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Video of The Day: Palm Ghosts – She Came Playfully

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In the shadowy realms of contemporary indie music, Palm Ghosts emerge as neo-80’s ethereal phantoms weaving a haunting tapestry with their latest offering, “She Came Playfully.” The song is one of eleven incredible dark lullabies from the album I Love You, Burn in Hell released on Sweet Cheetah/Poptek Recs and Sell The Heart Records (in the US), and Engineer Records (in the UK). As the song barrels into an almost retro synthy groove, the listener is immediately transported to a sonic twilight zone, a place where nostalgia, darkness, and innovation engage in a mesmerizing dance of influence from across the alternative map such as The Psychedelic Furs, early XTC, The Cure, R.E.M., Tears for Fears, Duran Duran, and Joy Division.

Fronted by the enigmatic singer and songwriter Joseph Lekkas, Palm Ghosts doesn’t just create music; they summon spirits from the past and present, conjuring a sonic séance that reverberates through the soul. “She Came Playfully” serves as a portal, inviting us to traverse the haunted corridors of the band’s collective consciousness.

Lekkas, with a voice that feels like a séance conducted by David Bowie, Richard Butler, and Ian Curtis, guides us through a labyrinth of melancholic melodies and spectral harmonies. The beginning of the track is a sonic séance, blending dream pop with post-punk elements, creating an atmosphere that feels both timeless and contemporary. The ghostly synths and pulsating basslines provide the foundation for Lekkas’ vocals to soar, echoing through the haunted halls of a bygone era.

“She Came Playfully,” is a sonic kaleidoscope that unfolds with spectral grace. The ethereal guitar lines and shimmering keys and synths create an otherworldly atmosphere, while Lekkas’ lyrics paint a vivid portrait of a love that transcends time and space. It’s a sonic séance that evokes the spirit of the ’80s new wave while maintaining a modern hint at a dark wave edge.

Palm Ghosts masterfully balances the ethereal and the tangible in this song. The band’s ability to blend haunting atmospheres with catchy hooks creates a sound that is both haunting and infectious. “She Came Playfully” is not just a song; it’s an invitation to embark on the nightboat. It’s a journey into the recesses of the subconscious, a pilgrimage guided by the spectral whispers of Palm Ghosts. As the final notes of “She Came Playfully” fade into the ether, the listener is left with a sense of having communed with the ghosts of music’s past, present, and future. This song stands as a testament to the power of sonic exploration and the enduring magic of musical séances.

The band is on tour now, go see them!

Video of The Day: The Umbrellas – Three Cheers

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This fun video of ‘Three Cheers’ by The Umbrellas is from their forthcoming album “Fairweather Friend,” out January 26th, 2024 on Slumberland Records & Tough Love Records. you can pre-order the record!

When it comes to the indie pop scene, the San Francisco Bay Area jangle indie pop of The Umbrellas began fully formed in 2019 with the Maritime EP. This is a band that has been quietly making waves since they formed in 2018, and their forthcoming record “Fairweather Friend” on Slumberland Records is a tribute to their undeniable talent for writing melodic indie pop music. This album, drenched in the nostalgia of jangle-pop, captures the essence of indie rock’s golden era while offering a fresh and contemporary take on the genre. It is a nod and wink to twee, indie, powerpop, and more with a healthy dollop of the Paisley Underground.

“Three Cheers” opens with a slide into an undeniable bouncing bass instantly pulling you into a dreamy world of melodic guitars and whimsical lyrics. Throughout the song, The Umbrella’s signature sound shines through with jangly guitar riffs, catchy hooks, and shimmering harmonies, reminiscent of bands like The Smiths and The Stone Roses. The vocals, delivered with a perfect blend of longing and optimism, add a captivating emotional depth to the music.

The lyrics are introspective and relatable, making it easy for listeners to connect with the song’s themes of change and self-discovery. The Umbrellas demonstrate a knack for crafting songs that resonate with a broad audience, showing an ability to bridge the gap between the past and present in the indie pop realm. So, better line up for ‘Fairweather Friend’ now.

The song’s production quality is top-notch, with every instrument and vocal line given ample space to breathe. The song maintains a consistent, sun-soaked atmosphere, but brings something unique to the table, ensuring that “Three Cheers” never becomes monotonous.

While the song is an exploration of indie pop’s classic elements, The Umbrella also infuses it with a modern feel and sensibility, ensuring that it doesn’t sound like a mere throwback. This balance between nostalgia and innovation sets “Three Cheers” apart in the crowded indie music warehouse.

In a time when indie pop is experiencing a resurgence, The Umbrellas’ “Three Cheers” is a refreshing addition to the genre. It’s an album that will undoubtedly appeal to both longtime fans of jangle-pop and newcomers looking for a captivating musical journey. With its infectious melodies and genuine lyricism, this song will have you moving, swaying, and dancing just like the band in the video. “Three Cheers is an irresistible invitation to immerse yourself in its sonic daydream, and it’s an invitation that’s impossible to resist.

Video of The Day: Hello June – Napkin

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In the ever-shifting of the goalposts in indie music, Hello June emerges as a formidable force — see our review of their excellent Artifacts album — and their latest music video is for the song, “Napkin.” The song is a masterstroke that underscores their authenticity and musicality.

Hello June’s frontwoman, Sarah Rudy, unfurls a narrative drenched in raw emotion, reflecting on moments of vulnerability and self-discovery. “Napkin” is an intimate confessional, delivered with a hauntingly beautiful voice that captures the essence of a soul laid bare. The haunting instrumental arrangement until an unexpected explosion paints a sonic picture that runs the emotional tumult of the lyrics, further strengthening the song’s resonance.

The track’s compelling lyrics reveal the intricacies of human relationships, akin to the crumpled napkins that soak up spilled drinks and hidden sorrows. Rudy’s lyrical craft is akin to a modern-day poet, channeling the complexities of love, longing, and the leaving of pieces of ourselves with one another even if we are no longer a part of each other’s lives, with profound authenticity. As the song unfolds, it’s impossible not to feel the weight of these words:

All the houses were glowing – in the distance there like stars
When you and me were dreaming, we weren’t counting any scars
I wrote it on this napkin that I would never be what you need
Couldn’t tell myself it’s over, so I left a piece of me, so I left a piece of me

Musically, “Napkin” is a brilliant patient song of understated perfection. The delicate interplay between the guitars and Rudy’s ethereal vocals creates a sonic atmosphere that is both melancholic and mesmerizing. The song builds with an inexorable, yet restrained force, culminating in a cathartic crescendo as Rudy sings:

Cause I heard that I’m a good time
And I’m just another alibi
I’m the one in your dreams
I’m the ghost down the hall
The love of your life
But I’m nothing at all

And that leaves an indelible mark on the listener’s soul. “Napkin” and the evocative music video has Hello June clearly proving their mettle as storytellers and musicians. Their ability to capture the fragile beauty of human frailty and vulnerability sets them apart from the crowd. This is not just a song; it’s an experience that leaves you both moved and enlightened. You wonder what piece of yourself you left with someone else whether you meant to or not.

In a time when the world craves authenticity and emotional depth in music, Hello June’s “Napkin” delivers on all fronts. It’s a song that more than deserves to be heard and cherished.

Video of The Day: William Matheny – Stranger’s Voice

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William Matheny’s latest offering, “That Grand, Old Feeling,” is a testament to his prowess in writing amazing music and personal poetic expressions to everyday life and an album that transports listeners to a bygone era while maintaining a firm grip on the present. It is an alt-country approach, part rock and roll, part folk, part country that cannot easily be labeled. In fact, Matheny embraces both sides of the alt-country equation. Known for his evocative storytelling, Matheny has created a record that straddles the line between nostalgia and innovation, delivering a refreshing take on the timeless themes of love, loss, longing, and self-discovery.

From the very first notes of “That Grand Old Feeling,” it’s clear that Matheny has crafted an album that echoes the classic Americana and folk-rock sound of the 1970s swirled with a 2000s songwriter’s pen. The warm, inviting instrumentation showcases his deep appreciation for the genre’s roots, but it’s Matheny’s songwriting, alongside the exuberance and spirit of guitar, bass, and drums that compliment the lyrical dexterity that truly stands out. The album is a collection of character-driven tales and introspective narratives that tug at the heartstrings, demonstrating Matheny’s gift for storytelling that resonates.

The title track, “Grand Old Feeling,” is a poignant song that reflects the tone of the record. With its electric guitars that pause to make space for Matheny’s heartfelt, emotionally charged vocals, it’s impossible not to get lost in the song’s sentiment. It’s a masterful composition that transports listeners to a world where emotions run deep, and life’s complexities are explored with honesty and grace, and all the while Matheny is not afraid to rock out and give musical voice to the frustrations that are so passionately felt.

Matheny’s ability to craft relatable, memorable characters is on full display in tracks like “Stranger’s Voice” a bittersweet slow-build rocker that tells the story of a person yearning to escape their mundane life. His lyrics are vivid and evocative, making it easy for listeners to empathize with the characters and situations he describes while being able to see themselves in the story.

The album takes a turn toward a more reflective sound with “Down at the Hotel Canfield” and “Christian Name,” where Matheny’s band kicks into high gear, infusing the song with infectious energy. This track, along with “Every Way to Lose” — a delight on the album — and 70s-influenced “Late Blooming Forever” showcases Matheny’s versatility as a songwriter, seamlessly shifting between intimate, acoustic moments and rollicking, full-band arrangements.

Throughout “That Grand, Old Feeling,” Matheny’s vocals are compelling, conveying both vulnerability and strength. His voice carries a depth of feeling that brings his stories to life, making it easy for listeners to connect with the album’s emotional core while swaying and dancing about the room.

While the majority of the album shines brightly, there are moments where some songs, like “Every Way to Lose” and “Strangers’ Voice,” stand out. However, the flow across the album is impressive as Matheny’s songwriting prowess remains clearly evident, demonstrating his commitment to delivering quality songs that capture something authentic.

In “That Grand, Old Feeling,” William Matheny has crafted a record that effortlessly captures the essence of 1970s rock, Americana, alt-country, and folk-rock while presenting a collection of timeless tales that resonate deeply with the listener. It’s an album that evokes a sense of nostalgia while remaining wholly contemporary, reaffirming Matheny’s position as a gifted storyteller and musician who is not beholden to any one musical tradition. “That Grand, Old Feeling” is a dusty testament to the enduring power of well-crafted songs, and it’s a must-listen for anyone who appreciates the art of storytelling through music.

Video of the Day: Behind the Sound: Replacements’ ‘Tim’ gets remastered

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When a classic album from the annals of rock history gets the remix treatment, fans often approach it with a mixture of excitement and trepidation. In the case of The Replacements’ seminal record ‘Tim,’ which recently received a remix that was discussed in a video ‘Behind the Sound: Replacements’ ‘Tim’ gets remastered,’ this cautious optimism was well-founded. The result is a meticulous and loving restoration of an album that not only preserves its raw emotional power but also enhances its sonic experience for a new generation.

Originally released in 1985, ‘Tim’ was an album that catapulted The Replacements into the alternative rock pantheon. Known for their punk-influenced sound, the band’s music always possessed a gritty, midwestern unpolished charm, and ‘Tim’ was no exception. But with this remixed edition, listeners are treated to an experience that remains faithful to the band’s raw essence while elevating it to new heights.

One of the most remarkable aspects of ‘Tim’ has always been its emotional depth. It’s an album that’s often regarded as a cornerstone of American alternative rock, thanks to its introspective and sometimes turbulent lyrics. With the remix, this emotional core is brought into sharper focus. The subtle nuances in Paul Westerberg’s raspy vocals and the poignant lyrical themes are now more pronounced, allowing listeners to delve deeper into the album’s soul.

The instrumental components of ‘Tim’ have been given a thorough makeover as well. The album’s instrumental arrangements, once somewhat obscured by the lo-fi production values of the 1980s, now shine through with greater clarity. Chris Mars’ drumming, Tommy Stinson’s basslines, and Bob Stinson’s searing guitar work are all more defined. Each instrument is allowed to breathe, and their combined efforts are all the more powerful for it.

The soundstage of this remix deserves special praise. The separation of instruments, the placement of Westerberg’s vocals, and the overall balance of the mix are executed with remarkable finesse. In songs like ‘Bastards of Young’ and ‘Swingin Party,’ the emotional punch is delivered with newfound precision. The album’s quieter moments, such as ‘Here Comes a Regular,’ showcase a depth and subtlety that were somewhat muted in the original release.

The remix process, handled by Ed Stasium who clearly understands the album’s significance, respects the integrity of ‘Tim.’ It doesn’t attempt to transform the music into something it’s not. Instead, it removes the layers of sonic muddiness and distortion that had accumulated over the years, allowing the album’s authenticity to shine through. The result is an album that feels fresh and relevant, even decades after its initial release.

Despite the overall sonic improvements, there’s a warmth to the remixed ‘Tim’ that retains the album’s original character. The imperfections and rough edges that make The Replacements so beloved remain intact, a reminder of the band’s DIY ethos and punk roots.

For fans of The Replacements who have cherished ‘Tim’ for years, the Tim: Let It Bleed edition is a gift that allows them to experience the album in a new light. For those who are new to the band, it’s a fantastic entry point that showcases the band’s musical brilliance.

In conclusion, ‘Behind the Sound: Replacements’ ‘Tim’ gets remastered’ is an exceptional example of how a remaster can enhance a classic album without sacrificing its essence. The emotional depth of ‘Tim’ remains untouched, while the sonic quality is remarkably improved. This remix not only does justice to an important album in alternative rock history but also demonstrates the enduring power of The Replacements’ music. Whether you’re a long-time fan or just discovering the band, this remastered ‘Tim’ is a must-listen that captures the essence of an era while sounding fresh and captivating in the present.

Video of The Day: The Nautical Theme – Sun Won’t Rise

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The Nautical Theme, a guitar and keyboard-based indie duo hailing from the Gem City of Dayton, Ohio, have unleashed their latest music video for the first track from their excellent record ‘Get Somewhere‘, “Sun Won’t Rise.” In this harmonic experience through soundscapes, they craft a tapestry of emotions that envelop the listener like a warm, comforting embrace. When Matt Shetler (guitar, vocals) and Tesia Mallory (vocals, keyboard) sing they wrap their voices together as if they were the same person. With their unique blend of folk and indie-pop sensibilities, The Nautical Theme has produced a track that is nothing short of magic.

From the very first strum of the guitar, “Sun Won’t Rise” transports you to a dreamy space like a favorite comfy chair. The enchanting vocals blend with the intricate guitar work and blend together seamlessly with the keyboards, creating an atmosphere that is both melancholic and uplifting. Matt’s voice is like a beacon of light, guiding us through the song’s emotional labyrinth of finding your way home.

Lyrically, “Sun Won’t Rise” delves into themes of heartache and longing, painting a vivid picture of yearning for something just out of reach. The lyrics are perfect, evoking a sense of nostalgia and introspection. Lines like “Because the sun won’t rise, And the moon won’t shine when you’re gone” resonate deeply with anyone who has experienced the bittersweet beauty of yearning.

The production on this track is impeccable. The layers of instrumentation, from the delicate guitar to the keyboards to the percussion create a lush sonic landscape that is both intricate and immersive. Each element is carefully placed, contributing to the song’s emotional depth.

What sets “Sun Won’t Rise” apart from other songs is its ability to evoke a powerful sense of atmosphere. It feels like a soundtrack to a long-lost memory or a forgotten dream, a testament to The Nautical Theme’s mastery of creating sonic spaces that transcend the boundaries of traditional songwriting.

The Nautical Theme‘s “Sun Won’t Rise” stands as a beacon of originality and artistry. It’s a song that demands to be taken seriously, each time revealing new layers of its emotional depth. The Nautical Theme reminds us of the enduring power of music to touch the soul and transport us to places both familiar and uncharted.

Video of The Day: Tamar Berk – Shadow Clues

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Tamar Berk’s “Shadow Clues” from her record “Tiny Injuries” is a haunting brilliant masterpiece that weaves a tapestry of emotions with each delicate note and evocative lyric. Much like a detective searching for hidden truths, Berk’s songwriting skillfully unravels the complexities of the human experience, leaving listeners mesmerized and introspective.

From the very first chords, “Shadow Clues” cast a spell, drawing you into its ethereal lightless world. Is it dark because of our choices, the slow realization that we can only hold back the long night for so long? Berk’s voice, a rich and emotive instrument in its own right, resonates with a raw vulnerability that feels like a whispered confession in the dead of night. Berk’s singing evokes Rebecca Gates. Her phrasing and delivery are reminiscent of great music storytellers, yet there’s a contemporary edge that makes the song uniquely her own. The slow build of the song encapsulates the twists and turns of both discovery and disconnection.

The lyrics of “Shadow Clues” are a masterclass in epic storytelling. Berk paints vivid images with her words, offering glimpses into a shadowy world of secrets that linger in both delicate exploration and uncertainty. Consider lines like:

"Because all that you learned was a solid stare
And a stiff upper lip and a handshake grip
And a deadpan expression with a frigid touch
Unresponsive to the needles that stab you so much"

These lyrics evoke a sense of mystery and intrigue, while the chorus’s refrain of “You know I never know
What you’re feeling, Look for the shadow clues, On the ceiling” carries a sense of longing, fear, and nostalgia that is impossible to ignore. Yet you want to know what is being felt. But you can’t. Is this a song about losing someone we care about and watching them fade away from us when all we want is to see the life run back into their face, their hands, their spirit? It feels that way.

The arrangement of the song is equally captivating. The instrumentation is sparse and building, allowing Berk’s voice to take center stage, but every instrument is carefully chosen and expertly played. The haunting, almost cinematic quality of the music complements the lyrical themes, creating an atmosphere of suspense and melancholy that lingers long after the song fades.

In “Tiny Injuries,” Tamar Berk has crafted an album that explores the complexities of love, loss, and self-discovery through pain, and “Shadow Clues” stands out as a standout track that encapsulates the album’s emotional depth. It’s a song that demands repeated listens, revealing new layers of meaning and nuance with each playthrough.

“Shadow Clues” by Tamar Berk is a song that deserves to be celebrated and dissected, a beautiful piece of art that speaks to the human condition with honesty and grace. It’s a reminder of the power of music to touch the soul and stir the heart, and Tamar Berk is undoubtedly an artist more than capable of weaving a landscape of distance and closeness in unison. And this song catches in your throat like the effort to suppress a cry that traveled through you and within great distance in order to be released.

Video of The Day: Hello June – Sometimes

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In an industry often saturated with formulaic hits and fleeting trends, Hello June stands as a refreshing gust of authenticity with their third single — ‘Sometimes’ — from the forthcoming album ‘Artifacts’. This indie-rock quartet hailing from Charleston, West Virginia, continues to carve their niche in the contemporary music scene with a sound that’s both hauntingly introspective and irresistibly groovy.

‘Sometimes’ opens with a mesmerizing guitar riff that immediately draws the listener into its melancholic embrace. The hauntingly beautiful vocals of frontwoman Sarah Rudy take center stage, carrying a raw emotional weight that’s impossible to ignore. Rudy’s voice, reminiscent of rock legends like PJ Harvey and Patti Smith, is both vulnerable and powerful, perfectly encapsulating the lyrical themes of introspection and self-discovery.

Lyrically, the song delves deep into the complexities of human existence and the ever-present battle between light and darkness within us. Lines like “Sometimes you want to cry / Sometimes you just can’t” resonate with universal truths, offering a lyrical depth that transcends the confines of typical rock fare. What we say and how we say it matters.

Musically, Hello June showcases their mastery of dynamics, seamlessly transitioning between hauntingly atmospheric verses and explosive, anthemic choruses. Artifacts, which comes out on October 6th on 31 Tiger Records, was recorded in Nashville at Bell Tone Recording with producer Roger Alan Nichols, featuring Rudy on vocals and guitar, Paul Niehaus on pedal steel (Calexico, Iron & Wine, Justin Townes Earle, Lambchop), Caleb Crosby on drums and percussion (Larkin Poe, Noah Gundersen), and Nichols on guitar (The Veronicas, Tyler Bryant & the Shakedown). The rhythm and swing of the song, anchored by drummer Caleb Crosby provide a solid foundation for the soaring guitar work of Rudy and Nichols punctuated by the dreamy pedal steel of Niehaus, all combining to create a sonic landscape that’s both captivating and emotionally charged.

‘Sometimes’ is a song that grows with each listen, revealing hidden layers and nuances that make it a standout track in Hello June’s body of work. It’s a testament to the band’s evolving artistry and their commitment to creating music that speaks to the human experience without feeling academic or false.

In an era when authenticity and genuine emotion often take a backseat to commercialism, Hello June’s “Sometimes” reminds us that there are still artists out there who are unafraid to bare their souls through their music. With its haunting melodies and introspective lyrics, this track solidifies Hello June as a band to explore and appreciate for anyone who loves a great song.

In “Sometimes,” Hello June has not only delivered a remarkable song but also a profound emotional journey that lingers long after the final notes fade. It’s a testament to the enduring power of rock and the boundless potential of this group. Keep an eye on Hello June; they’re poised to make waves in the music world.

Hello June on Bandcamp
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Glide Premier of ‘Honey I Promise’

Video of The Day: Chris Stamey – She Might Look My Way

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From the new album The Great Escape. Music legend Chris Stamey shows appreciation for the music of the 1960s and 1970s music performance shows such as Upbeat, Shindig, Hullabaloo, and Glenn O’Brien’s TV Party.

‘She Might Look My Way’ is by Alex Chilton and Tommy Hoehn. The Video was shot by Julia Stamey, with lighting by Mark Hanley, at the venerable Cat’s Cradle, Carrboro, NC. You might recognize some music luminaries in the video such as Mitch Easter (the drummer on the recording as well), Matt McMichaels (guitar), and Robert Sledge (bass). Alejandro Escovedo plays the host. Track produced by Terry Manning and Chris Stamey.

From Chris: “She Might Look My Way” “When I was a kid, I fell in love with the sound of records. I was 17 in 1972 when I got a copy of #1 Record by Big Star, and I thought it had about the most magical sound of them all. So I decided one summer afternoon that, hey, I’d just call the studio listed on the back and ask them how they did it! The woman who answered the phone at Ardent in Memphis put me on hold, and I can only imagine now that some laughter ensued all round the office at the audacity and absurdity of my question! But they put engineer/producer Terry Manning on the line, and lo and behold, as my head reeled, he ever so kindly took the time to tell teenage me all about the nitty gritty, the mics and guitars and amps and gizmos.”

“I had no idea then that Terry had worked on Led Zep III, classic Staples Singers tracks, and was soon to helm ZZ Top megahits. I just knew he was one of the Ardent wizards. And I was so grateful to have him pull the curtain back just a little.”

“Decades and many sessions later, meeting at a NYC concert, we picked up the conversation again. Both loving a forgotten song, ‘She Might Look My Way,’ that I’d later played regularly at CBGB with Big Star’s Alex Chilton—and even recorded with him at Todd Rundgren’s studio for Elektra Records, although it was never released by the label. At that point I’d already started a bare-bones studio version of it myself, with Mitch Easter on drums, so I handed the tapes off to Terry. He dialed in his wizardry once again, in the Bahamas, and filled it with that same brand of Memphis magic: harmonies, guitars, Mellotron. It was the very last thing ever mixed at the famous Compass Point Studios, and that, too, seemed kind of magical. I loved it. We even talked about starting a band together then, but geography got in the way.”

“So when I was finishing up my new record, The Great Escape, as a reality check I kept referencing this track, which had also never been released. I finally realized that it belonged in here with the newer tracks, that it was in a way a keystone for the rest. I didn’t write it, Alex did that, with Tommy Hoehn. But I’m so pleased to have it on board.”

Video of the Day: Librarians With Hickeys – ‘Can’t Wait ‘Till Summer’

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Those marvelous melodic maestros in Librarians With Hickeys are back at it with a song that speaks the truth about how much we tire of the cold! Bring on the Summer, indeed! This fun music video for “Can’t Wait ‘Till Summer” evokes The Psychedelic Furs, English Beat, and Let’s Active. The band has a gift for borrowing from their influences and creating a sound that is fresh. If you, like us, are a sucker for shimmering, ringing guitars then you need to explore this band’s discography. ‘CWTS’ is the group’s latest single from the terrific album “Handclaps & Tambourines” available and streaming everywhere from the fine folks at Big Stir Records!

Video of The Day: Nicholas Johnson – New Vampire

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Nicholas Johnson has not only released a new incredible record, Shady Pines Vol. 2, but played an incredible record release show at Urban Artifact in Cincinnati that we were able to see! Damn, what a good show. The celebration of new music from Nicholas included stellar sets from The New Old-Fashioned’s David Payne and Kent Montgomery (longtime listeners of the show will know that TNOF is a big fave of YTAA) and The Pinkerton Raid. He is coming back to Dayton on Thursday, March 23rd at Blind Bob’s and you should make plans now to catch that show (again with The Pinkerton Raid and Dayton alt-country heroes, Age Nowhere joining the bill).

I cannot pick a favorite song from Shady Pines Vol. 2 but the latest video from Mr. Johnson is a standout on the record. New Vampire is lyrically deep and musically rich. The song is propelled with a gravity of its own that explores the idea of how we experience evenings. The rhythms on this song are deceptively seductive. Nicholas does not have to scream to create an inescapable emotional impact. When he sings “The west is calling, the west is falling” — you believe him because you have felt the same way.

To say that he has a gift with a clever turn of phrase is a sincere moment of understatement. Nicholas takes the anomie and alienation that swells around us that feels like we are being pulled under the surface by a current of our own creation and makes it a statement that does not have the hollow ring of melancholy. The words reveal the power and passion of inescapable frenzy and yet surprisingly tantalizing prospect of loneliness of the current age in which we find ourselves:

Premonition and the prophet screams
Rage into the void of a restless dream
Phone screen burns like man makes fire
Ushers in the age of the new vampire

New skin
Paper thin
Don’t you feel the new age dawning
I can feel it move through my bones
All the places I call home
Yeah we crawl into the unknown
Ah the west is calling
The west is calling
The west is falling

Video of The Day: Quiet Signals – Quiet Signals

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Quiet Signals is Dayton Musician, Guitarist, and accomplished songwriter Nick Kizirnis has joined forces with Lung‘s Kate Wakefield for a lovely and haunting collaboration on guitar and cello. The instrumental music is dreamy, swirling, and yet gentle with an embrace of familiarity and kinship. The song takes an unexpected turn around a little before the four-minute mark and feels heavy, sinister burdened with dark intent that the listener was not expecting in the previous three minutes. The song ends on an aural cliffhanger leaving the journey unresolved.

Clearly, the duo’s previous work on Kizirnis‘ The Distance, while quite different than the current project, has allowed these two gifted musicians to generate their own sonic language. And Quiet Signals is in so many ways soft and tumultuous. We look forward to more music from them in the future.

Nick Kizirnis – guitar
Kate Wakefield – cello

from the album “Quiet Signals” released February 17, 2023.
Nick Kizirnis/Nicky Kay Music BMI

@NickKizirnis (YouTube channel)
@katewakefield1637 (YouTube channel)

https://quietsignals.bandcamp.com
https://nickkizirnis.bandcamp.com
https://katewakefield.bandcamp.com
https://lunglunglung.bandcamp.com