Just in case you were lacking a way of coping with the disheartening feelings of existing lately, Frontman Yannis Philippakis and drummer Jack Bevan have stepped out of the depths to once again throw an anthem of validation into the ring. You aren’t crazy, climate change is real and you’re expected to feel lost in the labyrinth of society. The first few dramaticized strums in the latest Foals single ‘Exits’ makes you sit up a little straighter and finally feel yourself drift into focus. The first single released since the departure of their previous bassist Walter Gervers, followed with the announcement of two full length LPs and a music video directed by Albert Moya, shot in a very snowy Canada right out of the Matrixs.
Philippakis is very open about what was on his mind when the group wrote this particular song and the feeling of relatability doesn’t fail to remain present throughout the songs entirety. Fears such as humans not realising they are creating a man-made apocalypse, the threat of surveillance coming from the increased use of technology and the denial of climate change are a few weights on the groups mind. Its as if the only privacy available comes from a person's own mind, and the state of current events leaves you with no choice but to sit and watch it all unfold. The rich continue to build their underground bunkers in Philippakis’s mind. The music video highlights a few of these themes through a suspenseful sequence of shots that leave you feeling nothing but awake. Foals is back, acting as a vessel of optimism for survival.
A Day Trip With Hall Johnson
By Violet Krause
The collective sound of Hall Johnson in their most recent EP lets you know they feel no rush to get where they’re going and are rarely glancing back to see if you’re following along.
Hall Johnson is an authentic group of DFW locals who seemingly have no issue entering a room barefaced, emotions clear and keeping them always within reach. The relatable kind of vulnerability is consistent and impossible to not notice in the recently released EP ‘Day Trip’. The EP was recorded under the wing of producer Ian Salazar (of Acid Carousel), whose concrete ingenuity led to six alluring full length songs. Each song is compressed with enough soothing and honest words to leave you feeling exposed while subsciously pausing to wonder why the picture painted in songs like ‘Oxygen’ seem so familiar.
There's a remarkable amount of tension throughout the EP as a whole, lyrics spread out in each song are pieced together in the form of a failed love story as well as the list of things seemingly left unsaid. ‘Fencing’ is a track containing a certain fragility that leaves you to recall the feeling of standing on the outside of a romantic wall with only innocent intentions of pursuing what’s behind it. The feeling of laying on your teen bedroom floor counting the blades on your ceiling fan worrying about things you can't change is imagined perfectly in ‘Rock Bottom’. The groups ability to present their emotions in a steady, sensitive process allows listeners to engage wholeheartedly throughout the entirety of the EP. The songs meanings might come across as casually spoken but there is a certain meaningfulness that each possesses that also helps differentiates one from the other.
You can draw an interesting conclusion that the ability to combine a modern and attention grabbing sound with newly expressed emotions is something Hall Johnson has begun the process of mastering. There is the sense of pure confidence in their presentation that invites audience to listen and relate, while at the same time offering reassurance that their originality won’t be straying from their sound anytime soon.
Mitski’s Love Affair with Loneliness
Written and Photographed by: Erin Christe
The “indie” subset of the music world is majorly dominated by white cishet males, complaining about the fact that they can’t get a girl to sleep with them and about the “world not understanding them.” Aside from the fact that it’s headache-inducing to witness how many of these artists are copy-and-pasted cut-outs of one another, this reality is quite disheartening in the sense that it often pushes so many women, and especially women of color, out of their deserved time in the spotlight.
Beach Fossils Take Over Texas
Written and Photographed by: Mica Kendall
Since their last album, Clash The Truth, Brooklyn based band, Beach Fossils, has not stepped foot in Texas since their last tour in 2015. Within the 2 year time gap after touring, Beach Fossils released their fourth album Somersault. Somersault not only represents a sense of progressive growth from the band’s fundamental sound in Clash The Truth but also hosts some of Payseur’s most evocative, emotionally driven lyrics yet. Thus, the highly acclaimed success of Somersault has not only earned the band millions of streams per song on the album but also an influx of fans yearning to hear Somersault live. This wish was granted last month for Texan fans when Beach Fossils announced their 5 day Texas tour kicking off in Austin at the Mohawk.
Written and Photographed by Jess DeMinto
The Garden are En Route to their fifth album
Written and Photographed by: Mica Kendall
The dynamic Shear twins are back with their newest single, “No Destination,” that will be featured in their brand new album called Mirror Might Steal Your Charm that comes out on March 30th which will be followed by both a European and North American tour.
Ruins not completely in ruins
Written by: Gabby Mrozowski; Image belongs to Columbia Records
Weaved into the beginnings of 2018, First Aid Kit released their senior album, Ruins, on Jan. 19. Fans anticipated fresh-pressed music for four years, after the Swedish sister duo dropped albums every two years between 2010 and 2016. Klara and Johanna Söderberg revealed Ruins was mostly written during a five-week trip in Los Angeles, and both recognize the juxtaposition existing between that environment and their melancholy messages.
With Kyoto Lo-Fi, magnitude and notability go hand in hand, and their most recent EP contains a great volume of both.
Written by: Owen Murray; Photo by: Jeff Rosenstock
Jeff Rosenstock released POST- on New Year’s Day after an utterly exhausting 2017. The American public was bombarded by wild and dangerous tweets from the president himself, Nazis rioted in Charlottesville, and the threat of nuclear war loomed constantly over our heads. Protest songs flooded the airways and the internet to a point of saturation. These are turbulent times.