Social Order – “Never Again”

Posted: January 19, 2022 by Kat Meow in Blog, Kat, Music, Single, Social Order

Members of The Mowgli’s, Metro Station, and Parade of Lights met and swirled during lockdown to combine their powers into anthemic synthpop. Their newest track, “Never Again,” tastes a little like The Escape Club marinated in delicious synthy goodness. The lyrics tell a tale of a busted up dramatic relationship that’s as fun as it is destructive – not that breaking the bed sounds like actual fun. Still, stuff like this is my Captain Crunch and I can eat the whole box.

Never Again by Social Order on Soundcloud

Social Order on Instagram

Fresh face Smudgeout, also known as 19 year-old Deanna Fielding, delivers a driving rock track called “Cheap Jewelry.” Smudgeout tells us her frustration with crass consumption and the fashion industry’s stranglehold on people’s wallets and minds. Driving guitars and contralto vocals make me think she’s got shades of Florence sans the Machine in there. But she’s got that punk energy and anti-consumerist ethos for those of us sick of the mindless cycle of buy-break-discard-buy that comes from ugly fashion practices. This song has gotten some brain-replays, a sure sign of a keeper. Enjoy!

Check out Cheap Jewelry on Spotify

More Smudgeout from her website: http://www.smudgeout.com/

Glasgow artist Pinc Wafer’s newest track, his first since his dreamy Needed EP, is a crisp lo-fi constitutional through the struggles of managing a relationship through problematic drinking. Not unlike a good brandy, “0%” wraps you in its smoothness, but finds a moment midway to add a little gravity to the groove. It’s a worthy track for your chillout playlist.

0% by Pinc Wafer on Bandcamp

Pinc Wafer on Soundcloud

Pinc Wafer on Youtube

A big thanks to my buddy Soda for giving me the space to share some tunes with you!

Thumpasaurus greeted the world with their 2018 sensation “Mental Karate,” and now the rest of us will have to spend our lives scouring eBay for hard copies of their brash debut, Book of Thump. Now they’re back with their sophomore effort Thumpaverse, a flavor bomb of dance, punk, funk, and jazz that has already gathered over 100,000 album streams on Spotify.

Thumpaverse’s twelve tracks are a journey.  The album opens with “Emotional Pain,” a building tidal wave of funk that hits the peak of falsetto tension before slamming you against the beat.  From there it’s like you’re listening to rest of the album through your hips. Try to stay still when songs like “I’m Pissed” and “Struttin’” cross your eardrums.  These tracks are guaranteed to get your body shakin’ at maximum wiggle and laughing at their ridiculous setups.  But this is not a one-note band – they bob and weave through musical genres with equal parts appreciation and irreverence. Vocalist/Guitarist Lucas Tamaren gives every song a whole different persona. There are no two songs on this album that sound alike, and yet they all THUMP.

These guys are eclectic and often swing in unpredictable directions.  Zeppelin reminiscent “Reaching” weaves delicate instrumentations and tense vocals through a journey until the song literally gives birth to itself. But they can also swing in the entire opposite direction and deliver something folky and sweet like “High School.” Somewhere behind the beat and humor is a kind of emotional self-awareness that can sneak up on you after a few listens, like in “Emotional Pain” or auditory hug “End of the Night.”

Thumpasaurus is a band that is at home in the cosmos (by way of Los Angeles).  But a real ride on the Space Barn can only happen when you see them live.  Fortunately, they recently recorded a live album, an exciting development we hope to see soon.

Buy Thumpaverse on Bandcamp

Thumpasaurus.com

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Happy New Year, 2022 huh? It still doesn’t look like The Jetsons… Anyway, happiness and health to all.

Now, drumroll please…I would like to take a second to introduce KAT! She will be joining me over here on M-S-G. KAT will basically be doing the same thing as often as time permits. Write-ups, features, etc. She is a very longtime dear friend, sharp as a tack and very passionate. It’s been hard for me to keep up and this decision is overdue. I’m psyched to have her on board and trust her forthcoming contributions and vision.

WELCOME KAT, AND HAPPY NEW YEAR!

KAT DOODLES KAT!

Happy to share another artist feature, time is hard to come by lately but I couldn’t resist this one. (Sorry to those who have been writing for placement!)

Fred Jeske, a music man who wears many a hat, I have been fortunate enough to get to know a bit over the past few years. We’ve nerded out over some topics, shared some of our art with each other, etc etc. That is one of the beauties of creating is that you get the chance to meet many people you never normally would. So, with this being said, I promised Fred an artist feature and am happy to oblige. He has a lot going on with music and the label, (Rescord), he has been associated with for over 3 decades has just released a 35th anniversary boxset! How rad is that? (And, thanks Fred for the complimentary box.) Anyways, here is what he had to say in his own colorful way… <Thanks for reading>

“Here goes! An in the moment interpretation of… Oh Man Wow!

Oh Man Wow! was released on Halloween. The power prog alternative release encapsulates 35 years of recording from Rescord; a San Francisco and Chicago based label that introduced their journey on Halloween, 1986 with a live show.

Back then, Joe Maydak, Sam Schauer and Fred Jeske had just released their first cassette under the name of The Fabulous Welts. From that point up to present, Rescord has released many cassettes, CDs and a vinyl release. Including bands – 1000 Weeks, AAA Battery and Conduit of Humanity. Oh Man Wow! brings this diverse and eclectic collection full circle, albeit a departure in theme and approach. Oh Man Wow! is also included in the 6-disc 35th Anniversary box set; both available on Bandcamp – https://ohmanwow.bandcamp.com/releases – Oh Man Wow! Is mixed and produced by Joe Maydak and Blinker the Star’s Jordon Zadorozny! Lyrics contain personal stories from Fred and Joe. Bryan Ray from Wicked Fools provides the high powered vocals throughout plus raw and sonic guitar solos. Fred recorded rhythm guitars along with Sam Schauer, original writer. Joe performs all bass tracks with his brand attack and Jerry Pellizzer, Conduit of Humanity drummer, creates a powerful beat to the onslaught. Guest guitars by David Ziegler, Rich and Joy Randall as Rescord kept with the theme of artist inclusion, reminiscent of their current Conduit project.” – Available on Bandcamp, (CD and digital), Apple Music and Spotify.

(*ALL ARTIST FEATURES INFO IS SUPPLIED DIRECTLY FROM THE ARTIST(S))

Anna Azarov Photography

New single, “Simulation” out now!

“Simulation” is the anthem of anti-overnight success to a band that has gone viral – the thing most bands strive for these days. The lead singer Pat left his full-time salaried job at Google (the dream job most hope for) in which he got an expensive degree to which he worked, failed, stumbled, fell, but ultimately achieved because of perseverance and the help of mentors guiding through each pitfall. They quit everything from the advice of a record label that has yet to sign them. 

(*ALL ARTIST FEATURES INFO IS SUPPLIED DIRECTLY FROM THE ARTIST(S))

Last Friday I decided to do somewhat of a reissue of my old band, Violet Daydream’s album, Meow as a Bandcamp exclusive digital only release. I can absolutely go on and on about this record because it is certainly one that changed my life. So, why an EDITED reissue of all things? Well, for a number of reasons. First, as a music nerd, I personally love when bands do this kinda stuff. If I dig a band I’ll take any and every version of whatever I can get. It’s just part of the universe that’s created. Second, this version of the album was never commercially available ever before. This features the clean edits of “Taste” and “Sucker” and a radio edit of “A Certain Chemical” with a bonus track remix of “Taste” by our bass player. It cuts out all of the untitled/noise tracks that were sprinkled throughout the original release. And, if you want to get into the very fine details I even shortened the title of “Through A Forest, Up a Hill, Into a Dark Room” to just, “Through A Forest…” The whole point of an edited version initially was to better promote the album to radio and stores due to some of the language and some song lengths. Finally, the color of the cover was altered and includes “Edited Version” stamped across the front. Ultimately it makes the record, dare I say, more commercially viable. To me this. is. not. a. compromise. But rather a step up in artists development and maturity for myself personally. It also had a bit of a remaster by Tyler Green at Tyler Green Sound Services and has never sounded so loud, which is great. I do have more plans for VD music in the future which would be the absolute final offering I could muster up from this era. And third, well, I just wanted to! The band is long gone and we left behind two records (I did try for a reunion a time or two). Our shows were really noisy, raw and gritty and fairly dangerous. It was a great time. There are many stories that can be told about this time period in my music making and creating history. Many memories and stories. Some I’m quite sure you wouldn’t believe. Many people said we were just “too early”, in fact, that was probably said the most out of anything. We were just a trio of weird kids from Long Island that shook my house with our noise on a weekly basis (my Ma was a saint) and in the end learned a hard and shocking lesson about the music “industry” which in turn spelled the end of the band. But these are all stories for another time.

P.S.- After VD: I haven’t stopped creating, it’s been quite an adventure. Mike went on to play with me in ABCSoda and His Mighty Robot, he’s quite a wonderful musician. He now plays in Graces Of Chaos and Blockhead. The drummer, Leo, I don’t know much about.

https://officialsoda.bandcamp.com/album/meow-edited-version

https://officialsoda.bandcamp.com/music

Sometimes the smallest action can alter an entire existence. That certainly has been the case in the creative life of singer/songwriter WILL VAN DYKE. An established musician in the theatrical world of New York City, VAN DYKE was looking for collaborators when an email from lyricist and playwright Jeff Talbott appeared in his inbox. Like Elton John finding Bernie Taupin at the right moment, these two paths crossing would launch a strong and lasting songwriting partnership that culminates in the release of VAN DYKE’s debut solo EP, THE MAYOR.

Billed as a collection of songs that combine personal stories with folklore-like fables, THE MAYOR accentuates the creative chemistry that VAN DYKE and Talbott have been building for the past eight years. From the first line of “You’ll Never Hear the Sound,” the story of a chance encounter that helps a man take control of his own destiny, you can feel the power of VAN DYKE as an artist finally lending his voice to his music.

In talking about the song VAN DYKE explains, “I really wanted to start the EP off with a musical journey as much as an emotional one. So, this song starts very acoustic, but gradually builds in the power-pop flare that this whole collection really embodies.” The songwriting duo knew the song was the perfect way to start the record off. “A sung story about a person finding the strength of their own voice is the ideal introduction for a singer/songwriter doing the exact same thing,” continues Talbott.

Talbott’s email was not the first such missive to change VAN DYKE’s creative career. Born in Atlanta, GA and moving to Boston around high school (with a very brief stop in Rochester, NY between), VAN DYKE was 18 when he moved to New York to attend NYU. He grew up studying classical piano, but loved theater as well as rock and roll, and was confused and unfocused upon his arrival in the city. “Being gay, and dealing with all the things that come with that, it was not until I got to New York that I realized how the things I loved could intersect,” says VAN DYKE. Then he wrote an email of his own that would change his whole life and help define the path he would take.

He reached out to established composer Andrew Lippa, who, through an internship, shepherded VAN DYKE into the theater industry and gave him the push he needed to start writing. At 22, he hit the road with the first National Tour of Wicked playing the piano. After a brief stint on a National Tour of Grease starring Taylor Hicks, he landed his first Broadway gig, The Addams Family. Jumping from The Addams Family to Rent led him to  Kinky Boots, where he was part of the music team with Cyndi Lauper. The relationships built on Kinky Boots led to the musical version of Pretty Woman and working with Bryan Adams and Jim Vallance. Currently, VAN DYKE is the music supervisor of Little Shop of Horrors, for which he also served as orchestrator and arranger. He was nominated for a  Grammy® Award in 2020 for his work on the Little Shop of Horrors cast recording…

Quite an adventure that continues to unfold!

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(*ALL ARTIST FEATURES INFO IS SUPPLIED DIRECTLY FROM THE ARTIST(S))

HUDSON VALLEY ROOTS ROCKERS LARA HOPE & THE ARK-TONES RETURN TO TEAR IT UP WITH THEIR ROLLICKING THIRD ALBUM,
 HERE TO TELL THE TALE, DUE JUNE 25 VIA SOWER RECORDS (CD/DIGITAL) AND CRAZY LOVE RECORDS (VINYL)

After rocking the road with the Brian Setzer Orchestra, the Blasters,
the Reverend Horton Heat, and Tiger Army, 
this Catskills quartet has reemerged with their strongest, most rip-roaring release to date.


KINGSTON, N.Y. — Ask anyone who’s caught them live and you’ll hear the same thing: It’s simply impossible to see Lara Hope & the Ark-Tones perform and not have a great time. A smile on the lips, a swivel in the hips, and an earful of snappy tunes are the inevitable takeaways from any Ark-Tones appearance. The band’s singular blend of rock ‘n’ roll, country, blues, surf, Western swing, rockabilly, folk, pop, and jazzy rhythm & blues gets feet a-moving and hands a-clapping no matter the audience. By the end of the night, if they weren’t already, those lucky concertgoers are rabid fans.

From behind her trademark red cat-eye frames, Lara, winner of the 2017 Ameripolitan Music Award for Best Female Rockabilly Artist, fills any hall that she and the Ark-Tones play. Her neon-bright, bigger-than-life persona is matched only by the outsized power of her towering voice, an instrument that moves effortlessly between big-stage belting and sexy, sultry crooning. Alongside Lara, the ace Ark-Tones know innately how to complement the leader and singer-songwriter’s dynamic vocal presence, both before an audience and in the studio: Double bassist Matt “The Knife” Goldpaugh, lead guitarist Eddie Rion, and drummer Jeremy Boniello keep the train rocketing down the rails, making moody detours whenever the songs call for them. Want an illustration of an act that knows its craft? Here to Tell the Tale, the band’s red-hot third album, is diamond-hard proof. In spades.

“Lara Hope & the Ark-Tones’ records and live performances capture, and release, the spirit of the original rockabilly and country bands that I have listened to and enjoyed for most of my life,” says Tony Garnier, Bob Dylan’s long-time bassist and a devout devotee of the group. “And my two boys, who are 10 and 13 and are [otherwise] glued to Top 40 radio, are also huge fans.”

Garnier is by no means alone in his praise for the quartet’s sound. “A beguiling chanteuse, Lara swirls with facility from sonorous swinging to purred intimations to powerhouse, knock-down-drag-out rock ’n’ roll,” says No Depression, while PopDose calls their music “a damned fine gathering of real, American rock ’n’ roll — the way it was meant to be played — with fun and passion.”

One listen to the all-originals Here to Tell the Tale shows just how true that is. After blasting out of the box with “Let’s Go,” a high-octane shot of the band’s steadfast sound, the 11-song disc spins further out with new gems like the lush, haunting “It’s a Crime.” The rousing “Some Advice” is a playful poke at the generation gap complete with hilarious voicemails from Lara’s mom, and the simmering sax of Hayden Cummings of the Kings of Nuthin’. (Another album guest is keyboardist Matt Jordan, sideman to Stray Cat Lee Rocker and Reverend Horton Heat.) The raucous title track, an anthem of steadfast determination, came to Lara after a 2019 tour fall that shattered her leg but didn’t stop her — three metal rods, twenty-three screws, and a few weeks later, she and the Ark-Tones were back out again, doing regional shows.

If there’s a theme to Here to Tell the Tale, it’s one of not holding back or being afraid of following your personal path. “It’s about getting out and living your life, creating new memories, for good or for bad, and having experiences that you just couldn’t have had otherwise,” explains Lara. “Having your own tale to tell.”

https://www.larahopeandtheark-tones.com

(*ALL ARTIST FEATURES INFO IS SUPPLIED DIRECTLY FROM THE ARTIST(S))