Author: Polyvox Magazine

  • GALLERY & REVIEW: Friko – A&R Music Bar, Columbus, OH, 3/14/25

    GALLERY & REVIEW: Friko – A&R Music Bar, Columbus, OH, 3/14/25

    Photos and Words by Jack Foley

    In my opinion, Pi Day is one of the most underrated holidays–an excuse to indulge in one of the finest desserts to grace the face of the Earth. Pie is only as good as its topping, whether whipped cream, ice cream, or some other confectionary. For me, seeing Friko’s electric performance at A&R Music Bar in Columbus, OH was the perfect way to top off the symbolic beginning of spring.

    Starcleaner Reunion

    Starcleaner Reunion was a pleasant surprise. Their sound is complex and pulls from several different genres, occupying its own niche somewhere at the crossroads of avant-pop and psychedelia. I want to say that they sound like Tame Impala’s Innerspeaker (2010) if the reverb and fuzz were scaled back, plus a few diminished chords and more of a quasi-jazz influence. My personal favorite track to hear was “Snowfeel” for its unique chord progressions and layered upon arpeggios with a signature Fender Stratocaster twang that you could recognize instantly. I would love to see Starcleaner Reunion again, and highly recommend checking out their latest album, Cafe Life, while unwinding on a warm evening watching the sunset. Trust me, it will set the perfect atmosphere.

    Friko

    After a break on the patio, one beer, and a conversation about 35mm photography, Friko hit the ground running and delivered an hour-long set with no breaks. It was an hour of pure, raw energy and excitement. Lead singer, Niko Kapetan, has one of the most impressive vocal ranges I have heard live, and is sure to stun. The group has incredible chemistry, their stage presence and energy unwavering despite the lack of air conditioning on the first 80-degree day in Columbus, Ohio.

    Friko is an incredibly underrated band in terms of both their musical prowess and stage presence. It felt almost impossible to not move along to the music, no matter how soft the song. The band played several songs that are unreleased at this time, and I eagerly await the release of these tracks. The band previously released their album “Where we’ve been, Where we go from here” in February of 2024. Their set was an incredible amalgamation of their discography and unreleased songs that have been in the works for quite some time.

    Two songs that stood out to me the most during the set were Cardinal, and Choo Choo. Cardinal took my breath away–the ability of a band like Friko to move from such a heavy, emotional sound to a singer-songwriter piece blew me away. The whistling with full vibrato was a plus, but Niko’s vocals genuinely gave me chills.

    Choo Choo is an unreleased song, simply stated as being “a song about trains.”

    “Period ” I say to myself

    What follows is a total banger that, I only described in my notes app as “‘Choo Choo’ insert raw ass beats.” I couldn’t bear to be on my phone for any longer during such an incredible set, so you’ll just have to take my word for it that Friko is an artist to catch if they come through your city. Friko has some impeccable work on deck for release, and I say this with my whole chest, I believe they are going to become incredibly successful in the near future. If you are a fan of artists such as Black Country, New Road, or English Teacher, you will enjoy their American counterparts.

  • COLUMN: Makeout Music #1- Old Reliable, or “Ask Me Tomorrow”

    COLUMN: Makeout Music #1- Old Reliable, or “Ask Me Tomorrow”

    Written by Jenny Hanover

    “Ask Me Tomorrow” via 4AD Records

    This is a column on Polyvox dot com. The column is called Makeout Music, which is indicative of the contents. My name is Jenny Hanover. I’m usually a poet from Pittsburgh, PA. However, I double as a former college music director and kissing connoisseur, so I’m going to be breaking down some of the best albums to kiss to of all time. 

    I want to start by outlining what makes an album good for making out: 

    1. No surprises. In order to stay in the flow, there can’t be any loud noises or sudden distortion, no huge changes in drum sound or tempo or vocal performance. It has to stay evenly paced and keep a steady volume. 
    2. Mid-to-slow tempo. The speed of the music can subconsciously effect the speed of whatever you might be doing. Don’t get carried away. 
    3. Long-ass songs. I’m talking six, seven, even eight minutes. This isn’t an outright necessity, but it keeps you from getting distracted by a new song every two or three minutes. This also keeps it from autoplaying something insane because everything goes on for so long. 
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  • Automatic by The Lumineers:  Melancholy in Motion

    Automatic by The Lumineers: Melancholy in Motion

    Written by Trishna Chettiar

    Automatic – The Lumineers via Dualtone Music Group

    Genres: Alternative/Indie

    Length: 11 tracks- 32m

    Features: None

    The Lumineers have long been known for their ability to craft emotionally rich albums that never overstay their welcome. Unlike many modern artists who push their albums past the hour mark, The Lumineers have consistently kept their records concise, ensuring that every song serves a purpose. Automatic, their fifth studio album, follows this tradition, clocking in at just under 35 minutes. Yet within that relatively short runtime, the band manages to explore deep themes of change, nostalgia, and the passage of time, all while subtly expanding their aural palette.

    Unlike some of their previous records, which leaned heavily on grand, cinematic storytelling, Automatic feels more personal. Themes of transformation, reminiscence, and disillusionment run throughout the album, painting a picture of a band reflecting on their past while grappling with an uncertain future. The lyrics, often poetic and vivid, create a sense of longing—whether for simpler times, lost connections, or a world that feels increasingly out of reach.

    The title track, Automatic, serves as the album’s thematic centerpiece. It explores the tension between the need for control and the inevitability of change, all set against hypnotic instrumentals. The track’s repetitious, almost mechanical rhythm mirrors the feeling of life moving forward regardless of our efforts to hold onto the past.

    The album’s opener, Same Old Song, immediately sets the tone with its melancholic yet uplifting energy. It juxtaposes a lively rhythm with introspective lyrics about struggling to break free from patterns and expectations. This contrast between bright instrumentation and weighty subject matter is a recurring motif throughout the album.

    One of the most poignant tracks, You’re All I Got, is a stripped-down ballad that highlights the band’s ability to craft deeply personal narratives. The song captures feelings of desperation and devotion, with frontman Wesley Schultz’s raw vocals carrying a sense of vulnerability that resonates long after the final note fades.

    Plasticine is another highlight, offering a haunting meditation on identity and conformity. The song’s ethereal production, complete with distant harmonies and a slow-building crescendo, makes it one of the most sonically adventurous pieces on the album.

    Instrumentals also play a crucial role in shaping the album’s mood. Tracks like Strings and Sunflowers serve as reflective interludes, allowing listeners to absorb the emotional weight of the surrounding songs. These moments of musical introspection add depth and cohesion to the album as a whole.

    While The Lumineers have always embraced a raw, acoustic-driven sound, Automatic takes a more atmospheric approach. The production feels looser and more organic, as if the songs were captured in spontaneous moments rather than meticulously crafted in a studio. This sense of immediacy adds authenticity to the record, making it feel like a direct window into the band’s current state of mind.

    At times, the arrangements lean into subtle electronic elements, nothing too drastic, but enough to create a sense of depth and space. The use of reverb-drenched piano, ambient textures, and layered harmonies gives the album a dreamlike quality, reminiscent of artists like Bon Iver or Sufjan Stevens.

    However, despite these expansions, the band never strays too far from their roots. Acoustic guitar remains the backbone of many songs, and Schultz’s distinctively earnest vocal delivery continues to be the driving force behind the band’s emotional impact.

    Like any artistic evolution, Automatic may divide listeners. Some longtime fans might miss the immediate, foot-stomping energy of their early hits, while others will appreciate the maturity and depth that this album brings. It’s less about catchy hooks and more about mood, reflection, and storytelling.

    One potential critique is that some tracks feel intentionally subdued, almost hesitant to reach for the anthemic heights of past records. While this restraint adds to the album’s overall introspective tone, it might leave some listeners craving a more dynamic payoff.

    Still, the album’s ability to evoke emotion is undeniable. The final track, So Long, is a beautifully melancholic farewell that lingers in the mind long after the music stops. It serves as a fitting conclusion to an album that embraces change, nostalgia, and the fleeting nature of time. Automatic is a testament to The Lumineers’ growth as artists. It’s a quieter, more contemplative album that rewards repeated listens, revealing new layers with each spin. While it may not have the immediate accessibility of their past work, it offers something arguably more valuable: a deeper emotional connection.

  • REVIEW: Youth Lagoon – “Rarely Do I Dream”

    REVIEW: Youth Lagoon – “Rarely Do I Dream”

    Written by Jack Foley

    Rarely Do I Dream – Youth Lagoon , Fat Possum
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  • ALBUM REVIEW: Horsegirl – Phonetics On and On

    ALBUM REVIEW: Horsegirl – Phonetics On and On

    Words: Jack Foley

    Horsegirl – Credit: Eliza Callahan via Matador Records

    Horsegirl released their sophomore effort, Phonetics On and On, on February 14th, 2025. The Chicago-based trio’s first LP, Versions of Modern Performance, has a sound reminiscent of Sonic Youth with a heavier shoegaze influence, and less dissonance. The group has explored a new sound markedly different from their first record. Horsegirl has stripped back the reverb and fuzz, embracing clean, twangy guitars, violins, and the lost art of simplicity to make a jangle pop record with infectious melodies inspired by acts such as The Velvet Underground.

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