Tag: EP
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The Asymptomatics Celebrate New Single ‘Two Possibilities’ With A Live Performance at Flicker Theatre and Bar
Athens has been home to critically acclaimed bands throughout the decades, marking the Classic City as not only home to the University of Georgia and its students but also a booming hub for artists and musicians alike. One such band is the funky, weird but strangely groovy The Asymptomatics.
The Asymptomatics, or “the Asymps” as they are often called, is a band of nine members who have made “chaotic” the name of the game. Since its formation in 2019, the band has garnered a name for itself within the music community of Athens. After the release of three singles, they have now added one more to their list of original music. To celebrate the release of their brand new single, “Two Possibilities”, the Asymptomatics recruited a list of prominent local Athens bands to play at Flicker Theatre and Bar for a night of unforgiving energy and sound.
Walking into Flicker is always a surreal experience, particularly on the evening of a gig. From the outside, bypassers can hear the beat of the featured band while they smoke a cigarette and drink a beer. Walking through the red curtains that lead to the venue portion of the establishment, stationed in the room next to the bar, I could see a sea of people bobbing their heads to the band, Neat Freak, which was followed by Late Notice and finally, Bog Bod. The celebrated feature of the night, The Asymps, performed last. Between bands, members handed out flyers with the single’s cover art designed by Hollis Midriff and they discussed their excitement to play their cleanest-sounding single live for the first time.
The band’s set began as most of its sets do, with the lead singer Max Mahieu relentlessly jumping around the stage with the band, maintaining an aura of chaos that has defined the group’s career, particularly in the past year.
The single itself possesses an eccentric guitar-solo build-up in the outro. Though their MO is full-fledged passion, this song was a pleasant departure as it boasted a more meaningful and slower vibe. “Two Possibilities” explores that little gray area in life by rejecting the idea of black-and-white decisions and outcomes. A simple song to describe how intensely unsimple this life can be, especially when young, as the band members are.
“A lot of times it seems like there’s two possibilities but, you know, in reality, things are a lot deeper than that,” says Mahieu. “It’s not just decisions you make, it’s the decisions of the people around you and the ones you love that affect your life and affect their life.” Mahieu’s family is the inspiration behind the song, which was written by Mahieu and his mom, who is a musician herself.
It’s both happy and sad which is reflected by the musicians as they played with electricity and passion, making the audience feel the underlying irony of “Two Possibilities”. Mastered by Jason NeSmith at Chase Park Transduction, “Two Possibilities” incorporates a classic guitar solo from the lead guitar that amplifies the emotional aspect of the song.
“We wanted to have this big rock section at the end that instrumentally captures the emotion and the vibes of the song that the lyrics start at the beginning,” said Mahieu.
From there, the band immediately transitioned to play their classic, most-noteworthy hit “GTFO! (Gerald the Friendly Orangutan)” which was a lighthearted and silly conclusion to a great show.
Though the chaotic transformation of the Asymptomatics onstage is something that some would deem messy and unorganized, those with an ear for passion would comprehend that this gives the band its personality, hence its rising claim to fame within Athens. A funk outfit of shameless chaos and a force to behold.
“Two Possibilities” is out now on all platforms, with the Asymptomatic’s first full album slated for spring.
Artist to Watch: Rayland Baxter
After a friend recently saw Rayland Baxter in Atlanta, she convinced me to listen to his most recent EP, SOHO. It’s been four years since Baxter released his debut, full-length album, Feathers & Fishhooks. Most of the tracks on SOHO were previously featured in Baxter’s full-length album, Imaginary Man.
Upon listening to SOHO, it is clear that Baxter finds harmony in simplicity. With a sound that can only be contributed to his musical history in Tennessee, Baxter exhibits subtle, southern guitar riffs and a slight vocal twang. All of these things make up Baxter’s folk-rock persona. It is no surprise that Baxter’s father, known as William Baxter, worked with artists Bob Dylan and Ryan Adams among others. Furthermore, Baxter has come into his own style of feel-good folk albums that seem to embody the spirit of the southeastern mountains.
SOHO opens with “Mr. Rodriguez.” With a fluid acoustic sound, Baxter harmonizes with his equally smooth vocals and soft inflections. His single, “Yellow Eyes” follows; the track previously appeared on Imaginary Man, accompanied with a soft drumbeat and subtle female vocals. However, SOHO focuses strictly on Baxter’s stripped down solo sound. “Oh My Captain” continues the slow, somber style with a an uplifting chorus that allures its listener to match Baxter’s powerful vocals and signature whistle.
Equally as impressive as his sound are Baxter’s lyrics. It is quite obvious that SOHO, or any of Baxter’s albums for that matter, is not strictly about a man and his guitar but about an experience that Baxter wants to poetically share with his listeners. Baxter seems to elicit the story-telling talents of Leonard Cohen. This is especially true in “Freakin Me Out.” SOHO ends with a cover of My Morning Jacket’s “Bermuda Highway.”
My only qualm with SOHO is that it is too short. While the chance to catch Baxter in Georgia has passed, he is scheduled to play at Bonnaroo 2016 in Manchester, Tennessee.
5/5
Penny Lame: ‘Penny Lame’
Girl-pop is getting a makeover. Athens singer and songwriter Jianna Justice is cultivating a sound that stands entirely on its own, starting with her act Penny Lame. With only two EPs and eleven songs total, Justice hits all the right notes with a sweet voice, minimalistic and upbeat. Penny Lame, released on Nov. 4, 2015, is already a must-listen for those of any age. The tropes of teenage troubles combined with elements of sarcasm and deprecation reflect a very honest image of millennials growing up in a college town surrounded by people that may or may not be growing up with them.
Starting off with the light “Party Song”, Justice says all the things that everyone has been thinking but not saying out loud. The combination of simple pop guitar riffs and lyrics like “I’m the saddest girl at this party” set the tone for the rest of the album: sad acceptance for how things are, with resilient optimism for better things to come.
“Boys & Girls” shows playful comparisons between girls and boys, that create interesting back and forth dialogue between expectations and cold realities of young romance (or lack thereof), while being put down by the even harder reality: “that’s just how it is, cause boys and girls are just kids”.
Sounding like a stripped down Radiator Hospital, Justice is a venus of the avenue with “Penny Lame”, a personal favorite from the EP. With soft backing vocals accompanying the initial lyrics, “Penny Lame” stands out for the growing genre of girl-pop.
“Night Swimming” brings a slower and darker angle towards the pop, then “Slushies In a Target Parking Lot” picks up the pace and offers flutters of the ‘what if’s. To end the EP, “Scumbag City” is refreshing and honest. Billy and Joey do sound like scumbags, and are pretty much relatable to most of the ex-partners we’ve all had.
Without gushing on too much about how great this release is, a quick summary: Penny Lame shows the best and worst of being a teenager or young adult, while navigating that line between growing up and staying young. Penny Lame strikes a chord not just because it’s catchy as hell, but because it’s chronicling a place we’ve all been.
Penny Lame can be found on Bandcamp here: http://pennylame.bandcamp.com/releases
WYATT: ‘Here Comes Everybody’ EP
Representing New York City, WYATT releases her newest EP Here Comes Everybody. Better known as singer/songwriter Maddy Wyatt, her style is generally described as indie folk pop, but her EP diverges into psychedelic effects and French lyrics, influenced by WYATTS’s own family line.
“Palacyum” opens the EP with a simple beat and a 90’s rock vibe. A slight echo effect and smooth lyrics debut WYATT’s flawless vocal range.
“L’ete,” which translates into “the summer,” follows with WYATT’s French incorporation. Her soft vocals and ethereal “ooh’s” and “ahh’s” embody the attitude and sensuality of France.
“Up & Up” lifts us from a hazy summer in France with a psychedelic rock beat and groovy sound effects, while “4 & 20” mellows things out with airy harmonization and more of WYATT’s French lyrics.
Closing the five track EP, “Walking Down 6th Ave in the Sun” continues with the softer sound and goes back to WYATT’s signature folk sound and Stevie Nicks-like lyrics, “We are the moon howlers.” According to WYATT’s website, the song came in a flood as she was walking through her Brooklyn neighborhood. The track ends the EP on an uplifting note.
Throughout the EP, I could not help but be entranced by WYATT’s liquid voice, which jumps from low to high in a switch. Even watching live performances, she sings as if she were reading a fairy tale.
WYATT takes us through snippets of her history and feelings with sounds that come from Wyatt’s background in cool Colorado, the fluidity of the French language and New York’s energy. All of this combined to make up a simple, but playful little EP.
3/5
Cole Swindell: ‘Down Home Sessions’ EP
Due to the success of his self-titled debut album, Cole Swindell released a follow-up EP Down Home Sessions on Nov. 17.
Little did Swindell know his role as Luke Bryan’s merch seller would be interrupted by the start of his own musical career. Born in Bronwood, Georgia, Swindell attended Georgia Southern University, where he met and became fraternity brothers with Bryan. The singer proved to be a successful songwriter after writing a large portion of Bryan’s most recent songs, “Outta My Head” by Craig Campbell, and rising star Thomas Rhett’s biggest hit “Get Me Some of That.” In 2013, he released his biggest hit to date, “Chillin’ It” independently and later signed with a label after the single showed some headway up the charts.
His first single simultaneously became his first No. 1 song, certified platinum by RIAA. His debut album, Cole Swindell, rose to No. 3 on the US chart and No. 2 on the US Country chart. He was invited to open on Luke Bryan’s That’s My Kind of Night Tour and promoted his album there, while selling over 200,000 copies. He also claimed the title of New Artist of the Year at the 2013 CMA Awards. Swindell has achieved a monumental amount of success just in the 11 months since his career kicked off.
In a recent interview with Rolling Stone, Swindell said:
“The fans are always wanting new music, and with as much as I love to write I might as well give them the music while I’ve got it. I just don’t want any songs to go unheard.”
Swindell has achieved a high honor in such a short time, headlining his own Down Home Tour this year and heading on tour with superstar Jason Aldean next year. What better way to prepare for a tour than release some new music? The EP will consist of songs that wouldn’t fit on his debut album. With so much success in songwriting, it’s no surprise the singer had an excess of material.
Unfortunately, Swindell’s songwriting abilities come up short on this album. “Ready” kicks off the EP with the typical country song about a beautiful girl and her dance moves. Groundbreaking, right? If anything, this song is an unoriginal attempt at every top hit in the country genre. It seems the headliners he’s opening for have a heavy influence on his own music.
“The Way You’re Lovin’ Me Now” sounds similar if not exactly the same, echoing the style of Jason Aldean and Florida Georgia Line. The next song, “Kiss,” is, you guessed it, exactly the same. Over half the EP sounds like the same song, and listeners will be bored after the first minute. If you’re looking for some mediocre country love songs, this is a must-have.
The Down Home Sessions EP contains five songs that sound exactly the same. Swindell makes a feeble attempt at being “one of the guys” sitting atop the charts with the same material continuously heard on country radio. If he would stop trying to imitate the artists he opens for on tour, he would stand a decent chance of releasing some unique music.
2/5
HOLYCHILD x Vinyl Mag
There might not be a more fun genre than indie-pop. If you don’t believe me, then give HOLYCHILD a listen. With the uncanny ability to create catchy tracks with depth, it’s no surprise that the band has gained quite a following. After earning early success for their song “Happy With Me,” the LA-based duo recently signed with Glassnote Records and dropped an impressive debut project accompanied by a short film. HOLYCHILD is comprised of lead singer Liz Nistico’s sugary, poignant vocals and Louie Diller’s punchy, melodic, and always-catchy musical compositions. I recently got the chance to get with HOLYCHILD about their debut EP, their favorite dessert foods, and a slew of other sweet subjects…
Vinyl Mag: So, your first EP, Mindspeak, just dropped in March. Do you feel like there’s an overarching theme for the project?
Liz Nistico: Hey! Yeah, the EP just came out! The overarching theme is pretty much centering around me exploring my role as a female in our culture. However, to me it’s even more than that, and really commentary on who we all are, versus who we’re told we’re supposed to be, in relation to our culture and other humans.
VM: I saw that you also released a short film with the EP. What was it like to make that, and why did you feel like you wanted to pair the project with a short film?
Liz: I really wanted the message of the EP to be clear, and I thought that accompanying visuals would really enforce that. I also am a very visual person, so I didn’t really feel the art would be complete without it. I was so grateful to be able to write and direct my own videos, especially because it was my first time really directing! It was nice to be in control of all aspects of the film, from what styles the girls are wearing to what the location looks like to exactly how the actors are interacting. It’s really nice doing HOLYCHILD, because it really is all-encompassing artistic expression!
VM: What was your writing process like for Mindspeak?
Louie Diller: For Mindspeak, Liz and I wrote all the melodies and harmony together, but Liz was responsible for roughly 80 percent of the lyrics, whereas I was responsible for 80 percent of the music production. Our writing process, however, for each song tends to vary. Sometimes, I have a melody floating around in my head; other times, Liz will write using her vocal loop station, and we’ll go from there, and actually for a few songs on our album, Liz has woken up from a dream with songs fully fleshed out!
VM: A whole lot of sweets in the video, and you used a doughnut for the Mindspeak cover art. If you could only have one dessert for the rest of your life, what would it be?
Liz: Ha! I think cheesecake for me.
Louie: Hot fudge chocolate brownie with vanilla ice cream on top!
VM: How does it feel to be signed to the same label [Glassnote Records] as artists such as CHVRCHES, Childish Gambino, The Temper Trap and Two Door Cinema Club just to name a few?
Louie: Right on – lest not we forget Phoenix, Mumford and Sons, Givers and a handful of other really inspiring artists! Money, hype and buzz aside, creatively it has been very validating to sign with such a reputable label like Glassnote and to now have all these amazingly privileged opportunities handed to us. After some years of the starving artist struggle, it is a privilege to to not only eat a little bit better, but more importantly, execute our vision on a level we have always dreamed of reaching.
VM: You guys, CHVRCHES and GIVERS are the only bands on the label that use all capital letters in your name. Do you guys get together and make fun of the non-caps nerds?
Liz: Haha, yeah obviously, all-caps fo life. Nah, just kidding, we’re pretty nerdy into all of the other Glassnote bands. I think Louie expressed this, too, but when we get together with the other bands, we’re pretty much like, geeking out on their songs, and live shows, and aesthetics. We’re big fans!
VM: I read that you met each other in a dance class at George Washington University. What did each of you study?
Liz: Yeah! I studied International Affairs, Italian Literature and Dance (mostly modern). I know I’m not directly employed in these careers, but I do feel like I’ve taken all this knowledge and applied it to what I’m doing now.
Louie: I studied International Affairs and Jazz Studies. Obviously, I am not doing the former professionally, but a secret ulterior motive Liz and I have had for pursuing HOLYCHILD is to use it as a vehicle to travel the world! Hehe, don’t tell anyone!
VM: You [had a show] on April 5th back in DC. [Did] it feel like a homecoming of sorts?
Louie: It did feel that way! But we were not there long enough! DC has always treated us really well, and we are fortunate to basically have a home away from home in DC.
VM: What are you currently listening to?
Liz: So much. I’m pretty into Sylvain Esso, Tune-Yards, Loch Lomond, Sam Smith. I am just starting to really to get into Sufjian Stevens which, WTF – why is this just now happening?!
Louie: St. Vincent, Andrew Bird, Battles, OutKast, Thelonoius Monk (always), and more.
VM: Who are some of your musical influences?
Louie: Our musical influences include everybody from Fiona Apple, to Dirty Projectors, to Katy Perry, No Doubt, Afro-Cuban Guaganco, and many more.
VM: If you weren’t making music, what do you think you’d be doing?
Liz: I would definitely be making art in some way. I don’t know if it would be writing or dancing or making visual art, but I know myself well enough at this point to have realized that I fall apart when I’m not making art.
VM: I read that you guys used to make five-month plans and goals for the band. Do you still do that, and if so, what are you planning next for HOLYCHILD?
Liz: Yes! Haha, yeah we’re definitely systematic and still really organized with our approach to how we release things and why. That’s probably the biggest takeaway we have from GW [George Washington University]! The one thing that’s changed now is we have a team behind us, and our five-month plans have turned into 12-18 month plans. Things are just much more certain now (kind of)! So coming up for us, we’re mostly going to be touring for the rest of the year! We just dropped our EP, Mindspeak, and our album with be out in the fall.
Kristin Hoffmann: ‘New Directions’ EP
Kristin Hoffmann recently released a follow-up EP to her full album, The Human Compass. The EP, New Directions, is comprised of three remixes to songs from the previous album. While the EP attempts to transform her ethereal Renaissance pop songs into something more electronic, it fails to realize the true purpose of a remix, which is to take an old song and shed new light/offer a different perspective by adding and subtracting certain qualities.
The original album has some undeniably beautiful piano melodies. Add Hoffmann’s distant, ethereal vocals and you’ve got a catchy pop tune, right? Unfortunately not. One of the qualities that the original album lacks is the presence of a single catchy hook or pop-ish melody. While melody is certainly important in any remix, it often does not have to drive the track like it does in most pop songs. With this in mind, I was hopeful that the three remixes could offer something that the original album did not.
With the exception of the “Ghosts” remix, New Direction doesn’t do much for the original tracks. While the songs do manage to maintain their prettiness, there isn’t much there electronically. I kept wondering when the track was going to “hit,” and then the song ended. For me, the piano and the vocals only carried the tracks for so long until I started drawing comparisons to Evanescence minus the crunchy guitars.
I do feel as though New Directions more successfully captures Hoffmann’s ideas and the original album’s ethereal goals, but it is unfortunate that the EP lack the sort of electronic punch that remixes need to be cool remixes that are worth a listen. Hoffmann sings about “a distant lullaby” in “Ghosts,” and that seems to be what this endeavor is: A distant lullaby that is too far away to serenade us to sleep, but just enough to keep us awake, like the ticking of a fan or the dripping of a faucet.
Lakker: ‘Containing a Thousand’ EP
Digital audio workstations meet the end of the world on Dublin duo Lakker’s new EP Containing A Thousand out on R&S March 11.
This EP takes the listener on a journey through a post-apocalyptic wasteland where music is made from the grinding of machines left to continue manufacturing hunks of metal without a human in sight. Dark, almost foreboding melodies swirl around hard, industrial beats, creating a sound that could only be described as coming from a cosmos with only the faint memory of human existence.
Although it is their first album released on esteemed electronic label, R&S, this techno duo is certainly not an amateur act. They have been creating electronica beats for a decade, even having the honor of being spun by Richard D James (Aphex Twin) in his live sets—a distinction coveted by much of the electronic music world.
Complex, but intense beats begin the journey through a robotic wasteland with “Counting a Thousand.” Techno vibes from a satellite far from Earth circulate the air, as machines grind and churn perpetually, having continued their course despite the absence of humanity. Perhaps, the human race has jetted off to inhabit a new planet, and left only the remnants of parties and discos floating noisily over the crackling radio waves on a used-up earth.
“Mausoleum” continues with more metal-crunching, mechanical beats. Lakker’s roots in punk, metal, and broken beats can be clearly heard, mingling with the distinctive techno sounds they have become known for. Sounds that evoke images of machines humming through long plastic tubes elicit ominous, almost eerie feelings.
The EP gets a bit more tribal with “K’antu.” This track is curious sounding, like exploring the home of a person you have never met from a culture you have yet to experience. A little bit brighter and more optimistic sounding than the preceding tracks, “K’antu” feels as if it would make the perfect background music for Alice, had she fallen down the rabbit hole in outer space.
“Thermohaline” hits the listener like a meteor, from the moment the song begins. Powerful beats boomerang as the melody builds intensity in the background. This track has the horsepower of a Ferrari, but takes quiet moments for the listener to catch their breath before pulling them back into the music—hard.
Containing a Thousand certainly distinguishes itself from all other electronic bands out there. It takes the intensity of Excision minus the screeching sounds and dub step scratches and fuses them with the spacey after-world beats of Mimosa, taken to a whole new level of brooding intensity. While the album is rather dark and ominous, techno fans will certainly be swept away to another land by this EP.
Stream Parquet Courts’ new EP
Parquet Courts’ new EP, “Tally All The Things That You Broke,” is officially out October 8, however it’s available for streaming on their website now. It’s also available for pre-order on iTunes.
PARQUET COURTS DATES:
Wed. Oct. 2 – Brooklyn, NY @ Music Hall of Williamsburg w/ The Beets, The Yuppies, Future Punx
Sat. Oct. 5 – Austin, TX @ Austin City Limits Festival (Barton Springs Stage)
Sat. Oct. 12 – Austin, TX @ Austin City Limits Festival (Barton Springs Stage)
Stream Hot Sugar’s new EP
Hot Sugar’s new EP, Made Man, can now be streamed in it’s entirety via Complex.
The EP can be downloaded here.