November began with a bang on Friday night when The Neighbourhood brought their Middle of Somewhere tour to Revolution Live in Fort Lauderdale, Florida. The sold-out show was full of surprises and made for a truly unforgettable night, and the headliner’s had two great openers out with them.
Claud kicked things off for the already-packed early crowd and received an incredible response from the audience. Fans were screaming “I love you!“ and asking, “what song was that?“ after every other song, so it’s clear new fans were made. Formerly known as Toast, Claud is now out on a solo project, which is already rising in popularity. They played an enthralling set that included tracks from their new EP Sideline Star, including title track “Sideline Star” and “Wish You Were Gay.”
Watch the recently-released Slow Hollows music video for “Come Back In:”
Slow Hollows also had incredible fan response, one like no other that I’ve seen over the years. The band owned the stage and played well-known tracks “Nerve” and “Hospital Flowers,” amongst others. A smile never left the member’s faces, and they even said in agreement that the crowd “might be the best one yet.“ That, of course, generated an even bigger response, and that’s when it was clear that these two openers created the perfect atmosphere and anticipation for a proper send-off for The Neighbourhood’s reeling performance.
During the set change, I noticed a chain hanging from the ceiling, behind the black curtain that was placed for the opening track. What was to come was completely unexpected and unlike anything I’d ever seen before. When it came time for The Neighbourhood to hit the stage, lead singer Jesse Rutherford came out covered in silver paint and in a silver suit, with an acoustic guitar in hand. Before fully stepping in front of the curtain, he peeked out from behind toward both sides of the crowd, which triggered screeches that could be heard all throughout downtown Fort Lauderdale.
Sometimes love is so scary that it’s “Scary Love.“ Watch the music video from The Neighbourhood’s self-titled album:
For the first three songs, Jesse performed as Chip Chrome, solo during the first song. After blowing through an energetic first two songs, “Lost In Translation“ and “Wiped Out!,“ Rutherford (or Chrome, I should say) fled the stage for nearly five minutes while the band played an intermission. When he returned, he was free of silver paint and in a new suit, sans shirt. All of a sudden, the chain made sense. With a running start, Rutherford jumped onto the chain and swung about, reaching nearly eye level with those on the balcony as he swung back and forth over the crowd on the floor.
The band clearly has beefed up their performance more than ever and created such an incredible memory that will not be forgotten. Of course, they performed their hits “Afraid,“ “R.I.P. To My Youth,“ and the timeless “Sweater Weather,“ along with new and old that fulfilled the long-anticipated wait for that night with an eighteen-song setlist. It was the band’s first headline performance in the South Florida area in years, and based on the crowd reaction and capacity, they should return to the area more frequently.
The Neighbourhood’s self-titled third record was released on March 9th, 2018 via Columbia Records:
The Eighty Six Seas – ‘Scenes from an Art Heist’ [Album Review]
Overall, this album does exactly what it sets out to do in encapsulating a fictionalized version of a famous art heist. Well done, The Eighty Six Seas!
On February 23, 2024, The Eighty Six Seas released their first 11-track full-length album, Scenes from an Art Heist. Each track on this album is meant to represent a fictionalized story of the paintings stolen from the Isabella Stewart Gardner Museum in 1990.
The first track sets out an eerie aura that aligns with the track’s title, a dedication to Isabella Stewart Gardner. The next song is a quick switch up from the first, with flighty strings and a whispered voice from lead singer Nick Stevens.
Moving on to track number three, “Coffee and Art,” you’ll hear a faster-paced, nearly techno piece that feels like caffeine hitting your bloodstream for the first time in the morning. Their next song, “Jenny,” is a piano-led ballad spotlighting Steven’s melancholy voice. With “Lonely Afternoon,” the track transforms back into the techno feel of “Coffee and Art,” but with a darker twist.
The next song, “Cat/Mouse,” sounds exactly as you’d expect—like a tense cat-and-mouse standoff, with the music accenting this push-and-pull dynamic. “Hey Little Bird” is more or less an instrumental, with occasional lyrics included, but it is clearly meant to be the interlude.
Moving on, we arrive at a track called “The Day I Die,” a techno piece with a fabulous crescendo after its quiet beginnings. Following that, “The Eighty Six Seas” provides its track, “Portrait of a Smuggler,” which quite literally encapsulates the feeling you have while walking through a park on a sunny day.
Next, we come to “Ghost in the Cityscape,” which has darker undertones, a sorrowful cello, and a slower tempo. The final piece is titled “Frames,” which will remind you of a love letter saying goodbye or a beautiful lullaby. Overall, this album does exactly what it sets out to do in encapsulating a fictionalized version of a famous art heist. Well done, The Eighty Six Seas.
Scenes from an Art Heist Track Listing:
1. For Isabella, March 1990
2. Scenes from an Art Heist
3. Coffee and Art
5. Lonely Afternoon
6. Cat / Mouse
7. Hey Little Bird
8. The Day I Die
9. Portrait of a Smuggler
10. Ghost in the Cityscape
Release Date: February 23, 2024
Record Label: Independent
Glixen – “foreversoon” [Song Review]
On “foreversoon,” Glixen created a song where youthful exuberance clashes heavenly with the established shoegaze sounds of yesteryear,
It’s been less than a year since Glixen released their debut EP, She Only Said, on Julia’s War Records. Still, the Phoenix shoegazers have already dug their heels into the DIY music scene and are heading out on an extensive US tour this year alongside the likes of Interpol, Softcult, Glitterer, and fish narc. Appearances at SXSW and Treefort will only further cement their reputation as a new band worthy of note.
To herald the busy year ahead, the band has released a new single, “foreversoon,” via the AWAL label, and it’s well worth a listen.
Says lead vocalist Aislinn Ritchie:
“‘foreversoon’ represents blissful moments of new love and intimacy. The song harnesses melancholy chords, layered with fuzzy red melodies and gliding guitars that pull you in deeper. I wanted my lyrics to feel like a conversation that expresses my infatuation and sensuality. Time is relentless and memories are fleeting, this song encapsulates those emotions forever.”
It’s a fair summation. Its youthful exuberance clashes heavenly with the established shoegaze sounds of yesteryear, think Ride, Curve and Slowdive, but with the fuzz cranked up possibly higher. Ritchie’s vocals certainly share that dreamlike quality of Slowdive’s Rachel Goswell, and with many of those bands back on the road this year, perhaps the time is ripe to inject fresh blood into the genre.
Run Time: 3:43
Release Date: February 9, 2024
Record Label: AWAL Recordings
Mieko Shimizu Premieres Music Video for “Unworldy” Single “My Tentacles”
Get stoked, cause radical multi-instrumentalist Mieko Shimizu premieres the video for the reworked single “My Tentacles.”
Radical, nonconformist Japanese singer and multi-instrumentalist Mieko Shimizu recently re-released her offbeat, unworldly single “My Tentacles.”
The single is the offbeat, unworldly title track of Mieko’s soon-to-be-released album. It is be-thronged by chimeric fusions, dysfunctional beats and startling mutations. The single is unaccompanied by an equally radical video created by diz_qo.
Speaking about the track, Mieko tells us:
“‘Emergence,’ the book by Steve Johnson, fascinated me; a colony of ants, a sprawling metropolis, and human brain cells, are all features of the unknown science of self-organisation. I wanted to cut down into society and sing a simple song about people as single cells.”
The multi-instrumentalist explains further:
“They interconnect with the multitude and conjure up a whole that is wiser together than we are individually. When my tentacles reach out and touch you, communicate with you then we become something else, something more than just an individual.”
For those who aren’t familiar with the name, Mieko has played at Sonar alongside Kraftwerk, as well as support for Goldfrapp and Massive Attack at their Melt Down Festival. She is currently an artist in residence for Wonky Plonky Electronk, an experimental, electronic live event which is touring the UK throughout 2024, the next show being on 28th March at The Cinema Room at All Is Joy in London.
Mieko has worked with an extensive range of artists, including Japan’s Mick Karn, Nitin Sawhney, Riz MC, David Cunningham, Robert Lippok and has also remixed the likes of Coldcut and Haruomi Hosono of Yellow Magic Orchestra.
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