2017 is sure to bring some exciting and much anticipated albums forth. Along the way we need to recall some of the greats that last year gave us. This week’s top five is dedicated to those we fell in love with last year.
You could say they’re following in the footsteps on bands like Fidlar, but it would be unfair. SWMRS are paving their way one rowdy show at a time. Beneath the thrashing guitar and sweaty shows, Drive North is an overwhelming note of positivity much needed in 2016.
The indie darlings produced one of the most underrated catchy songs of the year. Johnny, the first single off of their debut album, will make you fall in love with the softly sweet voice of Christy Hurn. Each song on the album is a mirage covering the confessions and meanings riddled into each track.
Full of confessions straight from the soul Mothers debut EP is a frighteningly honest look into heartbreak, happiness and sadness. Listen to it with a box of tissues near your side, or if you need a lift.
Shut Up Kiss Me was undoubtably one of the best singles to shout along to. It won’t be going anywhere anytime soon, and neither with Olsen. My Women is a slightly different direction showing the growth and triumphs an artist overcome. The album is a wondrous ride no matter what mood.
The debut album from the Toronto-based band was six songs full of addicting pulse accelerating rock. Devotion is the most catching track on the album and the title track is a gem of it’s own. The time and effort put into the album is apparent with each perfected track. The polish on the debut is a strong step into the music scene for the band we’ll be seeing a lot more of.
Four musicians stand on opposite sides of the stage, each in their own world. Kristine Leschper begins most songs with a soft spoken guitar before adding in her haunting vocals. The three other members wait idle for their moment to join in. Bassit,Chris Goggans closes his eyes until he’s led by his fingers and bass. In another world, each member plays as if they’re at a personal showcase, yet, each movement strikingly comes together to create the perfect depth of Mothers.
They’re not what you’d expect from and English rockband. Amid thrashing guitar and pulse matching drums, Band of Skulls lurk the stage. With the mics on either side a wide open space invites the band to roam. Emma Richardson stays by her mic lost in her world, while lead vocals Richard Marsden rarely steps away from the stages edge. Mouths hang open as the tips of his boot brush against their chests and his guitar dangles above them.
Playing hit after hit, the crowd sways and sings along. Drowning out the vocals for the songs, So Good and Bruises, the dedication is apparent. The band’s energy never dies, until the set ends leaving fans smiling.
A selfish moment when the few scattered around make the evening all the more exciting. It makes capturing the magic Mothers produce so easily a bittersweet treat. More should be there to embrace the talents in the medium venues before those moments become rare.
Mothers is on stage, blue lights wash over Adelaide Hall and the oddly cool venue is taken by a powerful storm of droning guitar and the hypnotic voice of Kristine Leschper.
For anyone at the show, the scarce crowd and open space allows the ability to relax. Yet, the secret of seeing an amazing band nearly to yourself adds a personal tone to the night.
Photographers weave throughout the bodies easily taking advantage of the many angles rarely given to them in concert photography. Media watches from the back. Every now and again a phone points at the stage and a photo snaps or a video records.
The band plays, all with closed eyes, ignoring the media, and focusing on the moment. They open their eyes every now and again but they’ve lost themselves in the emotional indie-rock. The powerful trance began at the first note. The four-piece from Georgia has everyone in the room, including the bartender in the back, right there with them. They grab a hold of your mental state and take you through a world of sadness, distrust, happiness and love with songs off of their album, When You Walk a Long Distance You Are Tired. They hold your hand on the way through, the lights grow dimmer and Leschper turns her back to the crowd.
Their most interesting song It Hurts Until It Doesn’t begins and the rise of the power Mothers has over the room can be seen in the crowd. People sway, people’s eyes grow teary as the beat speeds and a tension in the room grows to a climactic end.
If there was ever a band to experience, let it be Mothers.