Alis Vibe makes danceable pop music that is loaded with intention. The Italian-born musician combines European influences with contemporary American pop sensibilities to deliver a message rooted in love, compassion, and boundless creativity.
On this episode of The Quinn Spinn, we learn about the journey that brought Alis from Milan to Nashville, and the deep inner work she’s done to show up as her most compassionate, creative self.
This episode of The Quinn Spinn was recorded and produced at Helping Our Music Evolve, Nashville, TN.
We may still be a long way off from spooky season, but that doesn’t mean we can’t deliver something to haunt you.
In this case, it’s the hypnotic, churning alt-rock of Pillow Queens, who have released a video for their song, “Heavy Pour.” The video — released in advance of their forthcoming LP, Name Your Sorrow (out Friday, April 19) — was shot at the historic Glenmaroon House in Dublin, Ireland — a Tudor-style Edwardian mansion, dating back to the 1850s.
Directed by Kate Dolan, the video is inspired by classic silent films, including The Cabinet Of Dr. Caligari,Faust and Nosferatu.
“The song felt like a haunting and I felt the video needed to be something quite stylistic. I came up with the idea of the music video being a long lost silent film that has never been seen, a haunted piece of art buried in an attic somewhere. Then, as the band performs the cursed film is purged, burning up. The band are always up for having some fun, so the shoot was a lot of fun, and we played a lot on set.”
Sonically, “Heavy Pour” borrows influence from the guitar distortion of 1990s grunge, with moments of clarity breaking through in the bridge. The soundscape was crafted to fit the song’s theme of choosing to love courageously, even as the world’s judgment finds its way in.
“A lot of the lines in this song could convey the typical sweetness of a love song, but it has brief moments of outside perspectives that cast doubt over the conviction represented,” said lead vocalist, guitarist, and bassist Pamela Connelly. “The song tries to show the ‘heavy pour’ as a compulsion that while having moments of joy, ultimately heightens personal insecurities.”
Meanwhile in the chorus, the band tackles common gender miscorrelations with the line, “I want more, but I’m not man enough.”
“We wanted to delve into and dissect the idea that one’s gender expression is impacted by their perceived level of courage,” said guitarist, bassist, and vocalist Sarah Corcoran. “Spoiler: it’s not. All genders can be courageous and/or scared.”
If you’re a fan of vintage R&B — brought to life by dynamic, modern production — you need look no further than UMC today.
Seattle-based R&B band The Dip are set to deliver their forthcoming album, Love Direction, on July 12. The title track just arrived this past Tuesday, and this right here is a soul lover’s dream.
Harkening back to 1950s and 60s-era rhythm and blues, “Love Direction” features warm guitar tones, brilliant horn arrangements, a jazz-influenced rhythm section, and a whimsical, warbling flute for good measure. All of these colorful splashes paint a vivid sonic portrait, as vocalist/guitarist Tom Eddy’s soothing vocals take us on a journey through the trickier parts of our relationships.
“As you get further along in a relationship, sometimes you lose your way. The things that came easy in the beginning get hard. The love is still there, it’s just that people and life are complicated,” Eddy said. “Sometimes, you don’t have the tools in the toolbox to figure out what you need to do to support the other person, so you have to get help and ask for directions.”
The video, directed by Jake Magraw, is a preview of a larger cinematic work to come, and serves as a visual homage to the do-it-yourself spirit of early music videos.
“We found this really cool video of Wes Montgomery playing in London with his quartet, and we noticed how beautiful that stage they created was,” said drummer Jarred Katz. “We were thinking about how, back in the day, sets were more common in videos and there were different types of production. It was more about what people could build with their hands and by using their imaginations as opposed to computers – we were really drawn to that.”
Love can make us fall into madness. Sometimes, it can even feel like we’re being buried alive.
That metaphor is on full display in Cole Gallagher’s new video for “Don’t You Know.”
The video — directed and edited by Andrea Jako — stars Gallagher opposite Alexander Karavay and Samantha Violet, who portray an outlaw couple who kidnap Gallagher, drive him to the high desert of California, and force him to dig his own grave. While most of the scenes transpire without a hint of remorse for Gallagher’s character, we come to find that one of our antagonists may have struggled with the decision all along.
The song itself — produced by GRAMMY-winner Vance Powell (Phish, Chris Stapleton, Jack White) and featuring current and previous 400 Unit members Chad Gamble, Sadler Vaden and Jimbo Hart — sets an ominous tone. Supported by nostalgic mellotron tones and gritty, blues-influenced guitars, we feel a downward spiral of emotion as Gallagher laments a failed relationship.
“‘Don’t You Know’ is a track that I have been waiting to release for a long time,” Gallagher shared. “At its core, the lyrics tell the story of one of the toughest internal battles I’ve ever encountered. This song was beautifully produced by Vance Powell, and the players from the 400 Unit somehow created a track that was both gnarly and smooth at the same time.”
There’s nothing like falling in love underneath the bright city lights.
The Mad Sugars — who, you should know, just released their much-anticipated full-length album, Personal Space — give us that sweet feeling with the new music video for focus track, “Lost Among the Avenues.”
The video — shot by Nita Ann — takes us through popular Nashville haunts including Printers Alley and Sid Gold’s Request Room, as frontman Adam Lawrence sings about the adventure of embarking on a night on the town with a new flame.
Sonically, those who are familiar with The Mad Sugars will be happy with this one, as it’s another example of the band’s penchat for high-powered, highly danceable alt-rock. With that being said, there’s also a Killers-esque new wave sensibility that comes to the forefront, with radiant synths that shimmer like the city skyline on a clear summer night.
Get “lost” with this one below. It’s an experience you’ll never forget!
The Ghost Club has been catching fire lately. In addition to their recent set at SPIN’s official SXSW showcase in Austin, they just released one of the first music videos ever shot on a limited-release Kodak Super 8 camera.
The video — for their single, “If I Fell (Don’t Wait Here For Me)” — was directed by Ben Turok. Shot on 8mm film and presented in black and white, these visuals carry a vintage ambiance befitting the track’s Springsteen-esque sensibility.
While The Boss’ influence is felt heavily on “If I Fell,” the familiar sounds don’t stop there. Flares of modernity permeate the soundscape, whether through its warm, glistening keyboard arrangement, or the raw, punk-inspired emotion behind frontman Domenic Dunegan’s vocals.
“‘If I Fell’ came from a period when a lot of bad stuff was happening in my life, including breaking my hand and not being able to play music for a while,” Dunegan said. “I was also trying to come to terms with being alone after a breakup, and I realized that part of pulling yourself out of a bad spot is accepting the fact that you need to be self-reliant and do it on your own.”
There’s plenty to enjoy here. Why don’t you dive right in and experience it for yourself?
This Saturday, we take a major step toward re-defining the live music ecosystem in Nashville, as we present our first new NashLive! experience at Helping Our Music Evolve. This lineup features emerging artists Alexis Donn, The Healers (Foundation Mecca and Lord Goldie), and ARREIS. These artists have the opportunity to curate their unique big-stage experience in an intimate setting, in front of a studio audience and with first-class content production.
We had the entire lineup on The Quinn Spinn for a roundtable discussion about the event, why independent artists need unique opportunities to shine, and how this impacts the overall musical landscape in Nashville.
Having trouble getting on the same page as your partner? If so, we think this will resonate…
Miles Squiers dropped “24 Hours” back in December as a “deep exploration of strained and fragile relationships.” Blurring the lines between acoustic pop and contemporary R&B, this fresh single provides the perfect soundtrack for some late-night introspection, as Squires details the disconnect between a woman with trust issues, and a man who falls short of alleviating them.
The music video — directed by James Gerrard, Squiers, and Josef Lloyd — shows Squiers as a male protagonist who will seemingly do whatever he can to escape facing the uncomfortable tension within his own home. From overworking, to staying out a little too late, his character does whatever he can to delay facing the inevitable questions that await him behind closed doors.
Watch the video below, and tell us if you’ve ever been there before in the comments!
AU has compiled a plethora of experiences in his 25 years, and he expresses them through the vehicles of poetry, music, writing, and ministry. The Nashville-based artist has plenty of wisdom to share, and he gives us a taste of it on today’s Quick Spinn edition of The Quinn Spinn.
This episode of The Quinn Spinn was recorded and produced at Helping Our Music Evolve, Nashville, TN.
The thrill and innocence of youth is fleeting. Before we know it, we’re looking back at those years wishing we had treasured them more.
That is the sentiment shared by British folk-rock trio The Wandering Hearts, whose new single, “Letter to Myself,” reaches back in time recalling missed opportunities and days gone by. Listeners will immediately be taken by gorgeous three-part harmonies, which help us remember a time with nothing but blue skies ahead. Timeless piano chords march us forward like the passage of time, while skillfully layered acoustic guitar and organ tones add a solid helping of nostalgia into the sonic landscape.
“I was talking about my sister-in-law,” said vocalist Tara Wilcox, “Every time I saw her, she’d be like, ‘I just turned 21, and I’m turning 22 next year’. She’s always inches away from the next big milestone.”
“Letter to Myself” is included on the band’s forthcoming full-length album, Mother, due out everywhere on March 3. The album is described as “an exploration of motherhood and personal growth, which captures the little moments that assume a much greater significance.”
“I was pregnant when we started making the record, and Tara was pregnant when we finished it,” said vocalist and mandolin player Francesca “Chess” Whiffin. “During the process, we really found ourselves as a band. Motherhood has helped us grow and find meaning. It brought our writing and performing to a different level.”
Here comes a taste of the record! Check out the lyric video for “Letter to Myself” below.
