Showing posts with label _Passive. Show all posts
Showing posts with label _Passive. Show all posts
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
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: 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: 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: A generally easy listening eclectic pop band with emphasis on vocals and lyrics.WEBSITE: http://www.canastamusic.com/
MYSPACE: http://myspace.com/canasta
PURCHASE: Amazon MP3
Canasta is a six-piece pop group out of Chicago with a sound varying between rollicking, guitar-driven anthems and bouncy, horn-spiked ditties. The band keeps an ever mindful focus on sophisticated songwriting, dramatic dynamics and meticulous orchestration, according to the band’s official website. Canasta have been together since 2002 and in 2005 they released a full-length album titled We Were Set Up, which garnered critical acclaim from more than 70 different publications including Popmatters, The Onion, and Chicago Sun-Times.
Instrumentation on We Were Set Up includes guitar, violin, keyboard, percussion, bass, trombone and piano. The band has been likened to Arcade Fire, Belle & Sebastian, The Decemberists, The New Pornographers, Sufjan Stevens and Wilco. Wilco holds my vote for a roughly comparable sound, though I cannot say I am very familiar with the first four bands listed.
"Head Hurts Better" off of We Were Set Up
FAVORITE TRACK: "Microphone Song", "Head Hurts Better"
FOR FANS OF: Wilco and Sufjan Stevens
THE SKINNY: London native quartet Noah And The Whale's latest release is an album set to film, both of which are entitled The First Days of Spring.WEBSITE: http://noahandthewhale.com
MYSPACE: http://myspace.com/noahandthewhale
FREE MP3: Click Here
Every once in a while, an artist of one field will take interest in another. An actor will start a band. A composer will paint his mistress a valentine, or in some cases, an artist will materialize a life-long love for another artform. Whatever the case may be, the final product is often something with great depth and ambition, be it simple or brilliant. For some, bridging the gap between sight and sound is a necessity because their art cannot be limited to just music and vise versa. Noah And The Whale have set to video their latest album release; a soundtrack and stand-alone record entitled The First Days of Spring which will accompany a film of the same name, both of which are primarily the brainchild of Charlie Fink, Noah's frontman.
Upon first listen of The First Days of Spring, it is apparent that the album is quirky and plays a bit like a movie score. Having not seen the accompanying film, however, I can tell you that the album plays smoothly and beautifully all by itself, allowing the nuances of these eccentricities to punctuate the music just as it would the film. The album is extremely passive, on the whole (especially from the beginning), and leaves plenty of room for a visual aesthetic as it slowly lulls you into more upbeat tracks like "Love Of An Orchestra," one of two of the album's noted singles, which begins with what sounds like a professional choir paving the way for a very Sufjan Stevens-esque track full of unison choir lines and an upbeat, highly percussive groove brimming with personality and an addictive vocal melody. Following this swell is the second of two instrumentals on the record, justly named "Instrumental II," which is a simple and lovely reverberated solo guitar melody, providing yet another texture to an album that is all variety.
The second half of The First Days of Spring is entirely more captivating than the slow but effective first half. It's this contrast, however, that brings the album together as both a soundtrack and a record, as opposed to an unrelated collection of music. This effect is nothing short of brilliant, and furthermore I'm nothing short of very impressed at how these young Londoners have quite literally composed an exceptionally cohesive and mature sophomore (yes, only their second) release. As the album comes to a close, tracks like "Slow Glass" provide the period to the end of the sentence. The atmosphere painted by the track speaks finale without any climactic finish, but with an unambiguous closing mood. Following this is the album's last track entitled "My Door Is Always Open" which provides one of the most haunting moments on the record as the band joins in unison atop a fresh folk guitar strum: "I love with my heart, and I hold it in my hands, but ya' know my heart's not yours."
As is with most any recorded work, there will be good and bad moments which severely dictate how often we listen, what mood we're in when we listen, and why we listen to a record. Noah And The Whale's The First Days of Spring, however, is not a run of the mill record, but quite literally a soundtrack; a collection of music with highs and lows that contribute toward a bigger picture. And, though this isn't an entirely new idea, Noah And The Whale certainly lie among a small minority of music makers that have done it well.
FAVORITE TRACK: "Love of an Orchestra"
FOR FANS OF: Volcano Choir, Sufjan Stevens
THE SKINNY: Sherwood's Qu is an excellent example of catchy, well-produced, simple, and safe indie-pop that will appeal to fans of the genre, but like most things, isn't for everyone.MYSPACE: http://myspace.com/sherwood
TWITTER: http://twitter.com/realsherwood
YOUTUBE: http://youtube.com/sherwoodband
PURCHASE: http://www.sherwoodmusic.net/
Sherwood have returned with their fourth release, Qu; a bold statement toward a general maintenance of the band's youth despite its veteran status in the pop / rock world. Unlike most indie-pop bands that tend to slow down, "mature" musically, and eventually disband after a few releases, Sherwood have successfully grabbed hold of their career as a band and punctuated their already popular catalog with what will no doubt be the band's quintessential record.
Qu is musically similar to Relient K's more recent work with a heavier focus on audience supported anthems. Everything on the record is fully conducive to loud sing-alongs, with the exception of two more acoustic-driven ballads entitled "Worn" and the album's closer, "No Better". Nate Henry, the band's lead vocalist and bassist, sings confidently while behind him an effective, albeit slightly too cute, band harmonizes every catchy hook making for a very ear friendly experience. The album isn't particularly deep or complex, by any means, but the strength of Qu, for me, lies in the overall pleasantness of each track.
The pretty nature of the music here, however, might not be enough to delight fans of more aggressive stuff.Qu is definitely a very glossy, pretty record that probably won't change the music world. The instrumentation is simple and well-executed, but not risky, raw, or spontaneous. This play-it-safe sound is acceptable and doesn't need an explanation, especially from a band with a great and clearly content following. So, if you're like me and hard to please and often turned off by very poppy stuff, you probably won't find Qu very satisfying. If you're not like me and you like catchy melodies, music you can blast and sing along to with friends, and bands that are committed to delivering their fans exactly what they want, than Sherwood's Qu is probably just what the doctor ordered.
FAVORITE TRACK: "Not Gonna Love," "Free"
FOR FANS OF: Relient K,Waking Ashland
THE SKINNY: Attention all reggae fans: I've had the good fortune of coming across a band from Rochester, NY which goes by the name Giant Panda Guerilla Dub Squad. GPGDS is an arsenal of six musicians shedding true Roots Reggae and experimental Dub that will make you bob your head until it falls off.MYSPACE: http://myspace.com/giantpandadub
TWITTER: http://twitter.com/giantpandadub
PURCHASE: iTunes
MERCH: District Lines
I had the pleasure of catching these guys at a gig in NYC two years ago and it was the best live reggae experience I’ve ever had. The slow jam grooves were so heavy it literally put me in a trance for the entire show. The most unique aspect of the group is the vocals which are both catchy and rhythmic. The strong, rhythmic lead vocals are fronted by Matthew O’Brian while bassist James Searl fills out the sound with his constant and effective vocal harmonies. The percussive groove is so deep that drummer Christoper O’Brian will have you drowning in his pocket from song start to finish. A Hammond B3 Organ is played by Aaron Lipp while Rachel Orke glides through changes on a Rhodes. Finally, Dylan Savage handles tripped out lead guitar and vocals, finalizing a powerfully talented sextet trained in the arts of dub.
GPGDS has played with everyone from Steel Pulse to G Love & Special Sauce. They are true road dogs and never stop playing. My favorite track, "Foundation," has a slippery groove, delayed vocals, and guitar that sucks you in hard. This song, along with their (mostly live) catalog represents love, creation, and great music, and this is revealed in every note. These guys are the reggae movement for the new era.
FAVORITE TRACK: "Foundation", "International Mother"
FOR FANS OF: Reggae, Funk, Dub
THE SKINNY: 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: 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: The Black Seeds' latest record is a quintessential reggae album with plenty of groove to appeal to any fan of the genre.WEBSITE: http://SITE.com
MYSPACE: http://www.myspace.com/theblackseeds
TWITTER: http://twitter.com/TheBlackSeeds
PURCHASE: Amazon
The Black Seeds have hit a giant aesthetic nerve with their new album Solid Ground. It is a brilliant mix of Reggae, Dub, Funk, and Soul. The feel good lyrics with the tender rhythmic devices is a great balance. Every track delivers something special throughout the album. You’ll be listening to slow dub reggae one track and then be thrown into some deep pocket James Brown funk on the next one. The album mixes genres back and forth as mentioned, but what really binds the album together for me is the heavy brass harmonies. The band does reggae perfectly and then switches up on the lag beat Funk. Also, you can hear influences from the Roots, Sublime, and my favorite funk group called Lettuce. The bari-sax is so heavy and solid under the rhythms.
My favorite track is "Love Is a Radiation". The reggae groove, lyrical phrasing, and percussion are everything I look for in a great reggae track. The vocal harmonies answering after the main leads put the lyrics straight to your head. This is where the brass shines by playing scarcely, but at the most critical build up times. Funk, Reggae, and Soul listeners MUST give a listen to Solid Ground by The Black Seeds.
"Slingshot" off of Solid Ground
FAVORITE TRACK: "Love Is A Radiation"
FOR FANS OF: Lettuce, James Brown, The Roots, Sublime
MYSPACE: http://myspace.com/andreabelangermusicYOUTUBE: http://www.youtube.com/user/ABelangerMusic
Every month the team here at PFW toils over who most deserves a month long dedicated post that explores an artist's background, passion, expertise, and repertoire of music. Truth be told, each month proves more difficult than the last as submittees either re-submit or spam us which nobody likes, of course. With that, finding a gem in a pile of dirt is all the more refreshing, and this month's feature is the definition of that word. Andrea Belanger stood out like a sore thumb and certainly as you listen to the beautiful, melancholy tone of this young woman's voice, you'll be struck the same.
For us, the ideal feautre is an artist who's beaming with potential and Andrea should be the poster child for tomorrow's quintessential folk vocalist. A student at the prestigious Berklee College of Music, in Boston MA (former college of greats like John Mayer, Melissa Etheridge, Susan Tedeschi, and John Scofield among of slew of other musical monsters.), Andrea isn't far from home, hailing from Fall River of the same stage. Belanger lists Elliott Smith, Ryan Adams, Neutral Milk Hotel, and Bon Iver (whom she resembles most, to my ears) as influences and the evidence is there in conjunction with an originality that's all her own. Andrea's voice, while wholly folk through and through, can be the bridge listeners need to make the genre gap. Her voice's undeniable ability to hold the attention of listeners is evident not only on recordings but on her impressive resume.
Andrea has shared the stage with such acts as The Greencards and The Wood Brothers, a testament to her ability and ambition. What's most apparent on Andrea's recordings is a sense of sorrow on both 'happy' and 'sad' songs. The ability to convey that emotion, almost as a sub-layer to each song's true atmosphere, is an amazing look into the personality and character of Belanger. Her music is honest and appears to be so out of her own hands, adding another layer of quality to her performance. It's that same nuance and sheer ability to sing well that has Andrea Belanger on the road to the success. She is the very model of an up-and-coming artist that has me excited to see where her voice and ambition will take her in this industry.
Andrea is in the studio currently, working on her forthcoming and first real release entitled: "My Brain is a Storm". The following tracks are an exclusive preview of that record, and aren't even out of production yet.
"Just Don't Leave Me"
"That You'd Forgotten"
FAVORITE TRACK: "Vegetable Song"
FOR FANS OF: Bon Iver
Andrea covering Nirvana's
"Jesus Don't Want Me For A Sunbeam"
THE SKINNY: Jess Ray And The Rag Tag Army have released a self-titled LP that has me wondering just how soon a public audience will latch onto Ray's beautiful voice.WEBSITE: http://jessraymusic.com
MYSPACE: http://myspace.com/hearjessray
TWITTER: http://twitter.com/jessraymusic
Jess Ray And The Rag Tag Army have absolutely seized my ears and I think any self respecting music lover will find the same beauty in Ray's voice and the band's simple intensity. Ray's Christian roots and spiritual lyrics carry her music to an emotional high and suspend it from song start to end. That, coupled with warm guitars and a steady groove make listening to the group's recent self-titled release as easy to listen to as Copeland dipped in melted chocolate.
The Rag Tag Army is essentially a separate entity from Jess Ray, but the music makers join forces both live and on this record to form what is in-arguably a very pleasant playing band. Ray is responsible for songwriting and on tracks like "Truth" it's evident there is an emphasis on creativity and tonal depth as the band launches into unison vocals, group percussion, and finally an incidental chord change that will keep you on your toes.
Lyrically, Ray brings familiar Contemporary Christian to the stage but does so with some unique, personal variation that could land her a spot on either indie and major radio. It's Jess Ray's melodies that differentiate her from the pop acts on those very same major radio stations. Simple and insatiably catchy melodies that won't leave your head (especially tracks like "One Name") are breaching the rim of this album. Ray's warm and rather low voice with a surprisingly high range makes every line of prose pop with love. I must have played "One Name" six times since I received the album this morning. Take a moment to listen to a few tracks and maybe you'll be infected with the same beautiful sounds that I've had the pleasure of writing about here.
"One Name" off of Self-Titled
WEBSITE: http://dejhamusic.comMYSPACE: http://myspace.com/dejhamusic
PURCHASE: Direct
July 28 of this past Summer marked the date of Dejha Colantuono's first solo album release. Tea & Vodka not only showcases the vocalists airy alto, but boasts production from Matt Bayles. Bayles' back-catalog includes work with Pearl Jam, Mastodon, and Isis. From the get go, listening and reviewing was pretty effortless because the sound and mix of the album are incredibly professional.
Tea & Vodka is primarily a dark pop/rock album. Instrumentation includes some digital effects and synth and garage-type guitars rocking on simple, over-driven riffs. My only disappointment with Dejha's first studio effort is the sometimes boring instrumentals. The guitar parts are rather repetitive and don't catch my ear to much length. Contrary to this is the album's drums, performed primarily by Matt Chamberlain whom livens up the sound stage with plenty of percussive command. Every song has a great groove and, despite my beef with some of the melodic instruments, stays interesting in both the beat and vocal departments.
Dejha's voice is the dry, warm, tube amp equivalent to the American pop scene's solid-state vocal tone. Melodies on the record aren't intricate or too ambitious but Dejha will hit some pretty dissonance from time to time to keep things interesting. It's my feeling that the melodies and notes are almost inconsequential to the tone of her voice. Dejha's texture and vocal personality are what make Tea & Vodka hip and original.
Colantuono is a vocalist who is, to my surprise, rather well known and respected by music professionals already. It seems the only other next step, oddly enough, is to get her new album Tea & Vodka heard by the public masses.
"Color Blue" off of Tea & Vodka
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: Think Postal Service without the aggression, Gibbard, and orchestration, plus your favorite pop singer.WEBSITE: http://owlcitymusic.com
MYSPACE: http://myspace.com/owlcity
TWITTER: http://twitter.com/owlcity
PURCHASE: Amazon MP3
VIDEO: Fireflies
Just over two years ago, Adam Young began creating music under the name "Owl City." He went on to release two albums independently until early 2009 when he was signed to Universal Republic Records. Owl City's music is simple, wholly electronic, very bleepy, and just straight up pretty.
With a play count in the multi-millions on Myspace, it was evident that Owl City was going places. Young's un-labored vocals are clearly what make Ocean Eyes (his biggest and most recent release to date) so popular. While I find the music to be slightly generic and a bit translucent, it's impossible to deny Young's ability to make a lasting imprint on your head. I happened to catch their single "Fireflies" on a radio station while on the way to see a classical guitar performance this week, and was enjoying the indulgent and lush melodies. I'm not allowed to post any mp3's, but I'm sure you'll have no trouble listening if that's your aim: Owl City is everywhere and still growing.
Upcoming September Tour Dates in our Area
If you don't live on the east coast,
check out their tour dates on myspace
15th Bowery Ballroom New York, NY
17th School of Rock S. Hackensack, NJ
18th Paradise Boston, MA
19th The Note West Chester, PA
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
Subscribe to:
Posts (Atom)
