2014 – Page 18 – Audiofemme

LOUD & TASTELESS: Perfect Pussy’s Meredith Graves

Every Thursday, AF profiles a style icon from the music world. This week, check out Perfect Pussy’s Meredith Graves, whose inimitable punk rock-chic has us all ready to get pixie cuts of our very own and stock up on vintage Jackie O dresses.

Syracuse front-woman Meredith Graves is small yet loud, cute but brash, and may or may not, have a Perfect Pussy. Then again, who does? The 26-year old punk vocalist maintains an appearance that is far sweeter than the sound of her voice (and the things that pop up when you google “Perfect Pussy” sans safe-search). Graves has the blithe smile of a screen actress and jet-black pixie crop that makes her look like she wakes up in a lily pad dewdrop every morning more so than sing in a hardcore band. I love a girl who can yell her lungs out while looking like Twiggy’s evil twin in a red A-line mini dress. Hell, she even sports ruffles sometimes. Check out how to get Graves’ look here!

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][prw username=”audiofemme” boardname=”loud-tasteless-meredith-graves” maxfeeds=”10″ divname=”myList” printtext=”0″ target=”newwindow” useenclosures=”yes” thumbwidth=”100″ thumbheight=”100″ showfollow=”medium”]

[retweet][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

A Year in Controversies: How the Think-piece Shapes Music Criticism

In the age of the ubiquitous think-piece, here’s another, and this time, it’s about think-pieces. In 2013 what think-pieces mean is that no one is about to get away with anything. You’re a white girl who twerked in a music video? You’re a white girl trying to criticize consumerism by skewering the particular facets of hip-hop culture that bug you most? You’re a white girl making a comeback built on spoofing both these things? Well guess what – you’re racist. Are you a male journalist discussing any of this? You aren’t even allowed to.

Arcade Fire, Lorde, Miley Cyrus, Lily Allen, Beyonce, and also everyone who has negative thoughts about Beyonce: you are racist. Robin Thicke, Justin Timberlake, Action Bronson, James Brooks, Chris Ott, Beyonce, and also everyone who has negative thoughts about Beyonce: you’re sexist. And R. Kelly? You are criminally sick, and it’s sad it took us all this long to come to terms with that.

While the internet has been known to work itself into a tizzy and sometimes misses the point, all this goes beyond the “haters gon’ hate” anachronism. This year certainly wasn’t the first time anyone examined culture through a progressive lens, but it feels refreshing to read about privilege in relation to pop music. There will be those that will roll their eyes and some whose eyes will be opened. Whether you are more upset over Arcade Fire’s appropriation of Haitian culture in the making and promoting of Reflektor or that they asked fans to dress in formal wear for their shows doesn’t exactly matter because the conversations are still happening.

And sometimes, just the conversation is the positive thing, the thing that shows real sea change. Best case in point: the roundtable of eight female journalists that Spin assembled to discuss the work of James Brooks, an artist who’d been discussed up to that point mainly on message boards and on his girlfriend Grimes’ tumblr. As a song, “On Fraternity” was not especially memorable, but the discussion that followed its release – about whether it was appropriate for Brooks as a man to “explain” rape culture to women, or to name his project Dead Girlfriends, kind of was. Because it compiled the opinions of eight amazing writers who, because of their gender, are still a minority in their industry (even in 2013).

It’s the same industry that produced a guy like Chris Ott, who has some very valid points about the ethics of advertisers appropriating “cool” as interpreted by young writers. But because he singled out the Pelly twins (and dug himself a deeper hole in trying to explain why) his arguments got lost in the (equally valid) debate about whether his comments were sexist. In the end, he may have looked more curmudgeonly than anything else, but it raises an interesting question about the very blurry lines between free speech, hate speech, and sponsored content.

Which brings me to everyone’s favorite Marvin Gaye rip-off. Robin Thicke’s video, the MTV VMA performance, and the date-rapey overtones of “Blurred Lines” were among the most discussed stories of the year. In one of the more interesting examinations of the song’s politics, a feminist writer talked about how she was able to compartmentalize the its content because she just really, really loved the song. There are a lot of women who share her ability to do that. Agree or not, you have to admire that admission, because there were plenty of people who just shrugged and kept dancing without bothering to point out that women have to do this all the time, because so much of music portrays them as less than human.

There have always been controversial characters and questionable lyrics. That piece also named R. Kelly as one of them (the writer, again, was able to set aside Kelly’s “alleged” crimes to enjoy “Remix to Ignition”). But that was before Jess Hopper interviewed Jim DeRogatis, the reporter who broke Kelly’s sex scandal. For fifteen years, juries and fans alike ignored his crimes, made jokes. But because of that piece there are a lot of people who are now unable, or straight up refuse, to compartmentalize that reality to get through Black Panties without wanting to barf. Why did it take fifteen years to come to terms with the fact that R. Kelly is a predator? We knew it all along.

The difference, really, is the internet. Most of DeRogatis’ reporting on the subject was done in print; Hopper is in a distinct position as music editor of Rookie, contributor to Spin, Village Voice, etc. etc. etc. to reach an audience that DeRogatis could not. There are a lot of people writing think-pieces and open letters and retweeting important writing these days, and while they may not do it as eloquently as the professionals, they are no longer just screaming into a void. Will that give artists in 2014 pause while they consider more deeply how their works and actions will be perceived? Even if it takes us until 2050, let’s keep thinking.

ALBUM + LIVE REVIEW: Flagland

Brooklyn based trio Flagland is releasing their third full length album, Love Hard, on February 25th on Father Daughter Records. For Love Hard, Flagland drew from a number of ingredients to cook up their own specific and unique musical concoction of panicky rock. Kerry Kalberg (vocals and guitar), Dan Francia (bass and vocals) and Nick Dooley (drums) incorporate punk, 90s fuzz, and grunge rock, each genre coming together to give Flagland an oddly cohesive personality and sound.

When I first heard “Comfortable Life” some weeks ago, I was blown away by the composition. The song breathed life and developed momentum effortlessly. My mistake, however was valuing the music above the lyrics of the song. Flagland stepped it up and dug a little deeper with their lyrics on Love Hard. Their lyrics are so honest and relatable that listening to this album almost feels like having a conversation over a drink with a few close friends (that are seriously fucked up).

Every lyric is a waste of air

When there’s nobody here because there’s nobody there

Your life is in some kind of mess

When you’ve got nothing to say and yet you’re out of breath

I write a song about them and they don’t wanna hear it

There is something about the truth that causes people to fear it

Kalberg, Francia and Dooley definitely do not have a problem talking about their feelings, which is good, because they have a lot of them, most of which involve anger or depression. Lyrics aside, there are a number of standout musical qualities on Love Hard.

“It’s Your Time,” sung by Dan Francia (with Kalberg providing background vocals on the chorus) is definitely a nod to Rivers Cuomo circa 1996. The song is without a doubt the most earnest and optimistic song on the album. Flagland’s rougher edges appear on “Unfinished Business,” a punk-tinged song with urgent drums and commanding guitar strumming. Weighing in at only :48 minutes, “Unfinished Business” is short but it isn’t sweet. Kalberg, Francia and Dooley manage to pack a great deal of rage into this song, making it feel like more of an emotional release than anything else. “Yr GF” is the most straightforward punk song on the album, with a simple tune and two-part vocals built from melodic screams, making it snappy, sweet and infectious. “Shitsucksrightnow” is brims with personality, beginning with a catchy guitar riff and moving from section to section with seamless transitions, ending on a multifaceted instrumental break.

“Mosquito Bite” is one of the more complex compositions on Love Hard. It begins uneasy, giving the sense that it is building up to something, reaching its gripping destination about a minute into the song. At its pinnacle, the track is colored with guitar power chords, eerie lyrics and unpredictable melodies. It finishes with an instrumental swell and bend to showcase the instrumental aptitude of the trio. Likewise, the drums, bass, and guitar on “Swingin” propel the song forward with frightening, almost unrefined intensity.

Flagland have definitively fine-tuned their distinct sound on Love Hard. Kalberg, Francia and Dooley look back to their predecessors while infusing their personality, compositional artistry and lyrical dexterity, therefore solidifying their own unique space within the musical genres that they straddle. Vocals are often on point, guitar solos are compact and composition is refined, yet Flagland stays true to its garage band roots by valuing musical expression above accuracy.

On Friday, January 10th, I had the pleasure of seeing Flagland perform live at Silent Barn. The lineup included Flagland, Porches, My Dad and Gunk.

Kerry Kalberg, Dan Francia and Nick Dooley casually set up their instruments on the dusty stage of this Bushwick DIY venue. They took their time setting everything up perfectly as the room slowly filled up with bearded men and tattooed girls. After a quick costume change (more like disrobing) Kalberg appeared in his stage uniform, nothing but his boxer briefs, and they were on their way.

The band played a relatively straightforward set, infusing it with some older material while mostly showcasing a number of songs from Love Hard. At the end of “High School Love,” Kalberg ripped his glasses off before the gang embarked on their first (but not their last) great instrumental of the night. He followed this with Love Hard standout “Swingin”. After the crowd settled down, Kalberg announced that he was going to play a song about My Little Pony, and broke into “I Need It,” from 2012’s Tireda Fighting. Next came a string of songs from Love Hard: “Straight White Male,” “Unfinished Business,” “It’s Your Time” and “Comfortable Life.” They finished with a track from 2011 debut Danger Music/Party Music.

As always, Kalberg, Francia and Dooley put on a dynamic show that was rife with instrumental solos, intimate vocals, lighthearted banter and, of course, a whole lot of bare chest. Make sure to catch their next show, on January 26th at Shea Stadium.

AF LIVE: 2nd Anniversary Showcase, 1/16 @ Spike Hill

Please join us Thursday, 1/16 at Spike Hill for our second anniversary showcase. This year has been a shit show for us, and we’ve made exciting strides, creatively, professionally and personally through our evolving project here at Audiofemme. We’ve gone from two waitresses, complaining over tequila about the glass ceiling that envelopes the oh-so-insular music writing/new media industry, to two waitresses plus one web femme, blogging in cafes about the cool new band we caught the night before at a warehouse party in Bushwick, to two editors, sitting in our sunny offices with our crazy talented writing team, plotting our next steps forward and what we want to order for lunch.

For AF’s bday party, we’re bringing you an insanely good line up of live music, followed by what we hope will be a raucous dance party. Please find a few of our artist profiles below (more to come), and all the deets regarding set times/venue specs can be found on our events page here: https://www.facebook.com/events/1411538842420080/.

We hope to see your pretty faces this Thursday at Spike Hill.

xoxo

Crooked Tails

Brooklyn-based city slickers Crooked Tails channel a bygone era with their floor-thumping, string-
heavy Americana. With the ghosts of Johnny Cash and Patsy Cline hanging on their shoulders, dual vocalists Jeffrey and Shana bring a sweet singalong-ability to the project, augmented by a wide range of instruments, seamlessly blending traditional old-time instruments with drums and electric guitar. Shana’s delicate soprano lends these songs a haunting quality that’s not easily forgotten.

Audiofemme: Where did you all grow up, and what did you grow up listening to?

Crooked Tails: Jeff: Dave(drums) and I grew up in Connecticut, but I was closer to Hartford and he was closer to Bridgeport. Ricardo(bassist) is from Valladolid Spain.

Shana: I grew up in a small town in Florida called Deland and Alex(lead guitar) grew up in South Florida

Jeff: The first band I ever fell in love with, which are still my favorite, was Nirvana and Ricardo is similar. From them I began getting into punk and hardcore and played that style for many years, and Dave did as well. Ricardo loved all the post punk stuff, the Pixies, Sonic Youth, Joy Division.. It was later on that we would get into the folk/alt country sound.

Shana: I listend to quite a variety growing up thanks to my family. Everything from Metal to Disco to Rockabilly to Southern Rock. Though through my teenage years it was always about the blues, early country like Johnny Cash and The Everly Brothers, and punk music. Alex grew up listening to a lot of delta blues, golden oldies, and 60’s/70’s english rock.

AF: Your drummer, Dave, walked in to audition for Crooked Tails thinking he was trying out for a Black Metal band. What’s it like incorporating different influences into what’s typically a traditional genre? Do you ever throw some of Dave’s metal background into the mix?

CT: Jeff: Well Dave knew who I was through the punk/hardcore/metal scene in CT so he came in expecting it to be something different. BUT, his favorite bands are Behemoth and Bon Iver, so he is pretty diverse. On some of the newer songs he incorporates some harder hitting drums and an edginess that I think will always be present in people’s playing that came out of those scenes.

AF: Your name makes for a striking, and kind of dark, image, and turns up in the lyrics to “Broken Tails.” How’d you settle on calling yourselves Crooked Tails?

CT: Shana: Well…because everything else was taken. hahahah. But really, we had just finished writing Broken Trails and still didn’t have a name. So Jeff and I are practicing the song one day and were like I wonder if Crooked Tales is a band, which it wasn’t! So to kind of somewhat break it away from the song we switched it to “Tails” instead of “Tales”.

AF: If you could record a song with any band or musician, living or dead, who would it be? What song would it be?

CT: Jeff: Song…I’m not sure, but an artist, though unfortunately dead, that I think I could learn a lot from is Townes Van Zandt.

Shana: Ah shit always a hard question…I always say this though, I would love to work with Jack White. Every project he’s worked on is a favorite of mine. And his recent collaboration with Wanda Jackson made my ears so happy! On the deceased side though I would of loved to work with Waylon Jennings or Patsy Cline.

5. We’re curious about your songwriting process. The music on your demo seems to flow organically from image to image, even morphing into “Hit The Road Jack” at the end of “Broken Tails.” Who writes your songs and lyrics? Is it collaborative?

CT: Jeff: Some songs Shana writes the lyrics and melodies and then I’ll add guitar, and then other songs I will write the lyrics and music to. Once we have the basic ideas, we bring the other guys in to add in their parts and give them life.

I should also add that the demo isn’t something we are all too proud of… we did it early on just to have something rough to get shows and show the other guys. So, some of the band didn’t even play on it. We go in to record a 6 song EP Jan. 18th, and we will sound much better now that we’ve been playing together for a while.

Take a listen to Crooked Tails’ “The Devil Came Thru”, off their recent demo, here:

XNY

The stripped-down rock duo XNY’s spotlights Pam Autuori’s gorgeous powerhouse voice and Jacob Schreiber on the drums. Their second and most recent release, Orange, brings an enormous sound from just two musicians. The result of the pairing is catchy, magnetic rock and roll that revels in its simplicity.

Audiofemme: The two of you met after you shared a wall in an apartment building, hence the title of your first record, Through The Wall. After you met, was the chemistry instantaneous? When did you start playing together?

XNY: Our initial meeting involved cheesecake and a lot of wine–ingredients for instant chemistry. We decided to play together as soon as my nap time started coinciding with Jacob’s practice time. Surprisingly, all of the disturbances worked themselves out nicely…

AF: What are your musical backgrounds? What kinds of things did you play before you started playing together?

XNY: My dad plays guitar, I grew up listening to him cover Springsteen and The Beatles, I asked him to teach me guitar when I was eight and began writing my teen angst pop songs shortly after that. I covered a lot of 90s rock/grunge and A LOT of cheeky pop songs, “Kiss Me” was a regular at open mics… Jacob was in a heavy metal band in his angsty years, and then matured into jazz…and then immatured into rock.

AF: What was your vision for Orange, going into making that album? Did anything about how it turned out surprise you?

XNY: Our goal was to capture our live sound. It was a great experience working with Brian Viglione at Stratosphere Sound (which has since closed). We experimented a lot with electric guitars, bass, organ etc. Recording Orange really helped us develop our sound and open our minds. We used to avoid any electric instrumentation, I have been playing acoustic guitar for years, and I will gladly admit I am having a serious love affair with my telecaster.

AF: Your music has this fun, no-nonsense energy that translates so well into live performance. How do you feel about playing shows?

XNY: Thank you! We love playing live, that is where we feel most comfortable. It’s like therapy… really loud therapy.

AF: If you were to go on your dream tour with any band or musician of your choosing, living or dead, what would the lineup be?

XNY: Ooo this is a tough one! I would love to go on tour with The Rolling Stones circa 1971… I’d also throw in some Janis and a little Etta James… And why not some Jack White while we’re at it… And Beyonce. Always Beyonce. This is turning into a bizarre show…

Listen to XNY’s “Who Are You”, here:

Daytona

Though they’ve been friends for years, Daytona only solidified as a band after its three members relocated to New York City from Chapel Hill, North Carolina. Each of the trio boasts a solid garage rock background, but in combination, the group is something more complex: their full-length debut is brimming with high-energy, complicated indie pop, meandering guitars and gorgeous vocal harmonies. Though Daytona’s warmest, most ethereal moments, live up to their name, there’s something deeply nostalgic—sad, even—at the core of the music.

Audiofemme: What was the process of officially coming together as a group like? How long did it take before you felt like a band?

Daytona: There was this one night, when we all walked from the practice down to the deli, and we got some food and drinks and then went back to practice and played music for a while longer. And then we did that a bunch more times and that’s how you become a band.

AF: Why did you decide to move to New York City?

Daytona: I used to visit here in college. My friend Karl had a place in Greenpoint where we would stay. It was fun. I got headhunted right out of college by Saatchi & Saatchi to help revamp their social media profile. It was a perfect opportunity. When I got to the city, though, it turned out that the “headhunter” was a total conman. The Saatchi people had never even heard my name and I had paid the guy a lot of money to get me the job. FYI kids: that’s not how it works! By the time I caught up with him he had lost it at Meadowlands. So I went down to guitar center and bought an Epiphone, which is a really great guitar for beginners. Then I spent a couple of years in my room and wrote a collection of songs about the experience. Those would go on to comprise our debut self-titled record, which came on in Novermber ’13 courtesy of Ernest Jenning Recording Co.

AF: What’s the music scene like in Chapel Hill, and how have things been different in that respect since you moved to New York?

Daytona: New York City has an encouraging & welcoming music scene, a big happy family really. Meanwhile, Chapel Hill is full of cut throat hustlers who just want to make it to the top.

AF: What was your goal for Daytona, when you began playing together? Has your initial idea of what you wanted the band to be shifted?

Daytona: Initially the band included a woodwind section and a triangle-ist, but that didn’t work out. The woodwind players found other work. The triangle-ist though, things ended badly for her. She plays on subway platforms now. The echo down there totally drowns out her triangle vibes and it just sounds like a dog whistle. I give her a dollar when I see her anyway. Good luck Janine!

AF: “The Road,” the first track off your latest album, really encapsulates the sensation of being on a big cross country road trip. If all three of you were to go on an all expenses paid one-week vacation—not on tour, just for fun—where would you go and why?

Daytona: Probably Japan. Just this morning I saw some really amazing illustrations from the Edo period. This guy I know posted them to Facebook. Since then I’ve been really curious about the culture there.

Listen to Daytona’s “The Road”, here:

Foxes In Fiction

Foxes In Fiction is the musical vehicle of songwriter Warren Hildebrand, who writes and produces ambient and loop-friendly experimental pop. Foxes In Fiction uses lightly doctored guitar riffs to create an immersive soundscape that focuses on music listening as an almost visual experience. 2010’s Swing From The Branches, Foxes In Fiction’s full length debut, dwells in ambient drone loops for almost its full first half, but rather than obscuring the music, this experimental layering effectively laying groundwork for a hypnotic and sensorily magnified listening experience.

Audiofemme: Your first album was released as a cassette, and you co-run a cassette recording label. What’s the source of your interest in cassette recording?

Foxes In Fiction: I started Orchid Tapes while still living in Toronto in early 2010, but for the past year or so I’ve run it with my boyfriend our of our place in Brooklyn. From the beginning I wanted to release things on tape because of how easy it was to disseminate music on that medium (cheap to produce, easy and affordable to ship) and I liked that something like tapes stood as a direct antithesis to the mp3 / blog culture that was in full-swing in 2010; instead of endlessly digesting one song after another and never really feeling like I was forming a connection with a lot of the music I was coming across, listening to something on tape forced me to have a tactile relationship with it. There’s no option to skip through tracks and you have to flip it over once one side plays out. It’s basically all the same reasons that people have for liking vinyl, but of course they only cost a fraction of the price to produce which made it easy for smaller labels and musicians like myself to put them out.

AF: What’s the music scene like in Canada? Are there other musicians making music that’s similarly experimental to yours?

FIF: Canada’s a pretty massive country, and there are lots different scenes and pockets of people doing intensely creative, inspiring and experimental stuff in pretty much every part of it. Canada is great, I’ll always believe in it. I’m from Toronto, and there’s a lot of pretty fantastic music stuff happening there at any given point, and while I lived there I was fortunate enough to fall into a few different groups of people who approached music with a similar mindset to my own. I only lived there for about three years but I miss it and the people there a lot.

AF: Your songs are so visually evocative. Do you have imagery in mind when you start writing?

FIF: Maybe with the more ambient and old moody drone tracks on the first record I did; I would have particular images in mind or I would use a specific visual cue as jumping off point for a song. But with most of the recent ‘pop’ things I’ve been doing, the images I’m going for are more encoded in the actual lyrics than the music itself.

AF: How do your songs translate into live performance? Do you take a different approach to playing a show than you do when you’re recording?

FIF: Since I perform by myself, there is a certain Sweet Spot that I have to try and hit in between a) making it not boring for myself and b) making it not boring for the people watching. This can be kind of challenge because of the fact I use samples and pre-recorded material which I think makes a lot of people roll their eyes, but I try to not make a secret of it and do as much live instrumentation in between everything using my voice, keyboards and guitar with looping pedals and various effect pedals. There’s always a little process of de/reconstruction between the recorded version and the versions that I play live, which usually ends up making everything sound super loud and bass heavy, mostly because I’m pretty nervous when I perform and I wanna be able to hide away behind a huge wall of sound, ha ha.

AF: Earlier this year, you released a collaboration with Benoit Pioulard. What was that process like? What do you like most about collaborations?

FIF: It was awesome. He’s one of my top 5 most favourite musicians of all time and just an all-around amazing person, so getting the chance to work with him was really inspiring. All we really did was talk through some ideas the first time that we met while driving from Toronto to Montreal together, and then the rest was done by passing files back and forth to eachother over Gmail. The way the kids do it these days. Also, this is something I’m still kind of freaking out about, but I recently had chance to collaborate with Owen Pallett, another musician responsible for a massive amount of musical influence in my life. He wrote and recorded the string arrangements for my new record which elevated everything to this ridiculously amazing new level that I didn’t think was even possible for my music. I don’t even care about the songs themselves anymore, I just want the record to come out so people can hear his work.

Listen to Foxes In Fiction’s “Snow Angels”, here:

Prism House

Electronic duo Prism House are meant to be seen live, not only because a speaker system won’t dojustice to the intricacies of Brian Wenner’s thumping rhythms, echoing synth jumps and jumbled clips of barely understandable human vocals: half the group’s effect, orchestrated by Matt O’Hara, is live visual effect. Though it’s spacey and immersing, Prism House is too complex to be straightforward dance music. Instead, the constantly changing, multifaceted instrumentation form a soundscape that keeps revealing new layers as it progresses.

Audiofemme: What sparked your interest in electronic music? What’s your first memory of beginning to play music?

Prism House: Brian: My first initial exposure to electronic music came in the form of playing video games growing up in the Midwest. I didn’t actively think, “wow I really enjoy the music in these games,” but I was definitely training my brain to understand and be inspired by synthesizer sounds and drum beats from a young age. Popular electronic music didn’t interest me much at that time, but I remember hearing Nine Inch Nail’s “The Downward Spiral” and being intrigued and kinda frightened by it. Radiohead’s album “Kid A” was a definite turning point for me in terms of wanting to actively make electronic music.

My first memory of beginning to play music was receiving a cheap electric guitar/amp combo and playing that thing for hours. The guitar was my passion for several years and I learned everything I know about melodic composition from the guitar. I only recently really started thinking of myself as a “composer” and not just a guitar player interested in electronics. I haven’t picked up the guitar in a while but it was a very formative instrument for me and helped the transition to making electronic music easy and fluid.

AF: Prism House formed in 2011. Brian, what was your goal for the group, going into the project? How has that changed since Prism House’s beginnings?

PH: Brian: The format and line-up of the group was fairly different back in 2011. Matt, who does our visuals exclusively for the group, was at the time making vocal drone music and our friend Pia was doing visuals. The group was a bit more primal and raw sounding in its initial stage and was meant to be solely a live experience.

When I joined the group Matt moved over to doing visuals and I handled the music. It wasn’t something we ever talked about but rather it happened naturally. My only goal was to create a performance group that truly is audio/visual. When you come to the show it is apparent that we are working together as opposed to just some visuals thrown in the background of a guy with a laptop. Another goal was to personally expand my compositional skills and focus on field recordings and audio collage aesthetics as opposed to synth based music.

Prism House has remained consistent to the overall vision I just talked about but I think we are both eager to expand the show in new and exciting ways. We’ve also talked about creating a theatrical production that incorporates our styles. Matt comes from a theatre background so we draw inspiration from that area with what we do.

AF: Do you think the process of songwriting and making music is different for a duo than it would be for a larger band? Does one of you take the lead on any given song or passage, or is the process collaborative?

PH: Brian: The process is absolutely different. I actually write all of the music for the group currently, and Matt creates all of the visuals. So in a way it’s collaborative in that we perform together, but we are both our own unique entities working independently. I love that relationship because it forces us to find a common ground in what we both do. We don’t actively sit down together and work on things because the process is very personal and insular for each of us. We tend to talk more about whether what we have created has a common thread that will translate well to an audience or viewer. Thankfully, it often works out so we don’t have to scrap much material.

I came from the background of writing and collaborating in a band setting and there is something exciting and unique about the group (band) mentality, but that way of writing doesn’t really work for this duo. Matt and I have different skill sets so it’s difficult for me to interject certain ideas into his work and vice/versa. Sometimes I miss the excitement of coming up with ideas as a group, but I find it really fulfilling and satisfying to work as a solo musician currently. There are pros and cons to each approach but at this stage in my life it makes sense to be writing as a solo artist and work in collaboration with Matt. Logistically, it is also much easier to be a solo electronic outfit than a full band when gigging in NYC so there is also that benefit.

AF: Matt, how did you begin focusing your visuals towards music? How do you translate sound into aesthetics?

PH: Matt: I worked in theatre for a long time making sound and music for plays. I think years of doing this must have trained my brain to expect a visual complement to everything I hear. Making visuals for music is the same thing as sound design, only in reverse. Brian’s music is great because it’s so dense and moves so quickly. When you come to a Prism House show, you are seeing a rough version of what I am seeing inside my own head.

AF: Prism House’s sound incorporates elements of dance music, as well as farther-out experimental stuff. What’s your philosophy about meshing the two? Who are some of your influences, as far as bringing the two styles together?

PH: Brian: My philosophy for incorporating dance and experimental elements in the music stems from having a vast appreciation of both genres and a natural combining of the two. On the “Reflections EP” I wasn’t actively trying to make an avant dance record but I found myself being extremely drawn to kinetic dance rhythms layered with field recordings and internet sampled material. The record started to take shape quickly once I had the general sound palette and tone figured out and the result was something cohesive and exciting.

I’m mostly inspired by my surroundings and NYC has been hugely influential on the sound of the music. I use a field recorder and sample sounds from all around the city and use those as the framework of the compositions. The tone and pace of the record feels very New York to me as well. I wouldn’t have made the record I did if I was still living in Ohio. I am also really interested and inspired by the idea of audio scrapbooking, or recording sounds for the sake of remembering certain moments in life. The EP is full of unique sounds that are very much a part of my NYC experience.

I don’t draw tons of inspiration from other artists, but I do really like Oneohtrix Point Never and Slava lately. I’m also just a huge fan of the RVNG Intl. label and Ghostly Intl. as well. There are so many cool and talented artists in Brooklyn today that it’s hard to keep up. The scene feels both vast but tight-knit and it’s exciting to be a part of something like that.

Listen to Prism House’s “My Love”, here:

INTERVIEW: Casket Girls

The Casket Girls seem to have come together by a serious stroke of luck—or magic. The Savannah, GA three-piece was formed when Ryan Graveface (of Graveface Records and quite a few other bands) happened upon sisters Elsa and Phaedra Green, singing and playing Autoharp under a tree in a park. Their collaboration since that fateful day has mainly involved Ryan creating electronic-shoegaze music for the girls to write lyrics and sing to, resulting in ethereal, catchy songs that quickly amassed a cult following. Their sophomore album, True Love Kills The Fairy Tale—conceived while the girls were in some sort of dream or drugged up state—sounds both enchanting and spooky, and listening to it all the way through feels somewhat like exploring a haunted castle. The record is due out Feb. 11th, and in the meantime we caught up with Phaedra and Ryan to talk a little about where they are and where they’re going. Read on, and keep an eye out for True Love Kills The Fairy Tale!

You guys say you’re all very connected/linked with each other as people, despite the serendipitous way in which you met and became a band. Can you describe this connection, and how it aids you creatively and collaboratively?

Phaedra Green: It feels as though we found each other when we reflect back on all the myriad of minutia decisions that were made to cross paths at that exact point in time. Therefore it begs the question, was it the first we met?

You’ve talked a lot about the story behind this new album, and how Elsa and Phaedra don’t remember much from the night they actually wrote the songs. We haven’t heard much about how things came about musically…what were some of Ryan’s inspirations in making this record?

Ryan Graveface: Heartbreak (ending an engagement), making my own absinthe, collecting Pogo’s original artwork etc…the record, musically, came from these things.

The album mentions a lot of things that go hand in hand (ashes and embers; stone and rock) as well as opposites (fire and water; light and dark). What attracted you to these themes?

Phaedra: We spend a lot of time thinking about not only the things that make us different but also the things that make us the same. It’s been a fairly prominent topic in our conversation, studies and also in our dreams.

How do you think you’re developing and evolving as a band, going from your first album to your second? What feels different?

Phaedra: We’re not sure what exactly feels different, but we do feel different. Being involved in this band has been a constant evolution.

Do you plan on staying in Savannah for the time being? Do you find all of Savannah’s Spanish Moss-covered Oak trees as inspiring as we do?

Phaedra: Yes, yes and YES!

If you could have one person, living or historical, listen to your album, who would it be?

Phaedra: Johann Sebastian Bach!

Who are some of your musical inspirations? Do you have anyone with whom you would absolutely love to collaborate on a project?

Phaedra: We are inspired by anything from ‘60s girl groups (Phil Spector), to experimental and modern pop. We are obsessed with Janelle Monae. (Janelle Monae, if you are reading this, please contact Ryan Graveface.)

So you asked fans to submit video footage for “Chemical Dizzy”’s music video…did you get some good stuff? You guys have done this sort of fan-involvement thing before; what about that is attractive to you?

Ryan: I just get so bored with the usual roll-out of a record that I like to throw in a few interesting ideas here and there. We received a bunch of really cool submissions and our guy is currently trying to turn it all into a proper music video. I feel very blessed that people care about our music enough to take the time to do things like this. It’s radical.

You guys are heading out on tour soon…where are you most excited to go? Do you have a favorite city or venue? What are a few of your tour bus necessities?

Phaedra: New Orleans is our favorite place to visit. We can’t wait to go back there. Ryan drives us around in a van or a car and sometimes we have to sit with instruments on our laps, so necessities pretty much are just air and water and some food. If we luck out, we get our own hotel room and a bottle of Chandon sparkling rose.

If you could have any super power, music related or not, what would it be?

Phaedra: We would like to further delve deeper into the prospect of our psychic abilities.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_soundcloud url=”https://api.soundcloud.com/tracks/115631276″ params=”color=ff6600&auto_play=false&show_artwork=true” width=”100%” height=”166″ iframe=”true” /][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

TRACK REVIEW: Jack Name’s “Born to Lose”

Los Angeles based Jack Name’s debut album Light Show will be out on January 21^st via Drag City’s God? label. I’m personally very excited for this record to drop, but until then you can quench your curiosity with our track review coverage featuring “Born to Lose,” a dirty garage number that stirs up a wealth of reference points.

“Born to Lose” is at once heavy and ambient, with a distorted guitar intro and screechy vocals reminiscent of Stiv Bators and Jack White. This is a song of subdued chaos–never reaching explosive levels of raucousness, yet leaving no space between the instruments and vocals. Even when the squealing guitars break there is a constant influx of background singing which reaches chipmunk frequency.

The production on this song reminds me of Joe Meek meets John Peel, totally stripped down and yet dizzying at the same time, and Jack Name’s former work with Ariel Pink makes sense entirely. We can’t wait to see what the rest of Light Show has to offer.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]
[retweet][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

TRACK OF THE WEEK 01/13: “Falling From the Sun” off Everything Is New

There are multiple layers in which to delve with this track. First, “Falling From The Sun” is a product of Edinburgh band Marram, however it features Margaret Bennett and Pulp’s Jarvis Cocker. The song will be part of a collection of collaborative tracks on Sun Choir, which is half of a two-album compilation entitled Everything Is New. The compilation will be released by the Scottish art cooperative known as Transgressive North. Are you with me so far?

Transgressive North has fused a pack of contemporary artists featuring the likes of Dan Deacon, Owen Pallet, Four Tet, and numerous others, with the voices of the Light of Love Children’s Choir to create a generous collaboration. Proceeds from the record sales will go directly to the Scottish Love in Action Charity and will benefit destitute children in South East India, particularly those within the Light of Love Home and School.

The first installment of Everything Is New drops January 20^th. Here is a peek at “Falling From The Sun.”

The track suits the intention of this entire project with its brightness and sonic optimism. It opens with minimal synth chirps before building up with nasal-heavy vocals and flitting major chords. Around 1:46 the Light of Love Children’s Choir pipes in and the song becomes a sweeping rapture; part dance track, part playground sing-a-long.

Jarvis Cocker comes in around 3:40 with his signature talk-signing that trails to the end of the song, when all of its elements fuse into a unified anthem.

Here is a video outlining the mission of Transgressive North’s Everything Is New Project:

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]
[retweet][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

VIDEO OF THE WEEK 1/13: Trentemøller “Gravity”

Danish indie-slanted electronic musician Trentemøller has debuted the video for “Gravity,” the second track off his 2013 album Lost. This video is the story of a day in the life of Mr. Carpool, played by Oscar Isaac (recently of Coen Brothers’ film Inside Llewyn Davis), as he walks the shoulder of a Los Angeles highway, advertising his services as an extra passenger for single drivers who want to fast-track into the carpool lane. Isaac’s title role in Inside Llewyn Davis depicts a down and out folk singer who hitchhikes to New York with no money; in “Gravity,” Mr. Carpool takes on the role of companion, road trip buddy, and confidant.

The relationship between driver and passenger begins ambiguously, with Isaac in disheveled businessman apparel, carrying a briefcase, as the sun rises over the LA highway system. Trentemøller’s staid, pulsing beats suggest a reflective loneliness, with a backdrop of a ticking clock and high vocals that trace placid arches over the music.

Mr. Carpool’s first customer, a harassed looking middle aged man, shoves a life-size doll out of the passenger seat as Carpool shoves into the car. From there on, Isaac’s character is privy to all the eccentricities of people alone in their cars: drivers scream on cell phones, blast their radios, make jokes, eat snacks, cry, and offer him hits off a joint. We don’t hear anything of this, of course; “Gravity” swells and harmonizes as it progresses, blurring together into a representation of the digressions and experiments of the day. By the video’s end, it seems as if “Gravity” has become the soundtrack to a life as viewed from the passenger seats of strangers’ cars. Though Mr. Carpool charges a ten dollar fee for his services, it quickly becomes apparent that he’s just as valuable as a companion as he is an extra body to qualify the car for a space in the car pool lane. We see his drivers soliciting his advice, shaking his hand, or asking him to check their make up.

Like “Gravity” itself, this music video speaks to themes of isolation and togetherness, and easily how a business arrangement gives way to personal interaction. The highway, an apt metaphor for being alone together, opens up to Mr. Carpool in this five and a half minute representation of a work day.

When day of hitchhiking is done, Carpool waits by the side of the road until a dark blue Volkswagen swings by–it’s a woman, one of his customers from earlier that day. He gets in the car and the pair, smiling and familiar with each other–although we saw them meet each other for the first time earlier in the day–drive off, in the right-hand lane of the highway. As the various lines of “Gravity” resolve into harmony, its visual component ends with an uplifting sense of peace–a literal drive into the sunset.

Watch the video for “Gravity,” out via Rolling Stone, below:

Femme Unfiltered: Lizzo

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 second installment, Rebecca Kunin profiles Lizzo, the Minneapolis- based rap artist who’s unadulterated music flows directly from her conscious to her microphone and our grateful ears

“I got a lot on my chest so here’s my breast reduction. I hear the sounds of gums bumpin they ‘aint saying nothing. I’m sick and tired of being typecast like Lindsay Lohan when I’m gonna probably outlast most of these N****’s flowing.

The vast majority of rap music is saturated with aggressively patriarchal lyrics that objectify and degrade women. The hip hop industry is almost exclusively a man’s club. Nicki Minaj was the only female on the Forbes 2013 Hip Hop Cash Kings (Forbes doesn’t even bother to choose a gender neutral title), a list that counts down the 20 highest paid rap artists. Not only was Nicki Minaj the only woman on the list this year, but two years ago she became the first woman ever to make it on the list. Being a woman and a rapper is a feminist act in itself, simply because breaking into this male-dominated industry is feat that only some of most talented female rappers experience. Still, a female rapper is referred to as just that, a female rapper, she is often unjustly considered a novelty act. This of course isn’t to say that there haven’t been any important female rappers, but they are far and few between.

For all of those who love hip-hop yet can’t bear to listen to any more songs from men instructing girls to “bend over and show them what they’re working with,” there is hope! Lizzo and her band of GRRRL PRTY rappers (Sophia Eris and Manchita) are snapping their fingers, stomping their feet and prancing their way onto the rap music scene. In her debut full length album, LIZZOBANGERS, Detroit-born (and Minneapolis based) Lizzo takes on everything that “pisses her off:” the male-dominated rap music industry, LGBT issues, double standards and racism. She does this by skillfully weaving satire, anger and comedy into her lyrics. Not only does she have the audacity to tackle these issues, but she has lyrical talent and rhythmic flow to back it up.

In “Pants vs. Dress,” Lizzo takes on the glass ceiling. She recalls underground freestyle battles with male rappers. After proving herself to the male rappers of Minneapolis, she rose to become the “Queen.” Although she may reign over the Minneapolis rap scene, she doesn’t make as much money as the less-talented male rappers:

(man) And I’ll be getting your checks

(Lizzo) And you can get in your chair- I’ma get in my throne and you can get in your chair

(man) and I’ll be getting your checks

In a more serious “Hot Dish,” Lizzo airs her frustration with objectification in rap music.

“Cuz I ain’t got no beef with nobody, but those bodies got to realize that this is no hobby. I ain’t your hood girl boo, I’m your feature, and I don’t need your attention cuz of my features. I swear to God I feel like a piece of meat, every time I’m walking home or even a block from my street. Give me room, the only rapper with a womb that will spit that 16-bars to send you rappers to the tomb… “

Setting political and social issues aside, Lizzo demonstrates time and again that she some serious free-styling chops.

In her debut music video, “Batches & Cookies,” featuring Sophia Eris, Lizzo comments on the sexual double standard. The video begins with Lizzo lathering a scantily clad man with butter (and then licking it off of his face). This theme is developed with similar scenes of Lizzo and Sophia Eris eating donuts and sandwiches of off shirtless hunks throughout the video. Lizzo also comments on LGBT issues in this video. The video includes kick-ass scenes of Lizzo and Eris holding picket signs and heckling Westboro Baptist Church protesters.

Like gender issues, Lizzo isn’t afraid to discuss race and poverty.

“…and get confused when we conglomerate to the inner cities… being super sketchy, skid rocks on their knees, their hands in their pocket, they walking by real fast in case we got that rocket, boom! slam the door to their apartment.”

“Dorothy Dandrige, Chuck Berry, Michael Jackson is black excellence. My girl, you silenced, Michael you de-princed, Chuck B. put a white girl in his car and he crossed the line so you fenced him in them prisons?!”

Lizzo also takes on the music industry:

“Who is ‘you?’ I’m talking to YOU, you know who you are. The reason I can’t be a black star without your black card. Swipe swipe to the corporations, salute give you salutations…”

It isn’t all serious with Lizzo, who often broaches more lighthearted topics. Even when discussing lyrics that dredge up such intense emotions, Lizzo manages to weave in comedy and satire. I have very little doubt that Lizzo’s delivery, intelligent lyrics and powerful singing voice will carve out a space for more female hip-hop acts to come.

Lizzo Live 12/20/13

Lizzo played with U.S. Girls and SISU at the Brooklyn Bazaar on Friday, 12/20. If you haven’t been to this venue before, try to make it to this Greenpoint spot. With not only a stage but food stands, local craft vendors, table tennis and minigolf, Brooklyn Bazaar is one part flea market, one part music venue (it also boasts some of the cleanest port-o-potties that I’ve ever experienced).

Lizzo entered the stage with the other members of GRRRL PRTY, the Minneapolis rap group consisting of Lizzo, Sophia Eris and Manchita. Lizzo started the performance strong, with W.E.R.K. Pt. II, and ran through a number of tracks off of Lizzobangers, such as “Faded,” “Hot Dish,” “Batches & Cookies” and “Wat U Mean.”

Lizzo pranced around the stage, belted out the melodic parts of the song with powerhouse vocals, and rapped with rhythmic finesse. Her tone was heavy when she rapped about carrying the spirit of her pops on her back and lighthearted when she rapped about getting drunk off of fourloco (yo ho ho and a bottle of fourloco). Lizzo managed to act serious, sexy or even downright silly (but usually a combination of all three) while at the same time coming across as sincere, gracious and down to earth.

About halfway through the show Lizzo announced, “I thought i’d make it a GRRRL PRTY up in this bitch.” She put on her GRRRL PRTY hat, Manchita and Eris came to the forefront of the stage, and the party began. Taking turns rapping verses with impeccable flow and stage presence, the minneapolis-based rap trio melded together perfectly to form an combination of femininity, raw sexuality and power.

My favorite GRRRL PRTY performance was “Wegula.” This attitude-infused anthem of female power managed to get even the most timid members of the audience make bust out their most ridiculous dance moves.

It was over entirely too soon. GRRRL PRTY finished their final song, and over the crowd’s cheering, Lizzo boasted, “we worked it.” Then, in a beautifully touching moment, Lizzo, Eris and Manchita embraced on the stage.

This week I had the chance to chat with Lizzo. Here is what she had to say:

AF: First of all, I loved the album. You have tackled a number of musical genres in your career (classical, gospel, punk, rock and rap). What drew you to hip-hop? How have your exploits into these different genres influenced the music that you are currently making?

Lizzo: I’ve always, besides gospel and classical music, been drawn to hip hop. I’ve been in rap groups since I was in like 6th grade, and really started rapping when I was 13. Rap was the first of my performing loves. I moved on to be in progressive rock, electro-pop and R&B, and then I came back to hip-hop. I think I just let whatever naturally needs to happen happen and just follow the course of the kind of art that I want to create. But yeah, hip-hop was the beginning.

AF: And do you plan on sticking with Hip-Hop?

Lizzo: I don’t know, man, I’m writing a bunch of R&B songs, so who knows what’s going to happen? I mean hopefully it’s all good, but I can’t tell you right now.

AF: GRRRL PRTY recently released a couple of singles. How did you get together with Sophia Eris and Manchita?

Lizzo: I met Sophia Eris within the first week of moving to Minneapolis about two years ago, and we just decided that we were going to be best friends. She wasn’t a rapper when I met her, she didn’t even consider herself a singer, she was working in the industry at a radio company in the music business. About four months or so after I moved in with her we just started making music together. Manchita came with some mutual friends. We were on a track together yet we had never met and it was like, who’s this girl? We finally got to meet and we hit it off really well. It’s been a year or so in the making but we finally decided to all get together and just spit rap. It’s been really fun. We just got started in July so it’s really amazing that so many people have been gravitating toward it.

AF: Can we expect more from GRRRL PRTY or will you be focusing on your solo career?

Lizzo: One comes with the other. GRRRL PRTY is the fun of it and Lizzo is the business or the work of it. You’ve got to work to build your brand and then you can go hang out with the boys (laughter). We’re going to put out hopefully an EP/mixtape of sorts, and then hopefully a full length later down the road.

AF: LIZZOBANGERS is your first major solo album. How does the songwriting process differ when working alone?

Lizzo: When I’m alone I have to focus on an entire song, the AB format, the dynamic second verse that I want to create and how a bridge works. [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][Working alone] gives songwriters, which I’ve always considered myself, the opportunity to flex that muscle. Being in a group all I’ve got to focus on is the 16 and collaborating on a chorus, which is fun as well in it’s own right because you don’t have to worry about so much and you just think about the coolest thing that you can say. LIZZOBANGERS came from a writer’s block. I was sitting there and the first thing that came out of my pen was be still. I was just furiously writing and writing because I hadn’t written in so long and I had been so drained. Building the songs totally gives you this personal journey in your writing. LIZZOBANGERS was all about the personal journey I had experienced for the last 7 some odd years of being in groups and trying really hard and dealing with family. I think that you can see that in the music. It’s really personal and introspective.

AF: I love how you intertwine satire and humor into your music while at the same time discussing very serious themes. Describe your songwriting process.

Lizzo: I don’t really think about it, it comes out as quickly as a freestyle when I am writing. I think that the things that I have to focus really really hard on I kind of scrap. All of the stuff that you hear came out very easily. If a verse is hard or if a chorus is hard you shouldn’t damage yourself or rack your brain to come up with it. So I look back and I read what I wrote and it’s just like what is this? This is it! This is it! This is what my brain wants. Especially with GRRRL PRTY and doing our own writing, we’ll all be sitting there quietly and I’ll just start laughing. I’ll be like “did I really write that?” I’m glad you love the part that will remain, because I don’t want to think about it. When it becomes hard it’s not worth it.

AF: It seems to me that there aren’t that many female rappers that sound like you do. Who are your contemporaries and peers?

Lizzo: I don’t really try to think about who I’m not sounding like and who I am sounding like. I think that that’s the beauty of GRRRl PRTY, we’re not concerned about who we sound like. We don’t think about that, and I think that’s how we manage to sound original. I don’t know, vocally, there are so many people that I could look toward, like Ludacris. Ludacris is so sick with it. There are so many people that I can hear in my flow. On the album Sophia Eris told me “girl, I hear all kinds of people, I hear some Kendrick in here, I hear some Andre 3000, Beyonce…” We absorb all of these influences from when we are kids and even the way that we just talk normally. We look up and we’re like “wow that sounds like someone that I used to know” or “my mom talks like this,” you know? I’m not really thinking about who I’m trying to sound like and I think that that’s a good thing. I want to remain original and stay myself and stay in my head.

AF: Do you find that you face discrimination and adversity within the rap music industry (or the music industry at large) as a female?

Lizzo: No (laughter).

AF: Do you consider yourself to be a feminist? What is your definition of feminism?

Lizzo: Just in the last year or so people have been asking that question. A lot of feminist blogs have put my music video on their website or in their magazine and it’s been exciting to know that I’m a part of a movement that is so empowering. In the last year I have realized that, if you want to call me a feminist, yeah I’ve come to believe that I am because I believe that feminism is about equality. I think that eventually everyone will get down with that. It will evolve into something like equalism or being an equalist, where there is no separation or domination of the sexes or the races, everybody is the same. I think that’s what true feminism is all about and I am down with that 100%.

AF: In the music video for “Batches & Cookies” you include overtly sexual scenes (for instance when you and Eris are rubbing butter on the shirtless man) Is this satire? Explain the importance of these images in the music video.

Lizzo: When I do things, I’m not thinking about the bigger picture, or the message. The dude in the video is Cliff Rhymes and he’s the hype man on a lot of the songs. He was supposed to be in the video, and he walks into the donut shop late so I was like, “alright Cliff, take your shirt off, I’m rubbing butter on you.” He was like “What? Aw man, alright.” He took his shirt off and they gave me this huge thing of lard and I was like “let’s go.” At the end of it I was like, look at this. I’ve always wanted to have sexy naked men in my videos. I’ve always wanted to flip the script and I had the opportunity to do that. There’s nothing political or deep about it. It’s really fun, like, everything you’ve seen the video was exactly what it was, us having a good time. I never rode a motorcycle before, so we got on a motorcycle. We talk about sweets in the video so I tweeted that we need a cool place to shoot a video. Glam Doll Donuts reached out and there we were. Everything was kind of coincidental and charmed. We didn’t exactly plan the video, we just kind of went out and shot. That’s what we came up with and I’m so proud of it and happy with it. I like the randomness of it and the spontaneity of it because that’s basically what the song is all about, it’s just about working with what you have. We worked with what we had, and it turned out great.

AF: So it was all just a happy accident?

Lizzo: Except for the Westboro Baptist Church. The director, Ryan Kron Thompson , decided to take us out there and he was like, “Westboro Baptist Church is going to be at the capitol protesting the gay marriage laws that just got passed. Let’s go and heckle.” I was like, “okay!” That morning I had just died my hair blonde and I had this weird afro and I was like “well? I guess this is going to be in the video.” We just got up and went and did it. We wanted to put a finger in their face and I’m glad we caught and captured that moment on film because it would have happened anyways. It’s all just about progressive thinking, moving forward.

AF: In “Hot Dish” you include a line, I’m sick and tired of being typecast like Lindsay Lohan… How do you feel like you’ve been typecast? What do you do to combat this?

Lizzo: Poor Lindsay Lohan. When I say “I,” I’m speaking for more than me. These songs are not about anybody. They are not for any specific body. These songs are for everybody. I just draw from emotions that happen to me or that happen to people around me to channel them into a story. When I say “I,” I’m speaking for women, I’m speaking for rappers in general. That line is very personal at the same time but universal to the person listening to it. I have had the pleasure of never being typecast. If anything they put me in this Lizzo beast [category]. “Let’s put her on the track, she’ll beast it. Let’s put her on this album about drinking, she’s gonna beast it,” and I’m like “No! I’m versatile, I can talk about sensitive stuff too, I don’t just like bangers.” That’s what I’ve been typecast in lately, but for the most part that line was very general and speaking on behalf of a lot of people who have been put in a hole, especially rappers.

AF: One of my favorite aspects of the album is that is seems like you effortlessly broach these complex issues without sounding contrived. Did you set out to discuss these topics or is that something that developed naturally?

Lizzo: It’s amazing, especially on “T-Baby” when I’m talking about Michael Jackson, Dorothy Dandridge and Chuck Berry. A lot of those things I didn’t sit back and say, “man I really feel pissed off about the way they did Michael Jackson, let me put this in a song.” It was more like, if we sat down at a bar and had a drink, I’d be like, “Let me tell you something about Michael Jackson.” The way that I casually throw those in there was the way that I would casually have a conversation. That’s why hopefully it doesn’t sound contrived. I’m not sitting here writing a song about racism or neo racism. I’m not setting out to do that and that’s why it doesn’t sound contrived. It just comes casually like “oh, and this other point I’m pissed off about, lets keep it moving.” I don’t really think about it, because once you do, and you are like, “I’m going to write a song for gay rights. Alright, where’s the beat for my gay rights song?”, that’s when it becomes preachy and kind of overdone. We don’t want to do that.

AF: What is next for Lizzo? For GRRRL PRTY?

Lizzo: Everything. What’s next? The year’s going to be really ridiculous. We’ve finally assembled an amazing team of publicists management, booking. We have a great team and this year we’re just going to attack attack attack, perform perform perform. Just keep putting out music and keep doing what we’ve been put on this earth to do. Hopefully you will hear and see a lot about us.

[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

TRACK REVIEW: Angel Olsen “Hi-Five”

“I feel so lonesome I could cry,” Angel Olsen half warbles, half snarls on “Hi-Five.” The new single off her forthcoming album, Burn Your Fire for No Witness, blasts by in just under three minutes . Olsen’s voice bristles with clarity, striking a shimmering balance between vulnerability, earnestness, and rock and roll swagger. Pegged as an early frontrunner for a 2014 favorite, Olsen released her debut, Halfway Home in 2012. The first album favored folky acoustic guitar stripped down to spotlight the singer’s voice—one worth spotlighting, with a barreling, Southen-tinged electricity to it that ultimately overpowered its acoustic backdrop.

Nothing could make Olsen’s voice sound bad, but “Hi-Five” is flattered by its harshly lo-fi backdrop. Swampy guitar lines seethe in reverb, prolonging their high notes in the same way that Olsen draws out the highlights of her vocal lines. One of the singer’s many talents has always been an elegant lyrical handling of angst; her songs deal with isolation, betrayal, and being unable to speak one’s mind. The vocal lines double back on themselves too quickly to be mistaken for self-pity, the dejection cracks a smile, and on “Hi-Five,” Olsen follows up the crooning “Are you lonely too? Are you lonely too?” with an unsentimental “High five, so am I.”

The new album is a more rugged approach to familiar material, but that doesn’t mean Burn Your Fire will lose the intimacy of Olsen’s previous work. Although the increase in guitar work can make it seem, on first listen, as if Olsen is abandoning the folky stylings we saw so much of in Halfway Home, it’s really just a punchier interpretation of the same gorgeous, forlorn soul music. Instead of a new direction, Olsen’s recent singles seem to better encapsulate the goals she’s always had.

Burn Your Fire for No Witness will be out February 18^th on Jagjaguwar. You can listen to “Hi-Five” below via SoundCloud, and click here to watch the video “Forgiven/Forgotten,” the first single off the new album.

FLASHBACK FRIDAY: The Neptunes

In hopes that the rumored Clipse reunion circulating the blogosphere this week is for real, we’re going through the best moments in The Neptunes’ career, which now spans two decades if we consider Blackstreet’s “Tonight’s the Night” their first official gig as a production team. Chad Hugo and Pharrell Williams have come quite a long way since 1994, hitting the top ten in Billboard’s Hot 100 with 24 of their produced tracks throughout the ‘90s and ‘00s and collecting Billboard and Grammy awards left and right along the way. Here’s a rundown of a few of their more memorable successes:

N*E*R*D

The Neptunes’ side project with Shay Haley is now sort of a cult favorite, though most would recognize their early ‘00s hit songs “Lapdance” and “She Wants to Move.” The trio deftly mixed rap with funk and rock, exuding swag long before the word was a trend. N*E*R*D gave Williams and Hugo the space to do everything their own way and show off the former high school band geeks’ instrumental abilities.

Britney Spears’ “I’m a Slave 4 U”

Brit knew she wanted a turning point in her already well-established pop career, and she chose the right guys to make it happen. “I’m a Slave 4 U” was not only produced but also written by the Neptunes, who had originally intended it for Janet Jackson; but let’s be honest: in Jackson’s hands, the song would’ve come off as more of the same. In the hands of a 19-year-old, virginal Britney Spears, though, it was explosive. And—especially when paired with an albino python at the 2001 VMA stage—it was perhaps the peak of this megastar’s career.

Gwen Stefani’s “Hollaback Girl”

After working with No Doubt on “Hella Good,” The Neptunes continued collaborating with Gwen on her breakout solo album, co-writing and producing the hottest hit off of Love Angel Music Baby. It seems like this is what the Neptunes do best: turning pop musicians into pop superstars.

Work with Kelis

The Neptunes’ very first full album production gig came with Kelis’ debut record, 1999’s Kaleidoscope. In fact, they didn’t just produce that entire album, they also wrote, arranged, and provided instrumentation and vocals for the majority of it. Kaleidoscope didn’t do so well commercially but critics gave it high praise and Kelis continued to work extensively with the Neptunes for her sophomore record, Wanderland, and of course for her third record, Tasty, which featured the Neptunes-penned track we all know: “Milkshake.”

“Drop It Like It’s Hot”

Snoop Doggy Dogg may have come up under Dr. Dre, but his first single to ever reach number one on Billboard’s Hot 100 was written and produced by none other than the Neptunes. For a while, this song was the most substantial mainstream representation of Pharrell, who provides vocals and is heavily featured in the video, but his and Hugo’s behind-the-scenes production work on the track is what gave it that unforgettable, tongue-clicking sound.

Work with Clipse

Pusha T and brother Malice were to the Neptunes as Eminem was to Dre. Their mainstream success was limited back in the day—“When the Last Time” being their biggest hit—but Pusha T in particular has significantly developed his sound, especially with last year’s solo album My Name is My Name. Any new Clipse material would likely be a huge step forward from their last release, ’09s Til the Casket Drops. Pusha T recently posted pictures on Twitter of Hugo and Williams in the studio, so here’s to hoping Malice is getting in there soon, too.

Justin Timberlake’s Justified

As most of us know, JT’s debut solo album included pop gems like “Senorita,” “Like I Love You” (featuring Clipse), and “Rock Your Body,” all of which have the Neptunes’ instantly recognizable fingerprints all over them. Truth is, Justin’s transition from N’SYNC to solo career would not have gone so incredibly smoothly without the Neptunes’ work on those supersmash hits; and who knows, without the crazy success from his first foray as a one-man-show, maybe today’s JT wouldn’t be nearly the pop legend he has become. So let’s all take a moment to silently thank Hugo and Williams for introducing to the world the Justin Timberlake we all know and love today (not just figuratively but literally, if you count those first few seconds of “Senorita”).

2004 in general

This was a great year for the dynamic duo, who snatched the Grammys not only for “Best Pop Vocal Album” as the producers on Justified but also for “Producer of the Year, Non Classical.” The Neptunes were also nominated that year for “Best Rap Song” and “Best Rap/Sung Collaboration” as producers for Jay-Z’s “Excuse Me Miss,” Snoop Dogg’s “Beautiful,” and Pharrell’s own “Frontin’.” These guys were basically ubiquitous in 2004—hell, even the New York Times ran an article about them. This was their heyday, but hopefully with Hugo and Williams back in the studio along with Pusha T, plenty of good things are on the way.

LOUD AND TASTELESS: Karen O. from Yeah Yeah Yeahs

Every Thursday, AF profiles a style icon from the music world. This week, we bring you Karen O, whose loud mixed patterns and punk rock glam has been setting trends for over a decade.

When Yeah Yeah Yeahs released Fever To Tell in 2003, Karen O already had a reputation as one of the New York dance-punk scene’s most brazen babes. Her off-the-wall aesthetic extended from her fashion sense, to her outrageous behavior, the band’s raw glam rock sound, the DIY-inspired album and artwork and merch, and the band’s cool, creepy videos. What was hard to imagine back then was that Karen O would be able to keep up with her own antics. But ten years later, she’s only grown more creative, remaining a true visionary when it comes to owning an outfit.

Karen O’s madcap style grew out of her beginnings as a visual artist. Her crazed costume collaborations with Christian Joy put her on the style map from the get-go. Part wardrobe, part wearable art installation, Karen’s outfits were just the beginning of her rowdy performance persona. She has said in interviews that certain outfits served like a Superman costume, imbuing her with momentous power and confidence. She’s never given up her classic mic-swallowing, water-spitting moves, even as her style has evolved.

From outrageous patterns far wild than your typical animal print to gold and silver lamé bubble dresses, one-of-a-kind kimonos, and custom-made costumes, you’d have to get a little crafty to totally emulate Karen O’s style. When she’s not modeling berserk ornaments and prints, she’s keeping it cool with studs, but even her trusty leather jacket is personalized with her initials. In the video for “Despair,” she rocks a yellow jacket, studs on the collar – classy and edgy simultaneously!

Accompanying her sterling jackets are usually silk-screened tees, with some kitschy images like hearts, coffee cups, or lipstick. Other times she goes for simple stripes. Karen O ais one of the most elegant and edgy punk-rock chicks to ever dress for the stage. We’ve provided some suggestions for incorporating her bad-ass style into your own look on our Pinterest board below. Browse while listening to one of this avant-garde fashionista’s most recent jams here:

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][prw username=”audiofemme” boardname=”loud-tasteless-karen-o” maxfeeds=”10″ divname=”myList” printtext=”0″ target=”newwindow” useenclosures=”yes” thumbwidth=”100″ thumbheight=”100″ showfollow=”medium”][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

ALBUM REVIEW: Sondre Lerche “The Sleepwalker Original Soundtrack”

Sondre Lerche‘s shadowy soundtrack to the Sundance contender The Sleepwalker opens with a love ballad turned inside out: “You Sure Look Swell”, is a familiar melody of lullaby arpeggios, touched with a creepy distortion that becomes more prevalent as the album progresses. Picture an empty gas station with flickering lights, at a nowhere intersection in the middle of the night, with an old radio behind the counter playing Skeeter Davis, the song slowly being overtaken by radio static. That’s the effect.

The track—one of a minority of vocals-heavy songs on the record—ends with a total disintegration into the white noise that has been threatening it from the very first chord, the initially sweet lyrics melting into something sinister. The vocal lines recall the balladry of sixties country pop, and their incongruency with the surrounding music defamiliarizes their warmth. The contrast is further accentuated, in the three subsequent vocal tracks on the record, by silvery female vocals. Ably handled by Marit Larson, Nathalie Nordnes and Sylvia Lewis, the mournful prettiness of the singing offers relief against the instrumental tracks, where the album is at its bleakest.

Spooky ambience and chaotic classical influences mark a sharp departure for the Norwegian musician and composer, whose discography since his debut in 2000 has circled around friendly indie rock melodies flecked with jazz, lounge and eighties pop influences. Sleepwalker is his second soundtrack (in 2007, Lerche recorded a pop collection for Dan In Real Life that bore his musical signature so strongly it could easily have been released as a standalone album). This was a credit to Lerche: his music framed the film without deferring to it, and although the album shifted gracefully into the role of chronicling for a visual storyline, the album was still essentially a collection of songs.

Not so in Sleepwalker. Lerche wrote the music for the soundtrack with Kato Ådland, an actor and composer who had an acting role in Dan In Real Life. The result—Lerche’s first collaboration—is a far-reaching, textured soundscape with elements of spiny, jumbled classical and jazz. Particularly on the less linear second half of the album, the songs don’t feel so much like songs as they feel like one large, shapeshifting piece of music. The guitar arpeggios that predominate in the first track fade in and out of the less melody-driven back half of Sleepwalker, but feel farther away, as if they’re emerging out of a thick fog or through a dream. A common beat—a foreboding, clock-like rhythm shared by strings, electronics, and percussive instruments—recurs as the tracks wear on.

The Sleepwalker soundtrack may come as a surprise from Lerche, but it’s perfectly in line with the aesthetic of the film, which tells the story of Christine, who makes an unexpected appearance at the estate where she grew up as her sister Kaia is in the midst of renovating the property with her partner Andrew. It soon becomes clear that Christine’s grip on reality is growing progressively looser, and the unraveling of family grudges and relationships that ensues is heightened by the uncanny element of Christine’s sleepwalking. Themes of night and obscurity loom large, both visually and in this soundtrack. Moments of ambience serve as blank spots, unrevealed secrets.

And Lerche more than does justice to the creepiness of the mysterious stranger trope on this album. Flanked by warmth—pretty songs, lines of gentle pop harmony—Lerche bottoms out the murky depths of the story, and ends on the ambiguously resolved “Take Everything Back,” a gorgeously harmonized duet between Larsen and Lewis. In the song’s chorus, the bass line descends into a surprising minor modulation, diverging subtly from the predominant thread of the music. At its end, the album’s resolution is ambiguous, retaining a lot of the mystery that it started with.

“Not bringing what I’ve learned through this process into my future songwriting and albums would be impossible,” Lerche has said of creating the Sleepwalker soundtrack. “It’s been so fucking liberating, I can’t turn around now.” Many of the new directions the music takes in this album do, indeed, feel like revelations, most visibly in the way Lerche plays with time, ambience and rhythm on the soundtrack. Will this mean a permanent shift in Lerche’s work? We’ll have to wait and see. For now, enjoy the Sleepwalker soundtrack, which comes out next Tuesday, January 14^th via Mona Records.

Listen to “Palindromes,” off The Sleepwalker Original Soundtrack, and watch the trailer for The Sleepwalker below!

WEEKLY NEWS: Gov Ball Dates, Self’s Reunion, Album Announcements Galore!

Governor’s Ball music festival announced the dates for its 2014 edition earlier today. The New York City event—in its fourth year, now—will take place Friday, June 6th through Sunday, June 8th in Randall’s Island Park. Keep an eye out for the lineup and ticket details to be announced very soon!

Brooklyn-based four piece Bear Hands announced the release of their anticipated sophomore album Distraction on Feb. 18 on Cantora Records. The band will co-headline a tour with the Miniature Tigers starting Feb. 27 right here in Brooklyn!

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_soundcloud url=”https://api.soundcloud.com/tracks/114579651″ params=”color=ff6600&auto_play=false&show_artwork=true” width=”100%” height=”166″ iframe=”true” /]

I Am The Avalanche announced new album, Wolverines, out March 17. Stream their new single via Esquire.

Todd Rittmann’s Dead Rider announced new album, Chills on Glass, out March 18 via Drag City.

Fat Possum Records and Self release 1995’s Subliminal Plastic Motives on vinyl, 20 years after its original release. The band are reuniting for their first concert in almost 10 years at the Gramercy Theatre on January 10.

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_soundcloud url=”https://api.soundcloud.com/tracks/120915965″ params=”color=ff6600&auto_play=false&show_artwork=true” width=”100%” height=”166″ iframe=”true” /]

The Casket Girls are returning with their sophomore album True Love Kills The Fairy Tale out Feb. 11 on Graveface Records, and available for pre-order now.

[/fusion_builder_column][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][fusion_soundcloud url=”https://api.soundcloud.com/tracks/115631251″ params=”color=ff6600&auto_play=false&show_artwork=true” width=”100%” height=”166″ iframe=”true” /]

[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

VIDEO OF THE WEEK: Cass McCombs “Big Wheel

Back in October, enigmatic folk artist Cass McCombs released his seventh full-length, Big Wheel and Others, a double album that led us through hypnotic rhythm cycles and tangential, but beautiful, guitar passages, intimate if shadowed vocal lines, and lyrics that fit together like a Rubik’s cube—the meaning behind them was always there, but eluded direct visibility even when the text was at its most confessional. A meandering intricacy has always graced McCombs’ work.

Cass McCombs seems to belong to another era, one without modern video or recording technology, so it’s a little disorienting to realize that his songs have music videos. But so they do: the video for the (almost) title track of the new album, “Big Wheel,” premiered from Domino Records today courtesy of McCombs’ friend and collaborator Albert Herter, who shot the footage in New York, California, and China. “Big Wheel” opens with a foreboding, cyclical guitar line that speeds up at the pace of a rumbling freight train. In the video, these first bars are accompanied by a procession of slogans: large, all-capitol letter words like “JUSTICE,” “MASTER,” and “EVERYTHING” appear on the screen, over backdrops of a closeup of a chicken’s face, a lit-up building facade at night, or a basement door that’s opened when the song’s drums kick in. What follows is a busy psychedelic collage, montages intersperse with home video clips, with all the bleak grandness and obscurity of the song itself.

Images of cities, surreally collaged-together kaleidoscope imagery, and clips of talk show hosts with black ovals pasted over their faces aren’t what immediately comes to mind when you listen to Cass McCombs, whose music more closely embodies a grainy picture of solitary travels through America’s West. The cuts in this video are diverse—a grainily filmed dog coming towards the camera, a surreal, abstract, colorful backdrop with the word “WOMAN” written over it—and a lack of linear development makes the video seem a little unpredictable, even threatening.

The range of the collage is wide, and their apparently random sequence heightens the violence and surreality of the images, but this video is held together by a strange and distinct perspective. Many of the actions are filmed from the point of view of the viewer; in one recurring clip, a hand that appears to belong to the person holding the camera reaches out to open a door. The doctored visuals, the words that flash onto our field of vision as we watch the imagery unfold, puts us in the mindset of a personality that remains constant throughout the video. The only sense the chronology makes, by the end of the three and a half minute “Big Wheel,” is that established by the perspective from which these images are filmed. True to McCombs’ aesthetic, we’re not given an image of this video’s protagonist, but we’re given a detailed tour of all the scenery inside his head.

Watch the video for “Big Wheel” below, and learn more about Cass McCombs’ latest album, Big Wheel and Others, by going here!

Track of the Week: “The Woods Are Gone”

Here’s a new song that simultaneously warms you up and gives you chills—a perfect complement to the coming post-Hercules weather. Solander’s second single from their upcoming album, Monochromatic Memories, is a sweeping track that alternates between a sense of motion and suspense, combining rolling percussion and guitar work with a haunting cello. The lyrics, on the other hand, take you through loss and feeling lost, and are clearly meant for wintertime (“The road to your house looks snowy and white”).

The pop/folk/indie Swedish duo, comprised of Fredrik Karlsson on vocals and guitar and Anja Linna on synth and cello, has been active since 2009, and Monochromatic Memories will be their third full-length release. “The Woods Are Gone” follows the release of the album’s first single, “All Opportunities,” available on Spotify (and in today’s mix of the day!). So far, it seems like this album was made for brisk mornings and snowy nights, so keep your eyes peeled until the album’s release on Feb. 3.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][bandcamp width=100% height=120 album=3147003630 size=medium bgcol=ffffff linkcol=0687f5][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

TRACK REVIEW: “Obstacle Eyes”

Deny it all you want, but there is a point in every New Yorker’s day during the bitter winter cold when we think, screw it, I’m moving to California. While I will never act on this moment of temporary insanity, it is nice to keep the dream alive. Regardless of the fact that I am doomed to live in New York forever, by blasting the heat in my apartment, closing my eyes, and turning up “Obstacle Eyes” by Morgan Delt, I feel at least one step closer to a California beach somewhere in the far distance.

“Obstacle Eyes” is the second track off of California native Morgan Delt’s self titled debut album. There are a number of elusive elements to the floaty, psychedelic pop/rock “Obstacle Eyes,” making it hard to fully grasp on the first listen. “Obstacle Eyes” may only be 3:27 minutes, but there is a lot to take in. I’m probably up to my 50th listen at this point and I’m still picking up on new flourishes, variations and musical dimensions. The varied instruments, sound effects and vocals blend with each other seamlessly to create a final product that is a diverse amalgamate of a number of musical elements.

“Obstacle Eyes” begins with a solo guitar playing an instantly catchy hook. It suspends for a moment before the music exhales, as various instruments and musical phrases develop. Once established, the song continues with an upbeat and forward moving, yet laid back rhythm.

Delt’s breathy vocals are introduced last, and wash over the instrumentals like a wave hitting the California (have I mentioned California enough yet?) coastline. They are in the end just another element of an already complex track, blending with the music to create a single product.

The track is both retro and modern. With esoteric lyrics (there’s something crazy growing// way back inside your eyes// there’s something crazy growing// obstacles in your eyes), distorted guitars and harmonized vocals, “Obstacle Eyes” is definitely a nod to ‘60s west coast psychedelic pop-rock, however the electronic elements that Delt incorporates give the whole thing an inspired twist.

Morgan Delt clearly wants to take you on a journey with his music. He did all the legwork. Now all you have to do is turn it up, close your eyes, and let the California sun warm your skin.

Morgan Delt’s self titled debut album will be released off of Trouble In Mind records on January 28th.

FLASBACK FRIDAY: T-Bone Burnett

I’d love to say that it was Bob Dylan who got me into T-Bone Burnett. Burnett toured with Dylan’s Rolling Thunder Revue for over a decade. I wish I could credit a cross-contamination between Burnett and Tom Waits (a cover of Waits’ “Time” appeared on Burnett’s 1986 self-titled LP). And I’d be relieved if I could claim that my discovery of T-Bone Burnett occurred during another rummage through Dad’s record collection. However, none of these scenarios would be true.

In actuality, I found out about T-Bone Burnett via the band I scapegoat as my token guilty pleasure: The Wallflowers. Now, before you retroactively discredit any knowledge or opinions I’ve espoused on Audiofemme, hear me out. I’m not going to try to convince you to like The Wallflowers (yet) or the solo work of Jakob Dylan and his unassailable dreamy-ness. However, if you were forced to listen to every Wallflowers album and pick the best one, you’d be hard-pressed not to select their second full-length release, Bringing Down The Horse. The reason this album received so much acclaim in my opinion was due to the producer, Mr. T-Bone himself.

So as 17 year old me purchased every Wallflowers album on e-bay (most going for 50 cents a piece) and implored my friends to give the band a chance, I found a tour date for Jakob Dylan, opening for none other than T-Bone Burnett. It was only then that I noticed the production credit on Bringing Down The Horse. The next step was to consult the internet, (which divulged Burnett’s connection with Papa Dylan) and eventually my father; had he ever heard of him? Of course he had.

Sure enough I found two T-Bone LPS in the late B’s of my Dad’s collection: 1986’s T-Bone Burnett and 1987’s The Talking Animals. I was more entranced by the former, with its sweet and eerie country ballads. Burnett’s vocals are clean yet honeyed–like Roy Orbison’s humble younger brother, perhaps. The record is melancholic at times, like on “River Of Love” and “Time,” but Burnett’s sense of humor breaches with his acerbic rendition of Elmer Laird’s “Poison Love.” To boot, the entire album is carried by phenomenal pedal-steel croons.

I’d bought the ticket to see Burnett, so I figured I’d better buy the tour’s accompanying album. It was 2006 and Burnett had just released The True False Identity, his first full-length record since 1992. I bought it on a family vacation in Portland, and it was the soundtrack to our drive home. The record is a swampy, deep-south, voodoo-soundscape with a progressive agenda. The influences on this record are far more bluesy and psychedelic than his earlier country work, and lyrically the album relays Burnett’s unflinching wit and poignancy regarding the contemporary political climate.

But why bring up Burnett now? So what if he came out with a record I liked in ’06? I suppose the desire to mention him is two-pronged: the initial reason is the same as always, namely, to shed light upon an artist who’s spent so much time making other people’s music better, that he is often overlooked himself. Though the more relevant incentive is that T-Bone is out with a new project; his fourth collaboration with filmmakers Joel and Ethan Cohen on their latest: Inside Llewlyn Davis.

Burnett put together soundtracks and scores for The Big Lebowski, O’Brother Where Art Thou? (for which he was heavily awarded) and The LadyKillers. He worked alongside Joaquin Phoenix and Reese Witherspoon in Walk The Line, and co-wrote “The Weary Kind,” the theme song from 2009’s Crazy Heart.

Burnett has produced dozens of records, including those by Elvis Costello, Tony Bennet, Alison Kraus, B.B. King, Elton John, and Roy Orbison, to name a few. He’s 65 years young, looks like a younger, slightly more devilish Tom Wolfe, and is releaseing and producing records to this day. I can’t wait to see, and hear what he’s cooked up for the new Cohen Brothers film, which is out now. But before you see it, school yourself on some vintage and recent T-Bone.

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”]
[retweet][/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

LOUD AND TASTELESS: FKA TWIGS

Every Thursday, AF profiles a style icon from the music world. This week, we bring you the ever-vibrant FKA Twigs, whose bright patterns and bold colors have us longing for warmer climes.

Gloucester-born London transplant FKA Twigs is an anomaly on many levels. Her image is bold, but her profile low-key. She currently resides in one of the world’s busiest cities, yet hails from the farmlands of Southwest England. Her videos are ripe with voyeuristic tension, while her music remains sultry and delicate. With all of this contradiction it is no wonder that Ms. Twigs presents herself in such eclectic garb. Born to a Jamaican father, and partly Spanish mother, her lineage is a melting pot all its own. Twigs adorns herself with halos of colorful flowers, embroidered jackets, and gold hoop-earrings fit for Salt n Peppa. She is never without her lipstick or her long black braids, both of which liken her appearance to a budding and sexualized Frida Kahlo. Here are some items that remind us of the songwriter, who I find more to be a wildflower than a twig.

Peruse our pinterest page for notes on how to get this exotic girl’s look:

[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][prw username=”audiofemme” boardname=”loud-tasteless-fka-twigs” maxfeeds=”10″ divname=”myList” printtext=”0″ target=”newwindow” useenclosures=”yes” thumbwidth=”100″ thumbheight=”100″ showfollow=”medium”]

[retweet]

[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

BAND OF THE MONTH: Daytona

NYC band Daytona has been a long time in the making. The trio released an EP—Storm So Long—back in 2012,but on the full-length debut that came out this past September, Daytona’s brand of bouncy, garage pop comes through in all its high-energy, jubilant glory.

A few years ago, bassist Jose Boyer, drummer Christopher Lauderdale and guitarist Hunter Simpson lived in Chapel Hill, North Carolina. The three became friends, and occasionally played together, though they were all active in separate bands. Each of these groups—Harlem, the Wild Yaks, and Siberians—had already earned stripes as high-energy garage rock, churning out anthemic riffs and epic, overarching vocal melodies. Independently, the three musicians followed a similar credo: their music was loud, catchy, and chaotic. In combination, Daytona could easily have continued along the garage rock trajectory.

Not so. Moving to New York must’ve gotten the trio in touch with their philosophical side, or maybe the new lineup put the group in the mind for a little melancholy introspection. While Daytona has kept their straightforward structure and catchy beats, Storm So Long offered sharp lyrics laid over an intricate backdrop of guitar lines that meander from feel-good to nostalgic, and wistful, shimmering vocal harmonies. The melodies shift easily between moods, and at their most ethereal, live up to the carefree warmth of the band’s name.

“We were certain that it was the name of an Indian chief,” Simpson explained in an interview with Blip.tv‘s BTR Live Studio. The Florida city seems like an odd thing to name your East Coast rock band after, but for Daytona, the choice was half aesthetics, half process of elimination. A little research disproved the Indian chief theory. In fact, the beach that boasts the nickname “Spring Break Capital of the World” is named for its founder Mathias Day, Jr., who financed the area’s beginnings as a beach community in 1871. Day lost the land less than a decade later after encountering financial ruin, but his name lives on. “We liked that disconnect,” Simpson added, “between your expectations and the dorky reality of things.”

An initial listen to “The Road,” the first track off Daytona’s latest album, yields a powerful, joyous road trip vibe, brimming with danceable melodies. At its core, though, the music will last you past the party and into the dreary next day. The music is complex and elastic; it’s filtered through its surroundings. Sometimes melancholy, sometimes uplifting, Daytona’s self-titled album hits the spot.

Listen to “The Road”, and “Honey” here:

Year: 2014

LOUD & TASTELESS: Perfect Pussy’s Meredith Graves

Every Thursday, AF profiles a style icon from the music world. This week, check out Perfect Pussy’s Meredith Graves, whose inimitable punk rock-chic has us all ready to get pixie cuts of our very own and stock up on vintage Jackie O dresses.

A Year in Controversies: How the Think-piece Shapes Music Criticism

ALBUM + LIVE REVIEW: Flagland

AF LIVE: 2nd Anniversary Showcase, 1/16 @ Spike Hill

INTERVIEW: Casket Girls

TRACK REVIEW: Jack Name’s “Born to Lose”

TRACK OF THE WEEK 01/13: “Falling From the Sun” off Everything Is New

VIDEO OF THE WEEK 1/13: Trentemøller “Gravity”

Femme Unfiltered: Lizzo

TRACK REVIEW: Angel Olsen “Hi-Five”

FLASHBACK FRIDAY: The Neptunes

LOUD AND TASTELESS: Karen O. from Yeah Yeah Yeahs

Every Thursday, AF profiles a style icon from the music world. This week, we bring you Karen O, whose loud mixed patterns and punk rock glam has been setting trends for over a decade.

ALBUM REVIEW: Sondre Lerche “The Sleepwalker Original Soundtrack”

WEEKLY NEWS: Gov Ball Dates, Self’s Reunion, Album Announcements Galore!

VIDEO OF THE WEEK: Cass McCombs “Big Wheel

Track of the Week: “The Woods Are Gone”

TRACK REVIEW: “Obstacle Eyes”

FLASBACK FRIDAY: T-Bone Burnett

LOUD AND TASTELESS: FKA TWIGS

Every Thursday, AF profiles a style icon from the music world. This week, we bring you the ever-vibrant FKA Twigs, whose bright patterns and bold colors have us longing for warmer climes.

BAND OF THE MONTH: Daytona

Ticket Giveaways

Each week Audiofemme gives away a set of tickets to our featured shows in NYC! Scroll down to enter for the following shindigs.

See you there! xoxo