Music Video

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: 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: 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: 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: Smug Brothers – Pablo Icarus

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Ohio rock band Smug Brothers is a collection of contradictions.

The members are neither smug nor brothers, and the caddish name poorly fits these serious, veteran musicians. Furthermore, Smug Brothers could very well be your favorite rock band, especially if you love the pop virility of the Beatles, the lyrical bafflement of Guided by Voices, and the beautiful shambles of Big Star—but you may never know, because you may never see them or hear them.

Take a nap, Schrödinger’s cat. This here is a real paradox.“We’ve been doing this for 20 years,” says Smug Brothers singer and guitarist Kyle Melton, “and no one knows who we are.”One of the reasons for this is the fact that due to real-life responsibilities and a shifting lineup on Spinal Tap proportions, the band rarely performs live.

“You have to tour to make any kind of headway [in the music business],” explains drummer Don Thrasher. “You can’t just play Dayton, Cincinnati, and a few other places and get famous. Any group that has ‘made’ it has had to hit the road and play anywhere they can.”

And then, when the group does perform live, there’s an exciting yet mystifying dimension of difference between the live sound and the recorded material.“A lot of bands today are really, really good at replicating their studio sound in a live setting,” Melton says. “That eludes us. We thrive in a more controlled environment.”

Not surprising for a group that began, way back in 2004, as a one-off studio project between Melton and Dayton musician and producer Darryl Robbins (Peopleperson, TV Queens). It was only with the addition of drummer Don Thrasher, in early 2008, that the Smug Brothers became, to paraphrase Pinocchio, a real band.

Since then, Melton and Thrasher have held down a steady center among a revolving cast of additional musicians—the current lineup includes Kyle Sowash, from Columbus indie-rock stalwarts The Kyle Sowashes, on bass—and have released a series of ever-improving singles, EPs, and LPs. The band’s most recent album, Application of the Twig, is the season of spring distilled into a porch party soundtrack. Brisk and refreshing.

“While we’re not well-known,” says Thrasher, “we make well-done records. We provide a good listening experience for people who like short, catchy songs.” Melton agrees. “A lot of care and consideration goes into our albums. They are singular experiences that you will never see duplicated live.”

All of which brings the Smug Brothers’ quandary full circle. To get a better sense of the elusive Smug Brothers sound, please visit smugbrothers.bandcamp.com! Do it!

Video of The Day: Heather Redman & The Reputation – Wait For Me

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This Friday, December 9, 2022, Heather Redman releases her first solo record! This is fantastic news. A rock and roll record with soul, funk, country, and RnB influences, this record is real. In fact, if you were to look up the definition of authentic in the dictionary you would see a picture of this artist. Heather has some of the most impressive vocals that you can imagine. She has energy and more virtuosity than you can shake a stick at — or in other words, we mean it when we say we would listen to her sing the phone book.

Heather Redman has assembled a crack band featuring the rhythm section from Dayton giants Shrug — Dan Stahl (drums) and Bryan Lakatos (bass) and kickin’ guitar from Matt Webster (The Professors, oh let’s be honest far too many bands to mention) and the multi-instrumentalist David Payne (The New Old Fashioned, Midwest Business Machine, not to mention his own stellar solo recordings)! The album was produced by “The Wizard” Patrick Himes, who contributed more than a few sonic touches to this excellent album.

If you add it all up and you have a recipe for music textures that illuminate their influences while adding new musical territory to the map of songcraft called ‘Heather Redman & The Reputation.

To help you get ready for this new record, care of the fine folks at Magnaphone Records, Heather has released a music video for her second advance single “Wait For Me.” From the start of the thrill of the keyboards to the shot of the drum and strum of the bass string followed by Heather’s hairs standing up on your neck vocals, the sway and swirl of this song will capture your heart. But fear not, you can have it back in a little over three minutes.

See you at the album release celebration at The Yellow Cab Tavern this Friday!

Video of The Day: Matt Derda & The High Watts

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Matt Derda & The High Watts are making some of the most compelling music in a year full of great music! The video is their official music video for ‘Life You Didn’t Know.’ This is the latest single from the Chicago band’s upcoming EP ‘You Didn’t Know?‘ which came out on 11/12/2022.

‘You Didn’t Know?’ from Matt Derda & The High Watts is a picture postcard from a pure sonic territory that reflects the intersection of indie rock, power pop, and alt-country. The semi-title track ‘Life You Didn’t Know’ feels like a driving Replacements song from ‘Pleased to Meet Me’ written by Uncle Tupelo era Jeff Tweedy. Derda’s lead vocal is always spot-on. This is a mighty trio that tackles the feel of each song as if their lives depended upon it.

Video of The Day: Baby, Does Your Heart Sink?

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A perfect indie rock song. The guitars crunch and the bass bounces yet manages to weave and sway across a solid vocal propelled by driving drums! A song with a catchy chorus that will stay in your head for days. A great song that captures the growing realization that a relationship is already over! This latest song, from Martha — a rock band from Pity Me, a village in County Durham in the North East of England — is from their upcoming new album ‘Please Don’t Take Me Back‘, which comes out on October 28, 2022 from Specialist Subject and Dirtnap records.

“‘Baby, Does Your Heart Sink’ is just your classic break-up song, but one designed to be played at the disco at the end of the world. If there are multiple timelines, worlds, and universes out there, you’ve really got to wonder how things are going in the others, don’t you?”

Video of The Day: Paul J. Monnin – No One Cares

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Our friend Paul Monin of Age Nowhere and Neo American Pioneers has a solo single ‘No One Cares.’ The video is an interesting take on the ideas in the lyrics. It also has a silly appearance from YTAA’s own Dr. J. Paul has written a song that asks the listener to stop and look around themselves and ask what matters and what we are focusing our attention upon. You can get more information from: https://linktr.ee/pauljmonnin.

Video Premier: No One Sphere – Ceiling Fan

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Indie rockers No One Sphere – Dave Mann’s post-Mittenfields project – is certainly picking up steam in early 2022. Later this month (March 18th to be precise), the group releases their debut full length ‘Isn’t Everything About Something‘ on the Broken Sound Tapes label out of Chapel Hill, North Carolina.

The album was recorded with Jarrett Nicolay at Mix Tape Studios in Alexandria, VA. To say that Jarrett contributed to the sound of this project would be a vast understatement. Jarrett not only lent his production skills to the effort, he played all of the instruments as well. Mann and Nicolay together crafted a unique sonic vision.

The band’s album captures the diverse musical influences of Mann’s kaleidoscopic and encyclopedic sonic grasp. The arrival of No One Sphere fills a need for an indie rocker that is not a statement about something, a song that is not pretentious or precious. The single Ceiling Fan manages to create a chantlike chaos of melodic deconstruction that is similar to the musical heart of Wilco’s experimental period. The slinky stagger of the bass line moves along a jazzy rhythm that would not be out of place on a funk record. The lyrics sway from meaningful self disclosure to deliberate non-sensical rhyming. In that way, the song feels akin to Wilco’s deconstruction era of Yankee Hotel Foxtrot and A Ghost is Born. Yet the jangly indie rock center of the song has a Pixies-like gravity.

Ceiling Fan pulls from many classic independent influences in its barely over three minute length. Listeners hear elements of Wire, Gang of Four, mid-’90s era R.E.M., the before mentioned Pixies, Half Japanese and The Replacements.

If the music industry were a fair minded affair, No One Sphere would be at the top of everyone’s new album recommendations. You can follow No One Sphere on Twitter and Instagram. We also recommend that you keep an eye out on their YouTube channel!

RIYL: Wire, Gang of Four, The Pixies, Half Japanese, R.E.M., The dbs, and The Replacements

Video of The Day: Get There – Yuppie

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The indie-rock Rust Belt Dayton band Yuppie led by Zack Sliver has been making some of the most enthralling rock and roll over the past several years! ‘Get There’ continues the musical vision that speaks to the authentic emotion of community.

Zack notes that: “The song is about how someone’s words can follow you throughout your life, taking on different forms; through different people and weigh on you. The choice is whether you listen to them, or strive to find where you belong in this weird place we all call ours.

We also highly recommend the bands’ A Place to Call My Own and the compelling video the band made to go with that terrific song:

Maybe this becomes a two video recommendation?

Check them out.

You can find Yuppie on Soundcloud and their website! And all of their socials – facebook, Instagram and Youtube!