Summer is almost upon us, and with it comes the search for the ‘song of the summer’. I’ll put the new Austin Cannon remix of Zealyn’s “Summer Day” up as entry #1, not only for the appropriate title but for the fact that it is immediate and nostalgic at the same time–the beats are hypnotic and midway between chillout and an insistent club anthem, while the lyrics are yearning for someone to “take me back to that summer day.”
Originally released on Zaelyn’s debut EP Limbic System, this is the third of seven remixes being issued weekly until the full EP Limbic System: Reimagined is out June 9th.
Stream it below via Soundcloud and bask in the bright, warm new rays of a sunny, summertime song:
From today’s edition of the Columbia Free Times, my review of local songwriter Todd Mathis’ new album:
via Music Review: Todd Mathis’ Love in the City | Music | free-times.com
Nashville-based act Volunteer is the creation of Floridian Cory Quintard, who has an epic songwriting mind if his band’s debut EP is any indication. Like Coldplay with cojones, The World Will Begin Again offers up grandiose choruses, ringing guitars, majestic keyboards, and arena-scale drumming that will sound great blasting from your speakers even if they’re 3-inch ones attached to your computer. The full EP is out February 17th, check the title track out in the video below:
Some bands just ooze summertime, and with a name like Beach Day, how could you not be a breezy indie pop outfit? Beach Day‘s second album Native Echoes is out on the 19th, but check out the video for single “Don’t Call Me On the Phone” below. Lead singer Kimmy Drake channels Ronnie Spector in hairstyle and vocal sound, like a one-woman Ronettes, and the organ wash vs. guitars effect is like a gauzy, dreamy take on the Ramones–not a difficult thing to imagine now with all the original members of that band in rock ‘n’ roll heaven.
(Treadmill Trackstar in Major Label mode)
Any time Angelo Gianni deigns to release music under the Treadmill Trackstar banner is cause for celebration, and today a tune was unceremoniously dumped in my email inbox from the band’s Bandcamp page under the heading “Random Finding”.
It’s not a ‘new’ song, but rather one that Gianni found in his archives–I imagine those archives are probably a closet or storage room piled high with outdated media like cassettes and 2-inch tape that may never see the light of day; that this tune surfaced is a minor miracle.
“Our Ride Down” appears to be, as Gianni himself notes on the song page in Bandcamp, written after the band got dropped from their Breaking/Atlantic contract back in the late 1990s, a scenario which pretty much caused the group to shut down soon after–hence the reason this recording wasn’t officially released until now.
I remember this tune vaguely from seeing Treadmill shows back then, mostly for the memorable line “Mona Lisa’s on the rag again.” The gist of the lyrics are Gianni’s typical self-flagellation over perceived inadequacy:
For my part I’m not drinking to celebrate
breaks my heart
penalty is its own reward
for my part I’m not drinking to celebrate
our ride down
Hear the track for yourself here:
Heyward Sims a/k/a Devereaux has new music coming out in September, Pineapple Flex. The first real listen comes this week courtesy of the song “Rendezvous”, a slight track built on a burping bass line, repetitive synths and syncopated percussion, like Toro Y Moi without the funk element. The new album is a full length follow-up to his 2012 Cacti Pace EP, here’s hoping it will allow him ample room to stretch out his ideas into more adventurous territory.
So, a few years back I posted about a South American alt-country act, Madera, whose sound was remarkably similar to the late-90’s sound of many American acts. This week I got an email from Swedish singer-songwriter Pelle Hakman promoting his song “Kind Of Late”, which sounds like a Jeff Buckley tune as sung by Ryan Adams, perhaps. The last remotely twangy Scandinavian music I can recall is from way back in the 80’s and 90’s–the Pushtwangers and the Sandmen–so to get new stuff from that area is an unexpected treat. Would love to hear Hakman with a fuller arrangement behind him, but this song (and the others on his Soundcloud page) is a good start.