- Los Angeles, CA
"One of a Kind," the latest offering from The Late Innings sounds like an instant nostalgia trip, with influences ranging from 2000's indie pioneers The Walkmen to late night karaoke bars and everything in between. The synth-driven song is far from the EDM material dominating the airwaves in 2016, but rather a throw back to a simpler time of 80's pop ballads. Guitar, bass, and drums round out the mix, but this arrangement largely serves to support the dominant synthesizer melody and drum machine heartbeat that propels the song forward. "One of a Kind" is equal parts cute, earnest, and heart-on-sleeve. It is also impassioned, even if the vocal delivery seemingly flows effortlessly from start to finish. Surprisingly enough, the vocals at times sound strangely akin to Ben Gibbard of Death Cab For Cutie and Postal Service fame, but never so much as to sound like a mere carbon copy. Indeed, The Late Innings occupy on a sonic terrain that is entirely their own.
Hey Vincent! Wow, for a one-person bedroom project you have a very full and developed sound and I'm especially tuned in to your heartfelt lyrics. I like how you juxtapose the pleasant and upbeat sonics with your more searching vocal delivery and bittersweet lyrics. The intro with horn-tinged synths is nice and I love the specific types of synth sounds you use, from the airily floating, sustained synth line that lends a dreamier vibe to the occasional sprinkling of starry and bright synth notes. The chorus sections are the strongest parts of the song, when you describe someone who is "one of a kind" and how "I came back / because I could not forget / the one I left behind." Very touching and real. I also like the addition of the mild guitar line during those passages. Your sing-talking, confessional vocal delivery works well with your short-phrase, 'page-torn-from-a-journal' lyrics, where your voice presses forward with a slightly crestfallen tone. The only thing I would change is to remove the 'tropical island'-influenced syncopated beat that plays in the first minute of the song. You switch over to smoother and not as recognizable beats for the rest of the number, but for the 1st minute I wasn't sure about that breezy island rhythm. Just my opinion! :) Otherwise, this is an engaging tune that had me immersed in your words and vocal delivery. I especially dug your twisty, rhyming lyrics "So close right from the start / yet so far apart / That's when I had a change of heart." near the beginning of "One of a Kind."
Hey Vince! You're in Fullerton, I'm in Huntington Beach. Nice! Color Theory is a one-person bedroom (well, home studio) project as well, and I don't perform. So I know where you're coming from! I like the track and the tongue-in-cheek almost "General MIDI" type sounds, but I do think there's room for improvement in the mix. Overall it's a bit pushed in the high mids. The bass can come down at least a dB, and the hats that start at 1:11 are far too loud (6 dB at least). The arrangement overstays its welcome by a minute or so, and the ending seems a bit odd to me. I'd prefer the solo somewhere in the middle. Fwiw... Overall it reminds me a bit of Blancmange meets Prefab Sprout. A good thing! I'd be happy to share it with my following on Twitter, as it's definitely a good fit. Promotion-wise, I have a blog dedicated to answering your question: http://passivepromotion.com A couple suggestions for future Fluence submissions: 1. Include the lyrics so we can follow along (I understood them just fine, but wasn't always focused on them) 2. Include a short, catchy description of the song or act that's easy to copy/paste for social media sharing. That way we don't have to strain our brain coming up with something clever, and you get to choose how you're presented to the world.
I usually don't read the infos related to the submission before the first listen, I like to make my personal idea without being influenced by artist or publicist's words. So my first thought about this song was: "it sounds like a good bedroom recording" and I was right! It's good material and it could definitely have some blog coverages. If you can't afford a good publicist, you have to arm yourself with patience and start tracking down all the blogs that fit with your music. The best way to find them is through HypeMachine.. there are blogs like GoldFlake Paint that could be a good match. Start with an artist that you think sounds similar to your music and see which blogs wrote about him and then write an email to those blogs directly (no mailing list). It's your best chance to be heard and blogged. I'm sharing this song on our Twitter profile. Thanks for the submission and good luck!
This is fantastic - the style reminds me very favorably of sophisti-pop in the vein of Prefab Sprout, both in its grandiose scope and melodic lushness. As such, "Here to Stay" begins with a slick assortment of keys, a bustling bass line, sonorous vocals and '80s synth-pop adornments. The particular lead and accompanying video remind me of Prefab's track "Hey Manhattan". Comparisons aside, The Late Innings puts forth a fresh sound that treads a fine line between '80s sophisti-pop and modern indie-pop elegance, the vocals suavely maneuvering between the clanging keys and brass-like synth effects. I'll be posting this on OS in the very near future. Also reach out to me at firstname.lastname@example.org if interested in details/success stories regarding my digital PR servicing. Thanks so much for the great submission -Mike
This has a very warm, familiar post punk sound with the synths and instrumentation, lyrics, and vocals. This track has a slower beat and pace throughout, which seems to keep it from sounding too tied to any specific time. It reminds me of some new wave era bands (one I was just listening to called The Wild Swans). There are probably others, but that's the one that first came to mind. Anyways, I really like the song and look forward to hearing more!
I like the guitars--Cocteau Twins? Lush?--which are just old enough to sound fresh again. The vocals remind me of Lloyd Cole with a touch of early 70s Bowie, which is meant as a compliment. This would have fit well on 4AD c.1985 (again, a compliment). This isn't where the headspace of current commercial radio is at the moment--this, frankly, is a little more adventurous than the format seems to want to handle right now (a sad thing)--but there's no reason that you couldn't get speciality show play. My advice would be to find an alternative radio plugger (like U.N.C.L.E., and Pirate! but there are others) to help get placement. The only criticism I have has to do with the ending. It's a quick fade that I found a little too abrupt. It's like the song just...disappears. Is there a way to rewrite/record an ending that leads to a satisfying climax and conclusion? Think about it.
"Overboard" by the Late Innings opens with one of the most orchestral instrumental intros to grace any indie rock record thus far in 2015. The infectious lead vocal melody and supporting harmonies, complete with prominent British accents, find a comfortable home deep inside the listener's brain. "Overboard" immediately sounds familiar, like something out of 1980s Britain, but with too many modern flourishes to be purely an artifact. Nonetheless, the song is propelled forward by a fairly tried-and-true song structure and familiar 4/4 time signature. For the Late Innings, their competitive advantage lies in their ability to harness a string section to tremendous effect. Definitely not yours average dime-a-dozen indie rock outfit!
This song definitely brings British-tinged indie-pop vibes in the room. It reminds me a lot of of bans of the Eighties who lived the transition from new wave and indie-pop and found their home in labels such as Sarah Records but also all the scene developed around Americans K Records and Slumberland. You're looking for advice about how to promote your music. First of all, you need to know that this kind of music is not a worldwide thing. Never was, never will. But you can still reach a very decent audience with the right work behind. I often suggest to hire a good publicist, but in this case, probably the DIY thing is the best way to proceed. Because the indie-pop community is made of passionate and devoted people who share the music they like through blog and social pages. If I was you, I would track down all the Hype Machine on Which blogs have written about artists-whom you think are related to your sound and your aesthetic. Not the big ones, you should fous on the smaller acts for now. Find blogs email, write to them, be nice and polite and submit your work. It's the best thing you can do now to reach a wider audience who can enjoy your music. Thanks for your submission, I'll share this song through our Twitter profile.
The best approach is to let things grow organically but for 99% that is just not enough to get it heard so target music blogs who are posting songs that are similar to your own. And going by ‘Overboard’ you should have plenty of admirers given the classic template that forms the basis of this song. This is classic late 80’s to mid-90’s indie, a real song with vocal character and chord changes to hang your hat on. It reminded me of the Scottish act Lloyd Cole and the Commotions and similar acts from way up there. The video takes an obvious thematic approach and it is quite a visual treat in its own right, and together with the music provides a giddy combo that you should be proud of.
Thanks for sending this to me. I think for promotion, you may want to check out Disco Naivete, but I'm not sure it's a 100% fit honestly. I like your sound as it evokes a bit of a more pop Steely Dan near the end of the song. I think you should also hit the UK and see if you can find some good coverage there. I've referred you to some folks who work in PR and also some radio stations that you may want to consider. Check out their profiles and see if they could be a good fit for you. Mike and Marni especially. Nazlee will help in the UK.
Søren Lund Korsgaard
electric sound of joy