Apparently, there is a right way to listen to some records, and I got it wrong when playing LVL UP‘s new EP, Three Songs. According to the lo-fi group’s Bandcamp page, listeners should “[fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][dim] the lights, burning all candles found within the dwelling. With eyes open toward the ceiling, the listener feels dull heat from the candles in front of them. Eyes closed now, the listener begins to regulate their breathing and in time presses play on their device.” Since I’ve never been one for rituals, and out of fear of burning down my apartment, I just plugged my laptop into speakers and turned them up past the roar of the AC. The result? Still good.
Three Songs is just that, and they follow the general format of their earlier work but break some new ground. “The Closing Door” is a melancholy track with heavy distortion and a slow, steady beat similar to songs on their last release, Hoodwink’d, but fades into and out of a slightly psychedelic jam during the bridge. “Blur” is a bright pop song reminiscent of tracks like “I Feel Ok,” but brings a new energy, particularly in the rhythm section, and a crisper, cleaner sound. “Proven Water Rites” is a mysterious end to the EP, containing most of the release’s angst: “Remember me, when I’m free I’ll be easy /Nothing underneath/ Breathing fire, breathing steam.”
Candles or no, Three Songs is a great listen from a band that has always had talent, but continues to evolve and polish their sound.
This fall, British pysch-rock band Menace Beach are releasing their second project of 2015, an EP. Named Super Transporterreum, the band recently shared the EP’s title track.
What is a transporterreum, let alone a super one? I was hoping that it was some kind of spaceship, but a quick Google search revealed it’s not a real thing. The band’s singer Liz Violet came up with the name from a fever-induced hallucination she had after she caught the flu on tour. Similar to their last album Ratworld, “Super Transporterreum” is a fun three and a half minutes of fuzzy guitars, feedback, and vocal trade offs between Violet and Ryan Needham. Whatever it is, when they chant “Super Transporterreum” during the chorus, I want to sing along.
Super Transporterreum will be available via Memphis Industries on October 2nd. Check out the first song below!
Since the March release of her first full-length album, Sometimes I Sit And Think, And Sometimes I Just Sit, Courtney Barnett has become pretty popular. Popular enough that on Wednesday she both headlined and sold out a show at Manhattan’s Terminal 5, which has a capacity of roughly 3,000 people. The Australian rocker was supported by Torres and Speedy Ortiz, who recently released their own albums, Sprinter and Foil Deer.
Barnett opened her set with a drawn-out, solo version of “Anonymous Club.” Her endearing voice filled every inch of the venue until even the drunk dudes using the quiet to shout catcalls with fake Australian accents were silenced. When she wasn’t at the mic she reeled around the stage, whipping her hair and strumming furiously. On recordings, her drawl is relaxed, shifting from weary to playful, but on stage, the lyrics come spilling out. At key crescendos she’d replace syllablesand whole words a shout or roar, the only thing that could match the intensity on songs like her encore of “History Eraser.”
The best part of the show (besides the music, obviously) was seeing the huge, three-tier venue completely packed for a show fronted by female guitarists. Not guitarists in the sense that they’re strumming a few chords while they sing- they’re rocking strats and telecasters, pushing their instruments and voices to the limit. Sadie Dupuis (of Speedy Ortiz) forgoes any delicate melodies in favor of harsh guitar lines that leave a jagged edge as they cut through swaggering songs. Mackenzie Scott, aka Torres, accompanies herself on guitar with a steady, loping beat- her tone is serious, focused, and slightly dangerous. One of the show’s best moments was during her song “Strange Hellos.” It’s cathartic enough as a recording, but she suddenly let out a chilling shriek in between choruses: “I was all for being real/ But if I don’t believe then no one will.”
When I saw Courtney Barnett a year ago, her set had energy and charisma, but seemed rushed. This time around, she brought a new intensity and confidence to her performance. Before, I remember her ending her set by disappearing from the stage. On Wednesday, however, she dropped her guitar and walked off as the feedback shrieked and wailed at the audience. Maybe it’s because she wasn’t headlining then or her fame was relatively new, but now, she seems to have settled into a more natural, comfortable position: a total rockstar.
If you missed the show, check out a live version of Courtney Barnett’s “Pedestrian At Best” below!
“They say people never change, but that’s bullshit/ They do.”
That’s a line from Currents, the latest album by Tame Impala. If you’ve been following their music for the past seven years, you’ll notice immediately that the album is quite a change for the Australian psychedelic rock band led by Kevin Parker. Tame Impala’s debut album,Innerspeaker, was filled with the bluesy guitar riffs of “Half Full Glass Of Wine” and quirky pysch-pop of “Solitude Is Bliss.” The 2012 release Lonerism, which included the heavy, time-shifting rock track “Elephant,”mostly continued this sound.
But on Currents, little is the same as before. The guitars have been replaced with synths, except for a few lines on “Disciples” and some delay-heavy melodies in “Love/Paranoia.” I cringed when an euphoric, Avicii-like synth melody started halfway through the opening track, but then it turned into a broken-record loop of noise, which melted into a psychedelic jam and finally a funky hook before fading out. That song is titled “Let It Happen,” as if Parker had a feeling this new direction would cause some resistance in listeners (or even have them double-checking their screens to make sure that yes, that is a Tame Impala album they’re streaming.) But go with it – though it sounds strange at first, the album is as good as it is different. I miss the old Tame Impala’s guitar riffs, but Parker proves that his songwriting talents extend beyond rock to soulful ballads and electronic music. “Elephant” showed us that he has an amazing feeling for rhythm and beats, which makes him a natural when it comes to dance music. You can get anyone to move to something with a good beat, but Parker’s substantial, introspective lyrics will also hold the attention of listeners.
Key tracks are the long lost Tears For Fears single “Moment,” the shimmery pop of “Reality In Motion” and the soul-filled single “Cause I’m A Man.”
There may not be much overlap between Tame Impala’s old fans and the ones he gains from Currents – or, like in my case, someone could like both Innerspeaker and Currents, but for completely different reasons. Before, Kevin Parker wanted us to know he likes being alone. Now, he wants to make you dance. At least he hasn’t gone country.
Currents will be released July 17th via Interscope. You can check out the new song “Let It Happen” below stream the album via NPR here.
Where are you going for summer vacation? Well, Vacationer wants to take you on a trip via a new remix of “Go Anywhere,” a track from last year’s release Relief.TAPES, an experimental electronic artist, transformed the track into a sultry song for the summer by slowing down the original’s bongo beat and adding tribal elements to the rhythm (and, of course, more reverb). The original “Go Anywhere” is a poppy, hopeful anthem, while the new version has the perfect touch of danceable playfulness: the sound of waves crashing on the shore, a pulsing beat, and squealing, squawking synths.
Check out both the original and TAPES remix of “Go Anywhere” below! (And, you can soften the blow of the end of summer by catching Vacationer on their Fall tour with Great Good Fine OK).
“We had affection, but you couldn’t handle passion,” Xan Young sings on “Passion.” While I feel for anyone stuck in the friend zone, I’m kind of glad his heartbreak inspired this track.
Xan Young is new to the electronic music scene, and “Passion” is the first song ever released from the Brooklyn musician. It’s an impressive debut, with a sound that fills the whole room: a heavy bass, fluttering synths, and Xan’s whispery,soulful vocals. The siren-like squeal of synths and street drumming percussion during the bridge lightens the mood as he laments that, at least, “There’s pleasure in the pain” of his unreturned affection.
Check out “Passion” below, and stay tuned for Xan Young’s debut album The Flood in August.
Mauro Remiddi has had quite a life. The Italian born singer/songwriter once joined a Berlin circus at age 21, playing percussion, accordion, and violin to accompany the acts. He’s visited North Korea as an Italian musical ambassador and shaken hands with Kim Jong-un. Recently, a new adventure brought him to Brooklyn, where he recorded the EP Half Awake under the name Porcelain Raft.Not content to settle down for long, he soon moved to Los Angeles to mix the tracks and start his own label, Volcanic Field.
Remiddi has the weary voice of an artist who’s seen a lot, but managed to hold onto some hope and gentleness. The songs on Half Awake, true to the release’s name, are mellow and dreamy with an infusion of energy just below the surface. On the opening track “Leave Yourself Alone,” that energy comes from fuzzy synths under sparse guitars. On “All In My Head,” a less subtle dance beat works perfectly under an organ intro and Remiddi’s smooth vocals. He proves his versatility by ending the EP with the folkier track “Something Is After Me,” a song are heavy on piano and soulfulness.
All of these elements are put into play on the title track. It starts with Remiddi humming a soulful intro, then a bass beat kicks in under his singing: “Should I come over? It seems that I’m half awake.” More drums and the plucking of a guitar are added as he makes up his mind: “I’m coming over/ I need to see you again.”
Half Awake is available now via Volcanic Field, and Porcelain Raft will be playing an album release show on Friday, June 26 at Baby’s All Right! Check out “Half Awake” below.
Hey Brooklyn! What are you doing next weekend? Really, the only acceptable answer is seeing at least one of these bands at Northside Festival, which runs from June 11-14 and hosts shows in venues from Acheron to Warsaw. The schedule is packed with amazing artists, and to help you choose which shows to see, we made you a list of our favorites. You’re welcome.
1. Diet Cig (6/11 at Alphaville)
This duo from New Paltz plays catchy, light-hearted pop that will have you copying the dancing in this video:
2. Beverly (6/11 at Alphaville)
This band comes with a warning: their lush, relaxing harmonies are addictive.
3. Luna (6/11 at McCarren Park)
Luna is the indie band formed by former Galaxie 500 member Dean Wareham, featuring guitar-centric, dreamy rock.
4. Drenge (6/12 at Knitting Factory)
Their name is a little challenging to pronounce, but these brothers from the UK have an amazing sound: heavy, grungy rock.
5. Leapling (6/12 at Palisades)
Just one in a long list of amazing local bands is Leapling, an experimental pop group responsible for gems like “Crooked.”
6. Vomitface (6/12 at Pet Rescue)
This sludge-pop band sounds way better than their name. If you’ve got some head-banging to get out of your system, go see them at Pet Rescue.
7. Frankie Cosmos (6/12 at Rough Trade)
Greta Kline formerly performed under the name Ingrid Superstar before settling on Frankie Cosmos. The daughter of actors Kevin Kline and Phoebe Cates lists James Taylor, Hall and Oates, Liz Phair, Indigo Girls and the Moldy Peaches as early influences.
8. Mitski (6/12 at Saint Vitus)
Mitski is a stunning singer-songwriter from Brooklyn, via practically everywhere else. Go see her at Saint Vitus, where we’re hoping she’ll preview some songs from her upcoming album.
9. Von Sell (6/12 at Union Pool)
Von Sell is a relatively new electro-pop artist from Berlin who is already getting praise from indie blogs. Watch him play at Union Pool and see what all the fuss is about.
10. ONWE (6/12 at Union Pool)
ONWE’s light, catchy melodies hide something darker- just check out his song “Unpaid Internship,” his scathing opinion on “trust-fund kids.”
https://www.youtube.com/watch?v=Wequcex-zXI
11. Shilpa Ray (6/14 at Rough Trade)
She plays the harmonium, and she’s one of Nick Cave’s favorite musicians: Shilpa Ray is bringing her uniquely gloomy rock ‘n’ roll to Rough Trade.
Though his exact height is unconfirmed, we do know a few things about The Tallest Man On Earth: His name is Kristian Matsson. He’s a singer/songwriter from Dalarna, Sweden- though it’s hard to tell from his folky sound, and influences that include American artists like Woody Guthrie, Pete Seeger and Bob Dylan. He’s put out four albums, and his latest is Dark Bird Comes Home, released May 12th via Dead Oceans.
On this record, Matsson expands his sound with more instruments- keys, drums, the occasional harmonica. The new lineup doesn’t clutter his songs, but enhances them. Where his earlier relied mostly on his guitar work and rambling singing style, the band behind him now allows Matsson to leave space between his words. This makes his vocals more focused, particularly on songs like “Timothy,” and “Darkness of the Dream.” Though it’s still as quietly stunning as his earlier work, it’s now more accessible for those who need more than a voice and guitar to hold their attention.
Key tracks are the jaunty “Slow Dance,” “Darkness of the Dream” (“The letting go is here and now/ The beauty’s in your arms, no mind is out to wander/ Just let yourself out of your sight, careless/ And some love will be there”), and the bittersweet “Dark Bird Is Home.” Check out the track below!
“A Call For Distance” is a stand-out track from Glider. It’s a slow-burning song that gradually adds layers of Broderick’s vocals, the plucking of guitar strings and the rattle of a drum. The music rises and settles naturally, like the tide flowing in and out. Broderick’s voice is soft, but compelling as she asks for “A call for distance…to force a change without a name.” Her ability to perfectly layer her vocals shows that though she’s backed many other artists, she really only needs herself.
Glider will be released on July 10th through Western Vinyl. Check out “A Call For Distance” below:
It’s easy to imagine Frances Quinlan, the vocalist of Philadelphia’s Hop Along, as the frontwoman of a stage-destroying punk band. She seems to put every bit of energy she has into her singing until she’s hoarse and out of breath, twisting her voice from a whisper to a howl. The band behind her, though, provides some relief from her intensity. The rhythm section, made up ofTyler Long on bass and her brother Mark on drums, remains unshakably steady under Joe Reinhart’s wiry guitar.
Painted Shut is Hop Along’s second album, and the first they’ve released through Saddle Creek Records.John Agnello, known for his work with Dinosaur Jr. and Sonic Youth, co-produced and mixed the album, and according to the band, it was “finished in the shortest span of time the band has ever made anything.”
Key tracks on Painted Shut are “Powerful Man” and “Buddy In The Parade.” The first tells the story of what Frances calls her greatest regret: not being able to help a child she suspected was being abused. The second is inspired by the jazz musician Buddy Bolden, who suffered from schizophrenia. “Horseshoe Crabs” deals with another troubled artist, the folk musician Jackson C. Frank, and contains my favorite line on the album: when Frances describes waking up to a sunrise as “staring at the ass-crack of dawn.”
The band is currently on tour, and they’ll be playing at Baby’s All Right on Sunday. If you can’t make it (it is Mother’s Day, after all) you can at least check out the shadowy, illustrated music video for “Powerful Man” below!
A few days before her album began streaming on NPR, Mackenzie Scott tweeted a complaint about an overused, somewhat vague genre of music: “Can anybody define “indie”? What does “indie” mean to you? Would love to see it eradicated from the vernacular/it’s gross like ‘hipster.'”
Though she’s just 24, the singer who records and performs as Torres creates music that defies her age and easy categorization (“indie” definitely doesn’t do it justice). The Georgia native has a voice that effortlessly projects raw emotion, whether subdued on sparser tracks or unleashed alongside guitar contributed by Portishead’s Adrian Utley.
The contrast between her songs —and even within them— makes each aspect of her sound all the more impressive, and Scott wastes no time showing it off. She begins the first track, “Strange Hellos,” with a barely audible whisper, before breaking into a full-fledged, tortured ballad: “I was all for being real/ But if I don’t believe, then no one will,” she repeats, with more and more angst. It’s a hell of a way to start an album filled with frustration, longing, relationships, and sense of self.
It’s also an album that struggles with faith. Like others in the throes of adulthood, she’s shrugging off religion, or at least questioning an upbringing that revolves around it. As she said in a recent interview, “Rock and roll ended my religion… rock and roll is my new religion!” But, maybe not indie?
You can check out the video for “Sprinter” below, and stream the album here.
I’ll be honest: when I hear the genres “house,” “techno,” or “dance” being used to describe a band, I picture a couple of dudes posturing behind laptops. But when The Juan MacLean took the stage at Union Pool on Thursday, I knew this show would be different. John MacLean, the core of the project, immediately put to use a theremin attached to his keyboard stand. Nancy Whang, of LCD Soundsystem, gripped the mic and sang brooding vocals, over endless synths and a beat by a drummer, who, though seriously overworked, never seemed to tire.
Apparently, MacLean decided after the first song that we weren’t dancing enough. “It’s very Thursday night in here,” he taunted the crowd, who countered with whistles and shouts. “It’s a very thirsty night in here,” Whang shot back, chugging a water bottle. The group had recently played three nights at the Cameo gallery, and on their first of three shows at Union Pool, they weren’t satisfied with just easing into their set, or letting the audience do so either.
Whang played percussion with a serious, stony look on her face. It never wavered, even when hitting a springy, rattling instrument earned her cheers. “That was a vibraslap,” she deadpanned, to more cheers. When she and Maclean began to trade vocal lines on “One Day,” it felt like at any minute the band was going to break into “Don’t You Want Me Baby”– they had all of the epic synths and a tense, emotional performance that had the whole room dancing as hard as they could, but none of the song’s cheesiness. And, no laptops.
“The Graduates” is one of the best songs on the new Speedy Ortiz album, Foil Deer. In the music video, the band takes some strange pills that make them hallucinate a kind of cute, mostly creepy giant rabbit. When their trip ends, they dose some innocent bystanders at a restaurant. It’s a perfect example of their music: charming, funny, and warped. But, I have a serious issue with a lyric Sadie Dupuis sings during the chorus: “I was the best at being second place/ But now I’m just the runner-up.”
This just isn’t true.
On their latest release, Dupuis once again shows off her style of twisted, creeping guitar lines. They perfectly compliment her vocals, deadpan with a hint of twang. The four-piece from Boston got some rave reviews from their SXSW performances, one which featured comedian Hannibal Buress sitting in on drums. Stephen Malkmus has been spotted wearing the band’s t-shirt, and they currently have tour dates which reach into October, including a sold-out show at The Bowery Ballroom on Saturday.
And, of course, their sound is great. It’s a unique departure from chord-driven rock, with unexpected melodies that range from light and fun (“Swell Content”) to heavy (“Homonovus” and “Ginger”) to downright sinister (“Puffer”).
Speedy Ortiz is a serious musical contender. So when Sadie Dupuis sings she’s just a runner-up, I can’t take her too seriously. But when she proclaims in “Raising The Skate” that “I’m not bossy, I’m the boss,” that I definitely believe.
April is known for rain, taxes, rabbits, and silly pranks, but now the month has a new, much cooler holiday: Boston’s mayor, Marty Walsh, has designated April 9th “Riot Grrrl Day” in honor of Kathleen Hanna, the front woman of Bikini Kill and Le Tigre. Born in Portland, Hanna’s interest in feminism came at an early age. After dabbling in spoken word performance, she realized that her message would be louder if it was delivered in music.
How can you celebrate “Riot Grrrl Day”? Start by listening to this playlist of badass female-fronted acts.
After a long hiatus, Carrie Brownstein, Janet Weiss, and Corin Tucker reunited Sleater-Kinney with the album Bury Our Friends. Check out the title track above: “Exhume our idols and bury our friends/ We’re wild and weary but we won’t give in.”
2. Speedy Ortiz “Raising The Skate”
https://www.youtube.com/watch?v=KyCF9r9NdMo
Speedy Ortiz is fronted by vocalist/guitarist Sadie Dupuis, who created the witty, anxious “snack rock” that rocked SXSW this year.
3. Screaming Females “Hopeless”
New Jersey’s Screaming Females is actually just one female. She may not exactly scream, but guitarist/singer Marissa Paternoster has earned the description by belting rock vocals that defy her size.
4. Bikini Kill “Rebel Girl”
https://www.youtube.com/watch?v=DzMGqVh8G20
Of course, we couldn’t make this playlist without including the person who inspired the holiday: Kathleen Hanna, the original rebel girl.
5. Le Tigre “TKO”
Hanna’s next project, Le Tigre, is more polished, but just as fierce:“I’ll say my piece and when it’s over you’ll be on your knees,” she sings, while rocking a suit in the video for “TKO.”
Meredith Graves is the woman behind the heavy-hitting, possibly-unsafe-to-google punk band, Perfect Pussy.
8. Waxahatchee “Under A Rock”
Waxahatchee is named after a creek in Katie Crutchfield’s hometown in Birmingham, Alabama. Now living in Brooklyn, the singer-songwriter just released her third album, Ivy Trip.
9. Tacocat “You Never Came Back”
Tacocat is here to prove that cat ladies can be cool, too. The Washington State surf-pop group plays upbeat songs that address feminism, as well as topics related to cats and everyday life.
10. She Keeps Bees “Saturn Return”
The husband and wife duo has a name that almost seems like a warning- as in, “watch out for that chick; she keeps bees.” Their sound is a slow, bluesy creep that builds and sneaks up on you.[/fusion_builder_column][/fusion_builder_row][/fusion_builder_container]
For a normal band, making an accordion sound cool would be no easy feat. But for the dream-folk duo Twin Limb, it’s no big deal. Lacey Guthrie plays the instrument along with keys and vocals, and Maryliz Bender contributes vocals, drums and guitar, while Kevin Ratterman fills in the gaps with miscellaneous effects and instruments for the Louisville, KY band.
Like its name, their track “Long Shadow” casts a brooding atmosphere over the listener with the aforementioned accordion. Then suddenly, synths and strings peek through the gloom, and transform the song into something bittersweet. The vocals, emotional without being overly dramatic, make the transition from hopeless to hopeful effortlessly.
This is a band that you definitely don’t want to overlook. Check out their dreamy video for “Long Shadow” below.
There’s a cute dog and cat on the cover of Built To Spill’s upcoming album, Untethered Moon. I could only take that as a good sign that I’d like their new song, and I was right.
“Never Be The Same” layers strummed guitars over a laid back groove, in the form of a killer bass line. “Go everywhere you wanna go/ See everything you wanna see/If that’s what you want, you got it, you got it” Doug Martsch sings. His voice wavers between being encouraging over a new beginning, and somber because it means the end of something else and things will, of course, never be the same.
This is the band’s eighth album, and the first with drummer Steve Gere and bassist Jason Albertini. Untethered Moon will be available digitally on April 21st, and on vinyl as a Record Store Day exclusive on April 18th. Check out “Never Be The Same” below!
Celestial Shore is a Brooklyn trio that cites bands like the Zombies and the Pixies as influences, but whose sound has never been anything but their own- spacey, floaty, always-shifting rock. When we talked to the band’s guitarist/vocalist, Sam Owens, they were preparing to book it to Austin for SXSW. We chatted about the early and last days of Glasslands, the drawbacks of email, and the time Deerhoof insisted on opening for Celestial Shore in a Syracuse basement.
AF: I really liked Enter Ghost as an album name. What inspired that?
SO: It happened one night when I was in Brooklyn, and I was driving in a cab through all these parts of town, going back to my apartment in Ridgewood. I was thinking about how all the corners I was passing- I was with my girlfriend, Cassandra, and it was very late one night- and we were thinking about how we were driving through all these areas that we had inhabited, or had moments in, and how they were kinda like ghosts. And also, it’s from when Hamlet’s father, when he enters- he’s dead- anytime he enters the stage, it says “Enter Ghost.” He always like, proclaims this evil, revenge plot that Hamlet gets obsessed with, so I kinda thought that was interesting too.
AF: Is Celestial Shore planning any new albums?
SO: Definitely. We’re going to SXSW in March, and then immediately after that I think we’ll record a third album. We’ve been writing and getting songs together, and we’ll test them out on our tour, then just hopefully jump right into the studio in April or May.
AF: Who are you touring with?
SO: For the first four shows we’re playing with Rubblebucket. They’re funny, and I’ve known them for along time. It’s a new crowd for us, so that’ll be fun.
AF: You played one of Glasslands’s final shows. How do you think the closing of that venue, and others like Death By Audio and Goodbye Blue Monday, have affected our local music scene?
SO: Oh man, that’s a big question. I had a “so be it” attitude about Vice buying up that corner, and Glasslands going away, and 285 Kent going away, and everything going away. I was driving down Kent avenue two weeks ago and basically, every area of this place, in NYC, in Brooklyn, is going to be void of any young, spirited, artistic culture. Forever. Which is terrible. Despite its irregularity, Glasslands- and Death By Audio- all these places were huge for so many people. I slept in a couch in the back of Glasslands the first couple of weeks I moved to New York, and my band had a practice space there, and [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][the owners] Jake and Rami are really sweet. It’s sad to see them go, but it’s also the way things go. The sad thing is that what’s there now is going to be void of anything valuable except for financial, corporate interests. Which is a very small example of what’s happening in the whole country. This subject totally barrels out of control and anyone who talks about it for more than five minutes sounds like a huge asshole. (Laughs) Ultimately, I feel really sad about it.
I guess the reason I moved to New York is that I put out the first Bandcamp EP in 2011, and I got an email six hours later from these guys in London that said, “Hey, we want to put out your record” and my mind was totally blown. Then Jake and Rami emailed me, “Hey, we want to book a show in New York,” and I was like, but I don’t even live in New York yet- I guess I should move. So… I moved to New York, because we had a show on August 3rd, 2011 at Glasslands. Now I feel old.
AF: Can I ask how old you are?
SO: I’m 25.
AF: Yeah, that’s not old.
SO: No wait- did I tell you I’m 25? I’m totally 26. Holy shit. Yeah, I am old.
AF: You must be, since you’re starting to forget things!
SO: That’s from smoking too much pot in college.
AF: Yeah, that’ll do it…
SO: I can’t tell you how much I appreciate a phone call versus another-
AF: Email?
SO: Email thing. Cuz you know, your PR person sets up these interviews, so you get an email from someone you’ve never met with these really basic questions: “How did Celestial Shore meet? Why do you guys play music? Tell us about your sound.” Why I appreciate of course, the idea of being interviewed in the first place, which is a crazy, strange idea, I think a phone call is way cooler.
AF: You probably sound way different now than you would in an email.
SO: I could be the worst person in the world on an email. Because maybe, I was writing it on my cellphone in the subway with my thumbs. I’m so tired of emailing. Ready for my rant? My life goal, as a human being on earth- and this is going to make me sound like a huge asshole, but I don’t care- is to get a landline, and never have a cellphone, and to not be accountable on my email account. It’s incredible how accountable we’re expected to be throughout the day. If you don’t respond, then you’re the worst person ever.
You read all these great accounts… Lou Reed wrote a song about it- I mean I guess he was waiting for his drug dealer- his frustration about waiting for someone. I think it’s way more mystical, and magical, and sweet and romantic if you can just make a plan and try to do it. That’s my rant. Everyone’s email tone has become so camouflaged… Everybody is like a chameleon. Including myself.
AF: I’m glad I got you on the phone then, so I’m interviewing the real Sam.
SO: Yeah, maybe. Totally. I don’t know, I’m feeling pretty nostalgic tonight.
AF: What’s your source for finding new music?
SO: My source would be my friends, and the people I admire. I’ve been doing this thing with a couple of close friends where you just write down 30 artists, or songs, or videos, any kind of content you want to share. Not a link, just the name or whatever, on a sticky note. Then you have 30 of these sticky notes, and you give them to your friends. It’s really neat, because you have this physical thing that you can put next to your bed, and wake up in the morning and be like “Oh, yeah, I haven’t checked him out.”
I’ve been listening a lot to country music from the 1950’s, particularly Ernest Tubb. I keep coming back to it. I’m in one of those full circle periods, where I’m going back to 50’s country. The Carter Family, Johnny Cash, all these people. Ernest Tubb, yeah. Listen to his song “Thanks A Lot.”
Also, I’ve been mixing a lot of records, so I end up listening to the records I’m mixing a lot, out of necessity. I’m mixing an old time band right now. The week before that I was mixing this band called Friend Roulette. They’re from Brooklyn and they’re like, chamber pop. My ears are kind of all over the place.
AF: This is a typical interview question you’ve probably heard before, but—
SO: “How did your band meet?”
AF: Do you have a favorite venue to play at?
SO: You’ll have to let me think about this one for a minute… Can I tell you my favorite show I’ve ever played?
AF: Yeah, that’s a way better question.
SO: OK. So in April, we were fortunate enough to go on tour with Deerhoof, and they’re really dear to me. (Laughs) Oops. I’m not into puns, that much… I can’t say enough about Deerhoof, they totally changed the way I think about music. We had a day off, and this kid- his name is Phil Steiger, and he was going to school at Syracuse University at the time- had contacted us about playing a show in his basement. And we were like “Yeah, of course.” We were having Thai food with Deerhoof in Pittsburgh, and they were like, “Hey, what are you doing with your day off?” And I was just like, “We’re playing a show tomorrow.” And they were like, “Oh, Where’s the show?” And I said, “It’s in a basement in Syracuse. Do you guys want to play?” and they were like, “Yeah. We’ll talk about it and let you know tomorrow.”So we were driving and I get a call from John, and he was like, “Yeah, so we’re down to play the show with you. We’ll play as long as we can open for you.” Because we’d been opening for them every night. Which was, surreal and hilarious. That’s Deerhoof. So I called this kid Phil and I was like, “Phil. Deerhoof’s coming with us. They’re going to play. They’re going to open for Celestial Shore.”
Phil’s a film student, by the way, and has since moved to L.A. and will shortly be premiering the video he made for us.
And then I fell asleep on the floor of the basement, Satomi ran off to find a tire swing, John was playing soccer in the street, it was such as wholesome experience. And since then, Deerhoof has told me that they mixed their last album with that concert experience in mind…I think it drummed up some old feelings of DIY shows they used to do. So anyway, that’s my favorite experience. So far.
XNY have been making classic, bluesy rock’n’roll in the tradition of the White Stripes since 2010. This Brooklyn band originally met at the Berklee School of Music in Boston, and like Jack and Meg, the two are a duo, but with reversed gender roles: Pam Autuori contributes sultry, smoky vocals and guitar over Jacob Schrieber’s drums. They released their debut album, Orange, in August 2013, and now they’re back with a new song, and an upcoming EP, Should I.
Before Jana Hunter became the woman behind the Baltimore-based Lower Dens, she was a solo singer-songwriter from Houston, TX. After releasing her 2005 debut Blank Unstaring Heirs of Doom and two follow-up albums through Devendra Banhart’s label, she started her current dreamy, psychedelic project. We talked to her about the band’s latest video, their upcoming album, and got some advice for shy musicians.
Escape From Evil, the band’s third release, comes out March 31.
AF: I read that you’ve coached at the Girls Rock camp in your hometown, Houston. Did teaching kids about music give you any creative insights?
JH: Definitely. That was one of the better experiences I’ve had as a musician, and as an adult. You want to teach them something about their instrument, but the most important thing to focus on is not being so afraid about impressing other people, or perfecting their craft, and to remember to have a good time. And kids, once they see that is a possibility, they’re quick to embrace it, and that is really refreshing to be around… kids can really throw themselves into something and lose their sense of self-awareness that prohibits them from enjoying and developing their creativity. That was really cool and I feel like I learned way more from them than they possibly could’ve learned from me.
AF: I think sometimes girls, especially, need that push of self-confidence from a mentor.
JH: Yeah, and they said as much. Throughout the week we were working with them on a little video documentary and they would say, ‘This environment helps me feel like it’s ok for me to do whatever I want.’ I imagine that had something to do with being around a lot of women, and people who were not… um… men (laughs). And not having to worry about impressing boys or anything like that.
AF: Did you take music lessons when you were young?
JH: Yeah, I started playing when I was eight or nine. My first instrument was the recorder, which I played in music class in elementary school. Then I switched to violin. I still play it, I just don’t take lessons or anything anymore. But yeah, I did a pretty rigorous study of music.
AF: The music video for “To Die In L.A.” was great, and the timing of its release- a week or so before the Oscars- seemed perfect. Was that intentional?
JH: No, I didn’t think about that at all, until I saw in our Twitter mentions a Spanish publication said something about that. That’s amazing, that we didn’t think about that at all. I wish we had. And obviously, everyone wants to know what Lower Dens thinks about the Oscars…(laughs) you know, here you go, burning social commentary.
AF: You make an appearance in that video. Is being on camera fun, or does it get tedious?
JH: I loved making that video, but there have been others that were decidedly more difficult, but this one was worth every minute of it. I think that crew was amazing, and [fusion_builder_container hundred_percent=”yes” overflow=”visible”][fusion_builder_row][fusion_builder_column type=”1_1″ background_position=”left top” background_color=”” border_size=”” border_color=”” border_style=”solid” spacing=”yes” background_image=”” background_repeat=”no-repeat” padding=”” margin_top=”0px” margin_bottom=”0px” class=”” id=”” animation_type=”” animation_speed=”0.3″ animation_direction=”left” hide_on_mobile=”no” center_content=”no” min_height=”none”][director Cody Critcheloe] is amazing.
AF: Lower Dens is starting a tour in March, correct?
JH: Right, yeah. We start touring fairly soon, but we haven’t played any shows together in a long time.
AF: Are there any favorite cities you enjoy visiting on tour?
JH: Baltimore is a place that treats local performers really well. In some towns it’s hard to get people to shows if you’re from the town. But Baltimore, for whatever reason, playing for those people is like playing for your family. People are very enthusiastic when they come to your shows; they’re also not necessarily going to hide from you when they’re not enthusiastic about what you’re doing. You have to face that honesty… There are very few places that I don’t like. If there’s one person there that’s interested in hearing you, then it’s worth it to go play there and it can be a fun and exciting time.
AF: Are there any artists or records you’ve been stuck on lately?
JH: Yeah. I did a review of Future Brown. They’re producers. They all have their own individual projects, but they got together to make a record. I was psyched about them anyway and I got to review their record for Talkhouse. I’ve listened to it definitely more than any other new record and I love it. I think it’s brilliant on a lot of levels.
AF: Do you spend a lot of time writing?
JH: I was doing more last year. This is, like, my fourth review for Talkhouse. I haven’t had as much time and I’ve also been wanting to read a lot more lately.
AF: What are you reading right now?
JH: “Escape from Evil,” which is the book we titled our record after.
AF: Speaking of your new record, what was your approach to writing new material for Escape From Evil?
JH: It’s changed for me over the years. When I was really young, the only way I really liked to write music was to walk around, or ride around on my bike, and sing to myself, come up with things spur of the moment and then match them with arrangements later. When Lower Dens started I was writing guitar loops and making up words with them at the same time, so more or less spontaneous writing. But after being in Lower Dens for a few years, we settled into an ensemble approach to a lot of things we do. We decided to write this record collaboratively. The initial step was getting together with the band, and writing instrumental stuff. I hadn’t done that with a whole group of people, and it was difficult to navigate the process at the beginning, but I think the record is a lot better for it. It’s complex in a way I wouldn’t have been able to achieve myself.
AF: When Lower Dens isn’t recording or touring, do you guys hang out, or are you sick of each other after working so closely?
JH: I think at the end of a long tour, yeah. But it’s not so much we’re sick of each other, that we miss the other people in our lives. But we’re friends, we’re all very close. We don’t have a purely working relationship. It’s easier for me to understand now why bands break up, why they can’t make music anymore than when I was a kid, and I hated people for doing that.
AF: I was looking at your recent profile in Vogue, and they described you as shy. Do you have any advice for artists who are trying to get over their shyness?
JH: Just that it takes time. What takes time is developing methods that allow you to communicate with people in a way you can showcase your vulnerabilities in a way that becomes a strength, and you don’t judge yourself for the things you’ve revealed to people. You will inevitably feel as though you’re fucking up and revealing too much. But eventually it becomes easier. Nobody ever told me that, it’s just that I went on tour, and I was miserable until I figured that out. It was just the repeated conversations nightly with people I’d never met before that made me feel comfortable being- not necessarily more of myself, but learning to present a version of myself that I felt comfortable sharing with people. And learning that I can show shades of myself instead of my entire self.
Kat Solar, aka Katrina Connor from Detroit, is a pop artist putting her drama background to work, whether it’s performing cabaret-like routines with a full cast of dancers or shooting ambitiously choreographed music videos. Since her last album Snake Eyes, the performer has been working on a different class of new material, which she calls dance-inspired songs that explore “love and all its myriad possibilities.” Her new single from the upcoming album Infinity is sparkly pop meets EDM, full of theatrical anthems and catchy beats. Check out “Infinity” below!
Tomboy is Will Shore and Sarah Aument, a Brooklyn synth pop duo. Will contributes the backing music for Sarah’s sultry vocals, and the result is songs that are both heavy and melodic, reminiscent of Little Dragon mixed with some Zella Day. The beat of their new single “Say I” draws you in, and then you’re captivated by a sweet voice that hides something darker: “You set me up like stacks of paper on the table ever since you met me/Rearrange me, ball and chain me, entertain me/ Just so that you want me,” Aument sings, drawing out words and syllables as if she can’t bear to part with them completely.
Catch them in action at their March 5th album release party at Lot 45, and check out “Say I” below!
I was sitting at my computer, experiencing one of the many downsides of being underemployed. Tickets for the sold-out Father John Misty concerts were going for well over $100 on Craigslist and Stubhub, and there weren’t many left. Then I saw the event post: Father John Misty, aka Josh Tillman, would be giving a short performance/interview at The Greene Space as part of the WNYC Soundcheck podcast on February 11th, for just $10.
We were somehow the first people ushered into the small studio space, and my boyfriend and I grabbed one of the few chairs in the room. My seat ended up being about five feet away from Tillman, which was amazing yet unsettling. I could hear his voice without the microphone, and see the tiny banana decal on his black velvet blazer. I was also nervous he might look directly at us, and when he walked past to step onstage, I worried I might trip him so tucked my feet under my chair.
The host John Schaefer introduced the show, and described the new Father John Misty album, I Love You, Honeybear, as a lush but subversive record with lacerating lyrics. Naturally, Tillman deadpanned “Prepare to subversively lacerated,” before playing the record’s title track.
When asked questions between songs, he wavered between hostile and conversational. He grimaced when Schaefer mentioned similarities between “I Love You, Honeybear” and Elton John’s “Someone Saved My Life Tonight,” and cut off a question related to a F. Scott Fitzgerald quote by stating he couldn’t read. But when asked about the creation of his album, Tillman explained, “I think it was difficult just given the subject matter, which was bordering dangerously close to sentimentality… I think to some extent I was doing some kind of bartering, where I was like, I’ll let you be this exposed if you let me cloak this in impenetrable layers of goo.”
Later in the set, Schaefer talked about the band’s upcoming concerts and Tillman, suddenly friendly, rested his head on the host’s shoulder. “I’m sorry for my weird answers earlier,” he apologized, gazing at him with endearing puppy-dog eyes.
They discussed psychedelics before he launched into the set’s most animated performance, “The Ideal Husband.” The heels of scuffed tan boots twisted under his lanky frame as he sashayed his hips side to side and spun. During the bridge, he stepped off the stage, knocking the mic stand to my feet, and threw himself on my boyfriend’s shoulder. “I came by at seven in the morning,” he shouted, climbing over seats to embrace others. The woman next to us widened her eyes in fear as the guitar slung across his back came dangerously close to her face. “Seven in the morning, seven in the morning…” He picked up the mic stand and dropped it back into place, the song ending with its thud onstage.
Luckily, both the audience and artist were uninjured. Tillman found an empty chair in the first row to sing the final song, “Bored In The USA.” “Can I boo myself from here?”he wondered between lyrics. There was no recorded laugh track in this rendition of the song and he seemed to pause slightly where it should have been, then shrug when the audience didn’t provide it. The song was strange, maybe too exposed, without it. He blew out a lighter held up from the second row, and the set ended.
“Go forth and have a productive day,” Tillman told the crowd. I didn’t really have anything productive to do, but I didn’t care. Turns out the upside of being underemployed is you don’t have to make up any excuses to see Father John Misty at noon on a weekday.
If you didn’t make it to the soundcheck, the full performance is up on Livestream and YouTube. Check it out:
Fin-Folsom, Brooklyn’s self-described “Animal Pop” band, are premiering their new song “ICMT.” The track features a gently building, busy foundation under throaty vocals.“This city, I’ve known her way too long/ Break the machine, I don’t want to be a cog,” they sing, as high-pitched guitar lines dart and dance between unrelenting drums. The sound is light and shimmery, a glimpse into the summer that anyone near the East Coast is wishing for right now.
The band formed in 2013 and released their first EP, Tell-Tale, soon after. Their latest release was 2014’s Early Summer, and Fin-Folsom is currently working on their new album in Cowboy Technical Studios in Brooklyn.
They will be playing their album release show on 2/28 at Cakeshop in NYC. In the meantime check out “ICMT” below.
