Zach wrote "Alone" at the beginning of the end of a relationship, just when he knew he could feel something slipping away. "The verses describe a crumbling house as a metaphor for a crumbling love. The crooked pictures and fading marks of a thing untended," he says. "I thought about my grandparent’s old farmhouse where we made these recordings, left dusty and in disrepair for so long then restored and renewed, and I wondered whether you could do that with people.
I know that when I wrote the song, the chorus was meant to be sung to someone else. It’s all in the second person, but I hear and sing those lyrics now as directed to self. The repeats of the title are at once mantra, warning, and a facing of fear. If we can’t reconcile our differences, we will end up Alone."
A renowned songwriter whose compositions have been featured on ABC, NBC, The CW, Nickelodeon, The Travel Channel, and more, Zach had found himself at a crossroads artistically. He enlisted his inner circle to help him flesh out what would be his ninth LP, The Heart Of. Recorded over four days in his family's rejuvenated farmhouse in rural Michigan, these songs, which began as a quest for answers, became a beautiful celebration of the journey itself. It's a fantastic listen.
Toronto duo Fast Romantics offer up another provocative new single and video, “Smoke + Lightning,” taken from their new album, Happiness + Euphoria, scheduled to be released September 29 via Postwar Records.
Fast Romantics never shy away from exploring the complicated or the contemplative. Kirty takes the lead on “Smoke + Lightning” with her ethereal vocals, and offers this insight on the track: "‘Smoke + Lightning’ was written during a time that I felt like I was being swallowed up in the most vivid dreams every night. It started to blur my waking hours with a twisted, colourful dream-life in my sleeping hours. This song is filled with stream-of-consciousness words and images that made up those dreams.”
Fast Romantics have built a reputation as tenacious musical adventurers, working their way up the mountain of classic pop songwriting, eager to carve out a piece of it for themselves. Matthew Angus and Kirty - partners on and off stage, are bringing F.R. fans, ten sprawling new songs, masterfully crafted and equally and intentionally split into two distinct sides this fall.
Sydney-based polymath Georgia Mooney has just unveiled her stunning debut solo album ‘Full of Moon’. The record is a meticulously crafted sonic universe, the birth of which marks the stepping forward of a major talent. Carried by Mooney’s soaring ethereal voice over lush, cinematic soundscapes, Full of Moon features the singles ‘War Romance’, ‘Break It Off’, ‘I Am Not In A Hurry’, ‘Soothe You’ and ‘Nothing Is Forever. “Go look at your eyes, they’re full of moon” - Joni Mitchell
This album is for daydreaming. Lyrically, it yearns for connection, examining intimate human relationships, and their variations in perception and fantasy. When stories have many sides, they also have many truths. Musically, it’s a glorious and cinematic sonic fresco, holding beauty, musicality and romance in highest regard. It was recorded remotely over 18 of the strangest months in living memory, linking an all-star band based across three continents. The album grew outward in response to the physical world closing in; even the more intimate songs luxuriate in their drama.
Full of Moon’s songs were penned between All Our Exes Live in Texas tours, on solo writing trips all over the world, half on piano and half on a handmade dulcimer Mooney won in a raffle and subsequently fell in love with. Influences from every member of the Wainwright family, Joni Mitchell, the sophistication of the Great American Songbook and even classical composers sift through the songs seamlessly, alongside fuzzed out guitars and production that evokes the unsettling genius of Kate Bush. It was made during a period of global tragedy, as a way to find solace and catharsis in art and love. This record seeks someone to spend the end of the world with.
Bedolina are thrilled to share their self-released debut album, Bedolina. Developed at Miner Street Recordings, the album dissects society’s greatest imperfections and their effects on human nature, all with a crooked smile.
Philadelphia’s own Ken Gould is the heart and brain behind sleek new indie rockers, Bedolina. Debuting after previous singles “Yellow Boat” and “C’mon Fun”, Bedolina continues to test the limits of conventional pop music. With jackhammer beats and smooth guitar solos that flow effervescently throughout, the record’s eight tracks each tell a unique story.
Altogether, Bedolina is an abstract musical cornucopia that channels the listener to ponder the faultiness of the digital age. Centerpieces of the album are “Cicadas” and “The Zoo”, with the former charging into a snapping drum beat with atmospheric sweeps in the background. About halfway through the track, Gould laments “This year’s gone so wrong”, allowing the listener to question what begins as a triumphant, happy-go-lucky sounding tune. Then there’s “The Zoo”, who’s purposely out of tune third chord creates an eerie sense of dissonance, further pulling the audience towards an unsettling atmosphere. Here, the crude message of human beings acting animalistic is put on display, building up to a shocking climax of shrieking and a nasal guitar tone that sounds like a hornet’s nest.
Another album highlight is the final track, “Taking the Canyon”, a saturated bass-heavy dance track that invokes classic shoegaze guitar motifs of My Bloody Valentine. The repeated refrain “Boots marching in a line” showcases the narrator’s disdain for fascist dystopia as it cascades its way into a final minute of drone-like noise. Ending the album on a just as surprising note as it begins, Bedolina show that although this is their debut, their musical gusto and expertise couldn’t be clearer.
Fast Romantics - Everybody's Trying to Steal Your Heart.
Background - Toronto-based indie rockers Fast Romantics have shared their new video "Everybody's Trying To Steal Your Heart". The band just released their latest LP American Love. Produced by the dynamic duo of Gus Van Go and Werner F (Arkells, Wintersleep, Hollerado), American Love is the follow-up record to Fast Romantic’s 2013 release, Afterlife Blues. Written and recorded over two years, alternating between Toronto and Brooklyn, American Love is a nod to the type of cinematic storybook romance American pop culture has conditioned us to search for, but also explores the realities at play off the silver screen that can wreak havoc on burgeoning love. We live in a time of political and social turmoil, and the twelve songs on American Love don’t deny this, each one marked by poignant references of the time and place in which they were conceived. Hailed as an ‘Artist to watch’ in 2017 (Google Play), Fast Romantics is comprised of Angus, Jeffrey Lewis (bass), Kirty (vocals, acoustic guitar, synth), Kevin Black (guitars), Lisa Lorenz (keyboards) and Nick McKinlay (drums). Since reforming the band in 2013, the band has released one full-length LP. Known for their incredible live shows and songwriting prowess, Fast Romantics have received many accolades, including ‘Pop Group of the Year’ at the Sirius XM Indies (2014) and more recently their song “Julia” won the prestigious ‘SOCAN National Songwriting Prize’ in 2016. Fast Romantics are also kicking off their US, with dates available on Beehive Candy's tour news page, website here, Facebook here.
The music video sets grand expectations prior to the song beginning, however you know the budget will never allow this and a song as wonderful as 'Everybody's Trying to Steal Your Heart' can easily settle for less. It turns out however that both the video and music work perfectly well together, that said the song is just as wonderful with our eyes firmly closed.
Background - The Brian Jonestown Massacre collaborator Miranda Lee Richards releases new electronic-pyschedelic track The Wildwood from her upcoming album Existential Beast out on June 16th on Invisible Hands Music. Recording her first demo in Kirk Hammett of Metallica's basement, Miranda's record was passed to Anton Newcombe of The Brian Jonestown Massacre and she became a regular collaborator with the band. Having moved out to Los Angeles in the 90's, Miranda became part of the the seminal rock documentary DIG! on the Dandy Warhols and has toured with the band several times since. Now releasing her fourth album Existential Beast, following the success of 2016's Echoes Of The Dreamtime which received 4* in MOJO & 8/10 in Uncut); Miranda's effortless, 70's influenced psychedelia is evident in the new single - Existential Beast is a political album, examining the issues of our time, but with intent of tackling these difficult and sometimes taboo subjects in a poetic and heartfelt manner. The title is also a mash-up of terms, referencing the existential crisis that has in turn arisen. “In varying degrees, we are all still working with the animal urges of fear, competition, survival, and sexuality that are deep-seated and manifesting in different ways, depending on where people are at. Perhaps a more endearing outlook is to see this as an assignment in working with the inner child, who can at times behave like a wild beast. But like it or not, these tendencies have been revealed, within our leaders, our countries, and ourselves; it is indeed a pivotal and transformational time.” Miranda Lee Richards. Website here, Facebook here.
'The Wildwood' is the second track we have featured from Miranda Lee Richards 'Existential Beast' album due for release later this week. This is a vibrant, uptempo song with Miranda's vocals taking centre stage, and surrounded by some admirable musicianship, it's another powerful reason to check the new album out.
Background - Melbourne based 18 year old singer-songwriter Samsaruh today releases her debut single 'Golden To Thrive'. Despite her young age, Sam is already an experienced artist having worked with Peking Duk, Way of the Eagle, Just A Gent and performed at Splendour in the Grass while still in High School. 'Golden To Thrive' was written by Samsaruh and her producers Nightflare (Joel Dowling and Tim Coghill - core members of Matt Corby's band) and mixed by Sean Tallman who recently mixed the Banks record. On the track, Samsaruh said, "When I was writing ‘Golden To Thrive’ I stumbled upon the reality that stigmas and stereotypes are always going to exist and you’ll never really have control over them. But instead.. we have the power to prove the unknown and the disbelieved. So this song is my power." From first listen Samsaruh has a musical maturity well beyond her years, performing and writing music for over 5 years now while simultaneously finishing her year 12 studies. At 16 years of age she realised her debut EP ‘Orenda’ which featured singles 'I See', 'Wicked Games’ and 'La Di Da’ - hitting 1, 2 & 3 on triple j unearthed Top 100 chart as well as being added to triple j unearthed radio rotation. Samsaruh also featured on the acclaimed Just A Gent EP track ‘Sounds of her Mind’ and took time out from her year 12 studies to perform with him at Splendour in the Grass as well as his sold out ‘Just A Tour’ late last year. Despite her age Samsaruh is already an in demand artist, having also worked as a featured vocalist and songwriter with the likes of Slumberjack, FØRD, Kuren, Styalz Fuego and many more. Facebook here.
Just as the saying "never judge a book by it's cover" goes, We could add "never judge an artist by their age". 'Golden To Thrive' showcases Samsaruh's vocals, which exude a maturity I would relate to someone a good few years older. As for the song, it's catchy, the music and production is high calibre, and another artist arrives firmly on our radar.
Background - Los Angeles’ rock outfit Tombstones in Their Eyes have announced the upcoming ‘Fear’ EP, to be released via Send Me Your Head Records. With this five-track release, the four-piece manage to embrace a wide range of influences, from the stoner rock of Kyuss to the warped neo- psychedelia of the likes of Spacemen 3 to the cavernous and doom-laden sounds of Electric Wizard and beyond.
Tombstones In Their Eyes’ currently line-up is John Treanor (guitar, vocals, keyboards, songwriter), Josh Drew (guitar, backing vocals), Mike Mason (bass, guitar) and Stephen Striegel (drums). Their musical influences include The Brian Jonestown Massacre, Elliott Smith and The Melvins. Recorded at L.A.’s Kitten Robot Studio with Paul Roessler (Nina Hagen, The Deadbeats, The Screamers, 45 Grave), this EP follows up their huge sounding ‘Bad Clouds’ EP (2016) and debut album ‘Sleep Forever’ (2014). “Paul knows exactly where I’m coming from and intuitively knows how to make what I’m feeling come through the speakers,” says John Treanor.
The band began life as a demo swapping exercise between John Treanor in L.A. and his childhood friend James Cooper, now in New York, but soon coalesced into a full fledged band. But collectives are always more than what you see on the surface. In John’s case, writing and performing songs is also a way of dealing with severe anxiety and depression, a way of talking about the subject without being the centre of the conversation, and a way of being subliminal rather than direct. While such a starting point could easily see the music devolve into melancholy and self-absorption, here Tombstones in Their Eyes instead manage to move beyond that place and create music laced with celestial grandeur and a fuzzed out psychedelic majesty that looks out into the universe just as much as it looks inward toward the soul.
This music is also designed to connect rather than be insular. As Treanor says, “Everybody goes through hard periods in their life, and I hope that these songs make them feel less alone.” Tombstones create walls of sound, which are simultaneously sonorous and hazy. These are cavernous, stoner lullabies that descend into post-rock soundscapes and are wrapped in dark shoegazing dreamscapes. The cover design, created by well known psychedelic artist Darren Grealish, brings just the right image to such a mercurial collection. Bandcamp here, Facebook here.
The new 'Fear' EP explodes into action with the powerful riff's that open up 'I Want To Fly'. The EP slips form Alt rock to Shoegaze with ease, it also add in more delicate refrains, whilst throughout the power is always simmering and awaiting it's inevitable chance to return.
Background - The members of Lo Tom have a combined 125 years of experience playing in random bands, both together and apart. The group is made up David Bazan (Pedro the Lion), Trey Many (Velour 100, Starflyer 59), TW Walsh (Pedro the Lion, The Soft Drugs), and Jason Martin (Starflyer 59), friends who started playing music together when they were still pretty much kids. The band will release its self-titled debut LP on July 14 on Barsuk. A conversation with these seasoned musicians about the new album they made together is an exercise in light-hearted brevity: “These songs were painstakingly honed over the course of… um… two weekends. Then we sat on them for a while. “We just wanted to make music together and have fun. “Nobody is in charge… The album cover is pink.” While many bands are a collaboration between artists with a message, a shared vision for a record, or an idea of a sound they want to create, Lo Tom is a group of friends who missed making noise together and wanted to hang out. The off-hand — almost dismissive — way they talk about the experience of making their self-titled debut masks the excellence of the music they’ve written and produced together as Lo Tom, but perhaps their casual approach to the whole endeavor is part of why it came out so great. Recorded over two different sessions when they could find the time to spare, the four friends gathered with half-formed riffs and beats to see what would come out of it. The album’s thematic direction is loose and conceptual. The melodies recall Pedro the Lion and TW Walsh, the guitars sparkle with hints of Starflyer 59, and the songs hurtle through the major keystones of guitar rock – tight conversation between percussion and guitar, heavy fuzz, and some genuinely joyful breakdowns that give way to catharsis. Lyrics were mostly written by Bazan, who would take a melody and make up words quickly, then finish them over time. What makes this record special is not just how it’s built on melodies and riffs and songs with the looseness and ease of four friends who have been making music together for decades, but how vibrant and energetic and smart and funny and fun it is. For fans of a particular brand of indie-rock founded in the seventies and eighties and honed in the nineties and oughts, Lo Tom is one of the best things to arrive in a very long time. Website here, Facebook here.
'Overboard' is the second of eight tracks on the self titled album. As the above background makes clear, this is a band with a wealth of collective experience. The featured song typifies the quality to be found within this collection. As a whole the album comes across as sincere without any self indulgence, it's musicians doing what they love and enjoying the experience, something the listener can easily join in with, and feel welcomed in doing so.
Background - "Why We Fight" is the new single from Toronto 6-piece Fast Romantics. "Why We Fight" is taken from the band’s forthcoming album (set for release in Spring, 2017). Both are released via Light Organ Records/Postwar Records.
Anthemic in the truest sense, "Why We Fight" rushes with an energy akin to early music from fellow Canadian indie-rockers Arcade Fire, but with lashings of raw Bruce Springsteen-esque fire. It's perhaps of no surprise, given the Springsteen comparison, that "Why We Fight" was born at a time of political turmoil, written as the US election campaign was underway.
However, "Why We Fight" is not a protest song, in the traditional sense. It is perhaps best described as the reflections of a non-American songwriter living close to the border, hyper-aware of the US and its influence over Canada and the world. It's a song about being hungry for something, and fighting for it through chaos that can be beyond our control.
As Fast Romantics songwriter, singer and guitarist Matthew Angus explains: "'Why We Fight' started out as a song about myself, about what it is that drives me to even be in a band in the first place. But it quickly evolved into an ode to anyone who finds themselves hungry for something that might seem out of reach.” Website here, Facebook here.
If you enjoy a nice powerful rocker, with feisty vocals and a solid band behind, then 'Why We Fight' should tick all your boxes, and more.
Black Needle Noise with Mimi Page - Swimming Through Dreams.
Background - Legendary producer John Fryer, one of the most innovative sonic architects on the music scene, is releasing new music under his new project Black Needle Noise, dubbed “the spiritual successor to This Mortal Coil” by Cold War Night Life. Best known for his production work, he also branched out as a musician as one of only two constant members of This Mortal Coil (along with Ivo Watts-Russell), providing keyboards, strings and synthesizer sequencing for the band, and its offshoot, The Hope Blister.
In 1979, John Fryer started his career at London’s Blackwing Studios (London) and soon began working with seminal bands on the 4AD, Mute, Rough Trade and Beggars Banquet record labels, including Depeche Mode, The Wolfgang Press and Cocteau Twins. His achievement in helping develop the latter’s pioneering ethereal and ambient sound ultimately led Watts-Russell to recruit Fryer as his partner for This Mortal Coil.
He has produced many other groundbreaking artists, including Yaz (Yazoo), Nine Inch Nails, Clan of Xymox, Nitzer Ebb, Love and Rockets, Xmal Deutschland, Fields of the Nephilim, De/Vision and Stabbing Westward, Swans, HIM, Cradle of Filth, Jesus Jones, Swallow, M|A|R|R|S (A.R.Kane & Colourbox), and many others. More recent projects involve Dead Leaf Echo and The Foreign Resort.
The latest Black Needle Noise single ‘Swimming Through Dreams’ features renowned ethereal vocalist Mimi Page, who recently co-wrote and contributed vocals and programming on four tracks from Delirium’s 15th studio album 'Mythologie, which debuted at #7 on Billboard's Electronic charts. Based in Los Angeles, she is also a singer-songwriter and composer of cinematic dream worlds. Facebook here. Mimi Page Facebook here, website here. Buy mp3 here.
'Swimming Through Dreams' to quote Mary Poppins is "practically perfect". Musically grand with the haunting voice of Mimi Page, this is fabulous.
Background - Upbeat, rowdy Folk from Copenhagen via Northampton, Neil Brophy Band combine lyrics packed full of sentiment, bouncing Folk guitar, iconic banjo and accordion melodies to deliver the infectiously catchy new single “Where The Bears Go Fishing”, out 7th April 2017.
Following the band’s politically charged previous release “Fear of Fear” combining foot-stomping Folk Rock with a serious political message, Neil Brophy Band call upon their humourous side to bring the kind of party atmosphere the group are best known for with the high-energy “Where The Bears Go Fishing”.
Delivering their social banter in a contemporary Folk Rock style with humour, uplifting lyrical kicks and melodies bursting at the seams with energy, the Uke/banjo-driven getaway anthem is jammed full of sentiment reflecting on lead singer and songsmith Neil Brophy’s travels through the majestic Nordic outdoors. The popular festival favourites draw upon their unique storytelling talents to recall warming tales of fishing, campfire harmonies, running from bears and the great Northern lights. Not many bands have nailed Aurora Borealis in a song but Neil Brophy Band own this one.
“Where the Bears Go Fishing is a pure, uplifting hoe-down, feel good track, a lot different from the normal stuff we do, but playing it live gets the crowd up on their feet every time. There’s something about a Ukulele that sets a happy mood and the song just seems to naturally follow.” - Neil Brophy Website here, Facebook here. Fear Of Fear mp3 here. See our tour page for live dates.
Described above as upbeat and rowdy, what can I add for 'Where the Bears Go Fishing'. Maybe just that it's another foot stomper with a chorus that demands you to join in, and dance along if you must.
Background - After releasing 2012's Iron Horse Running and touring the world playing sold-out arenas with Alanis Morissette, an inspired Souleye returned to the studio to begin work on his next full-length album. With a wealth of new material, Souleye released his album Shapeshifting in October 2015 featuring lead singles, "The Victim" and "Labeled". Shapeshifting effortlessly joins old-school hip hop with trip-hop...it's a psychedelic, otherworldly exploration.
"The Victim' touches on some deep issues that I feel many people, myself included, struggle with. The victim-consciousness, or the 'poor me' mentality, is a darker aspect of our shadow-selves that we must first embrace, then work through. We hold onto old patterns and traumas that happened to us in the past, and this song speaks to releasing and freeing ourselves from all things that hold us back and keep us in a victim state."- Souleye
Shapeshifting as well as "Labeled" and "The Victim" received an honorable amount of press and was featured on sites such as Yahoo Music, Thisis50, The Hype Magazine, Triple HQ and more. "Labeled" made it to the top 20 Official European Independent music charts. Muzic Notez touted, "Not only is he a brilliantly gifted lyricist but his music delivers a strong and positive message. Facebook here. Buy mp3 here.
'Snow Angel' is not typical of the music Beehive Candy usually carries, however I was fascinated to see how Alanis Morissette squared up to this genre, and the fact is, she does so remarkably well. More than that I actually really like the song and Souleye is most definitely now on my radar.
Background - Post Death Soundtrack is a Canadian inter-city music collective consisting of Kenneth Buck, Steve Moore and Jon Ireson. Founded in Calgary in 2007 by Buck and Moore, the band now operates out of Vancouver, Calgary and Toronto using the magic of the internet to collaborate across the country. The group creates thought-provoking music by weaving together electronic, industrial, pop and rock sounds. Side-line.com calls their sound “indefinable" while Reflections of Darkness calls them "by no means music for simple minds”.
Now after a 3 year hiatus, Post Death Soundtrack is back with The Unlearning Curve. The latest 9 track collection is an eclectic narrative about dropping concepts, healing and venturing into the unknown. Equal parts Alice in Wonderland, J. Krishnamurti and dream language, The Unlearning Curve pulls as much from psych era Beatles and David Bowie as it does from modern industrial rock. The record was recorded at a number of studios, primarily in Vancouver. It was mastered at Suite Sound Labs, Vancouver and the album cover is an original painting by Toronto artist Kayla Aileen Brown. The album is available as a free download as well as in limited edition vinyl format. Bandcamp here, Facebook here.
'Transform in White Light', slowly builds into an electro rock song and then explores and morphs here and there, whilst retaining an overall feel to the song.
Background - There is no doubt Anímic’s new move will be mistaken for an attack against the loyal relationship between band and followers… meanwhile, others will take it for what it truly is: a golden chance to renew vowels of fidelity with a formation capable of cutting the deck even after the sprint involving their last two albums, “Hannah” and “Hannibal”. The question is out there: Anímic’s new album, “Skin”, is a change, a break, a transformation, but it is a mutation where we really don’t mind not being able to (almost) not recognise the body, because the soul speaks so loudly, so clearly from inside, that that is all that matters.
The easy thing would be to say they have turned to electronic music and that there is nothing left of the Anímic you could so easily imagine in a luminous space in the forest, surrounded by powerful greens and fresh air… but that would be to simple. The bands last two albums had already invited us into the depths of that forest, to a place where day gave into night, threat could be smelt in the air and the green became a black that would beat to the rhythm of a powerful, urgent heart, a heart with a thousand faces. “Skin” simply continues exploring those same shadows, but this time, with a torch that emits a new and surprising light. The magic is still present, like it always has been, how can we explain if not, that delicious feeling when listening to Anímic even if your mind is telling you something different to what it used to be. Website here, Facebook here. Buy Gem mp3 here.
The first album track 'Gem' gives a flavour of where Animic are headed with the new collection of songs 'Skin'. Personally I think this is a really fine collection of material, a little bit Radiohead, in as much as your just not certain what each song will develop into.
Background - “Achluphobia”, is the blistering new single based on the fear of darkness from NYC’s post-punk duo NØMADS, who are re-emerging after taking 2016 off from recording and touring. The duo is now announcing their new album Phobiac that’ll be released in 2018, which is the follow-up to their acclaimed debut Free My Animal.
Phobiac is a conceptual collection of 12 songs based on different phobias, one of which will be released each month in the coming year. They initially teased the project back in 2015 with the release of "Traumatophobia", aka the fear of pain.
The return of NØMADS at this point in time is no coincidence… fear, as an abstract force, has never held a stronger place in our society than it does today. It colors everything we see outside of ourselves. Each song on Phobiac examines the fear process through the prism of rare clinical phobias, all approached in the abstract. The buried message within this set of material is a cautionary one: when we succumb to fear, chaos reigns. Technically speaking, it is generally accepted that phobias arise from a combination of external events and internal predispositions (i.e. heredity or genetics). Many specific phobias can be traced back to a specific triggering event, usually a traumatic experience at an early age.
NØMADS' partners Nathan Lithgow and Garth Macaleavey paused in 2016 to focus on their respective parallel lives - one a budding sommelier in the NYC fine-dining restaurant world and bassist for My Brightest Diamond, the other the technical director for Williamsburg's most respected new music venue, National Sawdust. With “Achluphobia” and the Phobiac announcement, NØMADS is officially back for 2017… there's no need to be afraid. Facebook here.
No nonsense with 'Achluphobia'. It's a powerful full on rocker, where the vocals pour out every last gasp of breath and the guitars and drums take a pounding. Raw and solid, it's also highly addictive.
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