Posts Tagged ‘Egghunt Records’

clever girls constellations album art

Burlington, Vermont’s Clever Girls, the indie-rock songwriting project of Diane Jean, waited a long while to release their second album “Constellations”. They started writing the record in early 2018, before they’d even finished recording their debut, Luck, and after Jean had come out as queer and gender-nonconforming. These songs find the songwriter working towards personal autonomy and acceptance, and surround their unflinching emotional journey with versatile, always-compelling guitars and dynamic arrangements that keep the listener off balance, unsure of what’s around the corner of the next measure. Constellations is music for those who look inside themselves and are unsure of what it is they see, but refuse to turn away. 

Clever Girls’ Diane Jean does more than just sing about their issues, they make you feel them viscerally. In order to capture the exhaustion and frustration that people assigned-female-at-birth can feel in relationships because of societal expectations, they recorded the vocals to “Stonewall”  the moment they woke up. Scratchy-throated and weary, they were still wrapped in a sleeping bag after spending the night in the studio. This kind of commitment is a big part of what makes Clever Girls’ second full-length LP, “Constellations”, so compelling.

Clever Girls are a Vermont-based quartet Diane and their bandmates prove to be fluent in a myriad of sounds throughout the record. Opener “Come Clean” shifts from a hushed indie lullaby to a noise rock cacophony in jarring fashion. “Remember Pluto” is blissful and beachy, recalling bands like Alvvays and Fazerdaze. The closing track “Fried” even has an IDM quality thanks to its thumping beat and oscillating guitar.

There’s a looseness through Constellations that makes the album especially inviting — you get the sense that the takes used were chosen more for emotional resonance than technical perfection. After all, it was pandemic isolation that inspired the tremendous sense of longing on lead single “Baby Blue.” The record as a whole was partly inspired by Diane’s encounter with the Major Arcana Tower tarot card, a symbol of tumultuous change and personal revelations, and the twin feelings of optimism and unease course through each track.

The songs on Vermont indie rock outfit Clever Girls’ sophomore album, “Constellations” via Egghunt Records will make you feel big and brave even when bandleader Diane Jean sings about feeling small and scared, which is often.

“I think the funny thing about song writing for me is that it’s the sphere of my life where—I don’t think of myself as a dishonest person, but it’s just where honesty comes most naturally to me,” Jean recently said over the phone. “So I carry guilt or shame or fear or love around—all of those big, big emotions—and they come to light first in song writing for me, which is always fun and always surprising.”

In Constellations, Jean navigates those big emotions through vivid song writing and layered, swirling instrumentation. The New Jersey-born singer-songwriter and guitarist wrote the record between 2018 and 2020, with most of the songs taking shape around the time they came out as queer and nonbinary. The final product is self-probing and celestial, tender and intense. “There is so much experimenting going on [in this record],” says Jean. “What I want to say is that it really came from a place of self-discovery.”

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Songs written by Diane Jean and Clever Girls

Clever Girls, “Constellations” Due March 26th

The song writing project of Diane Jean, Clever Girls have subsequently expanded into a four-piece band, based out of Burlington, Vermont. Signed to Egghunt Records, the band have recently announced details of their latest album, “Constellations”, the follow-up to their 2018 debut, Luck. With the album due in March, Clever Girls recently shared the first taste of the record, in the shape of new single, “Baby Blue“.

Like much of Constellations, Baby Blue actually predates the release of Luck, much of the album was written years back when front-person Diane first came-out as a gender-nonconforming person. The album tackles all the complex emotions that come with announcing that to the world, and learning to commit to your own happiness. Discussing Baby Blue, Diane has suggested the track has taken on a new meaning during the current pandemic, focusing in on the isolation Diane felt while stuck inside with only their trusty cat Hank for company, “it was exactly the type of experience that the song was born out of in the first place. The feeling of being isolated, and cut off from the world even when it was still turning“. Musically, Baby Blue has a lush, textural quality and the bristling, 1980’s inspired guitar line, and prominent bass sit in perfect contrast to Diane’s light, dextrous vocal delivery.

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Ultimately for all the talk of isolation and loneliness, there’s a sense of euphoria running through the music of Clever Girls, a feeling of coming through the dark time and learning to find delight in the possibility of the light; less a record of feeling alone and more one of learning not to, this is the sound of a songwriter growing into their role and moving their music to a thrilling new place.

When Clever Girls began writing Constellations, it was early in 2018 and they had not yet finished recording what would become their first full length album, Luck. Constellations was primarily an album written between weeks of tour dates, at the height of exhaustion, and amidst self-discovery. Having just come out of the closet as a queer and gender-nonconforming person, one can find the album set in both front-person Diane Jean’s fantasies, as well as the intimate and impressionistic frontier of their every-day personal life. It is an album about a self-corrected second coming of age that was born in the corners of science fiction and projected onto the walls of Jean’s bedroom. Constellations speaks to Jean’s desire for both personal autonomy that they have not yet experienced, but further, the growth often gained in young adulthood that as a closeted queer person, was lost on them.

Songs written by Diane Jean and Clever Girls

Releases March 26th, 2021

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On her song, “Forgive Yourself,” Nicole Rodriguez, who records under her moniker Pearla, details events in her past, from the routine (“Can you forgive yourself for missing the last get together? / It’s alright to stay inside if you think that will make you feel better”) to the traumatic (“Can you forgive yourself for turning your back in fear / When that man died on the welcome mat at the coffee shop that you worked at last year?”). Quilting & Other Activities, Pearla’s consistently beautiful debut EP—and first release on EggHunt Records, Lucy Dacus’ former label—is full of flashes like this. Rodriguez cleverly tosses a lot of curveballs: a bizarre drum fill here (“Daydream”), building guitar feedback there (“Somewhere”).

This is the sort of dependably gorgeous singer/songwriter release that almost sounds like a lullaby at times, but Rodriguez refuses to allow you the nap, using creative methods to throw the listener for a loop.

She demands your attention, and it’s nearly impossible to turn away, frequently recalling the best of Phoebe Bridgers or Julien Baker.

Grace Vonderkuhn is a rock musician based out of Wilmington, DE. Her music combines psych and garage rock aesthetics with a sharp pop sensibility. Vonderkuhn oscillates between heavy riffs and driving melodies drawing influences from bands such as The Breeders, T-Rex, and Autolux. Since releasing her debut EP, which landed a premiere on Noisey and mentions on Pitchfork, she and her band have been playing up and down the east coast, sharing the stage with the likes of Titus Andronicus, Lower Dens, Sheer Mag, Alice Bag and more.

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Band Members
Grace Vonderkuhn: Guitar, vocals
Brian Bartling: Bass
Dave Mcgrory: Drums

Lucy Dacus had an unfair advantage in getting our attention this year: Her debut album, No Burden, came out twice, first on Richmond’s tiny EggHunt Records in February, then on the venerable Matador in September. Recorded in one day in Nashville with a band that had just learned the songs, No Burden is not only a surprisingly assured album from a 21-year-old newcomer;

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Virginia singer-songwriter Lucy Dacus’s No Burden is astounding for two reasons. First off, this is the young artist’s debut album, but it is surprisingly genuine and mature. Second, she reimagines the indie folk and rock scene because she does not fall victim to the one-dimensional melancholic trope and rather opts for a frank and beautiful style. With her warm, dreamy voice, Dacus has an artful swagger and constructs wry and acute observations about her experiences. Accompanied by her mesmerizing guitar, Lucy Dacus bravely traverses and articulates the inner workings of her self in songs like “I Don’t Wanna Be Funny Anymore” and “Map on a Wall.”

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A self-described restless soul, Dacus is on a quest of endurance, “how to survive the bendin’ and breakin’.” With a breezy attitude, Dacus’ drops the “g’s” from “-ing” verbs in a charming manner, but she still maintains a modern elegance. All the while, No Burden has a tinge of optimism and hope, making it a gorgeous and insightful work.

Such a great voice, great songs. The album starts with more upbeat numbers but what makes the album so great are the ballads and lower-key songs

 

To be clear, Lucy Dacus’ No Burden was originally released by the small Richmond, Virginia-based label Egghunt earlier this year, and was just reissued by venerable indie Matador following much critical acclaim and a few successful cross-country tours. The extra push is nice, but Lucy Dacus’ songs possess enough timeless vigor that it’s tough to imagine them having been kept a secret for long. You will appreciate the quality of Lucy Dacus’ confessional songwriting, culled from acute observation and sleek homage to a universal truth on this sleek debut.

With four songwriters, four singers, and 11 tracks of guitar-saturated rock & roll, Avers‘ second album, Omega/Whatever, is proof that there’s strength in numbers. The record shines new light on a band that made its first splash with 2014’s Empty Light. Avers supported that debut release by leaving their hometown of Richmond, VA, and crisscrossing the country on tour, opening for bands like Foo Fighters and J. Roddy Walston along the way. They made a national splash during the 2015 SXSW Festival, too, with everyone from Esquire Magazine to The Daily Beast listing them as one of the week’s breakout bands.

Two years after Empty Light’s release, Omega/Whatever finds them returning to their unofficial headquarters — Montrose Recording, a modern studio located on a historic Richmond plantation and operated by bandmate Adrian Olsen — and creating another self-produced album of rumbling rock, shot through with pop hooks, layers of percussion, and coed melodies from four different vocalists. It’s a mix of old and new, much like the studio that birthed it. It’s an album about balance, too, centered around the struggles of living in the modern world.

From the new album, ‘Omega / Whatever,’ by Avers – Out July 29th, 2016

Richmond Singer-Songwriter Lucy Dacus Doesn't Want To Be Funny Anymore

Like a young Courtney Barnett, Richmond singer-songwriter Lucy Dacus hits the nail on the head with her new single “I Don’t Wanna Be Funny Anymore.” The song is off her debut album “No Burden”, which is out February 26th 2016  via EggHunt Records.

Dacus  e-mailed that while writing the song, she was thinking about “how stressful it is to be pegged as a certain type of person and feel the need to always live up to that identity people assign to you, especially if you’re the ‘funny one.'” She continues, “You can’t always be jolly or vivacious or clever or positive, but when people expect that from you, you don’t wanna let them down.” Yes, girl. The feeling of being stuck in one archetype isn’t very fun.

Dacus says she remembers being the “funny one” when she was growing up, and “always envying other tropes, thinking like, ‘why can’t I be the cute one, the smart one, the mysterious one, the one that’s good at dodgeball?'” Now that she’s older, she knows she doesn’t have to be stuck in a box, but that “there are still times people get sick of living up to what people expect of them.” I don’t want the joke to be on me, she sings. Try not to laugh/ I know it’ll be hard/ I’m serious/ I know it’s a first, but…That funny girl/ doesn’t wanna smile for a while. It’s that kind of introspection that makes “I Don’t Wanna Be Funny Anymore” so charming. It doesn’t hurt that Dacus’ sweet voice is the kind that gets under your skin, and that the track’s beat and hooks are on earworm level.

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