WHERE ARTISTS AND FANS BAND TOGETHER.
Frontman Tyler Kern of Take The Name and I were finally able to sit down after both our schedules aligned. We had a blast talking about their latest single “ Save Myself”, their style in the pop punk/emo genre, the history of the band, if Machine Gun Kelly is the flag bearer of pop punk, and so much more.
Be sure to checkout their latest single “Save Myself” out now on all streaming platforms (watch below) and pre-save their future release “Low” coming out on April 29th.
Stands On Sapphires are a symphonic rock band coming out of British Colombia. I had the amazing pleasure to chat with them about their independence as a band, producing their own music, no having a drummer, their history and breakdown their latest fan voted music video “ Storm Brewing”
From "Highway Tune" to The Battle At Garden's Gate, Greta Van Fleet has provided an ethereal rock n roll journey.
The journey for Greta Van Fleet began in 2012 in Frankenmuth, Michigan, but they've been in the spotlight since their break-out debut single "Highway Tune'' which celebrated its five year anniversary on March 31st. A demo of "Highway Tune" was featured on HBO's 'Shameless' in January 2017, gaining the band exposure for the first time ever. After its initial single release on March 31, 2017, Loudwire exclusively debuted the music video which features the band as a garage-band aesthetic and introduces the world to lead vocalist Josh Kiszka, guitarist Jake Kiszka, bassist and keyboardist Sam Kiszka and drummer Danny Wagner. The band's first ever EP, Black Smoke Rising, was digitally released April 21 and physically released August 7 via Republic Records and featured album artwork Josh created. The four-track EP featured their first number one "Highway Tune", "Flower Power," "Safari Song," and the title track. In October, "Safari Song" was released as a single and reached number two on the rock charts.
On November 10, the band's double-sided EP featured additional four brand new tracks as well as the previous EP's songs. The brand new EP featured "Edge Of Darkness," Talk On The Street," and two covers - Sam Cooke's "A Change Is Gonna Come," and Fairport Convention's "Meet On The Ledge." From The Fires reached number 36 on US Billboard 200, number four on Billboard's US Top Rock Albums, and number one on Billboard's US Top Hard Rock albums. From The Fires title and album artwork was inspired by the band's childhood camping trips. Josh states, "Our extended families and friends spent part of every summer at a place called Yankee Springs. We were out in the middle of the woods and every night we'd sit around the campfire, play music and tell stories. And that's what inspired the title and artwork." As of August 2019, From The Fires sold 500,000 copies in the US, becoming certified gold. Although From The Fires gained the band a tremendous amount of success, it was only the beginning…
Greta Van Fleet was on their way to their top due to From The Fires outstanding success and stars such as Elton John were noticing there was a rock revival happening. The band was contacted personally by Elton when he invited them to his Aids Foundation Oscar Party, where the two artists collaborated onstage for Elton’s “Saturday’s Alright For Fighting” and GVF’s “You’re The One.” The event gained the band more success and respect with a nod from Sir Elton John.
“When The Curtain Falls” began the next era for Greta Van Fleet, being released as a single on July 17, 2018. Peaking at number nine on Billboard’s US Hot Rock + Alternative Songs, and reaching number one on Billboard’s Mainstream Rock Charts, the track became an instant fan-favorite, as it was performed prior to its release. The single was also featured in video games such as NHL ‘19 and MLB The Show ‘19. The band performed the track on The Tonight Show With Jimmy Fallon who praised them and noted they received a standing ovation. The vertical music video features the band plugging into rocks in the desert of California, with Jake physically plugging his guitar into a rock. Presenting themselves with hippie vibes as day turns into night with a purple night sky aesthetic, the bridge is enough to take you into transcendental escapism.
Following the release of “When The Curtain Falls,” was the announcement of Greta Van Fleet’s debut album, “Anthem Of The Peaceful Army” on September 6, 2018. Along with the announcement came highly-anticipated fan favorite “Watching Over,” which was performed live for years. Following the single release came another round of singles including “Lover, Leaver”, “Anthem” and their fourth number one-hit “You’re The One.” “You’re The One” is the earliest track on ATOPA, written in 2013 “inspired by 1960s folk music taking inspirations from Bob Dylan, Joni Mitchell and Joan Baez.”, Jake states on the song. The song is essentially a fan-favorite ballad and was performed during the band’s appearance on Saturday Night Live, along with “Black Smoke Rising.” On October 18, GVF released a promotional track for the album “Age Of Man,” but with a twist - you could only listen to it if you were in a park. If you traveled to a park, you were presented with a link in order to listen to the song. The band wanted you to be in nature as you embraced the track. On October 19, 2018 Anthem Of The Peaceful Army was yours to hold forever as it sold 87,000 copies in its debut week and reached number one on Billboard’s Top US Rock Albums.
2019 was the year Greta Van Fleet headlined world tours, played festivals overseas and even headlined their own arena tour. Everyone wanted a piece and glimpse of their magic as they expressed their love for fans on their March Of The Peaceful Army Tour. Throwing white roses to the crowd at the beginning of every show, performing covers of classic songs such as The Troggs’ “Wild Thing” and Cream’s “White Room” amongst others, GVF had the world in their hands and held fans close at life before the pandemic had ended so perfectly.
Although the band was quiet for most of 2020, October held a new era for the band as they released their fifth number one hit, “My Way, Soon.” Preparing fans by sending out previously taken performance photos with numbers and parts of letters on the back, the band anxiously awaited their new era. “My Way, Soon” graced fans with a GVF comeback of choosing the road, living your life and taking risks. The song was much needed and reminisced on touring life as well as performing for fans around the world. The visual for the single featured clips from the band’s collection of footage filmed on super 8 in which they edited and created themselves.
“Age Of Machine” dropped in December along with the announcement of GVF’s sophomore album, The Battle At Garden’s Gate. The announcement also featured a mysterious and breathtaking music video for the new single that captured the essence of society manipulation and wanting to break free. Greta Van Fleet is known to be silent during the winter months, but in February 2021, “Heat Above” was released and would change the GVF world forever. What was once a tune performed countless times in their salad days instantly became the band’s fifth #1 hit. On April 16, Greta Van Fleet introduced their cinematic world of The Battle At Garden’s Gate highlighting key tracks “Broken Bells,” “Light My Love,” “The Barbarians” and “The Weight Of Dreams.” The album debuted at number 7 on the US Billboard 200 and hit number 1 on Billboard’s Top Rock Albums. Selling double of what was expected, the band was once again humbled by their fan’s exceptional amount of gratitude.
While everyone was still reveling in all the glory of TBAGG, Greta Van Fleet announced they were performing their first shows since the pandemic in select cities. Not only were these special shows in select cities, they also raised the stakes by brewing their own beer. In each city, a local brewery collaborated with the band to grasp the taste of IPA with specially designed beer cans as collectibles to hold forever. Selling out each individual show in Nashville, Bridgeport, Chicago and Los Angeles, it was like nothing you’d ever seen before in your life. It was as if the band was reintroducing themselves and rebirthing. Fans who have been reveling in concerts for five decades stating that was the greatest concert they’d been to, friends reuniting and meeting for the first time, the peaceful army gravitating towards the band to welcome them home.
There’s nothing like being at a Greta Van Fleet show in general, but there’s something even more special to welcome them back to where they belong for their very first show back. Having the pleasure of seeing the band at their return show since the pandemic and first show of Dreams In Gold, was an absolute honor. The energy levels are higher than expected and everyone feels infatuated with what they put so much love and effort into. Greta Van Fleet has created an entire universe filled with peace, love, acceptance and more. Although times are tough, concerts have been postponed, plans have changed, we will overcome.
“The only fun that must be had is too much. People need people. Enjoy all of it. Always. And remember that all you have is special.” - Josh Kiszka
Greta Van Fleet have kicked off their 2022 Dreams in Gold tour with 3 stops in their home state of Michigan to hordes of enthusiastic fans traveling in from all over the country. With their intended five-show run cut short due to illness, it’s safe to say that their hometown show in Saginaw was their most electrifying of the three, but remember, it’s Greta Van Fleet we’re talking about – even if they played the whole show sitting down, it would still be one of the best shows you’ve ever seen.
Having seen them live in Grand Rapids the night before, there was something in the air in Saginaw that made this hometown show different. GVF were on fire in a way I hadn’t yet seen before, fueled by the hometown hero energy that filled the Dow Event Center and the thousands of screaming fans that couldn’t get enough of what they were seeing.
There was a confidence to all four rockers that was unlike any other, and that confidence was well-deserved. The last time the band played this venue in Saginaw, they were opening for the legendary Bob Seger and his Silver Bullet Band. It was quite the full circle moment, and the band acknowledged as much on stage. Despite not being from Michigan myself, I couldn’t help but beam with pride at how far they’ve come since then. They played their hearts out, interacting with each other and with fans with smiling faces for the duration of their two-hour set. It was one of the best shows I have ever seen.
Of course, one of the most important things about a Greta Van Fleet live show is getting there early to see the opening acts that the band hand selects. An immediate fan favorite from the start of the tour was The Velveteers, and rightfully so. They managed to give the room a full and cohesive rock show in their 6-song set, leaving everything they had on that stage. In true GVF-fan fashion, it became clear that many of us had listened to their stuff ahead of the tour. I noticed people all around the venue singing along to Charmer and the Snake. I’d hazard a guess that many would say the highlight of their set is the moment where Baby, the band’s always well-dressed drummer, drops down right in front of the pit and places a drum in a fan’s hands, beating away while the pit screams. They were loud, they captivated the crowd, they were rock ‘n’ roll.
Rival Sons also didn’t disappoint. Having been around a few years longer than GVF, it was such fun to see this already-established band being introduced to a new audience. I’ve heard many people talking about how much they ended up liking these guys. The power of Jay Buchanan’s live vocals cannot be disputed, and the band demonstrated a cohesiveness you might only expect from a band who’d been together for several decades. They know what they’re doing, and they do it well. What was especially fun about their set in Saginaw was that with just a few songs left in their set, the lights went out. Being the professionals they are, they kept going, and GVF fans in the first several rows of the pit pulled out their phones and lit the rest of the set. It’s a surreal kind of moment, watching musicians and music fans come together to make the most out of a wild situation. You could tell Rival Sons appreciated the love, and the fans appreciated the rock.
Greta Van Fleet are nothing if not cinematic, and their tour intro was truly straight out of a movie. It doesn’t begin when the lights drop; no, just as with the Strange Horizons tour, the room is first flooded with a Jethro Tull tune, Reasons for Waiting. Fans who were around during the last tour know exactly what that song precedes, and you can feel the energy in the room shift when that tune begins as a result. People grow less focused on their phones or their friends and shift their attention to the big black curtain still hiding the stage from view. The song ends, and energy is high. At this point, everyone knows that the show they’ve waited months for is about to begin. Low instrumental music slowly begins to swell, and when it reaches its peak, the lights cut out and the arena erupts with screams. All focus goes to that big black curtain, Josh Kiszka’s wail from The Weight of Dreams fills the air, a gorgeous instrumental begins, and Josh’s speaking voice floods the arena.
All across the world we travel wayward for in search of things to hold.
I’ve asked in moments filled with doubt, and this is what I’m told:
That living is in itself a constant celebration of love
And where there is love, we will live on,
And where there is not love, we must provide it.
Peace is not for purchase, it’s a state of being.
Exercise the responsibility of freedom.
We are prisoners of freedom.
Age doesn’t change the person within. It is the person within that changes with age.
Death should not be a way of life, it is only part of it.
Letting go is the only thing we will never understand.
The only fun that must be had is too much.
People need people.
Enjoy all of it, always, and remember that all you have is special.
Love doesn’t leave when we fade away.
All across the world we travel wayward for in search of things to hold.
And in the end we will spend
The weight of dreams in gold.
With every word the moment starts to feel more real and the energy only grows higher. As he delivers the tour tagline, the band behind the curtain starts the opening song, and anxiety and excitement build. The beat kicks in, and the curtain is dropped in an explosive moment of screams and ecstasy. There they are, the band people traveled all across the country for, the band people set up camp outside all day for. It is the moment that people will go home and tell all their friends about.
Well, that’s how it’s supposed to go. Fans who attended the Saginaw show got something a bit different, but still every bit as exciting. Everything went off without a hitch; Josh’s voice filled the arena, energy was high, everything was exactly how it was intended, until the intro audio suddenly cut out. I’ve never heard such a collective exclamation from a crowd until that night. I don’t think there was a soul in the room who didn’t react. But Greta Van Fleet being Greta Van Fleet didn’t miss a beat, starting up Heat Above anyway, with Josh addressing us live from behind the curtain.
“I love a good intro, but sometimes we’re edging too much. We gotta get this damn curtain down and do the thing, man!”
Turning a misfire into a cool story to tell your friends who weren’t at the show is something Greta Van Fleet excel at, and by the end of the night, missing that show intro was almost completely forgotten.
No band has ever had the emotional impact on me that Greta Van Fleet has had, and I’ve never been so affected by a live show as I was on this chilly Michigan night. The show in Saginaw was my fifth Greta Van Fleet show and by far the most cathartic. It was a beautiful night of tears and screams and release. What I’ll never get over is Josh standing on that stage talking about release, as though he knew just how impactful this night was for me. Clearly I wasn’t alone in my need for the cathartic release this show provided.
I found myself connecting with songs in ways I hadn’t previously, and I found myself in tears more often than I usually do at GVF shows. They have a way of breaking down those walls and situating themselves comfortably in the hearts of their audience, and their live show is where this is felt especially. A GVF live show for a GVF superfan is like finally coming home after one of the hardest weeks of your life. There’s a relief and release to the experience of their music washing over you that few other bands could even hope to recreate.
Their Saginaw setlist was identical to their second night in LA on last year’s Strange Horizons tour, which was especially a treat for those of us in the crowd who didn’t find ourselves in LA but did find ourselves endlessly envious of the show they received. The highlight for my friend group? Lover, Leaver, Taker, Believer, in its nearly 30-minute glory, and all the fun intertwined throughout. In fact, there exists a very unfortunate video in which you can hear my full-throttle screams when they launched into their That’s All Right cover smack dab in the middle of the magic.
Greta Van Fleet balance their setlists perfectly, switching them up show-by-show to ensure that every city gets a different show (those of us who travel to multiple shows on a single tour appreciate that too!), and creating the ideal blend of both their older and newer catalogue, with all of their full-length releases represented. There’s good reason for them to make sure everything is represented fairly: fans know the words to every single song, and in almost every video you’ll find from Saginaw you can hear the roar of the crowd singing every note almost as loud as Josh.
Dreams in Gold feels like Strange Horizons’ older brother. The stage setup is similar, but bigger. Thus far, the setlists appear to match those from the four Strange Horizons cities. It’s evident that Dreams in Gold is a continuation and not an abandonment. It’s bigger, it’s more dramatic, it’s somehow even more energetic, there’s fire – it’s a production, but it doesn’t take away from the music. Their music is cinematic, and it’s meant to be listened to loud. The production they have created honors and showcases that in a beautiful, hypnotic way. Despite having been several rows back in the pit, I wasn’t distracted by the people around me. I was borderline physically incapable of looking away from that stage. They had control over every pair of eyes in that room in a way that only they could. It was like we were in another world.
If I’m being honest, what was most special about this show, above all else, was how all of my friends and I walked away feeling fulfilled and renewed. I journeyed up to Michigan to meet up with my friends from the Midwest, the South, and New England who all found ourselves in the same group chat last summer. It was the first time we were all six meeting as a cohesive group in person, and it was GVF who brought us together in the first place. We found ourselves split off as the show began, some of us in the back of the pit and others together closer to the middle of the pit, but somehow it still felt like we all spent the night side by side. There wasn’t a single one of us who walked away from that show feeling sad; we were all on the same high. So much laughter and love was shared in the Dow Event Center lobby, and it’s something I’ll never forget.
There’s still so much more Dreams in Gold to come. Due to illness postponing the remainder of the spring shows, Dreams in Gold will continue starting in May in South America, with a plethora of European and US dates taking place in the summer and fall. If you’ve ever given an ounce of thought to seeing these guys live, let this be the push you need to finally buy the tickets. Take it from me, I’m five shows deep, and I’m not stopping any time soon.
“All across the world we travel wayward for in search of things to hold, and in the end, we will spend the weight of dreams in gold.” Though we didn’t get to hear this line in its entirety, it still takes me right back to the pit floor, moments before that curtain dropped, and it gives me chills.
EDITOR’S NOTE: The BANDED team wishes Jake and the rest of the GVF crew a healthy, safe, and quick recovery! We’re look forward to your valiant return to the stage!
Legendary guitarist Sin Quirin, who has had two grammy nominations and a 15 year career with Ministry, has formed a new project called SIGLOS and have just released their debut single POR LOS SIGLOS
I sat down via Zoom with this iconic shredder to talk about his new musical career, what it means to him, the current status of the music industry and more.
Checkout their debut single POR LOS SIGLOS now!
Reintroducing the late ‘70s into the 21st century. ‘Til It’s Dark Outside,’ independently released on October 16, 2020, is the story-based debut studio album from Elizabeth Woolf, a budding Los Angeles, California grown singer-songwriter. Wise beyond her years and at the peak of her songstress game, Woolf grew up singing along to early Frank Sinatra records in the backseat of her mother’s gray minivan. She has since found her voice with those high belted notes while tracing back childhood. Sara Bareilles and Bon Iver are heard on the radio from a sobbing driver’s seat section of her father’s hand me down vehicle. However, fusing these influences into a sound of her own wasn’t until she attended University of California, Berkeley, where she became close friends with musical artist Lorenzo Loera (of The California Honeydrops), who introduced her to the album, “Songs In The Keys Of Life.”
“We would all jam together,” says Woolf, “and Lolo would send me lots of music recommendations - mostly Stevie Wonder. Stevie’s music is so inventive and fun! It inspired me to start singing at the Thursday night “Funk Night” jam at a local bar in Oakland.”
Like the ‘70s, where we saw the rise of smooth and sultry to downright funky. All your favorite disco, funk, smooth jazz, jazz fusion, and soul music made popular throughout that decade. Woolf, arguably this generation’s Nicolette Larson continues to build a sound that felt familiar, a nostalgic chapter in recreating a coming of age story, where a string of songs surrounded change, love, heartbreak, adventure, and the fumblings of your early twenties.
Showcasing a sweet, honey like vocal offering, gentle and pleasant, yet moody and melancholic, the titled debut record single, ‘Til It’s Dark Outside’ resonates with the memory of growing up in the sweetest time to be alive, an innocent era that transitioned between childhood and adulthood.
“It was a special moment of togetherness for my friends and I” she expresses, “and a memory I cherish. I decided to write lyrics for the rest of the song, and tell the story of my friendship with Harry, as we navigate the ups and downs of our emerging adulthood. In essence, is what the record feels like to me.”
‘Valencia Street,’ a city where “the very best kisses are the last of their kind.” That piece of lyric couldn’t be more true as we’ve all been there. This playfully quaint groove emits a smooth jazzy, folklike luring feel. The uniquely charming and honest storytelling is all about exploring a personal reflection seeking closure in the aftermath from a messy, past relationship. Woolf admits, “I was feeling lost and confused. Suddenly, I found myself walking familiar streets in San Francisco, as if it were a time machine. I saw memories flash before my eyes of wonderful romantic moments shared, paired with the bittersweet reality that those moments would never happen again.”
If there’s an urgency to say ‘Goodbye Old Friend’ (as the title depicts of Woolf’s experience in London), then letting go of a friendship that’s no longer aiding in mutual growth is only best to leave behind those and move forward in becoming who we are meant to be and letting go of who we once were.
Til It’s Dark Outside has sprung out to be a stunning, thoughtfully crafted masterpiece of a debuting wholesome wildflower; an ode to repressed memories, deliverance, growing up, and figuring things out in the company of good friendships and cherished memories. Singing along to the musical horn lines with a giddying smile, Elizabeth Woolf made us feel soothed, welcomed, and comforted. Even when we didn’t realize we needed comforting.
Not many people realize it, but fangirls play an important part in the music industry. I know people think of fangirls as overzealous, emotional, and dare I say it “Crazy”. As well as other words. However, there’s a side of fangirls that people don’t realize or don’t pay attention to: It’s the fact that they can help with an artist/band’s following.
You can be a fangirl and work in the music industry - whether it’s in music marketing, A&R, music journalism, radio, etc.
I’ve had my fair share of fangirling over different musicians all my life. In elementary school; it was Hilary Duff, The Jonas Brothers, Avril Lavigne, and Miley Cyrus. In middle school; it was Paramore, Linkin Park, Death Cab for Cutie, Flyleaf, Evanescence, The Runaways, Breaking Benjamin, Joan Jett, Mayday Parade, Vampire Weekend, Fall Out Boy, etc.
In high school; it was One Direction, Lana Del Rey, Demi Lovato, Lorde, Milky Chance, Cage The Elephant, The 1975, Arctic Monkeys, Marina and The Diamonds, The Black Keys, and plenty of more.
I had dreams of writing during those periods, but was not aware of music journalism until my junior year of high school and years later, I accomplished that dream and do you know what I credit? Being a fangirl. I ran a One Direction fan account on Instagram and Twitter back in high school and being a fangirl during that period is what helped me get to where I am now. It was because of the passion I had and still have for the music.
But this isn’t about my story. That was just an example. This is about other fangirls who grew up fangirl-ing over different artists who work in different fields of the industry.
So without further ado - Meet the fangirls, read their stories and learn about what they do.
Stephanie Hernandez | Music Journalist
When I was about 9 years old, I was in the honor choir in elementary school. We learned a little song called "I Want to Hold Your Hand" by the Beatles, and I was instantly hooked. Since then, my entire personality was wrapped up in the Beatles and their contemporaries. In high school, I somehow always managed to weave the Beatles into school projects, essays, and pretty much every facet of my life. I went to tribute concerts, dressed like it was the '60s, and only started dating my first boyfriend because I thought he looked like George Harrison.
I moved from Houston, TX to London under the guise of a scholarship to pursue my undergraduate degree - but it was really to be close to the spaces my favorite bands were around in their heyday. Over the summers, I got a job at the Beatles Story museum in Liverpool, where I had the opportunity to talk about my favorite band all day, every day. I spent most of my nights in the Cavern Club, or otherwise involved in the local music scene. My undergraduate dissertation, of course, was all about the Beatles.
I decided to do my Master's degree in London as well, and this is really where I became involved in the music industry through my fandom. I enrolled in an intercollegiate class (at a separate university): "Popular Music and its Critics." This class went through the history of popular music criticism, and required us to write our own piece for 100% of our grade. I wrote about Stevie Nicks' "witchy" persona, and its legacy. On the back of this piece, I began my career. My professor was so impressed by my writing that he advised me to consider writing professionally about music, and introduced me to a few of his contacts in the industry.
For about a year now, I've had bylines at Warner Music UK, Ultimate Classic Rock, Rhino Entertainment, and a few local publications in Liverpool. Presently, I'm doing my PhD in Literature & Music at the University of Liverpool, where I also lecture on musical analysis and criticism.
Ariana Elise | Musician
I grew up in northeast Ohio, home of the Rock n Roll Hall of Fame and several famous musicians / bands.
My father was always a music junkie, and naturally my siblings and I became such as well. We started early with the influences of The Beatles, Jackson 5, Boston, and so on.
So as a child, I remember my first encounter as a fan girl when Hannah Montana (Miley Cyrus) made her debut, and of course my dad wanted me to be as much of a fan as possible. I had every CD, soundtrack, outfits, posters, and anything that was labeled in her brand. Eventually, I became a teenager, and so my attention turned to One Direction; the most chaotic, exciting fan base I’ve ever been apart of. Going to concerts with friends, daydreaming of them falling in love with me, writing fanfictions on wattpad. All my thoughts for a couple years relied solely on a boy and that would never know my name; but I will always remember theirs.
Now when I graduated high school, the fan girl fad in me was pretty much dead due to teenage blues and different focus.
However I began diving into the classic rock music world and my interest was sparking again. I ended up dropping out of college shortly after I started because I just couldn’t figure out what I wanted to do. I’ve always loved music, but I was so shy and didn’t know how to get started or where I could even start so late in the game. I originally went to school for creative writing / poetry, though I didn’t want to just be a writer.
I ended up spending a year at home with my dad, collecting records and being unemployed. I would listen to music from sun up to sun down. I’d research every little bit of information about any band I was listening to and absorb their stories. Every lyric, every melody pieced together a puzzle I’d been trying to finish for years. I wanted to be a musician, I wanted to be a star just like all of them.
I’ve always known I wanted to be something big, and music was always an answer/escape I’d use to make my life have some sort of sense. My poetry turned into songwriting and it clicked.
But I’ve been shy my entire life, and never voiced the fact that Id always sing when no one was around. So, my dad bought me my first Dean acoustic guitar, shortly after I heard “The Chain” demo- I immediately began lessons.
In this time I discovered an up and coming band called Greta Van Fleet, and looking back now; that was a rebirth of my fan girl heart. Getting fired up to see hot, young rockers play some of the most beautiful new music this generation needs has been an absolute pleasure (and an inspiration).
I now live in Nashville, after being a groupie for a band that no longer exists and networking; I reside in a city that has opened so many opportunities for me. I still go to shows, and I still get geeked over bands. But now that I’m playing my own gigs, recording my own music- my perspective on fangirling and the industry has definitely changed.
I have not only major respect for musicians but for bands who are big and have to put up with a lot of slack. You do get the more “wild” fans and people who cross boundaries from time to time. You get annoyed of loud and obnoxious people yelling songs at you and being demanding. It gets so exhausting, until you look at it as a whole. These people are here for YOU and YOU’RE music. They are spending their money to hear YOU sing YOUR songs. They want to be your friends, your fans, and close to a musician. Fangirling can be a lot, and overwhelming at that. But how touching is it to see people love a band so much, that they would do anything in the world to see a show and support them?
I’m blessed to be in a hardworking, tough industry because seeing those faces light up and having that support around you is the most rewarding, fulfilling life I could ever ask for.
Carmela Carr | Writer/Owner of The Generation Clash
When I was a kid, my dad borrowed two Lime Spiders albums and he burned them to our Dell computer and I remember sitting at the computer when he was burning them and I noticed the red/black/orange background of the cover art of Volatile and I knew that it was cool. I always considered Lime Spiders to be my first "cool" band because they weren't anything like the music my friends listened to.
My love for music comes from growing up in a house where music was always playing. Midnight Oil, ELO, Jughead, Maroon 5, Kiss, I heard it all when I was little. As I got older, I joined Tumblr and discovered Spotify and I started creating playlists. Eventually, this led to me creating the original website for Generation Clash on Tumblr because it was a platform that I always shared the music I loved, except now I was writing articles and making graphics and it wasn't a hobby, it was a career. I'm a music journalist now, but I was an enthusiastic fan first. Without my passion for music, GenClash wouldn't exist.
Sara Brown | Music Journalist
It’s safe to say it all started when I was 12 years old. I’d loved musicians before, but I think the combination of my age, the musicians I was fascinated with, and my lack of internet access at the time was what kept me from crossing that “fangirl” threshold.
When I discovered Hunter Hayes at the age of 12, that all changed. I don’t remember how it all went down, truthfully. I remember discovering his music, and the next thing I know, I’m running a stan Twitter and Instagram account.
It was around this same time that I began to think about what I wanted to do with my life. I had grown fascinated with Nashville and the idea of studying music business – I was so sure that I was going to go to school at Belmont University and pursue that. I didn’t know what I wanted to do specifically, but I wanted to be involved.
Time goes by, I eventually abandon my Hunter Hayes stan accounts (the negative of fandom reared its ugly head), I discover and fall in love with new artists, I progress through my undergraduate degree, and I start to realize that I miss music. I’m producing a radio show, but with my impending graduation, I know that it’s coming to an end, and then I’ll have nothing connecting me to that world anymore. I was terrified that my foot was being shoved out the door.
I first connected with Baylee through Facebook. For whatever reason (I’ve never asked!), she friend-requested me, and having recognized her from the comment section of a band on Instagram, I accepted, and followed her on Instagram. I started seeing posts from her about something called Banded, and at first, I didn’t give it much thought – it just wasn’t something I considered for myself. As my life began to get more chaotic, with the question of whether or not I’d get into graduate school looming over me, the stress of writing a thesis and completing my last semester of coursework, and running an undergraduate club, I subconsciously was looking for something that would last beyond my last semester. I truthfully don’t remember what it was that lit the fire under me, or how I ended up on the Banded website looking at the form to submit to become a contributor, but there I was. I hesitated for the longest time, afraid I didn’t have the time to do it, but a song that had fueled my life ever since I first heard it in 2019 popped into my head.
It’s funny, I’ve written about this song for Banded – quite the full circle moment. “Waiting for Life to Begin” by The Shelters inspires me in ways most of the songs I love haven’t been able to touch.
I don’t have enough time. It’s something you want to do; you can make time. I’m not a good enough writer for this. Who ever said that? Learn from the other contributors and develop your skills as you go. No time for self-doubt. Knowing that the musicians could see what I write freaks me out, not to mention maybe getting into interviews. Get outside of your comfort zone, it’s good for you. I’m not ready. When will you ever really be ready for anything? If you wait until you’re ready, it’ll be too late. This opportunity is in front of you now. Take it.
Life was happening and opportunities were presenting themselves in that moment, regardless of whether or not I was ready. I could be scared, or I could follow the advice of that Shelters song and go for it. It was because I’m a fangirl that I made that leap to industry.
Not only is my story one of going from fangirl to industry; it is BECAUSE I’m a fangirl that I got into industry.
My fangirl/industry story is very intertwined within itself. Being a fangirl led me to industry, and being part of the music industry has led me to new fangirl experiences. These two things feed each other.
Kristal Terrell | Digital Marketing at MTV
My first fangirl is experience was helping my friend, Vivian run her account @JustinCrew back in 2011. Eventually I became a co-owner of the Instagram (170k+ followers) and Twitter account (1+ million followers). Being a fan of Justin Bieber helped to define me as a fangirl — it introduced me to other fans turned professionals, seeing what jobs were available in the industry, etc.
Being a fangirl helped to land me the job I have now with MTV. On both my cover letter, I shared how being a fangirl prepared me for the role and it was something that my team mentioned help me to stand out. Because fans understand fans and speak the language!
Emily Jade | Music Photographer, Journalist, and Editor
I’d probably say my first experience was when I became a fan of All Time Low back when I was 13. Helped me through a real rough patch of my life and I was lucky enough to meet them when I was 16.
I’m a music photographer, journalist and editor of a magazine. My love for music and bands gave me the passionI needed to really give me everything I have to what I do, it’s the reason I got into music photography as I loved it but wanted to add my love for music into the mix too!
Kiki Gilligan| BANDED Writer and Music Influencer
I like to think of my journey as a fangirl in stages; the seed being planted into my personality from a very young age. The first time I deeply invested in an artist was in my single digits, easily, and it was none other than Michael Jackson. I remember my best friend's mom sitting us down in front of the computer and showing us the Thriller music video, and while my friend was terrified, I was instantly hooked. I went home and spun my mother’s original pressing of the album daily, studied the choreography in his videos, and the fantasy of the legendary MJ coming to visit me one day while I was sick in my hospital bedroom, as he would for many other ill children, quickly became a dream of mine.
When he passed away, my parents referred to me as the most emotional 9-year-old they had ever known, as I went and cried in my shower for what had to be at least a half hour, (and now in retrospect as a 21-year-old looking back, the fact I did shed so many tears over a man I had never known makes me giggle, but he truly meant so much to me and my creativity). My love for the King of Pop though steered me down a road of dedication to the art form that has always meant the most to me: music.
The first time I was able to express to musicians their power in the art they share with the world, and what I would believe to be the moment I truly identified with the title of being a fangirl was when I was 14 years old. I was teased in middle and high school day in and day out for loving R5, a five-piece family band with frontman Ross Lynch, who starred on the Disney Channel series Austin & Ally. Nobody’s words could diminish my love for those five sweethearts that decorated my early teenage bedroom, and the group I forced all my nurses to listen to with me during my annual hospital stays as a kid. One trip to see the group, though, resulted in a night I will never forget. Prior to the gig I managed to make my way to the meet & greet and get my picture with the band. Upon my arrival, following their down to earth hugs and getting our picture taken together, I looked at Ross and his bandmates as they all appeared like skyscrapers to me, (my five foot tall behind was a nugget standing next to these men towering over me at LEAST six feet tall and Rydel in massive gorgeous boots) and started spewing out gratitude. Thanking them for being there for me when they never knew and during some of my hardest days. I was able to let them know just how much they meant to me, and all those times I had hung up their pictures on my hospital bedroom walls, and the ones at home too. I’ll never forget Ross shining his electrifying smile and telling me I was “so cool,” and Rydel, teary eyed, demanding that I give her another hug. After those ten minutes with the band I knew I wanted a lifetime full of moments just like that one.
My next move is to continue my place here on BANDED PR, to expand my social media networking and TO KEEP SHOWING UP! The best way to be a fangirl, and just a fan of music in general is to show up and do your part in showing your support. I’m pursuing a life of endlessly choosing the road and inner happiness, and I want to inspire other people that despite the curveballs life throws at us and despite any ailment or obstacle in our way, we ALL can live a life that we’re proud of.
Jasmine Zade | Music Business Student and YouTuber
My first fangirl experience runs really deep for me. In a way that feels mind-blowing, actually, because that very experience ended up acting as a basis for my entire career and large parts of my personality. I was eleven, and stumbled across the boys of One Direction after flipping through J-14 magazines for collage pieces, and they ended up being my safe space for years to come. This is what reminds me that the butterfly effect is truly beyond me because that one decision to cut out their pictures from the magazine led me to researching them online, then learning about them, falling in love with them, and then framing what felt like my whole life around that culture. Fandom culture.
I spent all my free time running fan accounts for One Direction, reading stories about them, making drawings to hang in my room, even staying up late to watch livestreams of their tour shows and post live updates on social media. Some of my most prominent teenage memories are going to the mall with my friends to see their cardboard cutouts, crying over concert tickets, and going to watch their film in theaters over and over; dressed like a One Direction fan would. There’s not a single doubt in me that growing up with this band is exactly what defines me as a fangirl, and has taught me valuable lessons about true friendship, community, and new-age music branding and marketing. The One Direction fandom really was its own community with very specific elements that made it a stand-out in the world of music fandoms, especially the amount of detail fans would pay attention to on the management and behind-the-scenes side. Being a One Direction fan meant being analytical, hard-working, supportive, and innovative; it was like a career on its own, and I don’t think many of us realized how important it was until now.
These are the exact things that lead me in the direction of a passion for the music industry and giving a voice to the fangirls like me who do so much for it. I spent about 2 years making YouTube videos about One Direction specifically that gave me an incredible platform and so much support and exposure, and I loved the opportunity to explore my opinions on their management, what made them popular, and the true impact of music-fandom culture. That YouTube channel just about One Direction made me realize I had a real passion and need for digging into the business side of music and rallying for change in the areas of diversity and male-dominance. I remembered a friend telling me about finishing her Music Business courses at school, so I looked further into the path, and eventually decided I wanted my Bachelor’s to be exactly that. It was a life saver for me to start studying something I cared so much about, and used it almost as an extension of my fangirl heart, and it only went further and further. I began making regular YouTube videos about the music industry and not just One Direction and built up a brand for myself that truly highlighted my music and music pop culture passion. These videos have put me in touch with some incredible people and opportunities that never stop being exciting. Along with studying Music Business I’ve gotten to do street marketing for an American Idol winner, work hand-in-hand with Universal Music on video projects, and even help a string of indie artists find their brand in the industry, and it’s only the beginning. All of these steps I’ve made in my music industry journey, however, truly have boiled back down to my start as a fangirl.
I learned that growing up in the One Direction fandom was actually such a powerful tool in the world of music internships as I settled into my dream of becoming an artist manager. I have valuable, transferable skills because I was a fangirl; like community management, writing, research, audience acquisition, social media, and even some basic marketing. It was really empowering to use these skills and my own, real interests as an authenticity factor to speak to industry professionals and work with small artists. I never want being a fangirl to stop being a part of me and what did everything for me in the first place, and I absolutely hope to inspire many, many more to own how important it is.
Giuliana Jarrin | Various Parts of the Music Industry
My first fangirl experience started when I was about four years old - even younger - and it was Michael Jackson. I just adored him. He was everything to me! I loved his voice, his dance moves. I have lots of memories of his music and watching his videos. I learned how to use my VHS to record his concerts, so it all started from there.
My father used to live in the US, so he used to listen to all of this music in English. I used to always listen to rock music because of him. That’s also how I eventually got into Aerosmith and I remember watching this special on Steven Tyler, and I specifically remember watching him, his outfits, and the way he moved around on stage. When I was 11, I listened to “Jaded” for the first time and that was the moment where I really became a hardcore fan. Something inside of me just exploded and that was a moment where I became super interested about a particular band. If it wasn’t for Aerosmith, I wouldn’t be the kind of fangirl I am today.
I’ve been working with bands since 2008. Little by little, I began to learn that there were people that were actually behind the music and it made me realize that I still could do something because I’m a graphic designer, so I was like, “I could design logos, I can design posters!”
I’ve even done some collaborations with Aerosmith and have made some templates for them and some content, also help their content creator by making some playlists on Spotify, using my fan knowledge!
By being a fangirl, you learn how fans behave. Some of us actually want to work for these bands. They think that fangirls are immature girls who just scream and cry, and that we only want to be next to rockstars. They don’t actually know that we’re professionals who could really elevate their marketing if they used our knowledge and the passion we have because we only want the best for them.
Emily | Social Media and Marketing
I’m a senior finishing up my last semester at university to get my free in Public Relations. I also just wrapped up a digital marketing internship at Crowd Surf and decided to stay with the company after I finished.
Growing up, I was (and still am) a major One Direction fangirl. I’ve followed them since I was twelve, and as a sophomore in high school, I worked on planning fan projects for my shows at stadiums that held almost 43K people. This is what really sparked my love for creating campaigns through social media for artists I love, and now I’ve had the opportunity to do it professionally, doing things I never thought I would do would be able to do for some of my favorite artists of all time.
I even still find time to create fan events as a fan outside of work just for fun, so still being able to balance my life as a fangirl with being a professional now and developing an awesome path towards my dream has been a really cool adventure.
Carla Jara | Video Content Producer
I grew up a huge fangirl of artists like the Jonas Brothers and after university, I got my start in the music industry as a Promo Assistant for a major LA radio station. I worked my way upwards and now, I’m currently a full time Video Content Producer for Audacy, Inc. where I’ve had the opportunity to both film and photograph The Jonas Brothers, bringing it full circle.
The stories that were told by these fantastic women proves one thing - Fangirls are powerful. You may not think so, but the passion we have for the bands and artists we love helps us out in every way possible. Especially when it comes to being a music industry professional. We all have stories; we all have that one band/artist that inspired us so much that it led us to what we do now in the music business.
Fangirls rule the music business.
When I found out one of my all-time favorite bands, Foo Fighters, were going to be releasing and starring in their very own horror flick, I knew instantly I’d have to check it out and write up a review. As a longtime fan of the band, I was thrilled to see them embark on such a unique and ambitious project, yet another accomplishment on their extended roster of impressive feats. Blending music, horror, and comedy, Studio 666, filmed in secret during the pandemic, is a campy, kitschy, fast-paced and brilliant wild ride from start to finish.
From the mastermind that is Dave Grohl, Studio 666 follows the Foo Fighters through their unsettling and supernatural journey moving into a dilapidated Encino mansion steeped in grisly rock history, as the band seeks out an evolved and leveled-up soundscape for recording their highly-anticipated tenth album. Upon moving in, frontman Grohl finds himself grappling with a stubborn case of writer’s block - and blood lust - that threatens both the completion of the album and the lives of the band.
There’s plenty to enjoy about this film. In the opening scene, I was delighted to see recent maven of horror Jenna Ortega make an appearance, as well as Whitney Cummings, Will Forte, Leslie Grossman, and Jeff Garlin, who has been a favorite of mine since his Wizards of Waverly Place days. In addition to the star-studded cast, Studio 666 is chock-full of tongue-in-cheek humor, brotherly digs from the band to one another, and impressive comedic timing. The film boasts great visual effects, and is abundant in blood and gore - which is exactly how I like my movies. I definitely admired the creativity in the script as each band member met their untimely, graphic demise. Be prepared for a hearty belly laugh one minute, and then getting guts shoved in your face the next - as Grohl, possessed by something quite unholy, takes his own album title One By One far too literally.
My favorite moment of the film was when music superstar Lionel Richie popped in for an unexpected, quick, cheeky cameo. I won’t reveal too much, but you’re in for a laugh! In addition, I thought the entirety of the band did a great job with the acting, especially Grohl, who has a bit of a background in acting after his appearance as Satan in Tenacious D’s slapstick musical-comedy The Pick of Destiny. Even drummer Taylor Hawkins, who has admitted he didn’t bother learning the script and instead improvised all his lines, was a treat to watch on screen. For (mostly) first-time actors, the Foos definitely made a good impression.
Fans of metal will enjoy the film’s soundtrack, which features not only a number of Foo Fighters’ greatest hits and deep cuts, but heavy, sludgy material recorded by Foo Fighters’ as their evil, sinister alias, Dream Widow.
Currently, the film holds a modest 55% on Rotten Tomatoes’ Tomatometer, and an 81% audience score. While not favored by critics, fans seem to love Studio 666, further proving my point that the flick was made for the fans and not the critics. With Studio 666, Foo Fighters’ never set out to release a billion-dollar, record-breaking, Oscar-worthy, perfect score cinematic blockbuster, but instead, they created a low-budget, campy slasher movie, where the primary goal is to make the fans happy and let the band go wild and have fun, doing something they’ve never done before. It’s safe to say the band has achieved and surpassed this goal. In conversation with Rolling Stone, Grohl proved this point and spoke further about the film’s inspiration, saying “It’s part The Shining, part Amityville Horror, part Evil Dead. The ‘rock band film’ as a tradition seems to have disappeared…We’re not going for There Will Be Blood. We just want to have fun in that old tradition of rock & roll.”
Studio 666 is in theaters now and on-demand March 18th.
The new Mike Campbell & The Dirty Knobs release, External Combustion, is perfect for lovers of classic and modern rock alike. Campbell and the Knobs demonstrate mastery of rock for all ages, with something everyone in your group is bound to love.
External Combustion is a truly phenomenal collection of tracks. I would even be bold enough to say that it’s one of the best if not the best rock album you’ll see released this year, but then again, I may be a little biased. As a hardcore Tom Petty & The Heartbreakers fan, I believe that Mike Campbell can do no wrong, and he and the unbelievably talented Dirty Knobs have put out a no-skips record that I will never stop talking about. Let me take you track-by-track.
They throw you right in with “Wicked Mind” as the album opener, a blast of pure, hard-hitting rock ‘n’ roll that I still can’t stop singing the praises of since this track dropped back in February. “Wicked Mind” hits you smooth in the face and gives you the perfect taste of what’s to come in this 45-minute rock journey. Perfectly snappy and jangly, it’s just a fun listen and it entices the listener to stick around a while and jam.
The Dirty Knobs waste no time demonstrating their range as players as they jump into the next track. “Brigitte Bardot” follows a bluesy formula, with the repetition and chord structure you’d expect from your favorite old blues tunes, but delivers it in an upbeat, rockabilly-tinged package. It’s an interesting love song, comparing the love interest to a 50s and 60s sex symbol, but perhaps that’s what makes it unique. However the person being courted by this track feels about the comparison, there’s no denying that it’s catchy.
Like a sonic slap in the face, the album transitions into “Cheap Talk,” arguably my favorite track on External Combustion. With the use of strings and backward masking, I immediately found the track to be reminiscent of Electric Light Orchestra, like the most perfect mix of their 70s stuff and 2001’s Zoom (my ELO fans out there will know exactly what I mean). It’s haunting in a way, and a bit more heavy and progressive than I might have expected to hear on this record, but it doesn’t sound a bit out of place. The Dirty Knobs have range, and they show it every chance they get.
Expanding on that progressive vibe, the title track takes things in a different direction, away from the strings and more toward a dirty, Southern blues-rock sound. I find it to be very reminiscent of Tom Petty and The Heartbreakers’ Mojo. Sonically, they took the title very seriously when crafting this track. The verses build brilliantly into this intense chorus that shakes you up and hits you hard in a perfectly disastrous way. It demands to be listened to loud.
To pull you out of the rubble, they ditch the prog elements and launch into a raw rocker. “Dirty Job” is hard-hitting, borderline grungy, and sonically satisfying, featuring vocals from the legendary Ian Hunter of Mott the Hoople fame. This was a combination I can’t say I expected, but now that I’ve heard it I can’t quite figure out how I ever lived without it. I keep going back to this one and I can’t get over how perfectly placed into the record it is.
As a self-proclaimed Tom Petty & The Heartbreakers superfan, “State of Mind” hit me hard. Campbell’s voice is so much like Petty’s here that it took me by surprise when he started singing. The track also features singer/songwriter Margo Price who blends beautifully with Campbell. With the brilliant use of strings and horn sounds, “State of Mind” would fit right in on Tom Petty & The Heartbreakers’ Southern Accents; it’s like rock and classic country had a baby. I find it to be the most beautiful song on the album.
Getting you back up on your feet is “Lightning Boogie,” and this track is a bit deceptive. With an opening guitar riff that mimics the one at the beginning of Autograph’s “Turn Up the Radio,” you think you’re about to be sent to the 80s rock stratosphere, but instead the Knobs launch into a rock ‘n’ roll, ragtime, boogie woogie extravaganza that would get even the grumpiest person in the room on their feet. If it hasn’t already been emphasized enough: This. Band. Has. Range. And they aren’t afraid to use it.
Transitioning back into the southern-tinged rock you’d expect from a band fronted by a Floridian, “Rat City” is a sonically satisfying rock masterpiece. The track is perfectly balanced, and eases up on its driving heaviness, maintaining the listener’s interest with a jangly acoustic final verse, before diving back into the train-like sound that characterizes the track. Vocally, I can’t get over how good Campbell sounds on this track. For him to have not been a lead vocalist for the majority of his career, he steps into the role so seamlessly with The Dirty Knobs, and it really shows on this record. You’d think he’d fronted a band as the singer his whole life.
Providing a bit of a break from the head-bobbing jams, “In This Lifetime” is a dark, mellow, and beautifully haunting piece placed perfectly in the record. It sends the message that the ride is slowing down and soon coming to an end in such a satisfying way. One of the greatest tests of a rock band is the quality of their slower songs, and The Dirty Knobs pass with flying colors. This was one of the tracks that surprised me the most and solidified my believe that The Dirty Knobs can do no wrong.
After the haunting beauty of the last track, diving into the bouncy, happy “It Is Written” is just what the listener needs. I think this track is what you get when you mix a Bob Dylan song, a Traveling Wilburys song, an old bluegrass tune, and a long drive in the middle of nowhere on a sunny day. It’s undeniably catchy and perfect for the time we find ourselves living in. “It Is Written” is uplifting without approaching toxic positivity, and that’s something I’ve found myself needing these past few months. It’s a gem of a track.
Finally, bringing the album to a close is easy rocker “Electric Gypsy.” A perfect album closer, “Electric Gypsy” touches on the ever-popular theme of the rock ‘n’ roll vagabond without seeming overdone. It puts you in the boots of the rock ‘n’ roll vagabond himself, evoking desert vibes and feelings of the road. It’s a brilliant track and couldn’t be a better way to bid farewell to one of the best records to come out of 2022 (said it before and I’m sticking with it!).
What more can I say? If this isn’t enough to convince you to go spin this damn record, I don’t know what else to tell you. External Combustion is phenomenal, and if you love rock ‘n’ roll, you’re gonna love it. Go give it a spin, try to prove me wrong.
Having recently transitioned from a four-piece to a trio, The Last Bandoleros are finding their groove with their new lineup and embracing collaboration. TLB have delivered some strong, hard-hitting releases over the past few months, but it’s been a while since they’ve shown their more laidback, acoustic side.
Teaming up with singer/songwriter Hannah Brier, and showcasing lead vocals from Diego Navaira, “California Moon” is hypnotizing in a haunting way, almost like the singers are telling a ghost story. Navaira and Brier both sing about a mysterious love that didn’t last, like a fairy tale with a less-than-ideal ending.
Just as with their last release, TLB explore some sounds I haven’t yet heard in a Bandoleros studio release. They have always been genre-defying, and “California Moon” is no exception. Like “Maldita,” released back in September 2021, “California Moon” was written during a week-long writing session with Shaggy at his home studio. The songs resulting from that session have been affectionately described as “Tex-Flex,” and all find themselves dipping more into pop and hip hop, something a bit different for TLB. “California Moon” deviates from the Tejano rock sound many have come to know them for in favor of a Latin-pop sound that is equally as delicious.
Brier’s and Navaira’s voices blend beautifully, creating a vocal combination I wasn’t expecting. Having heard TLB collaborate with Kree Harrison in live settings, I knew what a female voice could bring to the table, but I wasn’t anticipating just how lovely Brier’s use of alto and Navaira’s tenor would be together.
“California Moon” is haunting, but in a truly beautiful way. It evokes feelings of being on the beach as the sun has just set, taking in that last bit of warm before the water and sand start to cool. It takes me to California despite having never actually been there. It’s immersive, as though the story of a fleeting love is actually about you.
“California Moon” is a perfect reminder of the storytelling powers The Last Bandoleros and Brier possess. With every release I still find myself amazed. The music video just dropped, so give it a spin and fall into the story.
Florence + The Machine, a band I fully believe was sent from the cosmos above, has already brought me to my knees and has left me yearning for more. I’ve been eagerly waiting for new material since 2018 so when I tell you I leaped out of my skin as soon as I learned of a new single... my soul damn near left my body.
King is the first single to launch Florence + The Machine into their brand new era. A brand new chapter in the making that’s already setting the bar to the highest stratosphere. King, a song that will have you proclaiming at the top of your lungs, “I AM NO MOTHER, I AM NO BRIDE, I AM KING.” Pretty much sticking it to the man and saying “f*ck the patriarchy.” We live in a world where societal standards for women have always been, “To be known as someone's wife or someone’s mother.” The idea of being seen as basically someone's property has never sat right with me. I wholeheartedly believe a woman should be known for more than her "expected gender role." The way Florence lays her heart out on a silver platter and poetically speaks with such ferocity leaves me breathless. Time and time again, I'm covered in shivers from head to toe with tears brimming in my eyes.
“But a woman is a changeling, always shifting shape
Just when you think you have it figured out
Something new begins to take
What strangе claws are these scratching at my skin
I nеver knew my killer would be coming from within
I am no mother, I am no bride, I am King
I am no mother, I am no bride, I am King.”
“I need my golden crown of sorrow, my bloody sword to swing
I need my empty halls to echo with grand self-mythology.”
If you listen to Florence’s entire discography (or even a song or two), you can tangibly feel the raw passion and intensity she conveys through her craft. There's an ethereal nature about her that engulfs you from the moment she opens her mouth to sing. Florence strikes a chord within her listeners and makes them feel like she's reading their innermost thoughts. When in all actuality, she's inviting us all into hers. Music is her greatest form of expression and her greatest love. In King, she wrestles with the lingering thoughts of having to sacrifice her career for a domesticated way of living. The monumental battle between family versus ambition. This hauntingly beautiful track will empower you to view yourself as a King. A divine being.
Director Autumn De Wilde and Florence are an absolute match made in heaven. The first time I watched the music video for King, I was entranced. The way my eyes never left the screen and were fixated on the magic taking place in front of me. I wish that I could rewatch it for the first time, and relive the emotions all over again.
King is a cinematic and lyrical masterpiece.
Do you know what excites me the most? This is only the beginning.
I'm ready to make this upcoming Florence + The Machine album my entire personality for the next century.
I must admit as a huge Rock n’ Roll fan, when it comes to new releases in the Alternative Rock world, I get excited every single time. So, when The Thing With Feathers released their debut EP, Sundays in the South, on February 18th, I immediately gave it a listen.
Nashville native band, The Thing With Feathers, is ever evolving and expanding the space of what Alt-Rock is, and fans are loving it, myself included. The group describes their sound as “… pushing the boundaries of pop-infused alternative rock to lengths not previously exhibited by (their) Nashville contemporaries.” After listening, I would have to completely agree. Sounding like seasoned professionals, it’s hard to believe this is the groups very first EP. Cumulating a distinct sound of their own, this band encapsulates the energy of a mix of bands like; The Strokes, Coldplay, and The 1975. Sundays in the South is incredibly well balanced, yet each song is unique and distinguishable amongst one another. It has a wonderful cohesiveness that has listeners coming back for more.
The Thing With Feathers is a group of four made up by, Dave Welsch (Vocals), Alex Hendricks (lead guitar), Sean Carroll (bass), and Chris Roussell (Drums). After the release of the EP’s singles “Static” being released on November 19th, 2021, followed by “Lights Down Low” on January 14th, 2022, this five track EP was a highly anticipated one for many.
Here is my personal track-by-track perspective and breakdown of Sundays in the South…
Starting with the EP’s opening track, “Saturday Night”. This track is instrumental with nice subtle background vocals from front man, Dave Welsch. It is energetic, setting the tone for the musical journey you’re about to embark on for remainder of the EP.
On January 14th, 2022, “Lights Down Low” was the second single to be released from Sundays in the South. The tracks accompanying music video (directed and created by filmmaker Hannah Grey Hall), naturally found its way into MTVs ‘Spankin’ New’ video channels rotation. This track has become a fan favorite for many, with over 71,000 streams on Spotify. Front man, Dave Welsch, is quoted describing the origins of this track as “… tells the events of a fast and dangerous relationship that started in a smoke-filled bar. [the song is about] two characters’ rebellion against the whitewashed ideologies of southern Christian culture. The song is centered around a bass riff and has an overall darker tone, something we were eager to play around with after writing songs that were bright and pop-forward.”
Listening to “Lights Down Low”, you’re encompassed into this world as if you can see this scene playing out right before your very eyes. I believe this easily became a fan favorite due to the nature of the story line, and how relatable it can be for many in today’s culture, along with its undeniably catchy rhythm.
Entering all streaming platforms on November 19th, 2021, “Static” was the first single that debuted for the Sundays in the South EP. This track quickly became a personal favorite of mine, due to the musicality behind it all. This track highlights the talents of guitarist, Alex Hendricks, with energetic riffs that leave you wanting more. “Static” is intriguing with its lyricism that depicts a storyline of brutal honesty within a relationship where one partner is always left puzzled and slightly intimidated by the others actions. It sends the listener to a plane in which this storyline truly exists, feeling the turmoil and each emotion depicted.
“Stop the car its over!
I shouldn’t have to show ya.
That you leave me feeling, so alone!
Prisoners on the freeway.
Always too little too late!
Park it on the shoulder!
I’d rather walk home.”
In comparison to the first three tracks on the EP, “Walk Home” presents itself with a major shift in tempo, as well as a somber tone. This track is a perfect representation of feelings we have all experienced before, at one time or another. Its plotline perfectly depicts the emotions of confusion, frustration and a little bit of anger that the characters are experiencing while feeling ‘stuck’ going through the motions in a relationship that has passed its expiration date.
The EP concludes with title track, “Sundays in the South”, which also has an accompanying music video. The soft acoustic undertones paired with the lyrics, displays the struggle and vulnerability of moving on from a past relationship. With this track, The Thing With Feathers show us a side of their music that we have not previously seen from them before. Giving us raw and heartbreaking lyricism such as
“Wish you were honest when you called me,
Wish I was honest from the start.
Its like you’re treading on my fingers.
When I’m still hanging from your heart.”
I believe this was a perfect conclusion track for the Sundays in the South EP, as it gathers all the poetic undertones of the previous tracks.
In its entirety, I think this Debut EP was phenomenal. Considering how well Sundays in the South went, I cannot wait to see what the future holds in store for The Thing with Feathers. This is only the beginning for them, and I truly believe it is only a matter of time until the group skyrockets into stardom within the world of Rock n’ Roll. One can trust in my recommendation to stream this EP. Sixteen minutes and twenty-eight seconds is all it takes to be transported into the world that is The Thing With Feathers. Keep an eye out for live performances of this EP during the ‘Sundays in the South’ North American tour, with dates still to be determined. Be sure to check out The Thing With Feathers on social media, Youtube, and your preference of streaming services!
Hailing out of the east coast, I sat down with frontman Mike Florentine and bassist Rafael of Generation Underground to discuss their history, music, rock scene currently and what music/inspirations influences them and their writing.
Columbus, Ohio’s most energetic rock band, Liberty Deep Down (LDD), is back with an upbeat, attitude soaked jammer, ‘Typical’. It begs you to dance around yet it makes you pause for a split second to question how you, yourself, act on social media. A jammer AND a thinker, if you will.
The single was written in a grimey LA house full of rockers back in 2021 . Taking inspiration from our every-day, “the song is an eye roll to the way everyone interacts/dates online. How surface level it feels, as well as how fake social media can feel as a whole.” A fusion of quirky analog synth, fuzzy guitar riffs, and a little angst mixed the classic LDD sound, ‘Typical’ is one serious earworm.
We caught up with lead singer, Dominic Frissora to chat a little about the release…
Was the song inspired by any particular personal experiences or just a more general view of how we’re all navigating that space?
We’ve all definitely experienced our share of online dating nightmares but this song really is about how social media and the material world has changed the way we view and navigate life. All we ever see is the highlight reel on Instagram when we have no idea in reality what’s going on with anyone unless we’re close with them.
Any artist / sound inspo for this piece?
We wanted to have a song that sounds modern but still has some classic taste so there’s a lot of big guitar and strong vocals that are heavily rock influenced Aerosmith being one specifically for vocal inspiration. But then you hear the synths and ear candy layered throughout the verses that are inspired by artists like Gorillaz and P!nk. This song is so fun and is inspired by many artists of all genres.
What social media or dating advice would you give?
Don’t let it control your life. Enjoy life without your phone as much as you can and experience it in the moment. It’s so much better than filming it and watching it later or looking down at your phone the whole time. And we’re not totally innocent in this either we use social media and spend too much time looking at memes too but we’re trying to do better 😂
As far as online dating try it if you want to but meeting someone in person naturally can be so much more refreshing and real and fun. Either way we hope you find what you’re looking for!
‘Typical’ is out NOW on all streaming platforms and will soon be followed by a music video later this month. Stay plugged in…but not TOO plugged in.
British death metal has always been around (Dark Heresy, Impaler, Cancer) but not until this recent decade with the rise of streaming platforms, has it become so mainstream and truly appreciated. Venom Prison is apart of this new wave of UK death metal and they may have just locked in their slot for album of the year.
Erebos is the fourth album release from Venom Prison and with each album the guitars become increasingly more technical in song writing, vocals & lyrics are more precise, drum tracking & sound become more brutal, and post production with each album is taken to a new level.
I was first introduced to Venmo Prison with their sophomore album, Samsara, but it felt like a traditional death metal album sound: high gain amps (probably Peavey 5150, Orange or EVH) , fast paced death metal drums, and a sound, mixing wise, that felt the same in each song. Not saying it’s a bad album at all, I still loved it, but it didn’t break new ground for me. It did, however, very much shock me to find out the singer is a front woman, Larissa Stupar. Female metal vocalists have been on a rise, and Larissa’s name should be on the top of that list.
For their latest album, VP comes baring the sound of darkness and rejuvenation for the death metal genre. “Judges Of The Underworld” was the first single released from this album back in November, and as soon as the opening riffs and drums kicked in, I knew this album was going to hit differently. Both rhythm and lead guitars were beautifully showcased, a drum sound that thunders into you, and vocals from Larissa that choke your soul for more.
Songs such as “Golden Apple If The Hesperides”, “Castigated in Steel and Concrete” and their single release “ Judges Of The Underworld” truly show how this UK death metal act has evolved since their debut in 2016 yet still offer a more traditional sound for original fans with songs such as “Technologies of Death” and “Veil of Night”.
One song though, that threw a curve ball in this album was “Pain of Oizys”. If there was one track to be considered a ballad on this album, this song would be it. It is beautifully orchestrated in the most death metal way and is actually one my favorite songs on the album.
Erebos: a place of darkness in the underworld on the way to Hades. That is the journey you will take while listening to Venom Prison’s fourth musical installment “Erebos”. And when you come back, you will yell to metal gods: album of the year.
