Showing posts with label _Folk / Acoustic. Show all posts
Showing posts with label _Folk / Acoustic. Show all posts
Mack Flinn & The Whosis Kid, the brainchild of PFW's very own Chris Grzan and Joseph "Scotches" Zanko (and über time consuming project of yours truly) have been working on a new record for quite some time now. It's entitled The Whole 'Hero Journey' Thing was a Terrible Idea, and has just recently been completed and uploaded to the Mack Flinn & The Whosis Kid's Bandcamp account. Nothing like a little bit of self promotion! Seriously though, it's good music (and FREE music), so you've really got no excuse not to at least give it a shot.
WEBSITE: http://mackflinnwhosiskid.bandcamp.com
MYSPACE: http://myspace.com/mackflinnandthewhosiskid
TWITTER: http://twitter.com/mackflinn
THE SKINNY: Broadcast 2000 is an indie-folk band from London. The frontman, Joe Steer, manages to write, record, and play all the instruments for the band's albums in his London flat.In August of 2008 the band released its first EP entitled Building Blocks. Steer originally recorded all of the instruments and vocals himself, although he planned on using his vocal tracks as a guide and to rerecord the vocals at a later date. The band's first full length, Broadcast 2000, is scheduled to be released in 2010, but is fully recorded and a handful of tracks are available for listen on myspace. Tom Hobden, a member of Noah and the Whale, added a few violin tracks in addition to the instruments that Steer recorded on the new album.
During live performances Steer plays with Tom Andrews (glockenspiel), Chris Banner (percussion), Pedro Del Battenberg (percussion), Louise Golbey (harmony vocals), Greg Cordez (double bass), Kelly Underdown (violin), Jade Brightwell (violin) and Alex Eichenberger (cello).
"Get Up and Go" off of Building Blocks EP
WEBSITE: broadcast2000.co.uk/
MYSPACE: myspace.com/broadcast2000
TWITTER: twitter.com/broadcast2000
PURCHASE: Amazon, iTunes
FAVORITE TRACK: "All is Said and Done"
off of Broadcast 2000
FOR FANS OF: Sufjan Stevens, Noah and the Whale
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 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: Fitzgerald's vocals are soothing and nostalgic, making his music the perfect companion for a reflective drive to clear and ease your mind after a long day. WEBSITE: http://www.ianfitzgerald.com/
MYSPACE http://www.myspace.com/ianfitzgeraldmusic
PURCHASE: CDBaby
A folk artist from Massachusetts, Ian Fitzgerald has been recording and performing around the New England area for the past five years. With four albums and a first place prize in a Boston songwriting contest under his belt, he has good reason to be proud. Though citing influences as Johnny Cash, Bob Dylan and other legendary folk singers, Fitzgerald has managed to forge a style and sound of his own; one that ranges from slow, ballad-like serenades to edgy, rapid beats.
His latest album, Empty Like the Lion Den, was released on Dirt Floor Records, an independent label intent on reminding listeners that the "tradition and soul of music is alive and well." With an array of guitars, the occasional fiddle or banjo, and heartfelt lyrics that are truly poetry to music, Fitzgerald gracefully gives merit to this claim.
"Maps" off of Empty Like the Lion Den
FOR FANS OF: AA Bondy, Ryan Adams, Fionn Regan
THE SKINNY: John Doyle is a master of traditional guitar.WEBSITE: http://www.johndoylemusic.com/
PURCHASE: Amazon
The era of electronic amplification has allowed guitarists to rise above their peers and be recognized for their virtuosity and ingenuity. Asking someone for their favorite hero on guitar produces now familiar names, some already cemented in legend despite the relative youth of the electric guitar. I do not seek to pass judgment on this development, rather I have realized the discussion of my favorite guitarist, John Doyle, might require some mention of the reality of modern guitar.
Mr. Doyle rose to claim this prominence in my mind through the slow process of familiarization I undertook in regards to Irish, English and Scots traditional music. I followed the headlining personalities passionately without pausing to investigate the makeup and quality of their supporting players. As a result I did not learn that John Doyle had been responsible for much of the guitar I had been enjoying in traditional music until I picked up one of his own solo projects and researched his discography. One element of the genre that had helped to draw me in was the guitar accompaniment to the faster jigs and reels. They had a brilliant syncopation and provided me with a strong impression of a rushing, driving force behind the instrumentals. A rhythm track of this nature went a long way towards dispelling any feeling that the music was kitschy, hokey or irrelevant. Therefore the discovery that John Doyle recorded many of these accompanying tracks enhanced my estimation of the man accordingly. That being said I must clarify that he is by no means the only master of this style of playing (Ged Foley, Mannus Lunny and Bouzouki player Aaron Jones to name just three) but for the reasons mentioned Doyle will always stand out for me.
After all, seeking out his music will lead you to more than just his solid solo efforts. His career has been crammed full with partnerships in the traditional music scene that comprise some of the genre's most dynamic acts going back more than 20 years. His status as one of the founding members of Solas would be more than enough to convince me of his influence, but in addition he has performed with renowned fiddlers (Eileen Ivers, Liz Carroll) and singer/songwriters (Kate Rusby, Cathie Ryan), and has been identified as the ideal of traditional Irish music for those in places of power.
To end on a note bereft of my well-intentioned bombast and hyperbole I will encourage readers to judge Mr. Doyle on his own merits. I hope that you will find his skillful contributions to instrumentals as stirring as any guitar solo, and his unassuming and forceful interpretations of traditional songs dealing with issues stemming from social inequality as moving and thought-provoking as the best work of more modern and mainstream musical wordsmiths.
"Tie The Bonnet/Monahan Twig/A Fair Wind/The Convenience" off of Wayward Son
FAVORITE TRACK: Little Sadie
FOR FANS OF: Solas, Irish/Scots Trad. in general, Johnny Cash.
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: An Oscar-nominated actor makes an attempt to cross over into the music world and seems to have a chance of succeeding.SITE: http://www.deadmansbones.net/
MYSPACE: http://myspace.com/deadmansbones
Over the years many actors have attempted to cross over into the music industry and in most cases, these attempts fall short. (Eddie Murphy's “Party all the Time” anyone?) However, occasionally audiences are pleasantly surprised with the outcome such as Zooey Deschanel collaborating with M. Ward to create She & Him. So when it was announced that Oscar nominee Ryan Gosling (widely known for his role as Noah in the ultimate chick-flick The Notebook) would be releasing an album, fans and critics alike were not exactly sure what to expect.
Dead Man’s Bones is the collaboration of Gosling and close friend Zach Shields. Their debut album Never Let a Lack of Talent Get You Down is being released this month on their own label Werewolf Heart. What Dead Man’s Bones brings to the music scene is not what one would expect from the actor who uttered the line “If you’re a bird, I’m a bird” making girls across the nation instantly fall in love with him.
Gosling and Shields initially bonded over their love of ghosts, monsters and zombies which is evident with the creepy tone of the few songs that have been released to the public so far. Every song on the album focuses on death and scary creatures that both members are fascinated. The sinister overtones are only enhanced by the use of the children’s choir from the Silverlake Conservatory of Music. A video circulated the internet months back featuring a track of the album entitled “In the Room Where You Sleep” that gave a taste of what was to come from this act. It was sparse, creepy and featured the choir of children dressed in Halloween costumes as Gosling lamented over a simple piano tune with basic drum beats played by Shields. The second song available to listen to on NPR.com “My Body’s a Zombie for You” continues to be eerie, yet somehow catchy and fun.
The process in which Dead Man’s Bones created their debut album was simply striving to keep the sound straightforward and pure. There are no electric guitars, they did not use click-tracks and they played all the instruments featured on the album (whether or not they could actually play these instruments.) They wanted to keep the album very low-fi and seemed to have achieved that desire as heard on few songs that have been made available. The most surprising and unexpected element of Dead Man’s Bones' sound is Gosling’s vocals. His voice has an old quality and is reminiscent of a 50s crooner, deep and warm similar to that of Roy Orbison. His vocal style, complimented by those of a children’s choir makes for an interesting and different sound not heard in any artists today.
Gosling and Shield’s may not be the most talented when it comes to playing, singing or writing songs, but that is not the point of their music. They wanted to create something pure that demonstrated what they enjoy. If the first two songs released are any indication, Dead Man’s Bones' debut record Never Let a Lack of Talent Get You Down celebrating all things that go bump in the night is sure to be enjoyed by audiences and critics. Gosling is one actor who won’t be mercilessly ridiculed for his decision to cross over to the world of music.
"In the Room Where You Sleep" off of
Never Let a Lack of Talent Get You Down
FOR FANS OF: Arcade Fire, Grizzly Bear, The White Stripes
THE SKINNY: Though Daisy lacks the innovation and musical dynamics of past releases, its deeper exploration of elements present in The Devil and God are Raging Inside Me make it a worthwhile listen.WEBSITE: http://fightoffyourdemons.com/
MYSPACE: http://www.myspace.com/brandnew
Brand New is a band known for its tremendous growth. The progression and maturity that accompany each new album far surpass what many bands could hope for in their entire careers. I think part of this success stems from the length of time that the band allots before releasing something new. They have time to grow together as a band, experiment with new sounds and ideas, as well as give thought to the direction they want to head in. After The Devil and God are Raging Inside Me forged a new path for the band that was so widely received and respected, most fans anxiously waited to see where the next album would venture.
For me, however, Daisy does not depart from the spirit of Devil and God all that much. While the familiar hints of Brand New remain -- the driving melodies, the incorporation of distorted, dissonant noises and recordings (in this album, they are primarily snippets of old church hymnal songs), and lyrics woven with irony and religious overtones -- there is still something that feels off. Maybe it's the abrupt parts of the opening song "Vices" where Lacey's voice seems more like a painful shrill, or maybe it's that none of the songs sound as polished or manifold as past tracks like "Limousine." Although it has taken me more than several listens to realize, it seems that the unsettling, disjointed vibe could in fact be what the band intended.
Notions of cynicism and jadedness appear repeatedly with religious imagery of irredeemable betrayal, judgment and loss of faith. The continuity of such themes suggests that the questions of faith and redemption loosely posed in The Devil and God are Raging Inside Me were reflective of a much deeper struggle. The final track, "Noro," concludes with the following: How am I ever going to know peace? // How will I ever see the light through the trees? // I want to burn down everything we've begun, I want to kill and eat my young. // Because I'm on my way to Hell. // Well I've tried. God knows that I've tried. These lyrics conveniently embody the album's overarching desire for closure and a disassociation from the past.
Where there was once growth, there is now a sense of stagnation and disillusionment. Though Daisy possesses many profound and thought-provoking moments, it's hard to step away from the album without feeling like it's the band's goodbye, or at least their resignation from the music scene for a good while. Given the complexity and variety of music Brand New has offered fans and listeners over the past years, I can only hope that this is not the case.
"Sink" off of Daisy:
"At The Bottom off of Daisy:
FAVORITE TRACK: "Sink, At The Bottom"
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"
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
THE SKINNY: Owen's latest release, New Leaves maintains what one would expect from a typical Owen record, but also adds new depth with the help of full-band arrangements
MYSPACE: http://myspace.com/mybandowen
TWITTER: http://twitter.com/mybandowen
PURCHASE: pre-order via Polyvinyl Records, available everywhere else 9/22
New Leaves officially takes its place as Mike Kinsella's fifth full studio album under the monicker Owen. Its release date is set for next Tuesday (9/22) but Polyvinyl Records has been taking pre-orders for quite some time now. They also began shipping out said pre-orders more than a week ago. Lucky for me my brother had planned ahead and ordered one in advance, as I am currently enjoying it.
The new album is flooded with all the familiar aspects typical of an Owen release: arpeggiated, repetitious guitar licks, personal lyrics, etc etc. What's not so typical, however, is the fact that nearly every track on the record is accompanied by full-band arrangements. Unique synthesizers, flourishing strings, piano and percussion help give new depth to Kinsella's tracks. This new found utilization of thicker composition, coupled with a slew of cryptic and allusive lyrics (most likely relating to Kinsella's new status of husband and father) make for one great record.
In addition, a new record also means new tour dates (including Philadelphia, Manhattan and Brooklyn). So check those out here if interested. Embedded above is a video for the record's single, "Good Friends, Bad Habits." Embedded below is another track off of the record, "Ugly On The Inside."
"Ugly On The Inside" off of New Leaves:
MYSPACE: http://myspace.com/mybandowen
TWITTER: http://twitter.com/mybandowen
PURCHASE: pre-order via Polyvinyl Records, available everywhere else 9/22
New Leaves officially takes its place as Mike Kinsella's fifth full studio album under the monicker Owen. Its release date is set for next Tuesday (9/22) but Polyvinyl Records has been taking pre-orders for quite some time now. They also began shipping out said pre-orders more than a week ago. Lucky for me my brother had planned ahead and ordered one in advance, as I am currently enjoying it.
The new album is flooded with all the familiar aspects typical of an Owen release: arpeggiated, repetitious guitar licks, personal lyrics, etc etc. What's not so typical, however, is the fact that nearly every track on the record is accompanied by full-band arrangements. Unique synthesizers, flourishing strings, piano and percussion help give new depth to Kinsella's tracks. This new found utilization of thicker composition, coupled with a slew of cryptic and allusive lyrics (most likely relating to Kinsella's new status of husband and father) make for one great record.
In addition, a new record also means new tour dates (including Philadelphia, Manhattan and Brooklyn). So check those out here if interested. Embedded above is a video for the record's single, "Good Friends, Bad Habits." Embedded below is another track off of the record, "Ugly On The Inside."
"Ugly On The Inside" off of New Leaves:
THE SKINNY: Volcano Choir, a meld of talents between Bon Iver's Justin Vernon and Collections of Colonies of Bees, is set to release a very experimental album entitled Unmap on Sept. 22 of this year through JagJaguwar records.MYSPACE: http://myspace.com/volcanochoir
Volcano Choir is a group fronted by the man behind Bon Iver. Justin Vernon has formed with the very creative men behind Collections of Colonies of Bees and together have made a new record entitled Unmap. For those of you who don't follow Vernon's career or know his sound, he is notorious for using a falsetto with his often southern and ambient acoustic guitar originals. With Volcano Choir, you'll find more of the same, but wrapped in a percussive and richer sound as prepared by the rest of this sextet.
As described by Vernon himself, the album is highly experimental and though he's the vocalist, there aren't many lyrics. Supporting this idea is that Bon Iver's "Woods" off Blood Bank EP can be found Unmap under the title "Still". The track as performed by Bon Iver is a purely auto-tuned, repetitive choral, that never fails to remind me of Imogen's "Hide and Seek" (though only because of the auto-tune gimmick), but here Volcano Choir applies some extra rhythm and ambience. My ear is telling me that they dressed up the pre-existing Bon Iver recording of "Woods", much to my disappointment, but at any rate it is cool to see a different take on a already beloved track.
Having only had this pre-release for a week now, it's hard to say how I really feel about it but my instincts say that Vernon has underplayed his real ability to compose and pattered into an overly experimental and self-indulgent 9-tracker that only has me looking forward to the real depth that I know can be expected on the next Bon Iver release. Speaking of which, it's already in the works.
"Island, IS" off of Unmap
THE SKINNY: Punch Brothers is the bluegrass group of the future rooted solidly in the past.WEBSITE: http://www.punchbrothers.com
MYSPACE: http://myspace.com/punchbrothers
TWITTER: http://twitter.com/punchbrothers
PURCHASE: Amazon
Chris Thile just seemed to understand me in high school. Thile (pronounced “feely” not “while”) was a mandolin virtuoso and member of the progressive bluegrass band Nickel Creek during that time. His instrument kept him fixed solidly in the middle of the musical continuum, never too new electronic and always striving for innovation within his genre. If that weren't enough to ensure my loyalty, his compositions over the years have established some serious geek cred in my mind. As a youth he wrote instrumentals inspired by the Star Wars: “Hyperdrive”, “A Night in Mos Eisley”, and perhaps my favorite “Alderaanian Melody”. He matured and by the time he was a member of Nickel Creek he had moved on to Tolkein, he even went so far as to name a solo album during this period Not All Who Wander Are Lost. In each song of the type I've mentioned he made the listener feel as if they were lost in the books or movies. When I purchase a new Chris Thile project I know to expect incredible musicianship and challenging subject material.
His latest album, as a member of the five piece bluegrass group Punch Brothers, continues his maturation in a profoundly melancholy direction. He may have discussed his 2004 divorce in some songs off his more recent solo albums, but I suspect that this album, Punch, is meant as the final word on the subject. There are good tracks at the beginning and end of the collection, but the focus was clearly placed on the four-movement bluegrass concerto/song cycle dominating its middle. “The Blind Leaving the Blind” is a massive musical exploration. Each movement approaches the ten minute mark, and when taken together they constitute a narrative of Thile's highs and lows during those troubled years. Soaring bluegrass instrumentals connect the sung material, the technical proficiency of which clearly rivals any chamber music. Two stories are told by the piece. Firstly is that of Thile's marriage and its ending. You hold on as the artist seesaws from anger to despair and finally acceptance, though it is clear that a far more jaded man remains at its end.
Running concurrently with this plot line is a rather refreshing theological discussion, which I admire for its ambivalence. Within the piece Thile clearly longs for either a firm faith in the divine or the confidence to declare himself a non-believer. In the end he cannot make a decision, and the final lines of the concerto have him declaring what he wished God would say to his people, namely that we are all his children and no one will be forsaken. This album is a step forward for the genre which pushes back the boundaries for bluegrass. All this time later is is comforting to see that an artist I was so in tune with having the same kinds of problems and insecurities while still leaving behind material for others to use in their own journeys. I look forward to many more years of music with Chris Thile, and the continuation of our processes of self-discovery.
"Punch Bowl" off of Punch
FAVORITE TRACK: The Blind Leaving the Blind- 4th Movement
FOR FANS OF: Nickel Creek, Allison Krauss, Béla Fleck
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 Slant's "The Makings of This House" is emotionally driven, progressive folk at its best. WEBSITE: http://www.theslantmusic.com/
MYSPACE: http://myspace.com/theslantmusic
PURCHASE: CDBaby
If you're looking for extreme vocal prowess and a sick organic groove then The Slant will be right up your alley. The band is a melting pot of typical folk instrumentation outlined with heavy hitting drums and a deep back beat that have continually had my head bobbing during my exploration of The Slant's "The Makings of This House". Some tracks on the album are a bit gypsy in nature which makes for some weird song transitions as you listen, though its not unpleasant by any means. The style variety is often strange, but I suppose I'd be complaining if every song sounded identical, wouldn't I?
My favorite track, "Stand Fast", is one of the band's very raw, pulsing, and transient grooves where you can't exactly make out what's going on in the background, but you do know its some sort of drum serving as a snare. The song grows and diminishes appropriately until finally a mandolin enters the sound stage and you're reminded that you're listening to The Slant and not an old Death Cab song. This track ends way too soon.
What must be stressed, most of all, is that the group has an uncurbing ability to make an intensely varied collection of music. As I listened to this frustratingly short and teasing album, I found myself repeatedly checking my media player to make sure "shuffle mode" was off. This isn't to say that the tracks are unrelated or don't fit well together, but I was simply so impressed at the tone and atmosphere the group created on each track because it's always so vastly different from the previous track. The Slant are a great group that serve as a reminder to the fact that originality is underplayed and seldom heard in music today.
FAVORITE TRACK: Stand Fast, Where the Seas Are Black
FOR FANS OF: Porcupine Tree, Sigur Ros, Death Cab for Cutie
THE SKINNY: Soapbox Army wields a sophisticated debut release, containing great production and an interesting array of unique songs that should appeal to the pop / indie / alternative rock crowd.WEBSITE: http://soapboxarmy.com
MYSPACE: http://myspace.com/soapboxarmy
PURCHASE: iTunes, CDBaby
Soapbox Army requires more than one listen to get to know at any length. I thought they were a solo acoustic act before listening to their self-titled album in full. It quickly became clear that their instrumentation was far more sophisticated than one guitar.
They're most commonly publicized track, "The Tower" reminds me of Death cab's Plans album. It has that Rhodes and pulsing, repetitive drum beat, which is incredibly addictive. Most of the instrumentation on the record is like this: Highly rythymic, cutting grooves by the band which is comprised of Dan Tucker (Guitar & Vox), Dustin Brayley (Rhythm Guitar, Backup Vox), Walt Kresa (Bass), Kevin Wolkober (Keys & Effects), Rick Torres (Drums). Each song's instrumentation is as hypnotizing as the last's, thanks to the incredible backing music which continually nods to some of Radiohead's stuff. Listen to "House on the Moon."
"House on the Moon" by Soapbox Army
Vocally, Dan tucker's singing isn't my favorite, though there are some beautiful tonal moments on the record. His melodies, however, are quite nice, scoring each song some character and listenability points. I get a heavy smack of Goo Goo Dolls from Tucker's tone, and "Sleepwalkers" on the record is a perfect example of it.
Mostly, this album is successful because of the very loved nature of it. The tracks sound cared for, not rushed, and accomplished. So, while there are pieces that don't appeal to me stylistically, I can take solace in that the group released a piece of art they put themselves into, making an otherwise non-fan an appreciator, nonetheless.
"The Tower" by Soapbox Army
FAVORITE TRACK: "House on the Moon"
FOR FANS OF:Goo Goo Dolls, Radiohead, Death Cab for Cutie
THE SKINNY: The very beginning of PFW was riddled with a few of my favorite groups which I stupidly wasted in the first month, whereat I soon realized I hadn't much else to write about. One of those early posts, Artisan, was a group responsible for some really slick folk-pop from the UK. Not having released anything in years, it was apparent they were probably on the outs. I recently tried getting in touch with a few of the individual members to see if they were still making music. One of them replied to me, to my delight, with news of an upcoming album release.WEBSITE: http://leeschofield.co.uk/
MYSPACE: http://www.myspace.com/leeschofieldmusic
Lee Schofield, one of Artisan's few excellent vocalists, has a solo project of his own. He's got one record out now (which includes an Artisan song performed live, which is actually very beautiful), which goes by the name From the Canopy EP. Needless to say it was nice to hear this guy's lovely tones in my headphones again, because with no exaggeration, this is some of my favorite stuff around.
The EP is four tracks long, housing three originals and an Artisan track. The songs aren't staggeringly brilliant by any means, but that's not where the draw is here. Schofield's melancholy disposition and finger-picking in front of those signature percussive trinkets are enough to keep me mesmerized from beginning to end. Do yourself a favor and check out Lee Schofield's From the Canopy EP: totally worth your time.
If you find you like it, Lee asks that you please contact him for a copy of the record, as it is not publicly available yet.
"Reasons to Leave" off of From the Canopy EP
FAVORITE TRACK: Reasons to Leave
FOR FANS OF: Iron & Wine, Artisan
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: Trevor Giuliani's recent record Subcontrario (In Stereo) is an honest and introspective look into Trevor's values and musical interest, spanning genres like garage & indie rock, folk, and almost progressive arrangements blossoming with dynamic, emotional changes.MYSPACE: http://myspace.com/trevorgiuliani
TWITTER: http://twitter.com/trevorgiuliani
FREE DOWNLOAD! Click Here
PURCHASE: Amazon
A first, hasty, listen to Trevor Giuliani's latest record might have you thinking about how it seems like popular indie music today has been infiltrated by that casual and lethargic folk sound that a lot of us are suckers for. This got me to thinking about how every single band I listen to these days (usually for pfw) is one of these modern folk singer / songwriters with excellent production. At this point, its pretty easy to tell the gems from the blehh.
Trevor Giuliani's debut album Subcontrario (in stereo) was released in late July of this year on Dovecote Records (home to Ed Harcourt, and Mason Proper if you're familiar) and has seen a good deal of approval. If you've been on Hype Machine recently then you know what I'm talking about.
Trevor's voice is a versatile tenor with decent range. His vocal tone is comparable to Andrew Bird, but in my opinion Trevor is more pleasant to listen to. It's easy to tell he's not looking to achieve any specific tone, but is singing the lyrics he's written, and letting them take shape however they do, naturally.
Most of Giuliani's lyrics are honest, somewhat apologetic, stories about life episodes which may or may not be fictional. In conjunction with this, Trevor speaks much of God and the Earth: many songs are very "green" in nature, which seems appropriate enough, considering the atmosphere Trevor's music and instrumentation stirs up. Everything just sounds right.
As an incentive to looking further into this guy, I suggest you think about your current music library. Why not add something that sounds pretty similar to what you're already listening to, but has smart arrangements, plenty of dynamic changes (both musical and emotional), and a boatload of depth. Yes, depth. Listen hard, and each song is decipherable. Enough hidden meanings, and overly poetic, self-indulgent songs that even the artist couldn't explain, right?
Trevor Giuliani's "Subcontrario (In Stereo)": Straight-forward singer/songwriter music that's earned its place in my listening cue. You know, instead of Pitchfork.com shoving it in there.
Whoops.
"Wasting Your Town" off of Subcontrario (In Stereo)
FAVORITE TRACK: Van Singing
FOR FANS OF: Andrew Bird, Nick Drake
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