Every month, the OurStage community (you) listens and ranks the songs competing on OurStage. Once those songs get to the Finals stage, five grand prize winners are selected. Those winners get featured on the ‘OurStage on Amazing Radio’ show, broadcast from the UK to hundreds of thousands of music fans, both on terrestrial radio in the UK and online around the world. Last month’s show is streaming now. Below are the top five that you’ll hear on this month’s show, but you can preview them now by clicking here for a playlist.
“Burn” by Kristen Marlo
“Old Town” by July Fighter
“Golden Time” by Late Cambrian
“Color Me Bad” by Mooka
“4:26 Minutes of Ass Kickin Sounds” by Artyom
Yonas has been offering free downloads of his new series of remixes, which has already included “Pumped Up Kicks,” “Centuries,” “Blank Space,” “Take Me To Church,” and “Uptown Funk.” Check below to watch the official videos for any and all of those. They’re all gold.
Late yesterday, Yonas dropped the latest entry. This time, he’s taken Mumford & Sons‘ “Believe” in a whole new direction. Listen here, and click through for the download. Look for a new song every other Tuesday (while supplies last).
Pretty cool. West Coast Shaving shared this image that shows a composite of every member in some well-known bands. Click-bait? Maybe, but pretty good click-bait. Who would have guessed that Bill Wyman would finally turn out to be the dominant Rolling Stone?
After blowing up big in the ’90s with their platinum-selling LP Troublegum, Therapy? went on to explore and push musical boundaries over the course of 10 subsequent releases. Today, our own Amazing Record Co. is proud to release Disquiet, the label’s first full-length album, and one that could be considered a sequel to the landmark Troublegum. Striking a perfect balance between melodic, intelligent, and ferocious, Disquiet finds Therapy? circling back to forge a new path forward from the sound that made them such an enduring and original band.
Out now. Watch the video for the first single, “Still Hurts.”
Every month, the community ranks the songs competing on OurStage, and once those songs get to the Finals stage, five grand prize winners are selected. Those winners get featured on the ‘OurStage on Amazing Radio’ show, broadcast from the UK to hundreds of thousands of music fans, both in the UK and online around the world. Last month’s show is streaming now. Below are the top five that you’ll hear on this month’s show, but you can preview them now by clicking here for a playlist.
“Diamond in the Rough” by Wes-tone
“Shoot You Down” by Wes Kirkpatrick
“Personality Overload” by The Beat Seekers
“Life Is Crazy” by Louis Anthony
“The Dream of the Angel” by No Hair On Head
We last heard music from Joel. (aka MaG) on his 2013 release (via RCRDLBL) Freedom, a soulful slice of American hip-hop. He didn’t go silent between then and now – those who follow him on Twitter know that Joel is a poet and a non-stop thinker, with an eye toward social progress and absolutely no patience for bullshit.
It’s no surprise to find that same spirit in the music he’s been working on. songs for charles is an independent release dropped via Bandcamp just last month, and it kicks off with a short audio clip from Jay Z in the studio, taken from the film Fade To Black. This track, titled “what Hov said…(intro),” captures Jay discussing young rappers coming up, who think they have to write about things they don’t feel and don’t know. He tells the cameraman to put the lens on him before saying, “See what y’all did to rappers? They scared to be theyself.”
Being true to himself, then, serves as Joel.’s mission here. “I can’t speak for no one else / but I’m gonna keep on being myself,” goes one of the refrains on the first song, “creston and 188th.” What follows is a personal catharsis. The next eight songs are all at least rooted in the past, even while facing the present. He looks back on his upbringing, his family, lessons learned and carried forward. “We was young / we was reckless,” he says, in the frank and unsentimental “hash browns.” The chilled out, hypnotic loop of the song keeps the mood static and, as much as the lyric, creates a vivid atmosphere, if not an especially warm one. It actually feels like a carefully constructed sound collage, pieced together from ‘70s-‘80s AM radio dials, video games, cassettes rewinding…the sounds of a childhood, running in the background.
“new, new york” brings us into the present, or at least the very recent past. But each track here, just like real life, builds on what came before. That’s why, even though this is an eight-song collection (nine tracks), I take songs for charles as an “album.” It’s not a mixtape, it’s not a collection of singles. It’s a thematic, narrative flow. And like a lot of Joel.’s work, it’s densely filled with imagery and wordplay, and almost has the feel of a play. With only a few listens so far, I have not absorbed every nuance, but I look forward to trying.
“better late than never (intermission)” is a dreamy flight, with a backing that sounds like recent Radiohead; droning chords bracing syncopated, jazz drums. The lyric is equal parts past, present, and future, and how they are helplessly intertwined, with a hook that declares, “I’d rather die than let go of one of my dreams / one foot forward, all I gotta do is proceed…It’s never too late to dream.” Hope continues to be a central theme here – aspirations for a better life, one that’s more fulfilling, one that is free from the troubled past, and one where glory is attained on no one else’s terms but your own.
Certainly Joel. knows there’s no complete escape from what came before. But songs for charles is at least an attempt at exorcism. Facing pain in stark terms, he describes a present in which personal reconciliation is already under way, and this music – in all its expressive, subtle complexity – is the conduit.
On Bandcamp now —> songs for charles by Joel.
The new album from Kat Robichaud and The Darling Misfits is out today, January 27th. An impressive, ambitious, and confident collection of dramatic rock and pop songs, the eponymous record was funded by fans earned by Robichaud throughout her time as front-woman of The Design and, most famously, during her thrilling run as a contender on The Voice.
There are no shortage of artists today aiming for the grand and theatrical, inspired by Lady Gaga, Dresden Dolls and the like – and surely these are influences on Kat Robichaud as well. But what makes this a special record, and Robichaud a special artist, is her natural edge. We would not hesitate to classify this as a rock and roll record, despite its polished pop production, purely for the non-stop intensity and the sheer force of the singer’s will. More Queen and Foxy Shazam than Gaga, really.
On top of this, the LP is beautifully bizarre. It is funny, clever, defiant, and plainly well-written. Sound collages recur throughout, sometimes to create or enhance a vibe, and occasionally just for a laugh. Yet this is no novelty. Veering between wrenching balladry and dynamic, piano-pounding epics, this is the sound of an artist going for broke, being completely true to herself and discovering her own essence, having tested her limits and finding only those that are self-imposed.
If you’re looking for it, it’s actually not too hard to find a new band you really dig. Most often, those artists are doing something that resonates with you because of your established tastes. It sounds familiar, it feels comfortable, and maybe there’s even an aspect of the music that’s unique. Much more rare, though, is to come across an act doing something completely different than what you might otherwise find in your music collection and still be affected by it. Such is the case with The Shills, a band that seems to blend so many varied influences as to produce music that cannot be so easily pigeonholed. Fresh off a second win in our Indie Pop channel, they are our latest Artist of the Week.
If you’re a rock fan, and especially one disheartened by the state of music as represented, say, in the recent Grammy Awards, you might find yourself thinking that the world could use an antidote, and maybe a heavy dose at that. The Fratellis might have been thinking the same thing when they titled their newest album We Need Medicine, and delivered a blast of thoughtful, authentic rock and roll. The UK trio blazed onto the US scene when their song “Flathead” appeared in a 2007 iPod commercial. They’ve been steadily building up a devoted fan base since then, and We Need Medicine, their first album after an extended hiatus, is the gem that really should put them over the top stateside. We spoke with singer and guitarist Jon Fratelli about his approach to writing songs, making videos, and how much influence current pop music has on the band (SPOILER: none).
OS: You’ve spoken about the songs on We Need Medicine in terms of how they serve the record, that you’ve written songs of a certain type because the record needed it. This somewhat business-like approach calls to mind songwriters like Paul McCartney, who can write heartbreaking or joyous songs simply having set out to fill a requirement. Indeed, many of your new songs sound positively exuberant. Has songwriting always worked that way for you, or has that ability to just sit down and do a job developed along with you as songwriters?
Jon: I think it’s really just about having a vague idea of somewhere you’d like to go. I learned that by having no idea where to go on the second Fratellis record; it ends with a mediocre album and with songs that, a year later, you don’t want to play anymore. I didn’t want that to be the case this time so only concentrated on writing in a style that know I’ll always be able to connect to.
OS: You guys are great at style or genre exercise songs, but what song would you pick from your catalogue that is stylistically most uniquely you?
Jon: I hope never to write that song. There’ll always be songs that other people connect you with more than others, but I don’t think musicians really do that with their own music. If you write something that perfectly sums up everything you’ve ever wanted to say then you have no reason to get out of bed in the morning.
In 2013, Xolie Morra & the Strange Kind were selected from thousands of OurStage artists to appear as the musical guest on Jimmy Kimmel Live! They taped the show later in the year and then, this Tuesday night, it all came together, as the band performed their song “Over My Head” on national television. The show will air again this Friday night. Here’s the band’s performance.
Go behind the scenes with the band as they travel to Hollywood, rehearse, visit the Gibson guitars showroom, and hang out backstage at Jimmy Kimmel Live! Watch below.