Having been introduced to the world beyond his hometown of Toronto as a dulcet voice whose melismatic stylings echoed the sentiments of the youth The Weeknd quickly carved a niche with his debut album Trilogy. With a cosign from fellow Canadian pop star Drake it became apparent that the "Wicked Games" singer would soon command his own spotlight and stardom.
As the synth pop laden record commences one thing is made plain. Gone are the days of old fan favorites like "House of Balloons" and “Wicked Games”. Their familiar melancholy replaced in favor of the vivid soundscapes of anthemic pop tracks like "Rockin'" and "Secrets". Tesfaye's evolution has seen him collaborate with acclaimed EDM duo Daft Punk on the title track, starlet Lana Del Ray on "Stargirl Interlude" and K.Dot himself on the electro-funk "Sidewalks". The execution of this transition from underground phenom to mainstream icon, minus the hiccup of sophomore LP "Kissland", was executed to perfection. Starboy fleshes out the full range of Tesfaye's talents so thoroughly, his crisp soaring sonics so disparate from his peers it is sure to be a blueprint and point of reference for the stars of tomorrow. Starboy exudes the confidence of one who knows with certainty that he has fully and finally arrived.
Hail Your Highness Discusses New EP, The Grind of Being An Indie Band & Hitting Back When The World Hits You In Candid Interview
For those familiar with this band know your excitement is shared. For those who are just now being introduced know that I envy your position. Held in high esteem by many for their talent, never-back-down attitude, and tireless dedication to their craft - Niki Ryland and Jessie Bobenmoyer have consistently fought tooth and nail to prove they deserve to be considered among the best in the indie scene. And as one of this publications earliest features Golden Age is proud to spotlight for you once more the two headed monster Hail Your Highness.
Align features a sharper laser guided focus on your sound. Everything from your harmonies, riffs, drum fills and more are crisp and purposeful. What was the creative process putting this EP together? What in your approach was different than Albion?
We demoed everything out ourselves beforehand with all the songs on Align, pretty in depth to the point where what you’re hearing in the finished project doesn’t stray too far from our original demos we recorded ourselves. We didn’t want to repeat what we did on Albion and wanted to capture the true identity of our actual sound. With this EP, we took a lot of time to figure things out, listening to different styles of music, honing in on what sets us apart and we found someone who was able to guide us and help us execute a vision that we don’t always have an easy time verbalizing. When a producer asks you “what are your sonic inspirations?” and we lay out everything from Architects to The 1975 to Circa Survive to Deftones, sometimes people look at you strange. But we knew what we wanted and we didn’t stop until we achieved exactly that.
This EP encapsulates 10 years of striving to achieve a sound that directly represents what the 2 of us have been reaching towards since we started this band. The approach was backed with a level of confidence we’ve never had before and guided and cultivated by a brilliant hand in our producer Brian “Bone” Thorburn. We clicked instantly, he got exactly what we were trying to accomplish and put in the hours to give us, in our minds, the best sounding product we’ve ever had.
I’ve always thought of Hail Your Highness as being both innovative creatives and expectation shattering pioneers for women in the contemporary punk rock scene. You’ve stuck to your guns and kicked glass ceilings right in the teeth as you’ve forged an identity. In reflecting on your decade long history, what are your thoughts on how this band has continued to evolve?
Thank you, my goodness. Those are some pretty big words and it still feels like the glass ceiling is there. But we’ll keep kicking. There’s too much to reflect on. We could write a novel on everything that’s happened over 10 plus years. It took making mistake after mistake and allowing the wrong people to invade our lives to know exactly what we didn’t want to do anymore. Looking back, we learned a lot of things the hard way, dealing with personalities that clashed with our direct vision and trying to accommodate everyone else but ourselves. We learned to rely on each other and be strong together, just the two of us which was a scary process at times. Stepping out into a world and being 2 young women trying to conquer a very male dominated environment was challenging and still is.
Our parents worried about us touring on our own without any extra help and it was hard. Beyond hard. It wore us down a few times, but we learned what we’re capable of and what we are willing and not willing to put our bodies through. It takes a toll, it tests your faith and your will, but we’ve come out stronger for it. The trials and tests have only reassured that this is in us to do and we’re not willing to give it up because it’s too hard. When something is woven into the fabric of your being, you have to do it. There’s no questioning it. You take a hit on the chin, in the gut, and if you don’t survive it you know it’s not in you to do. But we keep surviving. Every hit we come back stronger and that’s a testament to what’s inside us. We’d stop if things quit coming together, but time and time again the stars align and something comes through to keep us going. We don’t ignore those things. Our parents, our Mom in particular, has always taught us to follow that intuition, that spiritual voice, that feeling you get that most people ignore and that’s how we live our lives. And it’s proven true time and time again. And our Dad has taught us to just power through it, be a decent person and work your ass off.
Anyone who listens to your music gets the sense that you pride yourselves on substantive content. You’re conveying messages or telling stories that always feels cleverly written and deeply personal. What concepts are at play throughout this EP?
There are a lot of concepts that play out in Align. We took a course on Film Noir last summer that was incredibly enlightening and we approached a lot of our songs from more of a visual perspective. The first track “Noir” is a direct representation of that. It takes the concept of an existential crisis of losing a faith you’ve been taught your whole life, the study of existentialism itself and having to rebuild what you believe in from the ground up. Put that in a 1940’s crime thriller or murder mystery like D.O.A, The Third Man or The Killers and you have “Noir.”
“Yeah Jezebel” is the very black and white concept of keep your friends close and your enemies closer. If you know anything of the biblical tale of Jezebel, that’s basically the song and dealing with manipulation. “Dead Speech” was written around an internet stalking incident we had where we were being written disgusting, threatening emails and found out the person lived in our hometown. Instead of getting scared, we stood up to it. Don’t let repulsive bullies control your life.
And the last song on the EP “Take Me Up, Cast Me Away” comes from what’s inscribed on Excalibur from Arthurian legend. But [also] dealing with the old saying that if you let something you love go it will come back to you; and that human desire we all have of wanting to mean something to someone else. Every song had a visual story line that we portrayed throughout the entire EP, and on the border of sounding cheesy, it all came into alignment. Lyrically, we would write separately and come together and end up having lines that perfectly intertwined.
The beauty of being an independent act is that you are your own boss but the struggle is in that it can be difficult to work and grow via word of mouth. How do you handle and spin the uncertainties that can accompany being an indie band?
We’re still figuring in out as we go. That’s been our biggest hurdle as to how to grow while being an independent band. And to be very honest, has us stumped at the moment. Right now we can only grow if people share. There’s only so much we can do with paying for ads and having to buy into the system in hopes that new listeners will come along, but it’s proven time and again the best way is by directly telling someone to listen to our band or playing shows for a new audience. I don’t think a lot people realize how difficult it is to be an independent band, especially only being 2 people. It stretches you very thin at times when you get asked questions like “why aren’t you bigger by now?” or “why aren’t you touring with so and so or playing this festival or that?” and simply put, not enough people know. When more people know of your band, you grow, simple as that. It feels like we’ve been stuck on a plateau for a while now when we want to be at the top of the mountain. We feel more than ever we’re ready to finally take the band where it needs to go, but we’re still unsure on how to achieve that aspect. We can make music all day long and rehearse until we’re blue in the face, but without an audience, you feel a bit useless. It’s always been a question for us of how do we take this to the next level and who’s hands do we need to get this music in so more people can hear it. We’re relying heavily right now on the listener and their graciousness to share. If you like it, don’t keep it to yourself. You have to share. With more listeners and more buzz generated, doors open for more shows and more new music and that’s all we want.
What are the next steps for you two?
More writing. More recording and demoing. Those are the tools we have at our fingertips right now and we’re going to take advantage of the doors that have opened for us in that aspect of the band. Unfortunately, our hometown venue closed back in July, so we’re feeling a little homeless when it comes to having a hometown base to test new music on. We’ve been in talks with a few of our close friends about some small touring options and the possibility of being taken under a new management team in hopes to take a bit of the load off the 2 of us. We want to keep the music coming and hope to have another new EP out in the spring to continue to show people we’re serious about keeping listeners engaged and provide a wealth of exceptional material for people to invest in. Our goal right now is to grow and we’re learning how to navigate those growing pains.
Review: The Punk Renaissance Continues With Port Juvee’s ‘Crimewave’
5/5
Crimewave
Favorite Track: “Bleached Out Soda Pop”
Port Juvee's latest studio release, Crimewave, is a raucous good time reminiscent of west coast grunge and east coast post-punk. Their high energy sound is as dizzying as it is infectious. With production magic from Justin Gerrish who has worked with established acts like Vampire Weekend, Weezer, and Brand New; the Canadian quintet revamps the garage rock sound with ease and ingenuity.
The lo-fi tone plays to their advantage as it lends a vintage quality to their sound redolent of the days when punk was truly punk. The unabashedly feel good tracks become more endearing with each listen until you find yourself toe tapping, playing air guitar, and singing along with vocalist Brett Sanford. While this is a style that was once lost on today's youth, the punk renaissance is alive and well in the hands of acts like these.
Following the release of her critically acclaimed debut album 'Goddess', the eccentric songstress was poised to be the heir apparent to the alt R&B scene. Having drawn comparisons to artists like Erykah Badu, Lauryn Hill, and the late Aaliyah; Banks has had a unique spotlight on her with serious expectations. But it is under this pervasive limelight that she crafted "The Altar" her most bewitching work to date. A deeper foray into the style of mesmeric cerebral sound she has made her signature. A timely resuscitation to a scene that feels entirely too enervated without her dark allure.
The intangible, amorphous, and abstract aspects of her music, the je ne sais quoi so to speak, possesses an auricular quality that pierces to the innermost self like a razor; where at its best you can feel it reverberate and undulate throughout your body.
Wrought with melancholic ambiance generated via trip hop synths and explosive catchy choruses laced with enchanting vocal effects; Banks croons through lyrics so personal yet relatable it feels like secrets read from the pages of a diary. It is her unabashed willingness to be vulnerable before the world that endears her to those who listen and becomes a collective strength to women and men alike. It is here, in the midst of the bass and electro-pop heavy tracks, that her goddess-hood is most clear.
Indie rock outfit Queue uncovered a diamond in the rough this summer with the release of their debut EP Frames; a feel good pop rock record to it's core complete with smatterings of dream-folk and electronica influence. Bewitching melodies spearhead each track, paving the way for the harmonies that so acutely defines their strengths. The DC and Philly based group educes wisps of artists like Daughter and The Temper Trap their brand of easy listening is at it’s best during the intimate atmosphere of “Wanderlove” especially when contrasted against the punchy electronica-infused “More”. Both of which going a long way toward highlighting eclectic and utterly arresting aspects of their talents.
Minus minor stumbles in continuity, the finished product is one that displays an eagerness for experimentation melded with an aptitude and maturity beyond their years. With time to further explore and hone in on their sound, Queue possesses the potential to transcend to the next level.
Having seen them describe themselves as “Tom Morello meets the guy from Daughter tracking the soundtrack to the new Free Willy movie” I knew right away that their quirky charisma was not confined to the studio. Having released their debut EP Frames this summer, the quintet has taken this time to reflect on the journey of joining the select group of DC’s burgeoning rock stars.
Golden Age Review: Your sound is equal parts eclectic spectrum and contagious replay-ability, walk me through technical composition and production aspects of your creative process.
Honestly, we approached each song individually, and didn’t focus especially on fluidity from song to song. We were very much okay with the record being as you said, an eclectic spectrum. We just wanted to produce each song the way we felt it was meant to sound. The same goes for technical composition. We write very freely with no particular concern for song structure and without a substantially calculated approach to riffs or melodies. Of course we just as easily go back and change whatever we don't like, but more often than not, we’ve “nailed” song structures during the demo phase. After we’re comfortable with the demo, we go into the studio and work with our producer/engineer Ben Rice to take it to the next level, and realize the songs to their full potential.
GAR: These songs exude the kind of relatable personal vibe that elicits the sort of introspective magic within that forges connections with listeners. Expound on the concepts you tackle throughout the EP. What stories are being told?
A lot of the time, the songs are written before we even know what they’re about. The chord progressions find a way of influencing the vocal melodies and lyrics. As it happens, the words we piece together during the initial songwriting process end up resonating with us and really speak to what was going on in our lives at the time. Without defining the songs too narrowly, we wrote about restlessness, bad habits, and wanting happiness – themes that we hope are relatable to our listeners.
GAR: Frames has been out for about 3 months and in the time since you've taken your talents to many stages and platforms, notably including Sofar Sounds and Musikfest, how has the reception been on the road?
We’ve really felt welcomed. In college, we were in different bands where our sets were comprised almost primarily of covers with originals scattered in, hoping people would stay interested. This go around, we’ve really restricted our sets to original material, with the odd Nina Simone or Smashing Pumpkins cover thrown in for fun. The enthusiasm towards our record and songs we haven’t even released yet has been overwhelming and much appreciated, and we can’t wait to get back on the road.
GAR: While your sound brings to mind wisps of artists like Daughter and The Temper Trap - it is still wholly your own. However do you ever find those sorts of comparisons create rigid expectations for your identity? How do you intend to grow and evolve down the line in light of those expectations?
We're still very much new, so we recognize that comparisons are what can convince people to listen to your music. However, the categorization can become too much of an identity. We don't want to be a band that "sounds like Daughter, Temper Trap, Wolf Alice, etc." We want to be one of those bands that is immediately recognized for its signature style. Sure, we fit into a specific genre, but how far can we push the bounds of that genre? That's our goal.
4.5/5
Saint Records/Columbia
Favorite Track: "Scales" ft. Kelela
Solange’s new album A Seat At The Table is the embodiment of the divine black feminine mystique; the intangible and inexplicable qualities inherent in black women which are most simply elucidated as magic. Co-executive produced by acclaimed musician and producer Raphael Saadiq, the LP gives new meaning to the adage speak softly and carry a big stick. If Beyoncé's enthralling aesthetic masterpiece Lemonade is a flame inspiring a generation of black millennials then Saint's record is its illuminating elemental counterpart. It is the melody laden ebb and flow guiding you into a meditative and introspective state. The Venus to the Mars. The deluge following the fire.
The 21 track effort showcases her aery vocals as it simultaneously immerses listeners in diaphanous cascades of down tempo neo-soul and jazz fusion. Dotted with a smattering of candid and intellectually stimulating interludes featuring Master P, Kelly Rowland, and her parents Matthew Knowles and Tina Lawson - the exploration and excising of anger and grief alongside defiant acceptance of black identity pervade the record from beginning to end.
While the record lulls in points becoming monotonous before resurging, the complete body of work glistens as gold below the waters surface. Defying labels and declaring her autonomy fore the world, A Seat At The Table feels unexpected and yet oh so timely.
The air of mystery shrouding Bon Iver has only been magnified since inconspicuously stepping out of the limelight following cementing their place on the world stage with two Grammy wins in 2012. Front man Justin Vernon's releases with side projects The Shouting Matches and Volcano Choir, collaborations with Kanye West and James Blake, and a pervasive feeling of uncertainty about the future left fans to wonder if it would all be over soon. But then a curios thing happened. Following weeks of releasing cryptic symbols via social media the announcement of a new record struck like a bolt from the blue. 22, A Million was to be more than the heir apparent to their wildly successful eponymous release in 2011. It is the sonic culmination of the transformative journey through self for the introspective Vernon.
Wrought with unorthodox and enrapturing sonic textures that daintily dance across the palate - the vast array of vocal effects, eclectic genre infusions, and transcendent emotional upheaval liken this record to a continuous spiritual experience. Cacophonous dissonant notes clash and ring out forging soundscapes as atypical as they are enchanting. The poly-fi record takes listeners on an extensive exploration of the concepts duality, existentialism, and attachment through Vernon's peculiar looking-glass.
It is the mark of a memorable album to be relatable; and you cannot help but mourn with him when he croons "It might be over soon" on the albums opening track “22 (OVER S∞∞N)”, just as easily as you you sympathize with his profession “I’m still standing in the need of your prayer” halfway through the record on “666″. At journeys end there is a wisp of poignant nostalgia for something long passed and yet an unspoken contentment in finally facing what lies before. And though this foray is uncharted territory in their impressive discography, it feels as if they have been here all along.
Floating In Space label debut The Edge Of The Light is an aurally transcendent album wrought with wholly immersive and hauntingly emotive soundscapes. Spearheaded by technically sound orchestral arrangements the album pierces the psyche in a way reserved only for the upper echelons of cinematic post rock. Though it wants for consistent seamless sonic transition so as to carry momentum between tracks, the subtle progressive climbs are met and enriched by the dramatic climaxes that permeate and encapsulate every moment of this record. Ultimately a pleasant listening experience through and through.
Review: Not A Planet - Smoke Bombs & Cigarettes: The History Of Now
3.5/5
Not A Planet
Favorite Track: "The World We Know"
Four piece rock outfit out of Kansas City, MO Not A Planet have returned to center stage with their first release since 2013. Having enlisted the aid of Grammy award winning mastering engineer Brian Lucey, (The Black Keys, Artic Monkeys, Muse) their latest effort Smoke Bombs & Cigarettes: The History Of Now is a foray deeper into the brand of anthemic rock that has become their signature.
On the strength of the EP's first single and feel good track "Tell The Truth" the band revels in their experimental pop and blues rock influence with resounding success. The passion and fervor which has distinguished them from peers and garnered local and international acclaim in recent years is fully on display here.
The apex of the record comes in the form of "The World We Knew"; a tongue in cheek jab at society’s propensity toward distraction in the face of political and social tragedy. The intentionally subdued intensity of the verses gradually crescendos into an explosive chorus complete with gripping riffs melded with melodic keys and harmonic backing vocals. And despite two of the EP's four tracks not standing out due to a mousy familiarity, their potential for growth is evident. However ultimately while flashes of latent potential are seen, the EP does not hold water very well.
Who else but Athletics could make their return in a blaze of glory with naught but a two song EP? With mixing by Gregory Dunn (Moving Mountains) When To Run, Where To Hide contains the familiar nuance and technical virtuoso of records past which made them a staple in post rock circles, all while successfully fleshing out disparate aspects of their talents. In earnest, the EP plays like an indispensable moment of respite. The gradual crescendo lays the instrumental skeleton through which cavernous soundscapes are created. And the tempo progresses suddenly to a moment of aural climax akin to the unrestrained winds of a hurricane that was but a breeze moments before, uprooting familiar landscapes in favor of something that will elicit emotion. It is in this pedal induced cacophony of distortion, reverb, and delay that sonic clarity is obtained and one learns exactly when to run and where to hide.
Review: Sunset Harbinger’s Psychedelic EP ‘Finally Home’
4/5
Sunset Harbinger
Favorite Track: “Glass Jar”
Finally Home is the debut EP from the eight piece LA based outfit Sunset Harbinger; the sonic brainchild of Ryan Tanner and Grammy nominated producer Adam Berg. The eclectic and measured approach to the scope of the psychedelic trip Sunset Harbinger offers at times borders on savant level ingenuity. Their musings, blended between down tempo electronic music, a smattering of neo soul, and dream-rock; forge a refreshingly unique yet still vaguely familiar ethereal quality making them kindred spirits with popular acts like Tame Impala. The bewitching ambiance of "I Need Another" and "Glass Jar" melts into the warm reggae influenced sound of "All For One Man", adding another level of depth to a delightfully daring and unconventional debut. While I believe that the only flaw in the record is due to the arrangement of the tracks as this causes a stutter in the sonic journey; the emotive aspects of the composition remedies this.
Connect with Sunset Harbinger via Facebook and Twitter. And stream Finally Home via Bandcamp.
To anyone who finds a moment to read this I would like to say thank you. To those who have followed me and this blog from the beginning and those who joined somewhere along the way I would like you to know that you have been the heart and soul behind this site even during this hiatus.
6+ months ago I stepped down from this burgeoning blog in order to better focus my attention on continuing my higher education and I missed this work terribly. With that in mind I spent time pondering how to improve upon the successes of Golden Age and rectify my missteps.
The start up is going to be unhurried so as to curate and create the best content possible. You can expect to see reviews and such within the month and then full features in the months to come. This is going to be a fun, beautiful, and crazy adventure and it means everything to me that you would join me once again.
Birthright’s New EP Is Everything A Post Hardcore Record Should Be
5/5
Birthright
Lost In Your Ghost
Favorite Track: “Séance”
Following a terse string of releases fans of the post hardcore outfit Birthright were eagerly awaiting a more in depth showing of their new direction following the dissolution of The Lives To Come. While Lost In Your Ghost perfectly exudes the raw emotion their music is known for, it is comprehensively more intelligently written and produced. The beloved technical dissonance that defines post hardcore is wielded with ease throughout tracks “Chosen Skin” and “Séance”. Whereas “Voice Like Mine” and “What Lingers” diligently explores the delightfully dark grunge elements woven into the genres fabric.
Boasting some of the most progressive and dynamic hardcore music in recent years, Lost In Your Ghost sacrifices nothing in the way of pugnacious attitude as it delivers a sound more akin to a cage fight than a bar room brawl.
You can stream the EP in it’s entirety and purchase it on a name-your-price basis right now on Bandcamp
3.5/5
Pyro, Ohio
Favorite Track: “The Genie Should Stay In The Bottle”
Southern Virginia’s own Pyro, Ohio has steadily grown in the hardcore underground following the release of their critically acclaimed EP Before The Sun Sets.Following that release critics noted the evident talent and tremendous potential the band possesses, and with that in mind they set out to make their next undertaking the most ambitious. They sought the expertise of esteemed producer Andreas Magnusson (Born Of Osiris, Fit For A King) to bring their debut LP to life.
Keepsakes is defined by its calculated approach. With no pieces feeling forced or out of place each track serves a purpose in succeeding its predecessor in forging this albums story. Where “The Genie Should Stay In The Bottle” thoroughly explores the break neck pace and wanton violence atmosphere of modern metalcore; “Oceans” rounds out their abrasive edge with a subdued touch. Yet none of it comes across as filler.
Wielding their genre bending style they consistently shred their way through this record with the ravenous hunger of a band determined to establish themselves among the most respected talents of this scene. And as the conclusion of this 11 track effort is reached it can be said with confidence that they are undoubtedly on their way.
An in-depth look at "Keepsakes" from the perspective of the band. NEW ALBUM "Keepsakes" available 11/13/15. Pre-order packages: https://pyroohio.bandcamp.com.
VIDEO PREMIERE:
Golden Age Review is proud to be premiering an in-depth interview from the talented gents of Pyro, Ohio, in which they expound upon the concepts of their forthcoming LP Keepsakes. The interview sees the individual members share what sentiment went into this record and what it means for them individually. And after years of fighting through adversity and climbing the proverbial ladder it is evident that this release means a great deal to them.
Keepsakes is out everywhere November 13th. You can stream the albums first single and pre-order the entire record + awesome merch right now via Bandcamp!
snowghoul
germansingergirl
tangentwithtanner
titsay
pixelskylines
gracieabrams
theartofmadeline