Sounds x Review: Korpx // I Want to Live! (Again)

From the comfort of his living room, indie artist Charles Korpics, better known by his stage name Korpx, has been producing a plethora of syrupy smooth tracks. Just in the past seven months, Korpx has self-released three EPs and two singles. His most recent single, I Want to Live! (Again) stands out among the succinct catalog.

The instrumental track begins with a lazy and brooding guitar that thickly disguises a rising anthemic synth. A lush four on the flour backbeat then bridges the gap between the song’s turbulent intro and its cream-like verse section. Hinted melodies and an airy production-value give the laconic single a sense of motion.

This single by Korpx is sonically eclectic with an unfettered accesbility. His entire catalog would fit right in with any ‘beats to study/relax to’ playlists or shuffled through the deck of any devout emo listener’s daily mix. The influence of alt legends Tycho and Modest Mouse are just as easily distinguishable as the guidance of emo-revivalist outfit Algernon Cadwallader.

The composer’s formula is simple, natural, and pleasing. Korpx flies through the creative process by the seat of his pants, writing, and recording every instrument of every song in the same session. After slapping a vintage-looking photo from his childhood over the top, the results are uploaded to his YouTube channel and eventually onto streaming platforms. Without release dates, Facebooks ads, or suffocating label management, Korpx manages to keep himself steadily above the rushing current of today’s music scene. A concoction of synths, strings, and Instagram posts are all Korpx needs to stay afloat.

From his living room in Upstate New York, Korpx continues to deliver tracks that would make any study listener slump deep into their chairs with ecstasy. His EP Village Of is now streaming on all platforms, hear it below.

Sounds x Premiere: Toxic Holiday // backseat throwback

Toxic Holiday is channeling serious nineties vibes with their new music video “backseat throwback.” It’s vintage aesthetic and lyrical content recall the days before Bluetooth, when “home video” was part of the English vernacular. The indie-soul quartet from New Haven can usually be found playing various college campuses around Connecticut. You can follow them on Instagram here.

Pasquale Liuzzi
Music Writer // leftbankcollege

Sounds x Premiere: Banana Cream // We’ll Shine

Words by William

Banana Cream‘s “We’ll Shine” is a dreamy and ethereal lullaby. Its beeps and dings are the edge of falling asleep. You know that moment? You’re warm, surrounded and covered in blankets and pillows as you drift in and out of sleep. Reality gets a little fuzzy at that point — you’re in bed, but you’re somewhere else, too. You’re one foot in a dream.

For me, I get pulled back into a warm July day in 2013. I was sprawled out in the grass by a lake. Fish jumped, birds chirped, and kids laughed somewhere nearby while I read “Leaves of Grass.” This tune pulls me back to that moment, and the warmth of my bed can almost be mistaken for the warmth of the summer sun.

Banana Cream is the Commerce, California based lo-fi, bedroom music project created by multi-talented Will Gonzalez. He writes, records, mixes and produces for Banana Cream at his home studio.

Hear it below:

Sounds: Let Me Know x Banana Cream Boy

Words by William

I’m back in my bedroom and up in my head with Banana Cream. This dreamy bedroom pop project by Will Gonzalez is the sound of standing in the cold far past when you said you’d be home. Trying to cover a new tattoo. Delete a text message. Cover the liquor on your breath. Practicing to lie away the fun that occupied your night.

Gentle harmony and a heavy beat keep you moving while you fumble for your keys. Your immediate future looks grim, but it was worth it. You were you for just a little while.

Hear it below:

Wm

Words x Interview: The Nude Party

It’s Good and I Like It: 5 Minutes with The Nude Party’s Patton Magee

Words by Luci Turner

You formed in 2012 at Appalachian State University, and — six years later — are touring with The Arctic Monkeys and Jack White, two of the biggest rock acts of our time. How do you even begin to describe that?

We are super fortunate to have a full team of badass women working behind the scenes with us, namely our booking agent Kiely Mosiman and our management duo Cara Merendino and Amanda Soltis. They are the ones that have gotten our videos and our record in front of people like Jack White, and in front of the Arctic Monkeys.

The Arctic Monkeys and Jack both liked us enough to bring us on to play some shows with them. We’re really lucky and grateful to them for having us. We all put a lot of work and sacrifice into the band, and it’s really validating to get to play before legends like them, and then to see them play. Sometimes I get to thinking we are pretty cool — pretty good — then I see Jack White just absolutely dominate the attention of 5,000 people, and the way he seamlessly runs the show without a set list. He and his band are amazing. There’s usually a pretty good reason that thousands of people will turn out to see a band like Jack’s or the Arctic Monkeys. It’s ‘cause they’re fucking good. Seeing people perform like that reminds me we’ve got a lot of work to do. It stokes the fire under my ass.

You’re part of a new wave of psychedelic, vintage-inspired rock that’s growing beyond the mainstream media, a new type of “outlaw music.” How have you taken that sound and made it your own, and how does it feel to know that you’re successfully making music outside the fringes of what’s commercially popular?

I think the idea of mainstream music has kind of frayed out in the last decade. It seems to me there isn’t really one main genre surrounded by tiny subcultures anymore. There’s a lot of genres now, all with their own fanbases and cultures surrounding them. There are bands you’ve never heard of that sell out tours in big rooms, then, on the flip-side, there are major artists that everyone’s heard of, but neither you or your friends ever listen to. So I don’t think that we’re making music outside of the fringes. I think we inhabit one of many overlapping “bubbles,” but, like any artist, I hope we eventually transcend that.

The Nude Party listens like a mixed drink of Southern music from the 60s and rock groups from Laurel Canyon and England; who would you say has had the greatest influence on you, when it comes to writing and performing? Who would you say is the most surprising influence?

It’s probably no surprise that we love the Velvet Underground, Bowie, the Rolling Stones, the Kinks, Animals, all that really good 60s and 70s stuff. The amount of classic country we listen to might be surprising, and maybe that will bubble to the surface and start to influence us more in the next album. We also have this really great “bad country” playlist that we play in the van a lot, really shit songs that are fun to listen to: country-rap about dipping, disingenuous patriotic shit like Blake Shelton. Hopefully the bad country doesn’t show up as an influence!

What’s the creative process like? How did it change from Hot Tub to The Nude Party?

We’ve gotten better at playing our instruments, for one. We acquired instruments at the same time that we started the band, so, skill-wise, we really started at the bottom. But I think our style and skills are just enhancing and becoming more interesting over time. At first, we were excited just to be able to play a riff together. Over the past five years, we naturally raised the bar for ourselves with every record and show. Our influences have diversified.

We live in a time where rock music rarely tops the charts, but that doesn’t keep fans from packing into rock clubs, buying vinyl, and being just as devoted to their favorite bands as fans were in the 60s and 70s. Why do you think rock is so important, and how are you carrying on the legacy? On the other hand, how are you blazing your own path?

Other genres die out, but rock ’n roll just adapts and keep pushing. I don’t know where it gets its magic permanence from, I just know it’s good and I like it.

What’s your ultimate bucket list concert? Any band, any era.

I’d love to see Neil Young in any capacity, with any of his backing bands, or solo with an acoustic guitar and piano. He’s my favorite songwriter of all time.

Photo by Mike Belleme

Sounds: Fresh Brad x Inning

I bake a lot of bread during the summer which inspired me to write a song about leisure, love, and baking.

Everyone and their mama knows that I have this major ear-crush on Inning. Their sound is a full-body experience, the vocals touch your soul, the instrumentals stroke your ears, and everything just feels pure but also sad at the same time; and also complete.

Does that make any sense? Sometimes I feel like I’m just writing an online diary or talking to one of those modern internet therapists.

I guess that’s what music is anyway.

Inning got its start last fall at The University of Virginia in Charlottesville, Virginia (apparently it’s a really good school. fun fact: my uncle went there). The cool thing about Inning is that it sounds like a full band but it’s actually just the homie Evan Frolov, laying out his life and love and soul and everything from his Macbook Pro in his dorm to the internet waves. He’s deep and cool; understands complexities of life, but is able to make them feel so simple and soulful. Which is a fucking art.

I think that good lyrics come from the words spoken on the street. If I don’t say it in real life, I won’t sing it, unless I’m being ironic, but I haven’t smoked that much pot.

So the thing about this track is that unlike some other tracks of his that really hit home (Expensive Flights makes me cry), this track truly is just about his love of baking bread, and love, and leisure.

It’s a mix of what you get with Inning and that’s what I love about them. It’s accessible and fun; beautiful and sad; and leaves a little spot on your heart.

This review was not paid for, I just really like their music. Hopefully you will too …