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Photo courtesy of www.sesac.com/Events.
This year for CMJ I dropped by my old standby Cakeshop to check out the SESAC showcase. SESAC, an organization that represents musicians who seek compensation for having their music performed in public, showcased a cross section of their indie rock talent; and the groups were indeed a good match for the typical Cakeshop crowd. Here is a review of four bands from the evening.
First in the lineup was the Wisconsin based duo Blessed Feathers, comprised of Jacquelyn Beaupre and Donivan Berube. The pair constructs songs together, and consider themselves partners in music and in life. Blessed Feathers’s sound was beautifully wrought with a strong emphasis on folk guitar style and soulful melodies. Beaupre’s vocals add a harmonic layer that flesh the songs out and are indispensable to the music’s emotional depth. If you’re a folk rock fan like I am, you may find yourself enamored with Blessed Feathers’s sonically expansive Red Hot Chili Peppers cover of “Porcelain”.
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Photo courtesy of www.sesac.com/Events.
Communist Daughter is also borne out of WI, and is fronted by singer John Solomon. Grey’s Anatomy fans know this group for their song “Soundtrack to the End”, which made it onto season 7’s credit roll. That said, they have many more notable songs to back themselves up, the latest hit being “Ghosts“. This group is relatively new to the scene, with one EP (Lions & Lambs) and one full length album (Soundtrack to the End). They have a great live sound, with driving drum beats, catchy guitar lines, and expressive vocals. This polish and care lends Communist Daughter a lot of potential.
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Photo courtesy of www.sesac.com/Events
Half Undressed is a two man drum and guitar duo. The group is self described as “indie/dream pop”, and with drummer Sam’s airy, laid back vocals, the genre seems an accurate description. The relaxed vibe and surfer rock style guitar hooks set an easy going atmosphere. I found I was immediately drawn in to Half Undressed’s sound, but after a few songs, I felt I’d heard everything they had to offer. With such a specific vocal style choice, the songs needed more variation in instrumentation, or the drummer could have made more complex or varied choices. Overall the tracks began to sound too similar to one another and too simple to support such an unwavering vocal style, and I began to think the group would be best on a soundtrack compilation rather than in a concert setting. Chill out to their song “Demons” here.
Psychobuildings has a fantastic synth pop dance sound, and singer Peter LaBier’s voice has so much character and wildly distinguished style, he seems destined to be a pop icon. Not to mention he has that fearless indie rocker aesthetic. Listen to “Wonderchamber” and see if you can restrain yourself from dancing! Psychobuildings has a great sense of musical composition and a full sound that builds with diverse instrumentation and classic synth sounds. Yet, seeing the duo perform, I felt I was cheated of that live performance feel. The group plays along with pre-recorded tracks they’ve written in the software program Ableton Live, adding only the drums and vocals in performance. Hearing basic bass lines play out of a laptop made me question the reasoning behind leaving a real bass player offstage. I certainly understand Psychobuildings is part of the DIY music movement, and they are able to bring a studio quality sound into the basement of Cakeshop. But without more onstage investment in creating music in real time, I began to feel the show turn into a karaoke night. More ownership of the songs and their creation was needed in order to engage the audience. Psychobuildings is a great studio band, with some killer tracks to be found online. I hope to see the group expand their live sound with an electronic artist who can give these stellar dance songs an edgy, real feel.
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