If the 1980s cursive artwork wasn't enough, the band's website now redirects to a screenshot of the interior of an older car model. The URL reads peoplecantstopchillin.com, and if the lyrics are any indication, it's of the "Netflix and chill" variety. The windshield of the car reveals a late night sky, and of course, the hot new Sports single is on the radio, setting the perfect tone for a backseat rendezvous.
"Manicure" is available to stream and download on all online platforms.
The song discusses various positions, by choice or by nature, that don't end well simply by association. For instance, the title verse says that "It's hard bein' meat...them butchers always cut ya down." It's a fun little idea that concludes with "It's hard bein' me" in the final verse, adding a slight gravity to the concept without being the least bit dramatic about it. If it seems like the song was a no-brainer to write and perform, that's a testament to the casual performances, which gloss over the high level of artistry that is actually present here. Summery porch jams can be deceptively simple that way.
"Bein' Meat" is currently available as a free download in the above music player. You can catch Oklahoma Uprising doing its take on Americana at Belle Isle Brewery this Saturday at 10pm.
Even at a brisk two and a half minutes, the cut manages to work in a nice bit of hazy guitar solo work. At the midpoint, one guitar tone segues out of the lead melody and passes its solo to another guitar tone. Neither are showy or extravagant in the least, and appropriately so. The latter's slide guitar sound, for instance, contributes a slippery riff that brings the song's loose and lazy feel to the forefront.
The lyrics and lead vocals, despite being somewhat masked in effects, are simple and direct and don't get lost in the mix. While the hazy music speaks for itself, it never hurts to have an easy to grasp lyrical center saying to "follow your instincts, just let it all hang out."
The Age of Love drops this Saturday, accompanied by a release show at HiLo Club with Bad Dad and previous Singles Grab Bag featurettes Softaware.
Musically, the recording subtly elevates the song's simple, acoustic origins to acknowledge the vastness of its ideas. It opens with a soft bloom of echoed voices and sounds that swirl into a clearing of stripped guitar and lead vocal the latter of which remains the core focus of the song. As it progresses, harmonies and instruments creep in and out of the mix, spilling into an eventual mix of firmly present drums and veiled ambience. This combination carries the notion of things seen and unseen across a subdued instrumental 5/4 as the opening swirl returns.
"Mended" is accompanied by a B-side, "Mine Eyes," and is available at the Bandcamp link above.
The band's debut single, "Home," starts innocently enough, with lo-fi guitar and drums softly jamming at a slight distance. Then comes the distortion and course, strangulated vocals, shouting that "If everything good dies young, I should have died ten years ago." The singer goes on to lament the life choices and circumstances that have led him to this point, where "home" is more of a reluctant state of mind, a realization that maybe the place one belongs is not always the place one wants to live.
The recording itself is a DIY effort, where the guitars and drums aren't as forceful as they are in a live setting. The rough garage aesthetic isn't so bad for something as punk-leaning as this, though. The band seems, with this track at least, to reject the atmosphere-building of its post-rock contemporaries while rejecting the extrospective rants of punk rockers. It's an interesting blend that doesn't quite have its footing yet, but RLSS certainly shows some promise with what it has done here.
An echoed keyboard line holds up the savvy chord progression while riffy odds and ends color the arrangement's more subconscious elements. Even mild additions boost the momentum of the track, as heard in the second verse. There, a distant, fuzzed out guitar holds down whole notes, and what sounds to be a triangle strikes an occasional off beat to keep the listener on its feet.
At three minutes, the song could easily go on longer. In spite of having already run through three choruses, two verses, and an instrumental bridge by the time it ends, it still feels somewhat sudden. The beat drops out, leaving the keyboard echoes to hang over somewhat uncertainly. There's one great way to solve the irresolution, though, and that's hitting the play button again. The House of Jed is nothing if not full of replay value.
Below, check out the one-man project's music video for "I Eat Earthquakes Like You For Breakfast."
The title comes from the featured vocalist, who sings "I'm halfway to heaven, I know," effectively establishing the track's hook. It's a profound one, to be sure. It doesn't just spell out that a life half-lived is a life half closer to death. It refers to the close bond of a loved one, a bond so strong that it doesn't break when that loved one is taken. Instead, a part of one's whole self is taken with that bond, a bond which now becomes an unshakable link to the celestial.