DaveCromwell Writes

The Good Natured - Interview & Show Review

noreply@blogger.com (DaveCromwell) — Sun, 22 Jan 2012 00:54:00 +0000

One of the more satisfying aspects of discovering new and upcoming artists these days (besides being able to hear their great music) is seeing them acknowledging the artists that came before them - those who have been an inspiration for them to make music at all.

The Good Natured are just such a band, unashamedly ticking off their influences (Siouxsie & The Banshees, The Cure, Aha, David Sylvian/Japan, Depeche Mode, Kate Bush - just to name a few) in interviews.

Having started out as the brainchild of the youthful and gifted songwriter/vocalist Sarah McIntosh, TGN act now as a fully formed band, with brother Hamish and long-time good friend George filling out the musical duties on bass and drums respectively.

As they work their way through another well-managed US tour - hitting prime cities New York, San Franciso and Los Angeles - Sarah and the band have been both gracious and accomodating to those seeking them out for interviews and show reviews.

I consider myself fortuante to be among those having been granted this kind of access.

Read the interview I conduced in the band's US record label's offices (Virgin / EMI / Astralwerks) - presented below:

Introducing the the band, there is frontperson Sarah, who writes sings and plays multiple instruments; Hamish plays bass and George plays the drums.

Q: Sarah, you have a new guitar I hear.

S: Yes. A fender Stratocaster electric. I’d always played acoustic guitar before, but decided to add an electric this time.

Q: Is this your first time in New York?

S: No, we played CMJ Festival in 2010.

Q: George, I understand that you are a fan of heavy metal music. Which bands in particular?

G: All the classic ones. Metallica, Slayer, Machinehead – even Slipknot for a while. When you are an angry teenager, this music is great to vent your frustrations with.

Q: How did the band transform from what was essentially a solo project of Sarah’s to the full group of today?

S: I started writing songs about four or five years ago. When I got a few gigs, I didn’t really want to do them on my own, so I asked my brother Hamish if he could play bass with me. I then went to University and met George. From then as a three piece we jelled pretty well and became a band. Everyone brings something different to the table. A new element that makes its more interesting.

Q: When will the new record be released?

S: Our first single will be in April and the album should be out in September.

Q: Explain how “Video Voyeur” fits in with all of this.

S: That track is on the album, and we basically wanted to put it out there because he hadn’t had anything out for a while and wanted to let people know we were working on the record. It’s intended to be a taster and to get people excited.

Q: Were you surprised or excited by the success of your song “Wolves?”

S: I suppose both. That was the first song I wrote with Patrick Berger, who has produced most of the album. That was really the start of finding our sound. I think it takes a while to decide what you really like and narrow it down. When I met Patrick that’s when it came together. From then it seems to have progressed.

Q: It’s been reported that you had ‘the best time ever’ at the SXSW festival in Austin last year.

S: Yeah, we did. It was so good. It was amazing to be able to get up and do a gig – then have some food – and do another gig.

Q: What spaces did you play?

S: We played Emos and The Convention Center. We did loads, actually – at least 8 or 9 spaces.

Q: Do you think you will be playing there again this year?

Whole band: Yes, we think so. Fingers crossed.

Q: Sarah, talk about your tendency to sometimes do a walkabout out into the audience during your live performances.

S: If the stage is low enough, I’ll step off in the audience and have a little dance. It’s fun. It’s cool because people don’t expect it.

Q: BBC Radio’s Huw Stephens has been noted as an early supporter of your music.

S: The first song I wrote for The Good Natured, when I just started – I was determined to get it heard so I literally sent it to everywhere. I sent it to Radio 1 and he played it. I thought that was amazing and I felt that I wanted to really keep doing this. It definitely inspired me to keep going. It’s nice when people recognize what you are doing.

Q: There’s talk that you started out playing on your grandmother’s old keyboard. Do you still have it?

S: Yes. Some of the keys are broken now that it’s a bit old, but I love it - it’s amazing. She was going to throw it out, but I took it home instead and started writing on it.

Q: Do you come from a musical family? S: Our parents don’t actually play music, but they listened to a lot of music. Q: Like what, for instance?

S: Stuff from the 80’s like Blondie and Tears For Fears, Siouxsie & The Banshees – which definitely inspired us.

Q: I’ve heard you’ve been inspired by the lyrics of David Sylvian with his original band – Japan.

S: Yes, I think the album “Tin Drum” by Japan is really great.

Q: What is the songwriting process like for you? Especially when working with producer. Do they help you fashion how the song will ultimately sound?

S: Yes, definitely. With Patrick – he’s been a real big inspiration and has helped my ideas come to life. You definitely have to get on with the producer you’re working with and have a really good with them. I think production is really important to the songs.

Q: How did you write “Wolves?”

S: On an acoustic guitar. It started out quite driving. As we went along we’d add different bits – we’d add a drum beat and other sounds and just build it.

Q: Video Voyeur has benefitted from a number of interesting remixes, some quite techo/dance oriented.

S: It’s always really nice for us to hear how people interpret it and make their own thing of it. Every remix is so different and that’s really inspiring.

* * * * * * * *

The impression I'm left with Sarah is one of a young person who is professionally experienced well beyond her actual years. There is an utterly charming aspect to her combined gentle almost shyness, yet its obvious how confident and determined she is. Mix that with a prolific songwriting ability and its easy to see why so many noteworthy music industry professionals are eager to work with her.

On to the live show experience then - and what an experience it is. Heading over to Glasslands in Brooklyn on the 17th of January, The Good Natured took to the stage at 11:00 pm. The first thing you notice about Sarah and the band is their keen sense of style. Knowing full well that the "rock show experience" is as much a visual as sound presentation, their look is a cut above most club show acts. Sarah has impeccably combined the best of Siouxsie Sioux and Robert Smith, with her own glam/gam elements that bring to mind the leggy appeal of Britsh artist Sophie Ellis Bextor.

Adding to that the genius move of going out into the audience to sing directly to the crowd - not once but twice during this show - for the songs "Be My Animal" second song in - and then and later on again during "Dancefloor"

getting down with the fans

up close and personal

you really can't get much closer than this

well, everyone loved it

taking to electronic percussion for one song

Bassist brother Hamish plays a five string version of the instrument because, as he says "there's a a lower note that has to be gotten to"

A tight and entertaining set that leaves the audience wanting for more.

Signed posters for anyone who wanted one after the show. (Of course I wanted one).

As I have been known to do from time to time - take a picture with the band.

The pleasure was all mine!

Special thanks to Andy Von Pip and his great music site The Von Pip Musical Express - for his tireless efforts in making me aware of this band!

Check out Andy's stuff here:
http://vonpipmusicalexpress.wordpress.com/

And be sure to go and consume all things The Good Natured !

http://www.thegoodnatured.co.uk/

Jim Reid - Exclusive Interview

noreply@blogger.com (DaveCromwell) — Wed, 04 Jan 2012 21:48:00 +0000

Social networking on the internet is a truly remarkable thing. The opportunity to present specifically tailored questions to iconic figure and founding brother of The Jesus & Mary Chain - Jim Reid, could not have materialized any other way. To say that I have been passionate about the music his band produced over the years would be something of an understatement. Having provided the soundtrack for the most significant aspects of my life during the 1990's, I more or less think in "MaryChain terms." The band's lyrics and melodies are so embedded on my emotional coding, that they continue to provide the standard for how I measure all music that has come along ever since. Getting to meet Jim in person when they toured their reunited band in 2007 was as memorable a moment as any can get. Being conversational friends with Jim now on the internet is almost too good to be true. However, that is the reality and the reason this very specific interview exits. Jim was kind enough to answer questions that focused on their tours of America, and the shows I was fortunate to attend.

Here then, the exclusive DaveCromwellWrites interview of Jim Reid:

At the beginning of 1990, you toured “Automatic” throughout America. It was a particularly significant time for me as it was my first chance to catch you live. You were to appear in New York in early March (at the venerable “Studio 54” location which has been leased out at the time and was booking rock shows as “The Ritz”). The original show had to be canceled at the last second due to some unforseen event. Do you recall what this was? Ultimately the show happened at the end of that month and it was my first experience of you live (which was a magical event for me). Do you recall this tour well, and can you share anything about it that stands out in your mind?

Jim: It was a strange period for the band, in the UK the writing seemed to be on the wall. The whole Manchester thing was going on and there were a lot of people who seemed to think this made the MC obsolete . Our single Head On which we had imagined would be a smash hit completely stiffed. However, we soon discovered that elsewhere in the world it was business as usual. Head On got heavy rotation on MTV, and for the first time when we toured the US, people who worked in the hotels that we stayed in had actually heard of us and were asking for our autographs. As far as the Ritz shows were concerned, the 2nd show was cancelled by the NY fire department, I cannot remember exactly why, but I am sure it had something to do with palms not being greased that ought to have been. I wasn’t aware at the time that this was the original Studio 54. I only found that out years later. Nine Inch Nails were the support band on this tour, and they seemed to do much better out of it than we did.

Later on that year, on Saturday 16 June 1990, you performed at a large outdoor arena show at Giants Stadium in support of Depeche Mode. I bought tickets to the event specifically to see you. Seeing Depeche Mode was a nice bonus, but for me an afterthought. How was that tour? Was it all part of the same tour – but simply another leg of it? I got the sense that you might have been a bit frustrated in that support slot – not being able to play your full show – and having to play in bright daylight. My recollection of the event (admittedly I was in “nose bleed seats”) was that it was difficult to hear you clearly. What was that whole experience like?

Jim: The shows with Dépêche Mode came about because they seemed to be fans of the band and they asked us to play with them. The giant stadium show I thought was pretty good. We didn’t take it too seriously. Thought it might be a bit of an experience. I thought the crowd weren’t too bad either, even though they all seemed to be about 12 and female. We were meant to do 3 shows with them. We did another one and Toronto, and we were supposed to do Dodgers Stadium in LA, but the people from the stadium refused to let us play because they were offended by the band name. Only in America.

In the summer of '92 I once again specifically bought tickets to a festival tour (Lollapalooza) for the primary purpose of seeing your band. The show we attended (and I recorded from my seats) was at the Jones Beach Theater in glorious Long Island (where I presently reside) New York. I have read more than a few reports over the years where you said you were not happy with the tour. One particular quote that stands out in my mind was that you were purposely forced to play at a lower volume than the events headliners. That you actually offered to “pay for more sound” but were denied that option. Even though we enjoyed your show (and I still have the recordings to prove it) your frustration with it all was apparent. How bad did it actually get? Was there anything enjoyable about this time?

Jim: Yes Lollapalooza was a bit of a nightmare for us. It was originally sold to us as a democratic event where nobody was actually the headline act. Of course, from the very beginning I knew this was bullshit, but I would only find out how bad it was when I got there. When it was said to us there was no headline band. We suggested that perhaps the MC should play last, which was generally met with laughter, then we found out that the Chili Peppers had brought in extra PA, when we suggested that we might do the same, we were told that it was not an option. It was also unfortunate that we went on after Pearl Jam, when the tour was booked nobody knew who they were, by the time we hit the road, they had sold about 1 million albums. We even tried to switch places with them, but they wouldn’t have it. Generally the whole atmosphere on the tour was devoid of any bad behavior, it was like a rock ‘n’ roll version of The Stepford Wives. Everybody was drinking mineral water and doing press ups, any rock ‘n’ roll shenanigans generally had something to do with either The Mc or Lush.

(In spite of the restrictions placed on the band, I remember being thrilled to see them - loved their set, and manged to record a number of their songs from my seat. Here is one of them)

Kill Surf City by DaveCromwell

Later on that year you embarked on your Rollercoaster tour of the US Curve and Spiritualized. We caught that show in New York at Roseland Ballroom in January 1993 (once again, trusty recorded hidden on my person – treasured dat cassette tapes having been lovingly played periodically ever since then). Our impression that night was that you were firing on all cylinders. Were our impressions correct? Was The MaryChain content with being in their rightful positions there – as headliners?

Jim: I cannot remember that particular show, but I thought the tour was pretty good, and we were generally just happy to be back with a roof over our heads and bright shiny lights in our eyes. As for firing on all cylinders, cocaine had become a regular occurrence with me at this particular point.

(Fortunately, I have a number of tracks I personally recorded from that show, and you can hear how well the band was "firing.")

Between Planets by DaveCromwell

Who Do You Love by DaveCromwell

It wouldn’t be until 2007 until our particular personal crew would get the opportunity to see you perform live again. The much heralded reunion of the band played two nights in New York, during the month of May. These two shows (and the events leading up to it) have been previously chronicled in the now legendary “Rob Dobbs and Dave Cromwell Excellent Adventure” (found here: http://mog.com/DaveCromwell/blog/164291). Getting to meet and speak with you, Jim – will always be an important and memorable event in my life. It just has to be that way. It is as much a testament to the importance the music you made over the years left an indelible impression on the significant passages of my life. Is there anything about the two New York shows you did on that tour that stands out in your mind?

Jim: When we did the reunion shows I had been sober for quite a few years and my main concern was whether I could actually play a show sober. I had never played a single show with the MC without being under the influence. It’s fair to say that when I first stepped up to the mic at that warm up show in Anaheim that I was shitting bricks, but the show went well and when I realized that I could do it I felt confident. The New York shows I enjoyed. We met up with our old manager Jerry Jaffe who we hadn’t seen for many a year. On the whole a good time was had by all.

Having covered my personal experiences with your US tours, perhaps a question about the influence of American artists on your sound. It its simplest equation, your appreciation of both The Velvet Underground and The Beach Boys led you to create this hybrid sound. However, you’ve mentioned The Stooges, The Shangri-Las and Phil Spector as equally important sonic influences. Even though you are a Scottish band, your sound was decidedly based on music created in the United States. What led to the initial fascination with these somewhat at-odds inspirational sources? What made you think to put them all together?

Jim: We were interested in a lot of American culture, but by the time we played America the things that interested us about the USA were gone. Rock ‘n’ roll is an American invention and it’s hard to be interested in it without also being interested in American culture. It may seem odd that a bunch of scruffy kids from Scotland should be interested in what was happening in America in the 60’s and 70’s but I don’t think it’s that different from The Beatles or the Stones trawling through old blues music for inspiration.

How do you feel about the new generation of bands that have looked to your sound as an influential springboard for their own creativity? There is a quote that has gone around for years now, saying to the effect that every band that became of fan of The Velvet Underground, went on to form a band of their own. One might say a similar thing has occurred with The Jesus & Mary Chain. I know you’ve been quoted recently as stating you admire The Black Rebel Motorcycle Club and a personal fave of my – The Raveonettes. Do you give your blessing to other bands that pay homage to you – like the UK's Blanche Hudson Weekend, Austin, Texas’ Ringo Deathstarr, or New York bands A Place To Bury Strangers and The Vandelles?

Jim: I haven’t heard all the bands that are supposedly into the MC I am pretty out of touch really. All in all though I think it’s flattering but you should always bring something of your own to the table, otherwise it could end up as pastiche. The MC were always about spreading a message – we didn’t invent anything we just picked up the pieces that we found and rearranged them. Our message was always ‘do it yourself, what harm can it do?’

Do you have any one particular fun or interesting story to share about any of your time in America? There is some amusing footage of you and William experiencing the hustling insanity of New York and Times Square. Walking past all the peep shows, and street hustlers. Was there a fascination in that? Did you ever wonder how anyone could live in all this madness?

Jim: America was always hugely entertaining to both myself and William. William now lives in LA. Although I said earlier that the America that we had been so inspired by was gone there was still enough of a residue and we felt like we’d walked into a Scorsese movie the first time we arrived in the US, which was New York March 1985. We played a couple of gigs at the Dancerteria and although they were only club shows I honestly don’t think that I had been happier at anytime in my life up til that point. A promoter called Ruth Polski who was known for taking a risk brought us over, she died a tragic death a few years later. She was a lovely woman.

Early proof of one fans admiration.

Meeting Jim was both surreal and spectacular.
________

This past fall, Demon Music Group re-issued the band’s six studio albums in a deluxe rollout replete with B-sides, demos, radio appearances, and multi-page booklets. Each reissue contains two CDs and a DVD.The 1985 debut classic Psychocandy and its follow-up, 1987's Darklands, came first.. 1989's Automatic and 1992's Honey's Dead will followed a week later, and 1994's Stoned & Dethroned and 1998's Munki arrived after that. For the full info on what's packed into these over-stuffed releases, go to the Demon Music Group website. You can preview all of the reissues in three dimensions, by way of 3DiCD, an interactive system that allows you stream audio snippets and flip through virtual reconstructions of each re-issue's liner notes. Here's Psychocandy:

______________________

December Dreams 2011

noreply@blogger.com (DaveCromwell) — Wed, 21 Dec 2011 03:21:00 +0000

Deep into the month of December, a moment is carved out to compile some recent writing features. Four bands whose music and/or live show which has left a favorable impression.

The Parlor Mob

Expect a guitar-solo-scorched face or two when listening to New Jersey's hard rockers The Parlor Mob. Currently touring in support of their sophomore album "Dogs," which was released this past October through Roadrunner Records, and anchored by the first single, "Into The Sun," this is a record without fillers. On that single, the lyrical subject matter combines both defiance and hope, while the muscularly heavy sound of the band leads you into a chorus that's as catchy as hell. "Fall Back" comes complete with brilliant start/stop breaks that underscore the fluid rhythm section. "Practice in Patience" shows the gentler side of the band, with emotionally strong vocals paired against an uncommon piano sound. "American Dream" chugs forward on heavy twin-tandem guitar riffing, as the lyrics express this current generations confusion about "who to trust" in the government. "I Want To See You" finds the band exploring more exotic rhythms, as a slightly jazzy, latin-tinged undercurrent propels it all towards a bolder, more rock heavy chorus. A blistering guitar solo elevates everything that much higher. "Hard Enough" takes on those gut-wrenching feelings of loss, as the lyrics state that "it's hard enough to walk this loney road without you - to miss everything about you." While "Take What's Mine" playfully references Jimi Hendrix's "Foxy Lady," the track remains true to an originalty - within the classic hard rock formula - that is woven through the entire album.

http://nyc.thedelimagazine.com/node/8018
________________________________
Field Mouse

Sweetly sung, reverberated vocals are just the tip of the iceberg with the Field Mouse video (and song) "You Guys Are Gonna Wake Up My Mom." Young beauty Rachel Browne presents impressive imagery via pale, porcelain complexion, stylishly cut dark hair (with one carefully placed feathery blonde streak) and full ruby red lips. Strumming her guitar in a manner remiscent of iconic 90's dream-pop band Lush, the song itself is a brilliant recreation of that romantic and souful period of music. Touching the same emotionally dreamlike place that Austin's Ringo Deathstarr, Seattle's Seapony and Stockholm's I Break Horses do (all contemporary practioners of this genre) Field Mouse put their own unique spin on it, resulting in a gorgeously atmospheric sound. "Fall asleep - you might just feel brand new," Rachel sings. "I should know, I do the same thing - to," she adds with lovely clarity. Multiple images of her, the band and select footage (buildings, flames) all contribute to a visually psychedelic presentation. The overall feeling you get is one of uplift and beauty. What's not to like?

http://nyc.thedelimagazine.com/node/7983

http://fieldmousemusic.com/

________________________________
Clouder

The delightfully chaotic live show that Brooklyn's badboy band Clouder presents is something that needs to be seen and experienced first hand to truly grasp it all. Frontman Eric Gilstrap already had a reputation for a loose Johnny Thunders-like presence in his previous band, Telltale. However, he has now put down the guitar and is fully focused on delivering his angst-filled tales as the rest of Clouder rumbles on behind him. The two guitar, bass and drums combo are better musicians too. In fact, as Eric screams, wails and tenderly emotes his lyrics of what one must assume is pure poetry, Max, Matt, Steve and Jim do a masterful job of creating rock sonics (and yes, sometimes sludge) with the skill of men who still want to be considered serious musicians. And they are. On "Broadcast Victim" a Peter Gunn detective groove is churned out by the boys as Eric's vocal tone and delivery resides in a place somewhere between The Sex Pistols Johnny Rotten and The Fall's Mark E. Smith. A wickedly tasty guitar solo (of sorts) leads the track to a madcap conclusion. "The Collapse" pitches delightful dual guitar and bass interplay against bright ride cymbal, as Eric wails on (in that Lydonesque way) about how relationships fall apart. An even ruder guitar outburst takes this one to its tender conclusion. Two more glorious tracks can be heard on their bandcamp page from this, their "Serious Business" EP. Clouder released their debut full-length album on 12/20 in the digital realm. Physical copies are planned for late Jan/early Feb. They recently played a big show with legendary Boston underground sensation 28 Degrees Taurus at Charleston on Saturday, December 3. A wild time was had by all.

http://nyc.thedelimagazine.com/node/7931
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Farewell Republic

Shredded bee-buzz guitars sawing between two chords is how Farewell Republic introduces “Wake” – the lead song off of their impending album “Burn the Boats.” The blended mixture of fluid drumming and layered guitars points to My Bloody Valentine as spiritual ancestors. The vocals come off a bit clearer than in Mr. Shield band's celebrated records - but there are similarities too: for instance the way background voices blur into icy guitar textures. A clever inclusion of backward-tape-looping tacked on the end suggests there may be more studio manipulation to this than initially realized. “Gliss” opens with a punkier feel (sneered Lydonesque vocal delivery, rough guitars and loose drumming) – but this edge is soon lost on the first chorus change. This alternating structure repeats, with the more tense passages sonically enhanced by sharp speedy guitar strumming and sprinkled with piano notes. “Just go away,” becomes the dominant repeated vocal phrase as the song is carried out via a simple piano line, ambient long-note guitar work and clacketty percussion. “Come Irene” is sparse, slower moving electronica. Deeper washes of background pads twist in unexpected ways, as vocals are delivered in a controlled manner. Acoustic guitar emerges in the mix to add a bit more warmth. “Burn the Boats” is scheduled for release in January, 2012. You can preorder the album on their bandcamp page. Additionally, there are two free download tracks to be had there.

WAKE by Farewell Republic

http://nyc.thedelimagazine.com/node/7181

Multiple Features-November 2011 Edition

noreply@blogger.com (DaveCromwell) — Tue, 22 Nov 2011 17:17:00 +0000

I've recently written a number of features for The Deli Magazine that are worthy of a second look (and listen) and so are now presented here.

This is music being made by bands that have found their way onto my radar this year, and who I feel are leading a creative underground that certainly deserves more exposure.

Clinical Trials

http://nyc.thedelimagazine.com/7739/nyc-cd-month-clinical-trials-live-studio-on-1111

With their new EP "Bleed Me" the guitar/vocalist and drummer grrrl tandem Clinical Trials steps up the noise-rock formula through the addition of orchestral and industrial elements, boosted by confident performances and songwriting.

In the record's highlight track, the suspenseful and almost scary "Whip It", the band takes the bold step of adding an unnerving brass section to the more traditional harsh guitar and rumble-crash drum sound. The soaring female vocals start out in a controlled manner but by song's end have progressed to throat shredding screams, in an ever-growing, cathartic tension buildup. That's what rock'n'roll is all about right there... The second track "American Girl" - as tense as the previous one - touches on middle-eastern rhythms for the verses, adding alienating low-toned synth bends to the mix. "Sweet Machine" is more bass guitar heavy, with a clean lively drum sound positioned against breathy come-hither vocals. References to "beauty queens" and "satisfaction guaranteed" completes the sex-for-whatever scenario. "White Fence" makes use of found audio vocal snippets (made to sound like radio transmissions) leading into a vocal delivery that pays homage to Kurt Cobain's more confessional moments. Rich organ textures pad the sonic space as lyrical points are made about "cyanide moments." If only Frances Bean would make up with Courtney – they would probably enjoy checking out this band together.

Indian Rebound
http://nyc.thedelimagazine.com/node/7760

Exploring the dimensions of New York City band Indian Rebound transports you to a world of timeless creativity. Drawing on influences that point towards the original 1960’s English invasion, there is a classic, yet still modern feel to it all. Not content to simply rework already established ideas, the band is now working on a new collection of songs that promise more creativity and a deeper lyrical imagery. Songwriter Ethan Levenson answered a few questions on just what makes this band tick.
http://www.thedelimagazine.com/FeatureView.php?artist=indianrebound

So Strange by Indian Rebound

The Ice Choir

http://nyc.thedelimagazine.com/node/7819

Layers of vintage synths and buzzy analog bass lines are the new background to the smooth soulful voice of Kurt Feldman in his post-Depreciation Guild project The Ice Choir. More "passionate" than songs from the previous now defunct act, the just released new track “Two Rings” presents lyrical references to “obsidian” and “black rain”, keeping everything just mysterious enough for the dream pop genre. Kurt has masterfully encompassed the influences of New Order’s “Every-time-I-see-you-falling” bits of their classic song "Bizarre Love Triangle" (take me back to my swirling alternative rock disco dance music days!), but he is actually a much better singer than Bernard Sumner ever was. Not completely rejecting guitars, there is a sweet and slithery solo that emerges just past the three minute mark and runs under the final bits of vocals up to the end. With this new direction coming out of the NY music scene, one has to wonder if a “Dead or Alive” or “Haysi Fantaysee” revival will be next? The new 7" single is out via Shelflife joined by the b-side track "The Ice Choir."

Invisible Days

http://nyc.thedelimagazine.com/node/7444

http://thedelimagazine.com/FeatureView.php?artist=invisibledays

Invisible Days successfully blend gentle atmospherics, FX laden guitars, slithering basslines and appropriate rackety-tackety percussion with a vocal harmony that sets them apart from many other bands attempting the shoegazer genre. Combining that with songwriting that shows thought and precision, and it becomes clear (or less invisible) as to why they've grabbed The Deli's attention soon after releasing their debut single. On their song "Stewards" the vocals are placed far back in the mix, echo tinged, with strummed guitars more out front. It continues to build cathedral-like, while the drums stay routed in the here and now. "Daysleeping" takes the superior vocal harmonies even higher, bringing to mind the unforgettable gold age of "gaze" bands like Ride. The dream textures are still there, just not overpowering.

Solitary Time by Invisible Days

All the above = choice listening for modern times!

The Mast - The Propulsive Dual Dream

noreply@blogger.com (DaveCromwell) — Mon, 07 Nov 2011 17:23:00 +0000

The tandem of single name only vocalist/guitarist Haale and percussionist Matt Kilmer make up Brooklyn based duo The Mast. Their combined talents produce a music that cannot be simply classified into an easily recognizable genre or style. Hyperkinetic percussion sets the groove for well-placed minimal guitar accents. Vocals delivered in a dual voiced tandem and precise diction phrasing do share similar qualities with School Of Seven Bells, but that's where that comparison ends. Their latest album “Wild Poppies” make use of percussion recorded with distinct crystal clarity. The stereo separation, placement and prominence dominate the instrumentation without overpowering it. Guitars are there, but secondary. The voices do share equal billing, however. The only overdubs on the album were done to enhance vocals. All the instrumentation was played live in the studio, with whatever effects needed added at that time. The result is a stunningly full sounding collection of songs that are both lyrically mysterious and sonically brilliant.

The band recently performed live as part of The Deli Magazine's CMJ "Dream Pop" Showcase at The Delancey in New York City on October 18, 2011. Included below are photos (and one video) from that show.

Additionally, Haale and Matt were kind enough to answer some questions about what makes The Mast "go"

Your bio states that you built a home studio where you live in Brooklyn . Is this where you recorded the album and is it self produced? Did you find it difficult to accomplish the sound you were looking for? Or did it come easier than expected?

We recorded the album in a studio we built and did the engineering and mixing ourselves. We knew what sound we wanted, so it wasn't really hard getting that recorded. We wanted to make an album that we could play live, so we used our instruments--percussion, voice, and electric guitar--along with pedals and effects. Nothing was overdubbed except for the extra vocal layers. So recording was quite easy, we just played the songs the best we could.

Your song “EOA” finds arpeggiated guitar figures moving forward in the mix, sharing equal space with the busy percussion. The vocals are smoothed even further as the line “all hands on deck” is repeated. “And I say – EOA” becomes the primary (and mysterious) title line. What does EOA signify? What does it mean?

EOA means end of anxiety. I mention the country made of plastic waste floating in the Pacific, and armies thrashing cities, and then sing "All hands on deck"--it does seem that's an appropriate mantra these days. We have a lot to deal with, a lot to develop and implement, like biodegradable plastics, alternative energy technologies, and conflict resolution skills. I say, EOA--end of anxiety--because I think it's be easier to enact positive solutions if we do it in a state of calm--having a panic attack is of no help to anyone on a sinking ship.

“Definitions” builds around a descending guitar-line, allowing the voices to create counter-melodies. There is an almost ancient-ritualistic quality to it all. How much investigating have you done regarding music made in ancient bygone eras? Does this inspire you?

We listen to classical Indian music-- Matt studied South Indian percussion for years-- Persian classical music, Jazz that was created over the last 150 years, and Malian and other African music with roots that definitely stretch to ancient times. We've also listened to Icaros or medicine songs sung by Peruvian curanderos, which have been passed down through the generations. All this music is inspiring.

“Hummingbird” is quicker paced, but leaves space for a buzzy, bass-driven change section. What actual instrument is used there? Is it a synth or actual bass guitar? Who played it?

H: I'm playing that on my Les Paul using a POG 2 and a Full Drive distortion pedal.

“Lucid Dream” has the repeated lyric “I go everywhere – in this Empire.” Does this song reference how one has no limits in the dream world? How much of your dreams influence what goes into you music?

H: I guess waking dreams figure in to the songs quite a bit and so much in reality is dream-like. In the title track 'Wild Poppies,' I'm talking about wildflowers that were blowing in the breeze at the foot of a watchtower and a wall topped with spirals of barbed wire. It looked as if the wildflower was waving to the watchtower and the security cameras, or trying to communicate with them. Wildflower, watchtower---the words have a similar ring, but they're two opposite ends of the spectrum, in terms of what they represent. One is so delicately beautiful and one is so ominous. And with my 3-D dream glasses on, they were side by side in conversation.

As for lucid dreaming, that's a great thing to learn to do. When you lucid dream you can direct your dreams, and apparently go anywhere. You can fly over the Grand Canyon , take a spin around that diamond planet just discovered in the Milky Way, even practice your guitar, when you get really skilled at it. Not a bad way to spend an hour a day.

Your bio also states that Matt composes music for comedian Louis CK ’s television series “Louie” on the FX network. How did all that come about? How is it working with Louis?

M: Our friend Reggie Watts called me up one day asking if I could get a band together to do the music for the show. Reggie originally got the call to do the music but he was about to go on tour opening for Conan Obrien on his tour.

So I got a band together and we really clicked with Louis . He likes a lot of different music in the show, from old bop, to Jimi Hendrix , to eastern European gypsy music. All of the guys I got to play are old friends and amazing musicians that can cover a lot of territory stylistically. Louis is the kind of guy that knows exactly what he wants, so he's great to work with.

What are the pieces of equipment that you find particularly inspiring when recording at home?

The Les Paul guitar, Matt 's Cooperman frame drums, and Ableton Live.

We also have an electronic project we're working out, and for that one we also use Ableton, and Matt uses the Korg Wavedrum , and the Touch OSC pad.

Do you expect your next record to be self-produced, or would you like to work with a producer? If it’s the latter, who would you most like to produce your band, and why?

We're already working on the next album but if we could pick anyone, it would be Jack White , we dig his energy.

Do you use rack effects or guitar pedals to forge your own sound?

Haale uses a POG 2 and the Full Drive distortion pedal. The POG 2 is awesome, the bass sound you can get with it is huge, and the Full Drive just has a classic sound.

Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?

We like to get a transparent mix that still has character. The minimal instrumentation in our setup helps to get that sound. Also good mics, preamps, and mic-positioning are everything.

What other artists would you say have had the biggest influence in your approach to recording? Why?

Recordings produced by T-bone Burnett, Ethan Johns , and John Brion , and Rick Ruben , stand out as good examples of warm, clear recordings of live instruments and musicians. The approach is really just get good mic placement, check levels, hit record, play. Simple and effective.

Would you say that your live show informs your recording process or that your recording process informs your live show? Both? Neither?

They both inform each other. On the recordings, we are using the instruments that we play live. That was the only limit we set on ourselves, we weren't gonna use strings or bass or horns but wanted to make a full and satisfying sound with the two of us playing live.

Is there a piece of equipment that you find particularly useful on stage?

In our show now, we run everything through Ableton Live to really get the sound we want. We don't use it to play loops or clips, just for the effects.

_____________________________

With bands doing more of everything themselves these days (recording, performing, self-promoting, etc.) and the evermore multimedia nature of the world, how much effort do you put into the visual component of your band - fashion, styling, photography, graphic/web design, etc.? Do you do these things yourself or is there someone that the band works with?

For 'Wild Poppies,' we did all the artwork ourselves. The cover is a photo collage of poppies we planted in our backyard. We photographed them, made the piece, and designed the font ourselves. The videos we've released so far we also made ourselves, though we're finally working on a director and a cinematographer for an upcoming video, which is great. Looking forward to more collaborations with directors, filmmakers, and animators.

Croms catching up with Haale after the show

What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?

The most challenging thing is agreeing on a final mix. The most rewarding is actually playing the music and creating the sound. The first listen after a great take is a wonderful moment.

Matt and Croms - on the mean streets of NYC

******

Find out more about The Mast at these links:

http://www.thedelimagazine.com/FeatureView.php?artist=mast
http://themastmusic.com/
http://listn.to/TheMast

http://themast.bandcamp.com/album/wild-poppies

Mahogany - Luxuriant Sound Scenes

noreply@blogger.com (DaveCromwell) — Tue, 01 Nov 2011 16:30:00 +0000

Playing a dream-pop style of music they self describe as Nüdisco ,Vltrarock and Echo Deco, the New York and Philadelphia based band Mahogany present a decade of recorded work as evidence. On "One Plus One Equals Three Or More" an angular bass line drives forward momentum as high-hat and snare heavy percussion rattle along side of it. Distant atmospherics soon work their way into the mix, as do handclaps and quickly strummed high-pitched guitars. The sum effect is one of a hyper funkiness. Vocals are delivered in a mostly male only or blended male-female tandem. "The View From The People Wall" continues the hyper-funk bass guitar with cymbal-emphasized percussion pattern, but features female vocals out front. While "Supervitesse" marshalls the formidable power of Cocteau Twins legend Robin Guthrie on the production chair for an as expected shimmering mix.

In addition to catching the band live during CMJ 2011
(all photos here and another video below from that performance)
I was fortunate to conduct an interview with the bands long time frontman
and motivating force, Andrew Prinz

*******

Describe how you feel your sound has changed in the decade since releasing “The Dream Of A Modern Day” up through “Connectivity.” Is your approach to making recorded music significantly different now?

On 'Dream' there was an overall superstructure established. The double album of our singles and EPs, "Memory Column," was concepted as a linear progression. The sound has evolved immeasurably, and sometimes very quickly — I reckon the listener's journey in 'Connectivity!' is quite a bit different than the writer's. There's perhaps a lot more of it that has been pragmatic or practical than any conscious directive, but the songwriting has always been the focus.

You self-describe the Genre of music you play as Nüdisco, Vltrarock and Echo Deco. Could you please explain a bit more what this actually defines?

In the film we've been working for the new songs, Mahogany is sort of an imagined city-state/canton-town. These self-made genres are keyword concepts for our 'city's' collective dance music, rock 'n' roll, and luxuriant sound scenes that are the 'city's' 'local music.' Within our songwriting, these keywords and others synchronize with the things we're aiming to touch on or speak about with the music, whether it's emotional, spiritual, tactile, logical.

Your band is listed as being located in both New York and Philadelphia – or using a word you have coined – Newphilyorkadelphia. Are there any advantages to be in two separate locations like this? Wouldn’t it be simpler to be consolidated in one place?

'Newphilyorkadelphia' is a keyword we created to illustrate a rail-based lifestyle many live today. Since the band moved to New York in 1999, myself and other members are often commuting by rail to and from New York, Philadelphia and beyond. There are many advantages afforded by multiple locations. We enjoy many music scenes and traveling by train holds a different timetable and a different approach — more pastoral and romantic. There is a certain glamor about trains; there is also great opportunity for the rail passenger to absorb the meditative possibilities in train travel.

Guitarist Jaclyn Slimm

One version of your song “My Bed Is My Castle” boasts the vocal debut of Lucy Belle Guthrie (daughter of Cocteau Twins’ Robin Guthrie and Liz Frasier). How did all that come about? How was it working with Robin, Liz and Lucy?

Robin was signed to our old label as 'Connectivity!' was being finished. We were ecstatic. We were always fans of Cocteau Twins — of course we said "yes" to the label's offer for him to remix some of our songs. His involvement was minimal but warm; the atmosphere during the final mixing of the record in March and April of 2006 was electric, and a hero coming by to say hello made it feel all the more magical. We loved his remix of 'Supervitesse.' Lucy Belle sang on a track. It was an honor to suddenly be gifted this relationship at the time. All the work was done via email. It was like 'Dad' was giving us a big sonic hug and a high five as we completed something that we'd been crafting for years; 'Connectivity!' was an album we'd begun developing even before the first album was finished.

Talk about the advantages (if there are any) or problems associated with music listeners ease of access to recording artists content via internet downloads. Do you yourself engage in music downloads?

Perhaps along with downloads we've seen the proliferation of 'earbuds,' which aren't all that great for your ears. Please do yourself a favor — invest in real headphones. Anyway, there are many advantages to downloads. But I do find myself in places sometimes where the streaming music that is playing has so much digital artefact and aliasing that it hides the articulation and detail of the recording. I don't use downloads often. It can feel anticlimactic, aside from issues of quality and fidelity. The context provided by the physical record sleeve, the artwork, and the aura of mystique is just too rich and deep for me to pass up entirely. Having said that, I find online film and video an incredibly valuable resource — I suppose what I'd like to see is the dawn of an acknowledgment of music's real place within multimedia or mixed media. Music often feels embattled and isolated lately, as something that most people think they should get for free. Perhaps more listeners can explore performance tradition as well — for example, buying and learning the sheet music of a favorite song for guitar or piano. Far more fun than 'earbuds.'

What artists do you feel had a significant influence on the musicians you’ve become today?

When I was playing upright jazz bass in high school, I had the opportunity to sit in classes and rehearsals with Dizzy Gillespie, Maynard Ferguson, Jon Faddis; those were direct experiences that taught everyone in the room about being a real star, and about endurance, poise, and longevity. My family have always been a huge influence on me, they are gifted in their own right.

As previously mentioned, Mahogany played live at The Delancey on the lower east (east) side of New York City on October 18, 2011 as part of The Deli Magazine CMJ "Dream Pop" Showcase.

Here they roll out a brilliant over 7 minute epic titled "Nite Time in Silk City"

Switching to equipment and recording questions, the interview continued:

How much of your recording is done at home versus in the studio?

We've worked in professional studios and also in completely ad hoc circumstances in remote locations. Both scenarios feel important.

If you use a studio, what do you record there and what do you record by yourself and why?

Studios can be great crucibles of creativity and can really help a project come together. The band's work is done less often alone than as a group; perhaps the work I find myself doing by myself is usually preparatory.

What are the pieces of equipment that you find particularly inspiring when recording at home?

I think we all share a healthy amount of enthusiasm for tools!

What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?

Well-built recording tools are always a joy to behold. I read once in Tape Op about Pink Floyd's studio located on a ship. That sounds amazing.

Do you expect your next record to be self-produced, or would you like to work with a producer? If it’s the latter, who would you most like to produce your band?

We would very much like to work with Jeff Lynne

Do you use rack effects or guitar pedals to forge your own sound?

There are obvious advantages to both. There's been a great deal of diversity and expansion in the boutique pedal market, which is great to see. Again, there's no one set way of doing things — we have an abiding respect for a wide variety of hardware.

Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?

I feel recording people could perhaps agree: our predilections and aims are really just happily engrained in our souls. I reckon I learned to record from listening, watching and participating — there's always something new to try.

What other artists would you say have had the biggest influence in your approach to recording? Why?

I was invited to work on a recording at Warren Defever's studio in 1996, and it was great to see how music-focused it could be. I do enjoy the work of producers like Martin Hannett, Phil Spector, and Jack Nitsche.

What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?

There are certainly many challenging aspects, I'll agree with that! However, it is those challenges which are probably what make the recording process so poignant, interesting and full of possibilities.

*********

Additional Info and Links:

http://www.mahogany.nu/

http://www.facebook.com/pages/Mahogany/299511564475

www.myspace.com/mahoganyinthecity

Twitter: @MahoganyIntl

For those who like: Broadcast, Metric, Lali Puna

Mahogany's new EP 'Electric Prisms' sees a deluxe vinyl 12" release on
BLVD Records in late 2011.

Spanish Prisoners - Dream Pop For The Soul

noreply@blogger.com (DaveCromwell) — Wed, 26 Oct 2011 01:50:00 +0000

You have to admire the panache of a band who describes their sound as “tremolo-haze headphone symphonies.” Such is the case with Brooklyn’s Spanish Prisoners. Their album “Gold Fools” is set for an October release, and contains a number of outstanding tracks. “Los Angeles Guitar Dream” weaves deep toned single note guitar melodies with lively cymbal rushes. Notes struck with authority and pitch bending tremolo are emphasized. Lyrics tell a story of plans gone awry: “She put a cigarette in the tip jar. But she – she never phones home. Acid blue smoke rises. His temper gone broke. Los Angeles Guitar Dream – was a hoax.” Clear glockenspiel-like note accents (so popular these days) contribute further to the melody. There’s a spoken word segment in the middle, giving the whole thing a cinematic quality to it - as if you are watching a film. “Rich Blood” evokes a breezy, soul-inflected world (dream like atmosphere, falsetto vocals). “November Third” makes effective use of various keyboard tones allowing for dramatic sonic buildups from quieter passages. Lyrically the subject of “life and death” come up.

Spanish Prisoners are Leo on guitar and lead vocals; Amberly on keyboards and backing vocals, Michael on drums, also lead and backing vocals, and James on bass and backing vocals.

In addition to seeing them play live twice during this year's CMJ Marathon here in New York,
I conducted this interview with frontman Leo:

Is the story to your song “Los Angeles Guitar Dream” based on any kind of personal experience? Or does its lyrical content come from an observation of someone else? Or purely from the imagination?

“Los Angeles Guitar Dream” was written when I spent a few weeks one summer living in Los Angeles with my girlfriend. She had moved there for an ill-fated internship at a record label that basically amounted to her working in their factory, taking orders, and sitting in traffic. I spent most of the trip driving around by myself, getting lost in LA, and wondering if all those who had flocked to LA found what they were looking for. I began to imagine this female character that had been promised fame and fortune but upon arriving, she got trapped in this really abusive relationship and ended up blaming this “dream of making it” for her personal situation. I get very caught up in the myth of LA, especially when it comes to movies. A lot of my favorite movies take place in Los Angeles and involve the city very deeply in their plots.

What sort of inspiration might lead to the creation of your song “Rich Blood?” Is some of the softer 60’s soul music ever on your listening playlists?

I definitely love older 60’s soul music- OV Wright is a particular favorite- but I wouldn’t say that kind of music was inspiration for “Rich Blood.” This song was more inspired by a lot of 4AD / Factory records- Cocteau Twins, the Durutti Column, OMD- music that puts a lot of emphasis on texture. It was my attempt at creating this really detailed atmospheric land for you to get lost in. The lyrics are very similar to “Los Angeles Guitar Dream” in that there is an unnamed act of violence and an underlying tension, which is why we placed the two songs next to each other on the album.

_____

One would presume the song title “November Third” refers to a significant date. Can you shed some light on and explain a bit about what this song might be about?

The date in the title is actually completely irrelevant to the lyrics. It’s just the date I started writing the song. We tried to come up with another title but that one kind of just stuck. Lyrically its one of the more ambiguous songs- a lot of our songs combine very specific imagery with very abstract situations. In this case, again there are two people who are being pulled apart- you could say the hurricane is metaphorical. Notice any trends developing?

Check out the band performing "November Third" live on the final night of CMJ
- October 22, 2011

_____

“Slow Decay” rises from the ether on cymbal rushes, clean slightly reverb enhanced guitars and crisp snarecrack. “Everything I write is a letter to the future,” is one revealing lyrical turn, while the repeated (and therefore emphasized) refrain “else, else – something else” follows. The track ultimately devolves into less-defined atmospherics. Talk a little bit about what your mindset was when writing, then recording this song. What would you like the listener to experience when hearing it?

The song was written and recorded simultaneously- most of the songs on the album were written that way. I very seldomly think about what I want the listener to experience when working on music- that’d make the process much harder. I suppose if I had to say, I’d want the listener to go on the journey this song takes- to be a willing passenger in the voyage and evolution / devolution of “Slow Decay.”

Listen in as the band performs "Slow Decay" live on the opening night of CMJ
- October 18, 2011

_____

“Lipstick Under The Table” has a slow shuffling rhythm with alternating call and response style vocals. There are hints of funk guitar lines merged with additional atmospheric textures. Falsetto vocal segments continue the impression that an attempt at what has been commonly referred to as “soul music” is being made here. Is this a make out song?

I’ve never thought of it as a make-out song but I’d be thrilled if anyone was making out to any of the songs on this record. I think experiencing music with others is the best way to listen to music in any sense.

Some of the band “interests” listed are “rooftops,” “the ocean” and “national parks.” All are done outdoors. Even though you are city based in Brooklyn – do you consider yourselves the “outdoor type?”

I don’t really consider myself an “outdoor type” even though I love the outdoors. I think I’m influenced by images of the outdoors and experiences I’ve had outdoors even if I don’t spend much time actually out in nature. I’ve been camping once and frankly the experience sort of soured me on the activity- my best friend and I went for a few days with only one small flashlight and the battery went out the first night. In general I think I’m very influenced by my surroundings. I’m a very in-the-moment person, as opposed to a lot of musicians I know that are much spacier and live in their own heads. My brother is an architect and I think many discussions we’ve had make me much more aware of the space I’m in at all times. I need to be really comfortable with my home recording studio and everything needs to be set up just right before I feel creative. Having a window by my desk is invaluable.

How much of your recording is done at home versus in the studio?

Almost all of our recording is done at home- no clocks, no time limit. We feel pretty comfortable working on our own.

If you use a studio, what do you record there and what do you record by yourself and why?

We recorded a few bass and drum parts at Seaside Lounge, where our bassist James works. Everything else was recorded and produced in one of our apartments, usually while drinking coffee. I like recording while not wearing shoes.

What are the pieces of equipment that you find particularly inspiring when recording at home?

I like Apple’s Logic Pro a lot- been using it for a while now and know it inside and out. Unfortunately my bandmates are Pro Tools users. We’ve had a few heated arguments about DAWs.

What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?

It’d be great to have a nice, one channel preamp. Something like that the UA 610 I’ve coveted for a while.

Do you use rack effects or guitar pedals to forge your own sound?

I’m a huge guitar pedal geek. I’ve spent way too much time playing with various fuzz and overdrive pedals. My bandmates make fun of me for how many different pedals I’ve had over the years. I’ve actually had several pedals custom made for me in the past. I think having a good overdrive pedal / amp combination is one of the most important things for defining a band’s sound. Specifically I like pedals by Fulltone and Throbak.

Is there a piece of equipment that you find particularly useful on stage?

One of my favorite purchases is my 1982 Roland Juno 60- a very popular synth for very good reason. It’s hard to make it sound bad. I’m a big proponent of buying a few pieces of gear and knowing them very well. It’s very comforting to me that I can get whatever sound I want out of the Juno quickly. We’ve had a few digital synths with menus in the past and I never realized how much of an obstacle that is to creativity.

Amberly, Croms and Leo

Amberly, James, Michael and the Croms
_____________________________

Find out much more about Spanish Prisoners at these links:

http://www.spanishprisoners.com/

www.facebook.com/spanishprisoners

Twitter: @span_prisoners

EXITMUSIC - An Agitated Dream

noreply@blogger.com (DaveCromwell) — Sat, 15 Oct 2011 22:43:00 +0000

Aleksa Palladino and Devon Church make a dreamy rock music under the name EXITMUSIC. Brooklyn based, the married couple play in a style that often starts out quietly, but ultimately winds up grabbing you by the throat. Their impressive live shows have been garnering them much deserved attention, and now the finely crafted recorded works they have been meticulously constructing will be released as their debut album "From Silence" this fall.

Listening to these recordings in advance of the release via their website, one can't help but be captivated by what you hear. On their leadoff song titled "The Sea," a tension is noticable at it lurks throughout the quieter moments. There is an unsettling pulse that is mysterious and moody. The direction seems to travel down sonic areas running against what one might associate with a more "upbeat" music.

"I don't think you can decide where your creativity comes from," Aleksa says. "I feel that there is a place that I write from, a place that needs to be revealed. And this is the mood and the tone of that place," she continues. "People often say our music is 'dark', and there's truth to that, but I don't feel like we're 'dark' people or even that our music is all that dark," adds Devon. ":We're just trying to express our experience of life as honestly and as compellingly as we can. Sometimes I get creeped out by how 'happy and upbeat' most music is. We are in the middle of 3 or 4 wars and a mass extinction, after all. After a point, this obsession with pop (especially in the indie world) begins to seem kind of insane."

Listen to their live performance of "The Sea"

On stage, Aleksa commands attention as the bands lead vocalist. She also alternates between playing guitar and keyboards. Devon stands tall as the primary guitarist, and shifts effortlessly between providing power chords, quick riffs or melody lines and even employs at violin bow on the strings at one point.

Much of their show has a solemn quality to it all. Frequently the vocals are presented like someone almost going into a trance. Of someone losing themself in the moment. "The feeling of being on stage is a really hard to remember clearly afterwards," explains Aleksa. "It's almost like you have to find the spot where you can lose yourself in the moment while still being totally aware of where you are in time. I'm not in a trance, I'm just singing the words as weighted as I feel them," she concludes.

Their live show also presents some interesting guitar interplay between them. While Devon tends to play the longer, extended melodic notes (sometimes with slide) Aleksa will execute bursts of quick, forceful strumming, that creates a fuller sonic wash. "For me, I try to combine rhythmic and melodic elements in my guitar parts, so I'll play chords that incorporate a traveling counter-melody that supports what Aleksa's playing or singing," says Devon. "I think of myself more as a rhythm guitarist than a lead guitarist, though I do play some "leads". But I almost never strum the guitar - just a few times during the set. Mostly I play arpeggios or deconstructed chords."

"It's a language that I keep developing… it's like a cast of characters or a palate of colors, each with something to say," adds Aleksa. "I often play melodies by picking one string really fast, like a mandolin. I think this tremolo style - those explosions are just as emotional as the human voice. And I use those parts to sing with my guitar, and to disrupt the certainty of measured time."

On one of the songs in their live show, Devon used a violin bow across his guitar strings, creating a unique sonic tone and effect.. "I used to play a lot with an e-bow, but I wanted something more expressive, and more guttural sounding," he offers by way of explanation. "I like the deep moaning sound that you can produce by dragging the bow over the low strings of the guitar. You risk a lot of dissonance and feedback playing with a bow and a lot of reverb and distortion, so the intent is ultimately to wrest something beautiful out of what could potentially be kind of ugly. The influence for me is more Sigur Ros than Jimmy Page, but I also think of the violin bits in early Velvet Underground," he concludes.

The two of them self-directed their video for "The Sea," using footage from Andrei Tarkovsky’s 1975 film The Mirror. "We'd seen a lot of Tarkovsky's films, and when Chris Swanson (who runs their label Secretly Canadian) suggested we try cutting an existing film into a music video, we thought of him. But we hadn't yet seen The Mirror," says Devon. "When we did a google image search for 'Tarkovsky' this stark, beautiful image of a sort-of deranged looking woman standing over a basin of water came up. Then there was another image of a woman levitating and a man standing reverently beside her. They were both from the Mirror. We youtubed some montages of the film, and it was just incredibly rich with imagery. Especially the wind stuff is amazing. In a way, Tarkovsky's wind is serving the function that the sea, the water, does in our song. His images, together with the stock footage of war and revolution that he used in his film, create this incredibly menacing, dream-like, apocalyptic feeling that seemed to fit perfectly with the music."

Since then the band has released another video, this time for their song "The Hours." Directed by Will Joines, the imagery finds Aleksa singing against her reflection and possibly coming to grips with a polar opposite version of herself. Devon supports by way of slo motion guitar strumming and the overall effect is transcendent. With sonic production qualities that put emphasis first and foremost on the vocals (multitracked and uniquely enunciated) guitar lines are the appegiated deconstructed chords Devon describes, combined with a sparse percussion that makes its inclusion all the more dramatic.

The couple came together from disparate backgrounds. Devon came to New York by way of Winnipeg, Canada, while Aleksa grew up in this city. In addition to the music she has always made, Aleksa has an extensive acting career, and is currently featured in the HBO drama "Boardwalk Empire."

The band's name is a reference to the music one hears as the credits roll at the end of a film. "Everyone always mentions radiohead, but that's not where we got the name from," states Aleksa. "Exit music is the name for the last piece of music to be played in a film… the song that ushers people out of the theatre… the last piece of that 'world' they take with them. That's what we heard when we played our songs back," she continues. "Music that suggests a transition from world to another. My grandpa, Tony Palladino, is a graphic designer and has always had a unique way of making letters and words speak for themselves (he designed the lettering for PSYCHO). Anyway, he took out the space between exit and music… it fortified the whole concept. EXITMUSIC."

Cromwell chats with Aleksa post-show

Find out more about EXITMUSIC via these links here:

http://exitmusic.bandcamp.com/

http://vimeo.com/exitmusic

www.myspace.com/thedeclineofthewest

Invisible Days/Crawl Babies/Shana Falana/Heaven - Live in Concert

noreply@blogger.com (DaveCromwell) — Sun, 09 Oct 2011 23:20:00 +0000

A record release show is always a special occasion for an artist. It serves as a celebration for all the hard work and creative drive that goes into producing recorded works. On Thursday October 6, 2011 singer/songwriter/multi-instrumentalist Shana Falana threw just such an event at Brooklyn's Shea Stadium. Joining her on this night to help mark this achievement were friends and colleagues. Specifically the bands Invisible Days, Crawlbabies and Heaven.

Opening the show was the wonderful dream pop band Invisible Days.

I had been enjoying their song "Daysleeping" for a few months now.

This band successfully blend gentle atmospherics, FX laden guitars, slithering basslines and appropriate rackety-tackety percussion with a vocal harmony that sets them apart from many other bands attempting this genre. Combine that with songwriting that shows thought and precision and its becomes clear (or less invisible) as to why their sound resonates so well with me. On their song "Stewards" the vocals are placed far back in the mix, echo tinged, with strummed guitars more out front. It continues to build cathedral-like, while the drums stay routed in the here and now.

The aforementioned "Daysleeping" takes the superior vocal harmonies even higher, bringing to mind the gold age of "gaze" bands like, Ride for example.

I had also been enjoying their track "Solitary Time" for a while now - ever since picking up their CD at a previously attended show of theirs.

____________

Good News! The band is now offering this track as a free download, which can be gotten here:

http://www.invisibledaysmusic.com/media

Next up was the trio Crawl Babies

Their psych rock sound and visual presentation gave them a bit of a Jesus & Mary Chain feel.

Especially their drummer who played in the stand up style of Mo Tucker and Bobby Gillespie.

Listen in:

Their 60’s tinged sound points to a band like The Raveonettes as possible sonic reference point.

Finally it was time for the headliner.

Shana put on her typcially dazzling light and sound spectacular.

As expected, the set relied heavily on material from the "In The Light" EP

Listen in to this night's performance of "Tragic"

____________

___________

One more from the EP, a live performance of "U.R. Everything"

____________

____________

Following Shana's wonderful performance, was another band that presents a blended dual male vocal front - Heaven

___________

Listen in to the single "Mountains Move"

The song is moody, dark and dreamy (all rolled into one). Of note is guitarist Matt Sumrow's outstanding guitar work, which alternates between clean-note arpeggios and wah-wah effected chorusing.

Essential Links:

Invisible Days
http://www.invisibledaysmusic.com/

Crawl Babies
http://crawlbabies.bandcamp.com/

Shana Falana
http://www.shanafalana.com/

Heaven

http://www.youareheaven.com/

Tennis System - Live in New York

noreply@blogger.com (DaveCromwell) — Mon, 26 Sep 2011 20:10:00 +0000

Everyone who knows me – knows how much I love new bands. Especially new bands that look to the greats that came before them as inspiration and a starting point for developing their own sound.

Such is the case with Los Angeles based band Tennis System. One day stumbling across their Twitter self-description – “If My Bloody Valentine & Sonic Youth had a baby with The Kinks it would be named Tennis System” - I knew I had to give them a listen.

I’m glad I did, as they truly do come as advertised. Though I had to chuckle a bit (and agree) with the band's bassist Guylaine Vivarat who stated “I think we need to work on the Kinks part a bit.” Indeed, there isn’t much that can be pegged Kinks-like in their *sound* (though quality lyrics certainly qualify). Without a doubt the My Bloody Valentine-like pitch bends are there – as well as the Sonic Youth-like extended thrash-down jam outs. What’s not to like?

So it was - after a few months of back and forth messaging with frontman Matty Taylor (who graciously sent me a digitial copy of their latest album "Teenagers" - which I absolutely love) - there was the opportunity to catch them live - at one of my fave NYC venues - Pianos, on Wednesday, September 21.

Give a listen here to the opening song on this night.

"Technicolour Blind"

Matty Taylor (guitar and lead vocals), Misha Bullock (drums and background vocals), Christopher Norman (lead guitar), and Guylaine Vivarat (bass) are masters of loud and dirty anthems, but rising above the noise that blankets them are Taylor's beautifully sung, dreamy lyrics inspired by both love and art.

This band is a cut above so many of the so-called “noise” bands out there, however. The songs are well constructed and Matty can actually sing. Addtionally, Misha provides quite a bit of assistance with the overall vocal sound - all the more impressive that he does this while furiously pounding away on his drum kit. Those drums, by the way are a killer set of clear, see-through beauties made by the masters at Ludwig.

Listen in to their lead single release from "Teenagers" - the heartfelt "Arcane"

________

Bassist Guylaine Vivarat is originally from France - but now resides in Los Angeles with the rest of the band. Post-show we had an interesting and animated chat. As the MBV and Sonic Youth influences were already established, I asked Gulaine about those bands bassists. She expressed an appreciation and admiration for Kim Gordon. Addditionally she surprised me somewhat by namechecking "classic rock" bassists like Geezer Butler (Black Sabbath) and John Entwistle (The Who) as personal faves.

Guitarist Christopher Norman's lead lines serve the dual purpose of providing melody as well as preventing the more chaotic moments from completely unravelling.

It's a ferocious sound, but one that never becomes totally unhinged.

For their final reverb-drenched song of the night, Tennis System pulled out all the stops, to deliver an appropriately loud and dirty anthem - this one aptly titled "Dead Honey"

Post-show - going for a "dirty swim" with the band.

Get your "devil horns" up!

________

Find out more about Tennis System here:

http://www.tennissystemdc.blogspot.com/
www.soundcloud.com/Tennissystem
www.Facebook.com/Tennissystem
www.myspace.com/tennissystem
Twitter:@Tennissystem

Shana Falana - In The Light

noreply@blogger.com (DaveCromwell) — Tue, 20 Sep 2011 02:00:00 +0000

Emerging from Brooklyn's crowded field of independent solo artists comes the unique vocal talent of Shana Falana.

The current weekly residency at Pete's Candy Store for the month of September (there are two more shows, the 21st and 28th ...at 10:00 pm) is leading up to her the release show for her new EP "In The Light" on October 6 at Shea Stadium.

Produced by Kevin McMahaon (Swans, Titus Andronicus) and mixed by Gareth Jones (Grizzly Bear, Mogwai, Interpol) the record perfectly captures what Shana does best: positive music of wonderment and discovery. Inspired by Bulgarian folk music, her sound often reflects the genre's asymmetrical rhythms.

“Light The Fire” is hypnotic, chill-enducing and powerful.

Listen to this enchanting track:

“In The Light” presents vocals that are pure and straightforward, with diction having only the slightest of creative affectation (“everything” becomes “Av-erything”). A strong cello undercurrent allows Shana to soar above with multi-layered choruses of her own vocals.

Never unappealing sleigh bells usher in “Yeah Yeah.” An even more ethereal choir sings those words to varying patterns. The guitars begin to chunk along and the drums thunder in kind. Her vocal production embraces the same cathedrals Simon & Garfunkel explored during their finest moments (think “Only Living Boy In NYC”).

On a recent afternoon, Shana and I did a bit of shopping in Williamsburg, Brooklyn - and I conducted an interview with her.

Check out the first part here:

You can spend hours looking through all the wonderful treasures a specialty record has.

Part 2 of our Interview:

Official video for "In The Light"

Catch Shana at one of her upcoming shows for a truly rewarding listening experience.

Links to everything:

http://www.shanafalana.com/

http://facebook.com/shanafalanamusic

http://www.myspace.com/falanachannel

Sick Of Sarah - Review & Exclusive Interview

noreply@blogger.com (DaveCromwell) — Tue, 30 Aug 2011 02:17:00 +0000

It often feels like a relentless quest at times - to hunt down music of above-average quality. With every form of media and social networking outlet constantly presenting one thing after another (a good portion of it delivering only mediocre results) - finding a gem in the mix is always a cause for celebration.

Such is the case with the band Sick Of Sarah

Having been made aware of them by virture of a promotional photo and advertisement projected on a video monitor, the quest to hear what this band was all about began.

Procuring the album led to a wonderful discovery of some truly inspired songwriting. That coupled with a studio mastery of their album titled 2205 (the address of where they reside) - and in general the obvious command over their respected instruments and voices, led to a desire to discover more about who they were and what made them tick.

Discovering they were to play a show at New York's venerable Knitting Factory on August 18, 2011, set the wheels in motion.

The band consists of Abisha Uhl on lead vocals and occasional guitar, Katie Murphy on lead guitar and background vocals, Jessie Farmer on lead/rhythm guitar and background vocals, Jamie Holm on bass guitar and background vocals and Jessica Forsythe on drums and background vocals. Yes - they all sing. This is an important aspect of their sound.

Look and listen as they play one of the great songs off of their latest album 2205

El Paso Blue

Jessica

Abisha

Katie

Jessie

Jamie on bass - her "newscaster" hair has a hypnotic effect on fans.

Catching up with the band prior to their performance,
an interview was conducted in the "green room."

-------

Check out Part 1 right here:

--------

Jessica's background vocals are as important to the band's overall sound
as is her solid, forceful drumming.

Listen further as the band rips through their kick ass song titled "Kick Back"

------

Sick Of Sarah continue that tradition of "girls in a rock band" that was made so appealing by Joan Jett and her first band The Runaways - right up through Sleater-Kinney and current acts like Wild Flag.

And like those bands, there is a level of androgony involved in both their image and fan base.

If boys in bands dressing in a way more often associated with what "girls" do has been going on for decades, then the flipside of that is women dressing in "mannish" ways. Of course, girls have more or less been doing this to various degrees for years. Look no further than the classic jeans, t-shirt and sneakers ensemble for evidence. Perhaps that look could be more accurately described as "androgynous" - having no distinct sex classification at all.

--------

If Duff McKagan and Steven Adler (circa 1987) had female doppelganers,
you could make the case for these two.

Jessica throttles the toms and looks great in the process.

Katie and Jamie provide visual motion with their sonic attributes.

-------

Tour manager and all around accomodating guy Corey attends to the business at hand.

Which, among other things, involved handling the band's merch.

Part 2 of the interview progresses further, to both amusing as well as informative results.

--------

Never pass up an opportunity to take this kind of photo.

"That interview guy" makes the most of this encounter.

Jesse strikes an entertaining pose, much to this reviewers delight.

-------

Rocking out like they mean it.

This quote below pretty much sums up what an encounter with these ladies is like:

“It was an absolute treat touring with SOS this year. They are fun loving, open- hearted girls who play irresistible punk infuse...d pop music with a passion that is truly contagious… The girls are hilarious and wild, and have a charisma and chemistry that I found to be utterly charming..... I think you will too!” -Susanna Hoffs (The Bangles)

Another respected rock legend has this to say:

“Sick of Sarah is the real deal. This is a true working band who sing write and play for real. They are also cute and funny. They are my friends and they rock.” -Nancy Wilson (Heart)

"charisma, chemistry and charming" - these are undeniable facts.

Because links are always useful:

http://sickofsarah.com/

http://adamantrecords.com/Artists/SickOfSarah.html

http://www.myspace.com/sickofsarah

Addtional videos from the Knitting Factory appearance can be found here:

http://www.vimeo.com/27909967

----

http://www.vimeo.com/28018143

Pop Threat / Dirt N' Dust 1999-2003 Album Review

noreply@blogger.com (DaveCromwell) — Thu, 18 Aug 2011 00:31:00 +0000

It's often an enlightening journey to trace the roots of musicians you discovered at the point in time you did.

Such is the case with the band Pop Threat. Having become aware of the principal musicians involved during their second phase with The Manhattan Love Suicides - through their present incarnation with The Blanche Hudson Weekend - I was intrigued to hear they would finally be releasing a retrospective CD of their earlier bands works.

Now in possession of the recently released "Dirt N' Dust 1999-2003," nothing short of a full review of all 23 songs on it will do.

What saves previously unreleased album opener “One Track Mind” from the potentially monotonous experience that a “one chord” composition might suffer from is what’s moving around it. Specifically, the descending bass line and vocal “do – do, do do’s.” Then there is the power charged doubletime stomp section the song keeps going back to. Everything about this song suggests forward motion. You most-likely wouldn’t even be aware that it’s “only one chord” – if it hadn’t been spelled-out in the liner notes.

“So It Seemed” blends fuzzy Darren guitar with Caroline’s upfront, effects-free soft vocals and tickety-high-hat percussion.

The wonderfully titled “Sugar Fuck” comes at you with explosive guitar chords, whose bombast make listening to Caroline’s vocals not as easy as your typical pop song.

Four complete tracks from the album can be heard here:
http://www.myspace.com/popthreat

“Ripen” has Caroline more prominently featured and sounds more like the wonderful pop music of Tracey Tracey’s Primitives and the lovely English pop of that era. Caroline’s voice is up close in your ear, creating a pleasantly intimate listening experience. The repeated vocal refrain of “I wanted to be somewhere else” is catchy and charming. Darren’s clean guitar sound hearkens back to prime era Cure. There is also a long single keyboard note (played by the band's drummer Mick) that provides additional texture. A spoken word section of the song is accentuated by Darren's guitar noise run through a fuzz pedal and placed further back in the mix.

“Monochrome” (8 track demo) is full on razorbuzz guitar, 4/4 thunder drums with Caroline’s unmistakable vocals, passionately delivering a lyric heavy story. It’s overall mood (and power) is not dissimilar to what A Place To Bury Strangers frequently do.

The amusingly titled “Sludgy” is actually not really as much of a sludge-fest as one might expect from this name. The vocals, guitar, bass and drums can all be heard rather clearly. “It’s easier just to shut my eyes, than to watch you slide” is Caroline’s repeated vocal hook.

“D 4th S” (demo version) finds the band dipping into the experimental waters first explored by The Velvet Underground in the late 1960’s – and then again by Brian Eno during his pop solo career in the 1970’s. The warbly guitar work is prime “Taking Tiger Mountain by Strategy” era – specifically “The Great Pretender.”

“Filth” is a sheer wall of buzzing, hissed-out guitars filling all the open spaces of the sonic spectrum, while clean bass and drums throttle the progression forward. On top of that is Caroline’s un-effected lyrical recitation. The occasional pause, then guitar driven restart points towards the bands self-admitted Sonic Youth influences.

“No Way Out” swings a bit more, with poppy vocal “wha, ah, whoah, oh, oh’s” and “whoah, whoah, whoah, yeah’s.” It also benefits from a multi-tracked, centrally located Caroline vocal segment.

“Vivia” takes the pop song progression and twists it in unsettling ways by way of the guitar sound choices. Alley cats howling late at night might be one way to describe it. Meanwhile the vocals trudge forward, oblivious to the sonic subversion going on all around this otherwise straightforward pop song.

“Towards An End” has an opening narration taken from the 1950's film "Yield To The Night" – something that has become a recurring occurrence on Darren’s music – that, if anything, is used even more today with his current project – The Blanche Hudson Weekend. The sampled vocal clip is from Diana Dors (who, I've been told was England's answer to Marilyn Monroe). The song itself is a beautiful piece of gentle pop, with Caroline’s soft vocals as the dominant focus. Keyboard synth strings are initially the strongest musical presence – ultimately giving way to guitar textures that slowly rise up in the mix.

“Hit it!” is a smile inducing shorty that encompasses the rawness of The Ramones, with a “do, do, do do” vocal passage that’s pure JAMC.

The added white noise textures of tv static finds its way onto “The Last Resort” (because the band felt everything else was a bit too sweet). This certainly roughs up what is an otherwise clean and straightforward pop song. The structure shows thought and care, however, as there are some interesting chord changes and tempo shifts involved.

“Cheap and Vulgar” is fast and furious, capturing the energy that only live-in-the-studio can produce. The raw, aggressive punk feel of Iggy & The Stooges (Raw Power era) is fully represented here (especially in the slashing guitar chords and shouted vocals).

“Cheri” shows Caroline presenting the kind of lyrical story about some lost waif that would also become a recurring theme through the songs of Manhattan Love Suicides and currently with Blanche Hudson Weekend.

“Falling Spike” brings back the anthemic and glorious, with those ever satisfying “do, do, do do’s.” Of note is Darren’s guitar tone, strumming and chord selection – which brings to mind the playing of John McKay on Siouxsie & The Banshees first studio album “The Scream.”

“Sludgy” returns, this time as an 8 track demo version. It’s even less “sludged out” than the earlier studio version and pretty clear to listen to. Caroline’s vocal hook refrain is catchy and tailor made to sing along with.

“Amarantal Meltdown" finds Caroline ’s vocals filtered through heavy effects. The first instrumental break kicks in with force and aggression. The guitar chords are strummed fast and furious, while other guitars are manipulated in unconventional ways, creating a myriad of whistling-like sounds. There’s also some Beatles/Hendrix-like backward tape looping against Sonic Youth-style chiming chords.

“Dark Black” comes at you with the lyric “there’s a fine line between hate and hate she said.” Surely this is a much finer line than the one between clever and stupid. Violins, violas and other plucked instruments appear on this delicate number, showing a depth and range within this band’s compositions that one might not expect, based on their other recorded works.

“Reverse Expectant" (8 track demo) is a straightforward rocker that employs the sound of glockenspiel plinks (currently in vogue again now, due to the popular band Cults use of them on their latest album). It’s true that this instrument adds an uplifting sonic texture. Other sounds emerge later on in the song – theremin-like squiggles for instance.

“It’s the Police” brings back the chaos via shredding guitars and shouted, obscured-thru-megaphone vocals (delivered this time by the bands bassist Juliet). It’s a trashy raveup with equal parts Sonic Youth and early Iggy & the Stooges spirit.

“Ingrained” comes at you with clean guitars and easily understandable vocals. “The best is over now,” Caroline sings. The more experimental guitar work returns for the chorus, however.

The albums final track – “Rediffusion” opens in anthemic fashion - with solo buzzing guitar, allowing Caroline ’s doubled vocals to tell the impassioned tale. “La, la, la, la” is the simple (yet oh so effective) central hook. Layered buzzsaw guitars create a textured sonic bed that builds successively, until everything rises to an emotionally charged triumphant conclusion.

With that, this wonderful collection of songs is over.

For anyone who has ever loved the bands I mention in this review (and quite frequently in general) – the Jesus & Mary Chain, Sonic Youth, Iggy & The Stooges – or the other incarnations of the principal members of this band I have written extensively about over the years – The Manhattan Love Suicides, Blanche Hudson Weekend and Ailsa Craig – you will absolutely love this album. You owe it to yourself to go out and pick up a copy of this.

Do it.

Do it now.

________________

For further reference (including how to obtain this album) follow these links:

http://www.squirrelrecords.co.uk/pop-threat/dirt-n-dust

http://davecromwellwrites.blogspot.com/2010/04/blanche-hudson-weekend_26.html

http://mog.com/blog_post/content/4016/2608678

http://davecromwellwrites.blogspot.com/2010/02/ailsa-craig-silent-no-19-10-09.html

http://davecromwellwrites.blogspot.com/2009/01/manhattan-love-suicides-singles.html

http://davecromwellwrites.blogspot.com/2008/08/b.html

http://davecromwellwrites.blogspot.com/2010/10/insect-guide-dark-days-nights.html

On The Road with The Vandelles

noreply@blogger.com (DaveCromwell) — Tue, 09 Aug 2011 21:10:00 +0000

On Saturday, August 6, 2011, a band I have great admiration and respect for - The Vandelles - played a show at Pa's Lounge in Boston - as part of the Deep Heaven Now IV music festival.

Having been invited to accompany the band for this road trip, I quickly whipped together my travel bag and hopped into the van that ace guitarist Christo Buffam was driving.

High tech equipment in hand, we were on the road to Boston.

Along the way, we acknowledged a personal fave town of mine.

Listen and watch - to the song that defines what the summer of 2011 is all about:

"Summer Fling" knows just where to put the "doo doo doo's." We all wanna have one, but it can be more if you want it too. The tone is dark and deep, with waves of Jas and Lu's voices cascading all over you. It's all anchored so solidly by Honey's tom tom thump. Christo's guitar atmospherics and melody lines over Jasno's wall-of-buzz complete the picture.

One of the festival locations was a club called "Precinct" (which not so coincidentally was below the police precinct there). There was another festival going on as well - complete with a huge mechanical dragon.

Its not something you expected to see!

People were allowed to sit on it and move its jaws via hand held wires.

Over at PA's lounge - the two Vandelles "diva's" showed up.
Charming, pretty, photogenic, talented - have I left anything out?
Oh, yeah - they are smart too.
And fun. They are fun to be around.

Notice in the lower left hand corner of this photo - drummer Honey Valentine brings her own cooling fan to shows. That one there is affectionately named "Fan Drescher"

Bassist/ super background vocalist Lulu Lapin revs it up, while Honey checks the tuning of her maraca and frontman Jasno Suarez gets show ready.

Road warrior and all around great guy (and super talented guitarist)
Christo Buffam riffs away!

The projections presented throughout the festival were visually stimulating and fully enhanced what the bands were doing.

____

This one created a "Terminator" like effect on Jas

The audience were totally receptive to what The Vandelles were bringing. Jas & Christo's twin-guitar attack is impressive, and the crowd lapped it up.

Lulu and Jas sing so wonderfully together. Its too bad the vocal mics were not at their best for this particular show.

Lulu captured at an essential moment.

Projected effects make for many interesting photos

_____

Christo rocked - with or without shades

Honey V - hair a flyin'

Lu, Jas & Honey know what summer themes are all about.

Vic Firth sticks bring the ruckus

Christo takes his turn as featured vocalist

And the band plays on

How they sounded at this particular show:

Its a sound I crave.

Christo and his shadow vie for attention

Honey V - substance with style

Christo's pedal effects

More shadowplay

Color and light

Post-performance - we share a laugh

The girls and Crom - its a must do

________

Since it was a music festival - other bands of note who's sets I caught.

Endless Wave

Ghost Box Orchestra

____________

Hi Tiger

Gospel Gossip

and the band that put on the whole event:

28 Degrees Taurus

Reuniting with the band was bassist/vocalist and songwriter Ana Karina DaCosta

Not only is Ana a talented musician, but she is a lovely person who's hospitality made the trip that much sweeter.

Ana let myself and a myriad of other band members crash at her house that night.

She has the cutest cat named Tigger

The view from my appointed couch

Tigger kept us all entertained

Furnishings as only a rocker would do.

_______________________

Some links for those who like to click on things:

www.reverbnation.com/thevandelles

www.last.fm/music/The+Vandelles

www.Facebook.com/pages/The-Vandelles

www.Youtub.com/Vandelles

thevandelles.blogspot.com

http://www.myspace.com/thevandelles

The Raveonettes live @ South Street Seaport / Beekman Beer Gardens

noreply@blogger.com (DaveCromwell) — Wed, 03 Aug 2011 20:03:00 +0000

On the gorgeous Sunday afternoon of July 31, 2011 - the fantastic Raveonettes treated their fans to a free show at the Beekman Beer Garden location at South Street Seaport.

Having personally been a fan of this band for coming up on a decade - and rarely missing a show of theirs each and every time they play New York - well it would have taken wild horses to keep me away from this one.
_____

Joining me for this afternoon journey was fellow MOG music writer Rob - who goes by the screen name of Madrid Spacestation Spain.

I've since given him the nickname of 'drid, and it appears to be very well received.
_________

The Raveonettes are an internationally well-known band who have released a decade of innovative and exciting albums.

Their latest may very well be their best.

They opened this day's show with the lead single off of Raven In The Grave (their latest album) - the anthemic and inspiring "Recharge and Revolt"

"I recharge & revolt my time has come
And I'm tempted to duel even the sun
I'll dodge the rays and kill it with my gun"

_____________

Since I was shooting photos and videos of the show, it was essential to have the "pit pass" wristband.

Using this photo opportunity to display my treasured Raveonettes pin collection. Vintage "Pretty In Black" ones stand alongside current "Raven In The Grave" models.

Having access to the "backstage" area allows for certain opportunities.

Like having a photo taken with featured artists themselves.

Here Mr. Sune Rose Wagner strikes a "tough guy" pose, egged on by the individual I enlisted to shoot this one. We all had a good laugh.

However, it was a rock show we came here to see, and what a glorious one it was.

Wagner and his bandmates played an impeccable set.

Of course that means Mr. Wagner's long-time parter in crime - the Lovely Ms. Sharin Foo

Sune, of course, is the mastermind that makes it all "go"

A brilliantly prolific songwriter, Sune's skills as vocalist, guitar player and producer are known industry-wide.

Another highlight of the set comes from the aforementioned Raven In The Grave album

"War In Heaven"

Sharin mostly plays bass again, for all but two songs during this set. Her voice has always been the perfect compliment for Sune's, and on this day we again were witness to that.

The current Raveonettes also employ two wonderful multi-instrumentalists, who mostly play percussion, but also quite capably fill in on backup guitar - and bass when Sharin temporarily puts it down.

______

Sharin's set list

_______

"I went away to meet my love
I saw things that I can't have
It makes me mad "
______

The current new t-shirt design.

Having full access to the stage area allowed for roaming around and shooting from different angles.

A rare opportunity to shoot the band from behind

The packed crowd was very much into it all

Side-stage shots makes for interesting perspectives as well

The crowd, eagerly pressed up against the barricade

Another brilliant song from their latest album:

"Apparitions"

Listen to the drumming, in particular. Sharin has been quoted as saying the inspiration for this percussive rhythm came from Kate Bush's masterpiece "Running Up That Hill"
You can absolutely hear it.

______

________

Sharin puts down the bass and takes the mic solo to sing "Forget That You're Young"

______________

_________________

_____________

"The only reason [wish] I can't hurt . . .
[to have] a heart of stone"
______________

Another fave and a truly wonderful song from their latest release:

"Ignite"

____________

For their grandest of grand finales

the band plays an inspired "psych rock" raveup of "Aly Walk With Me"

___________________

Post-show - catching up with Ms. Foo
______

This past April I wrote a review of The Ravonettes live show and album - and I was quite pleased (and in fact, very proud) to receive this personal message from Sune himself:

That review can be found here:

http://davecromwellwrites.blogspot.com/2011/04/raveonettes-raven-in-grave-live-on.html
_________

The Raveonettes are the definition of quality and consistency.

If you don't have any of their records - go out and get them now.

http://www.theraveonettes.com/

Bleach Blonde Records

noreply@blogger.com (DaveCromwell) — Wed, 20 Jul 2011 19:33:00 +0000

To celebrate the launch of the brand new Bleach Blonde Records, Richard San Luis and crew will be hosting a party on Saturday July 23rd at Bruar Falls in Brooklyn. Scheduled to appear will be Bleach Blonde recording artists Telenovelas, Blemishes and Youth Castles. Non-label mates Young Boys and Dream Diary will also be playing later in the evening, with DJ sets from members of Young Boys as well.

Blemishes debut single release "Keep It Quiet" does anything but that. Squalls of harsh feedback eventually give way to pitch-bended guitar chords and cathedral hall vocals. The percussion is forward forceful, allowing the bass to slither a groove while layers of guitars and vocals float you down alleyways of pleasurable dreams.

Youth Castles take the dream vibe in more romantic directions. There is a soft soulfulness to "Sight Seeing" which finds patterned percussion segments deeply embedded against the swirling, reverberated vibe. It’s lush and dramatic, and could be the soundtrack of your wonderful summer, if you would just let it.

Host band Telenovelas have progressively evolved over the last year. Since the release of their 3 song EP a year ago, their steady gigging has seen them grow more confident and dynamic with each successive show. The band will soon release a brand new studio track - "Lost in the Sand" via a split 7” single with Australian solo artist Colours on the other side. Hop on over to Bleach Blonde and check out other up and coming artists and stay tuned for future BB releases/showcases.

Listen to all of these bands at my Deli Magazine feature (link here):

http://nyc.thedelimagazine.com/node/6425

All Additional Essential Links:

http://www.Bleachblonderecords.com

http://blemishes.bandcamp.com/

http://youthcastles.bandcamp.com/

http://youngboys.bandcamp.com/

http://www.myspace.com/telenovelasnyc

Ume - Experimental Punk Meets Prog/Metal Chops

noreply@blogger.com (DaveCromwell) — Sun, 26 Jun 2011 01:37:00 +0000

Hailing from Austin Texas is an amazing band that goes by the name of Ume. They play a particular brand of music that they themselves classify as "experimental punk" and "heavy indie." Although I agree that these descriptions apply, I would add to that an extremely high level of musical ability, especially in the massive guitar chops of frontwoman Lauren Langer Larson.

Ume live at The Rock Shop, June 11, 2011
All photos by Dave Cromwell

Playing as a power trio, the band is rounded out by longtime bassist (and Lauren's husband) Eric Larson and recently added drummer Rachel Fuhrer.

Listen in to my recently conducted interview with the band, outside of The Rock Shop, where they had just completed their set on June 11, 2011.

Check out their live rendition on this night of one of their very best songs
The Conductor

Here they rip out a glorious version of "Hurricane II"

Golden hair flying is a frequent visual at an Ume show.

In addition to be a truly masterful guitarist, Lauren is a
wonderful singer as well.

One more live track from this great night of music

Ume the band. Overwhelming you with power.

A captured moment in time.

Find out more about Ume at these links:

http://umemusic.com/

http://umemusic.bandcamp.com/

http://www.facebook.com/umemusic

The Vacant Lots - Hypnotized by Rhythm & Beauty

noreply@blogger.com (DaveCromwell) — Tue, 14 Jun 2011 16:02:00 +0000

One of the things that is so stimulating about being a music lover is discovering artists who not only embrace their influences - but are confident that the filter of their own sensibility can yield something worthy.

Such is the case with Jared Artaud, who through his sound and poetry project which he calls The Vacant Lots, bring a unique vision to life.

What follows here is an interview recently conducted with Mr. Artaud, which allows the artist to describe in his own words the genesis and ongoing reasons for pursing this creative project.

The video that accompanies your song "Cadillac" is some truly inspired animation. How did you come to work with Anthony Gross on this project? Did you have any input or suggestions on how it would look? Great song, by the way.

Well, the footage comes from a french animation piece called La Joie de Vivre. It came out in 1934. Unfortunately, I never had the chance to work with Gross. He died in 1984. I came across this work while searching out footage for our projections. It's a long process of sitting and watching hours upon hours of films, videos, and clippings for our visuals. When I put this film on I was instantly hooked. More like hypnotized by it's rhythm and beauty. I felt immediately connected to it. I decided to sync it up with "Cadillac" thinking the two shared some kinda rhythm and spiritual connection. The two worked really well together and I thought it would make for a great music video.

You make music and have a visual presentation that brings to mind the seminal NYC band The Velvet Underground. Describe what sort of influence or inspiration they have had on you. Which would you say is their best album?

The Velvet Underground were one of the first bands I heard that made an immense impression on my soul. Their music hit me when I was about 16 around the same time I was discovering a lot of other music and poetry like The Stooges, Television, The Doors, Coltrane, Ornette Coleman, Edgar Allan Poe, and Allen Ginsberg. A lot was happening to me during that time, a lot of transitions. The Velvets opened the door and led me through, so to speak. I remember crying the first time I heard "Heroin." I used to spend hours alone in my room with headphones or in my car listening to them. I was totally ensconced in their sound. And I was usually really stoned. I think the elements of simplicity, drone and lyrical poetry really inspired me the most at the time. The guitar playing was so unreal too. I loved the rhythm guitar playing off their albums. Lou Reed and Sterling Morrison, as guitar players really did something for me. I liked how different they were when sized up against the other groups from the sixties I was listening to. I loved their first album very much but it was White Light/White Heat that became my favorite Velvet Underground record.

What about other artists from different era's besides the 1960's? Would you rate Alan Vega as any kind of influence?

I really like Bo Diddley, Chuck Berry and Roy Orbison from the 50's as well as Howlin' Wolf, Muddy Waters and John Lee Hooker. From the 70's some of my favorites are Richard Hell, Patti Smith, New York Dolls, MC5, T Rex and 80's to today include Spacemen 3, Sonic Youth, Galaxie 500, Brian Jonestown Massacre, The Warlocks, The Black Angels, and The Black Ryder to name a few.

I love Suicide, and Alan Vega certainly has inspired me. There are a few handfuls of bands that really have had the power to produce a mysteriously strange effect upon me, Suicide is one of them.

"Let Me Out" is a slower, trance-like pulse. It has a cinematic feel - as if it was meant for one of those riding down the highway, motorcycle adventure movies (like "Easy Rider" for example). Since you use a lot of video and film imagery in your live show, do you mentally conceptualize this kind of imagery when you are writing your songs?

That's a good question. I feel like when I am writing I tend to keep things ambiguous. I really like creating lines that can have many different meanings and can be interpreted in many different ways. I really spend a lot of time on the lyric end of things and work towards the relationship of corresponding abstract lyrics with some kind of vision. Sometimes, I have a better understanding of how things come together after I have written something down. But most of the time it's like meditating on a vision or putting fragments from a dream together. I think there is something to be said for working out the madness within order and vice versa. Maybe taking some lines out or moving them around to change the story. I like to let the subconscious go to work sometimes and see what happens. It can get a little insane, man.

Your song "Confusion" is droney and psychedelic. Did you use any keyboards on the recording or are all the tones generated by guitars? The lyrics contain a vocal catch line that sounds like "insane man" - who is the insane man you are referring to?

I used organs as well as guitars, tanpura, drums and alternative percussion for "Confusion." Well, it's not really one person I am referring to. Although when I hear the song now, I get a strong vision of Rimbaud.

Any books, articles or favorite periodicals that you have read recently and would recommend?

What I have been reading lately is "POP" by Tony Scherman and David Dalton. It's a book on Andy Warhol. Also, Jean Genet's "Funeral Rite"s and Jean Cocteau's "Les Enfants Terribles." I just finished up Octavio Paz's book on Marchel Duchamp called "Appearance Stripped Bear" and finishing up rereading William Burroughs' "The Soft Machine." Also, it might be that time to reread Les Fleurs Du Mal, we'll see.

Check out this video feature interview with Jared from Seven Days, Vermont's alternative newsweekly, http://www.sevendaysvt.com/, done this past February.

*******

The Vacant Lots signed to Mexican Summer and released a 7" single called "Confusion" (MEX 074) which quickly sold out, earlier this year. They were handpicked by Sonic Boom to tour the U.S. with his band Spectrum and were recently invited by The Black Angels to play Austin Psych Fest 4. Their next show is Friday, June 17th opening for Dean Wareham plays Galaxie 500 songs at The Bell House in Brooklyn, NY. Following this show a west coast and UK tour is on the horizon. For more info, follow The Vacant Lots on Facebook, Twitter, and http://www.thevacantlots.com/

Sophie Ellis Bextor - Make A Scene - Album Review

noreply@blogger.com (DaveCromwell) — Mon, 06 Jun 2011 15:42:00 +0000

There has been much written already about the four year gap between albums for British singing star Sophie Ellis Bextor. Though that may be chronologically accurate as far as albums are concerned, to her most ardent fans (present company included) she has really not been out of site for all that long, as she released a steady stream of individual tracks and live performances as stopgaps between the proper full-lengths.

However now we have her fourth official album – Make A Scene in our possession and it is a joy to behold. 14 tracks in all, the record is a technical and emotional tour-de-force anchored by the inclusion of these previously released singles, which now slot proudly against a series of outstanding new songs as well.

Leading off the album is "Revolution" which was written by Sophie, Greg Kurstin and Cathy Dennis. With Keyboards, Programming and Production by Greg Kurstin, Sophie made her way out to Kingsize Soundlabs in Los Angeles, USA to record this one. Like most of the songs on this album, it is first and foremost a dance song. Sophie’s voice starts out run through filters and effects as she repeats a "get on the Revolution" refrain. The lyrics composed are both clever and amusing: “Bang Bang, it's a hold up, You about to give it up, in the booth they're slipping up (which is an amusing line, considering the fact that Sophie DJ's out a lot herself ) “we've been patient long enough” (with keyboard lines running parallel behind Sophie's voice right there). “It's a hold up, Rebels gonna play it tough, Wreck the deck and needle off, Shut it down and turn it up.”

There is an "Uh, uh, uh, oh! Oh, wah oh" vocal passage that provides a very catchy hook.
“Face to face, It's murder on the dance floor (the way she references one of her biggest hits here is both a wink and a nod to both her fans and possibly those that may only know her from that song and perhaps “Groovejet”). Well, of course it would be playing - they are at a DJ booth by a dance floor!

“Cut to the chase, Just give us what we came for” -all of these lines delivered against forceful snare drum shots - with the biggest one coming at the end - sounding like a shotgun blast.
On to the big chorus: “Get on the revolution, Get on the revolution, Get on the revolution [and then the slowed down, deep robotic voice saying] “In this club tonight” Could that really be Sophie’s voice, altered by Greg? Or - did he do that part himself?

The second verse has an equally high energy party vibe. “Bang bang, In the club crowd, Better all fall down and bow” (Interesting imagery, as one could imagine all the dancers doing this at once). “Chaos holding, What a wow, Tearing up the sound now” (Sophie’s voice in a higher register, harmonizing the line). “Now shout it out loud [Deep thunderclaps] Now we're warming up the ground, Wreck the deck and needle off, Shut it down and turn it up [The vocal line doubled with an autotuned harmony]

Back to that great bridge with forceful snare drum shots and then the chorus once more. Followed by yet-another unique vocal hook where Sophie repeats the word Army, Army, Army, Army, Army, Army - in a descending pattern. Though it sound more like "Oh Me!"

That great opening track is followed by one of those wonderful single releases from last year – the glorious “Bittersweet.” If you've lived at all - who hasn't experienced a "bittersweet" relationship? Seriously I wonder if all relationships with people don't wind up with at least some bittersweet qualities. The "sweet" is the joy you feel when encountering someone you have an attraction with. The "bitter" comes with some level of disappointment experienced. Perhaps as the result of too high expectations? The key is to make sure the equation is more sweet than bitter.

So it is with one of this albums "heavyweight" tracks. A lead single that harnessed the formidable skills of Richard Stannard & James Wiltshire - better known as The Freemasons. Sophie is very much involved in the whole writing process, which also includes her "melody twin" Hannah Robinson.

Adding his midas touch to the production duties - the one and only Richard "Biff" Stannard (for Biffco). Both Freemasons and Biff handle the keyboards and programming, with sound mixing done at Biff's studio in Brighton. As always, when she's involved - backing vocals handled by Sophie’s sonic double - Hannah R.

The song has lots of whooshing and percolating synths (of course). Sophie sings the tale of "desire" and "craving the heat" - oh that glorious *heat* The chorus is a perfect melody. If this is Sophie and Hannah's work (and I suspect it is) they really *are* a wonderful songwriting team.
The tale weaves on, with references to "pleasure seeking" and "feeding a need." On initial listen there appears to be more "sweet" than "bitter" here. Perhaps the writing began with the title - then chorus - and it all fit together so perfectly - an entire song was written around it. It wouldn't be the first time this tactic had been employed in art. There have been entire movies made based solely on a title they came up with.

Well, then there is this line -- "any time you call my name" - know anyone like that? They hold power over you. Early lyrics referencing how she "can't choose the fuse that lights the spark" - "lines are blurred and they're dividing" - desiring both "light" and "dark" - shows a level of, if nothing else - then confusion. As is the lines stating "I know I shouldn't go" and "despite my mind." So, there is some trepidation there - but it’s all overtaken by "body curiosity." Hot.

Following that is “Off & On” - the much heralded song from Calvin Harris, Cathy Dennis and Roisin Murphy. One of the very few on the album where Sophie was not involved in the songwriting. One wonders how this was shopped around and how it eventually wound up as a song that will now ultimately be associated as one of Sophie's.

Overall Produced by Calvin Harris, it's noted that the vocals, however, were produced by Cathy Dennis. All the instruments were performed and arranged by Calvin and much like Sophie’s collaborations with Hannah Robinson, the background vocals are sung by Cathy Dennis. As the song begins, Calvin's hyper-active swirling keyboard sequence rises up from the depths and position itself as the dominant sonic focus - which is then met with his striking keyboard chords that mark out the songs progression. Sophie sings: “No I can't get out, I'm trapped inside of it, I won't let go, pain keeps driving it, I only hope and pray, that I can make it pay, keep pushing it, I keep pushing on.” Sophie’s voice is processed and compressed, creating a unique and appealing texture.

“I did the best I could, I learned to sacrifice, I tried to make it work, This time away has done me good (nice harmony background vocal here - Cathy Dennis?) It's a change, from you.” With a chorus that goes “ Keep switching me off and on, and off and on and on,” there is a "got myself back together" 'shadow' or follow-up vocal line that evokes Michael Jackson’s prime dance music era. That one segment of this song alone shows Sophie’s keen ear for dance pop with a little bit of soul. As Sophie has made it very clear over the years how much of a fan she is of MJ, this emergence in her music then should come as little surprise.

A second verse finds Sophie singing about how the "love broke down" and that she had to "rewire it" and how "I tried to make an honest man" [whoah ah oh] "out of you [oooh ooooh oooh ooh - she sings out in an elongated note]" The change and breakdown is a bold move as it allows the listener a moment to move off the dance rhythm and focus briefly on the lyrics, without a beat behind it. "Wired to the sun like a laser beam, Power surge, Come ["COMEEEE"] feel the energy, And I'm ready to shine ["SHIIIINE"] and shine and shine and shine forever. The cut up and repositioned vocals at the end ("got myself" and "you thought I'd be") sound especially catchy.

This song touches on a third kind of "universal theme" (with the two big universal themes being either an "I’m so in love" song - or the sad breakup song) - this one is about something in-between. A relationship where two people keep starting, then stopping, then starting again. Ultimately the writer/singer has had enough and needs to pull themselves out of this frustrating scenario.

Following that is another one of the albums advance lead singles - and also from the golden writing and production team of The Freemasons and Biffco (with Sophie, of course) – the brilliant “Heartbreak (Make Me A Dancer).” Keyboards directly credited to James Wiltshire and the percussion to Russell Small, while additional programming to Richard ("Biff") Stannard.
Along with the percolating dance rhythms driving it, there is clever use of Sophie’s voice as background vocals - echoing the words "heartbreak, heartbreak" (and not a Hannah Robinson to be found anywhere).

The chorus, of course - is perfect. A quintessential sing along hook that gets everyone jumping up and down on the dance floor (as witnessed first hand at the Gay Pride on the Pier event in New York that Sophie appeared at last year). What sets the chorus up even better is the rising synth line leading into it.

The lyrics are both uniquely inventive and universally understood. For anyone who's ever experienced heartbreak - this is your way out. If you want "love [to] stop bringing [you] down" - get out on the dance floor and shake it away! Because why should you have to "do it alone." No - the DJ will give you the answer. The universal saving grace of music.

"Not Giving Up On Love" returns Sophie to the familiar ground that produced her first ever smash hit ("Groovejet") - the partnership with an internationally acclaimed DJ. Enter the all world superstar that is Armin Van Buuren. Additionally a songwriting team of sisters - Olivia and Miriam Nervo contributed significantly to this track.

Lyrically, this evokes one of the greatest fight song ever. Not in some kind of aggressive, assaulting action or even someone who is difficult (and therefore always in clashes with others). More in the sense of that classic song "eye of the tiger." Where they talk about "the key to the fight" and "rising UP (to the challenge of our rival).

Sophie and the Nervo sisters did a brilliant job in capturing this feeling through their impeccably crafted words. Lines like "when we stand *united* - our hearts they beat in time" - of course this is a love song. But not the gooey "oh I'm so in love with you" sentiment - but more of an affirmation of unity - as well as an element of defiance against uncertainty. "It's just the two of us" - you and me against the world. "And if it all falls down" - it doesn't matter. "Nothing else matters" because "I know were strong enough". I'm also not going to quit on us. "I'm not giving up - I'm not giving up on (our) love."

As for the music itself, the No. 1 DJ in the universe cleverly adds a piano line, which stands in stark contrast to the lush synth driven massiveness of the overall track. Once again credit must be given to the Nervo sisters, who are credited with *vocal production* and (move over Hannah) background vocals.

The breakdowns, percussive tracks and handclap sounds shows AVB's highly evolved sense of dynamics.

Since this formula works so well for Sophie, she then teams up with another international DJ for "Just Can’t Fight This Feeling." Presented as an equal collaboration between Sophie and celebrated French dj and multi-instrumentalist Junior Caldera, this song finds itself released on both of their imprints. The two of them were joined in the songwriting by Julien Carret, who also contributed to the producing and mixing. Also, another one of the heavyweight, advanced singles – in 2010 this baby hit No. 1 in both Russia and Poland and No. 13 in Junior’s home country of France.

This album track sounds almost like a dub or remix version, right from the start – with Sophie’s voice cut-up and positioned left and right in the sonic fields. A pure dance floor groove, the lyrics speak of infatuation with one individual, even though you might be "standing in a crowded room." The rhythm is downright bouncy and could easily slot right into one of those rave parties where the ecstasy kids go wild jumping straight up and down. A beatless "why don’t you, why don’t you, why don’t you come with me?" section is both ambient bliss and momentary resting place before the rave begins once more. Does anyone say the word "can’t" (cahahant) any better than Sophie? I think not. Additionally, the lyrical turn about being "overboard" and "can’t be saved" – then a reference to "pray" – clever writing.

It's just one huge song after another as the next track is Sophie's first single release with the arrival of this album, "Starlight." Written by Sophie, Richard X and Hannah Robinson, the noteworthy sound designer Richard X handles production duties, with mixing by Pete Hofmann and backing vocals by the facilitating Hannah Robinson.

Gentle synth chords being the progression as a distant sonic texture feels like the echoes of a cavernous subway or underground station. "Hold a moment in time, And look to the skies” Sophie’s voice is placed right where it belong - full and upfront in the mix. "We are frozen in light, Not a second goes by" she sings with emphasis and passion. "Is it a waking dream holding me?" The way she pronounces the word "holding" shows more emotion in the studio performance. "You never really know till you know. In the blink of any eye, Hearts will unite" is how the verse goes.

The Chorus is big and bold as she sings "We are one, Find us under the starlight, starlight, starlight." Keyboards strikes the chord each time she says the word "starlight." "I could die, Right here in your arms" as a disco percussive highat sounds propel the dance feeling. "We are one, Caught here under the starlight, starlight, Cos tonight we found heaven in the dark." Sophie mentioned in a recent interview how she and Hannah Robinson tend to work well together - how they both write melodies in a similar way. It would be fascinating to be the proverbial fly-on-the-wall during these writing sessions - and see how the two of them come up with these vocal melodies.

"A silhouette in my mind, It's just you and I, And as the starlight shines, Our bodies outline." There are inventive changing chord progression behind this lyric. Sophie's has referred to this song as referencing a whimsical feel. Well, she has written a song called "By Chance" before. Perhaps a future title might possibly be "Impulsive."

"Under Your Touch" is next and comes by way of the prolific team of Sophie, Hannah Robinson and Liam Howe, who also produced the track. Background Vocals (as is on all of the songs she has done with Sophie): Hannah Robinson. The song opens with rushing synths leading into a quintessential disco drum beat. "Come, The night is waiting, I want to waste it on you, Voulez Vous." There's a shadow, repeating background vocal behind each of these lines that adds lushness to it all.

The chorus goes "If I could be under your touch, Nothing would take me away, Cos I've been dreaming you up, again and again." This sentiment works as an allusion to our Illusions - and how we fantasize about this perfect (for you) other person is. "Baby I'm so ready for love, [great background "ahhhhhhh" vox here], I'm so ready for love" [then a robotic background repeat of this line] Want to be under your touch" - where Sophie sings "touuuuuuch" out long and an even more synthetic voice repeats the line after.

Lyrically, the second verse has Sophie going for what she desires - by "breaking tradition" and "making a move" to get it. Her voice is harmonized nicely on the second pass through the chorus. It becomes a bit of a game trying to figure out just which background vocals might be Hannah. Sophie has already stated how well the two of them write melodies together, but I would add to that, how well both of their voices blend on these collaborations.

The third change in the song comes immediately after the second chorus: "The way you've made me fall, It isn't logical, I had a taste and now all I want is you [with the "all I want is you" either doubled or " Hannah'd"] So don't look and see, Come put your hands on me, On and on, nobody else will do [same here - either Sophie or Hannah harmonizes on that last line]. What follows is a nice ambient breakdown passage with no percussion, but plenty of dreamscape synths that almost evoke what producer/keyboardist William Orbit did with Madonna 's "Ray of Light" album] Back into the final chorus, with Sophie now stretching out more, singing out stronger, but still within the structure of it all. It ends with very elegant and serious sounding orchestral strings.

The album's title track - "Make A Scene" extends songwriting credit to Joseph Mount & Sophie and was produced by Futurecut/Metronomy. Ominous, near-industrial sounding synths begin the track, before handing the sonic base over to equally slightly off-kilter saxophones. "I have seen daybreak and sunrise and dawn times before," Sophie beings. Two levels of percussion enter the mix - a higher pitched electronic tambourine-shake and lower register thumping pulse. "But never in time and in motion of four to the floor." This is clever lyrical imagery. “Join my crowd we're one and the same [we have!] We put our best move forward, again and again. We're the people feel outsiders to life, But now we've come to realize we've got to get the fire ignited." Sophie uses the word "ignite" during interviews to describe inspired collaboration. It's a great descriptive term for what happens with relationships that begin to "spark".]

Musically there are jumpy saxophones and synth lines creating a forward motion that's both interesting and slightly odd. There are equally quirky vocal passages, such as the end of the chorus where she says "Cause I'm not afraid of this sceeeeeeene" - extending that last word. At the end of the second verse where Sophie sings "we're going to get the night excited," the vocals there are sampled, cut-up / repeated / twisted / cool (excited-ed? ) The dominant saxophones are reminiscent of Danny Elfman/Oingo Boingo "Dead Man's Party."

The writing team of Sophie, Richard X and Hannah Robinson are responsible for the next track as well, titled "Magic." Once again produced by Richard X for blackmelody.com, with mixing by Pete Hofmann for interfaceyourmusic.com, and as with all the other tracks she's involved in, backing vocals by Hannah Robinson. A "hooo, hooo, hooo, hooo, hooo," vocal phrase introduces this one, as bubbling synths rise up from underneath. The as-expected perfectly placed in the mix percussive clacks foretell the impending arrival of Sophie’s verse. "Love was cold, Just a memory, Was a slave to my history," Sophie sings. That last line could certainly be applied to more universal themes of loves lost - but perhaps Sophie is referencing here her early days as a solo artist, and with that the requisite successes. Sometimes an artist can appear 'chained' to their history, forever trying to recreate a prior event.

"So long, too long Excellent dramatic pause between the above two sets of words] Through the silence I heard you call, My defences began to fall. I'm yours. All yours The Chorus here is as big and instantly likeable as the greatest pop songs. "I need your loooooooooove [singing out that word so strong and long] to warm me like a sun." One of Sophie’s fave themes - the warmth and life affirming qualities of that big yellow ball in the sky that keeps us all alive. "Inside my heart - I still believe in magic." Such a wonderful melody and chord progression. If, as Sophie says, she and Hannah write melodies so easily together - this has to be one of their finest hours.

Sophie's voice speaks the line (asking the question) "Do you believe?" The song moves back to the chorus melody - with smooth, sugary "ahhhhh, ahhhhh's and the word "magic" floating inside it all The final sounds are cool, as if someone grabbed the turning tape reel and suddenly held on to it. Sophie’s overall optimism shines through in this song. In an increasingly uncertainly and cynical world - Sophie still believes in the magic this life can provide - if you are still willing to look for it. To allow it to show. Finally, the line "the two of us - right here - right now - Always" can't help but reveal Sophie’s ongoing, happy relationship.

Now arriving at the previously much discussed "stalker" song. - "Dial My Number," this too is another Liam, Hannah and Sophie composition. Produced and mixed by Liam. As always, background vocals by Hannah. Lyrically, this was one of the most anticipated of all the songs. In interviews, Sophie had been telling this story for a while. How an obsessed fan had gotten hold of her phone number and was spamming her with messages. Well, here she lays it all out. How this person is actually a "coward," and that she is only playing with this individual, as a way of "killing time." How this text sending obsessive couldn’t possibly "understand how she feels" and how she is going to "keep it real."

Her repeated reference to "having fun killing time with you" and "set you right" and "what we have won’t see daylight" implies that she may have actually responded to some of the messages. This is a bit of a revelation, as previously in all interviews, she stated she never did (respond). But seriously, *who* (in their right mind) thinks they could possibly lure Sophie away from her happy marriage? Well, I guess that says it right there - clearly they are *not* "in their right mind."

Musically, the synths are bold and successfully locked to the percussion. Lots of great atmospherics fill the sonic palette. Nice vocal hook via the "and when it's deaddddd on the line, do you think the girl is mine" passage. The rising "ahh, ahh, ahhh" change passage (again - Hannah or Sophie?) adds musical strength overall. The song is a perfect dance floor rave-up. I could picture one of those packed Armin raves throbbing and bouncing up and down to this one.

Digging further into the "deep tracks" on this album comes "Homewrecker." Written by Sophie, Greg Kurstin and Lindy Robbins. Recorded, mixed, produced, keyboards, guitar and programming - all by Greg Kurstin. This one is really his production overall. Recorded in Los Angeles, USA.

Moving away from the buzzy, brassy synths for a moment, a more traditional organ sound leads off this track. In fact, that traditional organ sound could be interpreted as the well know wedding march sound - given this songs lyrical subject matter. Musical point made, the buzzy synths soon take over, as the main progression of the song begins.

Verses begin to tell the tale of someone looking to steal another’s man away, with the fourth line delivering a well textured punchline - "run along and get your own guy." The story evolves about how a flirty individual's "hand lingers on his arm" and how this viper "laughs a bit too hard" - all to make an impression.

A first bridge section is impeccably polished in both song structure and production, as Sophie states how "you know I'm on to you." From there it moves on to what you would almost call another bridge, where Sophie imparts advice "to all you round the world stealing someone else's guy" - how she is wise to them - "I know your kind."

The chorus consists of one single word (the songs title) sung out in a variety of elongated musical notes. There's an angular instrumental section that must be the guitar playing credited to Greg Kurstin. It sounds like a rubbery up and down progression. It’s somewhat unusual and I like the fact that it's included.

It might be interesting to learn how the song "Synchronised" came to Sophie, as she was not involved in writing any of it. Written by Fred Ball and Ina Wroldson and produced by Fred Ball who also provides keyboards and programming. I can see WHY she included it, however - as it has the most wonderfully catchy chorus. The song opens (and closes) with a gentle plucking on, what must be credited-guitarist Ben Epstein’s work - though it actually sounds more like a stringed harp.

The gorgeous chorus goes " And I lock it up baby, I never said I could win you, But I lock it up tightly, And I'm synchronised with you. The second verse reveals a relationship coming apart. "Synchronise our fall." Leading to a change section fully spells it out. "Forever sealing what we never really had. Forever feeling what was gone - before I closed my eyes."
This is a song about a last ditch desperate attempt to capture (or 'synchronise') the feeling of love and connection with someone - that you know is slipping away - or perhaps that you never really had at all. But the song exists in the here and now - and - right now - I'm "locking up" this feeling in my heart. It is quite the emotion wrencher. Sophie never fails to deliver a passionate vocal performance. The final section of the song is layered with Sophie’s voice, singing out with emotional force.

The final track on the album is "Cut Straight To The Heart." This one is Ed Harcourt’s, Dimitri Tikovoi’s and Sophie’s baby. Written by Sophie, Ed Harcourt and Dimitri Tikovoi with Piano, Synths, Strings Arranged and Conducted by: Ed Harcourt, and Produced by: Ed Harcourt and Dimitri Tikovoi.

Dramatic piano chords and synth rushes introduce this one. No percussion at all. "I never saw this coming. Since the beginning you were in control. And now my heart is drumming. Believe this love could maybe save my soul" Twinkling bells effects are used throughout to create the correct mood for a ballad like this.

On the chorus Sophie sings out "Don't let me go" with the word 'leeeet' out long in a torch song style. "Now I'm right where I want to be. Don't let me go. You cut straight to the heart of me" There's a cool instrumental interlude at this point - the piano sounds treated and therefore, creatively unique. There is also a tasteful blending in of actual (not synthesized) string instruments on this track. Violas and Violins.

There are vocal passages later on where Sophie’s voice is doubled and repeating like a background chorus. With mechanical handclap sounds mixed in. Then Sophie sings over top of that in a more forceful and passionate voice ("you cut straight to the heart of me" and the "don't leeeeet meeee go").

Lyrically it is a love song at its basic essence. It goes deeper, though. Sophie sings about her "soul." Of hearing a voice "out of silence." Of the subconscious knowledge that you are right where you should be. With poetic references to "dreams" and "the light." The overall tone is one of reverence, maturity and a self-aware understanding.

Sophie has hinted in recent interviews that this more mature, introspective singer-songwriter style may be the direction she is going on her next album. Time will tell. Until then, we have this wonderful album here and now to enjoy.

Essential Links:

http://www.sophieellisbextor.net/

To purchase this album via digital download, go here:

http://itunes.apple.com/gb/preorder/make-a-scene/id440540653

Beast Make Bomb-Music School Kids Get It Right

noreply@blogger.com (DaveCromwell) — Sun, 29 May 2011 14:34:00 +0000

Beast Make Bomb

Music School Kids Get It Right

Having forged their friendships at noteworthy institutions of higher learning like NYU and the Clive Davis School of Recorded Music, Brooklyn's Beast Make Bomb are beginning to make waves on a national level. Winners of the Converse sponsored "Get Out of the Garage" contest, the band recently completed a number of high profile shows, culminating with a Rolling Stone Magazine live event at Highline Ballroom. With two solid EP's already under their belt, there is much anticipation for the full length album to follow. On their EP "Skinny Legs" the song "Rewind" immediately encapsulates what this band is all about - vocals displaying clearly understood storytelling coupled with guitars that that chime and sometimes veer into dissonance. The rhythm section is first rate - driving everything along the way only a higher level rock band could. On their "Sourpuss" EP the song "1,2,3,4" projects a punk attitude and rhythm, while still maintaining a level of sophisicated musicianship. "Coney Island" turns those tables around somewhat, revealing a tender introspection and further intelligence at work. The refrain "you're going to break my heart" is stated as a knowing resignation to that fact, while still moving forward with the relationship. While "Rough It Out" brings power pop rhythms to life, the lyrics state how "nothing is real when my brain is on the loose." The band was prominently featured during The Deli's B.E.A.F (Best Emerging Artist Festival) on the Emerging NYC Women Stage.

Here is my exclusive video interview with the band (presented in two parts) that was done just after their set at the Highline Ballroom on May 5, 2011.

Watch their gorgeously nostalgic video for the song "Coney Island" (with truly amazing footage of that beach town's golden age).

My photos from their Highline Ballroom show

Glenn and Ceci (pronounced Sess - see)

Ceci and Sam

Hartley

Girls rock guitars

Music school maestros

Crom joins BMB for one shining moment.

Find out more here:

http://beastmakebomb.com/

Emerging New York Psych Rock

noreply@blogger.com (DaveCromwell) — Fri, 13 May 2011 20:15:00 +0000

New York has been a fertile breeding ground for the "shoegaze" or "psych rock" sound for what seems like forever. Beginning with The Velvet Underground in the late 1960's, where else but NYC for continuing this part dreampop, part improvisational/experimental, part simply noise driven sound. It is a music that embraces harsh, agressive feedback and drone along side of sweetly melodic pop songs. Thematically often capturing feelings of heartbreak and longing for something you just can't have.

Broolyn based and Kanine Records signed Dream Diary successfully stradle this line between romantic enthusiasm and slightly off-kilter sonics. Guitar hooks are strong, and background vocals mesh with enough percussion to avoid over-sweetness.

Kordan follow a more synth-driven path, with blended boy/girl vocals and stark keyboard arpeggios that mirror the early-to-mid 90's Projekt records sound, that is dark and moody.

Invisible Days make vocals a priority (not often the case on the 'gaze' front) and flex superior harmonizing capabilities. The dream textures are still there, just not overpowering.

The Rassle present a bratty vocal style and ramshackle rock band sound on songs like "Celebrate the Days" and "Full Speed Ahead." Positioned between the happier side of The Jesus and Mary Chain and Mick Jones' Big Audio Dynamite.

(The) Tony Castles work the dreamier, more romantic side of things as on their song "Black Girls in Dresses." There is a distinctly soulful element displayed here.

Coasting emphasises single-note guitar rhythms and Ventures-style drumming to get their point across. Two-girl vocals complement each other in a joyously trashy way.

Boy/Girl electronic duo Further Reductions marry static electronic percussion and synths to Sisters of Mercy style vocals.

Yellowbirds mesh western twang with a mid 1960s vocal style, while maintaining an edgy vibe to their songwriting. French Camp employ counter-melodies via snaking guitarlines and pulsating keyboard embellishments.

Although New Jersey's Big Troubles point to bands like Lilys, Swirlies and even pre-Loveless MBV as influences, one could make the case for them being the love child of The Pains of Being Pure at Heart. "Freudian Slips" has the bouncy happy hooks, head bobbing good vibe with just the right deviation into Reid Brothers sugary "Just Like Honey" smooth vocal textures.

Sherlock's Daughter

noreply@blogger.com (DaveCromwell) — Wed, 04 May 2011 20:48:00 +0000

NYC Artists on the rise: Sherlock's Daughter May residency at The Knit begins on May 9.

Sydney (Australia) to New York transplants Sherlock’s Daughter are set to begin a month long residency at The Knitting Factory for the next four Monday nights in May. Their sound is a fascinating hybrid of delicate female lead vocals and somewhat unsettling instrumentation, leaning towards the droney and the dreamy. "Song For Old People" emphases a chanting chorus vocal style, with primitive thumping on tree-stump percussion, then building out with pulsing keyboard undercurrents. "Reprise" gives off lullaby sensations via the lead vocal, while presenting an unsettling backdrop of uncertain instrumental accompaniment. “In The End” focuses even further on the gentle qualities of the bands lead voice. “Love can’t hurt us now” is a repeated lyric, as clackety percussion dances over top of deeper thumps and arpeggiated guitar patterns. An extended coda of rain and thunder sounds further establishes the intended mood. “Sons and Daughters” adds background vocals providing a call and response element found in early American spiritual folk music - however, droney guitar textures keep things very much rooted in the psych rock genre. The Knitting Factory shows are all ages and free to attend. - Dave Cromwell

http://nyc.thedelimagazine.com/node/5461

Deli Mag Features - The Rassle and Yellowbirds

noreply@blogger.com (DaveCromwell) — Mon, 02 May 2011 20:43:00 +0000

Here are two features I've written for The Deli Magazine that can now be found on that website.

Best of NYC #90: The Rassle play The Deli's B.E.A.F. fest

http://nyc.thedelimagazine.com/node/5325

The Rassle - who placed at #90 in our latest Best of NYC Emerging Artists Poll - present a bratty vocal style and ramshackle rock band sound on songs like "Celebrate the Days" and "Full Speed Ahead." Positioned between the happier side of The Jesus and Mary Chain and Mick Jones' Big Audio Dynamite. The band played several Deli shows, including one in Austin during SXSW. They will be also performing at one of The Deli's B.E.A.F. (Best of Emerging Artists Fest) show at Brooklyn Bowl on May 26. - Dave Cromwell

and

Deli CD of the Month: Yellowbirds - The Color

Yellowbirds is the latest musical expedition, the “solo” debut, of Texas native Sam Cohen (guitarist/songwriter/vocalist in the psychedelic collective Apollo Sunshine). To Cohen, Texas was not the home of the Bush family or Big Oil, but rather the home to Buddy Holly and the Space Program. New York then, the city Cohen now calls home, is the epicenter of modern art, the home to Charles Mingus and the Velvet Underground. The music of Yellowbirds is full of double-speed auto-harp glissandos, bubbling echo and fuzz guitars played underneath the extistensial lyrics, a place where, as Cohen says, “only the purist tones can be heard.” Yellowbirds has released two singles, both in 2010, “The Rest Of My Life” and “The Honest Ocean” and “The Color,” both featured in his full-length album The Color, which came out in February 2011. The music Cohen creates within the moniker Yellowbirds is, in three simple words, idealistic, dreamy and beautiful.

The Deli CD of the Month

http://nyc.thedelimagazine.com/node/5306

The Raveonettes-Raven In The Grave-Live & On Record

noreply@blogger.com (DaveCromwell) — Thu, 21 Apr 2011 15:46:00 +0000

The Raveonettes are back with a new album and tour!

Raven In The Grave finds the duo of Sune Rose Wagner and Sharin Foo unleashing 14 brand new songs on their eager audience.

In addition to this collection of music, which contains many outstanding tracks - they have embarked on a live show tour that is as stimulating and satisfying as their latest record.

Photo: Thomas King

Anyone who already knows the band and their music, is well aware that Sune Rose Wagner is the mastermind and creative writing force behind everything. In addition to his literary and musicial composition skills - he is an amazing guitarist.

Complementing Sune since the band's inception, is still the beautious Sharin Foo - who - after a lengthy stint as a second guitarist - is now found back on the bass guitar for this go round. Additionally, Sharin's voice remains the perfect harmonious foil for Mr. Wagner.

Photo: Thomas King

Catching their recent triumphant opening night return to New York- via an outstanding live show on Wednesday, April 20 was a treat, indeed.

In addition to Wagner and Foo, the rest of the live unit, circa 2011 consisted of two members who mostly played drums (a two drummer set-up) and occasionally backed up with supplemental guitar work.

Photo: Thomas King

With this latest release and tour, The Raveonettes once again re-established themselves as a progressive force on the pop and psych rock musical landscape.

Wagner's lyrics have always had a cinematic quality to them. Subject matter of romantic desolation have made an appearance more than a few times over the years. However, on this latest record, he's taken things to a new level - as can be found on the brilliant song "Apparitions"

"In the night we'd run around in the streets, jacked up on life and hell
Thunder love has struck us again, were apparations of a sinful spell
In the harsh reality of our lives, we saw tears and tragedy
we joined the pack of rebel angels at night, like apparations of an infantry"

The sonic accompaniment is brilliant in its (at times) stark simplicity. Of course, bubbling underneath is a tension - and the explosion you know is going to come. And come it does, throttling you with the force of a jet engine.

Dark waves engulf you in these (still) uncertain times.

Although Mr. Wagner's themes explore the darker side of the human psyche, there is still room for the wonder of new relationships, and the excitement that can give (if they are allowed to grow).

As is evidenced on another one of the albums outstanding tracks - "Ignite"

Where he sings: "What if I could free you? What if I could make you smile?
What if I could make your heart ignite for just a while?"

The overriding mood of "Raven" is one of acceptance. But not the kind of acceptance where you establish that you are "good." Far from it. In fact - our seeds are evil.

There's even a song by that title. Where the album title is embedded. "Like A Raven In The Grave - young lovers surely spring from these evil seeds."

"When Im sad - and our love is far behind - I long for all that time I spent with you."

Still - there is some room for playtime. "Play with fire - play with you sometimes."

Photo: Thomas King

Foo returns to bass. Voice very much intact.

Sune does wax somewhat optimistically on songs like "Recharge and Revolt." Where he definantly declares his rebirth and intentions to lead again.

The band played two songs for their encore.

The first - Sune's sentimental paean to youthful beauty - "Forget That You're Young" - with lead vocals by Sharin.

And then finally, the full on seizure enducing psych-out (for which I live for)

Photo: Thomas King

Aly - would you please walk with me?

SXSW Photo Blog 6 - March 20, 2011 - Sunday

noreply@blogger.com (DaveCromwell) — Mon, 28 Mar 2011 11:02:00 +0000

Sunday - the final day of SXSW began with views and vistas from a high rise midtown hotel.

Having friends who actually care about your well-being is a wonderful thing, indeed. To them I will forever be grateful.

The Austin skyline looked ready for one final foray into musical mayhem.

Note the bottles of free ice tea on the table to the left. Did you know that one can actually live on this stuff for the good part of two days?

Everyone needs to charge up their devices before heading out.

Jas and Marta share bedspace in that platonic way only road warriors know.

Masters of the roadwagon.

Sunday brunch in Austin

My fave - Huevos Rancheros

Guero's - recommended

Eat to the Beat

Dead Leaf Echo's LG was there too. You gotta be cool to be kind.

Rolling with the EE Presents posse again (this time, actually rolling via "magic bus").

Crom is on board.

Jas works on his tracks to organize his mind.

The rising stars of melodic/memorable psych-pop.
Jason and Elliott.

Hooray! Another Ringo Deathstarr show!

Elliott delivers quality soundwaves.

Daniel is a helluva drummer and may possibly be the perfect bandmate.

Alex and Dan

Speaking of almost perfect - Alex Gehring.

"If you want to sample me - I will show you how."

Pitch bends that produce chills.

Alex had a new bass for this show! It actually has 4 strings on it!

Oh, yeah - the "gender spazzmaster"

"Imagine Hearts" - I am, I am!

"Ooooooh - next to you"

Austin's finest - without a doubt.

Show time list illustrates the how everything can change quickly. Ringo Deathstarr went from playing at 2:00 pm - to 7:00 - then to 4:00. It didn't matter when - I was going to be there - whenever. Phones that send and receive texts are essential tools in working all this out. After an wonderful afternoon there at Cheer Up Charlie's, we then headed over to Emo's for one final bash. Inside the venue was someone who's work I truly admire.

Conversation -- "Hey Cromwell - that's some pretty sweet music coverage you do." Me: "Thanks, David Fricke. You're not half-bad yourself."

We were both there for the much touted Jim Jones Review.

And it's easy to see why. They put on a dynamic rock & roll show.

Combining the good timey boogie-woogie elements of Rod Stewart & The Faces and The New York Dolls - the JJR is an exciting band worth going to see. After that, we ran around, danced to DJ music (great motown, 50's & 60's era rock n' soul) chattering and laughing in a wired state. Christo wisely suggested we go over to the other stage and watch a band called Caspian. I had been hearing about them for a while now, so definitely wanted to see what the fuss was all about.

I was immediately impressed.

The word on them was "they are like Mogwai - only better."

Guess what?

I had to agree with the above statement.

Heavy - atmospheric - instrumental music that build and pummels you.

It is power and emotion transferred to the listener.

My deeper investigation into all of their recorded works have begun. As all good things must eventually come to an end, I said my goodbye's to those who rescued and sustained me throughout the week. It was a brilliant experience
.

Austin Airport. They don't call it "Music City" for nothing.