Artist to Watch: Loma

Posted on by Erica Kastner

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I had the distinct pleasure of interviewing Emily Cross, a member of the relatively new band Loma. Loma consists of Emily Cross, Jonathan Meiburg and Dan Duszynski. Loma’s origins and shaping have come in a whirlwind of events over the past few years. The band is a recent joint venture to explore new musical territory, seeing as Meiburg is originally from the band Shearwater and Cross and Duszynski are originally from the band Cross Record. They met through Ben Goldberg of Badabing! records, who sent Meiburg Cross Record’s 2015 album Wabi-Sabi, which led to the two bands traveling together across America and Europe throughout Shearwater’s 2016 tour for Jet Plane and Oxbow. The band reconvened in a house outside Austin for two weeks at a time over the course of a few months to piece together their debut album. Then the band’s next milestone came in the form of a record deal with Sub Pop Records.

As for Loma’s sound, they don’t really fit into any particular musical genre. This could be due to the varied backgrounds and career paths of the band’s members, but this rejection of single-genre conformity could arguably be one of the band’s greatest assets. Their music is experimental, with this album in particular being influenced by the sounds of nature. Loma is searching, it’s evocative, and it takes the listener to another place entirely. To unravel the enigmatic mystery that is Loma, I sought to get to know Emily and to ask her about the band’s upcoming debut album, Loma.

What are your personal musical influences? What inspires you besides music?

Personally, I don’t listen to much music. I like older music like from the ’60s and ’70s. I’m a big fan of colorful women singers like Gloria Estefan. I like newer experimental stuff. As far as the band goes, we’re kind of all over the map. We’re into ambient stuff. Field recordings, nature, and natural sounds are muses for the band. Mortality and death inspire me because I work in the field of death and dying. I’ve been interested in it since I was a little kid. The fleeting nature of life itself brings poignancy to the ordinary things of life. On this album, there’s a longing to it [the fleeting nature of life itself.] There’s a reflection of what life is or what it could be. Any time we have themes around time passage or looking back on life it has to do with mortality and the human experience.

How did your deal with Sub Pop Records come about?

Jonathan, one of our band members, was already signed with them through his band Shearwater, and so we got the hookup through him.

What’s the inspiration behind the album’s cover art?

That’s my friend Lisa Cline’s work. I own the original piece and it was also hanging in the studio while we were recording so we thought it would look good on the cover. I like the piece because the two figures are beautiful and mysterious. All of her work has a serious, meaningful, spiritual quality to it that I like.

I see that the song “Joy” was the first song you all wrote and recorded together. How did it come together?

I can’t really remember. We worked in kind of a frenzy. It was hard and challenging for me to sing because it was different than how I was used to singing. It was more dramatic, showy, and theatrical.

Let’s talk about the house that your band describes as its muse for the album. What was so special about it and how did it influence the ideation process behind the album?

The house is on 18 acres. It’s a nice, free, open place to be. Natural sounds made their way into the record without much effort. We didn’t take precautions to prevent them from making their way in as you would with a normal recording. We sometimes even highlighted those occurrences and went out of our way to bring them to the forefront at times. Nature is the inspiration for, I would argue, most art because it’s the original inspiration source. It’s just so beautiful, abundant, amazing, and it’s a go-to pleasure source. Focusing on that was an escape from some interpersonal problems and tribulations that we were all going through at the time.

Your band talks about how you all captured sounds inside and outside the house on the album, from “the cicadas and frogs of ‘Relay Runner’ to the whooshes of wind and leaves on ‘White Glass.’” How did you capture the sounds of cicadas, frogs, and other nature sounds in the recording process?

We sometimes tried to specifically record certain sounds and sometimes we would just go sit outside and record and see what happens.

Going off of that, why did you choose to put nature sounds on the album and how do you think that adding nature sounds into the album influenced its tone?

It puts people into the space more directly by not just talking about nature but inserting sounds. It’s easy to be transported to a more natural, outdoor space. It sets a tone, especially when you have more loaded sounds like thunderstorms or the wind.

When you were recording, were you trying to take people specifically to the house where you recorded, a specific destination, or were you trying to bring the listener inside their own mind to a favorite place of theirs to visit?

We were trying to bring them into our space where we recorded but we didn’t consciously try to make them feel like they were here. It wasn’t a labored decision.

While recording the album, I read about how your vocals were accidentally recorded at the wrong speed but this was a happy accident and the voice ended up staying for the rest of the album. Were there any other happy accidents like this while recording this album or in any songwriting brainstorming sessions that you guys have had?

There were a couple times when we would record a random piano or guitar part and we would track vocals over it and it would seem perfect. The biggest happy accident was when we recorded my voice at the wrong speed on this record though.

What’s your guys’ process for jamming and brainstorming song lyrics? Do you have any un-traditional methods?

We don’t really do anything out of the ordinary. I think that as long as there’s chemistry in the space then brainstorming is easy.We all work really well together. We don’t have any tricks or anything like that for brainstorming. It all happens organically, like we’ll work out a guitar part, or sometimes we’ll let the tapes roll and just see what happens when we start playing.

What’s a lyric or song on the album that you particularly resonate with and why?

I wrote the first song on the record called “Who is Speaking.” I wouldn’t say it’s my favorite song on the record by any means, but I wrote it myself. I worked on it in Germany while I was doing an artist residency there. I had nothing to do one day and I had my guitar and recording stuff with me so I thought I should work on some music. I wrote the entire song myself but we all added other stuff to the song later.

What’s in store for the future for you guys? Do you guys have any plans for where you want to tour next or any goals for the future?

We’re just rolling with it. We don’t know what’s gonna happen in the future and we don’t even know how the tour is gonna go but we hope people like it. We have a full tour for April, May, June, and maybe August that’s in the US and Europe.

Where’s somewhere that you haven’t toured yet but would like to?

I would go to Australia or Japan. They’re both so far away. I want to go to Japan because I’ve never been to Asia and it seems fun and different. Australia is so beautiful and the people seem nice.

Let’s wrap this up with a fun question: If you could get the chance to perform with any musician who would it be and why?

Rihanna. I love her even though she wears fur. Fur is fucked up but she’s cool and I love her music.

Check out the band’s debut album Loma on all streaming platforms, or buy the album here.

Savannah Stopover 2018 Spotlight: Cicada Rhythm

Posted on by Anna Lee

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Approaching Savannah Stopover Music Festival, I sat down with local Athens, Georgia band, Cicada Rhythm. The couple’s unique sound captures the essence of modern folk music, and they bring a chemistry with them that is evident both on and off stage. I met Andrea DeMarcus and Dave Kirslis at Normaltown Hall in Athens while they were working on an upcoming music video to talk Georgia roots, being in a band with someone you love, and beekeeping. Check out the interview below.

VM: You are both from Georgia, born and raised. How has the South, and Georgia specifically, influenced your sound?

Dave: I really started getting into music when I was living in North Georgia, and at that time it was a lot of traditional music- just banjo picking. And I always found it interesting, but I never was drawn to playing like that. Later I moved to Atlanta and that’s where I really started kind of getting myself into the music scene there. There was an Atlanta blues scene at Northside Tavern and some guys named Nate Nelson, and I guess The Wood Brothers were in Atlanta. Those guys, we would just pretty much try to go see them whenever we could. That’s what got me into music. Then we came to Athens and kind of fell in love with everybody here.

Andrea: And everybody’s a musician here.

Dave: Yeah!

Andrea: It’s great.

Dave: It’s really cool; Athens is, you know. I always say here it’s more of a mission than a competition. Everyone’s just here to help each other out and push each other forward, it’s just – it’s an inspiring place, definitely.

Andrea: I would say I kind of got into music through my dad. He’s a very avid music lover and we listened to The Beatles growing up and stuff. But, we had a great orchestra, the ASO in Atlanta, so when I started playing bass, I started taking [lessons] from the principle bassist in the ASO, and it was a great orchestra and he was great. It’s just a really like, Atlanta has a really strong group of players and it might not be as conducive and connected as Athens is for like smaller groups and more creative, younger people and stuff, but Atlanta does have a lot of great players. And so that’s kind of how I was introduced to the music scene. And then when I moved here…I really realized that music could be anything that you want it to be, and that helped me to write music, and create, and hookup with this guy. So yeah, I think in Georgia, it’s always been full of music. We’re really lucky to be from here, definitely.

VM: So what’s the songwriting process like for y’all? Do you both contribute to the process?

Andrea: Yeah, well we usually start out with an idea and maybe we’ve completed the song…there’s probably been maybe two or three songs that we’ve truly collaborated 50/50, but the rest of them, you know, it’s kind of your thing. And maybe I’ll need help with the chorus, or an outro, or a bridge or something, and he’ll help me with that and vice versa. But, we’re pretty much sole songwriters.

Dave: We help each other finish them sometimes.

VM: So is that kind of the same way y’all decide who’s going to sing which song? 

Andrea: Yeah basically whoever writes whatever song sings it.

Dave: For the most part yeah.

Andrea: I’ve kind of always wanted to write a song for him to sing.

Dave: Likewise!

Andrea: But it hasn’t happened yet so we’ll see. Maybe one of the oldies of your songs I’ll take over that you don’t want to play anymore.

Dave: Sure!

VM: Cicada Rhythm has a very unique sound, kind of a modern take on folk music, and it’s very distinct. Are there any certain artists that have influenced your music directly?

Andrea: Definitely. Like Dave was saying before, The Wood Brothers are a super big influence. I really love the string work in Nickel Creek and The Beatles. String work in rock music is one of my favorite things and obviously I’m a string player so, but to put that on top of the song already, is, I don’t know, I just love that so much…I’d also have to say Gillian Welch, like she’s the ultimate songwriter for me…the way that she makes you feel is how I would want to make somebody feel.

Dave: Yeah you know for me…so much different stuff…so I just try to be a sponge, you know? And just soak it all in. But my dad was really into jazz…my mom was an Irish immigrant- she was really into Johnny Cash and Ray Charles and Willie Nelson so she was kind of giving me a foundation of really American music. But, really everything, but most particularly the people I mentioned are just the local artists in Atlanta.

VM: So how did y’all initially form and come up with the name Cicada Rhythm?

Andrea: Well, I moved to Athens in 2010, and I kind of was trying to get away from music. Dave and I were friends, but he lived in Atlanta at the time and he called me and said, “Why aren’t you in a band? Athens is full of bands; you need to be in a band. You know you can’t just not play music.” And I tried playing in a couple bands and they just did not fit right. And Dave was like, “Well why don’t you just play with me?” So we started learning each other’s songs and we really felt like it was working well, so we booked a show and we weren’t prepared, but they liked it. I guess before the show we were like, crap we need to have a name before the show! So we kept texting each other words or suggestions. It took us about a week to come up with it. I came up with Cicada Village and he was like “Oh I like that! What about Rhythm Wild?” and I was like, oh that’s pretty cool. So we kind of just compromised and mashed them together. We pretty much were on a deadline, but we wanted to pick something that sounded like southern.

VM: So I know when you both met, Andrea you were at Julliard, and Dave, you were hopping trains?

Dave: I was hopping trains for a while. I was really into it. I was reading about the Great Depression and it was my senior year of high school and my friend and I were broke.

Andrea: Wait I thought you were in college?

Dave: Well I started thinking about it in high school, then I graduated and was a poor college student and couldn’t really go anywhere for vacation. So we thought that would be a nice way to check out America. We would ride around the South. A lot of times we would ride down to Athens, coincidentally, and then ride back to Atlanta. And I hopped off one day when I was riding back from Athens to Atlanta, and I called my friend who she was with at the time, and they came and picked us up. And, it wasn’t love at first sight-

Andrea: He was very dirty!

Dave: Yeah, you get extremely dirty in boxcars cause they’re just, you know…but, that’s how we first met! We stayed friends for a long time, and then eventually it became more.

VM: So Andrea, you were at Julliard at the time?

Andrea: When we met, yeah. I think it must have been my junior year, or my sophomore year maybe. I was always calling their house because my boyfriend at the time wouldn’t answer his phone, and Dave would always pick up. Yeah it was a landline, and Dave would pick up, and we would chat. I would always be like “Where’s David?” and he’d be like, “I don’t know, but we can talk!”

Dave: [laughs] Yeah, then I stole her! A couple of years later, but yeah.

VM: Yeah it sounds like you had these motives for awhile?

Dave: I always admired Andrea…

Andrea: I wasn’t his type!

Dave: I didn’t consider it. And then I guess we were both single and playing music together and for a while I was trying to keep it professional.

Andrea: Yeah e wanted to keep it professional.

Dave: Yeah, but that lasted like two weeks. But here we are! We’re getting married in October!

VM: How long have y’all been engaged?

Dave: We got engaged in May.

VM: So how does that work being in a relationship and then also being in a band together? Is it hard to separate the two?

Dave: We actually separate it pretty well. Like, people will email us and expect us to talk to each other about it, but we don’t, and that’s actually sometimes an issue. If people don’t text both of us we won’t even talk about it. Cause we do so much Cicada on the road and behind the scenes here, so when we’re with each other we just try to be with each other. But, it’s been easy. But there have been battles too,

Andrea: Yeah, I mean it’s definitely…at this point it’s easy, it’s like second nature, but there was a time when we were writing songs and we just weren’t in agreement of how the song should go, or if we should play this song, and we’d have fights about ‘I like this song I think it’s good we should play it!’ and ‘I don’t think it’s good we shouldn’t play it!’ And it would hurt our feelings, cause songs are a part of you, you know, like they’re little parts of you, and if somebody you love rejects them, it hurts. But we’ve, I mean we’ve gotten past that now. If it works, it works. If it doesn’t, we move on.

Dave: Our tastes have kind of molded together in a way, with most things.

Andrea: Yeah.

VM: When you both aren’t playing music, what do you do in your spare time?

Dave: I mean we love nature and we love our dogs. I do a lot of working on the house. We have a little farmhouse just outside of Athens, and I’m always working on it, or trying to improve the yard, things like that.

Andrea: We also try to spend time with our families. We’ve got family in Atlanta, so it makes it easy to go over there.

Dave: I’m hoping to get into beekeeping this year! We’ll see. I’ve got a bunch of beehives…

Andrea: [laughs] He keeps saying that for like three years.
Dave: I know, but each year I get closer and closer!

Andrea: That would be really cool. It would be nice to have the honey! I don’t know about all the bees. Apparently they have facial recognition.

Dave: Yeah, they can recognize your face! I’ve been reading a lot about them and they’re just absolutely incredible.

VM: So, how are y’all gearing up for Savannah Stopover and SXSW? Are y’all getting excited!

Andrea: Yeah!

Dave: We’ve mainly just been working really hard on our two upcoming music videos, so I haven’t really had a chance to think about it. But I am excited cause we really like Savannah Stopover it’s really great.

Andrea: Yeah I love Savannah Stopover- it’s a great town. Everything’s really walkable, the food is really good…they also treat artists very well.

Dave: Austin’s gonna be really awesome too [for SXSW]. We love just going out towards the West- it’s a different world out there. I’m excited for both Savannah Stopover and South by Southwest.

Cicada Rhythm is played Savannah Stopover Friday, March 9th as part of the New West Records 20th Anniversary Showcase. The two have a busy few months ahead of them between touring, shooting music videos, and prepping for the release of their forthcoming album, Everywhere I Go, out April 27 on New West Records.

Nap Eyes: ‘ I’m Bad Now ‘

Posted on by Sebastian Marquez

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Upon first listen, Nova Scotia, Canada natives Nap Eyes‘ I’m Bad Now felt like nothing but a snarky stoner’s revelry. Too zonked or tired out to outgrow the comfortable Loaded era Velvet Underground,  Nashville or SoCal instrumental trappings, the album on first listen quite frankly felt very flat.

Oh, how wrong I was.

Like an unglazed clay pot viewed at first from a distance, Nigel Chapman’s rich lyrical details reveal themselves like thoughtful patterns carefully etched into the surface with a surprising amount of attention to detail and clarity upon closer inspection. Chapman’s lyrics, delivered with a Lou Reed-meets-Steven Malkmus-esque dry listlessness serve as a pitch perfect contrast to the weighty album themes of existential meaninglessness and sadness.

In the hands of a less capable songwriter, these musings would have just come off as some stoned pseudo philosopher with an acoustic guitar in one hand and a lit marijuana cigarette in the other. The dry delivery of such heavy themes is beautifully on display in the song “Every Time the Feeling”:

Oh I can’t tell what’s worse
The meaninglessness
Or the negative meaning
I figured out a way to get on with my life
And to keep on dreaming

Every time the feeling comes
You never question why
It comes to you this way
You say you never get an answer that way
But then you wonder anyway
Just you don’t really think about it
And you don’t really try to figure it out, out

Nap Eye’s lilting instrumentation provided by Brad Loughead (lead guitar), Josh Salter (bass), and Seamus Dalton (drums) also provide a deft and wonderfully understated backdrop. Unburdened by the need to flex too hard on their technical chops (even though they’re all fantastic players) they focus more on providing necessarily a sunny sonic color palette. Because of this, even Nap Eyes’ bitterest pills go down nice and easy.

As if they were borrowing from Of Montreal‘s playbook of pairing their darkest, most morose subject matter, Nap Eyes make even the depths of their low key existential dread feel like easy listening. Maybe that’s why it took me so long to get into the lyrics, when I think about it. “Easy” digestion is the name of the game here. I’m not to say that any of this was easy or slapped together, though. Nap Eyes just happen to make it look effortless.

7.9/10

For Fans of Led Zeppelin? Check Out Greta Van Fleet

Posted on by Emma Korstanje

 

One of the biggest issues with good ‘ole, classic rock ‘n’ roll is just that… it’s old. Many bands, understandably, faded as new music graced us all. For the few that still push on, new music is seldom found and often represents various passion projects (see: The Rolling Stones: Blue & Lonesome—despite how amazing the release was, it still wasn’t an album of originals.)

Luckily, there are, in fact, a few up-and-comers that not only appreciate the musical greats of the 20th century, but are also clearly, actively, trying to continue the steps taken by those that came before.

Enter the “throwback” of today’s focus: the legendary Led Zeppelin.

From it’s start as a super group by The Yardbird’s own Jimmy Page in 1968, Led Zeppelin followed a storied path marked by enormous successes. The group’s enormous popularity—in the early-to-mid ’70s it was easily one of the largest live-draws around the world—came from its successful integration of blues, folk and middle eastern influences. However, this quick ascent was marred with scandal leading to an early disbandment in 1980. Following that, there has been little to no hope of new music for fans of this legendary group, despite the handful of reunion shows over the years.

So, you’re a fan of the ‘Zep? You should consider checking out Michigan rockers, Greta Van Fleet.

The foursome—three of which are brothers—seemed to be just out of high school when they came tearing out of Frankenmuth (a town that couldn’t be less rock ‘n’ roll if it tried, just give “Bronner’s” a quick google) in 2012, unleashing their almost nostalgic music mastery out into the world.

Honestly, the most shocking part of it all is the rate at which the group has risen. After just releasing it’s first double EP on November 10, following it’s very first studio release only a handful of months before, the group has already embarked on nationwide tours and garnered a cult following—and not just in the “CHRISTmas Wonderland” (literally how Bronner’s is advertised).

Even better than the group’s humble start and quick ascent is its clear ties back to Led Zeppelin. GVF basically feels like listening to the ‘Zep… if the latter were born in the late ’90s, grew up in a world where pop-music ruled our culture and began traveling the world while still in high school.

But don’t just take my word for it. Let’s take a look at the bands.

Upon first hearing a GVF track, say, “Highway Tune,” it takes literally 15 seconds to hear a wail so reminiscent of Robert Plant it’s equally frightening awesome. The group’s front man, Josh Kiszka, has mastered the almost alarm-like war cry previously found by Plant on tracks like Zeppelin’s “Immigrant Song.” But that’s not all. In continuing with “Highway Tune,” other similarities are easily traced, such as the dramatic waiver used by both frontmen and their often quick, almost flippant, delivery. Both vocalists are gritty, both have ridiculous ranges and both are beyond talented.

Continuing to lyricism, it’s easy to see GVF taking notes from the greats, stylistically at least, in the track “Safari Song.” Kiszka repeatedly questions, “Hey mama/ What you gonna do/ With all that love in/ Your heart?” and his vocabulary should sound quite familiar to any Zeppelin fan. See “Black Dog,” in which Plant rushes out: “Hey, hey mama said the way you move/ Gon’ make you sweat, gon’ make you groove.” The younger band’s lyrics are nostalgic, and truly feel like they were born of a wilder era.

Taking a turn to the instrumentation, both bands focus on highlighting talented lead guitars—Jimmy Page in the 70’s and Jake Kiszka now. Both bands leave plenty of space for the all-too-essential guitar solo, and both instrumentalists draw heavily on the blues. Neither guitarist feels rushed in execution, and Kiszka is clearly comfortable marinating in the drawn-out, funky delivery that is almost a defining characteristic of Page’s style.

Finally: a quick look at composition. For example, both bands have mastered the art of using backing vocals to create an almost haunting atmosphere for the lead to exist in. Further, both bands tend to keep listeners on their toes using a variety of techniques to do so from switching keys, hopping between acoustic and electric instrumentations and changing up the rhythm often. Even more than just using these techniques, both bands have been known to layer a couple of them to really prevent settling into a track too much.

So, to put it simply. For fans of Led Zeppelin, hungry for more? Look no further than Greta Van Fleet.

Camp Cope: ‘How to Socialise and Make Friends’

Posted on by Sebastian Marquez
photo courtesy of the artist
photo courtesy of the artist

Let me get one thing out of the way: Camp Cope are not fucking around. The moment singer/guitarist Georgia “Maq” McDonald lets loose the first lyrics of the How to Socialise and Make Friends, all bets are off that this is going to be an easy listen. Don’t get me wrong, the instrumentation on the album bears more than a passing resemblance to the relatively placid Galaxie 500, but Maq has a lot of shit to say and damnit, we owe it to ourselves to listen.

Dismantling the patriarchy is a full time job and Camp Cope need overtime pay for the amount of emotional labor put into this album. Laying her (and many other women’s, for that matter) frustrations bare about the overabundance of machismo in the music industry in the aptly titled song, “The Opener”, Maq lets out full-throated screams about the misogyny that is all too common in the music industry:

It’s another man telling us we can’t fill up the room
It’s another man telling us to book a smaller venue
‘Nah, hey, cmon girls we’re only thinking about you’
Well, see how far we’ve come not listening to you

“Yeah, just get a female opener, that’ll fill the quota.”

And that’s just in the first song.

On an aesthetic level “The Opener” is a perfect crystallization of Camp Cope’s sound on How to Socialize. In a very punk move, the arrangement never strays from the bare bones guitar-bass-drums set-up because it never needs to. Maq’s voice and lyrics are the stars of the show here and I wouldn’t have it any other way.

Her voice never falters even at the albums most tender moments, like the devastating, haunting acoustic closer “I’ve Got You”. The autobiographical tale of a relative’s or friend’s slow descent into death and her attempts to figure out hers and their place amid the cruel realities of the world is only made even more heartbreaking by her acknowledgement how much they’re a part of each other.

The sheer breadth and depth of the emotion conveyed on this record is astounding, reaching an intensity that I haven’t really felt since Blonde dropped. Yes, this might be devolving into gushing but if the rush of emotion I felt after I listened to this for the first time is any indication I’ll be listening to this album A LOT. I hope you will as well.

9.5/10

Lucy Dacus: ‘Historian’

Posted on by Emma Korstanje

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After her 2016 debut, No Burden, Lucy Dacus was hailed as one of rock’s most promising new players. With her sophomore release, Historian on March 2, Dacus fulfills that promise—and then some.

Dacus’ delicate—but not in any way frail—vocals lead the way through the album, which almost feels like a rambling stroll through a narrative carefully sculpted with tattoo-worthy one-liners. The album screams maturity, carrying a sense of depth and knowledge that many decades-older veteran musicians at times struggle to grasp. In Historian, Dacus asks the big questions and allows herself vulnerable realizations while simultaneously staking her ground and declaring her space in rock music anyway.

The album opens with “Night Shift,” a track that’s equally heartbreaking and beautiful. Opening slowly, the track grows, seeming as if it’s never going to end but in a way that’s entirely positive. Though not one of the biggest stand-outs on the album, its a nice opener to the lineup.

The first real kicker in the album is the third track, “The Shell.” Upon opening, the song almost feels like being drunk at a party, a great party, but nevertheless still trapped in one’s own head. With lines like “I am busy doing nothing and you’re rudely interrupting/ It’s a myth but now I see it clearly / You don’t have to be sad to make something worth hearing,” the lines feel like a stream-of-consciousness, but somehow still entirely relatable.

The real shining moment of the track is towards its end—a trend that will come up again as the album progresses. The last third of the track almost evolves outside of this stream-of-consciousness to something wholly other, with the instrumental taking front in a way that builds similarly to that of great psychedelic ballads, entirely unexpected but definitely nice.

Next, to look at “Yours and Mine,” another standout in the lineup. She amps up the vocals on this track, bringing in some heavier, but still simple, harmonies to round out the lead—proving that Dacus doesn’t need to do crazy things with her vocals for her vocals to be crazy good. The best moment on this track, however, is the guitar solo rounding out the end. It’s fuzzy, it doesn’t feel overdone, and it seems to perfectly compliment the rest of the song in a nice juxtaposition.

“Body to Flame,” the sixth track, is practically cinematic in its greatness. It’s fairly calm, ambling, before Dacus belts, “Laughing aloud at the spinning stars” and the track explodes.  It’s fuzzy, it’s a sensory-overload, it’s fazing in-and-out and it’s exactly what the album needs. With lines like “I see you holding your breath with your arms outstretched/ Waiting for someone to come rip open your chest,” the track almost feels like a Joan Didion essay, giving you all of the details you didn’t know you wanted—but somehow Dacus did.

Finally, the funkiest track on the album, “Timefighter.” This particular song feels self-assured, as if written by someone confident enough to walk away from a love and be able survive the fallout. It’s groovy and definitely a track you can lay back into and get comfortable with, just swaying to the beat as she spells out the story. This track, again, shines in guitar solos, but this time they’re particularly gritty, rough, and harsh on the edges. Further, the almost staccato stop-and-go towards the middle of the song shows her own self-restraint as an artist, her own maturity to know when to pull back. It fits, so well, in the overall narrative—proving her own badness in the best way possible.

On her sophomore album, Lucy Dacus confidently strode into the world of rock—showing that though it’s just her second album, she already has the chops to be a mainstay in the industry.

9/10

Soccer Mommy: ‘Clean’

Posted on by Harper Bridges

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Soccer Mommy (aka Sophie Allison) hasn’t abandoned her lo-fi bedroom pop aesthetic in her latest album Clean, just dialed up the production value a notch and added some layers. Her coming-of-age, sometimes naïve, sometimes adolescently self-deprecating, sometimes wise lyrics still sit unassailably at the forefront of her songs, filling whatever space they’re listened in with raw honesty. The satisfying guitar hook of “Your Dog” and prominent bassline of “Skin” propel Soccer Mommy into rock territory, but the most engrossing tracks are the ones in which Allison’s voice isn’t cloaked by a host of instruments.  In “Scorpio Rising”, her voice soothes over acoustic guitar before retreating into the depths of a full backing band, and when it re-emerges to sing “kiss you in the park / we’ll meet up after dark,” it is oh-so-satisfying.

Allison’s voice is tender, but her songs possess the sardonic grit of a frustrated 20-year-old trying to navigate romance and self-discovery. She sings in second track “Cool,” “Mary has a heart of coal / she’ll break you down and eat you whole” before admitting “I wanna be that cool.” What’s confusing is that she does seem that cool, but keep listening and you’ll realize that her insecurity is a point of emphasis on the album. In “Last Girl,” she declares, “I want to be like your last girl,” good-naturedly lauding a boy’s ex-girlfriend with praises such as “she’s so sweet / and she’s so pretty / even more than me.” As if exalting this girl isn’t enough in itself, she goes on to sing, “I am just a dying flower / I don’t hold the summer in my eyes.”

The unfiltered nature of Clean’s lyrics is both a strength and a weakness, at some points evoking discomfort and pity a little too aggressively; throughout the album, Allison refuses to let you forget that she is only 20. Her bitter songwriting reveals a soft underbelly, one that has been abused and handled carelessly; although she seems to hide behind a façade of flippancy and anger, she allows us to see her sensitive side as well. Her voice vibrates in melancholic “Blossom (Wasting All My Time)” over swelling atmospheric instrumentals as she offers the most vulnerable lyrics of the album with “wasting all my time wondering if he really loved me” but twisting the sentiment halfway into an innocent but resolute declaration: “I’ll be spending all my time with someone who really wants me.” Digesting these lyrics in conjunction with the lyrics of Clean’s other tracks, you’ll find a unique and youthful perspective of the world from someone who truly has something interesting to say.

Lyrical depth isn’t the only lure of Clean, however, as Soccer Mommy delivers a cohesive and pleasing string of soft pop melodies and echoing guitar riffs. For the most part, she utilizes her instrumentation well, but still seems the most comfortable with an acoustic guitar in hand (I personally thought that her acoustic “Interlude” particularly stood out in its creativity), and continually falls back on down-tempo tracks with melodies built upon moderate interval jumps (“Still Clean,” “Flaw,” “Scorpio Rising,” “Wildflowers”). This makes it feel like the album is divided into two distinct sections with two varieties of tracks, but Allison pulls off her up-tempo tracks like “Cool” and “Your Dog” with skill, which indicates that Soccer Mommy is continuing to grow and improve, making Clean a solid listen.

8/10

Review: Judah & the Lion: Going to Mars Tour

Posted on by Emma Korstanje

Tall Heights :

Colony House:

 

Judah:

The first of Judah & the Lion’s two-night sold-out stint at the Georgia Theatre in Athens, GA, started strong and ended with a bang. The “folk hop n’ roller’s” constructed a show as equally meaningful as it was exciting, and easily kept fans on their toes for the entirety of the night.

 

The show opened with Tall Heights, an electrofolk duo out of Boston, MA. At this point, the theatre was already quite full and the musicians played to that pressure well. While they crooned, they found incredibly interesting ways to engage the audience—at one point pulling off one of the coolest in-show magic tricks I’ve ever seen. The group asked the entire audience to pull out their various phones, to call another in the room, and then put the call on speaker. These calls echoed throughout the theatre and really brought the performance to another level.

Photo: Emma Korstanje
Photo: Emma Korstanje

Next up was Colony House, a group out of Nashville, TN. These modern-day Beach Boy rockers had a strong following in the audience and definitely played to that strength. The group was upbeat, incredibly high energy, and carried the confidence of experience. Though considerably louder (think: drums-shaking-ribcage-loud) the band managed to keep a clean sound to show off their technical prowess.

Both openers were met with really strong reactions from the crowd. Then there was Judah. The crowd erupted.

Photo: Emma Korstanje
Photo: Emma Korstanje

Understandably so, as the Nashville-based headliners opened the set with a dance-party rendition of “Booty Wurk (One Cheek At a Time).” The group held this vivacity through the entirety of the set, intertwining hip hop and folk seamlessly throughout.

The band played much of it’s Folk Hop N’ Roll album, out in 2017. However, the show was far from the average, sit-and-watch-for-two-hours, set. Just as the bands that preceded, Judah & the Lion kept the show interactive.

Photo: Emma Korstanje
Photo: Emma Korstanje

With moments like a dance-off during the song “Reputation,” a surprise cover of “Mr. Brightside” featuring all three bands, and the crowd singing competition during “Green Eyes”—which later determined which side of the stage members would dive off of—the band kept the show accessible and genuinely fun. Just a really good time. The crowd continuously had no clue what was coming next, but surely it was going to be great.

Photo: Emma Korstanje
Photo: Emma Korstanje

Through the fun, there was some sentimental, deeper-meaning to the show. Frontman Judah Akers told the story of the bands first show outside of Nashville, which happened to be at a smaller venue in the Athens area. The show seemed to carry a lot of meaning for the group, as Akers grew a bit emotional before launching into the inspirational “Going to Mars.”

The show “ended” with a two-minute dance party during one of the band’s biggest hits, “Take It All Back,” before an encore was demanded. Once again, they brought out the other two bands for an incredibly sweet, stripped down rendition of “Lean on Me,” before ending the set with “Water,” a track from the bands 2014 album Kids These Days. I’m fairly certain that the general sentiment of the crowd was of a “One more song!” mentality, but with a band like Judah & the Lion that certainly doesn’t come as a surprise.

 

10/10

Show Review: Portugal. the Man at the Georgia Theatre

Posted on by Anna Lee
Photo: Sage Barnard
Photo: Sage Barnard

With the monumental success of Portugal. the Man’s latest album, the band has had to cope with being extremely successful while still staying true to their original sound. Tickets for their two-day run at the Georgia Theatre in Athens February 26-27 sold out relatively quickly, leaving many of their longtime fans worrying that their show would be more of an ode to “Feel It Still” than anything else, but this was not the case. If their Athens, Georgia shows are any indicators of the future of Portugal. the Man, fans can rest assured that the band won’t forget their roots anytime soon, no matter how successful they become.

The setlist of their Tuesday night show in Athens was anything but predictable. While there’s no avoiding playing crowd favorites from their newest album, ‘Woodstock,’ the band still was able to incorporate tracks from their other albums, including ‘Evil Friends,’ ‘In The Mountain In The Cloud’ and ‘The Satanic Satanist.’

Commonly known for covering and repurposing classic hits, Portugal. the Man wowed fans by starting their set with Metallica’s “For Whom the Bell Tolls” and Pink Floyd’s “Another Brick in the Wall,” thus setting the stage for the heavy guitar and theatrical light show to come. By no means did the band play song after song just as they come on their albums, but rather, they enhanced their songs with guitar solos and jams. This, combined with the impressive, trippy laser shows and graphic designs, led to a very experience-driven performance. The band succeeded in combining heavy rock, indie-pop and funk to make for an excellent show.

Photo: Sage Barnard
Photo: Sage Barnard

 

When it comes to personality, the members of Portugal. the Man seemed to embrace a dry, yet loveable sense of humor. At the beginning of the show, the band projected the words “We are not very good at stage banter, so tonight’s performance will feature some slogans written by our management. Thank you for your continued understanding,” on the screen. Sure enough, much of the “banter” was done through screen projections including, “Do you like to smoke weed” and “Thank you for downloading, or stealing, our album.” Their merch also included a shirt that read “I liked Portugal. the Man before they sold out.” Even some of the staff at the Georgia Theatre spoke of how funny and easy-going the band was.

And although they kept talking to a minimum, when someone from the band did speak up, it came across as very genuine. After the band went off stage before the encore, guitarist Zach Carothers came back on with a drink in tow to tell fans how much he appreciated them and how much he enjoyed his time in the “beautiful town” of Athens, Georgia. The rest of the band then joined Carothers for an encore of “Sleep Forever,” “Smile” and a crowd-pleasing cover of the Beatles’ “Hey Jude.”

As fans left the theatre, overall morale was high thanks to the creativity and passion of Portugal. the Man. It’s rare to see a band embrace sudden success in such a positive way, and it seems that the band is only getting better with time.

 

Savannah Stopover Artists to Watch

Posted on by Anna Lee

 

Savannah Stopover is something of a hidden gem as far as music festivals go. Located in Savannah, Georgia, the three-day festival boasts a packed lineup of up-and-coming artists of all backgrounds and genres. Throughout the weekend, shows take place in small to mid-sized venues across Savannah’s historic district, establishing an intimacy that is rare among festivals today. This year will mark Savannah Stopover’s eighth year running, with no shortage of diverse talent. With March 8 just around the corner, here’s a list of the top 15 must-see artists at this year’s Savannah Stopover Music Festival.

15. Wild Moccasins

There’s something infectious about the unique, eclectic look and sound of Wild Moccasins. With a strong female lead vocalist and vintage beats, their sound is reminiscent of ‘80s pop. Known for their creative costume design and infectious stage presence, they’re sure to put on a good show.

14. John Stickley Trio

If you’re looking for good ol’ bluegrass music you can dance to, look no further than the John Stickley Trio. These extremely skilled musicians take their audience on a musical journey with their flawless technique and exploratory jams. Their sound should fit in perfectly with the rustic, coastal scene of Savannah, Georgia.

13. The Vegabonds

Part Americana, part rock ‘n roll, The Vegabonds seem to be gaining more and more momentum each day. The band has grown a great deal since their start in the college circuit back in 2009. Now with three European tours under their belt, The Vegabonds don’t appear to be slowing down anytime soon.

12. David Barbe & Inward Dream Ebb

College professor by day, punk-rock lead singer by night, David Barbe does it all. Rooted in Athens, Georgia, Barbe has successfully embedded himself deep within Athens’ vibrant music scene. His band’s sound is a product of the evolution of punk and rock throughout the years, bringing with it a sound that doesn’t quite conform to any one genre.

11. KOLARS

KOLARS is a two member band consisting of Rob Kolar and Lauren Brown. The combination of Kolar’s vocals (think David Bowie meets The Killers) and Brown’s innovative performance drumming makes for a strange and wonderful chemistry. KOLARS is a prime example of the extensive musical variety that can be found at Savannah Stopover.

10. Acid Dad

Acid Dad’s sound is reminiscent of something you might hear in an underground club twenty years ago, and don’t get me wrong, that’s a good thing. Their ‘we don’t give a damn’ attitude and punk meets hard-rock sound gives them an appearance of self assurance and decisiveness that is often hard to come by in new talent, putting them at number ten on my list of must-see artists.

9. Lola Marsh

Savannah Stopover’s lineup this year is seeing a plethora of strong female vocalists, and Lola Marsh is no exception. Since their impressive self-released EP in 2016, the duo has seen a quick rise in popularity with tours across the US and Europe. Consisting of singer Yael Shoshana Cohen and guitarist Gil Landau, the duo has developed a strong fanbase thanks to their unique, upbeat sound.

8. Stoop Kids

There’s nothing like the infectious energy of bands who look like they’re having a genuinely great time with each other on stage, and that’s exactly the kind of vibe Stoop Kids gives off. The New Orleans-born quintet delivers an updated version of classic sounds found in New Orleans’ rich culture, from hip-hop, to jazz, to rock.

https://www.youtube.com/watch?v=aIKe2aEnCp4

7. Future Generations

Indie pop band Future Generations has really taken off since their debut album in 2016. The album has seen millions of streams on Spotify and the group has been regularly touring across the US. Their music is reminiscent of bands like STRFKR, Moon Taxi and Portugal. The Man, with an alt-indie sound that is popular among most audiences today.

https://www.youtube.com/watch?v=Y-syx-QNrX0

6. The Bones of J.R. Jones

The Bones of J.R. Jones is the one-man blues and roots act of New York native Jonathon Linaberry. It’s hard not to admire Linaberry’s extensive skills as he does percussion, vocals and a combination of either guitar or banjo, with an occasional harmonica all at once. If not for his musical ability, it’s worth seeing The Bones of J.R. Jones just to witness the passion in his performance.

5. Larkin Poe

This sister duo is keeping the spirit of old school music alive with their soulful, gritty rock ‘n roll sound. Originally from Georgia and now living in Nashville, Rebecca and Megan Lovell draw inspiration from their southern roots, and after growing up in the same household, they’ve developed an undeniable chemistry in their music.

4. Nikki Lane

I just can’t get over how many great female artists are blessing Savannah Stopover this year! Americana wonder Nikki Lane is a bad**s southern woman with her own personal style and distinctive vocals. Her set is definitely worth making it to.

3. of Montreal

It’s hard to describe the art of Kevin Barnes, the mastermind behind of Montreal. With his extended club mix 80’s pop sound, drag looks and out-of-this world performances and music videos, Barnes is making a serious impression on today’s music scene. With a look similar to Andy Warhol and a self-proclaimed paranoia of big government, Barnes seems to have an artistic complexity within himself that is evident in his music.

2. Cicada Rhythm

These folk/americana Athens locals bring a soulful sound that’s largely uncommon today, along with sincere, impassioned performances. The chilling harmonies of Andrea DeMarcus and Dave Kirslis put them high on my list of must-see artists, and once you see them live, you’ll understand why their sound is so hypnotic.

1. Wild Child

What started as the brainchild of Kelsey Wilson and Alexander Biggins in Austin, Texas has blossomed into a seven-piece indie-pop band complete with ukelele, violin, cello, trumpet, harmonica, drums, guitar and keyboard. With four studio albums under their belt and multiple worldwide tours, the band has gained a solid, steady momentum and developed a devoted fanbase. Their newest album, ‘Expectations,’ exemplifies a mature, confident sound as the artists drew from inspirations all over the world while writing the music while on tour. It’s hard not to smile while watching the band’s undeniable chemistry unfold as they grin cheek-to-cheek while performing.