When Christopher Moll linked up with Maco Monthervil, The Lovers Key project rocketed off in a blaze of soulful sounds and retro pop-infused tracks that finally manifested itself in their 2014 debut album, Here Today, Gone Tomorrow. The Lovers Key blends some exceedingly retro musical influences with a leading voice that sounds as if someone joined a talent reminiscent of Marvin Gaye with the Bee Gees and smoothed over the seam with a creamy spread of peanut butter. Yum!
The vibe works pretty well. So much so that Moll’s involvement with indie pop group, The Postmarks, seems to have rekindled itself, resulting in a pretty funky remix of The Lovers Key’s “Saturday Night” that made it onto the deluxe version of the album.
At first, listening to the remix itself felt bizarre in the same way that putting underglow on a Dodge Charger might look a little out of place to bystanders. Although the lyrics, much like the original, aren’t much to speak of—the words “Saturday night” still comprise over 50% of the song—a groovy bass thump and synth run have since replaced the staccato, rock organ chord pumps to contrast with 1960’s rock hall feel of the original. Combined with vocal harmonies of The Postmarks’ Tim Yehezkely, these revamps are enough to make this an interesting play, and not a bad song to cruise around to overall.
Brothers Osborne released their debut self-titled EP Sept. 9, a long-awaited release for the duo whose popularity increases daily.
John and T.J. Osborne hail from Deale, Maryland and have brought a sense of their hometown to the album, even filming locals to appear in the music video for their current single. The duo’s music is different without branching too far away from their roots. With a network of musicians supporting them and landing the opening slot on two major tours, there is no doubt Brothers Osborne will be a household name in due time.
The EP consists of five songs, including the current single, “Rum,” which peaked at 34 on the Billboard Hot Country Songs chart. The country label can often lead music lovers astray, but the duo pays no mind to those stereotypes. Instead, they attempt to break the mold and create something genuine all of their own, in which they succeed. Their back porch, classic rock feel distinguishes them from the predictable artists dominating the top charts.
The EP kicks off with a song straight out of the Wild West called “Shoot from the Hip,” likely to draw the listener in at the beginning of the album. “Arms of Fire” follows, a song about the ever-present problem of knowing when to let go of a relationship. The duo sings “In your arms of fire, I can’t escape/Staying or leaving hurts either way/Walking a wire I’ll never cross/’Cause everything in me is wanting to fall/Into your arms of fire”. The third track is “Stay a Little Longer,” which gives some insight as to what became of the relationship in the previous song. The thumping chorus sings “I tell myself I’m not in love, but one more time is not enough/One last kiss and then you’re a goner/Lying here wishing you could stay a little longer.” The EP nears its conclusion with “Love the Lonely Out of You,” a beautiful acoustic song that truly accentuates the artist’s vocal capabilities. “Rum,” the duo’s most popular song, closes the album on a fun-loving note after three more serious songs. The song emphasizes the importance of taking advantage of already-existing surroundings instead of going through all of the trouble of getting away.
Brothers Osborne may not be producing number one singles yet, but they are definitely heading in the right direction. Fans of any genre can appreciate artists who break with tradition, and this duo is no exception. With the duo’s first single just released in 2013, they are off to a promising start. Opening for two major country artists this year will definitely boost their popularity and introduce a new kind of country music for fans. It’s not very often artists will attempt to create something so genuine and real that they’re willing to sacrifice the chance at instant gratification in the form of number one songs straight out of the gate. Brothers Osborne is a duo who are redefining the lines and following in the footsteps of trailblazers who have launched a revolution with their distinct music.
Mary Lambert is gearing up for the release of her debut full-length album, Heart On My Sleeve, on October 14.
Mary Lambert became a familiar name after she co-wrote and provided the chorus on the powerful Macklemore & Ryan Lewis song “Same Love”. Since then, she has released two EP’s. The title track has been released as a single in preparation for the debut.
“Heart on My Sleeve” begins with Lambert echoing a Regina Spektor-esque voice as she launches into the first verse, singing “Let me be your porch light/Your favorite star on the best night.” She moves through a list of typical statements about love, such as “’Cause I’m not sure who I was before/But the day I saw you, I sure adore you” before beginning the chorus.
The most notable line of the song is “I could be your heart speed/Running as fast as the beat would take us.”
There is no doubt that Lambert has an incredible voice. With that voice, she can (and often does) perform some very inspiring and moving songs. That being said, “Heart on My Sleeve” does not match up to her vocal potential.
The single isn’t horrible, but after hearing the amazing music she can create, “Heart on My Sleeve” falls flat.
Check out her newly released EP of Secrets: The Remixes below, and be on the lookout for Lambert’s upcoming album here!
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.”
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.
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.
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Reptar at AthFest 2014. Photo by Miranda Feneberger.
In the summer, Athens is almost a ghost town in comparison to its usual hustle and bustle that makes it the Classic City. Most of the parking lots are empty, restaurants are slow, and the bars and music scene are practically nonexistent.
Then, for five days over a weekend in June, Athens gets its sparkle back. With two outdoor stages, 14 participating bar and music venues, comedy and an outdoor artist market, Athfest has something for all ages, shapes, and sizes.
The outdoor artist market featured a wide array of different vendors; from handcrafted jewelry, clothing and ceramics, to paintings, posters, and prints by local artists. What was especially appealing was that the majority of the booths seemed very DIY-esque and tumblr-y, in the best way possible. It was like a Pinterest board come to life, full of things you wish you were talented enough to craft yourself.
If you’ve been to Terrapin Brewery, you know Streets Café, Athens’ first food truck. Usually they’re parked on the grass somewhere, and after just a few too many pours of Hopsecutioner, I cannot resist the Street Fries (French fries perfectly smothered with cilantro mayo, Korean BBQ sauce, and Okinomi). After walking past all the other local food booths and trucks – i.e. Your Pie, Kelly’s, etc.), I once again couldn’t resist. Nothing like munching on Street Fries while watching Kishi Bashi at dusk on Saturday.
What makes AthFest so fantastic is that, during the day, you get to walk around the streets of downtown Athens and see beautiful art you can buy, eat delicious food, and enjoy amazing live music. Then, your favorite bars and music venues host even more amazing live music well into the night. Best yet – as Powerkompany’s Marie Davon said, it’s like a “family reunion.”
Roadkill Ghost Choir
Walking into the Georgia Theatre on Friday night was, as usual, nothing short of pure bliss. It was a very long, muggy, crowded, yet fabulous first day of AthFest. With most of the AthFest crowd still outside for Reptar, the Georgia Theatre was a spacious air-conditioned oasis, and Florida’s Roadkill Ghost Choir was setting up to take the stage for their 9:45 p.m. slot for the night.
I had first heard Roadkill Ghost Choir on Bonnaroo’s playlist for its 2014 lineup. The song featured on the playlist, “Beggar’s Guild” off their debut EP Quiet Light, caught my attention for its folksy, Fleet Foxes/Band of Horses-esque sound, yet it still packed a harder, more raw rock sound due to the Andrew Shepard’s rough but crooning vocals. Due to the usual festival frenzy, I didn’t make it to their set and so was very excited to see them perform at AthFest and be introduced to the rest of their music.
With “Beggar’s Guild” being my only exposure to the band, I was pleasantly surprised with their stage presence and energy. I was expecting a mellow half hour of bearded, flannel-clad men, to be honest. Instead, frontman Andrew Shepard’s thrashing, headbanging, stomping around in combat boots and impassioned vocals brought a loud and demanding energy to the growing Georgia Theatre crowd alongside Stephen Garza on lead guitar. Andrew’s brothers, Maxx on drums and Zach on the bass deliver the same kind of oomph, while Kiffy Meyers on the pedal steel, banjo, and guitar played into the bluegrassy, Tom Petty influenced sound that makes Roadkill Ghost Choir an indie folk-rock band.
They played with my emotions. At times, I was bouncing around dancing to the high-energy tunes of the set, then the lights dimmed, and they asked for the crowd to settle and Andrew’s vocals were swoony and perfect and graceful. Then he said, “Where’s our sax man?,” and I stifled a schoolgirl squeal due to my undying love for the saxophone. A flower headband-adorned New Madrid band member came up with his saxophone whilst draped in an American flag cape and blessed the crowd for a short-lived feature.
I left the Theatre almost glad I missed their Bonnaroo set. I got to see them at one of my favorite venues and in a much clearer state of mind (and a lot less dirty and grimy after a weekend on the farm). With a slot on Letterman early this year, an upcoming debut album, In Tongues (produced by Dr. Dog and Tokyo Police Club’s Doug Boehm and recorded in Athens – eep! – set to release by the end of the summer), and a festival-packed summer tour, Roadkill Ghost Choir is a band to watch. – JN
Family and Friends
Being a UGA student, I had already heard a lot of buzz about Athens’ own Family and Friends. So, when they took the Pulaski Street Stage late Friday afternoon, I was excited to see if they lived up to the hype — and they did.
Having only been putting on performances since April of 2013, they already had a comfortable stage presence and fed off of each others charismatic energies. The stage was packed with vocalists, guitars, a violin and upright bass, two dueling drummers, and the occasional what looked like flour bombers running across the stage. At 5′ 3″ it was nice to be able to still see someone playing something as I tip-toed over the heads of the huge crowd watching them — and by watching them I mean almost the entire crowd was dancing and singing along to Casey Harper and Mike MacDonald’s beautiful and inviting vocals.
Just in the 45-minute-or-so set that they had, the band exuded genuiness and pure humilty. I could tell that they were thrilled to be on stage and so thankful for their dedicated and hyped up fans in the immense crowd. Family and Friends is all about the fans. Their first album, Love You Mean It, came out in January of this past year and was funded by a Kickstarter campaign.
As I stood in the crowd, I was in awe of the energy they put forth — especially considering the lovely heat Athens offers us mid-June. They kept the energy of the mostly exhausted and overheated crowd alive the entire time while doing their own shenanigans on stage. F&F changed up the pace throughout their set and finished it off with a cover of The Jackson 5’s “I Want You Back.” Members of another Athens band, Programs, ran on the stage by the end of the song yielding what looked like makeshift smoke machines/flour bombs. F&F finished off their set with as big of a bang as they played by stage diving into the ever so accepting crowd.
Family and Friends is an eccentric group of former/current Bulldawgs who have an obvious genuine love and talent for performing. Their individual eclecticness meshes together well as a whole and creates an exciting and lively performance. – JN
Judah & the Lion
By the time 6:30 p.m. rolled around, I didn’t expect many people to be willing to continue to brave the typical Georgia summer heat. That was until I experienced Judah & the Lion.
A large crowd of eager fans filled the space in front of the Pulaski Street Stage to see the Nashville, Tennessee natives. Soon the air was filled with hits such as “Sweet Tennessee” and “Love Your Love,” and there wasn’t a single person not tapping along to the beats. As the vocals, banjo, and mandolin combined, it became apparent this would definitely be a crowd favorite of AthFest.
Their stage presence was undeniably joyous and spontaneous. At first you were submerged into folksy music, but then Brian Macdonald decided to surprise us all with a rap during their unique cover of Eminem’s “Lose Yourself.” These guys rocked out and were jumping all over the stage, including up on the speakers. With all that being said, I will definitely be seeing them again when they return to Athens in the fall, as well as look out for their new album in September. – KM
New Madrid
Once again the Georgia Theatre was a temple to music. This year, it housed New Madrid for AthFest 2014 as one of its late night acts.
As a veteran group to AthFest, they once again brought a large group of fans out into the night, myself included. Soon enough, the group—consisting of Phil McGill, Graham Powers, Ben Hackett, and Alex Woolley, dove into their music as it echoed around every fan screaming around the stage.
Between the red velvet curtains, New Madrid stayed true to their original sound. It was inevitable that you would begin to sway to the strums of the guitars and the soft beats of the drums. Nevertheless, these Athens natives continue to keep their fans begging for more and never disappoint. – KM
Jubee and the Morning After
It is safe to say that Jubee and the Morning After was a surprise favorite of mine during AthFest. From Macon, Georgia, this band combines high-energy funk with the smooth sound of vocals.
Taking the Pulaski Street Stage to a loud roar of approval from their fan, both local and distant, Jubee and The Morning After wasted no time in getting everyone moving. Soon Jubee in his American flag-printed vest began rapping to an undeniable funky beat. No one in the crowd could have possibly stayed still.
Soon a crowd favorite “Whatcha Made Of” was played. It was amazing to see all four band members create an energetic stage presence. Jumping, bouncing, swaying, or a combination of both emerged when the crowd roared with its approval of this song. I think Athens will agree that we hope Jubee and the Morning After will come back real soon. – KM
Kishi Bashi
On Saturday night, after the temperature had dropped and the numbers in the crowds began to rise, Kishi Bashi took the Pulaski Street Stage with his violin in hand.
A large crowd of eager fans and newcomers filled the space in front of the Pulaski Street Stage to see the composer. As the stage glowed in an array of blue and pinkish hues on top of the white draped fabric, Kishi Bashi played. I have never seen a violinist sing while playing his instrument, but I can’t think of anyone who would top this performance, in skill or in atmosphere.
Playing songs from his newly released album Lighght, Kishi Bashi gave the entire on-looking crowd something unique to remember and experience. I can definitely say that this was by far the most unique performance I saw, and it left me wanting more. – KM
Radiolucent
Once again Athens, Georgia continues to produce great bands that create even better music. Radiolucent, a group of “Georgia Boys” took over the Pulaski Street Stage to rock out with their Georgia fans.
As the performance continued, I found myself caught in between waves of gospel, rock n’roll, country and a whole lot of soul – no complaints here. The fans sang every word of nearly every song that the five-man group played.
Their stage presence was undeniably fun. Everyone could not help but enjoy the environment that was created as these guys rocked out and continued to keep the energy high throughout the entire show. That being said, I will definitely be seeing them again when they return! – KM
Don Chambers
When listening to Don Chambers, two words come to mind: Rock. Star.
Hull Street Stage provided the perfect area for Don Chambers to stun his fans under the Georgia sun. After every song, more and more people crept over into the streets, arriving out of curiosity and staying due to the mesmerizing performance.
The band in its entirety showed natural talent as well as a love for performing. Their stage presence was that of a band that has been playing together for over 20 years and creating hits for nearly as long. As the show slowly closed, I found myself surprised at how short the performance seemed. Even though it was the typical hour, I – along with many other – let out a sad sigh. Guess we all will have to wait till their next performance to hear the rock star sing. – KM
Reptar
Reptar is one of those groups that Athens locals just know about. It’s like the first word of any little baby Athens music lover. The group is made up of frontman and guitarist Graham Ulicny, bassist Ryan Engelberger, drummer Andrew McFarland, and keys player William Kennedy. I had the pleasure of seeing Reptar a year or so ago at CounterPoint Music Festival and that show was insane. AthFest, however, was my first time seeing them play in their homeland, and I was blown away. I imagine that the passion Athenians have for Reptar is greater than or at least equal to that of Brazilians for soccer. And that may be an understatement.
The show started up after fans had been crowding the edge of Pulaski Street for thirty or forty minutes chanting and cheering. Ulicny was wearing a long wig, and the rest of the group was decked out in varying prints and bright colors. The group also had a saxophone and trumpet player on the stage. They opened up with a crowd favorite and people were jumping and pushing into the barriers as Ulicny’s crazy tongue preached to them. The religious experiences I saw people having at Reptar were unbelievable. Clothing was being removed, shoulders were climbed, crowds were surfed, and people were slowly becoming insane.
The group played a lot of new music, which was received well by the crowd, and then “Rainbounce” started. Security rushed in to hold the crowd back and the performers were going crazy. Everyone was jumping and what felt like an earthquake to me was surprisingly just the passion of the incredibly devoted Athenians. The best part of the show (not really, but really) was the little girl sitting on the edge of the stage. She had huge noise canceling headphones but she was clapping and bouncing along to the beat and she looked absolutely adorable. Bassist Engelberger acknowledged her a few times, and she looked overjoyed. Reptar is a crazy-awesome band to see live, and if you’ve never done it you need to go find their next show ASAP. I saw a whole new side of this town that night and let me tell you, I’ve never been prouder to be an Athenian. – MF
An Evening at Ciné
Everyone knows that Athens is home to some incredible entertainers. We Athenians love a good, sweaty show and know how to find one. Nestled just on the edge of town, however, I stumbled into one of the nicest little shows I’ve seen in Athens in a long time.
It was Friday night, and we’d all just danced our brains out at Reptar when we made our way over to the local theater, Ciné. The lineup was posted, and we walked in to find Little Chief on the stage. When I say stage, I mean they were set up on one side of the room, and we were standing on the other. The vibes in the room were surreal. There were about 35-40 people there, and everyone was crowded towards the front of the cool, darkly lit room. It felt like we were in a little coffee shop or in that scene from Inside Llewyn Davis where they’re in the dark little open mic lounge (if you haven’t seen that movie, see it).
Little Chief had taken the stage moments before we entered, and the crowd was already getting into it. Apparently, what “began as a few friends wanting something more” turned into a full fledged cross-country tour for these guys. The six of them were on the stage strumming mountain-sounding melodies and singing raspy, soft harmonies, and after the complete insanity that was Reptar, I felt like I’d died and gone to heaven. Standing in the crowd, waving and singing along to the words I could pick up on, and I was loving every second of it. They reminded me of something, but I was not entirely sure what. I got little pieces of Mumford and Sons, then Of Monsters and Men, then Fleet Foxes, but no comparison quite fits. The group closed their set with a gorgeous rendition of “Hey Jude” that had the crowd hollering at the top of their lungs. The whole experience was weirdly spiritual in a good way.
The crowd took a minute to settle down after the boys get a roaring applause, and the next act began to set up. It was Sam Burchfield, usually a solo artist, with a backing band. The band geared up, and the night took a decidedly sexy turn. Burchfield started singing bluesy, soulful love songs, and I was so surprised. I’d never heard them before, and I certainly did not expect that voice to come out of him. The band was great as well; I think they should become a permanent feature if they aren’t already. They have this incredible guy on the keys who periodically pops in with a killer trombone solo. The whole show was like Ray LaMontagne on motown steroids, and it was awesome. The crowd got into a soulful cover of R.Kelly’s “Ignition (Remix),” and Burchfield told us he probably should have closed the show with that. We didn’t even care – we just “toot-toot”ed and “beep-beep”ed, and nothing could bring us down from that high.
These two artists secured my place at next year’s Ciné show, for sure. The evening was an incredible accident for me, and I wish I had gotten some t-shirts to express my affection. Hopefully the two groups will return to AthFest, or even Athens in general, soon, because I did not get my fix. Next time you go to a festival, try going to see an artist you’ve never heard of before – maybe, like me, you’ll find a new favorite. -MF
Kelly’s Favorites:
Favorite Venue: Georgia Theatre
Least Favorite Venue: Hull Street Stage
Favorite Live Performance: New Madrid
Best Band Discovered: Judah and the Lion
Favorite Athens Band: New Madrid
Favorite Non-Athens Band: Judah & the Lion
Overall Favorite Band: Judah & the Lion
Jasmin’s Favorites:
Favorite Venue: The World Famous
Least Favorite Venue: Outdoor Stages (lots of technical difficulties this weekend!)
Favorite Live Performance: Family and Friends
Best Band: Powerkompany
Favorite Athens Band: Woodgrains
Favorite Non-Athens Band: Roadkill Ghost Choir
Overall Favorite Band: Family and Friends!
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Reptar at AthFest 2014. Photo by Miranda Feneberger.
Somewhere at the intersection of the Black Keys, Outkast, Kings of Leon and Curtis Mayfield lies the Cleveland band “SomeKindaWonderful” (check out our SXSW interview here!) and their self-titled release out today via Downtown Records/White Clover Records. Good god, this stuff is catchy. Every song sounds like it could be in an Apple ad or movie trailer. In fact, as I listened to the album, I pretty much pictured everything from whiskey advertisements to kissing-in-the-rain moments from all my favorite chick flicks (not that I have that many).
The album kicks off at a wild pace with “Cornbread”, raspy and soulful with plenty of heavy drums from Ben Schigel and bluesy guitar riffs from Matt Gibson (fitting name, huh?). This is the kind of song you would expect to hear as a woman in stilettos walks slow-motion away from a rather menacing explosion, AK-47 in hand, completely unaffected by the chaos behind her. “It’s a conscious revolution” wails front man Jordy Towers, who moved to Cleveland from LA to get away from the big labels and conformity he felt was rampant in the big city. He certainly finds himself on this album, adventurously exploring with his lyrics while remaining very relatable.
Nowadays, bands rarely fit into a particular genre. But SomeKindaWonderful manages to fit into all of them, mixing pop, soul, rock and roll, funk, electronic, R&B, and western together effortlessly. “Police” is a perfect example of this, with John Legend-esque vocals peppered with gospel backing vocals and electronic beats reminiscent of Disclosure. Somehow these sounds blend together seamlessly, in an incredibly dynamic way.
“Hard For Days” means exactly what you don’t think there’s any way it could actually mean. It is a pop-y but risqué tune dedicated to “that first wave of lust when you meet a new mate” in the words of the band themselves…literally about being hard for days. Not gonna lie, it took me aback, with its eyebrow-raising lyrics, but once you jump in, the water’s nice. Kind of makes you want to roll around in bed with someone.
“Honeymoon” makes a quick u-turn, veering off in the opposite direction, lamenting about that inevitable moment when you realize the honeymoon phase is over, and love sucks. “I ain’t got time for a broken heart” sings Towers, and I don’t believe anyone is fighting him on that one. This struggle between love, infatuation, heartbreak and starting over is a theme dealt with in “Caveman”, “Amaretto”, and “Reverse.”
“Reverse,” the single that has been climbing charts, tells a story of a f*cked up relationship and a lover with a wandering eye. It’s like the soundtrack to that moment in the movie when the two lead characters realize that they will never work, but no matter the pain and suffering they’ve caused each other, they feel they belong together…but with a far more realistic feel to it and pretty epic instrumentals.
“Devilish Man” is my absolute favorite track off this record. Opening with a John Wayne quote, the track mixes western music with a heavy dose of soul, telling the story of an lyin’, cheatin’, drinkin’ scumbag that (SPOILER ALERT) ends up being an autobiographical tale about the narrator himself.
Exultant and uplifting tunes like “Burn” and “Shine On Me” round out a record that talks a lot about life and love, with lyrics that you instantly know the words to and choruses that build like Imagine Dragons’ do, with a tad bit more soul. It is an incredible album, really. Keep them on your radar, because SomeKindaWonderful is going to be big really soon.
June is upon us, which means, Athens readers, that AthFest is right around the corner. AthFest Music and Arts Festival is like Christmas in June for the plethora of music lovers in the Classic City, a weekend of more music than you thought possible, with 14 venues and two outdoor stages hosting bands spanning every genre, most of them calling Athens home.
Every year for the festival, AthFest releases a compilation album produced by Ghostmeat Records (David Dondero, Drive-By Truckers), the proceeds of which go to benefit AthFest Educates, supporting art and music education in the Athens area. This year, however, the album will be released exclusively on vinyl—a first for the AthFest compilation.
I had a chance to grab a first listen, and saying I enjoyed it would be a vast understatement. Every year, AthFest reminds me how lucky I am to live in a city filled with such amazing art and music, and this compilation album is a testament to that.
The album kicks off with “Forest Gum” off New Madrid’s newest album, Sunswimmer. New Madrid is band that has been making more than waves, not only in the Athens music scene, but nationally as well, mixing southern rock roots with the psychedelic and indie influences of the modern Athens music scene. “Forest Gum” is awesome.
Ruby the Rabbitfoot takes over next, with “Ways.” Unsurprisingly, this song is instantly catchy, as Ruby croons over the acoustic guitar, universally appealing, but maintaining the down-to-earth indie vibe that has made her an Athens favorite.
“Rust and Bone” by Family and Friends starts slow by way of acoustic guitars, a violin and some heavy drums, and then builds with incredibly intensity, exploding with such pensive lyrics as “wondering if there’s a better way to live or at least a better way to die.” The song picks you up, whirls you around and sets you back on your feet, reeling from the trip.
Faster Circuits is groovy and psychedelic and evokes a good amount head bobbing with their psych-pop jam, “Relative Obscurity.” Indie rockers Elf Power do the same with their tune “Life the Shell,” singing, “and no one’s ever home when you ring the bell, and nothing’s ever there when you lift the shell.”
Of course, the Drive-By Truckers make an appearance on the album, with their raw and mellow “Rock Solid” tune from their Record Store Day EP release, Dragon Pants. The boys do what they do best.
Somewhere between Amy Winehouse and Billie Holiday lie the enchanting and unique vocals of Andrea DeMarco, complemented by the clear voice of David Krislis on the folksy “Meredith” by Cicada Rhythm that redefines the folk sound.
Nicholas Mallis and his deep, booming voice ask, “why do you light the candles when the storm hasn’t happened yet?” on his moody track, “Why Do You Light the Candles?” while Shade remains as capricious as ever on “Know Your Sine” with a mix of rock, punk, noise-pop, and indie music that is uniquely their own.
Ghost Owl closes out the album with “Eleven.” Ghost Owl is three quarters of the disbanded Athens legend and AthFest veteran band, Perpetual Groove, and although I have heard the name many times, I hadn’t had the chance to sit down and listen to them. They are a complete departure from the organic jams of P Groove and sway towards the indie rock genre, heavier, with a greater tendency towards electronic sounds and effects and a much more epic sound that builds throughout the song.
The AthFest 2014 compilation album makes me proud, as always, to be an Athens resident, a member of a community so rich with new and unique sounds, constantly pushing the boundaries to create music that the rest of the world can only imitate. And as someone who has seen about half of these bands live, I can assure you the festival itself will be just as exhilarating as the album. One thing is for certain, you DO NOT want to miss out on buying this record, and especially attending the festival.
The Lilium ‘Stargazer’, or the Stargazer lily, is an oriental lily characterized by its vibrant pink color and very fragrant aroma. And as far as The Stargazer Lilies are concerned, it seems to be the musical equivalent of the poppies from the Wizard of Oz; once under their influence, you don’t feel like doing much of anything but laying staring at the sky, wafting gently along as if in a dream.
Previously of Soundpool, John Kep and Kim Field have left the faster tempo of their previous shoegaze tunes behind them while stripping and slowing down the sound to create The Stargazer Lilies, self-described as “butterfly wings, slowly beating guitars enveloping the listener, ethereal breathy female vocals floating on a melody, rocked out bossa nova beats and bad ass bass throwing down the rhythm.”
The We Are the Dreamers album cover is made up of lilies and leaves, with a misty, hazy gossamer filter. I spent a good amount of the time I was listening to the vinyl gazing at the cover itself. Inside is a similarly flowery page in bright pastels and organic hues overlaid with the whimsical and pensive song lyrics that make up the album. The record itself is a rich pastel-pink with the signature lilies in the center.
“We Are the Dreamers” starts the album off at a leisurely pace with an ambling melody and hypnotic vocals, singing “with stardust in our eyes, the clouds are at our feet, we are the dreamers, wide open are the skies.” The tune is soporific, as is the majority of the album, and feels like taking a trip to the land of the Elves in Middle Earth (hoping everyone gets my Lord of the Rings reference.)
“Del Rey Mar” continues the dream sequence of the album with a psychedelic, more acoustic number reminiscent of the 60s or Xanax daydream in a field of lilies.
The album doesn’t have much in the way of variety and is more like one long dream sequence than anything, with the exception of the slightly more upbeat “Light of Day,” which sees a slightly faster tempo and slightly heavier guitar.
Don’t make plans to be active while listening to “We Are the Dreamers;” you’ll more than likely end up laying on your couch thinking of some field somewhere in some hazy utopian forest clearing. It’s optimistic and introspective, and definitely soothing. Its angelic vibe rocks like a lullaby, gently soothing and warmly embracing the soul with some talented guitar work thrown in. Honestly, while it may not be the catchy music you get ready to on a Saturday night, it’s the perfect jam for a Sunday morning hangover.
“We Are the Dreamers” was released in late 2013 via Graveface Records, and you can catch it at your local vinyl store.
Somewhere at the intersection of the Black Keys, Outkast, Kings of Leon and Curtis Mayfield lies the Cleveland band “SomeKindaWonderful” (check out our SXSW interview here!) and their self-titled release out today via Downtown Records/White Clover Records. Good god, this stuff is catchy. Every song sounds like it could be in an Apple ad or movie trailer. In fact, as I listened to the album, I pretty much pictured everything from whiskey advertisements to kissing-in-the-rain moments from all my favorite chick flicks (not that I have that many).
