Queen City Sounds and Art

Mnevis’ Alt Pop Single “Sparks (Zig Zag)” has the Soothing Sounds of a Cosmic Tropical Paradise

Mnevis’ single “Sparks (Zig Zag)” immediately brings you into an alternate world of shimmery sounds like a cosmic tropical paradise. The blend of strings, soft percussion and what seems like a rich tapestry of electronic/keyboard sounds crafted in a dynamic array of impressionistic composition is easy to get lost within even in the moments the song ramps up with fuzzy guitar entering the mix. The song has the energy of something from another era but one that remains fascinating elusive to the end. Because of that those familiar with the band Orions Belte or the music of Mary Ocher will find much to like with what this Swiss band has been up to up to in its career thus far in experimenting with what pop music can be. Listen to “Sparks (Zig Zag)” on Spotify and follow Mnevis at the links below.

Mnevis on Facebook

Mnevis on Instagram

Bryce Terry’s Ambient Downtempo Track “The Only Game In Town” is a Beat Driven Journey Into the Shadow Economy

Bryce Terry’s “The Only Game In Town” opens with ethereal drones like a walk through a hallway into an abandoned building. From there a steady, syncopated beat anchors screaming streams of tone, sustained, distorted synth and a ghost of a melody in the background. Rapid echos of harmonic sound give way to the latter early in the song as the beat establishes itself and the layers convey a sense of space like being given access to a secret area in which clandestine activities are undertaken and moves are made, think something like the vibe of an underground casino that is hidden away in the back rooms of a legitimate business that operates mostly on cash but in the after hours deals in the black market economy. Like the rest of Terry’s album Two-Thousand Yard Stare there is an undercurrent of menace in the song that suits the album’s themes of addiction and succumbing to the inner demons that drive one in that direction but despite the song’s title the song doesn’t sound like video game music like this song and a few others on the album reflect the moments when one is able to break free of the spell of addiction for some moments to see one’s life for what it is and the context in which one has placed oneself in service to addiction. In this way it’s reminiscent of Oneohtrix Point Never’s soundtrack work for the film Good Time and that film’s tone of unreality and gritty reality side by side to give resonant tonal contrasts. Listen to “The Only Game In Town” on Spotify and follow Bryce Terry at the links below.

Bryce Terry on Apple Music

Bryce Terry on Instagram

“Return to Sender” is talker’s Triumphant Song of Liberation From Emotionally Stifling Relationships

“Return to Sender” from talker’s 2024 debut album I’m Telling You the Truth (out June 21, 2024) is typical for the songwriter in its dramatically unorthodox presentation. The music video begins like a horror movie with perhaps undead pallbearers bringing a casket into view and opening it with talker inside and seemingly liberated from a living death to dance in choreographed moves like a vampire film in reverse. The song’s lyrics seem to be directed to a loved one, former or potentially so, who seems to find it hard to deal with her how she is in the moment. No one is always going to be how you think they need to be all the time and human life is full of flux and struggles that if we don’t feel them and express that reality and instead bury that pain and flux it can fester in your heart in unhealthy ways. The song with its richly triumphant tones are a declaration of self-acceptance. After all, if someone you love can’t talk with you about what’s going on with them in a real way is it really love? If you’re always trying to “fix” them rather than share in a moment of empathy for regular human frailty is it the kind of love you’d want to have? Sometimes you just have to listen to people and not offer what you think is a solution because a part of getting through tough emotional times is just being able to express those feelings without judgment and dismissing them. Talker’s song is about that set to music that feels like it’s bursting free of emotional limitations. Watch the video for “Return to Sender” on YouTube and follow talker at the links provided.

Sea Girls Spin Despair Into Radical Self-Acceptance on “Does Only God Know That We’re Lonely”

The slightly quavering vocals on Sea Girls’ “Does Only God Know That We’re Lonely” speaks to the vulnerability and existential fear suggested by the title. But the song which openly and frankly considers these moments of pondering questions of personal potential and accepting ourselves for who we are and life situations for what they are even though there is a cultural pressure to be and within more than that doesn’t stay stuck there. Its melodies and chords and sentiments strike out with a defiant and triumphant spirit. The song seems to say that maybe we’re not perfect or have perfect lives according certain standards but that our lives have their inherent dignity and worth and that we can’t very well live the lives of other people. The song in that way spins what could be despair into radical self-acceptance. What kind of music is it? Touchstones might include Death Cab For Cutie or Modest Mouse but Sea Girls has its own sound on the spectrum of emotionally raw and melodically vibrant pop that in times is reminiscent somehow of the tonal range and pace of Flock of Seagulls’ “Wishing (If I Had a Photograph of You).” Listen to “Does Only God Know That We’re Lonely” on Spotify and connect with Sea Girls at the links below. The group recently released its full length album Midnight Butterflies on June 14, 2024.

Sea Girls on Facebook

Sea Girls on TikTok

Sea Girls on Instagram

Kai Tak’s Downtempo Dream Pop Single “Until We Leave From Here” Warmly Layers Nostalgia With Hope For the Future

“Until We Leave From Here” finds Kai Tak’s richly layered melodies streaming into the horizon as Chesley Boy’s melodious vocals opining nostalgically on where a relationship has been and where it might and should go. Musically it’s a fusion of billowy dream pop and chillwave’s introspectively romantic and expansive drones. But composer Chris King brought Annie Zhou on board to add the textural tones of the guzheng to lend the almost elusive song subtle flourishes of anchors to tactile, emotional immediacy. Its moods are reminiscent of the 80s but of an 80s that never existed making the track and the rest of the album Designed In Heaven Made In Hong Kong (out June 21, 2024 via à La Carte Records on digital download, streaming and limited edition colored vinyl) resonant with modern cinema that juxtaposes era with modern sensibilities for a hybrid aesthetic that seems fresh rather than dated. Listen to “Until We Leave From Here” on Spotify and follow Kai Tak at the links provided.

Kai Tak on Instagram

Kai Tak on YouTube

Queen City Sounds Podcast S4E31: As For the Future

As For the Future, photo courtesy the artists

As For the Future released its self-titled and self-produced debut full-length album on June 14, 2024 via download, streaming and on 12” LP vinyl and deluxe edition CD (with alternate mixes, dub versions of tracks and other edits). The music is inspired by Brazilian music incorporating various styles (bossa nova, samba, Música popular brasileira) and combining them with rock, jazz, folk and soul to create a sound that is both familiar and like a retrofuturist film soundtrack set in South America but performed in underground clubs in America. The lyrics are at once personal, surreal and wryly humorous and incisive in its socio-political commentary like a Tropicália edition of Steely Dan along with the intricate and sophisticated instrumentation and songwriting for late night lounge listening. With songs written by band founder and multi-instrumentalist David Nagler, the As For the Future album has classic pop aesthetics and attention to sonic detail fused with modern cultural sensibilities that resonate with the subversive ways Brazilian music has been employed in the past.

Listen to our interview with David Nagler on Bandcamp and follow As For the Future at the links below.

As For the Future on Facebook

As For the Future on Instagram

As For the Future on TikTok

As For the Future on YouTube

Queen City Sounds Podcast S4E30: The Burrito Brothers

The Burrito Brothers, photo courtesy the artists

The Burrito Brothers is the current incarnation of the musical legacy of of a band whose roots began with The Flying Burrito Brothers who helped to pioneer country rock with a touch of psychedelia in 1968. Across its decades of an evolving membership with keyboardist and vocalist Chris James, a former music journalist with industry experience, taking up the de facto reigns of leading the band around 2010 the group has turned in finely crafted music with impressive musicianship. In 2023 The Burrito Brothers released its latest record Together reflects the eclectic influences that have shaped the sound with some atmospheric shimmer and warm melodies that render the songs both pastoral and expansive. Album closer “History Suite” ties together how the record embraces where the band has been and the contributions of its vast membership while looking forward to where it will go next through the metaphor of how personal relationships change across time.

Listen to our interview with Chris James on Bandcamp and follow The Burrito Brothers at the links below.

theburritobrothers.net

The Burrito Brothers on Facebook

The Burrito Brothers on Apple Music

Kait Warner Confesses the Foolish Behaviors that Serve as a Barrier to Intimacy on Orchestral Indie Rock Ballad “Rodeo Clown”

The title track to Kait Warner’s debut album Rodeo Clown (released June 14, 2024) starts off with the sound of a record of circus music getting up to speed before the clipped, rapid guitar riff brings us into a song about two people with strong personalities who maybe have more than friendship attractions to each other but get into the kind of dynamic that involves dramatic, performative gestures rather something more straight forward and tender. We’ve all seen it, people who are clearly into each other but have difficulty admitting that to themselves and accepting it, or a situation where one of those people struggles with embracing those genuine feelings in a way that allows for intimacy. Warner sings about using laughter as a cane, acting the fool and other behaviors that put up a barrier that everyone else can see through. But in being able to articulate those ways of being displays a self-awareness that offers hope in the end when heartbreak forces you to reconsider your ways. Listen to “Rodeo Clown” on YouTube and follow Kait Warner at the links below.

Kait Warner on Instagram

Restless Spirits AKA’s Ambient Hip-Hop “Blues Omen” is a Short Form Telling of the History of the Blues

With a dub-like industrial beat and a background drone akin to cLOUDDEAD’s “Apt A (1)” Restless Spirits AKA imbues its own dreamlike spoken word song “Blues Omen” with an otherworldly energy. The song weaves in fiery, noisy guitar flare and sparkly percussive motes adding a layer of psychedelia that evolves into brightly ethereal tones streaming down over accented yet sustained bass drum beats. Through the vehicle of Matt McAteer’s John Cooper Clarke-esque vocal delivery the song tells a tale of the development of blues music and how it has permeated popular musical forms out of historical forces that made it a working class, creative idiom that has resonated well beyond its original context. The song itself isn’t in any obvious form of blues but its deep and murky mood taps into the mythological foundations of the musical form. Listen to “Blues Omen” on Spotify and follow Restless Spirits AKA at the links below. The new album Looking Back From a Distance is available now on CD, digital download and streaming.

Astari Nite’s Scuzz Glam Death Rock Song “Tongue Tied Galore” is a Thrill Ride of Paradoxically Resigned Desperation

Astari Night, photo courtesy the artists

Astari Nite’s single “Tongue Tied Galore” and its new album Resolution of Happiness (out June 21, 2024 via Negative Gain Productions on digital download, limited edition vinyl LP and streaming) has a wonderfully scuzzy edginess reminiscent of Shadow Project, Rozz Williams’ post-Christian Death band. The confident but slightly quavering vocals from Mychael Ghost speaking to feelings of existential weariness and alienation – with others and with oneself. The sparkling and fuzzy guitar work and urgent rhythms lend the song a spirit of desperation and resignation tugging at each other in opposite emotional directions. The music with its old DV camera aesthetic of the band performing in various environments and times of day looks like a future segment of the V/H/S franchise set in the group’s home town of Miami bringing to the presentation of the music a menacing resonance that suits the subject matter of the lyrics. Watch that video on YouTube and follow Astari Nite at the links below.