Picking the right time to release a record can be a challenging process even for the most experienced of artists. Winter albums are designed to warm us up during the coldest of months, summer albums are usually meant to get us excited about being out having fun in the sun. All of them are set up to fulfil the sonic needs of us, the consumers, but moreover they can artistically capture the mood and feel of an entire section of the calendar, too. Lord & Lady have chosen this June to release their EP No Ghost, and anyone familiar with the aspiring dream pop duo will agree that it’s the absolute perfect time for the world to get acquainted with their stunningly romantic and emotionally poignant style.
Lord & Lady remind me a lot of The Vaselines. The Vaselines were an instrumental force in the development of alternative rock in the 1980s, and arguably the most melodic noise rock band that ever pressed vinyl. Coming screeching out of Glasgow, Scotland in 1986, Eugene Kelly and Frances McKee developed a signature duality in their sound that was equally feminine and masculine, and it made for sheer pop magic. If you strip out their noisier, more atonal parts in their sound, you would essentially get what Lord & Lady is recording today, albeit a much more evolved, 21st century format. There’s space for their style to grow a little more into the big speakers they’re trying to fill, but their new single “The Lift” off of No Ghost is really too inviting to really be picky over. Unlike The Vaselines, Lord & Lady have a distinctly more pop-focused drive that allows for their sound to be significantly more accessible and radio friendly then their punk rock forerunners, and it may end up doing the genre well to see this kind of friendliness with melody rising back up to the surface of the scene.
YOU TUBE: https://www.youtube.com/watch?v=QsZwuz2Idyo
In many ways, “The Lift” and the extended play that it’s prepping us for are stylized like a soundtrack to the epic picture that is the twilight of 2010’s pop music. It’s like we’re listening to all of the sounds that have materialized in the last ten years tucked tightly under a blanket and made to simmer and create a spacy backdrop that Lord & Lady use as a template to weave their ascending psychedelic verse and gentle vocal exchanges. Having come together in the most classic of California circumstances and now creating something that we can almost universally agree is fresh and appealing to music intellectuals, the end is nowhere in sight for this dynamically attractive unit. I can see their cult following finally bursting at the seams after No Ghost drops next month, and it will only be a matter of time before we begin seeing plenty of sound-alikes coming out of the woodwork to try and replicate the shimmering resonances of “The Lift.” I for one won’t forget who the originals were, and it should be mesmeric to witness how they decide to set themselves apart further from the crowd.
Synthetic stripes of melody drift before our ears, and ticking of a clock reminds us that time is at hand. The pressure is on as the percussion starts to kick in on the club mix of AV Sunshine’s “Time Bomb,” and AV himself doesn’t even have to inform us that we’re going to have to act fast if we’re going to make it to our destination – dance ecstasy – in time. “I’m working on a time bomb, baby” he croons as the song churns and builds towards an anti-climactic release that is reminiscent of neo-mod psychedelia. At once we’re rousted from our seats and pushed into the heat of the volcanic core that is radiating all of these tones, and AV appears to be the conductor of this sinful symphony of noise. Every time it feels like we’re about to go off the rails and into a black oblivion, we’re swung back in the opposite direction whether we’re ready for it or not. This isn’t music for wallflowers – its purpose in life is to remind us that we’re not living if we’re not dancing. Continue reading “AV Super Sunshine’s “Time Bomb””
A lot of artists who are just starting out often wonder what it takes to create a solid Launchpad for their career, and it really boils down to several pretty basic qualities that can’t necessarily be taught. The first is having a good image for promoters to market, whether that be an image shrouded in mystery, vulnerability, happiness or depression. You’ve got to have some kind of identity. The second is that you’ve got to have an approach to recording that is unique and with that a sound that is stylish and discernable from other artists in your medium. Very few have one of these qualities by nature, and almost none have both. Esteban Alvarez is one of those very rare few in the latter category. Continue reading “Esteban Alvarez – “Have You Ever Really Loved a Woman””
For as much creativity and immersive artistry that has emerged in the last decade, one aspect of the entertainment business has continued to suffer, almost, ironically, in silence. I’m talking about pop music, specifically it’s more electrified rock n’ roll realm. Pop’s heavier side has been going through some particularly rough times since the fusion of electronic and urban subgenres to create super-scenes that know no boundaries both sonically and geographically. While this has undeniably been good for music as a whole, it’s stamped out the flame that once burned within rock music. But this year, with their new album Bigger Waves, Seattle’s Sundodger are reigniting that flame with a passion that is unparalleled in all of music today. Continue reading “Sundodger – Bigger Waves”
Rumors of the Great White Skunk, the third album from Oklahoma based duo Cliff and Jeana Downing, builds on the success of Captain Ledge Band’s first two albums with a collection that shows their exponential growth as songwriters since the band first formed. The duo’s journey to a third album has been well chronicled and you hear a lot of the gratitude they share for making music together coming through, in its own way, on each of the album’s ten tracks. Their Southwestern based touring schedule, active by any measure of the word, looks to expand with the release of this album. Continue reading “Captain Ledge Band – Rumors of the Great White Skunk”
When people are living in harmony and love is plentiful, communities at peace and joy is more common than fear or hatred, there is always music. In times of distress and chaos, where no one seems to want to get along and there isn’t any singular uniting shelter that we can come together under from the storm, there is always music. Music is in fact the one element of our world that is all-encompassing of our world and all-embracing of each of us, regardless of any surface stuff like race, age or upbringing. And as anyone that is alive and well in the year 2018 knows, sometimes music is the only thing that can drown out all of the complaining, the discord and general sense of discomfort that seems to come standard with just turning on the television. Nashville’s own Mark Huff is a singer/songwriter who understands the power that music has to heal our wounds and celebrate our greatest victories. His new album Stars for Eyes happens to do a little bit of both. Continue reading “Mark Huff’s Stars for Eyes”
Unforgettable Ride with mid-tempo melodic rocker “Slow Release”. Hart has an once or twice in a generation yowl ideally suited for this style and his straightforward singing reveals lung strength and vocal control among the best that we’ve heard from a hard rock band in some time. This is fun music, without a doubt, and raids the treasure trove of tropes and familiar turns that’s defined this popular form, but Love Stallion manage to bring their own personality to bear on “Slow Release” and guitarist Rob McLemore adds some outstanding lead playing while never falling prey to self-indulgent fretwork. They break out the cowbell for the introduction to “Ignire the Night” and produce one of the album’s most accessible, radio-ready tunes. The backing vocals are a big reason for this song’s widespread potential, but it’s the hook laden songwriting that’s certain to catch the attention of many. Continue reading “Love Stallion – Unforgettable Ride”
Featuring the talents of The Howling Tongues in tow, Beau + Luci’s new release Live from Aggie Theatre is a powerful audio document testifying to the strong literary qualities, spirit, and bluesy atmospherics at the tandem’s disposal. Their highly individual brand of Americana/roots music has enchanted national audiences, but their performance from Aggie Theatre brings the duo and their musical style “back home”, so to speak, and plays well for an appreciative Southern crowd. The six song collection blends folk, blues, rock, and deep soul as a unique mix on the modern music scene and the visceral power of this release suggests Beau + Luci’s artistic vision for their music is fully realized and, tantalizingly, hasn’t peaked yet. Live from Aggie Theatre presents Beau + Luci’s talents in the best possible light and, despite its relatively brief duration, packs all the weight and gravitas you’d expect from a full length offering of any type. Continue reading “Beau + Luci – Live from Aggie Theatre”
Steve Wheeler’s EP release Terminal Velocity marks a divergent point for this talented composer when he affords himself the opportunity to step away from his “day job” as a media composer for major network sporting events and video games in favor of a more personal project. The instrumental EP is brief, only three songs and running less than ten minutes, but Wheeler’s writing makes the sort of impact music tailored to accentuate sports programming can’t hope to equal. The personal investment in this music is, ultimately, the deciding factor alongside the removal of arbitrary borders he’s forced to observe when building compositions for NCAA or PGA events, among others. The Orlando, Florida based musician distinguishes himself here. Terminal Velocity deserves mention as one of the year’s finest instrumental efforts. Continue reading “Steve Wheeler – Terminal Velocity”