Tag: vinyl mag
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UGA MBUS Student Ritika Sharma Forges Her Own Pathway
At ten years old, Ritika Sharma learned how to play the guitar—but upside down. Her father, who was left-handed, refused to buy her the instrument because she often struggled with sustaining a hobby.
“After a week, I’d be like, ‘I’m bored.’ He didn’t believe that I would stick with it. So, I learned the guitar upside down,” Sharma said.
Now, Sharma carries a dedicated spirit, with her seventh song “Love You Have Left” being released in late March. Even though she started writing songs at ten years old, she has wanted to pursue a career in music since she was 14—not giving up on her musical journey.
Sharma describes her music as “textured.” She doesn’t like to label or confine it to a particular genre, having learned rock from her father, talking heavy metal with a former boss, and being classically trained all the while.
Instead, she often asks herself what mood she wants to create, letting the lyrics stand for themselves in the absence of production, and vice versa.
“If you took the lyrics away, the production would shine, it would tell a story. And, if we took the production away, the lyrics still tell a story—that’s a test I do with all my songs,” Sharma said.
As a student in the University of Georgia Music Business program, Sharma says she’s learned that she can forge her own pathway, with each musician’s route to success being different. She currently has a mix of singles and an EP released. Vinyl Magazine met with her to discuss some of the lore behind each.
For The Fish
I think [with] the oceanic-like ambiance, I wanted it to feel like two fish were singing to each other. I think I kind of accomplished that. It was my first fully produced song. So, it’s definitely a learning process. I don’t think it’s a perfect song, but it’s really cool to see my progress.
Arabella
I wrote this about a friend I had in high school who was going through a rough time. She would always be like, ‘Oh I’m trauma dumping.’ And, I’ll just be like ‘Girl, you’re my friend, I want to hear about everything that’s going on in your life.’ … I don’t talk to that person anymore. But it’s weird because people are in and out of your life, but songs can just stay with you. And I think about that person a lot. So, I think that song just means a lot to me because it was about a special person.
Water Fights
That one’s about a relationship that just changed and shifted, it wasn’t the same as when it first started. I think that was just about youth and friendships. I think we have a lot of these friendships early on that just changed. It’s folk-inspired, and I just really liked the guitar melody.
14
That song was about middle school. I think growing up, I was in a very racist county. I’d get angry, my natural expression initially was anger. … But, my dad had a very kind expression, he thinks they don’t mean it like that—we have a different outlook on what people mean and why they do things. … That song was about [how] we’ll never be on the same page about how we want to react to things, how we want to treat other people… you can love people and them not think the way you do.
The Bear
The Bear was the first song I technically posted on TikTok and got me thinking about putting songs out publicly. … I wrote that about [how] it’s like the grass is greener on the other side—you have this bear that’s outside of a cave and a man who’s in a cave, and one wants to leave and one wants to be in the cave. There [are] positives and negatives to both sides. … I think it’s some of my best lyrics.
Sweet Bitter
It was the first time I was genuinely amazed by [the] stuff I created. … Usually, I would write, and then what my rough draft was was also my final draft. But, this was the first time I was like, ‘How can we edit this? How can we make it better?’ … So it started folk, turned R&B at one point. We meshed them, so the third section has R&B melodies if you really listen to it. It’s like four completely different sections that kind of signify the healing process. I think it perfectly takes you through you going insane and feeling not healed to being healed by a person who may have affected you. And it’s that sweet bitter feeling—you love them, but it’s time to move on. And, you also hate them.
Love You Have Left
I did it for an MBUS class. I had to do it so quickly… I had like multiple people, my friends who were trusted sources, who said ‘This one had some sauce to it, put this out.’ It was more [of a] pop sound. I didn’t want to go back to folk, I was like ‘Let me keep it pop.’ The hardest part was the ending, and I think I achieved a good ending. And again, texture [and] ambiance was really big to me. I think it’s some of my best lyrics, the melody is really catchy.
Staff Picks to Satisfy Your Inner Choir and Band Nerd
Whether to help you study or because you’re actually a choir/band nerd, orchestral and choral music are a staple. Personally, I’ve been singing in choirs since middle school, discovering many fantastic pieces throughout my years.
Even though it’s not your typical pop music, orchestral and choral music still has the ability to reach souls and spark memories. I’ve often found myself in my deepest reflection when I’m listening to pieces like these.
So, three Vinyl Mag staff have each chosen songs to add to your orchestral and choral playlists, hoping they satisfy that inner band and choir nerd we know lives in each and every one of you. Check it out below.
Staff Picks for Your Perfect Granola Playlist
With the weather warming and summer swiftly on the way, it’s about time to break out your favorite “Life is Good” T-shirt again. The chacos make a reappearance, and driving with the windows down is back “in.” The only thing missing — the perfect granola playlist to transport you away from Athens, Georgia, and into the Colorado mountains instead.
The “granola girl aesthetic” has been something I’ve long aspired to have. The carefree and folky vibes that radiate off every granola person ease my type-A persona. I like to imagine myself in the woods with the sun on my face and growing my chaco tan line.
With that spirit in mind, three of our Vinyl Mag staff have each chosen songs for your perfect granola playlist this spring and summer. Some are perfect for driving and others would be ideal for a night campfire. Check it out below.
Athens DJ Scene Is on the Climb Post COVID-19
A flow state of pure connection and free movement—this is how Izzy Morrow, a DJ and promoter in Athens, describes the music environment that she hopes to curate. She says this state of being is when she feels the most connected to the universe and, when she’s on stage, to the crowd.
“Movement is such a healing thing—just dancing freely,” said Morrow. “[In our] normal everyday lives, we literally don’t get to do that… I feel like I just shed all my layers and it’s just pure human.”
Before the COVID-19 pandemic, Athens had a thriving DJ scene. According to Morrow, the Georgia Theatre in Athens, Georgia, used to book EDM shows frequently on the weekends. However, she says the number of shows and DJs in Athens has since slowed down in the post-pandemic era.
Still, many of Athens’ DJs—from underground to EDM to old school—predict that the scene is regaining footing, preparing for an anticipatory comeback.
Current trends
The live music industry, like many other aspects of our lives, changed after COVID-19. According to a study by the National Library of Medicine, the total monthly consumer spending on music has decreased by more than 45% compared to the pre-pandemic levels, impacting live music and physical sales the most.
While sales in pop music concerts have recently skyrocketed three years post-pandemic, the New York Times reports that amphitheaters operating below arena levels have seen climbing costs, and other industries, like Broadway audiences, are still down from pre-pandemic numbers.
On the other hand, the pandemic also offered rare free time for many people to try out new things—for musicians to perfect their craft. Another study by the National Library of Medicine reports that some musicians referred to the pandemic aftermath as a “creative period,” despite the disadvantages of lockdowns.
Athens also gained some quality music from the DJ scene during this time, according to Henry Landgraff, known as DJ Henny. He attributes this spike in creativity to the increased time people had to learn how to produce.
However, even beyond the pandemic’s influence, Morrow says most musicians in Athens, not just DJs, are “hungry” to create. It’s that freedom of expression that made Morrow fall in love with the Athens DJ scene in the first place. Even Landgraff, originally from Ohio, attended the University of Georgia because of the attractive music scene and music business program.
“Having like-minded people that are so musically intelligent, even if it’s not about music … it’s a microcosm [where] you can fail and there’s no downside,” said Landgraff.
Mark Weathersby, or DJ Mahogany, started DJing back in 2005. So, he’s seen the evolution of Athens DJs over the last several years. In a Flagpole story from 2016, he said that the scene in Athens was varied, ranging from top 40 hits to obscure jams—he largely agrees today. He says there’s still a crowd that enjoys older music, but there is also a new, youthful movement.
“Here in Athens, I think it’s definitely more of that top 40 scene, I think it’s going towards that … youthful, vibrant, very energetic, fun, dance scene with EDM. And, that definitely is the movement where music is going towards,” said Weathersby.
Ben Bradberry, also known as DJ Reindeer Games, describes in Flagpole a “split scene,” which poses the question: Are people coming to shows because they enjoy the music, no matter who is spinning, or are DJs attracting crowds with the specific vibe they create?
Morrow, being more involved in underground EDM, says her experience has been going to a show because you like their sound. Landgraff, who also works in EDM but for a more fraternity crowd, thinks the answer is a little complicated. He doesn’t necessarily want to be confined to one sound, which makes it a fun challenge to experiment with all kinds.
“You need to set an entire vibe—there’s nothing to watch… it’s just me and my board,” said Landgraff. “My favorite part is being able to set an entire tone of how you want your set to be… I think that the balance of Athens music makes it so people know to not expect anything going in and kind of accept it for what it is.”
Current opportunities
In the post-pandemic music scene, Morrow attributes much success to the Nightshade Family, which she describes as being like a label and events promoter. She worked as one of their resident DJs and says they’ve been instrumental in throwing shows for the underground scene, which struggled after COVID-19.
Morrow also helps host Open Decks at Mai Kai Kava Bar, which she describes as “an open mic night for DJs.” Anybody who wants to play can bring their USB and plug it in, allowing beginners to give it a try and pros to experiment with something new.
Scottie Stephens, known as Karezza, is one of the other hosts for Open Decks. Morrow says he helped her learn how to DJ and produce. Stephens started DJing and producing about five years ago, saying he also used the lockdown time to work on his music. But, he didn’t start playing shows until two or three years ago, many of which were with Nightshade.
Morrow is the one who invited Stephens to Open Decks, which they soon started hosting together. While it felt like a big step at the time, he says this opportunity helped him make connections. He reflected on how different his and Morrow’s lives would be if she had never asked him to come to Open Decks.
“Honestly, this place has changed my life for the better,” said Stephens. “I’ve met so many people in the community, and it’s given me a place to come to and keep growing my relationships with all these people.”
What’s next
Stephens agrees that the DJ scene is slowly being revived and is on a good path.
“It’s slowly being built back up, but it’s just harder to find,” said Morrow.
Now that anyone can watch a YouTube video, DJing is more accessible, according to Morrow. She emphasized the need for production skills because people can pick it up pretty quickly. Landgraff agrees, saying his biggest regret was not releasing original music fast enough.
Overwhelmingly, the DJs want beginners to approach their craft with an open mind. Landgraff said that even though a vibe cannot be predicted, the DJ must be prepared. Weathersby said he had to be like a sponge that absorbed it all.
“You need to have fails,” said Landgraff. “You have to have those kinds of low-stakes shows in order to make those high-stakes ones good.”
With summer quickly approaching, Morrow already has her eyes on the third annual “Earthday Everyday” event on May 11 at Southern Brewing Company, which is put on by Afterglo. Weathersby also thinks the warmer weather will draw back more shows to their previous hot spots.
“I bet you we’re gonna see DJs on the rooftop [of the Georgia Theatre], and I think they’re gonna be packed and ready,” said Weathersby. “By the end of this year, everybody’s gonna be back out on the dance floor dancing.”
RELEASE RECAP: Best New Music of February, 2024
February was an incredible month for new music—here are some new releases that Vinyl Mag LOVED last month!
SZA, “Saturn“
SZA teased us at the Grammys with this single, as she performed “Saturn” live, leaving us shocked at how mesmerizing she sounded. Then, she released it the next week, and it took us by storm. Some were a bit upset at SZA for tweaking the original Grammy performance recording, to which SZA responded with “No clue what’s wrong with the mixes on Saturn but all will be corrected shortly. Thank you” on X. This single will supposedly be the cover song for SZAs new album Lana, which is expected to release somewhat soon. – Alex Carrillo
Beyonce, “16 Carriages” & “Texas Hold Em“
Beyonce broke the internet during the Superbowl when she partnered with Verizon for a commercial and exclaimed “Drop the music” at the end of it. Immediately after, Beyonce released two singles, “16 Carriages”, and “Texas Hold Em”. These two singles mark the start of the singer’s country music era, and the beginning of act two of her three-part project, with Renaissance being act i. She sent a powerful message by highlighting the contributions of Black musicians to country music, becoming the first Black woman to top Billboard’s Hot Country Songs chart in the process. Beyonce’s Act ii COWBOY CARTER is set to release on March 29, 2024. – AC
Charlie XCX, “Von Dutch”
“Von Dutch” is Charli XCX’s first solo single since “Speed Drive” was released last year. She has teased her next album, Brat, dropping in Summer of 2024. “Von Dutch” has the same electric upbeat feel that we are used to hearing from her, keeping the energy flowing until the end of the song. In honor of her upcoming record, Charli XCX performed a boiler room set in Brooklyn, New York called “PARTYGIRL.” – AC
Kacey Musgraves, “Deeper Well”
Teasing her upcoming album Deeper Well, Kacey Musgraves dropped the titletrack in early February. The single and its follow-up, “Too Good to be True”, signal a return to her roots for Musgraves, who embraced a poppier sound on 2021’s star-crossed. In “Deeper Well”, Musgraves weaves her past and present, looking ahead to a brighter future. The soft plucked guitars and the cottagecore visuals are good signs for fans of her previously most-celebrated album, Golden Hour, which snagged an Album of Year Grammy in 2019. Her latest project is set to release on March 15, 2024. – Buket Urgen
Little Simz, Drop 7
UK-based rapper, Little Simz, dropped an EP titled Drop 7, which is a continuation of her drop series that began in 2014. This album blends a mix of Portuguese rap, jazz, and R&B, which ultimately showcases the artist’s talent and versatility. With this blend, the rapper’s lyricism shines, as she addresses her personal struggles, along with societal issues. – AC
The Last Dinner Party, Prelude to Ecstasy
UK-based The Last Dinner Party released their much-awaited debut album to great acclaim on Feburary 2, 2024. The all-female quintet delivered stunning tracks, with scorching lyrics, exploring themes like feminity and the packaging of pain and grief as a commodity. Their appetite for originality in musical arrangments is evident, making for a fun and fascinating listen. They deliver a product that meets the epic hype generated by their earlier live performances and singles. This is a band to watch in coming years. – BU
Brittany Howard, What Now
Brittany Howard absolutely dazzles with her wide-ranging and etheral album What Now. It’s got a little bit of everything for everyone. Howard’s refreshing honesty, dreamy arrangements, and captivating vocals make this a must-listen. – BU
UGA Glee Clubs Embrace Unity With “Vive La Compagnie” Concert
The University of Georgia Glee Clubs echoed messages of unity at Hugh Hodgson Concert Hall on Tuesday night for their “Vive La Compagnie” concert, which translates to “Long Live the Company.”
“Singing together is one of the most human things you can do,” said Conductor Sarah Gallo. “We think it’s really special … it’s also just deep in our core.”
Both the men’s and women’s groups performed a variety of pieces. From a Bulgarian folk song to a song sung in Sámi, a language spoken by Indigenous people in the northern Scandinavian region, to a poetic ballad—the repertoire was diverse.
Perhaps the most exciting piece from the Women’s Glee Club program was “Ozdolu idu,” arranged by Philip Koutev and sung in Bulgarian style. Gallo said singing in Bulgarian style required a brighter sound, which was not a typical vocal placement for choral singing.
Not only did “Ozdolu idu” bring joy to the audience, but choir members were smiling and dancing along to it too. Katie Bethbrewer, a sophomore biological sciences major, is in her second semester at the Women’s Glee Club and said this was her favorite piece to perform. According to the program bulletin, this children’s song tells a story about colorful carts “bumping and jumping” down the road.
“The concert was just awesome. I love, love, love Dr. Gallow,” said Bethbrewer. “She always does such an amazing job picking such a wide variety of music. I’m so excited every semester to get to sing all the different kinds of songs.”
Cooper Hardy, a sophomore agricultural communication major, also noticed the variety of pieces and would love to see even more languages in the future. He, however, enjoyed the “quiet and lowkey” performance of Gwyneth Walker’s “Crossing the Bar” by the Women’s Glee Club the most. Alfred Tennyson wrote the poetry, which included lines like:
For tho’ from out our bourne of Time and Place
The flood may bear me far,
I hope to see my Pilot face to face
When I have crost the bar.
However, the namesake of the concert was the Men’s Glee Club “Vive La Compagnie” performance, arranged by Alice Parker and Robert Shaw. This piece matched a jaunty mood and faster pace like the Bulgarian piece. Braden Rymer, a baritone, had a solo.
Words in “Vive la compagnie” translated to “Should time or occasion compel us to part, vive la compagnie! These days shall forever enlighten the heart,” according to the program bulletin.
“I thought the whole idea of music bringing everyone together was a great way to highlight how the music school works,” said Hardy.
Tuesday’s concert was the last opportunity of the semester to see a Glee Clubs-only performance. Because of this, Gallo made an effort to recognize the graduating seniors in the choirs.
The Glee Clubs will combine with the other UGA choirs and UGA Symphony Orchestra to put on the “Dona Nobis Pacem” concert on April 26.
“Dona Nobis Pacem is an incredibly timely and really moving piece that is unfortunately really appropriate for our world today — it’s begging for peace,” said Gallo.
A few days before the concert, two UGA students—one current and one former: Wyatt Banks and Laken Riley, respectively—died on campus. Bethbrewer said many of the songs were about hope, finding a community and finding beauty in the state people find themselves in, which helped bring her peace among the tragedies.
“Getting to hear those words and get to sing those words and preach that to our community at this time is really empowering and helps, I think, bring hope to our campus,” said Bethbrewer.
The Men’s Glee Club ended on a positive note with their performance of the Georgia Medley. This included the tradition of calling the Dawgs and skit-like choreography to engage with the audience.
“It feels like you get to experience something that’s really intimate that these people have put so much time into—I feel like it is our duty to go out there and to show our support,” said Hardy.
Score Soundtracks For Your Whimsical Fiction Movie Life
We all need a whimsical fictional world to escape to now and then. There’s How to Train Your Dragon to make you feel like you’re soaring, and Tangled to get you up off your feet. UP is a real tear-jerker, but Monsters Inc. is a real toe-tapper—all this to say that score soundtracks are a seamless way to transport us into those fictional worlds we crave.
As I’m reminiscing on my time spent in Copenhagen, Denmark, this past summer, I’ve listened to a lot of fairytale scores. Copenhagen was magical—the weather, the air, the scenery, the almond croissants, the parks, the people—I could go on. I was exploring the city on a bicycle when I stopped to take this quick photo shown above. That moment didn’t feel real.
Then again, nothing about travel feels quite real. As soon as I felt the plane take off, a supernatural buzz consumed me. Even though I’d only flown on a plane once before trekking to Denmark, I still knew I had to have a playlist ready for takeoff. The perfect song for being hurled hundreds of feet into the atmosphere: “Test Drive” from the How to Train Your Dragon score.
Here is a playlist of the best scores to be in your fiction movie moments—times like when I biked around Copenhagen and wondered upon the most perfect scenery.
Hiding Places, Out of Hiding: “Homework”
Hiding Places are one of many bands emerging through the bustling post-pandemic creative scene, escaping from an isolation that long limited the ignition of projects in-the-making. Though most of us spent apocalypse-times contemplating survival, it’s quite refreshing to remember how isolation drove many to cultivate time and energy towards their art. I saw this vitality at work amongst musical friends, and more-so those that spend their free time playing around in elaborately concocted home-studios—a fateful reality for the making of Hiding Places. Embracing the gradual return to live music with the release of a new single and mini-tour announcement, Hiding Places are just starting out with already a whole lot to offer, ever-present in the impressions of “Homework.”
The indie four-piece release their debut song today, only a few days after a fun first show at Flicker Bar in Athens on Wednesday. The single showcases their music as a blend of classic indie rock and psych dreampop, drawing upon the melodic affinities of Soccer Mommy, Snail Mail, and Japanese Breakfast. Originating between the creative hotspots of Athens, GA and Asheville, NC, the group are reflective of their influences, yet organic in their delivery of nostalgic indie. The single was mixed and produced by guitarist Nicholas Byrne, whose range of talent is evident between his present band and experimental solo project, Arts + Crafts—a diverse collection of vibrant electronica that is also available on all streaming platforms (check it out!).
Although the band self-identifies their sound as “indie alt-country”, what “Homework” translates to is a slow-build of meditative, entrancing vocals matched by waves of floaty instrumentation. Harmonious layers of swirling guitar surround the space of the single, with a presence so immense and dominating it supersedes the chorus. Serving as a transitory daze between verses, the guitar & echoing ooh’s quickly effect the song into what feels like a psychedelic whirlwind (a comforting familiarity). The serene coordination between the two invokes a feeling both uplifting and reflective. Cyclical drums and bass shy in the background, complimenting the vocals/guitar and helping to cast you adrift the song’s contemplative dreamscape.
“Homework” is one of those songs whose instrumentals alone intuitively drive the volume up, and with such a pacifying voice, the varied potential of the band is eminent. Although hardly “alt-country”, the song invites an emotive yet heavy sound—similar in feeling to that of Melody’s Echo Chamber—a style the band has already proven to naturally embody. Between this and their future releases, which may dabble more in the realms of alt folk and country, I’m personally loving the psychedelic nature of “Homework” and am super stoked to hear how their music evolves from it. If you too are impressed by the band’s first release, you’ll be happy to know that they’ve recently finished recording a full-length album here in Athens, and plan to release the record both digitally and on pressed vinyl this fall.
Check out their bandcamp, & to stay tuned into their upcoming shows + new music announcements, do hit up @hidingplacesband on instagram!
For Fans of Pat Benatar? Check Out Bat Fangs
This edition of FFO is for fans of 80s rock, in all of its heavy eyeliner and spandex glory. For those who truly believe that love is a battlefield, but one that’s worth it because sometimes two people just belong together. For those who sang into hair brushes, possibly rocking a feather boa, and eventually running late for the day—you know who you are. Embrace it.
This edition is, of course, for fans of the queen of 80s pop rock—none other than Pat Benatar.
After releasing her debut album In the Heat of the Night in 1979, Benatar went on to have two multi-platinum, and five platinum, albums. She put out single after single of musical gold, with hits like “Heartbreaker,” “Shadows of the Night,” and of course, “Love Is a Battlefield.” Much of her most recognizable work is from the early stages of her career, and though Benatar has released a handful of singles since the early 2000s, nothing compares to her releases of the 80s. Nothing, that was, until now.
You’re a fan of Pat Benatar? You should consider checking out upcoming dynamic duo, Bat Fangs.
The duo, composed of Ex Hex bassist Betsy Wright and drummer Laura King (Flesh Wounds/Cold Cream), formed in 2016 and released its debut self-titled album in 2018—a release that’s already making waves. Coming off a tour with Superchunk, these two already well-established musicians focus on what they describe as “acid-soaked 80s hard rock for the living and the dead.” But somehow, it sounds a whole lot like Pat Benatar.
First, to look at the songwriting.
Both have themes of love and heartbreak… as does basically every songwriter, ever. However, these two go about it in a really fun, girl-power kind of way. In a we’re-melodramatic-but-it’s-cool kind of way.
Benatar was the queen of employing incredibly cheesy lines that went over well due to her confident delivery—her way of really singing with conviction. Some lines from “Love Is a Battlefield” are downright embarrassing to speak aloud (see: “We are young/ Heartache to heartache we stand/ No promises, no demands/ Love is a battlefield”), but this 80s rocker had no problem bringing the track to a peak at number five on Billboard’s Hot 100 chart. She was able to make embarrassingly dramatic, over exaggerated depictions of relationships totally rock ‘n roll.
Bat Fangs—though maybe not quite as dramatic—have a similar style of delivery. In “Rock the Reaper,” lines like “Be the runaway/ Be the underdog/ Gonna sing about heartbreak, baby/ Gonna sing along?” totally embody the same crazy-kids-navigating-love theme. Further, the group’s fearlessly catchy delivery practically begs for a sing-along, just as their predecessor.
As far as actual vocal delivery, it can be a bit shocking to hear the similarities between the two vocalists—Wright and Benatar. Both pack a punch vocally, and employ a seriously theatrical tone. It’s hard to explain, but you know that thing that Benatar had going on where it kind of sounded like she was whining/groaning/about to cry basically all the time, but it was entirely on purpose? Wright has that figured out as well, and it’s awesome.
As far as instrumentation goes, Bat Fangs generally sticks to steady, driving percussion and is totally riff based. This is obvious in tracks like “Turn It Up” and “Rock the Reaper,” but the list goes on. Benatar, barring those times where she was more heavily pop-influenced, generally does the same. Further, when Benatar is more heavily riff-based… it sounds a lot like what Bat Fangs is putting out now.
For example, let’s look at one of the craziest comparisons I’ve found. Listen to Pat Benatar’s “Hit Me With Your Best Shot,” and then put on Bat Fangs’ “Boys of Summer.” Hear any similarities?
Something that might stick out is the tail end of the main riff in Benatar’s track—you know, that little riff that’s non-essential in the way that it’s one of the most recognizable riffs in her career? Yeah, that one. It’s one of those moments of guitar mastery that you just have to sing along to, as if somehow your vocals can imitate the six strings.
That riff is basically in Bat Fangs’ “Boys of Summer,” interspersed throughout the track. Listen to both once and it’s hard to miss. Now, I’m going to guess that’s an intentional throwback to the 80s rock goddess and not an unintentional slip up, and if so, it’s a clear indicator that the group is drawing influence from Benatar.
Lastly, it’s important to point out that while both teeter on the line between pop and hard rock, Bat Fangs are certainly not a carbon copy of Benatar. This comparison isn’t one of exact replication, but instead of taking the foundation laid by Benatar and building on that.
The duo adds an interesting layer to Benatar in that they’re really ripping, no holds barred, into a messier realm of rock ‘n roll. They have a garage-rock fuzz factor going on that wasn’t so present in their predecessor’s music (that was definitely more pop-leaning), giving the duo a grittier sound overall. Further, Bat Fangs music is generally simpler, and a bit less cinematic, than Benatar’s—further supporting the group’s heavier punk influence.
So for fans of Pat Benatar, looking for a natural progression building on the foundations already laid by the 80s rocker? It’s time to check out Bat Fangs.
For Fans of Led Zeppelin? Check Out Greta Van Fleet
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.