If you look only at the title of the most recent album by Brooklyn outfit Bellows, you might expect to hear some of frontperson Oliver Kalb’s more stripped down, primitive tracks. On the contrary, The Rose Gardener is Kalb’s most dynamic work thus far, and it’s the fullest the five-piece has ever sounded.
Sitting in EAV bar and venue, 529, amongst residual cigarette smoke and the sounds of opening band Another Michael, I talked to Oliver about his new album, his path to Bellows’ more complex sound, and the process of coming to terms with bouts of misanthropy and the changing New York DIY scene.
Sad Girl Co.: Looking back at your first LP, does it feel like the same band to you? How do you feel like you’ve evolved?
Oliver Kalb: I was thinking about that album recently — I made it when I was 18 and had never self-recorded before. It was something I learned how to do over the last few years or so. I still respect the challenge that I put myself through for that album, which was to make an album without any electronics or synthesizers and see how full I could make it. It’s definitely not where I’m at sonically anymore or how I’d make it now, but it’s fun to look back at it and see what mistakes I made that led me to where I am now.
SGC: When I listen to that album versus The Rose Gardener it’s two different moods for sure. You mentioned that you never typically record in a studio, was that the same for this album?
OK: None of the Bellows albums have been recorded in a studio. It’s kind of my way of controlling things sonically. Our second record took a really long time because there were certain sonic ideas that I wasn’t entirely sure how to orchestrate. I didn’t necessarily have the means to accomplish these ideas; it felt like there were sort of insurmountable obstacles that I couldn’t get over, so I was constantly troubleshooting. Now, those are things that would be more or less easy for me, so it’s interesting to hear the difference.
SGC: How did you decide that you’d solely self-record your music?
OK: It’s pretty boring, but I got a MacBook that had Garage Band on it, and I started screwing around on it, got a USB microphone, and literally recorded on a USB microphone and it would sound — at least at a time — incredibly crisp. Hearing my own recorded music really led me to want to do more with it.
SGC: The Rose Gardener to me seems to have a more diverse sound than your previous releases. How did you make those sonic choices?
OK: Yeah, I think that when we made Fist & Palm, there were certain ideas that I was trying to accomplish that I was a beginner at. I’m really proud of the songs on that album, but when I listen back to the recordings I think, “I could’ve done this better.” I feel like with The Rose Gardener I kind of wanted to vindicate certain ideas that I couldn’t get across on Fist & Palm. I think of The Rose Gardener as a more developed cousin of Fist & Palm.
SGC: Thematically, the album seems to express both anger and resilience. What were you thinking when you made the album?
OK: I made this album during a paranoid and angry period of my life. I felt bitterly disconnected from the New York music scene that seemed to have been overrun with power grabs and petty people. It felt kind of gross and I felt lonely and misanthropic. I didn’t feel like I could trust anyone in my community. I think I worked through that in writing the album, but at the time it felt like an emergency. I felt like I was done with the world that I’d just poured 6 years of my life into. I turned to the album to express the things I didn’t feel like I could say out loud.
SGC: What’s your personal favorite track on The Rose Gardener?
OK: I think my favorite song on the album is “Count ‘Em Down.” I felt like that was one where I compositionally pushed me to a place I’d never gone before. But I think my favorite song to play live is “What Can I Tell You About The World?” I think that’s one of our most un-fussy songs, and that song in particular feels like it can channel a mood that’s a bit higher than some of the other songs on the album that fall into an angsty genre.
SGC: As far as your album art goes, do you create it yourself?
OK: I create all of our album art. This one is definitely the one I’m most proud of. I initially wanted to draw a full folding rose bush with plants curving around little scenes from the album, but I’m not an illustrator and my album covers are usually done in the most naive way. I found I wasn’t great at drawing plants.
I think I was on Tumblr or Pinterest or something, and found a weird medieval screed that was a prophecy of the antichrist, and it was extremely creepy and had roman numerals in these little boxes. There was something about it that was so obsessive and demonic. I wanted to synthesize the prophetic, demonic quality of it into something more pertinent to the album. I envisioned it as a grid with different pieces of the album throughout. I used a lot of sort of disparate imagery that together formed a feeling of unease or chaos that I think underlies the album.
One of 2019’s most sonically diverse releases, The Rose Gardener swings from bedroom pop to folk to synth-pop, and shows Kalb’s developing mastery of DIY production.
Just as it was for Kalb himself, the album is a powerful tool for resolving one’s own anger and resentment, and acknowledging that it’s OK to feel those emotions. The modern world often lends itself to misanthropy and, like Kalb, we can all fall into pits of bitterness from time to time. This LP is the what you should press play on when you’re ready to face those feelings head-on.
The Rose Gardener is out everywhere to stream and purchase, and Bellows is currently on tour with Chicago-based band Another Michael.
Despite originally hailing from Bowling Green, Ky., it hasn’t taken Jordan Reynolds long to settle into the Atlanta music scene. Reynolds’ 2017 EP, Always A Good Reason, served as an intimate introduction to Rose Hotel, with minimal instrumentation supporting Reynolds’ soft vibrato. Since then, Rose Hotel has slowly unfurled — transitioning from a solo project to a full-fledged band, opening for locally and nationally recognized bands and working on a comprehensive album.
Rose Hotel’s debut full-length, I Will Only Come When It’s A Yes, due May 31, is the band’s most ambitious project to date. The album features contributions from 11 different Atlanta musicians — members of Neighbor Lady, Material Girls, Karaoke, Shepherds and Palm Sunday — with flutes, trumpets, vibraphone and backing vocals reinforcing Rose Hotel’s introspective soundscapes.
“It’s a record about running from nostalgia, but also leaning into it,” Reynolds says in a press release. “It’s about transitioning through life, learning from the different phases we endure.”
Last summer, Reynolds embarked on a three-week emotional pilgrimage, in the form of a solo road trip. She had just finished the then unnamed album, and was coming into her own while healing from heartbreak. The album’s title resulted from a conversation with a fellow musician Reynolds had met while traveling. Sitting on a blanket at Postock — a music festival hosted on a farm in Wisconsin — the two women discussed their lives, and Reynolds’ newfound friend shared a piece of enlightenment.
“She said, ‘And finally, I told myself, I will only come when it's a yes.’ As soon as she said that, I felt this heat radiate all over my skin; it resonated so much with me at the time and what the record was about,” Reynolds tells Sad Girl Collective.
Reynolds has partnered the announcement of I Will Only Come When It’s A Yes with the release of “10 K.” The album’s lead single is an effervescent expansion of Rose Hotel’s lo-fi, bedroom pop roots, with darker, shoegaze leanings. Directed by Reynold’s friend Jayme Powell — another Bowling Green transplant — the song’s accompanying Super 8 visuals pay homage to the band’s old and new hometowns, of Bowling Green and Atlanta, respectively.
“I wanted to capture the bittersweet nostalgia of moving away from home, mixed with the excitement of experiencing a new city and moving forward in life. It sort of feels like a home movie in a lot of ways, and the song feels like that to me too,” Reynolds says.
With one foot in Kentucky, and one in Atlanta, I Will Only Come When It’s A Yes not only marks Rose Hotel’s debut as a full band, but also Reynolds’ debut as a full member of the Atlanta DIY scene. — Kristy Guilbault
This month's guide is belated but nonetheless, April's second half has a strong roster of shows to get you through the month and propel you into May.
Read on for more + keep an eye here for May's guide soon!
Over the past five years, Kevin Morby has made unbelievable strides with his solo career. The former Woods bass guitarist and the Babies frontman made his solo debut in 2013 with Harlem River, a stunning eight-song ode to New York City. Themes of big city living have continuously found their way onto Morby’s material, but never quite like last year’s City Music.
Morby’s fourth studio album is a matured continuation of the sound that was so loved on Singing Saw tracks like “I Have Been to the Mountain,” featuring vocals that are fondly reminiscent of the peaks and troughs in Bob Dylan’s iconic timbre. Morby’s sound is spare in the way that it seems to echo in even the smallest room, embodied on “Come To Me Now” with a percussion line that seems as if it's miles away.
Morby has been compared not only to Dylan but to Lou Reed as well, and on tracks like “Crybaby” that Velvet Underground-esque songwriting style is prevalent, as he croons effortlessly over rhythmic, cyclical guitar. Despite stylistic comparisons, what Morby does is very much his own in the world of modern folk rock. -- EP
Sometimes you just want to start a fight while listening to Ty Segall & The Freedom Band’s double album Freedom’s Goblin (2018). Packed with nineteen tracks of pure rock n’ roll revelation, Segall fully evolves with some of the most powerfully violent and rageful tracks he has ever created – from the hard-hitting guitar psychedelics of “When Mommy Kills You,” to the romantically sinister melodies consuming “Shoot You Up.” Over the course of his decade-long solo career – with a discography boasting 15 full-length albums, six singles and three EPs – Segall has become the poster child for living and breathing garage rock. --- KL
Mental health tends to carry a negative connotation within American culture, however, Nashville singer-songwriter Elizabeth Anne Odachowski, known as Liza Anne, amplifies that stigma into melodies you can’t help but dance to. Her third studio album, Fine But Dying (2018), explores every nook and cranny of depression, isolation, anxiety and paranoia, as well as the larger social issue at hand: “You brush it under the bed/Another time/But it won’t stay down,” Liza Anne sings on the explosive track “Paranoia.”
Although primarily mental health-centered, Fine But Dying also touches on less contentious concepts, such as comparing a lover to a favorite pair of socks that you can’t bear to throw in the wash and potentially lose (“Socks”). The 11 country-tinged tracks harken back to Liza Anne’s southern roots, as a Belmont alumnus and former longtime resident of St. Simons Island, Georgia, making her Atlanta performance a show you won’t want to miss. -- KG
Although both primarily drummers, Austin musicians Charlie Martin and Will Taylor found themselves bonding over an endearment for muted music in the fall of 2014. The duo promptly went on to self-record their debut EP and, later, the acclaimed full-length, Taster, that caught the attention of Brooklyn indie label Double Double Whammy.
2018 brought the release of Hovvdy’s (pronounced “howdy”) excellent sophomore LP. Despite its relatively monotonous sonic pallet, Cranberry deftly achieves a broad range of dynamics and emotions. Album opener “Brave” morosely narrates seeing a love interest for the first time, backed by hushed acoustic guitar; with organ-like synth and overdubbed vocals, “In the Sun” – Cranberry’s second track – evokes soaking up every aspect of a perfect sunny day. Hovvdy has proven that slow-moving doesn’t always mean sluggish, and that some of life’s moments are best experienced at your own leisure. -- KG
Los Angeles sweethearts Haim are back in Atlanta on their “Sister Sister Sister Tour,” in support of 2017’s Something to Tell You. The follow-up to the Haim sisters’ debut, Days Are Gone (2013), proves that the trio are hard-hitting rockers with a soul all their own. Partnering up with Rostam, Twin Shadow and Blood Orange’s Dev Hynes, Something to Tell You takes the love ballads and heartbreak bops that caught the music world’s attention in 2013 to a whole new level.
Songs like album opener “Want You Back,” or first single “Right Now” employ new elements of electronic vocal effects, while “Kept Me Crying” shows off Danielle Haim’s guitar prowess. With two excellent albums and a top Coachella spot under their belts, the Haim sisters are showing 2018 who’s boss, with their unique mix of 80s synth-pop and classic rock n’ roll. -- KL
90s indie rock luminaries Built to Spill have been virtually MIA since the 2015 release of Untethered Moon, the band’s eighth full-length album. However, their spring co-headlining tour, with Afghan Whigs, is hopefully hinting at new music on the horizon. Untethered Moon sustains the Idaho outfit’s signature sound, comprised of dark melodies and tethered emo ventures that reign true regardless of what decade they make music in.
There’s something exponentially thrilling about a band that can create a same comforting sound for their fans that have stuck with them through and through. “Like they're waiting for your guard to fall/So they can see it all and you're so/Occupied with what other persons are/Occupied with/And vice versa,” Doug Martsch sings, as “Carry the Zero” continues to bridge the gap of classic 90’s rock that is still so deeply centered around Built To Spill’s music discography to this day. -- KL