"it should be said"

We the Wild ‘From the Cities We Fled’ Album Review and Video

2016-08-16T12:15:00.002-07:00

Drenched in cutthroat cut time and amicable angst, Northwest rockers We The Wild capture a nightmare romance with panicked phrasings and a touch of black fingernail polish.

Opening with the misleadingly gentle click of typewriter keys, the 10-track LP begins its onslaught with the pummeling double bass and banshee guitars of “Still Asunder” which, in spite of its sonic density, is equipped with several melodic hooks.

The record remains active, striding along with the rapture of “Roxy, the Cops Are Here!” and the false empathy of “King of Wounds.”

With busy bell-work and pointed lead lines, We the Wild tactfully juggle aggressive gut-punches with clever phrasings and anthemic choruses on their new LP, From The Cities We Fled. Check it out now on Bandcamp.

http://performermag.com/new-music-and-video/reviews/punk/we-the-wild-from-the-cities-we-fled-album-review-and-video/

By Taylor Haag

Made of Boxes on CD

2016-05-04T13:03:00.000-07:00

Made of Boxes on CD

Occupying that same intelligent, melodic indie rock space as Death Cab for Cutie and Arcade Fire, this Seattle quartet is definitely rainy day stuff in a more than geographical way. This eponymous album, their first full-length release after an EP named Alotau, focuses on feelings of loneliness and isolation in a way that neither panders nor seems especially maudlin. Perhaps that's because these four men aren't satisfied with staring out windows and sighing--their music is full of energy and liveliness that might suggest there's a solution to their ennui just around the corner.

Much of this propulsive foundation can be laid at the bass drum pedal of David Testa, who founded the band with guitarist David Chapaitis back in 2013. The focus on percussion is obvious throughout the album--starting off with that visceral kick drum during the album's opener ("Mountains"), Testa's drum kit is recorded with uncommon care, at least for an indie rock band's debut album. If these songs had been performed by a guy with an acoustic guitar and little more, the words "laying it on a bit thick" might come to mind. But the lively tempos and the sheer synergy between the members (which also includes John Hage on keyboards and bass and Luke Brown on guitar, with all four members sharing vocal credits) add another layer to the music that implies a wider range of emotions such as barely suppressed anger and an eagerness to break out of their rut.

I'm not saying the lyrics are overly sentimental on their own, not by a long shot. Take this stanza from "Raconteur":

I'm a color between the lines
Taken back to reality where seasons end and all has been arranged
Where there are love affairs with warfare and the beggars--
The beggars they howl
Oh I don't see things changing, no not on their own
Cause we're all just fucking broke

I think you might find this sentiment quite common at a Bernie Sanders rally--I think it captures the feeling of being young and part of a world that excludes the opinions and the concerns of the young. So if this band winds up going somewhere, you'll understand. They've really tapped into something here, and this is some of the best new music I've heard in a while.

Calisse - Farewell, Blacksheep Reviewed on Babysue

2016-03-01T17:04:00.000-08:00

Calisse - Farewell, Blacksheep (CD, Almabrain, Progressive pop)

We love the blurbs that Kaytea from XO Publicity writes for the projects she's working on. For this album, she described the music as "...weird, absorbing, spellbinding, and beautiful. At any moment, the songs are likely to merge vintage Californian garage-pop, a dash of freakbeat, Texas lysergic threnody, and 70s counter-culture inspired vocals." If you can even begin to understand such a cryptic description (we sure could), then there's a good chance you'll enjoy the wildly trippy sounds on the latest release from Calisse. If there's a single word we would use to describe this music it would be...unpredictable. You really never know from one song to the next what these folks will come up with. And in today's world filled with ultra-predictable carbon copycats, that is saying something. The band is comprised of James Collette, Kevin Hoffman, Rob Iggulden, Karen Moore, and Morganfield Riley. So...what other artists or bands can this be compared to...? Well, possibly a number of different obscure artists from the past and present...and on the other hand, possibly none at all. This music exists purely in its own unique universe. These folks aren't trying to fit into a genre, please any specific fans, or make money. They're just doing what they do and, in the process, creating some wildly inventive stuff that is light years beyond the scope of the average listener. This will undoubtedly end up being one of our favorite albums of 2016. Highly recommended. TOP PICK.

http://www.babysue.com/2016-March-LMNOP-Reviews.html#anchor1503276

Logan Lynn Taking Over Logo TV’s NewNowNext Twitter Account for the Grammy Awards!

2016-02-15T13:09:00.000-08:00

Gather your screens, kids.

This coming Monday, February 15th, is music’s biggest night and I will be taking over Logo TV‘s NewNowNext Blog‘s Twitter account to live tweet the 58th Annual Grammy Awards!

Now go follow NewNowNext on Twitter HERE so you don’t miss a single moment of the snark and .GIF-ing! This is gonna be fun.

(P.S. – Check out my new video “The One” on NewNowNext HERE)

CÂLISSE on CASTING FOR TWO

2016-02-05T20:02:00.001-08:00

On Episode 117 from the Portland based band “CÂLISSE” is James Collette and Morganfield Riley! In this episode the guys cover writing music, getting the musical bug, the accordion and the debut album “Farewell Back Sheep”

Follow CÂLISSE

Download Here

Subscribe On iTunes

Subscribe On Stitcher

Subscribe to Comic Bento

http://castingfortwo.com/post/138736266016

RevoltRevolt in Magnet

2016-01-28T15:18:00.000-08:00

Mayer’s Playlist for January 2016

2016-01-28T14:56:00.000-08:00

Daredevil Man, Redray Frazier (from the self-released Blood in the Water)

Portland-based Frazier has quite the musical pedigree. He has spent time singing gospel music in his father’s Baptist church, touring the country as front-man for a soulful rock band and performing as part of David Byrne’s band.

While the eclectic background informs the music of his solo career, it doesn’t define it. Blood in the Water is a rocking R&B record, pure and simple. Six tracks of taut soul that is rooted in the 1970’s funkified tradition yet has plenty of contemporary flourishes.

I’m not sure if Stevie Wonder has had the pleasure of listening to this release, but I expect he’d break out into a big ol’ grin if he did.

ARTIST SPOTLIGHT + INTERVIEW : STUBBORN SON

2016-01-28T14:28:00.001-08:00

January 26, 2016

Here at KXSU we like to profile local bands we’ve discovered and really, really like, just for you. A three-piece band from Seattle, Stubborn Son consists of singer/guitarist Garrett Lamp, bassist Andrew Knapp and drummer Blair Daly. Their debut album, Birthright (available right here on Amazon and iTunes) shimmers with uninhibited, raw energy, emulating vocals with that bluesy moodiness infused with the grating discord of unadulterated rock-and-roll. It’s hard to believe the group only came together in early 2014.

Just last week, Stubborn Son performed at Neumos for “Love Seattle Vol 2.” as part of a stunning local lineup featuring KXSU regulars Fauna Shade, along with Charms, P.S., Bod, Sunder Heed, Uh Oh Eskimo, Colorworks, The Spider Ferns, and Alec Shaw with all proceeds going to benefit Seattle Children’s Hospital.

To set the scene: All questions were answered by all of Stubborn Son, sitting around crowded over Garrett’s iPhone. Garrett is squatting, Blair is cris-cross-applesauce style and Andrew is taking the pose of one well-known drunken sea captain.

BP: Are you stoked for Neumos tonight?! Are you guys tight with any of other local bands playing?SS: Hell yeah! It was one of our goals for the new year to play Neumos’ stage. Not to mention this show is for a fantastic cause [Seattle Children’s Hospital]. We’ve gotten to know the Acid Tounge guys and Scotty from Fauna Shade over this last year and they make some fantastic tunes!

BP: It says on your site that you’re going to be announcing a tour sometime soon! Can you give us any hints as to where you’re heading?SS: We are working on a few things right now, including Portland, San Fran and Boise. But we’re still getting things nailed down.

BP: What’s your personal favorite song off your album? Mine are Vixen and Make Your Heart Stop. I’ve had them on repeat all afternoon!SS: Wow, thanks, we’re glad you dig them! We really dig “The Broken Heart Proof “(which can be downloaded for free on our Soundcloud page). We also go between a few tracks and digging different things. “Voices” is one of our favorite tracks and “Make Your Heart Stop” is always a damn good time to play live!

BP:Who are your musical influences? Which musicians do you admire?SS: Depends on what day you ask us. We’ve recently been going back through the Jack Whitecatalogue, digging the Arcs record, and Father John Misty. That being said there is always some Beatles and Stones thrown in between all of those.

BP:Have you guys ever wanted to something else besides music?SS: We all thought about being Blue Angel pilots once. But other than that, no. We all really love writing, playing, recording and performing music.

BP: What’s your writing process like? Is it hard? Do you write every day? Like, do you write the lyrics first then the music or the other way around?SS: Typically our writing process starts with lyrics or a hook. Garrett or Andrew will bring a sort of skeleton version of a song to the group and then we’ll all sort of bite into it, chew it up, mull it over and then get to work on it. Andrew and Blair are some fantastic arrangers where Garrett is more of the lyricist. We try to write as much as we can, a lot of songs don’t make the cut and are filed away for some other use or repurpose. Typically though, our process is lyrics/melody, then guitar & bass work, then we work on the rhythms and then put the song back through the ringer again.

BP: Have you played at any local Seattle venues before? Which was your favorite? If not, where would you like to play? Or what’s your favorite venue to play at?SS: Yes, we have played a number of venues here in town. We released Birthright at the Tractor Tavern last summer, we have played the Sunset, the Columbia City Theatre, the Conor Byrne, the old Comet Tavern and a few others too. We really love the Tractor, but there are so many good places to play here in town.

BP: At what point in your career do you think you’ll say “we made it”? What’s your ultimate dream/goal as a band?SS: Not sure. We want to play music and share experiences with people. We really love the opportunity to do that and hope that we can continue to do so till we’re too old.

BP: Okay. Best place to eat in Seattle?SS: Bitterroot BBQ. Hands down the best BBQ we’ve been to. SO.DAMN.GOOD! Late night happy hour after a show…that’s hard to beat.

BP: If you could come up with your own Lays flavor, what would it be?SS: Lays Whiskey Chips. Actually, that might be a good hangover cure…like hair of the dog, but different.

BP: Anything else you’d like to say?SS: Next time we see each other, let’s dance.

Notes from Left of the Dial: Câlisse and more

2016-01-18T18:59:00.002-08:00

In Notes from Left of the Dial this week, Nooga.com spends some time with new music from Câlisse, Stranded Horse, My Golden Calf and Sparrows Gate. What have you been listening to this week?

Câlisse, "Stay"

It began, as many things do, with an introduction. Musicians James Collette and Morganfield Riley were both soundtracking different filmswhen they were introduced by a filmmaker friend. By the next Halloween, they were performing together. Drawing together some musical friends, Collette and Riley organized a cover of Neutral Milk Hotel's "In the Aeroplane Over the Sea," and these sessions went so well that when Collette announced he was recording a solo album, Riley volunteered to produce one of the songs. Their collaboration blossomed and grew to include other musicians, becoming the foundation for Câlisse. The group will release their debut record, "Farewell Black Sheep" on April 15.

On their new single, "Stay," the band creates a sound that feels drenched in the classic indie rock years of the early '90s but still manages to sound timely and timeless. The guitars are thick and sticky and are filled with ragged distortion and a fuzzed-out attitude. Buried beneath all the hiss and grit, though, is a churning melody that sticks to your brain and anchors the track while also lifting high into the upper atmosphere. It's catchy and hits you like a fist to the chest. It's rare that a band understands this contrast between loudness and melody so well, but Câlisse make this awareness seem nothing more than the next logical step. If "Stay" is any indication of what we're to expect from "Farewell Black Sheep," then April can't get here soon enough.

http://nooga.com/172122/notes-from-left-of-the-dial-calisse-and-more/

Sleater-Kinney, Egyptian Room, Indianapolis: Live Review

2015-12-08T13:29:00.001-08:00

Essentially Pop LIVE REVIEW

Guest reviewer Rob Bohn attended Sleater-Kinney’s show at Indianapolis’ Egyptian Room, Old National Centre, on December 4.

After that near-decade of silence, Sleater-Kinney is revealed on-stage, flanked by the surreal and not-so-real antiquities of the Egyptian Room. It’s fitting as they actually ARE the reality in the room. The Egyptian Room is a concert venue in Indianapolis owned by The Ancient Arabic Order of the Nobles of the Mystic Shrine, more commonly called the Freemasons; outside is a minaret and a tiled sun-and-camel-in-the-desert scene, and inside has enough stained glass and Egyptian motifs to make you want to tell stories.

And that’s what S-K does. Corin tells those stories with her voice and guitar; Janet’s drums push you, always emphatic, always driving the story-line; Carrie assails you with her guitar, adding that counter-point you missed in the plot.

In their song ‘Price Tag’, Carrie’s guitar is the repartee to Corin’s vocals – it seems innocuous enough initially, stocking the shelves, working the store, but then – we never really checked the price tag and lured by the devil, the price is too high. S-K has been there, they are no longer the riot-grrrls but have experienced the problems of verisimilitude, with the relative truths and falsehoods of life. And a twinge of levity as well.

If you scan the song titles played, you get the idea – the anthemic (and atomic tourist referencing) ‘No Cities to Love’, ‘Youth Decay’ (I’m curious whose sense of humour is in that title), ‘Bury Our Friends’, and ‘Far Away’ – there is a sense of experienced life, upbeat melancholia, and situational awareness.

On ‘Entertain’, Carrie prowled like a cat and sang an intriguing anti-rhythmic lyric until the chorus; Janet was the wind-swept drummer throughout, and Corin soared on guitar and vocal. But then, there was the long pause and the pose at the start of ‘Jumpers’ – backlit, standing still, shadowy backdrop flailing in a breeze – then, BANG, away it went.

Nearing the finale, Corin had an emotional moment of silence for the Colorado Springs Planned Parenthood attack, and followed it with ‘Gimme Love’, with the song knowing it is never enough, wishing for a little more, running from the wickedness this life imports. Then followed it with ‘Let’s Call It Love’ – unlike what’s implied by the title, it’s not ambivalent but triumphant, with the lighting artist using her LED lights set to a fiery orange for the climax.

At the end, S-K played the crowd-pleasing ‘Modern Girl’ – the fitting finish – melancholic again but also with a picture of a sunny day. And that is the modern Sleater-Kinney: triumphantly surviving and experiencing life at its best and worst, telling stories with a picture of a sunny day. Maybe even with a camel in it.

http://essentiallypop.com/epop/2015/12/sleater-kinney-egyptian-room-indianapolis-live-review/

[Video Premier] The Drainage Redray Frazier

2015-12-04T15:52:00.000-08:00

[Video Premier] Get A First Person Look At Portland's Music Scene With RedRay Frazier's "Blood In The Water"! —

Portland has changed so much in the past 5 years, it’s practically unrecognizable. High rises and apartment complexes are springing up all around town, while people who’ve lived here for generations are pushed out into the margins of the suburbs and beyond.

It’s a time-honored tale of gentrification and urban development – not exactly a newsflash. With things changing so much, on top of so many expectations and stereotypes, it can be hard to find the REAL Portland, or to recognize it when you do.

Portland’s RedRay Frazier is correcting that with “Blood In The Water”, a first person GoPro tour through a day in the life of a working musician in Bridgetown.

“Blood In The Water” came about organically, coming from a desire for Frazier to work with longtime friend Novosti Luke, who directed the video. Frazier knew he wanted to feature a sweet new white electric Reverend guitar, along with DJ Klavical’s also-sweet 1967 AMC Ambassador, and a plan was born.

Frazier & Luke settled on a simple GoPro setup, to counter the technical limitations, and we are left with a personal, intimate glimpse of what life is REALLY like in Portland, and why some of us love it so much!

Following Frazier getting showered and dressed, Frazier takes us on a guided tour of 3/4 of Portland’s quadrants.

Some Recognizable Sites And Sounds From “Blood In The Water”:

Sizzle Pie on Burnside
Old Town Music
Bagdad Theater on Hawthorne
Music Milleniumon Burnside

Frazier’s Portland oddyssey concludes with a raging house show/party, as the band works the crowd into a froth with their low down slinky soul.

Some takeaways from RedRay Frazier’s “Blood In The Water” video:

Sizzle Pie’s so good! Why does it have to be so expensive!
This may be your last chance to remember what Portland sun looks like for a while.
House shows are where it’s at in this city. We need more house shows!
Piano and turntables sound awesome together! More people need to explore this combo.

As everybody wails and gnashes their teeth over the changing face of PDX, RedRay Frazier reminds us to look around and appreciate what we DO have. After all, the only way our culture will survive and thrive is through support, appreciation, and involvement.

You heard it hear first. Get hipped to RedRay Frazier and get involved! This time next year, he’s going to be bouncing the Crystal Ballroom’s dancefloor.

“Blood In The Water” is the opening track off of RedRay Frazier’s debut album, which is out now!
RedRay Frazier FB
@redrayfrazier
http://www.redrayfrazier.com

http://www.thedrainage.net/redray-frazier-video-premier/

ArtPeace looks good on MTV.... "Hi:)"

2015-10-30T16:36:00.001-07:00

Who doesn't look better on MTV... excited to see the hard working ladies in ArtPeace get some well deserved love on a wonderful display of their music in this well done video

Get More: ArtPeace, Hi, Music, More Music Videos

"Free Music" is out world-wide grab it on ITUNES

EagleWolfSnake's ZANG! on CD

2015-10-27T15:39:00.003-07:00

I have to admit that the cover of EagleWolfSnake's new CD looks like something you might find in a middle school art class, a rather generic wilderness portrait of the three eponymous creatures, apparently penned with a black Sharpie, against a white background. I try not to judge CDs or LPs by their covers, but this minimalist approach to marketing seems to suggest a trio of adolescents who have spent too much time in a garage pissing off the neighbors with folk metal. It's a genuine surprise that when you actually load ZANG! into your CD player, you hear something quite different than you expect, catchy and exuberant power pop that will remind you of Franz Ferdinand, Arctic Monkeys or even a touch of The Jam in their later years.

EagleWolfSnake turns out to be one of those trios that sound bigger than they are, much in the vein of The Police, with Nick Bray's layered and anthemic guitar sound, Eli Meyskens' solid and steady bass and Ryan Malley's super-energetic and dense drumming complementing the dense vocal harmonies from all three. (For the record, Malley is responsible for the cover drawing which really isn't that bad, although it might have been transferred from a cocktail napkin.) As a whole the band captures an early-to-mid-'80s sound that's wet with reverb and earnestness without scratching too deeply into the sheer angst of the indie rock that would dominate the scene over the next twenty years.

All eight tracks on ZANG!are, in the best pop tradition, exciting and brief and chock full of the energy that you might see during one of this San Francisco-based band's live performances. Only the closer, "Olivia," slows the proceedings down despite all the cheerful handclaps and playful guitar riffs. While there is a hidden layer to EWS' delivery, prompted perhaps by their previous incarnation as a soul quartet called Music for Animals, EWS is content to be danceable and singable. When your songs have titles like "We Are What We Are," "Whatever You Say," and "Do What You Want," it's best not to be too ponderous. ZANG! is light and fleeting, infused with a feeling that everything's gonna be okay.

If you actually dig the cover of ZANG!, here's some good news: you can buy a T-shirt from the band that immortalizes said image. It's all about the irony, I know. Forget about the cover, however, stick this CD in your car player and head on down the road. You'll come back home with a big, friendly smile on your face.

http://thevinylanachronist.blogspot.com/2015/10/eaglewolfsnakes-zang-on-cd.html

Introducing Câlisse and the Birth of the New Portland Label Almabrain

2015-09-29T13:15:00.002-07:00

New in #PDXmusic

The story of how a chord was struck between the band and producer Jason Driver, leading to the formation of a label while recording their debut record.

by Joanna Cosper

September 21, 2015 11:45am

SEP

30

Wednesday

9pm

Dante's

Câlisse, from left to right: Morganfield Riley, Kevin Hoffman, Karen Moore, James Collette and Rob Iggulden

Summer was nearing the end of its peak. The sun had long since set by the time I pulled onto a side street just blocks away from the Doug Fir Lounge.

In my lap were the directions to a small studio nearby called Fur Vault PDX. Yet, from looking around, there weren’t any signs indicating that this was my destination. It wasn’t until I shuffled across the intersection of SE 10th and Sandy that a group of people standing in front of the designated address became visible. Assuming positive intent, I walked up to them.

A tall presence made his way toward me.

“Hi, you must be Joanna. I’m James and this is the band, Câlisse,” he extended one hand as the other waved to the rest of the group. Turning, he walked toward two older members within the group. “And these are my parents. They’re in town visiting, we’re just finishing up.”

The other bandmates playfully teased lead vocalist James Collette about needing parental guidance for the interview. Their exchange seemed genuine though, as if I had stumbled into a few friends hanging around for the night.

His parents said their goodbyes and promptly left. Everyone began to introduce themselves, putting faces to the names I’ve known only through email: Morganfield Riley as guitarist, Karen Moore on keys and backing vocals, and Rob Iggulden as the band’s drummer. The only exception was bassist Kevin Hoffman who joined us later in the evening. Without much immediacy but with the same friendly disposition, the founder of the band’s label, Almabrain, and their producer/engineer came forward.

“I’m Jason Driver, or JD. Whichever you prefer. Glad to finally meet you,” he shook my hand. Moving inside, we walked through a dimly lit maze of walls strewn with art until we finally came to the studio: Fur Vault PDX.

Band rehearsal at Fur Vault PDX

“The cool thing about Portland is, everyone’s in a band,” Collette says. He jokes, “I’m actually doing a triangle solo project."

“Don’t forget the Zephyr,” Riley adds and everyone laughs. “But seriously. If you’re only in one band, you’re slacking!”

When the laughter dies, the questions begin. Who is Câlisse and what’s the band’s goal? Iggulden smirks after everyone pauses to chew on the question.

“I’m curious too,” he jokes.

Riley answers amid the group’s hesitant giggles. “I don’t think there were any expectations to what we’re supposed to be, but only because of how we started. James had these songs worked out on his acoustic and they were full-fledged songs. Then, he wanted to record this album. I started helping him with some of that.”

Collette and Riley were introduced through a mutual friend last year, initially because both were scoring films at the time. Despite a slow start to the friendship, they gradually grew to respect one another’s work.

Their single “Omnibrain” was the result of their first collaboration late last year, using the equipment Collette had in his home at the time. There was more at stake, however, than two friends simply playing music together. The duo eventually came to realize their shared desire to create something more. They had the material, but they needed some sort of foundation.

“That was the first song we started and the reaction went really well,” Riley continues. “We were both like, we should continue this, and soon it became a collection of songs.” The pair turned their focus toward creating a full-band sound, a decision which led them to the formation of Câlisse and, subsequently, to producer Jason Driver.

Câlisse formed in October 2014 when the duo enlisted Karen Moore, a longtime friend of Collette, to cover a series of songs by Neutral Milk Hotel. At the time, Moore played the part of backing vocalist. Eventually, when the group began to grow serious about recording, Collette approached schoolmate Rob Iggulden to be the band’s drummer. Despite his hectic schedule as a student nearing graduation and playing drums for local band Future Historians, Iggulden agreed.

“We got lucky. We all enjoyed working together,” Collette says.

With the band missing only a bassist, Kevin Hoffman came along at the right time. Having spent time in New Orleans, he was still fresh from moving back to Portland in early spring when he was approached by Collette. The two had known each prior to Hoffman’s trek to Louisiana and had kept in touch throughout his stay.

Together, the five-piece created a unique sound influenced by the elements of alternative rock intertwined with the emotional urgency in Collette's vocals. The next step was to find an affordable studio and jump-start the recording process.

“These guys called me to use the studio and booked it for two days. They came in and just rocked it, you know. I get a lot of bands that come in and aren’t prepared for the studio, so they get in here and start choking,” Driver pauses. “These guys came in and they had it together.”

Riley jumps in the conversation: “This was my first initial experience recording in a studio and it was the best. It was seriously awesome."

“We were a good fit,” Driver says.

“JD is artist-friendly and very supportive. We’re working really fairly with one another, which has given us [the band] a lot of opportunity to plant some seeds locally,” Collette says. “We have a lot of potential for making it work.”

“I want to be able to help a band like these guys and support them enough to get out there touring,” Driver adds. His own background involves a history of playing music as well. Although he initially began as an audio engineer, Driver switched professions early in his career and spent time working as a touring musician. Later, after he married and looked for ways to settle down, he returned to engineering. Regardless, his collection of gear naturally grew. This, combined with the small space he rents for his studio, has provided him with the opportunity to remain affordable and artist-friendly over the years.

Almabrain logo by Collin BuenerkemperThe transition from musician to engineer changed his perspective on what he looks for when bands come to him for his services. “I really love when bands get that magic live. That’s one of the reasons I really like Câlisse. They came in with a band, they wanted to play it as a band, and I think that’s the most important part: how music becomes a kind of magic that happens between people,” Driver says.

Hums of agreement echo among the rest of the group inside the studio. He continues, “That time I spent as a touring musician helped me to understand that there’s much more to engineering than just turning a knob or putting a mic in the right place. It’s more about getting the band in the right frame of mind so they can relax and play."

Collette sits on these words for a while. His own history of working with smaller independent labels in his native state of Mississippi prevents him from completely agreeing with his producer’s sentiments. “It’s still intimidating because there are so many talented people. You meet all these random people and you remember their music. There’s great music here. No one’s going to rub it in your face either, so you’re seeing it at face value.”

“There’s a lot of opportunity in Portland, for sure,” Iggulden chimes in.

“You take it as either intimidation or motivation,” Driver continues. “I have a lot of bands that come in and want to record a good album, but they don’t have the budget. This is like having some support where we can take some of the production costs and make some money back by selling albums. It’s a better business model as far as long-term growth is concerned. My initial decision to create Almabrain with Câlisse rode on that philosophy. ”

Processing the direction our conversation has taken, Collette interrupts: “When is it wrong for an artist to want to be sustainable? We just want to be able to play music and travel. Most importantly, we just want to continue playing. That’s the cool thing about Jason though. We instantly felt like good friends and we’ve actually become good friends since this started.”

Regarding the topic of business, I ask about the possibility of the band looking to crowdsourcing as a way of funding their efforts. Immediately, I'm met with an almost hostile “no” from Riley.

“We’re eager, but we’ve held off from being too eager to jump out there because we want to be sure we’re putting on the best performance that we can in Portland,” Collette explains, lingering briefly on the topic as a way to justify the outburst. “Like I said, there’s a lot of talented people here. We want to step our game up and earn our keep. We want to show we’re working hard.”

From there, the conversation strayed back into a casual tone and humor still remained much on everyone’s agenda as the evening came to a close. The relationship between Câlisse and their producer seemed strong to an outsider walking in that night, almost as if one couldn’t exist without the other. There was definitely a chord struck in the creative process, yet this venture is far from the finish line. The next step is to share the work.

Câlisse’s debut album, 'Farewell, Blacksheep,' is set to be released via Almabrain this November. In the meantime, catch the band performing with And And And and Times Infinity at Dante’s on Wednesday, September 30 and listen to the first single from the upcoming record below.

http://www.vrtxmag.com/articles/introducing-calisse-and-the-birth-of-the-new-portland-label-almabrain/

Stubborn Son on tour now! catch them!

2015-09-12T10:33:00.001-07:00

Video Premiere: Carry Illinois, “Smoke and Medicine”

2015-08-29T22:12:00.002-07:00

Video Premiere: Carry Illinois, “Smoke and Medicine”

Written by Brittney McKenna August 28th, 2015 at 10:55 am

Photo by Pooneh Ghana

There are some childhood memories that stick with us forever. For Carry Illinois’ Lizzy Lehman, an incident with her brother became one such memory, one that inspired her to write the confessional tune “Smoke and Medicine.” The Austin-by-way-of-Evanston songwriter has a knack for channeling small moments into meaningful tunes, as evinced by the band’s debut album Alabaster, which counts its influences as spanning from Laurel Canyon to Smiths hometown Manchester, England.

“I simply didn’t want to hide anymore. ‘Smoke and Medicine’ reveals my imperfections, my secrets, my truths, and my need to express that, like most people, at times I need to quell my fears, anxieties, and sadness through a less than accepted vice,” Lehman tells AS. “When I was in high school, I told on my brother for smoking pot in the garage solely because I was not a fan of the kids he was hanging out with. A few years later, I found myself hiding away, just the same, partaking in order to feel just a little bit better. I needed to apologize for what I had done and own up to my own hypocrisy. I needed to say that I wasn’t always the perfect child, that I did things wrong time and again, and that I needed to decompress from life. I wanted to tell the world that I wasn’t doing anything wrong even though so many believe otherwise. We shove legal chemical cocktails into our throats every day and still become unhinged. It seems that the universal mentality about drugs is backwards, and I want people to know that that is truly how I feel. Clearly, as we have seen over the past few years, the times are changing, laws are changing, and minds are changing. People are beginning to see light and it should be discussed.

When deciding how the song should be portrayed visually, I wanted the movements to express physical and mental struggle as well as growth, change, and freedom. I wanted the video to be simple yet strong. I wanted it to express the trials and tribulations of youth that every young person deals with on a daily basis. Toronto based video director Sammy Rawal did an excellent job bringing my visions to life. The video was filmed in black and white with hand colored red shadows behind Toronto based dancer Ila Kavanagh as she moved. The red shadows emphasize the very difficult dance we go through when navigating the ups and downs of life. It is tough to grow up and get through it all, but if we work together, support one another, and stand up tall, we will be able to breathe through it and take on another day.”

Check out the premiere of Carry Illinois’ “Smoke and Medicine” video below, and get Alabasterhere.

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LA's Folk&B Ladies ArtPeace Announce Release Date For "Free Music" And Video Teaser!

2015-08-25T22:38:00.000-07:00

Website: http://www.weareartpeace.com

ArtPeace's "FREE MUSIC" WILL BE INDEPENDENTLY RELEASED OCTOBER 23RD, 2015 ON A LABEL APPROPRIATELY TITLED "WILD SERAPE."

And here is the video teaser for single "Hi:)" which is out Sept 18th

On one lazy yet fateful Saturday afternoon, Birmingham, Alabama born and Oakland, California raised, singer/songwriter Taura Stinson googled "Serape Headboard". Feeling unimpressed with initial results, she headed over to Craigslist in hopes of finding a local designer willing to make her Serape dreams come true. She came across Chrissy Depauw's "Love Shack Designs" and the two began discussing specs for Taura's new art piece(pun highly intended). As the conversation came to a close, Taura felt a cosmic nudge deep in her soul and asked Chrissy if she'd consider bartering for the headboard. "Sure, what do you do? ". "I'm a songwriter", Taura responded.

Now Taura could have listed her many accolades, being a Grammy nominated, multi-platinum songwriter who has written for/with artists including but not limited to long-time writing partner Raphael Saadiq, Steven Tyler, Andre 3000, Kanye West, Destiny's Child, Kelly Rowland, Paloma Faith, Jennifer Hudson, Solange Knowles and even Earth Wind & Fire, but being humble she didn't. Instead, Chrissy (an accomplished Singer/Songwriter herself) visited Taura's website and jumped at the chance to seal the deal. Chrissy would handcraft a custom Serape headboard for Taura in exchange for a song. Feeling energized by this quirky coincidence, in less than a week Chrissy had completed the most amazing headboard that Taura had ever seen and they quickly arranged their first writing session.

The stars aligned perfectly as Taura and Chrissy connected on a level only understood by fellow Artists completely committed to their craft. They discussed the highs and lows of their journeys during that magical session and their shared view of the state of the music industry, coupled with infectious melodies and a relentless guitar loop... their first song was born.

Chrissy's journey had been the antithesis of Taura's. The San Diego native became a staple at the Santa Monica promenade years ago and her angelic voice would cut through crowds like wild fire. During her tenure she'd sold over 30,000 copies of her independently released self - titled acoustic cd. She has also shared the stage/worked with many artists including Andy Grammer, Capital Cities, Colbie Caillat and Javier Colon.

Both Taura and Chrissy contributed their talents to film. Chrissy served as co-writer and performer of "Set it on Fire" and "Dream" on the Honey 2 soundtrack, while Taura has co-written songs for various films including but not limited to the certified Diamond soundtrack for Men in Black (Will Smith), The Sitter (Jonah Hill), Epic (Beyonce'), Black Nativity (Forrest Whitaker & Angela Bassett) and Rio 2 (Jamie Foxx & Anne Hathaway), but the 2014 Gina Price-Bythewood film "Beyond the Lights" is where their collaborative journey officially began. Their song "Airplay" was featured in the film and was performed by Chrissy.

Both Taura and Chrissy felt their serendipitous union was not destined to end with one song and so they embarked on an musical journey, with Chrissy encouraging Taura to rise from the anonymous background she'd grown accustomed to and join her in splitting vocal duties.

One night Taura had a vision of herself standing alongside Chrissy with the name "ArtPeace" scrolling behind them. "Me, an artist?" She asked herself. Her soul replied, "Hell, yeah".

Immediately they began work on their soon to be released debut album entitled "Free Music". It includes the haunting single "High", co-written and produced by Darien Dorsey who also serves as co-executive producer. Darien's formal training at the Berklee College of Music coupled with Chrissy's undying love of 90's R&B and Taura's eclectic sensibility rendered a pervasive collection of music that bursts through the rigid and confined walls of "genre". ArtPeace describes their sound as "FOLK&B" which marries the organic sound of Folk music with rich lyrics and instrumentation that bleeds like the blues.

In addition to Darien, ArtPeace collaborated with Raphael Saadiq on the Southern hinged backyard song, "Son of A Gun". Saadiq also duets with the ladies on "Heaven Down Here" which is the sonic equivalent of licking batter dipped beaters of Grandmas best kept secret recipe.

Juleah Had Me At Mazzy Star, Oasis, Black Rebel Motorcycle Club, The Verve...

2015-07-26T09:55:00.001-07:00

Stumbled on Austrian multi-instrumentalist Julia Hummer who goes under Juleah WHAT A TREAT!

Following the release of her debut, self-titled EP in 2012, Juleah released the album Shimmering Road and another EP called "Entangled and Entwined" in 2013. Her latest offering, Melt Inside the Sun, is her most unique creation to date. Out for release on May 29, Melt Inside the Sun trades some of Juleah’s signature reverb-soaked guitars and faraway vocals for a new more mature soundscape.

I will agree with her bio above that this release is the most unique over her previous releases. In a genre so hot right not it’s hard to stand out and Julia did just that! I don’t know German, which she sings on 2 tracks, but I felt as if I knew exactly what she was saying.

Dirty blues, hooky guitar riffs and almost stoner rock fuzz is what sold me on my favorite track “Wild Machine”

I see she has put this out on vinyl and that is exactly where I would want to hear this whole album! Recommend checking this gal out!

8.5/10

-KJM

http://www.juleah.com

https://www.facebook.com/juleahmusic

Buy on Amazon here

Revolt Revolt race forward with dynamic restraint

2015-05-18T15:31:00.001-07:00

Step forward, pull back

By Rev. Adam McKinney on May 14, 2015

Revolt Revolt play Olympia’s Le Voyeur Tuesday night. Photo credit: Jason Sievers

Remaining stagnant as an artist is a fear that seemingly everyone besides Roland Emmerich and Michael Bay has. To come back, release after release, with the same sound and vision is death even to superstars like Katy Perry. Reinvention comes, part and parcel, with being a creative person. Even still, there's a worse fear that can arise in the hearts of artists: straying from formula to deafening silence. To use a recent example, Clap Your Hands Say Yeah burst onto the scene with an inscrutable debut, only to fall prey to the indulgences and overreaching that defines the so-called "sophomore slump."

Where is the line between artistic advancement and the misguided reinvention that fundamentally shakes the ground beneath a band's feet? Chris Bock has spent years in various bands, honing his taste for noise-rock and navel-gazing drone. In 2007, he formed Revolt Revolt as an outlet for material he had been preparing as a solo artist. His predilections for post-punk drive firmly in place, the newly christened Revolt Revolt took off for a marathon round of touring and refining what made this band this band.

"I decided I could get different members, if need be, but I just wanted something full on, that I could tour," says Bock from on tour in Santa Cruz. "I really like the people I have now. We just finished up a record that comes out on August 7th, and it was pretty effortless."

Revolt Revolt put out two albums since their formation in 2007, both of which mostly came from the writings of Chris Bock, but the band eventually settled down with Mike Muir (guitar), Jake Fredrickson (bass), and Ben Wieland (drums). On their forthcoming EP, the band comes together to make a truly collaborative record. Wild Unraveling is a remarkably compelling album that truly feels like the work of a group of artists working together to create something of a forward step from what Revolt Revolt has done before.

While the post-punk and noise-rock leanings still exist, Wild Unraveling unveils a new side of the band that doesn't quite stand in opposition to their previous work, but rather indicates a surge forward in emotion and feeling, not to mention the extraordinary texture and novelty provided by opera singer Emma Doupe, as well as Built to Spill's Doug Martsch providing idiosyncratic guitar on several tracks. Bock's trademark rasping whisper is accompanied by a surprisingly complex bed of instrumentation.

"Our earlier stuff was a little more punk-influenced, a little more rocking out, which is cool and all," says Bock. "There is still some of that, even in the stuff we're doing now, but my guys and I are taking a few more chances. We brought in some different instrumentation, like this steel guitar player that I just happened to meet by chance. He came on and played some really cool stuff. We brought an opera singer in, because I heard this melody in my head, and I found a girl to do it. Doug Martsch happened to be in town, and he's known us for a long time. ... We've dynamically enhanced (our music,) I guess. That's a good way to put it."

Where Revolt Revolt find themselves is in a place where they break new ground through the ingenious use of restraint. Instead of sounding like a band backing down, Revolt Revolt sound more assured than ever. This is all not to say that Wild Unraveling is sparse; on the contrary, it teems with details and fun diversions to create a tapestry that shows a band in transition. Rather than rotting in stagnation, or finding themselves neck-deep in preposterous reinvention, Revolt Revolt are a band racing forward.

LE VOYEUR, w/ Mindrips, guests, May 19, 10 p.m., No cover, 404 E. 4th Ave., Olympia, 360.943.5710

http://www.weeklyvolcano.com

KEOL New Music: REVOLT REVOLT, Wild Unraveling

2015-05-14T15:45:00.003-07:00

By KEOL Staff

Boise’s Revolt Revolt mixes healthy doses of ‘60’s-style garage rock, hard rock, noise, opera and space/psychedelic rock to create a unique experience for the listener. Their latest EP release, Wild Unraveling, is a creative collaboration between group founder, guitarist and vocalist Chris Bock, drummer Ben Wieland, guitarist Mike Muir and bassist Jake Fredrickson.

“Catch the Light” offers sounds like some late ‘60’s or early ‘70’s experimentation by artists such as David Bowie and The Velvet Underground. Subdued lyrics by Bock and spacey guitar riffs from guest musician Doug Martsch of Built to Spill meld beautifully with the rhythm created by Wieland and Fredrickson.

“Wilderness” offers a funky, Red Chili Peppers-like undertone that leads to some guitar work and a sound reminiscent of 1969 Jimi Hendrix.

Guest musician Todd Dunnigan, a bandmate of Martsch, adds background organ work to “Hold on Let’s Go” that teeters on the edge of gospel and something Al Kooper may have played on a Bob Dylan tune in the ‘60’s. The sound will bring older listeners back to a time when rock music wasn’t simply a couple of guitarists and a drummer, but a wall of sound that often included piano or an organ as well. The quiet of the song is interrupted, quite nicely however, by some stellar guitar work by Bock, Muir and Martsch.

Sounding musically more like something from the 1990’s, “Every Day Youth” adds several voice-overs early in the track before any vocals begin. Mid-way through the song, the band switches up the tempo and delivers a heavier sound with pounding percussion and staccato lead guitar. The track doesn’t end so much as it blends into the final song on the EP, “Never Fade.”

The band ends with something that might be a cross between Pink Floyd, The Smashing Pumpkins and Alan Parson Project. The sound is full and loud and constant, yet holds a beauty deep within in the form of guest singer Emma Doupe’s operatic vocals. Think “Great Gig in the Sky” plus “Welcome to the Machine” with a splash of “Tonight, Tonight” and a sprinkling of “I, Robot.” Don’t be confused by the silence mid-song; there is more to come before it’s all over.

The lyrics and vocal work throughout the EP add the perfect counterbalance to the often loud and disjointed guitar solos of Bock and crashing cymbals of Wieland. The sound, even when it includes some of the industrial noise elements, is not overly intrusive to the listener. In fact, much of it has an underlying calming effect.

Revolt Revolt plays Jefferson Street Depot on May 23. Visit them online at www.revoltrevolt.com or find them on Facebook.

http://eouvoice.com/2015/05/08/keol-new-music-review-3/

PICTURE THIS: Lila Rose @ The Independent, San Francisco 5/7/2015

2015-05-10T15:57:00.001-07:00

The Independent in San Francisco was the seen of a theatrical event as much as a concert. Lila Rose released her new album WE. ANIMALS. Just before her set the cloaked object on stage was reveled to be a cage. As her set started that cage came alive with Rose inside it. She was surrounded by ghostly images of animals and faces. On one side of the stage playing drums was the producer of the album Daniel Garcia. The other side of the stage was the excellent string quartet Squid Inc. Her music is dramatic and theatrical with influences from Florence and the Machine and Björk. The set finished with the title song We Animals. Back inside the cage. Back behind bars Rose left us with the word’s “we are animals, least we forget it.”

May 10. 2015 | By Don Albonico

http://www.theowlmag.com/photos-pictures/picture-this-lila-rose-the-independent-san-francisco-572015/

Taking their "driving, noise drenched" sound for a little fresh air

2015-05-04T16:20:00.003-07:00

Revolt Revolt

Tuesday, May 5 at The Crux

By Zach Hagadone

Revolt Revolt is hitting the road.

It's road season for a lot of bands and local rockers Revolt Revolt are taking their "driving, noise drenched" sound for a little fresh air.

Teamed up with fellow locals, garage band Mindrips, Revolt Revolt is kicking off a monthlong West Coast tour ahead of the Aug. 4 release of new EP Wild Unraveling. First stop: The Crux on May 5 for a 6 p.m., all-ages show. From there it's on to Pocatello, Las Vegas and a southward swing to Pasadena, Calif. The road home leads through Portland, Ore.; Olympia, Wash.; and Seattle. The tour wraps with a TBA Boise show on May 23.

According to Revolt Revolt's website, Wild Unraveling is the first collective project for the current line-up of the band, which solidified in 2014, and includes special guests Doug Martsch and Todd Dunnigan, of Built to Spill, and Earl Hughes, whose bona fides include work with Alabama, The Beach Boys, Don Ho and Freddy Fender.

http://www.boiseweekly.com/boise/revolt-revolt/Content?oid=3461521

REVOLT REVOLT finally announce their upcoming release "Wild Unraveling" and May tour dates

2015-04-20T15:56:00.001-07:00

BIG NEWS: REVOLT REVOLT has finally announced their upcoming release "Wild Unraveling" and its release date of Aug 4th. And a full list of May west coast tour dates!

May Tour - Revolt Revolt + Mindrips
05.05.15 - Boise, ID @ The Crux
05.06.15 - Pocatello, ID @ Flipside Lounge
05.07.15 - Las Vegas, NV @ Double Down
05.08.15 - Pasadena, CA @ Old Towne
05.09.15 - SoCAL, CA @ TBA
05.10.15 - Santa Monica, CA @ The Trip
05.11.15 - San Jose, CA @ TBA
05.12.15 - Santa Cruz, CA @ Blue Lagoon
05.13.15 - Oakland, CA @ Stork Club
05.14.15 - Ashland, OR @ Club 66
05.15.15 - Medford, OR @ Johnny B's
05.16.15 - Corvallis, OR @ Harrison Bar
05.17.15 - St Johns, OR @ Slim’s
05.18.15 - Portland, OR @Ash Street
05.19.15 - Olympia,WA @ Le Voyeur
05.20.15 - Seattle, WA @ LoFi w/Skate
05.21.15 - Leavenworth, WA @ Der Hinterhof
05.22.15 - Yakima, WA @ The Sports Center

The music of RevoltRevolt incorporates simple 60s garage band drones, hard rock, industrial noise, opera and space music to produce a challenging, mind altering experience. On Wild Unraveling, they take their driving, noise drenched, delicately nuanced sound in surprising new directions. "The lyrics and music on this record are about being on the edge," says group founder, guitarist and singer Christopher Bock. "I relate a lot to the wilderness, I feel that we are beautiful, unique, interesting beings, all on our own epic journeys. The album title implies letting go and opening up to the wild. The songs all talk about being on the edge, not knowing, realizing that nothing is sure in life, but change."

After a lifetime of playing in bands, Bock took a brief time out from music, returning in 2007 to start Revolt Revolt. "I had a friend mad enough to join me as a duo and we began playing gigs, touring like crazy" Bock says. "We gradually evolved into today's quartet with Jake (Fredrickson), who is a tightly grooved eclectic bass player, Ben (Wieland) who delivers dynamically solid killer drums. Guitarist Mike Muir has the balance from a delicate touch to a definitive shred; he's the perfect compliment to the band and my dark, chord heavy approach."

The adventurous sonic palette and open-ended approach to the recording of Wild Unraveling allowed band members to give full expression to their creative impulses. "I wrote the majority of the songs on our first two albums, Chordata and Latah Nights," Bock says. "This record was a cooperative venture. We all brought in ideas and developed them together. It was written in three weeks and recorded and mixed in a few months, with producer/engineer Todd Dunnigan (Built to Spill, Caustic Resin)."

The EP opens with "Catch the Light." Wieland's drums and Fredrickson's bass lock down a mellow, Velvet Underground groove to compliment Bock's whispered vocal, which urges us to forget our pains and reach for the light. Guest guitarist, Built to Spill's Doug Martsch adds shimmering, tremolo drenched guitar figures to the background, before stepping up with an eerie solo. Dunnigan's gospel tinged organ gives the poignant melody of "Hold On Let's Let Go" a dark, unnerving tone. Bock's bluesy, distorted solo duels with Martsch's mixed down, metallic shredding to disturb the song's calm, quiet feel, then quickly vanishes to let the woeful vocals and mournful sustained notes of special guest Earl Hughes's steel guitar take the tune home.

"Never Fade" is a droning, cacophonous sound sculpture that sets Fredrickson's subterranean bass, Wieland's wild cymbal splashes and an avalanche of guitar noise produced by Bock, Martsch and Muir against the operatic improvisations of guest vocalist Emma Doupe. "The EP is balanced between taking things too far and reeling them back into place," Bock says. "It's our most intricate, dynamic album. "It really challenged us to move in new creative directions."

RevoltRevolt is the culmination of Chris Bock's long musical journey. "My mother got me a guitar at age 12, after I'd been blown away by a Mariachi group in Mexico City," he recalls. "I learned how to play songs off of the radio. I was captivated by the process of songwriting. My father is a guitar player and my grandmother and grandfather met while playing in a symphony orchestra in France. My fathers side of the family were mostly artists and musicians, and within the family tree is the famous Dutch Golden-Age artist Jan Vermeer. "My step-father was Basque; he sang Spanish love songs around the house while he worked. My mom's record collection included jazz, country, and rock. I liked Punk, Metal, New Wave, Black Sabbath, Dead Kennedys, The Cars, Joy Division and spent all of my lunch money on LPs, until I got a job in a record store. I worked in record stores until 1996."

Bock grew up in Boise, ID, teaching himself Guitar, Bass, Piano, Harmonica, Percussion, and Keyboards along the way. "I had some personal stuff to attend to, and dropped out for a short time, but I found that music is always there waiting. I enjoyed the years playing in other friend's bands, but was looking to take on a new direction. I really dug the idea of embracing life through travel and music. Eight years ago, I started RevoltRevolt to record songs I'd been working on. I've been lucky to have some great musicians on board for the projects we've completed. The current line-up solidified in 2014 and Wild Unraveling is our first collective project. I feel we are right where we need to be right now with Revolt Revolt. Being in a band that puts out records and tours like we do has provided a wealth of experience beyond what I've ever imagined."

RevoltRevolt

Mike Muir - Guitars (Nightlife & Trees)

Jake Fredrickson - Bass (also plays with Obscured by the Sun & Bliiss)

Ben Wieland - Drums (also plays with Jumping Sharks)

Christopher Bock - Guitar/Vocals/Korg - past bands - The Hand (with Scott Schmaljohn of Treepeople), Geyser, The Magnetics, Bock (solo recordings)

With Special Guests

Doug Martsch - Guitars (Built to Spill, Halo Benders, Treepeople)

Todd Dunnigan - Organ/Piano/Keys (Built to Spill, Caustic Resin)

Emma Doupe, Jie Cheng - Operatic Vocals

Earl Hughes - Pedal Steel (Don Ho, Alabama, The Beach Boys, Freddy Fender)

http://www.revoltrevoltmusic.com
https://www.facebook.com/revoltrevoltmusic

On The Record: Carry Illinois, Roxy Roca

2015-03-30T13:49:00.001-07:00

Carry Illinois, “Alabaster.” Though the official release date for this record is April 7, the band should have copies for sale at its record-release show this Wednesday, March 25, at Cheer Up Charlie’s. Carry Illinois spotlights the songwriting and vocals of frontwoman Lizzie Lehman, an Illinois transplant whose melodic sound would have fit well into the radio playlists of 1970s and d’80s pop stations. Keyboards and guitars form a flowing framework for Lehman’s rich alto, which colors material that bypasses contemporary trends for a more classic song-centered approach. Much depends on the strength of the writing, and some of these songs end up drifting past instead of luring in. But the opening “Detroit Snow” connects instantly, and the raw emotionalism of “Unmerciful Month” brings to mind some of Amy Ray’s finer Indigo Girls work when Lehman reaches high for the paradoxical concluding line, “Hope this is the last one/ Here’s to the next one.”

http://music.blog.austin360.com/2015/03/24/on-the-record-carry-illinois-roxy-roca/

Berkeley Place Blog Review: CARRY, ILLINOIS - Alabaster

2015-03-05T14:24:00.004-08:00

Dear readers, I bring you the best singer-songwriter album of 2015 (so far). Carry, Illinois is Lizzy Lehman, a woman with a voice like Chrissie Hynde mixed with butter, who writes pop songs in the classic rock styles of Fleetwood Mac. And yes, I did read the same thing from the press release–but I read that after I’d already formed the opinion. The influences are clear, obvious, and wonderful. The songs are so good, in fact, that’s it hard to imagine one person wrote them all.

“Alabaster” also balances well between plaintive ballads and pop songs that, if there were still good radio stations, would be fighting for space in the top 40. There’s not a lot of room for independent, unique-sounding singer-songwriters these days. Hozier gives me hope, but otherwise everyone seems to be trying to do what Taylor Swift does.

It is albums like this that make me glad I still run this blog. It’s hard, as blogs are dying off and my readership has dwindled to less than a thousand readers a day, to stay focused. To stay invigorated. But getting to hear albums like this, which I never would have found on my own, and knowing I can play a tiny part in this band’s future success, is why I started this blog way back in 2001….

Sadly, only the above two songs are offered for streaming–no mpfrees, no album streams–but their 2014 release is for sale (cheap!) on Bandcamp, below…

http://berkeleyplaceblog.com/2015/03/05/carry-illinois-alabaster/