Indie

Americana duo Dorsten Release New Music

In their new single “To the River,” Americana duo Dorsten continue to develop their sharp tandem tonal attack with larger-than-life harmonies that could make anyone into a fan of modern roots music. “To the River” has all the cosmetics of a true indie-pop song; a big hook, an easygoing groove, and a pair of players in Dorsten that can give life to just about any hook they get their hands on, but the mechanics of the track have a lot more in common with vintage folk music than they do anything else. There are a lot of layers to peel back in this act’s sound, but no matter how you take their music or which genre you choose to classify it as there’s no getting around the simple fact that they’ve got more talent than most anyone in their southwestern peer group at the moment.

Everything in this song revolves around preserving the authenticity of the harmony, which most indie artists would take issue with right out of the gate. There’s often no room in the mix for eliminating the artificialities that come with propping up skyscraper-sized hooks when making conventional pop music, but that’s where Dorsten’s folk ethic comes into play. They’re going out of their way to make sure there’s a little bit of a swing to their shared vocal delivery, and within the substance of the harmony itself, we find a lot of unrefined, humble tonality that lets us know we’re listening to something real and tangible. It’s not a bastion of the revivalist movement, but rather a more virginal era of the Americana genre they’re drawing inspiration from here.

https://open.spotify.com/album/7fGo6G0ysyZCh9Co8Lcjl3

Even with its subtle bassline being factored into the equation, the groove in this track is heavy enough to get us moving to the beat steadily from the get-go. I’m not one hundred percent certain, but if I were to make an educated guess, I’d say that Dorsten wanted to make a point of demonstrating how little they need to depend on external resources when crafting something original in the studio with “To the River.” The irony comes in the form of the lyrical content, which alludes to pop culture in the bluntest of fashions, amidst a backdrop that is born of something removed from cosmopolitan artistry altogether.

The underground is always producing new talent, no matter what genre of music we’re discussing, but when it comes to folk and its many factions, its latest export in Dorsten proves that the state isn’t losing its touch by any means. This has been an intriguing time for Americana, and specifically for folk-pop crossover artists, but in “To the River,” I think we can hear shades of a newly evolved sound coming from these two that will be more than worth following up with in the future. They’ve still got time to keep growing, but as of this moment, this brother and sister act is among my top indie folk bands to watch as we get closer to 2024.

Bradley McClure

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Album Review

Jangus Kangus shatters melodic boundaries with her debut album “Fortune Cookie”

Jangus Kangus, the intriguing musical force helmed by Jasmine Sankaran, has just cracked open her most audacious project to date, “Fortune Cookie,” an album that intricately weaves genre fluidity and emotional resonances. This collection of eight tracks serves as both a sonic manifesto and a significant milestone in contemporary indie-pop, characterized by unvarnished lyricism and engaging, jangly hooks.

The album commences with “You Only Love Me When,” a seemingly serene acoustic-pop track that establishes the thematic groundwork for a narrative exploration of desires, internal conflicts, and acts of defiance. It poignantly laments love that manifests only through revealed strength, portraying love as a timeless entity, even when entangled with the vices of broken individuals intoxicated by addictive substances. After this introduction, Kangus transitions into the introspective “Double Lives,” a shimmering soul-infused piece that methodically dissects the paradoxes inherent in love and the subdued anguish that frequently accompanies the double lives.

Progressing to “No Future In This,” the album’s melancholic yet assertive dive into romantic realism presents bold lyrical insights. This sentiment escalates into the heartbreak elegy “Our Love Is Dead,” here, rhythmic piano chords evoke a mournful grace that encapsulates the heaviness of lost love, distrust, and betrayal. The track underscores the necessity of relinquishing specific attachments to pivot away from unsafe circumstances, echoing the fortune teller’s chilling proclamation: our love is, indeed, dead. Then comes the wild card “Janakita Kirakita,” an intoxicating burst of sonic dynamism and gleeful experimental composition that injects curiosity and electric charm into the auditory tapestry, boldly challenging convention with every note.

Listeners will find “Goldilocks” particularly captivating; this genre-defying number draws from stylistic influences reminiscent of St. Vincent and The Smiths, skillfully merging nostalgia with contemporary innovation. It conveys an urgent yearning to reclaim lost love during periods of solitude. The penultimate track, “Honeymooners in Venice,” narrates a cinematic experience rich in post-modern nuances. Finally, the concluding piece, “High Rise,” offers a deep plunge into Sankaran’s introspections, leaving a reverberating and haunting impact.

Meticulously crafted with the dexterity of a seasoned lyricist and the fervor of a punk priestess, “Fortune Cookie” commands attention as a contemporary coming-of-age narrative rich with lo-fi grit and artistic ambition, all presented through a unique lens.

Featuring an outstanding lineup that highlights the intricate interplay of Steph Anderson on keys and backing vocals, Antonio White on lead guitar, Dan Perdomo on drums, and Ryan Kellis on bass, Jangus Kangus delivers a performance that harmonizes technical proficiency with emotional transcendence. The music constitutes a distinctive addition to diverse playlists, serving as an ideal backdrop for a heartbreak soundtrack or late-night contemplation, thereby ensuring its relevance and recurrence among discerning audiences.

CLICK HERE TO STREAM Jangus Kangus’s Album “Fortune Cookie“ on Spotify.
CONNECT WITH Jangus Kangus | Instagram | Facebook |

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Artist Spotlight

Spiderwebs & Foam drops raw emotion in addictive new rock single “Fortune Cookies Sigh”

Spiderwebs & Foam shows they’re carving their soundscape. With the new single “Fortune Cookies Sigh,” the band throws itself into the spotlight, mixing gritty vocals and thumping rock energy in a way that immediately grabs the ear. The track packs a punch right out of the proverbial gate. The singing is strong, often straddling haunting vulnerability and full-throttle grit. The delivery has an almost cinematic quality, as if every lyric was taken from a diary during a thunderstorm throw. You feel the ache, the defiance, and the longing stained in distortion and drive in your heart.

“Fortune Cookies Sigh” finds that deceptive balance of memories and newness. It gestures toward the golden age of alt-rock while sounding utterly new. The rhythm section is taut and driving, pushing the track ahead with a pulsing momentum, and the guitars are melodic but with an edge, adding emotion without overcomplicating the feeling. It’s a song that lives on its terms. Just the title is a litmus test. “Fortune Cookies Sigh” is a poetic, nearly playful phrase that encapsulates the song’s push and pull of irony and sincerity. It suggests the minor disappointments in life, the ones you laugh through but hurt you at your core. And Spiderwebs & Foam have figured out how to make that feeling sound anthemic.

Clocking in at just under four minutes, the track makes you want to hear more, and you hit repeat without even knowing you are doing it. It’s the song you put on during a late-night drive or crank in your headphones when you need to feel something real. “Fortune Cookies Sigh” is a declaration. This band is bold in getting loud, real, and leaning into emotion. And if this indicates what they’re up to, they’re a name to watch.

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