SubmitHub – Page 79 – Queen City Sounds and Art

Isaac Watters’ Noir Pop Song “Coconut In The Street” is a Vivid Glimpse Into the Contrasting Social Reality of the Haves and Have Nots of Los Angeles

Isaac Watters brings a downbeat, noir mood to “Coconut In The Street.” In the live video version below we see what looks like black and white with some blue tones allowed in the color palette enhancing the cool, late night feel of the song. It sounds like a brooding blues song with a touch of urgent and shimmery synth around the edges. And of course Watters relating a story of tensions between the moneyed and the down and out and how both seem to exist not so far apart in the streets of Los Angeles where it’s not like a sanitized version from a movie but a city with as much grit and desperation as one might find in a city with more of a reputation for that, just with generally better weather unless it’s wildfire season. Watters’ imagery captures these contrasts well and sure early in the song you hear the ghost of Leonard Cohen haunting his style but as the song progresses and his wailing bursts in singing the late song chorus gives it a different flavor, one more imbued with an immediacy that elevates the song beyond a merely good singer-songwriter in the bluesy folk vein of today into something more mysterious when paired with the vivid poetry of the song’s lyrics that make it feel like watching one of William Friedkin’s Los Angeles movies do or if Jim Jarmusch did an entire movie set in the City of Angels. It hits as unexpectedly cool and uncommonly observant while giving you the language to describe social dynamics in fresh and creative ways. Lines like “You were so angry at the laughing stock downtown/Stumbling zombie on the edge of the freeway/You call the police, they say they’re on the way/But you can’t pull over” and “Double back flip off the new glass tower downtown/Is that you they found? Is that your enemy?/Is that the friend you always meant to be?” capture such a specific emotional space while grounding it in a specificity of place it invokes the familiar while inducing new ways to think about places you’ve been physically and psychologically. Watch the video for “Coconut In The Street” on YouTube and follow Isaac Watters at the links below.

Isaac Watters on Facebook

Isaac Watters on Twitter

Isaac Watters on Instagram

johnisaacwatters.com

Suzy Callahan’s Poignantly Delicate “Out of Proportion” Captures that Moment When You Feel Like You Can’t Hold Back the Uncomfortable Truth Anymore

Suzy Callahan speaks for everyone that has experienced a prolonged period of anxiety in her song “Out of Proportion.” The delicate and detailed guitar work help to soften the impact of some of the most poignant and painfully familiar scenarios of self-sabotage ever heard in a song without downplaying the experience. Nothing too brutal just the sorts of things that can happen when you’re expressing your truth and maybe it’s a little too intense for people and maybe you have a hard time gauging when it is in the expression of your feelings. And yet, how many of us have had to go through life feeling like we’ve had to exist in social spaces where you can’t be real and you have to be tightly buttoned up like you’re a character on some TV show where everyone is prim and proper and life isn’t like that and sometimes you can be a wreck or a mess and just need the understanding to get through that and the leeway to be human because not having that is often what leads to neurotic behavior to begin with. When Callahan sings the lines “Didn’t know what to say/So I said something strange/Soon as it came out of my mouth, phew/Everything went south” and then into the chorus of “Blown out/out of proportion/out of proportion” it truly captures a moment most of us have experienced at one point or another because when you have to bottle it all in sometimes it comes out all wrong even if it’s honest yet maybe it had to be said. Listen to “Out of Proportion” on Spotify and follow Suzy Callahan at the links below.

Suzy Callahan, photo courtesy the artist

Suzy Callahan on TikTok

Suzy Callahan on YouTube

Suzy Callahan on Twitter

Suzy Callahan on Bandcamp

Suzy Callahan on Instagram

Corey Gulkin Steps Out of Impostor Syndrome Into Full-Fledged Creative Power in the Video for “Raya”

The music video for Corey Gulkin’s song “Raya” seems to make more explicit the themes of the song of cultivating one’s own identity and leaning on your social circles some to help define that. The song itself is a masterful use of quiet dynamics and rapid builds to express an upswing of emotion and confidence and then back into contemplative passages. Early in the video Gulkin is given a set of clothes for performance that seem too big but as the song progresses and ascends in tone and energy perhaps early feelings of impostor syndrome fall away as the songwriter embraces the lessons of becoming the artist they’ve always wanted to become and the performance garb becomes part of the art rather than something to simply grow into. Fans of the more recent Lower Dens albums will appreciate the fantastic orchestration of sounds and moods and the creative ambition of the song particularly as embodied in the music video directed, shot and edited by Adrienne McLaren. Watch that video on YouTube, follow Corey Gulkin at the links below and look out for the new full-length album Half Moon due October 6, 2023.

Corey Gulkin on Instagram

Corey Gulkin on Bandcamp

Emily Manuel’s Art Folk Title Track to Her Live Forever EP is an Exploration of a Relationship in a Hurry

Emily Manuel’s ambitious art rock and chamber pop song “Live Forever” finds the songwriter orchestrating string sounds, piano and creative vocal rhythms that seem paced more intuitively in tandem with the instrumentation. There is a melancholic cast to the song rimmed with bell tones in the end appropriate to a song that seems to be about a relationship that is being pushed too fast toward an early resolution and an undertone of resignation with the inevitable. There is no drama, no agony here, rather a mature assessment of the ephemeral nature of some relationships and how there can be some joy there even though you can tell it won’t be lasting and wasn’t meant to be in order for it to have been worthwhile. One might consider it sort of a modern art folk song but one with shades of early Tori Amos and late 80s Kate Bush with an undeniable sense of mystery that lends it a compelling allure from beginning to end. Listen to “Live Forever” and the rest of the EP of the same name on Spotify and follow Denver-based artist Emily Manuel on Instagram.

Advika’s Introspective Layers of Melody on “Come Back to Earth” Cushion the Blow of a Prolonged Break-Up With a Spirit of Acceptance

Advika’s use of an exquisite field of electronic tones and steady percussion on her song “Come Back to Earth” imbues the song with a deep sense of longing and introspection. It begins with a slow pulse that builds into a full-fledged constellation of sounds as the vocals tell a kind of tale that uses the metaphor of space exploration as a deft metaphor for distance and alienation in a relationship as each person develops in different directions. Musically the ethereal swells and crystalline string arrangements and layers of synth and vocals create a mood of regretful yet comfortable acceptance and a sense of having moved on to life’s next big adventure. Listen to “Come Back to Earth” on Spotify and follow Advika at the links below.

Sea Lemon’s Starkly Creepy Video for “Cellar” is the Perfect Vehicle for a Gorgeously Expansive Shoegaze Song About a Fascination With the Aesthetics of Modern Horror Cinema

The music video for Sea Lemon’s new single “Cellar” (from the forthcoming EP Stop at Nothing due out August 25, 2023 via Luminelle Recordings) is probably going to be unsettling and creepy for some but anyone that’s been an aficionado of modern and classic horror say something in the better end of found footage and/or A24 for how that form of cinema can be so compelling and emotionally stimulating will appreciate the haunting minimalism of what is presumably the artist standing on a roof clad in a long white dress, arm-length, red gloves, under a light gray overcast sky with very little going on but the tension of expectation is sustained until the end. The lyrics enhance this unusual and spooky imagery with words about asking if someone wants to “see something that feels so wrong” and about the cellar being where she belongs, and being told she’s off. Then about wondering if someone would want to own a home with a public record of a killer’s association with the the place. And then the chorus of “So I say/sometimes I imitate/yesterday/thingsthat make me afraid.” But the music is so ethereal and gorgeously billowy and entrancingly melodic with textural distortion giving it an element of grit it’s almost a contrast with the subject matter overall giving one a sense of the absurd which is the appeal of a lot of horror and how some of the most horrifying films can be seen as super dark comedy given the right frame of mind not to mention the aforementioned ability of horror films to go beyond standard cinematic fare in provoking thought and feeling because it has to operate in transgressive ways with stories that cross outside of easy mainstream marketing with imagery that leaves a strong impression. There is a compelling beauty to the best and most transcendent of horror films and it is that strange alchemy at work in this Sea Lemon song and its attendant visual presentation shot and edited by songwriter Natalie Lew and Abe Poultridge. Lew and Poultridge tap precisely into what certain fans of music and dark cinema will find exactly to their liking. Masterful. Watch said video on YouTube and follow Sea Lemon aka Natalie Lew at the links provided.

Sea Lemon on Instagram

Eydís Evensen’s Warmly Introspective “Dreaming of Light” Evokes the Tranquility of the Mind On the Border of Wakefulness

Eydís Evensen, photo courtesy the artist

Noteworthy modern classical artist Eydís Evensen debuts as a vocalist for “Dreaming of Light” from her second album The Light (released May 26, 2023 on Sony/XXIM) and adds another layer of elegantly rendered, warmly introspective atmosphere to her minimalist piano composition. In her performance you can hear an ear for shifting dynamics and tonal accents to suggest a gentle swell of emotion and a subtle yearning for an illumination of feeling. The lyrics in Icelandic are in perfect sync with Evensen’s evocative and almost percussive piano work and draw one in immediately to the quietly joyous mood of the song. In the music video we see the artist in a spacious room lit with soft spotlights interspersed with with views of a landscape near dawn and/or sunset, highlighting the liminal aesthetic of the song with the mind resting on the border between sleep and wakefulness. Watch the video for “Dreaming of Light” on YouTube and follow Eydís Evensen at the links below.

Eydís Evensen on Facebook

Eydís Evensen on Twitter

Eydís Evensen on Instagram

eydis-evensen.com

Cydnee with a C’s “Don’t We Always” is a Deeply Affectionate Love Song in a Charmingly Glitchy and Hyperpop Mode

Cydnee with a C, photo courtesy the artist

The harp sounds in the introduction to Cydnee with a C’s “Don’t We Always” sets the mood for an upbeat song with a fragile delicacy. The vocals are almost falsetto in character and border on hyperpop except there isn’t the hint of pitch shifting or autotune in the processing. Rather, the song feels very raw and wide open in its vulnerability. It brings together what might in another style of music be called indie folk with glitchy electronic pop and a low key glitchcore beat. And the effect is one of expressing expertly and subtly affection and love for someone with whom you have an uncommonly intimate connection. Many if not most love songs are corny but here Cydnee with a C bypasses the tropes and platitudes and roots her words in everyday experiences we often take for granted but which are the foundations of a lasting and real love that doesn’t need the melodramatic overtures. Listen to “Don’t We Always” on Spotify and follow Cydnee with a C at the links below.

Cydnee with a C on TikTok

Cydnee with a C on YouTube

Cydnee with a C on Instagram

A Deep Sense of Tranquility and Contentment Pervades elshuffles’ Ambient Techno Track “months of electronic dreams”

An immediate sense of warmth and granular tone sets the mood from the beginning of elshuffles’ “months of electronic dreams.” White noise, tape hiss, however it was accomplished lends an analog quality to a track that goes on to provide impressionistic, minimal techno melodies and percussive arpeggios over an abstractly melodic drone that pulses in the background and settles down into a flowing wash at points. And all along there’s a sense of movement that pulls the song out of the earlier, dreamlike haze into passages of tranquil clarity. The title of the song suggests the vibe in general of compressing those feelings into a song just over four minutes long but in the dream state time is an illusion and one can experience it all in capsule or in the expanded sense of consciousness and retain the little joys and deep sense of peace the song offers beginning to end. Listen to “months of electronic dreams” on Spotify.

With “Latent Misanthropy” The White Mare Gives Voice to the Collective Neglect of Archaic Technology

The White Mare, photo courtesy the artist

“Latent Misanthropy” sounds as thought The White Mare has taken the sample of a radio transmission and channeled in various sound sources by tapping into alternative frequencies to craft a haunted work of ambient noise. Swelling, off harmonic drones, white noise, crackling textural sounds, distant alarms, what could be a modem polling for connection, distorted percussive bursts pulsing relentlessly in the end. Maybe in the crafting of the piece field recordings were brought to bear and processed but the net effect is a composition that is both low key anxiety inducing and thrilling in its sustained building of suspense. If archaic communication devices could come into a collective consciousness and communicate the displeasure at their neglect it might sound like this. Listen to “Latent Misanthropy” on Spotify where you can hear the rest of the album The Splitsville Project VII (released May 8, 2023) and follow Australian noise artist The White Mare on Instagram.