Brooklyn’s Hurrah! A Bolt of Light! brings a sensational blend of U2 arena rock and Augustana-inspired pop to the table via the entirety of their self-titled debut album, due out April 1st. The band spent time with producer John Fields (Switchfoot, Soul Asylum, The Rembrandts) in Los Angeles working to get the sound right, and I’ll come out and say it: there’s not a dud on the album.
“In Over My Head” in particular is a shining example of what the band offers. “I keep my heart in a little box … I should have known there’d be hell to pay,” Will Farr sings, backed by shimmering guitars, thundering percussion and echoing hand-clap fueled backing vocals. And while he may feel as though he’s in over his head, listeners will fall head-over-heels as they sing along with this perfectly radio-ready nugget.
Help break this band wide and share the track now, available to stream and download exclusively at “Hear! Hear!” via the above link. It’s easy to say there’s nothing great making it to radio but it’s another thing entirely to sit back and let something this good slip away. (You can follow Hurrah! A Bolt of Light! on Facebook and Twitter.)
There’s nothing about this song lyrically that would typically draw me in, but the hook to “The Silence” is immediate and I could legitimately expect to hear PAZ’s latest played on radio stations in the same mix as Imagine Dragons, Skrillex and Avicii, something which should attest to its EDM bona-fides. In the end the hook is all that matters, and it will have you singing along mindlessly long before you have the inkling to think about what you’re singing. That’s the essence of a great pop song, one which grabs hold and drags you kicking and screaming into liking it, and then getting you to spread the word even when you know you’ll be tempted to attach “guilty pleasure” to the description.
“Hear! Hear” is excited to be the first place you’ll hear “The Silence,” which you can stream via Soundcloud below. When more information is available about the full mixtape, we’ll let you know here as well.
“Sometimes all you need is just a taste,” or so the chorus of “Switchblade” tells you as the brilliant single pinwheels its way through the confines of your skull. Holy White Hounds owes a great deal to the Black Keys, but their sound has a pop-fueled energy that band often lacks, fueled by the high-end production values of Brandon Darner (Imagine Dragons, Envy Corps) who helmed the band’s latest EP. There’s a real sense of “I don’t give a fuck” fun behind this one, as the video will attest on a single viewing. You’ll be singing along with this one all day while hitting repeat and trying to find out anything and everything about this enigmatic trio. With any luck Holy White Hounds will be the big rock story of 2014, as Iowa needs some serious rocking and this song seriously deserves wider appeal.
Like a twisted blend of Cracker, Tom Waits and Jason Isbell filtered through the sensibility of the Coens’ Fargo, Swedish artist Tom Levin defies the “sanctity” of genres with this riot of a single off his latest album Them Feet. Hell, even Levin hints that this is his version of “Minnesota Nice,” twisted through a wondrous sludge of psuedo-Southern Folk and gothic Gospel touches. Says Levin:
The lyrics to “Pull Yourself Together” are inspired by how people in the [American South] are very good at letting someone know, in a polite way, when they are behaving like an idiot. I wrote the song because I had to get my disappointment with certain peoples’ behavior out of my system. “Bless your little heart” takes the edge off almost any insult and sometimes makes it sound like a compliment. If you or anyone you know ever needs to tell someone they are being a total jackass.just send them this song.
Watch it below and make your night just a little more special!
This one’s an interesting beast. Though it’s not out until June, and the band won’t be revealing its lead single until after SXSW, I felt I’d be letting all of you down if I didn’t at least get your attention piqued well in advance. With three albums under their belt, Unicycle Loves You has already built a reputation as aural chameleons, delving into jangly power pop, post new-wave and garage psychedelia, but The Dead Age is something else entirely. Taking garage rock into the world of pop music by way of some of the grungiest sounds not already trademarked by Sonic Youth, the band wastes no time digging talons into your brain and achieving immediate liftoff. “Face Tattoo” has potential single written all over its surf-rock guitar-and-drums combo, with the ultimate bass groove underlining the faded-back vocals which echo back to an era when we didn’t have to understand every word our rock stars sang. It was about the way the music made us feel, and this is music tailored to stimulating all your senses.
Until you can hear the new material, give some of the band’s other stuff a listen — check out “Garbage Dump” below, off their album Failure and sound off in the comments if you want to hear more from these guys.
The Railers don’t do anything to this classic Boys II Men track that pushes it into The Gourds’ “Gin and Juice” territory, but they’re still clearly having a lot of fun. Check out the cover below, but then give their original “Good Luck Comin’” in a fantastic live version from Indianapolis’ Rathskeller. They’re a country rock band worthy of a second listen. They’ll be hitting a venue near you over the next month, so give them a shot. Headphones are great, but the live sound’s always preferable.
|3.06||The New Vintage||Louisville, KY|
|3.07||Six Strings||Bloomington, IL|
|3.14||El Dorado Municipal Auditorium||El Dorado, AR|
|3.15||Revolution Music Hall||Little Rock, AR|
|3.16||Knucklehead’s||Kansas City, MO|
|3.27||Hill Country DC||Washington, DC|
|3.28||Hill Country Brooklyn||Brooklyn, NY|
|3.29||Hill Country||New York, NY|
NEW MUSIC MONDAY: Schizophrenic melodies, synths unite adventurous singles from Ninetails, Arum Rae and Sleep Thieves
Ninetails – “An Aria”
Album: Quiet Confidence
Release Date: March 10, 2014
A trippy exercise in merging a dense yet adventurously free-wheeling arrangement, this second single from Ninetails’ upcoming album Quiet Confidence showcases a band with music perfect for close headphone listening. The vocals hide hauntingly out of reach, as the ears focus on the ornately schizophrenic melody, with bells and horns competing amid a constantly shifting aural backdrop. Definitely music worth savoring.
Arum Rae – “2001”
Album: Warranted Queen EP
Release Date: April 22, 2014
The backdrop of this endlessly addictive single which Spin dubbed “Auto-Tuned soul” is awash in synths and electronic dub elements, but Arum Rae’s distinct vocals delve into 808s and Heartbreak-esque territory while making subtle shifts which belie her advanced study of jazz vocals at Boston’s Berklee College of Music. What sets the song apart is that constant shifting between the worlds of hip-hop, pop and electronic, with a minimal use of instruments allowing Arum Rae’s voice to really twist and turn. There are moments where her voice, heard through this chaotic prism, takes on a vaguely middle-eastern touch, as though blending human voice and synth strings.
Sleep Thieves – “City Of Hearts”
Album: You Want The Night
Release Date: Spring 2014
The intro at first sounds like come of Enya’s more twisted synth tracks, but once the drums kick in this single quickly falls into a groove more akin to the sound of the Knife, as filtered through the more poppy nature of early Tegan and Sara. It’s a sound both modern and retro, which is sure to give Sleep Thieves plenty of potential appeal. Their debut You Want The Night, which as a full-length follows their successful 2012 EP Islands, is due out this spring and should quickly assert the Dublin band’s global status among synth-pop taste-makers. It doesn’t hurt that the song is instantly ear-catching and repeatable, which makes you want to blast it from your speakers to anyone who will listen.
Nikki Lerner’s entire album Longings is well worth your listen, but if you’ve only got time for one song, try the subtle building “Plea,” which showcases her pop-meets-jazz leanings in full-on glory. This is an example of a song taking its time to earn a listener’s respect, building layer upon layer of melody as Lerner’s vocals swim among the notes, elevating them from mere pop to something significantly more. This is mournful blues, soaring pop and multi-textured jazz all rolled into one five minute track, something you have to hear again and again to fully absorb. From the pizzicato strings at the first chorus, which immediately make the hairs on the neck stand alert, to the background vocals which add depth and clarity to the melody, this is a song built upon attention to detail. Every detail brings you back. By the time the song builds to its apex — “Please forgive me!” lingering in the air over thundering toms and an epic string instrumental provided by jazz violinist Zach Brock, there’s no going back.
You can buy the album via her Bandcamp page.
I’ve got to say, I like the sound Terese Taylor brings to the table, a biting combination of anti-Lilith nineties post-grunge that references PJ Harvey and Liz Phair, with just as much appreciation for bands like Veruca Salt sneaking out through the lines. “If I ever wanted to be true I’m sure it wouldn’t be to you,” she all but snarls on the chorus of “Briefcase,” emphasizing an inherent distaste for truth-telling in a situation where both sides are hiding plenty in the shadows. This isn’t the easy pop breeze look at love on the rocks, where a well-placed apology will fix everything. This is more akin to the blind leading the blind. “I’m lying to myself and everybody else,” she sings, and the strident guitars and fuzzed-out bass are unobtrusive enough to let Taylor’s understated vocals take the lead. This is a keeper — At Your Mercy Circuit, out in April, has officially jumped onto my “must hear” list.
Scott Carney and Jacob Heustis of Wax Fang have spent the last decade proving to be the perfect comparison to the region’s weather patterns — if you don’t like one album, or it fails to resonate with you instantly, you’re almost certain to like something about what comes next. Each album they’ve released has taken a different twist on the most progressive elements of psychedelic experimental rock, proving you can craft songs of impressive scope and infinite replayability. They’ve proved repeatedly that the current “single first” mentality need not apply to every band or artist — that, Bob Lefsetz’s constant diatribes nonwithstanding, album rock is not dead. The album is not an art-form to be relegated to discussions of Led Zeppelin, Jethro Tull, Yes, or any of their ilk.
Wax Fang’s latest album, The Astronaut, is a revelation, a five-song suite which does as much to tell a story through its inventive instrumental arrangement just as much as it does through Carney’s vocals. The main character becomes untethered from his ship, careens through a black hole and is transformed into a God, all-knowing and far from human. Imagine Gravity and 2001 filtered through the musical mind of the man who brought us that positively delicious animated rendition of “The Majestic” on American Dad and you’ve got at least a taste of how great this album is.
This isn’t an album which requires multiple listens to enjoy. It requires multiple listens merely because it’s so immediately enjoyable. The key, however, is to listen to the suite uninterrupted. The tone shifts relentlessly throughout, as the story is told through every bit of instrumentation. Carney’s voice is in top form as well, but blasting this album through a good pair of headphones is its own reward — you’ll feel the story being told as though the experience were your own. And unlike albums like Thick As A Brick, which occasionally drowned in their own artistic pretensions, Carney’s vision is allowed to fully develop through this forty-minute arrangement. To hear this chopped into easy-to-swallow “singles” would be a disservice to what is the band’s artistic masterpiece.
More important, the same aural themes continue to crop up throughout the album, twisted and electrified by the same outside forces which are transforming the titular astronaut from man to super-being. The album rewards patience and continued listening by focusing our attention on subtle shifts in mood. So while the album’s quality is evident even on first listen, it becomes better and better the more you experience the telling.
You can hear the first fifteen-minute segment of The Astronaut via NPR’s “All Songs Considered” blog, but be assured you’ll be wanting this album in full the moment you can get your hands on it on January 28th. And while there are pleasures in playing the album in high-quality digital format, this is one of those albums for which the vinyl treatment proves just as tantalizing. I’ve listened to the album on repeat while walking through snowy small-town Hoosier landscapes. But I’m just as excited to sit down in a dark room and let the record spin.
That’s why albums aren’t dead.
That’s why Wax Fang is the best band you’re not listening to.
The Astronaut will change that.
On this episode of the “Hear! Hear!” and Now Podcast, I have the opportunity to speak with Kat Dahlia, a 22-year-old pop / hip-hop songwriter who’s already made waves with last year’s viral hit “Gangsta.”
Dig beneath the surface and it’s easy to hear her disappointment with those in her generation who remain content bragging about accomplishments which in the end mean little. This, juxtaposed against her own family struggles as a first-generation Cuban-American growing up in Miami, sets her apart from most in the genre.
With a mix of fun party songs and more serious looks at the world in which she lives,one thing is clear: Kat Dahlia has something to say coupled with the drive to take over your pop landscape. Listen up, she’s coming to a city near you and there’s the chance to get in on this thing from the ground floor!
For a list of upcoming tour dates and to get a copy of her Seeds Mixtape, you can visit katdahlia.com
From a pure pop standpoint, Kat Dahlia’s new single “The High” is both invigorating and unabashedly ear-catching. The video she’s crafted for the song, a five-minute intense look at a violent relationship come to a brutal conclusion, is as visually arresting as the song is undeniably a hit in the making.
The single, off the 22-year-old’s latest mix-tape Seeds, is one of those graphic and brutally honest videos you have to see to believe. Even when the video at times seems on the verge of falling into Twilight territory, the song remains there in all its intense, stutter-pop glory to keep drawing you in.
“You say you’re gonna love me better,” she sings mournfully, but there’s no glossing over it. “But for now and for forever it’s a lie.” This is love in vain, even when it does make for visually and aurally invigorating art. The underlying pain of her experience is brutally evident. Consider this 2014′s first monster hit in the making and a must-hear.
Quietly putting Oklahoma City on the hip-hop map, Jabee’s “Dreams,” at the heart and soul of his album Everything Was Beautiful and Nothing Hurt, which is an example of meaningful hip-hop at its zenith. Chuck D of Public Enemy can already be counted as a supporter, suggesting that Jabee’s subtle thoughtful hip-hop has the distinct potential to change the world. “Dreams” in particular focuses on the dreams we all share, big and small, and the ability we have to overcome circumstances to ensure they become realized, not deferred or deterred. Give this one a listen, I think you’ll agree this is a message worth sharing.
For those among us who appreciate the incendiary goodness of an electric guitar soloist fully unleashed, what Eddie Brnabic does with his album Subtle Realms is positively buzzworthy, particularly on “Transcendental Wine,” an intense throwdown which illustrates his ability to trip with ease between full-throttle rock and raw oozing funk. This is instrumental music built custom for the headphone treatment, and it’s worth every effort to listen to while avoiding all other distractions. Keep an ear toward this kid — you’ll hear much more from him when this album takes off. You can stream the entire album via his Bandcamp page.
They came. They saw. They clouded. And while they were at it, this Brooklyn psych-rock outfit crafted Freakin’ Out The Squares, an album of supremely addictive tracks that showcase their sound, one immediately awash in jangling guitars, slightly fogged vocals and all the melodic hooks you can handle. Don’t believe me? Play “Broadcast Victim” and you’ll be a fan for life. This is the music we murdered the gatekeepers for hiding it from us! Hear all their music at http://clouder.bandcamp.com.
With the pop kick of Rilo Kiley coupled with the hooks of Kasey Musgraves and Lindi Ortega,l Angela Perley and the Howlin’ Moons hit like a full-on tropical wave with Hey Kid and lead single “Hurricane.” This is the music you should play to friends who say there’s nothing country music can offer, while also bolstering the hooks which could fuel pop-country radio if they focused on musicians with the chops to play to classic and modern influences. Clearly these tracks showcase an artist who’s at home as a cultural observer:
Growing up in small town Ohio, Perley spent years as an observant wallflower engrossing herself in poetry, literature, people, and films. “I am a storyteller at heart, always have been. I get a lot of inspiration from relationships, surroundings, poetry, and old movies. Music for me is a way to express feelings I can’t get out any other way, and when I hit the stage with the band I can turn up and let go.”
The album officially comes out January 21st, and features more than just the single, including “Athens” and “George Stone” which help front-load the listening experience with material worthy of consistent repetition. But “Hurricane” definitely sums up the band’s sound, giving the “something real” she seems to honestly feel straight down to the bone. “You and I you know we are the same,” she howls early in the proceedings as crunchy lead guitar and thundering percussion provide a backdrop as intense as the storm in her heart. The chorus of “whoah whoahs” and stacatto “ha”s further showcases the Rilo Kiley influence, reiterating just how much of an earworm this song is.
Check it out below and then visit the band’s official website to ensure you get your copy the day of release. This isn’t an album you’ll want to miss, as these Howlin’ Moons are ones you’ll want to revel beneath well into 2014.
Si, soy un perdedor, but I’m loving how much fun Slippertails are making out of my eternal nostalgia for early-90s alt-sludge.
These New Jersey-ites have soaked in everything that made Beck’s Mellow Gold and Nirvana’s Bleach so mind-bendingly addictive and they’ve put it through a punk-rock blender, creating a photocopy of their own “Garden State of Mind.” However you look at it, songs like “Hip New Jerk” require one to immediately forego the headphone treatment, instead blasting these sludgy, instantly deep-grooving tracks to the masses, demanding they pay attention.
You can stream the entire album now on the band’s Bandcamp page, and you should do so quickly, for There’s A Disturbing Trend serves to showcase just how good modern alternative music can be when you forget about trends altogether and simply rock. Now that’s a novel idea!
Press play on this one by Southside Chicago rapper Chi City and let the incredible beat reel you in. One listen and I’m ready to share with the world, while blasting the chorus to everyone in earshot: “Hell yeah, fuck ya life!” Though hard-edged, the message is clear. You want riches, fame and respect? Work like a dog for it, put in the time and then maybe you’ll hit on something that sticks. Until then, don’t expect Chi City to cry any tears for you. The track’s got all the hooks needed to worm its way into any hip-hop playlist and stay there. Can’t wait to hear what else these guys come up with in the new year.
Chicago indie-rock band Royale‘s new EP comes out tomorrow, so what better time to introduce you to their sound, dubbed “sci-fi yacht rock” by the band? Lead single “1981″ opens with a seductive instrumental intro, soon coupled with vocals which echo Joshua Tree-era Bono. It’s a sound I certainly could stand hearing more of, so the EP’s release can’t come soon enough! Give this one a listen and spread the word. And if you need something visual to go along with it, check out the band’s animated clip for “1981″ below.
Girls Guns and Glory, easily Boston’s most innovative genre act not called the Dropkick Murphys, have flirted with mainstream acceptance and wider national appeal since the debut of Inverted Valentine half a decade ago. Now, with Good Luck coming out in February, the band easily proves luck’s got nothing to do with it. These are the most accessible songs the band’s ever recorded, and the album stands tall as the best of their already solid career. Call them the best band I expect to break through in the new year in any genre. In this week’s podcast, “Come On, Honey,” “One Of These Days”, “Centralia”, “Rocking Chair Money” and “Built For Speed” are featured. Once you give it a listen, you’ll want to share them with everyone you meet.
For those among us who lament the cookie-cutter direction folk-tinged Americana has taken in the current decade’s “pop folk” era — that of the Lumineers or Mumford’s Babel – you may now rejoice in that which is The Muse. The fourth album from Boulder’s the Wood Brothers revels in everything blues, jazz, gospel and, yes, folk. The opener, “Wastin’ My Mind,” will stun fans of the Band who are likely to marvel that this song wasn’t produced forty years ago, and from there it’s a great ride through track after track of genre-bending songs which prove to be more than folk revivalism or obsessive attempts at recreation.
Any album with the one-two-three punch of “Wastin’ My Mind,” “Neon Tombstone” and “Sing About It” is already worth a listen. But the album’s boozy, horn-soaked finale “Firewater” wins the day, that slow-burn melancholy certain to fuel many a full-album restart or furious clicks to repeat the track itself. The rest of the album more than lives up to the gauntlet the band has thrown down, proof that there’s still room in today’s musical landscape for albums which challenge the listener. With three months to go, the Wood Brothers have produced this year’s best Americana album by far.
“I’M YOUR 911!” — Mumiy Troll’s “Swimming With Sharks” expands band’s hook-filled legacy, strongest English-language single yet
Read the “Hear! Hear!” interview with Ilya Lagutenko from last May.
It is fitting that Mumiy Troll’s latest single, “Swimming With Sharks,” builds its hook upon a surf-rock infused bass melody and a hook which catches you off guard with its insistent groove. Ilya Lagutenko’s giddy sense of pop-rock fun is catchy and makes this one of the band’s strongest singles yet, and their best by far in the English language. The video itself is pitch-perfect, proof of the band’s talent as Russia’s greatest pop export and more than enough reason to check them out if you’ve yet to take the plunge. Swimming with these sharks is all the more dangerous because there’s blood in the water, but what fun is there in always playing it safe?
Keep an eye out for the band’s 11th full-length, which they’re recording in English and Russian in between dates on their relentless touring schedule.
LET ME SHOW YOU WHAT A HERO DOES: DNA’s “Stonewall Jackson” breathes life into pop music with epic mythmaking
Saw these guys in Tell City, Indiana during their Schweitzer Fest performance the night before they laid down this spectacular live version of “Stonewall Jackson” at a show in Illinois. I had never heard the band prior to seeing their exceptional live show, yet I was singing along with this one instantly, the kind of thing which heralds a hit hands-down.
“Make ‘Stonewall Jackson’ the single and make station managers play it at knife-point,” I wrote in a quick email to the band after the set. “They’ll thank you for it later.” A month later I still agree. From the slow-burn guitar and keyboards opening to the frenzied chorus, the song’s got everything you need for a repeatable, ear-catching hook. And the rest of their songs fully live up to the hype, as fully laid bare on the band’s debut full-length Plenty of Thoughts.
There’s definitely plenty of room in the pop scene for a group of guys from St. Louis who have this much songwriting sense and the willingness to get out there and build a fan-base from the ground up. If you haven’t heard DNA, give the songa listen and then head over to their Facebook page. Then sit back and let your ears thank you.