homes up close; soon enough it was a similar image, but from a higher birds eye view. Now, “Of Course We Know” features evil-eyed businesspeople, presumably the sprawl’s developers. So, the question arises: of course they know what?
“Of Course We Know” is some doom-laden, chanting Monk-type indie rock. Isaac Brock’s shimmering vocals and chiming chords give it a cultish feel. The lyrics are unsurprisingly vague, repetitive in the creepiest ways. “The streets are just blankets and we sleep on their silky corpse / Covered up by them, why would we ever want to wake up?” is a hell of a way to open the song. Each chorus, if you could call it that, has Brock whisper-howl-grunting, “We just do not know.” At clear odds with the song’s title, the narrator must be lying about something. And not to jump to conclusions, but real estate developers are known for lying. Though it may be way too early to hurl thematic guesses around, big picture, Modest Mouse are attempting to tell us something about the American Dream. Hey, 2015 is as good a year as any to examine society through song.
of Montreal: ‘Aureate Gloom’
Nearly half a year has passed since of Montreal published a brief Facebook post announcing its 13th studio album Aureate Gloom (streaming now on NPR), and now the time has come for it to be released. Accompanying the release on March 3 is an unrelenting tour schedule that even the most seasoned bands would be fearful of tackling.
This same determination is what inspired Aureate Gloom and has driven the band’s sonic developments with each release. A need for change followed front man Kevin Barnes’ late 2013 divorce which resulted in a creative explosion that led to the completion of the record in less than a month.
The sonically chaotic album succeeds in constructing a dense lyrical narrative around a noticeably more uptempo instrumental track. In “Aluminum Crown,” Barnes sings “You can’t let them hear what you’re thinking / or they will throw you back in jail” amidst jangling guitars until the track completely deconstructs itself in the bridge into a gauzy dreamlike trance.
“Virgilian Lots” is an emotionally heavy track that catches Barnes reminiscing about his failed marriage, comparing it to the twin volcanoes of Cuauhnahuac and the destruction of a village. The optimistic tone in Barnes’ voice totally contradicts the subject matter, but the instrumental segues between the verses are complexly dissonant to reflect his confusion.
The album’s opener “Bassam Sabry” is the least personal track on the album, but the mostly likely to be heard on the airwaves of the remaining alternative rock radio stations. In fact, it contains the perfect amount of Talking Heads-esque funk and Led Zeppelin lyrical anarchy tied together loosely by the sound of violins.
A single guitar strum leads into the deep-cut “Estocadas” and is the closest the band gets to recreating the psychedelic sounds of its previous albums. There’s a dizzying keyboard arrangement that’s later accompanied by a sweeping orchestral section before everything drops out in an over-minute-long somber outro. The track honestly doesn’t work too well with the flow of the album – the lyrics suggest bitterness (“Such a stupid offering / what’s it meant to symbolize? / Hostile immobility / is it something to prize?”) while it sounds boringly downtrodden and plaintive.
Not every track on the album is memorable, but there are certainly enough memorable tracks on the album to make it safe to claim that Aureate Gloom is quite possibly the best – and most personal – the forward thinking of Montreal has sounded since the release of Skeletal Lamping back in 2008.
4/5
Tour Dates
1/13/15 Tallahassee, FL – The Moon ^
1/14/15 Pensacola, FL – Vinyl Music Hall ^
1/15/15 Gainesville, FL – High Dive ^
1/16/15 Orlando, FL – The Social ^
1/17/15 Tampa, FL – Crowbar ^
1/18/15 Miami, FL – Grand Central ^
1/19/15 Jacksonville, FL – Freebird Live ^
1/20/15 Macon, GA – Cox Capitol Theatre ^
1/21/15 Charleston, SC – The Pour House ^
1/22/15 Greensboro, NC – The Blind Tiger ^
1/23/15 Nashville, TN – Mercy Lounge ^
1/24/15 Chattanooga, TN – Rhythm and Brews ^
3/5/15 Athens, GA – 40 Watt #
3/6/15 Carrboro, NC – Cat’s Cradle #
3/7/15 Washington, DC – 930 Club #
3/8/15 Philadelphia, PA – Union Transfer #
3/9/15 New Haven, CT – Toad’s #
3/10/15 Boston, MA – Paradise #
3/11/15 New York, NY – Webster Hall #
3/12/15 Cleveland, OH – Beachland Ballroom *
3/13/15 Chicago, IL – The Metro *
3/14/15 Milwaukee, WI – Turner Hall *
3/15/15 Minneapolis, MN – First Ave *
3/16/15 Omaha, NE – Waiting Room *
3/17/15 Oklahoma City, OK – ACM @ UCO Performance Lab *
3/18/15 Houston, TX – Walter’s Downtown *
3/19/15 Austin, TX – SXSW
3/20/15 El Paso, TX – Tricky Falls !
3/21/15 Tucson, AZ – The Rialto !
3/22/15 Los Angeles, CA – The Regent !
3/23/15 Los Angeles, CA – Largo at the Coronet
3/24/15 San Francisco, CA – Great American Music Hall !
3/25/15 San Francisco, CA – Slim’s !
3/26/15 Portland, OR – Wonder Ballroom !
3/27/15 Seattle, WA – Neumo’s !
3/28/15 Boise, ID – Treefort Festival
3/29/15 Salt Lake City, UT – Urban Lounge !
3/30/15 Aspen, CO – Belly Up Aspen !
3/31/15 Denver, CO – Bluebird !
4/1/15 Lawrence, KS – The Granada !
4/2/15 Dallas, TX – Trees !
4/3/15 Austin, TX – The Mohawk !
4/4/15 New Orleans, LA – Howlin’ Wolf !
^ = w/ Nedelle Torrisi
# = w/ Yonatan Gat
* = w/ Deerhoof
! = w/ Yip Deceiver
The Tallest Man On Earth shares first single “Sagres” off new album + announces tour dates
In recent months, the landscape of mainstream music has begun shifting towards a more organic sound that trades acoustic guitars and rougher vocals for synths and vocals that have been compressed to hell.
Although The Tallest Man On Earth, real name Kristian Matsson, is neither mainstream nor pop, this Swedish artist has been releasing consistently good folk records for nearly 10 years.
Today, his fourth LP Dark Bird is Home – out May 12 via Dead Oceans — was formally announced and accompanied by a new single “Sagres.” The album was written on his travels around the world to promote 2012’s There’s No Leaving Now and the influence touring has had on his music is undeniable.
Named after the seaside village in Portugal, “Sagres” is quite possibly the most positive Matsson has sounded. He’s nixed the totally acoustic styling of his previous material in favor of a lusher band sound that incorporates percussion and more orchestral elements to create a more visceral environment for the listener.
There is a duality, however, as his older material focused heavily on his vocals and lyricism and this first preview of new material shifts the focus to new instrumentation perhaps too much. His golden vocals are overtaken and often drowned out throughout the song to a point where the lyrics are indeterminable for half the song.
The inability to fully hear his voice and usually powerful lyrics to accompany it is what demotes a potentially fantastic track to a dull unmemorable one that will likely be playing in a hotel elevator or coffee shop.
2/5
Tracklist
- Friend of Our Home
- Darkness of the Dream
- Singers
- Slow Dance
- Little Nowhere Towns
- Sagres
- Timothy
- Beginners
- Seventeen
- Dark Bird Is Home
The Tallest Man On Earth Tour Dates:
Wed. May 13 – Northampton, MA @ Calvin Theatre
Thu. May 14 – Boston, MA @ Orpheum Theatre
Sat. May 16 – Upper Darby, PA @ Tower Theatre
Mon. May 18 – Los Angeles, CA @ The Wiltern
Thu. May 21 – Oakland, CA @ Fox Theater
Tue. May 26 – Atlanta, GA @ Buckhead Theatre
Wed. May 27 – Nashville, TN @ Ryman Auditorium
Thu. May 28 – Asheville, NC @ Thomas Wolfe Auditorium
Fri. May 29 – Durham, NC @ Durham Performing Arts Center
Sun. May 31 – Washington, DC @ Lincoln Theatre
Wed. June 3 – New York, NY @ Beacon Theatre
Fri. June 19-Sun. June 21 – Hilvarenbeek, NL @ Best Kept Secret Festival
Fri. June 19-Sun. June 21 – Scheessel, De @ Hurricane Festival
Fri. June 19-Sun. June 21 — Munich, DE @ Southside Festival
Tue. June 23 – London, UK @ Koko – SOLD OUT
Wed. June 24 – Antwerp, BE @ Openlucht Theater
Thu. June 25 – Paris, FR @ Divan Du Monde
Sun. June 28 – Stockholm, SE @ Göta Lejon
Mon. June 29 – Stockholm, SE @ Göta Lejon
Tue. June 30 – Oslo, NO @ Rockefeller
Thu. July 2 – Goteborg, SE @ Pustervik
Wed. July 1-Sat. July 4 – Roskilde, DK @ Roskilde Festival
Fri. July 17-Sun. July 19 – Louisville, KY @ Forecastle
Fri. July 17-Sun. July 19 – Eaux Claire, WI @ Eaux Claires Festival
Mon. Oct. 12 – Cologne, DE @ E-Werk
Tue. Oct. 13 – Berlin, DE @ Huxley’s
Wed. Oct. 14 – Vienna, AU @ Arena
Thu. Oct. 15 – Milan, IT @ Alcatraz
Mon. Oct. 19 – London, UK @ Roundhouse
Tue. Oct. 20 – Glasgow, UK @ O2 ABC
Wed. Oct. 21 – Dublin, IE @ Vicar Street
Fri. Oct. 23 – Manchester, UK @ Albert Hall
Sat. Oct. 24 – Bexhill, UK @ De La Warr
Valaska: ‘Thing’
In Thing, Chicago’s Valaska have molded a set of warm, friendly songs to keep the harsh winter at bay. Careful consideration has been placed in each lush, melodic track.
But don’t confuse their acoustic preferences as a sign of simplicity. As with, say, the average Antlers record, no arrangement is overloaded, and there’s plenty of room to breathe. Props to each band member for leaning back when needed, because for these songs, focus on ensemble is key.
Drowsy as the feel may be, there are a lot of cool ideas to be found throughout its nine tracks. Opener “Espejismo” (Spanish for “mirage”) has the same vaguely mystical vibe of Midlake at the height of their minor key-mellotron use, whereas “Re-Animator” is a plinking, meandering War On Drugs song set to the wrong RPM.
The sonic space is no mistake – front to back, this is an album about mid-20s existential blues, one that requires plenty of reflection and pensiveness. On songs like “Fair To Say” and “Wabasha”, there is a quiet determination in needing to strike out somewhere new, a feeling most can relate to. “Ain’t it a shame tryin’ to live the American dream / And you wake up displeased with who you turned out to be?” muses singer Dave Valdez on the bubbly waltz “Epoch”. This record’s themes align neatly to any given Girls episode – Valdez may not be “at peace with 24”, but in the grand scheme of things, that’s still awfully young to feel like all is lost. These are songs that speak to the dissonance between being ready to be the responsible, emotionally sound grown-up you aspire to, and actually arriving at that accomplishment.
Valaska’s lyrics are perfectly fitting puzzle pieces with pop sensibilities, and even when they’re vague or metaphoric, they don’t feel like they’re trying too hard. This is a group of natural writers who feel perfectly comfortable within each verse and chorus. Though his voice isn’t anything special, Valdez knows how to use it: “Somewhere New” is a Dana Swimmer-esque slow burner about the very personal feeling of rejection meant to be impersonal, and the height of Valdez’ emotive howling will stick with you. Each song flows cohesively into the next, and the record never quite gets a chance to rub the sleep out of its eyes. Though not exactly unfamiliar territory for the average indie fan, Thing makes a darn good companion for contemplative Sunday strolls through rainy forests. Grab yourself a listen to the album, out today.
3/5
Check out our exclusive Thing track-by-track breakdown from Valaska vocalist Dave Valdez below:
1. “Espejismo” – This song is about separating reality from illusion. Everyone has an idea as to what they want their future to be but it’s always blurry in the distance.
2. “Fair to Say” – This song spawned from a conversation with Erik, the guitarist of Author. We were sitting in an empty bar talking about where our lives were headed and the uncertainty of our future. Erik stated “This is the oldest I’ve ever been” and the first lyric of the song was there.
3. “Epoch” – I was going to scrap this song until I showed it to Matt Holmes who insisted on piecing together all the body parts and bringing it to life. The song turned out to be one of our most energetic songs on and off the record.
4. “Common Sense” – I wrote this song while we were on tour supporting Natural Habitat, I had just finished reading The Alchemist which deals heavily with life and finding meaning.
5. “Re-Animator” – Zach Porlier and I recorded everything totally live for this song, afterwards, Matt went in and added all the bells and whistles.
6. “Wabasha” – This song is based off the concept of creative differences.
7. “Somewhere New” – It’s a song about the inevitable. Relationships end and we move on, but there is always surprise in learning this.
8. “Collecting Rocks” – It was the first song written for Thing, not even a month after I had finished tracking Natural Habitat.
9. “Ink” – This was first brought on by reading a Charles Bukowski poem. It’s about the difficulties in turning away, the difficulties in forgetting.
Scarlett Johansson forms girl group, releases first single
Stepping off the big screen and into your speakers, Scarlet Johansson teams up with Holly Miranda, Kendra Morris, Julie Haitigan, and well beloved Este Haim to form the new pop super girl group The Singles. Today, these lovely ladies released their new electric pop song “Candy.”
With their Madonna-esque vibes, The Singles bring the bounce back into pop with their indie, almost MGMT-goes-girl sounding effects. The recipe was simple. Add movie star, great musicians, and TV on the Radio’s Dave Sitek to form one sweet song for your hearing pleasure. Scarlett told Rolling Stones earlier:
“I would say it’s super-pop… the idea was to write super-pop dance music written and performed by girls… I love Grimes. And I love Bangles. And I love the Go-Go’s. I wanted it to be like those bands. Ultra pop but also a little ironic, a little in on the joke.”
The joke, I am assuming, is the song itself. Although this was a gallant try, ScarJo should maybe stick to movies. As their first song, this was nothing truly original, and the vocals were slightly off – sorry, Scarlett. The music did have a catchy tempo accompanied by catchy lyrics.
Overall, however, the competition could eat this for breakfast.
2.5/5