There is no epic heartbreak suffered by Kurt Vile on his latest album b’lieve i’m goindown, no great struggle he has to overcome. There’s just everyday malaise punctuated by moments of deeper sadness as well as happier feelings. This is why b’lieve i’m goin down is so relatable – these feelings could happen to anyone, except they happened to the Philadelphia singer-songwriter, who is also a former member of The War On Drugs.
He sounds tired and jaded, frustrated that even the life of a recording, touring musician eventually lends itself to its own brand of monotony.On “All In A Daze Work,” he sings that he’s “Strummin’ unsuccessfully, but moresojust pressing keys.” You may not write songs for a living, but you can empathize when something you’re good at – something you love – seems so far away from what you can and want to do at the moment. On both “Pretty Pimpin” and “That’s Life tho,” he sings about the disconnect he feels with his own image: Not recognizing himself in the mirror and therefore brushing a stranger’s teeth, and coming across as a “certified badass” when he goes out, though he admits to us that he took pills beforehand to take the edge off.
But one of the album’s best moments comes at the very end, on “Wild Imagination,” when he aims his frustration and sadness at the disconnect created by our lives online. It’s summed up neatly in the easy, folk-y song’s first verse: “I’m looking at you, but it’s only a picture so I take that back/But it ain’t really a picture/It’s just an image on a screen.” We live in an age where pictures are no longer cherished, personal memories to flip through. Now they’re social currency, and their worth is based on the reactions of others. So he goes on to ask, “You can imagine if I was though, right? Just like I can imagine you can imagine it. Can’t ya?” This is a scene that’s played out on iPhones everywhere, when we click the little heart next to a friend’s Instagram photo because we know it signals to them that we see them, we like them, they are valued.
Getting trapped in this world is just as depressing as being removed from it, but knowing it exists. Vile is definitely living in his own world, and while it’s one that isn’t perfect, it’s one that he made himself, offline. These days, doing that can be a little terrifying. But like he says on “Wheelhouse,” “You gotta be alone to figure things out.”
Though there’s no link specifically for “Wild Imagination,” you can stream b’lieve i’m goindown here and watch the video for “Pretty Pimpin” below.
Even without knowing the emotionally turbulent backstory behind Flint Eastwood’s latest EP Small Victories, the first single “Find What You’re Looking For” paints a cathartic landscape that evokes the sensation of conserving breath and energy before climbing a mountain. The song resonates as whispered, yet resilient, triumph. Jax Anderson is no stranger to small victories, nor large ones, respectively. A statement released with the single informs that the song is an interpretation of the last words spoken to Anderson by her mother before she passed: “Don’t let this break you.” As the listener or compassionate voyeur we may not know what the “this” is and we may not know what we’re looking for, but it is with this haunting ambiguity that makes the track accessible and effective in its ability to sound both confident and cautious. In the wake of such loss, Anderson sounds as if she’s begging the sky, crooning, “I don’t want to lose you/this moment next to you/you tell me what to do.” What is most strangely refreshing about “Find What You’re Looking For” is that it shines as a great contrast to the gritty, danceable electro-indie-rock vibe of Eastwood’s 2013 release, Late Nights in Bolo Ties. If this track is any indication to the journey ahead both for Anderson and the audience, Small Victories (to release on October 9th, 2015)will likely encourage the defiant act of letting the light into the dark places.
Few bands can claim that they’re race-car driver approved; Dale Earnhardt Jr Jr was one of them. They got Dale Earnhardt Jr’s attention because, obviously, they used his name. He wrote to Daniel Zott and Joshua Epstein in 2011, promising no legal action against the duo and describing himself as a fan. But now, they’ve moved on, and rebranded themselves as JR JR.
Which brings us to their first release under the new name: The self-titled JR JR, a euphoric, smoothly produced pop album. And while my cynical hipster heart hates the idea that anything so anthemic and catchy can be good, it balances its commercial appeal with enough introspective moments that I’m not ashamed it’s been stuck in my head all day.
Take “In The Middle,” for example. It’s an infectious dance track, but with gloomy under tones. “There’s a million ways to die,” they proclaim early in the song. Instead of singing about burning up the dance floor, they’re “standing in the fire,” their indecision rendering them “stuck to the floor.” Usually, name-based tracks are sappy love (or breakup) songs, but not JR JR‘s “Caroline,” which takes place in a hospital. And though you can imagine a stadium of fans pumping their fists and singing along to the chorus of “No one’s going to live my life for me” and “I don’t want to be you,” the verses reveal a more complicated situation as they ask, “How can I tell if it’s drugs or my feelings now?” and hint at a drastic change of identity.
Unfortunately, there’s no word yet from Dale Earnhardt Jr on his opinion of the duo’s new name and album; we probably won’t know until it’s released on September 25 via Warner Bros. Records. In the meantime, check out JR JR’s creepy-cool music video for one of the album’s key tracks, “Gone,” where dancers’ legs detach from their owners and run wild.
Leapling is a three-piece, experimental pop band from Brooklyn. Their last album was the February 2015 release Vacant Page: Ten misleadingly lighthearted tracks punctuated by the soft vocals and pleasantly dissonant guitar of Dan Arnes, the band’s leader. Before Leapling recently left on a short tour, he answered some questions about their upcoming album, musical influences, and how we should label their music, anyway.
AudioFemme: What can you tell me about your upcoming album? When’s the release date?
Dan Arnes: It’s almost completely done. It’s pretty tight but I think we’ll make our date…pretty soon.
I can’t share the name just yet, although if you look in the liner notes of Vacant Page you may find a hint or two. It’s definitely different from Vacant Page: A lot more direct and punchy, not quite as cryptic and tonally, it couldn’t be more different.
We’re trying to find a director for the first single’s music video now, actually. I loved doing the video for “Crooked,” but unfortunately don’t have the bandwidth this time around. That was super fun and rewarding, but very time consuming. Next time.
AF: You recently tweeted, “Writing string arrangements is challenging and time consuming in ways I did not anticipate.” Are you using samples or live arrangements for the strings on the new album?
DA: All live arrangements. I’m writing for a string quartet on a few songs on this new record so it’s pretty prominent. I had strings in mind for these newbies right from the get go this time around. It’s very much part of the songs they’re on. There’s more standard rock stuff on the record too. It’s one big hodgepodge stylistically.
AF: What guitarists have the biggest influence on your playing?
DA: I like all kinds of guitar players, but some of my faves are Jim O’Rourke, John Dietrich, Lou Reed, Cornelius, Arto Lindsay, Sonny Sharrock, Jeff Tweedy, Syd Barrett and Tom Verlaine; People who mix the more interesting rhythmic, chordal stuff with the more angular, dissonant side of things. That’s very much what I respond to in music in general.
AF: Leapling played Palisades on 8/28 and 8/30- do you have a favorite NYC or Brooklyn venue?
DA: Love Palisades but Shea Stadium is my spot. We go way back with them. Adam, Nora & Luke have been at it for so long and do it so well. We actually recorded this upcoming record at (the Shea Stadium founder) Adam Reich’s studio.
AF: Do you have any gigs you’re especially looking forward to on your tour?
DA: Yeah, we have a bunch of really good ones. I’m particularly excited to do [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”][Hopscotch Music Festival] this year. We’re playing with Pile, Mitski and our awesome local pal SMLH.
We always have a blast in DC- the house show scene there is pretty great. Atlanta is cool too, and we’re pals with a lot of awesome bands in New Orleans. There’s some good stuff coming out of there.
AF: If you had to come up with a new genre to describe your music, what would you call it?
DA: I really should do this… it’d save me a lot of time after people ask “What would you call your music?” I call it noisy pop, weirdo pop… I’m pretty bad at this, it’s all pop to me.
Leapling Tour Dates:
9/09: Richmond, VA – Strange Matter 9/10: William & Mary College (Williamsburg, VA) 9/11: Hopscotch Music Festival (Raleigh, NC) 9/12: Raleigh, NC – TBA 9/13: NC State University – WKNC house show 9/14: College Park, MD 9/15: New Brunswick, NJ – Nowhere, USA 9/16: Brooklyn, NY – Shea Stadium
The music video for “Bees” by Smoke Season is as trippy as you can get. The figures of Jason Rosen (formerly of Honor Society) and vocalist Gabrielle Wortman (from TEMP3ST) stand in front of a wall of swirling light, their shadows bending and twisting, their bodies morphing and multiplying. It fits the psychedelic sound of the song, which features the rhythm of heartbeat-like guitar chords, echoing voices and heavy breathing. The bees in question are probably attracted to the honey-like quality of Wortman’s voice, which is sweet and light while she sings a descending melody during the verses, then erupts during the chorus with the slightest bit of twang: “I smell the bees, I smell the bees/you get the honey without the sting.”
Why bees? Well, they’re kind of a metaphor for a tumultuous romance, if you think about it. You may get something sweet from putting up with them, but most likely, you’re just going to get stung.
Palehound is Ellen Kempner, a former Sarah Lawrence student. Former meaning she dropped out, presumably because even if the school did have a 90s-inspired indie rock class, there wouldn’t have been much left for her to learn; the 21-year-old played everything but the drums on her new album, Dry Food.
Dry Food is the Massachusetts-based artist’s second release after her 2013 EP, Bent Nail. It gets off to an aggressive start with “Molly,” a track that shows off Kempner’s instrumental skills with two guitar lines: one is wiry and playful, and the other brash, a machine-gun explosion of aggression. This duality continues throughout the album: you’ll hear gentle strumming and fingerpicking, twisting guitar licks, heavy distortion, feedback and nose dives down the fretboard – sometimes all in the same song.
The contrast in her music also applies to her singing. Her lyrics get personal, and are deeply aware, but there’s not so much vulnerability in her voice as a deadpan, matter-of-factness that masks most of the emotion. This works well with her songs – though Kempner isn’t afraid to get loud with her guitar; this isn’t dramatic or overly emotive music. Perhaps this is why she’s developed such a serious knack for imagery when it comes to describing feelings. So, the unwanted makeout session on “Easy” becomes “I’m pushing back your tongue/ With my clenched-teeth home security system,” and the tip-toeing of snobby “healthier folk” is revealed through Kempner asking, “Why don’t they hold me? They just cradle me like a homesick child.”
Possibly her best line comes from the title track: “You made beauty a monster to me/So I’m kissing all the ugly things I see.” Another key track is “Cinnamon,” a song that scatters guitar parts wildly over a smooth, shuffling beat. Kempner’s voice is cloaked in a heavy layer of reverb. By the end of the song she’s practically drowning in it, perhaps a result of a few too many rounds of “mixing water with gin and chasing it with cinnamon.”
If you take Dry Food as it is, it’s a short, but solid album. If you consider that it’s Kempner’s first actual album, and she’s still in her (very) early 20’s, the 28 minutes of casual heartbreak become even more impressive.
Dry Food will be available via Exploding In Sound on August 14th. In the meantime, check out “Healthier Folk” below.
For some musicians, it’d be a bold enough move to wear their heart on their sleeve with lyrics like “Feeling so confused, don’t know what to do/ Afraid she doesn’t love you anymore” or admitting they’ll“Never believe in a heart like hers again.” On his latest album, Another One, Mac DeMarco goes one step further by giving listeners his home address and inviting them to share a cup of coffee in the track “My House By The Water.”
Though certainly bold and unique, it’s not a completely risky move for the Canadian singer/songwriter. There’s little-to-no controversy in his music; DeMarco won’t have to worry about any irate listeners showing up, demanding explanations or apologies because his music has corrupted today’s youth (he lives in the Far Rockaways of Brooklyn, quite a commute even for most New Yorkers). DeMarco’s music is the chillest of the chill: slide guitar lines lazily trail his vocals, whammy bars are invoked gently, and drums keep a crisp, tight beat. His half-asleep voice invokes an incredibly laid back, slightly-stoned version of Jeff Tweedy. It’s so relaxed, some songs bleed into each other, but this gives the album a consistent, thematic quality. And at only 23 minutes long, mixing up the energy with more upbeat songs like “I’ve Been Waiting For Her” is enough variation.
It’s rare that an album can be so engrossing, yet casual and conversational. Another One feels almost like a high-production jam going on in Mac’s backyard.One might be going on right now, in fact- it wouldn’t be too hard to find out, considering we have his address. Road trip, anyone?
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!
“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:
Meet Nashville-based Penicillin Baby. They recently released a new single ““Stick It Out.” These psych-pop rockers (Jon Tyler Conant, Charlie Davis, Taylor Lowrance, and Wesley Mitchell) describe themselves as “Space-Trash.” Listening to the single, one wonders if they are indeed from outer space, sifting through the Southern-infused surf rock vibes that burst with classic punk inclinations. Note: causing writers to wonder if you are space aliens is always a good thing; Earth is overrated. As Hesh told Christopher on The Sopranos, “Now that is a hit.”
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.
Raindear is the Swedish indie-electro artist 25-year-old Rebecca Bergcrantz. With dark purple lipstick, a septum piercing, and hair so fine someone would steal it to make extensions, the artist transcends her personal style through music and visual aesthetics to create a fairy tale with a perfect built-in soundtrack. We’ve seen a lot of this particular genre of music emerge from her homeland, so to say that she’s caught our attention isn’t so much jumping on the bandwagon, but rather finding someone who sticks out of the herd. “Veins” (WTNSS Remix) is a moodier take on the original, a well-tied version of lumbering bass sewn with joyful synths, all decked-out with her enchanting voice.
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.
If you’ve ever wondered what the perfect song for cloud-watching would be, this is it: “Fleece” by GABI is one of the track’s on the singer’s upcoming album, Sympathy. Gabrielle Herbst’s voice floats gentle by, sometimes as a whisper, other times soaring. A distant roll of percussion, droning strings, and the rustling of keys join her in a crescendo, before a chorus of horns swirl around the settling sounds. It’s quietly breathtaking, but only she knows: does “Fleece” represent a beautiful moment, or just the calm before the storm?
After the September release of album Nature Noir, Brooklyn’s own fuzzy noise pop darlings Crystal Stilts have triumphantly returned– with new single “Delirium Tremendous.” But this time, there’s less fuzz, and more sun. The track begins with a deliciously upbeat, almost Krautrock-sounding tempo, built around singer Brad Hargett’s Ian Curtis-like croon. He makes a fervent plea to be understood: “Delirium/Delirium/Deliver me from tedium.” The lyric creates a dark, complex backdrop to the otherwise light and playful pace of drums and insistent, building guitar. Perhaps a bit of shadow lurks beneath the sunny veneer.
Without warning, things change direction and a bridge builds out– a slowed tempo oozing with a “party’s over” sense of resignation as Hargett himself resigns: “And after all/Is said and done/We have to go.” But is the party really really over? No time for contemplation– as all traces of the bridge have melted away, replaced by the resurgence of the frenzied, driving pace that you were just starting to miss.
This track has the feel of being on a spontaneous road trip; and although Hargett and Co. make a pit-stop halfway through the wild ride to get out of the car, pace around a bit and contemplate the universe, they more than make up for the break once they get back on the highway; with tires screeching, steering wheel swerving, and blissful, reckless abandon charting the course through to the song’s abrupt end. Damn right, it left me wanting more.
As it happens, this month Crystal Stilts will be rolling through a slew of East Coast (and even a few Midwest) cities with some live dates. Schedule below:
6.14.14 – Rock and Roll Hotel [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”][tickets] – Washington, DC*@
Before forming Landlady in 2010, Brooklyn-based musician Adam Schatz already knew he wanted two drummers and two people playing keys. That’s the basis for the group’s complicated choral pop arrangements and powerful sound. But it takes more than bodies to orchestrate a song, and Landlady’s energy is matched only by the control the group has over the way the music sounds. There’s nothing chaotic about it. Each instrumental thread is fastidiously shaped and as pronounced as it’s meant to be, every dynamic shift is calculated for contrast–every move the music makes is palpably intentional. But though Landlady may be meticulous, their playing has too much melody and sheer pop-infused heart to seem sterile. Their latest song, “Dying Day,” is proof.
“Getting better every day,” the track begins with unembellished vocal delivery from Schatz. “I think I’m getting closer to my dying day.” “Dying Day” is a completely palatable experiment in idiosyncrasy and weaving self-contradiction. The lyrics correct themselves and mull over meanings and instrumentally, the song behaves similarly. The rhythms bounce along nonchalantly, and sometimes lean with their full weight into the backbeat in a sauntering pose that makes the music seem–for all its jumpy complexities–carefree. Although the song’s mood is hard to pin down when you look at it under a microscope, a less aggressive listen–road trip soundtrack? mix tape opener? These summery chords are damn versatile–makes for just plain fun.
“Dying Day” will be included on Landlady’s forthcoming album Upright Behavior, which will be out this July on Hometapes. Stay posted here.
Though the world is hardly hurting for sixties-inspired doo-wop indie rock, Gringo Star‘s latest release, Floating Out To See, skews rock and roll in an irrepressibly colorful direction that’s too much fun not to pay attention to. Brothers Nicholas and Peter Furgiuele grew up raiding their parents’ record collection, and it shows: the Atlanta-based trio composed of the two brothers and, most recently, multi-instrumentalist Chris Kaufmann repurpose sunny riffs and hummable harmonies from sixties rock. Sometimes, their music could fit right onto a record from that decade, but more often a Gringo Star song feels like more than imitation: they recall the atmosphere of blissful excitement behind a Beach Boys song or a Turtles song, but along with evocative chord progressions and a generous helping of reverb, Gringo Star mix in plenty of modern-day psychedelic bells and whistles to bring off the finish.
The name, in fact, is not a Beatles reference. As the group told one interviewer a couple of years ago, it’s inspired by Mexican slang they’d picked up working in kitchens. That anecdote gives you a decent idea of what to expect going into Floating Out To See: the project was entirely DIY, the first of the group’s three albums to be put together without a producer, and the tracks on this thing are short, catchy, and crackling. The album sounds like a brilliantly half-baked bid for glory, but if you listen closer, the distortion on this record cloaks a lot of melodic detail and very strong musicianship. It’s as if Gringo Star wants to make simply-constructed instant hits, but can’t resist slipping him an extra riff or harmony here and there.
Then there are the unexpected instrumental breaks that pepper this album. Though they don’t seem to fit into the rest of the music at all, the musical lines are a pleasure to listen to, both on their own and laid over the rest of the band. The first song on this album, “In The Heat,” barely sees a vocal line, instead giving itself over to an easy beat that saunters through the track from start to finish. It’s an unpredictable opener for a band like Gringo Star, and although so many of the group’s beats and harmonies are well-worn, it’s only one of the ways in which Float Out To See defies expectations. Six tracks in, “Satisfy My Mind” melts from a fast-paced cut-and-copy rock number into an extended drum solo, which lasts for a solid thirty seconds.
With tightly controlled musicality, the album speeds up, and slows down, and speeds up again. Sometimes brooding, sometimes barely containing its excitement, Float Out To See contains an impressive number of elegant shifts in mood and intent. Gringo Star hits a gorgeous balance of immaturity and sophistication here, which, hopefully, will afford them room to experiment for many albums to come.
Find Gringo Star on Facebook, and watch the music video for “Find A Love,” off Floating Out To See, here:
Danish indie-slanted electronic musician Trentemøllerhas debuted the video for “Gravity,” the second track off his 2013 album Lost. This video is the story of a day in the life of Mr. Carpool, played by Oscar Isaac (recently of Coen Brothers’ film Inside Llewyn Davis), as he walks the shoulder of a Los Angeles highway, advertising his services as an extra passenger for single drivers who want to fast-track into the carpool lane. Isaac’s title role in Inside Llewyn Davis depicts a down and out folk singer who hitchhikes to New York with no money; in “Gravity,” Mr. Carpool takes on the role of companion, road trip buddy, and confidant.
The relationship between driver and passenger begins ambiguously, with Isaac in disheveled businessman apparel, carrying a briefcase, as the sun rises over the LA highway system. Trentemøller’s staid, pulsing beats suggest a reflective loneliness, with a backdrop of a ticking clock and high vocals that trace placid arches over the music.
Mr. Carpool’s first customer, a harassed looking middle aged man, shoves a life-size doll out of the passenger seat as Carpool shoves into the car. From there on, Isaac’s character is privy to all the eccentricities of people alone in their cars: drivers scream on cell phones, blast their radios, make jokes, eat snacks, cry, and offer him hits off a joint. We don’t hear anything of this, of course; “Gravity” swells and harmonizes as it progresses, blurring together into a representation of the digressions and experiments of the day. By the video’s end, it seems as if “Gravity” has become the soundtrack to a life as viewed from the passenger seats of strangers’ cars. Though Mr. Carpool charges a ten dollar fee for his services, it quickly becomes apparent that he’s just as valuable as a companion as he is an extra body to qualify the car for a space in the car pool lane. We see his drivers soliciting his advice, shaking his hand, or asking him to check their make up.
Like “Gravity” itself, this music video speaks to themes of isolation and togetherness, and easily how a business arrangement gives way to personal interaction. The highway, an apt metaphor for being alone together, opens up to Mr. Carpool in this five and a half minute representation of a work day.
When day of hitchhiking is done, Carpool waits by the side of the road until a dark blue Volkswagen swings by–it’s a woman, one of his customers from earlier that day. He gets in the car and the pair, smiling and familiar with each other–although we saw them meet each other for the first time earlier in the day–drive off, in the right-hand lane of the highway. As the various lines of “Gravity” resolve into harmony, its visual component ends with an uplifting sense of peace–a literal drive into the sunset.
Watch the video for “Gravity,” out via Rolling Stone, below:
Philadelphia native Kurt Vile(and his touring band, The Violators) drew in a large crowd for his Friday night show at Terminal 5. Vile plans to begin touring extensively across the US and Europe for the remainder of the year in support of his most recent album, Wakin on a Pretty Daze, released earlier this year through Matador Records. The bill also included Lee Ranaldo and The Dust–consisting of Sonic Youth’s guitar virtuoso, Lee Ranaldo and drummer Steve Shelley–and Brooklyn indie band Beach Fossils.
Vile, who has been a musician since the age of 14, has cited lo-fi legends like Pavement and Tom Petty as some of his major influences. Wakin on a Pretty Daze (Vile’s 5th studio album) has received much acclamation and has been referred to as his most musically solid work to date.
Beach Fossils took the stage first, opening with material off of Clash The Truth, including the dreamy, new-wave song “Generational Synthetic” Joy Division-like post-punk “Shallow,” and the lighter indie-pop melody entitled “Careless.”
Fellow Matador labelmates Lee Ranaldo and The Dust followed, bringing forth material from their most recent work, Between The Time and The Tides. Songs such as “Xtina as I Knew Her” and “Fire Island (phases)” exhibited Ranaldo’s desire to drift away from his signature experimental work in Sonic Youth, and instead hinted a number of 60’s rock influences, such as the Grateful Dead and the blues rock band, Hot Tuna.
The setlist for Kurt Vile and The Violators mostly included material from the Vile’s last three albums. The band started off with the 9 minute opener “Wakin on A Pretty Day,” Vile’s face buried underneath his infamous mangled, brown hair, muttering a quick ‘thank you’ before following with the drowsy tune “Jesus Fever” from 2011’s Smoke Ring for My Halo. Vile then resumed performing material off of Wakin on a Pretty Daze, such as the droning indie-psych single “Never Run Away,” as well as the Petty-esque “KV Crimes” and the bouncier “Was All Talk”, the background instrumentals slightly reminiscent of 80’s pop. Vile took a moment to perform a couple of acoustic songs–including the fan favorite “Peeping Tomboy”– while sitting on a tie-dye blanket draped couch near the corner of the stage. The lights throughout the venue dimmed, save for the spotlight focused on him. Vile resumed alongside The Violators after a couple of technical difficulties (“We’re sorry, this is a very blue-collar production we have here” he mumbled jokingly), playing a couple songs (“Hunchback,” “Freak Train”) off of Childish Prodigy, and was greeted with much enthusiasm.
Though some may argue that Wakin on a Pretty Daze greatly differs from Kurt Vile’s earlier material, there is no doubt that he and his now semi-permanent touring band have the potential to enrapture audiences through live performance. Kurt Vile and The Violators offer a truly innovative type of psychedelic, lo-fi that will keep ardent listeners talking for years to come.
