FOLLIES AND VICES is creativity as creativity can muster. And that muster is not Gray-Poupon, but that bright yellow fun-ness that comes out of a bright yellow squeeze-able tube that squirts for all to admire, taste, and absorb. The tang of the atmosphere is alive like the hills.
In this case of the single ‘Don’t Hold Back’, is the tale of two dudes (from Seattle Washington) who wanted to makes a splash of their own in Los Angeles and making sure that the world (or of their own) could not stop them. A kind of a ‘Super-Hero’ type of attitude and story, constructed of and hinged on pure gumption by the duo, and a colorfully manic abhorrence for the ordinary.
Also, it’s a ‘love story’ of sorts. Where the love of music garnered such passions that it set ablaze to the drying plains of their hearts that they needed to go where the action was. The burning desire, whether through horrible conditions and expected sacrifices, couldn’t hold any gripes towards the overarching vision for the future.
With twinkles in their eyes, they fashioned up a plan and drove into that light, at the end of that wanting and alluring, tunnel. At the end of it all, only a promise of a journey – a continuing journey of probable and temporary destitution, under-representation, and nights of living in the van, awaited their energies.
But they were game.
Consisting of long time friends Rob Auerbach and Tanner Houghton, they had a dream. And in this single, the charming and anthemic tale is exquisitely told through the eye-glasses of their memories. And those fond memories past, they reflect on what has happened, to help them set the bricks towards their vision in art.
The single is fabulously done with altruistic ambivalence tact at the frames, with ample production towards an off-Broadway theater-like musical fun. The indie-dream-pop transitions with ease as the verses bleed seamlessly into the glorious chorus and the story telling.
The multi talented crew of creatives offers up a glimpse into a certain band’s psyche, trips, mistakes, horrors, and regrets in this song. But all of it, in Rob and Tanner’s view, added to the accent and spice to where they have come to, as a duo and as individuals. The song is a gem, as the Chumbawumba-like ‘lassiz-fair’ vibe for the fullness that which is life, it glows with flare and honesty to the n’th degree.
Even better, the sit-com quality and excellence of the highly entertaining and poignant music video (directed by Jeremy Gray) the scene of that trip down the west coast comes to life with equal vigor and vitality.
From the song and to the music video, it all culminates at a beautiful juncture where it brings a giant smile to our faces.
Off of his newest 7 song album ‘Fumes’, SAINT KODIAK (Gunnar Holmlintermann), the artist with the Scandinavian heritage and the graciously magnetic songwriting abilities, swerve at our hazy senses with his single ‘Like It Is’.
An alt-folk offering, ‘Like It Is’ ingratiates itself through the mud of life. And as it dives into the utmost truculent ravages, the story dares to view the light of day with a dash of pragmatism and a selfless addition to just ‘move on’. The ‘pain’ of necessity, in the hopes to wake from this desire, culminates into a snowball of wishes and chaos. ‘Like It Is’ is that center of the Hurricane, stroking with affection and support for the ones who you care about – willing to go a step more, to wield a mighty sword of common sense and assistance.
“Sometimes we need to thank whoever gives us a slap in the face,” said Gunnar. “My new single is a celebration of the ones who dare to push someone else if that someone else is stagnating and can’t see it himself. It is a song about necessary pain. That is why I – in my new single LIKE IT IS – thank the person who sets my house on fire – if that house has become like a jail.”
Gunnar’s work and project is a cross between several genres, attempting (and succeeding) in communicating the supple under-belly of lives and situations of this world. A local but worldly ambition, the songs on his album belies the sometimes harshness of the world, petting it into submission, in the most kind of methods.
The clash of sensibilities wane, just a bit, to shake hands and accept the plight of it all. Then sitting down in a pow-wow, in an effort to make sense of it all.
With intense vocal restraints, harmonized by the weather of simultaneous compulsions, the unrelenting grit, beckons all the more.
And we all should be side by side with SAINT KODIAK. For it is a noble endeavor.
Dutch DJ and producer NAVARRA returns and with Protocol Recordings offers the single ‘Repeat’. The upbeat, ‘make you smile’ groove of the house track comes with the sultriness and energy that combines to evoke emotions that touch with beckoning fervor.
A song that is a definite candidate for becoming one of your ‘repeat’ tracks on your device, NAVARRA delivers with crystal clear exuberance and delicious hooks that align to the grandeur you come to expect.
As usual, the dance floor friendly emotions are in line with the Protocol way, with bass-y bass lines and NAVARRA’s infectious glow.
PALA ZOLO is the decadent musical project of Lawrence, Kansas originating artist, Eric Davis. And as you listen to the single ‘Up North’, the blend of synth and drums, create a lively and tasty ambience that is groovy and uplifting, at the same time. The glow of the project signifies a dedication to his Sicilian heritage, taking the name of a small Sicilian village.
‘Up North’ is the distinct deference, within a world of infection of the senses and of the consciousness. With delicious synth, marking points of the bass line, the outer-reaches of space, come full circle to a defying definition. The beautifully constructed essence of the song, reveals a classic notion for electronic music, with a prevalent trip back into an early 2000’s electronica, mixed with the antithetical but amplified pragmatism for the grand and of the surreal.
An uplifting awakening for the senses.
The project was born out as a way of expanding his creative urges, away from his more rock based band HEMBREE. PALA ZOLO is the henchman and the ire for the significance that he feels from here to then – a departure and a return to home-base, of a sort.
With good friend and producer Joel Martin, the two had gone on and experimented with their synth sound and textures that Eric wanted out of the whole affair.
In 2018, he’d published his single ‘House Plant & 40K’. Now, in 2019, the outfit will debut with their EP under THE RECORD MACHINE label out of Kansas City.
It’s that time of the year again folks. It’s summer. And in this time of plenty and expected summer excursions of fun, there comes again this example of goodness named CHATEAU CHATEAU.
We’d commented on them as: “…Fun as heck…” and having that “…pool-side’ party vibe…” in the past, and that still sticks.
Consisting of Alex Hamby (Lead Guitar), Keys, Myles Hamby (Bass, Backing Vocals), Blake Milliser (Vocals, Guitar), Tom Hopper (Drums), Zane Emory (Rhythm Guitar, Keys, Percussion), the Tucson, Arizona originating band quickly rose up the popularity ranks from their beginnings in the early part of 2018.
The grippy, garage-pop-rock sound quickly emerged for the band and with eventually produced songs with that distinct summery, bouncy, and glittery offering that is evident in their works today.
After the first single, ‘Crisis Party’, the momentum built afforded the new band to sign with TCBYML, with an agreement to release the group’s EP ‘Evidence’.
Now. Here we are!
Their single ‘Times Are Changing’ is part of the new EP (drops May 24th) and retains the solum but effervescent essence that the band exudes in their songs. With clamoring beats and strident guitar strokes, the amply come-of-age single dives right into a pastel colored decadence of love and loss, where a message of recovery and return glory is in the cards.
Will the self change as the times are changing?
Will there be stagnation in growth?
Will the times crush you where you lie?
‘Times Are Changing’ delivers with the kind of contrast between weighty subjects and heightened lively pop-uplift that stays in your aftertaste of your mind.
What’s two plus two? You’d answer: four. Then what’s the circumference of the Earth? You’d nonchalantly answer: 24,901 miles. Okay, smarty pants, then what is the square root for ‘fun’?
ROYAL REPUBLIC’s single ‘Anna-Leigh’!
That’s right factoid nerds, you play trivial pursuit and dominate? We lay for ‘keeps’ with the ever effervescent single of ‘Anna-Leigh’ to keep it real and then some.
Now, you’d ask, what the heck are you driving at?
Nothing in particular, pal. Just want the CHF-verse to know that this song is fast, fun, and enjoyable to all of your senses like that time in college. You know what we mean.
“We’re, like, nerds,” Adam Grahn stated. “And we always tried to hide it a little bit. It was always a case of ‘this isn’t rock and roll’, and we were like ‘yeah, but we can sing four-part harmonies, and we can do all these things that your average guitar rock band may not be able to pull off. So what are we so afraid of? Let’s buy those fucking golden sequin jackets and get bouncy!’”
That’s right. Not as bouncy as your man-boobs, but very bouncy. The song is that pop addition to the Universe that ‘gets you’. It is the pick me up that comes to your rescue as you were bound for a calamitous downward emotional spiral.
When you first listen to ‘Anna-Leigh’ your ears perk up and then your fingers tap on the table. You look at the cup of tea and the steam slowly wafting upwards, and you suddenly get up from that kitchen table, and shimmy.
Your knees are moving. Your face is making a thing called a ‘smile’. And you know your tea is going to get cold, but you don’t care.
You turn up the volume and you’re IN like the dickens!
As the weight of depression comes apart at the seams, falling off of you like two ton Ford Fiesta, you laugh inside with joy and decadence.
On May 31st, ROYLA REPUBLIC will drop their new album ‘Club Majesty’. And on that day, just like many in this world, a guy, sitting at a kitchen table, with a cup of Earl Grey tea, will rise up and dance.
ROYAL REPUBLIC has been putting smiles on faces since the mid 2000’s and consists of: Adam Grahn, Hannes Irengård, Per Andreasson, and Jonas Almén.
Rapturous synth cements the performance of this single by TINY DOLPHIN. In ‘Calm For Color’ the warmth and depth is demonstrated solidly by the Austin, Texas based multi-instrumental artist.
The unassuming singer/songwriter decadently shrouds his words in multiple meanings, from delight to angst, and from relevance of self to the outer limits. With proponents of solitude and loneliness, edging the crests of the horizons, his single ‘Calm For Color’ douses the senses in mystical hymns and undaunted patronage to that corner of our minds.
With the bass drum properly framing the thrust of the vibe, the first verse – chock full of story and vexing weight – drags you in delicate assortments in pestilence for the world that the protagonist has come to dread. But he loves what it’s become. What he’s become within this warning of shades.
Combination of psyche elements, pop-rock and new-wave proponents, the song culminates and seduces you to the last drop with the rapturous synth that we had mentioned.
A ceremony of accomplishments, this song takes TINY DOLPHIN (Alex Fisher) to a whole new level of complexity, construction, and craft.
Out of the past, a song of absolute maturity and insightful gumption, for love and love betrayed, comes this beautifully constructed single of that such love that had slipped through the cracks.
‘If We Were Honest’ indemnifies the character of resistance and ego, with each of our humanity, which lights the way towards reward and reciprocation. But in a love story, there’s bound to be the counter to the highs, with the lowest of emotional turmoil. And in this deep and dark valley, the honesty of it all just pours out. Instigated by the loneliness, amplified by the silence, and haunted by the missing piece of the one you loved, whom doesn’t exist in this caste of reality any longer.
That chapter has ended.
That chapter was burned in effigy a long time ago.
The memories never goes away, with the hurt and suffering that dominate the corner of your mind, your heart, your everyday – suffocates you with undeniable acceptance of your lack of will and courage when you had it so, so good.
So you cry. Inside and out. Calling.
Calling out to the past you, to not make this mistake that will be made.
A fruitless tirade, only made in futility.
This single by the indie-rock duo CALLAND is a significant addition to this musical Universe, with undulating tensions, that break broken hearts can make. Incompatibility, insolvency, righteous indignations, and self absorbed blindness can contribute to a death to that relationship you so desired.
With pop abilities and beautiful sing along (with artist Emilie Weiss @emilieweiss) of genuine vulnerabilities signed on with each breath of words, the son climaxes to a penultimate deliberation.
The battle for this fight ends with a whimper.
But we must go on, don’t we?
Timothy Steiner and Alex Greco make up CALLAND and this dynamic musical offering.
COVEY is made up of a soul who loves his craft. Tom Freeman’s vision of this work in progress defines a British originating multi-instrumentalist and vocalist into a framing of stories that dignify replies and never says “I’m sorry” to what the words explained.
This folk rock project insinuates a time where it’s cool to be hip, and the hip never orders any ‘sex-on-the-beach’. There’s no pretense or pretending to the weather beaten hymns that tatter the age old sayings of a far off distant galaxy in Tom’s work.
‘Dog & Bone’ cites and continues this rendition for a gravitationally challenged imagination that has been cultivated through a decade of songwriting. With the grandeur of punk-rock, threaded between the rapture of a folk poet, the artist with influences from Neutral Milk Hotel, Nick Drake, and Blink-182, entangle with the stars, like you do at night on top of the cooling hood of the car. The sky, as you gaze, envelopes you in a black-blue-ish curtain, cutting the slivers of consciousness which fades from the edges of your vision.
Only the blinking stars are here with you now.
Just like COVEY’s words do.
Raw and mystical, the music of COVEY prescribes and creates a magical place that shimmers, but verifies with love and angst.
COVEY’s sophomore album ‘Some Cats Live, Some Cats Die’ drops May 23rd.
Exorcism? Yes. That’s what we feel when listening to ‘Move Like A Ghost’. The decadent power chords, darkness cast by the church organs, and the funky metal vocal harmonies will make this excise to our sensibilities a joy to behold.
British garage-rock 4 piece SAINT AGNES dropped their debut album ‘Welcome to Silvertown’ (available now). And when this dignity happened, the world was a bit better than before.
With sensibilities that are aware of the Chemical Brothers and Beastie Boys essentials, the band elevates without asphyxiating through the atmosphere of just ‘normal’. In fact, the ‘freshness’ factor of this single seems to hit a very high mark, as the aggression is delectably counter-supported by the rock edge that never deviates from the song’s beginning.
SAINT AGNES is something different. It’s rock with an edge, on top of another edge.
The band is at the right apex as the band is getting ready for the UK festival season, where they will play Live At Leeds, Handmade Festival, Camden Rocks and Truck Festival, with London’s Dingwalls (October 24th) in the fall.
The band cited the album saying: “With the album, we wanted to transform everyday mundane events into moments of high drama in an attempt to better understand our own stories. We wanted to magnify and illuminate certain aspects of ourselves in order to see a little more clearly, and we wanted to create narratives that people could connect with and recognise as their own battles, their own feelings”.
The band consists of Kitty Austen (Vocals/Guitar/Keys), Jon James Tufnell (Vocals/Guitar), Ben Chernett (Bass) and Andy Head (Drums). The band has already surpassed more than 200 shows on the European continent. With much support and a fabulous 2018, 2019 will surely be a landmark pillar for many great accolades and milestones to come.