Tag: Rock
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Review: CLOUDLAND: ‘Where We Meet’
As the clock strikes midnight, CLOUDLAND, based out of Athens, Georgia, celebrates the release their debut album, Where We Meet. The four-piece rock group is made up of members: vocalist Zach King, Karmen Smith on drums, guitarist Aidan Hill and Hogan Heim on bass.
The ten-track album was written over the last year and a half, handing us the means to cope with the solitude we have all felt recently but also the relationships we have curated and reinforced, stronger than ever before.
“Sunday Afternoon” eases us into this significant milestone of CLOUDLAND’s —acoustic guitars extend their reach to greet us, vocal harmonies enticing us to stay. Truly depicting of a Sunday afternoon with a hint of what’s to come in the week. And just like a Monday, “Overthinking” wakes us up from our breezy, Sunday haze. “Thinking straight is something I can’t do… while my mind’s on you.” This track stuck out the most to me with a chorus that you just have to loudly sing along to in the car, and the sweet innocence of being absolutely enthralled by another is something that should be cherished. This came out to be one of my favorite tracks from the album; it offered enough in the instrumentals — the punchy guitars, the drums backing up the energy of the song, and the catchy vocals. Personally and a little surprisingly, I found the titular track, “Where We Meet”, to be one of the lesser hits off the freshman album. It reminded me a bit too much of my own youth group days, but that’s trauma to unpack another time.
Next up is the recently released single, “St. Elmo” — the band writes, “It’s about having someone by your side that can take all the confusion of self doubt away by just holding your hand.” Along with track two, “Overthinking,” this is an automatic add to any roadtrip playlist, from Chattanooga to St. Elmo to North Shore. “Lights” is next, a track that gives me hints of nostalgia for the nights I never lived, the memories I haven’t yet created, within in the coming-of-age film I never will star in. Midway, the album is struck by what seems like the tail end of an alien invasion dream, the piano keys of “Sunday Evening” waking you up from your feverish illusion. Continuing on, a track that hit a little too close to home is “Walking Away.” King asks, “Did a dream just die?” A question we might never get the answer if we quit pursuing. But, as a response, “Coming Back,” the moody guitars and instrumentals echo the lyrics, the two deep in conversation. Taking a different approach, “Restless” shows a much more emotionally vulnerable and softer side of the band featuring higher pitched vocals, an entrancing guitar progression, and soft drumming. “I am restless inside of myself. I’m always trying to be something else.” “Perfect Timing” brings it home with bursts of energy we almost forgot existed, closing the album out with a lulling trickle of shoegazy guitar and whispers of harmonies.
Where We Meet is available for listen on all streaming platforms, and Georgia fans, keep an eye out for CLOUDLAND’s show dates in Atlanta and Athens.
Recommended for fans of Moon Taxi, Bad Suns, and Hippo Campus.
Tracklist:
- Sunday Morning
- Overthinking
- Where We Meet
- St. Elmo
- Lights
- Sunday Evening
- Walking Away
- Coming Back
- Restless
- Perfect Timing
Artist to Watch: The Boy From The Crowd
From London, UK, The Boy From The Crowd is made up of Vinny Placa and Vegas Ivy. With Placa on vocals and guitar while Ivy manages drums and percussion, The Boy From The Crowd creates a blues-infused rock sound that walks the line between cult favorite and top 40s, resulting in songs that are eclectic but still make you bob your head to the beat. Their most recent release titled Where the Bees Come to Die introduces the band’s mechanical and lyrical skills, while also allowing room for improvement.
The first track, “Revelator”, showcases The Boy From The Crowd’s London rock flair with bluesy influence. The sound is catchy, upbeat and progressive throughout despite the repetitive lyrics, while the differences in the song are shown through the changing instruments and the evolving bass and guitar riffs. The use of backing vocals is spot on, especially with its use in the chorus as more of a shout and as a quieter, more intimate repetition for lyrics within the rest of the song.
“All I Need” shows a musical style similar to a combination of earlier Kings of Leon, the White Stripes and The Arctic Monkeys but with a scruffier lead singer (if that was even possible with Kings of Leon). Halfway through the song it cuts to silence with the lead singer still singing, allowing a really nice change of pace. Overall it flows very nicely, however for a five minute song some differences in instrumentation and vocals are necessary.
Different than the prior two tracks, “The Road” sounds more drowned out and surf rock-esque, giving much more of a pop sound. An interesting inclusion to the album, “The Road” really showcases the versatility of the band in terms of genre experimentation, but the guitar hero solo about halfway through the song indicates that some further tweaking is needed to perfect a cohesive sound for an album.
The final two tracks are “All I Need (Single Edit)” and “Where the Bees Come to Die”, both of which have issues. “All I Need” is on this album twice, and with only five songs total that is unnecessary repetition without much change between the two versions (although the second “All I Need” cuts out about a minute and a half of useless jamming). “Where the Bees Come to Die” has a bluesy steel guitar introduction that sounds too blues-influenced to be surf rock but still retains intrigue. The entire ending track is an instrumental, which is a strange choice considering there are only three true songs on the album.
Overall, The Boy From The Crowd has the chops to create something exciting and catchy, but falls short in delivery on Where the Bees Come to Die. The lack of cohesiveness on the album indicates some indecision in terms of the style of the band, which can either be a good thing or a bad thing for the future of the band. However, the interesting style of blues and rock is definitely something that holds promise.
The Boy From The Crowd released Where the Bees Come to Die on December 7, 2015 and is currently available for purchase on its Bandcamp, here or on The Boy From The Crowd website, here.
Deerhunter: Fading Frontier
While Deerhunter usually takes an upbeat, noise rock approach in their earlier albums, Fading Frontier exhibits a softer side. Deerhunter stays true to their experimental rock distortions but incorporates a dreamy 80’s synth-laced sound. The indie rock group recently released two singles from Fading Frontier, “Snakeskin” and “Breaker,” two of the more energetic tracks on the album. Check out Vinyl Mag’s review of the music video for “Snakeskin.”
Deerhunter’s previous album, Monomania, relied heavily on raw vocal distortions. While Monomania adhered to Deerhunter’s experimental style, Fading Frontier trails off towards a style of airy dysphoria. While “Snakeskin” initially portrayed a vibrant atmosphere, it is only one of the few upbeat tracks on the album. “Breaker,” another upbeat single, exudes a west coast, surfer vibe. Tracks like “Living my Life” and “Take Care” use a romantic echo effect, overlaid with simple melodies. High-pitched string instruments and twinkling piano sounds create an eerie effect, as heard in “Leather and Wood,” but the album still maintains Deerhunter’s cohesive rock sound.
The album ends with “Ad Astra” and “Carrion,” two tracks that purposely coincide, but why? “Ad Astra” is Latin for “to the stars.” The track ends with a vintage sound clip of a man singing in a Harry McClintlock style, “I wish I were a mole in the ground.” “Carrion” picks up where “Ad Astra” ends as front man Bradford Cox sings in an upbeat tone, “I will become a mole in the ground…It’s much too deep. What’s wrong with me? I can not see.”
In an interview with Stereogum, Cox explains, “There’s no difference in you telling me what you think the song is about and me telling you what I think the song is about, because neither of us are right or wrong.” The album comes together in its unified style. The concept of Fading Frontier coincides with the spacey, dream-like melodies of the album. Perhaps the album isn’t meant to be deeply analyzed but rather listened to as a whole; that is when the true talent of Deerhunter reveals itself.
5/5
Kurt Vile: b’lieve i’m goin down
Kurt Vile’s new album, b’lieve i’m goin down, opens with “Pretty Pimpin.” The riff immediately implants itself in the listener’s mind and forces him/her to learn the lyrics. Vile, formerly of The War on Drugs, exhibits a lingering twang, ironic considering he hails from Philadelphia. His country-tinged rock combines synth-laced beats to create catchy, western melodies that make any listener feel a little bad. “Pretty Pimpin” is just one of many popular singles from the album. The track begins with a foot stomping melody and transitions into Vile’s raw vocals. With the monotone fluidity of Leonard Cohen and the inflections of Lou Reed, Vile comes through with a stripped down album of genuine lyrics and haunting melodies.
Vile’s bluegrass background reveals itself in “I’m an Outlaw.” A synthetic beat compliments Vile’s banjo fingerpicking to produce a western, country vibe. The fingerpicking continues in “That’s Life, tho (almost hate to say)” with heavy acoustic sounds. The track is softer, and its simplicity allows Vile’s deep vocals and lyrics shine through. Another popular single, “Life Like This” moves away from the southern style to a evocative piano melody.
Vile’s rough-cut style combines his bluegrass background with modern alternative styles. Vile’s smooth but distinct vocals soften stark chord changes. Likewise, Vile is just as capable of producing a slow, sweet track like “All in a Daze Work.” The album really speaks to Vile’s progress since the start of his solo career in 2008 with Constant Hitmaker. Don’t let Vile’s long, tangled mane intimidate you, his songs are lovely and comforting.
5/5
Black Lips at the 40 Watt
The line to the 40 Watt curved down Pulaski Street as people waited for the doors to open. Those who RSVP’d ahead of time were sent to a Red Bull Sound Select representative and given free chocolate chips cookies and foam black lips. Once inside, Muuy Biien performed an enthusiastic show and set the hardcore, punk mood for the rest of the night. Front man, Josh Evans brought the energy and the fun with his animated dance moves. After Muuy Biien, people migrated to the bar or outside for a cigarette. Even the boys of Muuy Biien made their way to ground level as fellow Black Lips fans. We weren’t outside for more than 30 minutes before my friend points out Black Lips’ singer, Cole, and the band’s female saxophonist walking by. It was an occurrence that seemed so surreal at the time, to be that close to performers dressed in their punk garb and makeup. Shaky Knees was a completely different experience; fans leaned over metal gates and bodyguards in order to reach for the Black Lips. The 40 Watt is much more intimate, eliminating the barrier between the audience and the performers. It’s not uncommon to see band members mingling among the audience with a PBR in hand or partaking in the chaos that is the mosh pit.
Finally, the seemingly misplaced 50’s standby music abruptly transitions to the rough and raw guitar sounds of Black Lips. Opening with “Family Tree,” the band wastes no time in amping up the energy. Cole gracefully trust falls onto a tightly packed group of audience members, and is just as gracefully placed back on stage. I vigorously nodded my head and bounced in the back of the crowd. The band recently included a female saxophonist that brings a new layer to the band’s sound. Although she is only present for a few songs, her power gives the songs new life. Its no secret that punk-rock shows can be overwhelming; one doesn’t come to a punk-rock show to sit in the back and not get pushed around. I think the genre is successful in generating an energetic crowd; as long as the performers are screaming into the mic and jumping around on stage, the audience is bound to follow. The genre gets back what it puts in. Have you ever been to a rock concert and not been able to dance? It’s hard. I think the same concept goes for any genre, but the punk-rock genre is all about creating chaos and instilling a rebellious mindset in its listeners.
It wasn’t long before I saw my girlfriend crowd surfing a few bodies in front of me. She was so close to the stage that I think Cole looked her square in the face. A few girls gabbed back in forth in front of me, a few even checking updates from Instagram as the band played “Boys in the Woods.” I couldn’t go to a Black Lips show at the 40 Watt and remain in the safe section. People started to filter out of the crowd, making their way to the calmness of the bar. The aggressive moshing and flying toilet paper rolls were too much to handle, but I grabbed my friend by the hand and pushed our way closer, eventually reuniting with my crowd surfing friend. I knew the concert was coming to an end, and I also knew I would regret it if I didn’t enter the ominous mosh pit. I asked my crowd surfing friend to come with me, which she agreed to without hesitation. As we pushed our way into the pit, the temperature immediately climbed 10 degrees and the humidity was enough to stifle my breath. Once in the center of the pit, my legs and arms became pinned to my body. It took all the power I had to pull an arm up for defense. I finally got my head up enough to see Jared’s sweaty, red face and the veins popping out of his neck as he belted out “Bad Kids.” In a blur, I see a guy jumping off the stage, and it’s my job to catch him. Immediately the impact takes my friend and I to the floor. I was surprised to feel people reaching for me, helping me up. It wasn’t long before the weight of so many bodies took its toll, and just as I felt a crushing sensation in my chest and a tingling in my face, I moshed my way out of the pit.
Just as Black Lips ended, the crowd chanted for an encore, and the band willingly obliged. I discovered I’m not much of a mosher, but I was proud of myself for taking a chance. Their recorded songs definitely have a cleaner quality, but there’s something about the rawness of a blood-curdling scream and the feedback of a guitar that gets to the heart of the audience member, physically. If you’re heart isn’t racing at a Black Lips concert, you’re either in the bathroom or passed out.
SXSW 2014: Night Riots x Vinyl Mag
What would you get if U2 and The Killers had a baby? Night Riots – that’s what. Hailing from central California, this rock band has such an infectious sound that both MTV and Rolling Stone have taken notice. We were lucky enough to have the opportunity to chat with them during their stint in Austin during SXSW, so read on to hear about how the band formed, their influences, one band member’s premonitions, and what’s in store for Night Riots down the road.
Vinyl Mag: So you guys have playing together since you were teenagers, how did the band form?
Travis Hawley: Well Matt and I met in middle school, and then the rest of us started playing together when we were little kids. We grew up playing music together and it has just been that way ever since.
VM: Comparisons have been drawn between Night Riots and big names such as The Killers, The Clash, and U2. How would you define your sound?
Nick Fotinakes: Sort of like a mix between The Killers and U2. I don’t know; I like it. I think it has the nostalgia of U2 or maybe some 80’s stuff. But, we also grew up listening to a lot of punk music, so it still has a lot of angst and darkness. I don’t know; it’s just rock with a listenability.
VM:You guys had to change your band name due to copyright infringements. How did you guys settle on the name Night Riots?
TH: It came to Mikel in a dream.
NF: Mikel has a lot of premonitions. Like on the flight over here, he thought we were all going to crash.
Matt DePauw: No, he saw a ring of light, and it was hopeful. He grabbed my wrist and was shaking, and then his eyes went completely white, and he saw a vision…
VM: You raised the money to put out your EP Young Lore independently. How was that experience?
TH: It was fun; it was a actually a cool way to give back to our fans. You know, they would donate surprising amount of money, and then we just tried our best to make worthwhile things to give back to them. So, we just had a bunch of cool little perks.
VM: Who would you guys say are your biggest musical influences?
TH: I like INXS.
NF: Travis.
MD: Dr. Dre, 2001. I mean it, it’s a great album. It inspired me a lot.
VM: So, welcome to the heaven that is South by Southwest! Any really cool experiences yet? Or anything you guys are really looking forward to?
Rico Rodriguez: South by Southwest is just pure chaos. You have people throwing up on people, Lady Gaga flying around on meat, barbeques.
MD: Pretty much in the streets, too. She’s throwing up on stage, then you walk outside. Mikel saw that one in a premonition. He saw us eating gyros later, too…
VM: What is your favorite venue you guys have played?
TH: I like the Great American Music Hall in San Fransico; that’s pretty awesome.
NF: I like this place called Humphrey’s by the Bay in San Diego. It’s like a big outdoor amphitheater. You saw people on their boats pull up and watch the show.
VM: You were featured on Rolling Stone and on MTV Buzzworthy in 2011 and 2012. How did that feel to get that exposure?
NF: Pretty cool – like surreal. It’s something you never really think is going to happen, but then it does, and I don’t know. It doesn’t really click in until someone tells you it’s cool, and then you think it’s cool. I am really peer-pressure-influenced.
VM: How would you say your music has evolved since the beginning of the band?
TH: Since the beginning of time. It has just evolved. It has all been pretty organic, and I think recently we have been exploring a lot more textures and sounds and rhythm, so I think that’s the biggest thing. But also, just pushing ourselves to be a little bit more outside of the box.
VM: If you could play a live show or collaborate with any band or artist dead or alive, who would it be?
MD: Freddy Mercury. Or that guy Death Grips.
VM: What can we expect from Night Riots after SXSW?
Mikel Van Kranenburg: Lots of gold, gold rings. That’s what I saw.
TH: We are going to come home, and then we are actually just spending a couple of months just writing music, get[ting] a couple of music videos done. A bit of touring, and then we are going to start it all over again.