Category: Music Reviews
Review: PICTURESHOW: ‘A Night at the Picture Show’
PICTURESHOW is one of the newest bands to rise from Athens, Georgia. On March 3, they released their aptly titled debut EP A Night at the Picture Show. Almost two weeks earlier, the band eagerly released their debut single “Fix,” which features cyclical riffs, passionate growl-singing, and sharp lyrics. The band’s EP is characterized by all the same elements.
The opening track, “Mean” is a slow burn, but a grand statement. The same musical motif repeats again and again while leader singer Jim Bass’s voice rises and falls back down with vigor. He uses volume in a playful manner, which is harder to capture on a record than it is to perform live; on this record, the desired effect is achieved. It is great choice as an EP opener. Next up is “Loving in the Real World,” which has an authentic throwback feel. It takes me back to my middle school playlist; it could sit squarely between a track by Mayday Parade and Secondhand Serenade.
“Breaks Like Plastic” and “No Words to Spare” are catchy songs despite (or perhaps because of?) the somewhat self-pitying lyrics. When I first listened through the EP, I thought that these would be the mosh pit songs, but that was until I heard the next song, “Fight Night at Flicker,” which turned out to be more suitable for that title. This is an absolutely cathartic release.
The final song, “Gyno Magoo” is an eccentric finale about a man who is good for nothing except sex. The end of the song reads like an inappropriate Dr. Seuss parody, but charming nonetheless, in its own way. One thing is for sure: PICTURESHOW has a raw, gritty and DIY feel that’s sure to be hit live.
Review: Blu & Exile: ‘Below the Heavens’
Below The Heavens is a phrase that immediately strikes one when they read it. Coincidentally, it is the title of the 2007 debut album of Los Angeles rapper-producer duo Blu & Exile.
Looking back at Hip Hop in the 2000s, we can place most popular rappers into one of two lanes. Flashy and “hardened” MCs like 50 Cent, Cam’Ron, Ja Rule and Diddy embody the spirit of the “Bling Era,” an aesthetic that many today still associate with rappers. On the other hand, more eccentric MCs, like Lupe Fiasco, Kanye West and OutKast led a resurgence in the popularity of “alternative” hip hop. Generally, compared to their bling counterparts, these alternative rappers employed more sung choruses and “conscious” messages.
This album answers the question: what if alternative rappers hailing from Chicago, like Kanye West and Lupe Fiasco, were from Los Angeles instead? As the name suggests, this album skillfully intertwines religious themes with the stories and ideas of an exceptionally talented underground rapper.
Vocal samples are littered by Exile throughout this project, most notably in the opening track, “My World Is…”. Sections of Joni Mitchell’s “Blue” and The Dells‘ “I Can Sing A Rainbow / Love Is Blue” where they sing “blue” are used in the song’s intro, chorus, and as ad-libs. Blu uses the song to introduce himself and begin the religious motif the album is predicated on. He describes himself as “a product of a God-fearing pastor” in the first verse and exclaims “and my mission’s just beginning, call it Genesis” at the start of the third.
On the fifth track, “In Remembrance of Me,” Blue is backed again by a vocal sample. The chorus of The O’Jays‘ “How Time Flies” repeats as Blu examines and contrasts his childhood, high school experience and current life. Lines like “At 18, I headed off in the streets without guidance / Just the eyes of God watching over me” provide insight into the details of his life. In the next verse, he tells us, “My mom thought that I was too young to make this song / Because I’m only 22, but John Barnes has a long path behind him.” Just like Nas, whose work is subtly referenced throughout this album, Blu, or Johnson Barnes III, is an artist releasing insightful and layered work. When you hear this section, it really grounds the album, making his realness and wisdom more evident.
Track eight, “First Things First” is the broke rapper’s version of J. Cole‘s “Work Out.” In this playful song, Blu does his best to throw game while acknowledging his lack of money, something that girls would usually associate with rappers like him. The lines, “Now, don’t get it twisted broke niggas need love too / And underground rappers like to chill at the club too” encapsulate the feel of the song. We aren’t given a peek into his psyche like we were in prior tracks but instead, we get to feel his personality shine as he skillfully rhymes and progresses the narrative of the track.
On “No Greater Love,” Blu continues the narrative of the last track while returning stylistically to what we’ve already heard. “Theme From Love Story” by Smokey Robinson and The Miracles is sampled, so we hear Smokey sing “there is no greater love” throughout the song. The approach is unconventional, but this is a love song nevertheless. Blu exclaims his love for an unnamed woman and explains the title of the song in the refrain. “Yeah nah, ’cause on the real y’all there is no greater love / People try all the time trying to break us up.”
“The World Is… (Below the Heavens),” track 13, is the climax of the album. Exile interpolates a Nas classic, “The World is Yours.” In the first verse, Blu outlines his journey with religion.
I was trained to be a soldier for God
Blu & Exile, “The World Is… (Below the Heavens)”
But as soon as I used my own thoughts
I kinda got lost in this smog called reality, where hell is a fallacy
And Heaven is a fantasy created by man, so don’t believe in it
You came in here with nothing then you’re leaving with
Nothing so retreat from this world of deceitfulness
But my people it’s time to rise
Realize there’s a heaven whether you think it’s inside or in the sky
Reach for it before it’s gone eternally
And you stuck here below the heavens for eternity
Blu explains that he has had problems reconciling his religious upbringing with the harsh reality of life. We are informed by the rest of the album, that Blu is definitely a spiritual man, but now we learn that he isn’t really a religious one. When interviewed by Passion of the Weiss in 2016, in fact, he said “I’m religious without a religion”. In the next verse, Blu talks at length about hell. So often, people describe themselves as “going through hell” or “in hell” but Blu wants us to understand that “heaven” is what we make it. He tells us, “hell is what you choose to call the present,” and in what are likely the most succinctly powerful lines of the album he closes the track, “So you can call it hell but brah… / I can say I’m below the heavens.”
Fifteen years later, Blu is hailed as a legend of underground rap, and this was the beginning of his ascent. He exhibits so many of the qualities of a great rapper. He teaches but doesn’t preach, he is intellectual but digestible, he has the poise and skill of a star but never sacrifices his bars. As outlined by a 2017 Vice article, the release of this album was botched and Blu’s label went under. Interestingly, that only added to the mythos of the project. With only 3000 CDs originally released, secondhand copies went for hundreds of dollars, a testament to Blu and Exile’s skill, ear for good beats and relatability. Each of these songs is powerful in its own right. Combined with the full and lively production of Exile, Blu’s wit, passion, bars and experience make this album a timeless classic.
Review: Gregory Alan Isakov: ‘This Empty Northern Hemisphere’
I think everyone has that one album that really redefines what music means to them and transforms their view of the world and for me, This Empty Northern Hemisphere by Gregory Alan Isakov is that album. When I listen to it, it perplexes me how I could possibly have access to the same 26 letters of the alphabet as its writers who seemed to select the perfect words for each song resulting in one of the most beautiful, tranquil bodies of work I’ve ever heard.
Starting off the album is “Dandelion Wine,” a song that makes me understand why people say less is more. While the song does not feature a lot of lyrics, it doesn’t take away from the listening experience at all due to how impressive the musical arrangement is and when Isakov’s voice does appear to sing a line or two, it balances it out perfectly.
Due to his unique lyricism, Isakov is able to paint very vivid pictures of the stories that he is telling with his music. His ability to do this is clear on songs like “Virginia May” and “That Moon Song,” but it especially shines through with “Evelyn.” Featuring compelling lyrics such as “There’s an old folk song on the radio / Sounding thin and dark and haunted,” and “And she can’t stand the sight of this cul-de-sac / Like an old crow, king of the lamp-post,” the song tells the story of a woman working the overnight shift in a convenience store narrated to the tune of a banjo strumming in a way that makes it impossible not to root for her.
My first introduction to Isakov was through the song “Big Black Car” and despite the many ways my life and musical preferences have changed over time, it has always found its way back home into my rotation since that fateful day I heard it in my freshman dorm room four years ago. The song is soft, but powerful nonetheless. Featuring lyrics like “You were a miracle, I was just holdin’ your space,” and “The past, she is haunted, the future is laced,” there is a good reason the song has become such a fixture in my life and dominated my Spotify Wrapped.
The albums titular track “This Empty Northern Hemisphere” shows off Isakov’s impressive range as a musician, featuring a heavy guitar and powerful vocals that make the song stand out compared to its softer sounding counterparts on the album. While the recorded version of this song is undoubtedly beautiful, as someone who has seen Isakov in concert I wholeheartedly believe that this song should be experienced live as the full band is able to breathe extra life into the already striking number.
Every time I hear the familiar keys of the piano at the beginning of “Words,” I remember why this album holds such a special place in my heart. With lines like “And I wish I could leave my bones / And my skin / And float over the tired, tired sea / So, that I could see you again,” Isakov reminds listeners what makes him so exceptional as a lyricist with a song that leaves me torn as to whether I want to smile or cry when I listen to it.
Featuring folk singer Brandi Carlile, “If I Go, I’m Goin” shows just how heartbreakingly beautiful a song can be. With stunning harmonies accompanying gut wrenching lyrics like “And I will go if you ask me to / I will stay if you dare / And if I go, I’m goin crazy / Let my darlin’ take me there,” this song devastates me every time, but I will gladly continue to pay that price.
Every time I listen to this album it feels profound; I have heard each song hundreds of times, yet each one feels like a new experience. The songs on this album have been in the background of some of the most significant moments in my life and for that I am so grateful.
Review: Lil Yachty: ‘Let’s Start Here.’
Let me set the scene. It’s an early Friday morning and I am running low on sleep. On my walk to school, I remember that Lil Yachty, SoundCloud legend and an old favorite of mine, has just dropped a new album. I had been looking forward to it and heard whispers about rock influences. After getting past the horrifying, AI-created album cover, I experienced a truly incredible album. BOOM—psychedelic-rock influence. BOOM—next-level production. BOOM—Teezo Touchdown, Fousheé, Diana Gordon, Justine Sky, and Daniel Ceasar features (all complementing Yachty with fantastic vocals). Let’s Start Here. shocked me in a good way (and woke me up on a slow morning). It opened my eyes and got me excited about the future of hip-hop. Yachty brings it all on his new album: crazy transitions, a great tracklist, and conceptual depth.
It’s funny hearing his auto-tuned vocals in psychedelic rock, but Yachty finds a way to push the boundaries of genre and create a cool and cohesive sound. We had heard tastes of it before, like on Tame Impala’s Currents b-side remix of “Breathe Deeper,” but I was far more impressed by his sound here. Yachty obviously sought to be more than his SoundCloud/mumble rap image from the past and cement himself as a true, impactful artist, capable of changing modern music. I believe he executed it perfectly.
The first song, “the BLACK seminole.” throws you right into Yachty’s new sound. Produced by Justin Raisen (who is known for his work with experimentalists Yves Tumor and Joji), the nearly seven-minute song introduces Yachty’s new sound with synth swells and laid-back rock instrumentals. When his vocals hit, it feels as if you were sent back 50 years to a Pink Floyd show. With its length, this song gives listeners a perfect opportunity to understand Yachty’s vision, allowing them to better process the rest of the album.
It’s followed by “the ride-,” assisted by the talented Teezo Touchdown. This track is where I thought Lil Yachty’s autotune-flushed vocals shined the most. Paired with the song’s ambiance and electronic melody, it feels as if this was the true purpose of his vocals.
After the groovy “running out of time”, we reach “pRETTY.” It has some silly lines from Yachty, like “let’s go to sunset-city, go to sun-city,” and albeit a fantastic feature from Fousheé, this song is the start of a short lull in the album. In that mix is the interlude “:(failure(:”, which is cool with its instrumental assistance from Mac Demarco and Alex G, but I feel like it does not add much to the album as a whole, as Yachty delivers a spoken word from his perspective on failure.
We saw that same energy from early in the album return with “WE SAW THE SUN!” The vibrato vocals seen in his hit song, “Poland,” return on one of the best-produced tracks this album has to offer. A couple of songs later comes the stand-out track, “IVE OFFICIALLY LOST THE VISION!!!!” With a comical elevator-music-esque intro, the song hits the listener with harsh noises and screams, before coming in with hard-hitting drums and one of the most energetic and raw sounds on Let’s Start Here. Diana Gordan’s vocals flow perfectly into Yachty screaming the track title in a beautifully climactic moment towards the end of the song. While it may not have much lyrical depth, the overall delivery creates a strong, emotional feeling that I never knew Yachty was capable of. You can absolutely say I was impressed.
The final leg of the album is where it shines brightest. “sHould i B?” sounds like it could be a bonus track from an upcoming Tame Impala album, but its coolest moments come with its ending. The droning guitars meet the theatrics at the beginning of “The Alchemist.,” creating a cinematic transition between two of the better songs on the album.
“REACH THE SUNSHINE.” ends Let’s Start Here. with a bang. Yachty’s and his team’s attention to detail is shown in the progression of this song. The acoustic first minute builds up to an intense, synth-layered melody that puts an exclamation point at the end of the album. To top it off, Daniel Ceasar joins Yachty with haunting harmonies that accent the song perfectly. The somber, piano-lead outro wraps this moody album up smoothly.
To compliment any part of this album without highlighting its collaborators would just be unfair. Yachty obviously did his research. Aside from Raisen, he recruited the likes of Chairlift’s Patrick Wimberly, Unknown Mortal Orchestra’s bassist Jacob Portrait, Magdalena Bay, MGMT’s Benjamin Goldwasser, and Nick Hakim. Whether they were a psych-rock veteran, or a modern producer, each of these artists contributed to Let’s Start Here.’s addictive sound and each should be celebrated.
Lil Yachty successfully created a psychedelic rock album, signaling one of the most interesting and entertaining sonic transitions I have ever seen from an artist. It deserves every ounce of hype it has received and Yachty has absolutely earned his flowers. I genuinely enjoyed it and am excited to see where Yachty takes his sound next.
Review: Little Simz: ‘NO THANK YOU’
Little Simz closed out 2022 with the release of her fifth studio album NO THANK YOU. Announced just one week before its release, the 50-minute album was subsequently accompanied by a ten-minute short film. Simz, an English rapper born to Nigerian parents, is an independent artist who released her first album in 2013. Now, at just 28 years old, she displays the poise, technical ability, and unapologetic honesty of a much more seasoned act. Backed up by choral and orchestral arrangements, she navigates her disillusionment with the music industry and money, her status as a black woman, and the value of self-worth.
The songs on this project are long-winded and introspective as opposed to the hard and punchy tracks that characterize the UK rap scene and much of her earlier work. She battles challenges on all fronts with several refrains on this album referencing her faith in God.
Throughout the whole album, Simz asks a lot of questions. In some cases, these questions are rhetorical and used to brag and in others, they are devices that help drive her narratives. On the first track, “Angel”, she asks “what did I expect from those livin’ the corporate life?” Disillusioned with the payment structure of the music industry, this idea is a recurring source of anger for Simz. “No Merci” is a double entendre; It is both the French translation of the album title and a blunt warning to others of how merciless the industry is. Simz raps “They want you rushin’ life decisions over a three-course meal / Next thing you know, you’re doin’ free tours.” These lines are especially poignant after she canceled her 2022 North American tour just months before the release of this song because of financial infeasibility.
The West African-style drums on “X” combined with the choir, strings, and horns give this track an anthemic feel. “Been beaten on, we been chewed on / But it happened years ago, so we should just move on” is an eerily familiar sentiment that many in the Black diaspora are told by others. As the track progresses though, Simz asserts the strength in her Blackness and her family, specifically mentioning her grandfather whom she was named after. “Simbi”, a shortened version of “Simbiatu”, is a nickname that only her closest family and friends call her. “Broken” is an equally emotional but more somber track. Simz goes between detailing the ways people hide their pain and uplifting those who struggle with mental health and hope. Her second verse ends with a series of positive affirmations to the listener while her third verse ends with “Why is mental health a taboo in the Black community?”.
The aptly named “Heart on Fire” is an outpouring of Simz’s thoughts and emotions. In the lines below, Simz describes how easily money corrupts just by listing a series of wants.
"Do it for the love, nothin' more Nah, maybe to cop mum a house, but nothin' more Maybe to sort my cousin out, but nothin' more Maybe I'll get the new coupe and nothin' more Fifteen to a hundred shoes, nothin' more By the time you know it, that list never stop growin' And you don't know what you even do this for"Little Simz, “Heart on Fire”
The track, and the album as a whole, are thematically reminiscent of Kendrick Lamar’s To Pimp a Butterfly. In songs like “Wesley’s Theory” and “For Free (Interlude), Kendrick describes how his love of music has waned as the temptations of Lucifer and the music industry have pushed him to be a more material person just as Simz does.
Simz continues her work with producer Inflo, who has credits on every song from all of her last three albums. Similarly, Simz and Cleo Sol extend their long list of collaborations, with the singer-songwriter providing background vocals on most of the tracks.
This album reaffirms Little Simz’s status, not as one of the best female rappers or one of the best in the UK rappers, but as one of the best rappers, period. Sometimes I Might Be Introvert (SIMBI), a contender for the best album of 2021, may not have been surpassed, but this is a worthy addition to an already incredible catalog of music. I feel emboldened by her words and think that the radically different production choices seriously add to the album’s value. This is lyrically dense music, but there is value in playing these songs, whether that be alone and listening through headphones or driving around with friends and bumping up the car speakers.
Review: boygenius: “$20,” “Emily I’m Sorry,” “True Blue”
Oat milk latte drinkers rejoice, supergroup boygenius is officially back. Consisting of members Julien Baker, Phoebe Bridgers and Lucy Dacus, the indie-rock trio announced Wednesday that they will be releasing their long-awaited debut album The Record on March 31 with Interscope Records. In conjunction with the announcement, they released three new songs: “$20,” “Emily I’m Sorry,” and “True Blue.”
Each song was led by a different member, and first up to bat was Baker. With “$20,” boygenius hits the ground running and doesn’t slow down. The song is loud, unapologetic and the lyrics are perfectly guided by Baker who meets up with her bandmates at the end of carefully selected lines to deliver them with the kind of punch that only boygenius can. This song reminds me of “Lazy Eye” by Silversun Pickups, except if it had been written by someone wearing Doc Martens. Ending in a scream that is equal parts loud and cathartic, this song is everything that I could ask for and then some.
Next up is “Emily I’m Sorry,” and while the song mainly features Bridgers’ vocals, Baker and Dacus weave seamlessly in and out and remind listeners what makes boygenius so special. A sharp change of pace from “$20,” the addition of “Emily I’m Sorry” shows the versatility of boygenius; the song is soft but also undeniably striking, every bit as powerful as the song that it follows yet completely different from it. This song makes me want to start a fight with one of my various friends named Emily, solely so I can then send it to them after as an apology. (I personally think that they would respect the commitment to the bit.)
Rounding out the lineup is “True Blue,” a song that has an undeniable Dacus feel. Featuring lyrics like “When you don’t know who you are / You fuck around and find out,” and “You can’t help but become the sun,” this is the type of poignant story about self-discovery, intimate relationships, and the painful complexities of life that Dacus is able to tell so beautifully.
These are songs that deserve to be played at an obnoxiously loud volume; even when the subject matter is heavy, they remain fun to listen to (and there’s something about listening to boygenius that makes me automatically feel cooler every time and for that, my ego would like to thank them). Every song released by boygenius feels like further evidence that too much of a good thing is in fact not a bad thing, but sometimes an even greater thing, and with each release it becomes more apparent that one of the trio’s greatest skills is the ability to play up the strengths of each vocalist individually and then find the perfect moments to bring them together, whether it be in carefully chosen pairs or all three members. After listening to this newly released collection of songs more times than I would like to publicly admit, I have come to the conclusion that they are all so different from each other that I genuinely have no idea what to expect from the rest of the album and I could not be more excited to find out. While we wait, check out “$20,” “Emily I’m Sorry,” and “True Blue” below.
Review: Bad Bad Hats: “It Hurts (Demo)”
To celebrate the 10th anniversary of the release of their debut EP It Hurts, Minneapolis-based indie-rock duo Bad Bad Hats will be releasing It Hurts (10th Anniversary edition) at the end of the month. The reissue will consist of remasters of all five songs, as well as the original demos, and will be the first time that fans will have the opportunity to purchase the EP on vinyl.
So far, the band has released two songs from the project: “Super America (Remaster),” and “It Hurts (Demo).” Upon first listening to “It Hurts (Demo),” I was emotionally torn—part of me is extremely grateful this version is now available, and the other part is devastated that it took ten years to have access to it. While both the original master and demo versions feature the same lyrics and melody, each version provides a completely different listening experience and the demo is certainly able to stand on its own. Compared to the original master, the demo stacks up quite nicely; the instruments are softer, the main vocals are sharper and delivered in a way that allows lead vocalist Kerry Alexander the opportunity to show off more of her personality, and the background vocals have been replaced with whistling and a more prominent kazoo that fills a void that I never even knew existed prior to listening to this song (and I would like to formally petition for all songs going forward to include a minimum of two kazoo solos). The song is able to balance the indie-pop formula perfectly; it is simple in a way that is refreshing but not boring, and repetitive in a way that is catchy and fun rather than redundant.
After listening to these two songs, I am eager to hear how the rest of the original demos compare to their remastered counterparts and get a greater glimpse into the evolutionary journey behind each song. It Hurts (10th Anniversary Edition) will be available digitally on January 27, and the vinyl is available for pre-order on their website now. In the meantime, listen to “It Hurts (Demo)” to fill the Bad Bad Hats shaped hole in your soul with a Good Good Song.
Review: The Dazy Chains: “Electric Sunshine”
The Dazy Chains, a relatively new homegrown Athens band, didn’t let the past year and a half stop them from writing, recording, and releasing their debut full-length album Electric Sunshine, which came out Oct 8th at midnight. The album cover, like the contents within the album, is a psychedelic piece of art. It features the iconic steeple located on Oconee Street as an homage to Nuci’s Space, where the album was conceived, recorded, and mastered. On Electric Sunshine, the band travels through and merges multiple genres. Elements of psychedelia, rock, grunge, and funk converge with the distinctive vocalizations of Hannah Meachum to top it off. The end result is a garage rock album with different genres peeking through at select moments – a unique tribute to why making music with your friends matter.
The songs on the record are reflective and self-aware, not afraid to admit personal vulnerabilities or shortcomings. The admissions are curt and to the point. On “Counter-Clockwise,” Hannah passionately sings “you tell me I’m broken / well I don’t give a damn.” In “What You Are,” Hannah dryly admits, “you used me now / I’m not the same.” The admission is simple but there is a punch to the delivery. On “Hypnotize,” the narrator’s internal struggle is evident in the lyrics. With a clever shift in lyrics, the narrator’s perspective changes from being intoxicated with someone to feeling betrayed by them. It’s clever yet raw. These songs show that the band is in touch with their intentions and not afraid to vocalize their emotions.
On their debut album, the Dazy Chains frequently time bends, speeding up and slowing down without warning. On “Flow,” slick and rapid guitar licks and drumbeats transform briskly (yet smoothly) into a slower funkier melody. It’s pretty fun to listen to on the record and I imagine it would be just as cool, if not cooler, live.
This album is a melting pot of genres, and it reminds me of why I enjoy listening to local acts and (yet) unknown bands. Making music one cares about is the most important part. Everyone has something they enjoy and being able to bring that to life is a gift. The size of the audience is the least significant part. Congrats to the Dazy Chains for bringing to life a vision of theirs on their debut.
You can catch their album release show TONIGHT at Smith’s Old Bar in Atlanta with Alien Funk Academy and A.D. Blanco as the supporting acts. Doors are at 8 PM. Or you can catch them at this year’s first Nuci’s Space Jam on Monday.
Electric Sunshine by the Dazy Chains is out now on all streaming platforms.
Review: Hotel Fiction: ‘Soft Focus’
Hotel Fiction’s debut album Soft Focus is finally out today. Written and recorded over the past two years, Soft Focus is a complete introduction to the potential Hotel Fiction brings to the table as musicians, writers, and creatives. It’s rare that a musical act steps forward with such a complete vision and polished presence, but Hotel Fiction has done just that and more – it’s no wonder they keep climbing.
Since the release of “Astronaut Kids,” the duo has been hard at work gaining a following within and outside of Athens with five follow-up singles and multiple supporting tours. (Their first song has now garnered over a million plays on Spotify; they’ve also landed on two playlists curated by Spotify with their last single “Daydrifter.”) Now, in addition to their full-length album, they have an impressive line-up of show dates for the fall, including some dates opening for Adam Melchor.
If you’ve seen the band perform live, it quickly becomes apparent that Jade, Jessica, and their band ensemble (which continues to expand) possess unique chemistry on stage and have the skills and experience to deliver their vision to its full artistic capacity. These same qualities that make them so fun to watch live translate extremely well throughout this record. With a clear understanding of what makes a good record and what makes a great record, they create their own multiverse throughout each song with hidden musical elements, overarching themes, and small little details that tie everything together. The rhymes and the melodies throughout are so well-crafted and the production so refined, you’ll keep hitting repeat.
Soft Focus is a collection of coming-of-age songs set in the current zeitgeist. Hotel Fiction knows what it feels like to grow into adulthood in a time of ecological collapse, political unrest, social isolation, and the shattered illusions of “you can be whatever you want to be.” “Soft Focus” — the title track — is an incredible tribute to each of these and is surely the thesis of the whole album. It both understands that sometimes life is a shitshow and “the world is on fire,” but reassures you that as long as you keep things in perspective (or… soft focus, rather), you’ll be just fine. Both lyrically and sonically, the song transforms from longing for simpler times into the vibrant, messy present.
The album’s closer, “17,” is an emotional ode to missing the times you’ll never get back. It’s about leaving behind childhood. But also, about that moment when the floor gave out from under all of us and the things we loved so much (like dancing in our favorite clothes) were no longer an option. The bittersweet nostalgia of it all is ever so present here. By being themselves and telling their own stories, Hotel Fiction does what every band hopes to do which is connect with their listeners and make them feel less alone.
Soft Focus is available for streaming now on all platforms.
If you want to experience the magic in person, head to the 40 Watt tonight to catch Hotel Fiction, CLOUDLAND, and Daddy’s Beemer perform.
Not in Athens? Catch them on tour!
- 08/28 — Gainesville, FL
- 08/29 — Lee, SC (Hypefest)
- 09/09 — Asheville, NC
- 09/10 — Atlanta, GA
- 09/11 — Nashville, TN
- 09/16 — Richmond, VA
- 09/17 — Abingdon, VA
- 09/24 — Athens, GA (Athfest)
- 09/25 — Sevierville, TN
- 10/12 — Cleveland, OH
- 10/13 — Cincinnati, OH
- 10/14 — Indianapolis, IN
- 10/15 — Chicago, IL
- 10/16 — Appleton, WI
Hiding Places, Out of Hiding: “Homework”
Hiding Places are one of many bands emerging through the bustling post-pandemic creative scene, escaping from an isolation that long limited the ignition of projects in-the-making. Though most of us spent apocalypse-times contemplating survival, it’s quite refreshing to remember how isolation drove many to cultivate time and energy towards their art. I saw this vitality at work amongst musical friends, and more-so those that spend their free time playing around in elaborately concocted home-studios—a fateful reality for the making of Hiding Places. Embracing the gradual return to live music with the release of a new single and mini-tour announcement, Hiding Places are just starting out with already a whole lot to offer, ever-present in the impressions of “Homework.”
The indie four-piece release their debut song today, only a few days after a fun first show at Flicker Bar in Athens on Wednesday. The single showcases their music as a blend of classic indie rock and psych dreampop, drawing upon the melodic affinities of Soccer Mommy, Snail Mail, and Japanese Breakfast. Originating between the creative hotspots of Athens, GA and Asheville, NC, the group are reflective of their influences, yet organic in their delivery of nostalgic indie. The single was mixed and produced by guitarist Nicholas Byrne, whose range of talent is evident between his present band and experimental solo project, Arts + Crafts—a diverse collection of vibrant electronica that is also available on all streaming platforms (check it out!).
Although the band self-identifies their sound as “indie alt-country”, what “Homework” translates to is a slow-build of meditative, entrancing vocals matched by waves of floaty instrumentation. Harmonious layers of swirling guitar surround the space of the single, with a presence so immense and dominating it supersedes the chorus. Serving as a transitory daze between verses, the guitar & echoing ooh’s quickly effect the song into what feels like a psychedelic whirlwind (a comforting familiarity). The serene coordination between the two invokes a feeling both uplifting and reflective. Cyclical drums and bass shy in the background, complimenting the vocals/guitar and helping to cast you adrift the song’s contemplative dreamscape.
“Homework” is one of those songs whose instrumentals alone intuitively drive the volume up, and with such a pacifying voice, the varied potential of the band is eminent. Although hardly “alt-country”, the song invites an emotive yet heavy sound—similar in feeling to that of Melody’s Echo Chamber—a style the band has already proven to naturally embody. Between this and their future releases, which may dabble more in the realms of alt folk and country, I’m personally loving the psychedelic nature of “Homework” and am super stoked to hear how their music evolves from it. If you too are impressed by the band’s first release, you’ll be happy to know that they’ve recently finished recording a full-length album here in Athens, and plan to release the record both digitally and on pressed vinyl this fall.
Check out their bandcamp, & to stay tuned into their upcoming shows + new music announcements, do hit up @hidingplacesband on instagram!