Maple Glider Shares Fourth Single “Baby Tiger” From Upcoming Debut To Enjoy is the Only Thing

Photo Credit: Bridgette Winten

If Tori Zietsch wasn’t a musician, she’s pretty certain she’d be a gardener. “I’d be growing lots of veggies, and planting heaps of flowers for the bees, and getting all my clothes and face and hands really dirty.” she tells Audiofemme. As fate would have it, Zietsch became an accomplished folk musician instead, performing under the moniker Maple Glider. Hailing from the sunny shores of Naarm/Melbourne, her debut album, To Enjoy Is The Only Thing, tells stories of love, loss and growth to a backdrop of delicate acoustics and unapologetic lyricism.

Growing up in a religious family, Zietsch found herself reaching for her pen and paper to escape into a world of lyricism and poetry. “Music offered an escape from the reality of what life was for me at that time. I spent a lot of time making up songs as a kid and I’d then lock myself in the bathroom for hours to get that good reverb! It drove my parents wild,” Zietsch remembers.  “Songwriting is a skill I taught myself to self-soothe. Music just always made me feel really good. It took a long time before I even realised I’d spent a large portion of my life pursuing it as a career. I’ve just always felt compelled to be writing and performing.”

To Enjoy is the Only Thing is fuelled by self-reflection and inspired by a time when Zietsch took a break from music, moving to Brighton in the UK, and the period of time that followed. “In 2018 I decided to take a break from working on music, which was actually the first time since I’d started. Coming out of a relationship, reflecting on my religious upbringing, familial relationships, travel, and what it felt like to come home. The themes are pretty broad, but I feel very connected to the songs as a body,” she explains.

The album is out June 25th via Partisan Records and Maple Glider has shared a handful of singles so far as she gears up for the release. This includes hushed album opener “As Tradition,” in which Zietsch repeats the lyrics “love is just a word;” there’s a sense that by using it as a mantra she’s fastening herself to the belief as a method of protection, even as she offers a malleable persona up to listeners (“I can be soft/I can be just what you want”).

Swimming” picks up where “As Tradition” left off, with Zietsch’s vocals and the soft acoustic strumming providing an almost trance-like quality. The mournful, solemn lyrics detail the evolution of Zietsch’s relationship with her ex. “My ex wanted me to write them a love song and honestly that’s all I was trying to do. I really sucked at it though. I just couldn’t make a happy love song. It forced me to be honest about our situation, and how I was feeling. We broke up not long after,” she says. “There were so many beautiful moments within this song though. It’s nice that they can be held onto somewhere.”

Good Thing unpacks Zietsch’s past self-destructive behaviours; poetically raw and sonically rich, her vocals echo over some the album’s finest instrumentation, building to the powerful line “I guess that’s how we learn/By setting fire to things that bring us life/Before we get to watch them burn.” The tangible emotion in her voice only adds to Zietsch’s skill as a storyteller and her ability to relate to anyone with a similar self-destructive streak.

Maple Glider’s latest offering, “Baby Tiger,” emulates a lullaby and was inspired by a cat named Coriander. “I nicknamed our house share cat Baby Tiger; Baby Tiger hates closed doors. She’ll always want to know what you’re doing on the other side. It became routine to hear her scratching at my door. It was something that felt constant and unwavering and regular at a time when I was a bit vacant. Her energy made me feel lighter,” Zietsch says. She had just moved home to Melbourne after living away for a couple of years and was struggling with her mental health. “I think I started to use dating as a bit of a distraction from dealing with it,” she remembers. “I hadn’t really done that before; sought out comfort from strangers.”

Elsewhere on the album, “View From This Side” incorporates an intimate minimalist sound as the track renders delicate portraits of the lives of those around her; “Performer” explores the disconnect Zietsch feels between herself and her persona on stage; the album’s final track, “Mama, It’s Christmas,” juxtaposes the joviality of the holidays with the difficultly of an absent family member. Throughout To Enjoy is the Only Thing, Maple Glider guides the listener into their own world of contemplation and reflection through her rich vocals, which paint a mesmerising sonic picture. The combination of Zietsch’s raw emotional power with the tender instrumentation makes for an unforgettable debut.

“I’ve come to really value the time that I get to spend writing and recording music,” Zietsch says. “I feel so lucky to have been able to make my first record, and to have had the life experience leading up to it that really made me want to create an album so badly.”

Follow Maple Glider on Facebook and Instagram for ongoing updates.



Mackenzie Scott is primed to explode. Making music since 2012 under the moniker TORRES, that explosion might refer to her combustible stage performance or her rocket-like trajectory as she prepares to release her sophomore album Sprinter on May 5th via Partisan Records. After her self-titled debut garnered near-unanimous acclaim and got her noticed by the likes of Sharon Van Etten (who invited her both to guest-star on SVE’s Are We There as well as tour with her in support of the record), the Brooklynite snagged production help from Rob Ellis, who’s best known for his work with none other than PJ Harvey.  It’s easy to draw comparisons between TORRES’ sound and that of Polly Jean; both women have a raw, aggressive approach to both vocals and lyrics that’s particularly stirring. Though Scott was born in 1991, the grunge-era influence can be felt in every searing guitar riff and in every powerful, distorted utterance.

NPR, Rolling Stone, and a bevy of others have named TORRES on their lists of must-see acts at SXSW, but even if you can’t get down to Austin, you can check out the video for latest Sprinter single “Strange Hellos,” directed by Casey Pierce. As the song’s title suggests, the track and its accompanying visuals are a healthy mix of beckoning and foreboding. Dramatic lighting illuminates Scott’s steady gaze, the musculature of her voice and silhouette mirroring one another in the opening verses. By the time the jagged riffs of the chorus open up, Scott’s face is bathed in projections from 2001: A Space Odyssey as she bellows “What’s mine isn’t really yours/But I hope you find what you’re looking for.”

TORRES isn’t stopping with SXSW, she’ll be taking much of the US and parts of Canada by storm as she tours in support of Sprinter this May and June. Dates for the tour are below.

Tue-Mar-17 Austin, TX Ground Control Party at The Mohawk – SXSW
Wed-Mar-18 Austin, TX Central Presbyterian Church – SXSW
Wed-Mar-18 Austin, TX Pitchfork Party at The Mohawk – SXSW
Thu-Mar-19 Austin, TX AV Club Party at Cheer Up Charlie’s – SXSW
Fri-Mar-20 Austin, TX Culture Collide / Doc Martens Party at Bar 96 – SXSW
Sat-Mar-21 Austin, TX The Wild Honey Pie Party at Scoot Inn – SXSW
Sat-Mar-21 Austin, TX Under The Radar Party at Central Presbyterian Church – SXSW
Mon-May-04 Saxapahaw, NC Haw River Ballroom
Wed-May-06 Nashville, TN The Stone Fox
Fri-May-08 Dallas, TX Club Dada
Sat-May-09 Austin, TX The Mohawk
Mon-May-11 Scottsdale, AZ Pub Rock Live
Tue-May-12 Los Angeles, CA The Echo
Wed-May-13 San Francisco, CA Bottom Of The Hill
Fri-May-15 Portland, OR Doug Fir Lounge
Sat-May-16 Seattle, WA Barboza
Sun-May-17 Vancouver, BC Electric Owl
Wed-May-20 Minneapolis, MN 7th St. Entry
Thu-May-21 Chicago, IL The Empty Bottle
Fri-May-22 Detroit, MI UFO Factory
Sat-May-23 Toronto, ON The Garrison
Wed-May-27 Brooklyn, NY Baby’s All Right
Thu-Jun-25 Allston, MA Great Scott
Fri-Jun-26 New York, NY Mercury Lounge
Sat-Jun-27 Philadelphia, PA Boot & Saddle
Sun-Jun-28 Washington, DC DC9
Tue-Jun-30 Durham, NC The Pinhook
Wed-Jul-01 Atlanta, GA The Earl
Thu-Jul-02 Chattanooga, TN Rhythm & Brews

TRACK REVIEW: Sylvan Esso remixes PHOX



Funky electropop duo Sylvan Esso just did a lovely remix of PHOX’s song “Slow Motion” and it is so deliciously silky and smooth. Sylvan Esso hails from Durham, North Carolina and is made up of vocalist Amelia Meath and producer/genius beat maker Nick Sanborn; together, they make really irresistible and groovy tunes.

Partisan Records labelmates PHOX, meanwhile, are a six-piece self-described as “a bunch of friends from the Midwestern circus hamlet, Baraboo, WI, a place where kids often drink poisoned groundwater and become endowed mutants.” They also make mesmerizingly mellow tunes tied together by Monica Martin’s stunning, velvety voice that you can’t help but fall in love with immediately.

We were already obsessed with “Slow Motion” but Sylvan Esso took the soulful song and gave it even more soul. The remix opens with an intense synth and bass beat, then it gradually introduces Martin’s voice in a delicate but calculated manner, which reaches octaves far, far away. Sanborn replaces the acoustic guitar and a jubilant, contagious clapping  from the original with a springy synth, building it up over the course of the song and slowly adding in percussive, chopped snippets of Martin’s vocal to carry it through to the end. It’s a rather perfect pairing, given Meath’s similarly smokey vocals. This latest version of “Slow Motion” crackles and smolders with a completely different vibe from the folksy original; it’s hard to decide which is best.



phox_photo_1 Love at first listen is a rare occurrence, especially if, like me, you’re a self-proclaimed picky listener. It takes a while to really become smitten with any artist. Those that win me over instantly usually bring something new to the table, reinvigorating music at their given time, and in those moments I can see myself revisiting their songs for years to come.

Madison, WI-based indie-pop band PHOX shows every sign of being the rare act that fits that bill; newest single “1936” is the type of song that makes you fall in love all at once. Dreamy and sweet, the swiftly picked guitar intro draws listeners into the richness that awaits in Monica Martin’s soulful vocal tones, woven through multiple layers of guitars and strings, supported by very calculated percussion and bass. Every instrument shines on this track at very specific moments in the song, from the to the precise and succinct sounds of the percussion in the chorus and the thick bass thudding through the whimsy of the bridge, to the intricate guitar breaks after each verse that thread the whole thing together. With the playful banjo that spices things up about a minute in, and the xylophonic sounds coming from the melding of the various guitar tones playing with each other, the lush instrumentation carries Martin’s voice through the enigmatic, oft-repeated line her blood is our blood too, I know.

Though it feels lighthearted throughout, “1936” centers on coming to terms with our genetic makeup – a family disturbance turned into an understanding of how to navigate one’s familial predispositions. That’s a pretty complex topic to cover in only three and a half minutes, but PHOX accomplishes the task with poetically crafted lyrics and a very evocative chorus.

PHOX releases their debut full-length on June 24 through Partisan Records, and if you know what’s good for your soul, you should definitely give this group a listen. They’re on tour the rest of the summer – see when they’re stopping in your city below.

Tue Jun 24, 2014
 – Omaha NE – The Waiting Room
Wed Jun 25, 2014 – Kansas City MO – Riot Room
Fri Jun 27, 2014 – Austin TX – Stubb’s BBQ (Indoor)
Sat Jun 28, 2014 – Dallas TX – Three Links
Mon Jun 30, 2014 – Scottsdale AZ – The Western
Tue Jul 01, 2014 – Los Angeles CA – The Echo
Thu Jul 03, 2014 – San Francisco CA – The Chapel
Sat Jul 05, 2014 – Portland OR – Mississippi Studios
Sun Jul 06, 2014 – Seattle WA – The Crocodile
Tue Jul 08, 2014 – Salt Lake City UT – The State Room
Wed Jul 09, 2014 – Denver CO – Hi Dive
Fri Jul 11, 2014 – St. Louis MO – Duck Room at Blueberry Hill
Sat Jul 12, 2014 – Champaign IL – Mariposa Music Fest
Sun Jul 13, 2014 – Nashville TN – The High Watt
Tue Jul 15, 2014 – Birmingham AL – The Bottletree
Thu Jul 17, 2014 – Asheville NC – Grey Eagle
Fri Jul 18, 2014 – Chapel Hill NC – Local 506
Sat Jul 19, 2014 – Washington DC – The Hamilton
Mon Jul 21, 2014 – Philadelphia PA – Boot & Saddle
Tue Jul 22, 2014 – Brooklyn NY – Knitting Factory 
Wed Jul 23, 2014 – New York NY – Mercury Lounge
Fri Jul 25, 2014 – Newport RI – Newport Folk Festival
Sat Jul 26, 2014 – North Bennington VT – The Vermont Arts Exchange
Mon Jul 28, 2014 – Montreal QC – Casa Del Popolo
Tue Jul 29, 2014 – Toronto ON – The Drake
Thu Jul 31, 2014 – Cleveland Heights OH – Grog Shop
Fri Aug 01, 2014 – Detroit MI – Magic Stick Lounge
Sun Aug 03, 2014 – Green Bay WI – Meyer Theatre w/ San Fermin
Mon Aug 04, 2014 – Minneapolis MN – 7th St. Entry
Wed Aug 06, 2014 – Milwaukee WI – Turner Hall
Thu Aug 07, 2014 – Madison WI – High Noon Saloon
Fri Aug 08, 2014 – Madison WI – High Noon Saloon – SOLD OUT
Sat Aug 09, 2014 – Chicago IL – Lincoln Hall




Sylvan Esso’s self-titled debut is a beautiful study in synergy. Combining the timeless, self-possessed sound of Amelia Meath’s velveteen vocals with cleverly nuanced, exultant electronic production from Nick Sanborn, the project has captivated an ever-growing fan base that includes the industry’s heaviest hitters (they’ve supported the likes of Justin Vernon and Merrill Garbus on national tours) all on the strength of just three Soundcloud offerings. The tracks on Sylvan Esso (streaming now on NPR) are as deceptively simple as those that precede its May 13th release on Partisan Records; all that’s at work here are Sanborn’s synths and beats and Meath’s melodic acrobatics, but the dynamics between these two elements elevate the abilities of the other at every turn.

If the formula seems done to death, it must be said that these two work so exquisitely together it feels entirely fresh. They both come from folksier backgrounds; Sanborn played with Megafaun while Meath was a founding member of Mountain Man. Much as she did during her time with that band, Meath elevates everyday experiences, thus revealing the poignance that can exist within the mundane. The narrative in “Uncatena,” for instance, centers on washing dishes and writing letters. Sanborn’s handling of Meath’s swooning, antiqued melodies comes off as preternatural; whether he lets them rest unadorned over subtle textures or manipulates her lines entirely to serve as a beat or movement in and of itself, it’s always expertly executed, respectful, and perfectly at home in its broader context.

Last January, we caught up with the pair as they kicked off a headlining tour at Baby’s All Right. Their easy give-and-take was apparent even in the way they riffed effortlessly on Star Trek, the inherent un-sexiness of playing baritone sax, or an upcoming tour stop in California in which each admitted they were looking forward to being served “overpriced juice” from a “surfer dude-babe” (Meath) or “vegan girl with an undercut” (Sanborn). “We can’t describe how grateful we feel to be headlining shows at all at this point. I mean we have like three songs on the internet. We’re just so grateful to people for being attentive,” gushes Sanborn.

There was plenty reason to take note of the band’s early online presence. “Hey Mami” introduced the group with a forward-thinking look at the realities of street harassment, though couched as it was in cheery playground handclaps it was just as easy to dance to as it was to provoke conversation about the dually damaging and uplifting nature of unwarranted comments from bystanders. “Cat-calling… happens, and it upsets me. You don’t know what to do,” Meath admits. “Sometimes, it happens and you’re like, ‘Fuck you, I feel really threatened and unsafe,’ and then someone will do it and you’re like, ‘Awww yeah! I’m gonna go home and think about you later.’ Or it’s an old guy who’s like ‘Bless you,’ and you’re like ‘YES!’”

The song was released on 12” as a means of placing the band’s music in a specific frame of reference from the get-go. Sanborn says, “We really wanted to contextualize it right away. We had this idea to do just an old school format – a 45RPM single with the full acapella instrumental. I’m a DJ, and all the old 12 inches I would buy [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][were like that]. It invites remixes, it puts it in a context that we always wanted it to be in since we started working together.” Though it appeared as a b-side to “Hey Mami,” “Play It Right” was actually their first collaboration. “I did a remix for a song she wrote for Mountain Man and that became ‘Play It Right’ and we just kept sending each other stuff that we thought the other one would be into,” Sanborn explains. Meath adds, “We both have very, very distinct sounds which are actually kind of disparate. People keep calling us fucking ‘electro-folk.’”

Call it whatever you want, but it works so well it’s hard to imagine either of them involved in projects more well-suited to their strengths (not to mention playing up each other’s). “Each of us tends to have instincts to do what we’re gonna do, which is why we have individual voices. But we try to serve the song first,” says Sanborn. His DJ intuition serves Sylvan Esso especially well on pumping club anthem “H.S.T.K.” Meath’s vocals are spry and jazzy at the song’s outset, bouncing over springy beats before growing sultry and daring on the line Don’t you wanna get some? Sanborn loops that line and builds the mood into a frenzy in which tiny, thoughtful flourishes pop like flashbulbs. Tracks like this are especially vibrant when performed live, perfectly suited for the sensual, hip-hop inspired gyrations Meath executes with a dancer’s grace.

Sylvan Esso have kept up a pace that could be hard for other bands to maintain. “It’s just two of us. It’s not like we have some machine that’s just gonna keep going for us,” Sanborn says. “We can predict what will be fun for us and what will be not fun for us. Already we’ve said no to things that we thought were a bad idea.” Meath cites the importance of naps, perspective and nutrition when it comes to stamina and maintaining a good attitude, stating, “The minute I start getting to be a Grumpus Maximus, [I know] something’s going on. What’s going on? Maybe you just need to eat a bagel.” “Could I Be,” a standout track on the LP, perfectly elucidates the exhilaration and exhaustion of that hustle. And it’s incredibly effective as a motivational tool; the chugging synths and persistent beats mirror the locomotion of the “train” that Meath refers to even as Sanborn distorts her voice into a mechanical whistle. Like “The Little Engine That Could” the moral of the story is that any goal is well within reach given solid hard work.

But it’s a respect for what the other brings to the table that makes this collaboration a resounding success. “We’re a partnership, just a man and a woman in a band on completely even footing, and that’s how we treat everything,” Sanborn says. “Really early on we established this relationship of being hyper honest when we didn’t like something. One of the best aspects of this band has been being able to argue pretty vehemently and not have emotions be involved.” Meath adds, “I’ll have this hook, I’ll sing it to him, and he’ll be like ‘Okay, cool. I have this beat.'” Then, Sanborn continues, “We just keep working on it til it’s something that we both like.”

It’s an exchange best illustrated by the metaphors within “Coffee,” a breakout track for the band that, at its most simple, is about dancing with a partner. Though it had been released only days prior, the audience at the Baby’s show knew every single word from opening lines True, it’s a dance, we know the moves / The bow, the dip, the woo, to the infectious Get up / Get down of the chorus, and Meath’s imploring Do you love me? sung so confidently you get the sense she knows the answer is always going to be ‘yes.’ She wrote a treatment for the joyous video that would accompany the track. “I sat down and studied music videos for like a week,” she says, detailing a syllabus that included TLC’s “No Scrubs,” Jon Hopkins’ “Open Eye Signal,” and Sean Paul’s “Get Busy.” It splices slow-mo scenes from various dance parties – subuirban gymnasium hoe-downs, 50’s sock-hops, jaded hipster house parties, and finally, a futuristic flash mob styled by Sylvan Esso’s friends at Dear Hearts, a boutique in their hometown of Durham, North Carolina. Sanborn says the video reflects “our whole aesthetic, referencing pop but pulling the things out of it that we love.”

Pop sensibility drives every track on the record. It comes from the rustic traditions that inform Meath’s style of singing as much as how her vocal gets filtered through Sanborn’s modern approach. “With electronic music you kind of have to reinvent the wheel a little bit,” he says. “Every facet of it: hardware, software… every part of musicianship and instrumentation is changing constantly. It’s really immediate and not entirely predictable. Electronic music is moving out of rigidity.” Whether highlighting the sinister courtship rituals of the modern male on “Wolf” or listless teenage shenanigans on “Dreamy Bruises,” Meath’s imaginative lyrics and their easygoing delivery haunt those purlieus with a finesse and elegance that magnifies the contributions of both performers. “It’s mostly just being really good partners in crime,” Meath says. They’re hardly committing felonies, though; as a record, Sylvan Esso feels more like a gift.

Sylvan Esso play NYC in May 8th at The Westway, and as supporting act for tUnE-yArDs at Webster Hall June 22nd and 23rd.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

VIDEO REVIEW: Sylvan Esso “Play It Right”


play it right

Sylvan Esso certainly isn’t the first act to pepper electronica with folk undertones but their combination is particularly intriguing to say the least. It is pure and honest while still managing to uplift listeners and make them wanna move. The North Carolina duo released “Play It Right” via soundcloud last year and built a ton of buzz around it, but the song never got a proper video – until now. Ahead of the May 13th release of their debut LP on Partisan Records, the video highlights the simplicity of the song’s elements by echoing the track’s minimalistic vibe. Splashes of light wash over vocalist Amelia Meath, synth wizard Nick Sanborn, and two dancers, illuminating just enough to pierce the darkness of the set. Meath’s exuberant dance moves look hip-hop inspired, yet remain polished and graceful, like that of a ballet dancer; selected scenes employ slow motion to highlight both her elegance and the drama of the song, heightened as the track progresses and the dancers submerge themselves in the music. The visuals are captivating without being over-stimulating, a definite rarity when it comes to music videos. With a track this good, elaborate sets and costumes aren’t needed – Sylvan Esso basking in their own spotlights are engaging enough to grab our attention and keep it there.

TRACK OF THE WEEK: “Wire Frame Mattress” by The Wytches



As if we needed another reason to be excited about SXSW, Brighton-based rockers The Wytches have announced that they’ll be in Austin this March for their live US debut.  “Wire Frame Mattress” from Gravedweller (available for free download on the band’s website) is a perfect example of their dark, lo-fi take on Nuggets-era surf rock riffs drenched in reverb and punched up with a little British snarl courtesy of vocalist Kristian Bell.  The band is fleshed out by bassist Daniel Rumsey, who’s working on a sci-fi novel called The Curious Adventures of Charlie Revel, and drummer Gianni Honey, a semi-professional poker player.  Destined to fill the gaping hole (grave?) left by the break-up of Thee Oh Sees, we’re willing to bet these young lads have learned a lot from touring with Death Grips, Metz, Japandroids, and Chelsea Wolfe in the UK.  The band just signed to Partisan Records and will release a new record in May, so be on the lookout.

TRACK REVIEW: Ages and Ages “I See More”

Ages and Ages

Ages and Ages

If you’re in need of a soundtrack for your revolution, look no further than Divisionary, the sophomore album of Portland “folkadelic” seven-piece Ages and Ages.  It’s part concept album, part inspirational how-to guide for disillusioned souls intent on bucking stale, prevailing attitudes. “The songs on our first album, Alright You Restless, described a group of people leaving a selfish, destructive society for a place safe from the madness… wanting to establish new rules and a language to put some distance between themselves and the noise outside.”  explains bandleader Tim Perry.  “As the group faces the struggles of actually making their community work, reality sets in and things get more complicated. Divisionary details the second phase of the journey.”

The album is out March 25th on Partisan Records, and so far the band (who consider themselves more of a musical “collective”) have released two singles.  The latest of these is “I See More”, an infectious little ditty that could put a lift in nearly any downtrodden soul.  Stomping percussion, lively acoustic strumming, and group harmonizing give the track a Satanic Panic In The Attic-era Of Montreal feel.  If the tune is rousing, the lyrics are downright uplifting; while Perry sings “Spread out your losses / it’s part of the process / really it’s okay / I’ll be on your side” five other Ages players back him up harmonically and spiritually.

Though it’s certainly not overtly apparent (and never dogmatic), the band does have spiritual influences; Perry spent ten days on a silent meditation retreat during the conceptualization of the record.  That calming influence is deeply felt on lead single and title track, “Divisionary (Do The Right Thing)”. Sonically, it typifies the band’s easy going but restless energy, with sweet strings and hand claps fleshing out the melody.  The words are sung almost like a string of mantras: “Do the right thing, do the right thing / do it all the time, do it all the time / Make yourself right, never mind them / Don’t you know you’re not the only one suffering”.

While the lyrical content is especially edifying, the messages here would be hard to parlay and might even sound heavy-handed if not delivered in such a carefully crafted, edifying song structure.  Everything feels so organic, and it’s hard not to be moved by the folksy rhythms that underly Ages and Ages’ bold mission statements.  Perry says it best – “These songs reflect optimism, but they don’t do so lightly or try to dodge the struggles we’re dealing with individually and as a band.”  Divisionary is sure to be a complex but invigorating listen.

TRACK REVIEW: Sylvan Esso “Coffee”

Sylvan Esso

Sylvan Esso

What’s better at warming brittle bones in the brutal cold than a piping hot cup of coffee?  The only thing I can even think of is the newest track from Brooklyn-based electro-pop outfit Sylvan Esso, and wouldn’t you know, it’s named after everyone’s favorite caffeinated beverage.  The song is less about daily roast and more about sensuous evocations of comfort and home.  Amelia Meath’s lush vocals deliver salient lines like “I know my words will dry upon the skin / Just like a name I remember hearing” before asking “Do you love me?”  Twinkling electronic flourishes and crystalline chimes adorn a thick blanket of bouncy bass, courtesy of Nick Sanborn.  Each element is carefully articulated as the track breathes and stretches around Meath’s eloquent longing.

Sanborn is best known for his work in Megafaun, Meath for her folksy Mountain Man project.  The duo released a 12″ for their equally infectious debut singles “Hey Mami” and “Play it Right” via Trekky in July.  “Coffee” will be released as a 12″ by Partisan Records on March 25th, with a b-side entitled “Dress”.

With playful shout-outs to Tommy James & the Shondells, textural percussion, and vivid imagery, this track is going to stick around like a crush on your favorite barista.