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ELPENTHE – ELPENTHE I 

Los Angeles art-pop producer ELPENTHE explores the organic and intimate side of electronic dance in his debut EP, ELPENTHE I. ELPENTHE, aka Elliott Beenk, started in rural Iowa, where at six years old he discovered a promotion on the lid of a Pizza Hut box. After collecting enough tokens, he traded them in for a mix CD that introduced him to the Red Hot Chili Peppers – and he was hooked. He found a love of environmentalism in college that would rival his love of music, leading a solar-powered bike tour with his college band. He earned a master’s degree in Environmental Engineering, then moved to LA where he made connections that led him to working with his hero, Chad Smith (Red Hot Chili Peppers). He has since also collaborated with Lissie, Leo Nocentelli (The Meters), Finish Ticket, Brian West (Maroon 5, U2, Nelly Furtado, K’Naan), and Janelle Monae. ELPENTHE takes its name from the ancient Greek nepenthe, a potion used by the gods to chase away sorrow. On ELPENTHE I, his hypnotic synths and propulsive beats do more than just that.

On the EP’s first two songs, Half Wolf spills their guts to the pulsing beat with quirky tenderness and a fierce honesty. “Mistakes” opens with the sound of a forest and dives into a life on the run. While Half Wolf sings about wanting to leave the party, the production urges them to jump and sway. In “What We Got Away With,” their confessions become a drug, and their vocals a resounding cry. On “Already Know,” Devan Glover sings a rising anthem that comes out of deep sadness unapologetic, embracing the freedom that comes with hitting an emotional rock bottom. Over soothing guitar and trembling synths, the Wild Rivers vocalist resolves her pain with an invincible hook to be shouted in a crowd or whispered on the drive home. “Forbidden” compares the dance floor with the Garden of Eden, and the seductive lyrics of Josh Dean bear a soft fearlessness in the heat of the moment. Finally, “Scar Tissue” synthesizes the EP’s natural themes and its search for connection by draping a shimmering sonic instrumental over the classic chorus. The only song to feature ELPENTHE’s own vocals, he reimagines Anthony Kiedis’ ballad of addiction into a dance at dawn. 

On Already Know, Devan Glover sings a rising anthem that comes out of a deep sadness unapologetic. ELPENTHE worked with Glover on the song remotely throughout the pandemic from L.A. and Toronto. He sent her his gentle guitar groove, and the Wild Rivers vocalist sang full of self-loathing, and yet finding herself indestructible. “There’s an invincibility that comes with being aware of your limitations,” says Glover, “and realizing that you’re your own worst enemy.” Over soothing chords and trembling synths, she resolves her own pain with an unyielding hook that could be shouted in a crowd or whispered on the drive home: You can’t say anything about me that I don’t already know. Glover went on about the process and meeting the art pop producer in person. “Elliott and I wrote it remotely over zoom and back-and-forth voice notes during 2021. We met up later that year when I went to LA for a writing trip and became good friends. I can’t wait for him to launch his artist project, and I’m honored to be part of it.” 

ELPENTHE is building something new, focusing on bringing people together with the same communal spirit that brought him to environmentalism. He tapped Ben Darwish (Shawn Mendes, BANKS, Mike Posner) to add additional keys on “Mistakes.” He brought in TK Kayembe (Lizzo, Kehlani, Kid LAROI) for additional production on “What We Got Away With.” 2022 Grammy-nominated Kevin Smith (Harry Styles, Phoebe Bridgers, Frank Ocean) mixed the songs, and Stuart Hawkes (Amy Winehouse, Lorde, Charli XCX) mastered the EP. Through its inspired lyricism and mesmerizing production, ELPENTHE I is an experience grounded in a love of connection. The artist project lives up to its name in chasing away today’s worries, with a record to be played on repeat long after tomorrow.

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Piranha Rama – Omniscient Cloud Cover (out 09/30/2022 – Brokers Tip Records)

For Richmond, VA psychedelic rock & roll collective Piranha Rama, there’s always room for more. After their formation in 2017, the genre-bending outfit’s numbers quickly grew, developing a spirit of community that drives their brilliant experimental-pop endeavors. On their exceptional third LP, Omniscient Cloud Cover, Piranha Rama dive headfirst into maximalism with a rotating cast of twelve different players performing eight psych-pop tracks that defy categorization while exploring humanity’s need for connection and the importance of community.

Sonically, Omniscient Cloud Cover runs the gamut from festival-ready indie-pop earworms to big band jazz-tinged psychedelic rock and hazy bedroom-pop, constantly shifting in a way that feels simultaneously meticulous and unpredictable. Though the band plays jump rope with genre-lines, their masterful arrangements and pop finesse keep the songs from ever feeling disjointed.

“This record started during quarantine as an instrumental meditation, stuff to kind of space out to,” says multi-instrumentalist and producer John Sizemore. “Once I brought it to the band, everyone wanted to jump on it and was really excited, so we just decided to see where we could take it.”

The core trio of Piranha Rama—Sizemore, vocalist & lyricist Chrissie Lozano, and drummer Tim Falen—started tracking Omniscient Cloud Cover at Sizemore’s studio, The Bat Grave, while under shelter-in-place orders during the COVID-19 pandemic, utilizing Sizemore’s production prowess as a means to experiment with song structures and sonic landscapes, before eventually relocating to Richmond’s Virginia Moonwalker to finish up recording. 

“Doing all of the production in-house was a kind of different approach than what we’d done before,” says Sizemore. “We really took things way farther out in the sonic spectrum than we probably would have if I had just brought these songs to a live practice; there was so much room to experiment.”

“When we went to Moonwalker, instead of doing building-block recording from scratch, we got to focus on layering on top of something that was already mostly done,” adds Falen. “We went at it kinda crazily, it really gave us a fresh perspective on the record.”

In addition to Sizemore, Lozano and Falen’s contributions, Omniscient Cloud Cover also features performances from a cadre of Richmond’s finest including trombone player & vocalist Reggie Pace (Bon Iver, No BS! Brass), trumpet player Bob Miller (The Mountain Goats, Matthew E. White, Foxygen), saxophonist Gordon Jones (Black Masala), pedal steel guitarist Stephen Kuester, twelve-string guitarist Kyle Harris, flutist & vocalist Lauren Serpa, harmonica player & vocalist Russell Lacy—who also co-engineered alongside Sizemore and Falen—and vocalists Kenneka Cook & Kelli Strawbridge. 

“Having all these different players in town is great, you can just call people up with an opportunity and they’re like ‘Tell me when and where,’” says Falen. “It’s really non-restrictive, we can kind of do anything.”

Omniscient Cloud Cover opens with the jangly guitars and chiming synthesizers of “Daylight,” a grooving psych-pop track that showcases Lozano’s emotive vocals atop atmospheric swells of pedal steel as she sings an ode to the friendships that make it possible to overcome life’s obstacles. Next, the lilting 60s pop melodies of “A Door” create a hypnotic atmosphere for Lozano’s pensive musings about escaping to alternate realities, inspired in part by Alix E. Harrow’s acclaimed novel The Ten Thousand Doors of January. 

“At the start of the pandemic, when I realized I was going to be stuck inside for a while, I bought all the recommended fiction from a local bookstore and became fascinated with the idea of other worlds,” says Lozano. “It became a kind of overarching theme in my writing and really informed a lot of the material on the record.”

Elsewhere on the album, “Golden Blues” finds the band at their most danceable, with prog-inspired guitar riffs and steady backbeat drums punctuated by stings of brass and woodwinds as multiple vocalists explore the paradox of isolation in a hyper-connected world.

“I kept thinking about how odd it feels to be so sad in a time when you’re so removed from everything around you, but you’re also more connected than ever,” says Sizemore. “It’s weird not being able to communicate in the ways you need when you can technically communicate so easily.”

Now, with touring a once-again viable option, Piranha Rama are preparing to bring their musical collective to those across the country. There are multiple tours in the works in the wake of Omniscient Cloud Cover’s release, including dates with 90s indie-rock legends Pavement, whose multi-instrumentalist Bob Nastanovich has championed Piranha Rama for years and who will be releasing Omniscient Cloud Cover on his vinyl-only record label Brokers Tip Records. It’s only a matter of time before Piranha Rama’s community becomes much, much bigger.

Omniscient Cloud Cover is out September 30th, 2022 on Brokers Tip Records.

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Late Cambrian – Future Snacks (out September 23rd, 2022 – Mifflin Street Music)

On their new album Future Snacks, John Wlaysewski and Olive Hui—the creative and romantic partnership behind the Brooklyn-based future-pop/indie-rock duo Late Cambrian—have crafted a work of art that explores the many facets of modern social consciousness while still giving listeners a reason to dance. From the fear of impending technocracy and corporate-sponsored nostalgia to the uncertainty of the future and long-term emotional effects of the pandemic, Future Snacks is a record that is concerned with ideas and questions, with the acceptance that answers may be hard to find.

Future Snacks is both musically and thematically diverse while never feeling derivative or out-of-control, an impressive feat that is largely testament to the unique partnership between Wlaysewski and Hui. The record was recorded in Wlaysewski and Hui’s Brooklyn apartment, with Wlaysewski acting as the primary songwriter, producer and arranger, and Hui acting as a production consultant and editor while also contributing vocals, lyrics, and keys throughout the record. 

“I played 98% of the music on this record, but Olive’s input is so important,” says Wlaysewski. “When we write, Olive plumbs the depths of her unorganized imagination and then I try to organize those ideas into something that has rhythm and melody. I tend to be more rational, which drives the sound of the songs, but then sometimes some barriers need to be broken, and that’s where Olive comes in.”

The album kicks off with “The Last Wave” a dance-rock track that showcases the duo’s melodic prowess as Wlaysewski’s vocals float atop buzzy synthesizers and a pulsing rhythm section. On its surface, the track serves as a festival-ready indie-pop song belying its nature as a subtle introduction to the album’s ominous tone. 

“Catching the last wave feels like something really upbeat and positive,” says Wlaysewski. “But there’s this underlying feeling of grabbing life by the horns before it’s over, that something ominous is on the horizon. Like, it’s the last wave before what?”

There’s a pervasive darkness churning beneath the bubbly surface of each track on Future Snacks. The album’s title track, inspired by Wlaysewski’s time organizing and running sound at underground cannabis events in Manhattan, explores the exciting but unsettling disconnect of  being the architect of your own experience, physically present but acutely aware of the manufactured nature of the event, and the ever-present reality of mortality. 

“We were originally going to call the album Future Ghosts, but I thought it was too grim,” says Wlaysewski. “Future Snacks came out of that idea of planning for a party, creating an experience, but then underneath that there’s the creeping sense that it can all end at any time. In a way, we’re all future snacks.”

Elsewhere on Future Snacks, Late Cambrian dive head first into the metaverse, as the future-pop masterpiece “Sydney Sweeney” explores the horror of being terminally online, escaping reality and embracing the downward spiral. After three minutes of genre-bending synth-pop and biting lyrics skewering the endless scroll, the duo close the album with a heavily modulated, “It can’t be worse than last year, humanity says proudly: ‘Hold my beer…’” 

Late Cambrian first formed over a decade ago after Wlaysewski and Hui met while working on set on an episode of Nurse Jackie. Almost immediately, the duo started writing and releasing music together, and released four LPs over the course of seven years. Now, with Future Snacks, Late Cambrian have built on the legacy that they have created, often taking inspiration from their own past works to inspire themselves in the present. 

“Future Snacks started almost as an intellectual pursuit, trying to capture the feeling of a few of our earlier songs on something new,” says Wlaysewski. “It’s kind of like our past life meeting our current life,” adds Hui. 

As for the future, there’s no telling what it may look like, but Late Cambrian are ready to provide the soundtrack.

Future Snacks is out September 23rd, 2022 via Mifflin Street Music.