Showing posts with label *Posts by Joey. Show all posts
Showing posts with label *Posts by Joey. Show all posts
One-man bands are creeping back into the musical world for one obvious reason: technology makes it pretty easy. Of course, if you can't play drums, bass, guitar and sing then you're probably not eligible. If you're the guy from Night Artery, a Mr. Ross Arundale, then you most definitely are in the running. Ross recorded Vocals, Guitars, Bass, Drums, Piano, and arranged strings for his first release entitled Capsize Your Surroundings.While Ross has put together an exceptional studio album that rock fans will most definitely appreciate, I have trouble shaking the idea that live performances consist of one man at a microphone with a guitar while recorded drums, bass and strings play on a PA behind him. If you look at Night Artery's album as purely a recorded work, however, you'll have trouble finding much wrong. Plenty of professionalism, a strong command of every instrument on the record and excellent production make Capsize Your Surroundings a strong and impressive independent release.
Ross is a Melbourne, Australia native. He only recently purchased the instruments used to make the album, along with recording equipment that he (yup) used to record himself. Instrumentation on the record is certainly above average, but the piano arrangements are a little more advanced and they're executed really well. Listen to the hidden track that closes the ep to appreciate the breadth of his ability to pick up and wield instruments. Capsize... is, despite originally costing $5, a free release so do yourself and Ross Arundale (whom received honors for "2008 Best International Rock EP") a favor by downloading his first, very successful EP and keep in touch for what's next.
WEBSITE: http://nightartery.com
MYSPACE: http://myspace.com/nightartery
FREE DOWNLOAD: Capsize Your Surroundings EP
Alyssa's Fall Tracks
1. "Pagan Angel and a Borrowed Car" - Iron and Wine
2. "I Will Follow You Into The Dark" - Death Cab for Cutie
3. "Never Meant" - American Football
4. "Those To Come" - The Shins
5. "Science Vs. Romance" - Rilo Kiley
Most of these songs have a feeling of fall to me for nostalgic reasons. I remember hearing the first track from Iron and Wine's Shepherd's Dog for the first time two Octobers ago at a party. I remember my high school best friend and I singing "I Will Follow You Into The Dark" to each other randomly on the phone the fall after Plans came out. I won't bore you with more details but basically, these tracks are my "fall tracks" because of the images of this season they bring back whenever I listen to them.
Iron and Wine
"Pagan Angel and a Borrowed Car" off of The Shepherd's Dog
Joey's Fall Tracks
1. "Re: Stacks" - Bon Iver
2. "Sweet Talk" - Dear and the Headlights
3. "Choose The One Who Loves You More" - Copeland
4. "Monechetti" - Further Seems Forever
5. "Hometown Reward" - Procession Came Opposite
These aren't about Fall - just remind me of it, for one reason or another. It's probably because I picture them all wearing coats while they play. Or maybe I just love these songs year 'round and it happens to be autumn now so I'm mislead. Or maybe I'm a robot.
Copeland
"Choose The One Who Loves You More" off of In Motion
Procession Came Opposite
"Hometown Reward" off of Pillars
Nicole's Fall Tracks
1. "Sowing Season" - Brand New
2. "Sodom, South Georgia" - Iron and Wine
3. "Here I Dreamt I Was an Architect" - The Decemberists
4. "Shoulders" - Jacob Golden
5. "Love Love Love" - The Mountain Goats
As much as I hate for summer to fade, I always look forward to the first day of Fall. For me, it's a season of change and reflection. A season not only for colder, crisper air but for longer, quieter drives and muffled, evening conversations with close friends. The songs I chose are those that have accompanied me in such moments, whether they be from now or seasons past.
Iron and Wine
"Sodom, South Georgia" off of Our Endless Numbered Days
Andrew's Fall Tracks
1. "Broom People" - The Mountain Goats
2. "A Glance Backwards and Forwards" - Slingshot Dakota
3. "An Experiment" - Mates of State
4. "Revealing Too Much" - The Honorary Title
5. "Planetary" - Rainer Maria
For one reason or another, when I picture myself listening to music during the fall season I can't help but think back to my first semester of college and the artists I loved back then. Maybe it's because I spent more time outside listening to music my freshman year, who knows. All of these songs remind me of that point of my life, either because I don't listen to them as often these days or because that's when I started listening to them.
The Mountain Goats
"Broom People" off of The Sunset Tree
Chelsea's Fall Tracks
1. "23" - Jimmy Eat World
2. "We Looked Like Giants" - Death Cab for Cutie
3. "Cannonball" - Damien Rice
4. "Innocent Vigilant Ordinary" - The Appleseed Cast
5. "Fix You Up" - Tegan and Sara
I look forward to fall each year because it is without a doubt my favorite season. The crisp, cool air just does something to make the world seem alive despite the fact that most things in nature are slowly dying. For me, this season has always been accompanied somewhat somber, thoughtful music that makes me nostalgic of important times, people and moments in my life. The song "23" by Jimmy Eat World reminds me of the fall of my freshman year of college. I was starting a new stage in my life and the album Futures meant a lot to me during that time. It remains to this day one of my favorite songs, on one of my favorite albums.
Jimmy Eat World
"23" off of Futures
The Appleseed Cast
"Innocent Vigilant Ordinary" off of Two Conversations
Keenan's Fall Tracks
1. "I Want Wind To Blow" - The Microphones
2. "Welcome Home, Son" - Radical Face
3. "Never Meant" - American Football
4. "This Year" - The Mountain Goats
5. "Bikes and Bridges" - Defiance, Ohio
Aside from the lyrics or the musical aspects of a song that may remind you of a particular time of the year, I find that when I first discover / listen to a song, it tends to freeze itself into that particular period in time. When any of the aforementioned tracks come onto shuffle, I almost immediately find myself conjuring up memories of where I was or what I was doing when I was first introduced to said song.
The Microphones
"I Want Wind to Blow" off of The Glow Part II
Radical Face
"Welcome Home, Son" off of Ghost
WEBSITE: http://jellimusic.comMYSPACE: http://myspace.com/jellimusic
TWITTER: http://twitter.com/jellimusic
PURCHASE: Amazon MP3
J.E.L.L.i. is the brainchild of one man show, Christopher Sauter. His recently released, self-titled debut EP is a short record with a lot of variety spanning emo, punk, hardcore, and indie rock. The EP is rich with texture and is an all-around fun listen which is especially impressive considering Mr. Sauter was also responsible for all aspects of the production.
Vocally, Sauter shares a lot of the same pronunciations found on Greenday's albums, ripe with choppy, colorful melodies outlining catchy, memorable lyrics. Emphasizing this youthful, and energetic sound is the idea that Sauter is an exceptionally ambitious mind. Along with having written, recorded, fully producing his album, Sauter made artwork for both his album and individual songs, as well as a fully functional webspace, brimming with information and ways for fans to help J.E.L.L.i. expand and get public. Chris Sauter is one of the few truly independent artists out there that deserve the right to call themselves such.
Instrumentally, it's not as though Sauter hacks away at each of the instruments that make up the ep's landscape. In fact, the opposite is true. While drum and bass are the most simple of the instrumentation, they're consistent, solid, and highly effective. Guitar is clearly Chris's forte and he's taken the time to emphasize that. "I Am Blank - Nothing" sports some cool riffing while "Jenn" displays a more improvisational edge, beautifully sculpted and nestled into the heart of the already catchy track. I'm skeptical of the ability of the project to stay afloat if there is no live band to recreate the tunes on the album, but no doubt Sauter is figuring this out while he simultaneously records his next album, does the dishes, makes a living for himself, and determines how he can further promote this engaging, unique, and impressive project.
"Jenn" off of J.E.L.L.i EP
FAVORITE TRACK: "Jenn"
FOR FANS OF: Greenday, Brand New
Folky. Gospel-y. Super vintage? Golden Shoulders offer you this mp3 as a free download. The track, "Mountain", is the opener on their album Get Reasonable which debuted in early May of this year. Here's an example of a band that obviously appeal to a certain style but don't sacrifice the quality of their product to do so. This song is dynamic, well written, and free, so enjoy.
"Mountain" off of Get Reasonable
Download Song
"Mountain" off of Get Reasonable
Download Song
The excitement surrounding The Almost's new record Monster Monster made me crawl back to Underoath this week. Aaron's a great singer, there's no denying it, but he's an absolutely unbelievable drummer, and that's where I prefer him. This track speaks novels on that idea.
"The Only Survivor Was Miraculously Unharmed"
off of Lost In The Sound Of Separation
"The Only Survivor Was Miraculously Unharmed"
off of Lost In The Sound Of Separation
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.
WEBSITE: http://www.thealmost.com/MYSPACE: http://myspace.com/thealmost
TWITTER: http://twitter.com/thealmostrules
MERCH: http://thealmostmerch.com/
Monster, Monster marks the release of the 2nd full length album from The Almost, a band that began as a side project from Underoath's Aaron Gillespie. Looking back on what was a simple, glossy debut, The Almost have contrasted that with a grittier, more organic take on their established sound. Monster, Monster is a pseudo-southern collection of straight-up rock/pop songs that disappoint only in that they provide little variety.
The album kicks off like any powerful rock album would, with a punchy first track proceeded by a slew of similar but not as aggressive follow up tracks. The songs are good. They get stuck in your head, because well, that's what these guys are paid to do. But, the truth is I'm tired of this ride. If you like The Almost (and I generally do) then their new repertoire will no doubt have you repeatedly visiting their decked out myspace and checking out Aaron's charming culinary videos. Granted, the band is performing as a band here, which sounds odd, but Southern Weather was a solo effort by Gillespie, manning every instrument in the studio and allowing some friends to recreate it on stage. So, instead of what sounded like an articulately, though exquisitely, sequenced collection of songs now sounds like a snapshot of a youthful, energetic pop/rock band with enough imperfection and nuance to keep me from rolling my eyes.
The Almost's Monster, Monster reminds me a lot of a few other, recent, markedly successful records. I reviewed Sherwood's Qu last month with little enthusiasm for almost all the same reasons: I used to get CDs at a store and wear them down to their bare elements from repetitive play. We all did that. And, while I don't mean to dwell on this point too much because it's the same old schtick, the fact is that commercial music really does lose some value in comparison to less successful equivalents. The Almost are good musicians and adequate song writers and I, by no means, fault them for the production and release of Monster, Monster but I've got enough safe, typical rock music in my life. I'm looking for a band to take musical risks, try something new, and to put energy into branching out musically instead of worrying what their next tattoo should be.
THE SKINNY: Oldwick, a London gang of six, are winning over listeners with their highly organic, vintage pop sensibilities.LAST.FM: http://last.fm/music/oldwick
MYSPACE: http://myspace.com/oldwick
FREE DOWNLOAD: "He & She"
Have you ever wondered how the music scene would've evolved if the '80s never happened? We would've never known what Phil Collins could do with a drum machine or how bad Christmas music could really be. We might've even forgotten that there was a time when popular music was the product of a handful of elite, talented musicians and songwriters working tirelessy at what they do. Don't get me wrong. I'm not suggesting we forget the good ol' days or boycott VH1 because lets face it, there's not much else to do some nights other than watch Michael Ian Black make fun of Cindi Lauper's drunken dancing. I am suggesting, however, we remember music for what it was before electronics, despite my inability to actually remember it. Before synths and drum pads, there were acoustic guitars and voices and reasons to love it. Oldwick is the 2009 reason to love acoustic guitars, drums, pianos, and a stage of amp-less, eclectic, and passionate music makers.
Oldwick formed in the winter of 2008 out of the crumbling ruins of a few of the member's previous projects. They immediately spent time recording a short EP comprised of some of the member's back catalog of pre-written songs which quickly caught the attention of local Londoners with their old school take on dynamic, country-pop. They're currently playing the area, pedaling their cloth-cased cds, pants, bags, and underwear. Oldwick is amassing a handful of positive feedback on their debut, Hoops EP, and looking to aim even higher in 2010.
The opening track on their quick little ep, "He & She" reminds me of what my parents would play on the weekends while we all straightened up the house for Sunday lunch. Reverberated background vocals (fronted by backing vocalist Hazel Tratt) that sound like the very same that support Fleetwood Mac on Rumors permeate your ears as the band makes a cozy home in your head for a few minutes. Memorable folk guitar diddies by Dan Bell and front woman, Lyla Foy, are a humble but major component of the music on the ep. I particularly like the reserved nature of the music and how it manages to avoid what would critically deem it as weak. The band expands dynamically, and shrinks just the same with great ease, but never comes off as timid, just a tad insecure: they are, after all, just kids.
Piano driven songs are primarily the handy-work of Ben Folds, Coldplay, and a handful of imitators so when you stumble across something that sounds like Billy Joel or Elton John it's a nice change of pace. Oldwick's most upbeat track, "13," is just such a gem, steered by a hooky piano riff that dives into a haunting build-up movement that, quite honestly, helped dictate who was receiving Feature of the Month honors for November. As the band pushes through a bridge section toward the end, articulately, we're brought back out of the dark and into that authentically vintage piano riff, completing a monumental piece of pop/rock heaven.
As the album closes with a Beatles-esque, feel-good piece entitled "A Thing Called Love," you're reminded that the band is more than just a pretty voice and good song writing. Oldwick sports a talented group of instrumentalists who actually (dare I say this) jam and do so with great success. Pianist Jake Bowser supplies a solid comp to Dan Bell's improv, a southern styled folk solo with some impressive lines. Drummer Nicky Francis and bassist, James Ingham, who's said to have a soft spot for both rum and Hella, a two-man drum and guitar band that you need to hear to understand, prove their maturity with restraint, simplicity, and a tight rhythmic lock. In my experience, most bands are a balance: good comes with bad, and bad comes with good. Poppy bands with a great singer usually rely on that singer to carry them to fame just like Dream Theater got by on instrumentals alone because, yes, James Labrie is nothing extraordinary. Oldwick, however, though young and raw, have the whole package and show amazing promise.
"13" off of Hoops EP
"A Thing Called Love" off of Hoops EP
FAVORITE TRACK: "13"
FOR FANS OF: John Denver, Fleetwood Mac
THE SKINNY: Love & Reverie's The Mapping is a strong independent record with some reputable and impressive professionalism. The album is full of great melodies and a palpability confirming the band put their heart and soul into their best release to date.MYSPACE: http://myspace.com/loveandreverie
TWITTER: http://twitter.com/loveandreverie
MERCH: http://loveandreverie.bigcartel.com
Love & Reverie are an indie rock / pop rock band out of Richmond, Virginia responsible for what I think is a pretty unique sound, for a number of reasons. The band hits you like whiplash. I initially received their most recent LP release, The Mapping, with little enthusiasm until I found myself creepily searching my iTunes for Love & Reverie. I slowly began to hear the (very deep) value in the record despite it taking some time to grow on me, considering that now the band's epic, intricate guitars and and stealthily and ironically addictive vocal melodies are a staple in my daily music listening ritual.
The Mapping, sadly, was released over a year ago but I didn't want to let it get away. Musically, the album offers a lot of anthem-driven-chorus songs but is not redundant or atypical of what a lot of bands do: write 12 fist pumpers and call it an album. No, here Love & Reverie wrap these sing-alongs (if you would even call them that, considering the broad vision of every song) in a rather complex musical shell. The intricacies of the instrumentals are still approachable enough that fans of Copeland's simplicity won't be frightened away but also sophisticated enough that fans of more progressive indie outfits would appreciate.
The album is raw and dynamic and, unlike most indie rock and pop records, the songwriting here isn't just a band providing a backdrop for a vocalist. There is some subtle interplay between voice and guitar on the record which is cool, considering a band's icon is almost always solely the lead singer. The Most Serene Republic are notorious for this effect, and while Love & Reverie don't quite pull it off the same way, it's obvious they didn't intend to: a lot of the nuance on the record sounds like L&E are starting to blossom as songwriters, musicians, and performers. There are glimpses of beautiful moments showing promise for a follow-up record where the band will inevitably mature and trim the fat.
On another note, vocalist Noah Skelton doesn't always sound comfortable on The Mapping, usually during slower, less abrasive sections but always sounds right at home when the band gets huge and loud. It's only at these moments of skepticism that L&E pull a rabbit out of their hat and do something really sick. So, for me, it's only a matter of progress for Love & Reverie. The Mapping is an incredibly strong independent release and deserves many kudos for a DIY group of this caliber. The band has their work cut out for them, and their already loyal fanbase should embrace any improved and polished direction taken as they become more professional and successful music makers.
"Perfect Picture" off of The Mapping
FAVORITE TRACK: "Perfect Picture", "Foot Steps"
FOR FANS OF: old Copeland
THE SKINNY: If you jumped on the Cartel fanbus when they released their self-titled second LP then Cycles might leave you slightly disappointed, but the record will definitely appeal to die-hards and fans of earlier albums. Cycles is proof that Cartel hasn't lost its youthfulness, energy, and ability to draw a crowd.WEBSITE: http://cartelrocks.com
MYSPACE: http://myspace.com/cartel
TWITTER: http://twitter.com/cartelcartel
PURCHASE: Amazon, iTunes
Since the release of the pop dynamo's self-titled second major record two years ago, I was convinced Cartel was one of those wild card bands. They had it all: a huge following, a reality show on MTV, legitimately talented songwriters and performers. Cartel, since then, has been on my watch list, not only because they never cease to write perfect, punchy pop songs but because I was convinced that with every album the band would mature further until they achieved some veritable plateau of musical greatness.
To my disappointment, Cartel's latest release, Cycles, isn't necessarily a step in this same direction. The album is an incredibly well-produced collection of happy songs with a similar feel. Most tracks have an upbeat pulse with driving drums which might be an executive move at expanding and appeasing to the band's popularity. To support this, there are moments where the guitars are so back in the mix that they're drowned by what sounds like a club synth, which is certainly an exaggeration on my part, but it's clear the band has traded their ability to craft appropriately complex pop / rock gems for a stricter take on their previous commercialism. Cycles, however, is actually very good and I won't criticize it for not falling in line with my vision for the band because that's silly.
"Deep South," a slightly heavier track which also happens to be a lot slower in contrast with the record, is refreshing. Vocalist Will Pugh does his signature persistent and energetic belting while underneath him flows a classic case of Cartel guitars, sliding around the chorus chords with unison bass and kick drum. The effect is way luscious, and there's plenty of this type of instrumental work on the record. "Let's Go", one of two of the record's singles (which you can stream below) is a great example of a quintessential Cartel chorus, full of sharply punctuated and rhythmic guitars with a never-ending drum pulse. This song, in particular, is extremely reminiscent of their previous album, Cartel. The lifeforce of Cartel is unarguably Pugh's radically addictive melodies, of which there are no shortage. The quality of these melodies are certainly above average though some tracks haven't infected me as hard as I was anticipating. On songs like "See Me Now" and "Conventional Friend" Pugh utterly commands the speakers with his swerving, indulgent vocal work.
"Let's Go" off of Cycles
Cycles is undoubtedly a record meant for live translation. The energy on this album is in no short supply. Breaks with huge unison hits while Pugh explodes forth with high-pitched melodic swerves as only he can do are prevalent and welcome. While I prefer other Cartel albums as strictly recorded works it's apparent that Cycles is meant to be learned on iTunes and lived in an audience.
FAVORITE TRACK: "Deep South", "Conventional Friend"
FOR FANS OF: Cartel's Chroma
THE SKINNY: Tim Williams is the second artist in the Dovecote Records lineup (home to the very talented Trevor Giuliani) to see some spotlight on the PFW stage in recent months. His ambitious third full-length release, Careful Love, is a fun, 10-track album that contains some depth, despite the misleading gloss and poppy, addictive melodies.MYSPACE: http://myspace.com/timwilliams
YOUTUBE: http://youtube.com/user/DovecoteRecords
PURCHASE: iTunes (10/20)
Williams underwent reconstructive heart surgery before the writing began for Careful Love. Along with this came a significant other and a new and blossoming happy residency in Los Angeles. These experiences serve as major content on the record and the evidence is there, providing plenty of stories to accompany the lush backdrop provided Williams' studio band.
Williams' music is simple, intensely addictive, poppy, and just dark enough to not turn me away. Despite the generally optimistic lyrics, Careful Love does carry a bit of an eerie tone, which is probably a product of the sometimes obscure sounds produced by the band. Synth is a major component of the record, and the patches used on songs never repeat themselves, making each track memorable and significant; an amazing attribute that gives the album a generous amount of quality points.
My favorite and, I think, most important part about Careful Love is that Williams has made the decision to shake off the impedance of the singer/songwriter label and move into the band scene. The effect this change has on the album takes Williams from pleasant to gripping, and pretty to gritty. The lush and aggressive tones in contrast to Williams' melodic tenor on Careful Love are the difference between my forgetting about this record after I write this and me hitting repeat as soon as it's over.
"I Hit Another Wall" off of
Careful Love
FAVORITE TRACK: "Ozone Street"
FOR FANS OF: Death Cab For Cutie,
THE SKINNY: London native quartet Noah And The Whale's latest release is an album set to film, both of which are entitled The First Days of Spring.WEBSITE: http://noahandthewhale.com
MYSPACE: http://myspace.com/noahandthewhale
FREE MP3: Click Here
Every once in a while, an artist of one field will take interest in another. An actor will start a band. A composer will paint his mistress a valentine, or in some cases, an artist will materialize a life-long love for another artform. Whatever the case may be, the final product is often something with great depth and ambition, be it simple or brilliant. For some, bridging the gap between sight and sound is a necessity because their art cannot be limited to just music and vise versa. Noah And The Whale have set to video their latest album release; a soundtrack and stand-alone record entitled The First Days of Spring which will accompany a film of the same name, both of which are primarily the brainchild of Charlie Fink, Noah's frontman.
Upon first listen of The First Days of Spring, it is apparent that the album is quirky and plays a bit like a movie score. Having not seen the accompanying film, however, I can tell you that the album plays smoothly and beautifully all by itself, allowing the nuances of these eccentricities to punctuate the music just as it would the film. The album is extremely passive, on the whole (especially from the beginning), and leaves plenty of room for a visual aesthetic as it slowly lulls you into more upbeat tracks like "Love Of An Orchestra," one of two of the album's noted singles, which begins with what sounds like a professional choir paving the way for a very Sufjan Stevens-esque track full of unison choir lines and an upbeat, highly percussive groove brimming with personality and an addictive vocal melody. Following this swell is the second of two instrumentals on the record, justly named "Instrumental II," which is a simple and lovely reverberated solo guitar melody, providing yet another texture to an album that is all variety.
The second half of The First Days of Spring is entirely more captivating than the slow but effective first half. It's this contrast, however, that brings the album together as both a soundtrack and a record, as opposed to an unrelated collection of music. This effect is nothing short of brilliant, and furthermore I'm nothing short of very impressed at how these young Londoners have quite literally composed an exceptionally cohesive and mature sophomore (yes, only their second) release. As the album comes to a close, tracks like "Slow Glass" provide the period to the end of the sentence. The atmosphere painted by the track speaks finale without any climactic finish, but with an unambiguous closing mood. Following this is the album's last track entitled "My Door Is Always Open" which provides one of the most haunting moments on the record as the band joins in unison atop a fresh folk guitar strum: "I love with my heart, and I hold it in my hands, but ya' know my heart's not yours."
As is with most any recorded work, there will be good and bad moments which severely dictate how often we listen, what mood we're in when we listen, and why we listen to a record. Noah And The Whale's The First Days of Spring, however, is not a run of the mill record, but quite literally a soundtrack; a collection of music with highs and lows that contribute toward a bigger picture. And, though this isn't an entirely new idea, Noah And The Whale certainly lie among a small minority of music makers that have done it well.
FAVORITE TRACK: "Love of an Orchestra"
FOR FANS OF: Volcano Choir, Sufjan Stevens
THE SKINNY: Sherwood's Qu is an excellent example of catchy, well-produced, simple, and safe indie-pop that will appeal to fans of the genre, but like most things, isn't for everyone.MYSPACE: http://myspace.com/sherwood
TWITTER: http://twitter.com/realsherwood
YOUTUBE: http://youtube.com/sherwoodband
PURCHASE: http://www.sherwoodmusic.net/
Sherwood have returned with their fourth release, Qu; a bold statement toward a general maintenance of the band's youth despite its veteran status in the pop / rock world. Unlike most indie-pop bands that tend to slow down, "mature" musically, and eventually disband after a few releases, Sherwood have successfully grabbed hold of their career as a band and punctuated their already popular catalog with what will no doubt be the band's quintessential record.
Qu is musically similar to Relient K's more recent work with a heavier focus on audience supported anthems. Everything on the record is fully conducive to loud sing-alongs, with the exception of two more acoustic-driven ballads entitled "Worn" and the album's closer, "No Better". Nate Henry, the band's lead vocalist and bassist, sings confidently while behind him an effective, albeit slightly too cute, band harmonizes every catchy hook making for a very ear friendly experience. The album isn't particularly deep or complex, by any means, but the strength of Qu, for me, lies in the overall pleasantness of each track.
The pretty nature of the music here, however, might not be enough to delight fans of more aggressive stuff.Qu is definitely a very glossy, pretty record that probably won't change the music world. The instrumentation is simple and well-executed, but not risky, raw, or spontaneous. This play-it-safe sound is acceptable and doesn't need an explanation, especially from a band with a great and clearly content following. So, if you're like me and hard to please and often turned off by very poppy stuff, you probably won't find Qu very satisfying. If you're not like me and you like catchy melodies, music you can blast and sing along to with friends, and bands that are committed to delivering their fans exactly what they want, than Sherwood's Qu is probably just what the doctor ordered.
FAVORITE TRACK: "Not Gonna Love," "Free"
FOR FANS OF: Relient K,Waking Ashland
WEBSITE: http://thealmost.comMYSPACE: http://myspace.com/thealmost
TWITTER: http://twitter.com/thealmost
After my first run in with The Almost, less than three years ago, I was hooked for a good few weeks on front-man Aaron Gillespie's strained and gliding melodic hooks; though, Aaron's reputation and general brilliance in UnderOATH was enough reason for me to get familiar with the new project. Just a few days back on October 6, The Almost released a preliminary EP entitled The Monster which is meant as something of a teaser to a full-length album which will drop on November 3. The EP contains three tracks from the band's upcoming Monster Monster release as well as two b-sides. So if you're a newcomer to this addictive five-piece, The Monster ep could be your gateway to fandom.
The music on the ep is relatively similar to that of the band's first release Southern Weather, but sounds a little more cohesive and raw, probably because Gillespie isn't manning every instrument, making the listening experience a little more live, rather than studio, which I like. For fans of past works, The Monster ep offers much of the same dripping harmony stuff, but again, is composed of backing music which I've found to be pretty cool and even a little risky for a poppy rock band. All in all, The Monster ep is a smooth transition from Southern Weather into what will probably be a mature, exciting sophomore release for The Almost.
MYSPACE: http://myspace.com/andreabelangermusicYOUTUBE: http://www.youtube.com/user/ABelangerMusic
Every month the team here at PFW toils over who most deserves a month long dedicated post that explores an artist's background, passion, expertise, and repertoire of music. Truth be told, each month proves more difficult than the last as submittees either re-submit or spam us which nobody likes, of course. With that, finding a gem in a pile of dirt is all the more refreshing, and this month's feature is the definition of that word. Andrea Belanger stood out like a sore thumb and certainly as you listen to the beautiful, melancholy tone of this young woman's voice, you'll be struck the same.
For us, the ideal feautre is an artist who's beaming with potential and Andrea should be the poster child for tomorrow's quintessential folk vocalist. A student at the prestigious Berklee College of Music, in Boston MA (former college of greats like John Mayer, Melissa Etheridge, Susan Tedeschi, and John Scofield among of slew of other musical monsters.), Andrea isn't far from home, hailing from Fall River of the same stage. Belanger lists Elliott Smith, Ryan Adams, Neutral Milk Hotel, and Bon Iver (whom she resembles most, to my ears) as influences and the evidence is there in conjunction with an originality that's all her own. Andrea's voice, while wholly folk through and through, can be the bridge listeners need to make the genre gap. Her voice's undeniable ability to hold the attention of listeners is evident not only on recordings but on her impressive resume.
Andrea has shared the stage with such acts as The Greencards and The Wood Brothers, a testament to her ability and ambition. What's most apparent on Andrea's recordings is a sense of sorrow on both 'happy' and 'sad' songs. The ability to convey that emotion, almost as a sub-layer to each song's true atmosphere, is an amazing look into the personality and character of Belanger. Her music is honest and appears to be so out of her own hands, adding another layer of quality to her performance. It's that same nuance and sheer ability to sing well that has Andrea Belanger on the road to the success. She is the very model of an up-and-coming artist that has me excited to see where her voice and ambition will take her in this industry.
Andrea is in the studio currently, working on her forthcoming and first real release entitled: "My Brain is a Storm". The following tracks are an exclusive preview of that record, and aren't even out of production yet.
"Just Don't Leave Me"
"That You'd Forgotten"
FAVORITE TRACK: "Vegetable Song"
FOR FANS OF: Bon Iver
Andrea covering Nirvana's
"Jesus Don't Want Me For A Sunbeam"
THE SKINNY: Jess Ray And The Rag Tag Army have released a self-titled LP that has me wondering just how soon a public audience will latch onto Ray's beautiful voice.WEBSITE: http://jessraymusic.com
MYSPACE: http://myspace.com/hearjessray
TWITTER: http://twitter.com/jessraymusic
Jess Ray And The Rag Tag Army have absolutely seized my ears and I think any self respecting music lover will find the same beauty in Ray's voice and the band's simple intensity. Ray's Christian roots and spiritual lyrics carry her music to an emotional high and suspend it from song start to end. That, coupled with warm guitars and a steady groove make listening to the group's recent self-titled release as easy to listen to as Copeland dipped in melted chocolate.
The Rag Tag Army is essentially a separate entity from Jess Ray, but the music makers join forces both live and on this record to form what is in-arguably a very pleasant playing band. Ray is responsible for songwriting and on tracks like "Truth" it's evident there is an emphasis on creativity and tonal depth as the band launches into unison vocals, group percussion, and finally an incidental chord change that will keep you on your toes.
Lyrically, Ray brings familiar Contemporary Christian to the stage but does so with some unique, personal variation that could land her a spot on either indie and major radio. It's Jess Ray's melodies that differentiate her from the pop acts on those very same major radio stations. Simple and insatiably catchy melodies that won't leave your head (especially tracks like "One Name") are breaching the rim of this album. Ray's warm and rather low voice with a surprisingly high range makes every line of prose pop with love. I must have played "One Name" six times since I received the album this morning. Take a moment to listen to a few tracks and maybe you'll be infected with the same beautiful sounds that I've had the pleasure of writing about here.
"One Name" off of Self-Titled
WEBSITE: http://dejhamusic.comMYSPACE: http://myspace.com/dejhamusic
PURCHASE: Direct
July 28 of this past Summer marked the date of Dejha Colantuono's first solo album release. Tea & Vodka not only showcases the vocalists airy alto, but boasts production from Matt Bayles. Bayles' back-catalog includes work with Pearl Jam, Mastodon, and Isis. From the get go, listening and reviewing was pretty effortless because the sound and mix of the album are incredibly professional.
Tea & Vodka is primarily a dark pop/rock album. Instrumentation includes some digital effects and synth and garage-type guitars rocking on simple, over-driven riffs. My only disappointment with Dejha's first studio effort is the sometimes boring instrumentals. The guitar parts are rather repetitive and don't catch my ear to much length. Contrary to this is the album's drums, performed primarily by Matt Chamberlain whom livens up the sound stage with plenty of percussive command. Every song has a great groove and, despite my beef with some of the melodic instruments, stays interesting in both the beat and vocal departments.
Dejha's voice is the dry, warm, tube amp equivalent to the American pop scene's solid-state vocal tone. Melodies on the record aren't intricate or too ambitious but Dejha will hit some pretty dissonance from time to time to keep things interesting. It's my feeling that the melodies and notes are almost inconsequential to the tone of her voice. Dejha's texture and vocal personality are what make Tea & Vodka hip and original.
Colantuono is a vocalist who is, to my surprise, rather well known and respected by music professionals already. It seems the only other next step, oddly enough, is to get her new album Tea & Vodka heard by the public masses.
"Color Blue" off of Tea & Vodka
WEBSITE: http://mikerofe.comMYSPACE: http://myspace.com/mikerof
TWITTER: http://twitter.com/mikerofe
PURCHASE: iTunes, CDBaby
Mike Rofé is a singer/songwriter that I was introduced to recently. He's an artist full of a myriad of different tones, both lyrical and musical. Upon first listen, I wasn't struck by Rofé's music, texturally, but impressed at how each song on his most recent record, Hang On Romantic, maintained a consistent feel but jumped around like a rabbit in a leaf garden. Mike's music is, at its roots, very honest, well-produced, easy to listen to, and most importantly easy to understand because it is simple, happy music.
Rofé's Hang On Romantic draws influence from a number of important artists including Bob Dylan, Elvis Costello, Paul Simon and sometimes showcases abilities from these same talents. Barry Goldberg from Bob Dylan's stage band appears on Rofe's record as does Michael's brother Peter of the prestigious L.A. Philharmonic. Also on the record are Phil Leavitt of Dada, and Alex Del Zoppo of Sweet Water. With this, the record plays smoothly from start to finish as each track carries a personality of its own, spurred by the nuance of a variety of studio talents and Rofe's introspective humor.
Despite the influences Mike Rofé notes on his release, I thing this album will appeal to fans of an almost vintage 90s folk rock sound like Blues Traveler, Barenaked Ladies, and Bruce Springsteen whom, like Rofé, often creates a feel good party atmosphere. The point here is there is a focus on fun simplicity and it is executed beautifully. You'll find yourself mimicking Rofé's signature dipping melodies that hover around his modest guitar strumming which merely serves as the vessel that helps you hum and dance along. For me, Rofé's Hang On Romantic isn't an album you pull apart and dissect. You just put it on and let it do its thing.
"The Ocean" off of Hang On Romantic
FAVORITE TRACK: The Ocean, We've Got It All
FOR FANS OF: Bruce Springsteen, Barenaked Ladies
Bernee is a piano driven pop trio from South Australia. The band's EP, Late Night Show, is a six-track work that would probably accompany you on a sunny day or summer car ride, as it's energy is mostly at a high throughout. With that said, it's easy to critique Bernee purely on its capabability of making fun, sing-alongs, which it does well. Bernee's Late Night Show can be purchased on Amazon MP3, so check it out.Tripmeter is a Canadian rock group with a really well-produced repertoire of music. Their most popular track, "My Addiction" which you can listen to here, is a testament to the group's very professional sound and catchy song writing. If you enjoy the track, you can purchase their album Wide World Crashing directly from them, or on CDBaby.
Montana 1948 is a rock band out of Saratoga, Calif. that remind me of all the best parts of one of my favorite groups, The Graduate. The band is ambitious and already has a tour in line starting on Sept. 25 in Orange County, as is evidenced by their opening for Dredg and RX Bandits this November. Montana 1948 will appeal to fans of The Graduate, Circa Survive and Mute Math.
Peti is an often progressive and electronic heavy pop/rock group out of Ohio. "Like Rain" reminds me much of Owl City's vibe, using strings, pianos, and synth drum beats to outline some catchy vocal melodies but does so with a more sophisticated approach as Peti, himself, is classically trained and showcases this throughout each of the group's songs. On tracks where electronics take a backseat, the band tends to resemble acts like The Fray and Coldplay. The foursome was recently chosen out of 100 bands as the Ignite Chicago/Word Records New Christian Contemporary Talent Champion. The group dedicates itself to addressing global children's issues and often donates to this cause. Listen to Peti on myspace: http://www.myspace.com/petimusic
Sashird Lao is a vocal trio from Nice, France. The trio is backed by a number of different concert instruments including trombone, saxophone, flute, and snare. Their recordings are extremely fascinating, and while I can't decipher the French lyrics, it makes no difference to my ears. These folks know how to sing. check out some of their rather outrageous and well executed repertoire: http://www.myspace.com/sashirdlao
We Are They is all energy and while I can't back that up with a live concert experience, I can get behind its very, very unique and intense recordings. While very raw and unproduced, they convey an excitement I'm sure translates to the stage. We Are They hails from Mesa, Ariz. and mixes all sorts of music up to an including an almost Hebrew groove on songs like "pMp" - listen to this pseudo-metal band here: http://www.myspace.com/wearethey
Finally, our final Honorable Mention this summer comes from Anomie Belle, the down-tempo electronica project of one Toby Campbell, a multi-talented instrumentalist and vocalist. Along with some killer recordings, Campbell boasts an impressive array of radio stations that regularly air her work. Based in Seattle Wash., Anomie Belle is sure to appeal to those with a love for transient, down-tempo music and to those with an appreciation for the art of audio production, both of which are the very nucleus of this project. Find out more about Anomie Belle here: http://www.anomiebelle.com/
THE SKINNY: We've got a copy of a Q&A with Rou Reynolds, Lead Vocalist and Keyboardist from Enter Shikari.WEBSITE: http://entershikari.com
MYSPACE: http://myspace.com/entershikari
TWITTER: http://twitter.com/entershikari
Your first album Take To The Skies--released on your own Ambush Reality label--debuted at #4 on the U.K. chart, becoming one of the most successful self-released rock albums ever. With your choice of major label offers in the U.K., why did you decide to release it on your own and what did you learn from it? At the time, we didn't really feel like we had a choice--we'd been touring for around two years properly without any press or label interest. We'd done everything along the way ourselves from the booking to the designing and printing of T-shirts to recording our demos. It was only as we released "Sorry You're Not A Winner" that the interest suddenly boomed and by that time we realized we could do it ourselves with the help of the family we had built up around us. I'm glad it happened just as it did as I'd hate to be tied up in a major label deal now in this current era of uncertainty.
Your new album COMMON DREADS will be officially released in the U.S. in the Spring of 2010. For the U.S. release, you are partnering with DGC/Interscope. What made you decide to join forces with a major at this point? We were lucky enough to get involved with a good crowd over there as there's no way we could repeat the same rise in the U.S. as we did in the U.K. It's obviously colossal in size compared to the U.K., so we knew we'd always need some help along the way and have to play a different game. Saying that, we have done a fair few tours now by ourselves-- just playing the toilet circuit and it's been really fun and still feels organic.
On COMMON DREADS, you teamed with producer Andy Gray (U2, Tori Amos, Korn, Gary Numan) and holed yourselves up in the isolated Isle of Wight. How did this work for you? What did you feel the result was for COMMON DREADS? It was superb-- it couldn't have been more of an opposite experience from the recording of our first album. That was rushed down in two weeks and I've never been happy with the way the vocals sound. This time around, it was a conscious decision to get away for a few months and experiment. Andy (Gray) was wicked as well--he was up for anything from burning pianos (“Havoc B”) to breaking into churches and recording organs (“Fanfare”) to singing outdoors in boxers whilst it was snowing at 1:00AM to get that real 'cold' vibe (‘’All Eyes On The Saint’’). It was a real fun experience and I'm really proud of the result! COMMON DREADS really captures the live feel of the band and our vision.
Fusing such polar genres of music such as electronic and hardcore, how would you describe your music to someone who has never heard of you? Good Music. There's good music and bad music. That's all.
What would you describe as the most powerful song to you on this album? Which new song do you really enjoy performing right now? That’s a tough one--I'd probably have to go with “Fanfare.” It was all done pretty last minute, so I guess it came out as a final outpouring of frustration with both our countries’ aggressive foreign policies this past decade. I'm loving performing “Havoc B” at the moment--Chris pulls down some vicious sub bass to get the ground shaking and at the end hearing the crowd join in with the chanting creates such an unbelievable sense of unity.
What was it like growing up in St. Albans, England and how did it shape you as a musician? St. Albans has always had a struggling, but thriving music scene. First getting into the local hardcore, punk and ska scenes was great, but as we got older we noticed the local Council really started coming down hard on gigs and local venues. We fought for years putting on shows at our local youth club, and they’d actually go to crazy lengths to try and pull our live shows. Ironically, it created a sense of community for our scene and everyone got involved to do what they could to keep it alive. It still happens to this day; the last time we did a homecoming the Council tried to pull it--luckily the local press were on our side and exposed them for how stupid and malicious they were being. Other than the music, St. Albans has a great Roman history and the most pubs per square mile in the U.K.!
You’ve performed at some of the most impressive festivals in the world including Coachella Valley Music & Arts Festival, Download Festival, Reading, Leeds, Summersonic and all of the major European festivals. What’s the difference between your festival performance and your club show?
Nothing really--we don't really approach them any different. It's just a longer run to get to the crowd at a festival which is always a bummer, but we get there.
What was the inspiration behind the song “Juggernauts?” We campaigned to stop a local superstore giant here in the U.K. from building a store right in the center of our town. It was just a nice quaint victory that was really inspiring to see everyone getting involved. The song itself is about how important it is to feel involved and to have a sense of belonging to your community and how our current economic and social system actively discourages this.
Describe your worst night on tour, ever. On our last U.S. tour our van broke down as we were leaving Philadelphia. We spent 12 hours in a Walmart car park with a mechanic trying to fix it from 1:00AM whilst right in the middle of a thunder storm. It was pretty horrendous. We had no sleep and had to miss our show the next day so we were totally gutted.
What do you think is the biggest misconception about ENTER SHIKARI in the United States? Rob isn't allowed in the States because he posted a box full of his own sh*t to Walmart’s Headquarters and there was consequently a bomb scare and the whole building was evacuated (joking).
Why is English food “as some people say” so bad? Who needs good food when you have good beer and cider? J
How would you define English food? It's just a culmination of other cultures food really... oh no we have Trifle! Come on! Trifle rules.
The name ENTER SHIKARI came from a boat that belonged to your uncle. Why did you choose it and what do you feel it means? Shikari means “The Hunter” in many Indian languages. My uncle was a fisherman and back when I was a kid I used to go out onto the high seas with him and just thought it was an awesome word. When we made the band, it just kind of fitted into what we had to do. We knew to make changes in this world you have to get out there and hunt yourself. It just seemed apt for how we were working as a band (the whole DIY style) as well as our political outlook.
What is your biggest guilty pleasure? Lady Gaga.
Have you been to Stonehenge and what do you think of Spinal Tap? Stonehenge is awesome. Still fills me with absolute wonder and awe every time I go there. Spinal Tap is just the industry standard, total classic.
If you could record a song with an artist outside the genre of music for which you are known, who might that be? I'd love to work with a rapper called Lowkey from London. He does really political hip-hop, which is such a breath of fresh air from the normal commercial bulk of hip hop which just glorifies violence and condones negativity and greed.
If you could have a conversation with anyone, living or dead, who would it be? John Lennon.
What has surprised you most in your career so far? How nice the majority of people you meet around the world are.
Any hobbies outside of music? Sports, etc? I like swimming and dirt jumping (bikes), but other than that I’m not really into sports. I don't like the sense of rigid and ruthless competition promoted in most sports. It always puzzled me in high school the amount of anger sports produced in people. I think it's kind of pointless and silly.
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