Category: News
Athen’s Band CLOUDLAND Announce Hiatus
Only a couple of months after releasing their album, “Where We Meet”, Athens local alternative rock band CLOUDLAND announced that they would be going on an indefinite hiatus. After four years of touring around Georgia and putting out original music, the band has decided that it’s time for each member to focus on their individual endeavors. In their meaningful Instagram announcement, they made it clear that this is of no wrongdoing of any band member, but merely just an opportunity for each band member to grow individually. These individual endeavors could mean music careers, but also some of the bandmates are recently married and ready to explore that part of life as well.
Fans were deeply saddened by the news of their favorite small local band no longer playing shows around Athens and Atlanta. However, CLOUDLAND did have one final show at the Vinyl in Atlanta a few weeks ago where they showed their fans how much they appreciate the support from over the years. Hopefully we will see CLOUDLAND perform at the 40 Watt again someday, but for now it will be interesting to see what the bandmates do individually whether it’s music or a brand new path.
Following their last show, the band posted on their Instagram, “These people will forever be the reason we did this. As well as you, the friends we’ve made along the way. Absolutely incredible people, beautifully unique. Thank you for everything. Our hope is that you take our songs and keep them with you. We will always have you on our minds as we pursue our individual dreams. If you ever have the chance to play music with your best friends, in any capacity, take that chance. Follow that dream, whatever it may be. Be kind, forgiving, gentle, and stay excited while you do so. You won’t regret it. If Karmen, Zach, Hogan and Aidan were in a band together, they’d call it CLOUDLAND.
You can read the band’s full statement on their Instagram page, @cloudlandband.
Nuçi’s Space Jam: Midnight Mac & Underground Springhouse
Nuçi’s Space Jam is back again with another amazing lineup of locally loved bands. Midnight Mac and Underground Springhouse will be performing at the venue on Oconee Street on November 3rd. The previous Nuçi’s Space Jams this year have been successful, and locals are eagerly anticipating this promising lineup provided by the students of the MBUS program.
Midnight Mac is a rather new musical duo that consists of roommates Ryan Ward and Brooks Todd. Together, they incorporate multiple instruments into their music such as piano and guitar combined with vocals. Both band members are students in UGA’s music school and offer a fresh, unique sound that is new to Athens. Come out and support an up-and-coming band who are beginning to play around Athens, including Hendershot’s where they played at their New Faces Night earlier this week.
One of Athen’s most recently successful bands, Underground Springhouse, will also be taking the stage Wednesday night. They are easily one of the most well known bands around Athens and beyond as they tour throughout Georgia and surrounding states. This rock band also incorporates other genres and influences such as reggae and funk into their music to create a unique dynamic. The band has had a very successful year as they released their debut, self-titled album a few months ago and since then have played the Georgia Theatre and 40 Watt Club. They have also opened for esteemed artists such as The Wailers, Sunsquabi, and The New Mastersounds to name a few. They are sure to draw a big crowd to Nuci’s Space and create a memorable night at the intimate venue.
Doors for the show open at 7:00 PM and the show begins at 8:00 PM. Tickets are $5 at the door or can be sent on Venmo. Parking is available across the street from Nuçi’s Space at the School of Social Work. Merch and refreshments will be available for purchase at the event. This event is expected to have a great turn out, so plan accordingly and come out and support the local music scene!
Shaky Knees Diaries: Day 2
Shaky Knees Diaries: Day 2
Make sure to check out my recap of Day 1 if you haven’t already!
1:00 p.m. – Carlie Hanson
We get to Central Park with the rest of the early birds to catch the first few shows of the day. I really appreciate that all the events start after noon at Shaky Knees, because damn, did I need to sleep in. First up is Carlie Hanson on the Peachtree Stage. Hanson walks out on stage with her freshly, freshly = three weeks ago, shaved head, and I am bemused by the thought that I would hate to perform bald with the sun beaming me during the hottest part of the day (Can you get sunburnt on your scalp?). From where I’m watching, this doesn’t seem to slow her down at all. Her performance is energetic and dynamic. She shows sincere love for the people of Atlanta. Meanwhile, I am sitting on the grass feeling slight to moderate levels of existential dread after realizing she is younger than I am.
1:30 p.m. – Kid Sistr
We leave Carlie Hanson’s show a little early to catch the end of Kid Sistr’s performance on the Criminal Records Stage. I had not previously listened to the all-women band before then, but so many friends recommended the act that we had to check them out. Happy to report that I’m pleased we got to see them perform. The trio clearly consists of seasoned and charming musicians, who are tremendously down-to-earth. Kid Sistr gained a steady following using TikTok during the pandemic and released a six-song self-titled debut EP. To me, it was obvious they were grateful to be back on stage, performing their first festival show.
2:15 p.m. – Arlo Parks
We arrive at Arlo Parks about 15 minutes early and take our places near the stage, which is set up with vibrant flower decorations and a simple yet elegant banner with her name on it. As the show begins at 2:30 p.m., I glance behind me. The field has gotten significantly more crowded. To be honest, I’m surprised Arlo was placed at such an early slot with only 45 minutes of stage time instead of a full hour. She certainly has the streaming numbers to justify a longer set; and although I couldn’t see the full extent of the crowd from the front, it seemed like a big one. Her performance was striking and endearing to witness. During the middle of the set, she plays three of the biggest crowd-pleasers back-to-back, going from “Too Good” to “Caroline” to “Eugene”. It was definitely a set worth seeing all the way through.
3:15 p.m. – 6:15 p.m. – During this three-hour period, my boyfriend and I don’t really commit to any of the shows. We catch a little bit of everything from Neal Francis to The Collection to Mercury Rev to Larkin Poe. We enjoy the pleasant October weather, thankful for a fall Shaky Knees, which is as perfect as the weather in Georgia can be. It’s warm but breezy. I almost wish it was in October every year, and I think a lot of people would agree.
For all the acts so far, we have enjoyed the show from a distance or in a sparse crowd by the stage. Tonight is going to be different. We’re going to get as close as we can to see today’s headliner – Run the Jewels. But this is a marathon, not a race. Getting front row at a festival requires perseverance and a little bit of prep.
So, first up: dinner. This time we go to the main food truck area by the two bigger stages where the food options are grand. They have everything from noodles to pizza to smoothies. Luckily, the food lines are pretty short compared to the lengthy bar lines. I settle for a chicken gyro and my boyfriend gets a pulled pork sandwich. These are much better than yesterday’s chicken fingers and salty fries. I grab a few lite snacks (Oreos and Nutter Butters) from the press lounge for the road (AKA holding our spot).
Before we stop by Peachtree Stage to scout the situation, I finally cave and use a porta-potty. I managed to go without them yesterday, but I know today I can’t risk it. But hey, here I am, I survived to tell the story.
6:30 p.m. – Garbage’s set on the Peachtree stage ends in 15 minutes. We sit by the grassy hills once again and watch everyone rock out to “When I Grow Up” (no, not the Pussycat Dolls’ song sadly). The set ends at 6:45 p.m. As expected, there’s a good crowd by the stage that doesn’t seem to be moving. So, we decide to join them and make our way down there to wait for the next set. At this point, we’re about six people away from the stage so things are looking good. There’s a group of women in front of us who say they’ve been here for six hours to see Portugal. the Man from the front row – that’s festival life for you.
7:45 p.m. – Portugal. The Man
Before Portugal’s set begins, one of the band members steps out onto the stage. He explains that for every place they get to perform, they ask someone from the indigenous community in the area to begin with an Indigenous land acknowledgment. So tonight, a member of the Atlanta Indigenous Peoples Association joins us over a video to acknowledge that the land originally belonged to the Cherokee and Muscogee communities. She goes on to say that for many Indigenous communities land is considered sacred. She asks for a moment of silence. Once it’s over, a video clip starts interloping Portugal’s hit single Feel It Still with other various clips. It gets the crowd going immediately. Their set is minimal except for a projector that plays various psychedelic images and videos for the entirety of the show. They range from declarations of love from the band to their fans to lots of naked dolls. Not once did the band stop to talk, except for maybe four words I don’t remember anymore. They played songs non-stop. It was a show that was immensely fun to see so up close and personal.
8:45 p.m. – Portugal the Man wraps up right on time. Promptly, Alice Cooper takes the stage at the Ponce de Leon, but unfortunately, we cannot make it. We’ll have to settle for hearing it in the distance. (From the looks of it though, we missed quite the show. Alice Cooper seemed to have taken the Halloween theme to heart.) Anyways, back to me. Shortly after Portugal’s set ends, their fans dutifully leave the crowd. I weasel my tiny self from the sixth row right up to the second. The girls in front of me say they’re not staying for the full set for the headliner and that we can take their place once they leave. Everything is going according to plan.
For the next hour, we watch as the stage is broken down and set up again. At this point, it’s gotten colder, and I’ve put on the new hoodie my boyfriend bought at the merch stand. It’s fluorescent pink with an image of the iconic Run the Jewels logo. On the stage, the crew suspends a larger-than-life version of the same logo above everything else. And if you don’t know what I’m talking about, check it out below.
9:45 p.m. – 11:00 p.m. – Run the Jewels
Alice Cooper fades out in the distance and the anticipation where we’re standing picks up. Right at 9:45 p.m., the crowd begins to chant “RTJ” repeatedly. Then, the DJ steps out onto the stage for the introductions with a remix of “We Are the Champions” playing in the back. The crowd responds by putting up a fist with one hand and a pistol with the other. Killer Mike and El-P step out onto the stage and the show picks up. The speakers in front of the stage are so loud, I can see the cardboard trash can in front of me vibrate. I have a lot of regrets in my life. Getting to the front of the stage for this show is not one of them. Neglecting to bring earplugs is absolutely one of them. There’s so much that happens during the next hour and 15 minutes that I’m not sure I can even do it justice, but I will certainly try.
El-P lovingly jokes that he never sees Killer Mike get nervous to perform, but tonight it seemed as though Mike was in fact nervous to perform for his home city of Atlanta. On top of that, this is the duo’s fourth show in three years. Needless to say, it certainly feels like a special event for everyone. Thirty minutes in and the girls in front of us leave as planned and so, I am now at the barrier still wearing the pink RTJ hoodie.
Run the Jewels, who are known for their politically charged lyrics and activism, interlace a lot of it into their shows. Like when the crowd chants “look at all these slave masters posin’ on yo’ dollar.” At another point, during “Close Your Eyes (And Count to Fuck)” I raise my camera up to record the show, and right at that second Killer Mike spots me and performs his lines pointing directly and me and my camera:’) – an absolutely unforgettable moment.
Later on, somebody behind us throws their shoe on stage and security immediately jumps over the barrier to find the culprit that everyone is already pointing at. On the stage (unrelated to the shoe incident), Killer Mike preaches “developing empathy and compassion is gold. Love is gold. And every woman in this crowd deserves to be loved and cherished.” The audience responds sincerely to his sentiments.
Then, the duo does something unusual for a festival. They say their goodbyes ten minutes early and leave the stage. A minute passes, the “RTJ” chant starts back up, and they burst back out for an encore. They perform a few more songs. Finally, Mike takes a moment to bring his kids out onto the stage and asks them to stay for the final song. The show is over but Killer Mike and El-P come back out after the lights go out to thank everyone, but the mics were already cut so we couldn’t hear them. We join the crowds and depart after a second successful day at Shaky Knees.
Shaky Knees 2021: An hourly breakdown of must-see artists
As we lead into my most anticipated Georgia festival, infinitely more so that I’ve been robbed of all gratifying festival experiences for years now, I am ecstatic to share with you the many acts I will be spiritually bracing as the moments inch closer to Shaky Knees.
Although not able to supplement a far more groundbreaking pre-pandemic lineup, Shaky Knees is nevertheless widely and eagerly anticipated by most, if not all, indie Georgians alike. It’s projected to be the ultimate make-up fest to compensate for all recent failures, although I do advise all attendees (both now and forever) to keep their high hopes at bay, as we still attempt to recover from the live music abyss.
I feel strongly about careful creation of festival schedules, not only because I love living by them through the weekend, it’s also how I get my friends to the same sets in time. So let’s dive in friends, and I’ll see you there!:
Friday, October 22nd.
12-12:45 – Glove
Allow your first performance at Shaky to be one that transports you. Glove are a funky, Tampan four-piece that sport a groovy union between dance-rock, 90s post-punk, & new wave. They’re a nostalgic glimpse at a distant music era’s past, and simultaneously future-driven techno. All of Glove’s releases so far are mindlessly danceable, making their set perfect to kick off the rest of the magic that is Shaky Knees weekend.
2:15-3:00 – White Reaper
You haven’t heard about White Reaper yet? They’re only The World’s Best American Band, no big deal. White Reaper are a modern rock staple, and effortless revivers of power punk and garage rock. They’ve earned the right to flaunt their vintage band persona, with three delicious studio rock albums under their belt. Not only are they an objectively phenomenal and seasoned band, they’ve been one of my top anticipated act for years now. Check out the time Vinyl got to document these guys’ Sasquatch moments via film disposables!
3:45-4:45 – Cults
A mid-day trance welcomes you in the Cults crowd. Cults’ twinkling experimental indie pop is an ideal cool-down set after some White Reaper carnage.
5:45-6:45 – Ty Segall & The Freedom Band
Swinging back into the knee-shaking, head-banging, mosh material that brings me back to this festival every year, Ty Segall’s set will be a definite one to remember, as all of his past and current projects have been. I’m infinitely ready to experience this fuzz god in all of his glory.
6:45-7:45 – Black Pistol Fire
Black Pistol Fire are the explosive, blues-rock moment that is quintessential to the energy of Shaky Knees. Channeling an arena-rock sound that is signature to any indie festival, you won’t want to miss the discernible spirit of their set.
Saturday, October 23rd.
1:45-2:30 – Geese
I’m psyched to see Brooklyn-based Geese make one of their debut performances this weekend. As a young band with implosive potential in the realms of psychedelic and punk, they were readily signed to renowned indie label Partisan Records, joining britpunk favs IDLES and Fountaines D.C. And it’s no mystery why. With only a few released singles and a plethora of unreleased music under their belt, Geese have rightfully earned considerable buzz in NY’s underground scene.
2:30-3:15 – Arlo Parks
Parks is acclaimed for her laid-back, relatable, charismatic nature; present in her lyrics, in every note of her songs, and in her charming musical persona. She combines lo-fi bedroom pop with up-lifting, crisp hip-hop sounds, creating an incredibly graceful and immersive style of music. Your weekend won’t be complete without giving due praise to this London-based poet mid-day Sat.
5:45-6:45 – Garbage
Shake-up your Shaky schedule by catching 90s experimental rock novelties, Garbage. I’m not alone in my excitement to find that Garbage has made an epic return over the last year with the release of new record, No Gods No Masters. Garbage began as grunge game-changers, and have since blossomed between varying influences of electronic, hip-hop, and arena rock, now returning with a vengeance to embody their myriad of musical quirks.
6:45-7:45 – The Hives
I was both ecstatic and surprised to find these iconic 2000’s Swede rockers on the bill for this year. Known for their otherworldly live performances, The Hives are an act you may not have the opportunity to catch again any time soon. I already feel grateful and thrilled to watch these raucous Swedes perform on Saturday evening.
8:45-9:45 – IDLES
I’m stoked to welcome Shaky second-timers, IDLES—the pinnacle of Brit-punk angst—back to the stage this year. Their 2019 set consisted of a raging, non-stop mosh, start to finish. So, if you enjoy hard-hitting, belligerent, and heavily British punk, IDLES is the act for you. Warning: bodies may very well be thrown.
Sunday, October 24th.
4:30-5:30 – Orville Peck
How could you even bring yourself to miss this groundbreaking, majestic cowboy once finding out they exist? An anomaly to the country music world as we’ve always known it, Orville Peck has been envisioned as an abstract dream for months now, and as the days lead closer to their performance, I must recurrently pinch myself awake. A genuine mystery box famously labeled as “The Masked Cowboy”, Orville Peck’s voice alone is enough to shake the world of country down to its core, all besides the magnetic charisma, the flamboyance, and the iconic mask + outfit combos.
6:30-7:30 – Black Midi
Nearly wrapping up the weekend are British post-prog + punk fusion crusaders, Black Midi. A project whose sound is pretty impossible to describe in simplistic musical terms, Black Midi are quite the avantgarde-ers of our time. They’ve complicated and experimented the genres of post-punk and progressive rock into an unforeseen oblivion, meshing together art rock, prog/math rock, jazz, noise, in a massive, fiery, non-conforming cauldron. Lest I say Black Midi are an impeccable delight to catch on the last ‘eve of Shaky.
7:30-8:30 – All Them Witches
All Them Witches have taken psychedelic and stoner rock to an entirely new level of prowess, and passion. Since their formation 8 years ago, they’ve released six full-length studio albums, each bursting with unceasing momentum, through which we’ve discovered an incredible fervor for psychedelia, prog metal, and classic psych rock. I don’t know about you, but I’m already bracing the excellence of them witches. All of them.
8:30-10:30 – The Strokes <3
Not only does it feel like I’ve waited my entire life, in both the conscious and subconscious realms of existence, to finally revel in The Strokes live—it also feels like I waited a past life or two. Unparalleled in the history of band fall-outs and re-formations have we witnessed such a transformative, invigorating reunion. One that had the power to restore broken spirits, mend insoluble heartache, heal deep emotional wounds, right all wrongs, and salvage the nearly-forgotten feelings of ecstasy one only knows to be true when listening to their favorite band knowing they’re still out there rockin’. If you, too, feel like you’ve been eternally preparing for the moment you see these dudes do their thing on stage, I’ll catch you in (or on top of) the crowd, Sunday night at Peachtree. May The Strokes live on, quite literally, forever.
See you this weekend.
Photos + Show Review: Nuçi’s Space Jam
UGA’s MBUS program kicked off their series of Nuçi’s Space Jams last Monday with Cam and his Dam Jam Band and The Dazy Chains. The turnout was amazing and helped get the ball rolling for the program as they continue to throw more shows throughout the semester.
Cam and his Dam Jam Band opened the night with a lively set that dictated the mood for the rest of the event. The band connected with the crowd by gifting them a one-of-a-kind, personal show. They opened with “How You Found Me” and included fun covers such as the crowd favorite, “Ghostbusters” theme song. Their captivating stage presence created an amazing atmosphere that was enjoyed by all.
The Dazy Chains closed out the evening with a special set featuring the entirety of their new album, Electric Sunshine. The small, personal atmosphere of Nuçi’s Space allowed the band to play new songs without pressure from a larger crowd. Given the excitement to be playing their new music for a crowd of local Athens music enthusiasts, the energy in the room was immaculate.
Overall, the night was relaxed and laid back; perfect for a small Monday night show! The MBUS program did an amazing job planning and organizing their first event as it ran smoothly and received great feedback. The next Nuçi’s Space Jam is Monday, October 18th with AD Blanco and Jacob Mallow performing. Tickets are $5 at the door and masks are required. Doors open at 7:00 and the show starts at 8:00.
If you missed the first one, be sure to catch at least one this semester and support the Athens music scene!
Hot Picks Playlist // October 7th
Need something to accompany the warm tones and eerie, anticipative air of the fall? Explore some magical releases and recent replays from artists we cherish.
Featured artists from the tracks:
Fishbug, thundering femme-fronted punk for the soul. An exciting up-and-coming gem out of Athens. Beautifully reminiscent of 00’s pop-punk jams, reclaiming the energy of that era with raw, emotive rock. Check out Inchworm, their first full-length album.
For fans of Chastity Belt, Warpaint, and Paramore.
NOV3L, danceable and syncopated punk, fused with eccentric funk and disco tones. Notably evocative of 80s art-pop and new wave punk. Flaunting weaponized lyrics of desperate political cry-outs, they authentically usher a sense of social urgency through their music. Not to mention all of this rides joyfully on the back of addictive, angular, zingy guitar riffs. Pretty much everything about this band feels postmodern in an entirely fresh sense.
For fans of Preoccupations, New Order, Talking Heads, and perhaps even The Strokes.
Wet Leg: A sudden burst of talent out of Isle of Wight, England, nailing the present-day influx of mesmerizing yet deadpan punk, started by just two seeds of impeccable talent. Lingering influences of French punk and disco are only some of my favorite facets of this duo.
For fans of The Raveonettes, Dry Cleaning, Porridge Radio.
Dora Jar: Exhilarating pop-machine riddled with electronic, hip-hop, and indie folk-rock. Singlehandedly changing the game for bedroom pop, Dora Jar’s quite on the verge of blowing up.
For fans of MARINA, dodie, Arlo Parks.
Yard Act: An additional result of the collective British rendition of 80s post-punk, Yard Act too have the potential of taking the British intellectual band scene by storm. Already having paved a considerable path of brilliance with their few released singles, Yard Act, in a similar fashion to the undefined NOV3L, naturally acquire all attributes of doomsday punk music.
For fans of Arctic Monkeys, Sleaford Mods, shame.
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.
Show Announcement: Nuçi’s Space Jam
For several years, students in the Music Business program have put on Nuçi’s Space Jam during fall semester at the renowned Nuçi’s Space, a non-profit recording studio off of Oconee Street. Students are responsible for organizing the entire show from booking the bands to show production and everything in between. Typically, local bands are showcased as this event highlights the unique music scene in Athens.
This unique event is meant to teach MBUS students about the process of planning an entire show while also celebrating the amazing music that is created in Athens by giving local bands the opportunity to perform and expand their fanbase. Nuçi’s Space Jam is a recurring event throughout the semester, typically on a Monday in October or November.
The first show is Monday, October 11, and The Dazy Chains and Cam and his Dam Jam Band are headlining the event. The Dazy Chains are known for their diverse combination of psychedelic rock, grunge, and jazz and are very well known around Athens and Atlanta. They just released their debut album, “Electric Sunshine” on October 4th, so expect a special show featuring their new music that all of Athens is eager to hear and experience. Cam and his Dam Jam Band also falls into the psychedelic rock genre and is a very cherished jam band around Athens.
Tickets are $5 and can be paid through Venmo at the door or beforehand. Doors open at 7:00 PM and the music starts at 8:00 PM. Masks are required, and parking is located across the street next to the School of Social Work parking lot. This event is perfect for anyone looking to support both the MBUS program and local Athens bands while enjoying unique psychedelic rock with two up-and-coming bands.
Weekly Staff Picks – September 17th
Get ready for music recs! Introducing Vinyl Mag’s weekly hot picks — new releases, local jams, and whatever happens to be on heavy rotation —all meshed for you in one place.
This week: a medley of new and new-ish songs from some of our favorite artists, local and global alike. Highlights include new releases from cherished artists like Johnny Marr, Lorde, Charli XCX, and Dayglow, as well as exciting releases from local favorites — Monsoon (rock), Hiding Places (indie + alt-country), and Josey (dance+techno). Also included are artists on the watch worth raving about: Shygirl, slowthai, Cherry Cheeks, The Happy Fits, NOV3L, and more.
Happy listening! Stay tuned for next week’s collection.
Track-By-Track: CLOUDLAND Talks Debut ‘Where We Meet’
Athens, GA-based CLOUDLAND has released their debut album Where We Meet, a multi-faceted exploration of the commonalities of the human experience. Written over the past year and a half, Where We Meet reassures listeners they are not alone.
The four-piece rock outfit composed of Zach King, Karmen Smith, Aidan Hill, and Hogan Heim has been releasing music steadily since 2017, but this album breaks the group’s typical record and release pattern. Where We Meet is the consequence of a year and a half of careful cultivation.
We asked CLOUDLAND to take us through each track on the album and give us further insight into the inspiration and writing process behind them.
Check out their track-by-track rundown below, and be sure to queue up the album to listen along.
Sunday Afternoon
As the album’s first track, “Sunday Afternoon” immediately offers longtime CLOUDLAND fans something different according to Heim. This track is truly autobiographical, telling the story of an actual Sunday afternoon call. “There was a two-week period in which my grandfather was diagnosed with cancer and my uncle sold both our family’s condominiums in Florida where my family had been going for 22 years. We spent most holidays here” says King. He recounts the difficulty the group had matching lyrics to the existing melody that would become “Sunday Afternoon”.
“I ended up just writing down everything that had happened: the line about the painting references an actual painting my uncle sent me that had hung in the condo for fifteen years. The phone call is the actual phone call in which I was told my grandfather was in pretty severe shape with colon cancer. It was this moment of balancing living in the present, but also acknowledging the importance of the past. You want to have those precious memories, but you can’t hold on to the past forever without losing the present. I don’t think the song has any resolution, I think it is more just a statement on life.” says King.
Overthinking
“We had the idea to write a song about overthinking a relationship for a while. The general concept was there and we all took a stab at it, yet the lyrics weren’t coming to us. Eventually, Zach was able to take the pieces that we had and performed some skilled mad libs to put it together,” says Heim. King remembers that “as a band, we were able to write the bones of the track. I went back and fiddled with the lyrics until we liked where it was at.”
“It’s a really straightforward song,” according to King. “There is no real personal experience behind it, rather it speaks to the universal experience of overthinking the complex nature of relationships.”
Where We Meet
The album’s eponymous track was written before the band had even decided to make an album according to Smith. “We wrote that at a church late at night and that was like the first official single. It was kind of a desperate night in terms of writing because we were just very frustrated with the ideas that had fallen flat. At the end of the night, we just decided to leave it to Zach’s vocals and Hogan’s guitar. In the past, all of our singles have just been really energetic and loud which is cool, but we wanted to do something different” says Smith.
“I struggle to open up unless it’s through my writing or I’m at rock-bottom. So this song was an opportunity for me to do that,” says King. “It was also about collectively realizing ‘okay you gotta fight for something.’ Just looking at love from a deeper standpoint than ‘oh I love this person’ or ‘you make me feel good.’ Because it’s not always like that, there’s some pain and some hardship involved. Commitment is worth fighting for and promising things even in the midst of hardship. The song was my way of telling my wife that I am committed to her and that I’ll fight for her.”
St. Elmo
“St. Elmo” is about bass player Aidan’s relationship with his significant other and him really opening up about what she means to him in this song,” says King on behalf of his missing band member. “They had just been on a trip to Chattanooga, and it is a really special place to them. We titled the track St. Elmo, a town just outside of Chattanooga, to honor the significance of that place in their relationship.”
“The funny thing is when we were trying to write one our first draft was just way too heavy. Karmen, Aiden, and I were just sitting there looking at it and we concluded that it was just way too much. We didn’t feel a listener could digest it despite the simplicity of the song. So we ended up scrapping it and wrote another song that night with completely different lyrics. Aiden just opened up about how he felt that she is the person who can hold him together. It is desperately saying that there are times when you are the only person in the world that can make me feel like I’m sane or loved and cared for.”
Lights
King recalls ‘Lights’ being a much lighter song than the latter. “When we finished that one we wanted it to be the kind of song people could just kind of sing along to. You don’t have to think about it nearly as much as say, digesting a personal struggle. In my mind, the song is meant to capture the feeling of driving with somebody by your side looking to have some fun.”
King also credits Heim for elevating the song musically: “I had this chord progression and then I brought it over to Hogan. He recommended doing the verses in 7/4 and the chorus in 4/4 to add this layer of complexity to it. Singing it is still hard. To this day I have a hard time singing the verses, which I like.”
King summarizes the song as one he “never gets tired of playing live. It’s an opportunity for anyone to sing along and embrace spending time with the people you love.”
Sunday Evening (Interlude)
Smith says “We went to our friend Tommy’s house and stayed up until 2 a.m. working on the interlude. We always go into a writing session with an idea, but somehow it always crumbles. The initial track was too much, and we simplified the whole thing because we didn’t want it to be too busy. Hogan and Tommy experimented with some weird guitar stuff and I played on their baby grand piano It ended up meshing together.”
Heim elaborates on the purpose of Sunday Evening believing it “set the tone for the rest of the album — particularly the following track, “Walking Away”. We wanted to use “Sunday Evening” to frame and seamlessly transition into “Walking Away”. We wrote it after the last four tracks were written, so we were able to compose with intention rather than trying to fit it back in.”
Walking Away
Heim had just gotten his second amp and a flanger pedal when he started writing “Walking Away”. With additional inspiration from The Police‘s records, Heim composed the beginning of the track before eagerly texting King to hear what he had.
King remembers Heim sending him a voice message with the chord progression and “just like that it was my favorite beginning to any song we’ve ever made. Just tonally, in the way it sounds.”
King clearly had fond memories of recording the track; recalling how things “just kind of fell into place. We really didn’t have to work for that one. The funny thing is we worked with artist Alec Stanley here in Athens. From a recording standpoint, it was the first time I’ve felt that experimentation pushed outside our comfort zone. The track has some tighter guitar and drum tones that really elevated what was possible… we really owe that to him.”
“The music thankfully steps in and says more than we could,” says Smith. We didn’t write a bridge because we felt we had said everything already.”
Coming Back
“We didn’t even have lyrics to the song when we started discussing track placement. We just felt the progression sounded similar to “Walking Away”, but not in a bad way. Because of this, we decided to call it “Coming Back” in answer to “Walking Away”. The lyrics don’t contain the words “coming back” and I never fully understood the track until it was put into the context of the album. With “Walking Away” preceding it, the track fit thematically within the rest of the album,” says Heim.
King remembers the Nashville recording sessions. “I would procrastinate writing until the day of recording but found that working under pressure breathed some freshness into the writing. Particularly because a lot of these song meanings change for me when I’m in the studio versus when we are rehearsing together. It’s funny because I wrote the song about my relationship with God. I was at a point where I was genuinely wondering what I was doing, who I am, why I even believe in a creator, and that he is supposed to love me. Like these really heavy things. Only a week prior I had been sitting on my couch at 3 am and felt like I knew all those answers. I had known that I was loved and valued, yet completely shrugged it off. For me, that’s what “Coming Back” is about. It’s a recommitment to who I am and what I believe. But for a lot of people, it is a song about relationships — whether with a significant other, a relative, or even a friend.”
“A lot of people thought it was about my wife and me when I realized I do that with her too. I shrug something off or I won’t open up. Listeners drawing their own meaning from the track makes it something truly special.”
Restless
“We actually wrote “Restless” around two years ago and came back to it last Summer. Hogan essentially wrote the whole song and then we added the bridge. Essentially, the song had no lyrics for almost two years.”
Heim agrees adding that “A cool thing about “Restless” to me is that musically it was only the second song we had tried to write shortly after Aidan had joined the band. At that time, the band was firing on all cylinders, with Aidan rounding the rest of the band out. He really refined track into a state where the point gets across to listeners.”
King speaks to the lyrics saying “we were stuck until Hogan mentioned how cool it would be to swap perspectives between the verses and the chorus. So I just kind of ran with that. The perspective of the verse is young me and the chorus is me now telling my younger self what to do. But for anyone, it can be a reminder to slow down when you’re in the midst of existential concern.”
“The restlessness in the song speaks to this overarching idea of not being content with where you are,” King surmises.
Perfect Timing
Smith recalls the recording of “Perfect Timing” as “one of the most fun times recording and writing we’ve ever had.” He says the band “went up to Nashville to record as a snowstorm was approaching. So there was this looming feeling that we might get stuck there, which added excitement to the air. We were working with these two guys Ethan Standard and Blake Tallent; Blake’s an old friend of ours but we had never recorded with him. The lyrics were pretty cool because Zach wrote them sitting on the couch while we were busy doing drum and guitar takes… it just felt very natural.”
Heim agrees, “It was a super fun one because it was the first time I got to really flesh out all my ideas on the guitar with Blake, and Karmen did a similar thing on the drums. We all decided to give it what we got individually and see how it goes together without as much hands-on editing.”
“This song really helped us recognize how much trust we had in one another and how comfortable we became with trying out new things. This was a really fun song because our parts were separate but able to come together in a really cool way,” added King.