Showing posts with label _Indie. Show all posts
Showing posts with label _Indie. Show all posts
THE SKINNY: Shaw is a down to earth, talented musician putting out some authentic, lo-fi, ambient electronic tracks.If you happened to catch our Honorable Mentions post for October, than you may already be familiar with Shaw. It's the one man, electronic project of Shaw Waters from San Francisco, California. I wanted to provide him with more than just an honorable mention because he's a talented dude making good music, without an inkling of an ego. After just a few exchanged emails, I could tell that Shaw is the type of musician that makes music for the sake of making music - and he does it quite well too.
If you're into any sort of ambient, electronic artists than you're more than likely to enjoy Shaw's sound. Cleverly written lyrics, catchy melodies and simple, well crafted electronic synths and beats are all embodied within Shaw's new EP Pretending We're Not Animals. The record, being released digitally and as a vinyl on New Years Day, consists of four tracks (one of which happens to be a cover of Devendra Banhart's "Hey Mama Wolf." If you shoot Shaw an email (via shawmakesmusic@gmail.com) anytime between now and the release of the record, he'll provide you with a link to download the entire thing for free, in its entirety. I highly suggest doing so.
"Pretending We're Not Animals" off of Pretending We're Not Animals:
"Lion In a Cage" off of Pretending We're Not Animals:
MYSPACE: http://myspace.com/shawmakesmusic
TWITTER: http://twitter.com/shawmakesmusic
FAVORITE TRACK: "Lion in a Cage" off of Pretending We're Not Animals
FOR FANS OF: ambient, electronic groups
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
Going along with the "nostalgic" feelings of Fall that Chris brought up last week, it motivated me to ponder on some of my own fall favorites. Sufjan Stevens undoubtedly falls near the very top of my nostalgic-fall-favorites list. I was introduced to his "Illinois" record in the fall semester of my first year of college in Manhattan. Nearly every time a Sufjan song comes on shuffle now, I picture myself wearing a hoodie and walking through the Union Square Farmer's Market on a chilly Saturday morning.
"Come on! Feel the Illinoise" off of Illinois:
"Come on! Feel the Illinoise" off of Illinois:
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
Being a longtime fan of Canadian duo Tegan & Sara, I was a bit disappointed when I realized that their newest record, Sainthood, had been released, and I had almost forgotten that they even existed. After hearing mixed reviews from friends on their reactions to the new album, I took a listen for myself. I still haven't gotten to spend an extraordinary amount of time with it, but my opinion is pretty similar to what I heard from others - a bit different than their norm, but definitely not in a bad way. The first single released from the record was "Hell." My favorite, however, is the last track on the album entitled "Someday," as I'm a sucker for gang vocals and T & S's signature overlapping vocal melodies.
"Someday" off of Sainthood:
"Someday" off of Sainthood:
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
THE SKINNY: I don't normally agree with the opinion of Pitchfork, but there have been a few exceptions and them liking The Antlers has been one of them. Hospice is a beautifully crafted, emotional record that you should give a listen to. Grab a pair of big headphones, curl up in bed and let the album play out in front of you.WEBSITE: http://www.antlersmusic.com
MYSPACE: http://www.myspace.com/theantlers
TWITTER: http://twitter.com/theantlers
PURCHASE: Amazon MP3, iTunes
I started this article with very different intentions. I have a few bands that I could write about and that I should write about. It has been months since I've posted anything. As I was listening to The Antlers, scrolling through the rest of my iTunes library, I knew what I needed to write about. The Antlers have been hogging my listening time for the past month, so if I'm coming out of my writing hibernation it should be to write about them. The Antlers are a three-piece band out of Brooklyn, N.Y. fronted by Peter Silberman. Silberman put out an EP by himself a few years ago before recruiting Michael Lerner and Darby Cicci to become The Antlers. They put out two EPs before recording their first full-length, Hospice. The album was recorded after Silberman finished a hibernation of his own. After moving to Brooklyn, he isolated himself for about two years.
It's not surprising that this record was made while Silberman was going through a hard time. It's one of the saddest albums I've heard in a while. You can tell just by the album name, Hospice, that this isn't something to listen to if you're looking for a pick-me-up. The album is a 10-track narrative telling the story of Sylvia, a terminally ill cancer patient with a lot of baggage. The album shows the frustration and fear that accompanies illness for the people dying and the loved ones who have to witness and prepare for that death. The music accompanies the story line using breathy tones, loud melodic choruses and distorted acoustic transitions. But what really carries Hospice is the story itself. If you are going to listen to the album I suggest getting your hands on some liner notes. The nine-minute track "Wake" is probably the most haunting song on the record as he sings, "It was easier to lock the doors and kill the phones than to show my skin. Because the hardest thing is never to repent for someone else, it's letting people in."
Hospice may not be an easy listen, and won't be for everyone, but there is something about this album that keeps me listening. It is an album that grew on me after a few tries, and the more I listen the more impressed with it I am.
"Bear" off of Hospice
FAVORITE TRACK: "Bear", "Wake", "Two"
I would argue that Fall is not only the prettiest season, but the most bizarre in terms of mental placement. Every Fall, I'm looking back while looking forward. It's nostalgic, but not really.
A certain song has been on repeat on my iTunes lately to support the paradox. It's called "Shampoo" by Pete Yorn & Scarlett Johansson. Give it a listen, it's terrific Fall music. Sad, hopeful, confused. All at once.
"Shampoo" off of Breakup
A certain song has been on repeat on my iTunes lately to support the paradox. It's called "Shampoo" by Pete Yorn & Scarlett Johansson. Give it a listen, it's terrific Fall music. Sad, hopeful, confused. All at once.
"Shampoo" off of Breakup
THE SKINNY: With an incredible live performance for a room of a handful of people, All the Day Holiday has forced me to add them to my favorite bands section on Facebook, of which just three bands reside.MYSPACE: http://myspace.com/allthedayholiday
TWITTER: http://twitter.com/atdh
PURCHASE: Amazon MP3, iTunes
All the Day Holiday, an ambient, indie pop/rock band from Cincinnati, Ohio, performed at North Star Bar in Philadelphia, Pa. last weekend to a crowd of maybe 12. Among the sparse audience was at least two photographers, friends of the band, the sound engineer, myself, a friend, and only a handful of fans. The stage was close and the sound was loud. Vocalist Daniel Simmons' was absolutely beaming as guitarist Nathan Frisch began their opening song "La Voyage," before the band exploded into full spectrum sound, and bobbed around the stage.
I was immediately stunnded as Simmons' airy vocal tone sat perfectly into the mix. Whatever intensity the producer managed to capture on the band's debut LP The Things We've Grown to Love, is just a glimmer in comparison to the driving vocal performance Simmons offers live. Each note was perfect and captivating, while the excessively high notes were pleasantly strained into an awesome sort of yell. Supporting this pitch and melodic tonality with rhythm was Mark Ventura, boasting a mullet, a myriad of captivating beats, and an awesome silver drumset with just a floor tom for extremities. His ability to focus on the groove and supply a (clearly trained) pulse is unparalleled in the scene today. Like the other members of ATDH, Ventura is no hack. He knows his craft and is huge reason why the band is so successful.
Frisch spent the entirety of the short-lived show on the highest registers of the fretboard, displaying his prowess not for visual effect but to achieve a distinct and truly awesome tone. Delay is a major component to the guitar sound, for both guitarists, and though its used literally constantly, it's never to excess. Because of this very ambient guitar styling, bass was a forefront on the stage and bassist David Roller did it right. Along with his signature body bobbing came a really delicious fuzz and a fat, deep undertone that sat really well with Ventura's kick drum. The band was tight and spent every minute of the show hitting luscious chords above a rhythm section that puts others in the genre to shame.
The photographers, and handful of heavily dressed and bearded fellas in front of the stage stood in awe while the band blew us all away. Some of them mouthed words and all of us held our fingers around our arms because it was freezing. There was a feeling of art is being made here while photos were shot from underneath Ventura's snare, revealing his sweating face; the band's friends mouthed every word and the sound guy tweaked knobs making for the perfect mix and I looked around and still - there were less than a dozen of us. All the Day Holiday, a still expanding and evolving band, put on a show for 10 of us as if we were 1,000. This humble attitude and appreciation for the life they live came through clearly and breathed a breath of fresh air into the stagnant, drafty bar. ATDH put on one of the best live shows I've ever seen.
THE SKINNY: 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: 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: A catchy indie-pop band that knows how to put energy into its songs while maintaining a calm atmosphere.WEBSITE: thelovelyfeathers.com
MYSPACE: myspace.com/thelovelyfeathers
TWITTER: twitter.com/lovelyfeathers
PURCHASE: Amazon MP3, iTunes
The Lovely Feathers is a group out of Canada that got its big break by getting signed to Equator Records. The record label set them up on a tour with Metric, one of the projects associated with Broken Social Scene. Before getting signed to the label the band is now on, Sparks Music, they managed to share the stage with acts such as Dr. Dog, Tokyo Police Club, and The Most Serene Republic (a band talked about frequently here on PFW).
Aside from the impressive line-up of bands that The Lovely Feathers has shared the stage with, they put out some catchy tunes. They recently released a new album entitled Fantasy of the Lot, which has a very indie-folk, almost British-Pop feel to it (if there is such a thing, still). They manage to do a lot with simple guitar melodies coupled with laid back drum beats and soothing vocals. At the moment, the band is following up its release of Fantasy of the Lot with an East Coast tour in the US that you can look further into on their Myspace page.
"Lowiza" off of Fantasy of the Lot
FAVORITE TRACK: "Gifted Donald"
FOR FANS OF: Los Campesinos!, The New Pornographers, New London Fire
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"
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
MYSPACE: http://myspace.com/theuglyclubnjTWITTER: http://twitter.com/theuglyclub
For those of you who are frequent visitors of PFW, you might recall us briefly mentioning this group last spring as an honorable mention for April 09. The Ugly Club lands close to the heart here at PFW for two reasons. Reason number one: They happen to be (at least partially) from South Plainfield, N.J. Reason number two: They happen to be pumping out some very creative, original and fun music.
Founded by Ryan Egan, Taylor Mandel, Ryan Mcnulty and Michael Sue-Poi, the group prides themselves in forming under an "anything goes" mentality that has resulted in their unique sound. The founding members, accompanied by a handful of other artists (all of which are listed on their myspace page) hail from a myriad of New Jersey groups such as Socratic, The Command Radio, Beale Street Love and The Talking Machine (among others). What sets them apart, however, is the fact that they're not trying to recreate what they've individually managed to produce in the past. They come across as a group of musicians genuinely putting aside any stylistic drama and focusing on what brought them together in the first place: the music.
The Ugly Club has a handful of shows lined up across New Jersey, New York and Philadelphia. Feel free to check those dates out on their myspace page. From what I can understand, they have yet to physically put out material for sale but have built up an impressive collection of tracks on their aforementioned myspace page.
"Step to Me" off of Unreleased
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.
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:
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