In their first ever music video, Detroit’s Sleepless Inn visually balance a neon luminescence with a dark underbelly, a trait inherent to their era- and genre-merging music. “Karol Simon”, from debut The Rainbow Room EP, is a mishmash of modern dream pop built around metallic, clacking beats, scraping sound effects and Laura Finlay’s seductive intonations.
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Nat Jay may be in the early years of her songwriting career, but already she has garnered a great deal of attention. Her music has appeared on ABC’s Men In Trees, The CW’s Heartland, MTV’s The Hills, SyFy’s Continuum and CBC’s Arctic Air. “Can’t Getcha Out”, one of the lead tracks off of her new album All I Think When I Wake Up, took the title of “Best of British Columbia” courtesy of the Canadian radio station Shore 104.3FM. Her rising prominence led Popdose to cheekily describe her as “perhaps the loveliest Canadian pop star import since Robin Sparkles.” Below, you can watch the lyric video for the song “Just a Little More”, which also features on All I Think When I Wake Up.
Emtpy Moon is the name of singer/songwriter Brendan Hangauer’s recently formed solo project, which he devised after departing the band Fourth of July, with whom he spent ten years making three records with. Part of that departure also included moving from Lawrence, Kansas to Oakland, California. Joined by Jason Quever of Papercuts in the recording process, Hangauer crafted the LP The Shark, a stripped-down collection of primarily acoustic tunes. With sonic parallels including alt-country (“High Hopes”) and Bay Area indie folk (“Far Away”), The Shark signals a step in a new direction for Hangauer.
A. Sinclair, the Austin by way of Boston rock outfit helmed by Aaron Sinclair, has come up with a rather interesting number in “Pretty Girls in Pretty Tights”, the title-alluding track off of its latest EP, Pretty Girls. What appears to be a straightforward, driving rock tune on the surface has a rather interesting lyrical story behind it.
Between the plaintive vocals and evocative piano of Euan McMeeken and the distorted soundscapes of guitarist Matthew Collings, which combine forces under the name of Graveyard Tapes, there is a perplexing magic. Hailing from the fair city of Edinburgh, they have that quietly triumphant, slightly depressing, poetic and thoughtful Scottish joie de vivre. The imagery is apocalyptically epic, yet there is a lightness to the album, a vulnerability in the vocals and an ineffable fragility in the ramshackle, organic percussion and brooding piano-based instrumentals outlined by the creaks and groans of analog instrumentation, like it all might crumble into dust at any moment, but their indomitable spirit keeps their corporeal form together.