Imagine that aliens have invaded; they’re taking control, except instead of ruling the planet, what they really want is to jam in your garage. What you’ve got then is The Intelligence, an LA-based post-punk band that grows more and more with each new album (and they’ve had eight great ones, it’s hard to keep up). Just a week or so after the release of their latest LP Vintage Future, I got to speak with founding member, lead singer, and resident genius Lars Finberg via e-mail.
“I think maybe we have tried to have a foot in the future and one in the past?” says Finberg, in terms of where exactly this extraterrestrial sound comes from. “I am a fan of antiquated rickety presentations of the future like Buck Rogers or Joe Meek.”
The influence is clear – it’s like Meek’s I Hear a New World got a bit of a modern upgrade on Vintage Future. The album’s title track especially emphasizes this imagery, starting with an other-worldly ringing and ending with a robotic voice whining, “But I was just learning how to love.” A tragedy indeed.
The fantastic production value of this record makes for a clear vision of what exactly a vintage future might be. Says Finberg, “I think our engineer/producer/recordist Chris Woodhouse improves from greatness with each record he makes.”
A clean and cohesive lo-fi sound coupled with simple, catchy lyrics capitalize the band’s thematic lyrical poignancy, as well as their ability to be unforgivingly and cohesively strange. These lyrics and themes have a way of creeping into your brain, and it’s brilliant to see Finberg keep coming up with more and more, seemingly never running out of new ideas.
“I X-ray what’s inside me and try to read the blueprints as clearly as I can,” he says. “If it sounds like someone else’s X-ray I’m not afraid to use white out or tape or glue to make it newer to me.”
A standout for me is “Dieu Merci Pour La Fixation De La Machine a Coudre,” which is a near-translation of a track on 2009’s Fake Surfers record, “Thank You God For Fixing The Tape Machine.”
While the original track fits right in with their garage rock sound, the latter is a slower serenade. Lyrics like “In the moonlight/Out of the cruel light/I’ve been mesmerized/I think I almost feel right” backed by a swoon-worthy guitar make you want to go for a tango in Paris. Though the songs sound worlds apart, Finberg calls the connection between the two “a secret puzzle.”
“Cool you noticed that,” he says. “The Fake Surfers song was related to a tape machine and love. The Vintage Future update was inspired in France at a club called ‘Machine a Coudre’ or sewing machine, and love. Or some kind of version of it in either case.”
And it all seems strange to us from the outside, but that’s part of the magic in listening to The Intelligence – wanting to understand just what’s going on in Finberg’s brain. “To quote Mitch Hedberg,” he says, “‘Come inside my head and tell me that doesn’t make sense.'”
Catch The Intelligence supporting Franz Ferdinand + Sparks at Terminal 5 on October 6.
Holding Hands With Jamie by Girl Band is a beautiful mess, more musical noise than noisy music. Guitars squeal like pieces of metal screeching together in a car crash, the bass rolls up and down the fretboard wildly, and as well as some brief singing, vocals come in the form of screams, growls, shouts and intense monologues. There is structure, but it’s threatening to disintegrate at any moment. You’ll think you’ve identified a melody, only for it to come crashing down.
Whether singer Dara Kiely is remembering an encounter with a doctor who likes Abba on “The Last Riddler,” being honest about his vanity by drawling “I look crap with my top off” on “Pears For Lunch,” or vocalizing about something that isn’t quite intelligible but can be understood viscerally, every song on Holding Hands With Jamie is as riveting as it is challenging to listen to. However, the album’s standout track, possibly because of its weird, sad, disturbing and amazing video, is “Paul.” It starts with an ominous, surf-y bass line and relentlessly simple drums. Kiely seems to be talking himself in circles as the track builds and builds, until it can’t anymore and just explodes into the noise and feedback that’s been crackling in the background (As for the plot of the video, it’s better to just watch it than read about it).
If it sounds like the Irish rockers are on the verge of completely losing it at any moment, it’s on purpose. The album takes on an important context when you learn that it was inspired by the time leading up to a psychotic episode Kiely went through two years ago. Listening to Holding Hands With Jamie definitely feels like taking a break from reality, but Kiely remains in control the whole time. He’s admitted his inspiration for the album in interviews, so he’s obviously not ashamed of his past struggles, but he’s gone a step further by taking control of them, reframing them and sharing them on his own terms. The result can only be described as cathartic. And awesome. And noisy.
Holding Hands With Jamie is available now via Rough Trade; check out “Paul” below.
It’s a grey Thursday, but something new is shining through the clouds. The femmes are here to premiere Brooklyn-based singer/songwriter Sam Geller, known as Samson The Truest‘s new video for “Afterall” the day before his new album Come Back Shane is released. The video opens with a dichotomy of a grainy image of a bee emerging from a flower contrasting Samson‘s forthright vocals that calmly tell a tale of raging jealousy. With his long hair and relaxed Jesus sex appeal, we watch him linger in the park with a lady friend (Aerial East, who also contributes vocals to the song). Xan Aird joins them sonically on guitar. It’s shot like a family video, spliced with footage of waterfalls, delightfully freaky performers, and spooky drifting balloons. The video feels like a fragmented dream, waking up in a haze of memories and emotions.
To celebrate, join Samson at his album release show this Sunday night, October 4th at Against Nature at 159 Chrystie St in the Lower East Side. It’s also a lovely suit shop. See you then and watch “Afterall” below.
Just a month after the release of their second LP Inanimate Objects,Australian duo Atlas Genius, composed of brothers Keith (lead vocals, lead guitar) and Michael Jeffery (drums), got people moving at Brooklyn’s Music Hall of Williamsburg last night.
First openers Mainland were a fun group of NYC indie rockers, evidently young and still working out their stage presence. Brooklyn-based Dreamers followed soon after with a more seasoned sound and even catchier lyrics. I’d easily peg Dreamers as a band to watch, and I can’t get their 90s pop-rockesque song “Waste My Night” out of my head. Both bands got the energy up for the main event.
From the get-go in Atlas Genius’s set, for the majority of the synth and guitar-heavy songs, the vocals were being drowned out by the rest of the sounds. Powerful harmonies in the song’s catchy choruses helped to carry the lead vocals out.
No less of a show was put on, however, as blinding strobe lights transported the crowd to the kind of dance club where you have room to flip your hair back and forth and wave your arms around like a madman. It seemed as though everyone knew all the words from the very beginning, and Keith had no problem getting everyone to clap along to the beat to what seemed like every song.
Showcasing the band’s wide range of styles in their two-album repertoire, songs like the bass-driven “Back Seat” and “Stockholm” were a little less indie pop and a little more rock show. Contrarily, “Friendly Apes” and “Balladino” provided a nice slower change of pace without losing any energy.
Most fun to watch wasn’t actually one of the brothers, but rather, Matt Fazzi on keys and rhythm guitar, clearly having the time of his life. I also enjoyed watching a drunk fan wander on stage for their debut hit “Trojans,” only to be escorted off the stage by security.
The highlight of the night was a cover of Dead or Alive’s “You Spin Me Round (Like a Record),” giving the 80s synthpop hit a modern makeover. While the majority of the setlist was high-energy and danceable, the acoustic encore “Levitate” calmed things down and allowed Keith’s vocals to finally take center stage.
I’m in denial and am disruptively nostalgic at 3am on a Tuesday. While I struggle to retire my sundresses to the back of the closet, this seasonal transition has me hungry for that time a few months ago when I had tan lines and bite marks and could keep my windows open without complaint. My time machine of choice is Jamaican Queens‘ 2013 release, Wormfood. I’ve always considered Jamaican Queens as the “cool” band from Detroit (and what makes them cooler is the fact that I think they would hate that I said that). Ryan Spencer, Adam Pressley, and Ryan Clancy are Jamaican Queens: the band you wish you were in.
Wormfood captures, though paradoxically, a recklessly hazy lethargy that is exclusive to summer. There is an element of irresponsibility lyrically and in the squeezed and strained arrangements, like taking someone else’s prescription pills or having indiscreet public sex that makes the listener squirm with reflection. Honest and almost self deprecating, Wormfood is pleasantly shameless in its ability to wrestle with love, intimacy, and confessionary party fouls. Reminiscent of MGMT or sometimes Animal Collective, Jamaican Queens take the popular, palatable fuzzy, synth pop/rock aesthetic and knocks it over in slow motion, leaving a sweetly apologetic yet selfish collection of messy songs/feelings in its wake. In the opening track “Water,” Spencer admits: “I don’t want to spend time with her friends/I don’t wanna do things for her/I don’t wanna go down on her/I don’t wanna tell you it’s the end/ain’t love a trap/aren’t you a mess/you wear it well.”
There is something achingly personal about Wormfood. It’s that conversation you don’t want to have (but have had). It’s driving drunk, wishing you were straight. There is a hidden sadness that speaks to the strange social pool that Detroit kids find themselves flailing in (and maybe it has nothing to do with geography). It’s like pretending you’re drowning to get attention, even though you can stand comfortably flat footed on the lake floor, head above water. Wormfood represents a bleeding dichotomy between wanting to change and knowing you can’t (or knowing you can but will wait a few years until you get your shit together). Wormfood is a party, start to finish. But not like a ‘90s teen movie house party, rather a party where that girl you sort of know sort of almost died, and where you give yourself a pep talk in a toothpaste splattered bathroom mirror convincing yourself out loud that you’re okay, as demonstrated by the chorus of the closing track “Caitlyn.” “I’m sorry about the earth around you caving in/I’m sorry about the earth around you caving in/I’m sorry.” This sincere phrasing comes after the line “I’ve begun to think of love as an impossibility/do you agree?” A perfectly apt pairing of sympathy and complacency, which is what makes this particular collection strangely suited for feeling pieced together carelessly with chewing gum and being unabashedly intoxicated on summer, or in my case, autumnal dreams of the latter.
Chart-topping Danish producer, Morten, recently released a remix of Australian Big Room brothers, the Stafford Brothers’ “When You Feel this” (featuring Jay Sean and Rick Ross). The track is part of a forthcoming compilation of remixes of the original to be released on 10/2. Catch the trap-tastic spin on the original hit here, and keep your eyes peeled for the remix package later this week!
Micky Blue‘s title track from her forthcoming EP is out today and delivers nothing short of perfection from this promising young singer. Produced by Mickey Valen, “Wild Things” contains Blue’s signature anthemic vocal lines -often compared to Tove Lo – accompanied by pulsating, innovative beats that oscillate between mellow, R&B inspired and that high drama “future-bass” that will raise your pulse. Of the track, she state “Wild Things focuses mainly on one’s inner demons. When you hit such a low point you can start to hate yourself and turn pretty ugly inside. “I never want you to see all of my razor teeth” is a line from the song that describes exactly that”. We’re looking forward to hearing the rest of the album. In the meantime check out “Wild Things” and release all those inner demons!
Vancouver singer-songwriter Lindsay Kupser recently released her new record Quiet Songs. A Berklee College of Music graduate, Kupser created five tracks that walk the line between poetry and lullaby, with a fitting description “quiet singer-songwriter” from the artist herself. While at Berklee, she studied jazz composition and performance. The album begins with the raw lyrics of “All of my Bones Broke on Thursday Evening,” a song composed of brutally honest and direct observations on love and heartbreak paired with calm and relaxing guitars. Immiedetely the listener understands why Kupser’s style has been compared to idols such as Sufjan Stevens, Joni Mitchell, and John Mayer. It is stripped down, and while still developing, strives for an exploration of turning one’s anguish and demons into relatable and lovely folk lyrics.
The stripped down soundscape continues into “Couldn’t Move to Brooklyn” where Kupser waxes poetic about her current backyard and decision not to follow suit of so many young artists and make the trek to Brooklyn. While the 23-year-old singer-songwriter may not see Brooklyn as a fitting home, we’re sure that her album will find its way into the ears of many Brooklyn residents. Brooklyn is a noisy and busy city, with sirens blaring and the hubub of bar conversation continuously spilling into the streets. If the landscape of her current location of Vancouver works for Kupser, the romantic artist might as well stick with her current locational muse.
“I’m not afraid of the light or the pain” sings Kupser on “It Is My Turn,” a mournful yet elegant track and our favorite of Quiet Songs. On “Tough Country” we get a peak into Kupser’s childhood memories, as she describes sitting on a floor of the home she grew up in unpacking and observing old photographs.
At times, the rough simplicity of the tracks leave the listener wanting more, and wondering what will come next. She is a skilled poetic writer with a lovely voice and an ear for a calm melody. Such a young artist, the women of AudioFemme look forward to keeping our eyes on her and what the future holds for Lindsay, even if she never does move to Brooklyn. The five-track Quiet Songs concludes with “Everything Feels So Hard Always,” an elegant and simplistic musing into the difficulties of big life decisions all young adults, in particular artists, grapple with.
The minimalist recordings of Quiet Songs feature Alec Watson of Absolute Paradise and Ethan T. Parcell of Vesper Chimes. Previously, Kupser released “The Boston EP.” Quiet Songs was released on March 14, 2015 and self produced and mastered by Alan Douches. Listen to “It Is My Turn” below. For more Lindsay Kupser, find her on Facebook, Twitter, and visit her website.
There are few things better than pop music that uses a bright, upbeat exterior to hide a deeper, darker message, and that’s exactly what the Riverside, CA based sisters Summer Twins have created with Limbo. Consider the album name, for starters. As well as being a fun party game, limbo also has the creepy definition of “an abode of souls that are, according to Roman Catholic theology, barred from heaven.” When used more casually, it can also mean being stuck between two places, which makes sense since the band’s sound is stuck between a blend of decades-old doo-wop and soul, more modern psychedelic rock and current pop.
Their songs are full of fuzzy, well-crafted guitar hooks, electric organ, and the back-and-forth vocals of sisters Chelsea and Justine Brown. Each one is a variation on an old-school genre: There’s “Our World,” which has a “slow dancing at a 1950’s prom” kind of vibe, the Bo Diddley-esque guitar rhythms of “Fire,” and the soulful guitar lines on “JuJu.”
While songs like “Florence” and “Dreamin” seem to be straightforwardly nostalgic and inspirational, Limbo gets off to a less cheerful start with “Blinds.” The verses of the song are sparse, aggressively punctuated by staccato guitar as they sing about an anxiety that drives them indoors: “I run into things that I don’t want to see and my feet keep on tripping/I hear whispering, they keep calling my name, but I don’t want to hear anything.” “Demons” may seem like an inspirational song about achieving happiness by overcoming your fears, but in its delivery, the message comes across more like a warning: “When the demons creep on up, you have got to shut them up/They will eat you up inside, you won’t make it out alive.” And, the upbeat, pop-rock song “Love Within” advises listeners to keep their true feelings hidden to the point of not letting the object of their affection reach them easily by phone, see them cry, and even not eat when they’re starving.
But don’t be scared that Limbo will leave you down. Despite throwing in some dark lyrics, the Summer Twins haven’t created a depressing album, they’ve just put a quirky, refreshing spin on topics related to life and love. And also, Ouija boards.
Limbo will be available via Burger Records on October 2nd. You can stream the album here. For instance gratification, check out some of their earlier work below.
Brooklyn-based Indie Pop duo, Secret Weapons, premiered their debut single, “Something New” today, hitting the blogosphere and garnering ubiquitously positive reviews. The track delivers infectious, high-gloss pop melodies, driven by anthemic vocal lines and addictive electric drums. Drawing references from the late ‘90s boy band ethos, the track is simple in its conceit yet deft in its execution, were the Backstreet Boysto be resurrected for the Millennial era of electropop production: these guys are definitely on to something so old, yet so totally new at the same time.
Any fans of The Strokes can recognize early on that Albert Hammond, Jr.‘s rhythm guitar was a heavy influence on driving the band’s distinct garage rock sound, so it’s great to see him have room to shine on his own. Since he last performed in New York City two years ago at Webster Hall, he’s back with another fantastic full album under his belt that showcase his evolved sound and personal growth.
After flawlessly belting “Cooker Ship” towards the beginning of the set, some sound issues with the bass allowed for a toned down, impromptu performance of “Blue Skies,” just Albert with his guitar (which wasn’t on the setlist).
Many of the new songs from Momentary Masters are far more energetic than his other work, so it was fun to see Albert and his band get into the groove of songs like “Touché” and “Caught By My Shadow.” It being my second time seeing him perform, I was happy to hear old favorites, like“Everyone Gets A Star” sounding just as beautiful as ever, and “Rocket,” a surprise at the end. And witnessing the entire crowd sing along, not missing a beat, to “In Transit” shows just how loyal his fans are.
As he’s known primarily for his guitar prowess, it’s easy to overlook that his voice packs some real power behind it as well. With the backup band doing most of the guitar work, his vocals take center stage, and he impresses the crowd with a great range and the facial expressions to match.
That isn’t to say, however, that his guitar skills don’t shine as well. The crowd stilled for the instrumental “Spooky Couch,” an old favorite from his second album, which highlighted his incredible showmanship and attention to detail. Another detail important to note was the fantastic light design, red to counter the band’s all black outfits, which is all done by his wife, Justyna.
And he couldn’t have thought of a better way to close out the show: after the encore, he takes a letter from a fan in the front row. When it doesn’t fit in his vest pocket, he shoves it right down the front of his pants, and walks off the stage like nothing happened.
Little is known about the enigmatic pop singer Allie X.
When she comes on the stage at Baby’s All Right, I find it hard to believe that, even after speaking with her one-on-one only days ago,she’s standing before me in the flesh, donning an ecru tulle number, mod sunglasses, and a mile-long curtain of straight brown hair falling down her back.
Before adopting the stage name Allie X, she was Allie Hughes, a classically trained musician from Toronto — but that’s all you’ll get to know about her.“Respectfully, Ysabella, I don’t talk about my past in interviews,” she says, and I’m not offended; by driving the attention away from her past life, she allows the focus to remain on who she is now, and what that means for her music.
She opens her show with “Hello,” waving at the crowd almost robotically.It’s mesmerizing to watch her contort her arms into a pretzel or kneel on a bench to play her instrument, the “X-a-chord,” which resembles an organ.
The way that Allie X interacts with her crowd is unlike many pop singers, who might try to hold back-and-forth conversations with the audience or lead into songs with anecdotes.Instead, her phenomenal vocals are what make the show memorable, and she says little other than the occasional “thank you,” mimicking the way she likes to carry herself as an artist.
“I think I can still have life as an artist and create work that has an intimate relationship with the world, where they feel like they’re being let into something without actually revealing details of my private life,” she says.“In this day and age, it’s difficult when half of the success of an artist has to do with social media, which has to do with the details of one’s personal life, so it’s something I’m figuring out.”
And it seems that she’s figuring that balance out much quicker than she gives herself credit for.
The driving force of her fan following is the power of “X,” which she describes as “the unknown variable…a blank slate to start from.Believing in X is believing in the possibility of anything.”
“I have a small, but very devoted following of X’s and a big part of the project is exploring ‘X’ together,” says Allie.“I’m always trying to think of new ways we can do that.One of them is part of my Tumblr, it’s a gallery for various ‘X art’ that they’ve made, and we update it usually every couple of days.So if you make anything and you hashtag it ‘Feeling X,’ it’s going to be up in the gallery.”
And among her go-to poses during the show are the crossing of her arms to form an X, or holding up her crossed fingers.She even spins around onstage, much like the reblog-ready spinning gifs she has on Tumblr.She gives fans these recognizable things to latch onto, and while adopting X into one’s life has a different meaning for each individual, it brings her and the fans together.
These symbols of Allie X are only part of the cohesive image she’s cultivated.It’s a distinct visual style that makes her instantly recognizable, and she credits the aesthetic to adopting X into her life.That’s a part of what ‘X’ might mean for her, but that’s not what “X” is meant to be for everyone.As she describes it to me, “If you were to become ‘Ysabella X,’ you don’t have to share the aesthetic that I show.You don’t even necessarily have to have aesthetic — that’s not really what it’s about.”
And while I might not be sure of my ‘X’ or my aesthetic, Allie X exudes a strong sense of self-awareness and artistic identity.On delving into other aspects of the art world, she says, “I would love to make a musical.I would love to make a film, animate a film.Books, all of that.But that all needs to stem from me being a successful music artist so that’s what I’m focusing on right now.”
It’s fun to watch her pull at her roots and prance in a cutesy and child-like manner while she sings, “Steal my blood and steal my heart/Whatever it takes to get you off/I’m your bitch, you’re my bitch/Boom boom.”The stage was a bit small for her presence, and it would be lovely to see what she would do with an even bigger one.Naked bodies — “a huge pile of naked bodies to travel with me around the world” — if she had it her way.
Presently, she has only performed about ten shows as Allie X, so there is certainly room for her shows and her catalog of songs to grow.
She has co-written a song with YouTube celebrity Troye Sivan, whom she describes as “a truly lovely human being.”Generally, she likes working with people who “bring a different skill set to the table.”For example, people who are “good at working quickly or with technicalities of engineering.”And she describes herself as a “slow” and “abstract” lyricist, preferring to work with “more straight-ahead, quick lyricists,” and “people who have some interesting analog sounds.”
One thing that surely will not change is her flawless delivery, with some of her vocal curls actually inducing chills.And hopefully she stays a bit cryptic and elusive, too.She only took her sunglasses off for the song “Good,” but even then, asked for the lights to be turned down.
She works her way through CollXtion I from top to bottom, and when she closes with “Sanctuary,” she holds out her mic and the crowd sings all the words without missing a beat, as if we all know her and have been a part of this “X” project for our whole lives.And when she prances off stage, shades back on, you’re left with even more questions about her than you had at the start.
There is no epic heartbreak suffered by Kurt Vile on his latest album b’lieve i’m goindown, no great struggle he has to overcome. There’s just everyday malaise punctuated by moments of deeper sadness as well as happier feelings. This is why b’lieve i’m goin down is so relatable – these feelings could happen to anyone, except they happened to the Philadelphia singer-songwriter, who is also a former member of The War On Drugs.
He sounds tired and jaded, frustrated that even the life of a recording, touring musician eventually lends itself to its own brand of monotony.On “All In A Daze Work,” he sings that he’s “Strummin’ unsuccessfully, but moresojust pressing keys.” You may not write songs for a living, but you can empathize when something you’re good at – something you love – seems so far away from what you can and want to do at the moment. On both “Pretty Pimpin” and “That’s Life tho,” he sings about the disconnect he feels with his own image: Not recognizing himself in the mirror and therefore brushing a stranger’s teeth, and coming across as a “certified badass” when he goes out, though he admits to us that he took pills beforehand to take the edge off.
But one of the album’s best moments comes at the very end, on “Wild Imagination,” when he aims his frustration and sadness at the disconnect created by our lives online. It’s summed up neatly in the easy, folk-y song’s first verse: “I’m looking at you, but it’s only a picture so I take that back/But it ain’t really a picture/It’s just an image on a screen.” We live in an age where pictures are no longer cherished, personal memories to flip through. Now they’re social currency, and their worth is based on the reactions of others. So he goes on to ask, “You can imagine if I was though, right? Just like I can imagine you can imagine it. Can’t ya?” This is a scene that’s played out on iPhones everywhere, when we click the little heart next to a friend’s Instagram photo because we know it signals to them that we see them, we like them, they are valued.
Getting trapped in this world is just as depressing as being removed from it, but knowing it exists. Vile is definitely living in his own world, and while it’s one that isn’t perfect, it’s one that he made himself, offline. These days, doing that can be a little terrifying. But like he says on “Wheelhouse,” “You gotta be alone to figure things out.”
Though there’s no link specifically for “Wild Imagination,” you can stream b’lieve i’m goindown here and watch the video for “Pretty Pimpin” below.
Even without knowing the emotionally turbulent backstory behind Flint Eastwood’s latest EP Small Victories, the first single “Find What You’re Looking For” paints a cathartic landscape that evokes the sensation of conserving breath and energy before climbing a mountain. The song resonates as whispered, yet resilient, triumph. Jax Anderson is no stranger to small victories, nor large ones, respectively. A statement released with the single informs that the song is an interpretation of the last words spoken to Anderson by her mother before she passed: “Don’t let this break you.” As the listener or compassionate voyeur we may not know what the “this” is and we may not know what we’re looking for, but it is with this haunting ambiguity that makes the track accessible and effective in its ability to sound both confident and cautious. In the wake of such loss, Anderson sounds as if she’s begging the sky, crooning, “I don’t want to lose you/this moment next to you/you tell me what to do.” What is most strangely refreshing about “Find What You’re Looking For” is that it shines as a great contrast to the gritty, danceable electro-indie-rock vibe of Eastwood’s 2013 release, Late Nights in Bolo Ties. If this track is any indication to the journey ahead both for Anderson and the audience, Small Victories (to release on October 9th, 2015)will likely encourage the defiant act of letting the light into the dark places.
It’s the dream of every artist to have their art become their means of survival. Seattle-based Qualia was formed in 2014 by Michael Hazani (vocals, keys, programming) as his passion project when he had downtime from his daytime gig as a freelance songwriter/producer for hire, which we have to say, from an artist’s standpoint, sure beats working at Subway. Accompanied by Shawn Crowder (drums), Pier Luigi Salami (keys), and Michael Hazani (everything else) in the studio, their upcoming sophomore EP “Triptych” is an ethereal and imaginative take on electro rock. Hazani’s accolades include coming in as a semifinalist in the International Songwriting Competition two years running. With his currently project Qualia, he’s also proving that there’s lots to look forward from the Seattle rock scene. All of the band members are alumni of the Berklee College of Music, at which they have had the pleasure of performing at the A3E expo. On “Triptychm” electro beats remain the center of attention, yet soaring choruses and a pinch of classic rock sensibilities demand to be heard as well. For the full listening experience, we recommend playing the EP on loop.
The EP opens with an exciting and playful intro on “Presque Vu” that sounds like it could be the intro music to a Sega video game, before making a smooth transition to an uplifting alt-rock song that sounds like running out of the doors on the last day of school. “It was good to be alive back then,” reminisces Hazani. The EP slows down and transitions to visuals of a cityscape on “Guillotine” as Hazani muses “If it’s killing you, as it’s killing me, why don’t we stop this guillotine?” The song sings of the bitter sweetness of unavoidable change. Fans of Arcade Fire will immidetiely jump onto “Guillotine.” Things get swanky and sexy on the third and final track “Tell Me A Story,” a slightly psychedelic and inviting number to close out the listening experience. “Tell me, tell me a story…” It’s fitting that the last track on their EP would sound like an invitation to the next chapter, because after reveling in the delight of “Triptych” we can’t wait to see what’s next for Qualia. With a cohesive musical arc and diversity of moods, yet never straying off-brand, (fans of CHVRCHES, Imagine Dragons, and Muse will enjoy) Qualia went ahead and created the ultimate EP.
“Triptych” was released on September 15th, 2015 and produced by Michael Hazani and Jay Marcovitz, mixed by Jay Marcovitz, and mastered by Fred Sladkey. Live, Qualia is all Hazani, playing a solo electronic setup. He’s planning on touring the West Coast throughout the year. Find him on Facebook, Twitter, and his trippy website. Stream the EP in its entirely here below.
Seven years since his last full-length release, Albert Hammond, Jr. has returned with more introspective lyrics, not lacking in memorable guitar riffs he might be best known for in both his solo efforts and his work with The Strokes. As the band takes the back burner, Momentary Masters brings a sense of familiarity – a clean, focused project that’s remarkably different from his first few, but where the changes in The Strokes’ sound might have been more confusing or frustrating, Albert’s done it in a way that shows different levels of personal growth. You’re rooting for him. We’re all rooting for him.
AF: So you’ve said that Momentary Masters is more of like a new debut for you, which makes a lot of sense, since it’s been a while – AHJ was a hugely different sound, so how do you think the change in your sound reflects what you’ve undergone in your life in the last few years?
AHJ: There’s parts of it that reflect that, it’s inevitable. You are a piece of whatever you’re creating, but I feel like it more was affected by my surroundings to the point where I could achieve things I wanted to do, you know. After touring the EP, or while touring, a band formed, so I was able to record in a new way which is very exciting, which is the way I always wanted to or always heard it. It’s hard to find the right people. I feel like I owe that to years of life that I’ve been living, but there’s so many small baby steps, I don’t know that I could say that that was that. I even grew during the making of the album. I felt one way by the end that was a more confident person. It’s too hard to say, but yeah, being sober, it’s changed my life. I wouldn’t be doing any of this if that wasn’t the case.
AF: I know that the title came from Carl Sagan, I feel that a lot of his themes resonate in your lyrics. The lyrics in songs like “Power Hungry,” you kind of talk about futility of actions or the things we worry about, or “Don’t Think Twice” — do you feel like that shows in the music?
AHJ: “Don’t Think Twice” is Dylan – it’s a Dylan cover, so maybe I relate too. Yeah, the Carl Sagan thing was this clip on YouTube that I would use to meditate to. It was something that would always put me at ease in an interesting way. The album title is like that feeling that would last.
Lyrically, “Power Hungry,” that song is a little different from the rest that I’ve written, each part might have different things to it, even in the same song, that kinda happens. It’s so hard to talk about songs; you feel like you spend so much time to find the right words and then you talk about them in the wrong way [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”][laughs]. I feel like this album is entertaining different layers of ideas, thoughts, or worries.
AF: Right, I think one of my favorite songs lyrically on this album would be “Touché.”
AHJ: Ah yeah, that one, I like that one a lot too.
AF: Yeah, I love that bit, “I forgave you long before I met you for the things that you were bound to do” — it sums up what I was getting a lot of from the album.
AHJ: I’m so happy you like that, because that’s actually, the girl I dedicated the record to, I took one of her poems — that verse was her poem. I thought it just said so much. I like finding those words that can mean different things to people depending on where they’re at. Even that line, “Now that we’re not perfect, we have to be good,” all these different lines mean different things to people. It happened to me — I was listening to the record, I wrote it, and I was thinking, “Oh, is that what I meant?” I was feeling a different way, and it connected in a different way. That’s what’s fun about making music.
AF: Who was the poet you were speaking of?
AHJ: Sarah Jones, she was just a friend of mine. She passed away, and I dedicated the record to her. She was never really published, but I wanted to leave a mark of her work on the album, so I took that line and I dedicated the record to her. She had shown me a lot of different people that ended up being helpful in teaching me how to phrase things in a different way.
AF: And is it cool if we talk about Justyna for a second?
AHJ: Sure!
AF: I saw you back in 2013, and I remember thinking, “Albert’s such a lucky guy.” It’s like you haven’t looked happier. How was it having her direct a music video?
AHJ: Yeah! She’s amazing. She’s actually sitting right next to me, and I’ll still say the same things I was going to anyways. She gets an idea and gets excited about it and goes with it. What’s good is that we kind of pull the best parts for each other out on that, you know. We can kind of tell, we’re pretty honest — we’ll go back and forth, which can always lead to some intensity, but at the end, it always gets a great result. It’s awesome. She also helps so much with photos or we were just finishing a video, she just did all this behind the scenes stuff and edited. She’s on tour with me now cause she’s doing lights, the light directing, so she helps create a mood on stage. It’s really cool.
I know, I see photos too, and I’ve never seen myself happier, it’s almost weird. I almost can’t tell, it’s so natural that I can’t tell until I see a photo and I’m like, “Wow, I look so happy there!”
AF: That’s really great to hear.
AHJ: It’s really nice.
AF: I wanna make this really quick — I did notice that a few Reddit users were feeling betrayed that you cancelled your AMA (says Albert, “That wasn’t my call…we really wanted to do it”). I did pick up a few questions from some users if you wouldn’t mind answering a few of those.
AHJ: Of course, I’d love to!
AF: Reddit user Walksonthree had a few questions. Firstly, do you miss your afro?
AHJ: Do I miss it? No, it’s not something that can cry for me, so I don’t cry for it.
AF: And what do you think is the most difficult song to perform from Momentary Masters?
AHJ: There’s a lot of them. I’m happy that I don’t have to play that much guitar on it, because it’s f-cking hard. “Power Hungry” is pretty hard, we’re trying to figure out which set to play it in. “Touché” — we play it and it sounds great, but it’s definitely a hard one to play. But I mean hard in a good way, I mean, they’re new songs. “Coming to Getcha” is one that was hard, but it ended up being a really great change to the record.
AF: Love that one too. And his last one, why’d you lower your guitar strap? He says, “It’s like seeing a totally different dude perform.”
AHJ: [laughs] They notice such nuances.
AF: [laughs] They do.
AHJ: People always ask me, “Why is your guitar strap so high?” and I’d be like, “I just wear it where I feel comfortable.” And so for a few shows, it was high and it was bothering me, so I lowered it a bit and it just felt more comfortable, so I kept it there. It’s kind of fluctuated. My muscles got too big, how about that one? That’s what happened, I engorged too much.
AF: Sounds like it.
AHJ: Yeah, I don’t know, people just hate change, don’t they? It’s inevitable, my friends, everything changes!
AF: I’ll tell ya, all of their questions revolve so much around The Strokes, that’s all they wanna talk about.
AHJ: It’s okay, I always try to answer them sometimes, I understand. They just wanna know, but they don’t understand that I wanna know more than they wanna know.
AF: Yeah, yeah, it’s all been up in the air for a while, so no pressure for answers.
AHJ: Yeah.
AF: Notjacobpeterson and I both wanna know why Yours to Keep isn’t on iTunes or Spotify anymore.
AHJ: I licensed it. I own the masters, so when I got signed, I licensed it to the label. They licensed it for seven years or whatever, so then I got it back, and when you get it back it takes it off of Spotify and iTunes. Then we were going to make the vinyl for the first time ever, so when we do that, we will re-release it on iTunes and Spotify and vinyl. It just seemed weird to do it at the same time as we were releasing a new record. It’ll come back, it’ll come back in a better way.
AF: Perfect. Yeah, “Everyone Gets A Star” is still a favorite of mine.
AHJ: Yeah, it’s one of my favorites too. And we also have recorded a live record, so we even thought of bringing that out at the same time as that. So you get Yours to Keep and you get a live album, all these things happen for a reason and I know why they’re happening. My hands are on most strings. Obviously, you have people that you trust to deal with stuff because if I wear myself too thin, I wouldn’t be good at doing music [laughs].
AF: So much more to look forward to! And YOitzODELLE asks what your favorite song is to perform from the first record — I’d like to know what your favorite songs are to perform from each of your records.
AHJ: Oh man, probably what’s on my setlist right now… “In Transit” is fun just ‘cause everyone sings along. I tried “Call An Ambulance” and “Blue Skies” by myself and that’s been fun. “Rocket” and “Lisa” are really fun. I really wanna play “You Won’t Be Fooled by This.” We’ve been doing “Spooky Couch” and that’s good, “Cooker Ship” on the EP and “St. Justice,” and then the new songs, “Coming to Getcha,” “Caught by my Shadow,” and “Side Boob”.
AF: Perfect, yeah, I can’t wait to hear the new setlist. And Bowery Ballroom is one of my favorite venues here so that’s gonna be really exciting.
AHJ: I know, me too. Soon!
Albert will be performing two back to back shows at Bowery Ballroom, September 21 and 22.
Another glorious mold, another captivating remix. BECOME has turned NoMBe‘s “Miss Mirage” into a chillwave sound. Recently released, it has been transformed into a repeat-friendly track. I’ll hold on to the last few moments of summer with this. In between the chorus blocks, it’s not hard to find yourself lost in the chanting, “She can be my broad” with peppers of static. LA’s Noah McBeth (NoMBe) created the perfect baby to be played with. “Call her Miss Mirage cause it’s over, there’s not way to hold her. Pinch me in my shoulder. Wake me when it’s over.” Some of us don’t want it to be over.
While most of New York fled the city for Labor Day 2015, Wolkoff, aka Joanie Wolkoff formerly of Her Habits, performed at the venue famous for those lights, Baby’s All Right. She covered the entirety of her EP “Talismans” and finished with a few new tunes. She started the show covered in a cape – removed to reveal a shiny jaw-dropping black mini-dress, a look completed with her signature white Reeboks and tube socks. She was joined by two talented and flexible modern dancers, complementing Wolkoff’s moody pop with sweat on muscles and even a samarai sword. Her EP “Talismans,” which you can stream here, shows Wolkoff’s lyrical emotional depth and alt-pop writing chops, but seeing her live truly takes the experience to the next level. Sure, she’s blonde and pretty – but far from appearing traditional or boring. Joanie Wolkoff is just one of those goddesses who is on to something and found a way to exist in this world that is wholly unique to herself, yet captivating to all. Those attributes shine through in her stage presence, performance, aesthetic and of course, music, to create quite the enchanting package.
If you missed this show, come see Wolkoff at Atypical Beasts and AudoFemme’s CMJ takeover show Friday, October 16th at The Delancey. Until then, watch Wolkoff’s video for “Too Quiet” below:
Chic Gamine are a revamped, French-Canadian version of a classic girl-group: Three voices that sing in harmony, adding layer upon layer to one unwavering line, breaking off in separate tendrils before twisting together again. On their upcoming album, Light A Match, they’re taking the concept to a whole new level. Though they took a five year break between releases, it was spent evolving their sound, and finding a new collaborator in the Montreal producer Sébastien Blais-Montpetit. The band describes how the title track reflects this crucial point in their career: “’Light A Match’ is about that moment when you’re forced to decide what to do with the spark that is your life. Do you snuff it out or do you blow it into proportions undreamt of?”
Chic Gamine’s answer to that question is clear: turn that spark into a blaze. After a gentle intro, the song becomes intense, and a driving bass and marching snare build as the chorus dares listeners to play with fire: “You found hell looking for paradise/Light a match and watch it burn.”
Light A Match will be available on October 23rd. Check out Chic Gamine’s music video for “Light A Match,” where two cowboys play a high stakes game with memories instead of cards.
NY-based Electro-folk/art-pop duo, The Parlor (comprised of Eric Krans and Jen O-Connor,) are releasing their sophomore full-length Wahzu Wahzu out today on B3nson, following up their buzzy single release “The Surgeon’s Knife” which came out earlier this year, peaking interest for its melding of glittery rhythms and bossanova melodic trappings. While the band’s debut album Our Day in the Sun placed them solidly in the folk category, they were forced to tread into various electronic realms in order to successfully perform the songs live. As a result their sound began to evolve, taking on trance and world music influences, incorporating acoustic and electronic drums, upright bass and a dizzying array of instruments spanning the entire sonic spectrum. The result of their evolution into the brave new world of electronic music, is Wahzu Whazu, a self-described epiphany unto itself. Of the album, the band says that “it was meant to be a dark, but meaningless candy-pop album. It was supposed to be all syrup and fluorescent. Instead, Wahzu Wahzu became a subconscious philosophic exploration into the act of creation: of death, hope, and dancing.”
The album opens with the dreamy, hopeful ambient, “I Saw You In The Truth” – both stylistically implacable and familiar all the same, combining fluttery vocals, soothing xylophone and glitchy synth. Somewhere in the distance an electronic drum beat comes in right before the song disintegrates into a tenor sax solo, so ethereal that I could’ve sworn it were a wind instrument until I was sadly corrected by a colleague. More of an introduction to the album than an actual song, it perfectly encompasses the projects direction and leaves us wanting. What follows in the eleven tracks to come does not disappoint. Standouts include the irresistibly groovy “Star Chart”, that hooks you on O-Connor’s song-bird-esque vocal style that floats atop the song’s pulsating bass line and disco electric guitar riffs (funnily, I was just bemoaning with a friend of mine, the lack of a true disco resurgence when this album fell into my lap as if on cue.) “You Are You Were You Can,” a personal favorite, leaps out off the track listing by virtue of the first few opening measures which depart from the band’s standard sound, opting for plucky acoustic guitar and an acoustic bass line anchored in baroque. Before you know what’s hitting you, however, an inspiring, ecstatic snare rhythm comes in that relaxes and raises the pulse simultaneously. The track soon evolves into a vocal duet between Krans and O-Connor that showcases just how complementary the two are musically. The album’s title track is another departure from their signature style, traipsing delicately into the depths of restless, experimental psychedelia or even no wave – perhaps an indication of the direction they could be heading in as a project. Though catchy, I find “Wahzu Wahzu” a bit distracting from the flow of the album as a whole, as its so markedly different from their core aesthetic. “Vampire Boys” is another favorite, showcasing a masterful sax line that feels as if it were born to accompany O-Connor’s vocals, whispery and urgent yet playful at the same time. Wrapping up the album is an absolutely stunning mid tempo jam, “Wishes In The Sheets” – the perfect kiss off to the listener. Combining a soothing bass line with driving electronic drums and glitchy guitar, while the duo sing over in unison, creating a song you can chill to or dance to depending on the mood.
All in all Wahzu Wahzumanages to achieve what most albums can’t these days, which is an actual opus of work that tells a story – twelve tracks that flow in and out of one another, all distinct yet seamlessly familial and integral. These days full-lengths tend to feel necessarily disaggregated in the era of the single, and the music industry’s compulsive obsession with the track-by-track release. Wahzu Wahzu defies this convention entirely and still manages to deliver a whole slew of “hits.” It has already solidified a spot on our year-end list.
Dig the new dirt on Swiss psych-rocker’s Ajay Mathur latest album, 9 to 3. Released this Spring, on May 1st 2015, 9 to 3 is a heady take on Americana, blending psychedelic rock with an international take on folk, for fans of everything from Dead Meadow to George Harrison. Mathur has an eclectic background, which sets the stage for the tone of his music.
Born in India, Mathur’s roots dig deepest with the inclusion of the sitar bleeding with guitars and straightforward vocals. Each one of his songs is autiobiographical in nature and written from the heart. He’s an artist for fans of Tom Petty who have been looking for a new voice with an edge. 9 to 3 is a 15-track cohesive album that’s the perfect introduction to the artist. 9 to 3 follows Ajay Mathur’s previous releases of A Matter of Time (2011) and Come See Conquer (2013). The title track “9 to 3” demonstrates Mathur’s heartfelt and relatable lyrics, perfect to go with the after work drink you need when getting home from a long day, ready to transition into the relaxation of evening. Sitars make for a meditative opener on “I Song,” that leads into whirling vocals and more elaborate guitars. “All up to Vanity” shows Mathur’s comedic writing chops and dabbles in jazz, and things get political with “My World (SOS to the Universe).” The album exhibits an impressive range of emotions and style while never straying from it’s cohesive mood of alt-Americana. The one you’ll want to slow dance to is “Tell Me Why,” where Mathur gets romantic with a song fit for a wedding and lyrics of yearning. We see his take on the classic rock anthem with “View from the Top.” The album shines brightest as it comes to a close as use of harp and sitar truly step up Mathur’s game on the fore-mentioned “I Song,” one stop before the grand finale. Perhaps the track most evocative of the energy of Mathur is the closing number “I Mantra,” an enchanting and comforting song that appropriately closes out the album. In its entirety, 9 to 3 is immersive, relaxing, and comfortable – all the while remaining unique and wholly Mathur. As artists continually try to out weird one another, or make waves by being different, 9 to 3 is a solid listen for a road trip, dinner music, or best for unwinding when you want to tap into the space that Jackson Browne left behind and expand your view on what Americana music means.
Listen to “I MANTRA” below. To stream the album in its entirety, head over to Soundcloud. For even more Mathur check out his Facebook, Bandcamp page, and website.
The first half of my conversation with Natasha Beste of moody electro-pop duo Odd Hours is instantly dedicated to playing six degrees of separation between the two of us until we are able to piece our social puzzle together, realizing that we run in the same circles and are friends with the same people and both conclude that Detroit is a lot like high school.
“In Detroit, it’s really easy to make things happen if you are really motivated and dedicated. If you are snotty or mean or not serious about what you’re doing, it will get around fast,” Beste says. “I’m lucky to have met and become friends with people that make doing this fun, it never feels like work.”
This non-work-work Beste is referring to is Odd Hours latest EP noreprinphrine + dopamine, an assertive and pouty collection of songs that are as glittery as they are confrontational. Beste’s attention to duality, both in her personal life and in her Odd Hours world (she is also a teacher and video artist) resonates as a playful game of tug-of-war sonically. Beste describes the toggling of themes as a “constant up and down.” From asking for what you want and ending up bored by the instant gratification to feeling left out or misunderstood yet worthy enough to exert power, Odd Hours challenges themselves by provoking a polarizing experience. As it turns out, this very balancing act of various selves and influences resulted in what Beste considers to be the truest version of what they’ve been trying to accomplish since they formed. “I think with artists there are things that come out of you naturally. And for me things were coming out of me that weren’t matching what I was listening to, or what we were making,” Beste explains. “We’ve been morphing and changing our sound and we finally feel comfortable in our skin. We want to keep going with how we sound now.”
Odd Hours have been making noise around the city for five years. Beste and her collaborator and Hours guitarist, Timothy Jagielo, assembled after exhausting previous projects, wanting to expand beyond their old work and Detroit city limits. “I was in a lot of different bands before I met Tim but after a while I really wanted to do something that would allow me to be loud and raunchy,” Beste says “We were both in a place where we wanted to start something new.” With additions bassist, Clint Stuart, and drummer Randy Hanley Jr, each track on noreprinphrine + dopamine is a banger in its own right, successfullyandcollectivelyfulfilling Beste’s aforementioned desires of sounding loud and raunchy while remaining a compelling and polished production. When asked about the possibility of a full length release, Beste is uncertain, but unwavering in her convictions towards quality vs. quantity. “It’s the way that my brain works. My whole life of music I’ve really stuck with EPs. I’m not saying we would never release an LP. Everything that needed to be said was said within these songs.” she explains. “It could be the next thing we do, but it has to feel right.”
The accompanying video for their first single “SWTS” is a true testament to Odd Hours theatrics; a great introduction to their provocative landscape, their lust filled, odd world. Full of if-David Lynch-cast-Lindsey Lohan-in-a-music-video vibes (Beste laughs excitedly at this comparison) aligns with the estranged bossiness of the song where Beste howls: “I thought someone told me / Like Christmas / I would get to make a wish list,” a vulnerable plea paralleled with warbled rock vocals, a sensibility carried throughout the EP.
By the end of our chat we realize we share a friend in noreprinphrine + dopamine producer Jon Zott and that we were both on set for Tunde Olaniran’s video earlier this year and it is with this strange connectivity that we are able to commiserate over the special brand of small world-ness Detroit offers. I finish by apologizing for referring to her music as bratty, though meant as a compliment as it’s a trait I regard as honest and unapologetic, to which she assures me is a perfectly apt description. “It’s funny because my boyfriend Kevin (and partner in Gold House Media) as well as my guitarist Tim and Tunde all call me a brat because I get what I want. But I have a vision,” Beste explains. “I am always three steps ahead.”
Coming from Seattle, Hibou is Peter Michel. The debut album will be released September 18, but for this #newmusicMonday we’re sharing one of our favorite tracks – “In The Sun.” It’s a heady song evocative of happiness, that mysterious emotion evading any music lover who relates to High Fidelity – yet holds the cheese. Hazy guitars and nostalgic vocals create a perfumey track for anyone who has had to Google the symptoms of a smile to figure out what’s going on.
For the very last day of summer, we headed over to the Azul rooftop of Manhattan’s Hotel Hugofor Electric Beach’s blow-out bash. Among the guest artists, were MOTHXR, French Horn Rebellion, and Julian Cavin. Sponsored by Corona, it was “a scene” to say the least, replete with inebriated millennials and panoramic views of Manhattan. Quite the way to kiss away summer indeed. Peruse our photos of the event, here! See you next year, Electric Beach.
