#Would recommend. Even when I was NOT into indie Death Cab was still a band I very much enjoyed (and still do).

[iero]

Death Cab opening for My Chem at the homecoming show is still the funniest thing to me. Like, get ready to be sad and on the verge of tears and then still feel that same way while getting your shit rocked…

[aaronmaurer]

Music I Liked in 2020

Every year I reflect on the pop culture I enjoyed and put it in some sort of order.

I can’t say I discovered a lot of new artists in 2020, but I did find a lot of solace in new records by familiar voices. During days of intense isolation and lonesomeness, music provided support, hope and the occasional semblance of peace. I’m especially grateful for the musicians who found new ways to perform live from their home studios, once the entire touring industry completely shut down. I’m sure we all found our own rabbit holes, but live-streamed sets from the likes of Ben Gibbard, Jimmy Eat World’s Jim Atkins, Better Than Ezra’s Kevin Griffin, Geographer’s Michael Deni and Ben Folds kept me sane during April, May and beyond. As did all of these albums, which I highly recommend.

15. Serpentine Prison – Matt Berninger

The National frontman’s first solo record is a slow-burn that may not reach the heights of his work with his main group (or sideproject El Vy), but still has signature moments of poetic beauty. The title track is a clear standout (and when it gets stuck in your head, you can have fun brainstorming your own alternate non-sequitur couplets; examples: “Tripping on Molly / Salvador Dalí”, “Praying to Jesus / Ramona and Beezus” / “Sell it on Etsy / Heavens to betsy” / “Patio tables / Anne of Green Gables” It’s fun! Try it out!)

14. Local Honey – Brian Fallon

Speaking of Matt Berninger (and solo projects from alt-rock frontmen), I hear a lot of his influence on the latest from Gasoline Anthem’s Brian Fallon. This largely stripped-down affair has quiet splendor to spare and provided a balm in the early days of the pandemic.

13. Gigaton – Pearl Jam

Pearl Jam’s latest record finds the band operating in a variety of different modes – head-on rockers, balladeers, experimentalists – yet doesn’t quite gel into a whole the way their very best work does. That said, it’s an energetic album with many songs I look forward to hearing live, someday…

12. George Clanton & Nick Hexum – George Clanton & Nick Hexum

A vaporwave collaboration between electronic artist George Clanton and 311’s Nick Hexum? Really? Somehow it works, and its chill vibes were a perfect backdrop for lonely summer malaise this year.

11. Petals For Armor – Hayley Williams

Paramore’s Williams branched out on her first solo record this year, allowing her to operate in a variety of styles without losing her powerful voice. Moments of slinkily seething electronica (“Simmer”) share space with pop smarts (“Dead Horse”), quietly pretty harmonies (“Roses/Lotus/Violet/Iris”) and all points in between.

10. Mordechai and Texas Sun EP (with Leon Bridges) – Khruangbin

Houston psych-rock trio Khruangbin did double duty this year, first releasing a collaborative EP with Leon Bridges then following it up with a new full-length a couple months later. Both records hang in the air like hazy, languid summer heat, in the best possible way.

  9. RTJ4 – Run the Jewels

RTJ4 is just as rollicking and propulsive as Killer Mike and El-P’s previous collabs, but with a greater sense of socially conscious urgency and righteous anger, giving it an even rawer power. Tracks like “Walking In The Snow,” “JU$T” and “a few words for the firing squad (radiation)” are just the tip of the iceberg on this incendiary record.

8. American Head – The Flaming Lips

American Head returns the Flaming Lips to the melodic soundscapes of The Soft Bulletin and Yoshimi Battles the Pink Robots, which is my preferred mode for the band, and thus is my favorite thing they’ve done in at least a decade. The record is a bit more dreamily melancholic than those earlier releases though, creating atmospheres of contemplative beauty.

7. Punisher – Phoebe Bridgers

Coming after collaborations with boygenius and Better Oblivion Community Center, it’s hard to believe this is only Bridgers’ sophomore album. Punisher takes the winning palette of Stranger In The Alps and mixes in more colors and texture. This is an album that rewards repeat listens; tunes that I had initially dismissed have ended up becoming my favorites as they get their hooks into me. The most immediate tracks like “Kyoto” and “ICU” don’t lose any impact over time, but the likes of the quietly devastating “Chinese Satellite” sneak up on you and gradually reveal their layers.

6. Imploding the Mirage – The Killers

I was done with The Killers. My interest always ran hot and cold anyway, but after 2017’s Wonderful Wonderful, no thanks. So imagine my surprise when I gave Imploding the Mirage a shot and found I LOVE it! It may be my favorite of their records yet, at least the most consistent, where they most fully realize the confluence of their Springsteen-tinged Americana fetish and electro-rock sensibilities. Bombastic 80s arena percussion and over-the-top synth flourishes combine in the best possible way. There’s not a dud on the album for me, but I’m especially fond of “My God,” “Lightning Fields” and “Dying Breed.”

5. The Ascension – Sufjan Stevens

The Ascension hits with similar energy to 2010’s polarizing Age of Adz, but with more easily accessible songs. It’s a dark and introspective record about disillusionment with America and oneself, but also highly danceable – if a bit overlong. Standout tracks like “Goodbye to All That” and “Lamentations” provide transcendent moments of soaring beauty like calm in the storm. And the brilliant title track plays like a self-interrogating rejoinder to Adz’s pep talk “Vesuvius” in which, instead of cheering himself on, Stevens probes and calls into question his motivations and beliefs.

4. Song Machine, Season One: Strange Timez – Gorillaz

The latest record from Damon Albarn’s ever-evolving cartoon collective is its most engaging since Plastic Beach, with a spirit of musical exploration that reminds me much of 2001’s self-titled debut as well. The project was introduced as a series of one-off singles, so what really surprises is just how well they cohere into a full record, featuring a plethora of A-List guest artists and Albarn holding down the fort with some of his best songwriting yet.

3. 10 Songs – Travis

Travis are a band that I’ve casually enjoyed (2001’s The Invisible Band is great) but never followed all that closely. I certainly wasn’t expecting much from a latter-day record from them, but 10 Songs is one of the 2020 releases I have returned to most. The songs are the audial equivalent of a warm blanket, with a lovely wistfulness permeating through. Standouts include “The Only Thing,” “A Million Hearts” and “Kissing in the Wind,” but all ten songs are great.

2. Devastator – Phantom Planet

Phantom Planet’s first record in 12 years doesn’t miss a beat, finding a sonic middle ground between their early indie-pop leanings and their later punkier direction. The hooks are plentiful and the lyrics poignant (this is basically a breakup album about the end of frontman Alex Greenwald’s relationship with Brie Larson), with highlights including the up-tempo “Only One” and the elegiac “Time Moves On.” Return of the year.

1. folklore and evermore – Taylor Swift

Top 40 Pop Music is not really my thing and while I’ve certainly appreciated some of Taylor Swift’s work before (Red has jams!), I wouldn’t have called myself a fan. 2020’s pair of surprise release records are a different mode of songwriting for her and right in my wheelhouse, with indie-leaning production courtesy of fun./Bleachers’ Jack Antonoff and The National’s Aaron Dessner. While my impressions of Swift’s past work have been navel-gazy and self-mythologizing (not a problem, but not that interesting to me), folklore and evermore broaden her storytelling to paradoxically become more specific in its universality and/or more universal in its specificity. The moments that are autobiographical (“mad woman,” “invisible string”) have an authenticity and self-assuredness that make them all the more accessible. This is romantically nostalgic poetry with the power to reopen old wounds and maybe also start rehealing them at the same time. While I still give folklore the edge (I love “august,” “exile” and mirrorball,” to name just a few), evermore is steadily growing on me with each listen.

Here’s a playlist songs from each of these records for your sampling pleasure:

Bonus! 2 Unexpected Cover EPs:

Switchfoot – Covers EP and Death Cab For Cutie – Georgia EP

As society grappled with lockdowns and concerts were uniformly cancelled the world over, many artists kept occupied with livestreams from their home studios. Switchfoot’s Jon Foreman and Death Cab’s Ben Gibbard were among those who posted daily songs or shows during the early days and their bands would each end up releasing EPs of cover songs during the year. Switchfoot take on a range of songs from the likes of Vampire Weekend, Frank Ocean and The Verve and Death Cab honor Georgia artists like R.E.M. and Neutral Milk Hotel for a Bandcamp fundraiser for voting rights. Both efforts provide some unexpected reinterpretations that elevate them above the average covers album.

[thebandcampdiaries]

Fish In a Birdcage introducing a brand new studio release: Waterfall

December 2020 - Fish In a Birdcage is an artist with a focus on creating beautiful and personal indie-folk songs with a broader creative twist. Recently, the act released a brand new studio album named "Waterfall," which feels like a great calling card for the artist and his work.

The sound quality is pristine, and the record has a beautiful production: bright and crisp, highlighting the varied melodic textures of each song. This album has a really cool aesthetic concept, with each song billed as a “Rule,” not necessarily following the number order based on the playlist, but rather creating a continuity with the artist’s previous releases. Rule #1 is featured on the artist’s 2014 debut, beginning a serious that would go on to reach #22, the last song on this album.

 The title track itself combines anthemic drums with melodic vocals and intricate guitar patterns, in the vein of artists like Ben Howard. There is even room for a more old-school feel: the song "Fiddler's Heart" has a cool folk vibe with a playful and witty sound. "Four Aces" is a song with a very theatrical feel to it: I could almost picture Tom Waits coming in and crashing the party with his howling vocals! On the other hand, this track remains melodic, with a beautiful approach to storytelling.

"Movies" is a playful song with a more alternative touch and a really fantastic arrangement. I enjoy the way the vocals lock in with the harmonies, and the guitars create a nice rhythm counterpoint with the drums and bass. Instead of everything being traditionally assembled, it seems like every instrument has its own space, and they overlap beautifully on "common ground."

"Two Sides" has a more old-fashioned feel, with a bluesy flavor and an amazingly relatable arrangement with stunning vocals by Kristina Helene taking the lead.

The track "Lion" is another fantastic example of the artist's incredible creativity and ability to swiftly combine genres and ideas. This song is catchy and immediate, combining elements of alt-pop with folk and a bluesy touch.

"Amigo" is another blues-influenced country, with a bit of a funk influence. The vocals really make me think of Anthony Kiedis during the golden age of Red Hot Chili Peppers (especially One Hot Minute / Mother Milk era). "Blessed by a Curse" is perhaps one of the most melancholic sounds on this release, and I really enjoy how the song starts small and understated, letting some of the ethereal background sounds creep in and become more prominent as the arrangement goes along.

"Momento Mori" is a beautiful song with a very creative feel and a really unexpected twist. The intro is mellow and slow-paced, but the track turns into a syncopated jam, with so much groove and rhythm. The vocal performance is incredibly distinctive, providing a completely different vibe and giving the album a kaleidoscopic twist since every track has something new to offer.

The final song is an intimate ballad titled "If Trees Could Talk." This is one of the most heart-wrenching songs on the album, and it really makes me think of artists like Damien Rice, as well as earlier stuff from Ed Sheeran and John Mayer. This song is a winning example of how "less is more" when you do it with your heart first. The song's arrangement is mostly built on guitar and vocals, although some additional colors, such as a nice string section, chime in, later on, adding more depth to this particular release.

Overall. This album is a very beautiful artistic achievement, and it is incredibly well-produced. The sound of the instruments is very natural and engaging, as Fish in a Birdcage managed to create a warmer sound that's far from the overproduced indie-folk releases that you see around these days. Instead of obvious pitch corrections and digital samples on everything, we're faced with a more organic sound, which makes it so much easier to experience a positive one-on-one connection with this music. As a listener, I always find myself gravitating towards the songs that are a bit more spontaneous and heartfelt in this genre, rather than the ones that hide the artist's humanity behind a thick veil of studio production trickery. While the mixing, recording, and mastering are extremely professional on this album, there is also a lot of room for those "beautiful accident," those natural sounds like the hands moving on the guitar strings or a singer breathing in before a line, that you can only capture if you stay true to the sound of the music being performed, instead of trying to bury it.

The album features ten songs. This fact in itself is quite an amazing achievement. If you stop for a moment and take a look at what most artists are doing, you'll find that singles and short EPs are everywhere. The industry is pushing a trend of releasing smaller bursts of music at a more frequent rate in order to continually provide content for the audience. While this might be a good way to keep your presence on platforms with fresh music more frequently, it might not be ideal if you want to give your audience something more. I personally love a more immersive listening experience, so I am always thankful to see artists like Fish In A Birdcage still working on full-length albums.

This release comes highly recommended, especially if you are a fan of artists such as Elliott Smith, as well as Damien Rice, Jack Johnson, Bright Eyes, Beirut, or Death Cab For Cutie, only to mention a few.

Find out more about Fish In a Birdcage and listen to "Waterfall," which is currently available on your favorite digital streaming platforms.

http://www.fishinabirdcage.com/

https://open.spotify.com/album/4RX7OLRicCMQ4ORUJTQVTm?si=-o44rIMZTyCtz0cC6RMPFg

We also featured one of the songs on our Indie Gems playlist, along other amazing international artists to discover!

https://open.spotify.com/playlist/3vCtmkPDbpE9pj5DfJnycU?si=sBxnZjkgTuGpL90BUVUiZw

We also had the opportunity to ask the artist a few questions: keep reading for more!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer: It really depends on if I'm writing lyrics or if i'm creating an instrumental melody. If I'm making lyrics I will create the Cello/Mandocello riff/rhythm first, something that I find really captivating, and then try to find the emotion within that riff to draw the lyrics from. If its instrumental most of the time I'll sing melodies into the air without chords and then find the chords that accompany the melody later on 🙂. The beat comes later when I have a producer on my side. I try to just focus on the cello/mandocello mixed with vocals, then find musicians of the instruments I want to hear within that track, then give them complete freedom to create whatever they want. Most of the time it turns out better than I could have ever imagined. 

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: Oh definitely more comfortable on a stage, or even more comfortable in a house concert type setting. It's definitely a lot more stripped down live because most of the time it's just me, my cello, my loop pedal and vocals. Getting used to playing to a click track without singing when I first got into a studio was the hardest part of recording, to get that solid chord structure with rhythms laid out so we could build the song around that.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: This is a really tough question, because over the years I've loved asking people "what track is your favorite" and the range of answers is great. So many people have different favorites and that tells me I'm onto something. A lot of the older generation has told me they really like "Rule #7 - Angel Tango, and Rule #12 - Through the Tides" when the younger generation really digs the quirky vibes of some of the newer tracks like "Rule #15 - Four Aces"

My favorite changes over time. But I think the one that holds the most meaning for me is "Rule #3 - Paperwork", although it's an older song, it really goes back to my roots of when I really fell in love with songwriting and music.

What does it take to be “innovative” in music? 

Answer: I think it comes down to pushing your own limits constantly. I'm constantly trying to improve my cello playing in as many different genres as I can possibly dive into. I think you are a combination of every person you've sat in a room with and had a conversation with, and that includes speaking through instruments. I wouldn't be creating the music that I do without playing with all of the bands that I've played with over the years. I've heard so many incredible musicians blow my mind and those influences have rubbed off on me. 

Any upcoming release or tour your way?

Answer: I have album number 4 in the works, it will most likely be an instrumental album, just cello with multiple layers. That's what I'm working on these days. And the discography of fish in a birdcage is basically chapters of my life as I make my way through this musical journey. It won't be recorded for a while although. Because recording is not cheap. 

And because of COVID-19, it's just hitting the practice shed and busking until things become somewhat normal again. 

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: fishinabirdcage.com is probably the best place to find that, and I'm pretty active on Instagram @fishinabirdcage so any updates will tend to pop up on there. 🙂 Thanks for the interview! This was a lot of fun!

[uclaradio]

Echosmith with Jena Rose @ The Fonda Theater (5/12/18) // Show Review

Review and photos by Mark McGreal

Echosmith finished off a United States tour at The Fonda Theater in Hollywood, and it was lively. The show, basically a homecoming for the group that originated in Chino, California, was an eclectic celebration of music, and it highlighted all of the things that make us fall in love with music.

When I finally entered The Fonda, I looked around and noticed how tiny and claustrophobic The Fonda Theater happened to be. The pit isn’t very large, it only goes back about 10-15 rows, so most of the seating is in the balcony above the floor. The outside of the theater has an old marquee that reminds me more of a community theater for children than a concert venue. The theater looks like a relic of a time long gone, and it reminded me that time can be ever so fleeting. That thought prompted me to stay in the moment for as long as I could.

There were two opening acts for Echosmith. Seventeen-year-old starlet Jena Rose and indie pop band The Score traveled with Echosmith throughout the country over the last six weeks. Rose recently released a new EP, which I would highly recommend. She may only be seventeen, but her voice is that of a much older, much more mature artist. The Score’s new album Atlas is the perfect soundtrack to a riot. Needless to say, even before Echosmith went out to perform, I was incredibly amped up and ready for a brilliant show.  

But Echosmith’s performance was more than just a show. It was an experience. The show began with one member of the group going up on stage in basically complete darkness with only a little backlighting to give the audience even the smallest idea of what was about to happen. The man started banging a large standalone bass drum in rhythm, almost like a tribal beat. This beat grew as more members of the band joined their compatriot on stage until finally, the lead singer strode out. She was wearing a knee length blue and red dress and began singing. After the first song ended, confetti cannons exploded, and we were drenched in a torrential downpour of colorful paper.

Throughout the night there were moments, both big and small, that made the show particularly memorable. The Score, Jena Rose, and Echosmith were all on stage together at one point, shooting confetti and getting the audience excited during an Echosmith song. The three groups looked like genuine friends, enjoying one last incredible moment together before the tour ended, and they would all have to go their separate ways. Echosmith covered the Killers’ “When You Were Young” and part of the hit Death Cab For Cutie song “I Will Follow You Into the Dark”. These covers, while small moments overall, showed Echosmith’s obvious love for music, and their appreciation for the art form to which they add. Sydney, being the talented band member that she is, even played the drums for a couple of minutes in order to give her tired drummer a well-deserved break. She also threw in a costume change mid-show in order to show the mood shift from pop hits to something slightly more angsty.

An exceptionally important moment of the night came when the lead singer, Sydney Sierota, asked for a volunteer to come up on stage. I didn’t think much of it. I had seen this trope done before at concerts. Bring up a loyal fan, dance around with them a little, make them feel special so more people will buy your album or your t-shirt, et cetera et cetera. So imagine my shock when Sierota said the name “Zoey” and called an audience member from the front row on stage.

Zoey ran on stage with all of the excitement of a child who has finally woken up on Christmas morning. She got on stage and hugged Sierota after which, Sierota explained to all of us that she knew Zoey’s name because “She has been with us since the beginning”. All of a sudden, I gained a greater appreciation for the band I was watching. Although I had enjoyed their music up to that point, this simple action added a layer of emotion to the show that I wasn’t expecting. Here is how I understand the relationship between Zoey and the band. Zoey had presumably been to see the band early on in their development, back at a time that all artists go through, the time where the band has maybe six dedicated fans who they know by name. Zoey was one of those dedicated fans. And Sydney remembered her. At that moment, the tiny, claustrophobic theater suddenly felt small and intimate. This band, that, nine years later, has gone double platinum and tours all over the country, still remembers the people who were there since day one.

During their song “Goodbye”, giant balloons filled with confetti were thrown into the audience in order for us to simply play and have fun. This added to the mystique of losing oneself in an event rather than a simple show. After “Goodbye”, the show had its obligatory false ending, before the group came back out for its encore and finished things off with “Cool Kids”, their most well-known song, which ended with another tornado of confetti being shot out at the audience.

Echosmith will remind you why you love music. They play an interesting, energized, and, most importantly, fun show. They don’t play for the fame or the money. They play for the fans.

[noiseartists]

Deconstructed Company: Shoegaze without those pesky drums

Deconstructed is Victoria Isabel Jones’s musical project. It is presented as “Shoegaze but without any of those pesky drums”. And indeed her music is the bare bones of the genre, stripping the band down to a voice and a guitar in a pure lo-fi approach.

Her work to date is:

Slip, EP, September 2017

Year of the girl, EP, March 2017

Now I see the sun, EP, November 2016

Disquietude, EP, June 2016

Sensitivity is fun, EP, November 2015

Under concrete, mini album, September 2015

Victoria was very kind in collaborating with us in the following interview. Discover or revisit her work and learn more on this superb artist.

What is your music about?

Angst. Just constant, unbridled teenage angst. I started this project when I was 14, so I guess that made it kind of inevitable. I was also a huge fan of Death Cab For Cutie at that point in my life, which I think made it doubly inevitable. Like, my greatest aspriation in life at that point was to be Ben Gibbard with boobs. It's not a time I look back on very fondly.

As I've gotten older, I haven't really gotten any less angsty, but I like to think I've gotten better about putting it in a way that isn't so... direct. I think that's what attracted me to shoegaze - vaguely sad lyrics are the norm, and that's the kind of stuff I end up writing most of the time. I try to convey certain emotions through the overall atmosphere of the song than I do through the writing itself.

Tell us about the artists you have worked with.

I'm in a band right now with my boyfriend Austin - it's this kind of lo-fi indie rock thing called The Speciesists. Somebody on the Internet once said that Pavement would've toured with us had we been around in the 90s, which was pretty great. I also used to be in this other band, Such Great Fireflies, with a few of my other friends. We never released anything and broke up after a couple of months, but the drama that went on during its short existence made for some great songwriting material afterwards.

Other bands

I don't listen to a lot of current music, but when I do, it's usually Sexy Merlin. My friend David also has a project called Innuendos that I'd definitely recommend to anyone who's a fan of more recent emo music - the self-titled EP he released for it earlier this year is actually really good.

What are your goals as an artist artistically/commerically?

Ultimately, my only goal artistically is to make something that sounds original. It doesn't have to be particularly innovative or groundbreaking, but I want it to sound like myself.

Commercially... I go back and forth on this a lot. If I had the opportunity to make this or any of my other musical endeavors into a career, I'd definitely consider taking it, but as of right now it's yet to present itself. For now, I just try to focus on recording and releasing new music, and hopefully the rest will come later.

Who would you want as a dream producer, and why?

I'm a big fan of the way Swervedriver's Mezcal Head sounds, so I guess Alan Moulder? I'm pretty ignorant when it comes to producers, honestly. The thought of handing over the reins to someone else like that terrifies me.

What are you trying to avoid as a band?

Being overly derivative, for starters. A lot of contemporary indie rock is incredibly derivative and I'd like to stay away from that. And, you know, I'd like to refrain from getting involved in politics unless it's something I really care about, like the legality of snake handling or Oprah 2020. Important stuff.

Explain your songwriting process.

There's not much of one. Most of the songs I write start out as simple rhythm guitar parts that I'll build on a little bit, and then add lead guitar and vocals to as I see fit. It's very rare for me to spend more than a couple of hours recording and writing a song.

In 2017 there is no new or old music to a 17 year old with internet access. Discuss.

There are usually pretty big differences between music being released now and music that was released ten, twenty, thirty years ago, and I don't think accessibility changes that. Old music is still old, and new music is still terrible.

Why do you make the music you make?

A lot of it comes down to ability; I'm not a very technical guitarist and I barely know how to play any other instruments, so it limits what I can do. Of course, I do like what I've made using what limited skills and equipment I have, but if I were a better musician I'd probably be doing something else, like pioneering the bluegrass/trap crossover of my dreams.

Describe your palette of sound.

Lots of distortion. I like using drop tunings a lot - there's this one I use that was inspired by Hum that's basically open G, but I only use it for playing power chords. Delay and reverb are both fun to play around with, especially for lead guitar parts. I also like using vocal harmonies to help fill things out. I like to pretend that that's something I picked up from listening to Lush and Slowdive, but in reality I learned how to harmonize from singing in different church choirs back during my freshman year. Altos are basically useless for anything but harmonizing.

You describe your music as "shoegaze without those pesky drums", why no drums?

Initially it was because I didn't know anyone that played them and I couldn't keep time well enough to play with a drum machine. Now, it's a stylistic choice, and also because I can't keep time well enough to play with a drum machine. There's so many nugaze bands out there these days that the only way I can distinguish myself is to not have a rhythm section. Hopefully, it's a distinction that works.

Which of your albums are you the most proud of? Why?

The only one I can go back and listen to all the way through without cringing is Year of the Girl. It's the most cohesive EP I've ever released, and it was named after an obscure Swervedriver B-side - both good things in my eyes. In general it was really heavily influenced by Swervedriver, though I don't know if that influence translated to the music at all. It also features bangers like "Everything You Do", which was directed at some guy I "dated" on the Internet for less than 48 hours who was really obsessed with his ex-girlfriend at the time, and "Amicalola", which is about a state park.

I also have a big soft spot for Disquietudes, even though there's a lot I'd like to go back and change about it. It was my first actual stab at making shoegaze, and it turned out surprisingly well for a first attempt. Still really wish I'd left those horrible synths off of the last track, but oh well.

Find Desconstructed Company here:

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[holdencaulflied]

a while ago (like two years!!) i was tagged in a “describe ur top 9 formative albums” and i’m supposed to be studying for psych but i’m bored so this is as good of a time as any to talk abt music i guess

these aren’t supposed to be my favorite albums altho a few of them could fit in that category as well- it’s more the albums that i grew with and that helped me define myself at various points throughout my life

don’t panic // all time low- this album bridged me from 5th to 6th grade, and also from elementary to middle school. it was the beginning of me moving past radio hits/what my parents played in the car to finding music that was solely my preference and while i look back at this phase with embarrassment now, listening to lots of punk rock probably helped me branch out and have varied taste in music like i do today. also backseat serenade still goes hard and it’s my guilty pleasure song

marry me // st.vincent- my first foray into alternative/indie music, and also to st.vincent, who still releases amazing albums to this day. but honestly this was the soundtrack to my 7th grade year, when i was moving past the fall out boy/atl/panic! at the disco stage. paris is burning is one of the first songs i remember crying about. i listened to this album so much it’s like almost sacred now like i don’t listen to it as much bc i don’t wanna ruin the opinions i have on it by finding flaws i just want it to be a defining part of my life

pure heroine // lorde- my comfort food of albums. this came out when i was in 8th grade and it perfectly encapsulated everything about growing up and being unsure of yourself yet feeling like you knew everything. i still play this album a lot because it has stayed consistently relatable and i can appreciate the lyrics so much more now. ribs, the love club, and buzzcut season are the holy trinity of lorde songs. also lorde was my first every live concert and that is smth rlly special that i will remember forever bc literally my favorite thing is experiencing music u love live. lyrics like “we’re slipping off the course we prepared” and “my heart jumps around when i’m alluded to” stuck with me SO MUCH and this whole album really raised my standards in that i began listening more to lyrics instead of just songs i thought sounded cool

modern vampires of the city // vampire weekend- 8th or 9th grade?? definitely at the beginning of high school, but super formative because this is when i really began digging deep into spotify and finding artists and music that people wouldn’t just recommend to me. i really started seeing music as more of just a hobby to smth constant. songs like unbelievers and step and obvious bicycle were stuff i would always tell ppl to listen to- especially this was before vampire weekend became super popular it felt like i had like my own little personal album. vampire weekend in general also led to my love for indie rock/pop which has consistently been my most listened to genre since 9th grade, and although i’ve definitely changed my overall music taste from vw, there’s a lot of forever good songs on this album.

transatlanticism // death cab for cutie- holy shit this album is one of the saddest things i’ve ever listened to, and that is including high violet by the national. i probably listened to this album of my own accord the first time in 9th grade because before that my dad used to play it in the car and i wouldn’t really pay attention. but then i listened to title and registration (which is one of the first songs i remember sobbing my eyes to) and was like dad holy fuck this song is incredible. and this album is so important to me because while my dad and i disagree on a lot death cab is a common love that i think just brought us closer together. its a whole ass masterpiece like expo’86 is SO SAD yet i smile every time it comes on, and most of the lyrics aren’t obscure and twisty like a lot of other bands i listen to, yet i feel like they always pack the hardest punch

bankrupt! // phoenix- this album isn’t as formative as it is an eye-opener. it was one of the first times i began to realize music could be just as political and make points just as effectively as any op-ed, sometimes even more so. i think i listened to it sometime in 10th grade, and the line “lost ur mind on a cruise ship, bartending crucial lies” made a bigger point abt capitalism and poverty than most article i’d read. also the songs are just fucking catchy and the production is pretty great. oblique city, sos in bel air, and chloroform are some of my all time favorite songs. also the transition from drakkar noir into chloroform is like incredible and i freak out every time i hear it. 

bury me at makeout creek // mitski- mitski is a force of nature in the form of guitars and words. her new album puberty 2 is amazing but i feel like this is the album that i really related to end of sophomore going into junior year. mitski is like a weird mix of straight up electric guitar and rock like remo drive and also soft-spoken indie like moses sumney and it’s great. last words of a shooting star is my favorite song off this album and the part where she is like “i’m glad my room is at least neat so when i’m gone i’ll be remembered kindly” is so!! like u don’t think abt life in terms like that but the fact that a lot of the time you’re only remembered by other’s perceptions of you is fucking sobering. 

i’m not your man // marika hackman- ok i’ve loved marika hackman ever since i heard her cover of i follow rivers by lykke li and this album!! holy shit!! it’s so versatile but also so honest and heartfelt and somehow brutally witty at parts. i listened to it probably when it first came out, which was like either end of junior year or summer before senior year and i’m definitely at a part of life where i need constant new music- like ppl are like manasa is my personal shazam bc i never can stick to one genre or artist and i can pick song recs out of thin air so the fact that i listened to this album for like three months straight is a sign of how incredibly good it is.on a more personal note i came to terms with my bisexuality around the end of junior year, and to hear marika hackman unapologetically refer to running away with girls/falling in love with girls was so relatable at the time. it still is. i love gina’s world, round we go, and violet with all my heart. yeah the lyrics are confusing and often obscure and it is often a hard album to listen to because there are virtually no catchy hooks or choruses that grab onto you but it’s incredibly written and means so much to me.

landmark // hippo campus- AND finally, the album that has been on repeat for the past few months. i’ve always loved hippo campus from the first EP they released back in like 2014, but this is the first full album that they put out and jesus christ did it deliver and give me everything i ever wanted! my two favorite songs by them (warm glow and the halocline) aren’t even on this album but it’s still so perfect! the first time i listened to it all the way through was transcendental. sun veins into way it goes is seamless and perfectly executed. and some of these songs are so so so meaningful and sad and others are just upbeat and fun but then you listen to the lyrics and it’s like oh shit wow there’s so much i didn’t catch. i love this album and this band with all my heart i’ve seen them live twice (50% of their concert funds go to planned parenthood) and it was incredible. the way jake luppen says “solipsistic overtones” in western kids is amazing. the whole of buttercup is great the first time i heard “holy hell i can tell that you hate me, dying moon keep me up keep me waiting” i died a little. way it goes i could talk about forever with lyrics like “degenerate, counter-culture crying socialist, hip-to-lazed crazed abstractionist” like oh my god the genius it took to rhyme that stuff. also the whole of poems and epitaph is amazing and makes me cry. i love this album the most 

[thebandcampdiaries]

Coyote Grooves is back on the scene with a brand new studio release: California’s Coasting

Coyote Grooves is a solo project based in Atlanta, Georgia. What makes his sound special is the fact that he combines different genres in order to create a one-of-a-kind original sound. From folk to soul, to dream-pop and indie-rock, anything goes here! The artist’s most recent track, “California’s Coasting,” is a great taste of this mix of influences. This is the kind of track that will surprise you for it sonic variety, and it will keep you on the edge of your seat due to its rich, yet minimalistic arrangement.

Clocking in at slightly under the 5 minutes mark, this song feels immediate and easy to relate to, yet also quite punchy and direct. going for a more engaging twist. The combination of strummed acoustic guitars and electric guitar soundscapes give the song a psych-folk vibe, which makes me think of bands such as The Flaming Lips, Bon Iver, as well as classic acts such as The Byrds or The Beach Boys. The verses are held back, going for a more minimalistic approach. However, the hooks are incredibly deep and uplifting. The vocals acquire an anthemic mood, with some beautiful harmonic layering and a thick layer of guitars, percussive sounds, piano, and other details. In addition to the personable and edgy performance value, this release is also quite distinctive because of the sheer quality of the production. I am a big studio geek myself, so I like to focus on this particular aspect of the music I listen to, as production can really define the sonic signature of a song! The prevalent reverberation effect allows all the sounds to blend in together, creating a blurry, yet still defined effect - kind of what you can expect to hear on some of the earlier Phil Spektor production, where the main goal is to create a uniform, ambiance-driven piece of music that features some exciting dynamics. The melodies are really well-arranged, blooming seamlessly around the bare-bones rhythm section. This allows the song to have a pulse, but it still allows the vocals to pop out at the forefront to the mix. Speaking of vocals - a great singing performance is really at the core of greatness in this particular genre. The voice is what tells the story, it is the element that people focus on the most, and that’s how they find the “human” qualities that drive the music. In this case, Coyote Grooves does not fail to impress with a masterful vocal delivery and some poetic, heartfelt lyrics.

This song is a really good add-on to the artist’s already excellent discography, and it showcases his willingness to keep exploring new ideas and grow with his sound and vision. When compared to his previously released tracks, “California’s Coasting” seems to be even more focused on storytelling, as well as creating a production aesthetics that is thicker, richer and has more depth than what you would expect from an acoustic singer songwriter. Having said that, the music still retains a very special sense of intimacy, despite the biggest soundscapes that fuel the arrangement. The song has multiple layers that really add life and character to it. The resulting outcome is something that speaks to the audience, connecting with listeners on a more profound level and creating a lasting impression from the very first notes.

I would definitely recommend listening to this release if you're a fan of artists such as Death Cab For Cutie, Fleet Foxes, Father John Misty, as well as Elliott Smith, Iron & Win, DIIV, or Simian Ghost, only to mention but a few. This track will conquer you with its soothing, ethereal tones and down-to-earth arrangement. If this is an indication of what’s in store for this artist next, we are in for a true treat!

Find out more about Coyote Grooves and listen to California’s Coasting on Spotify, or on any of your favorite music streaming platforms on the web.

https://open.spotify.com/album/20YqfE1VDyf2tC8TvElyDT?si=rUSefqT0S9akiS2WrK8NBw

https://youtu.be/L7quWOdr9A8

coyotegrooves.com

Instagram: @coyotegrooves

We also featured this song on our playlist on Spotify. Check it out via the following link, and discover a selection of amazing independent artist from all over the world:

https://open.spotify.com/playlist/3vCtmkPDbpE9pj5DfJnycU?si=WD-7VG3eS6Sv_stFrw25_w

Additionally, we had the chance to chat with the artist. Keep reading to learn more!

I love how you manage to render your tracks so personal and organic. Does the melody come first, or do you focus on the beat the most?

Answer: The melody is usually the first thing I come up with just because it’s the easiest thing to mess around with and come up with something on the fly, then as I solidify the idea the groove just comes hand in hand. I often am singing silly songs around the house just as a fun little expression of freedom of self, but then some line will catch me or phrase will entice me enough to say, “ooo, I better record that for later.”

Do you perform live? If so, do you feel more comfortable on a stage or within the walls of the recording studio?

Answer: I have performed live many times with different bands over the years, but I was always the one pushing to get into the studio and record. After a while I just looked around and realized that I have this massive catalog of ideas and songs, and I have just been waiting for the “right” people to come along to create and record together but it just never happened. So I hit the point where I said I don’t need anyone else to do this and I jumped right in to the studio life. As far as comfortability, I love creating in the studio, even if it is in isolation. There is a creative sense of purity that comes with building everything yourself from the ground up. I feel so connected to the music I have been making regardless of its quality and I don’t ever want that to stop. I miss the stage though… it’s more about playing with energy if anything, and with this new music, I know I could really make an impression.

If you could only pick one song to make a “first impression” on a new listener, which song would you pick and why?

Answer: If they had the time, probably “Love is Bad.” It pushes 7 minutes, but I really feel like it shows off a lot of my unique songwriting, diverse instrumentation and lyrical/melodic style. It’s also one of my most streamed songs that I have released on Spotify thus far, so you’ve gotta listen to the masses!

What does it take to be “innovative” in music?

Answer: HAVE FUN. I don’t know how many times I have put in some random sounds, burps, wind blowing, cars running, ect, ect, ect just because it made ME laugh, or go “that’s going to mess with people for sure!” I’ve seen artists fall into the trap of only working to please the masses so many times, not wanting to offend or create something too crazy and out there. Every time the production ends up sounding just like everyone else out there. Innovation requires boldness, uniqueness and uninhibited creativity. The easiest way that I’ve found so pass the barrier of popularity is to relax, open up, and HAVE FUN!

Any upcoming release or tour your way?

Answer: “Deja Vú” which is the next track in the Heading West saga will be released at the end of the month. Our main character having chased the setting sun to his imaginary promise-land and having rejected the place that he had hoped to call home, finds himself for the first time questioning his path in life and recognizing the similarities of starting over with a new perspective of acceptance toward the uncertainty of the path forward.

Anywhere online where curious fans can listen to your music and find out more about you?

Answer: You can stay in the loop by following me on Instagram, subscribing to my Spotify channel, or visiting my website at coyotegrooves.com. Right now I’m focusing on getting the 1st album out but I hope to expand my media into a podcast shortly, some writings and who knows what else. I just want Coyote Grooves to stand for something I can feel proud to believe in.