Stephen Artemis Jr. has always had an innate ability to merge vivid storytelling with evocative musicianship, and “Highlands and Hills” is no exception. Drawing inspiration from a drive through the Catskill Mountains, Artemis has painted a sonic landscape teeming with contemplation on life, death, and the cyclical nature of existence.
From its inception, the track is drenched in atmospheric allure. The setting of its creation—dusk in the Catskills—immediately sets the stage for a song that is bound to explore the contrast between the ephemeral nature of life and the timeless beauty of the world. Concepts of mortality, vitality, reincarnation, and naturalism aren’t just themes here; they’re characters, each playing their part in a narrative spun by Artemis’s deft lyricism.
The choice to record the track live with the band showcases Artemis’s commitment to authenticity. This raw, unfiltered energy brings an urgency to the music, capturing the spontaneous birth of the song during that fateful drive. There’s a certain magic in knowing that the chords and the arrangement were developed in such an organic manner, echoing the raw inspiration of the lyrics.
Instrumentally, one can imagine the blend of Americana, blues, and indie rock playing out in rich, textured layers. The juxtaposition of gritty blues with the more melodic tendencies of indie rock offers a canvas upon which Stephen’s vocal storytelling shines. Each strum and beat are evocative of the highs and lows of the mountainous terrain that inspired the track.
Having been a force in the NY music scene, leading The Falling Birds to significant underground success, Artemis’s rich history is evident in the maturity and depth of “Highlands and Hills”. His past endeavors, the acclaim from esteemed outlets, and the tours that took him and his band across various terrains have all shaped his musical palate, leading to this moment of poignant introspection.
While the global pandemic might have put a pause on many artists’ trajectories, it seems to have given Artemis an opportunity to delve deeper, to explore the intricacies of his solo sound. “Highlands and Hills” stands as a testament to his resilience and evolution as an artist. It’s a reflection not only of a physical journey through the Catskills but also of the larger journey of an artist constantly in flux, growing, and reshaping his sound.
Oyama Koichi’s latest musical endeavor, “Sky Walk,” is a gleaming testament to the universality of music and the merging of Eastern and Western influences. As the track gracefully unfolds, it becomes evident that Oyama is not just a bass player but a visionary artist, effortlessly weaving together elements of neo-soul, blues, and rock into a tapestry of pure auditory delight.
Right from the onset, “Sky Walk” envelopes listeners in a euphoric soundscape that radiates happiness. The piano keys tinkle and flow, reminiscent of a clear stream running through a vibrant Japanese garden. Their melodic lines intertwine seamlessly with the resounding strums of the guitar, creating a rhythm that is both soothing and invigorating.
At the heart of this instrumental ensemble is Oyama’s masterful handling of the bass. It provides a rich undertone that grounds the track, echoing the deep-rooted traditions of blues while simultaneously echoing the soulful melodies typical of neo-soul. This beautifully exemplifies the “new style” that Oyama introduces – a synthesis that respects the origins of each genre while creating something wholly unique.
The drums add an energetic pulse, propelling the track forward and filling it with life. Their beats, combined with the bass, create a rhythmic foundation upon which the other instruments can dance. And dance they do! The horns make a stellar appearance, bringing with them a jubilant flair that elevates “Sky Walk” to celebratory heights. Their triumphant blasts are reminiscent of festive processions, making the track feel like a musical festival in its own right.
Positioned in Oyama’s album Light Music, “Sky Walk” shines as a beacon of positivity and innovation. Without the crutch of lyrics, the song speaks a universal language – one of joy, unity, and artistic exploration. It showcases Oyama Koichi’s profound understanding of his instruments, his genres, and the emotions he wishes to evoke.
In essence, “Sky Walk” is not just a track; it’s a journey. A journey that begins on the familiar terrains of blues and soul, ventures through the lush landscapes of rock, and ascends into the bright skies of happiness and innovation. With “Sky Walk,” Oyama Koichi invites listeners to take a step into the vast expanse of his musical universe, and it’s an invitation that’s impossible to decline. Embrace the “Sky Walk” and let your spirit soar!
Loryn Taggart’s latest single “The Vow,” accentuated by Isaac Symonds, dives into the enigmatic realm where blues meets jazz fusion, delivering a soul-stirring experience. The track itself drips with the resonant hues of Taggart’s distinct vocal stylings, evoking an atmosphere reminiscent of smoky jazz clubs where heartfelt stories are told. It’s a heady blend of melancholic introspection and unwavering hope that tugs at the very heartstrings. Yet, it’s the accompanying music video that elevates the experience to a whole new plane.
Taggart’s music video for “The Vow” is an evocative visual spectacle. Drawing inspiration from cinematic classics like “La La Land,” “Wizard of Oz,” and “Sound of Music,” the video, premiered via Folk Radio UK, is a whirlwind tour through Taggart’s imaginative psyche. The uninterrupted one-shot theatrical dance sequence, directed with finesse by Kevin De Laval and artfully choreographed by Maud Saint-Germain, encapsulates the turbulent yet exhilarating journey of an artist. Audrey Samb’s set direction ingeniously encapsulates the backstage world, a hive of activity yet paradoxically isolating for the performer. But amidst this chaos, the narrative unveils beautifully coordinated moments symbolizing the support and connection Taggart so candidly speaks of in her music. This duality of chaos and serenity is not just a testament to her personal journey but resonates universally, emphasizing the fact that in the midst of life’s turmoil, there’s always a silver lining of love and solidarity. With “The Vow,” Loryn Taggart once again proves her unparalleled prowess as both a musician and a visionary.
We’re here with a mid-day bluesy ballad that would fit in right along with Kate Bush’s discography, but with her own personal flair that keeps me coming back to this song for the last 4 years. As Haddard says in the refrain, “I can’t get you out of my head.” The Brooklyn-based Haddard put together an impressive debut with her 2018 album Blue Part.While Haddard released two singles prior to the album, it quickly became clear that “Charley” was the true show-stopper.
With a voice that sounds straight out of a smokey late-night lounge, Haddard pines after “Charley” with her voice pleading with them to come back around and appease the desire that’s got them stuck in the singer’s head. To me, this perfectly captures that new relationship energy that we can so often get sucked up in when we’re excited about a new connection and obsess a bit over getting our fill.
That’s not even to mention the emotional build musically in this one. The guitar work keeps it simple enough that it never overpowers Haddard’s voice, but the riff itself is catchy and keeps you humming it long after the 2:33 song has drifted away. Another nice touch is the background almost angelic vocalizing that builds up to the song’s crescendo before Haddard fades us out with excellent control.
These are our favorite new songs of the past couple days. Every song has been released within the last 48 hours, so you can tell your friends about not only new artists, but their new songs that they’ve never heard.
ARTISTS LOOK HERE: Caleb and I have started a Facebook group that we want to turn into a place for artists from around the country to find likeminded bands to fill shows out, find shows, and really just a community made by artists to talk about the industry. If you’re interested in joining that, CLICK HERE.
Luke Sullivan Jones – “A Fire from the Dark”
“You don’t feel like yourself
You’re swallowed by the pain
Buried deep inside
Some things have to change
You can spark the flame
You can start again
A fire from the dark”
This song is so empathetic and hopeful! It does a great job of describing how hopeless and lonely life sometimes can be, but it encourages you to start the flame again in the dark. From a musical perspective, I really can’t get enough of the strings in the background of this song, and the interesting vocal style of Luke Sullivan Jones. This is a song that I can see myself listening to a ton this winter when I haven’t seen the sun in weeks, and I’m starting to get down.
“So tear it all apart
You’ll find your way through
Don’t wait for the world
To come and rescue you”
Bio: Luke Sullivan Jones is an independent Folk-indie artist from the UK. After the successful release of his EP ‘Through the Satellites’ two years ago, he has further developed his sound to find a unique voice in a ever evolving, yet crowded, genre.
Curly Chuck and TyC – “Get It”
How many of you checked to see if your phone was ringing when the song first started? I did too, and I’ve heard it like 10 times now. I also love how it sort sounds like parts of the beat throughout. The reason it “sort of” sounds like that is that TyC sampled all of the original Mac OS sounds, including the horns which came from the Mac “delete” song. I also had to share this song because of how incredible his change ups in flow are throughout the song. Keep a look out for their debut EP, “Get It” is the first track, that’s going to be coming out later this summer. You better be sure to….get it.
Bio: Cleveland native, Curly Chuck has been quickly making waves on the underground scene for good reason. XXL recently said “he has the sound that can make his career go from zero to 100 in the blink of an eye.” He’s had a very busy last few months finishing up two EP’s, and spent the last week with Currency, so we can definitely expect some big things from him soon!
TyC, also from Cleveland, left Berklee School Of Music to tour with the band Carousel. A writer first, he picked up production on the road and has been honing in ever since. His single “BW/U” already has over 115,000 plays on Spotify and his last video featuring Curly Chuck, “GET DOWN” has over 35,000 views on Youtube!
Caoilfhionn Rose – Awaken
I would watch this video with no music for how beautiful the landscapes and scenes are. Luckily, we get to pair it with some beautiful music that actually sounds like it’s being sung from one of those echoey mountain tops. It seems the main message of this song, is to go outside and see the world. It’s the cure to most of what ails you. As someone who went on a 40 day road trip last summer, I have to agree with the assessment. Everyone should do their best to find a way to travel, especially in the spectacle of nature. It’s possible to do on a budget, google it. If you were like me, and didn’t know what Caoilfhionn meant, it’s a name that is described as: Derived from the Gaelic elementscaol “slender” and fionn “fair”. This was the name of several Irish saints.
“So go outside
Pick the flowers in the park
Feel the sunshine
So go outside
Awaken to the world you can hear all new sounds
Don’t get left behind
Pulled down by the roots of your mind
See the new dawn on the horizon
See the colours of life again
Awaken to the world you can hear all new sounds”
If I was standing in the middle of any of the landscapes that are shown in this video, I think I’d have to be singing “go outside” at the top of my lungs too.
Bio: Caoilfhionn (pronounced Keelin) Rose will release her debut album with Gondwana Records in Autumn 2018 and ‘Awaken’ is the title track. The song is about noticing nature and everything around you, about taking a step back from your problems and going for a walk outside.
Shoot The Duke – Cash
Ah man this song is so incredible. This is a perfect example of how to properly emphasize raw vocals. They aren’t out of tune, they just peak into an emotive state that can’t be replicated by overly polished ones. This reminds me a lot of a mix between Shakey Graves and Kaleo. The song itself is about just what the name suggests, money:
“So give me some money, oh let me have some cash. I promise I’ll give it back. One day at a time. ×2
I get up at the brink of the day. I apply for jobs but they all just send me away. Sorry son but you need more experience. How can I get some experience? I didn’t know I needed any to work in Morrison’s. Come on now, make my day.”
I guess more accurately the song is about the frustration between making and keeping money, especially if you are an artist:
“I go outside to play some guitar, policeman comes to tell me no you can’t do that. He gives me a fine so I sold my guitar away.
I lay down to get some sleep. Policeman comes again, he’s bothering me. Get off the floor boy, you ain’t worth a dime.”
I think on an individual level, the story is really nice and relatable, but I also think it’s an appropriate metaphor for how a lot of modern society treats artists, or anyone who doesn’t want to be an entrepreneur or work in a cubicle. There is an emphasis on “contributing” to society, without an acknowledgement that art and philosophy are equally important pursuits for humanity. Ultimately, the song ends with a haunting image of a frustrated man robbing a store for money. After being told the things he is good at/passionate about are worthless in a monetary sense, he is left with very little choices for how to proceed in a society that doesn’t seem to value him at all. It’s a really interesting look at the fringes of modern capitalism, and who gets left behind, and why.
This one is a thinker guys. Did you already watch it? Go watch it again, I’ll wait. This is one of my favorite pieces of art I’ve seen in a long time. There’s a ton to unpack here, and I’m going to try, but first let me tell you why I connect with this song so intensely. There are two primary reasons.
I grew up in the South. Like the real South. Let’s call it a state Trump won with 54%.The South isn’t inherently racist, but it’s hard not to grow up around some racist attitudes, even from people who I consider good people. For example, my parents would claim not to be racist, but I remember some stern warnings to my sister about a black kid named Jovan that was coming around. I don’t think my parents are bad people, and they are not KKK level racist, but I’m using them as an example to explain that even my educated parents, who are charitable and kind, are racist. The last frame of this video that scrolls “wolves don’t exist” after we’ve watched an entire video of a black kid being led around by a wolf is exactly how baffled I’ve felt for most of my life, watching good natured people, stay willfully ignorant to the prejudices they hold, and the damage that does.
I don’t live in the South anymore, but that doesn’t solve the racism problem the way you might idealize when you’re growing up in a small town dreaming of moving to a liberal utopia. I teach at a private school in the suburbs of Rhode Island where an administrator was removed last year for getting caught using a few racial slurs. I have students sitting behind desks every day who swear Colin Kaepernick is un-American, and Michael Brown deserved to be shot for being a “thug.” I don’t necessarily think these are bad people, mostly because I’ve made it my goal in life to talk through ignorance with people, and if I believe people can’t learn and change, I think I’d become quite depressed. The thing that I most associate with both of these experiences, my past, and my present, is that most of these people just have no idea the amount of privilege they are carrying. It seems somehow offensive to their character to suggest that they are not “self-made” or that someone has it harder than them. Mostly I think this is because we all have our struggles, and it makes us feel bad that we aren’t billionaires either, so how dare people say they have it harder than us? On the other hand, to admit some people are living with a level of prejudice and difference that you can’t fully comprehend somehow seems like a weak thing for these people to admit.
Alright, enough about me. Let’s talk about the video. We can immediately get the sense where it’s going when we read the title, “Born in the Right Country”. The title itself evokes a lot of the immigration struggles we have going on right now, where a person or family is attempting to find a better life in America, despite the risks involved, and is being treated inhuman because of it. But in the video, we see a slightly different angle. We follow the story of a young black male going to high school, with a wolf around his wrist. We also see that his mother, and a girl wearing a hijab also have their own wolves, while the white kids do not. This seems to suggest that even though presumably these characters didn’t immigrate here, they were still born in the “wrong” country. Not in a literal sense, but in the sense that the rules operate differently for them because of generations of social prejudice and oppression. The video shows this clearly with the white father looking disapprovingly at the potential of his daughter being in an interracial relationship, and also with the boy being stopped on the way home by the police, when he was just minding his own business. It obviously clinches up your stomach when you see those blue lights because of the countless ways that’s gone badly over the past several years (Micheal Brown, Trayvon Martin, Oscar Grant, etc. etc.).
When we explore the lyrics, we see them dripping with sarcasm from the perspective of Trump, or his followers, or anyone who feels like they are superior purely because they were born white and/or affluent.
“I’ll tell you baby, a secret Manufactured truth is easy to sell When you own the factory And you own the hearts of the clientele But can you really blame me? Built on a system where some must fail So that you can break through If you’ve got the right skin Or you’re born in the right country”
The perspective shifts after this point to directly talk to these people and attempt to wake them out of their ignorance:
“Don’t you know you’re lucky kid You were raised on the right side of town Born rich, now you’re yelling “I’ve seen the inside and you’re out” But can I truly blame you? We’re built on the dreams we feed to the poor So that you can break through If you’ve got the right name Or you’ve got the right god Or you’re born in the right country”
But unfortunately, the system is set up this way. There are people profiting from the lower and middle class fighting amongst themselves. Instead of placing the blame at the top, we are continually told to look at our neighbor with different skin, heritage, religion, and blame them for any short comings or failures. It’s classic scapegoating, and this current regime is not the first to use it. My only hope is that more and more people can try to see through it for what it really is; and the best way to do that is through people using their artistic talents, like River Whyless to try to break through to people in a language they can understand.
*This first paragraph is a copy of a previously written synopsis of the point behind the new section, The Flock.*
We have two goals here with our blog and our podcast; we want to help you find a bunch of new artists that you love, and we also want to support those artists. We came up with a new idea for a post where we take a genre, and give you a few artists within that genre. That way, it helps everyone. If you come here because you love one artist, you’ve got five more that you’re probably going to love now. That helps you load up your playlist with tracks that will impress your friends, and it also helps the artists hit untapped markets and possibly network with likeminded artists they didn’t know existed. Without further ado, I present “The Flock.”
ARTISTS LOOK HERE: Caleb and I have started a Facebook group that we want to turn into a place for artists from around the country to find likeminded bands to fill shows out, find shows, and really just a community made by artists to talk about the industry. If you’re interested in joining that, CLICK HERE.
I love when a song says something that we’ve heard before, but says it in such a eloquent way that it reaffirms everything you know. At it’s core, this song is about society, racism, and the difficulties we all face, but Mike Xavier is just so eloquent that it illuminates these issues in a way that is impossible to ignore. Other than Mike’s obvious lyrical talent, something you may not notice unless you are paying attention is that he isn’t just rapping over a track. He has a live trumpet, sax, keys, guitar, bass, and drums accompanying his songs. It really gives this song a fuller sound that you can’t accomplish from beats, no matter how good the DJ is. When asked about his inspiration Mike’s message is simple: “We just got to teach our kids they can change the world,” Xavier raps with his calm though upbeat tone. “They used to tell me, ‘Try them drugs.’ I ain’t never try it.” Mike is a shining example of using art to make the world a better place, and I’m happy to share this as our first track of New Release Friday.
“Momma’s shopping at the mall
Daddy’s sipping alchohol
Baby’s watching TV shows
Shoving things up in her nose
Why do the opposites look the same?
Our manufactured outfit came
and is it sincerity
or artificial empathy?
Unbutton my head
Get me out of my head
Unbutton my head please
Get me out of my head”
This song is an anthem for middle class malaise. It does the same thing several 90s movies did by taking a closer look at suburbia and showing the horrors beneath the surface. Sure, money makes some things easier, but it also brings a new set of problems. Having grown up squarely in middle class suburbia, I saw many of the things this song mentions, and experienced the surreal plasticity that it tends to create for those who inhabit these spaces but can’t fully enjoy shopping sprees, keeping up with the Joneses, and the skewed relationships created by making money and materialism such an integral part of our happiness.
This song reminds me a lot of some of my favorite summertime music. It mixes pop vocals with some really interesting electronic beats to create an experience that surrounds you completely. Let’s dive into some of the lyrics:
“This state that I’m in, I can do nothing about,
Starting to wear me out, do we need disclosure
Your voice has become an eco in my mind
I don’t really recognize and you still have me reeling
Don’t swim so fast, i can’t keep up, don’t let me drown in your river
Don’t waste your love on someone else, while I’m still here in the picture ”
So it’s a very familiar scenario. The speaker is still in love with someone who is falling out of love with him, and he feels himself being left behind. It’s a really tragic position to be in, and the haunting background vocals as the song builds really hammer home the crescendo of pain that can inhabit these moments where you aren’t ready to move on, but you know it’s not your choice anymore. Keep an eye out for Noah’s upcoming 3 song compilation due in September. He has already won “Debut of the Year” last year at the Annual Latvian Music Awards, and I can’t wait to see what else he comes up with.
This song just starts off so calming and soothing. The mix of the intricate picking and the beautiful vocals take you to a sunny day driving with the windows down.
“There’s a warm wind coming, marching along with a big brass band
I’m waving an outstretched aching hand, so slow”
When these lines kick in, the song transforms into an anthem worth screaming at the top of your lungs. The thing I like most about this song though, is despite how upbeat and warm the song sounds; it has some truly existential moments.
“We search fora meaning before disappearing and hope that our memories survive”
Ultimately the song ends in a conclusion that all we can do is try to find someone to share the time we do have with and hope for the best. It’s a grounded but hopeful ending to a very complex poetic song.
And last, but certainly not least. Enjoy this single off of Sean Tobin’s new release of the same name. Throughout the song, he seems amazed that he is currently where he is in life, considering some of his past and the way he viewed the world. My favorite word play in the whole song is probably:
“Met a girl one February evening, swore to God there was no God at all,
Sunday came, she was praying for God knows what she done,
guess she was just talking to the wall”
The several switch ups and double meanings in that one line are astounding. Ultimately, the song seems to have a similar message to the one before this: life is potentially meaningless, there are no guarantees, life is short, thank god I have you, let’s enjoy the time we have for now and hope it lasts forever. “Baby, we could make this midnight last, come the morning, our stories will be in the past.”
I really feel like I could break down every single line in this song. It’s one of those haunting songs with minimal production that relies on the beauty of the voice and the depth of the lyrics to carry everything, and damn, does it ever carry everything in this song.
“i’ve never seen nobody
dance like you
in times like these i wonder
if that’s true
if you are lonely too
’cause we’ve always been
hopelessly fucked up”
I don’t know if any of you have ever been in a relationship like the one described here, but it’s brutally beautiful. Two people messed up and in love and unstable, like a collapsing star. It’s full of passion and beauty, but it also isn’t sustainable. Ultimately the song sees the instability become too much, but it’s not as easy as just walking away and never thinking about it again.
“i guess i should move away
’cause in some sad way
i’m already gone”
I’m a known crier. I cry during emotional movies. I cry the first time I realize what an emotional song is really saying, like “Limousine” by Brand New, or “Honey Jars” by Bryan John Appleby, or a billion other instances. This song can now be added to that list, because when I read this last stanza, I couldn’t help but cry:
“it hits me when there’s nothing
left to give
in the ashes of my failures
there you live
ageless and possible
i’m watching you
dancing in your prime
twenty-some
frozen in time”
It may hit me particularly, because I had a 5 year relationship fall apart in my early twenties, and even though it was the best possible thing for me and her, I can relate to the idea of an ageless dancer, stuck at twenty something, frozen in time. Also, from a songwriting standpoint, the symmetry of the first and last stanza are just perfect. Go check out more of Tim the Lion Tamer’s stuff. It’s been added to our July TOTD Spotify playlist.
I don’t know about you guys, but I immediately thought of Radiohead or Polyneso when I first heard these guys. Considering those are two of my favorite bands, that immediately made this one of my favorite new songs. MOWUKIS bio says simple: “I write music to lower the weight.” I’m not entirely sure what it means, but I have some guesses. My silly answer is that he writes so much music that he doesn’t have time to over eat. My serious answer is that he’s using music as a form of therapy, like a lot of us artists tend to. He’s lowering the weight of the world, or his soul, or whatever metaphor you want to use.
The song only has two verses, so even though I normally wouldn’t put a full song’s lyrics, it’s not too egregious. Let’s check them out:
“I…
I just fed the lions
made them such cowards
made them such a lie.
I had,
I had to draw out solutions
to keep this jungle of eyes
from eating my delights.
King,
Alone in full possession
A kingdom-broken-passion
A quick stab in the heart.
Walls,
To keep ourselves from motion
Citizens as pollution
Are slowly passing by.”
I feel like I could attempt to write an essay on these lyrics. Instead, I’ll hit a couple of high points. How does feeding the lions make them cowards? If you put them in captivity and give them a consistent meal, does their drive for hunting start to dissipate? If that’s true, and we generally know that it is. It changes them into a “lie”, a shell of what nature shaped them into over the millennia. We then see this King, who can make lions into cowards, ruling over a kingdom with a broken passion. A citizenry that is safe behind walls, but wasting their lives away now that all the passions are gone. It’s a really great mirror to the lions before and a beautiful song overall.
