Dog Drive Mantis premieres vibrant “Volta” video here on OTBEOTB

Instrumental-based music is a fascinating case study that really exposes the true nuts and bolts of a song and how it functions from a dictionary A-to-Z.. And that all gets started with the group’s players. Because for every high-power vocalist and scene-chewing frontman holding down the spotlight, there’s guys (and girls) playing pivotal roles like drummer, bassist and guitar player out there excavating their own bits of melodic truth.

While Robert Plant will always be Robert Plant, it certainly didn’t hurt to have Jimmy Page and the rest of Zeppelin around making sure the whole rocking production didn’t go sliding off one big crashing, musical cliff. 

By letting the instruments handle the “singing”, I feel as though that grants a greater window into the true artistry gifted musicians present in their work. It’s a lot of time, attention, detail and PRACTICE to be good at the sound that you play and aspire to put out into the world. Then, once that happens, its the job of fans like myself to witness as much of it as possible and rave about it in writeups like this. As any good diehard does of course.

Luckily I have that privilege once again with the group I present you now: Dog Drive Mantis with the music video for their new single “Volta”, premiering right here on OTBEOTB.

While I must admit at initial introduction the band’s rather heavy-metal-sounding (and awesome) name and song title had me thinking of a slightly different sound, what I discovered left me impressed.

“Volta” begins as a dreamy, humming psychedelic lullaby as the band starts to settle into their groove. The track then proceeds to dip into moody, rising rock, Dave Clark 5 jazz-isms aided by some stellar saxophone lines, and a dipping, darting pace that keeps the track’s ultimate vision fun and excitingly upbeat. The boys in DDM seem to have a tight, well-honed chemistry together as well as they handle all the song’s rhythmic twists and turns with ease and spread a wealth of influences out on the table while doing it. 

And when it comes to the video, while there’s still something to be said in art for productions in music, sometimes the best thing is simply being able to witness the live performance, unadorned. Getting to see those slivers of a show’s intimacy and/or bravado as though you’re right there in the room with that vibe. It’s also a sign that the talent you’re hearing isn’t staged or endlessly studio enhanced to sell a digital single. It’s a real, spiritual thing wrought from hard work and the love to create art.

So if you haven’t already, check out the electricity of Dog Drive Mantis and how it sparkles here. You won’t regret watching them go to work.

Check out DDM all over social media as well as on https://distrokid.com/hyperfollow/dogdrivemantis/volta where you can buy or stream the new single to your heart’s content!

Babcock emerges with steady left hook of “Fight I Need”

Singer-songwriter Stephen Babcock makes a fresh return with new music in just a little less than two weeks on June 28th in the form of upcoming single “Fight I Need”. The one-off is the followup to Babcock’s exceptional 2018 EP “Fiction”, and represents yet another linear step ahead in the development of the musician’s sound.

Material like “Fiction” and Babcock’s prior 2016 LP “Said & Done” largely felt most at home in a stripped down, coffeehouse format allowing the upfront intimacy of the moments to flow cleanly off the acoustic guitar strings. “Fight I Need” doesn’t exactly lose that well-shined sensibility for the landscape. Rather, it just surrounds it with an added edge of slinky organ work, trailing harmonies, and the bright punch of electric guitar fills racing right out of the melodic gateway.

That auditory kiss with a fist makes for a fitting companion to the track’s lyrical energy, which takes the notion of Pat Benatar’s “Love is a Battlefield” and riffs on it as a way to describe a desire for a relationship’s emotional toil. And indeed, either experience feels akin to 10 rounds in the boxing ring, with equal amounts of stamina needed just to outlast the conflict. 

You can see Stephen live just after “Fight I Need” comes out at New York City’s Rockwood Music Hall, Stage 2 for a release show June 29th at 9pm!

Owen-Glass Captures Acoustic Magic on “So American” Video

Today it’s my pleasure to release the premiere of “So American”, a brand new music video from the band Owen-Glass. This is a cover the group did of a song originally written and performed by Portugal. The Man off their 2011 album In The Mountain In The Cloud.

Portugal’s version is a bouncy, psychedelic joy-rave somewhere between The Flaming Lips “Do You Realize?” and The Kinks. But while Owen-Glass’ take may enter the starting gate acoustically similar to the original, it proceeds to lean away from building up and chooses instead to embrace a more bare-boned folk edge.

The video takes hold of a similar strategy as there are a few mixing visuals of the band, but nothing that takes away from the mood and strength of the performance. The upfront intimacy of the moment feels very much like an installment of NPR’s “Tiny Desk” series, which further lays vulnerable “So American” and its lyrical critiques of hypocrisy and dysfunction in these United States.

For a song that debuted in 2011, those themes almost feel more relevant from where we sit today in 2019. But without any further insight from me here’s the video from “So American”, as well as a quote from Owen-Glass singer-songwriter Kelly Wayne Conley on why they chose to cover the track.

“We wanted to sort of pay tribute to some of the songwriters and bands that had a major impact on us, and John Gourley was an obvious standout. Portugal. The Man’s story is really special to us, because we followed them from the very beginning and now, after more than a decade of grinding on the road, promoting real, soulful art, those guys have finally gotten their due.

It’s a testament to the demand that still exists for real music, y’know. Like, these are artists in a universal sense, practicing their craft—using real instruments and building out cohesive projects that have a clear, artistic message by and for the common man.”We chose ‘So American’ because it really fits with who we are as a band, and we feel like it translates well in our sort of folky Americana style…

The message in ‘So American’ cuts right to the core of the culture we grew up in—seeing everything—politics, religion, whatever—through this American lens, and all of John’s songs pushed us to view the world differently and find a new level of empathy and even affected our spiritual awareness in those formative adolescent years. That’s not something you get from just any song by just any band. It’s really a special thing. I guess, in a way, our performing this song is our way of saying thank you to John, Zach and the rest of the guys for enriching our lives with their art.”-Kelly Wayne Conley

Kuri Hypnotizes on Unflinching “Human Nature” Visuals

British Columbia singer-songwriter Kuri recently released a video for his single “Human Nature”, a cut from an EP with the same title. Before I break down the visuals a little bit, this is my first exposure to Kuri’s work and plenty needs to be said for this song as well.

“Human Nature” is a gorgeously delicate, intricately woven patchwork quilt of airy folk that begins in a rustling whisper of leafy harmonies and culminates in sunshine-washed waves of strings and percussion. My first thoughts immediately fly to Damien Rice’s 2014, often-cinematic My Favourite Faded Fantasy for the song having that same pastoral ambition (as well as a knack for words of gut-dropping melancholy slipped within the breaths of the melody).

That lyrical introspection is given life in vivid illustration via the video for “Human Nature”, which captures the thin-railed frailty the title hints toward. We seem to be witness to an almost typical whirlwind of a romance in this story, but not is all as the perfectly arranged scene seems. A tender embrace includes a lost, rigid look into the distance. Moments of connection are sought with a passion, but fall apart like dreams become smoke become the unrelenting reality of one person who just can’t let release the unattainable.

But, as Kuri’s words fall out so appropriately, “it’s human nature to need some impeccable force”. Sometimes we’re that Jim Carrey character from Eternal Sunshine of the Spotless Mind simply refusing to forget a mountainous presence no matter how much we try to erase it. Or how it might lead to our own self-destruction. And much like the film, the visual’s end remains open… uncertain.. flawed…. yet still willing to fight even if only to end in doom.

And what could be more human than that?

JANOS is No “Zero” on New Single

Swedish singer-songwriter JANOS recently released a new single entitled “Zero” that grooved its way into my ears this week. Much like this month’s forthcoming shift into May, the summer-teasing, synth-drenched anthem of the track is an appropriately upbeat, well-timed recipe to kick off the occasion. Especially as we begin to shift from the gloomy days of dull grey to the radiant rays of a new time of the season.

The lyrical mood of “Zero” reflects that same shiny, glass half full look as it tackles the negativity of people and how to not let them bring you down in pursuing your passion. And indeed it quickly becomes difficult to remain in a subdued state of mind as the song exudes a buoyant, Rachel Platten pump-your-fist mood that perceives how to rise above instead of getting dragged below. “Zero” has an infectious dance hall sheen reminiscent of Terence Trent D’Arby while still maintaining an organic heart and meaning beneath the layers that’s akin to a musician like Joseph Arthur.

It’s that fusion of funky yet defiantly honest that sets JANOS apart here. What really struck me is that while he does lean more heavily electronic on the track, there are still winding guitar lines and the gentle keen of violin keeping the orchestration from flying too heavily into the 1’s and 0’s.

So go get in your car on a beautiful sunny day, pull onto a highway or long country road, and throw this on with the windows fully rolled down and the miles streaming out behind your wheels. “Zero” deserves to be in a playlist with some horsepower.

Give it a listen below via the Spotify app.

Owen-Glass Adds Anticipation With “Saint”

The music of Owen-Glass gives me a new kind of rooster-necked, bobbing kind of flow I didn’t know I needed in my life until now. The mix of guitar, horns, and gently shaken percussion in the intro to the band’s new single “Saint” give way woozily to the gently gritty vocals of Kelly Wayne Conley. Conley, a singer-songwriter from East Texas, and his “trusty sidekick” guitarist Cole Humphrey have chemistry like a breaking wave. To stretch thin a basketball metaphor, Conley provides the perfect, soulfully moody vocal alley-oop toss to Humphrey’s heavy jam of guitar lines, and it makes “Saint” shine as a result. 

There’s a bluesy gloss in the heartbeat of this track, though it doesn’t stop the shape of the song at just that parameter. Humphrey’s at times shreds with a reckless abandon I’ve only heard in several extremely proficient Japanese players, and a well-honed organ solo straight out of a song by The Zombies adds to the track’s direction of descent into lyrical madness. A saxophone also appears, and it bears mention simply because the presence of a sax is always enjoyed in my mind (and it works well on “Saint” too). 

For only having formed so recently, Owen-Glass musically attack from multiple angles with a confident balance suggesting musicians who’ve played together for a much longer period of time. The amount of instruments that appear on “Saint” never become cluttered though, and instead suggest an intriguing potential portrait of what their upcoming May 10th debut album “The Rope & The Rabbit” may be painted on. 

As the song here says I’m certainly not a saint by any means. But I am a follower and believer of what Owen-Glass has made here. Put a bookmark in this one folks, “Saint” is an appetizer for an album that’s already logged on my “one to watch” list. 

Take a listen to the single below!

The Inoculated Canaries “Who Are You” A Crunchy Good Time

The Inoculated Canaries are a four-piece rock outfit from New York City with influences they describe as including Led Zeppelin, Nirvana, The Black Keys and Pink Floyd. That Whitman’s Sampler of artists is certainly on prominent parade in the group’s straight up, grass-fed approach to the rock-n-roll realm’s thumping beats and six-string gymnastics. And I found the same to be true with the music we’re talking about next.

As I listened to TIC’s recently-released single “Who Are You?”, I found my mind drifting to that crossover cocktail mixture of famous bands and melodies I mentioned a moment ago. The Nirvana aspect jumped out particularly hard in the case of this track. Not because “Who Are You?” embraces its grunge roots so much as its gleeful joy as an energetic 90’s alt-rock sendup. Sublime’s “Jumper” also came to me in traversing the song’s opening strums, which adds to the single’s overall level of ear-worming foot-tap.

Lead vocalist Mike Rublin adds to that effect with a vocal tone somewhere between Sublime’s Bradley Nowell and the gentle hiss of the Smashing Pumpkins Billy Corgan. That’s a compliment both to the riff-ripping enthusiasm of the era and TIC’s adaptation of it. Because in the end no matter the bands you listen to or emulate its about making the work your own signature in the world, and that’s the case here. “Who Are You?” joyfully chews at the scenery in its lyrical search for identity, while simultaneously not taking itself too seriously in the pursuit of a group growing in its sound.

You can also check out the band at theinoculatedcanaries.com!

Wyld hits the right notes on sweet summertime glow of “Child”

I’ve been freelancing as a music writer for a few years now, and I still consider one of my greatest gold medal achievements to be the connections I’ve made to New York City’s area music scene. I’m sure I’m said this in one form or another before in my writings, but here it is again. Some of the biggest city crossovers of mine have coincided within very significant parts of my life that really defined the person I’ve become and the art I’ve created since. There’s a beautifully-lit, urban imagery to it all I deeply appreciate whenever I get the chance to look back on it all. Plenty of nostalgic tones, sunrises, and late-night hero orders in that paint box.

I found that same fond imagery coming to mind watching the music video for my latest connection on that New York City map, Brooklyn-area singer-songwriter Elizabeth Wyld. Look no further than the opening shot of the iconic city skyline in “Child”, or the lyrics’ initial mentions of Christopher Street and signature yellow cabs. Though looking beyond that, I’d say the greatest ode to this city in both song and video lies in it’s romantic heart.

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“Child” is a sweetly shiny, folk-pop foot tapper that relays one of the oldest and most relatable feelings in humanity: navigating/risking the vulnerabilities of falling in love. It can happen as fast as a shock to the system and hit twice as hard, especially in that first moment’s “spark” that feels like your insides are doing caffeinated backflips. I equate the feeling to… jumping into an ice cold pool instead of dipping a toe in on a hot summer day. But as anxiety-provoking as the thought of such a crash is, when that feeling’s right… you just sense it in your bones and welcome it with a smile. And I felt this whole course of thought spill out just giving this song a few listens… again, good memories brought to mind by the presence of good art.

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Plus, the music video for this song fills in the illustrations of the lyrics beautifully. It does so in a way that reminds me of the useful narrative power music videos still have in even in a post-MTV and TRL era. I think that’s mostly due to the performances of Wyld and Dana DePirri, who exude the type of natural, bright-eyed chemistry that makes the “thrift store cardigan” romance of this song authentically movie-sweet. Not in the plastic, Hollywood way that feels more substance than stereotype. Rather, in the type of way that goes to show the sort of stylized gloss I think we all put on that initial relationship ember that makes our brain chemistry’s electricity crackle. It’s an endorphin rush, and this video really puts it in the moment.

To do that so naturally, puts a smile on my face every time. Go drive with the windows down, the sunshine on, and take in this song’s ambiance.

You can check out Elizabeth’s music at her website http://elizabethwyld.com/

 

 

 

“Atlanta” gives 2018 the right side of folk rock kick

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As we wind down March and meander into April, it seems like a biennial rite of spring to hear new music fresh off the grapevine in 2018 from New York City troubadour Stephen Babcock. His prior album Said & Done was a fresh favorite of mine and a hot topic on this site at about this time in 2016. Now, two years later Babcock’s preparing followup EP Fiction, due out April 6th.

And while my first thought is its been two years already? What’s really important here is the song. On one hand, “Atlanta” continues the best qualities of Babcock’s well-crafted songwriting. Though in this case, it feels as though it hones in more on the Ryan Adams Gold-era as opposed to John Mayer’s Room For Squares. You can sense the growth in Babcock’s craft since Said & Done, tinkering and getting his weapons sharper. The instruments feel thicker here, with variations and new inclusions that show promise for the entire album’s direction. While the rest of the track hooks with the charm of a foot-tapping Southern ladykiller.

If the reason for our slow start to Spring has been because we don’t have enough 2018 summer driving songs to warm things up, lets start with “Atlanta”. That Jason Isbell-y sounding guitar hum that kicks towards the end is worth the miles alone.

Check out “Atlanta” over on Spotify, and Stephen Babcock online at stephenbabockmusic.com! 

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