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Written by Eric Riley

Poking around online while in the process of getting started here, I wanted to see what some other people were saying and if it matched how I feel. While the results were a bit sparse, the briefest review I found was also the most helpful; five short words, encapsulating not only the buzz surrounding Vérité but also a perfect summary of what Somewhere in Between offers.

“I can die happy now.”

With the exception of blockbuster movies and the Stanley Cup Finals, summer is the worst of the four seasons - it’s a thousand degrees, football is still months away, there are bugs everywhere - it’s awful. But, along with the exceptions above, there is one more key redeeming factor that comes to mind - pop music always hits a peak midyear.

Now with a trio of EPs on her resumé and a successful cover going viral, Vérité (born Kelsey Byrne) is here to not only show what she has to offer with her debut full-length, but prove that she can keep pace with the summer’s brightest starlets.

Coming quickly out of the gate, opener “When You’re Gone” creeps its way in, softly serenading “I don’t mind you leaving when the damage is done / And I don’t mind, I feel the same when you’re gone.” As this winds down, it leads into the album’s first single, “Phase Me Out,” a track with deep grooves and high summits; a perfect choice for a first-impression-maker, showing off Byrne’s strong vocal range and instrumental ability.

Where Somewhere In Between finds a lot of its success is in how well it delivers to-the-point pop. That’s not to say that the album doesn’t take chances (more on this later), but where artists may try adding extra bells and whistles (sometimes literally) to give a track that little bit extra, there’s stretches of compositional purity thanks to Byrne’s musical IQ.

On “Better,” Byrne lets her light vocals do the heavy lifting, joined by limited use of instruments and effects. Not only a highlight of her vocal ability, it showcases one of the simpler, more relatable set of lyrics on the album: “Maybe I fucked it up / maybe I let you down / Maybe I’m too far gone / maybe it’s simple that it’s over now / Maybe we’re just better off.”

Where there are great things to be said about simplicity, the same can be said about the moments where the album reaches for something more, mixing in something unexpected and creating something bigger. “Death of Me” flutters in soft and low, with Byrne singing of dreams and ghosts, and the tone placing us in the ether. Suddenly, as the chorus hits, the track is dipped beneath an electric filter, with a horn section blasting into the frame. It’s abrupt and borderline-intrusive, but even better, it works. Much like its predecessor, “Bout You” is also a bit different - darker, drearier than most of the rest of the record.

Following a pair of relatively straightforward opening tracks, the combination of “Death of Me” and “Bout You” in the 3-4 spots works wonders for Somewhere in Between, shaking up the pacing before it there’s ever a risk at growing stale or stagnant.

Though I just sent a decent bit of page pointing out the successes gained from sticking to script and alternately from taking chances, Somewhere In Between finds its best moments coming from a combination of the two. “Nothing” starts off feeling like a late-90’s/early-2000’s R&B/pop song, before abruptly dropping into a chorus that is dancehall perfection.

Following “Better,” “Need Nothing” combines soft vocals with heavy, mechanical styling to create a blend of diamonds and dirt. Lastly, the ethereal, ambient “Floor” is a standout - a beautiful goodbye track that lands in the middle ground of a breakup ballad and ‘80s gloom-pop. To be completely honest, it doesn’t matter how any of these tracks are performed, because the voice behind them delivers each and every one with the virtuosity and poise of a seasoned veteran.

This year has already seen some of the biggest names around release their latest albums, but with Somewhere in Between, we’re treated to the first from one of the freshest talents out there, and it may leave a few looking over their shoulders; Vérité is coming for the throne.

Release Date: June 23, 2017
Rating: 4.5/5.0
Check Out: “Nothing,” “Floor,” “Solutions”  
For Fans Of: Chaos Chaos, Lorde, Marina & the Diamonds

Tracklist:
1. When You’re Gone
2. Phase Me Out
3. Death of Me
4. Bout You
5. Better
6. Need Nothing
7. Saint
8. Solutions
9. Floor
10. Somewhere In Between
11. Nothing
12. Control
13. Freedom of Falling

Well, it’s another Tuesday meaning we’ve got another roundup for you! Tuesday Rewind is a compiled list of music videos, acoustic videos and singles that have been released within the last two weeks and on our radar. Check out the full list, including PVRIS’ new video for “Heaven,” Dan Black’s new video for “FAREWELL,” and This Wild Life’s cover of “Heart-Shaped Box” below!

Think we’re missing anything or just want to share what music has been on your radar? Let us know by reaching out to us on Twitter @_lucyoutloud!

Music Videos

• “Reassuring Pinches” - Alison Moyet
  
• “In Cold Blood”-alt-J
  
• “No Trouble” - Ashland
  
• “Stoned” - Blondage
  
• “Can’t Bring This Down” - Bridgit Mendler ft. Pell
  
• “Cloak & Dagger” - Bubbles Erotica
  
• “We’ve Got Soul” - Chapel
  
• “17” - Colt 45
  
• “Favorite Part of Loving You” - Corey Harper
  
• “FAREWELL” - Dan Black ft. Kelis
  
• “Truth Is” - De’Wayne Jackson
  
• “Stay” - Drawing North
  
• “Patron Without Funds” - Dryjacket
  
• “Tetelestai” - Eidola
  
• “Another One” - Fame On Fire
  
• “Promises” - ForeverandNever
  
• “Judas” - FOZZY
  
• “Sunlight” - From Indian Lakes
  
• “Dreams and Songs” - Gov’t Mule
  
• “Proud” - Heirsound
  
• “Passage” - In Hearts Wake
  
• “Around We Go” - Jeff Caudill
  
• “Two Sides” - Joel Taylor
  
• “Wishing Girl” - Lola Marsh
  
• “Back to the Old” - Matisyahu
  
• “Love Stuck” - Mother Mother
  
• “Kiss of Death” - Mutoid Man
  
• “Under My Skin” - Nineteen Fifty Eight
  
• “Don’t Wanna Dance” - Paper Lions
  
• “Listen” - Patrons
  
• “Heaven” - PVRIS
  
• “Ghost of A Chance” - Rancid
  
• “R E V O L U T I O N” - SHEARE
  
• “No Halo” - Sorority Noise
  
• “Higher Powers” - Ten Cents Short
  
• “Face On” - The 131ers
  
• “Bite Marks” - The White Noise
  
• “Bloom” - Vespera
  
• “Good Day” - Yellow Claw ft. DJ Snake & Elliphant
  
• “Undefeatable” - Young Rising Sons
  

Live Videos:

• “5 Million Miles” - Highasakite (Live via Conan)
  
• “Judy Garland” - Nora Rothman (Live at Sunsesh LA)
  
• “Take On The World” - You Me At Six (Live at Ally Pally)
  

Lyric Videos:

• “Bayside” - Authority Zero
  
• “Girlfriend” - Best Ex
  
• “One Day” - Bianca Ryan
  
• “Two High” - Moon Taxi
  

Acoustic Videos:

• “Favorite Part of Loving You” - Corey Harper
  
• “Coexist” - Have Mercy
  

Covers:

• “Livin’ La Vida Loca” - Patent Pending (Originally by Ricky Martin)
  
• “Missing You” - Paul Johnson and The About Last Nights (Originally by John Waite)
  
• “With or Without You” - Slant (Originally by U2)
  
• “Heart-Shaped Box” - This Wild Life (Originally by Nirvana)
  
• “Peaceful Easy Feeling (Instant Love)” - Tristen (Originally by The Eagles)

Singles:

• “Count On You” - Amanda Fondell
  
• “Monsters Among Men” - American Opera
  
• “Blind” - Black Satellite
  
• “No One Else In Mind” - Blaenavon ft. Soko
  
• “Saving Time” - Broke Royals
  
• “Seventeen” - Charlotte Lawrence
  
• “Sunroof” - courtship.
  
• “Draft” - DNKL
  
• “Mr Green” - Evi Jai
  
• “Smoking Gun” - Fiona Silver
  
• “Hope Spot” - Free Throw
  
• “Nothing” - Freya Wilcox & The Howl
  
• “What You Wanted” - Hiber
  
• “Don’t You Know” - Jaymes Young
  
• “The Breakup” - LANY
  
• “Talk About Love” - Late Night Episode
  
• “Honey, Put Your Weapons Down” - Lucy & La Mer
  
• “Shelter” - machineheart
  
• “Out Of My Mind” - Maisy Kay
  
• “Coloring Outside The Lines” - MisterWives
  
• “I Revenge” - MXMS
  
• “Elevators” - My Goodness
  
• “Dreamcatcher” - Night Argent
  
• “SGL” - Now, Now
  
• “Only Us” - Paperwhite
  
• “Bored By The Changes And Living”&“Coffee, Wine, Water, Tea” - Paul Bergmann
  
• “Beads” - Saint Mesa
  
• “Are You There” - Scott Ruth
  
• “Die A Little” - Silent Rival
  
• “Goddamn I’m Dead Again” - Sum 41
  
• “Explore” - Sundara Karma
  
• “Swan Song” - Suno Deko
  
• “Birthday Candles” - Tancred
  
• “Basket of Love” - The Big Drops
  
• “Sleeptalking” - The Grand Southern
  
• “Velvet Noose” - Thunderpussy
  
• “Escape Plan” - Tigers Jaw
  
• “Oh My My” - TRACE
  
• “In And Out of Love” - Vera
  
• “Bout You” - VÉRITÉ
  
• “Manzanita” - Will Stratton
  

Others:

• “A Darkened Gospel”&“The Imperfect: Iconoclast” Guitar Playthrough, A Wake In Providence
  

Written by Eric Riley

Whatever the craft, whether you are a musician, a writer, an artist, actor, athlete, anything whatsoever (artistic or not, really), making a strong impact is something to be desired. And while impact is one thing, legacy and lasting value are what separate the sudden fads from the reveled and remembered.

Now in the process of building on the foundation that was their debut, 2014’s stellar Ars Moriendi, North Carolinian mini-community The Collection have returned with Listen to the River, a second exploration into the struggles and stumbles that lead us to where we’re heading.

Vocalist/lyricist David Wimbish describes the album as a way of “reexamining and reorienting” a sunken sense of faith, courage, and spirituality while, alongside ex-wife and vocalist/multi-instrumentalist Mira, “processing the divorce and recontextualizing the relationship.” With the collision of these two struggles, River’s songs were a way to approach both simultaneously. Within the first moment of the album, Wimbish croons “Oh, there was sorrow in every word / Oh, how it longed to be heard. / But for the first time, I am not speaking / I am just listening until I can hear you / On my own.”

Where the first single “You Taste Like Wine” keeps things joyous and bright with horns and keys dancing, followed by the snap-along “Mama,” we hear the first and few instances of upbeat tempos. Each track is worthy of praise (and I’ll try to remember to circle back to them) but what follows is the first true standout Listen to the River offers us.

The booming drums that lead into “Birds,” each beat louder and heavier than that which preceded it, build their way to something huge. The combination of the echoing percussion, ethereal backing instrumentals, and Wimbish’s tender-at-times vocals culminates in a chilling anthem of dealing with uncertainty. As it draws to a close, he bellows “They say ‘You ask too many questions / You start too many fires / You dream of resurrection / But you’re too scared to die.’ ” Initially perceived as a criticism, its effect changes when Wimbish no longer has to sing it alone, joined by the support of vocals behind him. By the time its last round is sung, this notion of disapproval and self-doubt transforms into one of potential and oneness and optimism.

A bit later, there’s a slight feeling of nostalgia for the group’s previous album. Ars Moriendi, featured a trio of songs titled “The Younger One,” “The Middle One,” and “The Doubtful One,” each One a four-to-five-minute storybook. Here, we are introduced to “The Older One,” who “finds light in the darkest of rooms, sun in the smallest of moons … taught movement can be safe.” Whether fictional character or autobiographical pseudonym, these moral dichotomies  presented by “The Older One” show the protagonist’s change, growth, and maturation.  

Much like The Younger and Middle Ones, a drop around halfway through breaks the song in two. The gentle fall and rebuild throughout the final hundred seconds or so are both placed and performed perfectly - muffled vocals fading away, making room for a soft, haunting piano exitlude. The change in direction is sudden, though not unexpected from The Collection. Where the final minute is nothing more than simple pianowork, the conclusion feels like the tapes kept rolling because there was just a bit more story to be told.

Listen to the River comes to a close with “The Listener,” and it is a perfect example of what makes The Collection such a special group. The song itself is, bear with me, admittedly lackluster at times. But with that said, by taking full advantage of their size and range and the weapons at their disposal, they buff and shine a simple piece of sea glass into a souvenir.

As mentioned before, this album was written as a way of processing and dealing. And with that comes questions. If there are meanings to be searched for or answers hoping to be found, “No Maps of the Past” contains the questions - “where did all of our time go?” “How did I used to hold you before you knew that you needed it?” “If everything always feels new, then what if nothing is?” It may seem hyperbolic to say each word is as important as the next, but in this instance, the song as a whole is more powerful than it would be dissected into lines. Throughout, the song maintains a perfect balance of strength and delicacy, shelter and vulnerability, wretch and reconciliation. In the end, it presents what the group set out to achieve - the creation of something, hoping to honor the past while accepting the present.

So, to circle back to my initial point, what do we have here - just a strong first impact or a lasting value?
For The Collection, it isn’t a this-or-that; the answer is just yes.
Three summers ago, Ars Moriendi hit my life like a lightning bolt. It was an album that sang to me every word that I couldn’t myself conjure.
And now, once again able to find the bright and the beautiful within the dark and despaired, Listen to the River is a testament in learning you can hold onto the past without it holding you down, and that you must allow yourself to let things go where they go, let things happen as they happen, let the currents carry you where they will.

Release Date: March 24th, 2017
Rating: 4.75/5
Run Time: ~45 minutes
Check Out: “No Maps of the Past,” “Birds,” “Mama”

Track listing:
1. ”Threshing Floor”
2. “You Taste Like Wine”
3. “Mama”
4. “Birds”
5. “No Maps of the Past”
6. “Siddhartha (My Light Was a Ghost)”
7. “Sing of the Moon”
8. “So Many People”
9. “The Older One”
10. “The Alchemy of Awe”
11. “The Listener”

LaVeneno