PHOTO: CHRIS COTE | Almanac Mountain explores universal minutia on new Cryptoseismology LP.
Fans of experimental bedroom pop will find plenty to love in Chris Cote’s new album and intellectuals who label themselves “secular humanists” will revel in his cryptic studies of the natural world.
Everything seems to take on a double meaning in the songs of Almanac Mountain. “Contingency Procedures” seems to be about the 2003 Shuttle Columbia disaster but Cote explains that a surface evaluation of his material will only cut skin deep and that the song is “really about the death of the hopes and ambitions of the 1980s.”
Luckily the heady nature of his music is tempered by an almost saccharine sense of pop which he uses to great effect on such stunning tracks as “Harborside,” a noirish flavored ballad with a string arrangement that appears to be plucked straight out of an old Hollywood movie and stretched onto an indie rock canvas.
It’s no surprise Cryptoseismology was tracked over the most brutal winter in recent New England history as its warm tones and otherworldly digressions feel like some kind of creative escapism. Lucky for us, the mind of Chris Cote is a strange and wonderful thing to behold.
Panic in Eden mine a sweet-spot, vintage rock vein on “Out For Blood.”
The LA-based quintet’s newest single throws down the gauntlet for other vintage rock revivalists, traversing the trail macheted by Band of Skulls and The Dead Weather. This is dangerous territory where the line between Zeppelinesque authenticity and The Darkness-like parody is very thin, but Panic in Eden prevail with their righteous indignation for the man and mind-boggling riffs which are distinctly their own.
“Out For Blood” is the first single from their forthcoming album, In The Company of Vultures, and the predatory species they reference is a direct dig on the establishment. The ten songs which comprise the LP take aim at the band’s collective disillusionment with the current state of the world and fire a blistering warning shot which essentially says “We have some serious rock ‘n’ roll here and we know how to use it.”
The Tigerlilies honor the master with a love nugget to David Bowie.
Cincinnati’s sole practitioners of post power punk, The Tigerlilies have pulled off quite a feat with their newest offering “Bowie” which manages to not only pay tribute to the departed genius but channel his punchy, understated pop leanings. There is plenty to love about this garage rock nugget, starting with the lyrics which rattle off a series of intelligent observations about the artist’s enigmatic life.
The unassuming lead vocal ends up sounding more like Bowie’s contemporary Marc Bolan which only adds an extra layer of nostalgic glam vibrations to the already glistening track. But besides the spot on performance, jangly melodies, and killer guitar solo drenched in tape echo, is the band’s ultimate ability to communicate their passion for songwriting, rock star persona, and rock ‘n’ roll in general through very raw and primitive means—no inflated production or fussy overdubs.
The band’s new EP “123456” is available now.
New Jersey based quartet bring morbid garage vibes to surf rock.
YJY don’t mind misdirecting listeners with their newest single “Summer Lifeguard.” Golden tremolo guitar lines collide with crash pad guitars and morbid punk lyrics to create a potpourri of summertime nostalgia.
The track is one part Beach Boys and one part Real Estate with a dash of Pixies—a distinct and subversive sound that is already cultivating a diehard fan base. The single drop comes paired with the announcement of the forthcoming release of their sophomore EP, “The Same Noise.” out August 19th via Sniffling Indie Kids.
Loser’s Way Home communicate from beyond the grave with video for “Place of No Return.”
The Arizona-based quartet’s sonically adventurous Americana has a refined quality about it that transcends the rough edges often associated with other indie folk acts. Multiform harmonies and adept fingerpicking support their often elaborate storytelling that ranges from biblical first person narratives to unrequited love songs told by ghosts from beyond the veil.
The melodious and melancholy “Place of No Return” is one such tale which principle songwriter Randall Downs describes as “a fictional song about an individual living in a haunted house.” The twist here is that unlike most otherworldly visitations, this particular entity is not interested in haunting its new friend, preferring to strike up therapeutic conversations about the past. “The apparition has terminal nostalgia,” Downs reflects. “He is always regaling the resident with songs of his glory years.”
The video for “Place of No Return” was shot in their home state of Memphis by the band’s good friend Zach Seal. The song will be available on their new EP, “Love Songs for the Rest of Us,” due out July 22nd.
PHOTO: BETHANY VEACH
“I was flitting from job to job when I wrote this song, and I felt kind of stuck. I think I just needed to reset my situation, and this song was the first step for me to do that. I quit all the jobs I was working, took all of the money I saved, and made this record. I think sometimes people get so entrenched in their current situation, that they fail to realize they can change things anytime they want. It’s just taking that first step that’s tough, and once you do it, the rest is easy.”
Today we have the pleasure of premiering Colton Kayser’s newest single “Save My Soul” from his upcoming LP Place To Settle. The single’s nostalgic, worn out blues is beautifully captured by the swirling B3 organ and pristine vocal which walks along some well plotted guitar chords.
The themes of “hometown burnout” are treated with a compassionate sense of self-reliance, avoiding the venomous, no-accountability diatribes that Dylan imbues his kiss-offs with. And it is here where Kayser separates himself from the current pack of alt country troubadours—avoiding a put-on self-importance by adding a genuine sweetness and likability to his contemporary songwriting.
Place To Settle is out July 30th and can be pre-ordered through his website.
“‘Inside’ is about hating work and quitting my job to rock on. It’s about having faith in yourself to go and pursue what’s in your head, in your dreams, even if it’s against societal norms. I actually wrote it for a heavy metal band that I was auditioning for a few years ago.
I’m not very heavy metal. Meeting Jeff Martin, I was so worried about looking like a big amateur! But he was very engaged in the music and very supportive, especially whilst we were tracking the vocals. I felt the most comfortable I’ve ever been whilst singing. He is the epitome of someone who lives and breathes music. If I’ve learnt anything, it’s that the dream is real and to keep pursuing it.”
Aussie quintet Kim Killspeed go “Inside” for inspiration.
We have the pleasure of premiering the newest single from the Sydney-based rockers whose anticipated EP “Second Skin” is due out later this year. “Inside” finds the band reigning in their messy blues gravitas for a more streamlined approach and hook-driven sound.
The new direction might possibly have to do with producer Jeff Martin of The Tea Party whose signature jangly, open tuned stamp is written all over it. That said, the band’s distinct characteristics are still warmly accounted for—particularly Andie Davies’ and Bruce Stephens’ muscular guitar lines and Candy Cunningham’s earthy songwriting which prods the listener to throw caution to the wind and pursue the impassioned voices in their head.
Brooklynite Jonathan Graves, aka Corbu, invites you into his Crayola dream.
“Polygon Forest” is a perfect name for the kind of neo-psych synth pop this New York outfit is capable of. Their outlandish imagery is part and parcel with the visual nature of the group who have included a coloring book in the liner notes of their newest LP, Crayon Soul.
To add to the psychedelic haze, Corbou recruited acid rock stereophile Dave Fridmann (The Flaming Lips, Tame Impala, MGMT) to mix the band’s self-produced 12 song set. The resulting recordings are arresting in their innovative soundscapes while remaining dreamlike, as to induce feelings of stoned exploration. Their new self-titled album is slated for release in early August.
Carly Van Skaik’s firsthand tales of shadowy Tinseltown noir seem tailored for the silver screen and have already garnered song placements in several network shows including Shameless and The Magicians. Her single “Behind The Velvet Curtain” continues mining this moody vein, shedding light on the figurative Oz who pulls the puppet strings behind the religious hierarchies of the world.
Carly asserts “Behind The Velvet Curtain’ is about being wrongly persecuted and the overall hypocrisy of organized religion. “I grew up with my dad and his boyfriend in a very conservative religious community until about the age of 10 and witnessed a lot of hate and judgment toward my family because of who he was.”
“Meanwhile those same people would turn around and preach love and acceptance inside church doors. You see this kind of behavior all over the world. People killing each other over different interpretations of one scripture, people denying gay marriage licenses because it goes again their religious beliefs.”
The Carly Van Skaik EP is due out tomorrow March 24th, the same week “Blue Diamond Eyes” will air on subsequent episode of The Magicians.
Dan Lipton pulls celestial ballad from hangover haze.
Lipton’s rustic arrangements are all at once contemporary and powerful, yet steadily indicative of other masters of the singer-songwriting genre. His raspy quiver recalls Ray LaMontagne while the agile break in his voice conjures up the late Jeff Buckley. “Dark Water” was supposedly conceived while Dan nursed a hangover as he travelled the above ground ferries that run across Brooklyn looking out toward the sea.
There is something infinitely real about the overall vibe of Lipton’s words, set against the tympanic thrust of a hoop drum and tambourine. We experience the weariness, sense the blanket of stars above us, and almost taste the stale alcohol from previous nights’ soul crushing revelry.
“Dark Water” is taken from Dan Lipton’s full-length release, Breathing In which is in stores now.