Showing posts with label *Editors Choice. Show all posts
Showing posts with label *Editors Choice. Show all posts
THE SKINNY: With an incredible live performance for a room of a handful of people, All the Day Holiday has forced me to add them to my favorite bands section on Facebook, of which just three bands reside.MYSPACE: http://myspace.com/allthedayholiday
TWITTER: http://twitter.com/atdh
PURCHASE: Amazon MP3, iTunes
All the Day Holiday, an ambient, indie pop/rock band from Cincinnati, Ohio, performed at North Star Bar in Philadelphia, Pa. last weekend to a crowd of maybe 12. Among the sparse audience was at least two photographers, friends of the band, the sound engineer, myself, a friend, and only a handful of fans. The stage was close and the sound was loud. Vocalist Daniel Simmons' was absolutely beaming as guitarist Nathan Frisch began their opening song "La Voyage," before the band exploded into full spectrum sound, and bobbed around the stage.
I was immediately stunnded as Simmons' airy vocal tone sat perfectly into the mix. Whatever intensity the producer managed to capture on the band's debut LP The Things We've Grown to Love, is just a glimmer in comparison to the driving vocal performance Simmons offers live. Each note was perfect and captivating, while the excessively high notes were pleasantly strained into an awesome sort of yell. Supporting this pitch and melodic tonality with rhythm was Mark Ventura, boasting a mullet, a myriad of captivating beats, and an awesome silver drumset with just a floor tom for extremities. His ability to focus on the groove and supply a (clearly trained) pulse is unparalleled in the scene today. Like the other members of ATDH, Ventura is no hack. He knows his craft and is huge reason why the band is so successful.
Frisch spent the entirety of the short-lived show on the highest registers of the fretboard, displaying his prowess not for visual effect but to achieve a distinct and truly awesome tone. Delay is a major component to the guitar sound, for both guitarists, and though its used literally constantly, it's never to excess. Because of this very ambient guitar styling, bass was a forefront on the stage and bassist David Roller did it right. Along with his signature body bobbing came a really delicious fuzz and a fat, deep undertone that sat really well with Ventura's kick drum. The band was tight and spent every minute of the show hitting luscious chords above a rhythm section that puts others in the genre to shame.
The photographers, and handful of heavily dressed and bearded fellas in front of the stage stood in awe while the band blew us all away. Some of them mouthed words and all of us held our fingers around our arms because it was freezing. There was a feeling of art is being made here while photos were shot from underneath Ventura's snare, revealing his sweating face; the band's friends mouthed every word and the sound guy tweaked knobs making for the perfect mix and I looked around and still - there were less than a dozen of us. All the Day Holiday, a still expanding and evolving band, put on a show for 10 of us as if we were 1,000. This humble attitude and appreciation for the life they live came through clearly and breathed a breath of fresh air into the stagnant, drafty bar. ATDH put on one of the best live shows I've ever seen.
THE SKINNY: Japandroids is a two-piece rock outfit that is radiating with palpable high energy, relentless power chords, and aggressive vocals.WEBSITE: http://japandroids.com
MYSPACE: http://myspace.com/japandroids
PURCHASE: Amazon, via Polyvinyl
"Face melting" is a term that has been used and abused to the point of nausea by people who tend to mock the aggression and energy put forth by simple approaches to song-writing and performance. It can also be used to mock heavy metal, but that is neither here nor there. In the post-modern aesthetic that we currently find ourselves entrenched in, it becomes increasingly difficult to discard the ironic perceptions and the unwarranted comparisons to the old. What I'm trying to say here is this: Is it possible to just appreciate a kick ass rock band anymore? Can we enjoy some good old-fashioned face melting?
Japandroids are doing their best to answer that question with a resounding "Yes." One very vigorous drummer. One very loud guitarist. Two very passionate singers. Lyrics are overflowing with all of the teen angst that a "One Tree Hill" fan could possibly endure. It's safe to say that the amps are turned up to 11, the drum fills are sloppy and careless, and the singing is slightly annoying. It all blends together for a brand of music that makes you want to jump on a pogo stick in your apartment while eating rainbow twizzlers and grinning from ear to ear.
Pretentious critics have described their sound with the following terms: "Noise Rock" (...? What does that even mean?) and "Lo-fi" (Which is a term used by musical tools and faux anthropologists to say that the recording quality of your music sounds like shit, but it sounds like shit on purpose). Do yourself a favor and avoid the critiques and reviews. Listen to their latest album, entitled Post Nothing, and envision that you're in a cramped VFW hall, and the walls are vibrating from the decibels of sound that are permeating the entire venue. After that, I guarantee that you will appreciate the powerful rock force that is this duo from Vancouver, British Columbia.
"Wet Hair" off of Post-Nothing:
FAVORITE TRACK: "The Boys are Leaving Town"
FOR FANS OF: Cymbals Eat Guitars, Wavves
THE SKINNY: Attention all reggae fans: I've had the good fortune of coming across a band from Rochester, NY which goes by the name Giant Panda Guerilla Dub Squad. GPGDS is an arsenal of six musicians shedding true Roots Reggae and experimental Dub that will make you bob your head until it falls off.MYSPACE: http://myspace.com/giantpandadub
TWITTER: http://twitter.com/giantpandadub
PURCHASE: iTunes
MERCH: District Lines
I had the pleasure of catching these guys at a gig in NYC two years ago and it was the best live reggae experience I’ve ever had. The slow jam grooves were so heavy it literally put me in a trance for the entire show. The most unique aspect of the group is the vocals which are both catchy and rhythmic. The strong, rhythmic lead vocals are fronted by Matthew O’Brian while bassist James Searl fills out the sound with his constant and effective vocal harmonies. The percussive groove is so deep that drummer Christoper O’Brian will have you drowning in his pocket from song start to finish. A Hammond B3 Organ is played by Aaron Lipp while Rachel Orke glides through changes on a Rhodes. Finally, Dylan Savage handles tripped out lead guitar and vocals, finalizing a powerfully talented sextet trained in the arts of dub.
GPGDS has played with everyone from Steel Pulse to G Love & Special Sauce. They are true road dogs and never stop playing. My favorite track, "Foundation," has a slippery groove, delayed vocals, and guitar that sucks you in hard. This song, along with their (mostly live) catalog represents love, creation, and great music, and this is revealed in every note. These guys are the reggae movement for the new era.
FAVORITE TRACK: "Foundation", "International Mother"
FOR FANS OF: Reggae, Funk, Dub
THE SKINNY: Up until the release of Manipulator, the band's third full-length album, The Fall of Troy had a reputation for off-the-wall guitar licks played in odd time signatures while the guitarist and bassist went back and forth screaming and singing; completely insane for only three young men. With a new line-up change, The Fall of Troy attempts to bring that insanity back with a few twists along the way.WEBSITE: thefalloftroy.com/
MYSPACE: myspace.com/thefalloftroy
TWITTER: twitter.com/thefalloftroy
PURCHASE: Amazon MP3, iTunes
The album starts off with a track that the band has had on its myspace for some time now, "Panic Attack!" It's a great opener for the CD and gives fans a taste of what's to come on the album. It's a lot heavier and in-your-face compared to most of the tracks on Manipulator, which is what I think most fans have been craving since Doppelgänger. It also showcases the band's mature sound; the side they've been trying to develop since loosing bassist Tim Ward.
The first track flows effortlessly into the second, "Straight-Jacket Keelhauled." This song is complete insanity from beginning to end. It starts off as a screaming duel between Thomas Erak and the new bassist Frank Ene and then follows with one of the best riffs on the album. From there it goes back into the duel then into a nasty solo to finish out the track. This song is extremely reminiscent of the sound that fans got used to after the first two TFoT releases.
The fifth track ("Single") is one of those upbeat, Manipulator-esque songs on the record. While it doesn't contain tons of super intricate guitar licks or many hardcore elements, it is still one of the most solid arrangements on the album. On Manipulator, many of the pop tracks sounded like they were made simply because the band was trying to branch out from what they created on the first two albums. However, the pop tracks on this album sound more controlled and have a tighter link to the sound many fans associate with TFoT.
In the Unlikely Event takes the best parts of Manipulator and ties them in with TFoT's old sound. This, in conjunction with the incredible production value of the album, makes for a more mature, larger-than-life sound that anyone in their right mind would love to listen to.
"Panic Attack!" off of In the Unlikely Event
FAVORITE TRACK: "Straight-Jacket Keelhauled"
FOR FANS OF: Previous TFoT albums, Tera Melos, The Mars Volta, Thrice
THE SKINNY: St. Vincent is like having a nightmare with sex somehow happening simultaneously. WEBSITE: http://www.ilovestvincent.com/
TWITTER: http://twitter.com/st_vincent
MYSPACE: http://myspace.com/stvincent
PURCHASE: Amazon
Annie Clark, the multi-instrumentalist behind St. Vincent, is probably suffocating under the steady stream of positive press she has been receiving since the release of her second full-length album Actor. Therefore, one would believe the need for more compliments from the Praise For Wallflower staff would be at a minimum. Well, sadly for her, she is going to receive said compliments anyway.
Clark's talents not only as a player, but an arranger of music, are clearly exemplified on her sophomore release. It is so difficult to describe the sound of her music in terms of style and genre. A film scoring major might be better suited to review her material, as her sound encompasses a variety of instruments. The best way to describe her sound is to say that each second is so carefully detailed and noted. There are highs and lows, but Clark never loses sight of the big picture. Actor is carefully woven together by someone who is well aware of what they are doing.
Clark says that, while writing Actor, she drew inspiration from films such as "Annie Hall." It's an influence that is palpable throughout all of the album. I cannot help but feel that Clark slaved over each note on this album, achieving a level of precision that is will beyond her years. Even when she takes a solo, though it sounds rugged and careless, it somehow seamlessly eases into the music while not distracting you from all that surrounds it.
The following might not be relevant for those of you who aren't complete geeks, but for those of you who have ever played the video game "Final Fantasy VII," listen to the last two minutes of "Black Rainbow" and tell me that you don't envision Sephiroth killing Tifa's father at the Mt. Nibel mako reactor. I am dead serious. There is an epic, captivating aura heard in St. Vincent's music, but it is merely a veneer. The music and lyrics have an underlying sinister vibe, a sound that is only intensified by the numbness of her voice. It is best heard in "Marrow." Near the end of the song, Clark repeats "H-E-L-P" so lifelessly, but standing next to an escalating synthesizer it is quite possibly the most frightening 10 seconds I have ever heard.
There isn't much more I can say about St. Vincent that you probably have not already heard, so I'm stopping here. Just listen to Actor. Front to back. Even if you decide it isn't for you, I still think you will be glad you listened to it. If you want to catch St. Vincent live, they will begin touring again starting Sept. 29 in Indianapolis, Ind.
"The Strangers" off of Actor:
MYSPACE: http://myspace.com/myfirsttoothTWITTER: http://twitter.com/myfirsttooth
PURCHASE: iTunes, Amazon
Our September FEATURE OF THE MONTH comes from across the sea. My First Tooth is a Northampton, UK based indie folk group fronted by Ross Witt. If it weren't for their Sonicbids and MySpace profile, however, I never would have assumed that they were from the UK. I say this because as soon as I started listening to their EP (My First Tooth & The Rubies) I instantly related them to a handful of American indie-folk groups (a la Okkervil River, The Decemberists, Neutral Milk Hotel). Sure enough, they list said groups as major influences on their press release. With that being said, however, they manage to keep their music fresh and original by incorporating their own touch.
Their six song EP, My First Tooth & The Rubies, spans a wide range of emotions and is enjoyable from start to finish. Whether it be Ross' fast folk-strumming and violinist Sophie Galpin's catchy fiddle lines in a track like "Red Carpet Rides," or a simpler, slower acoustic riff accompanied by subtle, beautiful vocal melodies in "Honesty Honestly," there is no doubt that this record is exploding with talent. In short, they manage to keep it simple, catchy and delightful at all times.
My First Tooth also knows the meaning of DIY. The aforementioned EP was their first record released with the aid of a label (Alcopop Records). Prior to it's release, Witt had spent years putting out his own material and averaging around 150 shows per year around the UK and Ireland. I'm glad to see that his hard work has paid off, because it seems like he's really going places with the extra help. My First Tooth plan to record their debut, full length album this November. As a precursor to the new album, they plan to release the first single, "Margaret Yen," both on their Myspace and in physical form in October. In addition, the band will be touring in October in an effort to promote the single.
"Sleet & Snow" off of My First Tooth & The Rubies:
FAVORITE TRACK: "Sleet and Snow" off of My First Tooth & The Rubies
FOR FANS OF: Okkervil River, Defiance Ohio
THE SKINNY: The Oaks is an extremely talented/unique indie-folk group who have not only obtained much attention through their music, but also through their humanitarian aid.WEBSITE: http://intheoaks.blogspot.com
MYSPACE: http://myspace.com/wearetheoaks
PURCHASE: iTunes
The Oaks might easily be one of the most unique groups that I have come across in quite some time. Fifty percent of said uniqueness is attributed to their musical style. Yes, they are an indie folk group from Orlando, Fl., but you'd never guess it by listening to their music. From track to track, you can hear elements of not only indie rock, but also those of, jazz, folk, classic rock and soul (to name a few). Their instrumentation plays a large role in this melting pot of sound as well. On their latest release, Songs for Waiting, the standard "bass, drums and guitar" are present, along with a large handful of not so traditional instruments (such as accordion, bells, vibraphone, horns, mandolin, Wurlitzer, etc etc).
The other half of The Oaks' uniqueness comes from their history of humanitarian aid. Ryan Costello, the singer/guitarist/founder of the group, spent several of his post-college years living in Afghanistan "living among recently-returned refugees, teaching agricultural techniques and directly participating in food distributions" (via Wikipedia). It is this time spent abroad that make up for much of the lyrical (and musical) influence in The Oaks' music. Their 2006 release, Our Fathers and the Things They Left Behind, which was written shortly after Costello returned from Afghanistan, serves as a great example of their humanitarian efforts. Fifty percent of all sales made on the aforementioned record go directly to Afghan widows and recently returned refugees in Afghanistan.
Embedded below is a track from their latest (2008) release Songs For Waiting. This particular track really showcases how talented each member of this group is. And when I say talented, I mean it in a very non-threatening way. Many groups will write songs in odd time signatures in order to showcase/show-off their talent. The Oaks certainly showcase their talent, but manage to do it in a very modest and sonically pleasing manner.
"Masood" off of Songs for Waiting
FAVORITE TRACK: "Masood" off of Songs for Waiting
FOR FANS OF: Pattern is Movement, Headlights
THE SKINNY: Michael Alvarado, a pop singer that fits in and stands out all at the same time, is PFW's very first "Feature of the Month" - yes, our favorite artist for August, 2009. If you're looking for something easy to listen to, totally and utterly unknown, and absolutely beautiful, read on...MYSPACE: http://myspace.com/michaelalvaradomusic
TWITTER: http://twitter.com/AlvaradoMusic
PURCHASE: Rhapsody, iTunes
DOWNLOAD TEASER ALBUM *FREE
Courtesy Michael Alvarado, Special on PFW
Our very first FEATURE OF THE MONTH comes from a very deserving musician in North Carolina. According to listeners, he's got a sound reminiscent of Maroon5, and Gavin DeGraw - some of my least favorite pop acts of all time - so, take it from a guy with a low tolerance for lame radio pop: Michael Alvarado is the real thing, and in no way reminds me of the above, aside from the shear approachability of the music.
Michael can best be described as a pop singer with some throwbacks to Motown and folk of earlier decades. His live show incorporates multiple backup singers and a generous amount of instrumentation, but maintains a homey, singalong feel, and leaves the superstar ego behind - perhaps that's because he's hasn't achieved that status yet, though it is inevitable. One listen, and it's as evident as his voice is beautiful.
At only 21 years of age, and on his way to completing his college career at Appalachian State, in NC, Michael describes his most recent efforts as being an expensive endeavor with hopes of it paying off in the future. He described to me a few different occasions where he was required to spend money out of his pocket in order to make up for a lack of ticket sales. Michael says that his goals, at this point, aren't to make a ton of money but to get his music heard. He's taking every length to make that possible.
Alvarado's live band consists of 6 members, Michael included, and each bring something reputable to the group, as can be witnessed in the video below. Vocalists Katie Henry and Samantha Crowder, who sometimes see spotlight as leads in tracks like "Down & Out," back Michael up with excellent harmony and an almost retro vibe which is simply a product of being back up singers to a pop singer. This lineup makes for an intersting and unique live show, which is especially cool considering the very limited success Michael's seen thus far.
If you got through either of the tracks below, from start to finish, and assumed that you were listening to the latest hit on MTv, then you were struck with the same feeling I was. So, this very limited success that Michael's seen with his EP "Waste the Day," truly must be the calm before the storm: incredible singing, simple and beautiful songwriting, and an EP that hooks you from start to finish; what more can you ask from an undergrad student at a state university trying to make a living and a name for himself? I'm certainly content and confident to see Michael Alvarado on the front page of many other blogs, magazines, and CD covers in the very near future.
"Slow Love" off of Waste the Day EP
Title Track off of Waste the Day EP
FAVORITE TRACK: Slow Love, Weak At The Knees
FOR FANS OF: Maroon 5, Gavin Degraw, John Mayer, Stevie Wonder
THE SKINNY: Who knew a band with such a common style and consistency could release an album that's not only intriguing, but easy to listen to and get lost in. All the Day Holiday release to the masses The Things We've Grown to Love today, to much avail. What I assumed would be another Copeland look-alike is proving, with every listen, that their love for music and ability and enthusiasm for performance is more than skin deep.MYSPACE: http://myspace.com/allthedayholiday
PURCHASE: Official Store
The Things We've Grown to Love kicks off with a slower, very melodic track entitled "Autumn" that disperses quickly with its false start and jumps into the now accustomed and noticeable ATDH groove that I've already grown to love. Drummer Mark Ventura is the catalyst for the song's success. This, in conjunction w/ Daniel Simmon's Vocals, makes for an exciting, head-bobbing good time.
The guitar work on The Things... supplies ambience that sits beautifully in contrast with both the drumming and vocals, which are noticeably more aggressive than the guitars throughout the album. For me, it's this dynamic that makes the CD so enriching. Simmon's melodies aren't entirely unique by comparison to others in the market - though I do prefer his voice and nuance to the competition - but the combination of driving drums to passive guitars beneath an emotional array of lyrics and melodies is enough to make my heart melt.
Ironically, my least favorite part about The Things We've Grown To Love is track 8: "The Things We've Grown To Love" - a bit of a contradiction to my previous sentiments. I think the band steps too far out of that pretty, ambient effect on this track. Simmon's melody here is short and choppy in the verse, and slightly generic thereafter. Aside from that, my only complaint is that the album's audio may not live up to their live performance. After a long binge of ATDH Youtube videos (before I'd even owned their album), I became accustomed to their sound and style. Perhaps the mix on the record hides their energy to some extent. I saw a large difference between the album's "Atmosphere" (track 6) and their live rendition of it. At any rate, ATDH have one album under their belt, so there's no reason to get picky about production.
After what little disappointment "The Things We've Grown To Love" (the song) left me with, All the Day bring the rest of the album all the way home. "Flowers and Fireworks" is magnificently beautiful, with almost a Coldplay vibe going on with the piano and chord progression they use. The song is a slow progression that builds toward an epic finale, where each member shines and proves their role of importance in the group. As this is without a doubt the emotional climax of the record, the remaining three tracks allow for more of the same good groove and vocalizing while strutting even more dimensions of their ability to write different and approachable songs. A strong end and a strong finish leave me with only one honest feeling: All the Day Holiday's The Things We've Grown to Love is a big winner.
"You take the roots so much deeper, so the trees can grow stronger."
"Flowers and Fireworks" off of
The Things We've Grown to Love
FAVORITE TRACK: "Flowers and Fireworks" / "Atmosphere"
FOR FANS OF: Coldplay, Copeland, Lydia
WEBSITE: http://orenlavie.comMYSPACE: http://myspace.com/orenlavie
Today's post is on an arist that's seen publicity on Brian Williams' "Inside the Obama White House." Oren Lavie is best known for his song entitled "Her Morning Elegance," a track characterized by a jumpy triplet backbeat and pretty rhodes-esque diddy that backs up Oren's rather deep, though pop friendly, voice.
Without getting into much detail about his most recent, though 2-year-old record "The Opposite Side Of The Sea," each track is totally different from the last. The album's title track is backed entirely by a real string quartet, and it's nothing short of beautiful.
I encourage you to take the time to further explore a songwriter that's clearly inspired by unconventional and unique sources.
"The Opposite Side of The Sea" (Title Track)
(c) 2007 Oren Lavie
THE SKINNY: The Mars Volta recently put out a new album that delivers the same intensity and complexity that fans are used to while still creating something that is not a photocopy of previous works.WEBSITE: themarsvolta.com
MYSPACE: myspace.com/themarsvolta
TWITTER: twitter.com/themarsvolta
PURCHASE: Amazon MP3, iTunes
The Mars Volta, a band that is known for its intensely driven progressive music and wild live performances, recently released its fifth studio album. Octahedron hit the stores on June 23 and, like the band's past few albums, has received mixed reviews. Personally, I think it's time for fans of De-Loused to open up their ears and fully take in The Mars Volta for all they have to offer. I'm not saying that De-Loused isn't a great album, because it most certainly is. Some fans are just expecting the same old thing over and over again and I just don't see the fun in that.
Cedric and Omar really deliver on this new album. Each track has certain elements that are signature of The Mars Volta: some intense songs, some mellow songs, complex arrangements, soaring high-pitched vocals, and a vast amount of instrumentation.
As fans of The Mars Volta know, not every album has the same group of musicians playing on it. Octahedron did not follow that usual course of action. Many of the key players in The Mars Volta Group that played on The Bedlam in Goliath are back for this album as well. There is a handful of other musicians on Octahedron, but all the heavy hitters are still in place: Thomas Pridgen on drums, Juan Alderete on bass, Isaiah Ikey Owens on keyboards, and John Frusciante on guitar.
The album starts off with the slow-building track "Since We've Been Wrong" which is reminiscent of "Televators" on De-Loused. The next few songs go over a few highs and lows until the album reaches "Cotopaxi" and takes off into the intense craziness that most listeners are usually expecting. From there, "Desperate Graves" takes over with a gentle guitar solo at the beginning. The song then takes off into what is probably the most solid track on the album. The next two songs close out the album by taking it back down and then blasting you with the outro of "Luciforms", which concludes with a bit of their signature "noise" that The Mars Volta is known for.
"Desperate Graves" off of Octahedron:
FAVORITE TRACK: "Desperate Graves"
FOR FANS OF: Previous Mars Volta Albums, The Sound of Animals Fighting, Tool
THE SKINNY: Cream Bones a legitimate EP release, but this taste test is just enough to give your mouth that A Lull tang that's been sitting in my gums for the past few weeks.
WEBSITE: http://alull.com/
MYSPACE: http://myspace.com/alullmusic
TWITTER: http://twitter.com/alull
PURCHASE: Online Store, iTunes
As mentioned in an earlier post, A Lull offers up a freebie of their single, "Skinny Fingers" to every and anyone. I'm no opponent of free music (especially something from a respected label like Lujo) so I gave it a whirl. You can snag it here.
Vocally, the main trio have that bored, dazed sound. They maintain great pitch and sport some really pretty melodies, but never sound excited in the process. It's a cool effect and offers a pretty relaxing listening sesh.
The singing is definitely the main-stage here, but you'll find lots of folky, overly orchestrated music backing up the vox. They give you that illusion like the band is comprised of 20 members, all fumbling with luny percussion, out of date stringed instruments and hand claps. I'm a sucker for it. It's pretty and they pull it off well.
What else can I say? Ice Cream Bones EP is enough to have my watchful eye peeking at A Lull's future catalog for a long time.
FAVORITE TRACK: White/Gold
FOR FANS OF: Patients (Ben Cooper), Contemporary / Indie Folk stuff
WEBSITE: http://alull.com/MYSPACE: http://myspace.com/alullmusic
TWITTER: http://twitter.com/alull
PURCHASE: Online Store, iTunes
As mentioned in an earlier post, A Lull offers up a freebie of their single, "Skinny Fingers" to every and anyone. I'm no opponent of free music (especially something from a respected label like Lujo) so I gave it a whirl. You can snag it here.
Vocally, the main trio have that bored, dazed sound. They maintain great pitch and sport some really pretty melodies, but never sound excited in the process. It's a cool effect and offers a pretty relaxing listening sesh.
The singing is definitely the main-stage here, but you'll find lots of folky, overly orchestrated music backing up the vox. They give you that illusion like the band is comprised of 20 members, all fumbling with luny percussion, out of date stringed instruments and hand claps. I'm a sucker for it. It's pretty and they pull it off well.
What else can I say? Ice Cream Bones EP is enough to have my watchful eye peeking at A Lull's future catalog for a long time.
FAVORITE TRACK: White/Gold
FOR FANS OF: Patients (Ben Cooper), Contemporary / Indie Folk stuff
THE SKINNY: I'm fully aware that this is the fourth Where the Ocean Meets the Sky post in a month, but it's for good reason: Sexy! EP is the band's first album and will be press released on July 3 - just trying to get the word out ahead of time. Wanna go to their CD release show with us? Here's my take on this excellent first release...
PURCHASE: Amazon MP3, iTunes
I'm no newcomer to this sort of music, having spent many years playing in post-hardcore and various hard-hitting bands, some of which were great - so, at this point, I can recognize that fine line between cool and lame. With that said, what makes this record different from all the other pop punk / hardcore records out there (and there are a lot)?
For starters, each track sports some amazing singing, harmonizing and screaming. As soon as the album kicks off with the track "Autumn," vocalist Blake Martin takes off: "This season, makes me restless" - and it certainly is restless. The power carried by Blake and the vocalists alone are enough to haul the EP toward success. What's more is singers Kenny Davis and Marc Rosato continually, lyrically comment on the very direct, personal prose of Martin. This makes for a very fabled story-type experience, adding another level of uniqueness to the band's audible atmosphere.
And that's what this is really all about, isn't it? Again, how does this album stand out? Well, as said, Sexy! delivers lyrically, but that's not enough to warrant a deep, deserving following. Sexy!'s lyrics are wrapped in perfectly executed melodies that are way approachable, and should appeal to anyone who digs old UnderOATH, Taking Back Sunday, and old Finch, to name a few.
Instrumentally, Sexy! is the culminated lovechild of the past 10 years of poppy hardcore music. What salvages things, for me, are the intros to tracks 1 and 5. "This is How the World Ends" launches into a harmonized guitar thing, dressed in a 5/5 time signature to further throw you off, which is then surrounded by a thumping, synced drum and bass riff. The song goes on to display some more cool shredding and a few choice breakdowns.
Along the same lines, fan favorite "I'm Your Huckleberry" is probably the strongest track on the record, sporting some sweet, albeit standard, southern metal guitar riffs and some more amazing singing - Kenny and Marc really show their stuff on this track, definitively separating themselves from others in the scene - I'd take these two over Mayday Parade any day. At only 3:00, this track is way too short and has me hitting repeat more times than I care to tell you. "Huckleberry" is the perfect hybrid of vocal and instrumental work on this EP and I'll look forward to this balance in more frequency as the band progresses and matures - the other tracks sometimes give the impression that more effort was placed on vocals than guitar writing.
"I'm Your Huckleberry" off of Sexy! EP
But - On a five song EP that will inevitably be a hit or miss, the band executes a number of choice audio moments that any fan of the genre will recognize as both a fun and successful first effort.
THE SKINNY: Sexy! is a solid, incredibly well produced first effort by a band that's in it to win it - the EP's 5 tracks are primarily dominated by some amazing harmonies, and punchy breakdowns that any fan of poppy hardcore stuff is sure to appreciate, along with maybe even a few skeptical outliers.
FAVORITE TRACK: "I'm Your Huckleberry"
FOR FANS OF: Memphis May Fire, EveryTime I Die, UnderOATH, a Skylit Drive
PURCHASE: Amazon MP3, iTunes
For starters, each track sports some amazing singing, harmonizing and screaming. As soon as the album kicks off with the track "Autumn," vocalist Blake Martin takes off: "This season, makes me restless" - and it certainly is restless. The power carried by Blake and the vocalists alone are enough to haul the EP toward success. What's more is singers Kenny Davis and Marc Rosato continually, lyrically comment on the very direct, personal prose of Martin. This makes for a very fabled story-type experience, adding another level of uniqueness to the band's audible atmosphere.
And that's what this is really all about, isn't it? Again, how does this album stand out? Well, as said, Sexy! delivers lyrically, but that's not enough to warrant a deep, deserving following. Sexy!'s lyrics are wrapped in perfectly executed melodies that are way approachable, and should appeal to anyone who digs old UnderOATH, Taking Back Sunday, and old Finch, to name a few.
Instrumentally, Sexy! is the culminated lovechild of the past 10 years of poppy hardcore music. What salvages things, for me, are the intros to tracks 1 and 5. "This is How the World Ends" launches into a harmonized guitar thing, dressed in a 5/5 time signature to further throw you off, which is then surrounded by a thumping, synced drum and bass riff. The song goes on to display some more cool shredding and a few choice breakdowns.
Along the same lines, fan favorite "I'm Your Huckleberry" is probably the strongest track on the record, sporting some sweet, albeit standard, southern metal guitar riffs and some more amazing singing - Kenny and Marc really show their stuff on this track, definitively separating themselves from others in the scene - I'd take these two over Mayday Parade any day. At only 3:00, this track is way too short and has me hitting repeat more times than I care to tell you. "Huckleberry" is the perfect hybrid of vocal and instrumental work on this EP and I'll look forward to this balance in more frequency as the band progresses and matures - the other tracks sometimes give the impression that more effort was placed on vocals than guitar writing.
"I'm Your Huckleberry" off of Sexy! EP
But - On a five song EP that will inevitably be a hit or miss, the band executes a number of choice audio moments that any fan of the genre will recognize as both a fun and successful first effort.
THE SKINNY: Sexy! is a solid, incredibly well produced first effort by a band that's in it to win it - the EP's 5 tracks are primarily dominated by some amazing harmonies, and punchy breakdowns that any fan of poppy hardcore stuff is sure to appreciate, along with maybe even a few skeptical outliers.
FAVORITE TRACK: "I'm Your Huckleberry"
FOR FANS OF: Memphis May Fire, EveryTime I Die, UnderOATH, a Skylit Drive
| http://passionpitmusic.com | ||
| http://myspace.com/passionpitjams | ||
| The Skinny | Passion Pit's new release, Manners, could very well be a commercial fluke, sustaining a frenzy of media attention until its inevitable crash - but, there's no denying the album's life-loving, dancy happiness that even the hardest of hearts are falling for. | |
|---|---|---|
| Favorite Track | Little Secrets, The Reeling | |
| For Fans Of | Indie Electronica-type stuff w/ High pitched Singing | |
Their first release was the EP Chunk of Change, and its strongest track, "Sleepyhead," has easily become their most popular song. The EP was made as lead-singer Michael Angelakos' Valentine's Day gift to his girlfriend. The EP received some attention and showed their potential for future releases.
Since then, there's been a tremendous amount of hype on the web surrounding the release of Manners. Not that they don't deserve the recognition, but sometimes too much hype is a bad thing, and can lead to disappointment. Hopefully all of it won't backfire like it did on Vampire Weekend, who bloggers were donning best of the year's titles early on, then months later started calling them overrated.
Standout tracks on Manners include "Little Secrets" and "The Reeling," both feature a children's choir, as well as "Make Light" and "Moth's Wings." There is also a remixed version of "Sleepyhead" towards the end of the CD. The album is bit different than the EP, which was more electro-pop. Manners is still electronic but was written with the intent to translate easier and produce a better live performance. For those few who have not heard of Passion Pit, Angelakos has an insanely high falsetto that might be a bit overwhelming at first. But like most, you'll probably find yourself trying to match the notes while singing along - good luck.
"Little Secrets" off of Manners
MYSPACE: http://www.myspace.com/nicedaughterSeveral members of the PFW team went to a show at The Clash Bar in North Jersey a couple of weeks ago. We were there to record/videotape an interview and live performance for the group Waking Lights, which turned out to be a very successful night of which you will be hearing about in a feature on PFW in the next week or so. While waiting for Waking Lights performance, however, we were caught off guard by the group that opened for them that night - Nice Daughter.
From what I discovered by word of mouth, they are a fellow North Jersey group whose members (I believe) all attend William Patterson University (much like Waking Lights). Their lineup, however, is much more out of the ordinary. The band consists of April McCloskey on vibraphone and MIDI, Jeff Brown on a "multi-percussion setup" consisting of a drumset and various bells and trinkets, and Theo Metz on drumset. Yes, you heard right - three percussionists. I'm not going to lie, when I first heard of their lineup I was definitely a bit skeptical as to how much they were going to fit in to an indie-rock, dimly-lit bar atmosphere. After just a few minutes into their set however, I was proven mistaken. The raw power and energy that the trio managed to exert on stage was phenomenal. With two drum sets rocking in parallel, vibraphones spitting out fast, catchy melodies, and a bit of MIDI droning here and there, Nice Daughter was able to belt out more energy than a group with two guitarists cranked to 10.
They don't have a whole lot of material recorded as of now, but were kind enough to send us over two mp3s (embedded below) as well as a live clip of them, which you should definitely take a look at to get an idea of what I mean. The word on the street is that we may (hopefully) be seeing these guys again shortly, and this time interviewing/recording them in the process to provide them with a more deserving feature. In the meantime, try and see them live for yourself - you won't be disappointed.
"Hungry Shark Eats Yummy Puppy:"
"CoCo Pilot:"
THE SKINNY: Nice Daughter is a three-piece percussion powerhouse capable of putting on one hell of a live show.
FAVORITE TRACK: "Hungry Shark Eats Yummy Puppy"
FOR FANS OF: Lymbyc Systym, The Appleseed Cast
MYSPACE: http://www.myspace.com/bowerbirds
Bowerbids is a folk group from Raleigh, North Carolina, and consists of two main members: Phil Moore (lead guitar, vocals) and Beth Tacular (accordion, keys, vocals). They have employed a multitude of different supporting musicians, but are currently touring with Matt Damron, who plays drums and lends vocal support.
The band has an excellent understanding of how to construct a song. Moore's voice is often the perfect accent to the surrounding instruments. He never overwhelms the listener by attempting to overpower the supporting cast. His voice does precisely what is asked of it, allowing the deceivingly thick texture to be prominent.
Avoiding grand arrangements is really a motif for the entire band. You can hear every instrument. The role of each sound is carefully thought through, and one never drowns out another.
What makes Bowerbirds so admirable is that they are bringing life to a sound that has a tendency to get old rather quickly. We have all heard the annoying folk guy at a party, clutching his dented and scratched classical guitar, blithely screeching away as he butchers Neutral Milk Hotel selections. You don't get that vibe from this band. When they sing, you believe them. And it's something we need more of.
THE SKINNY: An introspective folk group with a unique attention placed on rhythmic creativity
FAVORITE TRACK: "In our Talons"
FOR FANS OF: Beirut, M. Ward
WEBSITE: http://triangleshirtfactory.com/
MYSPACE: www.myspace.com/triangleshirtfactory
If you've been keeping up with the site at all, you've probably noticed the increasingly large selection of already popular, established bands and artists. I'm definitely not continuing that trend with this post; Triangle Shirt Factory is the brain-child of one severely unsung Trevor Leonard, a one man show in and of himself.
I first learned about TSF when browsing a friend's MySpace page; Trevor had left a video comment on the page of himself playing a live version of a track off his album Widening, entitled "The Hallway of Denken ." I'm not a terribly optimistic person when it comes to random people on MySpace (and a lot of that has to do with the frustration that comes with searching for new music for this site) but at any rate, I gave the video a watch, and a listen. Trevor set up in a humble looking white living room, in a rather crusty looking tee-shirt, in front of a camera set stationary. He proceeded to play the song with an acoustic guitar and delay pedal. By the look of him, his casual dress, and ponytail, I was expecting some kind of death-ridden blues acousti-rock to hit me (sorry). Needless to say, I felt guilty for labeling him with an incredibly inaccurate stereotype.
What really needs to be said is this: for me, Triangle Shirt Factory is a thorough, intelligent extension on a period of music that's either gone or totally sucks now. A lot of us grew up listening to Dashboard Confessional, The Spill Canvas, and other (yes) emo stuff that, though we might not admit it now, definitely still strikes a chord with, at the very least, our nostalgic minds when we hear it. And, while I wouldn't call TSF emo, it certainly possess that goose-bumpy, soaring thing I associate with the above mentioned bands. In all actuality, Widening is wholly positive, brimming with good feelings from start to finish - I'll without a doubt be looking to that record when I need a pick-me-up.
I should probably also mention the guilt I feel for this incredibly self-indulgent post; I wanted TSF to be able to use this post for promotional purposes (because this guy really deserves to explode) but surely no one cares about my rock fantasy supergroup or how I can't stop listening to Widening and Hello or my slightly too-long description of what I like to call my TSF inception experience. I'll be reviewing both Widening, Trevor's most recent release and Hello, his first EP release, in the near future.
In the meantime, I urge you to learn more about a true artist: Please leave a comment and let us know what you think.
THE SKINNY: Triangle Shirt Factory is more or less an acousticly driven band out of PA with an enormous focus on big, soaring vocals that'll give anyone who isn't a robot chills.
FAVORITE TRACK: Earth (to Humans)
FOR FANS OF: Jimmy Eat World, Dashboard Confessional, Sublime, Lagwagon
DISCOGRAPHY: Widening (2007), Hello (2003) Click to Purchase
Read a truly sincere bio of Triangle Shirt Factory here.
The band on a whole is incredible, but the two heaviest parts of their sound are the vocalist and keyboardist. Singer, Eric Sean Nally, has a voice that is extremely powerful, and at times, seems uncontrollable. Schuyler Vaughn White, keyboards and piano, lends a great deal of melody to the music. The band's sound would be empty without White filling in spots with his keys. The tones that his pianos produce range greatly throughout the album; some are intense and in your face, some posses a great deal of elegance, and some even seem haunting and eerie.
LIVE EXPERIENCE:
as told by Dan Wythoff
I had the pleasure of witnessing the sweat-filled, raw power that was Foxy Shazam live. As the self-proclaimed "Evel Knievel of Rock N' Roll", this band delivered eye-widening stunts that left me craving more Foxy after they had sadly concluded their set. The venue was personal, the crowd clearly not there for this "opening act"; they didn't know what they had been missing as I 
heard people asking each other who this band was. Foxy Shazam opened the show as if opening Pandora's Box, releasing musical fury and such energy in their physical expression, while maintaining a tight sound and demonstrating impressive musicality. I was mashed in the crowd of ignorant scenesters, screaming my lungs out with vocalist, Eric Nally. It would be a crime not to move your body to this music. I was positioned in front of pianist, Sky White, loving every minute of what appeared to be a back and forth battle of love and hate with his instrument. One moment he was stomping his foot on the keys, the next moment he had an angelic grin while playing, then he'd smash the piano stool down, mashing notes into unforgiving power! It was brilliant to see each member of this band putting their entire selves into the performance. At one point during their song, "Ghost Animals" the band transformed into animalistic creatures of music. Eric Nally was swinging, shirtless, by the microphone cord he had lassoed up on metal rafters. The cord snapped, he fell to the stage into an immediate dance move. It was so much more than a band playing live... it was Foxy Shazam.
As Nally screams at the top of his lungs on their first album The Flamingo Trigger, "Heavy metal sucks and rock on roll is dead!", Foxy Shazam is the most "alive" band I have ever had the privilege of experiencing in person. Find out when they are playing near you. See them. You'll be overjoyed that you did.
THE SKINNY: Catchy, intense, keyboard driven music with a dynamic in-your-face vocalist
FAVORITE TRACK: "Red Cape Diver", "Rocketeer"
APPROPRIATE FOR: Dancing, "Gettin' sick wit' it"
FOR FANS OF: Thrice, Modest Mouse, Queen, My Chemical Romance
I was staring out the window, watching as center city Philidelphia gradually transformed into suburbs which just as gracefully became rural highway. Overwhelmed with emotion, I became lost in both the environment and the music. Everything, regardless of significance or aesthetic appeal, seemed beautiful at that point in time. I was listening to the untitled album by Sigur Rós, otherwise known as "( )". This album title is ironically appropriate because I sometimes find it difficult using words to describe my feelings when listening to this band. Sigur Rós truly takes their listeners across an emotional spectrum with every album. I am not writing this review because Sigur Rós needs publicity, recognition, or a larger following. I am writing this review because Sigur Rós has been an integral part of my life since that bus ride to Baltimore.
Sigur Rós is an Icelandic band with minimalist, melodic, and ambient elements which serve as the foundation to their music. The band consists of Jón Þór “Jónsi” Birgisson (vocals, guitar, bowed guitar), Georg “Goggi” Hólm (bass guitar and glockenspiel), Kjartan “Kjarri” Sveinsson (keyboard, piano, organs, guitar, flute, tin whistle, oboe, banjo), and Orri Páll Dýrason (percussion and keyboard). Although these four guys are the core members of the band, Sigur Rós is known for recording and performing with Amina, an Icelandic female string quartet consisting of two violins, a viola, and a cello. They also have horns on all of their albums. These two elements, along with the simplistic and surreal sounds of the band, enable them to create an orchestral experience of epic proportions.
The band concentrates on creating minimalistic layers that fuse together, rather than a specific member or instrument taking lead. Birgisson, who is known for his falsetto voice, sometimes sings in Hopelandic, a self-constructed language of nonsense syllables which resembles Icelandic. Birgisson plays his guitar with a bow while drenching it with reverb and delay creating a sweeping and fluid sound that's become his signature. The band has a plethora of instruments, giving them an infinite mound of sound possibilities at their disposal. Usually moving from instrument to instrument, each member of the band equally contributes to the big picture. Each song typically starts with a simple beat, light bass work, smooth guitar, and a heavenly vocal melody accentuated by rustic organ or classical piano chords. Each member creates a simple sound that, when compiled, melts together in a wholesome fashion leaving the listener abandoned in a body of emotion. With soundscapes like this and a monstrous live show, the band relentlessly holds your attention as you literally get lost in it all; Sigur Rós is truly in the forefront of post-rock minimalist music whose influence spans the globe.
The Skinny: Emotionally driven music characterized by epic build ups, ambient layers, and classical instrumentation.
Favorite Song: Untitled track 8 aka "The Pop Song" off of the untitled "( )" album.
Appropriate For: Weddings, Funerals, Anything.
For Fans of: Explosions in the Sky, Mono, Bjork
As a newcomer to the site, I should probably introduce myself. My name is Andrew Roibal, roommate and long-time best friend of other PFW member Joe Stasio. This concludes the formal introduction portion of my first review.Canadian indie rockers, The Most Serene Republic, have not been able to escape my playlist for the past two weeks. I stumbled over them by chance while browsing for new artists on last.fm and enjoyed one of their songs enough to buy an EP: Phages. After giving it a listen or two, it was apparent this band had something great going on. The EP exuded this phenomenal indie, jazz vibe and provided an upbeat, rhythmic, and melodic experience from start to finish - where could you go wrong?
One of my favorite parts of this group is the drummer, Adam Nimmo. Many of the songs on Phages feature him playing these intensely fast, punchy beats that boost the delicate sound of the guitars, horns, and string instruments. This effect really takes the band to a height that would be unreachable without him. The vocals are also one of my main fascinations with this band. The two main vocal contributors are Adrian Jewett and Emma Ditchburn. The entire Phages EP is pretty much a duet between the two and is overtly perfect pairing. Jewett has a very controlled, soothing voice, which allows Ditchburn’s to float over it with elegance.
I recently bought their other two albums, Underwater Cinematographer and Population, because I literally can’t stop listening to these guys. I haven’t listened to the two albums enough to fully judge them, but what I've heard so far has not been disappointing in the least. I fully recommend their entire catalog.
THE SKINNY: Upbeat, jazz influenced, indie rock driven by harmonizing vocal melodies, intense drumming, and a variety of horns and string instruments
FAVORITE TRACK: "Jazz Ordinaire"
APPROPRIATE FOR: Rainy Days, Lounging
FOR FANS OF: Broken Social Scene, Stars
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