Friday, December 15, 2017

Sunshine: A Brief Review Of The New Album From Monster Rally

The new record from Monster Rally, Flowering Jungle, out today on Gold Robot Records, is the sort of thing that charms immediately. It is also, it probably goes without saying, utterly unlike anything else being offered up in the current indie-pop landscape.

Ted Feighan, the man who is behind Monster Rally like Oz behind that curtain, has made something here that depends on a wealth of near-kitsch and wholly-retro samples in the service of the creation of something uniquely fresh and proto-modern. If light-as-air instrumentals like "Tideline" and "Sunshine" suggest anything, it's the sort of tunes once created by Martin Denny and folks in that generation. Similarly, tracks like "Giant Leaves" and "Rio" add in waves of tropicalia and other genres to flavor the selections with hooks that offer a sort of nostalgic joy, as well as a sense of escape. And, yes, there are loads of moments here where the songs seem suited to being played while waves lapped a shore, or palm trees swayed in the breeze ("Sunny Sloths", "Toucans"), and a few others ("Love", "Let's Go Faraway") that recall both cocktail jazz as well as instrumental numbers from the likes of Super Furry Animals and High Llamas, however briefly.

A pleasant and sun-dappled surprise,Flowering Jungle by Monster Rally is a burst of joy. It is the sort of thing to re-affirm one's determination to seek out new music, especially when stuff like this is out there waiting to be discovered.

Flowering Jungle by Monster Rally is out today on Gold Robot Records.

[Photo: Casey Catelli]

Wednesday, December 13, 2017

Watch Yer Back: A Few Words About The New Compilation From The Magic Words (Lisa Walker From Wussy)

The Magic Words is Lisa Walker. The veteran of the fine Wussy has here unveiled a whole slew of great tunes that are both brash and vulnerable in equal measure. That this is a compilation with the consistency of a single album says a lot about how good The Magic Words, out Friday on Damnably, is.

On the near-whispered "Loaded For Bear", Lisa sounds a faint bit like both Exene and Shelby Lynne, though the material is decidedly less country-ish than that of either, while on the superb "Watch Yer Back" she snarls in the manner of one of the Deal sisters from one of their many bands. Still, for the moments here that bristle with a bit of spark, a few others, like the lyrical "New American Standard" and the gentle "Hello Goodnight", strike out for new territory. Lisa Walker's voice here is such a nimble thing that a reviewer can only grasp at distant comparison-points (Tanya Donelly's solo stuff, Bettie Serveert) in attempt to pin down what this sounds like. Still, for all my love of lots of what's here, I almost wish that Lisa had pursued harder material, like "Rigor Mortis", more often over the course of the 2 records compiled here.

The Magic Words by The Magic Words is one of the best and most satisfying releases one is likely to encounter this late in the year. More details can be found via Damnably Records.

[Photo: Uncredited promotional picture from label]

Tuesday, December 12, 2017

Devitalize: A Quick Review Of Chain And The Gang Live At Third Man Records

That D.C.-area legend up there, Ian F. Svenonius has been incredibly busy this year. He took a revitalized line-up of The Make-Up back on the road -- my pic up there is of Ian at the band's scorching set at the Black Cat back in May -- and he's dropped what amounts to a solo record from his sinister Escape-ism project, reviewed by me here, along with 2 studio releases from Chain and The Gang, also reviewed by me here and here. That would be a full slate for anyone but Ian has also dropped a live album from Chain and The Gang which I somehow overlooked until now.

The release, called, appropriately enough, Live at Third Man Records, is apparently out now via Third Man Records, appropriately enough. It is as close as you're likely to get to a first-hand taste of this rock shaman's subversive shtick on vinyl, or disc. The set is pure fire, with the players here -- Francy Graham on guitar, Anna Nasty on bass, and Jim Thompson on drums -- burning through these standards from Chain and The Gang with near-abandon and prodigious force.

And for all the moments here that bristle with that odd brand of Svenonius wit -- when you're not quite sure if he means a comment as a joking aside, or if he's about to start the revolution with a scream into the mike -- like "Why Not?" and "Certain Kinds of Trash", there are others here that seem to be the best sort of blend of Nuggets-era stuff with the kind of punk rooted in Ian's harDCore past, like "Devitalize", punched-up pop, or "Come Over", all amped-up energy. "Livin' Rough" and "Logic of the Night" offer live takes on the sort of tunes Chain and The Gang have been perfecting in recent years, while an epic "Mum's The Word" provides further proof of Ian's skills as a front-man and general rabble-rouser.

Look, I'm not usually a fan of live records but Chain and The Gang's Live at Third Man Records is full of such palpable power that I can only recommend this one highly. There's more energy coming out of this band, and these 4 players, than whole armies of other bands can muster, with the twin attack of Graham's guitar and Nasty's bass positively launching this one into the heavens. This release is as much as a showcase for their skills as musicians as it is for the vocals and delivery of Svenonius.

Live at Third Man Records is out now via Third Man Records.

[Photo: me, Glenn Griffith, May 2017]

Sunday, December 10, 2017

My Top 30 Tracks Of 2017

Astute readers will notice that I have upped the number in this year's usual "Best Tracks of The Year"-list by 10. And while it might look like a lazy move on my part, designed to allow me to do this list quickly, the truth is that there were just too many great songs this year. And I felt like none of these could be left off my annual list.

So, without any further delay, here are the 30 tracks that made me so happy as a listener this year, presented roughly in order of release.

Kenixfan's Top 30 Tracks Of 2017

1. "Hell and Back" by Rose Elinor Dougall (from Stellular)

There were loads of songs on the latest Rose Elinor Dougall album, Stellular, reviewed by me here, that were haunting and memorable but perhaps none as lyrical and enticing as this one.

2. "Take Care (To Comb Your Hair)" by Ty Segall (from Ty Segall)

Ty Segall is, quite simply, a machine that won't quit. And the quality of his brand of psych-rock has not flagged. His 2017 self-titled album yielded this T.Rex-style charmer.

3. "The Last Ten Years" by Mark Eitzel (from Hey Mr. Ferryman)

Not that I don't like Mark Eitzel but I can't say that I'm a huge fan. That said, his 2017 album, Hey Mr. Ferryman, yielded this one. The production by Suede's Bernard Butler helped win me firmly over, as my rave review hopefully made clear.

4. "Julie's Place" by Rolling Blackouts Coastal Fever (from The French Press EP)

Perhaps the song this year that was the hardest to dislodge from my head once I'd heard it, "Julie's Place" from Rolling Blackouts Coastal Fever was an instant hit in my book. There were other gems on the band's EP, The French Press, reviewed by me here.

5. "JJ" by Priests (from Nothing Feels Natural)

An easy contender for the best record of 2017, Nothing Feels Natural from D.C. own Priests heralded the arrival of an absolutely superb, sharp, and smart band on the national stage. Infectious and bright, "JJ" rides a big hook that sees all the formidable players here in top form. My review of Nothing Feels Natural is here.

6. "Dundee Man" by Spiral Stairs (from Doris and the Daggers)

The ex-Pavement guy delivered a lot of fun tunes on Doris and the Daggers but probably none as catchy as this nugget.

7. "Riding a Lightning Bold" by Mr. Husband (from Plaid on Plaid)

The skewed indie-pop of this tune from Mr. Husband, from his fine Plaid on Plaid album, is the sort of thing that deserves a lot more word-of-mouth attention.

8. "Rocket Science" by The Chills (from the "Rocket Single" 7-inch single)

The Chills continued their latest renaissance with this punchy Record Store Day release, a bright politically-minded offering from Martin Phillipps and crew. More details here.

9. "Closer Everywhere" by Beach Fossils (from Somersault)

The latest album from Beach Fossils, Somersault, really won me over in 2017, thanks especially to Left Banke-inspired gems like the crystalline "Closer Everywhere", seen here in a more spacious live version.

10. "I Had a Dream" by The Jet Age (from At The End Of The World)

D.C.'s The Jet Age finally delivered a new record in 2017 after that trickle of 2-song drops in 2016. 2017's At The End of The World saw front-man Eric Tischler look for hope in the Trumpian landscape, with the quiet rage of "I Had a Dream" being one of the highlights of the record.

11. "Ramen Waitress" by High Sunn (from the Hopeless Romantic EP)

I'm a fan of just about everything on the PNKSLM label so it was a given I'd be thrilled when the band signed their first American band. The latest release from the wildly-prolific Justin Cheromiah and High Sunn was the bright Hopeless Romantic EP, reviewed by me here. Amid the skittering guitar hooks and breathless vocals, was this bouncy ditty that seemed to recall The Apples in Stereo a tiny bit.

12. "Hindsight" by Dave Depper (from Emotional Freedom Technique)

I loved Emotional Freedom Technique by Dave Depper so much that it was damn near impossible trying to determine what individual track to put on this list. However, if the truth were told, this number's ability to make me tear up with a sort of happy sadness every time I played it, made it the obvious choice. Such a great album!

13. "Staying Home" by The Peacers (from Introducing The Crimsmen)

The new album from Peacers, reviewed by me here, is a hard one to describe. But as the warped indie careens all over the place, a few gems -- like this John Lennon-inspired offering -- stand out immediately.

14. "Wha Do Wha Do" by Male Gaze (from Miss Taken)

In a perfect world, Male Gaze would be as big as Protomartyr. Doubt me? Listen to this excellent rocker from the band's latest album, reviewed by me here.

15. "Used to Spend" by Chastity Belt (from I Used To Spend So Much Time Alone)

I still wonder if Chastity Belt lost any fans by jettisoning some of the humor found on their previous releases for 2017's sublime I Used To Spend So Much Time Alone, reviewed by me here. The record moved me, and none of the emotions on the slower numbers felt forced to me, with the title cut being a real standout.

16. "Cali" by Ride (from Weather Diaries)

If Weather Diaries was a bit overrated in my book, "Cali" was not. An epic single, the tune is one of Ride's very best numbers, in my opinion.

17. "Red Museum" by Frankie Rose (from Cage Tropical)

Frankie Rose took some real chances on her latest release on Slumberland Records, the sleek Cage Tropical. But, as I tried to stress in my review, Rose tapped into something both nostalgic and forward-looking on the record, with the bright sheen of New Wave-y numbers like "Red Museum" making the release one of 2017's highlights for me.

18. "Cameo" by Childhood (from Universal High)

Where to begin with Childhood? 2017 saw the band more or less re-invent themselves with the wildly successful Universal High, an album positively brimming with both Seventies AM radio-flavor and Philly Soul-heart. I started raving about the record in the summer and I'm still raving. One listen to the sun-dappled "Cameo" with its glorious breaks ought to explain why.

19. "Where Does The Sadness Come From?" by The Granite Shore (from Suspended Second)

The majestic new album from UK indie super-group The Granite Shore, Suspended Second, reviewed by me here, seemed to be simultaneously a very personal record and one that was concerned with larger issues affecting the British Isles. The gently soaring and wholly lyrical "Where Does The Sadness Come From?" was a standout on a record full of tunes just like this.

20. "So True" by The Pains of Being Pure at Heart (from The Echo of Pleasure)

I didn't follow The Pains of Being Pure at Heart as closely once they jumped off the Slumberland Records ship, but I did like their newest record, The Echo of Pleasure, reviewed by me here, quite a bit. A real highlight of the long-player was this sleek ditty featuring Jen Goma of Another Sunny day in Glasgow on vocals.

21. "I Haven't Been Taking Care of Myself" by Alex Lahey (from I Love You Like A Brother)

Alex Lahey released an EP and a full-length record in 2017 and virtually any cut from either could go on this list. I Love You Like A Brother is superb, modern indie-pop and this is one of the real highlights from her first, stellar, full-length release.

22. "Great Outdoors" by King Leg (from Introducing King Leg)

In a year where Morrissey seemingly gave up trying, leave it to this Dwight Yoakum protege to step in and deliver what sounds as much like Moz as it does Roy Orbison. A real left-field gem, this tune from King Leg is a nice taste of his largely excellent debut album, reviewed by me here.

23. "Paper Crown" by Liam Gallagher (from As You Were)

As You Were by Liam Gallagher was a pretty good record, if not quite as great in my book as the first Beady Eye LP. That said, Liam's voice was in very fine form throughout, nowhere more so than on this lyrical and tender number, a shoe-in for inclusion on this list. As You Were reviewed by me here.

24. "The South Will Never Rise Again" by Des Demonas (from Des Demonas)

The debut album from D.C.'s own Des Demonas was full of scorchers, making it hard to narrow it down to just one track for this list. Still, the pointed lyrics and deliberate delivery here from front-man Jacky Cougar Abok made this one a stand-out. More details on the album in my recent review, but, for now, groove on this one with its guitar-hooks from the busiest musician in D.C., Mark Cisneros.

25. "Break The Glass" by Superchunk (from the "Break The Glass" 7-inch single)

Superchunk, gearing up for a new album in early 2018, dropped this stomper not too long ago, with proceeds going to the Southern Poverty Law Center.

26. "They Took The Waves" by Escape-ism (from Introduction to Escape-ism)

Ian Svenonius not only released 2 records with Chain and the Gang in 2017, he publicly debuted his largely-solo effort, Escape-ism, with a fine and funny debut album, reviewed by me here. The smart and acerbic "They Took The Waves" was a real stand-out, with Ian offering up one of his most pointed screeds in ages.

27. "Get Clear" by Light Beams (from Light Beams)

One of the catchiest tracks of 2017 was this rabble-rouser from D.C.'s own Light Beams, featuring Justin Moyer of a whole slew of other classic D.C. acts. The Gang of Four-ish "Get Clear" is, like a lot of the band's numbers, even more affecting and infectious live.

28. "New Shapes of Life" by Martin Carr (from New Shapes of Life)

The title cut from the latest Martin Carr album saw the Boo Radleys front-man hit the heights of his past group. It was, like lots on New Shapes of Life, the best kind of British indie-pop and proof that Carr has lost none of his considerable skills.

29. "Into the Blue Sky" by Craig Wedren (from Adult Desire)

Adult Desire, reviewed by me here last week, is one of the most direct and affecting records from Craig Wedren in quite some time. The ex-Shudder to Think front-man delivered tunes of a near-classical elegance here, with "Into The Blue Sky" being a stand-out for this listener and reviewer.

30. "International Blue" by Manic Street Preachers (from Resistance is Futile)

I spent all weekend trying to find a way to hear the new Manic Street Preachers single since the official versions on YouTube and elsewhere were only available to U.K. residents. Once I found it, I loved it. Here's looking forward to the new Manics record in the Spring!

Thursday, December 7, 2017

March Away: A Brief Review Of The New Album From Tom Rogerson With Brian Eno

The new album from Tom Rogerson with Brian Eno, Finding Shore, is a record full of warm electronic pop of the sort that Eno himself used to routinely crank out. The long-player is out tomorrow via Dead Oceans and it's a fine instrumental release that straddles a line between more austere forms and more accessible ones.

From the bright keyboard-sheen of "Motion in Field" and on to the near-classical "March Away", Rogerson and Eno deliver what sounds like something recorded during the peak years of Eno's flourishing as an instrumentalist in the Eighties. Most of the cuts here are fairly concise, like the simple and affecting "Eastern Stack", however, "Marsh Chorus" unfurls for more than 6 minutes with a deliberate holding back of larger flourishes. And for selections like that that favor subtlety, Rogerson and Eno offer up other tracks that succeed on the strength of Rogerson's precise and contemplative piano-work.

Out tomorrow via Dead Oceans, Finding Shore is a fine record for fans of stuff like Harold Budd and Brian Eno's own early Eighties records. More details on Tom Rogerson via his official Facebook page.

[Photo: Matthew Parri Thomas]

Wednesday, December 6, 2017

One For Me: A Few Words About The New Alex Bloom Album

The debut album from Alex Bloom, Blue Room, is the revelation of a prodigious talent. It is also one of the most tuneful releases of this season, and the sort of thing that deserves a lot of attention from attentive listeners, and bloggers who are willing to spread the word a bit.

From the gentle folk of "One For Me" and "Sunrise" and on to the Elliott Smith-inspired "I Don't Know You Anymore", Alex Bloom reveals his enormous skills as a songwriter here on Blue Room right away. The tunes are concise, melodic, and brimming with the kind of warmth little other modern indie possesses anymore. "It's Alright" hints at something uneasy, the tune going briefly wrong, and things are not quite as smooth as they are elsewhere on the record. The cut is a suggestion of something deeper than simply the usual balladry one could expect of a talent like Bloom's. And on "Something" and a few other tracks here, like the spry "Eyes In The Back Of Her Head", Bloom displays a knack for complicating (however slightly) what could have been more straightforward songs. The artistry here is rich, and Bloom is to be commended for his command of this material, and the ease with which he dispatches some truly Beatleseque hooks throughout the otherwise largely direct indie-pop of his wildly accessible debut.

Blue Room is out on Friday. Follow Alex Bloom via his official Facebook page, or his official website.

Tuesday, December 5, 2017

Into The Blue Sky: A Quick Review Of The New Album From Craig Wedren (ex-Shudder To Think)

A couple of years ago when Scott Crawford asked me to write 4 brief band bios for his Salad Days companion book, Spoke: Images and Stories from the 1980s Washington, DC Punk Scene (Akashic Books), I jumped at the chance. When one of the groups assigned to me was Shudder to Think, I got extremely nervous. How on earth was I gonna adequately summarize these D.C. legends in just a page? Never mind their history in this city, the band's complicated and oddly beautiful brand of post-punk was something that seemed to exist outside of easy era histories and genre descriptions. And a lot of what made the near-glam rock and art pop presentation of Shudder to Think such a unique proposition was thanks to charismatic front-man Craig Wedren.

Wedren has kept busy with a whole lot of projects, namely soundtracks, since the dissolution of Shudder to Think and he's now in what sounds like a comfortable place in his recording life, if one can judge such a thing from a few listens to his haunting new record, Adult Desire. Out Friday, the album is full of simple, stark, and affecting alt-rock that brings a near-classical sense of execution to what's on offer here. "I Am A Wolf, You Are The Moon" yields a few casual nods to the sort of electronic pop most listeners will be familiar with from Hail To The Thief-era Radiohead, even if Wedren is a good deal more deliberate and direct than Yorke and co. ever were. As the bleeps and pops smooth out, the music swells with layers of keyboards and backing vocals carrying Wedren forward. The effect is an emotional and nearly-transcendent one as a listener is hearing a performer seeking to touch the heart, rather than obfuscate for the sake of obfuscation. Wedren is, as always, making Art-with-a-capital "A", but he remains remarkably unpretentious about his task. In other hands, this sort of thing would be willfully obscure and unnecessarily complicated. However, as the shiver-inducing waves of "Be A Man" indicate, Wedren is pushing emotional buttons, and not just intellectual ones.

In other spots on Adult Desire, Wedren pursues neo-folk (the sample-touched "Join The Zoo / Live Again"), or the sort of piano ballads that suggest a blend of Tim Buckley and Eighties Bowie ("Genies"). And, ultimately, the ex-Shudder to Think singer essays a style that is as simple and unaffected as his previous band's work was busy and complicated. Near the end of the album, "Into The Blue Sky" ushers forth one of Wedren's loveliest melodies wrapped up in a largely subtle electronic treatment that seems far closer to something from Philip Glass than it does to anything from Dischord Records. A listen to the title cut here on Adult Desire, for instance, or "I Am A Soldier", reveals a sort of foundational rock, the simplest of forms ornamented with bits and pieces of other instruments, brief samples, or electro-pop textures, and yet this ornamentation never extends to the point where the material itself is in danger of being overwhelmed. The hooks here on Adult Desire remain strong and sharp, with Wedren less interested in obvious flourishes than he is in the general mood of the piece, or the intended overall effect.

A record that's thoroughly easy to love, Adult Desire offers up all the obvious loveliness and modern sheen of any soundtrack recording from Craig Wedren, without the burden of being wed to another work. A genuine classicist, Wedren here combines, as always, Bowie's appreciative sense of the theatrical with Eno's ear for musical perfection. Surprisingly affecting in spots, Adult Desire is one of Craig Wedren's best solo releases and a rewarding record for astute listeners, be they fans of the glory days of harDCore or not. Wedren has with Adult Desire grown into something larger than his past material, even as he straddles a line between making serious Art and delivering direct indie-pop.

Adult Desire is out on Friday via the usual real world retailers, and online vendors, including Dischord Records and other outlets.

More details on Craig Wedren are available via his official Facebook page, or his official website.

[Photo: Uncredited promotional pic from CraigWedren.com]

Monday, December 4, 2017

Heads Up About This New Baltimore-Based Bowie Compilation

The folks at Morphius Records in Baltimore, Maryland have put together a fab compilation of David Bowie covers from Baltimore bands. The set, titled Baltimore Does Bowie, is out now and the proceeds are going to The Sidney Kimmel Comprehensive Cancer Center at Johns Hopkins University. For every sale of this compilation on vinyl, $6.00 will be donated to the Center.

The compilation features 19 diverse Baltimore-based bands doing covers of David Bowie classics. From relatively straightforward renditions, like the affecting run at "Soul Love" from Surf Harp, and on to more wholesale re-inventions of Bowie classics, like the reggae-tinged version of "Let's Dance" from The Scotch Bonnets, the selections re-affirm not only the durability of Bowie's compositions but the variety of talent in the current Baltimore rock scene. From the rough "The Pretty Things Are Going To Hell" from The Jennifers, and on to the fine cover of "Five Years" from Amiben Blackout, what's here is uniformly interesting, if not invigorating. While some bands have more success than others, the majority of acts here do well by Bowie's considerable legacy, even the bold rapper re-imaginings, the sort of re-inventions of the material that Bowie himself would have appreciated in theory.

For fans of D.C. rock, especially Dot Dash, there are 2 other things to note: Hunter Bennett of Dot Dash is on the "Panic In Detroit" cover from Octopus, a fairly hard glam rendition, while Dot Dash drummer Danny Ingram and a few other guys from radioblue as King Mixer tackle one of Bowie's best compositions with a lively stab at "Heroes" that imagines the song as a straight alt-rock charger.

If you want to support a worthy cause, please check out this compilation and buy it on the format of your choice via the link below.

Sunday, December 3, 2017

As The World Falls Down: A Brief Review Of The New Album From Georgio "The Dove" Valentino

The artist known as Georgio "The Dove" Valentino has listened to a lot of Nick Cave records. And a few Leonard Cohen ones too. That said, he makes somewhat interesting music that, however briefly, rises above the obvious influences on his craft. His newest record, The Future Lasts A Long Time, is out on Friday.

The very nearly-transcendent "Let Your Love Decide" suggests both Cave and Crime and the City Solution but it is, like a few other winners here, bogged down by being set down on the record next to the fairly ludicrous "Sobborghi (The Wonder Years)". In 2017, I doubt that listeners are going to have a lot of time for this sort of machismo, unless it's meant as a parody. And I don't think it entirely is. Elsewhere, the deliberate "Song For Syd Barrett" earns points for offering up something distinctive about the one-time Pink Floyd front-man that, wisely, doesn't try to sound like his stuff, while the necessarily brighter "Sunshine" rides a hook that suggests mid-Eighties tracks from The Triffids. When Georgio "The Dove" Valentino jettisons a lot of his Nick Cave-moves, he manages to offer up fairly fresh and affecting material, as "As The World Falls Down" illustrates. Hie rich voice offers up a faint hint of vulnerability here and it's a refreshing bit of directness amid the other bits here on The Future Lasts A Long Time, as is closing track "Heir Encore" with a bit of violin work from Blaine L. Reininger from Tuxedomoon.

The new record from Georgio "The Dove" Valentino is called The Future Lasts A Long Time and it's out on Friday. More details via Georgio's official Facebook page, or his official website.

[Photo: Uncredited Facebook page picture]

Come And See: A Few Words About The New Album From Spain's The Yellow Melodies

Spain's The Yellow Melodies are some of the finest purveyors of a modern take on classic indie one is likely to find active in 2017. The band's new album, the fine Life, is out now on TheBeautifulMusic.com. Unashamedly tuneful, it is a whole lot of fun for devotees of this genre.

If the title cut sounds like stuff from Television Personalities and their peers, that makes some sort of sense, given the band's appearances on TVP tributes from TheBeautifulMusic.com, as well as their own TVP tribute EP, but a pleasant surprise is how much a tune like "Flying Together" echoed even earlier pioneers like The Left Banke. The bright-and-buoyant "Come and See", and the more rollicking "Don't Think Twice" confirm that The Yellow Melodies are certainly capable of making fresh, modern jangle-pop, even as an astute listener appreciates the considerable nods to past artists peppered throughout this set. Elsewhere, "Our Time is Over" recalls The Housemartins a bit, while the more languid "The Urban Cyclist" suggests a debt owed to early Saint Etienne or Ivy. Still, for all my talk of those other bands, it's worth repeating how fresh lots of this feels. The Yellow Melodies are adept at making effortlessly engaging indie-pop of that sort that the world certainly needs more of.

Follow The Yellow Melodies on their official Facebook page or on their official website.

Life is out now on TheBeautifulMusic.com.