Improvement Movement - Forever Honey - Melting Dreams - Paper Foxes

Improvement Movement - 11:00.

With so much of the music industry feeling constantly inundated with projects being disguised as indie music by major labels, there seems to be a level of exhaustion around the discovery of new bands. The Atlanta, GA-based Improvement Movement sets out to vertically and horizontally integrate all your needs with their debut project, Don’t Delay, Join Today! – out July 29, 2022, through Acrophase Records – which is a collection of songs that might gravitate towards fans of Drugdealer, Altin Gun, and Unknown Mortal Orchestra, as well as fans of startups like Theranos, WeWork, and Juicero.

In all seriousness, the project is a special amalgamation of insanely talented Atlanta musicians who have found a way to collaborate with each other under the band title. Improvement Movement includes (but is not limited to) a rotating cast of Atlanta musicians like Tony Aparo, Zach Pyles (credited on projects from Washed Out, Neon Indian, and Deerhunter to name a few), Marshall Ruffin (Lonnie Holley, The Mount, RUFFIN), Clark Hamilton (klark.sound, Safari Williams) – each a full-fledged artist in their own right – to execute their recordings and live shows. The band was aided in finishing the album by artists and producers including Kelly Pratt of Beirut playing all the woodwinds on the album and Jason Kingsland who mixed the album (notable credits include Band of Horses, Father John Misty, Belle and Sebastian).

You are about to permanently alter the course of your natural life with…Improvement Movement

Usually when a band starts an album cycle a press release is written in an effort to build a story around the band with mentions of all star producers and recording trips that yielded songs from the most famous studios on earth. For Improvement Movement we are here to dispel any of the unfounded rumors being spread that lay heavy claims of the project being mislabeled as a “cult” or “multi-level marketing scheme”. By the end of this EPK you will find yourself a believer in the greatest movement the world has ever seen.

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Photo - Rita Iovine

Forever Honey - I've Been Down.

Yesterday Brooklyn rock outfit Forever Honey will be sharing their new single "I’ve Been Down.”  It’s the second of two singles off an upcoming EP titled “Could I Come Here Alone.” Lyrically, “I’ve Been Down” draws upon the personal experiences of singer Liv Price, who explains the song’s inspiration: 

"I’ve Been Down" is about an instance of trying hard to force feelings for someone and what that point of staleness and auto-pilot looks and feels like–mentally checking out all the time; staring at the ceiling; going through the motions. 

I had this realization one night of how many times I let relationships continue beyond their expiration dates.  In general, I’ve always had a tendency of doubting myself and second guessing what my gut is screaming at me, feeling like I’m just mistaken and need to try harder.  So, it took me much longer than I’d like to admit to recognize that I don’t actually owe anyone my love or company. And that my feelings for someone aren’t something I can just turn on and off, or will into existence.

The rest of the band breathes an air of melancholy into the poignant subject matter with catchy finesse. Instrumentally nodding to their shoegaze inspirations (e.g., Mazzy Star, The Sundays), chiming guitars weave in and out, complementing the emotive and directive vocals. Like so many Forever Honey songs, guitarist Mekonnen masterfully translates the sorrowful lyrics into equally expressive guitar riffs.

Forever Honey · I've Been Down

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Melting Dreams - Like Me.

‘Like Me’ is a soft and mysterious ode to dreams. It contemplates both the sweetness enveloping a dream and its in-satiety; it speaks both of the euphoria and the anxiety that come with chasing after it. Most of all, it speaks of vulnerability – the laying bare of the skin (and of the heart) – that comes with revealing it to others.

Lush strings pull us up to the heights of adrenaline, while tense drums and enigmatic melodies seem to bring the warning of tragedy. Together, they embody the stomach-turning sensation of anticipation and the indistinguishable feelings of fear and excitement. Yet, gentle synths and xylophones wrap us on a cloud – the drunken haze of dreams is lulling and luring.

The angelic vocals travel from soft whisper to powerful belt – there is vulnerability in sharing one’s heart, but there's also courage – and so the voice trembles but rejoices at the thought of possibility, gaining strength, and guiding us to a culmination that is supported by the band's atmospheric and powerful wall of sound.

The band is sharing the first theme from their debut album; they’re giving in to their most vulnerable moment. The question that now beckons to be asked is: Will you like it?

Melting Dreams are a dark dream-pop band formed by Inês Rebelo (Vocals and Vocal Production) and Asaf Rahamim (Songwriting and Production) who teamed up with Artur Lenivenko (piano and synths) and invited musicians from all over the globe to record their debut album, Can You See Me?, set for release in September 2022. They are greatly inspired by film-noir, animation films, and acts such as Kate Bush, Florence and the Machine, Lana Del Rey, and Patrick Watson.

Melting Dreams · Like Me

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Paper Foxes - Heartstrings.

Phoenix-based 5-piece, Paper Foxes are back with their new single ‘Heartstrings’, taken from their upcoming new album Paradise Deluxe. With a genre-bending sound that blends elements of indie, disco and electronic music, the new single see’s the band venture further into the realm of synth-pop with an 80s-inspired, heavily electronic soundscape.

Full of bright yet warming analogue synth, punching electronic drums and thick, throbbing bass ‘Heartstrings’ quickly captures an uplifting feel as the intense, fluorescent electronic instrumentation takes hold. The effortlessly emotive, infectiously catchy lead vocal soon enters, instantly introducing the song's main hook with a cool, chilled delivery which emphasizes the track's edge. Reminiscent of the likes of M83 and MGMT, this is a fresh approach from the band, a move away from the guitar-led sound of their previous releases.

Made up of CJ Jacobson (vocals, guitar), Patro Gaston (synths), Oliver Lemke (guitar), Robert Ciuca (bass) and Henri Bernard (drums), Paper Foxes have garnered over 100 thousand streams to date, making a name for themselves with their unique brand of alternative-indie come new-wave. Having gained recognition after being named ‘the best-unsigned band in AZ’ by Alt Press in 2020, the band gained a number of sync deals with Netflix, MTV and A&E before setting out on a tour of the southwest United States with Hunny and The Happy Fits.

Now back with more material from their upcoming new album due for release in 2023, the band continue to establish themselves as an exciting up-and-coming band surely set for big things.

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MYNTH - Forever Honey - Lesley Barth - Percy

MYNTH just shared 'Laurel' which is the first single from their third studio album due in September, the song itself is a gorgeous mix of guitar led Electro music and lush vocals. === We had the pleasure of sharing 'Christian' by Forever Honey a few weeks back and they have returned with 'Twenty-Five' which is another refreshing mixture of melodic pop and rock. === Lesley Barth first single from her forthcoming album is 'Woman Looking Back at Me' a hook filled song that combines Blondie style disco beat with reflective lyrics. === UK band Percy just released 'Love Song' accompanied with a video, the bands powerful post punk sound remains intact with addictive vocals, it's a fine taster for their next album ‘Seaside Donkeys’.
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MYNTH - Laurel.

'LAUREL’ was out yesterday April 10 and is the first single from MYNTH’s 3rd studio album (SHADES | MYNTH), which will be released in September 2020.

With their new single, the twins Giovanna and Mario have refined the sound of MYNTH, whilst maintaining their signature electronic trip hop vibe. In ‘LAUREL’ the guitar is at the forefront, creating gloomy and edgy mood, balanced with a dreamlike state of mind.

‘LAUREL’ is an unobtrusive companion on the road to nowhere on a mild spring night, providing insight into a bizarre and surreal world of sounds and images. Director of the video Gabriel Hyden worked with the twins, and all three took inspiration from David Lynch to bring their vision to life. They play with impressions of a foreign sphere. In the context of self-isolation, emotions are taking shape and embody a nightmarish feeling of oppression, which occasionally gets burst by hopeful sunrays and bright soundscapes.

It’s when loneliness and lust for life ask the protagonist for a dance, she realizes she’s trapped in her own dull and seemingly perfect world, owning everything she needs. But more and more she’s losing the ability to live in the moment. Everything moves past her, she tries to figure out what’s happening in the world, and in her loneliness she almost becomes the voyeur of these little puppets out there in the carousel that rotates ever faster. A spinning top that draws the audience into madness. "I run away, I run away" - over and over, we run away.

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Forever Honey - Twenty-Five

Forever Honey's second single "Twenty-Five" came out yesterday Friday, April 10, along with an accompanying music video.

Forever Honey is the Brooklyn-based project of Liv Price (lead vocals, guitar), Aida Mekonnen (lead guitar, vocals), Steve Vannelli (drums), and Jack McLoughlin (bass).

Finding common ground over a love of the jangly guitar-driven pop of the late ‘80s and harmony-saturated rock of the ‘60s, the four draw lyrical inspiration from personal experiences and self-reflection.

The band’s first single “Christian” was released at the end of February and appeared on Spotify’s Fresh Finds: Indie editorial playlist.

Forever Honey's debut EP "Pre-Mortem High" is slated for an April 24, 2020 release.

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Lesley Barth - Woman Looking Back at Me.

We are excited to share the first single, "Woman Looking Back at Me" from NYC singer-songwriter Lesley Barth.  The track is a reflection on negative self-talk and chronicaling Lesley's journey of transformation as she quite her corporate job to rebuild her sense of identity.

Lesley's remarks on the "Woman Looking Back at Me":

Woman Looking Back at Me is a song I wrote on the bus after going to a friend’s holiday party where I felt super self-conscious and self-critical.  I had begun meditating daily and I think that caused the flash of inspiration - all of the sudden, I thought, “wait a second, who is this bitch criticizing me nonstop in my mind?”  Putting some distance between my negative self-talk and my true self was really helpful, and, you know, why not set it to a Blondies-inspired disco beat?

Lesley's remarks on the album I wrote this album during the process of completely uprooting my life, and recorded it as I was still navigating a life without structure and regular paychecks. It's an album for these uncertain times where many people feel their lives have been stripped to the bone, they've woken up from a daydream, and they weren't sure what tomorrow would bring because that's where I felt I was when I wrote it.  Almost all the savings I had for quitting my job got wiped away by healthcare costs, and I had to scramble."

We urge you take some time with this heartwarming collection of beautiful songs. "Big Time Baby" is out 5/15/2020.

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Percy - Love Song.

Yorkshire based Percy gained notoriety in the early nineties when their home brand of left-field post-punk led to a record deal with legendary Leeds label Mook Records and consequently airplay from John Peel & Steve Lamacq. They made ‘single of the week’ in Melody Maker and rode the wave of minor indie celebrity status.

Songwriter/lyricist Colin Howard (Vox / Guitars) and Andy Wiles (Bass) have continued to operate as ‘Percy’ since, undergoing several line-up changes over the years, most notably with ex-Housemartins’ Hugh Whitaker joining them on drums between 1997-2004. Whilst Colin and Andy have been together such a long time developing an almost telepathic connection, they both agree that there has never been as much energy and eclectic productivity in the band since they were joined three years ago by Jason Wilson on drums and Paula Duck on synths.

A lover of improvisation, Jason brings some real hammer to the tracks when required and amazing subtlety when space is needed. Paula's synths bring a flourish and depth that, while commonplace in the proto-indie bands of the eighties, has all been swept away by the standard modern band set-up of guitar, bass and drums.

The process for new album ‘Seaside Donkeys’ started with the invitation from Vinyl Eddie Records of York to release an album on 12” vinyl. The band were inspired with the prospect of a vinyl album as this was something that had eluded them to date. There was a conscious intent to team up with a top level engineer and studio sympathetic to the band’s sound so they recruited Isaac Minnis at Crooked Room Studios in York, who has also recently been involved with breakthrough recordings by The Howl and The Hum and Avalanche Party.

True to the band’s punk ethos the album was recorded with the full band in a live room, with minimal separation and minimal overdubs. The recording included a number of songs so fresh the band were sight-reading as they were being recorded. In some cases, the final lyrics were yet to be written and the lyrics simply improvised on the day. This purposefully delivers that fresh and immediate sound to the recording, creating a white-knuckle ride for the band and listener alike at times.

First single from the album is double A-side ‘Seaside Donkey’ and ‘Love Song’. Out on April 3rd, they are poignant and relevant to a country and planet on the brink of unchartered waters, choc-full of slang from the north-east, and clearly showcasing the depth of style and quality among the band, whilst future single ‘Will Of The People’ with its in-your-face riff and swirling synths offers an ageless rage of being dragged off into isolation in a future that obsesses over the good old days, prophetically in the UK’s recent trials.

Elsewhere on the album ‘The People Who Drank Themselves to Death’ is a witness to decades of decay in the North of England. A memento mori to larger than life characters cut down to size by a culture that expects a daily excess of alcohol. ‘Big Lil’s’ is a fanciful story of a visit to the fabled pub of the same name on the Headrow in Leeds with its mock-saloon doors and a crowd that goes quiet when you enter the room.

The whole collection represents the gritty realism of the 2020s. There are big issues out there to wrestle with, and maybe this album just says: You are not alone out there. The album photography by Paula Duck, shot over multiple visits to Scarborough on the north-east coast is a witness document of the place before the impact of CV-19 and what Brexit will become.

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Bleach Day - Forever Honey - Villages - Agnes Obel

Bleach Day just released 'bbs in the grass' a song that has a mixture of psychedelic vocal overtones and a creative choice of instrumentation. === Forever Honey share 'Christian' where the gorgeous melodic vocals and harmonies are accompanied by some slick guitar driven pop/rock. === The video for 'Cremation' by Villages enhances the songs story, however it's the mixing of traditional folk storytelling and more modern musical sounds that really does impress and please. === Agnes Obel hardly needs any introduction or support from Beehive Candy however ten years on and she is still testing musical boundaries and with the splendid song 'Camera's Rolling' ensuring that the new album 'Myopia' will get even more attention.
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Bleach Day - bbs in the grass.

Bleach Day released their second single “bbs in the grass” from their forthcoming album as if always, releasing March 6th via Birdwatcher Records.

The band elaborated on the track’s meaning: “‘bbs in the grass’ is the end of a cycle that comprises the full album as if always. A series of musical movements erupting into existence, the track is propelled by a multitrack orchestra of driving percussion, thick bass, hailing piano notes, and twinkling Wurlitzer.

“bbs in the grass” is reflective yet forward looking. “It is the truth learned at the end of a long introspection. It is celebratory, but accepting of the fact that you’ll soon be back in this very same spot - ending the cycle, so it can begin again.”

Their lead single “in limbo” caught the attention of Various Small Flames and Austin Town Hall, among several others, and was featured on this Cottagecore Spotify playlist, which i-D Magazine shared on their story covering the niche cultural aesthetic.

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Forever Honey - Christian.

Forever Honey is the new NYC-based project of Liv Price (vocals, guitar), Aida Mekonnen (guitar, vocals), Steve Vannelli (drums), and Jack McLoughlin (bass.) Finding common ground over a love of jangly, guitar-driven pop of the late 80s and harmony-saturated rock of the 60s, the four draw lyrical inspiration from personal experiences and self-reflection. Forever Honey's debut EP Pre-Mortem High is slated for an April 24, 2020 release.

Pre-Mortem High is the band's personal coming of age story put to music - the sound of girls and boys telling their girls and boys when enough is enough; the moment when sweet nothings whispered in the wee hours become spotlighted by sunlight, revealing holes of truth and promise.

Written on the heels of the band's relocation to Brooklyn, this record covers the anxiety of getting older, the thrill and danger of frivolous summer nights, and the pursuit of honesty. Channeling the clever, no-nonsense spirit of 90's brit pop and the jangly guitars of 80's new wave, Pre-Mortem High is their attempt at capturing the intensity of personal relationships and life in a new city, all within the confines of four songs.

About "Christian" - "Christian:" The song was actually the last to be written for our upcoming EP and came together really quickly...sort of like it's always been there. We were looking for something upbeat, and this was the result right before we went in to record. Writing it also may have subconsciously brought up some things about ourselves and the nature of our relationships at the time.

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Villages - Cremation.

Not many bands can credit a Rankin Family singalong as the impetus for their start. For Villages, it was a catalyst. In the late aughts, traditional music was the furthest thing from the minds of Matt Ellis, Travis Ellis, Jon Pearo, and Archie Rankin. Having left their Cape Breton homes for the allure of the big city, the musicians formed Mardeen – a group steeped in Halifax’s history of melodic pop- rock and anchored in the vein of their musical heroes such as Sloan, The Super Friendz, and Thrush Hermit. Long heralded as one of Atlantic Canada’s hidden treasures, Mardeen amassed heaps of praise from critics and peers alike.

Steadfast, prolific, and revered, Mardeen found themselves looking back on their heritage after an unexpected trip down memory lane. “One late night, a singalong of Rankin Family tunes broke out,” says vocalist Matt Ellis. “I remember saying to the rest of the band that we need to write something that evokes the sound of home.”

Named after an essay penned by Cape Breton illustrator Kate Beaton, Villages was born. Beginning with a song called “Hymn After Hymn”, the group parlayed their newfound appreciation for Celtic and British folk into a four-song EP with the same name. Produced by East Coast icon Joel Plaskett, the output cemented the four-piece as an entirely new entity focused on melding the melodies and lyrical influences of their deep-rooted history with contemporary instrumentation, moods, and sounds.

This turning point culminates on the self-titled Villages full-length. Recorded at their home studio in rural Nova Scotia with producer Thomas Stajcer (Joel Plaskett, Erin Costelo), the record presents a unique take on life in the Maritimes. From the opening ethereal thump of a distant kick drum and chiming distorted chords on “Awakening of Spring,” to the reel- esque drive on “Maggie of the Cove” and “Sarah’s Whistling Tune,” to the country-tinged inflections on “At Your Door,” the eight-song LP tells the story of four young Nova Scotians coming back to their traditions on their own terms. Ringing like a rural anthem, Villages serves as a reminder that while it’s easy to leave.

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Agnes Obel - Camera's Rolling.

“For me Myopia is an album about trust and doubt. Can you trust yourself or not? Can you trust your own judgments? Can you trust that you will do the right thing? Can you trust your instincts and what you are feeling? Or are your feelings skewed?” –Agnes Obel

For almost a decade, Agnes Obel has been one of the most unique and genre-defying artists in contemporary music. Last Friday, Obel released Myopia, her highly-anticipated new album which is out now on Blue Note Records in the U.S. and Deutsche Grammophon in the rest of the world.

The official music video to accompany the album’s opening track “Camera’s Rolling” is now released. Created by long-term collaborator and partner Alex Brüel Flagstad, and featuring the pair’s dog Woody, the video accompanies the themes within the album and continuously follows on from the videos for the albums’ previous singles “Island Of Doom” & “Broken Sleep.”

Following the same principles as with her previous albums (Philharmonics, Aventine and Citizen Of Glass), which she completed as a one-woman project in her own Berlin home studio, Obel has been under self-imposed creative isolation with the removal of all outside influences and distraction in the writing, recording and mixing process. “The albums I’ve worked on have all required that I build a bubble of some kind in which everything becomes about the album.”

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