Get Better Records debuted another single from its forthcoming split Sunday, Someday this week.
The label debuted Solstice Rey’s performance of the song ‘Mountains‘ Wednesday. The song is the fourth single from the record, which is scheduled for release March 26. Its premiere follows that of Potty Mouth’s ‘Let Go,’ ‘Full On Mone’t’s ‘Masc 4 Masc,’ and Koji’s ‘Burn It Down, Grow a Garden.’
The musical arrangement featured in Solstice Rey’s song is, as it notes, a pop punk style work. Even with the slightly brooding approach and sound taken to the arrangement, there is still something catchy about the song.
The lyrical content that accompanies the song is of an existential nature. Its subject is working through a lot of heavy thoughts and emotions.
Sunday, Someday, features songs from members of Nervus, Potty Mouth, indie folk/punk songwriter Koji, singer/songwriter Solstice Rey, and multimedia artist Full On Mone’t.
According to information in a news release distributed by Get Better Records, the record’s initial purpose was to raise money to pay for top surgery and aftercare for one member of the group while also raising awareness about treatment and mistreatment of the QTPOC community.
Koji addressed the record in a prepared statement.
“This is not a record of and for the music industry,” said Koji. “This record is a celebration of living in community and a project that asks what world is possible when everyone’s needs are met?”
“We’re in a space where we gather on a regular basis, even though we’re separated geographically,” added Koji. “But our relationality isn’t institutional. It’s loving and reciprocal. And we’re able to inhabit ourselves more fully than we are in other music spaces that we’ve experienced.”
Potty Mouth member Abby Weems expanded on Koji’s statement with her own comments.
“It’s exciting to work on something with people I feel so connected to and understood by,” she said. “This release is an opportunity for all of us to use our collective passions, skills, and resources to support each other as artists and as people with our own personal needs.”
Sunday, Someday‘s full track listing is noted below.
Sunday, Someday’ Tracklisting:
1. Nervus (ft. Erik Garlington from Proper.) – Between The Lines
Independent punk rock band Belvedere is taking on a tried and true topic in its latest single.
The band debuted its new single, ‘Good Grief Retreat‘ Wednesday. The song is the lead single from the band’s forthcoming album Hindsight is the Sixth Sense. The album is scheduled for release May 14 through Thousand Islands Records in the U.S. and through Lockjaw Records in Europe and the United Kingdom. It will release through both labels on CD, vinyl, and digital.
Pre-orders are open. Among pre-order availability are three exclusive vinyl variant packages. There are also bundles that feature the items noted below.
Additional merch items include:
– American Socks partnership (limited run of album-themed socks)
– Full line of new t-shirt/tank top
– Album-themed Skateboard Deck
The band’s album has some special guest appearances. Less Than Jake front man Roger Lima, Protest The Hero vocalist Rody Walker, and Wolfrick singer Dylan Toews join the band for some of the album’s works.
The musical arrangement featured in ‘Good Grief Retreat’ is familiar to fans of bands, such as Chaser, Pennywise, and Record Thieves. The lyrical theme that accompanies the song’s musical arrangement proves just as familiar for punk fans.
Front man Steve Rawles talked about the song’s lyrical theme during a recent interview.
“This song speaks of the average worker and the system that benefits off their labour,” he said. While the rich can hide behind laws, regulations and a corporate veil that doesn’t hold them accountable for their actions, the worker never gets ahead and has no chance of closing the wage and lifestyle gap. The Retreat in the title refers to the general populace demanding better conditions.”
The track listing for Hindsight is the Sixth Sense is noted below.
1. Happily Never After
2. Elephant March
3. The Ides
4. Camera Obscura
7. Good Grief Retreat
8. Comrade (feat. Roger Lima)
9. 2 Fast 2 Furious
10. Memento Mori (feat. Dylan Toews)
11. Automate (feat. Rody Walker)
13. Peace In Our Time
More information on Belvedere’s new single and album is available along with all of the band’s latest news at:
Independent singer-songwriter Mitchel Evan is giving audiences a new preview of his forthcoming album.
Evan debuted the album’s “new” single, ‘Cancel Out The Noise” and its companion lyric video Feb. 19. According to a statement from Evan, his established audience base will recognize the song.
“‘Cancel Out The Noise’ is the 3rd single from my self-titled record, Mitchel Evan,” said Evan. “It came to me when I was falling for someone new. I was living in Colorado at the time, but I actually started writing the song in Richmond while I was home for a week visiting my family. This song actually first appeared on my 2018 EP, The Little Horse Tapes. I had only been single for a short while after coming out of a long-term relationship and I was hesitant to enter another. The song is about being pulled into love with your heels dug into the dirt. This studio version of ‘Cancel Out The Noise’ was recorded mostly live with minimal overdubs at Go West Studio in Richmond, Virginia. It features Tyler Meacham on backing vocals, who is a friend and fellow RVA based artist as well.”‘
The musical arrangement featured in Evan’s single presents a clear 90s pop rock sensibility in its guitar-driven approach. It will appeal to fans of bands, such as Gin Blossoms, Toad The Wet Sprocket, and to a lesser degree, Matchbox 20. As Evan noted in his statement, the song’s lyrical theme focuses on the all too familiar topic of romantic relationships.
The lyric video for ‘Cancel Out The Noise’ is a simple presentation. It presents the song’s lyrics over various pictures and footage of Evan at work on various projects.
More information on Mitchel Evans’ “new” single and album is available along with all of his latest news at:
Musician/composer Anansy Cisse spent the better part of the past three years working on his latest album, Anoura (The Light) and now after almost not even happening, the 10-song record – his second – will finally see the light of day this week. Set for release Friday through World Music Network, the 45-minute album is a presentation that will appeal equally to World Music fans and to those of the blues. That is due to the musical arrangements, which will be discussed shortly. The album’s companion booklet is directly connected with the record’s featured arrangements and the appreciation thereof. It will be discussed a little later. The record’s production rounds out its most important elements and will be discussed later, too. When that item is considered along with the rest of the album’s booklet and its arrangements, the presentation in whole proves itself to be an interesting addition to this year’s field of new World Music records.
Anansy Cisse’s new album Anoura (The Light) is a presentation that many audiences will find interesting. That is due in part to the album’s featured musical arrangements. In some cases, the arrangements blend elements of the blues with the more traditional sounds of Cisse’s home nation of Mali for a unique sound. At other points, those elements are held to their own songs, making for even more engagement and entertainment. Among the most notable of the arrangements that blends east and west is ‘Foussa Foussa.’ According to information provided in the album’s booklet, which again will be discussed later, the song finds Cisse imagining talking to his daughter about the festivities that he enjoyed when he was a child. The blues side of the song lends itself to the best works of artists, such as John Lee Hooker and Bo Didley. The African/Malian side meanwhile gives listeners a light introduction to some of the instruments and sounds of Cisse’s homeland. The balance in the two sides as they combine ensures listeners will remain engaged and entertained. ‘Talka,’ which comes later in the album’s run, is centered on the soku – for those unfamiliar with the instrument it looks like a cross between a banjo and a fiddle and is played like a fiddle. That focus gives the song a much more direct Malian identity. That is even considering the use of the guitar and shaker. It makes for more interest in the album’s arrangements because of the contrast of the instrumentation within the song and even to the album’s other works. On the other polar end of the album’s arrangements is ‘Cisse’. This song’s instrumentation and its overall sound is very much a direct blues style work. The layering and sound of the guitar couples with the subtle time keeping lend themselves wholly to comparisons to the old R&B-infused blues works of days gone by. It is an approach and sound that audiences will welcome. When this is considered along with the other arrangements examined here and the rest of the album’s compositions, the overall musical picture presented here creates a strong foundation for the record. The album’s companion booklet builds on that foundation, making the album even more appealing.
The companion booklet that comes with Anansy Cisse’s new album is critical to the record’s presentation because of the background that it presents. Audiences learn in reading the booklet’s liner notes, that Anoura almost did not happen. That was because of a robbery and assault that happened to him in 2018. The full story will be left for audiences to learn for themselves. What will be noted here is that the delay happened as a result of the emotional impact that the incident had on Cisse.
Also revealed through the booklet’s liner notes is that some of the songs present socio-political themes that are directly related to the unrest in Cisse’s home nation. He does not just touch on political issues here. As noted in the liner notes, the record’s opener, ‘Tiawo’ (which translates to ‘Education’), is a work that lyrically focuses on the need for more and better education among Mali’s children. As if that is not enough, there is also a tribute to Cisse’s friend and legendary suko player, Zoumana Tereta in one of the songs. This is yet another tidbit that enriches the overall listening experience here. Add in the fact that the album’s full songs – there are two instrumentals featured in the record – are sung in Cisse’s native language (also revealed through the liner notes), and the background offered in the liner notes helps establish even more appreciation for the album among audiences who do not speak the noted language. That is because they offer an understanding of the songs through their brief windows. Keeping this in mind, no doubt is left as to the importance of the album’s booklet to its presentation. It is just one more element that makes the album a success. The album’s production puts the final touch to its presentation.
The production that went into Anoura (The Light) plays its own part to the record’s presentation in that it ensures the various elements in each arrangement are balanced. As noted already, some of the songs featured in this album blend east and west while others are distinctly either east or west. The songs that blend the noted influences do so well in making sure each side is brought out best, making sure the fullest impact results in that balance. From the guitars, to the soku, to the calabash and more, audiences get in this album, a collection of songs that makes sure no one part overpowers the others at any point. The result of that balance is that each song equally engages and entertains listeners throughout. When this final touch is considered along with the importance of the album’s musical arrangements and its companion booklet, the whole makes the album’s overall presentation fully engaging and entertaining.
Anansy Cisse’s sophomore album Anoura (The Light) is a presentation that his established audience base will appreciate just as much as general World Music and blues fans. That is proven in part through the record’s featured arrangements. The arrangements blend eastern and western influences at some points while also separating them at others. Throughout it all, the arrangements offer something for every noted listener. The companion booklet that accompanies Cisse’s new album adds to the record’s appeal thanks to the background information that it offers on the album and its content. The production rounds out the album’s most important elements. It ensures that each song offers listeners the best possible impact by balancing each element within each song. Each element examined here is important in its own way to the whole of the record. All things considered, they make Anoura (The Light) a presentation that holds its own against this year’s current field of new World Music offerings. Anoura (The Light) is scheduled for release Friday through World Music Network.
More information on this and other titles from World Music Network is available online at:
Independent singer-songwriter and American Idol contestant Sydney Sherwood officially returns this weekend with her first new studio recording in almost three years. Sherwood is scheduled to release her sophomore EP Headspace Saturday through Keep It Simple Records. The six-song record is Sherwood’s sophomore EP and is an interesting new presentation from the up-and-coming singer-songwriter that is worth hearing at least once. That is thanks to the record’s musical and lyrical content, as is evidenced in part through the record’s lead single, ‘Creep.’ This song will be addressed shortly. ‘Let Me Down,’ its second single, is another example of how the EP’s overall content makes it successful. It will be addressed a little later. ‘All The Aces,’ which closes out the record, is yet another of its most notable additions. It will also be examined later. When it is considered along with the EP’s other three songs, the whole of the EP proves itself a positive new offering from Sherwood.
Sydney Sherwood’s forthcoming EP, Headspace is a positive new offering from the up-and-coming singer-songwriter that gives some hope for the future of her career in the music industry. The 24-minute record’s musical and lyrical content serve well to support that statement. Its lead single, ‘Creep’ is just one way in which the EP’s collective content makes the record engaging and entertaining. Its musical arrangement is immediately infectious with its bluesy groove and smoky vocals. The bass and solid time keeping work with the guitar and vocals to fully immerse listeners in the composition. The whole of the arrangement is infectious, but it also plays its own important part to the song. That relaxed almost…sensual vibe exuded in the arrangement actually does well to help illustrate the song’s lyrical theme, that being the relatable topic of mental health.
Sherwood openly talked about the noted topic during a recent interview. She said of the matter, “Being someone that has struggled with anxiety, when it came to writing ‘Creep,’ I really wanted to give an inside look on what anxiety feels like, the emotions you experience while in a panic attack, and the idea that the same mind that thinks of the beauty of life is also the one that thinks negative thoughts which can really drag you down.”… My main goal with this song was to illustrate the war that goes on in your head when you have anxiety as well as how you can either choose to let fear overcome you or you can overcome that fear.”
Her statements are illustrated in the song’s lyrics, which state in the song’s lead verse and chorus, “We’ve all got our demons/And we’ve all got our reasons for dealing/With this heavy baggage/The way we do/It takes a hold of you/Oh no/Here it comes again/Feels like I’m trapped inside a room/No blinds/No way to see it through/Locked down/I never knew/A beautiful mind/Could be so cruel/I’m blind/Down on the upside/Hide behind a smile/But I can’t lie/ Locked down/I never knew/A beautiful mind/Could be so cruel/Just inhale/Exhale/Count to ten/Before the thoughts creep back in.” That last line is where the song’s title comes from. The overall statement here clearly achieves Sherwood’s goal of translating what the noted figures go through in battling anxiety, feeling it literally creeping into one’s mind. The continued statements in the song’s second verse, of “living with ghosts” but having “figured you out” shows perhaps a hint of managing to overcome the noted negative thoughts and emotions. Again, the song’s musical arrangement works with these lyrics to sort of hint at how those thoughts and emotions tend to so coolly slide into a person’s mind. At the same time, the musical approach also echoes the ease in one’s mind in recognizing and overcoming the situation at hand. It makes the song a good example of why Sherwood’s new EP succeeds.
‘Creep’ is a good example of why ‘Headspace’ works as well as it does, and is just one example of why the EP is worth hearing. ‘Let Me Down,’ the EP’s second single, is another example of what makes the record worth hearing. The song’s musical arrangement is its own interesting presentation. It is an up-tempo work whose subtle keyboards work with Sherwood’s vocals and the other instruments to give the song a sort of country-pop sensibility. At the same time, those noted keyboards also give the song the most subtle of an 80s infusion. That overall approach and sound is certain to engage and entertain listeners in its own right. It is just one part of why the song is notable. The lyrical content that accompanies the song’s musical arrangement adds to the song’s appeal.
The lyrical content featured in ‘Let Me Down’ centers on the all-too-familiar topic of a broken relationship. Sherwood talked about that during a recent interview, noting, ““I wrote ‘Let Me Down’ with one of my favorite songwriters a few years ago after getting over someone I had feelings for for some time. I like to see the good in people and deep down I knew this person had good in them, but I looked at what that person could’ve been instead of the person that was standing right before me. I gave this person every chance to prove themselves and time and time again I was let down. I was so blinded by this false sense of reality that when this person let me down it felt shocking. I think a lot of people can relate to the fact that when you care for someone, you tend to overlook the negative things they do because you’re consumed with feelings, but now I realize it’s important to have one foot in reality at all times. Writing this song was one of my biggest moments of clarity to see that I deserved more. While the song is definitely not in favor of the guy, his actions opened my eyes to see what I don’t want and what I won’t tolerate. Had I never gone through this experience, I would’ve never known to look for those red flags in the future and I guess I have him to thank for this killer song.”
These comments are illustrated right from the song’s outset as Sherwood sings in the song’s lead verse, “These days are not feeling right/How could I be so blind/The only thing you did/Was so inconsiderate/You pulled the wool over my eyes/Now I’m just confused/Because of you/I gave you every chance/You threw my heart around…” The last couple of lines are slightly difficult to decipher without lyrics to reference, but more than enough of the content is understandable that it is easy to see that Sherwood has done well to translate her comments in this case. The song follows in quite similar fashion in the second verse, opening with Sherwoood telling that other person, “I wish you could see/How selfish you could be/And how it makes me feel/I wish the person that you were in my mind/Lined up with who you are for real/But now you’ll never say/I’m afraid you’ll stay the same.” Again, there is a lot here to which listeners can relate. Going back to the song’s musical arrangement, the energy in that element makes one believe that these are words that Sherwood is saying to that person in her mind, not quite to that person’s face. It would explain that energy, as it reflects perhaps, her racing thoughts at that moment. There is a certain sadness that goes along with those racing thoughts, adding even more to the interest of the song in whole. Keeping all of this in mind here, no question is left as to why the song was chosen as one of the EP’s singles. It does that much by itself to show why the EP is worth hearing. It is just one more of the songs featured in the EP that shows the record’s strength. ‘All The Aces,’ which closes out the record, is yet another way in which Headspace proves itself worth its own attention.
The musical arrangement featured in ‘All The Aces’ is a catchy, southern-tinged style work whose gritty guitar sound and vocals immediately lend themselves to certain works from the likes of Carrie Underwood. It is a song that is certain to become a fan favorite especially for live shows (whenever live shows return). The sense of confidence exhibited in the song’s musical arrangement pairs well with the song’s equally seemingly positive lyrical theme.
The lyrical theme featured in ‘All The Aces’ comes across as someone who is just trying to put the past behind — perhaps from a bad relationship — and move forward in life. This is inferred in the mention that, “No more/I’ll tell you the truth/Those days are gone/Gotta get back on and soldier on…go on and try me again/I wouldn’t recommend it/Can’t wait to see the look on your face…” There are points here that are difficult to decipher sans lyrics to reference. That aside, just enough is understandable here that this song is a (seemingly) direct contrast to ‘Let Me Down.’ It shows someone who has worked through the emotions of whatever happened with whomever in the past and decided to let it all go. It is a song that promotes self-empowerment, again making itself easy for listeners to relate. That accessibility, together with the entertainment and engagement ensured by the song’s musical arrangement, leaves no doubt as to the EP’s appeal. When it is considered alongside ‘Creep,’ ‘Let Me Down’ and the EP’s remaining trio of songs, the whole makes the EP a presentation that is deserving of its own share of attention.
Sydney Sherwood’s forthcoming EP Headspace is a positive new effort from the up-and-coming singer-songwriter. That is proven throughout the course of the record through the EP’s collective musical and lyrical content. Each of the songs examined here support the noted statements. When they are considered along with the record’s remaining works, the EP in whole proves to be a presentation that will put any listener in a positive mindset. Headspace is scheduled for release Saturday through Keep It Simple Records.
More information on Sydney Sherwood’s new single, video, and EP is available along with all of her latest news at:
Independent rock band Transviolet debuted its new single this week.
The band debuted its new single ‘Drugs in California‘ Monday. The song features a dreamy, pop-infused sound at the center of its musical arrangement. It is a sound and approach that will appeal to pop radio programmers and fans what with the light, airy vocals, the electronics, keyboards and apparently even harp.
While the song’s musical arrangement is a light, upbeat composition, the lyrical content that accompanies the song takes on a serious topic, which front woman Sarah McTaggert talked about during a recent interview.
“Drugs in California is a song about a toxic relationship,” she said. “Specifically, it’s about a toxic relationship between fame and adoration. I’d always felt sort of ambivalent to fame. it always just seemed like an inconvenient side effect to making music that I might have to endure one day if things went really well. I felt like I could prepare myself for it. I’ve had small tastes of fame now, but it’s nothing like I anticipated.”
“It’s weird because I wouldn’t think of myself as famous, but the truth is, to some people, I am famous,” added McTaggart. “I won’t lie to you, it feels amazing to have people connect with my work so deeply- to feel so seen, understood, and appreciated- to be adored. However, that feeling can be really addictive, even destructive. it’s made me question myself- who I am, my intentions, my integrity; at times it’s made me feel isolated and disconnected from people. it’s fucked with my head more than anything else I’ve ever experienced. should I want this? should I not want this? I still don’t know.”
More information on Transviolet’s new single is available along with all of the band’s latest news at:
Theatrical horror/Industrial metal band Kissing Candice is giving audiences a new preview of its new album.
The band debuted the video for its new single ‘Raise Her’ Feb. 17 through knotfest.com. The single debuted through all major digital outlets Friday here. The song debuted through the band’s official YouTube channel Feb. 18.
Viewer discretion is heavily advised with the ‘Raise Her’ video. That is because it portrays some very extreme scenes of BDSM activity and what has to be interpreted as a bizarre snuff scene.
Vocalist Joey Simpson addressed the video in a brief statement.
“I want people to watch this music video and walk away saying “what the hell did I just watch?!? I think I like it… ,” said Simpson.
Guitarist Tom Sciro expanded on Simpson’s comments as he talked about the song’s lyrical content and that of the video.
‘”Raise Her” is a complete serotonin overload, saturated in fetishism from all aspects,” he said. “The song explores and exploits the different and varied ways humans tend to indulge themselves in whatever gets them off. This could include all things sensual and sexual, all the way to having power, control, and even extreme fetishism including violence, blood, and everything dark.”
‘Raise Her’ is available to stream and download here.
Most recently, Kissing Candice debuted the video for its new single ‘Tapeworm.’ Its debut came, at the time, more than four months after the band made its fan favorite song ‘Ghosted‘ available for audiences to download and stream. The band had debuted the song five years ago, but up until that point, had not made it available to fans.
More information on Kissing Candice is available along with all of the band’s latest news and more at:
Independent hard rock band Version 5 recently debuted its latest single and video.
The band debuted its new single, ‘Close My Eyes‘ Feb. 12 along with the song’s companion video. The song exhibits a musical arrangement that harkens back to the sounds of the 90s. At some points, the use of the guitars and vocals hints at influence from the likes of Living Colour while at others it presents influence from The Union Underground and Gravity Kills. The contrast in such distinctly polar opposite acts’ influences seems like it would not work, but surprisingly does.
The lyrical theme that accompanies the song’s musical arrangement will generate its own engagement. While no information has been provided as to the song’s lyrical theme, it can be inferred that the message might be a familiar rumination on a broken relationship.
The song’s video takes place in a 1920s setting, which band member Andy Olsen discussed.
“For the video, I thought it would be cool to “bring back the roaring 20s” for the 2020s,”said Olson. “Spencer, AJ and I liked the idea of being a jazz trio- because this song was a heavy rock song, we wanted to avoid the cliches and have an image that isn’t necessarily associated with a rock band. We lucked out, because we were able to rent out an actual speakeasy bar in Minneapolis.”
More information on Version 5’s new single and video is available along with all of the band’s latest news and more at:
Independent hard rock band The Dev recently debuted the video for its latest single.
he band debuted the video for its latest single, ‘Shameless Life‘ Feb. 8 through Ghost Cult Magazine. The song itself presents a musical arrangement that will appeal to any active rock radio programmer with its melodic hard rock approach. Its lyrical accompaniment meanwhile takes on a familiar topic.
The band’s single-name front woman Nikollaj addressed the song’s lyrical theme in the band’s interview with Ghost Cult Magazine.
“What we wanted to portray in Shameless Life is the need and almost desperation of music. The little girl represents the beginning of finding out how much she loves creating, making, and playing music for not only others but herself. Although with this story comes a slight twist in the sense that sometimes it’s not always sunshine and rainbows and you get to see that in the music video. When writing music you put your heart and soul into and it might feel like your whole self, hence why the video starts and ends with the crowd grabbing me. We wanted to claim both sides of what it can feel as an artist, show the whole picture.”
More information on The Dev’s new single and video is available along with all of the band’s latest news at:
Flogging Molly will celebrate St. Patrick’s Day with its own livestream next month.
The band is scheduled to hold its ticketed event at 3 p.m. ET on March 17 through the band’s official website. The concert, sponsored by Bushmills Irish Whiskey and produced by Danny Wimmer Presents, will take place live from Dublin, Ireland.
Front man Dave King talked about the special event in a prepared statement.
“In any house, even in the darkest of times, there’s always a room, a room for celebration,” said King. “In over twenty years together, this is our first ever show from the Emerald Isle on St. Patrick’s Day. Welcome to Ireland. Let’s celebrate! From our family to yours, Sláinte!”
Early bird tickets, merchandise bundles, virtual meet & greet sessions, and chances to take part in Bushmills’ “First Whiskey” program are available now here. A portion of proceeds from sales will benefit Sweet Relief Crew Fund. Tickets start at $15 per household and allow streaming access to the concert for five days between Mach 17-21
The Sweet Relief Musicians Fund is a nonprofit that provides financial aid to musicians who need the assistance while facing illness, disability, or age-related problems. Its crew-directed program is aimed at helping bands’ road crews who have been negatively impacted by the COVID-19 pandemic.
The Bushmills “First Whiskey” program allows customers 21 and older nationwide to order one of its Irish Whiskey drinks to-go from their neighborhood pub. The company will cover the cost of the drink through March 18 through the program. More information is available here.
More information about Flogging Molly’s upcoming livestream show is available along with all of the band’s latest news at: