Fake Plastic Tunes

Watch: The Strypes - Hometown Girl

2013-05-16T10:40:00.002-06:00

The past few months The Strypes have been taking the music scene by storm. Yes they are very young, but also very talented, and have been touted in the music world by the likes of Elton John, Noel Gallagher, Paul Weller, and David Grohl. Their live shows are getting the reputation of must see and best live act of 2013 over seas.

The Strypes newest effort is their single 'Hometown Girls', which will be released on July 8th, and it picks up directly where they left off with their previous single 'Blue Collar Jane'. Enjoy the lyric video for 'Hometown Girls' below.

Album Review: Vampire Weekend - "Modern Vampires of the City"

2013-05-14T10:57:00.002-06:00

The first time I heard Vampire Weekend was, like many people, upon the release of their debut self-titled album back in 2008. I was working a dead end job, but at the point of my first listen, it was spring, and the music was perfectly uplifting: bright, upbeat, pop music with sentiment and heart. The songs revolved around subjects like college, Lil' Jon, and all things east coast, and these subjects can seem a little trivial. This doesn't mean that the album wasn't great, but the group had room to grow, likening themselves to schoolboys.

When Contra was released in 2010, I was eagerly anticipating its revealing. I can distinctly remember it being my birthday and driving through a typical January Wisconsin snow storm to get to a listening party for the album. The bar which held the event was empty, so I made quite the haul of giveaways. Contra was again, filled with spritely, sugar-coated pop songs, but the group took a step forward with the album, providing tracks like "Diplomat's Son" and "Taxi Cab" which opened up their world of songwriting, both lyrically and instrumentally. The album featured strings, electronic drums, and tempo changes galore; coupled with lead singer Ezra Koenig's lyrical growth which seemed to progressively be gaining a sense of self-awareness. The album also saw the rise of keyboardist/multi-instrumentalist Rostam Batmanglij as a major contributor in the band's song writing, and his presence on the songs was much more apparent.

Modern Vampires of the City, the latest release from Vampire Weekend only further propels the band as one of the smartest pop groups of our time, if not ever. While Contra took steps forward from what Vampire Weekend provided, Modern Vampires makes leaps and bounds.

The album opens with "Obvious Bicycle" a song which serves almost as a pep talk, for a man who seems to have lost hope in the world and the people it's filled with. Ezra preaches:

"So keep that list of who to thank in mind/ And don't forget the rich ones who were kind/ Oh, you oughta spare your face the razor/ Because no one's gonna spare the time for you/ Why don't you spare the world a traitor/ Take your wager back and leave before you lose"

The album fully opens up as "Unbelievers" begins. Rich with Americana, the song almost sounds like a Bruce Springsteen track, and despite the song's lyrics, the band states it is not an atheist anthem. Instead it serves as a love song for people lost within the haze of what the world expects from them, whether that is a belief system or not. The song provides a perfect encapsulation of the band's mentality with the album: the messages might be heavy, but the group still has a sense of humor.

"Step" is another fully realization of this mentality. On the surface the track feels heavy and weighed down by its lyrics, but in all actuality, it was inspired by a hip hop song by Souls of Mischief called "Step to my Girl", a song which I beg you to take a listen to. This flips the meaning of the song on its head, once initially seeming like it was about an actual girl, it turns more to an ode to music itself. The lyrics seemed like they come from an overprotective boyfriend, but rather explain the nature of music lovers in our generation. Think of the line "Maybe she's gone and I can't resurrect her/ The truth is she doesn't need me to protect her" not about a girl in Ezra's life, but instead about the music he holds so close to his heart. It'd be easy to get upset about the "homage" to Souls of Mischief, and the general stealing of the song's lead line, but calm down, this is a love song about love songs.

This is what is so amazing about this album. Listeners can take the music for what it's worth on face value, brilliant pop music with soul and actual thought behind it, or they can actually delve deeper into what the lyrics mean. Neither of these approaches is wrong, and neither is more correct than the other. But for the sake of the article, I want to keep peeling back the layers of a few of these tracks like we're watching an episode of Lost.

"Diane Young" is the name of a salon in NYC, which specializes in anti-aging remedies. The song touches on the 'Live Fast, Die Young' mentality that seems to be running rampant in today's society. Ezra has confessed to being a "name fetishist" and with this in mind, think of Diane Young as a play on 'Dying Young.' Another aspect of the song that I love, is not only how it seems to be a track meant for a car chase scene, but the pitch shifting (which appears frequently in MVotC) in it, which was at first alienating but with listen upon listen, the track thrives with this unique aspect held within it.

Songs like "Don't Lie" and "Hannah Hunt" both touch on similar themes, both about love and its incorporation with the fear of aging, or at least staying young. On "Don't Lie" Ezra speaks of a "ticking clock" and a "headstone right in front of you and everyone I know" but also touches on how prior loves mistreated him, begging the notion that life is short and that love can be shorter.

"Hannah Hunt" is an early favorite of mine, a song about being sad, plainly put. The track starts slow, focusing solely on a few piano keys and a simple, swirling bass line. While touching on similar themes as Ezra mentions "a man of faith" and life cycles (specifically through asimiles to plants), the track glistens as it picks up. The drums in the track are the first time you can really tell that the band focused on keeping them "warm" by recording them on analog tapes and then using samples to layer on top of portions of them. By the end of the song Ezra's voice is pitch-perfected to give the sound of him yelling, "If I can't trust you then damn it Hannah/ There's no future, there's no answer/ Though we live on the US dollar/ You and me we got our own sense of time"

Remember when every critic said that Vampire Weekend was just a Paul Simon "Graceland" Cover Band? Well these critics are going to have a heyday with "Everlasting Arms" another favorite of mine from Modern Vampires. And the critics who tear apart Ezra and company for focusing on the themes of love and death too much are going to really tear this one apart too. But that's why I love this track, the group is fully embracing all of this. Ezra sings on the second verse "I hummed the Dies Irae while you played the Hallelujah/ Leave me to my cell, leave me to my cell," the Dies Irae being a latin hymn written in the 13th century about the final day of judgement. I don't know why, but there's something so noble about all of this talk of love and religious judgment. I'm not religious... at all. But Ezra Koenig's lyrics about love and a relationship to God really hit home.

All of this comes to culmination on "Ya Hey" the band's second single (or third, if you include "Step") for Modern Vampires, about [one?] man's relationship with God. Ezra for the first time reveals some sort of vulnerability to religion, singing almost directly to a deity about the disconnect from modern society and said deity, and eventually reveling, "And I can't help but feel that I made some mistakes/ But I let it go" and later "And I think in your heart/ That you see the mistakes/ But you let it go/ Ya-hey, Ya-hey"

The final tracks on the album, "Hudson" and "Young Lion" are where the group throws a few curve balls, as MVotC finishes. Ezra states about "Hudson" that it is surely a departure from the adjectives that normally surround Vampire Weekend. Words like "fun" and "spring," et al, are curbed in the final songs on the album. "Hudson" is an almost haunting track, with the choir and strings backing Ezra's lyrics about inking a deal with a seemingly maleficent man and the eventual recognition of when one's time will end. However it's important for the group to be able to express these types of tones and emotions as they grow as a band; Vampire Weekend shouldn't be all bubblegum and cotton candy and spring and giddy.

To wrap this incredibly long and arduous and probably over-thinking of a pop album, it's important to focus on Vampire Weekend's mentality. They are incredibly proud of this album, with Rostam saying on Twitter that Modern Vampires of the City is his favorite album the group has made to date. Ezra came out and stated in an interview that "we don't want to disrespect the first two albums by dropping a shittier version of them" and that he was looking to create a "dark, epic, dancehall album." And although he admits the album didn't quite turn out like that, the moods and emotion held within Modern Vampires of the City are unlike anything you'd expect from the band that released Vampire Weekend.

Vampire Weekend has hit a stride unlike any other band on the market right now. Their sound is fresh and ripe and developing with every song and album they release. They will go down as one of the most intelligent and acute group of artists of our time. And Modern Vampires of the City only cements that.

Album Rating: 4.8/5

Concert Coverage: Charles Bradley - Turner Hall, May 8

2013-05-13T10:34:00.000-06:00

The "Screaming Eagle of Soul," Charles Bradley graced the Turner Hall stage last Wednesday night to an adorning crowd. His second trip through Milwaukee in as many years, and my second time seeing him, Bradley made it seem like he never left; as if he had made a home in the city the last time he came through. Whether this was because of the crowd, or because of Charles' general demeanor on stage doesn't really matter. But both deserve mentioning.

Turner's audience that night was a mixed bag of people, but Charles Bradley honestly doesn't mind where you're from, what color your skin color is, or what religion you follow. His shows unite all who are within earshot and eyesight of the performer, as he dances and sings in a manner that can send goosebumps up your arm and legitimately warm your heart.

They call Charles the "Screaming Eagle of Soul" most notably because of his go-to move in which he extends his arms and raises them up and down, not in a quick fashion, but rather slowly as he backs away from his microphone and lets his backing band take over as he gyrates and dances. In all honesty, however, they should probably call him the "Ageless Wonder of Soul."

Bradley's story is fairly well known at this point, and deservedly so. To put it briefly, Bradley was born in Gainesville, moved to New York, losing his brother at a young age, living with his mother, and taking odd jobs to help support his family. He lived on the streets for a period of time, and eventually began working as a James Brown cover artist at small clubs. It was at this time that he was discovered by Daptone records, and released his debut album at the age of 62 in 2011.

It's this story that gives Charles Bradley his stage presence. He is a classic performer, his dance moves strike awe and wonder in the crowds he performs for, as he's often tossing his microphone to recoil it back with the cord, falling to his knees as he screams in anguish his soulful lyrics, or even hoisting the microphone stand on his back and carrying it across the stage like Christ did his cross. He is a religious man, so none of this is done in vain. His thrusts and version of The Robot were instant crowd pleasers, especially as he began to use these impressive "skills" to play a theremin - an synthesizer instrument that changes tones as objects get closer to it. Some laughed and others simply yelled out "I LOVE YOU" to which Bradley almost always replies, "I LOVE YOU TOO!"

To go with Bradley's grace, is his incredibly grateful disposition. Bradley's been to hell, and he knows it, which makes him that much more grateful to be where he is. He appreciates every single set of eyes in the crowd, and aims to reach every single heart with his music.

Not to be outdone is Bradley's backing band, lead by guitarist and songwriter Thomas Brenneck and MC/keyboardist for the night Mike Deller, both from The Menahan Street Band. Bradley's show would have little backbone without "his Extraordinaires" and the sheer talent they bring to the stage.

Bradley is touring behind his sophomore album, Victim of Love, and his set contains glorious soulful music from both of his albums, including "Strictly Reserved for You", "You Put the Flame On It", "The World (Is Goin' Up In Flames)" and "Golden Rule", not to mention a fantastic cover of Clarence Carter's "Slip Away".

After multiple outfit changes and instrumental breaks which gave Charles a few moments to gather himself and step offstage, Bradley would come out for an encore and perform his hit "Why Is It So Hard" - a song which holds Charles Bradley's tale within it.

It's tough to say whether Bradley was sweating or crying (or both) during his set, but regardless of what it was, Charles Bradley pours his heart out through his music and on-stage showcase, and it's difficult to find the adjectives to describe the way a Charles Bradley show makes you feel. No matter what, anyone I talked to after the show agreed on one thing: it's unlike anything you'll see this year, if ever again.

Watch: Har Mar Superstar - "Lady, You Shot Me"

2013-05-13T09:35:00.000-06:00

One of 2013's best surprise albums has been Bye Bye 17 from the normally tongue-in-cheek Har Mar Superstar. Har Mar (aka Sean Tillman) has made his career by writing and performing slick R&B songs all while basically doing a point-and-shoot move with his fingers and singing in his underwear. His latest album finds Tillman embracing classic soul music, and it's a welcomed step in a new direction.

Check out his new video for the lead single "Lady, You Shot Me" and pick up his new album at iTunes.

Concert Coverage: Brass Bed & Generationals - Hotel Foster May 5

2013-05-09T10:28:00.000-06:00

Brass Bed

Slowly making a respectable return to the Milwaukee music venue scene, Hotel Foster took over a spot that at one point housed The Globe East and celebrated its second year of operation with Foster Fest. The fest brought some really great acts through over the weekend, including Har Mar Superstar and Jaill, with Generationals closing the celebrations on Sunday. It doesn't take long to come to the realization that Hotel Foster is still a great place to see a show

After a few albums filled with studio maestros and pop aficionados, the Louisiana quartet known as Brass Bed, found themselves comfortable in a branded image of pop-infused fuzz rock. With a noticeable live energy and shows becoming faster, the group developed a disconnect between the stage and studio resulting in their their third studio album, The Secret Will Keep You. With only a few listens to the new album and unfamiliar with any older material, I was swept away with an explosive performance from the group on Sunday night.

Brass Bed

I admit that I am fairly new to the group and with only a few listens under my belt I was unfamiliar with the majority of the set, which is somewhat irrelevant when you have the pleasure of witnessing a phenomenal live band like Brass Bed. Whereas some bands maintain a high level of energy, they often have difficulty maintaining any sense of quality, which proved untrue for Brass Bed. Not only do the guys know their craft, often trading instruments between songs, they have the ability to put on a flawless performance.

Their general attitude was positive overall, joking with the audience as those in attendance yelled for more. The set ended with the lyrics "I'd rather take a bullet/I've been thinkin'," from "A Bullet for You," slightly after a mesmerizing jam filled with distortion and wailing guitars. There is a clear connection between the sounds heard on the albums and their ability to add just that little bit extra live proves them to be a band worth checking out.

Generationals

Sometimes with opening bands, you never know what to expect, but with Brass Beds starting things off right we patiently waited for the New Orleans duo. Made up of Grand Widmer and Ted Joyner, the Generationals have been captivating the ears of many since 2009's Con Law and 2011's Actor Castor and now more than ever with 2013's Heza, which the guys are currently on tour in support of.

With a small light setup in front of American flags and deer antlers hanging off the wall, the duo took the stage at around 11. Accompanied by two additionals members on drums and bass they dove into the hour long set with an array of songs, many which I didn't recognize from previous albums. As I mentioned above for the opening act Brass Bed, it doesn't make a difference whether you know the songs or not when you are dealing with some live acts. Similar to a Dr. Dog show, the Generationals have the ability to hold your your attention throughout, hoping that it will never end.

Generationals

The guys played a considerable amount of songs from Heza, such as, "Spinoza" an immediate crowd pleaser which resembles something from the late 80's with it's upbeat melody. "You Got Me," briefly slowed things down a bit, tapping into the group's more electronic side of things, while "Put a Light On" did the opposite (a personal favorite). At one point the duo showed us a glimpse of 1950's doo-woop with contemporary tones as the duo sang, "When you wear your black sunglasses/Nobody Could change your mind" from Con Law's "Change your Mind."

The night was absolutely perfect from the venue to the performance. Together Brass Bed and Generationals make for a perfect concert bill and while I can only speak for myself, there is a strong chance most in attendance left feeling privileged to have witnessed two phenomenal bands in a fun, intimate environment. With the two acts on the rise I highly recommend checking them out live or at the very least giving Brass Bed's The Secret Will Keep and Generationals Heza a listen... or six.

Watch: Smith Westerns' Dreamy Video for "Varsity"

2013-05-08T12:40:00.000-06:00

A track that has been pumped through my earbuds nearly everyday since its release, Smith Westerns' "Varsity" was fitted with a music video and released today (via PitchforkTV). The track is a representation of everything Smith Westerns has done well in the past and builds on it ten-fold, lyrically and musically. The depth of the track is pure pop brilliance, basically sugar coated with the motifs the group has been known to feature in their music: the unpredictability and dreaminess of young love.

The video's colors and visual motifs fit the song perfectly, and the song itself gives reason to believe that the album, Soft Will (June 25 via Mom+Pop) will be the band's best effort to date.

Watch: The National's New Video "Sea of Love"

2013-05-08T12:25:00.001-06:00

In anticipation for their newest LP (Trouble Will Find Me), The National have released a new video today for "Sea of Love" and although its video is incredibly minimalistic, the song resonates as powerful and emotional, up to par with what you'd expect from the Cincinnati quintet. The multi-layering of the vocals and the emotional aspect of the lyrics provide a window to what's to come from the album, which will be released May 21.

The song contains the lyrics for which the album was named, as lead singer Matt Berninger sings "If I stay here, trouble will find me/ If I stay here, I'll never leave." The track demonstrates fully what the band is capable of, and begs to be seen live (keep your eye for The National as they embark on an expansive tour of the US this summer).

2013 Twilight Concert Series (SLC, UT) Preview

2013-05-08T10:30:00.001-06:00

2013 TWILIGHT CONCERT SERIES LINEUP

July 18th - Belle and Sebastian / Blitzen Trapper!

July 25th - The Flaming Lips / TBD

August 1st - The National / Sharon Van Etten

August 7th - Grizzly Bear / Youth Lagoon

Autust 8th - Erykah Badu / TBD

August 22nd - Kid Cudi / TBD

August 29th - Empire of the Sun / TBD

September 5th - MGMT / TBD

Album of the Week: Deerhunter - "Monomania"

2013-05-08T09:08:00.001-06:00

It's been a little over a month since Deerhunter debuted "Monomania" on the Jimmy Fallon show. With his face hiding behind a wig and what appeared to be a bandaged hand consisting of several severed fingers, frontman Bradford Cox stood front and center in a lengthy rockstar pose as he sang the new single. Towards the end, with his bandmates still playing, Cox walked off stage leaving everyone puzzled. Naturally after their "bizarre" performance, the common question circulating amongst viewers seemed to be, "has Bradford Cox taken it too far?"

Without any previous knowledge of Deerhunter, their behavior can be easy to judge and coined as bizarre, different or even shocking. It's no longer a secret that Cox has an extreme personality and tends to be erratic at times and while we could sit here pondering whether Cox has,"taken it too far," it doesn't make a difference. In a world so flooded with the notion of "indie," Monomania is as relevant as ever and couldn't have come at a better time.

It was around 2008, when I first heard Cryptograms and Microcastle shortly after. At the time it was unlike anything I had heard. The albums rank up there with other classics such a of Montreal's Hissing Fauna, Are You the Destroyer? and Animal Collective's Merriweather Post Pavilion. I can say the same for 2010's Halycon Digest in the sense that the music felt fresh and exciting and while Monomania strays in a new direction, you are absolutely aware that it's Deerhunter.

Their fifth effort may be hard to swallow for diehards expecting or hoping for a continuation of ambient shoegaze or dream pop, as Deerhunter just about abandons that sound entirely. Monomania is without a doubt their most unpredictable, raw and nosiest album to date. It makes sense the majority of the songs came to life around a time plagued with heavy drinking near the release of Parallax (Atlas Sound). "Neon Junkyard" and "Leather Jacket II" open with a swirling array of effects and dense feedback.

For someone who has been praising this album from the start, even I have to admit upon first listen I was a bit confused and a little nervous to uncover the unknown. My nerves were soon calmed with "The Missing," (guitarist) Lockett Pundt's sole contribution to the album, an exceptional piece of pop that is guaranteed to be a hit with fans of his side project, Lotus Plaza.

With a brief break from the album's dissonance, unpredictability continues throughout with the raw and playful garage rock tones heard on, "Pensacula" before returning to brighter tracks such as, "Dream Boat Captain" or "Blue Agent." "Back to the Middle" slightly resembles something from Cryptograms or even Halcyon Digest; arguably the most upbeat track on the album. "Monomania" references Bradford Cox's obsessive traits as he shouts, "come on god hear my said prayer/if you can't send me an angel/send me something else instead," before finding its way back into a cluster of feedback and noise. The title track eventually concludes with the idle of a small motorbike engine.

"Nitebike" is nothing more than Cox's reverbed vocals and acoustic guitar reiterating the fact it was originally recorded on an eight track. "I was punk/I was/ drunk/for a month I had no luck" are select words sung on "Punk (La Vie Antérieure)," the perfect ending to an era of "monomania."

Monomania, an album described as "a very avant-garde rock & roll record," takes you for an unpredictable journey of highs and lows with beauty rarely peering through the chaos. Although the album greatly strays from previous Deerhunter work, the bits and pieces that make Deerhunter a whole are prominent throughout. Despite the given, Deerhunter seems strangely at home, making Monomania one of their most brilliant and relevant works to date.

Watch: Vampire Weekend's Latest Lyric Video for "Ya Hey"

2013-05-03T09:46:00.000-06:00

Still counting down the days until Modern Vampires of the City (we're at 11, now), and today Vampire Weekend gives us another glimpse into the album.

Below is their latest lyric video, for their track called "Ya Hey" which was heard in their live sets as well as during their AmEx Unstaged performance. The song features another interesting twist, using vocal alterations to create a chipmunk-like chorus accompaniment. Have a listen below, and pre-order the album at the group's website by clicking here.

Listen: New Track from Small Black, "No Stranger"

2013-05-01T09:28:00.000-06:00

Definitely worth a listen, if not 4, is this new track from New York's Small Black. "No Stranger" is a track for chillwave's strongest followers, but features enough smooth pop elements and transitions that even the genre's most feared enemies will enjoy it.

The track will appear on the band's album Limits of Desire, which will be released on Jagjaguwar on May 14. Small Black is also heading out on a nationwide tour, the dates for which can be found after the stream/video.

Tour Dates

05/10/13 Brooklyn, NY - 7 Dunham Gallery Art Show
05/29/13 Boston, MA - Brighton Music Hall*
05/30/13 Montreal, QC - Club Lambi*
05/31/13 Toronto, ON - Wrong Bar*
06/01/13 Ferndale, MI - The Loving Touch*
06/03/13 Chicago, IL - Schubas*

06/04/13 Minneapolis, MN - Cedar Cultural Center*

06/07/13 Vancouver, BC - Biltmore Cabaret*
06/08/13 Seattle, WA - Barboza*
06/09/13 Portland, OR - Bunk Bar*
06/11/13 San Francisco, CA - Rickshaw Stop*

06/13/13 Los Angeles, CA - Echoplex*
06/14/13 San Diego, CA - Soda Bar*
06/15/13 Phoenix, AZ - Last Exit Live*
06/17/13 Dallas, TX - Club Dada*
06/18/13 Austin, TX - Red 7*
06/19/13 Houston, TX - Fitzgerald's*
06/21/13 New Orleans, LA - Hi-ho Lounge*
06/22/13 Atlanta, GA - Drunken Unicorn*
06/23/13 Nashville, TN - Exit In*
06/24/13 Chapel Hill, NC - Local 506*
06/25/13 Washington, DC - Rock & Roll Hotel*
06/26/13 Philadelphia, PA - Morgan's Pier*
06/30/13 Brooklyn, NY - Music Hall of Williamsburg*
07/20/13 Denver, CO - The UMS

* - With Heavenly Beat

An Evening with The 1975

2013-04-30T11:33:00.000-06:00

Photos and Interview Feature by: Kellen Nordstrom

There's a lot of intrigue behind The 1975, England's next big group to grab America's attention, so to use the word anxious to describe my state of mind before this interview would be an understatement.

It was literally the day after I got home from SXSW. My mind was warped, and after learning that Matt Healy (frontman of The 1975) and the guys had just played 11 shows in 5 days, I was nervous thinking his brain would be as fried as mine, and the interview process would not go as smoothly as I'd hoped, or that he would feel somewhat reserved during the interview: scheduled exactly one hour before their first U.S. headlining gig. Granted, the group got an alarming amount of support playing at the fest, "it was crazy there was people at these shows, man," Matt said. And the guys have gotten little rest since their EP, Sex, was released last fall, touring the UK and Europe shortly after its release.

All of this recording and touring left Matt in a state of shock when reflecting his SXSW experience. "We went home [to record] Music for Cars, but we've been on tour since December and our whole acceleration and profile is kind of... we've not really been there to see it that much because we've been in a different city everyday. So it hasn't really felt that real. So the fact that so many people from America know who our band are, let alone come to our shows, THAT'S crazy.. like, genuinely crazy."

So that's it. That's how The 1975 were introduced to the United States of America: with a general whirlwind of a festival, playing 11 shows in 5 days, and surviving off of adderall, alcohol, and cigarettes. They then came to Milwaukee to play Turner Hall Ballroom and thus, begin their first headlining tour of the States, and were greeted by a gracious and open-minded crowd.

This may seem like it was rushed, as The 1975's name hadn't been introduced to anyone in the US for more than a few months. But the group has been together longer than their babyfaces would lead you to believe.

"We've been a band for about ten years now," Healy says, "we started when we were like 13, and just kind of like in pop punk and punk bands and cover bands - covering bands like Lagwagon and Bad Religion and then we just kind of grew up together and it just became what we did. It became a very integral part of our identity, and it just happened that we made so much music together when we had gotten to our late teens... we were kind of studying and just making music."

"We didn't know if we wanted to release anything," he continues, "because it was such a personal thing and we'd never done it, and we don't like being judged because we're people. So we didn't know whether we wanted to actually put something out properly; or we knew that we didn't want to put anything out until we were really ready. And we saw so many bands put stuff out there when they were 16 or 17, and it comes back to bite them later on; they lose their credibility for their new project or whatever."

Before Sex-- a 4-song EP released in August 2012, there was the Facedown EP-- a 4 song EP, and after Sex, Music for Cars was released earlier this year. It contains 5 songs. Noticing a trend here?

It seemed bizarre to me that a group like The 1975 would base their entire catalog off of a trio of EPs, (and now, a confirmed fourth EP). But these aren't normal EPs. Each one has a base single, or a lead track as its centerpiece; each EP backed by a song so undeniably catchy, it's almost alienating. Facedown had "The City", Sex had, get ready, "Sex" and Music for Cars has "Chocolate", a song that's been taking American radio air waves by storm.

So what's the strategy behind these three EPs?

"We didn't really know how to do it. We had signed to our best friend's label [Dirty Hit] who is also our manager, and then we just kind of knew that you had to put singles out - that's how it works, regardless of how you want to do it, you need that lead track. But we kind of didn't like the idea of just lead tracks, followed by a remix, followed by a fucking acoustic version, and have that be the EP, you know?

We wanted the EPs to be more like mini-records. We've treated these EPs as our debut album... almost. Because none of our material has been subject to compromise or committee. They're all bodies of work that have been written as EPs, y'know? It's not like 'oh those songs aren't good enough for the album, let's put them on the EP.'

And the idea of doing them more over a period of time, was because... we didn't think people would catch on to it, and we want people to kind of fall in love with us, and you need time and a decent amount of investment in one another, in order to have that happen. And unless you have a body of work that really says something about who you are, then you can't really have that emotional investment."

As you read this I hope you realize something that I actually realized around this point in the interview: these guys are actually incredibly wise when it comes to music and the industry. They seem like they've released 4 full lengths over the past ten years, the way they are maneuvering their releases around their tours; the way they build an EP with its tracks.

This raises some skepticism, however. Releasing nothing but EPs over the course of 9 months, will raise some doubt in the band's ability to put together an actual album of standout tracks, especially if they plan to release an LP solely with new material. Healy squashed this skepticism without me even mentioning it.

"We love pop music, and we love making pop music - not in order to obtain the right perception - but for us, we only really love stuff when we pitch it and it's slightly left-of-center, y'know? It always needs to be in the more "alternative" end of it otherwise you get something that doesn't feel quite human. And I think there's a lot of humanity in our music, even though there's a lot of pop sensibilities, and our EPs, the tracks that surround the lead tracks are more alternative and they do kind of highlight a stylistic experimentation; there's a lot of R&B and 80's pop.

With our album -- we've been together for a long time, and our EPs we wrote the majority of after we wrote the album, we wanted the album to be our version of a John Hughes movie soundtrack.

And that was a decision that we made about like a year and a half ago, that was the plan. And that wasn't based on any sort of reaction from people or development in evolution that we started stylistically, that was something that we've always wanted to do. And it's still what we've done. So I think it will open us up to some criticism because albums like that, the music that we're interested in making, is - when we wrote "Chocolate" we were like if this is a real sort of pursuit of excellence, I want ten of them. I want to feel how I do about that song as I do about every single song on the record. And that's something that we really really focused on doing. It's a big pop record."

Healy would go on to liken this process of thought to how he felt about albums in the 80's. Albums like Michael Jackson's Bad, Peter Gabriel's So, and Paul Simon's Graceland. If The 1975's aim is true, their full length album will encapsulate the nostalgic feeling held within those albums. Not necessarily stylistically, but instead focused on the way the music makes a listener feel. And if you don't feel that way about music, well, Healy is ready to leave you in the dust.

"With our music I always give credit to the saying "we create in the same way that we consume" and I think that's the same with everybody at the moment. Nobody consumes any kind of media in a straight-forward way. So it's difficult, being part of this generation, for me, to try and do that anyway. And I think this record and a lot of our band's music speaks a lot to people our age, and people like me, and I like that. Because I want a sort of "strict door" policy on our band. I don't want fucking idiots who don't understand music getting in, y'know?"

The full length is done. It's ready. Co-produced by The 1975 and Mike Crossey (who's worked with some of the best British acts of the last decade - Arctic Monkeys, Foals, Keane, and The Kooks, most notably), Healy can only describe the process as brilliant and seemingly ideal.

"We kind of fell in love with each other, we made each other better. And it was just a great experience and because there was such a long time and writing process, with no compromise, every one of those songs on the album, at some point or another has been the most important song in my life. And I don't think you get that when you produce a record in six months. You can't be taken somewhere by memory. There's some songs that we wrote that I hated for six months. And then something in my life reminded me of why I loved the song so much and aspired me to finish it off, and that's how I think great records are made; made peacefully through human moments. Thats why the majority of our lyrics are quotes, because I've lived all of them."

All of this is done with the listener in mind. Healy cares about his fans, and wants to have that
connection:

"What I really didn't want to do now, is that there are these people that really love our band, that we really owe our success to, so if we just came out now and didn't do something that was our ilk, like another EP, that is available for it's own credit and merit, I think that would be pretty lame. We don't just want to release a single, and be like 'hey, yeah, we're getting big now, here's LESS of what we do.'"

But this doesn't mean The 1975 don't deserve some reclusiveness. And Healy reserves that right to some seclusion, and holds the band's writing process close to his chest.

"I don't really talk about it that much, to be honest with you. Not in a kind of 'back off' way, but it's hard to explain to people how personal this band is for so many different reasons, for reasons that we'd thought we'd never be able to do what we're doing now. Certain things happened, y'know, and it's the only thing that we've got left. People can know everything about us, and our story, and where we come from, and there's certain things that people don't know, that I'd like to keep personal. Because I don't like people to see us that much as individuals, because we don't really see ourselves that much as individuals anymore. (pauses) That sounds really pretentious right?

I like being The 1975. We all have names, but we're unfinished without each other's company. That's kind of why I don't talk about the way it works, not to kind of break the illusion so people kind of 'get too close' but in the same way that we live in a world now that accessibility is paramount and I think that if you kind of counteract that a little bit it's more refreshing for both people. I love people coming to shows, and I love hanging out with people, but stuff like the writing process and the intricacies of how it works is kind of for us, you know?"

So what's next for The 1975? They've announced their next EP, aptly titled IV, which will be released on May 20/21 (UK/US) and have recently released a video for the single, "The City". The 1975 just finished their first U.S. headlining tour, which found them selling out venues throughout the country.

"It's awesome because playing live now... we've been together for so long, yet we've never ever headlined a show until our first headlining tour, like never once. We never did a one-off headline show, or anything like that, we've only ever opened up for bands. So when we had a sold-out headline tour, it was this kind of juxtaposition of it being very nostalgic and very refreshing at the same time. So it was this amazing dichotomy, it was all four of us - which was so familiar, in an environment we'd always dreamed of but never thought would happen.

The shows? We wanted them to be big, we wanted them to grab people's attentions, because that's kinda the way we are: we want people to get their money's worth. And we've been playing a lot of stuff off of the album. Because what seems to be happening, our popularity is accelerating quite rapidly in the UK, and so we could play all the stuff on the EPs. But we wanted to give people a glimpse of what's to come, so they can have that 'Oh, I remember when they played that before anybody else heard it' because I used to be one of those kids at shows. I used to love all of that shit. I used to live for that shit. For the knowledge of things to do with bands, and to hold things like that personally, and meeting band members. That's why I go out [to the crowd] after shows, not to bask in the glory, but if there are kids there who like my band as much as I liked bands.. that's the only reason I'm doing it now, man. I want people to feel about our records the same way I felt about records; I want them to be a kind of antiquated and nostalgic soundtrack to their memories."

As the interview came to a close, I ended it with a question I like to end a lot of my interviews with, asking Healy how many albums he saw The 1975 making. Allowing a glimpse into not only the current state of the band, but also getting a feel for where they've been.

That's an interesting question. Honestly, to try and project into the future, after how far things have come recently; every expectation has been blown out of the water. So I've almost kind of conditioned myself to second guess every single prediction. There's definitely, 100% going to be two, I know that. So let's stick with two.

After the interview, I joined the Turner Hall crowd and enjoyed another set by local favorite Boy Blue. The 1975 came out after, and absolutely killed it. The sound was spot on, punching you in the gut with ethereal pop and melting the hearts of many of the adorning female fans surrounding me. But more so than anything, the group was incredibly gracious. There wasn't a break in the set that wasn't filled with Healy either saying thank you (and truly meaning it) or giving the audience a glimpse into what The 1975 is all about. And all of this leads me to think that The 1975 is going to gain an exponential amount of praise and success in the coming year, and I'll be the first to say that the guys deserve everything that's coming to them.

Watch: Travis - "Where You Stand"

2013-04-30T08:57:00.000-06:00

Last month Travis graced us with their long awaited new song "Another Guy", and now today we get their official first single of their upcoming seventh album, "Where You Stand".

Look for the new album August 19, 2013.

Watch: The Veils' New Video "Turn From the Rain"

2013-04-29T20:04:00.000-06:00

The Veils recently released their fourth LP Time Strays, We Go (Pitch Beast Records), which is also the first release we have seen from the group in nearly four years. Produced by Finn Andrews and Adam Greenspan (Divine Fits, Arcade Fire), the 10 track full length has been described as a "captivating new era for the band."

"Through The Deep, Dark Wood," the albums first single, opens up with a "driving rhythm" and noticeable energy that carries over onto "Train With No Name." "Dancing with the Tornado" is another energetic percussion drivin track, highlighting frontman Finn Andrew's raw and dynamic vocals. The album is full of life, more specifically on "Turn From the Rain," which features a horn section that perfectly compliments the existing rhythm. The album closes with "Out From The Valley & Into The Stars," a ballad which builds up to a brief "explosive climax" before simmering back down.

The Veils recently performed a handful of the new songs live at Abbey Road Studios such as, "The Pearl" and "Turn From the Rain," which can be enjoyed below.

Watch: Vampire Weekend Performs Two New Songs At AmEx Unstaged Event

2013-04-29T09:18:00.000-06:00

If you weren't able to catch Vampire Weekend's stellar live performance at Roseland Ballroom last night, broadcast live on YouTube (and directed by Steve Buscemi) courtesy of American Express' Unstaged event series, you can head to the Unstaged channel now and check out what you missed.

For now, we have two more new tracks that the group performed last night, off of their third full-length LP, Modern Vampires of the City, which is due out May 14. Yes, I'm counting down the days (we're at 15 as of today). Check out "Everlasting Arms" and album opener, "Obvious Bicycle" below.

Watch: Wild Nothing Reveal "A Dancing Shell"

2013-04-27T09:56:00.004-06:00

Recorded over a 10 day period, Empty Estate, is the follow up EP to 2012's the critically acclaimed Nocturne from the group Wild Nothing. Recorded in Brooklyn, the seven song EP finds frontman Jack Tatum exploring new instruments and sounds giving Wild Nothing a new voice.

Empty Estate will be available on May 14, but until then enjoy the video and song for "A Dancing Shell" below.

Listen: The xx's Contribution to The Great Gatsby, "Together"

2013-04-24T13:08:00.003-06:00

The soundtrack for The Great Gatsby is getting just as much hype as the movie, produced by Jay Z and featuring tracks from Beyonce, Lana Del Ray and even Hova himself. Granted it does have potential stinkers from Gotye, will.I.am and Fergie, but if it brings us great tracks like the "Together" from The xx, well I'll [try to] stop complaining.

The plucking of the violin lays the groundwork for a strikingly eerie song, then eventually turned graceful by the orchestration near the end of the song. Knowing Baz Luhrmann's previous works, I'm incredibly excited to see how he uses this song in the movie.

Watch: Jaws - Friend Like You

2013-04-23T09:34:00.000-06:00

Jaws are a band out of Birmingham, and have been getting very little exposure States side. For me this is the type of band that I always enjoy finding and listening to their music. Their newest release is their Milkshake EP, which features 6 new songs, one being 'Friend Like You', which is occupied by a video. All the footage in the video was filmed by Jaws on their recent tour with Swim Deep, and offers a very raw insight to life with the band. The song itself is very chill and at times the guitar riffs remind me of Explosions in the Sky.

Watch: Splashh - All I Wanna Do

2013-04-23T09:07:00.001-06:00

2013 is going to be a very good year for the Australian/New Zealand band Splashh. They are on the heels of releasing their debut album Comfort, which will be available on June 3rd. The band have their new video for the single "All I Wanna Do" up now and it has a very alt-dreamy feel to it which is right in line with their music.

Daft Punk's New Single "Get Lucky" Available Now

2013-04-18T22:51:00.001-06:00

You've probably heard at least a portion of the track by now, but the official version of "Get Lucky" from Daft Punk is available now. The track is pure funk and pretty much perfect, but what else would you expect from a collaboration between Daft Punk, Nile Rogers, and Pharrell Williams?

"Get Lucky" serves as the first official single from Random Access Memories (May 21). You can download the track via iTunes NOW.

Watch: Iron & Wine Premieres "Joy" Video

2013-04-17T21:24:00.002-06:00

Iron & Wine's fifth full length studio album, Ghost on Ghost, was released yesterday (April 16th). The album, consisting of 12 tracks, has been said to, "exhibit jazz and pop inflences with a more relaxed style." The described style can be heard on the single, "Joy," with the beautifully directed video (Hayley Morris), below.

Watch: Surfer Blood - "Demon Dance" Music Video

2013-04-17T08:58:00.000-06:00

Surfer Blood's third studio effort, and second full-length LP, Pythons is due out on June 11th, and the band seems to be calculating every move they make before its release.

"Demon Dance" is the second single off of Pythons, but the first to receive an accompanying video. The band also revealed they'd be premiering a new single on Saturday called "Slow 6" for Record Store Day, which will also be available as a 7" single on that fine day.

Check out the video for "Demon Dance" below and stay tuned Saturday for "Slow 6" which will be posted at FPT as soon as it goes live!

Album Review: Yeah Yeah Yeahs - "Mosquito"

2013-04-15T20:14:00.000-06:00

Ten years after their debut Fever to Tell, the Yeah Yeah Yeahs are back with the highly anticipated Mosquito, out tomorrow on Interscope Records.

Mosquito, much like its 2010 predecessor It's Blitz!, can be quite the mood swing. Songs like "Subway" and "Wedding Song" leave you hanging on to Karen O's soft, crooning vocals while "Sacrilege" and "Buried Alive [ft. Dr Octagon]" make it hard not to move to.

Other than that, however, Mosquito is entirely it's own creature entirely. While some will surely fault the Yeah Yeah Yeahs for the subdued nature of much of the album, but for me it seemed like a pretty logical transition for the band from Fever to Tell to here. The Yeah Yeah Yeahs still entirely sound like themselves, just a more grown-up version. Karen O may have bleached her hair and apparently started wearing pantsuits, but she can still sing as if her clothing was just as tattered as ten years ago, don't worry.

Subdued though it may be, that doesn't stop much of Mosquito from being weird as hell. (Front-woman Karen O alludes to this refers to it as "tongue-in-cheek" here.) The title track includes Karen O hissing the word "mosquito" over and over, before describing a day in the life of a mosquito (leading me to think she has little concept of how mosquitos actually exist) and buzzing wildly. "Area 52" is a song about aliens, complete with an alien voice singing along during the chorus. None of this makes me not like the songs; frankly, I'm glad the Yeah Yeah Yeahs have maintained their sense of humor toward their own work. Heck, one can look at the album cover for proof of that.

While "Area 52" is amongst the weaker songs on the album, it's a really interesting track. Maybe I have watched enough of The X-Files to consider a campy song about alien abduction valid, but why not? Also, if there is a way to mention Space Oddity/Ziggy Stardust-era David Bowie without actually drawing any sort of comparison, I would like to do that here, thank you. My point is: aliens are cool. I get it, Karen O. I at least kind of get it.

"Despair", one of the last tracks on the album, is a personal highlight. The guitar build in the beginning on the song matches perfectly with the delivery of the emotional lyrics. "You're there my wasted years/Through all of my lonely fears." A rare combination of a downer and a pep talk, the track helps both ground and round out the album.

It's not their strongest effort, to be sure, but Mosquito has enough strong points to hold its own amongst the rest of the Yeah Yeah Yeahs catalog. Fans of the band who can also listen with a sense of humor are likely to be pleased overall with the album. My recommendation comes with the aforementioned warning: it's weird, y'all.

Favorite track: "Sacrilege"
Song you can skip: "Always"

My rating: 3.9/5

Doldrums: Sound Check INTERVIEW

2013-04-15T13:54:00.000-06:00

FPT recently spoke with with Airick Woodhead of Doldrums about their debut album- Lesser Evil, Montreal's DIY scene, Amsterdam, and waiting for the retaliation.

You recently performed at SXSW in Austin, Texas. What was that experience like?

That was my fifth time playing SX and it’s usually a clusterfuck so I try not to make plans. We played a lot of shows. Something about it makes me feel like I’m in Montreal, so that’s nice, I love it.

Lesser Evil's been a long time coming. Does getting an official Doldrums album out there feel as if a weight's been lifted? Do you still believe in the "album"?

Yeah, I do. I listen to albums all the time. I think it’s the best way to hear music. I knew that if I was going to keep doing Doldrums, there needed to be an album. And I’m really happy we pulled it off.

Did you find a favorite place to play during your international tour with Purity Ring?

Oh yea. Amsterdam. And I’ve been back there since, it’s just fucking incredible. Playing a show for hundreds of people on mushrooms in a big warehouse… it’s unbeatable.

How was the music of Doldrums received overseas?

I think European audiences are a little more into the erotic exoticism that it’s in a lot of Canadian music. It’s funny, because over here it’s a little more humble.

Full disclosure- is there as much improv as there seems to be in your live shows?

Yeah, absolutely.

You're primarily located in Montreal. I've heard there's a super strong house party/DIY scene out there. Can you tell us about that?

Yeah, it’s easy to romanticize. Whenever I’ve played any real shows with real venues here, it’s been pretty tragic. The house party/DIY scene is really for me, it’s how I make an impact, how I make a living. The locality kind of breeds complexity I think.

What's your favorite listening format? On which do you think Doldrums sounds best?

My favorite format is still vinyl. I haven’t really listened to one in two years, my record collection is just sitting in a closet. Probably Doldrums sounds the best on mp3, we’re a very digital band. Especially before Lesser Evil was made, we were a band meant to be heard on the internet.

From Napster to iTunes to Spotify, the music industry has gone in some crazy places over the past ten years. Where do you see the music industry going in the next decade?

I guess not a very positive place. The internet is really clamping down with Web 2.0 or whatever it’s called. To me, the golden age of music was 2010 when MySpace was big when you could just cruise around and look at aesthetics and check out the bands. Where as now, I think there’s a little bit of an oligarchy with what it means to be cool in music and it’s actually very hard to be a new band and get any recognition because there’s so many of them. I guess with the cool thing, it’s like with Twitter and Facebook and stuff, it’s now all about what they’re doing and what they look like instead of what music they’re making. And I think the reaction to that will eventually be very strong from the people who don’t give a shit about aesthetic and just want to play music. I keep waiting for the retaliation. Does that make sense?

Concert Recap: Phosphorescent - Lincoln Hall, Chicago, April 13

2013-04-15T10:39:00.004-06:00

If there was ever any doubt that Phosphorescent (the nam de plum of Matthew Houck) has been playing music since 2002, seeing Houck and company in a live setting should squash any skepticism.

But a vast majority of the crowd at Lincoln Hall (Chicago, IL) on April 13 wouldn't have known that, hell, I heard a few members of the audience asking "Who's up next" and "what type of music they play" just before Phosphorescent took the stage. The show was sold out, so I haven't the slightest idea how they got in.

The crowd was much older than many of the shows I've attended at Lincoln Hall, and although it was a 21+ show, I wouldn't have expected most of the crowd to be 35 and up. These members took advantage of the venue's cocktail service, drinking heavily, as if gearing up for a Toby Keith show.

Phosphorescent would take the stage at around 11:15, after the opener Strand of Oaks warmed up the crowd in an admirable fashion. Oaks seemed like a duo of "metal-heads-turned-alt-folk-musicians" and their set was actually really good, as the singer and drummer eventually opened up to the crowd with lines like "I usually write songs about space and the pope... this one's about space" or dedicating a song to the singer's wife, or even admitting "I know I may look feral, but I'll be back [by the merch area] so please come say hello."

Phosphorescent's set was greeted with open arms by the crowd, focusing on intermingling material new and old. It was apparent that the group had overcome a tumultuous day, every member looking a little more stressed than one would normally expect. Apparently there had been some keyboard issues, so their lead keyboardist was forced to illicit someone to find them a new set of keys before the show (whom he eventually thanked graciously). Houck had his fair share of problems on the stage as well, as his guitar strap failed him on multiple occasions. Never to be affected, however, as the frontman would smile or joke about it with the crowd each time it happened.

One of the highlight's of a Phosphorescent show, is it's lack of structure. This sounds like an insult or a downfall, but after scanning the stage, there was no setlist to be found. The group relies on intuition within the band, and trust in frontman Matthew Houck. Their set was clearly discussed and primarily predetermined before taking the stage, but every now and then, Houck could be seen talking to different members of the group, discussing if they wanted to play something different.

(Another spectacle of any Phosphorescent show is their lead keyboardist [seen above], who manages to steal the spotlight time after time. His enthusiasm and just plain old rockstar mentality are a sight for sore eyes, and his talent level is top notch.)

Key moments of the set included a few of Phospho's best tracks from their latest EP, Muchacho, including the lead single "Song for Zula" "Ride On/Right On" and "Terror in the Canyons" however, Mucacho's centerpiece, "Muchacho's Tune" was left off the set, to my disappointment.

The encore was also a nice change of pace, as I had seen the group two other times in the past month, both at SXSW, and both not featuring an encore. Houck would take the stage alone for a few songs, including "Wolves" and a cover of Randy Newman's "Days of Heaven". He was eventually joined on stage by his bandmates for Phosphorescent's usual endcap, but never tiresome, "Los Angeles".

Despite a few over-served members of the crowd, it's difficult for me to believe that most of the members of the audience didn't leave amazed by what they had seen. Even those who felt it necessary to ask fellow audience members what type of music Phosphorescent played.

You can purchase Muchacho here, and take a look at Phosphorescent's remaining tour dates at their website.

All photos taken by Kellen Nordstrom