Review: Primer – Incubator

Alyssa Midcalf, otherwise known as Primer, to you and I disguises songs about heartbreak and depression inside lovely new wave and pop hooks on her new album, Incubator – so named because many of these songs began their life before she was even twenty-years-old.

“Welcome to your life,” Midcalf sings on the opening track, “Impossible Thoughts,” which hooks you right away with its synth bass and beats. She’s welcoming us to our lives and the brief, yet intimate look at hers. “The world is ending, by the way. I accept it, but I don’t want to live that way,” she sings. She wrote that lyric, I’m fairly certain, about a break-up she experienced not long before finalizing the album, but one can’t help but put that lyric onto everything happening around us right now.

“Just a Clown” is a fun tongue-in-cheek poke at herself, as Midcalf discusses the hustle of being an artist and how you’re always setting yourself up for potential failure. “I can’t believe it has come to this. I am just a clown, and I’ll never win,” she says. Haven’t we all be there? Yes, but we haven’t all been there with the lovely dream pop beats Midcalf puts down on the track.

A groovy bass line uplifts the blue lyrics of her break-up on “If You Need Me,” taking the track to disco floor bliss. “Giving Up” builds with bright synth chords to become something that sounds like a happy kid skipping down the sidewalk, even as Midcalf sings heavy lyrics about waking from “a nightmare I constructed inside.”

“Things Fall Apart” has a swagger to it that seems to indicate that Midcalf was getting her feet back under her after the break-up dropped her to the mat. “Every day, I ask myself how do I live with the pain…”, she says, but she also knows she’s doing it. She’s able to move forward, even if only a little bit at a time. “Hypercube” is a flat-out industrial banger that will flood dance floors in clubs found behind metal doors in obscure alleys.

“I will never feel the same way that I did at that time in my life,” Midcalf sings on the heartbreaking “Anything,” a song about being desperate for love and willing to sacrifice whatever it takes for it. “Feel the Way I Do” is a love song for robots (judging from it’s cyber-beats and electro-bass) that practice magic. Midcalf sings about a strange thing inside of her that she wishes her lover could feel so they’d understand her love / anguish.

“You” starts off with android bees happily moving around in a bio-dome on a spaceship drifting past a gas giant planet. Midcalf sings about lying awake at nights missing her lover, but soon realizing “It never had a thing to do with you.” She’s the one who can control her response to the situation, and she does it with skillful synthwave. She’s reclaimed her life and heart on “Warning,” in which she sings, “I’m never gonna feel that way for you again.” while she dances around to her peppy beats.

It’s clear by the end of Incubator that Midcalf has grown from her experience, and perhaps we can grow with her if we’re willing.

Keep your mind open.

[I’m primed for you to subscribe.]

[Thanks to Gabriel at Clandestine Label Services.]

Kelly Lee Owens announces new album, “LP.8,” due April 29th.

Photo by Josie Hall

Producer/musician Kelly Lee Owens announces a new album, LP.8, out April 29th (digital) and June 10th (physical) on Smalltown Supersound, and today presents two of its tracks, “Sonic 8” and “Olga.” Born out of a series of studio sessions, LP.8 was created with no preconceptions or expectations: an unbridled exploration into the creative subconscious.

After releasing her acclaimed sophomore album Inner Song in the early days of the pandemic, Owens was faced with the sudden realization that her world tour could no longer go ahead. Keen to make use of this untapped creative energy, she made the spontaneous decision to go to Oslo for a change of scenery and some undisturbed studio time. Arriving to snowglobe conditions and sub-zero temperatures with the borders closed once again, she began spending time in the studio with esteemed avant-noise Lasse Marhaug (known for his work with Merzbow, Sunn O))) and Jenny Hval).

Together, Owens and Marhaug envisioned making music somewhere in between Throbbing Gristle and Enya, artists who have had an enduring impact on Owens’ creative being. In doing so, they paired tough, industrial sounds with ethereal Celtic mysticism, creating music that ebbs and flows between tension and release. One month later, Owens called her label to tell them she had created something of an outlier, her “eighth album.”  In Owens’ words, “For me, 8 meant completion – an album that will ripple infinitely with me personally.” 

Watch “Sonic 8” Visualizer
Watch “Olga” Visualizer
Pre-Order LP.8

LP.8 Tracklist
1. Release
2. Voice
3. Anadlu
4. S.O (2)
5. Olga
6. Nana Piano
7. Quickening
8. One
9. Sonic 8

Kelly Lee Owens Tour Dates
Fri. June 3 – Melbourne, AU @ Rising Festival Hub
Sat. June 4 – Sydney, AU @ Motorik [DJ Set]
Wed. June 15 – Milan, IT @ Magnolia Fest
Sun. June 19 – Dublin, IE @ Body & Soul Festival
Sat. June 25 – Bristol, UK @ Bristol Sounds
Sat. July 2 – Roskilde, DK @ Roskilde Festival
Fri. July 8 – Bilbao, ES @ Bilbao BBK Live Fest
Sun. July 10 – Modena, IT @ Artivive Festival
Fri. July 22 – Macclesfield, UK @ Bluedot
Sat. July 23 – Hertfordshire, UK @ Standon Calling Festival
Sat. July 30 – London, UK @ South Facing
Sun. July 31 – Sicily, IT @ Ortigia Sound System Festival [DJ Set]
Sat. Aug. 20 – Hasselt, BE @ Pukkelpop
Sun. Aug. 21 – Biddinghuizen, NE @ Lowlands Festival

Keep your mind open.

[Don’t forget to subscribe!]

[Thanks to Jessica and Ahmad at Pitch Perfect PR.]

Review: Psymon Spine – Charismatic Mutations

Coming hot on the heels of their 2021 album, Charismatic Megafauna, Psymon Spine‘s Charismatic Mutations is a remix of the aforementioned album that features guest remixes from collaborators such as Joe Goddard from Hot Chip, Each Other, and Bucky Boudreau.

Goddard’s remix of “Milk” is first, and it’s lovely and peppy – a fine way to kick off a record of highly danceable and spring break road trip tracks. The “Love Injection Euphoric remix” of “Jumprope” is perfectly named because it’s made to boost your vibrational patterns, give you energy, and probably connect you to various luminous beings.

Brother Michael‘s “Downstairs at Eric’s remix” of “Jacket” gets extra points for referencing Yaz and for being so damn funky. “Modmed” turns into space station lounge grooves with Dar Disku‘s “Balearic Touch” mix of it. Each Other’s remix of “Solution” is almost an industrial dance track. Their synth and drum machine work on it is stunning. The “Safer” remix of “Jumprope” has bass so thick you can almost slice it, and Bucky Boudreaux’s remix of “Different Patterns” almost makes it into a torch song for androids.

There isn’t a weak remix on here, which is not always the case for remix albums. Psymon Spine chose their collaborators and ideas well.

Keep your mind open.

[Jump over to the subscription box while you’re here.]

[Thanks to Cody at Northern Spy.]

Marco Benevento’s new single, “Marco & Mimo,” is a bouncy delight.

Photo by Seth Olenick

This summer, hallucinatory keyboard wizard Marco Benevento pulls back the curtain on his latest studio effort, simply titled, Benevento. Due June 10 on Royal Potato Family, the 11-track collection presents 40-minutes of small-batch psychedelia, bubbled up from his home studio (Fred Short Studios) at the base of the Catskill Mountains in Woodstock, NY. Its title nods to Paul McCartney‘s first solo album and like Macca’s eponymous release, Benevento is a similarly loose, low-key affair where song sketches and sunrise jams share space with more constructed tracks. Benevento plays all of the instruments with exception of percussion from Mamadouba ‘Mimo’ Camara and backing vocals by his wife and kids on a handful of songs. He also produced and engineered the recording. The album’s latest single “Marco & Mimo,” which sets Afro-Caribbean melodic lines and sing-song, earworm vocals against the bump ‘n’ grind of Camara’s percussion, is out today (listen/share), while pre-order is available here.

“This record really acts as a psychedelic window into my studio and my brain,” Benevento explains. “The studio was a good place to be trapped for the last few years. I was surrounded by tape machines and gear. The album started to become this document of a crazy dude losing his mind in the woods—and maybe regaining it.”

Recording was conducted amidst stacks of gear in varying states of repair, all fodder for inspiration during long quarantine-dictated solo jam sessions. In this environment, Benevento unlocked his archives, mining for unfinished song ideas, and surrendered to the machines, coaxing beats and melodies from both go-to favorites and gear that had long been collecting dust. Benevento has since decamped to a new, significantly larger, home studio. As such, the album also acts as a swan song for his former workspace.

“Wall-to-wall keyboards, mics, amps, drums, the place was about to explode,” Benevento laughs.

In contrast to Let It Slide, his minimalistic 2019 full-length collaboration with producer Leon Michels, Benevento is heavily saturated and experimental, built from countless layers of keyboards, bounced to 4-track tape. Deeply indebted to the West African psychedelia of artists such as Francis Bebey, Kiki Gyan and William Onyeabor, the songs are rhythmic and repetitive, built into thick mosaics of sound. Each track features at least one keyboard solo, allowing Benevento ample time to explore sounds from the deepest recesses of his gear collection.

For the five songs with vocals, Benevento collaborated on lyrics with Al Howard, a San Diego-based poet. Howard handed over a 10 pages of lyrical sketches which Benevento worked into his tracks, occasionally chopping and mixing the lines or adding in words of his own.

“It was a new thing for me to dive in to—using someone’s lyrics,” Benevento says. “Or, I should say, finding a way to fit someone else’s lyrics into my tunes. I was a bit fed up with my own lyrical ideas, and was immediately drawn to Al’s writing.”

Despite stresses of the global pandemic, the vibe at Fred Short Studios was deeply peaceful and creative as Benevento patiently worked through years of accumulated ideas, lost, as he says, in the wonder of Woodstock. The experience ended up being so inspiring that—in another nod to McCartneyBenevento II is already in the works.

“I guess all my records are kind of experimental and weird, but this one is really unique,” Benevento says. “Records are snapshots of time, and this is from a time when it was just me, dialing knobs and making mixes and inventing how things could sound.”

As such, Benevento is sonic time capsule, a wormhole beckoning listeners to enter and explore. Throw away your preconceptions of time and space and dive in.

Benevento is out June 10 on Limited Edition Bubblegum Pink 180-Gram Vinyl,
Classic Black 180-Gram Vinyl and Digital formats from Royal Potato Family.
Pre-order available HERE

Marco Benevento
Tour Dates:

4/7 – Cambridge, MA – The Sinclair
4/8 – Burlington, VT – Higher Ground
4/9 – Fairfield, CT – Stage One
6/22 – Rochester, NY – Abilene
6/23 – Pittsburgh, PA – Thunderbird
6/24 – Cleveland, OH – Beachland Ballroom
6/25 – Rothbury, MI – Electric Forest Festival
7/1 – Scranton, PA – Peach Music Festival
7/3 – Quincy, CA – High Sierra Music Festival
9/3 – Portland, ME – Ghostland Festival

Keep your mind open.

[Don’t forget to subscribe before you go.]

[Thanks to Kevin at Royal Potato Family.]

Vicky Farewell’s new single, “Kakashi (All of the Time),” is good all of the time.

Photo by Lauren Kim

Orange County-bred Vicky Farewell releases a new single/lyric video, “Kakashi (All of the Time)” from her debut album, Sweet Company, out April 8th on Mac’s Record Label. The anime-inspired standout “Kakashi” came about during a COVID lockdown binge of the Naruto series. “It’s probably the most fun I ever had writing a song,” says Farewell. “It’s also the most embarrassing and I thought I’d never share this with anyone, but here we are.” Elongated synth acts as the song’s backbone, as Farewell’s saccharine voices sparkles across.

Watch Vicky Farewell’s Video for “Kakashi (All of the Time)”

Farewell’s emergence as a solo act is the latest chapter in an already impressive career. A classically-trained pianist, songwriter, and producer, Farewell began to flourish at the epicenter of the funk-addled and deeply experimental Angeleno musical ecosystem alongside The Free Nationals in the studios of Shafiq Husayn (of Sa-Ra Creative Partners) before graduating to the legendary hip-hop producer Dr. Dre’s. She also boasts writing credits on Anderson.Paak‘s acclaimed GRAMMY-nominated album Malibu (Best Urban Contemporary Album) and the GRAMMY-winning album Ventura (Best R&B Album). With this rare combination of elite musicianship and singular vocal performance,  Farewell produced, arranged, and engineered Sweet Company herself. Her particular knack for pocket-driven ear worms match the album’s melancholy tone with whimsical notions and unbridled joy.

Sweet Company cements Farewell as a true record producer, complete with the confidence to let the music do the talking. For Farewell, it’s “all about the music and the music is fucking good.”Sweet Company is a bold statement of artistic capacity delivered in feather-light refrains, bursting phasers, and robust arpeggios that conjure pastels and the tender nostalgia of a childhood crush. Farewell finds herself fully realized in the span of eight tracks painstakingly designed to shatter industry norms. 

Pre-order Sweet Company

Keep your mind open.

[It’d be sweet if you subscribed.]

[Thanks to Jim at Pitch Perfect PR.]

Review: Endearments – Father of Wands

Kevin Marksson, otherwise known as Endearments, makes spacey dream pop seem easy, even though at least two of the songs on his Father of Wands EP are about heartbreak.

I mean, opener “Ocean” starts with the lyrics, “You could make me nothing. You could be the ocean. I’m inside you drowning.” Meanwhile Marksson’s synth and guitars are as bright as the high noon sun bouncing off the surface of Caribbean beach waters.

“How could we love each other endlessly?” He asks on “Empress,” a song in which he speaks of knowing a lover could treat him well if only she would stop focusing on just herself. The song bursts with optimism, though. Marksson’s instrumentation is too bright to ignore and too lovely to deny.

That being said, “Hymnal” has Marksson singing about how he can’t understand his girl’s thinking and how she can’t understand how he’s lost without her (“I don’t think you understand where I go when I’m not here with you.”). The closing track, “Delicate,” has Marksson resigned to the fact that things might not work out after all and he just needs to accept that (“I thought I was yours, but I could never be enough for you like this.”).

Still, the EP has that optimism I mentioned earlier. Marksson lets us know that love can be rough, but there is always some hope that, if we can’t find love, it might find us.

Keep your mind open.

[I’ll find it endearing if you subscribe.]

[Thanks to Taylor at Clandestine Label Services.]

Vicky Farewell asks “Are We OK?” on her new, lovely single.

Photo by Lauren Kim

Today, Orange County-bred Vicky Farewell announces Sweet Company, her debut album, out April 8th on Mac’s Record Label, and presents a visualizer for its lead single, “Are We OK?” Possessing a rare combination of elite musicianship and singular vocal performance,  Farewell produced, arranged, and engineered Sweet Company herself. Her particular knack for pocket-driven ear worms match the album’s melancholy tone with whimsical notions and unbridled joy.

Farewell’s emergence as a solo act is the latest chapter in an already impressive career. A classically-trained pianist, songwriter, and producer, Farewell began to flourish at the epicenter of the funk-addled and deeply experimental Angeleno musical ecosystem alongside The Free Nationals in the studios of Shafiq Husayn (of Sa-Ra Creative Partners) before graduating to the legendary hip-hop producer Dr. Dre. Boasting writing credits on Anderson .Paak’s acclaimed GRAMMY-nominated album Malibu (Best Urban Contemporary Album) and the GRAMMY-winning album Ventura (Best R&B Album); it was in the company of these giants that Farewell found her sound, and—at their urging—she ultimately found her own voice.

Today’s “Are We OK?” was born at the height of pandemic uncertainty, conveying the palpable vulnerability of that fraught period. “‘Are We OK?’ was the first song I ever wrote and produced to completion on my own,” says Farewell, “Honestly, I never considered myself much of a singer until I made this song. It really paved a way for the rest of the record.”

Watch Visualizer for Lead Single, “Are We OK?”

Grounded by the pandemic, Farewell channeled her artistic energy into a vehicle she could operate from the comforts of her own home. The ability to work with little to no input from the outside world is a hallmark of the scene that made her, and this approach affords Farewell the freedom to perfect her output. Though the first track came from her decision to write tunes for fun, Farewell was encouraged to record a full-length record by the more established artists in her orbit who were digesting these early demos. Upon finishing Sweet Company, Farewell played the album for Mac Demarco and was offered a deal on the spot: “I’ve known Vicky for several years now, she’s a good friend and a ripping musician. I’m super excited to be working on this release with her. Vicky shared a couple of the songs with me as she was making them a while ago, and it’s been cool to watch the rest of her process in putting it all together. I love all these tunes, I’m happy Vicky’s allowed us to help out with them, and I’m really excited for everybody else out there to have a rip on them.”

Sweet Company cements Farewell as a true record producer, complete with the confidence to let the music do the talking. For Farewell, it’s “all about the music and the music is fucking good.” Sweet Company is a bold statement of artistic capacity delivered in feather-light refrains, bursting phasers, and robust arpeggios that conjure pastels and the tender nostalgia of a childhood crush. Farewell finds herself fully realized in the span of eight tracks painstakingly designed to shatter industry norms.

Sweet Company Tracklist 1. Prelude 2. Sweet Company 3. Kakashi (All of the Time) 4. Believe Me 5. Are We OK? 6. H.W. 7. Forever 8. Get Me 


Pre-order Sweet Company

Keep your mind open.

[I’ll feel okay if you subscribe.]

[Thanks to Jim at Pitch Perfect PR.]

Top 30 albums of 2021: #’s 5 – 1

We’ve reached the top of the chart. Who takes the prize? You’ll find out soon.

#5: Anika – Change

Good heavens…This album is so lush, haunting, and beautiful that it will sweep you away from whatever you’re doing when you play it. Anika’s voice immediately drapes over you like a luxurious robe with a knife hidden in a back pocket.

#4: Rochelle Jordan – Play with the Changes

Seriously, why aren’t more people going nuts over Rochelle Jordan? She mixes soul, house, disco, and trip hop better than most, and Play with the Changes is, if you ask me, the sexiest album of 2021.

#3: Brijean – Feelings

This lovely mix of trip hop, dream pop, bossa nova, and house music is a delight from start to finish. It was a much-needed tonic during the crappy 365 days of 2021. It’s a perfect spin for any time of year. Got the winter blues? Play this. Need a fun record for that summer beach trip? Play this. Need a boost to start your garden? Play this. Looking forward to sipping hot cider in the fall? Play this.

#2: Aaron Frazer – Introducing…

This solo record from one of the cats in Durand Jones and The Indications is one of the best soul and R&B records of 2021. Frazer puts down his trademark sharp beats and brings his other trademark, high-end vocals, with him to create a groovy, sexy blend that impressed Dan Auerbach of The Black Keys so much that he produced it.

#1: Shame – Drunk Tank Pink

This album got locked into my number one spot not long after it was released. It’s a sharp post-punk record, and I remember being more and more impressed with it after each listen. It covers everything from Brexit and the pandemic to boredom and hope for the future. It’s snarky, witty, and powerful.

There you have it. I hope 2022 is good to all of us.

Keep your mind open.

[Why not start off the new year right by subscribing?]

Let’s Eat Grandma wish us a “Happy New Year” with their new single.

Photo by El Hardwick

Let’s Eat Grandma – the duo composed of songwriters, multi-instrumentalists, and vocalists Rosa Walton and Jenny Hollingworth – present a new single/video, “Happy New Year,” from their much anticipated third full-length album, Two Ribbons, out April 8th on Transgressive. Following the title track and “Hall Of Mirrors,” “Happy New Year” is a blissful song celebrating friendship. The video features the duo embroiled in a tennis match-turned-party, the fierce to-and-fro between them representing the difficulties their relationship has faced, and the fireworks behind them illuminating a new chapter in their friendship.

Walton elaborates: “I wrote ‘Happy New Year’ after a breakdown between us that lasted for a long period of time, to communicate to her how important she is to me and how our bond and care for each other goes much deeper than this difficult time. I used the setting of New Year as both an opportunity for reflection, looking back nostalgically through childhood memories that we shared, and to represent the beginning of a fresh chapter for us. I’d been struggling to come to terms with the fact that our relationship had changed, but as the song and time progresses I come to accept that it couldn’t stay the way it was when we were kids forever, and start to view it as a positive thing – because now we have been able to grow into our own individual selves.

Watch Let’s Eat Grandma’s Video for “Happy New Year”

Two Ribbons tells the story of the last three years from both Hollingworth and Walton’s points of view. Following the critical acclaim for 2018’s I’m All Ears, for which they won Album of the Year at the Q Awards, the two began to find themselves as individuals, tastes differing here, reactions jarring there. There was a time when both felt a little trapped, and needed to fight to create the space to express themselves as individuals within their relationship. Two Ribbons can be heard as a series of letters between the two of them, taking the place of conversations as they try to make sense of the rift in their relationships.

As a body of work, Two Ribbons is astonishing: a dazzling, heart-breaking, life-affirming and mortality-facing record that reveals the duo’s growing artistry and ability to parse intense feelings into lyrics so memorable you’d scribble them on your backpack. Two Ribbons treads a fine line expressing the most intimate feelings of, whilst making space for, the different perspectives of two women; an album that says this is not the beginning or the end but part of a never-ending circle. It’s cyclical in nature; there is sadness, and pain, and joy, and hope – and knows that no matter what detours we take, we are all connected. 
Listen to “Happy New Year”

Watch the “Hall Of Mirrors” Video

Watch the “Two Ribbons” Video

Pre-Order Two Ribbons

Keep your mind open.

[You can wish me a happy new year by subscribing.]

[Thanks to Ahmad at Pitch Perfect PR.]

Top 30 albums of 2021: #’s 25 – 21

Let’s not waste time. Here are the records that cracked my top 25 (of over 60) that I reviewed last year.

#25: The Beths – Auckland, New Zealand, 2020

This delightful live album from The Beths is full of joy. The band was over the moon, the crowd was ecstatic, and daring to open with “I’m Not Getting Excited” was a gutsy move when everyone in the place was bursting with energy.

#24: Acid Dad – Take It from the Dead

Acid Dad were a band I’d heard a lot about, yet didn’t know much about them. I caught them live about an hour from my house and was sold within two songs. Take It from the Dead is a fine psych-rock record with touches of surf that make it a standout.

#23: Ty Segall – Harmonizer

Ty Segall added a bunch of synths and electronic beats to his already heavy fuzz rock, and the result, Harmonizer, was impressive. He showed his love for krautrock and even dance rock, and that he could pull off both genres as easily as psych jams.

#22: Morly – Till I Start Speaking

Easily one of the loveliest and sexiest albums of 2022, Till I Start Speaking is a great mix of Morly’s vocals, electro-beats, and synths. I hadn’t heard of Morly until this record was sent to me, and it was a pleasant discovery.

#21: Pearl & The Oysters – Flowerland

Speaking of lovely records, here’s another one. Bossa nova, disco, ambient, and house all merge together for an album as pretty and trippy as its cover.

Who makes the top 20? You’ll learn tomorrow!

Keep your mind open.

[Why not start off the year by subscribing?]