Right now MTV is airing their annual Video Music Awards and I’m watching via Twitter. I have no clue who the artists are besides the ones who even an old lady in the middle of Ohio would recognize. Oh, Kanye West – he’s that boy married to the sex tape girl. Okay, so I’m not that out of touch, but damn if I’m not sure what a Little Mix is. Anyways, while the world seems to be caring about West for president and jumping on the bandwagon of a director who passed away, I’m listening to a couple of tracks from a band I won’t even pretend to understand – at least when it comes to knowing how to pronounce their name. mm/yyyy is long from the VMA stage but who knows, maybe indie will be all the rage instead of a county turned phenomenon and their hipster meets garage band sound will be what the kids are into.
Some kids will love this. The kind who grab typewriters from local flea markets but never use them because they can’t bare to step away from their latest Apple product. Those are the people I feel would gravitate towards this music. “Most Ghosts” would have girls finding mm/yyyy more than impressive, while dudes would find a way to relate to more than the surface of what they heard. They’d dig deep within the lyrics and wonder what they meant when they went on about a “mouth full of bees.” When put up against “American Novel” I felt the unliving was the better choice. It, ironically, had more life to it. The spirit of that one sang long after I turned it down to hear my own thoughts on the subject at hand.
Being of a certain age where I feel a little too out of touch with the mainstream scene, I can relish in the fact that albums from newer artists like mm/yyyy continue to land in my inbox. I may never understand what a Little Mix is, but I do kind of get why the kids would be into mm/yyyy’s 07/2015. It’s indie ways are encased in a nicely wrapped package, like you bought it from the flea market – but in this care you won’t let it go to waste like that typewriter that’s for show.
Growing up is something we all have to do – unfortunately. And next year I’m doing a personal project that will explore 12 aspects of adulthood, and all their highs and lows. Before I get back to work on that, I have some things to do like review a pop punk band from Maryland. They are Face Value and their record is Growing Up Young. There were as many ups and downs as being an adult on this one and with so many waves, I would say this record was an average attempt with some room to grow.
All around, the music was executed well. They had a great start with that aspect right away with “Up Late,” but it was the vocals that made that song sink a bit. When he puts his all into it, and you can hear his heart – that’s when he’s at his best. Like in “Thank you, Buddy” and “Ruminate.” Those are the two I’d head to first because I feel they showcase when the band’s at their best. Those who want to take a chance on an acoustic track, “Adhesive Strip” didn’t do much for me, but maybe it’ll be your cup of tea. For that traditional, catchy pop punk – look no further than “Car Door.”
Face Value is still a fairly young band and have time to continue growing and developing their sound. They’re on the right track, but have a few places they can play with. This is an okay record with a few treats in the bunch that’ll fit well in pop punk playlists that have BoyMeetsWorld and I Call Fives. If you’re into that, check out Growing Up Young, out now. Now I will go back to exploring growing into an adult.
The streets of New York are paved with a number of eccentric creative types from those looking to score and be the next Lena Dunham to the troubadours hoping to make their way to the top. Among the many are a pair of friends who go by Metabards. Wisa1 works the machines and Tiānyá provides songbird vocals on their self-titled EP. With two tracks and a trio of remixes, this one if those those who like their music as unconventional as the broadways and avenues of the Big Apple.
Intertwining years of varying musical likes, the duo of Metabards put together tracks that give a great sense of Eastern culture and the electronic scene. “Prometheus” has this overall funky feel that would’ve been a little outlandish in the ‘70s at first, but then widely accepted thanks to the soul Tiānyá delivers on her end. The Krimshok remix just gives you a lot less funk, so depending on what you like you could lean either way on that one. With “Paradise,” Metabards transforms into almost a soundtrack. The tension felt at the start mirrors what you’d hear on the big screen of a sci-fi thriller. The remixes that follow just give it a club makeover.
Metabards are a peculiar pair but that makes them that more fascinating. They’ve only played a few shows around the world so far, but they managed to draw large crowds and impress. If you’re all about knowing who to watch in the electronic scene and into artists like FKA Twigs and Bjork – keep an eye out on these two and check out Metabards, out now.