Pop-punk/garage trio LUNCH recently dropped the single "Forget Everything," which is also accompanied by a music video (produced by Ian Kelly). The narrative of the track hovers between the idealism of a relationship versus the reality of a breakup. A joyous, enthusiastic, backend rumble sets a locked-in yet loose approach; however, there’s a realization of a cycle with unproductive behavior that may suggest moving on is the best course of action. The alternative of starting over and/or pressing the pause button temporarily seems like a more pleasant idea, but it could just result in delaying the inevitable.
Chicago
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Diana & The Dishes’ Monthly Mini Club
Diana & The Dishes have embarked on an ambitious project for 2019 that they are calling the Monthly Mini Club. Each month, from January to August, this year they plan to release a new two or three song single. It’s music as a subscription service and will be worth every penny from the sound of the first six songs below.
This is the piano driven theatrical pop of Diana Lawrence (piano, vocals), Dave Saenger (guitar), David Keller (cello), Dan Thatcher (bass) and Bob Parlier (drums).
You can catch Diana Lawrence at Hey Nonny on March 12th with Todd Kessler and others performing in the round.
L.A.
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Rows Arc share sparse, potent debut single “Some Days,” play at The Pit on April 19
Sara Olmstead had followed many an artful pursuit before she felt the confidence to direct her talents toward music. With a guitar in hand, Olmstead—who performs under the name Rows Arc alongside band members Jason Gagovski and Neeraj Kane—wrote a vast amount of folk songs thinking they would never see the light of day. "Some Days" was one of those songs. Defined by a sparse acoustic arrangement, "Days" unfolds its minimal layers of ambiance as Olmstead lets out a wistful, yet sultry croon. Its bare-bones structure makes her performance all the more potent, coursing through a haunting melody that is subtle in emotional expression.
"Some Days" is the first release off of Rows Arcs’ forthcoming full-length, High on the Tide, out on March 29 via Hawthorne Street Recordings. The trio will perform at independent art gallery The Pit on April 19, which will also include some of Olmstead’s multimedia installations. Check out the video for the track below. Juan Rodríguez
NYC
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The Deli / Delicious Audio Unofficial SX Show Day 1 (03.15)
We are happy to announce our return to Austin with not one but TWO live show during the famous music festival in the Texan city. The shows are linked to our Austin Synth and Pedal Expo, hosted on the third floor of very central venue Chuggin’ Monkey.
This is a free show – RSVP HERE!
Here’s the lineup and a playlist for the first night, on March 15, hosted at the Chuggin’ Monkey‘s ground floor right on East 6th Street!
Toronto
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Rikashay – Easy Goin Indie Double Single “Le Hut/Lunaaa”
Easy goin’ indie rock trio Rikashay hail from Markham. They released a double single last fall “Le Hut/Lunaaa”. “Le Hut” opens up with a mellow adult contemporary verse but don’t get sucked in to that world too easily as the song evolves into an all out indie rock attack. “Lunaaa” has a happier tone to the music although I’m not sure the lyrics match that same gleeful tone. The singer’s voice reminds me of Wayne Petti of Cuff the Duke. Rikashay plays Jimmy Jazz in Guelph on March 30th with The Effens and Pacer before hittin’ Super Wonder Gallery in Toronto on April 4th. – Kris Gies
Austin
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Metric Energizes and Electrifies Audience at ACL Live
Trudeau is under investigation, maple syrup is being diluted with corn syrup but Canada’s greatest export are still as potent and powerful as ever. Indie rockers, Metric, came to ACL Live on Saturday night and leveled the crowd with an evocative and ear-pinning set. The opening set from tenured Mexican space rockers, Zoe, gave the show an exciting outset, and a sense of North American bonhomie, with all three nations present. A 16-song set from the headliner would eventually satiate even the most rabid Metric fans.
Emily Haines…. That name is enshrined in the psyche of men and women alike as a goddess who deserves to be fanned and worshipped until the pillars of civilization fall. Haines has a cavalier but seductive air about her that has not lessened since the band began in 1998. Yet the transcendental baptism truly immerses listeners when Haines begins to sing, her vocals pristine and effortless. Sauntering around the stage with a panther-like gait, Haines owns every inch of her path, assiduously stealing the focus of every single member of the audience.
The show erupted with the sugary “Love You Back” and quickly segued into a sneeringly addictive “Synthetica”. Guitarist, James Shaw, played an electrifying counterbalance to Haines, unleashing his frenetic energy on songs like “Risk” and “Gold Guns Girls”. An early set crescendo was reached when a newer hit, “Dressed to Suppress” was played with all the cocksure moxie the band could muster, and followed with the vulnerable and uplifting, “Breathing Underwater”.
A nostalgic reminiscing took place mid-set, where Haines ruminated on earlier Austin shows that featured BBQ, Barton Springs and playing Stubbs. Yet the driving momentum was hardly diminished and the band then plowed into the surprise of the night, “Cascades”, which had disco charm and a futuristic cocktail party vibe. Little did the audience know that a ‘Sophie’s Choice’ was soon about to be foisted on them by Haines.
“This is the existential part of the set where I decide whether to embrace a time of innocence for the band, or a time of recklessness – Should we play ‘Gimme Sympathy’ or ‘Dead Disco’?”
Despite my own decibel and octave levels reaching Everest-esque heights for “Dead Disco”, it was “Gimme Sympathy” that would be played, with little to no complaining on m end. The building inertia was only further propelled by “Gold Guns Girls”, which layered Haines’ sirenic vocals over frenzied drums and guitars.
An encore of “Dark Saturday”, “Now or Never Now” and the audio equivalent of Thor’s hammer, “Help I’m Alive”, would conclude a colossal show. A curious energy shot through the audience; a motley mix of liberation, adoration and even aggression (a fight broke out in front of me) swirled into the ether. Whatever your motives were for seeing Metric, old fans and new, the sheer force of their sound and eclectic emotional range was delivered with devastating effectiveness, and we the audience, were gifted the with a 90 minute escape from ourselves.
Chicago
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Pool Holograph “Stage Fright”
Pool Holograph has released a new single called “Stage Fright”. This track will be part of a new split 7” with Courtesy that is due out this summer via Land and Sea Dept.
Pool Holograph will be taking over SXSW next week, but you can catch them on March 22nd at Thalia Hall with Varisty, Rookie, and Stuyedeyed.
Chicago
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She Killed In Ecstasy “Dissension” Video
She Killed In Ecstasy (aka SKIE) released their debut EP, "The Fatal", late in 2018. This is the modern take on late ’90’s Trip Hop from Shane, Risky, and Griffin.
They recently released a video for the EP’s lead single, “Dissension”, which was directed by Kevin E. Epperson.
NYC
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M. Lockwood Porter releases passionate “Get Back to the Wild”
M. Lockwood Porter’s single off his forthcoming EP, Communion In The Ashes (out March 29, 2019) is a what a good folk-Americana song is supposed to be: it’s solid folksy rock infused with cultural heritage and the frustrations of our roots. Think Mountain Goats and Neutral Milk Hotel met the passion of There Will be Blood’s Eli–but less creepy, less religiously obsessed. After teaching in San Francisco for over a decade, Porter’s songwriting began to really reflect what he saw. He writes of the frustration of gentrification, of the sometimes heartless culture of change. In his own words, “The tech boom of the last 10 years has totally transformed the whole Bay Area and essentially made it a playground for the rich…Working-class folks and artists aren’t welcome there anymore and this has manifested in rising housing costs, closure of music venues, and the proliferation of homeless tent cities.” His album is an angry-beautiful homage to the people of San Francisco, Oakland, Berkeley. Give this song a listen, stay tuned for the full EP, and catch him at Amnesia on April 19. –Michelle Kicherer, Associate Editor
Nashville
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Stacey Randol releases mellow new LP “Songs in the Soil”
One of the fun parts of writing about the local music scene is that you get to discover new musicians, even if they’re just new to you and have been around for an album or two. Stacey Randol‘s one of those musicians with a couple of records under her belt, but only with the release of Songs in the Soil, her sound brings in elements of legendary artists like Stevie Nicks or Kate Bush as she spins weaving melodies and mellow mood-rock instrumentals into timeless songs. A single listen to "Realize" or "Hammock Cat" will give you a burst of the vintage influence that Randol fuses into her music; you’ll hear why her music has appeared on TV shows like Say Yes To The Dress or All My Children. Check out "Hammock Cat" below. – Will Sisskind
Chicago
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Song Premiere: William Steffey “Famous Bones”
We are proud to be able to premiere the new single, “Famous Bones”, from songwriter and producer William Steffey. The single is taken from his forthcoming LP, Reality Jockey, which will be released on March 12th. This is Steffey’s first solo release since leaving Boolean Knife.
Steffey will be hosting a listening party on March 15th at Esquina (4602 N Western Ave).
Philadelphia
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New Track: “march 1st.” – Augusta Koch
Below is a new song, "march 1st.," from singer-songwriter Augusta Koch (Gladie, Cayetana). The reverberation of keys and the snap of percussion create a somber, intimate glow of evening. The personal narrative details experiences of dealing with a narcissist and ignoring one’s instincts. There’s a lingering sadness that has a haunting affect as she addresses past trauma and a future day of reckoning. Koch plans to release a song every Friday this month, and with this latest track, it’s easy to hear why we are looking forward to listen to more.