This garage rock revival band is comprised of four best friends from Helsinki, Finland that have dubbed themselves with spicegirl-style names Tough Pint, Cute Pint, Crazy Pint, and Dumb Pint. They are fun, creative, wear all black, and perform in Zorro masks. The quartet has been close friends since highschool and initially started the band to perform in their school’s band marathon. Over a decade later, the band is still comprised of the original four members, who have recently released their sixth studio album. Your Stories Baby is melodic, bright, and playful, with several slightly bizzare music videos to match.
Lead vocalist Dumb Pint has a soft, gentle voice, which is the focal point of the album. Dumb Pint’s voice is framed by Cute Pint’s lush 80s synth keyboard, Tough Pint’s delicate percussion, and Crazy Pint’s whimsical electric bass riffs. My favorite track on this album is track 1, Titanic. This song has an amazing energy flow and is the most upbeat song on the album. It serves as an opener that will draw you into the rest of the album. The second track, The Roof, is mellower, with simple, happy lyrics, and focuses heavely on sunny keyboard instrumental.
Pintandwefall is like if the Powerpuff girls formed a band to defeat evil with the sound waves that come out of their speakers. Themes on this album are far and wide, ranging from sweet and melancholic (track 3, Ah-Ah-Ah) to slightly comedic (track 8, Job Interview). As a small band from across the word, with only 8,700 listeners on Spotify, Pintandwefall doesn’t have a huge following in the United States, but I think they have potential, especially because they play their songs in english rather than Finnish. I recommend this band if you like Marina and the Diamonds, Sade, or Surf Curse.
Connan Tant Hosford, otherwise known by the stage-name Connan Mockasin, does not desire to be understood. He wants to be experienced, and he has no use for precise or exacting words or meanings. The title track off Connan’s 2011 album, “Forever Dolphin Love”, is a ripe, poignant example of this mentality.
The first three minutes of the song play out like the beginning of a journey. Dissonant, jambling chords of various key instruments alert you that something important is about to happen. This makes way – or more accurately, is abruptly quashed by – piercing, high-arching synthesizers. The soundscape just barely becomes rounded out as the synths take the background and accept a bass melody and drums into their midst. Harmonicas pelt your ears from the sides and flit around the center – and only after this does Connan’s voice come in.
There are no lyrics yet – simply sighs, an emotional crux as the bass takes back over. The tension is still mounting! But it’s soon released oh so smoothly as the bass is again accompanied by synthesizer, though this time the synth is relaxed and contemplative. Now, we’re treated to words.
“From bleached waves, that never change, from Dalston, forever dolphin love, ah ah ah ah ah
My dull steed, she has no hair, I’ll talk to her, forever dolphin love, ah ah ah ah ah
And Dun’s life, he’s turning heads, he talks to her, forever dolphin love, ah ah ah ah ah ah
From memories that never change, of Dalston, forever dolphin love, ah ah ah ah ah”
All of this makes up a dense, wilting verse given structure only by what may be described as nonsense. This is but a segment of Connan’s emotions. There’s no need for sense, exactly – only the appreciation, if not understanding, of the feeling. The feelings themselves are wrapped up in layers of complexity, which Connan readily engages with. Interfacing with these words – extracting any kind of value from them – requires the listener to let go of their usual methods of judgment. Literally, he’s talking about dolphins. The word is there, there’s “bleached waves” ostensibly coursing some body of water, and – reason be damned – he’s riding the thing! It’s his “dull steed”, but it’s not a horse. It has no hair. And maybe he’ll even talk to it in its dolphin chitter, “ah ah ah ah ah”!
Whoever Dun may be and whatever happened in Dalston are issues all of their own that are never answered. But that’s not the point. These are not words to be scrutinized; rather, they are only meant to be felt as part of the song. While the chorus is more straightforward, the listener’s role is no different:
“Oh Sunter, I loved her, she was to be my wife
Oh Sunter, I loved her, she was to be my wife
My wife, my wife”
Connan opens his heart in this clear fashion only for a few brief, savory moments. The character of Sunter, the object of his affection, reflects the heartbreak and melancholy which the song is centered on. Yet still the listener must extrapolate and connect to the feelings, lest they miss the point. To this end, Connan quickly sways back into the verse, sprinkling new words and new abstractions. Thus the journey dwindles off, and concludes.
The title track that I’ve just described, “Forever Dolphin Love”, is an excellent piece that is worthy of listening and re-listening. It’s ten minutes long and one of those tracks where you’ll find something new every time. Like Connan himself, the entirety of the “Forever Dolphin Love” album is an experience that is worth having. If ever you find yourself not knowing how to describe or what to do with a vague sense of existential feelings, this is certainly a song – and an album – for you.
My favorites: New Gods, You’ll miss me when I’m not around, IDORU
Listen if you like: Crystal Castles, Purity Ring, Kap Bambino
Grimes’ most recent album, Miss Anthropocene was released a few days ago. Grimes is known for her ethereal electronic melodies and otherworldly vocals. This album is no exception, though there is a saturnine quality to the entire album; in complement with the themes of climate change and human destruction Grimes attempted to portray. The last track, IDORU contrasts with all of that – its lyricism is all based on love, and has a softer tone than the other tracks. Some of the other main themes of the album include depression, self-destruction, and the recent experiences Grimes has been through (such as her relationship, pregnancy, and focus on ethical issues).
I have followed Grimes since I first gained an interest in synth-pop/electronic music in my teens. Her albums Visions and Geidi Primes are among my top favorites of all time. Although nothing will meet the novelty of Visions as an album truly unlike any other, Miss Anthropocene is a delicious complement to Art Angels. Her music is unparalleled by any other electronic or art-pop artist, and since her entrance into the music scene in 2007 has gained prominence and prosperity. Throughout the many years, she has Grimes has evolved alongside her music. Now 31, she is pregnant with the child of the billionaire Elon Musk and has gained much more of a celebrity status. Miss Anthropocene shows the growth of Grimes as an artist as well as a reflection on the changes within her life. Grimes shows a motivation to break out of her previous more pop-influenced albums and pull from different influences and genres, like the influence of Korean music in We Appreciate Power and Bollywood in 4ÆM. I love to see the progression in sound reflected on this newest album.
Listen if you like: Bon Iver, Cigarettes After Sex, spookyghostboy
The Magnolias are a band based in Chapel Hill/Mooresville composed of members Sam Gatlin, Bryton Shoffner, and Danny Knutelsky. They began writing and playing together as The Magnolias last year. With the help of UNC’s Grammy-nominated music production professor, Jason Richmond, the band was able to begin recording in a professional studio in late 2019; thus allowing them to put out their most recent tracks, on An Invitation.
An Invitation features the songs Goodnight, I’m going to sleep and Blood in the Sink. The Magnolias show a clear talent in the multiple instruments they play. The melody of the songs is intricate and their sound is incredibly developed, especially for a band so new. I adore the lyricism in both of the singles, and especially enjoy the layered vocals in both songs. I definitely recommend giving this up-and-coming band a try, you won’t be disappointed.
I was able to interview band member Sam Gatlin about the band and their recent releases, which are available on Spotify and all other major streaming platforms. Gatlin told me that some of the main sources of their music come from personal topics like depression and self-harm; and musical inspiration from artists like Moses Sumney and Jeff Buckley. The band is passionate about these recent additions to their discography and they are ready to make more. According to Gatlin, The Magnolias plan to release more singles in the upcoming months.
The best way to find out about upcoming music and shows is their Instagram, @magnoliasband.
In his new single, King Krule continues on his tradition of punky and dark jazz fusion. His unique voice here takes on a more relaxed, contemplative tone, similar to the second half of “The OOZ”. True to King Krule’s form, the central theme of the single is being alone. Through all the darkness, though, there’s a touch of hope that shines through.
The sound profile of the two songs on the single sound like they would fit on “The OOZ”, yet “Alone, Omen 3” in particular uses samples, something that Krule does not use often. The track opens with a phone ringing that is never picked up, particularly fitting for the first line of the verse it precedes: “Take a dip, if you’re alone, take your time”. Krule seems to believe in patient contemplation and self-discovery.
The hope interspersed in the track sits in the bridge and the outro: “But don’t forget you’re not alone; Sometimes you’re stretched … Every minute, every second, you’re not alone, you’re not alone…” Krule may be talking to his partner here, who he had his first child with in 2019. Throughout the track, the lens shifts from the royal “you” to specific references to his girl, indicative of the fact that they’re present for each other and that neither of them are alone.
Tame Impala has recently come out with their newest album, “The Slow Rush”. One track in particular, “Tomorrow’s Dust”, is an excellent representation of the sound of the album and the direction in which Tame’s sound is going.
Lead by ethereal synthesizers, sublime guitar leads, and a powerful dance beat, the song prepares the listener for Tame’s sweet-yet-sad lyrics. The ideas present in the track are dense, as the verse extends to give time for contemplation on being alone and connecting to others.
In fact, a central theme in the track (and the entire album) is time. The second verse is short and to the point on this front: “There’s no use trying to relate to that older soul; And no use biding your time if the bell is tolled”. What exactly the bell is tolling for is not clear, but perhaps it’s meant to be that way. Maybe the isolationist yet newly-wed Kevin Parker has gained a new perspective on biding his time.
Sporting broad-rim glasses and an ever-changing color scheme, Gus Dapperton forgoes convention to bring his audience a truly unique sound. Implicit in his music is the understanding that we all can sometimes struggle to “fit in” and that it’s ok to travel your own path.
Gus’ own path began completely self-produced. He released two EPs on his own (Yellow and Such and You Think You’re A Comic!) that both carry a bedroom-pop yet danceable feel. Gus seems to feel as though the feeling is the most important thing, as he’s gone on record to say that there is no specific interpretation of his lyrics. He works in metaphor and abstraction and states that each track he’s created is like a sounding board, where individuals can project their own meaning.
Check out these tracks:
Ditch (single)
I’m Just Snacking (Yellow and Such)
Miss Glum & The Pursuit of Falling (Yellow and Such)
Prune, You Talk Funny (You Think You’re A Comic!)
I Have Lost My Pearls (You Think You’re A Comic!)
World Class Cinema (Where Polly People Go to Read)
My favorites: Savannah, Something You Needed, Poppies
Listen if you like: Fleet Foxes, Leland Blue, The Alabama Shakes
Something You Needed, an EP by flipturn was released earlier this month. flipturn is an indie/alternative band that has slowly increased in popularity throughout the years.
The EP is short but very complete. I absolutely love this EP and can’t sing its praises enough. The vocals remind me of something between Neil Young and the Fleet Foxes. The lyrics are emotional, filling the listener with a deep sense of nostalgia. I swear, listening to the first two tracks on the album knocked loose memories I’d buried deeply, in such a beautiful way. There is an unshakeable raw emotion to each song on the EP. Just read the lyrics from Glistening: “Sweet thing, if I’m losing you/Know my silver linings typically hit me in the afternoon.” This emotional song reminds me of some of the metaphors of Fleetwood Mac. The whole EP also shares the same kind of simple type of pretty melody, infused with plucked guitar strings and soft piano notes.
The melancholic tone of Did I Love You (Like I Promised) most reminds me of my favorite Fleet Foxes songs. Absolutely love this type of indie band, especially because it pairs so well with the transition from winter to spring. Soft, sad notes paired with happy lyrics, and vice versa. The contradiction always reminds me of the changing seasons; the EP couldn’t have been released at a better time for the association I have with it.
Definitely recommend that anyone reading this listen to this album ASAP, and let me know what you think. I personally can’t get enough, and have already added some of the best songs to my playlists. In addition, flipturn is coming to The Pour House in Raleigh April 22nd. You can check out this event and more here.
Quadra (Nuclear Blast), the 15th studio album from Brazil’s own Sepultura, dropped on February 7, 2020. And the offering proves to be a solid record! The diehard Max (vocals/guitar)/Igor (drums) Cavalara era Sepultura fans, looking for a continuous remake of Arise (1991), Chaos A.D. (1993), or Roots (arguably the band’s best record; 1996), will find some familiar ground on which to stand, here. But, for the most part, the band has left that phase of its evolution long ago. This record is simply their best since those early days.
As the title suggests, the album is intentionally divided into four distinct parts, of which old school Sepultura is a part. The other ¾ of the record, however, is a survey of sorts of the band’s musical journey since those days; looking into the future. Andreas Kisser (guitars) is, as usual, incredible as the substance that holds the band in consistency. Paulo Jr (bass) is the other long-standing member, present for decades, that concretizes the sound. Eloy Casagrande (drums) is exceptional as the tribal, driving, time-keeper. And Derrick Green (vocals) is quite a force, both with his powerful chops, but also is giant presence.
Some tracks that are interesting, both in their representation of their respective sections (the Quadra), but also in their own right are: “Isolation,” and what an opening song! Old school thrash, post-modern twist, with crushing death vocals. “Ali” and “Raging Void” mark the next section, and they are groovy and heavy. Very nice. “Guardians of Earth” begins section three, and is an atmospheric track that expresses the talent of the individual pieces of the whole band. “The Pentagram” is an instrumental in the middle of section three. Sepultura has very talented instrumentalists. And this section shows the band moving away from the past and into the future. “Agony of Defeat” gives evidence of Green’s range, with clean vocals, screams, and gutterals. Beautiful! “Fear, Pain, Chaos, Suffering” is the last track on the album. It gives us an idea of the direction Sepultura is going with their sound and style. The song features Emmily Barreto (Far From Alaska) with Green harmonizing (often in gutterals), and superb riffs.
Favorite Songs: Isolation; Ali; Raging Void; Guardians of Earth
Rating: 8.5/10
*Bonus: For more info on the concept of Quadra and Sepultura, listen to my podcast interview with Andreas Kisser, only on The Saw’s Electric Chair, in The Saw’s Butcher Shop on WKNC.
FCC Violations: Crimson Tide, The Television Music Supervisor, Cue Synthesizer, Foolssong
If you follow Dan Bejar, you probably know that he is a cherished member of indie pop band The New Pornographers, but what you might not know is that Dan Bejar is also the centerpiece of a much moodier rock project, Destroyer. Destroyer recently released an album Have We Met, which earned a whopping 8.5 on Pitchfork, so I was intrigued. When listening to music, I try not to take the album art into consideration but please bear with me as I comment on album art just this one time. I am a very visual person, and am often drawn to albums based solely on enticing album art. I hate when album covers are just a closeup, artsy picture of the artist. It’s just so average and seems very self-absorbed to me. After seeing Have We Met’s boring album cover, I almost didn’t listen to the album but I’m glad I did.
Bejar’s singing style, especially on the 5th track ‘The Raven’, sometimes morphs into a very intimate talking-singing-mumble akin to Jeffrey Lewis’ on the album A Turn in the Dream Songs. The instruments on this album are fairly minimal and simple, emphasizing mostly guitar and electronic keyboard, but the music is far from basic. The solemn, sometimes scattered notes create an exquisitely spooky, chilling atmosphere. Have We Met is dark, eerie, and weird. In fact, Bejar has said that he was influenced by the Twilight Zone and Edgar Allen Poe during the creation of this album. When I listen to this album, I immediately imagine it as the soundtrack to an art gallery exhibit in the MOMA filled with weird, abstract, smooth and spiky black sculptures. Listen to this album if you ever went through a phase where you were obsessed with misty graveyards, the Victorian era, and the supernatural.
