May 2014 – Audiofemme

VIDEO REVIEW: Sean Nicholas Savage’s “The Rat”

If ever in search of a genuine weirdo, look no further than Montreal’s Sean Nicholas Savage. In conjunction with the release of his 11^th studio album Bermuda Waterfall via Arbutus Records, Savage paired up with director Angus Borsos and dropped an eccentric little music video for his song “The Rat.”

In my brief history of listening to Savage, I’ve learned this: to hear him is to love him; to watch him is to ignite an obsession.

The black and white video opens with Sean in a corpse-like pose, weak light flickering on his bare chest and the roar of invisible surf scoring the image. Cut to a split screen of the wide-eyed man himself staring past the camera’s lens, his moniker in bold to the left of him. One would expect a washed-out and dreary ballad from a visual such as this, and yet thumping piano greets the ear instead. I’m hearing more Hall and Oates in this track than the somber dream pop I was anticipating.

A muffled voice croons that ubiquitous line of nearly every eighties pop song: Yeah, yeah, yeah, yeah, yeah!

Our eyes finally settle on a direct shot of an alleyway resting between cement walls. Two partial orbs of light illuminate each structure with clinical brightness. The whole scene is as comforting as a coatless winter stroll through The Eastern Bloc. Savage, wearing only a drab pair of drawstring pants, stumbles between the concrete slabs with sloppy flamboyance; his movements teeter between gestures and dancing in the Morrissey tradition of physical vagueness. In fact my first viewing of “The Rat” immediately reminded me of Moz’s 1992 music video for “Tomorrow,” and I can’t imagine Savage has not been significantly influenced by The Smiths front man. He exudes the same boyish magnetism and ambiguous sexuality. His physique is likewise twinkish and emaciated, lending him an appearance falling somewhere between cover boy and malnourished prisoner.

The upbeat melody of the song is at conflict with not only the visual setting of the video, but also Savage’s lyrical content, able to simultaneously evoke sweet longing and bitter sarcasm. His performance in “The Rat” is at once bestial and soft, grotesque and playful. At one point he scales the two walls like a feral little creature and snarls directly at the camera like a belligerent chimp. I guess at this point I’ve narrowly escaped a pun including his last name.

“The Rat” is nothing sensational or groundbreaking in the realm of videography, but its perfect simplicity makes narrative virtually needless. The majority of it is shot in one take and comes off as entirely unrehearsed. Savage appears to be without any apprehension or self-consciousness; there is no forethought, no Ego, just Id. He is aware of the camera but in the same way someone is aware of his own reflection when they dance in front of a mirror. This kind of candid clumsiness is endearing and refreshing from an artist in his twenties; he’s not acting, he’s not trying, he’s just being.

And what a damn fine way to be.

TRACK REVIEW: Prinze George “Make me”

If you’ve been getting bored by listening to the same playlist on repeat, consider refreshing it with Prinze George’s newest: “Make Me,” an extremely satisfying and likable offering from the Brooklyn-based quartet who brought you “Victor” back in January. Within the first seconds of the dreamy intro, you’ll be captivated by Naomi Almquist’s airy vocals wafting over a dreamy synth intro, knowing it’s the start of something good.

Beginning with soft whispering repetition, the song sets off with subtle flirtation, but as it progresses, the mood (and Almquist’s delivery) shifts into something much more assertive, the longing in her voice at full tilt over the breezy and sweet production. The simplicity of its structure belies its lyrical complexity; at first blush the song’s narrative is rooted in romantic desire, but a careful listen reveals that it’s not so much about crushing hard as it is about being exhausted by said crush, and in a sick, stubborn way, finding pleasure in having it go unrequited.

“Make Me” is perhaps the foursome’s most straightforward and accessible track, but that’s not to say it’s dull. Their previous singles, “Victor” and “This Time,” while rooted in a pop sensibility, are more uptempo, aggressive, and dramatic, with dynamic, interchanging intensity. “Make Me” sees Prinze George making a foray into an almost bubblegum territory, but this new direction seems to be a good one. The sublime vocals and ethereal electro-pop harmony make it a light-hearted, summery tune. There are no big surprises, or crazy beat drops – just a relaxing, effervescent melody buoyed by playful vocals and sweeping synth textures that emphasize Almquist’s patient provocations. What she’s yearning for is up to the listener’s imagination, but the track is enough to make us ditch those tired playlists for good.

Visit the band’s Facebook page for a free download of the song. And if you’re in Brooklyn, check out their upcoming show at Brooklyn Bowl on 6/1, which is free with RSVP.

LIVE REVIEW: Yoni Wolf & Serengeti in Santa Cruz

Best known as the lead singer for the emotionally evocative, genre-defying project WHY?, Yoni Wolf’s musical journey is as long and storied as his lyrically emotive catalogue. Beginning with Apogee, a live improvisational group formed with college acquaintances Doseone, Mr. Dibbs, and his brother, Josiah Wolf, Yoni cemented relationships with collaborative partners that would last for years as those partnerships evolved. With Doseone, he founded Greenthink, which became cLOUDDEAD when the duo enlisted producer Odd Nosdom. The three of them would partner in founding Los Angeles-based record label Anticon, which, as its website so eloquently states, “…stands as much for radical hip-hop as it does for pioneering electronic music, left-field rock and outsider pop.”

Most recently though, Yoni has been busy hosting a weekly podcast called The Wandering Wolf, in which he interviews musician friends and alt-lit writers and sometimes, even his own mother. Last month he put out a mixtape called Old Dope (Rap Tape) that revisits material spanning his entire career. As a long-time Anticon devotee, and a particularly avid a WHY? fanatic, I immediately jumped on the opportunity to be a part of the “street team” he enlisted via Twitter to help promote the solo tour he planned in support of the mixtape, specifically for his stop at a well-known Santa Cruz venue The Crepe Place. The tour would feature both Yoni and rapper Serengeti, another incredible artist on Anticon’s roster.

Leading up to the show, I decorated my quaint, little Santa Cruz with promo posters, recalling tender moments with my tenth-grade crush who introduced me to WHY? via “These Few Presidents” from 2008 album Alopecia. But it was Yoni who won me over when I realized his background consisted of spoken word, drumming, and freestyle rap. Lyrical lines like “even though I haven’t seen you in years / yours is a funeral I’d fly to from anywhere” struck me as both heartbreaking and heartwarming, and his voice, which had a very specific gritty yet soothing timbre, felt wholly original. Paired with rhythmically challenging beats that registered right in the pit of my stomach, Yoni’s genius musical compositions really had the power to bring on some serious feels. Over the years, Yoni has amassed a rather rabid following, and I strongly believe that he truly moves those who connect with his music because he allows himself to be incredibly vulnerable and honest. Many of his songs address his most intimate experiences dealing with Crohn’s disease, somehow making his trials with it seem universal – those dark thoughts that we all have, but are not quite sure how to articulate.

Now, I’ve seen WHY? a handful of times (and Serengeti once at the Echoplex in Los Angeles), so I was aware of their perfectly enthusiastic on-stage dynamics. But I really had no idea what to expect from a Yoni Wolf solo show. On May 17th, I headed to The Crepe Place, a small, intimate, and warm venue, feeling quite special since my dedicated efforts to drum up interest in the Santa Cruz set had landed me a spot on the guest list. Yoni and Serengeti casually chatted with fans by the merch table, the energy in the space mainly chill, but run through with a current of excitement.

Serengeti took to the low wooden stage, separated from the audience only by speaker monitors, and casually pressed play on his old-school iPod, proceeding to rap over his own instrumental tracks, many of which were produced by Odd Nosdam. He was a perfect combination of childish and classy as he moved to those familiar rhythms like he couldn’t control his bodily impulses, all the while sipping on a nice glass of red wine. I was fully consumed (in the best way) by his lyrical genius and practically preternatural sense of rhythm seemingly informed by improvised dance or even free jazz. The crowd’s head bobs and body sways made it clear that they were as enthralled by Serengeti as I was. His set featured some popular tracks like “Bang Em” from The Kenny Dennis LP, as well as “The Whip” from Family & Friends. Serengeti displayed a keen understanding of how to use his underlying instrumentals to create an undeniable, infectious groove, bouncing his vocal style on that foundation by manipulating his pronunciation of words and exaggerating certain verbal accents.

After Serengeti’s performance, Yoni chose to play The Dirty Projectors’ 2012 record “Swing Lo Magellan,” a move that somehow created the most subtle and perfect transition between their two sets. As it turned out, Yoni’s performance was, in many ways, its own kind of live mixtape. One instrumental track played continuously as he gave a small bit of context before each song, placing each solidly in a timeline of his vibrant musical history. He included songs from his days with cLOUDDEAD as well as many WHY? tracks, with beats remixed by Yoni himself, as well as the likes of Boards of Canada, DNTEL, and of course, old friend Odd Nosdom. Although the set was simply Yoni alongside his computer, he has the presence and comfort on stage to create the most beautiful, thought-provoking and immersive environment.

His outrageously weird and wonderful dance moves were punctuated by intimate interactions with the audience. When someone asked where 2003 WHY? CDr Almost Live From Anna’s Cabin was recorded, Yoni responded with kindly humor, “It was recorded in Anna, my ex-girlfriend’s, cabin. . .that was an easy question.” I had to wonder if I was dreaming when I heard him interweave my name into one of his songs, as if to thank me for helping to promote the show. Being in the front row along with an eclectic group of fans, the energy was undeniably perfect. But it wasn’t just the high density of hardcore Anticon zealots like myself; undeniably, the vibe was mostly due to the mind-blowing, stomach dropping perfection resulting from both Serengeti and Yoni’s deliverance of their music. This is how you create community, build a fanbase, and give them something special to remember – by representing your truest, most authentic self.

FEMME UNFILTERED: Childbirth

Twice a month, AudioFemme profiles artists both emerging and established, who, in this industry, must rebel against misogynist cultural mores. Through their music they express the attendant hurdles and adversities (vis-a-vis the entertainment industry and beyond) propagated by those mores. For our fifth installment, Rebecca Kunin profiles Childbirth, a Seattle based punk supergroup that pokes fun at patriarchy with sarcastic, tongue and cheek and clever lyrics.

Meet Childbirth, the newest punk supergroup on the Seattle music scene. Julia Shapiro (vocals, guitar), Stacy Peck (drums) and Bree McKenna (vocals, bass) of Chastity Belt, Pony Time and Tacocat respectively decided to join forces and create Childbirth, a punk band that combines bellowing vocals, infectious guitar hooks and heavy drumming with intelligent, satirical and often hilarious lyrics.

On January 7th, Childbirth released their first album, It’s a Girl!. Its 10 punchy tracks (“Childbirth,” “I Only Fucked You as a Joke,” Sister Wives,” “Sweet Pea,” “Crossbitch,” “How Do Girls Even Do It?,” “Marination Station,” “Cowling at the Moon,” “Will You Be My Mom?,” and “Menopause”) are catchy, tongue and cheek, and enjoyable to all lovers of punk rock.

Whether Shapiro, McKenna and Peck are singing about sex, menopause, or insane ex-astronauts, sarcasm is the common theme stringing the album together. Shapiro, McKenna and Peck have mastered their own specific brand of just not giving a fuck. Instead of criticizing social patriarchy in their music, they make fun of it. In “Sister Wives,” Shapiro bellows, I am first wife, I will never be reassigned. In “How Do Girls Even Do It?” McKenna shouts, I don’t get it, I don’t understand, which one of you’s the man? In “Menopause” Shapiro sings, I’m going through menopause, I’m just a lady with saggy tits, is this it?

If you are a twenty something female, then you are probably aware of having been categorized at some point or another. Childbirth’s music video for “How Do Girls Even do it? perfectly articulates this. In the music video Childbirth is being interviewed on the ins and outs (no pun intended) of woman on woman intercourse. In the video McKenna assumes the role of the “cold bitch” (queer when it suits her), Shapiro plays the “cool slut” (straight for now), and Peck plays the “cool mom” (lesbo). Shapiro, McKenna and Peck may be joking, but they are actually saying fuck you to everyone who has put them in these categories, while at the same time illuminating how ridiculous and constricting these stereotypes actually are.

“Marination Station” might be my favorite track on the album. Remember Lisa Nowak? She’s that astronaut who went crazy and drove from Houston to Orlando wearing an adult diaper a couple years back. Well, “Marination Station” is probably the only song ever written about the infamous ex-astronaut. She’s a disgrace to all women in space. This line is repeated throughout “Marination Station.” This line, or something like it, was exhausted during the media coverage of this bizarre event. As there are not that many female astronauts out there, if one of them goes batshit crazy and poops her pants across state lines then she is obviously disgracing all female astronauts, right? Obviously this mentality is outrageous, and Shapiro, McKenna and Peck thought so as well.

Shapiro, McKenna and Peck have mastered satire perfectly on It’s a Girl! From beginning to end, It’s a Girl! subtly pokes fun at social patriarchy, and everything that comes along with it.

<a href="http://childbirth.bandcamp.com/album/its-a-girl">It’s a Girl! by CHILDBIRTH</a>

ALBUM REVIEW: Guy Blakeslee “Ophelia Slowly”

Whether performing with a trio or a quartet or semi-solo, whether in full psychedelic mode or reinterpreting the blues, Guy Blakeslee has a fantastic knack for making music that sounds haunted and doomed. June 10th marks the release of Ophelia Slowly, which, though not Blakeslee’s first solo release, is the first to come out under his real name instead of some permutation of the stage name Entrance. It hasn’t been long since Blakeslee released a record–The Entrance Band’s Face The Sun came out last November–and both that album and Ophelia Slowly chronicle a journey out of darkness and tumult, and into the proverbial light. Blakeslee has a history of substance abuse and was struggling to get clean when he wrote many of the songs on both these albums, so it’s natural that they would share a preoccupation with the material, but Blakeslee manages not to repeat himself at all with the release of Ophelia Slowly. Face The Sun was a rock album, heady and guitar-driven, with watery melody lines and psychedelic wah-wahing that trafficked in symbol and metaphor more than it did straightforward storytelling.

But on Ophelia Slowly, Blakeslee’s voice and lyrics become the focal point of the music. In the interest of holding the spotlight on the story line, Blakeslee keeps the music very simple, and many of the songs–“Smile On” and “Ophelia Brown,” notably–maintain a straight, sing-song-y structure that recalls elements of his early work, back when Entrance was a solo project and Blakeslee liked to reconfigure the blues and give it a psychedelic twist. However, despite the simple rhythms and emphasis on narrative, there’s little on Ophelia Slowly that’s musically reminiscent of the blues–the album’s foundation consists primarily of looped synth lines and an unassuming drum machine track.

Blakeslee has long been fascinated by states of trance. This album–which is, essentially, his version of an introspective, songwriter-y project–concocts swirling, circular guitar parts and a tightly rhyming vocal line that escalates, like a spiral staircase, as it moves from phrase to phrase. For Blakeslee, the music tells a story best once it’s in this hypnotic state. This concept is familiar turf–in the twenty years he’s been making music, Blakeslee has perfected the trick of creating a whirlpool inside a song–but Ophelia Slowly manages to maintain this churning, circular state for almost the full length of the album. That’s not a complaint. Actually, it’s impressive that the record’s repetition never wears out its welcome. “Told Myself” is a great example: with quiet, whining anguish, Blakeslee plays with the phrase “You were true and a liar too,” shifting meaning and replacing a word occasionally as he relentlessly repeats the lyric. “You were clean and a junkie too,” the song finally concludes, in the same stretched-out, high pitched melody, over a strummed acoustic guitar. They’ve got potential for melodrama, but in Blakeslee’s hands, the songs are beautifully ragged. As a collection, Ophelia Slowly is foreboding, not too optimistic, and full of compelling grit and fatigue.

You can check out “Kneel & Pray,” off Ophelia Slowly, below. The full album will be out June 10th.

ALBUM REVIEW: Sharon Van Etten “Are We There”

“I can’t wait ’til we’re afraid of nothing,” sings Sharon Van Etten, in her silvery and harmony-braided way, on the opening track of her new album Are We There. “I can’t wait ’til we hide from nothing.” The song– “Afraid Of Nothing”– has a sweeping clean-slate quality to it: it’s a fresh start, a New Year’s resolution. Maybe it’s the lyrics, or maybe it’s the flourishing, diva-esque piano chords, but there’s weight to this beginning. With its very first chords, Are We There establishes a low center of gravity. These songs are sturdy, they’re in it for the long haul.

That’s the power of skillfully deployed vocal acrobatics and complete mastery of your subject matter. Big, theatrical romantic breakdown has long been at the core of Van Etten’s musical landscape, and her sharpest tool is a voice that can be bent but never broken. Her albums–there are four of them now, beginning with 2009’s Because I Was In Love–are stories of how she uses the latter to navigate the former, a journey that the title of this latest record suggests is still ongoing.

And on Are We There that path is as satisfying and surprising as ever. Van Etten’s major themes haven’t changed much, but her aesthetic has expanded in every direction. On some tracks, like this album’s opener, she traverses an Adele-esque range and corresponding sense of drama–her sadness so straightforward it’s almost cloying–but elsewhere, her voice is stretched to its strange outer limits as pain gives way to blood-letting.

Just look at “Your Love Is Killing Me,” only three songs into this thing. It is possibly my favorite cut on the album, and it’s a great example of the far end of Van Etten’s sweet-spooky spectrum. The song begins with a vaguely militant beat that reappears in the chorus as triplets of crisply pissed off snare rapping. Then there’s her voice, so stridulent at its apex that she barely sounds human. “Break my legs so I won’t walk to you. Cut my tongue so I can’t talk to you,” she sings. This goes on: “Burn my skin so I can’t feel you. Stab my eyes so I can’t see… you like it when I let you walk over me.” Behind the exorcism, behind the declarations of brokenness, there’s powerful orchestration–swirling guitar lines, cycling piano chords–backing up these words.

Van Etten’s speaking voice is downright cute, and sometimes, listening to her talk, it’s easy to imagine that she sings love songs of the quietly forlorn, tea-drinking-while-moodily-gazing-out-windows-onto-overcast-skies variety. And though there’s plenty of sadness on Are We There, it never sounds neutered: even the songs that never rise above a whisper come with the reminder that they know how to snarl.

Are We There ends on another highlight: the deceptively simple, deceptively sweet “Every Time The Sun Comes Up.” Van Etten arranges the lyrics into a sing-song-ish pattern, like a riddle, and the mood straddles optimism and gloom. There are flashes of self-contained thoughts, like the coyly meta “People say I’m a one hit wonder, but what happens when I have two?” Then the song settles into a kind of moody anti-love song, with “I washed your dishes then I shit in your bathroom.” Listening to the song feels like being inside Van Etten’s head, trying to follow a string of thoughts and fluctuations that aren’t explained or organized into a performance. It’s the most interior song on the album, and in a way, it’s also the most obscured. The journey from the album’s opening track “Afraid Of Nothing,” which is a performance not only in its theatricality but also in the sense that Van Etten has a specific audience–the complicated, ever-present love interest that has ravaged and fascinated her music since she began playing publicly.

But by this album’s end, we feel that Van Etten isn’t on stage anymore, but is right beside us, spilling her guts in a less organized, and perhaps more mundane way. That doesn’t make her guts uninteresting–the evocative snippets that we get on “Every Time The Sun Comes Up” are some of the most intriguing on an album full of compelling lyrical lines. Mundanity, in Sharon Van Etten’s case, is anything but.

Are We There dropped on May 27th via Jagjaguwar. Go here to buy it via iTunes. Watch the great and profoundly depressing video for “Every Time The Sun Comes Up” below:

TRACK OF THE WEEK: White Arrows “Leave It Alone”

Take some (Gary) glitter and mix it with a touch of West Coast spiritualism and you’ve got White Arrows’ latest track, “Leave It Alone.” You can tell the psych-pop quintet is from Los Angeles from the sheer amount of dreamy synths and blissful reverb. A chimerical gem that shimmers as a standalone track, “Leave It Alone” has the potential to make major radio waves as the weather turns warmer.

Spanning decades and morphing influences from two very disparate cultural movements, White Arrows blends sunny 60s psych with 70s sparkle that makes for some pleasant, sunning-yourself music. It’s sway-inducing and a touch mind-bending. And the only thing missing is a six-pack and a kiddie pool on the roof.

It’s also a twinkly track that’s pure fun in all its fuzzy, glimmering glory. Drippy, trippy psych is nothing new for this band, but this new track is surprising in its glam influence, which adds an entirely different dimension to an already kaleidoscopic track.
Upbeat, energetic and distinctly reminiscent of an MGMT-esque anthem, “Leave It Alone” is a refreshing, conscious-altering exercise in grooving summer jams.

VIDEO REVIEW: Cold Beat “Mirror”

Now that Memorial Day has come and gone, I can happily say that the summer has unofficially begun, and if you are like me, then you are probably gearing up your Summer ‘14 Spotify playlist. Heads up: it would be incomplete without the likes of Cold Beat, who released a video for their delightful new track “Mirror” yesterday.

Although front woman, vocalist and bassist Hannah Lew has been on the scene for a while now, San Francisco-based Cold Beat is a newborn band, with only two previous singles under their belt: “Worms” and “Year 5772.” Still, what we have heard thus far is a clear indication of the band’s sound – combining retro fuzz guitar with misty vocals and sugar-sweet melodies.

“Mirror” plays as neat and tidy, retro surf pop. Right off the bat, it opens up with an inviting two-part guitar section. While one guitar takes on the fuzzy strumming section, the other picks away at an instantly catchy melody that immediately opens up the song. Throughout “Mirror” the interplay between the two guitar parts can be heard, coming to a climax in two brief back-to-back solos. The first, a distorted guitar laying hard on the whammy pedal, adds some needed intensity to the track, while the second, a melodically picked section, breathes more air into the song and further relaxes the track.

Lew’s vocals enter into the mix early on. Although her misty, breathy voice is more suited for soprano, where she normally resides, “Mirror” requires her to occasionally fall down into her lower register, where she is clearly less comfortable. The imperfections in her lower register actually add to the charm of the track, providing a more personal tone by offsetting the pop perfection.

The video for “Mirror” was directed by Lew herself, and unsurprisingly, it falls in line with the beachy, sunny theme that Cold Beat has already adopted. The video begins with Lew playing the bass in front of a giant clam shell with waves crashing in the background. This image, which is projected on an old TV screen, zooms out, and we see that the new image is inside another TV, which is next to the drummer. Then we zoom out to find out that she is also in a TV world that the guitarist is watching and playing along to. Throughout the video, the members of the band interact with each other in their own worlds, using the televisions as mirrors into each others’ universes, each imbued with a kitschy nostalgia. From the ‘90s era television set to the cheesy special effects (from aforementioned giant clams and box TVs zooming around to rooms decorated with paper stars), the whole video manages to come off as charmingly vintage.

Much like “Worms,” “Mirror” has us totally anticipating Cold Beat’s debut album, Over Me, which will be released on July 8th via Lew’s label, Crime on the Moon. As if she weren’t busy enough, Lew is also set to release a compilation album San Francisco Is Doomed, featuring contributions from artists such as Thee Oh Sees, Mikal Cronin, Erase Errata and Scraper. San Francisco Is Doomed is out June 21st.

Cold Beat – Mirror from Renny McCauley on Vimeo.

LIVE REVIEW: Lindsey Stirling @ Nokia Theater

Last Thursday night a crowd built up in Downtown Los Angeles, gathering to see violinist Lindsey Stirling. Touring in support of her album Shatter Me, the artist’s associations to EDM and dubstep have gained her a major following, evidenced by the variety of people in attendance. From seven to seventy, dressed in outfits ranging from business suits to belly dancing get-ups, dates, friend groups, families and single folks on the lookout for new prospects – you name it and it was there. Stirlings’ assorted mix of classical violin training, Celtic folk sounds and energy of electronica is a source of fascination for many types of people. And if playing a fast beat on violin isn’t impressive enough, she dances across the stage like an ice skater while she performs.

In 2007 Stirling introduced her talent to the world through her YouTube channel, Lindseystomp. Three years later Stirling competed on the fifth season America’s Got Talent and made it all the way to the quarterfinals. Though she was voted off the show, Stirling continued to make videos for her channel, with a bigger following than ever. After releasing her debut studio album in 2012 she toured extensively in the U.S. and gained yet more recognition when she was featured in the Church of Latter Day Saints’ “I’m a Mormon” campaign. In it, Stirling talked about how her faith had helped her get through her adolescence with anorexia. But her biggest break yet came when Stirling was signed by Troy Carter – Lady Gaga’s manager – in 2013.

Carter’s influence is acutely felt in Stirlings’ live performance; the entire show was full of quirky, creative pauses. Between songs she carried out mid-speech costume changes, had the audience members introduce themselves to the strangers beside them and showed a slideshow of her childhood self. She even spent the second half of the show dancing around the stage barefoot.

It was the second year anniversary of Stirlings’ first performance with her band, and it was obvious that there was an electric energy on stage and in the crowd. Stirling never had a still moment. She moved around like a ballerina turned rave-fairy and to add interest she had two impressive (and gorgeous) hip-hop dancers shadowing her. The peak of the performance came during her hit song “Shatter Me” when Lzzy Hale joined the band on stage for a vocal performance that matched Stirlings’ showmanship to the letter.

Stirling had originally wanted to become a therapist, and though her fans are eternally grateful she did not pursue that career path, she stayed true to her nurturing nature: in the middle of the show she gave a pep talk to those who felt alone and encouraged them to reach out if they felt desperate. This act of kindness added even more depth and heart to an already powerful and moving performance that puts her in a class of her own.

LIVE REVIEW: London Grammar @ The Wiltern, LA

It was only about a week ago that I finally listened to that London Grammar album I’ve been holding onto for a few months now. Unfortunately, the British trio got bumped to the backburner as the Coachella lineup came out in January and my playlists have since been dominated by Coachella artists. Regrettably so, because London Grammar is the moody trip-hop my life has been missing as of late, and had I played If You Wait sooner, my love for them could have run deeper when I saw them at their show at The Wiltern in L.A. (that’s not to say that my week long obsession has not resulted in an undying affection).
Let’s start with The Wiltern, located unusually in the middle of Korea Town. Amidst the countless strip malls with abundances of Pho restaurants, the Wiltern sticks out like a sore thumb. The venue is a beautiful art deco style theatre in the usual sense, with every inch of wall space covered in some artistic accent (they just don’t make venues like this anymore). Its elegance was befitting of a London Grammar performance, with its sleek, thoughtful consideration of detail and beauty. My seat was in the Mezzanine section on the farthest part of the balcony, which was more than okay with me because I have spent my fair share of concerts waiting in line for hours beforehand, hoping desperately that I get that spot on the rail, a necessity for a woman only clocking in at 5’2’’. Also, it sounded like a good idea to have a seat away from the pit, so I would be able to just absorb every moment of the show, without worrying about whether I’d be able to see or not. My vantage point was pristine, and I could tell any seat in the house was a good one.

So let’s jump right in to the performance. Dominic “Dot” Major and Dan Rothman were the first to step out onto the dark stage. Dan began playing those riffs that have left the band in a position to be relentlessly compared to The XX (not that that’s a bad comparison to be made), with his haunting, reverberating whisper of guitars behind Dot’s keyboard and electronic work. It sounded as if they are sampling their own music, but each sample is indistinguishable as a song as they seamlessly piece together each musical bit. And then, of course, Hannah Reid finally joined them on stage. She began with what turned out to be a lengthy vocal solo, the kind that raises the hairs on your arms and hushes the crowd into awe. This was her chance to shake off her nerves, and it was apparent that she was a bit reserved (and as she later admitted, rusty, for this was their first performance in three weeks after almost a year of touring). There were only a few moments in the intro where her vocals frayed, but as a whole it was a good indication that the show was going to be remarkable.

My favorite song by them has changed every hour for the past week, but walking into this performance I can without a doubt say that “Wasting My Young Years” has grown on me the most. I figured this would be the most poignant moment of the night for me, because those lyrics sure do ring true for any young adult, never mind Hannah’s strain when singing that “maybe”—gets me every damn time. Sadly, this was probably my least favorite song of the night. Perhaps my expectations were just too high, but she sang the chorus slightly differently and I thought the live rendition would crescendo into some sort of epic ending, especially since Dan kept jumping onto a drum kit. It wasn’t bad by any stretch, I just feel that it is one of their strongest songs, and exemplifies their sound as a band (never mind the fact that one of the two tees they sold at the merch booth bears its namesake) and they could have capitalized on transforming through live performance. Also, it was the third song on the set list, which I would have much rather preferred it towards the end, perhaps even in the encore.

This didn’t muddy the rest of the night, however, and the band made up for it in other surprising moments. One was during the final encore, “Metal and Dust” which is their most experimental track on the album. It is the song that doesn’t sound like the rest, not relying as heavily on the piano and Hannah’s vocals. Unlike “Wasting My Young Years”, with “Metal and Dust” they chose to transform it through live rendition. She sang the strange falsetto portions toward the end that on the album version sound like samples coming out of a machine.

The songs in the second half of the show definitely were the strongest, as Hannah seemed to loosen up both in her personality and her vocals. It was apparent that she is not fully comfortable on stage yet, and she even admitted so during the show. Her fear of becoming paranoid from contact high was brought up twice as she advised the people in the front row to cool it on their joints, respectable but also a bit overkill. There are certain things to be expected at concerts, and weed ranks pretty high among those things (stupid pun). She was obviously very wary of what would affect her performance, which is fine. But it also made it obvious that she has a little bit of stage insecurity. Nevertheless, by the end of the show, she seemed at home.

The two best performances of the night were easily “Strong” and “Nightcall.” “Strong” is one of those tracks that strikes a chord with just about everyone, and was bound to be a hit live. “Nightcall,” for me, stood out the most. The Kavinsky cover was better than I could have anticipated. During the lulling bridge, Dan’s piano playing seared through the theatre, and you could hear Dot’s fingers move through the chord progressions. When it erupted, the low end of the piano was jarring and Dot’s tremolo picking sang behind Hannah’s near shouting of the next chorus. It didn’t actually vary much from the album version, it was just amplified powerfully.

All in all, I feel as if I’ve fallen down a London Grammar rabbit hole. I cannot stop listening to them, and getting to see them a week after familiarizing myself with their work was a treat beyond my wildest expectations. Plus, it’s always a luxury to see a band perform on a tour of their first album. To see them grow will be exciting, and to see how their stage production will grow will be very interesting. I will be anticipating their return to the states after their leg of European tours, because this show only deepened my affection for their music. Hopefully, they will return in time for festival season next year!

Listen to London Grammar’s Sights EP here via Soundcloud.

LIVE REVIEW: Trans Am @ The Empty Bottle, Chicago

One of the most prolific bands in post-rock, Bethesda-based Trans Am, are still going strong with the release of their latest album, Volume X, which was the primary focus of their Sunday night show at Chicago’s The Empty Bottle. Opening for them were local favorites Kava and CAVE, who have a lot more in common than just very similar names. Both pedaling an appealing brand of psychedelic rock, Kava began the show with a more minimalistic take on the genre, while CAVE played a set of classic, repetition-based head-bobbers against a glowing, geometric curtain. Then it was Trans Am’s turn. Still anchored by the motorik-driven, krautrock aesthetic that’s been behind their signature style of sci-fi prog ever since their debut almost a quarter of a century ago, they just can’t let go of the past.

As their name suggest, the Thrill Jockey trio played a set driven mainly by the idea of an imagined, old-school 80s mixtape. Thrashy metal, “Kraftwerkian industrial complex” and “Devo does ballads” were all stylistic themes, making for a disjunct Walkman-era hodge-podge of a set. And while Trans Am are arguably the originators of cerebral, genre-defying electronic music, at this particular moment the band just seemed like they were experimenting with too many clashing aesthetics. The sheer talent of this experienced trio was probably the only thing that really kept the show on track, as everything else reminisced on cultural touchstones ranging from Depeche Mode to the Dallas theme song.

Though it felt distracted and discombobulated at points, it was at the very least an entertaining revisit to your parent’s cassette collection circa 1985. However, this also meant that it was quite clichéd in certain parts, due to an onslaught of computerized synths layered atop noodly guitar riffs and robocorder vocals. A touch corny, it was an entire mélange of throwback musical styles that felt messy and misplaced at times. It was like Trans Am took the chameleon approach a bit too seriously, because while it was admittedly fun, I was personally irked by the setlist’s short attention span and lack of overarching focus.
Simultaneously formulaic in its stylistic inspirations, said corn-factor made parts of the set feel like Garrett Hedlund spinning to the Tron soundtrack. And it all wasn’t really aided by the fact that an 80s-synth production was infused into almost every single song they played. Misplaced funk bits that just seemed like an exaggerated encouragement to groove didn’t really do much for the rest of the audience either, who kind of just jammed to themselves. Not a bad show by any means, just one that definitely deserves a more definitive musical direction.

Listen to “Futurworld” by Trans Am here via Soundcloud.

LIVE REVIEW: Cass McCombs @ Music Hall of Williamsburg

New York City and nomadic guitar-man and songwriter Cass McCombs may seem mutually exclusive, but in fact, he used to live here, sometime between stints in Concord, California (his hometown), Baltimore and San Francisco. Throughout a seven-album-long career, McCombs has never settled. To listen to his songs, you might imagine him passing through somewhere rural and wide open, maybe in the West: a travelling performer with a pickup truck, a guitar, and not much else. You might conjure up images of McCombs as one of the last of the Dylan-esque romantic nomads, who spill out the contents of their hearts in their songwriting but, in life, choose the company of the open road to that of people.

Last October, McCombs put out his beautiful–if extremely long–double album Big Wheel and Others. Most of the songs off that release carried with them McCombs’ signature cyclical guitar strumming, touched with world-weary loneliness but also, more memorably, a spacey hypnosis that always draws attention to the small movements that take place in mostly-still spaces. His songs sound the way it feels to watch a sluggish breeze flicker through dry grass along a highway where no cars come. It’s like watching a deer that doesn’t know it’s being watched. The songs tune you into their rhythms, and it comes as a surprise when the music stops, and though you haven’t felt like you’ve been on a journey, you’re far from where you started.

It’s weird that the image of Cass McCombs so strongly evokes so many different images, because on stage at the Music Hall of Williamsburg last Thursday evening, he barely said a word. McCombs–along with Jon Shaw on the bass and Dan “Buddy” on guitar, who flanked McCombs on the left and right and could have been his brothers, with matching wavy hair, rumpled button-downs, and longs of closed-eyed reverential concentration as they nodded along to the immortal groove–was silent but by no means unfriendly. At one point, he paused to smile into the microphone.

Rhythm, looped guitar lines, and narrative-heavy lyrics were the main ingredients of McCombs’ performance on Thursday, which consisted mainly of songs off the new album. There were some exceptions– “Lionkiller Got Married,” off 2009’s Catacombs album, was a crowd favorite for what seemed to be an audience of mostly long-standing fans, who seemed especially enthusiastic for older material, though they gamely whooped for songs off of Big Wheel, too.

McCombs’ light installation–a row of twinkling panels that spanned across the stage, silhouetting the musicians–adds so much character to his performances that it seems almost like a fifth band member. The Yellow Book Strangers, a pair of light designers, built the installation for a tour in 2011. Shadowed in the yellow glow, McCombs bobbed back and forth between his loop pedals and the microphone, showing the rhythms due diligence. He looked suspended between being in spotlight and being obscured from view. This is a natural space for McCombs–it’s been his sweet spot as a performer for years, and at this show, he seemed totally in his element. The lights twinkled behind him, resembling the Manhattan skyline and a starry country sky in equal measure.

Here’s “Brighter!” off the Big Wheel album. Cass McCombs performed this song at the show on Thursday, and it was a sweet, and uncharacteristically simple, highlight of the performance.

ALBUM REVIEW: Alex Banks “Illuminated”

By the end of 2011, Brighton-based Alex Banks had already distinguished himself as a DJ and producer with distinctively complex and spacey live sets as well as a smattering of gorgeous remixes (Bonobo, Husky Rescue). His debut full-length, out June 2nd, has been two years in the making, and it shows: Illuminated is a meticulously crafted record, with beats that escalate and mellow, moods that warm and cool, and subtle textural intricacies that demand an immersive listen.

At twenty seconds shy of an hour, it’s a pretty hefty collection, with a full spectrum of instrumentals. Some of the loveliest moments on Illuminated come when Banks juxtaposes a pulsing beat against a string section, or highlights an instrumental melody with featured vocalist Elizabeth Bernholz’s pristine soprano. These revelations usually come from the combination of opposite effects. Conversely, when the album is at its most interior–in the middle section of Illuminated, somewhere around “Initiate,” “Lights,” and “Phosphorus”– its playfulness dials way down, and the music is too clean and rigid, too controlled. The album’s early tracks have great surprise twists, like the spot in “All You Could Do” wherin Banks layers his Bach-ish acoustic guitar arpeggios over Bernholz’s whispery vocal line as the rhythm builds to a sparkly crescendo. It’s awesome. Which makes it all the more disappointing when other parts of the album don’t live up to it.

In what’s perhaps a skill learned from his DJ career, Banks knows the importance of letting music absorb you. His process of recording the album consumed him, just as playing it will consume a listener. When Illuminated feels restrictive, it’s because its inwardness becomes too single-minded to know when to stop grooming the music and allow for coincidence and experimentation.

Illuminated will drop on June 2nd, and will be preceded by the All You Could Do EP, which will be available digitally and on 12″ vinyl next month. Check out “All You Could Do,” my favorite track off Illuminated, below!

LIVE REVIEW: Chad VanGaalen @ The Empty Bottle, Chicago

With his Lynchian aesthetic and fondness for romanticized macabre, Albertan singer-songwriter Chad VanGaalen performed a simultaneously tender and surreal set to a buzzy crowd at Chicago’s Empty Bottle last Thursday.

On tour with fellow Canadians COUSINS and Bry Webb of Constantines fame, VanGaalen’s performance brought a crushing sense of heartfelt sentimentality filled with his signature warble and fuzz-ridden lo-fi recordings, which continue to drive the sound of his most recent release, Shrink Dust. Drawing upon stylistic elements reminiscent of 2008’s lurid Soft Airplane and 2011’s spasmodic Diaper Island, VanGaalen’s latest effort is still peppered with hypnagogic lyrics, wind-in-the-willows whispers and enough synthesized reverb to swallow the entire room.

Lyrics full of allusions to disemboweling deaths and ghastly implications plucked straight out of an Un Chien Andalou-induced fever dream, VanGaalen is brilliant at fusing different melodic styles ranging from gentle, whirring balladry to rambly steel guitar folk. And despite a marked lack references to oozing vitreous humor, VanGaalen’s off-kilter banter in between songs, earnest smile and sweet, rambling stories made up for any disappointment involving a flashier stage presence and more of his renowned homemade instruments.

A true “mixed media” artist in every sense, VanGaalen blends soft acoustic strumming with jammy electronic interludes, creating what many have dubbed a “grab-bag” of melodies plucked, diced and sliced from his many garage recordings. And his live performance held much of the same intimacy and intensity as one of these DIY jam session. Simultaneously grotesque and gorgeous, his wavering vocals projected perfectly across a simmering crowd of what seemed to mostly be composed of long-time fans.

I myself have fond memories of making “Molten Light” mixtapes for high school beaus, and was just one of many audience members singing along to the surprisingly thorough repertoire he performed. Of course, there were songs off Shrink Dust, but VanGaalen made enough room to incorporate old favorites like “Rabid Bits of Time,” “Willow Tree” and “City of Electric Lights” into his set, a rare treat for artists usually more concerned with promoting their latest release. And though I realize that speaks more to my own personal affinity to Soft Airplane, it truly was a genuine, heartfelt performance by a singer-songwriter who has the strange ability to invoke an incredible sense of nostalgia occupied by crust punks and tweed-donning professor types alike.

An excellent show for the devotees of his back catalogue, it pulled off the unforeseeable feat of being both beautiful and bizarre and everything in between. A wistful, touching performance that may have showgoers, old and new, incorporating “Molten Light” and “Monster” into their future mixtapes.

VIDEO REVIEW: Little Children “Impala”

Swedish singer Linus Lutti, known for the lush, orchestral indie pop he makes under the name Little Children, is set to release his sophomore album Walk Within this September. To herald its arrival, Little Children debuted the music video for the record’s second single “Impala.” Consistent with his signature sound, the song features airy vocals, steady percussion, and a grounding piano line. The video features a young boy – presumably in North Korea – with big dreams of space exploration. It’s a universal dream that almost anyone can relate to – at one point in our lives, we all had dreams of exploring the big unknown, of going further. The song’s hypnotic, repetitive feel adds to creating a dreamscape that is expansive and unlimited. It’s a whimsical feature, full of childhood imagination and ambition that matches the song in feeling and pace. The “Impala” visuals were directed by fellow Swedish musician Ted Malmros of Shout Out Louds.

Little Children debuted in 2010 with the full-length album In Silence, showcasing contemplative, melodic sounds reminiscent of Boy & Bear and Bon Iver. Since then, the singer has been steadily releasing music in preparation for his second album. He has enjoyed some exposure in the U.S., playing at festivals like SXSW and opening for bands like Shout Out Louds. His brand of pop music is calm and multilayered; besides his intricate lyrics, there’s also precise instrumentation and husky vocals that add to the dream world created by his music. “Impala” also appears as a b-side on the “By Your Side” 7″ out now on Swedish label Kning Disk.

VIDEO REVIEW: Cass McCombs “Unearthed”

The contents of Cass McCombs‘ long and winding double album Big Wheel and Others fall into one of two categories. About half are capital-s Songs, with verses and choruses, beginnings, middles, and ends. The rest of the collection expands, with mesmerizing slowness, to fill less rigidly constructed boundaries. These are not tracks, they’re drive-by moments that feel like scenes instead of performances, as if their gently cycling vocals and accompanying acoustic guitar lines had always been going on, and snippets of it happened to be recorded and tossed together into a collection. “Unearthed” falls into the second category

The video for the song consists of just two images–a wintery mountain scene and a climber crouching on his stomach in the snow–and for much of the song the shots stay so still that they could easily be pictures instead of film. Like the song, the video focuses on the small changes that take place in a mostly-empty environment, drawing focus to little shifts like the soft billowing of a cloud or small changes in the mountaineer’s gaze up the mountain.

Cass McCombs will bring his stark brand of musical hypnosis to the Music Hall of Williamsburg tonight, with Endless Boogie. Check back for my coverage of the show, but don’t stop there–you can still grab your tickets by going here. Watch the video for “Unearthed” below!

Unearthed by Cass McCombs from Eric Fensler on Vimeo.

PREVIEW: Who to Catch at Governor’s Ball

Governor’s Ball is New York’s rain or shine music festival that is the official kick off of the summer. We all love to hate it, and hate to love it. There’s twelve dollar Foster beers, long-ass ferry lines, and kids on weird drugs. Most importantly though, there is always an awesome bill . I think the thing I enjoy most about the Governor’s Ball lineups, is how perfectly curated they are to hit every type listener. Here’s AF’s picks on who to make sure NOT to miss this year. It’s two weeks away, who are you excited to see?

Diarrhea Planet

These Nashville boys are playing the festival on Saturday. Diarrhea Planet definitely fits in the mold of what’s happening in Brooklyn right now. The grungy catchy punk-rock sound that is both serious (in the sound department) yet fun party music at the same time. This set is bound to get rowdy. Here’s a track called “Hot Spit” from their new EP Tama-Uba.

Deafheaven

Deafheaven is black metal band based in San Francisco. Most people wouldn’t place theatrical and metal in the same sentence, but that’s exactly what they encapsualte. If you like hard hitting music, as well as fast-paced and engaging sets, you’re going to kick yourself if you miss their set on Saturday. Below is their most popular track “Dream House.”

SKATERS

The femmes are most definitely fans of local boys, SKATERS. Their new album, MANHATTAN, has been on repeat on my Spotify since it’s release in February. Below is their video “Miss Teen Massachusetts,” where the boys are basically trapped in, working at, and patients of a mental institution. Their set on Sunday will definitely be a dance party.

The Strokes

What new and sassy thing can I possibly say about the Strokes that hasn’t already been written on a music blog? I’m not sure. But I love them, a lot. They’re one of the headliners for Saturday. Find me in the crowd during their set, we can dance to Last Nite together. This is my favorite track off their first record.

Spoon

I first discovered Spoon in my Freshman year of High School from one of The O.C. Mixes. Yup, the truth comes out 8 years later, but I’m not ashamed. Formed in 1993, with 7 albums and 11 years under their belt, Spoon cannot be tamed. They’re one of the main Saturday acts, and I definitely think you’re going to want to be up close for this one, folks.

Interpol

Similar to Spoon, Interpol has been around for a long ass time as well. Adding to the Sunday bill a long list of gut punching sing a longs. Out Love To Admire from 2007 is definitely on the list of albums I have completely overplayed. Here’s my favorite song off of it:

Drowners

NYC based heartthrobs with a sprinkling of Brits, yeah yeah yeah we get it. Their lyrics are emotional (wannabe Morissey in the best way possible), and your songs are catchy and pop goodness. Playing around the boroughs often in little venues and bars, I am extremely curious to see how The Drowner’s sound will translate on Friday. My guess, is smashingly. Their video for Luv, Hold Me Down is perfect representation of what I’m talking about. Enjoy.

Washed Out

This band never fails to make me feel ALL of the feels. Their songs all mesh into one long performance of swaying with your eyes closed. Although all possess a different type of sound, when heard, each album screams “this is a Washed Out album.” Their set will be one filled with every type of music listener. Below is my favorite video of theirs, but I am warning you not to watch it if you are emotionally unstable. Seriously.

Outkast

Although their set at Coachella didn’t receive the best reviews, I honestly do not care. I really just want to sing a long every word of Roses, ok? I also strongly believe that seeing Outkast live is one of those things you’re supposed to write on your bucket list. This video is still golden 11 years later.

VIDEO REVIEW: “Night Falls on the General Assembly”

Leverage Models, Shannon Fields most recent solo endeavor, released its self titled debut full length album on October 1. The album’s ten tracks are filled with poppy synth beats, heavy percussion and dramatic vocals. While Fields is the man behind the music, he did not hesitate to enlist the help of a number of talented friends on Leverage Models, rendering the album a beautiful balance between individual expression and diverse artistic collaboration.

Leverage Models’ most recent video “Night Falls on the General Assembly” was released last week. With it’s off kilter melody, theatrical vocals and the spooky piano solo that opens and closes the song, “Night Falls on the General Assembly” is probably the trippiest song on the album. While many Leverage Models tracks provide an instant hook, “General Assembly” opens in a more whimsical and mystical manner, building to a subtler hook that arrives at the chorus to open up the song. The esoteric lyrics (Found out love can be a baseball bat, by the jaw you had drawn one man out to this mob) definitely mirror its eerie atmosphere, and while it’s still as momentum driven and danceable as other tracks on the album, its execution is decidedly more subtle.

The music video for “General Assembly” somehow manages to get even weirder than the song itself. It begins with a suited businessman sitting stone faced in a chair on a roof somewhere in Brooklyn while his cohort dance behind him. Finally the man gets up and joins in on the fun. The rest of the video consists of various shots of the four dudes getting crazy on the roof while the shots become increasingly distorted. Eventually our protagonist calms down, (maybe his trip has ended?) and returns to his chair for the end of the video, whose trippy and eerie imagery and camera work make it the perfect coupling for the aesthetics of the track.

Leverage Models will be performing at AF’s showcase this Thursday, May 22, at Cameo Gallery along with along with Weeknight, Long Arms and Young Heel.

TRACK OF THE WEEK: The Apache Relay “Katie Queen of Tennessee”

Instant charm seems to be the direction of The Apache Relay’s new sound, at least according to their single, “Katie Queen of Tennessee.” A swirling violin swings us into this catchy track that sounds like an oldie from the radio. Perhaps that is its sweet allure, as it harkens back to the 50’s-60’s crossover sounds of Roy Orbison. The track is a far cry from this Mumford & Sons opening act, who are normally classified as a folk rock band. There’s less acoustic guitar strumming, kick drum thumping, and chant-like vocals. “Katie Queen of Tennessee” instead focuses more on the blending of subtle sounds, from the sweet-singy harmonies to the ethereal pick of its guitar chords. The use of strings is also a nice addition, as it has less banjo twang, and ends up sounding more symphonic and whimsical. The vocal harmonies are a throwback to the classic love song with multiple tracks layered over on other.

“Katie” incapsulates the ol’ tried and true struggle of a person in deep, unreciprocated love who is forever soliciting attention from his object of affection. Although the song’s appeal lies deep within its ability to channel a much more simpler musical time, at the end, it achieves a reinvigorating sound coming from an artist who may have been pigeonholed from the get go. This song challenges what we know about him, and that in its own respect makes “Katie Queen of Tennessee” a very endearing listen.

LIVE REVIEW: Royal Blood @ Mercury Lounge

Only a band as rambunctious and buzzworthy as Royal Blood can make a New York City debut with a force as colossal as your favorite heavy metal band. Coming out of Brighton, UK, the outfit consists of only two players – Michael Kerr on bass and Benjamin Thatcher on drums. We’ve experienced raucous blues-rock duos before, but none quite so unruly or so thoroughly heralded. Their Mercury Lounge show last week proved that there is a new kind of loud on the scene. And although they played in Brooklyn at Glasslands the night before, the teeming crowd brought its own unquenchable energy, fans moshing their way to the front of the crowd just to catch a glimpse of the highly anticipated performance.

Royal Blood’s heavy sound is shaped by Kerr’s use of a Gretsch bass throughout most of their songs, fed through a distortion pedal. I also noticed that for their single “Little Monster” he switched to a regular-sized bass. Thatcher kept the rowdy, packed house alive with his accelerated and furious drumming. The frenzy was astonishing; I kept thinking, how in the Hell can these two guys create this enormous sound? I’ve been to my fair share of shows but trust me, this was easily one of the most intense. Though Royal Blood didn’t come on until 11PM and it was a Tuesday night, the crowd continued thrashing unapologetically. Usually I find time to escape to the back bar to refill my whiskey sour, but on that night I was too mesmerized by the pair’s ferocity.

Their brash sound isn’t the only impressive thing about Royal Blood. It’s also quite astonishing that they’ve garnered this much buzz despite being relatively new. Their debut EP, Out of the Black, was just released in the US, but have quickly become a band to watch out for. No doubt their SXSW performances in March helped cement the rising chatter created when Arctic Monkeys drummer Matt Helders wore a Royal Blood tee on stage at Glastonbury Festival. Add to that their television debut last Friday on Jimmy Kimmel Live, and it seems there’s no stopping these two, who are planning to release a full-length late this summer. If you’re lucky enough to catch one of their limited live dates in the US, you’ll want to purchase every single item off the merch table.

Kerr and Thatcher played a lot of the songs that will populate their upcoming release, as well as the familiar tracks from the EP. Right before launching into “Out of the Black,” Kerr assured the crowd that although it was so “fuckin’ weird” being in New York, they’ll be back. They extended the track into a mini jam session that left everyone enthused and hungry for more – including one very famous audience member: Jimmy Page. Since it’s not likely he’s looking to join the band as guest guitarist, that must mean he’s simply a fan, and that’s got to mean a lot to a pair of aspiring rockers.

You can watch Royal Blood’s video for “Out of the Black” below, and check out the rest of the EP via SoundCloud.

TRACK REVIEW: Spider Bags “Back With You Again in the World”

This night might be filled with sorrow

Your heart might still feel so blue

But I’ll be back with you again in the world tomorrow

I’ll be back with you again in the world

It’s hard to put the music of Chapel Hill-based Spider Bags into words. At their core, they could probably be described as a garage band with country, bluegrass, folk, blues, rock’n’roll and punk influences. Their unique blend of genres combined with songwriter Dan McGee’s ability to write punchy, energetic songs sets them apart from most other bands. With a lineup rounded out by Gregg Levy (bass/guitar), Steve Oliva (bass/guitar) and Rock Forbes (drums/percussion), the band has put out three full length albums since they got started back in 2006: Spider Bags (2007), Goodbye Cruel World, Hello Crueler World (2009) and Shake My Head (2012). “Back With You Again in the World” is the first single off of their upcoming album, Frozen Letter, out on August 5th via Merge Records.

While “Back With You Again in the World” is just over two and a half minutes, as usual, the band manages to pack in a ton of musical elements in a short period of time. After a brief introduction of amplified distortion, the track kicks off with an antsy guitar section. While two guitars battle each other the drums propel forward, building up to a country-esque solo as impressive as it is fleeting. Finally, Dan McGee’s vocals enter on the first verse. They waste no time barreling through three verses of the song, and just when you think the racket is about to die down, a saxophone solo comes out of nowhere. As if the energy the song wasn’t yet frenzied enough, there is a brief ritardando in the instrumental section only to serve as a bouncing board into and even faster-paced finale. Spider Bangs graces us with one last celebratory verse, and then it’s over.

“Back With You Again in the World” is the type of song that probably should be played at a hootenanny, or at least a raucous barn party. From the euphorically romantic lyrics (You know I’ll always be honest in everything that I do / I’ll always be honest with you, it’s true, I will always be honest with you) to the repetitive vocal phrasing on each verse, it basically forces anyone who listens to sing along. While it is the music that will make you want to get up and dance, it is the lyrics that will melt your heart, warm your soul, and loosen up your vocal chords.

Spider Bags is able to create musically complex songs that feel like they were spontaneously and casually strung together, and “Back With You Again in the World” is no exception to this. This general atmosphere probably speaks more to the band’s chemistry, a chemistry that allows the band members to listen to each others’ sections, to improve each other musically, and to make some extremely fun music. On “Back With You Again in the World,” Spider Bags have mastered the art of building complexity through a cacophony that could seem to some haphazardly loose, and given us a lot to look forward to when Frozen Letter drops on August 5.

LIVE REVIEW: NEEDTOBREATHE @ The Slipper Room

Despite the open bar and the allure of attending a “private party,” I could not convince a single one of my friends to come to this damn show with me. The conversation would go something like this: I’d say hey, there’s this concert, and it’s both super secret and free, and the band is a handsome group of fellas from South Carolina, and they play rock music, and a lot of it is about God. And whoever I was talking to would say ha, right, maybe next time, or make a joke about how, since the Lord was with me, I must not need a plus one. Even my church-going roommate wasn’t hip to Jesus rock.

Given all that, I’m not surprised NEEDTOBREATHE has worked their way out of the Christian music media circuit. Though they came of age in it, the niche has always been, in a sense, a limitation. Even as far back as their mainstream debut, 2006’s Daylight, the group has straddled the barrier between secular and sacred, pushing their image not as a devotional band per se but as a group of guys who are really passionate about a lot of things–the South, flashy classic rock, toothy smiles–and that one of those things happens to be God. Then there’s the trio’s personality to contend with–brothers Bo and Bear (yes, really) Rinehart are the sons of an Assembly of God pastor who grew up in the superbly named town of Possum Kingdom, South Carolina and have been playing tunes together since Bear was a high school football star. In college, they added bassist Seth Bolt, who looked very brooding and iconically boy-bandish, on stage at The Slipper Room, with his chin-length locks, v-neck, and many necklaces. The trio came of age together, both as musicians and as people. As they took the stage, all smiles and electric guitar flourish, I immediately got the sense that playing music is as much an expression of the love these guys have for each other as it is anything else.

It was that ruthless warm-and-fuzziness, not any lyrical preaching, that set off my allergies. The space was small and weirdly dainty, and the decor–floral wallpaper and heavy red velvet curtains–was fully committed to the cabaret aesthetic that is associated with The Slipper Room’s name. I’d never been there for one of the burlesque performances the venue is better known for, but I was sure that any members of the audience who had ever attended a more typical Slipper Room performance were now getting a kick out of seeing a trio of Kings of Leon-ish southern dudes, with arena-friendly power chords and an earnestness so potent you’d go blind if you looked at it directly, take the stage.

The set gained momentum, and the warm-and-fuzzies ensued on two fronts. The whole event was a release party for NEEDTOBREATHE’s latest album Rivers In The Wasteland, which came out on April 15th, and most of the show’s invitees seemed to be industry folks who worked in PR or for the band’s record label, Atlantic. Nearly everyone in the room had had a hand in putting out Rivers In The Wasteland, and the camaraderie was heartwarming. As an outsider, the vibe felt a little like walking into a bunk of teenagers at the end of six weeks of summer camp: everyone was emotional, and seemed to have inside jokes with everyone else–the only thing missing were team t-shirts.

Then, maybe five or six songs into the set, Bear paused and turned to look at Bo. The next song they were going to play, he told the crowd, sounding a little choked up, was called “Brother.” In the early stages of the recording process, he explained, the group had experienced some setbacks, even taking a break to return home and think about whether or not they wanted NEEDTOBREATHE to continue. Joe Stillwell, who’d been playing with the band for over a decade, decided to leave. But the way Bear described it, his biggest goal for Rivers In The Wasteland was to rearrange the group’s priorities, and bring its three members back to their love of God and of each other. Thus, “Brother” – a love song Bo wrote for Bear.

Look, I’m a skeptic, too. I know all that sounds a little cheesy. And often, it was: like in the first verse of NEEDTOBREATHE’s incredibly anthemic single “The Heart, when Bear sang the lyrics “Ain’t no gift like the present tense, ain’t no love like an old romance / Got’sta make hay when the sun is shinin’, can’t waste time when it comes time to dance.” However, the trio’s strength–which keeps their music from being instrumentally bland and lyrically over-sweetened–is their totally endearing energy. By the time they closed out the evening with “Oh Carolina” I was sold– if not on NEEDTOBREATHE’s individuality, then certainly on their earnestness.

VIDEO: AudioFemme HQ Open Studios @ Morgan Fine Arts

On Saturday, the Morgan Fine Arts Building (home of AudioFemme HQ) hosted its annual open studio, so we invited the good people of Brooklyn to come check out our offices and see some live music. We livestreamed the whole thing, but just in case you missed it, here are videos of full sets from the participating bands.

First up, we had Ma, a trio of punk ladies who brought a full drum kit and two amps to rock our little space! We are pretty sure folks heard Ma from miles around, not to mention the rest of the building.

Next up was Dan Goldberg, better known as The Spookfish. We first met Dan on one of his ambitious Mountain Shows, in which he plays and/or books other bands to play on Mount Taurus. Dan’s sets range from chill acoustic vibes to heavy electronic washes, and for our open house (as on the mountain) he chose the former, even covering John Fahey’s “When the Springtime Comes Again” as the sun set behind him.

As Train Trash, Gregory Paul unleashed an onslaught of distorted electronic textures and noise. His gear set-up would make the most doting pedal-heads fawn. He finished out our evening early enough that we got to schmooze with other artists, designers, writers, and filmmakers that populate our building.

We’re not sure when Morgan Fine Arts will host another open house, but we tend to do this live-streaming thing every so often. If you want to tune in, you can follow us here – you’ll get an email whenever we go live! It’s an easy way to feel like you’re right here with us.

ALBUM REVIEW: Popstrangers “Fortuna”

New Zealand indie rock trio Popstrangers have ditched the distorted noise of their first album for a hazy 60s pop sensibility. The classic sounds of London rock are evident in their new work, unlike the Kiwi-fied focus of their previous music. A combination of subtle urban anxiety and straightforward hooks forms the foundation for their newest album Fortuna, out May 27th. This is an album that really explores the emotional side of pop. Throughout diverse subjects of love, comfort, communication, and hostility, a singular mood prevails. Even though this is not a joyful record, that mood contributes to a strong sense of fullness which is satisfying and engaging.

Initially, Fortuna’s sound left a disjointed first impression. But the disparate relationship between jerky guitar and soothing rhythms gave way to a sense of balanced dreaminess. If nothing else, Popstrangers have created a record that is both simple and hard to pin down. Joel Flyger’s vocals exist in a fusion somewhere between downtown dance-punk snarl and 80s New Romo crooner, but influences on the record represent a serious range, from the psychedelic opening riffs of “Violet” to the urgent, Costello-esque pop rock of first single “Country Kills” in which Flyger flippantly laments “My country will kill me now” before launching into a chorus of “whatever.” The video for that latter track, directed by friend and Mazes member Conan Roberts, is particularly reminiscent of early-aughts Strokes. But these similarities are never overwhelming; the album moves gracefully through those associations with such ease that it’s hard to get stuck on them.

More than anything, it’s the simplistic undertones that dominate the record and make it feel like an instant classic. These songs take simple hooks, some atonal guitar, and muddy up the lyrics just enough that you have to strain to pick apart meanings and themes. The delivery isn’t jaded so much as effortlessly cool; tracks like “Tonight” come across as automatically familiar, making easy to get into. The simplistic melodies and rhythms push the tone or feeling of the songs forward, and it feels quite refreshing to be able to rely on a visceral reaction for once. As Popstrangers sing on opening track “Sandstorm,” “Sometimes I get the strangest feeling / Oh.” Like a sixth sense that cannot be easily explained with words, Popstrangers use these compositions to get that sense of drifting across, hinting that instinct leads to better understanding anyhow. It’s not minimalist by any means, but it’s definitely not incredibly complicated songwriting, and that’s more than okay.

Fortuna may not be complex, but it has just enough substance to keep your attention and provide some fun, without strain on the mind or the ears. Check out latest single “Don’t Be Afraid” below, and score a of the LP when it comes out on May 27th via Carpark.

Month: May 2014