Archive for the ‘Music’ Category

Trying to write while neck deep in the grind means sometimes good tunes fall through the cracks. Here I’m going to offer my inbox some relief while sharing worthy musical goodness with you lovable clickers. Five tunes not to miss coming right up!

Opeongo – tragedy

Artwork by Patrick Decourcy

Opeongo’s voice is so uniquely clear that it paints “tragedy” in bold colors.  His tone is sweet and vaguely nasal that it feels like Steve Harley, making “tragedy” feel very glam. It nods so good and demands your attention.  The lyrics tell a grim story of Canadian-indigenous genocide, but end in the potential for hope as voices like Opeongo’s try and remember history so it never repeats.  It’s gorgeous and sorrowful, and that voice will stick to you.

Listen to “tragedy”Opeongo FacebookOpeongo Bandcamp

Down With Space – We Were Strangers

“We Were Strangers” has a post-punk drum flavor and an electro agenda.  The chorus has that kind of foot-stomping energy that is completely magnetic.  The result is a pop tension that feels a lot like 1am with four drinks in the gullet, about to make a very exciting bad decision.  Vaguely nostalgic, exacerbated by the video’s visuals as the viewer perpetually leaves everything behind. There’s just something about that combination of tones that is so compelling.

We Were Strangers VideoDown With Space InstagramDown With Space Bandcamp

Lydia Persaud – Good For Us

Soulful, smooth, and cool as hell, Lydia Persaud’s “Good For Us” is the flavor of self-care and new clarity. Simple rhythm and delicate guitar let Persaud’s voice wash over and cleanse the soul as she sings the praises of time away from one’s lover. The video sees Persaud smudging away the bad vibes and spending some much-needed personal time with her besties. Send the other half out for groceries and roll out the bath bombs to melt into this one.

Good For Us VideoLydia Persaud InstagramLydia Persaud Bandcamp

John Orpheus – House of Cards (Radiohead Cover)

It’s hard to top an original, but John Orpheus gives and old favorite new breath in his Afro-pop cover of Radiohead’s “House of Cards.” Capitalizing on the original’s minimalist percussion, Orpheus adds delicate Caribbean rhythm that gives the song a new optimism. His vocals feel a bit like Phil Collins at moments. Refreshingly honest, video director Patrick Hodgson illustrates the tune with images of real couples in love, from the joyful to the mildly erotic, which capture the (often underrepresented) love shared in a long-term relationships.

House Of Cards by John Orpheus VideoJohn Orpheus InstagramJohn Orpheus Bandcamp

Agath Christ – Blood

It starts like a post-punk electro tune until the beat takes on this off-kilter syncopation that rests on the border between darkwave and electro jazz, if there is one. Noisy and tense, “Blood” is trying desperately to break through the weighted chains of our algorithmic technological oppression. “Blood” is visceral, and stressful, and so very easy to connect with if you’ve ever felt overburdened by the world as it has been engineered. Visuals show (what I interpret as) sufferers escaping their homes to find the last vestige of land free from the looming pressures of technocracy, only able to find rest by laying in the woods in snow. I get it – screens can start to feel like prison walls. Engage with this one.

Blood VideoAgath Christ InstagramAgath Christ Bandcamp

Try ’em out! Let me know what you think in the comments or hit us up on Instagram.

This one is a smooth head-nodder by way of Algerian-born Canadian Aladean Kheroufi. Like a Beatles grandchild, “Love…” is declaration of peace. It’s a roadmap to agape, or universal love – the kind of love that would heal the world. With its latte-smooth vocals and downtempo soul sound, Kheroufi brings us back to a feeling when it seemed like love among humanity could really defeat all evil. It makes this song a welcome respite from the world. The video combines fuzzy film filtering with pleasant scenes from Kheroufi’s life, evoking a wistfulness for a time before… you know. Check out the 60s motifs and funky b-side “Every Girl.”

Aladean Kheroufi Bandcamp

Aladean Kheroufi Instagram

The Magus due out March 4th

This mustachioed magician’s new EP has left me spellbound. Peter Cat (Cat Cat) is the mostly solo project of Graham Neil Gillespie, the dapper “sophisti-popster” behind glam-o-rama hit The Saccharine Underground. Peter Cat brings his brand of wry humor and introspection to a new four track EP, entitled The Magus. I was lucky enough to get to listen to the whole shebang before release and it is fan-flipping-tastic.

It starts with “Blue Raspberry,” the second single off the EP. It’s got a dreamy surreal quality over the beat, meant to illustrate the song’s theme of projecting a fantasy and expecting it to be real. The lyrics start with a touch of meta humor and end in a melancholy that I found really easy to connect with. “Blue Raspberry” sets the tone for the rest of the EP in that The Magus balances introspection and darkness with wit and rhythm throughout the four tracks. For every chuckle, there’s an equal tug at the heart. But for every earnest admission, there’s a knife twist, too.

If Peter Cat played Skyrim…

Track two, called “The Magus” (named for the John Fowles novel) is the inspiration for the characterization you’ll hear in this song’s Billie Eilish-adjacent sprechgesang. Here, Gillespie is taking on the role of the magician as he welcomes you to his show, where he plays with both the heads and the hearts of his victims. It grows atmospheric and tense before exploding into delicious baroque pop.

The EP’s biggest star is also its first single – “Melon Dating Simulator.” It is an instant head-bopper with an absurd twist. Again, the speaker is willing to skewer himself for his bad behaviors, but now he has found his other half in the form of fruit, inspired by Gillespie playing (and having high praise for) a dating simulation game called Superstorm Melon Date. Insert a series of puns and a vaguely dystopian atmosphere, and this one is a certified earworm. Listen for the one off-beat Meyers-Briggs joke that makes me cackle every time I hear it. It’s so very sing-able that I have subjected it to dozens of people in my day job who are forced to listen to me (to which I respond “yer welcome.”

Closer “Disappearing Act,” starts with a piano cabaret-type tune that illustrates when the singer is reasoning with a lover versus narrating his actual intentions. It lends itself so beautifully to a theatrical visual (in my mind), complete with 2d urban backdrops backdrops and the depressing glow of a street lamp. The main character is revealed to be just another manipulative bottom-feeder of relationships, who gloats out the side of his mouth about how he patronizes his lovers so he never has to face himself. Behind it reveals the emptiness that causes such a chasm where a decent man would otherwise be. The piano grows moodier as it takes on more finality and the EP is carried to an end.

All in all, it feels like a piece of theater, lends itself to fun mental visuals, and carries an EP-long narrative if you look for it. I keep being struck about my own willingness to empathize with the character speaking in these songs even though it would be misery to be in a relationship with that kind of person. It all makes my brain go tingle, and that makes me happy.

This EP is not to be missed. Peter Cat play shows around Glasgow so definitely check ’em out if you’re lucky enough to be in Europe. I would love to hear how these tunes sound live, but alas, I live across an ocean from where they play, so let’s cross our fingers and hope for a stateside visit one day. The Magus comes out on March 4th – GO GET IT!

I also got the chance to have a brief 1-on-1 with the man himself. We will have that up for you soon!

Peter Cat Cat Cat Instagram

Peter Cat’s Bandcamp

Peter Cat’s Official Website

Altameda, the nom de tune of Edmonton (Alberta) duo Troy Snaterse and Erik Grice, are launching a new album in April entitled Born Losers. From this album comes this driving Springsteen-ey track “Nightmare Town.” This upbeat ditty tells the irrational dreams of an angsty youth that thinks he would do almost anything to get out and start his adulthood. He recounts fantasies and memories that ring of youthful freedom. It’s got that kind of foot-stomping beat that is classically North American rock. For me, it calls up imagery of warm spring nights in the suburbs, corner-store sodas, and dusklight games of hide-and-seek. It’s got a really solid blend of piano and vocal that feels wistful but not quite desperate. Compared to the similar story in Tracy Chapman’s classic “Fast Car,” “Nightmare Town” is less of a plan and more of a wish. I get the sense that the young protagonist does more dreaming than doing, a recipe for unfulfilled wanderlust that feels more like cruising down the highway on a road trip than running away. It has some vague hope underneath, even though it is a reminder of how I used to look at my hometown through brown-colored glasses, as I now shop for houses in that same town. Oh, life. A good listen, check ’em out.

Altameda Instagram 

 Altameda Twitter 

 Altameda’s Website

Les Cooper Himself

Les Cooper a Toronto’ based producer, mixer, multi-instrumentalist, JUNO award winner, and very cool name haver, has released his debut single, “Stranger.” It starts with buzzy tones before Les’s haunting vocal slides into consciousness. Layers upon layers of swirling instrumentation weave through Cooper’s mellow voice. The speaker of the song seems to carry a very intense and public hurt as it tells the pain of feeling left behind after someone else’s success: Everyone will say that you’re the one that shook them up/the one that tore them down. There is a sense of the speaker struggling through this rawness as they encounter this person’s exploits in other places: Everyone may write about the things you did, the lies you told, the hearts you broke. I get the sense that the hurt may be public, but the speaker feels quite invisible, like they’re the one becoming a stranger. It’s a good atmospheric mellow. I wonder what he’ll come up with next.

Listen to “Stranger” on your preferred platform

Les Cooper Instagram

It was sometime back in the early 00s when I got into King Crimson. I got to see them live with John Paul Jones when I was a Zeppelin die-hard and JPJ was touring behind The Thunderthief (2001). I got to hear the rhythmic daymare of Thela Hun Ginjeet for the first time in my life. The mix of strange and almost discordant rhythms did more to get me dazed than the contact high and warm pocket vodka. I remember being completely entranced until the song ended and I finally shuddered back to life. At the time, I also was discovering Zappa, and knew their common link was Adrian Belew. Young Lions, the first album I landed on at (thanks good ole Mr. Cheapos!), ended up tucking itself into the folds of my hippocampus in my Personal Museum of Eternally Beloved Music. This album is a mission of optimism with claws, set to vaguely jungle-ish rock drums and Belew’s unbelievable shredding. After now twenty years, whenever some Facebook chain email crosses me asking for my top fives or tens or “I listen to this when,” I instantly see the white-pink hue of my copy of Young Lions.

It starts with this pulsating stomp with bells on its ankles, that give me visuals of bonfire parties and hunting predators. This song always sends me deep into the stories in my consciousness and push up fruits of lush colors and imagery – sometimes a cavewoman lover shimmying for her beau, other times eyes in the bushes in the quiet blue darkness; a stalking foot of a carefully moving something. The driving stomp careens into a solo with a some instrument that I have no fucking idea what it is (probably some genius machination Belew does with pedals and pixie dust). It sears as much as it sings, stomping along with rhythmic grunts and twittering flutes, until the entire jungle erupts in natural rapture. It is a masterpiece of sound and joy and it moves me every time.

From there Pretty Pink Rose takes over. A guitar-crazy wailing pop smash, (the album’s one single and video), Pretty Pink Rose is just a good honest rock song. Total shoulder shimmy danceable. I won’t pretend to understand the lyrics, but they’re Bowie lyrics so they work well on their own just by sounding beautiful, nevermind what world-shaking political meanings Bowie may hide in there if you have the patience to search. “The left wing’s broken, the right’s insane” was one of the easily reachable bits to grasp, and rings even more frustratingly true the further we live through history. Other lyrics call up images of the Russian monarchy and seem to bite. Man, I don’t need to know what the hell the song is about, but the hooks in this song are so fun to sing along to, it doesn’t matter.

Humor me a personal story: There was a long time I didn’t pull this album out for a listen. I’m a sensitive soul and the universe decided to backhand me. When I was about 19, traveling the country with Led Zeppelin fans, I took my all Adrian Belew CDs on one of the coolest music adventures of my life (which I shall save for another post). My copy of Belew’s Op Zop Too Wah was with me, and it was super special. It had been gifted by another Belew fan on the internet with the caveat that I must one day pay it forward to another person who might like it. It was precious cargo, cargo that came with a mission. I wanted to make sure I had a few uninterruptable listens, and flights to and from Ohio were as good an opportunity as any.

So naturally, the airline lost my luggage.

When my bag arrived home 9 hours after I did, it was unlocked and all my beloved CDs and CD Walkman were gone. Heartbroken. I couldn’t bear to replace them, even though members of that Belew group sent me replacements and sympathy. But I felt so fucked up about it that I couldn’t really enjoy them without thinking about the violation of some chode stealing my stuff. And I always felt bad having never been able to complete my mission of paying a Belew CD forward. I sort of just blocked it out like it would be forever sour.

It took me until the darkness of 2020 to be able to see the light in this album again. In one of my many moments of deep orange panic, watching the world fall apart in front of me, I started singing “Looking for a UFO” at the top of my lungs. “Somebody will have to fall out of the sky, somebody to show us how to survive. Wouldn’t that be nice?” It sure felt like it. It came out of me randomly and at full volume like a cry to the gods (in the form of a catchy pop song). After all, it is three and a half minutes of upbeat but desperate hope when everything felt hopeless. Why not call upon the aliens? “I wonder what they see on earth. Do they see the hate and hurt? Or do they see the Christmas lights and mirth, and hear songs of peace on earth? Well maybe they would know, a way to make it so.” Maybe they do! Maybe we do, too. I confused the hell out of my neighbors, but I was happy.

One of the weirdest slam dunks on this album is I Am What I Am, which is a jam-along with cult radio evangelist Prophet Omega. I have always had a personally embattled relationship with spirituality, and this beat and monologue would make me scoff at the same time as “I am what I am, and that is all I am, and I am it” became an arcane mantra I would jot down in my notebooks in college. It’s this narrative of self-acceptance and living in the moment that is really engaging and healthy and light, although the guy also seems a little more than eccentric. I’ve since learned that Omega is some kind of legendary cult figure in Nashville music, and you can download his sermons/buy stuff about him from Genuine Human Productions here:

Genuine Human Productions Bandcamp

“Men In Helicopters” is an assault on poachers, and to some larger extent, the sins of our consumption. Belew’s rage is unfettered and raw in its biting lyrics. “Wouldn’t it be odd, if there really was a god, and he looked down on earth and saw what we’d done to her? Wouldn’t it be just, if he pulled the plug on us, and took away the sun?” I can hear a little extra breath in Belew’s rage, as if mentions of copters come with a snarl, a desire for justice. It gives you a push.

I always listen to this guy start to finish – there’s so much more to get, whether it’s the vaguely ethereal cover of “Not Alone Anymore” of the Wilburys, or “Phone Call From the Moon” or Belew’s personal cover of King Crimson’s “Heartbeat.” It’s a powerful album that more people ought to know about it. I could go on, but I won’t, because this review is already long. But I will say this:

DO YOU WANT A COPY OF OP ZOP TOO WAH? Help me complete my mission. I will send you a copy of Op Zop Too Wah on the condition that you one day pay another Belew album forward to someone else. Help me solve the mission I started 20 or so years ago in the primordial ooze of the internet. Reach out to me on Instagram! Cheers!

https://adrianbelew.net/

Adrian Belew’s Facebook

Adrian Belew’s Insta

This song makes me woozy and a little tense, in all the ways a really engaging piece of experimental music should. “God Complex,” is the newest release by chamber pop trio Gentle Party. The song starts off with breathy vocal notes that posit a tonal wondering. The song becomes lush and delicate like an edible flower, and it stays in the back of your mind, strumming its inquisition. Then the lyrics come in and ask the most frustrating question every fan of everything has had to ask themselves in the last few years – can you separate art from artist? But it’s no matter – God Complex is less about answering the question and more about pointing a finger at every fake and fraud that begs forgiveness because they got caught. And in that, they may be a “gentle” party, but “please forgive me while you pray at my feet” is a statement wrapped in barbed wire scraping the bleeding arms of the patriarchy. “I hope you diligently pray” is a beautifully veiled threat.

The video expresses the concept in a gorgeously surreal narrative as the “god” and his black hands play paper doll with the otherwise powerless protagonist. She’s caught in the narrative of a figure that admires her beauty but controls her every move when he’s not swallowing her whole in his palm. He adorns her life with symbols of control like crucifixes, instruments of torture, and chess pieces. A couple of moments make me wonder if he thinks himself Zeus, and his doll an amalgamation of his many wives represented by many legs. Either way, it’s gorgeous, start to finish.

Time to rant: Does an artist deserve to be separated from their art? This question has been bugging the funk out of all of feminists for eternity and everyone else since #MeToo. I struggle with this as someone who LOVES a lot of art from men. I’ve been let down by so many artists, ones that I really connected with and whose art has illustrated pivotal moments of my life. I’ve navigated that with all of the same dissonance. I can never forgive some performers, but I can forgive others once I weigh my discomfort with their crimes. I try to forget some songs and consider others guilty pleasures. There are performers who go unscathed despite multiple reports of violence, and I watch them and seethe. And then there are performers now that would deeply hurt me if they ended up #MeToo-ing someone. I force myself to keep remembering to “kill my idols” but it is so hard when the voices that often speak to me belong to to the same half of humanity that commits 97% of sexual violence.

“God Complex” is the second single from the upcoming album God Complex, hitting the ground on February 17th. Check them out!

Gentleparty.com

Gentle Party Youtube

Gentle Party Instagram

Social Order – “Never Again”

Posted: January 19, 2022 by Kat Meow in 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

New Song – “Cheap Jewelry” by Smudgeout

Posted: January 19, 2022 by Kat Meow in Kat, Music, Rock, Smudgeout

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/

Pinc Wafer – New Single “0%”

Posted: January 12, 2022 by Kat Meow in Kat, Music, New Release, pinc wafer, Single
Tags: , ,

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