#there's just such an atmosphere throughout the whole song!! it's haunting and heavy and emotional

[everysongineverykey]

genuinely how can you listen to mother love by queen and not come back a changed person.

[doomedandstoned]

Indy’s Rat King Impress in Tempestuous LP, ‘Omen’

~Doomed & Stoned Debuts~

By Billy Goate

Album Art by Candy Meadows-Daily

Dark, murky, and ideal for a humid summer night, these are the fierce and hearty strains of the RAT KING. Born in the old stomping grounds of the original Doomed & Stoned Festival at the late-great 5th Quarter Lounge, the Indianapolis-based foursome has been kicking dirt in the cracks and fissures of the heavy underground since at least 2016, when their demo came to life.

After several well-received EPs, the band is ready to lay their first full-fledged full-length on us. "Nepeta Divinorum" opens up the aptly titled 'Omen' (2021) with a mood of candles and ritualism. If my year of Latin in middle school still serves me well, the title translates "Wild Divine." Look for clues throughout the album, as there appears to be something of a concept at play throughout the record.

"Supernova" carries on the mysterious, urgent climate of its predecessor, drawing from the Electric Wizard school of doom with a similarly nihilistic tone ("There's nothing left / There's left for me").

The ocean has long fascinated us (Spelljammer recently devoted a whole album to this concept, as long have German doomers Ahab). "Capsizer" is a most interesting song, which seems to be about the spirits of a storm-tossed vessel who go on to become a part of the depths ("I will breathe the ocean's light / I will find a path for those who died"). Again, the atmosphere is as waterlogged as you could ask for, this time with a mix vocals that are at once yearning, pissed off, even worshipful.

Omen thus far has been nothing if not dank, so it's refreshing to have a reprieve from the storm clouds with "Queen Anne's Revenge," an acoustic interlude that's over far too soon, but this reference to 18th century Queen of Great Britain and Ireland yet bear a clue to the album's touch-and-go theme. It is but the lull before the torrential downfall of "Druid Crusher," which comes at us like a slow-building tsunami, Kyle Wilcher's fierce pipes blasting out like hurricane force winds. Pure catharsis!

A higher power Guides you lower I'll see you cower I'll put you under

I'm the druid crusher I'll see you suffer

"Vagrant" returns to the muted, acid-soaked songstyle of the opening track, which reminds me of early Uncle Acid & the deadbeats and Salem's Pot. The vocal harmonies ala Torche and Foot-like chorus were an unexpected surprise (the felicitous partnership of Kyle Wilcher and rhythm guitarist Jason Wilcher) making this perhaps my favorite song of the lot. Andrei Stirbu's guitar work is quite convincing, with several beautiful breakout solo moments. THe longest song of the lot, "Vagrant" is not short of surprises, with slow headbanking moment's a plenty.

Things will not be the same Just another reason why I feel so betrayed And you just give reasons why

Another short acoustic follows called "Shackleton," which like it's companion calls attention to another historical figure, Antaartic pioneering Antarctic explorer Sir Ernest Henry Shackleton. This serves as a most fitting introduction to the massive slab of riffage that is "Glacier." Strange, forlorn tones greet us, with most effective basswork from Nick Graman who has been fantastic throughout, as has the steady guiding rhythmic hands of percussionist Kyle Wilcher (yes, he drums as well as sings!).

And just like that, the record is over, followed by a brief coda which sounds for all the world like a salty, old-time pup somewhere near a port, real or ghostly.

"We worked very hard and for a very long time to make this a reality," the band tells Doomed & Stoned, "and so we couldn’t be happier to finally present our debut album Omen! Thanks so much for your support!"

As are we to premiere the album for you today in these pages. Look for Rat King's Omen to make its public release this weekend (pre-order).

Give ear...

Omen by Rat King

Some Buzz

Formed in 2016 in Evansville, IN, members Andrei Stirbu (lead guitar), Kyle Wilcher (drums/lead vocals), Jason Wilcher (rhythm guitar/backing vocals), and Nick Graman (bass), learned together and grew together as a band. Drawing inspiration from their metal forefathers Black Sabbath, Windhand, Conan, Electric Wizard, Sleep, and Kyuss, the band has explored heavier and darker themes throughout their evolution.

Drawing from the depths of gloom, Rat King’s latest endeavor delves into the stark and pallid recesses of the mind and the fallible nature of mankind.

'Omen' (2021) is a largely heavier and more orchestrated body of work than their previous releases, including their debut EP “Barren” (2017). The album is driven by haunting, emotive vocals — an increasingly rare commodity in a metal scene so committed to harsher styles of singing. The low tuning and methodical pace of each track draws the listener into the shadows and holds them to the very last note.

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[strawberrysolitude]

Jackson Wang – 100 Ways

Okay. So. Unlike other talented content creators, the only thing I’m somewhat good at is putting my feelings into words. So that’s what you’re getting!

I love Jackson’s new solo, and I wanna talk about the different aspects, namely the music, the lyrics, and the visuals in the MV. So let’s go!

1. the music

I. Love. The baseline. The running guitar line in “Bullet to the Heart” was already super ragged and rhythmical, but here, it’s a lot smoother while running under the melody like a little stream of water. No big ups and downs, just little tiny waves, but still enough to convey constant movements and to make you wanna dance along.

The melody in the verses is really beautiful, a little melancholic, and fits right into Jackson’s higher range. He sounds emotional without putting too much strain onto his voice. The melody in the chorus??? That right there is pure Jackson! Smack-dab in the middle of his voice range, which makes it possible for him to put a lot more power behind his singing. The chorus sounds a lot more like a song to dance to, and I love how that contradicts the actual theme of the lyrics (but more on that later).

The gonging bass that sets in during the chorus helps to hit home the underlying heaviness of it all. It tapers out during the “I’m the only one that you need line” and underlines how there’s still a bit of lightness in that part.

The flute? I love it? It has such a haunting and tragic melody and fits with the sort of medieval theme of the video perfectly.

The beat keeps pounding more steadily during the second chorus, but even though it might be fitting for it to be more like a war drum, it’s still subdued - war is over for a dead soldier, after all, the steady call of the marching drum nothing but an echo in the afterlife.

Right before the “dance break”, the accompaniement tapers off and even comes to a complete halt as the soldiers in the video fall backwards and disappear. They and the music both give Jackson and his lover time alone, so to speak.

The last part leaves us with a gonging, intense bass, pounding drums, a hauntingly beautiful flute melody and Jackson crooning his highest parts of the chorus melody before stating, almost in his speaking voice and very matter-of-factly, “I’m the only one that you need.” What an impression to go out on!

2. the lyrics

There were two parts of the lyrics in the verses that really stuck out to me: the hourglass and the curtain call.

An hourglass is not only associated with time passing, but with mortality itself. The grim reaper is often portrayed holding an hourglass, every grain of sand a day of a person’ lifespan, and once all of them have rained down, he comes to collect their soul. The image projected here is that there is an expiration date to the relationship Jackson’s talking about. Yet at the same time, to start any relationship, the hourglass has to be turned, which is why it’s the first line of the song. Nothing lasts forever, but it might be that this relationship is coming to and end “too fast” for the other partner.

A curtain call, as well, indicates the end of something. Interesting to me is how Jackson says in this verse that he doesn’t care about the opinion of others, yet relates his relationship to a play in a theater, indicating that it’s a performance put on to impress others. Haven’t we all had the feeling of performing a relationship, trying our best to express love in patterns that we’ve learned and to please somebody by putting on a show?

Despite these sort of negative images, the song still manages to put a somewhat positive spin on the fears of a relationship ending too soon and maybe even being just for show.

Don’t waste your love, just let it last 'Cause once it's gone it's never coming back

But if you’re ready I will give my all

These lines convey that it’s okay to love with all you’ve got. Even if it might not be forever, the time you had together still counts. Love is not something finite, a relationship is not a transaction where you can get your love back if you still have a warranty. It might hurt in the end, but you’re guaranteed to have a good time if you give it your all now.

As for the chorus, this is actually a bit puzzling to me. Is it cynical? Hopeful? Boasting? Melancholic?

Could you love me the same? Tell me what makes you stay? There’s a hundred ways to leave a lover I won’t wait a minute longer Hundred ways to leave But I’m the only one that you need 

Could you love me the same ... after what happened? After the lover has left? After they have been hurt? After the relationship is over? What makes you stay ... even though what? It might be that their relationship is strained and that they’re not sure about each other’s feelings and whether they’re loving each other right.

“There’s a hundred ways to leave a lover” – now there’s an iconic line for you! In my opinion, it sounds a little bit sassy and sarcastic, its lightheartedness contradicting the heavy decision of ending a relationship. The melody on this line, however, sounds tragic and serious, which makes me rethink again.

I won’t wait a minute longer ... to do what? Or is he waiting for his partner to do something, to act, to decide? I think the latter fits a bit more, seeing as he confidently states “I’m the only one that you need”.

Bottom line: What I read out of these lyrics is this: “I’m the only one that you need, so why do you keep making me wait? Why are you treating me like there’s an expiration date on our relationship? If you commit fully, I’m ready to give you my all. If you really wanted to leave, there’s lots of ways for you to end this, but you haven’t yet. You obviously want to stay, so why don’t you say yes to this relationship?”

3. the visuals

In this part, I might focus a little more on the story told in the MV, which in my opinion is a bit removed from the lyrics. Although dying on your lover is definitely one way to leave them ... ahem.

In the beginning, the gravestones are arranged in a circle, and there’s concentric lines drawn in the ground as well. You know about the circle of life? This circle is closed, so this life has come full circle, has come to its end. However, a circle can also be interpreted as the wheel of lives turning and bringing reincarnation.

The soldiers are wearing black and red. In this combination, these colors seem sort of dark and almost demonic, which helps underline the fact that these people are basically necromancers right now.

The ever-present fog throughout the whole video serves multiple purposes. Firstly, it helps establish a sort of battlefield atmosphere: right before dawn, where you can’t see much and the enemy could be attacking any time. Secondly, it makes things seem unreal and ethereal, like all of this is already taking place in the afterlife. Lastly, it helps make Jackson look like a ghost. There’s a tiny moment around 0:55 where it even looks like he’s breathing out fog!

Jackson rises from the grave wearing his underclothes, not his armor, which are disshevelled and dirty. There’s dirt on his face also. This could be because he was literally under the ground, but we later see his lover rise from the grave looking pristine. My take on this is that, as a soldier, Jackson was buried in haste after a battle, and his comrades didn’t have time to wash his body or do any of the rites to prepare him for the burying.

However, now that they’re resurrecting him, they are putting on his armor for him, gearing him up, making him look like himself again, less vulnerable and quite literally ready for battle. What’s he fighting for? True love, of course!

In the next scene, they’re walking together through a dark forest, trees without leaves, towards a light. I don’t think there’s much to be interpreted her: The afterlife is bleak, but you walk towards a warm light in the hopes that it comforts you. An interesting bit is when one of the dancers knocks one of the tress over and it falls down. That could have been a coincidence, but the leaves rustling as the tree hits the ground are literally part of the audio! Any thoughts on that?

The single tree with a gravestone beneath it looks very different from the graveyard where Jackson was resurrected. There’s a beautiful, warm light, and red leaves falling all over like flower petals. They’re only like flower petals, though, the falling leaves clearly indicating autumn, the end of the year, days getting shorter and darker, cold and unmoving winter on its way, life sucked away.

The group dances together one last time – I think soldier Jackson has some of the best friends in the world. They resurrected him from his grave, dressed him back up in his armor and gave him a little cheering dance before he saw his lover again. And then they fall back into the mist and disappear! The way they hold their bodies really stiff and unnatural makes me think of death again. Where they ghosts, too, all along?

Then, Jackson’s lover appears. She is dressed in beautiful clothes, even wearing jewelery, her face is clean and her hair is done. Clearly she’s from a wealthy background, not like foot soldier Jackson who’s been buried in a haste. Her family or a priest has done all the rites for her burying. Curiously, she is buried wearing lots of red, a color traditionally used for weddings (and which has popped up in the video a lot, as well). Under the red, a little white is shining through, showing us that she’s dead. Maybe she hasn’t moved on from her wish to marry yet? The red cloak is stripped away, revealing more of the white. Is she ready to move on now that she’s met her lover again?

The lovers share a dance, a clear reminiscence of a wedding dance. She ends up in Jackson’s arms, holding on tight while he decides it’s time for them to return to the afterlife, together. They sink back into the grave, closely holding onto each other, and the last thing we see is Jackson’s face, singing “I’m the only one that you need” while being swallowed by the mist.

Gosh dang it, I’ve got goosebumps all over! And not because of the scary ghosts. Your love may end, just like any life will end, but it was there, and its remnants will stay relevant for you even in the afterlife. Beautiful.

[livayl]

The warmth of comfort that kindled a desire (Par 1)

I actually needed two weeks of building courage to post this because part 2 did slip into the 18+ category.  But in this part you´ll only have Marya and Amaziah both exhausted and coming down ill, comforting each other. At least as far as that goes with those two. ;) A little warning for a general description of war in the first paragraph, just skip that one if you want to. And don´t worry, the story is not violent or sad. 

And as always, please only re-blog it to other kink blogs, thank you. :)

The silence was one often heard after a long fought battle. Once the seemingly eternal clash of weapons, the song of blood and steel, had ended. When no more magic split the atmosphere with thunderous lightning bolts and all consuming flames. As soon as the last gigantic foe fell,  the earth trembling one last time in fear as the ground is crushed by it´s dead weight. Once all crying had stilled, the last breath was choked and even the bravest heartbeat deceased, this was when the silence became more deafening than the loudest roar.

And so their army marched, shrouded in screaming stillness. Ice cracked sharply underneath heavy set steps. A victorious return that still seemed to be too much of a loss. 

Dawning had tinted the snow deep lilac and painted the horizon a blazing orange-red. A fiercely smoldering sun rose from its slumber to awaken the coming day still wrapped in haze. The few trees and abandoned houses they passed where still no more than black silhouettes in front of the glowing skyline that shadowed their surroundings with twisted black shades. It was an eery yet appealing atmosphere that Amaziah would have enjoyed if not for the pungent stench of war and ashes that lingered even after leaving the battlefield long behind. Hugging her whole body tightly like an old lover resistant to be left unattended. Her magic; as destructive as it was: The only love she once thought of being exhilarating in all its clashing emotions had now turned to drain her deeply. Carving a big hollow space where it once could almost be described as all pervading. The turns her mind took made her snort derisively and silently chide herself. She really must be tired to indulge in such foggy nonsense instead of keeping watch properly. 

"Are you unwell?" A whispered voice asked as a small, gloved hand gently came to rest on her armor clad lower arm. Amaziah swore that she could feel good intentions melting into her like a pleasant warmth radiating through the icy metal trapping her skin. May it be the moments own kind of magic or her wishful imagination.

"Forgive me, just lost in thought. But you seem cold and exhausted, Love." She answered upon looking down, gently tightening the grip around the small figure seated in front of her. Maryas head titled back just enough to shift her hood and release a curled, lustrous mass of hair into the open. The ever present wind entangled those silky wisps even more, making them dance and waft around a shockingly haggard looking face. The still dim light made it hard to tell but Maryas usually bright blue eyes seemed veiled and unfocused with eyelids at half-mast and lashes breathed on by frost. They also were unusual shiny, almost feverish and  deeply embedded into the lilac shadows surrounding them. Her face appeared to have lost its color completely, hovering in between flowy coppery waves like a pallid ghost dappled in freckles. Full,  paled lips slightly parted under a rosy-tinted, very sniffly nose. Her body slightly swayed, if to balance out the wyverns fast pace or out of exhaustion was hard to tell.

  "I do? You should look into a mirror yourself more often." Marya said, her normal melodious speech all rough around the edges. Her body unconsciously pressed closer to the Archmages front, longing for comfort. "Oh I would for sure but there is always this angry, terrifying face that keeps staring back. It is haunting me." That made Marya laugh despite the circumstances which rapidly  turned into a rattling coughing fit. "Ugh. Now that was scary too..." She breathed, still panting, and shivery huddled deeper into her coat. "Here, let me try something..." Amaziahs strong yet delicate, already bare fingers gently plucked the fingertips of Maryas fine leather gloves to slowly undress her trembling hands. She could not help but to shudder a little more as her once sun kissed skin was exposed to a sharp frostbite inch by inch. Compared to the exquisitely soft, always warm dragonskin Amaziahs own seemed rough and cold when she entwined their hands with each other. Yet, how cold could a woman be that had defied the searing blaze of a dragon just to defend others. And to give out wonderfully warm clothes, too apparently.

Marya startled a little as a prickling sensation started to spread from her hands up to her arms. It was not unpleasant and seemed vaguely familiar. She concentrated hard enough to recognize her veins resonating with the well known, almost erratic, seething pulse which infused the battle mages body. One that could be as feeble as a freshly ignited candles flame dancing in a breeze, only to grow to a burning, all consuming blaze within a heartbeat should the winds turn. For a second it felt like an overwhelming wave erupting through a bursting volcanoes crater. It flooded her with almost unbearable heat that took her breath away only to lessen to a slowly flowing stream of constant warmth not unlike magma- albeit less deadly. The Archmage; a hardly controlled force of nature. Not that this was something unusual. 

"Forgive me, that did not go entirely as planned." "Oh so you did not want to ignite me?" "Mhmm not today at least, no. Does it feel fine now?" Maryas focus went inward once again. The steady flow of magic had now unfurled throughout her whole body. It felt like floating in silky hot healing water with one of those bubbling bath soaps. Of course no one ever would add one of those to a healing basin. Though it should have been something worth consideration. They were perfumed nicely and felt so fizzy and- really really tingly? Tickling her almost too much to enjoy- "apTSCHIh!-ISSCHuh!- hah-ITSCHiiuh! Ihhh-s it supposed to tickle my nnnh-nose?" The sensation had peaked too fast for her to unwind her hands from Amaziahs grip and had left her no choice but to sneeze openly down her lap. "That tickle seemed to be rooted somewhere else." Amaziah replied, still reluctant to loosen her grip despite Maryas increasingly desperate efforts to squirm out of it. "Whah-hah-TSCHih!- hdt~TSCHIU! -apTSCHIEW! What a shame. I thought- hii-IIISCHHiuuh! you found a new battle strategy. SNNFFFff please let go of my hands." "But then you´ll be cold again." "Spitting all over the place is not much better!" Amaziah unwillingly agreed to free one, but not without a ridiculed glance down her still blood stained armor. She wrinkled her brow at that thickly clotted mass of charcoal frost-giant-leftover still coating her whole right side. "I've been splattered with worse today." She paused while Marya cleaned her nose with a gurgling blow that ended with a pair of raspy coughs. "You could try to sleep a little. We will reach the outpost before mid morning and as much as I already despise it, I´m sure there will be plenty more in need of your services."

There had been more indeed. Not enough to be numbered as plenty but a sufficient amount to reduce her still battle deprived mental and physical resources to a shaking, almost nonexistent core. Marya could almost feel Amaziahs worried gaze burning through her back as she had finally been dismissed to retreat to their shared tent. Her mind was drifting in and out of a fevery blur, only vaguely aware of the outstretched arm behind her. She was carried on heavy legs that felt numb with exhaustion, one wavering step after the other. Suddenly, her complete range of vision seemed to loose fight against an ever present, approaching darkness that had patiently lurked in the corners. Focus blackening and eyelids barely lifting anymore, everything so heavy as if smeared with glue, she realized: I´m about to pass out.

When she regained consciousness it was mainly through the slightly irregular rise and fall of her pillow. But pillows did not move or breath. Right? Nor should they feel that solid. She blearily rubbed her face deeper into the thing she recognized as a shoulder connected to a small yet soft curve she knew all to well. Her hand was placed above a slightly hollow, firm belly that contorted in rhythm of every hitch. And there, under a mutually used cozy blanket, was that protective grip on the small of her back she had come to appreciate.

Marya also realized that faint, but oh so familiar smell of bergamot paired with a deep underlining of sandalwood that finally teased her out of that fuzzy warm place her mind must have hidden in. That she was able to discern it also confirmed that she felt much better. Less the stuffy, achy and overall exhausted mess she had been just a blink of an eye ago. Eyes still closed she was still wondering how she had managed to retreat to their shared bed when the former light, yet recurring  hitch suddenly accumulated to an urgent gasp. Which then accumulated in a single, violent and full-bodied attempt to stifle what hardly could be contained. The action, while relatively quiet, shook her as well and made her rip open her eyes as she needed to steady herself. 

"Woah. Gesundheit!" She exclaimed as the surprise had chased away any afterthought of drifting back to sleep again. Amaziah, who obviously still struggled to compose herself, just looked at her. All teary eyed, disheveled and maybe more than a bit embarrassed. "Apologies." "No worries." Marya giggled as she draped first herself and then the blanket back over the Archmages body. "How do you feel? Did the potion work?" Amaziah asked. "Much better actually. Was I unconscious for long?" "No, a minute or two at best. But you've slept for a few hours, which I am really glad for." "Were you able to sleep, too?" Marya then asked, growing increasingly worried at the heat radiating off the Archmages usually cool body. Now, upon close inspection, there were also lots of tiny, gleaming beads of sweat glistening on her feverishly hued skin. "Mhmm... I did not feel tired." Amaziah replied elusively. "Also, I had to resume my likewise infinite war with the oh so dreaded paperwork" She added, chin nodding to her side where different scrolls and books littered the otherwise unoccupied half of the bed. "Did you at least have a potion? I could brew you one." Marya offered. She was readying herself to get up again but was swiftly and very decisively hindered with a smooth pull and an even softer kiss. "No. Potions are for those who are in need of them. And you still have to rest." "But you are ill, too!" "Hardly." "Of course. As much as I enjoy cuddling with you, your clothes are about to be drenched in sweat. And you almost threw me out of the bed with that sneeze a minute ago!" "I did not sneeze." "Oh? Then that suppressed monstrosity was a seizure. Which is even more worrying. And- ooh look, it is about to happen again!" To that the Archmage almost frantically shook her head, whether in denial or to ward of the inevitable did not seem too clear. Her flaring nostrils, increasingly deepening inhales and knitted browline did speak a much more obvious language though. As did the suddenly handkerchief-clad hands that flew up to cover a harsh sounding: "Huh-EESCCCH-AH..." quickly followed by a rushed, hastily muffled and messy "HEHIIZSSSCH-ue!" that rattled both of them. Amaziah could not help but to cough and blow productively in the aftermath. When she was finished the effort left her nose red rimmed and still vaguely shiny with fluid. "Ugh- I am disgusting, forgive me." The Archmage mumbled, nose already crinkled and twitchy with a newly rising discomfort that made her sit up and turn away. "No, you are ill." Marya soothed and hugged her Love from behind. "With me that-..." Amaziah stopped and raised a vaguely trembling hand towards her lower facial regions. There it came to rest securely caged around her mouth with a thumb and forefinger already hovering around each widened nostril. She felt each slight expansion tremble against her fingertips as the next inhale reached a sudden crescendo. Her grip tightened in a fruitless attempt to squelch her stubborn nose into submission that ended with a painfully held back, entirely unsatisfying release. Quickly followed by an almost agonized groan. "Excuse me...With me that amounts to the same thing, I´m afraid."

[unchainedandstillunfree]

my albums of the year 2019

Somn - The All-Devouring American Football - LP3 Employed To Serve - Eternal Forward Motion Vi som älskade varandra så mycket - Det onda. Det goda. Det vackra. Det fula. WRVTH - No Rising Sun Eat Your Heart Out - Floresence Outlander - The Valium Machine Nionde Plågan - Reflektion Northlane  - Alien Shirokuma - Clothes I Wear For The Spaces I'm In After The Burial - Evergreen This Gift Is A Curse - A Throne of Ash Fallujah - Undying Light Mayfield - Careless Love Renounced - Beauty Is A Destructive Angel Counterparts - Nothing Left To Love Sleep Talk - Everything In Colour Earth Moves - Human Intricacy Ghost Iris - Apple of Discord We Never Learned To Live 100 gecs - 1000 gecs Parliament Owls - A Span Is All That We Can Boast Mireplaner - A Mountain of Saola Hooves WVNDER - Nothing Stays Presence of Soul - Absence of Objective World

Somn - The All-Devouring

Post-black metal is a bit of a hit and miss genre but I can’t think of anything about this album that possibly could be improved. The compositions move beautifully between slow buildups and fast black metal parts, the soaring melodies and savage riffs are stunning and the dynamics between the two vocalists bring something really original to their music. Absolute perfection.

American Football - LP3

American Football really outdid themselves here, the quality of songs on LP3 is of another world to their first two albums. Somehow these songs about being a jaded middle-aged father resonate with me more than their first album which was about leaving university and pining for those years and lost love. But there are so many beautiful, memorable moments on this, it’s impossible not to be moved.

Employed To Serve - Eternal Forward Motion

One of the tightest UK heavy bands right now somehow got even tighter whilst expanding their post-metal influences. The package is diverse but somehow the whole thing rumbles past effortlessly and you find yourself wanting to start all over again. I saw them live twice this year too and they were spectacular both times, seething with menace and emotion.

Vi som älskade varandra så mycket - Det onda. Det goda. Det vackra. Det fula.

I’ve really gotten into screamo in the last year or two and this came late in the year to blow me away. The instrumentals feel more influenced by post-rock than they do by hardcore but the buildups and heavy moments still hit hard. Excellent vocals sung exclusively in Swedish, I can’t wait to delve into them properly.

WRVTH - No Rising Sun

I will miss this band a lot. Another one that’s difficult to describe but sits somewhere in between tech-death, post-metal and emo. It’s a truly exhausting emotional experience to listen to all the way through but the density of ideas will keep your attention throughout.

Eat Your Heart Out - Floresence

Pop-punk is meant to be a bittersweet genre but Eat Your Heart Out really perfect this dynamic with angelic vocals constrasted with surprisingly heavy riffs.

Outlander - The Valium Machine

Mostly instrumental “doomgaze” from Birmingham. The atmospheres they manage to slowly build and build are so wonderful and dreamy.

Nionde Plågan - Reflektion

Another stunning, diverse screamo album that draws heavily on post-metal and crust. Repetitive, hypnotic, looping riffs and an anguished atmosphere with more harsh Swedish vocals.

Northlane  - Alien

Dammit, Northlane brought back dubstep breakdowns and nu-metal riffs in 2019 and managed to make it sound so good. This band couldn’t make bad metalcore music if they tried.

Shirokuma - Clothes I Wear For The Spaces I'm In

I spent a lot of time this summer when I wasn’t listening to this album thinking about the album. The atmosphere is unbelievably dense and oppressive with screeching vocals but beauty manages to shine through 

After The Burial - Evergreen

How many progressive metalcore bands manage to improve this much on their 6th album, especially after tragically losing their main songwriter? Never more full of ideas and of course some of the heaviest riffs of the year.

This Gift Is A Curse - A Throne of Ash

A wonderful blend of post-black metal, hardcore and crust punk done in a way that only a Swedish band really could. Filled with riffs that range from brutal to haunting. I keep coming back to this album throughout the year.

Fallujah - Undying Light

The new vocalist was divisive but I absolutely loved Anthony Palermo even before he joined Fallujah. The songwriting was a bit lacking in the middle of the album but it’s still head and shoulders above what most bands in this genre are doing and the last minute is one of my favourite moments in Fallujah’s discography.

Mayfield - Careless Love

The best Counterparts album this year was released by Mayfield, who draw from across melodic hardcore and metalcore but especially from their compatriots to fill this album with groove and emotional moments and grief.

Renounced - Beauty Is A Destructive Angel

A lot of people though Renounced were done but they came back with the most Renounced album yet, really leaning into the early-2000s metalcore sound and aesthetic 

Counterparts - Nothing Left To Love

Okay but Counterparts’ new album was pretty great too. As heavy as they’ve ever been and a lot of memorable songs (we’re just going to ignore that absolute travesty of a last song)

Sleep Talk - Everything In Colour

Wonderful melodic hardcore from Australia with desperate vocals and the addition of some wonderful choruses and gang chants. This album is very easy to listen to over and over again 

Earth Moves - Human Intricacy

Another exciting UK metal band with an expansive post-hardcore/post-metal album. Every song has a different flavour and it really shows the talent of the band in a way which previous releases didn’t quite get to.

Ghost Iris - Apple of Discord

Metalcore band from Copenhagen that really showed potential on previous albums but here managed to really tighten up their sound and create a set of wonderful songs filled with groove

We Never Learned To Live - The Sleepwalk Transmissions

Of all of the bands making music about technology and screen culture, WNLTL managed to really capture the feeling of the day and write a poetic letter to the future. Fantastic post-hardcore from another(!) exciting UK band

100 gecs - 1000 gecs

If you know you know.

Parliament Owls - A Span Is All That We Can Boast

More post-hardcore that is reminiscent of Dance Gavin Dance and The Fall Of Troy. Truly wonderful songs 

Mireplaner - A Mountain of Saola Hooves

“chaotic post-metal” on their bandcamp describes this perfectly. 

WVNDER - Nothing Stays

Andy Cizek absolutely smashed it this year with two releases and appearances with two other bands. His vocals here are wonderful and the songs create a perfect vibe of “summer of sadness”

Presence of Soul - Absence of Objective World

Haunting post-metal/doom from Japan. When they actually hit the heavy moments, it absolutely floors you.

[independentartistbuzz]

TAYLOR GREY RELEASES BITTERSWEET ALBUM TWILIGHT HOUR

Singer-songwriter Taylor Grey has released her captivating new album Twilight Hour, available on all music streaming platforms, which includes recent standout singles “Idiot'' and “Ever Knew Me.” The indie pop songstress' latest album is a deeply personal body of work that explores her experiences with heartbreak, self-discovery, and complex relationships. Audiences have gotten a taste of these subjects throughout the past months with the recent singles alongside the accompanying music video for “Idiot” which brought back nostalgic vibes of the 2000’s. 

Listen in here: https://open.spotify.com/album/2KMomIeSQWJenqaP5IF1Fc 

 Creating an immediate impression on the release, the focus track “How The Story Goes” radiates with an extremely catchy melody bolstered by Grey’s vocal performance. As one of the most fun and up-beat songs on the album, it is about being completely wrapped up in the excitement of a new relationship despite the fact that in the back of her head she knows, “‘nothing lasts forever.” The wistfulness portrayed in “How The Story Goes” will have you wanting to cherish the moment. 

 Every song on the album tells a different story, and grappling with those harsh emotions while trying to move forward. This is perfectly captured on the track “Who Am I?” which features a sweet melody combined with soft and comforting vocals. Hard hitting lyrics such as “But I let you take my habits and parts of me that weren’t yours to lose” do an impressive job.

“Forest Fires” is a deeply emotional track that features intense soul-searching. The ethereal vocals combined with the repetition of lyrics such as “Just a mirror of what everybody wants, Who am I when the curtain’s drawn?” create a haunting musical dichotomy that expresses growth and recovery from depression. The thoughtfulness present on this track is one of the moments where Grey truly shines. Another standout on the album is the song “8 Whole Years, ” which examines how friendship breakups can cut just as deep, it not even more so than romantic breakups. The track perfectly captures the bittersweetness of fond memories mixed with the knowledge that things will never be the same. As she reflects lyrically, “falling fast from the pedestal, now you condescend. Wasted 8 whole years when I couldn't pay your dividends,” the song is an ode to how a friend can toss you aside when they realize the social status that you do not have.

“Smoke You Out” is a track specifically inspired by the poem,"From the Antique," by 19th century poet Christina Rossetti and "The Awakening" a book by Kate Chopin - both literary works that inspired Grey’s journey with feminism. This is a hopeful melody, despite some heavy topics as it addresses attempting to escape the weight of the patriarchy while acknowledging its omnipresence. "Breathe me in and smoke you out," highlights Grey through her voice, as she is figuring out who she is and rids herself of internalized misogyny and a life script that was given to her.

The pleasant melodies leave listeners inspired despite any of the sensitivities that are present. Taylor Grey’s Twilight Hour is an atmospheric and emotional ride that has something to offer everyone whether they are dealing with heartbreak, friendships gone awry, or just trying to find themselves. Be sure to listen to Twilight Hour on your digital platform of choice today.

Keep up with Taylor Grey:

Instagram- Facebook — Twitter — YouTube — TikTok

 ABOUT TAYLOR GREY

Taylor Grey is an American songwriter and performer who started creating a name for herself in the music scene in 2016. A Northern California native, Taylor is a prolific recording artist navigating today's contemporary Pop landscape with an air of authenticity mixed with a natural vulnerability. Combined with her pop career, she’s a recent graduate of  Stanford University. Her astonishing work ethic has produced a balanced student-work mentality, making her an inspiration to many young aspiring artists who are determined to pursue an education and be involved in music. With over a million streams on Spotify alone, the 21-year-old is poised to take her career to the next level,  as a signed artist with Kobalt Music Group.

[chorusfm]

In the Spotlight: 50 Bands You Need to Hear in 2018

Last year we brought back, and re-branded, one of my favorite features from the AbsolutePunk days: the “Absolute 100.” And as we enter May and the weather finally starts to turn around a little bit, it’s the perfect time to once again team up with our contributors to bring you a whole bunch of new music to check out. Just like years past we’ve compiled a list of 50 artists we think are worth your time. Some of the artists recently released their debut albums and some have been around for a while now but have flown under the radar. However, the one thing they all have in common is that we think they should be in the spotlight and are worthy of your ears. You’ll find the first group of 25, along with blurbs, recommended songs, and sounds like comparisons, below. Liis by Anna Acosta Up-and-coming dark-pop duo Liis may have started with busking and acoustic coffee shops, but the end creation between dual vocalist/guitarists Lisa Haagen and Dana Cargioli is anything but simplistic – or even acoustic. The independent release duo’s debut EP Put It On; Show It Off (to be released May 12, 2018) is a beautiful tapestry of haunting melodies and wistful, starkly honest lyrics that manage to never once lose their poetic feel. Sleep on this group at your own risk – they’ve got nowhere to go but up. Recommended Track: “Thief” RIYL: Daughter, Julien Baker, Lydia Florrie by Jason Tate I can’t think of a single artist I’m more excited to finally get a full-length album from than Florrie. She’s released a variety of EPs and single songs since around 2010, with the last coming a couple years ago. However, it looks like this is the year we’re getting more music and that rockets my anticipation up to a whole new level. Florrie’s music takes a few different forms but it’s almost always catchy and perfect for a summer day. I see sparks of Charlie XCX, Little Boots, and even a little Carly Rae Jepsen in there, but it’s the energy and creative diversity in her work that makes me think she has something really special in her. Recommended Track: “Real Love” RIYL: Little Boots, Dragonette, Foxes Ruston Kelly by Craig Manning Ruston Kelly is probably best known at this moment-in-time as Kacey Musgraves’ husband. 2018 feels destined to be Kelly’s year, though, so don’t be surprised if you’re reading a lot about him by December. Kelly has already racked up songwriting credits for country artists like Tim McGraw and Josh Abbott Band, and he recently scored some rock ‘n’ roll cred by opening for Brian Fallon on the Sleepwalkers tour. The time is ripe for Kelly to release his proper debut album, which should be out later this year on his new label, Rounder Records. Expect the album to build upon the foundations Kelly established on 2016’s Halloween, a stellar EP that sounded like a lost document from Ryan Adams’ ultra-prolific mid-2000s period. Just like Adams, Kelly is the kind of artist that could comfortably be classified as country, rock, or folk. In other words, he’s got the kind of universal appeal that not a lot of his Nashville contemporaries can’t match. That factor should set him up for big success whenever his new record does hit the streets. Recommended Track: “Black Magic” RIYL: Ryan Adams, Brian Fallon, Afraid of Ghosts-era Butch Walker Cecil Frena by Mary Varvaris A few months ago, I stumbled upon my favorite song of 2018 so far. That song is called “All Of My Heroes”, from the stunning, eclectic album The Gridlock by Edmonton artist Cecil Frena (previously known under the monikers Gobble Gobble and Born Gold). “All Of My Heroes” is the ultimate pop-rock song – it’s anthemic, and Frena utilizes cool distorted guitar, synths, and most importantly: his fantastic voice. Throughout The Gridlock’s 43 minutes, Cecil Frena never takes himself too seriously. There’s a distinct element of dark humor framing self-deprecating lyrics, but the melodies mostly remain upbeat. There’s a range of styles on display throughout this album, it’s almost too difficult to keep up. Take the raucous punk track “Unknow Yourself” where Frena is furious, and his words are scathing. Later, there’s the tongue-in-cheek “I Believe In Dancing”. “I Believe In Dancing” is the only acoustic-led track on The Gridlock, and it’s gorgeous and fantastic. Then, see him try balladry with the lovely piano-led “Hyphen”. But, The Gridlock doesn’t end on an optimistic note. Album closer “Human Math” is a dynamic, shattering song to end the record with. “Human Math” begins so gently, with quiet and mournful keys, and Frena’s hushed vocals before an urgent climax brought by intense, rollicking guitars; which complement crushing words that deal with an impending personal loss (“and it’s not your fault the coffin waits”). Cecil Frena doesn’t take the easy way out, and isn’t afraid to make music that asks questions without answers or happy endings. It’s real. It’s human. It’s also one of the coolest albums I’ve heard in a long time. The Gridlock might be the best, but also the most overlooked album by the end of the year. I desperately hope this isn’t the case, because Cecil Frena can and should be one of the biggest stars in indie rock. Recommended Track: “All Of My Heroes” RIYL: Born Gold, Quiet Friend, Long Neck The Penske File by Jason Tate Over the past few years my ears haven’t been as perked up by the gravely voiced singer over loud guitars thing. Yet, I find there to be something captivating by The Penske File’s recently released album, Salvation. It’s not really that they’re doing anything new, but their spin on this sound calls to me anyway. There’s some really good stuff in here. Recommended Track: “Spin My History” RIYL: Spanish Love Songs, Youth Decay, Red City Radio No Thank You by Drew Beringer Philly is the scene that just keeps on giving. The latest and greatest to emerge from the City of Brotherly Love is the incredible trio No Thank You. While the band’s debut Jump Ship was a solid albeit brief introduction to their brand of emo-tinged rock and roll, 2018’s All It Takes To Ruin It All is one of the genre’s better sophomore releases in recent memory. The record ultimately revolves around the passing of singer Kaytee Della Monica’s father and how she’s navigating through this loss. The band sounds more confident on record two – ping-ponging sonically from the likes of Rilo Kiley to The Get Up Kids – while Della Monica struggles to find the balance within the freshly introduced pain and grief into her world. All It Takes To Ruin It All is a brisk yet heavy record that’ll wring your emotions through the gauntlet, cementing No Thank You as one of the bands you absolutely cannot miss out on in 2018. Recommended Track: “New England Patriots” SeeYouSpaceCowboy by Zac Djamoos You could listen to SeeYouSpaceCowboy’s entire fifteen-song discography in just about as many minutes, and it’ll still be the fifteen most exhilarating minutes of your day. The band features members of screamo and grindcore heavyweights Flowers Taped to Pens and Letters to Catalonia, and it shows. Their grindy Fashion Statements of the Socially Aware EP is some of the most punishing metalcore I’ve heard in a long time – I fell out with metalcore years ago when Risecore became the dominant style. But if there’s any band I believe can revitalize the genre, it’s SeeYouSpaceCowboy. Recommended Track: “Jimmy Buffet Doesn’t Even Surf” RIYL: Daughters, Blood Brothers, Botch Caroline Rose by Aaron Mook Caroline Rose is the kind of eclectic songwriter that only comes along once or twice a year, and Loner is the unexpected debut that very well may end up on everyone’s EOTY lists. Her personality is on full display in her music, which hops from genre to genre over the span of a mere 11 tracks and 34 minutes. One moment, she’s mimicking the dream-like textures of Beach House and the next, she’s recreating Haim’s vintage vocal melodies – sometimes, all within the same song (“Getting To Me”). From the Phoenix-inspired synth-pop of “Jeannie Becomes a Mom” to the Modest Mouse guitar work of “To Die Today,” Loner is irresistible, that rare record that truly has something for everyone. In her own words, she’s got soul. Recommended Track: “To Die Today” Mammoth Grinder by Jake Jenkins When multi-instrumentalist Chris Ulsh isn’t busy behind the kit with modern day thrash metal titans Power Trip, he’s taking the helm in Mammoth Grinder, an old school death metal band that also features members of Iron Reagan. Like Power Trip, Mammoth Grinder’s particular brand of metal pulses with hints of hardcore punk, staying true to the raw and primal roots of the genre. On their latest full length, this year’s Cosmic Crypt, Ulsh has moved from guitars to bass, but the band’s guttural and intense bursts of death metal are still fully intact. Clocking in at just under half an hour, Cosmic Crypt is a quick, brutal assault that should please both new school and old school fans of death metal. Recommended Track: “Blazing Burst” RIYL: Power Trip, Genocide Pact Paperwhite by Jason Tate I’ve been a sucker for groovy-synthy pop-music over the past few years and Paperwhite have that in spades. So far this Brooklyn duo have released a couple EPs and a few singles and should have a new EP out later this year. Their pulsating tracks sparkle behind Katie Marshall’s vocals and they have an undeniable ability to shine in the uptempo and somber dream-pop. Recommended Track: “Unstoppable” RIYL: Great Good Fine OK, Say Lou Lou, Ryn Weaver Holy Fawn by Trevor Graham Holy Fawn may have emerged from the desert, but their brand of spacey post rock is nothing short of otherworldly. Crafting dreamy, oceanic atmospheres with each track, this Arizona-based quartet blends influences from the finest in experimental rock and shoegaze with an undeniably palpable energy that’ll leave you emotionally winded. 2015 saw the release of their debut EP, REALMS — a vehicle for introducing their broad dynamic range, deliberately set to satisfy head-trippers and head-bangers alike. Their visceral knack for layering sound shines brightly through a familiar formula that Holy Fawn have mastered the art of frequently concocting: start quiet, then get loud. Like, really, really, tremendously loud. I hate to use the word “epic” here, but… this band brings the capital E. Amidst their stormlike compositions, vocalist Ryan Osterman pours velvet falsetto whispers, hushed and reverberated just enough to somehow both stand out and blend in at once. Their latest single, “Arrows”, features a dizzying array of shimmering, cavernous guitar loops, eventually delivering the listener to the group’s fiercest display of cacophony yet. It comes from their forthcoming Whelmed Records debut, which the band aims to release in late 2018. Recommended Track: “Arrows” RIYL: Gates, O’Brother, Sigur Ros American Aquarium by Craig Manning In the Americana world, American Aquarium tends to be a pretty well-known and well-respected enterprise. If you don’t venture down that musical avenue much, though, then I’d wager you’ve never heard of these boys from North Carolina. Ever since 2006, this band has been quietly cultivating one of the most solid discographies in roots music. In 2012, they brought in Jason Isbell to produce their LP Burn. Flicker. Die., a record they intended to be their swansong. Six years later, they’re still trucking—though frontman BJ Barham recently had to reboot the band with new players. No matter: the band’s newest record—the forthcoming Things Change—is arguably their most fully realized to date. Starting with a song about the day Trump got elected president (the fittingly titled “The World Is on Fire”), Things Change is in turns political and deeply personal. The wistful “When We Were Younger Men,” for instance, charts the pains of growing up and the fluctuations of friendships to the sound of Tom Petty hits. The record as a whole is a reminder of what makes these guys special: they can be introspective, incendiary, personal, or political. Recommended Track: “The World Is on Fire” RIYL: Drive-By Truckers, Whiskeytown, Jason Isbell Pale Houses by Deanna Chapman The latest music from Pale Houses landed in my inbox and in typical fashion, it took me a while to get to it. Once I did, though, I was thoroughly impressed with the band’s sound. If you’re looking for new indie pop to listen to, these are your guys. Song of the Isolation is their new EP and all six songs keep you engaged with the music. I’ll be keeping an eye on this band going forward because they’re one of the pleasant surprises of 2018 for me. Recommended Track: “Tenderfoot” RIYL: Death Cab For Cutie, Bon Iver, Bleachers Wild Pink by Drew Beringer It’s only been a little over a year since Wild Pink released their criminally underrated Tiny Engines self-titled debut but that didn’t stop the New York City trio from expanding their introspective yet sensitive indie-rock sound on their upcoming second album, Yolk In The Fur, this July. The first single, “Lake Eerie,” leans even further into the spacious soundscapes created by lead person John Ross. Clocking in just over five minutes, it’s just a taste of the leap the band has made from album one into their sophomore effort. Let’s just all promise each other that Wild Pink dominates our speakers all summer into the fall. Recommended Track: “Lake Eerie” Spielbergs by Jason Tate Spielbergs released their debut EP, Distant Star, last week (April 27, 2018) and it is full of sing-a-long choruses that just beg to be shouted in sweaty nightclubs. They are a band and sound that feels almost instantly recognizable and familiar, but when performed with such gusto are still undeniably addicting. Recommended Track: “We Are All Going to Die” RIYL: The Japandroids, Latterman Nora Rothman by Anna Acosta It’s said that the simplest things in life can be the sweetest, and that ethos has never been embodied the way it is in singer-songwriter Nora Rothman. Embodied by a certain ethereal quality that’s difficult to fabricate, there is very little outside from a sweet, lilting vocal and a lightly plucked ukulele to distract from Rothman’s straightforward, heartfelt storytelling. And there’s nothing like taking one’s craft and applying it to a cause: this spring Rothman’s self-titled EP (released summer 2017) was remixed by five separate female producers (Birch, Ah-Mer-Ah-Su, QRTR, Suzi Analogue, and Libra Rising, respectively) and re-released via Electric Bird Records as a fundraising initiative for Planned Parenthood. Recommended Track: “Strange” RIYL: Phoebe Bridgers, Sufjan Stevens, Sarah McLachlan Middle Kids by Adam Grundy Middle Kids are not your average indie rock band. Typically a band with this type of following would have been expected to have played multiple shows before being noticed for a record contract. Not the case here, as this Australian 3-piece band released their first single in 2016 without having played a single show. Singer/songwriter Hannah Joy found limited success by self-releasing songs via Bandcamp, but she finally got her big break when Elton John endorsed Middle Kids. Their music can be best described as upbeat, classic sounding, pop-rock built for audiences as close knit as the club scene yet polished enough for arenas. Check out their debut LP Lost Friends on May 4th via Domino Records. Recommended Track: “Mistake” RIYL: Fleetwood Mac, Smallpools, Gang of Youths Hop Along by Mary Varvaris Hop Along is an American indie rock band from Philadelphia, PA. Their latest album Bark Your Head Off, Dog can be effectively summed up in its album opener “How Simple”. When I watch the music video, I’m unsure if Frances Quinlan is poking fun at herself while reflecting on the unpleasant things about falling in love: “how simple my heart can be frightens me” or if she mourns for relationships that don’t end up working: “don’t worry, we will both find out / just not together”. Quinlan’s lyrics are straightforward in their honesty here, but elsewhere, her lyrics fall in the abstract with religious imagery and references to World War I (see: “One That Suits Me”). Frances Quinlan’s voice is indescribable. She howls, croons, screams, and yelps, her voice cracks – she gives everything when she sings. Bark Your Head Off, Dog is full of wacky, memorable instrumentation – “Somewhere A Judge” is groovy, and Quinlan briefly uses a vocoder towards the end of the song. “The Fox In Motion” is full of unforgettable indie rock riffs. “Prior Things” is lead by optimistic, beautiful strings. There’s a harp and strings in the outstanding “Not Abel”. “Not Abel” starts as a fascinating little folk ballad, combining gentle picking on the acoustic guitar with a harp. “Not Abel” feels like a revelation. Quinlan references the story of Cain and Abel, and for the last minute and 36 seconds, “Not Abel” becomes an anthem. Before then, though, she channels her anger at the men who affected her self worth and confidence, contemplating how it’s “strange to be shaped by such strange men”. Bark Your Head Off, Dog is a refined and cohesive effort, taking all the elements of Hop Along’s previous album Painted Shut, and expands on them. Hop Along give every song room to breathe, and develop a warm, spacious atmosphere. The instrumentation is creative and experimental. Bark Your Head Off, Dog will end up being one of the best, most ambitious indie rock albums of the year. Recommended Track “How Simple” RIYL: Modest Mouse, Joanna Newsom Soccer Mommy by Jason Tate You can choose to get caught up on the band name if you want, but if you do, you’ll be missing out on one of the more exciting voices in music right now. Soccer Mommy is the brainchild of Sophie Allison and her latest studio album, Clean, was released earlier this year. The music has a breezy angst to it that walks between this folksy-grunge sound and soft acoustic ballads. It seems perfectly tailored to be performed in a bedroom alone, sung to a few empty beer cans and tired eyes, or belted on stage to a room that will soon be learning every word. Recommended Track: “Your Dog” RIYL: Alvvays, Anna Burch, Liz Phair Travis Meadows by Craig Manning Invoking the spirit of the great Bruce Springsteen has become an increasingly trendy thing for songwriters to do in the past decade. In songs by The Gaslight Anthem, Titus Andronicus, Eric Church, and more, Bruce has been elevated to the status of rock ‘n’ roll’s patron saint. Still, there might not be a song that captures what it’s like to hear a Springsteen song in the car on a weekend summer night better than “Pray for Jungleland.” The song, a core cut from Travis Meadows’ 2017 album First Cigarette, is a wistful look back at the days before iPods or Spotify (or car CD players, for that matter) where your only option was to wait around to hear your favorite song on the radio. Meadows takes that idea and turns it into a song that feels as alive and full of possibility as any summer evening you’ve ever witnessed. Elsewhere on the record, he takes you to the deepest depths of human regret and hopelessness, purging his own struggles with alcoholism in songs that hurt like bruises. Suffice to say there’s a lot of darkness in Meadows’ music. Songs like “Sideways” and “First Cigarette” feel like they exist on a brink, one step away from giving up or giving in. But it’s songs like “Pray for Jungleland” or “Pontiac” that make First Cigarette a masterpiece, because they shine a light through the darkness and make it shine. Recommended Track: “Pray for Jungleland” RIYL: Bruce Springsteen, Tom Waits, Eric Church We Were Sharks by Adam Grundy Victory Records’ latest prized possession is We Were Sharks, whose crunchy guitar riffs and New Found Glory-esque pop hooks have certainly gained listeners’ attention. This 6-piece post hardcore band from Ottawa, Canada are poised for a big 2018 with the release of Lost Touch (February 23, 2018), which happens to be their second album, and was produced by Silverstein guitarist, Paul Marc Rousseau. Recommended Track: “Hotel Beds” RIYL: A Day To Remember, Silverstein, Four Year Strong Author by Trevor Graham These Minnesota natives released a debut full length in 2015 that straight up stole my heart. Channelling the wintery ambience of indie darlings like Copeland, Of Brighter Days was the sound of a band exerting themselves on all fronts. The sense of melody, rhythm, instrumentation, lyricism — it was all there. Three years later, the band has released their new album, IIFOIIC — an acronym for the enthralling title track, “Is It Far Or Is It Close?”. The song, like many others in their discography, features haunting falsettos and soaring harmonies, glitchy electronic flourishes, trippy delayed guitar leads, and a powerhouse rhythm section. Their ability to bounce energy off of one another is unmatched in this scene, as they work like tiny parts of a well-oiled machine to push each other to the next level. At other points in the record, Author kick up the tempo to show off some of their most kaleidoscopic arrangements to date (looking at you, “Want”), where you may have trouble deciding whether to air drum or air guitar. Pro-tip: you’ll have time for the one you didn’t pick when you hit replay — you’ll want to hear that vocal hook again anyway. This is most certainly music made to soundtrack the leaves changing color, but don’t let that allow you to sleep on this fantastic band. Recommended Track: “Is It Far or Is It Close” RIYL: Copeland, From Indian Lakes, Valise, Mutemath The Night Game by Jason Tate Martin Johnson is an annoying good songwriter. Look, you can have your qualms with Boys Like Girls, but there’s no denying the earworms this asshole can write. His latest project has only released a handful of songs, but already they’ve run the gamut from 80’s nostalgia (“The Outfield”) to destined for pop radio (“Bad Girls Don’t Cry”). It’s nice to see Martin flex his songwriting chops and as he aims for a summer release with this project, I wouldn’t be surprised to see him once again with songs on the tips of everyone’s tongue. Recommended Track: “The Outfield” RIYL: The 1975, LANY I Don’t Know How but They Found Me by Adam Grundy This dynamic duo is comprised of ex-Panic! at the Disco bassist, Dallon Weekes and ex-Falling in Reverse drummer Ryan Seaman. These recent “cast offs” shouldn’t be written off yet as they plan to release an album filled with synth pop reminiscent of the 80’s. Recommended Track: “Choke” RIYL: Tears For Fears, Elvis Costello, Orgy Caitlyn Smith by Craig Manning If there were any justice, Caitlyn Smith would be the biggest star in modern country music. I don’t care whether you listen to country music or not: Smith’s debut album, this year’s Starfire, will knock you on your ass. The first time I heard her sing, it reminded me of the first time I heard Chris Stapleton. They both have these big, epic voices—voices so good you can’t believe they stayed secret for so long. It’s the kind of voice that can send shivers down your spine with a climactic key change (“Tacoma”) or leave your jaw on the floor with a theatrical torch song (“East Side Restaurant”). But Caitlyn Smith isn’t just The Voice-style good. On the contrary, she’s also a dynamite writer, someone who can silence a room with the sharpness of her pen just as much as she can with the hugeness of her voice. On “Scenes from a Corner Booth at Closing Time on a Tuesday,” she turns vignettes about nameless characters into a tongue-in-cheek treatise on modern loneliness, and on “This Town Is Killing Me,” she poignantly illustrates just how much it costs to chase a dream. If you listen to my recommendation once ever, make it this one. Recommended Track: “Tacoma” RIYL: Chris Stapleton, Maren Morris, Taylor Swift Part Two will be released tomorrow and a playlist of all the recommended songs will be coming on Friday. If you missed it last year, you can check out 2017’s feature here. --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/features/in-the-spotlight-50-bands-you-need-to-hear-in-2018-part-one/

[feedbackismyfriend]

My Top Albums of 2019

1. Holy Fawn-Death Spells

This album technically came out at the end of 2018, but I didn’t hear it until this year and I listened to it so much that I couldn’t not include it. It’s incredibly dynamic with both extreme restraint and some very heavy moments. However, it’s also incredibly fluid. The soft vocals and shoegaze/post-rock elements don’t just contrast with the metalcore and screamo elements; they complement them and blend together seamlessly. The instrumentation is incredibly lush throughout the whole run time. This album is everything that Deafheaven’s Sunbather wanted to be. Honestly, it might be one of my top albums of the decade.

2.Caroline Polachek-Pang

This fantastic work would’ve been my number 1 this year if I’d decided not to include Death Spells. It is a wonderfully catchy and emotive pop record with gorgeous, futuristic soundscapes. The lyrical content is both relatable and fantastic, incorporating elements that border on magical realism and draw from a wide variety of influences. Hit Me Wear it Hurts, Door, and So Hot You’re Hurting My Feelings are all songs that have been on repeat for days on end at various points in the year.

3. Charli XCX- Charli

Speaking of futuristic, this incredible pop album is a shining example of progressive songwriting. The vocals are frequently heavily processed in a way that is robotic, the synthetic soundscapes range from bladerunner-esque to something simultaneously sci-fi and baroque. The dynamic range on this album is enormous. Songs like Click and Shake It are powerful and aggressive whereas Official is soft and sweet and 1999 is fun and nostalgic.

4. Carly Rae Jepsen- Dedicated

This album is less bubblegum-y than most of Carly’s music, but it still pulls heavily from 80′s music in a way that’s very fun. Almost every song on here has the potential to get hopelessly trapped in your head. No Drug Like Me is one of the most confidence-inducing feel good songs I’ve heard in my life. The “come hither” energy of Want You In My Room is sexy and infectious. This album will make you feel good.

5. Lana Del Rey- Norman F*****g Rockwell

This album is a wonderful example of Lana’s brand of melancholy and perhaps slightly sleepy pop. The two highlights are the 9 minute anthem Venice Bitch and F**ck It I Love You, both are hypnotic and somehow such a fucking mood. The album is full of wonderful storytelling and evocative imagery. My favorite deep cut off this album Bartender, Lana’s vocals are exceptional throughout the record but they especially shine here. The album’s closer is a gorgeous piece of piano and vocal music that features some wonderful and somber lyricism. Almost any line in this song is bound to take you to somewhere else.

6. La Dispute- Panorama

On this album, La Dispute have stretched themselves as musicians and refined many of the sounds they have explored throughout their career. This album is also the most sonically coherent of any of their works, the band finds themselves in a niche of alt rock that suits them very well. Fulton St I and Fulton St II feel like the natural progression of older tracks like King Park. Rhodonite and Grief is similarly jazzy to the Woman (Reading) cycle of songs off of their previous album; its clean guitar riffs and trumpets add so much mood and atmosphere and provide a slight reprieve from the previously aggressive tracks. Atmosphere is a major strong suit of this album. In Northern Michigan is an entrancing piece of musical poetry that really highlights the bands ability to create mesmerizing moods. I’ve been listening to this band for almost a decade and this is my favorite album of theirs.

7. Weyes Blood- Titanic Rising

This album tows the line between singer-songwriter music and pop rock in a way that is wonderfully spacious and memorable. The opening track is driven by pianos and strings that are breathtaking and make my heart sigh. Songs like Andromeda and Movies sound huge and distant with wondrous synthesizer tones, yet somehow they are intimate experiences. The vocal performances on these songs, and throughout the album, are gorgeous.The instrumentation throughout is diverse and incredible. This album is wonderfully theatric and even the more lowkey tracks like Picture Me Better wouldn’t feel out of place in a film soundtrack.

8. American Football- (LP3)

This band is a staple of the emo genre and this is the first time since their reunion that they’ve lived up to, or even exceeded their reputation. It opens softly and beautifully with light hits on a xylophone or glockenspiel and gets progressively airier and more pretty as it goes on. Mike Kinsella’s vocals and lyrics soar over soft and twinkly guitar work. There are wonderful guest appearances by Hayley Williams of Paramore and Canadian indie musician Elizabeth Powell. This album frequently feels like it transports you to somewhere else that is both nostalgic and melancholy, but also vibrant and enveloping.

9. Thom Yorke- Anima

I’ve loved Radiohead for years, but this is the first time I’ve felt connected to one of Thom’s solo efforts. It is wonderfully fleshed out and feels like it has its own identity in a way that his previous attempts haven’t to me. As expected of him, it is electronic and incorporates many jazzy/dancy elements, however it is also incredibly cinematic and stimulating. Dawn Chorus is anthemic and full of light. Last I Heard (He Was Circling The Drain) is off kilter and likely to make you slightly seasick. There’s also a wonderful amount of attention that has been paid to the sound design of the synthesizers and Thom’s vocals fit each track wonderfully.

10. Kim Gordon- No Home Record

This is Kim Gordon’s first solo record and it is a fantastic debut. Almost equal parts raucous guitar rock record and slow, percussive noise record. Kim’s unusual lyrics and unique vocalizations tie the room together in an entirely special way. It sounds like a sonic youth record that went off the deep end in terms of experimentalism. Highlights include the haunting dirge-paced Get Yr Life Back and harsh, cello-driven Sketch Artist. The more conventional rock tracks like lead single Murdered Out and Hungry Baby are still unusual and wild, but in a way that’s more fun and immediately satisfying. This album will probably make you feel a particular kind of way that you won’t fully be able to describe.

11. Seeyouspacecowboy- Songs For The Firing Squad

I love this band! They are local to me and play a chaotic blend of heavy genres that simultaneously takes you back to the inside of a Hot Topic in 2008 and feels incredibly fresh and underground. This (primarily) compilation album is their Pure Noise records debut and contains so much sass and energy. The instrumentals are pummeling and catchy at the same time. Connie’s screams and shouts are an absolute treat. Throughout the 18 minute runtime they manage to channel Screamo greats like Jerome’s Dream and Comadre, metalcore breakdowns a la The Devil Wears Prada, and Converge-esque moments of pure chaos and feedback. 

[nitrateglow]

Movies watched in 2017 (35-45)

My 2017 movie journey continues! On this installment, I come across some foreign silent gems, mediocre superhero movies that make my sister angry, and the colorful madness of a certain Baz Luhrmann.

The Informer (dir. John Ford, 1935)

May just be my second favorite John Ford film after Young Mr. Lincoln. The Informer is a sound picture, but its storytelling and heavy, thorough use of incidental music make it very much like a silent movie. The use of music is a great example of what is now derisively referred to as “Mickey Mousing,” yet it never feels corny or silly because the music underscores the action and emotions of every scene so well.

While the plot is simple (former IRA member betrays a fellow rebel for money), it explores sophisticated moral and political territory. The ending is deeply moving, even if the religious symbolism is laid on a little thick. Then again, the film is heavy with expressionism, so perhaps that is warranted. Such a shame this movie is so underrated. (10/10)

Macbeth (dir. Justin Kurzel, 2015)

Words alone cannot convey my disappointment. Stills and clips made this film look like it was going to be the most stunning version of the Scottish play to date, but alas, it’s a mostly uninspiring affair. Sure, the extreme long shots of the fog-ridden and rocky landscapes are breathtaking. Sure, those fight scenes look cool. But no one seems to have much passion here—all the actors mumble and murmur the lines, every scene feels like it was shot with the trailer in mind and not because the content suited such a style. (5/10)

The Haunting (dir. Robert Wise, 1963)

The original Haunting is both a horror movie and the tragedy of a lonely, trapped woman. Eleanor may or may not be experiencing the supernatural, but there is no doubt she brought many of her own personal demons to that haunted house with her, mainly her craving to belong and be loved. While I found the voice over a little awkward at times, it eventually grew on me. Julie Harris is brilliant in the lead, one of the best horror movie performances ever.

The Haunting reminded me a lot of another gothic 1960s horror, The Innocents. I preferred The Innocents, but both are great movies about lonely women and their ghosts (literal and/or metaphoric).

And no, I do not ever plan on watching that 1990s remake. EVER. (9/10)

Danton (dir. Andrezj Wajda, 1983)

This was a wonderful movie, which makes me embarrassed since I have very little to say about it. It’s about the extremism of the French Revolution and the ideological conflict between the idealistic Robespierre and the less extreme Danton, who feels he is partially responsible for the Reign of Terror and wants to make things right. Their discourse on the nature of revolution and holding to one’s ideals is riveting from beginning to end. Even though Wajda’s sympathies lie with Danton, the film avoids painting Robespierre as a villain, showing him as a man of high ideals that were not born of power lust or evil. Both men become tragic figures in the midst of a troubled age.

The historical atmosphere is great too. Not since Kubrick’s Barry Lyndon have I seen a movie capture the look and feel of the eighteenth century to the point where it feels as though I have actually stepped back in time and am not merely witnessing a recreation. (9/10)

Japanese Girls at the Harbor (dir. Hiroshi Shimizu, 1933)

One of the things the best silent films excelled at was packing the simplest of narratives with beauty and emotion. Japanese Girls at the Harbor is one such film. At little over an hour, it tells the story of a young woman who commits a crime of passion and falls into geisha-dom as a result. At first, the movie’s story resembles a Mizoguchi film like Osaka Elegy or Sisters of the Gion, where women are forced into compromising situations through poverty or the failings of the men in their lives, but as the notes on the Criterion release say, Shimizu is much more optimistic about the potential to overcome society’s prejudice and find some little piece of redemption once you put your mind to it. The ending has a muted sense of optimism; Shimizu makes no guarantees that everything will turn out okay, but he does have hope.

There are some striking cinematic flourishes, such as the progressive close-up which precedes and antecedes a violent act. It made me think of the scene where we see the monster for the first time in James Whale’s Frankenstein. (9/10)

Moulin Rouge! (dir. Baz Luhrmann, 2001)

Part of me finds Moulin Rouge! brilliant; part of me finds it stupid and totally understands the hate it gets—regardless, I really liked it and am itching to watch it again. I first heard about it when Doug Walker claimed it was one of the movies he found most annoying and overrated, and from his description of the fast edits and some of the annoying tropes used in the picture, I expected to dislike it too. Nope. I admire its audacity, its willingness to be nothing less than bat-shit insane and unashamedly naïve in its fairy tale love story. It’s pretty much a live-action cartoon, complete with freaky close-ups, wild gesticulations accompanied by Looney Tunes sound effects, and general campiness all around. The aesthetic is like George Melies meets the 1950s MGM musical meets the 1990s music video.

That said, it isn’t perfect and I did get annoyed once the stakes started rising. I think the part of the movie which does not work for me is the second half. It’s not that the tragic stuff couldn’t work alongside all the goofy scenes (just look at Bollywood movies, which were apparently an inspiration for this movie), but sometimes the characters act way too stupid in order to move the plot along. I understand this isn’t meant to be a psychological study of jealousy or romantic love, but some of the things they do in the latter part of the movie strain credibility, even for a film in which the leads fall in love after one song.

I also feel the film’s themes aren’t explored in a compelling manner—which would not be a problem if the film was content with being mere romantic escapism, but I don’t feel that was the case. The film seems like it wants to be more than an exercise in style or an escapist melodrama with its protestations of the importance of love and artistic fulfillment. Roger Ebert claimed the movie was about the way we deceive ourselves as to our true nature (ex. Satine acts like she’s a heartless gold-digger, but she’s truly a romantic who favors the heart over her wallet; the Duke tricks himself into believing Satine truly loves him; Christian views himself as the quintessential suffering artist), but I felt that was never really developed all the way through the movie. Also the themes of love and jealousy are given the shallowest treatment. You can tell that despite its insane style and embracing of old-fashioned romanticism, it does want to discuss these things on a higher level, one it just does not reach. When your bad guy is like a parody of an entitled aristocrat who says lines like “OOH, DARLING LOOK A FROG!!”, you cannot take this movie seriously as drama.

Nevertheless, I did think the movie was a stylistic delight; we’re still feeling its influence now. Out of the Luhrmann movies I’ve seen, this one is certainly his most memorable, even if not everything works. (8/10)

A Woman’s Face (dir. George Cukor, 1941)

How this is one of Joan Crawford’s least remembered roles, I’ll never know. While on the technical side this movie is not terribly interesting, it is an entertaining noir drama and a commentary on how a woman’s worth is often linked closely to her physical beauty. And then there’s Conrad Veidt—oh swoon, oh man, I love his sensual, selfish villain! His line, “the world belongs to the devil” just personifies the amoral philosophy of so many noir villains throughout the classic cycle. (7/10)

Teen Titans: The Judas Contract (dir. Sam Liu, 2017)

I watched this movie with my sister @zany-the-nerd, who is a big Deathstroke fan. If you too are a big Deathstroke fan, I can only tell you that the likelihood of your hating this movie is high, judging by my sister’s reaction to his new characterization. As someone with only secondhand knowledge of the comic this is adapted from, I would say this movie is okay on its own. The animation is good, the fight scenes are entertaining, Nightwing and Starfire are adorable. On the whole, I think it needed a runtime longer than 80 minutes. Tara’s relationships with both the other Titans and Deathstroke could have used more development to make the emotional conclusion more effective. (7/10)

David Copperfield (dir. George Cukor, 1935)

David Copperfield is one of Charles Dickens’ best-loved novels; in 1935, MGM adapted it into this wildly successful film version and populated it with tons of great character actors. One of the delights of this version is how much it resembles the original Victorian illustrations of the novel (even the opening titles are designed to evoke the original cover design of the novel’s first printing).

There are some expressionistic flourishes in the childhood segment, illustrating the innocent David’s clashes with the much harsher adult world and how lost he feels as a disadvantaged orphan within it, and these bits look forward to post-WWII Dickens adaptation such as David Lean’s Oliver Twist and Great Expectations, and the wonderful Brian Desmond Hurst version of A Christmas Carol, all of which had shadowy cinematography that bordered on noir aesthetics. Of course, the film is not wanting in humor, which often appears in the form of several great stars and character actors: WC Fields as an offbeat yet charming Mr. Micawber, Roland Young as a very icky Uriah Heap, Basil Rathbone as the sadistic Mr. Murdstone, Lionel Barrymore as Mr. Peggotty, good God the 1930s had such great performers for this kind of material! My favorite of the bunch has to be Edna May Oliver as Aunt Betsy—I cannot imagine anyone more perfect to play that eccentric, strong-willed woman.

One of the big shocks for me was Freddie Bartholomew as the child David. Child actors in classic-era talkies usually make me cringe, but I was surprised at how much I enjoyed Bartholomew’s performance. He comes off as sensitive and charming without being cloying, and when he was replaced by the blander Frank Lawton in the latter part of the film, I found myself missing him. About the only scenes where Lawton musters any charisma are the ones with David’s love interest Dora Spenlow (a character I found annoying in the book, but rather liked as played by Maureen O’Sullivan here—maybe I need to revisit the book and re-assess the character). There you’re able to see some of that sensitivity return, but otherwise, he just comes across as callow and passive.

To be honest, the book is much too long and complicated to cram into two hours and ten minutes—a three hour runtime would have served the filmmakers better (that or cutting more out, which they seemed unwilling to do). Apparently producer David O. Selznick wanted to make this book into two movies, which would have been an even better idea, allowing both halves of the story to breathe and develop. While David’s childhood in the first half of the movie is paced well, the second half with his adult counterpart feels more like a greatest hits reel, a quick summary. Agnes and Steerforth in particular are barely developed. As a result, the movie feels kind of rushed toward the end, leaving you less than satisfied. But no matter, this is still a charming, well-made movie, and a treat if you are a fan of Dickens in general. (8/10)

Twilight of a Woman’s Soul (dir. Yevgeni Bauer, 1913)

I was first turned onto 1910s filmmaker Yevgeni Bauer when I saw his 1917 picture Dying Swan last year (FYI, that movie is awesome and you should all watch it). Twilight of a Woman’s Soul is an earlier and slightly less sophisticated work, but by the end of its 48 minute running time, I was impressed nevertheless. It tells the story of a rich young woman named Vera whose life is altered after a vagabond rapes her. She murders him in self-defense afterward and runs off shaken and ill (an event which seems to have next to no effect on what happens next, but still satisfying). Time passes and though she is still affected by what happened, Vera does find romance. Engaged to an upright and tender nobleman, she wonders if she should tell him about her past trauma, only to learn that her allegedly loving spouse sees her as only damaged goods after that.

What ensues is not at all what one would expect from a 1910s melodrama and just in case you watch this film, I dare not spoil it for you too much, as I was incredibly surprised by how progressive it was in terms of gender politics and in terms of how it portrayed rape from the victim’s perspective. Needless to say, the woman is able to find healing and peace without the aid of a love interest to avenge her honor. Heck, she avenges her own honor and doesn’t have to pay for it morally or legally!

Like many films made before WWI, much of the story is depicted in a series of tableaux; a medium shot is the closest the camera ever comes to any human subject. Nevertheless, this is hardly a filmed stage play. For one thing, the static scenes are saved from dullness by lovely composition, each set decorated  and lit with a sensitive eye for detail. The editing is also adventurous for 1913. In an early scene, the filmmakers employ a slow-moving forward dolly shot to create a sense of depth in the space of the heroine’s boudoir. The film suddenly, almost violently, cuts away from the rape and the murder that follows it the split second before each event occurs. The acting is also very subdued, not at all the wild gesticulations 21st century audiences expect from a silent film of this vintage.

And that seems to be the running theme of this journal entry: this movie is not what people would expect from a 1913 picture. Progressive artistically and socially, it has me wanting to watch even more of Mr. Bauer. (8/10)

[themusicenthusiast]

Thursday, December 6th, 2018 – Colter Wall Shares Some Songs of the Plains and Other Tales, Maintains an Intimate, Singer-songwriter Vibe at His Largest Dallas Show Yet

It turned out to be a dreary day in North Texas, the occasional shower and near constant drizzle leading one to want to minimize their time outside. Because of that, the Granada Theater acted as an ideal respite from the gloomy weather, especially for anyone who wanted to see one of country music’s rising stars. Colter Wall is a fascinating figure in the world of country music, given that the genre has largely shied away from its roots, mainstream country artists being pop acts as much as anything. Yet the twenty-three-year-old man from Saskatchewan, Canada is a country purist, one that identifies with the old guard more than anything and has developed a sound to match. And while that may have fallen out of favor with the mainstream crowd, Wall has, rather quickly, won over a throng of loyal supporters through the intricately crafted stories that he tells and the relentless touring he has done to support his albums. His visit to Dallas on this Thursday night was in support of the nearly two-month-old Songs of the Plains (out via Young Mary's Record Co./Thirty Tigers), a near sold-out crowd welcoming him back to North Texas, eager to hear some new music along with experiencing their favorites of Wall’s once more. Presented by Spune, the event boasted a mostly Texas-based lineup thanks to Joshua Ray Walker and Vincent Neil Emerson acting as the supporting acts. The latter has been on tour with Wall and performed as a trio, and while the listeners enjoyed Emerson and company well enough, it was Walker who set things on fire and had people raving. A rising talent within the D-FW music scene, the singer-songwriter acted as if he had something to prove as he made quick work of ten songs. Spectators were shocked to discover he hailed from right in their own backyard; and it was impressive to see a man that practically nobody there was familiar with, armed only with a guitar and his voice, command the crowd in the way that he did. It was evident the songs meant something, many striking an emotional chord, the melancholy tones that pervaded throughout the majority of them making one just want to break down and cry, even if there was no real explicable reason for it. They just had that touch, that emotional weight that allowed them to connect with people; a hallmark of a talented musician. They weren’t the only Texas artists to be seen this night. As the screen concealing the stage was raised, fanfare filling the room to welcome Wall out, concertgoers were instead addressed by Paul Cauthen. The Austin-based musician piled on the praise as he spoke of his good friend Colter Wall, promising everyone an excellent evening before the man of the hour finally emerged. “My name is Colter. I appreciate you guys coming out…” His greeting was followed by an explanation of his first song, his “favorite kind of song”, a traditional one, and one that was a cowboy song no less.

The first few cuts were all him and his acoustic guitar, evoking a singer-songwriter vibe, one that was conducive of storytelling. The chattering that had been ongoing during the previous two acts ceased. The rare clank of a beer bottle being thrown into the waste bin was the only noise that punctuated the music and even that was done carefully as the near one thousand patrons gave Wall their absolute attention. His rendition of “Bury Me Not On The Lone Prairie” was stunning. Mournful and teeming with emotions he made it feel like something he had penned, giving credence to the notion that Wall is an old soul; his booming voice and heavy drawl creeping out as he assumed the identity of the character he was singing about, leaving the nonchalant demeanor of his own persona that he had displayed well behind. He shared some anecdotes for the two originals that proceeded that opener, speaking of how “John Beyers (Camaro Song)” came together, noting that it was about two guys who drove around in matching Camaro’s who had their differences and ultimately took it out on one another’s car. (It was an early highlight of the set.) He then earned some laughs upon mentioning the idea for “The Trains Are Gone” came to him after reading a book, quipping, “If you can believe that,” regarding the reading part. That segment seemed to have been carefully curated -- even if those tracks were recorded as bare-bones numbers. Live you could experience the full scope of what they were going after, such as mortality in the case of “The Trains Are Gone”, and just how powerful they were. All by himself Wall had proved himself to be a force to be reckoned with, one capable of captivating a sea of spectators, and that was sure to only be bolstered by the addition of his band. From a drummer and bassist to a pedal steel guitarist who dabbled on a dobro as well as a backing vocalist/harmonica player, he welcomed his band mates to the stage as they proceeded to raise a more of a ruckus. The autobiographical “Thirteen Silver Dollars” did just that as the quintet dove right in to the lead track from Wall’s self-titled release. They livened it up immensely, to the point that the tune about an unexpected run-in with law felt like a party anthem, something that felt as if it were indicative of how the remainder of the set would play it. To an extent that was true, though the rest of this 74-minute long set was much more nuanced than that, the primary focus not being on invigorating the listeners so much as it was immersing them in the stories that were being shared and making them feel authentic enough that everyone could believe they had lived it. The attendees were all the more enamored with that approach as it better showcased Wall’s natural abilities. While comprised largely of original material, the setlist was fleshed out by more than half a dozen covers. It was a surprising move, considering most artists keep covers to a minimum, if they’re even included at all. In most instances I would say that was excess, but in Wall’s case that actually worked. Be them old traditional songs or ones from respected singer-songwriters, they all fit well within Wall’s wheelhouse and were spread out; “Big Ball's in Cowtown” being one of the country music staples that received a subtle makeover from Wall and had several people dancing along. Yet at other times, even with the bolder sound the full band brought, patrons remained still, utterly transfixed by the character driven songs like “Thinkin' on a Woman”. The reflective nature of it was heightened significantly as Wall placed everyone in the passenger seat of that big-rig with its driver as he assesses his failures. That was what made this night so special: the remarkable vividness of the tales that unfolded. Wall injected a certain amount of character into them that made them transcend a standard song, instead standing out as a compelling story that was artfully guided by his strikingly smooth and rich voice that echoes back to a bygone era. His rendition of Wilf Carter’s “Calgary Round-Up” was another incredible example of that as he embodied the persona of a cowboy out on a cattle drive; while the haunting murder balled that is “Kate McCannon” found Wall channeling his inner Johnny Cash more so than any other number this night, cheers erupting from the crowd as soon as they recognized the gentle chords that got the song underway. With about a third of the set yet to go Wall and company continued to make quick work of things, mixing in some covers of revered Texas musicians with his remaining originals, even pairing things back momentarily where he was accompanied only by the pedal steel guitarist for “Wild Dogs”, which was nothing short of breathtaking. Throughout the night a handful of fans were adamant about hearing one particular song, routinely shouting its title, hoping that might accelerate things. To wrap it all up Wall and his band mates finally got to “Sleeping on the Blacktop”, much to the audience’s delight. Fans frequently sung along to various track this night, though that was just about the lone one where nearly everyone seemed to chime in, the fans taking it a step further and even stamping their foot along to the percussion. It was one of those classic concert moments where for the time being everyone was unified. No one needed any sort of direction, that was just something they all felt compelled to do in that moment, and it was amazing to witness. That was a rousing way to conclude the show, though no one was ready for that to be the end. All of that stomping and hollering had subsided only moments before it again filled the Granada, this time as a way to demand an encore. “ENCORE! ENCORE!” went the simply chanting that steadily grew louder until Wall and his fellow musicians reemerged, happy to oblige the request. There would be a lone encore, and it was possibly the most crucial song of the night. Wall was deep in the heart of Ray Wylie Hubbard country – the institution of the Texas music scene even having graced the stage of the Granada numerous times over the years – so to do one of his songs was a sink or swim moment. It was a resounding success, at least based on the way the spectators enthusiastically sang along with the refrain of “Up Against the Wall, Redneck Mother”. The boisterous sing-along moment encapsulated the joyous spirit that was felt at every turn during this performance, summing up the overall fun atmosphere that had been cultivated (even during the more poignant numbers); the slightly updated spin Wall put on the song, changing “hippies” to “hipsters”, earning some hearty laughs. There was no better room in Dallas to have hosted Wall. The acoustics are topnotch and highlighted the natural talent he was overflowing with as he made this whole endeavor appear effortless. Despite the sizable room it felt more like club show. I dare say that out of the sixty plus concerts I’ve caught at the Granada that none have had quite the intimate feel that this one did. The way Wall initiated it was instrumental in that as he offered everyone a glimpse of himself not just as a musician but a person thanks to the dialogue he engaged in, providing some insight on his songs and those that resonated with and shaped him. He worked to develop that rapport with everyone and it persisted throughout the night, that same charm punctuating several songs even after he transitioned from solo artist to frontman. It felt like he was baring his soul to each individual in attendance, and that connection made him absolutely riveting. This was the first time that I had the privilege of seeing Colter Wall, and what you hear is precisely what you get. Even though he has drawn inspiration from some more recent influences Wall has forged a sound that evokes such a sense of nostalgia that it almost sounds too good to be true. His mighty set of pipes accented by a heavy drawl demand one’s attention; and none of that is aided by any “studio magic”. It’s all raw talent that grips you when listening to Wall’s recorded works and is downright arresting when experiencing it live. He is, indeed, a purist. There were no sorts of frills involved, nor were they needed. The music carried the show – as it should; Wall’s gritty yet refined talent shining through at every moment, the emphasis constantly on his impeccable storytelling. Clearly, there are still people who care for and prefer music with substance and meaning over something that’s catchy. Colter Wall is living proof of that, at least based on the strong turnout of avid supporters that he had this night. He champions those merits that used to be prerequisite for any act to make a significant impact in the music industry; his work ethic also reflecting those ideals, given that the road is more or less a second home to him. A genuine musician who still has his whole life to invest into his career there’s no doubt that Wall will continue to raise his profile, and in time, he may well come to be as revered as the greatest of the greats of the country and folk genres. He more than possesses the potential. Colter Wall’s current tour will run through December 14th when it concludes at the El Rey Theatre in Los Angeles, CA. He’ll return to the road in mid-January, that leg kicking off on the 17th in Portland, OR at McMenamins Crystal Ballroom. Some of the other dates include a performance at The Showbox in Seattle, WA (January 20th); the Mystic Theatre in Petaluma, CA (January 26th); and the Scoot Inn in Austin, TX (February 7th). A European tour is also slated for March 2019. A complete list of Wall’s upcoming tour dates can be found HERE. And if you haven’t yet purchased Songs of the Plains be sure to check it out in iTUNES or GOOGLE PLAY. Set List: Solo 1) “Bury Me Not On The Lone Prairie” (Traditional; cover) 2) “John Beyers (Camaro Song)” 3) “The Trains Are Gone” 4) “Night Herding Song” (Traditional; cover) Full Band 5) “Thirteen Silver Dollars” 6) “Saskatchewan in 1881” 7) “Big Ball's in Cowtown” (Hoyle Nix cover) 8) “Thinkin' on a Woman” 9) 10) “You Look to Yours” 11) “Calgary Round-Up” (Wilf Carter cover) 12) “Motorcycle” 13) 14) “Kate McCannon” 15) “I Been to Georgia on a Fast Train” (Billy Joe Shaver cover) 16) “Wild Dogs” 17) “Plain to See Plainsman” 18) “White Freight Liner Blues” (Townes Van Zandt cover) 19) “Burn Another Honky Tonk Down” (Wayne Kemp cover) 20) “Sleeping on the Blacktop” Encore 21) “Up Against the Wall, Redneck Mother” (Ray Wylie Hubbard cover)

[flint-fox]

R.E.M. - Reveal (2001)

1) The Lifting; 2) I’ve Been High; 3) All the Way to Reno (You’re Gonna Be a Star); 4) She Just Wants to Be; 5) Disappear; 6) Saturn Return; 7) Beat a Drum; 8) Imitation of Life; 9) Summer Turns to High; 10) Chorus and the Ring; 11) I’ll Take the Rain; 12) Beachball

After Up's deeply personal, soul-cleansing exercise, Reveal carries an aura of reconnection with the greater world. As incredible as Up was, the primary impression it leaves is its very insular sound and mood, where you have to dig a little deeper to find the still strongly beating heart of R.E.M.'s songwriting. Reveal, then, presents as much of an 180 turn as Up did. The traditional band roles in more prominent display again again (including an increased presence of session drummers), even if there's still a lingering element of R.E.M. taking cautious steps forward as a three-person incarnation in tune with Up's soundscapes, with programmed drums, frequent synthesizers and emphasised keyboard parts making up much of the album. But as albums, they're night and day - where Up was the melancholy late hours spent awake lost in thought; Reveal is the brand new morning. It's a decidedly more upbeat album, full of harmonies rather than controlled chaos. There's a clear desire for the band to smile again, resulting in a shift in gears to a more traditionally R.E.M.-esque album. Even the opening song welcomes you in: "Good morning! How are you? The weather's fine, the sky is blue..."

"The Lifting", the said opener, is a grand start and continues with the band's tradition of strong openers, and is in fact one of the best in that regard. It's light as a breeze, bouncing on every step like a liberated free spirit, throwing an infectious hook after another as Buck's familiar jangle appears and the drums carry an infectious rhythm. Stipe has entertained the thought that the song is about the same overworked soul as Up's "Daysleeper", and thus it's another semi-intentional shedding of the previous album's weariness, bringing the melancholy narrator to the open sunlight. It's an overwhelmingly joyous song above all, but doesn't aggressively try to be one, like e.g. the decidedly hyper-upbeat "Stand" or "Shiny Happy People". There's genuinity to it and its spiralling conclusion, with Stipe yelping full of energy, is a moment of honest delight - and in that sense, it leads the way perfectly. Reveal is open and inviting, in tone and in music - positive, melodically rich and full of hooks. After Up's experimentation Reveal places simple songcraft back in the spotlight, and while there's still great importance placed on the production of the material, the songs presented here are first and foremost guided by their melodies.

Much of what makes Reveal jump alive is still how the band treat the studio as an integral instrument in its own right, and the ambience that's pushed through the ideas making up the album's world of sound. There's a level of obsession in details prevalent throughout, carefully layered sounds and minor parts forming into a greater whole as R.E.M. seek a particular feeling throughout. Reveal is a pastoral album, a record aimed for summer through and through - the cover, the May release date, the constant lyrical references to the season and especially overt touches like sampling crickets make it abundantly clear, and the sound itself is appropriately lush, warm and inviting. The production is pristine enough to let all these details come through clearly, but there's not a trace of studio sterility. The instrumentation emphasises bright keyboards, clean guitar parts and gentle touches of electronic programming, with Up's dissonance brushed away as far back as possible. Even in its more introspective moments the band reach out their hand rather than wallow away.

The production's other main role is tying together Reveal's different strands. R.E.M. are in transition here, with one foot in the electronic soundscapes they've played around with for the previous couple of years, while the other foot is kicking back for a full band feel. Thus Reveal is, despite its unifying atmosphere, a diverse album. The traditional R.E.M. band sound makes a comeback frequently, but with a twist in how it goes about its arrangements, though there is a precedent. Before Reveal, the band released the (fantastic) soundtrack single "The Great Beyond", re-introducing R.E.M. as a full-band rock act but one with an expanded sonic palette built upon Up's studio wizardry and the willingness to tap into new soundscapes through precise arrangements, and it's like the blueprint that Reveal's foundations are based on. Thus for example the guitar-driven "Disappear" and "She Just Wants to Be" sound like natural extensions of where the band were in the 90s, but there's a kind of grace and aural richness that sounds new. It's at times akin to a 21st century update on studio magic of 60s classic pop psychedelia years.

The first two singles, "Imitation of Life" and "All the Way to Reno", are such great examples of this - and they are among the band's most obvious hits in how irresistibly melodic and sing-along-y they are. To R.E.M.'s credit they don't sound remotely like they were engineered to be so and instead they are, once again, rich and soulful. The former is an unashamed pop anthem with one of the band's most simply thrilling choruses (and some fine, contrasting lower-end string stabs and the suddenly bittersweet bridge cutting through the song and reducing the risk of saccharine overload). The latter is a relaxed, effortlessly lush melodic stroll rich in harmonies and arranged gorgeously: of all the songs in Reveal, it carries the strongest comparison to "The Great Beyond" and goes for the same almost-wistful euphoria, successfully as well. In complete contrast, "I'll Take the Rain" is a gut-puncher - a bittersweet, heartaching ballad among the band's most fragile, swerving Reveal's final run with a sudden emotional curveball. With one of their most poignant choruses, it goes all the way to the top, its sadness piercing through with Buck's chiming guitar lines (and an actual guitar solo!). It's a powerful song, utilising Reveal's warmth in a wholly different way than the rest of the album.

The keyboard/synth-oriented songs on the other hand are dreamy, serene moments of still among the lively full band cuts. "I've Been High" is arguably the most extreme of the lot, as there's nary a trace of live instrument in its pseudo-synth pop sound. It's a colossally beautiful, haunting deep cut however, full of graceful melancholy and soothing dreaminess breaking through the sad haze - and its last minute, from its career standout bridge to the rise it takes in its finale and Stipe's evocative lyric lines, is absolutely incredible. "Beat a Drum", "Summer Turns to High" and "Beachball" on the other hand are prime examples of what I mean when I talk about Reveal as a summer album, evoking the spirit of the season and the lazy holidays with their warm sound. The latter two directly make the comparisons, the electro-acoustic "Summer Turns to High" obviously so while the mellow float of "Beachball" somehow manages to take the feeling of watching the sun go down at the end of a perfect summer's day and turn it into music, gently bobbing along with its minimalistic beat. "Beat a Drum" is a little masterpiece as well, with Mills taking control through his softly swaying bass riff, the gentle piano leading the song and enriching the chorus through his backing vocals. The chorus, incidentally, is another one that manages to evoke so much so effectively through what is in the end a very few lines and a fairly straightforward progression; and yet, it's one of the album's most magical moments, a true blooming of warm summer air in music.

The one song most driven by the production, "Saturn Return", is a little marvel on its own: all tightly-wound atmosphere with little elements bouncing back and forth between the headphones, constantly switching its lead instrument from Buck's feedback-heavy guitar line to Mills' delicate piano, floating on top of a persistent drum machine up until the near end when the live drums kick in for a moment. It's the most Up-esque moment on Reveal, a bridge between the two that reminds the band haven't completed moved away from it. It's quietly one of Reveal's key tracks: an unassuming oddity at first, eventually revealing itself to be an integral centrepiece and a curious shadow cast over the album's summer day.

The one remaining song, "Chorus and the Ring", is a strange one, not really going anywhere yet towards its end it reaches a certain kind of crescendo of its own ilk where you find yourself strangely captured by the song. It's an odd one out on an album that otherwise has a very direct touch with its songwriting ("Saturn Return" included), and perhaps the only slightly dimmer spot in what is otherwise one of R.E.M.'s very finest records. That's not a light statement, but it feels almost borderline obvious, because Reveal seems to have it all. Stipe is in brilliant lyrical form, with so many great lines that lead your imagination flying, the production is golden and everyone involved with the actual playing of the music are delivering a sharp performance. And as an album, Reveal is certainly one of their most melodic: it embraces a type of songwriting which leans on harmony and goes for hooks within hooks, almost overwhelmingly so. That's always been a strength for R.E.M. and Reveal revolves around it, making it the core theme for the album together with the lushness and the summer vibe. If you can think of a picturesque sunset on a peaceful summer's evening following a pleasantly hot day, and experiencing that comforting feeling of everything being perfect and carefree in life like the best summer vacation you've had - that's where Reveal wants to take you. And it does. "Beachball" closes the album with Stipe repeating "you'll do fine" as the sun goes down in the horizon, and you can tell that after all the sadness and uncertainty, there was hope again in the band's ranks.

[rbeatz]

Dark Model – Saga

Dark Model is the vehicle in which award-winning music producer Tatsuya Oe fuses electrically charged emotional epic orchestral electronic music into his beat-oriented soundscapes.  Born in Hiroshima, Japan and now residing in New York, Dark Model will be Oe’s latest project.  Over the span of his twenty-year career, Oe has continued to evolve and diversify his background in music.  Under the monikers, Captain Funk, OE, and Dark Model, Oe has produced and released several hundred signature tracks, while also having completed remixes and collaborated with such artists such as James Brown, Serge Gainsbourg, Ron Sexsmith, Chic, Simon Lebon, and Yoshihide Otorno.

Dark Model’s first album (May 2014 release) was nominated for the 14th Annual Independent Music Awards (The IMAs) in the Dance/Electronica Album category.  Oe’s music has been featured in numerous media outlets, from box office film trailers like Elysium, The Paperboy, and Money Monster, to advertising campaigns for Lexus, Verizon “Droid, Xbox “Forza Motorsport 5,” and to a contemporary dance choreography by Northern Ballet.  Under this commercial success, Oe has been hailed by music critics and journalists alike, referring to him as the “Remix Wizard,” and the “Modern Renaissance Man.”

And with this polished posterior and drive, Dark Model will be unleashing his second album, Saga.  This second album will feature 13 high energy tracks with massive electronic beats and overlaid with intricate works of symphonic finish.

This epic album starts out with “Prelude,” an operatic start that immediately dives into a dramatic stronghold with the heighted effect of symphonic elements layered in with energetic strings and the moving movements of electronic music.  The effects of orchestral embellishment is definitely high-strung and with the ebb and flow of the symphony, there are sheer moments where audiences will be left starry-eyed and mesmerized.

The following track, “Avalon,” is an electronic blend derived from brooding depths and darkness that seemed to have amassed from the strength of some sort of provocative energy emanating directly from the center of the song.  The exciting atmosphere will draw listeners in.  The haunting undertones and marching band vibe definitely creates a lively ambiance.

On “Rage and Redepmtion,” there are the end-of-the-world themes, adding a disparaging element to the range of electronica on the track.  This apocalyptic string is heighted by the choral background that definitely builds up a bit of tension during this component.  A sense of urgency grows as the choral effects attests to a more wartime feel salvaged from the marching band backbeat.

The title-track, “Saga,” is followed by energetic strings that produces a tight and stirring production.  The orchestra epically depicts the intricate cut layers of the song.  We, as listeners, will come alive to the raging electronic beats and the enriching vibe coming from the percussions.  The appealing sounds coming from this complex soundscape makes this extremely confrontational music that has a strong EDM and trance feel.

The choral beginning of “Inferno Suite” will really get audiences into the vibe of the piece.  The dramatic setting and the strong set-up with its fast beats and built up of tension gives off a massive structure of orchestra backed with electronic beats.  The energetic vibe and tantalizing forefront surmounts in a tantamount of effects.  Though already heavily layered, the choral addition adds an enlightening facet to the production.

On “Labyrinth,” the circling repetition will draw in viewers with its heavy layers and yet simple melodies.  The hypnotic strings lays the foundation to the dramatic storytelling evident from the get-go of this track.  Based on a concept that Oe has embraced throughout his career, the music of Dark Model incorporates a diverse range of musical ideas and elements into what he calls “Musical Narratives.”  This musical journey in which we embark upon listening to the sensual and emotional Saga unfolds as not just a whole album form but also as one epic storyline consisting of thematic dramatized tracks, while some tracks are comprised as a self-contained “suite,” a sequence of short musical dramas.

The stormy and destructive, “Stormy Goddess” starts off with a staccato beat backed with lively riffs.  Constructed with zero lyrics, the album upholds, nevertheless, Oe’s emblem of highly atmospheric music.  Action-filled and crowded with a layered sound, this tune will definitely rouse your spirits.

“Danse Macabre” begins with a strong techno energy with an amped cadence that fits into the electronic grooves.  The choral weaves in and out of the refrain syncing with the electronic beats of the entire composition.

Oe’s elaborate affair continues in “Elegy 1,” a track that fits a piano melody and legions of lush and vibrant strings into a blend of staccato movements, the dreamy and haunting soundscape of “Dawn of Resurrection,” the experimental and operatic “Rage and Redemption (No Choral Mix),” the refined techno elements in “Inferno Suite (No Choral Mix),” and the ethereal and sweeping, fantastical elements in Danse Macabre (No Choral Mix).”

The elaborate affair that is Oe’s compositions in Saga comprise of a series of dazzling arrangements that definitely creates a great ambiance-building, background filler.  These tracks are dense and compact, filled to the tee with a whole lot of airy and surreal, ethereal fantastical elements.  Epic and powerful, these electronic mixes will take you on a journey, underground and into the future.  Loaded with a hypnotic quality, Dark Model has fused together an electric compilation of tracks, combining elements of EDM, trance, orchestra movements, and operatic electronic music.  Oe speaks out on the album’s theme “Unleash Your Inner Hero:”  “I would like to let fans and listeners know I hope Dark Model’s music will be a kind of ‘motivated music’ for their daily life, by making them feel like a hero.

from rBeatz.com http://ift.tt/2sXLVqS

[themusicenthusiast]

Friday, September 29th, 2017 – New Songs and Old Favorites Abound as the Turnpike Troubadours Rush to Beat Curfew at Western Days

What a perfect opening day it was for Western Days. The annual event in downtown Lewisville was kicking off with cloudy skies concealing the sun; the light showers that had fallen around D-FW no longer being a threat as festival goers entered into the grounds... or so people thought. Some drops were felt every now and then as the night progressed, though it was more annoying than anything, and certainly not heavy enough for attendees to bail early. Some heavy hitters had been tapped to headline the two-day event this year, beginning with The Turnpike Troubadours, who were doing their first headline gig in North Texas since the end of 2016. Free for those that arrived before seven and a mere ten dollars for everyone that couldn't make it until later, the price was impossible to beat. Couple that with the fact that the Oklahoma-based outfit is capable of selling out venues that boast a capacity of several thousand and there was no doubt that the street would be packed by the time ten o'clock rolled around. Sure enough, it went from being relatively empty just a few hours before to a staggering amount of Turnpike fans covering every lane on Church Street as their set time neared. There was a nice mix of fans out as well. A few young kids sported Turnpike Troubadours shirts, speaking ecstatically about what they hoped to hear, while others ranged into their sixties or so, with every other age group in between also represented. They were all eager for the band of the hour, roaring fanfare greeting them as they finally took the stage at 10:02, Evan Felker waving at the congregation as he stepped out underneath the stage lights. A track of pummeling percussion was what they walked out to, the intro piece adding to the excitement as it set the stage for what was sure to be something thrilling.

“Well, she was born in the morning, late October, San Antone…” The throng of fans echoed along on that opening line of “Every Girl”; the delight that filled the air upon everyone recognizing it being palpable. Even if you knew (or at least expected) that it was coming it still provided such an excellent start to the show, the chipper mood that the beloved song maintains setting the pace for the rest of the night. As it reached the end, repeating that opening line, Felker raised an arm towards the sky and twirled his hand around, as if encouraging everyone to help them out again. The audience picked up on that cue, belting it out with more passion than before as they then moved directly on to the next number. Diamonds & Gasoline was the focus for the first handful of cuts, that lead track from it giving way to the subsequent song, “7 & 7”. Ryan Engleman was wielding a double neck guitar for the first couple of tunes, seeming to make them a little more intricate as he occasionally shifted between the two, while ratcheting up the “cool” factor exponentially, the axe-slinger radiating a confidence as he waved it about, brandishing it in the air as the song concluded. Kyle Nix was also featured prominently on that sing-along, the fiddle prevailing throughout it, overpowering the other instruments for a few fleeting moments and sounding fantastic. “The last Texan in the band” was how Felker referred to Hank Early, the pedal steel player leaving his seat and grabbing the accordion; the upbeat “Shreveport” being the ideal follow-up. Live, it’s incredibly up-tempo, the rapid setting that the musicians move to making it downright irresistible. That fast pace ensures it’s perfect for a clap along, something that Felker incited as the bridge came around. The accordion received some prime time throughout “1968”, fading into the mix and stealing the show for a moment before tapering back off in excellent fashion. The backing vocals were also quite strong on that one, adding another layer to the performance, while Engleman simply mouthed along to the words of the song that he was firmly invested in. Four songs in and the Turnpike Troubadours hit their first real break of the night. The silence didn’t last long however, soon being broken by a drum roll courtesy of Gabriel Pearson. A certain drum roll that can elicit a reaction stronger than any of the other tracks in their impressive arsenal. It was extended, beginning somewhat reserved before Pearson packed more force into it; a bit of a collective gasp transforming to cheers and elated screams once everyone discerned that it was “Good Lord Lorrie”. “Thank you, ladies and gentlemen,” was Felker’s response to the massive fanfare that erupted after that one was done. That was about the extent of the dialogue this night, the group wanting to utilize every second they could and deliver the songs that everyone expected from them, the fiddle soon piercing the silence as Nix set them off on what stood out as another fan favorite, “Kansas City Southern”. “…That’s a hell of a lot of people!” Felker remarked afterwards, some of the lights illuminating the crowd, highlighting the droves of fans that had turned out. The singer and acoustic guitarist then mentioned they had a new record coming out soon (A Long Way From Your Heart due out on October 20th via Bossier City) and asked if it would be okay if they played some new songs from it. No one had any qualms with that. They only did a couple, and surprisingly, the first of those was not one of the promotional singles that they have released from it. “Pay No Rent” has undergone a radical transformation since last December, the then newly written song being performed in a bare-bones manner at a show in Shawnee, Oklahoma. In some ways, that format is behooving of the beauty the track conveys, though the fleshed-out sound they’ve since given it was still transfixing in its own right. Slightly relaxed by Turnpike Troubadours’ standards -- the bass and drums being subtler -- it’s still an exceptional song that is teeming with emotion. You could tell the newer songs are still being worked on in regards to incorporating them into the live setting, a lengthy stick count seeming as if it was going to be the precursor to the next track before the clacking ceased. Instead, the six-piece outfit just launched right in to the lead single from the forthcoming record, “The Housefire”. It earned some strong reactions from the concert goers, considering it had only been out for about a month prior to this show. A sure sign that it is, at the very least, well liked. Actually, it wound up being their best song of the night, that story oriented track sounding absolutely superb. Depicting a young family -- husband, wife and baby – who narrowly get out from their burning home and subsequently lose it all, it succeeded in capturing a mood the likes of which none of their other songs do. The instrumentation translates extraordinarily well live, a crucial piece of what made it so riveting, the tale itself evoking an array of keen feelings, thus making certain it struck a chord with everyone. The recording portrays it as a great song, no one would argue that, but live, that’s where “The Housefire” is at its best. Further grabbing one’s attention while listening to that song is the fact that “Lorrie” makes another appearance, be it the same character from a couple of past works or just a version of the enigmatic woman. And how appropriate it was that they follow it with the final song referencing that character. Some twangy licks from the guitars accompanied an atmospheric and somewhat eerie sounding transitional piece, the haunting tones suddenly being broken by the opening chords of “The Mercury”. That rocker ultimately came to a sizzling finish, the deafening notes resonating out into the open air; the band only halfway through the show they had planned. And, much as is stated in that song, they were just starting to hit their stride. “Down Here” lightened the mood some after a couple of heavier songs (in terms of the story elements), and as they breezed through that reassuring track, it apparently dawned on them that they were sans their normal light guy, Reece, who according to the congratulatory post on Facebook was spending some time with his newborn baby. Felker mentioned him afterwards, dedicating their next song to him. In its own way, “Blue Star” was a perfect tribute to their friend and integral part of their team. Engleman began strolling around the stage much more, stretching his legs and visiting his band mates, he and bassist RC Edwards locking eyes for a moment and jamming on what was the first of a series of offerings from Goodbye Normal Street. The next two were the most popular songs from that five-year-old album, the first of which required Felker to swap out to a banjo. Engleman laid down a slick solo in advance of the third verse of “Gin, Smoke, Lies”, an ominous interlude that would fit well in an old western film serving as the bridge between it and the next number. It was foreshadowing of the chaos that would unfold during “Before the Devil Knows We're Dead”, which saw the musicians put a certain amount of grit into it that outdid their previous cuts. It was done with sheer conviction, another clap along being worked in at that point; Felker changing up one of the lines, instead singing, “…I’m thirty-something years old now…” There was no recovery time for the spectators. Applause had just begun when the initially soothing tones of “Whole Damn Town” quelled it. The poignant breakup song was magnificent, a smooth quality abounding at every turn, contributed largely thanks to Felker and the way in which he delivered the lyrics. “Thank you, Western Days,” he stated quickly as they broke into what everyone knew signified the end of the show: “Bossier City”. Audience participation was practically a requirement, from more clapping to a chorus or two that was turned over entirely to the crowd. As usual, it also featured a formal introduction of each of the band members accompanied by an opportunity to let their talents shine. Nix was first up with a soaring fiddle solo, Engleman following suit, with Early going all-out on his accordion soon after. “The Good Doctor himself” (as he was introduced) RC Edwards laid down a strong bass solo with Pearson winding it down, while Felker brought it home with a great piece on the harmonica. Technically that was it, the conclusion of their 67-minute long set, though Felker remained on stage, immediately starting the encore. He opted for something that was unexpected, a song he would later say “only goes over in Texas”. It’s hard to believe that not everyone would at least enjoy “Empty as a Drum” (a song that ranks high on my list of personal favorite Turnpike songs), though maybe it is a Texan thing. People appreciated the rarely heard tune; the desperation and longing that’s conveyed in the story seeping into Felker’s delivery of the lyrics, guaranteeing it was an emotional powerhouse. He then headed for the wings, the rest of the band making their way back out, Edwards taking the helm for what has become a staple song of theirs over the past year or two. “…We’re gonna get drunk. We’re gonna get high. We’re gonna get loud!” goes the refrain of the pure party song that is steeped in authentic country, Edwards’ Southern drawl providing the tacks’ primary charm. It was all hands-on deck for the ol’ John Hartford song that Felker stated had worked well for them over the years. Indeed, they have made “Long Hot Summer Day” their own, putting their mark on it and making it a signature of their performances. It’s so fun and vibrant, akin to the same vibe that “Bossier City” emanates, and it provided a fitting end to that 14-minute long encore. Still, fans weren’t ready to leave yet. Some made their move for the gates, though most were steadfast and determined as the cries for an encore grew. There would be one more, but only one, as the band had a curfew to meet. “…It’s kind of funny,” Felker admitted, almost thinking aloud. “You get into the music business and then you have a curfew.” One noticeably absent song was “The Bird Hunters”, which was remedied with their final few minutes, the six of them leaving the stage triumphantly, holding their instruments high before they disappeared from view. They had thoroughly entertained the masses that had turned out, delivering a caliber of performance that fans have come to expect… and they beat curfew. They may have not visited North Texas much this year, though the Turnpike Troubadours have certainly not been taking it easy in terms of touring, the rigorous schedule they keep continuing to push them further as musicians and performers. That was noticeable on this night, the six of them appearing more at home than ever on stage, a determined spirit ever present as they tore through that extensive set list. One comprised mainly of songs they surely know by heart, yet ones they still manage to inject new life into, capturing a sense of freshness no matter how many times one has seen the band and heard their hits. By possessing that kind of ability it’s no wonder why people keep turning out to see them, the crowds continuously growing larger with each trip they make to a city. Aside from their prowess as musicians, the Turnpike Troubadours strengths lie in their music. Their blend of Americana, Red Dirt and country styles, hefty doses of rock mixed in, creating something that is familiar yet distinct, different from everything else out there. There is a catchy quality about their music, while the stories they spin reel one in, creating immense interest in what is happening and where things will go next. Their new music, judging by what they have released thus far as well as what they performed this night, seems to exemplify that better than ever before. They work to get deeper and convey a more personal outlook than any of their past works (which is saying something), proving that the best is yet to come for the Turnpike Troubadours. Best of all, though, has to be the fact that these tried and true performers genuinely enjoy doing what they do. That’s evident by watching them, and they work to make sure the onlookers are having as great a time as they are. All of that is a definite winning combination. On October 20th, the day that A Long Way From Your Heart releases, the band will be performing at The Criterion in Oklahoma City, OK for the official CD release show. Other upcoming shows include the Harvest Maroon Fest at Wolf Pen Creek Amphitheater in College Station, TX on October 13th; headlining The Blue Light Live Street Concert in Lubbock, TX on October 14th; and performing at the Walker Theater in Chattanooga, TN on October 23rd. The Gramercy Theatre in New York, NY will host them on October 25th; on November 9th they’ll be in Wichita, KS at The Cotillion; and on December 1st and 2nd they’ll do a two-night stand at ACL Live at Moody Theater in Austin, TX. For more details along with a complete listing of their show schedule, go HERE. Also, make sure you go to iTUNES or GOOGLE PLAY and pre-oder A Long Way From Your Heart or grab their previous releases.