esther rose – “don’t blame it on the moon”

– featured image courtesy of jen squires –

the new orleans transplant esther rose draws from a childhood of gospel and folk music when sculpting her unique brand of timeless songwriting, peaks and sighs of each instrumental arrangement contoured around pliable and pristine vocal stylings.

on “don’t blame it on the moon,” rose’s first offering since her 2017 debut this time last night, time seemingly stands still, a gentle acoustic guitar lilting in tandem with her lead vocal. it’s a wonderful nod towards – and embracement – of her country forebears and also serves as a sneak peek of her sophomore full-length, due out later this year.

“don’t blame it on the moon” is out now via rose’s new label home, the ever-reliable father/daughter records. take a listen below.

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video age – pop therapy

– featured image courtesy of sarah wagner –

staying on top of every new release is hard.  staying on top of every new release is even harder when your blog uses language that suggests multiple people are cogs in the machine, but really you’re just flailing helplessly by yourself, trying not to drown in a heavily-saturated inbox.  “fashionably late” is a remedy, an intermittent feature designed to showcase particularly special albums or EPs that evaded us (there i go again) during their structured press cycle.  next up is the sophomore full-length from video age.

A song of the summer is among the last bastions of the monoculture, something still largely dictated by radio play and its overall utility.  an album of the summer is a bit more fickle.  the latter isn’t as ubiquitous, in turn exponentially more subjective, and the date of its arrival a bit less indicative of its endurance.  pop therapy, the sophomore full-length from the new orleans duo video age, makes a strong case for contention as this year’s go-to album of the summer, its eleven tracks an instant portal to FM synth-laden, compressed guitar-driven sonic nostalgia.

on their 2016 debut, living alone, bandmates ross farbe and ray micarelli turned in a guitar-pop masterclass coyly disguised as a deep dive into 1980s synthesis.  its successor sheds any semblance of a veneer and puts its synths squarely in the foreground, with lush pads, aqueous bass lines, and brassy squelching leads all converging as an aural thesis for an incredibly timeless new wave exercise.

opening number “lover surreal” is a no-holds-barred take on this approach, a legion of yamahas cresting towards the crystalline cadences of the chorus, but the synth’s reign is often more subtle, machiavellian even: “days to remember” masquerades as the most immediate callback to living alone, only to be disrupted by a buoyant synth motif that instantly shifts the track’s tenor, while the gorgeous, understated fantasy “paris to the moon” is underscored by pulsing chord progressions and the soft detuned wanderings of sustained notes.

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admittedly, it’s rather easy to get lost in the glassy production and utmost care that farbe and micarelli put into the arrangements across pop therapy.  if the first listen is defined by the album’s immediate accessibility and awareness of what constitutes a memorable hook, then subsequent passes through can easily be dedicated to nuance, either by exploring each timbre in isolation or examining how they function in concert, often shifting fluidly from melodic to counter-melodic to rhythmic duties.  pop music is, for better or for worse, often defined by the applicability of its lyrics, however; video age don’t disappoint in this realm, either, turning in a booklet that demonstrates their understanding of a simple refrain’s impact alongside an introspective depth.

dealing in the wistful and the nostalgic is all but expected of a band with such a sonic palette, but farbe drills beneath surface level observations across pop therapy.  “hold on (i was wrong),” a mid-tempo number with the split personality of a dance track and a ballad, hones in on the minutiae of a concession; the fantastically-meta “echo chamber” makes references to its digital namesake while emulating the recording structure, the couplet “in my catacomb / slap-back telling me i’m not alone” solidifying its place as a studio engineer’s anthem; the gait and brassy synth swells of “scenic highway” converge on a portrait of a contemplative scenic drive.

as its title implies, pop therapy finds video age exploring the genre’s propensity for healing.  indeed, its title track contains their most direct and compelling mantra: “pop therapy / it’s easy.”  in an interview with the new orleans advocatefarbe pushes back on the cynicism attached to the concept of pop therapy, saying “it’s actually positive. i’m quoting ray here, but the ’80s music we listen to has a really victorious, heartwarming, enthusiastic feeling to it.  and it’s just these specific chord progressions a lot of times.  so ray said, ‘it’s easy! you can make yourself feel better by playing these chords.'”  with nearly two dozen songs under their belt to back up that proclamation, it appears that video age may be onto something.

video age – “days to remember”

– featured image courtesy of sarah wagner –

the new orleans duo video age have trafficked in lush, infectious synth-pop for a minute now; their 2016 debut living alone is a chilled-out, ten-track collection populated by washes of analog synthesizers and warbly guitar lines, its adroit vocal melodies providing the finishing touch.  tomorrow, ross farbe and ray micarelli will release their follow-up, pop therapy, its advance singles providing every indication that this full-length will be as enticing as its predecessor.

the latest of those singles, “days to remember,” finds video age riding a crisp chord progression, its titular hook augmented by a nimble guitar motif as it imprints its contours on auditory senses.  throw in a scene-stealing synth melody courtesy of collaborator duncan troast, and “days to remember” becomes the perfect vessel of fond recollection, its brief pauses providing just a tinge of melancholy.

pop therapy arrives tomorrow via inflated records.  check out “days to remember” below.

premiere – lawn

– featured image courtesy of amelia anderson – 

the new orleans duo lawn traffics in a brand of jangle-pop that harkens back to the genre’s inaugural days: bright, chiming guitar parts layered over vocal harmonies that seemingly burst from nowhere.  mac folger and ruy de magalhaes are slated to release their debut full-length, blood on the tracks, as lawn on may 11th via forged artifacts; the folger-centric lead single, “2000 boy,” arrived last month, and today sees the release of the album’s title track.

“blood on the tracks” finds de magalhaes at the helm, navigating this mid-tempo number through to the sublime gang-vocal deliverance of its titular hook.  although compact in stature, “blood on the tracks” is incredibly potent, a combination of de magalhaes’ commanding lead vocal and folger’s instant-classic off-kilter guitar break in between the second and third chorus.

for those still looking to experience the thrilling dichotomy of lawn’s songwriting duo for the first time, run “2000 boy” and “blood on the tracks” back to back.  the latter is premiering today, right here on the dimestore.  dig in.