If I had one thing I could bestow upon you all it would be the gift of the SLR30 Single Series…especially after this week’s installment news of Wildhoney…but that’s not just it…now we’ve got Smiles. This track is that perfect Friday tune, heavy-handed pop riffs blasting behind you as you cruise towards that pop sunset; the warm melody recalls the band’s home state of California, as well as a nod to Teenage Fanclub. The last 30 seconds are interesting, fusing a bit of classic rock vibes with these vocal tones that aren’t too far off from Elliott Smith’s croon. 30 years of great music, and lets hope it carries on for 30 more with songs like this one.
This debut from Jeanines is shaping up to be one of my favorite things this year, especially with this delicious new single from their self-titled debut. The opening few seconds have this steady pounding indiepop feel to it, and I’d already be convinced to fawn, but that’s not the twist that really hits for me. Just at the 33 second mark, there’s this vocal pitch change that seems both nostalgic and omni-present; it switches the mood from indiepop to classic doo-wop vibes (it also happens at 1:16). Brief and memorable, so it makes sense that their debut is being handed by the same label that brings you Tony Molina, the esteemed Slumberland Records…dropping on June 14th.
Slumberland Records had a great week last week…a new video from Business of Dreams, an EP from Papercuts and a cover from Frankie Rose…but the best news was the announcement of this Jeanines LP. There’s an infectiousness bounce tearing through your speakers the instant you press play; it’s matched by that understated jangle in the guitars that makes indiepop nerds swoon. Alicia Jeanine’s vocals have this crystalline quality that sort of ride the melodic wave of the track itself; I’m not sure I’ve been so quickly charmed as I was upon first listen here…and it’s short, so go on and press repeat as many times as you can fit into the next hour. The band’s self titled debut will be out on June 14th.
The first two tracks from the forthcoming Business of Dreams LP were sort of what I expected, though I’ve admitted that Cunningham is at the peak of his writing prowess this go-round. But, the pleasure of Ripe for Anarchy is the diversity he’s brought forth, and perhaps no track exemplifies that touch more than the single below. It’s still churns out that crisp nostalgic pop vibe, but it has this thoughtfulness I don’t think I realized until the second or third spin. From the layering of the various vocals to the effortless calm throughout, it creates this weird vibe where I feel like I’m listening to Galaxy 500 channeled through the history of angular indiepop and its forebears. Slumberland drops the album tomorrow; please go get it.
We continue our regular column supporting all things Corey Cunningham by bringing you the latest single from his Business of Dreams project. I’m not sure how he’s been able to do it, but he’s topped his previous release, and is running nearly neck and neck with some of his other projects that I adore. I love the keyboard work in this track; it sort of gives this shining brightness from behind the mix, allowing for the wispy vocals to coolly wash over the listener. I don’t want to gush, except that I do. This song is just one example of everything that is great about the new album; there’s ten other examples on Ripe for Anarchy, out Feb 1st via Slumberland.
A lot of folks following musicians and blogs definitely have people that they adore, people that are untouchable in a sense; Corey Cunningham is one such person for me, be it in Terry Malts or, in the case of this post, Business of Dreams. On the latest single, the bass line opens heavy and pulsing, the lifeblood of the tune. It unfolds to build in driving synth work, as well as other electronic sparkles in the background. All the while, there’s Cunningham, sitting carefully in the mix, careful to hold the song’s lofty pop sensibility intact. It almost feels like something in the vein of Blank Dogs, but if it was crafted with sunshine in mind; there’s a natural vibrancy to this one. You will find this tune on Ripe for Anarchy, the new album out on Slumberland Records on February 1st.
We’re just about a week away from the release of the new Papercuts album, and the band just released one of my favorite tracks from the LP. I love the underlying energy from the rhythm section, which works in contrast to the smoky haze of Jason Quever’s voice; the guitar’s, too, carry on an energetic tone. It’s the perfect juxtaposition, allowing the listener to get carried away by the uplifting spirit, whilst still delving into moments of reflection. If you’re willing to let music carry you away again, perhaps you’ll pick up Parallel Universe Blues on October 17th via Slumberland.
You’ve heard of our adoration for Joe Stevens’ project, Peel Dream Magazine, so it might be our last chance to sample a track before the album drops at the beginning of October. I’m instantly drawn to the combination of Stevens’ voice and the warbling pulse of electronics just beneath the surface; it’s disorienting, yet captivating. We’re further drawn in when the guitar begins to playful dangle in our ears, loudly at first, then receding, only to come back to life as the song moves towards its end. No one’s making music quite as cathartic and entrancing as what you’ll find below; look for Modern Meta Physic from Slumberland on October 5th.
The opening minute of this new Papercuts tune has this bounding haze, matched by the obscured characters in the video; it’s got an infectious bounce that builds right into Jason Quever’s opening vocal lines. I don’t know what it is, but something about the way his voice is recorded just give me this imaginary sense of weightlessness; he does switch up the tone as he lets his voice fall atop the mix in what is perhaps the chorus. Eventually, the vocals fade into the background and we traverse through the video as the rest of the band come full circle back to the original bounding notes. This tune appears on Parallel Universe Blues, which is being released on October 19th via Slumberland Records.
The only thing I want to get off my chest is that not enough people are listening to Wildhoney! Today, the band shared a new single from the Slumberland Subscription Series over on NPR, which hopefully garners more deserved attention. Let’s get to that song though. It begins with a light ringing guitar, politely dancing through the speakers; it establishes the perfect setting for Lauren to enter with voice in tow. I love how her voice seems to sparkle in step with the crisp guitar notes. Then comes the rising joyousness of the momentary chorus. But, most importantly, we should take notice that the song’s crafted in various stages. The blissful openings soon makes way for a fuzzed out explosion, only to settle into this cascading atmospheric moment that wraps the song up in a warm blanket. Seriously. Go listen to more Wildhoney. And join the Slumberland Subscription!