Welcome to another edition of the SubModern Report friends. I hope your Valentine’s was sweet! With this past weekend having been all about the Presidents though, you once again made Bob Mould your President of SubModern with Sunshine Rock topping our album chart for the second week in a row. Things were a little less clear cut on the singles chart, but you clearly gave equal time to two brand new tunes, "Big" from Fontaines D.C. and "Grains of Salt" from Tacocat, which both debut in a tie for #1!
Last week’s #1 single, "Mockingbird" from Wild Belle, ties this week for #3 with another brand new one from Mini Mansions called "GummyBear" (which may or may not bounce here and there and everywhere). Weyes Blood (say it with me as Wise Blood) takes the #5 spot with "Everyday" and Sego are at #6 with "Shame." Then, who isn’t in the five-way tie consuming the remainder of the top ten? We’ve got The Drums, Filous, Karen O & Danger Mouse, Moving Panoramas, and Yungblud & Halsey all in there. You can see the specific tracks on the chart.
Back to the albums, thanks to a second advance single, Foals‘ forthcoming Everything Not Saved Will Be Lost – Part 1 debuts at #2. Metric (who I just saw put on a very early contender for best show of 2019) are back on the album chart with Art of Doubt, tied with Perfect Son‘s Cast for #3. Then we have a tie for #5 between Methyl Ethel‘s brand new record Triage and Nancy‘s new EP Mysterious Visions. #7 bring us yet another tie, this one between three English bands – Piroshka with Brickbat, Swervedriver with Future Ruins, and White Lies with Five. And guess what! Yup, it’s an even bigger tie to finish out the top ten with four contenders for that last spot – The Dip, LCD Soundsystem, The Specials, and Sticky Fingers. You can scroll down to the charts for all the details on the top ten and beyond.
Back atcha next week to close out this short month.
|TACOCAT||GRAINS OF SALT||SUB POP|
|3t||MINI MANSIONS||GUMMYBEAR||FICTION / CAROLINE / UMG|
|WILD BELLE||MOCKINGBIRD||LOVE TONE|
|5||WEYES BLOOD||EVERYDAY||SUB POP|
|7t||THE DRUMS||BODY CHEMISTRY||ANTI-|
|KAREN O & DANGER MOUSE||WOMAN||BMG|
|MOVING PANORAMAS||ADD HEART||MODERN OUTSIDER|
|YUNGBLUD & HALSEY||11 MINUTES||GEFFEN / INTERSCOPE|
|13t||BIG DATA||UNGLUED||WILCASSETTES / AWAL|
|COSMO SHELDRAKE||COME ALONG||TARDIGRADE / AWAL|
|FOALS||ON THE LUNA||WARNER BROS.|
|NANCY||I’M NOT GETTING SOBER, I’M JUST GETTING OLDER||B3SCI|
|WHITE DENIM||SHANALALA||CITY SLANG|
|18t||FIELD MEDIC||HENNA TATTOO||RUN FOR COVER|
|I DON’T KNOW HOW BUT THEY FOUND ME||CHOKE||FEARLESS / CONCORD|
|THE INTERRUPTERS||GAVE YOU EVERYTHING||EPITAPH|
|STEREOPHONICS||CHAOS FROM THE TOP DOWN||PARLOPHONE|
|X AMBASSADORS||BOOM||KID INA KORNER / INTERSCOPE|
|25t||BILLIE EILISH||BURY A FRIEND||DARKROOM / INTERSCOPE|
|THE DIP||SURE DON’T MISS YOU||AWAL|
|THE FAINT||ALIEN ANGEL||SADDLE CREEK|
|FLORENCE + THE MACHINE||MODERATION||REPUBLIC|
|ROYAL TEETH||SHOW YOU WHAT I CAN DO||ROUND HILL|
|WALLOWS [FT. CLAIRO]||ARE YOU BORED YET?||ATLANTIC|
|1||BOB MOULD||SUNSHINE ROCK||MERGE|
|2||FOALS||EVERYTHING NOT SAVED WILL BE LOST – PART 1||WARNER BROS.|
|3t||METRIC||ART OF DOUBT||MMI|
|PERFECT SON||CAST||SUB POP|
|10t||THE DIP||THE DIP DELIVERS||AWAL|
|LCD SOUNDSYSTEM||ELECTRIC LADY SESSIONS||COLUMBIA|
|STICKY FINGERS||YOURS TO KEEP||SURESHAKER|
|EX HEX||IT’S REAL||MERGE|
|GIRLPOOL||WHAT CHAOS IS IMAGINARY||ANTI-|
|JENNY LEWIS||ON THE LINE||WARNER BROS.|
|SHARON VAN ETTEN||REMIND ME TOMORROW||JAGJAGUWAR|
|20t||ANDREW BIRD||MY FINEST WORK YET||LOMA VISTA|
|BETTER OBLIVION COMMUNITY CENTER||BETTER OBLIVION COMMUNITY CENTER||DEAD OCEANS|
|CASS MCCOMBS||TIP OF THE SPHERE||ANTI-|
|THE DANDY WARHOLS||WHY YOU SO CRAZY||DINE ALONE|
|GUIDED BY VOICES||ZEPPELIN OVER CHINA||SELF-RELEASED|
|JR JR||INVOCATIONS / CONVERSATIONS||LOVE IS EZ|
A couple years ago I started to hear about Miya Folick so when she was opening for one of my faves, Kate Nash, last year, I made it a point to arrive early for her set. Having impressed me with the energy of her live performance, I was ready for Miya’s eclectic full-length debut Premonitions some months later. A bit after its release, Miya and her bandmate Josh Menashe (guitar / keyboard) joined us to chat and perform acoustic versions of songs from the record for another SubModern Session, which you can listen to below.
FMQB: Before Premonitions, you had some EPs out and you’ve stated that some of your fans might be surprised by what they hear on the album.
Miya Folick: Honestly, I expected people to be more surprised than I think they are. [laughs] I think a lot of music journalists, when talking to me, a common question is "Oh, it’s a lot different than your EPs." I kind of expected listeners to do the same, but they didn’t. But also I think a lot more people have listened to this album than any of the EPs, so a lot of them are new listeners and they don’t know to be surprised. People have been surprisingly unconcerned by this genre-bouncing, but I think if you’ve listened to me, it’s anticipated, knowing my old work.
FMQB: Genre-bouncing is a good thing! I’ll admit that I hadn’t heard the EPs, but I saw you live earlier this year, so going into the album, that was my basis for comparison. It was a pretty rockin’ live show so maybe I was a little surprised that there’s a lot of pop sounds on the album.
Miya: On that tour, we’d already started playing some of the album, but the songs weren’t entirely finished, so we were playing kind of different arrangements of them. And even now, when you see it live, it’s a different experience. It’s not like listening to the album, which some people do, which is fine, but I think it’s a little bit more exciting when the live show is a tiny bit different. Mostly it’s more guitars and more live drums.
FMQB: Is your full band on the recording or is it fewer people?
Miya: Yeah, the album was me and [producers] Justin Raisen, Yves Rothman, Luke Niccoli. That was like the core team. And then we did sessions with studio musicians and we ended up playing a lot of it ourselves. We didn’t do any real, like live band recording, as I did on the first two EPs, which are with this band that I tour with. The album is more produced.
FMQB: And is this band that you tour with now, the same band that you recruited on Tinder?
Miya: Yes! Yeah!
FMQB: That really worked out! That could’ve been very dicey!
Miya: I feel like it’s the modern, like posting a flier on the wall at your local rehearsal space. Everybody’s on Tinder, or at least they were. I feel now it’s kind of died down. But when I met them three years ago, I was having trouble finding a band in real life, so I was just like, all musicians are on Tinder so I should just make a Tinder profile that says I’m looking for a band. And it worked out!
FMQB: That’s good!
Miya: We’re actually going on tour in February with the band Barrie from New York, and I think they actually found their bass player on Tinder as well, which I think is funny.
FMQB: I want to talk about your voice a little bit. You have a great voice, you have a great range. When you write songs, are you writing to your own vocal strengths, or do you just write the words and then figure out how you’re gonna sing them later?
Miya: I write to my vocal strength, only in that I write by singing. I don’t write things down, and I don’t really write lyrics before melody ever. For instance, "Thingamajig," that started by Justin playing those chords on a Rhodes and we looped it, and I got up on the mic, and just… Basically I write like a rapper. If you think of how rap sessions go, you make a track and then the rapper gets up there and just spits things out for five minutes to an hour, depending on how long it takes to get to the song. That’s how I do it too. I just sing until there’s a song. And sometimes if I have a lot of different melodic and lyrical ideas, but I can’t figure out what the song is about , then I’ll pause, and we would all listen back to the recording and pick out what we liked to make a collage of song and figure out what it’s about. Then I’d go back and really solidify the lyrics.
FMQB: You’ve used the phrase domestic pop about some of these songs, in taking everyday moments, like a lyric that stuck out to me was about painting your toes and eating Cheerios. So taking those everyday moments and making them into bigger songs.
Miya: Yeah, I think that the things that I find most beautiful are rarely the most spectacular. So one of the intentions going into the album was to make something that felt spectacular, but that was about mundane, everyday things. Because that’s what makes up our lives. If you can’t find the beauty in that, then you’re just waiting around for the better life to come, but this is it. This is the one. [laughs]
Find out more about Miya Folick at MiyaFolick.com or TerribleRecords.com and catch her on a headlining U.S. tour in February and March. Listen to her acoustic SubModern Session performances of "Freak Out," "Thingamajig," and "What We’ve Made" here.
By Josh T. Landow
IN THE RING WITH KATE NASH
By Josh T. Landow & Joey Odorisio
British singer-songwriter Kate Nash made a splash back in 2007 with her debut album Made of Bricks, showcasing her sharp songwriting and witty lyrics. Since then, her sound has expanded and gotten more eclectic over the course of the past decade. The past year has seen her profile skyrocket, as she used Kickstarter to fund the release of her fourth album Yesterday Was Forever while also co-starring on the smash Netflix series GLOW. Recently, Kate sat down with Josh T. Landow & Joey Odorisio of FMQB to discuss her new record, feminism, mental health and pro wrestling.
How was your experience of working with Kickstarter?
I feel like it still is the experience because it’s still figuring it out as you go along. It was nerve-wracking doing the Kickstarter. I didn’t want to do it at first because I thought it might fail and I was nervous the entire time. But I was also pretty excited. The more time went on, I realized it made more sense for me to be doing that. I had terrible meetings with record labels that made me feel like crap.
You already had three albums out through bigger labels and that helped you build enough of a fan base that when you go off on your own with something like Kickstarter, they’ll follow you.
It was so stressful. You have to brace yourself for failure or you have to change how you measure success. It’s really easy to feel like “I’m falling because everything’s hard” or “Should it be easier? Should I keep going because it’s so hard?” But actually, we’re having amazing experiences on tour that are a constant reminder.
I met a girl the other night who was crying through “Nicest Thing,” so much so that Emma in my band wanted to run down and hug her during the show. We met her afterward and she said her and her sister had listened to my music together and they’d always talked about going to a show. Her sister died, and that was her sister’s favorite song. And she was from Alaska and we were in Denver, and her grandparents lived in Denver, so she decided it was a sign and came to the show on her own. That is so amazing and that’s how I want to measure success – just having a connection with people through music.
You can’t take it for granted. It’s easy to get caught up in that fast-paced lifestyle and what boxes you need to tick, but I’ll remember that for the rest of my life. When I look back on Made of Bricks and being on the charts and played on the radio, that’s not something I look back on and think, “Oh it was so moving being played on Radio 1, wow.” It was fine but I wasn’t happy then and I’m happier now as an artist and I still get to have these amazing, emotional moments with fans.