ARTIST INTERVIEW + LIVE REVIEW: Happyness @ Baby’s All Right

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photo by Madison Bloom
photo by Madison Bloom

How did I get here? I’m sitting on a trash bin in the backstage bathroom of Baby’s All Right. Across me, or rather, encircling me, are the three young gentlemen who make up Happyness, arguably one of England’s best new bands. They’ve just released their debut LP Weird Little Birthday, played South by Southwest, and are shaking the last leg of their first American tour. What better way to commemorate it than with a powwow in the john?

To my right, vocalist/keyboardist/guitarist Benji Compston is perched on the toilet. Bassist/vocalist Jonny Allan is cross-legged on the floor in front of me, and drummer Ash Cooper is leaning on the sink. It feels more like I’m cutting gym to smoke cigs with my middle school buddies than it does a professional interview, but I’m instantly at ease. It’s nice meeting other people who feel as at home on a bathroom floor as I do.

I could never have guessed that this was where we’d chat. The evening started as many do, neurotically watching the clock until the exact minute the interview was actually scheduled. Of course, this is never when they occur. Sat at the bar, I witnessed a man fully costumed as a taco run past me into the green room. No explanations, just some very fast food. I finally saw Benji and abruptly sprung at him from my stool, explaining the meet-up we had scheduled.

“Oh, ok, cool-do you mind if I go for a cigarette first? Do you want to come? Do you want one?”

Sold.

Outside I met Jonny, Ash, and their tour manager, Mark. They told me of the deli sandwiches they’d eaten, and that they were due to order more. I urged them to order a chopped cheese. They didn’t. We entertained the idea of doing the interview in their van, but the boys warned me it was far too messy and musty. (If they only knew…)

To the tiny lavatory then.

 

…………

Jonny Allan: We could do it [/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”][the interview] in the mirror!

Madison Bloom for Audiofemme: Yeah, take a long look at yourself while you answer these very basic questions. No one’s sitting on the toilet, which is a little disappointing

JA: Sit on the toilet, Benji.

Benji Compston: What?

JA: Sit on the toilet.

(Compston slowly settles sideways on the lidless throne.)

JA: That was so dainty! Look at you!

MB: I like what you did there. You’re doing sidesaddle on the toilet.

BC: This is how I always sit. Is this not how you’re meant to?

JA: No, that’s exactly how you’re meant to.

MB: So, this is you’re first U.S. tour…how’s it been?! Do you have any crazy stories of anything that happened?

BC: We got in a hot tub when it was raining and people outside the hotel window stared at us and laughed at us because traditionally people don’t go in hot tubs in quite cold weather in Dallas in March.

Ash Cooper: There’s more hot tubs in America so we were just excited to get in.

BC: Yeah just the idea of having a hotel with a hot tub was like, “Oh my god, we’ve arrived.”

MB: Not a lot of hot tubs in England?

JA: No.

MB: Why?

AC: Less pools.

JA: I don’t know, it’s kind of an item of luxury I guess, and I had not seen a hot tub in a while, so, being in a hotel with a hot tub was the BEST thing ever, and so we all went out there, smoked cigarettes and were pale, and people looked at us, it was kinda fun.

MB: So the craziest thing you guys did was get in a hot tub?

JA: Oh yeah then we met a Neo-Nazi Texan man who forced us to hold his loaded gun at ourselves, but….

MB: That’s somehow not surprising to me, like yeah, that’s America. And Texas. What’s been the funnest city to play? Or just to be in? You seemed to have a lot of fun in Portland; you went to Voodoo Doughnut!

JA: Oh they came to us. They delivered a box.

BC: Cleveland. We had a very fun time in Cleveland.

MB: What happened in Cleveland?

BC: (expectant pause) We…played a fun show….

JA: Hung out at America’s Best Value Inn.

MB: Wow, you guys are CRAZY! Hot tubs and…

JA: We fuckin’, we were like running around the hotel and someone set off an alarm…

AC: Yeah we were playing Sardines.

JA: Do you know the game Sardines?

MB: No.

JA: Sardines is basically hide and seek but instead of everyone hiding, one person hides and you go and you try and find them, and if you find them you just hide with them…

AC: Until there’s one guy left wandering around…

JA: …going like: “Has everyone else just left me?”

BC: We hid in a water closet thing.

JA: We hid in a laundry closet thing. A water closet’s a toilet.

BC: Oh is it? Sorry, I thought that was a waste closet.

MB: That’s also fitting.

BC: We stayed in a Motel 6 in Salt Lake City, and, I watched Ash-I thought Ash was getting violently assaulted and I watched out the hotel window and was just kinda like: “Ah, ok, let’s just see what happens next and then deal with it afterwards.”

AC: Story of my life really. Leave Ash outside and see what happens.

BC: Well I thought out of all of us you’d probably deal with it best. I thought you’d probably come back from it kind of.

AC: This isn’t the first time this has happened to me.

BC: Because if I was assaulted in a Motel in Salt Lake City I think I’d just, you know, I think I’d just give up.

MB: What was actually happening? You weren’t being assaulted…

JA: The Mormons were taking over.

Compston and Allan get down.  Photo by Austin Sandhaus
Compston and Allan get down. Photo by Austin SandhausMB: You guys played in Seattle, I was actually in Seattle when you guys played but I couldn’t make it.

MB: You guys played in Seattle, I was actually in Seattle when you guys played but I couldn’t make it.

JA: Ooh, that was a fun show.

AC: Actually I think Seattle was my favorite city.

MB: Really?! I’m from Washington so, a bit of pride there. I was emailing with Cheryl Waters from KEXP and she wanted me to tell you guys hi because she had a really good time.

All: Awwww!

JA: Yeah, we really liked Cheryl! She was really cool.

AC: We got a lovely photo with her.

BC: Yeah she’s awesome, that session was really fun.

MB: Well I’m glad you guys liked Seattle, just had to kind of rep it and tell you guys hi for Cheryl. You guys did SXSW too, how was that

BC: It was all quite intense.

JA: It was kind of hectic.

All: We didn’t have much time to do anything.

AC: It’s so hectic that you don’t see Austin. It wasn’t until the day after, when we did like a hangover show, that we actually realized that there was a city behind South By.

MB: Yeah I’ve heard a lot of mixed things from musicians, but it’s like a thing that’s really honorable to do.

JA: Yeah it’s nice to be asked to do it.

AC: It’s nice to have the wristband.

MB: Yeah? You gonna frame it? You’ve kept them?

BC: The CMJ one we could wear as like a lanyard, but the South By one was constantly on our wrists and we started to kind of look like fourteen year old festival goers because we just had wrist bands going all up our arms.

JA: Do you know what it does to a person having a shower with the same thing on your wrist every morning? It’s very stressful.

MB: It’s gets very smelly too.

JA: Well, I made a point of shifting…

MB: So it didn’t get the gross watch smell.

JA: Yeah, I didn’t have the kind of, arm decay, because, ‘aint nobody got time for that.

MB: I read an interview that said that while you guys were writing and recording your first EP and album you were working during the day. What were your day jobs?

BC: Um, I worked at a restaurant in South London, which I quite promptly got fired from.

JA: You painted canvases white!

BC: Oh, I was an artist’s assistant in London, and then after that I worked in a restaurant as a waiter and I was probably the worst waiter they’ve ever had.

JA: He got fired because he didn’t know what was in the risotto bowls.

BC: I’d just make stuff up, people would be like, “oh, what’s this?” and I’d kind of go (glances sideways, mumbling) “oh, ch-ch-ri-chorizo, with a bit of…rice and cheese and cream and paprika…..” and then I kind of would say things like: “oh, they put paprika in everything here.” Which they did.

(All laugh)

JA: Make that the tagline!

BC: There were some complaints about me…and I’d forget things and a woman once asked for cheese on the side because she was lactose intolerant-

AC: Why would she still get cheese on the side?

BC: And then I grated loads of Parmesan on top of it-

JA: At the table!

BC: Yeah, I put it down and was like (makes grating motion) and she was like: “What the fuck are you doing?” and I was like: “Parmesan! On your risotto!”

JA: I just worked at a pub. I basically served these guys. I would just kind of like hang out there all day and nobody else would come in and they’d come in and be like: “Can I have one of the soups?” and I’d be like: “Yeah.” I got to wear a nice shirt though.

MB: Oh!

JA: It was short-sleeved, and it was kind of maroon-y

AC: I visited you and you looked very fetching in that shirt.

JA: I did. Yeah, I did, I looked nice. I looked like a nice boy.

MB: Ash, what about you?

AC: Um, I draw baths for children.

(Silence)

MB: I don’t believe you.

JA: No, he does, it’s true.

MB: I’m sorry, you what?

AC: I draw baths for children.

BC: Please explain a little bit.

MB: Yeah, can you, um, that sounds, just, creepy.

AC: I’m a glorified manny.

JA: What’s worse is there like, 14.

AC: These kids can’t fend for themselves.

MB: But that’s all you did? You didn’t like, feed them, or take them to the park? You just bathed-well, you didn’t bathe them…

AC: No, I took them to the park

BC: You took them to the fish restaurant and made a fuss.

AC: I took them to the fish restaurant, well, that wasn’t me that made the fuss – I took them on a run in the park, I took them to the drum shop because we had a free day, I took them to the, eh, oh, what’s that bike race called that goes through Paris?

All: The Tour de France?

AC: I took them to the Tour de France because it came through London and we had a day out, it was great. But yeah, glorified manny. Put glorified manny.

MB: Ok, so, glorified manny, bartender, and shitty waiter. No offense.

BC: Oh, no, it’s fine.

MB: So I’ve read that there’s kind of a movie concept thread running through the new album, but what was the inspiration for the lyrical scalping of Win Butler?

BC: I was walking with Jonny like years ago and I just kind of said the lyric to Jonny and was like…that’s a thing.

JA: We used to talk about Win Butler’s hair. We used to be very, uh, we used to dress kind of, wonderfully in a just appalling way.

MB: Like in suits?

JA: No, we were part of the whole London teenage thing where everyone would wear very tight jeans and really fluorescent shoes.

MB: I don’t know that movement.

JA: Oh, it was a real thing. It was the underage scene in London and we used to really like Win Butler’s hair.

MB: So you don’t actually dislike Win Butler, in fact, you loved him.

JA: Yeah, we loved him.

BC: I just thought one day it would be quite funny, because Win Butler at that point had a hair cut, and it was the haircut and it was part of his thing, and I thought it would be quite funny to cut off part of his head, and wear it.

(Silence)

Cooper between beats.  Photo by Austin Sandhaus
Cooper between beats. Photo by Austin Sandhaus

MB: So in interviews you guys are often pretty self-deprecating of your own music-I’m guessing that’s mostly an act? Or do guys actually kind of feel like: “How the fuck did we get to this place? How are we successful?”

JA: Are we successful? That’s news to us!

All Laugh

AC: We’re doing an interview in a toilet.

BC: So you’re asking, are we actually surprised? Yeah, I think we probably are.

MB: Ok, because I figured, oh, they’re self-deprecating, they’re just British, whatever.

AC: Yeah, it’s partially the British thing I guess…

BC: But lastly, when you leave, we’ll all stand in this mirror and go: “We’re very famous. We’re very famous.”

AC: There’s a story in there somewhere.

MB: So, I’m not going to ask you guys about the “Y” in the spelling of your name because I know you guys get asked that all the time-

JA: The Beatles is the answer to that question.

MB: No! That’s not the question! It’s an announcement actually, because I know you guys mentioned that there’s a band in Finland (Happiness), the hardcore band that is spelled normally, but-

AC: Are you going to start the lawsuit? Is that what you’re announcing?

MB: I will, but I need to start two lawsuits because there’s another band in Rhode Island that’s called Happiness, normal spelling, and it’s three guys from Deer Tick…

JA: Fuck. Them. When did they start that?

MB: I don’t know, but they’re just in Rhode Island, so if you guys wanna just take a car like, a bit north, you can kill them while you’re here.

AC: But wait, now we can start the lawsuit!

JA: It would be very hypocritical of us to start the lawsuit.

BC: That’s very interesting you told us that.

MB: I just felt like I needed to tell you; I didn’t want to start any drama but-

JA: The drama is RIFE.

BC: I think we may have started before them.

JA: I really hope. Cuz like, if you just google the word ‘Happyness’ band

MB: Well, which spelling?

JA: Oh, that’s a good point… Well, they must have found the Finnish heavy metal band…so they’re fucking assholes.

BC: I’m going to pretend this conversation never happened.

MB: I’m still going to put it in…

BC: You’re like God.

MB: Are you from London proper, or are you just based there?

All: No, we’re from London.

MB: Well, you never know, you could be from…

BC: Greater…

JA: Croydon…

MB: Devon…

JA: My Mum and Dad live in Devon!

MB: I hear it’s very nice.

JA: It is nice!

MB: Do you find that that’s a big part of your identity? Like I feel like there are bands that really identify as an American band or “We are a British band. That is intrinsic to our identity.” Or do you just happen to be from there.

JA: We just kind of happen to be from there. The amount of people who when we started were like: “Oh! The scene in London is so great right now!” We were kinda like “uhhhhhhhhh…..”

BC: There were a few people who were really trying to make the South London thing happen, and were like “South London band Happyness, from South London!” It was like…ok.

MB: I’ll just put “general English band.”

JA: (chuckles) Yeah, “Non-descript English…”

BC: “Non-descript, trans-Atlantic band.”

MB: I had a question about your song-I listen to BBC6 like, everyday when I’m at work, and Marc Riley’s my favorite, but I never hear him play “Marc Riley in a Karesansui” and I’m always really pissed off! Like, “why won’t you play this?!”

BC: He never has! Can we speak to him about this because-

MB: I want it to be his new intro song!!!

BC: I think he might have not found it very funny….

MB: But he takes the piss out of himself all the time!

BC: The session we did with him was actually really fun, and we actually did really well.

MB: He just seems like such a sweet dude…

BC: No he was really sweet, he bought us some beers and chocolate, which was really nice.

JA: I think it was too long for the radio, but they asked us to make a jingle, and we did it, and that’s why we did it, and then they never put it on the show, so we were just like…

MB: Wait, so you actually made it for them?!

JA: Yeah! And then they never put it on the show.

MB: I’m gonna have a word; I mean, not like we know each other, but maybe….

JA: Email him! Say: “Marc, big fan. Where’s that song?”

MB: Ok. I’ll do it. I’m glad you guys were worried about that, because I was. If you guys had some kind of freak accident and could not play music, what would be your fallback plan, aside from waiting tables?

BC: I’d probably quite like to run a small delicatessen somewhere?

AC: City farm.

JA: Like a petting zoo.

MB: We need those.

BC: Actually, my deli could be part of the city farm.

MB: You could slaughter the animals and use them as the deli meat!

JA: That’s the only reason we’d be growing them in the first place.

BC: Ooh yeah, and we could name it, we could say (puts out hand as if to serve a sandwich) “this is Persephone the pig…”

JA: Angelo, the camel.

BC: Peter, the boa constrictor.

JA: Hey, I’ve got a penny from the floor of the toilet!

MB: Oh! That’s good luck.

JA: Yeah that’s good, urine-y luck.

MB: Do find there’s a big difference between the audiences you play to at home and here?

JA: People make more fun of our accents, which we like, in a kind of masochistic way.

A fully-focused Allan.  Photo by Austin Sandhaus.
A fully-focused Allan. Photo by Austin Sandhaus.

MB: You’ve been on tour for weeks and weeks now; what have you guys been eating mostly?

JA: Bad stuff. Sonic.

BC: Can you tell???

MB: No, no, I just like asking this question because you’re on tour and basically on wheels for a month.

BC: Here’s (NYC) been the best food we’ve had on tour.

BC: Yeah, the food here’s been unbelievably good. Really good.

JA: I had pork belly eggs benedict.

BC: We’d mainly been eating, like, really processed fast food.

JA: We went to a Sheets.

MB: A what?

JA: A Sheets. It’s like a gas station where you order on the-Mark knows about Sheets, he showed us.

MB: Sheets? I don’t know about Sheets.

Mark Miller (Tour Manager): It’s the coolest truck stop. They have a bunch of different food and you order on a screen and then they hand it to you, rather than like, going into a truck stop and eating like, a hot dog on a roller. You can get wraps.

JA: I have a confession to make about Sheets, now remembering: very impersonal.

MB: So that’s a full statement?

JA: Yeah, that’s right.

MB: What are you guys most excited to do while you’re in New York?!

BC: I’ve got a friend, several friends, who live in Central Park Zoo, and, we’re going to go see them.

MB: They live in the zoo?

BC: They live there. They’re sea lions.

MB: Right.

JA: We’re going to go see them; we didn’t see them last time.

BC: We didn’t see them last time, we didn’t have time, but we know them quite well.

MB: I’ve actually never been there, I’ve lived here seven years and I’ve never been there.

BC: You should come!

JA: Do you want to come? Monday.

BC: Peter, Andrew, Angela and Nigel. My friends from Central Park Zoo.

JA: They smell worse than our van.

 …………

 

For all their jest and cheeky remarks, these three get very serious on stage. Of course there’s a level of welcome banter and rambunctiousness, but their focus is admirable. The brief set at Baby’s was fun and full of messing around. Allan and Compston smooched each other’s cheeks en route to switch instruments, and finished off their final song with a good tumble on the ground, tangled with their guitar cables and dodging the inevitably sloshed beer.

I can’t say I’ve ever met a pack of musicians as kind or as clever as this lot-they’re as laid back as they are hilarious. As long as you don’t ask them why they spell their name with a “Y,” you should miss the snarl. Seriously. It’s like asking a crust punk if he knows he’s got holes in his jeans.

I hope to hear news of many more albums and American tours to come. And I hope that one day I can talk Happyness into ordering a chopped cheese.

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VIDEO REVIEW: Penicillin Baby “Stick It Out”

Penicillin BabyPenicillin Baby is a psych-pop band from Nashville. Their colorful new music video for “Stick It Out,” featuring a rotating human brain on display that appears to be made of glitter Play-Doh, will leave you scratching your own noggin trying to piece together the scenes once awoken from this vivid dream – perhaps one after mixing Ambien with a heavy pull of your favorite sleepy weed. You get the sense there’s a method to the mayhem, a meaning behind the hodgepodge of astronaut suits and beautiful girls in fur coats – one that the sleeping Penicillin Baby with A Beautiful Mind bulletin board must have had quite the trip trying to figure out.

Watch the video below.

LIVE REVIEW: Public Service Broadcasting @ Bowery Ballroom

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Photography by Julie Halpert
Photography by Julie Halpert

Arriving at the ballroom halfway into Kauf’s set, I weave through the intoxicated crowd towards the bar so that I can start catching up. The air is hot and muggy and Kauf is using that to his advantage, mixing tunes that feel submerged in the deep. This one-man synth show has a surprisingly sweet, almost folksy, voice that makes girls cry, “I love you!” from the audience, giving him a chance to show off his boy band smile.

When I notice a man wearing a NASA shirt with two full cups of beer I know that we’re all ready for some PSB. The London duo Public Service Broadcasting recently released their album The Race for Space, an electro-funk sampling of live transmissions from American and Soviet space stations during the late fifties to early seventies. They come dressed in tweedy suit and tie like professors, as if ready to give us kids a history lesson. Or at least it seems so at first. As they speak to us exclusively via pre-recorded sound bites, it becomes clear that these professors are no more than impish Pucks, teasing us with each deadpan repeat of “Thank you.” The girls still cry, “I love you!” but this time they are met with a clear “Simmer down.”

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Photography by Julie Halpert
Photography by Julie Halpert

Indeed it’s strange there is no singing. Combine that with the abstract video projections of archival footage this makes for more of a performance art piece than a rock concert. We’re inducted into a new kind of space, one ruled by celestial psychedelic robots commanding us to dance. J. Willgoose, Esq. as the main puppeteer of the Voice mouths along to the words of Leslie Howard and JFK, such that his own voice remains a complete mystery to us, even his breath being inaudible. I begin to wonder how our relationship to voice dictates our experience of intimacy, and whether or not PSB have stumbled onto some secret of celebrity.

On “You’re too kind! New York!” we bid adieu to our conquerors. We leave with our eyes clearer, our heads a little higher in the clouds. Cigarettes taste better at this altitude. We might never come down.

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TRACK REVIEW: Maria Sweet “With Time”

Maria Sweet

It’s New Music Monday, and the band that should be added to your playlist today is Maria Sweet. Maria Sweet is a five-piece rock group from Redlands, California. They recently released the single “With Time.” The track is from their new EP, the second to date, Songs From The Sonoran.  The song is a well-measured blend of laid back riffs and rock ‘n’ roll mindset, the ultimate stuff to fill your brain with on a Monday morning, relaxation with a kick. Comparisons have been made to The Strokes and they site Vampire Weekend as an influence, but I hear some early No Doubt as well, when Gwen was a certified little badass.

Listen to “With Time” below.

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TRACK PREMIERE: Alanna Clarke “Raw Emotion”

Alanna Clarke

At the age of 15, preternaturally mature Canadian songstress Alanna Clarke decided to forgo a conventional high school education, along with all the social trappings of one’s typical adolescent arrival, and instead opted to become a touring musician. To be that sure, that young of your life’s calling can imply one of two things: immense myopia or immense, uncontainable talent. Fortunately for her, Clarke is in possession of the latter. Now 23, she has years of experience writing, producing and performing under her belt, and has graced us with a brand new track, “Raw Emotion”, out today.

While the title straightforwardly denotes the driving force inside of young people – raw emotion – the song itself is anything but twee. A stripped down guitar melody opens the track’s first few bars, with Clarke’s ethereal vocals mooring and uplifting the listener simultaneously. After the intro makes it clear to us that she is a powerhouse, the song explodes into an electropop ballad with an infectious beat and catchy electronic drums, though never over the top so much as to take away focus from Clarke’s voice, which is at once soulful, ecstatic and grounded the whole way through. Look out for big things from this girl. In the meantime, take a listen to “Raw Emotion” below.

PLAYLIST: A Playlist to Celebrate “Riot Grrrl Day”

 Bikini Kill photo

April is known for rain, taxes, rabbits, and silly pranks, but now the month has a new, much cooler holiday: Boston’s mayor, Marty Walsh, has designated April 9th “Riot Grrrl Day” in honor of Kathleen Hanna, the front woman of Bikini Kill and Le Tigre. Born in Portland, Hanna’s interest in feminism came at an early age. After dabbling in spoken word performance, she realized that her message would be louder if it was delivered in music.

How can you celebrate “Riot Grrrl Day”? Start by listening to this playlist of badass female-fronted acts.

1. Sleater-Kinney “Bury Our Friends”

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After a long hiatus, Carrie Brownstein, Janet Weiss, and Corin Tucker reunited Sleater-Kinney with the album Bury Our Friends. Check out the title track above: “Exhume our idols and bury our friends/ We’re wild and weary but we won’t give in.”

2. Speedy Ortiz “Raising The Skate”

https://www.youtube.com/watch?v=KyCF9r9NdMo

Speedy Ortiz is fronted by vocalist/guitarist Sadie Dupuis, who created the witty, anxious “snack rock” that rocked SXSW this year.

3. Screaming Females “Hopeless”

New Jersey’s Screaming Females is actually just one female. She may not exactly scream, but guitarist/singer Marissa Paternoster has earned the description by belting rock vocals that defy her size.

4. Bikini Kill “Rebel Girl”

https://www.youtube.com/watch?v=DzMGqVh8G20

Of course, we couldn’t make this playlist without including the person who inspired the holiday: Kathleen Hanna, the original rebel girl.

5. Le Tigre “TKO”

Hanna’s next project, Le Tigre, is more polished, but just as fierce:“I’ll say my piece and when it’s over you’ll be on your knees,” she sings, while rocking a suit in the video for “TKO.”

6. White Lung “Down It Goes”

These Canadian punks are led by singer Mish Way, who is also known for writing edgy articles and putting douchey audience members in their place. 

7. Perfect Pussy “Work”

Meredith Graves is the woman behind the heavy-hitting, possibly-unsafe-to-google punk band, Perfect Pussy.

8. Waxahatchee “Under A Rock”

Waxahatchee is named after a creek in Katie Crutchfield’s hometown in Birmingham, Alabama. Now living in Brooklyn, the singer-songwriter just released her third album, Ivy Trip.

9. Tacocat “You Never Came Back”

Tacocat is here to prove that cat ladies can be cool, too. The Washington State surf-pop group plays upbeat songs that address feminism, as well as topics related to cats and everyday life.

10. She Keeps Bees “Saturn Return”

The husband and wife duo has a name that almost seems like a warning- as in, “watch out for that chick; she keeps bees.” Their sound is a slow, bluesy creep that builds and sneaks up on you.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

VIDEO REVIEW: Oddisee “Counter-Clockwise”

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In anticipation of his upcoming The Good Fight LP, Maryland-based artist Oddisee has released a video for the single “Counter-Clockwise.” The black and white video is directed by Brandon Black. It shows Oddisee make his way through New York City neighborhoods, as the world behind him unfolds in reverse. He wanders slowly, with an inquisitive expression, as if stuck in another dimension of Manhattan away from the crowds and ambulance sirens, where one can truly examine the world around them.

“Stay a while and take a break,” he sings. In Oddisee-fied Manhattan we just might. The slowed-down pace of the video is an excellent canvas to present his crisp rhymes and breathless beats.

The Good Fight comes out May 5. Enjoy the video for “Counter-Clockwise” below:

TRACK REVIEW: MALKY “Diamonds”

MALKY

Enjoy a new track “Diamonds” from German-based duo MALKY. The song saunters into your ears slowly, sexily, before we realize it’s a song of sadness: “Don’t you know how much it hurts me?” asks singer and pianist Daniel Stoyanov, who together with producer Michael Vajna makes MALKY. Their name means “little boy” in Bulgaria, where Daniel emigrated from to Germany as a child. Apparently the two are inseparable “brothers in spirit” and share a nostalgic yearning that’s woven in the thread of their music. The 60’s-era blues on the track is bejeweled with modern beats to create a well-rounded songthat allows the boys to strut their stuff. Add them to your playlist that flows from Otis Redding into Twin Shadow.

Listen to “Diamonds” below. Their debut EP, also titled “Diamonds” comes out in the US April 7.

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TRACK OF THE WEEK: Twin Limb “Long Shadow”

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For a normal band, making an accordion sound cool would be no easy feat. But for the dream-folk duo Twin Limb, it’s no big deal. Lacey Guthrie plays the instrument along with keys and vocals, and Maryliz Bender contributes vocals, drums and guitar, while Kevin Ratterman fills in the gaps with miscellaneous effects and instruments for the Louisville, KY band.

Like its name, their track “Long Shadow” casts a brooding atmosphere over the listener with the aforementioned accordion. Then suddenly, synths and strings peek through the gloom, and transform the song into something bittersweet. The vocals, emotional without being overly dramatic, make the transition from hopeless to hopeful effortlessly.

This is a band that you definitely don’t want to overlook. Check out their dreamy video for “Long Shadow” below.

TRACK REVIEW: Coeds “Sensitive Boys”

Coeds

From Austin Texas  duo Coeds, Meredith Munoz and Ryan Kailath, comes a new track titled “Sensitive Boys.” Infectious indie rock pop, the beat bounces like a determined kick ball straight out of an 80s high school – propelled by classic synths. Drums drive and Munoz’s confident voice captures. Cue the opening credits to Coeds’ rise to stardom.

“Sensitive Boys” is the A-side and title track off the bands’ upcoming 7,” slated for release via Old Flame Records on May 19. Take a listen below.

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TRACK PREMIERE: Led to Sea “Breathe Some”

Alex Guy

Elevate your Friday with the premiere of Led to Sea’s new track “Breathe Some.” It’s the first song from the upcoming album, The Beautiful Humming of Ms. Fortune, set to drop May 5. Led to Sea is the solo project from the Seattle-based violinist, violist and singer Alex Guy. In a sea of recycled pop production grey seagulls, Guy soars like a dove. Her sound merges her classical sensibilities into an experimental package with a pretty pop bow. Some of that shining production quality is likely due the engineering and co-producer role of notable Jherek Bischoff (David Byrne, Amanda Palmer, etc) who Guy worked with over the past two years creating the project.

Us femmes always enjoy anything that expands our music education while pleasing the senses – and “Breathe Some” does exactly that. Cheers, Alex Guy. We must add we get a kick out of imagining how many fans will be surprised to learn you’re a classically trained woman with striking eyes, rather than another bloke, with a name like Alex Guy.

Listen to “Breathe Some” below:

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ALBUM REVIEW: Big Talk EP

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What do you get when you combine the catchy choruses of Icona Pop, the domineering persona of Robyn and the percussive singing style of Charli XCX? A musician that at first glance sounds a lot like Conway. While I try to avoid making these definitive connections, Conway seemingly fills a slot amongst a growing group of female electro/pop musicians that have recently emerged in the indie music scene. However, while Conway may be part of this scene, her unique qualities both in her music, which is rife with dynamic vocals, lyrical honesty and explosive rhythms, and other media forms have gained her some well deserved buzz.

Los Angeles-based Kassia Conway (aka Conway) has been making music for quite some time now, but her debut EP Big Talk marks her first endeavor as a solo artist. Previously a bassist in the band All Wrong & the Plans Change, Conway left behind her indie rock background to create a completely different musical persona.

Big Talk is in some way Conway’s coming out party. Leaving behind the genre distinctions and musical confines that restricted her musical development left space for Conway to develop an EP that is both natural and liberating, making Conway a very vulnerable and therefore relatable artist. The four tracks on Big Talk, while different in character, demonstrate the various elements of Conway’s persona.

Conway has had her hands busy with a number of creative projects at one time. She produced and edited the music video for the title track, “Big Talk.” She also designs most of her own costumes (including a very awesome tiger suit). This multidimensionality has allowed Conway to take complete control over her creativity.

Big Talk may be only four tracks deep and less than fifteen minutes long, yet it makes a blunt statement about the kind of artist that Conway is striving to become as a solo artist. While all four tracks may embody different elements of her personality and may be thematically and lyrically diverse, Conway establishes her voice as a musician with certain overlying musical qualities. For such an eclectic musician, her music actually does not have that much going on. Conway’s music is melodically simple, which might be what makes it so damn catchy. Conway chooses rhythm over melody in her compositions, demonstrating various percussive elements while singing dynamic, powerful and finessed vocals over the explosive beats.

The interplay between percussive elements and vocal texture is most evident in “Hustler.” Easily the most aggressive and kick ass track on the EP, Hustler sounds more like a call to war than a song. In the music video, Conway belts “I’m a Hustler” whilst wearing a metallic silver body suit that she designed herself.

Both “Big Talk,” and “Killer” are playful and fun. Interestingly, both tracks are also the most melodic and vocally diverse songs on the EP. In both of these songs, Conway relaxed the rhythms and evidently had a bit of fun experimenting with various vocal styles/rhythmic mashups.

“Take Me Back” is easily the most vulnerable track, both lyrically and vocally. “Take me back” Conway laments, “cuz I’m your only, you were mine, I will always be the one to make you change your mind.” For the first time, Conway slips into falsettos, demonstrates subtle vibrato, and lets her voice croak at the ends of phrases, almost as if she is too exhausted to continue.

While upon first listen one might be coaxed into placing Conway amongst her peers (listed above), such comparisons are superficial. After peeling back the layers of Conway’s music and creative accomplishments, it is pretty clear just how impossible it is to compare Conway to any other musicians. In Big Talk, Conway has achieved the difficult task of creating music that instantly draws you in, but also keeps you there long after the initial catchiness wears off.

**and take my advice- blast “Hustler” on your headphones whilst walking through the streets of whatever city you live in. It will make you feel a lot cooler than you actually are.

 

TRACK REVIEW: Sofi de la Torre “What People Do (Mickey Valen Remix)”

Sofi de la Torre Remix

Sofi de la Torre What People Do Remix

“This is the beauty I want. Beauty has got to be astonishing, astounding – it’s got to burst in on you like a dream.” – F. Scott Fitzgerald, from “The Offshore Pirate”

When Sofi de la Torre sings of certain markers of opulence on “What People Do,” her smokey vocal and scaled-back percussion makes the things she longs for seem unobtainable. Like Lorde’s “Royals,” that inaccessibility gives way to a certain ironic tinge, and by its end the track shows something of a disdain for trite status symbols.

But leave it to NYC-based producer Mickey Valen to flip that script. “When looking for remixes I search for great songs that have vocals that inspire me to do something different, completely strip all the original production and build around it” he says. His lavish treatment of Sofi’s “What People Do” is so sonically disparate from the original that it adds a completely new dimension to the track’s sense of yearning. With flute flourishes, jazzy piano, and bubbly synth glitches fanning out from the Spanish singer’s distorted hook, the world Sofi created pops off like a Gatsby party under Valen’s skilled hand. It’s enough to make you want to put on a string of pearls and sip champagne on a yacht.

Valen has worked with emerging indie acts as Noosa and EVVY, and has four more projects slated for release in 2015. He’s taking a break from producing full-length albums to put out remixes every month, so be sure to follow his soundcloud for the latest.

EP REVIEW: Janelane “Peaches and Cream”

I had the pleasure of being introduced to garage rock/power pop band Janelane. Making waves on the local scene in Los Angeles, it’s only a short matter of time before their nostalgic rock sensibilities eventually take over America, and then…the world. “I’m just killing time now, baby.” Swooning vocals envelope you like a love spell before gritty rock riffs snap you out of your haze (and male gaze) to scare you into remembering that women absolutely run the world. This delightful two-track EP will have you feeling like a rebellious teenager with the whole world ahead of you.

Check out the EP below.

[bandcamp width=100% height=120 album=1392809097 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small]

TRACK OF THE WEEK: Built To Spill “Never Be The Same”

UM

There’s a cute dog and cat on the cover of Built To Spill’s upcoming album, Untethered Moon. I could only take that as a good sign that I’d like their new song, and I was right.

“Never Be The Same” layers strummed guitars over a laid back groove, in the form of a killer bass line. “Go everywhere you wanna go/ See everything you wanna see/If that’s what you want, you got it, you got it” Doug Martsch sings. His voice wavers between being encouraging over a new beginning, and somber because it means the end of something else and things will, of course, never be the same.

This is the band’s eighth album, and the first with drummer Steve Gere and bassist Jason Albertini. Untethered Moon will be available digitally on April 21st, and on vinyl as a Record Store Day exclusive on April 18th. Check out “Never Be The Same” below!

VIDEO REVIEW: Sugarmen “Dirt”

Sugarmen photo

Meet Sugarmen. The Liverpool band was formed by Luke Fenlon and Chay Heney, who then caught the eye of drummer Sam McVann and bassist Tom Sheilds.

The song opens with the line “…You get what you desrve,” mouthed methodically in a warehouse covered in geometric graffiti. Sugarmen‘s “Dirt” was produced by Mick Jones of The Clash and BAD. Performed with a deliberate and confident aura, you can tell they’ve brought in the big guns. Along with a visual style that’s rich in rock ‘n’ roll, tight jeans and leather jackets accented with dark glasses, “Dirt” delivers classic riffs with the right attitude. The black and white video provides a retro feel that allows the music to have its moment. The only thing monochrome here is the cinematography.

Watch “Dirt” below:

ARTIST INTERVIEW: Parlour Tricks

Parlour Tricks photo

Missing a music festival due to travel delays caused by a snow storm is worse than the brown frozen crunchy puddles that fill Brooklyn. Rather than escape the cold concrete jungle for warm Savannah, where New York City-based “pretty/gritty” pop rockers Parlour Tricks were performing, I had to settle for an interview, which was a chance for a lovely conversation of intelligence and insight. Although, I continue to look forward to the day I can see Parlour Tricks, an AudioFemme favorite, live. Before they head out for this year’s SXSW,I chatted with band member Lily Cato about life on the road, their upcoming debut full-length album, and how cool it would be to perform with Chance the Rapper. .

Audiofemme: Your hometown is New York – how did you all end up in the city?
Lily Cato: I grew up in the city. Everyone else moved for college. I’m lucky they did.

AF: What is your favorite New York City venue?
LC: Mercury Lounge
 
AF: Best neighborhood?
LC: I love the East Village and Chinatown in Manhattan and Park Slope in Brooklyn. But then all the museums are uptown…
 
AF: How did you meet and form Parlour Tricks?
LC: We met in college. I started writing music in my third or fourth year, and asked these cool kids to play with me to see if the songs were any good. It was a crapshoot. 
 
AF: How do you enjoy life on the road?
LC: Genuinely love it.  
 
AF: Your set up of three vocalists is rather talked about, how did the band formation come about?
LC: First it was just me, Brian, Terry and Angelo, no other women. But I’d hear these thick three-part harmonies in my head in every song I wrote, and finally realized we needed to expand the family. Deedee and Morgane gave me everything I was looking for
 
AF: What do you miss most from home while traveling?
LC: Not having to load and unload gear every day is a simple pleasure. 
 

AF: Who were your musical icons?
LC: Elvis Presley and Tom Waits. Still are.

AF: If you could have anyone join you on stage – who would it be?
LC: Chance the Rapper.

AF: Could you tell me a little bit about the band’s visual style, and fashion sense as noted on stage?
LC: We put a lot of work and care into how we sound. How we look is just an extension of that. We’re putting on a show, you know?

AF: Where did your band name come from?
LC: I always loved the idea of “parlour tricks.” People used to get together in someone’s living room and entertain each other. The intimacy of it. Make your own fun.
 
AF: Your music has been described as much retro and built for the future, if you could see yourself thriving in any time but the present what would it be?
LC: Any time that will have us, I guess. I think we’d do OK amongst the dinosaurs. Really get back to basics.
 
AF: What’s next for Parlour Tricks?
LC: We are so, so psyched to be releasing our debut full-length album with Bar/None Records this June
.
For a taste of what they’re like live, watch Parlour Tricks’ recent Audiotree session below:

INTERVIEW + TRACK REVIEW: GABI

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If you’ve ever wondered what the perfect song for cloud-watching would be, this is it: “Fleece” by GABI is one of the track’s on the singer’s upcoming album, Sympathy. Gabrielle Herbst’s voice floats gentle by, sometimes as a whisper, other times soaring. A distant roll of percussion, droning strings, and the rustling of keys join her in a crescendo, before a chorus of horns swirl around the settling sounds. It’s quietly breathtaking, but only she knows: does “Fleece” represent a beautiful moment, or just the calm before the storm?

[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”]https://www.youtube.com/watch?v=YucBRhf0ZgI&feature=youtu.be

We got the opportunity to have a quick chat with GABI last week, about her music, her life and her dream collaborator. Here’s what went down:

Audiofemme: So tell us a little bit about your background? How did you get started in music?

Gabi: I’ve played music since I can remember. When I was six years old I began studying classical piano and clarinet, which I continued for over 10 years. At Bard College I studied composition and voice and really fell in love with the process. I started writing short form songs there, as well as larger orchestral compositions.

AF: What’s your favorite aspect of working in music – performing, recording, touring, etc?

GABI: I love performing and recording equally for different reasons. Performing has this beautiful unknown spontaneity and it leaves me feeling high and alive. When you’re performing a song and you know it will be born and also die in that one night, it makes the experience really special. With recording, you are making an archive, something that will persist in time. There is a certain heaviness and responsibility with that.

AF: Who’s your dream collaborator?

GABI: My dream collaborator is Bjork.

AF: How do you feel about the music industry in the digital era?

GABI: I think that it’s exciting how wildly accessible music has become in the digital era, but it introduces other difficulties. Being technically savvy and involved in social media becomes a must and it seems that streaming services could make it even more difficult than it already is to survive off of being an artist.

AF: If you could have anyone, living or dead, listen to “Fleece”, who would it be and what do you surmise they would think about it?

GABI: I would have to choose the French composer Olivier Messiaen. I hope that he would find Fleece transcendent and successful in taking the listener into the stratosphere the way his music does.

AF: How did you connect with Autre Ne Veut?

GABI: Autre Ne Veut is an old friend and inspiring colleague. He was friends with my brother in college and has known me since I was quite young.

AF: Are there any other artists you would love to work with in the next year?

GABI: Antony

AF: What can we look out for from you in the coming months?

GABI: I’m heading out to the Marfa Myths Festival in TX this week and then SXSW. I have some exciting NYC shows at Rough Trade on April 7th and my record release show at Le Poisson Rouge on April 22nd. Sympathy comes out on April 7th via Software and a Europe Tour is currently underway.

I’m also writing my opera singer friend Ariadne Greif a short piece based on a nightmare for solo voice this month for her Dreams and Nightmares project.

AF: Oooh we’ll see you in sunny Austin!! Keep on makin’ those beautiful tunes.

Much love,

The Femmes[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]

INTERVIEW: Happy Fangs

Happy Fangs photo

Anyone that’s been likened to Bikini Kills lights up our radar. The Bay Area-based scuzz rockers Happy Fangs consists of Rebecca Bortman, Michael Cobra (Mr.Cobra), and Jess Gowrie. A name of dichotomy, Happy Fangs recently released their debut LP, Capricorn to critical acclaim. It’s the sort of music that will have your body thrashing before your brain knows what’s going on, lighting the way with the bridges you burn. We spoke with Happy Fang about Tina Turner, lack of sleep, and penning songs inspired by Jeff Goldblum’s lazer bears.

Audiofemme: So how did you guys meet and form a band?

Happy Fangs (All): Rebecca & Mr. Cobra met while playing in San Francisco bands that had one thing in common—Room 13, a practice space in The Tenderloin in San Francisco. We started out as a two piece with a drum machine but soon realized we wanted a live drummer to help kick up the energy. We searched so far, we ended up all the way out in Sacramento where we found Jess Gowrie, the best drummer in the world.

AF: Where does the name Happy Fangs derive from?

HF: When you have a bandmate with the legal last name of Cobra, you’ve gotta have a ferocious band name. When you have a bandmate as giddy as Rebecca, sometimes the band names itself. Jess joined after the band was named but she is truly the perfect third fang.

AF: Where is your favorite hometown venue to perform in?

HF: We just played we just play Great American Music Hall as the hometown show on this tour. Imagine playing in a Great-Gatsby-style 1920s venue with all the grandeur, gold, and velvet that you’d expect! Mr. Cobra was warming up on guitar before our set only to look over to see a picture of Robert Plant warming up on his guitar in the same spot. It’s so awesome to play at a venue that’s had so many amazing musicians grace the stage!

AF: How does the city of San Francisco influence your sound?

HF: We are actually a duel city band. Jess lives in Sacramento. That being said I think the urban environments that all three of us choose to live in contributes greatly to the pace and drive of our music.

AF: You’re currently on tour – What do you miss most from home while traveling?

HF: Sleep! What is that again?

AF: Can we expect to catch you on the East Coast anytime soon?

HF: Plans are in the works!

AF: Who were your musical icons?

Rebecca: Tina Turner has influenced me before I only understood that singing was different than talking. Her moves & her glamour & that incredible stage presence!

Mr. Cobra: Mine are an amalgamation of King Buzzo, Pepper Keenan, and Ian MacKay.

Jess: I’ve been called many names: Phyllis Collins, Joanna Bonham, Donna Henley. Singing drummers aren’t easy to find!

AF: If you could have anyone join you on stage – who would it be?

HF: David Bowie, Beth Gibbons from Portishead, and Jesse Keeler of Death from Above 1979 could join us on stage anytime.

AF: You’ve been called the next coming of Bikini Kill, are you fans, and how does the comparison make you feel?

HF: We’ve started covering Rebel Girl at our live shows and I’m not going to lie to you: all the girls are upfront! Come see us live and see for yourself!

AF: How would you as a group describe your sound?

HF: Hard on the outside, soft in the center, BYOearplugs.

AF: The visuals of your performances have often been noticed – can you tell me a little bit about that?

HF: We take the duality of our name to heart. You will never find color on stage with us. Everything on stage is black-and-white. If you take a picture of us at one of our shows there is no mistaking that it’s Happy Fangs. You will always find us warpainted at the start of our set and most of it sweat off by the end.

AF: What was the inspiration behind the first album?

HF: We are all three continually inspired by each other. We are also all three Capricorn seagoats–stubborn and persistent. We were gung ho on finishing this album and releasing it to the world as soon as possible, and January 27 was that perfect time at right after the Capricorn cycle!

AF: I read that you create a new song based on the audience’s suggestions at each performance. What’s the wildest suggestion you’ve gotten?

HF: Jeff Goldblum’s lazer bears!

Thanks, Happy Fangs! Steam Capricorn below.

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ALBUM REVIEW: Everything Ever “Solid Ground”

Everything Ever

Punk! How I love thee. Stomp your Monday in the face with Everything Ever‘s new album “Solid Ground.” The group consists of John “Trotta” Trotta (bass, vocals), Zach “Champ” Sandel (drums), and Andrew “dNo” Paladino (vocals, guitar). Gotta love those nicknames. It sounds of rebellious self assured freedom, hinging from the experience of being set in Staten Island, New York City’s ignored borough. Yet with the in-your-face spirit of “Solid Ground” Everything Ever makes it damn clear they  will not be ignored.

Listen to the track “Big Ideas” below:

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TRACK PREMIERE: Nevada Nevada “Anger Tango”

Nevada Nevada photo

Nevada Nevada

As the sun shines and skirt season bows throughout Brooklyn, we’re here to premiere the debut track from BK-based Americana quartet Nevada Nevada. “Anger Tango” is a bold female-fronted roots/rock song, with visceral rhythms and swaggering vocals.

Lead by Kathryn Musilek, Nevada Nevada consists of David Olson (drums), Andrew Gerhan (guitarist/bassist/baritone guitar) and Daniel Baer (violin). The Nevada-born (the town in Iowa is, not the state) Musilek formed the group upon moving to Brooklyn ad developing her sound via likeminded musical encounters . “Anger Tango” is immediately impressive on the ears both in sound and message. “I’ll see you when you fall…” warns Musilek. “Yes I’m angry, as I should be.” Hear hear.

Listen below:

LIVE REVIEW: Body Language @ Baby’s All Right

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Hump day isn’t usually this sexy, but it’s fashion week. I’m not even fully through the door of Baby’s All Right and I’ve already spotted a woman with a balloon animal headband and another in a tomato cape and Zorro hat (no sign of Waldo yet-oh, there he is). And to think I almost didn’t wear these sparkle pants.

All this seems appropriate considering the members of Brooklyn electro-pop outfit Body Language are no strangers to the fashion industry. In 2013 they played a show hosted by makers of brightly colored, suspiciously low-priced socks Joe Fresh. The foursome are themselves a put-together bunch, but in a way that suits their music as opposed to distracting from it. There are so many bands tangled in designer imagery these days, it’s nice to see a group of talented musicians who have their priorities straight.

Before Body Language could get everyone frenzied, we needed to warm up our muscles. Fortunately the night’s opener was Figgy, a.k.a Mike Ferringo, the Massachusetts-born NYC based DJ/producer who’s been making the house rounds lately. Despite the clout, he seemed to be a pretty normal guy who got as much dance out of his set as any good DJ would desire from his audience.

Love or hate the genre, house remixes are still relevant, perhaps more than ever before considering our cultural urge to hunt-hoard-curate, and Ferringo’s background in Jazz is a testament to the rising craft of the remix and the resilient presence of R&B music.

In a recent interview with LA Canvas, he made a simple but pertinent remark when asked to explain R&B’s recent “comeback” and why people love the genre so much:

“The honesty of the vocals, and I don’t necessarily mean lyrics. Soul music will be around forever, it’s not a trend.”

Figgy played for about an hour – or pushed, or programmed for about an hour. I don’t really know the right verb for what DJs do these days, but whatever he did  it was great, and the crowd seemed to agree with a nod of their hips.

I wish I could relay the litany of samples I recognized instantly by ear, but while I enjoyed every moment of his set, I could only pick out “Heart of Glass” and “No Diggity.” The rest was a well-spun web of disco claps and house keys that made it impossible to stand inert. Hats off to you Mr. Figgy.

I was well warmed at this point, but unable to break out of stationary head bobbing. This being the second installment of “going to a show with the cold/flu” I was afraid to dance…could dancing give me pneumonia? Typhus? Scarlett Fever? And then a more jarring question arose: When did I turn into an elder from Footloose?

The great thing about dance music is that you don’t have to think about these things once you hear it. It’s airborne, relentless and contagious…at least it was for the frontal half of the audience. Five minutes into Body Language’s set there was crowd surfing, a shoe to a man’s head, and the all-around pelvic gyrating our grandparent’s feared. Body Language had a few technical errors in the beginning of their set, namely producer/everything-player Grant Wheeler’s Bass acting up, and producer/vocalist/everything-player Matt Young’s levels needing to be more upward pointing.

I don’t mean to get hyperbolic (it just happens) but this is a group of incredibly talented musicians, and that’s not an overstatement. They’ve managed to combine the unpretentious fun of dance music with attentive producing, landing a sound almost as exciting to listen to on headphones as it is to see live. Not a small feat.

Lead vocalist Angelica Bess is in a word: charismatic. She sings with as much ease as she does professionalism. The rest of the band was equally humble, focused and impressively proficient musically. As it turns out, this is no act. After a brief Q+A with the group, AudioFemme discovered that the members of Body Language are not only feel-good beat geniuses-they’re also super nice and down to earth. Kudos times two.

 

 

INTERVIEW: Sam Owens

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Celestial Shore is a Brooklyn trio that cites bands like the Zombies and the Pixies as influences, but whose sound has never been anything but their own- spacey, floaty, always-shifting rock. When we talked to the band’s guitarist/vocalist, Sam Owens, they were preparing to book it to Austin for SXSW. We chatted about the early and last days of Glasslands, the drawbacks of email, and the time Deerhoof insisted on opening for Celestial Shore in a Syracuse basement.

AF: I really liked Enter Ghost as an album name. What inspired that?

SO: It happened one night when I was in Brooklyn, and I was driving in a cab through all these parts of town, going back to my apartment in Ridgewood. I was thinking about how all the corners I was passing- I was with my girlfriend, Cassandra, and it was very late one night- and we were thinking about how we were driving through all these areas that we had inhabited, or had moments in, and how they were kinda like ghosts. And also, it’s from when Hamlet’s father, when he enters- he’s dead- anytime he enters the stage, it says “Enter Ghost.” He always like, proclaims this evil, revenge plot that Hamlet gets obsessed with, so I kinda thought that was interesting too.

AF: Is Celestial Shore planning any new albums?

SO: Definitely. We’re going to SXSW in March, and then immediately after that I think we’ll record a third album. We’ve been writing and getting songs together, and we’ll test them out on our tour, then just hopefully jump right into the studio in April or May.

AF: Who are you touring with?

SO: For the first four shows we’re playing with Rubblebucket. They’re funny, and I’ve known them for a  long time. It’s a new crowd for us, so that’ll be fun.

AF: You played one of Glasslands’s final shows. How do you think the closing of that venue, and others like Death By Audio and Goodbye Blue Monday, have affected our local music scene?

SO: Oh man, that’s a big question. I had a “so be it” attitude about Vice buying up that corner, and Glasslands going away, and 285 Kent going away, and everything going away. I was driving down Kent avenue two weeks ago and basically, every area of this place, in NYC, in Brooklyn, is going to be void of any young, spirited, artistic culture. Forever. Which is terrible. Despite its irregularity, Glasslands- and Death By Audio- all these places were huge for so many people. I slept in a couch in the back of Glasslands the first couple of weeks I moved to New York, and my band had a practice space there, and [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”][the owners] Jake and Rami are really sweet. It’s sad to see them go, but it’s also the way things go. The sad thing is that what’s there now is going to be void of anything valuable except for financial, corporate interests. Which is a very small example of what’s happening in the whole country. This subject totally barrels out of control and anyone who talks about it for more than five minutes sounds like a huge asshole. (Laughs) Ultimately, I feel really sad about it.

I guess the reason I moved to New York is that I put out the first Bandcamp EP in 2011, and I got an email six hours later from these guys in London that said, “Hey, we want to put out your record” and my mind was totally blown. Then Jake and Rami emailed me, “Hey, we want to book a show in New York,” and I was like, but I don’t even live in New York yet- I guess I should move. So… I moved to New York, because we had a show on August 3rd, 2011 at Glasslands. Now I feel old.

AF: Can I ask how old you are?

SO: I’m 25.

AF: Yeah, that’s not old.

SO: No wait- did I tell you I’m 25? I’m totally 26. Holy shit. Yeah, I am old.

AF: You must be, since you’re starting to forget things!

SO: That’s from smoking too much pot in college.

AF: Yeah, that’ll do it…

SO: I can’t tell you how much I appreciate a phone call versus another-

AF: Email?

SO: Email thing. Cuz you know, your PR person sets up these interviews, so you get an email from someone you’ve never met with these really basic questions: “How did Celestial Shore meet? Why do you guys play music? Tell us about your sound.” Why I appreciate of course, the idea of being interviewed in the first place, which is a crazy, strange idea, I think a phone call is way cooler.

AF: You probably sound way different now than you would in an email.

SO: I could be the worst person in the world on an email. Because maybe, I was writing it on my cellphone in the subway with my thumbs. I’m so tired of emailing. Ready for my rant? My life goal, as a human being on earth- and this is going to make me sound like a huge asshole, but I don’t care- is to get a landline, and never have a cellphone, and to not be accountable on my email account. It’s incredible how accountable we’re expected to be throughout the day. If you don’t respond, then you’re the worst person ever.

You read all these great accounts… Lou Reed wrote a song about it- I mean I guess he was waiting for his drug dealer- his frustration about waiting for someone. I think it’s way more mystical, and magical, and sweet and romantic if you can just make a plan and try to do it. That’s my rant. Everyone’s email tone has become so camouflaged… Everybody is like a chameleon. Including myself.

AF: I’m glad I got you on the phone then, so I’m interviewing the real Sam.

SO: Yeah, maybe. Totally. I don’t know, I’m feeling pretty nostalgic tonight.

AF: What’s your source for finding new music?

SO: My source would be my friends, and the people I admire. I’ve been doing this thing with a couple of close friends where you just write down 30 artists, or songs, or videos, any kind of content you want to share. Not a link, just the name or whatever, on a sticky note. Then you have 30 of these sticky notes, and you give them to your friends. It’s really neat, because you have this physical thing that you can put next to your bed, and wake up in the morning and be like “Oh, yeah, I haven’t checked him out.”

I’ve been listening a lot to country music from the 1950’s, particularly Ernest Tubb. I keep coming back to it. I’m in one of those full circle periods, where I’m going back to 50’s country. The Carter Family, Johnny Cash, all these people. Ernest Tubb, yeah. Listen to his song “Thanks A Lot.”

Also, I’ve been mixing a lot of records, so I end up listening to the records I’m mixing a lot, out of necessity. I’m mixing an old time band right now. The week before that I was mixing this band called Friend Roulette. They’re from Brooklyn and they’re like, chamber pop. My ears are kind of all over the place.

AF: This is a typical interview question you’ve probably heard before, but—

SO: “How did your band meet?”

AF: Do you have a favorite venue to play at?

SO: You’ll have to let me think about this one for a minute… Can I tell you my favorite show I’ve ever played?

AF: Yeah, that’s a way better question.

SO: OK. So in April, we were fortunate enough to go on tour with Deerhoof, and they’re really dear to me. (Laughs) Oops. I’m not into puns, that much… I can’t say enough about Deerhoof, they totally changed the way I think about music. We had a day off, and this kid- his name is Phil Steiger, and he was going to school at Syracuse University at the time- had contacted us about playing a show in his basement. And we were like “Yeah, of course.” We were having Thai food with Deerhoof in Pittsburgh, and they were like, “Hey, what are you doing with your day off?” And I was just like, “We’re playing a show tomorrow.” And they were like, “Oh, Where’s the show?” And I said, “It’s in a basement in Syracuse. Do you guys want to play?” and they were like, “Yeah. We’ll talk about it and let you know tomorrow.”  So we were driving and I get a call from John, and he was like, “Yeah, so we’re down to play the show with you. We’ll play as long as we can open for you.” Because we’d been opening for them every night. Which was, surreal and hilarious. That’s Deerhoof. So I called this kid Phil and I was like, “Phil. Deerhoof’s coming with us. They’re going to play. They’re going to open for Celestial Shore.”

Phil’s a film student, by the way, and has since moved to L.A. and will shortly be premiering the video he made for us.

And then I fell asleep on the floor of the basement, Satomi ran off to find a tire swing, John was playing soccer in the street, it was such as wholesome experience. And since then, Deerhoof has told me that they mixed their last album with that concert experience in mind…I think it drummed up some old feelings of DIY shows they used to do. So anyway, that’s my favorite experience. So far.

AF: So far.

SO: Yeah.

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VIDEO REVIEW: TORRES “Strange Hellos”

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Mackenzie Scott is primed to explode. Making music since 2012 under the moniker TORRES, that explosion might refer to her combustible stage performance or her rocket-like trajectory as she prepares to release her sophomore album Sprinter on May 5th via Partisan Records. After her self-titled debut garnered near-unanimous acclaim and got her noticed by the likes of Sharon Van Etten (who invited her both to guest-star on SVE’s Are We There as well as tour with her in support of the record), the Brooklynite snagged production help from Rob Ellis, who’s best known for his work with none other than PJ Harvey.  It’s easy to draw comparisons between TORRES’ sound and that of Polly Jean; both women have a raw, aggressive approach to both vocals and lyrics that’s particularly stirring. Though Scott was born in 1991, the grunge-era influence can be felt in every searing guitar riff and in every powerful, distorted utterance.

NPR, Rolling Stone, and a bevy of others have named TORRES on their lists of must-see acts at SXSW, but even if you can’t get down to Austin, you can check out the video for latest Sprinter single “Strange Hellos,” directed by Casey Pierce. As the song’s title suggests, the track and its accompanying visuals are a healthy mix of beckoning and foreboding. Dramatic lighting illuminates Scott’s steady gaze, the musculature of her voice and silhouette mirroring one another in the opening verses. By the time the jagged riffs of the chorus open up, Scott’s face is bathed in projections from 2001: A Space Odyssey as she bellows “What’s mine isn’t really yours/But I hope you find what you’re looking for.”

TORRES isn’t stopping with SXSW, she’ll be taking much of the US and parts of Canada by storm as she tours in support of Sprinter this May and June. Dates for the tour are below.

Tue-Mar-17 Austin, TX Ground Control Party at The Mohawk – SXSW
Wed-Mar-18 Austin, TX Central Presbyterian Church – SXSW
Wed-Mar-18 Austin, TX Pitchfork Party at The Mohawk – SXSW
Thu-Mar-19 Austin, TX AV Club Party at Cheer Up Charlie’s – SXSW
Fri-Mar-20 Austin, TX Culture Collide / Doc Martens Party at Bar 96 – SXSW
Sat-Mar-21 Austin, TX The Wild Honey Pie Party at Scoot Inn – SXSW
Sat-Mar-21 Austin, TX Under The Radar Party at Central Presbyterian Church – SXSW
Mon-May-04 Saxapahaw, NC Haw River Ballroom
Wed-May-06 Nashville, TN The Stone Fox
Fri-May-08 Dallas, TX Club Dada
Sat-May-09 Austin, TX The Mohawk
Mon-May-11 Scottsdale, AZ Pub Rock Live
Tue-May-12 Los Angeles, CA The Echo
Wed-May-13 San Francisco, CA Bottom Of The Hill
Fri-May-15 Portland, OR Doug Fir Lounge
Sat-May-16 Seattle, WA Barboza
Sun-May-17 Vancouver, BC Electric Owl
Wed-May-20 Minneapolis, MN 7th St. Entry
Thu-May-21 Chicago, IL The Empty Bottle
Fri-May-22 Detroit, MI UFO Factory
Sat-May-23 Toronto, ON The Garrison
Wed-May-27 Brooklyn, NY Baby’s All Right
Thu-Jun-25 Allston, MA Great Scott
Fri-Jun-26 New York, NY Mercury Lounge
Sat-Jun-27 Philadelphia, PA Boot & Saddle
Sun-Jun-28 Washington, DC DC9
Tue-Jun-30 Durham, NC The Pinhook
Wed-Jul-01 Atlanta, GA The Earl
Thu-Jul-02 Chattanooga, TN Rhythm & Brews