New Politics Invites Audiences To Become One of Them

I can't stress enough the importance of a good hook to sell a song. Danish tune makers New Politics ace that introductory level class by trotting out "One of Us" which relies heavily on a drum and keyboard framework to tell the tale of how important it is to fit in with your environment, whatever that happens to be. The opening line pretty much tells the story. "Everybody needs a place to call their home. Everybody needs a place to call their own. Even when you're lonely know you're not alone. You're one of us. one of us, one of us, one of us. David Boyd excels in his role as lead vocalist and keyboard player. His noodling sets the tone for a tight knit brotherly feel as if we were sitting in a malt shop watching a group of old chums commiserate over the direction their lives were taking. The keys are laid down hot and heavy and offer a welcoming crook of the finger to be part of the community that's both global and necessary for global scale nourishment for the soul that helps rather than harms psyches. Staying connected plays a huge role in keeping head above water when the circumstances seem at their worst. David asks a very important question that all of us ponder at one time or another in life. "Will you drown in the pain or dance in the rain. Also the issue of "what or who are you living for" looms large "When you can't take no more, cause when it rains it pours what are you living for?" Will your life be a starring role or a cameo. All of the choice rests on your shoulders. Sunshine, happy days and hardship are welcomed in equal measure. At the end of the day all of the emotional elements matter greatly. Soren Hansen does excellent work on guitar while Louis Vecchio puts in incredible labor on drums. He does more than just tap, he bangs home wonderful rhythms that go over well in any language. All three put their programming skills to excellent use. The Danish band starts the song with the aforementioned keyboards in high style. At the twenty second mark the drums go on full throttle just to remind us that they're still out there grabbing our attention on command. Here the pacing is slow enough for the message to sink in nice and easy but not so slow that we feel like a dirge is in progress. There's a sense of gaiety even when discussing the vicissitudes common to daily life. Nobody's likely to launch into a depression cycle over this tune. On the contrary it's happier than it has a right to be. "One of Us" sends off these warm inviting vibes hard to resist yet easy to sing along with. There's also a clap along element that really allows New Politics a certain friendliness that modern audiences will eat up in a thrice. In short "One of Us" makes us eager to explore all of them.

Grouplove Sends Out Good Sing-A-Long Energy For Its Latest

If you're like me, a bit of wordplay goes a long way. Case in point, the latest effort from LA indie act Grouplove, titled "Good Morning". Co-vocalist Hannah Hooper throws down some lyrics that could easily feel right at home in a Dr. Seuss book. For example what else are we to make of "From the black to the blue to black, black, you like that? Call on the cat cause the cat dragged in. I caught the rat. The rat, rat, the rat trap. All I know." Lots of jazz behind those words. Very playful, which is to be expected from the band which gave us "Tongue Tied" a snappy ditty from 2012 which no doubt tons of people had stuck in their heads for weeks that year. Christian Zucconi is equally playful with his end of the word choice. He adds in "The night is young, the rest is up to you. Why ya' gotta say "good morning" Why ya' gotta say "good morning" Why ya' gotta say the night is young, the rest is up to you. Hannah Hooper adds a dash of keyboards from the start to kick start the fun we're sure to start having. No slouch in the octane department himself,Andrew Wessen injects oomph thanks to stellar guitar work which makes listeners sit up and take notice. Not to be taken lightly in his own right Ryan Rabin pounds fast and furious on drums, a decided spring in his step with every smack on the pads. Newest member (as of 2014 anyway), Daniel Gleason shows off his chops on bass, heightening the funsome madness of the other band members' contributions. Christian Zucconi really appears to be having fun during his portion of the video. His goofy mannerisms with Hannah make a smile magically appear where there wasn't one before. Grouplove is a nifty band to watch in action. It relishes the goofiness behind the music industry circus to where it's hell bent on not taking itself too seriously. Good move guys. When the creative spirit is relaxed, magical things can end up sprouting into place. The candle wax imagery at the outset brings up the curiosity factor. It also makes one wonder what kind of crack the band was high on when the shoot kicked off. All five band members fuse into a compelling, cohesive sync. You get a real strong sense of the LA night way of being from the nice tight, roaming car shots in the video. Beautiful noise on drums due in no small measure to how Ryan serves himself well as the percussion toting irresistible force trooping around in the background who also keeps Grouplove consistently on track to finish its hyper-focused journey. The video scene in the cafe where the patrons make darting glances sums up the free-spirited mindset Grouplove uses as its stock in trade weapon of choice. This bunch knows how to thrive laid back style. "Tonight I'm singing. I've got the feeling. The clock is moving. Moving till I lose control. Get now, I'm leaving. My ears are ringing. My body screaming. This is unbelievable." Yes, it is, and so is Grouplove for that matter. "Good Morning" gives off good humor right for any time of day.

The Big Gun Show Whips Up An Enticing Blend With Its Chablis and Weed

Many disparate elements come together to spell out a sure fire hit for local rockers The Big Gun Show and their intoxicating (pun intended) new single "Chablis and Weed". Lead vocalist Gunter Woodson fashions himself as quite the storyteller, serving up a batch of prime loneliness over vintage wine. For openers the drumming carries itself in he-man style, just smoky enough to command the attention of any of the bar regulars not ready for the slab of take charge attitude headed their way. Chris Collins drops in guitar licks tailor made for a sunny day in Central Texas, car windows rolled down, wind in both the driver's and the hulking pet dog's hair. Would Gunter's lady opt to hook up with him long term? The answer comes in the pasture over the chablis and weed referenced in the title. Adding to the flair of the song is some excellent piano work helping us to remember that, even though The Big Gun Show fits right in as a roadhouse inspired unit, it holds itself in good stead as one of the more sophisticated cocktail served neat outfits you'll ever come across. Yates goes on to tell the tale of how he wined and spellbound the lady of his affections in hopes that she'd commit to him. Meanwhile her baby blue eyes shook him in his shoes. Sound familiar to all you eligible guys on the make? Said female laughs flippantly at his desire for her affection. Despite their both being alone and stoned he wants her to commit to him. Meanwhile she whispers softly to him to pass her the chablis and weed. When you throw in the revival tent aura surrounding the song, "Chablis and Weed" can get the motor running in a variety of ways. The guitar solo at the bridge is explosive in a case of dynamite manner. If what draws you to music happens to be blazing guitar work I promise you disappointment left the room eons ago. Chris takes his instrument and works it down your spine, making sure to cover all the pressure points that need tension release pronto. This is burly fret work that's bound to leave you leaving your listening journey feeling ten feet tall. I'm impressed at how the pace is measured to glean maximum effectiveness. No wasted energy to be found here. The drummer knocks you upside the head, letting you know he means business. The guitarist unfurls his instrument in slow, copious doses so you get the benefit of each toothsome bite. You could be forgiven for swaying in the aisles as "Chablis and Weed" rolls in the jukebox of some honky tonk you've been aching to sample. True believers of the lonely hearts brigade can feel right at home alongside newcomers absorbing their first scar in the name of love. My advice to you is pour a bottle of the good stuff, give your wounds time to become less tender, and take comfort in knowing The Big Gun Show knows, respects, and sympathizes with your pain. http://thebiggunshow.com/chab

Glass Animals Pour Some Divine Pork Soda

Some fine music you can sway your shoulders to. That's the modus operandi behind Oxford outfit Glass Animals new joint "Pork Soda". Admit it. You'll be bopping along to it after one solid listen. It sounds chilled out on any city brownstone you can name. As for the lyrics, they're quite silly but definitely have their rhyme scheme working. Exhibit A would most likely be "Somebody said that I'm a fuckin' slum. Don't know that I belong. Maybe you're fucking dumb. Maybe I'm just a bum. Maybe you're fucking scum. Don't you go psycho chum. Hmmm. Rhyming nonsense for the heck of it. Well OK. I'm good with that. Definitely room for that in the turbulent scary times we live in. Dave Bayley's vocals come out gritty, which is appropriate to the overall sound the other bandmates make. Bass player Edmund Irwin-Singer leaves a profound imprint on the track. Truth be told he's the standout player in the bunch. Note the shoulder swaying implication pointed out in the first line of the review. Thank Edmund for that. He lays down what you might think of as an all-day groove. 8 AM or 8 PM it sticks in your head and won't let go. Top candidate for chief earwig of 2017. Has a masterful rhythm that will guide you through the coming weeks, your companion for all the ups and downs of your week, month, and possibly year. Joe Seaward adds some impressive licks of his own that keep the deep seeded belly fire churning like crazy. Drew McFarlane throws in affable guitar. The resulting blend, which we've come to know as "Pork Soda" really grabs you by the balls and urges you to dial back the stone-faced seriousness. "Pineapples are in my head" stands out as a highly amusing lyrical visual to hone in on. Probably a riot for the X-ray technician at the hospital to latch onto as well. The pacing sits about mid-level with a small kick thrown in for good measure. Room to allow the neighboring sounds from the barrio to infiltrate your ears in tandem with the song itself. Bouncy as hell, and never apologetic about it. In sum "Pork Soda" goes down smooth and hits the sweet spot between casual listening and prime street jam. "Pork Soda" is the pause that refreshes.

Lizzo's Vibes Primed To Make You Feel Good As Hell

Lizzo is primed to be the darling everybody remembers from S X SW. Why? Because she gives us all reason to believe there's life in the world of Minneapolis music after the dearly departed greatly missed Prince. "Good as Hell" presents Lizzo's contagious, uplifting vibes to a global audience for the very first time. Black power gets shouted to the rafters on the wings of an amazingly beefed up chorus that makes you want to make a beeline to church to testify. Come to think of it she's not too hard on the eyes either as the accompanying video demonstrates. Lots of strong black women getting their style on. The chorus is also one of those memorable ditties that you'll be remembering long after the song hits its final note. You wish "Good As Hell" was longer than its two minute forty-five second playing time. At the heart of Lizzo's spirited romp is a plea to her soul sisters to walk out on the man who doesn't love them anymore and devote a little time to some self-healing. Get to the pool, make sure the hair's looking fine, and the nails pass muster. While there's no direct link to Prince in terms of sonic influence what the two do share is a certain level of roof raising panache that is sure to land Lizzo in crowd pleaser status wherever she goes. Lucky for us she's in our fair city to impress the locals. Most impressive is this notion that "Good As Hell" could be well received in any city backdrop imaginable. Pass the sunscreen ladies and crank that s--t up. Lizzo and the beach go like hand in glove. A church setting would be ideal and pay proper homage to Prince's legacy. Blasting from the car radio would be a tremendous way to keep that Austin traffic anger at bay. It might even make grocery shopping tolerable. Lizzo positions herself as a force to reckoned with for years to come. "Good As Hell" is a great track at a moment in history when we all could use some serious uplift.

All That Remains Tears Into Its Innate Madness

To any of you out there who know what a piledriver move is in pro wrestling you know, choreographed or not, it's pretty mind blowing. That's how Massachusetts metal band All That Remains starts off its current cut "Madness". Drummer Jason Costa hits you like a battering ram, as does guitarist Oli Herbert. Check out the latter's solo at the bridge if you need some clue about how serious he is. Every note is calibrated to achieve maximum effect, that effect being total metal bliss. Bass player Aaron Patrick lays his instrument on real thick, kind of like the sensation you get when the sound of a locomotive gets cranking into fourth gear. Nowhere you can hide. Nowhere you can run. You have to steer away from the direction of the skid and hope the damage to your cranium turns out to be minimal. Of course "Madness" would be merely slightly unsettling without the stunning vocal octane shooting from Philip Labonte's obviously beefy throat. The choral refrain shows Phil has more than enough rope with which to hang himself and takes great pleasure in getting the noose ready for action. Basically the lyrics explain that history is going to repeat itself whether any of us are prepared to accept that grim picture or not. We're fallible beings who can't get out of our own way long enough to make any sort of long term social progress. Philip demonstrates how over the stretch of time friends become enemies. We spin around the carousel of time knowing full well how it ends. So much love lost becomes water under the dam because where else is it supposed to wind up anyway. "Madness" is only a three minute ten second track but boy does All That Remains know how to pack optimum punch into that short span of time. Nestle doesn't have nearly this much crunch on bone jarring display. If I were to compare "Madness" to a side of meat I'd have to go with the succulent T-bone steak. The song rolls around in its ample red juices unapologetic about rubbing your nose in it. The tempo isn't in the exceeding the speed limit range but revs up its combustion engine enough to remind you not to take your eyes off this band. All That Remains knows what a good head of steam looks like. The drumming energizes, the guitar cuts straight to your heart and rips out chamber by chamber. Phil's ability to project to the back of the room where the cheap seats are located makes him a consistent force to be reckoned with in metal circles. The overall sound combining Phil's voice and Oli's lethal guitar sends the right kind of shivers down my spine and no doubt possesses the ability to have that impact on countless other fans of both the band and the metal genre itself. Bluntly stated "Madness" gives craziness a very good name indeed.

Run, Don't Walk To Future Island's New Single

Oh 80s synth pop, how I've missed you so. You made my 80s listening experience the profound joy it turned out to be. You've come back to visit me in the guise of Baltimore's Future Islands and, specifically, its newest single "Ran," lifted from its soon to be released album "The Far Field". Go ahead and crown lead singer Samuel T. Herring as a force to be reckoned with. Physically he lays it all on the line. The video shows what kind of great shape he must be in. His expressive face hints at a style that can be compared to nothing we've heard in a painfully long time. His persona is equal parts playful and muscular. When his face addresses the camera no one dares look away. He commands your undivided attention and gets it no questions asked. Yeah programmer and keyboardist Gerrit Weimers and guitarist William Cashion also play their roles admirably but this is clearly Samuel's show and he's milking it for all it's worth. "Ran" glides on smooth like the highest quality anti-perspirant. It's very listener friendly like one of those travel programs where you don't have to leave home to take some semblance of a vacation. In clothing terms it meshes together fabulously. Samuel sounds very love-stricken. Some lady is lucky to be the object of his affections. The first verse doesn't skimp on enticing visuals such as the rabbit's foot in the locket with no key. He proclaims he "can't take this world without you." He sings of the out of control feelings love forces us to confront. One intriguing line that really speaks to me is "driving snow knows the cold." When last I checked snow was an inanimate object incapable of intellectual reasoning. But, there you have it in a nutshell, the reason why Future Islands merits closer attention in this and the coming years. This threesome gets many points for reopening the 80s nostalgia floodgates. In addition it strikes me as a band that earns its honeymoon get to know you period because it doesn't beat you over the head with saucy hooks. Future Islands has them but spreads them out gracefully over the course of the three minutes, twenty-six second running time. That's how the visuals and sound sync up so masterfully. Future Islands has bottled a formula for success that ought to keep them front and center in music circles for a good while. In essence "Ran" burns off calories and excites the ear in equal measure.