Tag: Pop

INTERVIEW: Allie X

 

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Allie X - BB Gun Press
Allie X – BB Gun Press

Little is known about the enigmatic pop singer Allie X.

When she comes on the stage at Baby’s All Right, I find it hard to believe that, even after speaking with her one-on-one only days ago,  she’s standing before me in the flesh, donning an ecru tulle number, mod sunglasses, and a mile-long curtain of straight brown hair falling down her back.

Before adopting the stage name Allie X, she was Allie Hughes, a classically trained musician from Toronto — but that’s all you’ll get to know about her.  “Respectfully, Ysabella, I don’t talk about my past in interviews,” she says, and I’m not offended; by driving the attention away from her past life, she allows the focus to remain on who she is now, and what that means for her music.

She opens her show with “Hello,” waving at the crowd almost robotically.  It’s mesmerizing to watch her contort her arms into a pretzel or kneel on a bench to play her instrument, the “X-a-chord,” which resembles an organ.

The way that Allie X interacts with her crowd is unlike many pop singers, who might try to hold back-and-forth conversations with the audience or lead into songs with anecdotes.  Instead, her phenomenal vocals are what make the show memorable, and she says little other than the occasional “thank you,” mimicking the way she likes to carry herself as an artist.

“I think I can still have life as an artist and create work that has an intimate relationship with the world, where they feel like they’re being let into something without actually revealing details of my private life,” she says.  “In this day and age, it’s difficult when half of the success of an artist has to do with social media, which has to do with the details of one’s personal life, so it’s something I’m figuring out.”

And it seems that she’s figuring that balance out much quicker than she gives herself credit for.

The driving force of her fan following is the power of “X,” which she describes as “the unknown variable…a blank slate to start from.  Believing in X is believing in the possibility of anything.”

“I have a small, but very devoted following of X’s and a big part of the project is exploring ‘X’ together,” says Allie.  “I’m always trying to think of new ways we can do that.  One of them is part of my Tumblr, it’s a gallery for various ‘X art’ that they’ve made, and we update it usually every couple of days.  So if you make anything and you hashtag it ‘Feeling X,’ it’s going to be up in the gallery.”

And among her go-to poses during the show are the crossing of her arms to form an X, or holding up her crossed fingers.  She even spins around onstage, much like the reblog-ready spinning gifs she has on Tumblr.  She gives fans these recognizable things to latch onto, and while adopting X into one’s life has a different meaning for each individual, it brings her and the fans together.

These symbols of Allie X are only part of the cohesive image she’s cultivated.  It’s a distinct visual style that makes her instantly recognizable, and she credits the aesthetic to adopting X into her life.  That’s a part of what ‘X’ might mean for her, but that’s not what “X” is meant to be for everyone.  As she describes it to me, “If you were to become ‘Ysabella X,’ you don’t have to share the aesthetic that I show.  You don’t even necessarily have to have aesthetic — that’s not really what it’s about.”

And while I might not be sure of my ‘X’ or my aesthetic, Allie X exudes a strong sense of self-awareness and artistic identity.  On delving into other aspects of the art world, she says, “I would love to make a musical.  I would love to make a film, animate a film.  Books, all of that.  But that all needs to stem from me being a successful music artist so that’s what I’m focusing on right now.”

It’s fun to watch her pull at her roots and prance in a cutesy and child-like manner while she sings, “Steal my blood and steal my heart/Whatever it takes to get you off/I’m your bitch, you’re my bitch/Boom boom.”  The stage was a bit small for her presence, and it would be lovely to see what she would do with an even bigger one.  Naked bodies — “a huge pile of naked bodies to travel with me around the world” — if she had it her way.

Presently, she has only performed about ten shows as Allie X, so there is certainly room for her shows and her catalog of songs to grow.

She has co-written a song with YouTube celebrity Troye Sivan, whom she describes as “a truly lovely human being.”  Generally, she likes working with people who “bring a different skill set to the table.”  For example, people who are “good at working quickly or with technicalities of engineering.”  And she describes herself as a “slow” and “abstract” lyricist, preferring to work with “more straight-ahead, quick lyricists,” and “people who have some interesting analog sounds.”

One thing that surely will not change is her flawless delivery, with some of her vocal curls actually inducing chills.  And hopefully she stays a bit cryptic and elusive, too.  She only took her sunglasses off for the song “Good,” but even then, asked for the lights to be turned down.

She works her way through CollXtion I from top to bottom, and when she closes with “Sanctuary,” she holds out her mic and the crowd sings all the words without missing a beat, as if we all know her and have been a part of this “X” project for our whole lives.  And when she prances off stage, shades back on, you’re left with even more questions about her than you had at the start.

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TRACK OF THE WEEK: Chic Gamine “Light A Match”

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Chic Gamine are a revamped, French-Canadian version of a classic girl-group: Three voices that sing in harmony, adding layer upon layer to one unwavering line, breaking off in separate tendrils before twisting together again. On their upcoming album, Light A Match, they’re taking the concept to a whole new level. Though they took a five year break between releases, it was spent evolving their sound, and finding a new collaborator in the Montreal producer Sébastien Blais-Montpetit. The band describes how the title track reflects this crucial point in their career: “’Light A Match’ is about that moment when you’re forced to decide what to do with the spark that is your life. Do you snuff it out or do you blow it into proportions undreamt of?”

Chic Gamine’s answer to that question is clear: turn that spark into a blaze. After a gentle intro, the song becomes intense, and a driving bass and marching snare build as the chorus dares listeners to play with fire: “You found hell looking for paradise/Light a match and watch it burn.”

Light A Match will be available on October 23rd. Check out Chic Gamine’s music video for “Light A Match,” where two cowboys play a high stakes game with memories instead of cards.

ALBUM REVIEW: JR JR “JR JR”

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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.

ARTIST INTERVIEW: Dan Arnes

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 

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ALBUM REVIEW: Destroyer “Poison Season”

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“You could follow a rose wherever it grows/You could fall in love in Times Square,” Dan Bejar, aka Destroyer sings on the track “Times Square.” His latest album, Poison Season, constantly references itself, both musically and lyrically, but matter where one track takes you, another always leads you back to perhaps the most well-known area of New York City, Times Square; The record has three songs that include it in their title. Most New Yorkers may associate the area with crowded trains and annoying tourists more than love, but Bejar somehow makes it seem romantic and sentimental.

Called “Rock’s Exiled King” by The Fader, this is the tenth studio album by Bejar, who also plays in The New Pornographers, but strays far from the indie rock genre in his solo project.  Though Poison Season may seem like a harsh name for an album, it’s not reflected in the music. Songs are filled with sweeping (but never too sappy) strings and loose jazz saxophone. The whole album has a late-night/early dawn feel to it, recalling the 4AM epiphanies you get when you’re still clinging to your last bit of consciousness. This is especially true on the track “Dream Lover,” where he borrows the line “Here comes the sun.” But this isn’t the hopeful, cheery sun from the Beatles’ song- this sun is an interruption, signaling the end the night with a does of reality: “Oh shit, here comes the sun/Lovers on the run,” Bejar laments after an evening where “Haunted starlight gets in your eyes.” Euphoric, chaotic saxophone and a driving beat make it one of the album’s best tracks.

On “Bangkok,” the saxophones are joined by piano, giving the song the feeling of an after-hours jazz lounge. And on “Hell,” the bouncy beat begs you to snap along even as Bejar insists “It’s hell down here, it’s hell”(He also slips in a somewhat political line with “Every murderer voted out of office is sold down the river,” though he follows it up with something purely romantic).

Bejar’s voice has a whispery, spoken-word feel to it, and even during quieter moments, it’s easy to want to give his words your full attention. There are some serious moments on the album, but Bejar’s sense of humor manages to shine through. He uses the line “Bring out your dead,” which could possibly (I’d like to think this, anyway) be a nod to the Monty Python comedy The Holy Grail. And while the music video for “Girl In A Sling” is a beautiful, simple film where Bejar develops old photo negatives in what appears to be a childhood house, the video for “Times Square” is a light-hearted stop motion animation. Mossy creatures get high off of pipes and joints, a tree stump hunts for mushrooms, and a cartoon brain crawls along the forest floor.

This is definitely not the Times Square that exists at West 42nd Street and 7th Avenue, but it’s the Times Square that should.

Poison Season is out on August 28 via Merge Records. Check out the track “Dream Lover” below.

 

ALBUM REVIEW: Deradoorian “The Expanding Flower Planet”

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Angel Deradoorian is a former member of the Dirty Projectors. As one of the band’s vocalists, she contributed to many of their trademark harmonies and long, sustained cries that used the singers’ voices more like an instrument than just a way to deliver words. Some of that sound creeps into her solo album The Expanding Flower Planet, but for the most part, Deradoorian chooses a bold, new direction.

The album, which will be released on August 21 via Anticon, appeals to my San Francisco roots: it’s filled with vibes that convey peace, love, and more than a hint of psychedelic drugs. Deradoorian’s voice ranges from serious and mystical to singsongy, like a butterfly that lands on your hand only to flit away suddenly, flying this way and that through the air. On tracks like “The Invisible Man,” the Middle Eastern inflections in her singing  are perfectly mixed with echoes of her voice, low sustained tones, and rock drums. On other songs, however, the percussion seemed overwhelming yet too simple, even childish under the range and layers of her voice.

The Expanding Flower Planet is trance-inducing, but with it’s many, many percussive parts, vocal lines, and a constant stream of lyrics, it’s too busy for passive listening. The best song comes first with “Beautiful Woman,” which recalls Deradoorian’s work with the Dirty Projectors but repackages the sound in shiny, polished pop. Other noteworthy tracks include “Darklord,” which features a trilling surf guitar, the monk-like chanting of “Ouenya,” and the high-energy track “The Eye.” “Komodo,” a song about running from the deadly lizard with a fatal bite, was also enjoyable for its playfulness. 

The Expanding Flower Planet is a fun trip through someone else’s mind, someone who may be in another universe entirely. It’s a great listen if you need to completely change your frame of mind. And, on some distant flower planet, aliens are probably dancing to it somewhere.

 

TRACK PREMIERE: Micky Blue “Champagne Reign”

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Anything described as “haunted pop” has already won my heart from the get go. On this day, Wednesday August 19th of 2015 AudioFemme is proud to premiere “Champagne Reign” by New York darling Micky Blue. “‘Champagne Reign’ is about how far some people are willing to go for the glamor and fame. I think you can still reach your dreams without “selling your soul” or loosing yourself, it’s a much harder and longer road but I think the payoff can be much greater,” says Micky.

It’s a sparking track that will translate easily to the dance floor, but with a message that may cause the dancer to look for the realness of the night, the eyes of the person you’re dancing with, and the thrill of being young and free and creating memories that could sell a movie script – without worrying how big the opening weekend would be. It sings of the delight of the glow of the sparklers, not the price tag that comes with the champagne bottle they appear with.

Listen to “Champagne Reign” below.

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LIVE REVIEW: Angel Olsen @ Summerstage

Angel Olsen

The crowd wears sunglasses until the day gives in to night. The VIP’s are elevated in the front under umbrellas sponsored by Hendricks gin, or in the very back penned off in a Aquacai holding area. Teenage volunteers run around, excited and sweaty in contrast to the stone-faced security guards (well, it is summer in New York- everybody’s a little sweaty). It’s a Wednesday night and this is Summerstage, the outdoor concert series in Central Park where fans can see their favorite bands, communing with nature on a floor of astroturf.

When you’re standing shoulder to shoulder with your fellow listeners, feeling the claustrophobic of the makeshift rock arena inside the huge, open space that is Central Park, trying not to spill your eight-dollar, twelve-ounce cup of craft beer, it’ll never be more clear that while you hate large crowds, you love live music more than almost anything. The music of Angel Olsen seems to come floating down from the trees behind her instead of the speakers mounted on the stage. She is equally impressive live as she is on record, though she lamented that she had “a summer cold for Summerstage.” Her voice is both delicate and powerful, wavering and twisting itself from note to note over the foundation of her band.

Though charismatic, she lets her music carry the performance – her songs are not conductive to onstage antics or theatrics. That’s for the best, because the next act was the complete opposite, Father John Misty. Frontman Josh Tillman crooned his heart out, and left no syllable unaccompanied by a gesture, shimmy, sashay of the hips or another abuse of the mic stand. Just when you think the crowd is too big, and you’re too far to get the full effect of his performance, you hear him sing “You’re the one I want to watch the ship go down with” and feel like he’s talking straight to you. You think that crowds aren’t so bad after all. And anyway, you’re in Central Park on a gorgeous night: if you can’t see the stage, you can just tilt your head back and stare at the fading sunset, letting the music wash over you.

 

TRACK OF THE WEEK: Vacationer “Go Anywhere (TAPES Remix)”

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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).

 

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ALBUM REVIEW: Speedy Ortiz “Foil Deer”

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“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.

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TRACK PREMIERE: Led to Sea “Breathe Some”

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Elevate your Friday with the premiere of Led to Sea’s new track “Breathe Some.” It’s the first song from the upcoming album, The Beautiful Humming of Ms. Fortune, set to drop May 5. Led to Sea is the solo project from the Seattle-based violinist, violist and singer Alex Guy. In a sea of recycled pop production grey seagulls, Guy soars like a dove. Her sound merges her classical sensibilities into an experimental package with a pretty pop bow. Some of that shining production quality is likely due the engineering and co-producer role of notable Jherek Bischoff (David Byrne, Amanda Palmer, etc) who Guy worked with over the past two years creating the project.

Us femmes always enjoy anything that expands our music education while pleasing the senses – and “Breathe Some” does exactly that. Cheers, Alex Guy. We must add we get a kick out of imagining how many fans will be surprised to learn you’re a classically trained woman with striking eyes, rather than another bloke, with a name like Alex Guy.

Listen to “Breathe Some” below:

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TRACK OF THE WEEK: Built To Spill “Never Be The Same”

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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!

TRACK PREMIERE: Kat Solar “Infinity”

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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!

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TRACK PREMIERE: Tomboy “Say I”

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Tomboy
Photo Credit Kate Owen

 

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!

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TRACK PREMIERE: Fin-Folsom “ICMT”

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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.

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TRACK REVIEW: all boy/all girl “Glitters”

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So, you take an ukelele, cello, viola, and stand-up bass, along with the usual guitar and drums. Maybe put some horns in there, too. Then throw in two female vocalists who sound like they’re challenging the limits of sound. This is all boy/all girl’s new single, “Glitters:” Pop music that’s been completely burst open.

“Glitters” is just one of the new tracks the band has finished recently, and will be releasing their new EP Trophy, their follow up to 2013’s Tiny Inglesia on March 3rd. They’ll also be playing an EP release show at The Studio at Webster Hall on March 16th.  

Listen to “Glitters” below:

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TRACK REVIEW: Ava Luna “Billz”

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Ava Luna, that soulful quirky five-piece from Brooklyn, are releasing a new album on April 14th via Western Vinyl. Wow, that’s a long ways away, isn’t it? Well, you can stream one of their new songs right now, on Bandcamp. 

“Billz” is the ninth track on Infinite House, Ava Luna’s latest release since 2014’s Electric Balloon. Typical of the band, it mixes the old-school sound of Carlos Hernandez’s passionate crooning and eclectic, jazzy pop with modern life. Putting words to what we’re all thinking as we go about our lives, he sings “Will it elevate me? Will it educate me?/ But is it gonna pay my bills?”

When the time is right, you can download Infinite House here. In the meantime, check out “Billz” below:

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Track List for Infinite House:

1. Company

2. Tenderize

3. Steve Polyester

4. Roses and Cherries

5. Coat of Shellac

6. Infinite House

7. Black Dog

8. Best Hexagon

9. Billz

10. Victoria

11. Carbon

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ALBUM REVIEW: Ghastly Menace “Songs of Ghastly Menace”

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When I looked at their band name, I expected Ghastly Menace to be some kind of punk group, or possible a metal or grunge outfit. But you can’t always judge a band by its name, and I didn’t hear anything ghastly or menacing. Instead, what came through my speakers was a debut album from a lo-fi pop band, reminiscent of Grizzly Bear or The Pains of Being Pure at Heart.

Ghastly Menace is now a six-piece band from Chicago. After members Andy Schroeder and Chris Geick released their 2010 EP Pitcairn, they added Kody Nixon, Michael Heringhaus, Pat Lawler, and Clint Weber for their first official album, Songs of Ghastly Menace, released through The Record Machine on January 27th.

For a band’s debut, it’s impressive. Ghastly Menace has figured out their own style, but even within it, they show range and depth. The album starts out strong with its first two singles, “80s” and “Closing,” full of catchy and layered with infectious drums, well-placed guitar hooks, keyboard melodies and bass that glides along beneath it all. The record changes pace with the next two tracks. “You let me do too many things without you/ Know I don’t know how to do them with you,” is sung in harmony on the quiet, “Living Together,” which builds up slowly but always returns to its original tone. In “While You’re Here,” the vocals are laid bare, with only light shakes of percussion and occasional background noise before the track builds up. The only song that sounds out of place on Songs of Ghastly Menace is the seventh track “She Won’t Stay Long,” a piano ballad that breaks the tone of the rest of the record.

Ghastly Menace is able to find a perfect balance with their first album- music that’s low-key without being lazy, vocals that are sleepy without putting you to sleep, and the ability to keep calm without being emotionless. There’s also some interesting sound effects scattering through the record. The band has said that they use “non-instrumental sounds and techniques” on the album, which left me unable to guess what some cool sounds were, but I’m pretty sure someone sacrificed a glass or two while recording “On Our Way.” Whatever sonic experiment Ghastly Menace is conducting, it’s a success.

You can download Songs of Ghastly Menace here, and check out “Closing” below!

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ARTIST OF THE MONTH: BRONCHO

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Dream-pop, garage-rock, black-punk. In an era where the blogosphere battles to name genres, sometimes it’s nice to simply return to rock ‘n’ roll, which is just what we have for you in the first Artist of the Month profile of the new year. “As cliche as that is, I think that’s what we’re going for. A fun rock and roll band,” said Penny, a newly-minted member of the Oklahoma rock group, who recently joined with her partner Mandy, adding a much appreciated feminine flavor. They do after all, have a sky-rocketing new album titled Just Enough Hip to be Woman. 

BRONCHO performs at Beacon Theatre tonight supporting the one and only Billy Idol. Shortly before they hit the road, Sophie Saint Thomas caught up with Penny as she was getting ready to embark on a six-week tour.

ST: What is your experience with touring?

P: Honestly, I’ve loved it since I started doing it. I went on my first tour as a solo artist with another friend of mine who was also a solo artist at that time. I just love it, I love traveling. I love kind of having everything I need with me girl scout style. I see it as not much different than outdoor survival camping. I just kind of see it as the urban woods.

ST: Is this the first tour you guys as a group have done together?

P: No, Mandy and I just joined the band this last summer. We did our first tour with the guys I believe in August. It was like a five week run. We were basically touring from August to December with a few breaks and then we had December off, and now we’re at it again.

ST: How did you end up joining the band?

P: I’ve known Ryan for a few years now. I grew up in Norman, which is the town that they’re based in. Where they were hanging out and went to school. So I had hosted house shows at my house with them, and I’ve been to a lot of shows, just between musical mutual friends I guess. When I met Mandy we started playing music together. I heard that their old bass player was leaving the band. So I kind of pursued it a little bit, and six to eight months later I talked to Ryan, and he invited both of us to be in the band which is awesome because we live together and we’re partners. She’s kind of the only thing that keeps me from being on the road. So it’s really awesome to be able to bring her with me.

ST: How is it being with all those guys?

P: It’s good. The bands I previously was working with and touring with was much different. Musically, and also socially I played with two girls. And so I was mainly traveling with three girls which was a totally different experience. All three of us were around the 21-24 age so needless to say we were kind of crazy all over the place. I think the energy of this current group is like… I just feel like they’re my brothers. I have always been a tomboy so we just feel really comfortable.

ST: “Class Historian” is really blowing up and getting a lot of attention. How has that experience been?

P: I definitely feel lucky to be with them at this time. I’ve been watching these guys tour kind of parallel to my former musical life, and to be able to be in this band at this moment in time is pretty amazing. I do my best to not take too much credit for any of the actual success that’s going on right now. But it is super exciting. And I’m just  constantly being flattered by people always hearing it on the XM Radio or wherever they’ve heard it. It’s kind of far out; We had a spot in the local paper recently, which was definitely the first time I’ve been called out like: “You’re that girl in that band!” It’s very weird, it’s very new, I’m trying not to get too used to it.

ST: I hope you’re enjoying it!

P: Definitely. I’m just trying to let it in and let it be real.

ST: I’m sure you and Mandy joining has changed the dynamic, can you speak to what you’ve brought to the band?

P: One obvious change is certainly the vocal presence. I think we’re moving to a really awesome place vocally where Mandy and I get to be sort of this more angelic presence over kind of the rougher vocals of the guys. It rounds it out really well. I was definitely worried at first about the former fans…I don’t know, it’s probably just girl insecurity. I never wanted people to be like, “Oh you’re good for a girl.” I think especially as the bass player like their former bass player, I respect him a lot. So the first show I was definitely watching a lot of people like, “You approve right?” I’m less about seeking approval now, and I’m just having a really good time with the guys. I’m no longer feeling like I don’t fit in anymore.

ST: I enjoy the female aspect; I love how it’s all come together. The album title Just Enough Hip to be Woman – were you part of the creation?

P: I honestly was not there but I totally can imagine how it came up, and it was probably the guys and some friends totally joking around and one of them probably said it in one way and another one said it in another way and then it went around in circles because it’s worded so strangely. I thought it was funny when I found out what it was because I didn’t even hear the new record or know the title until he had already asked me to be in the band. So part of me was like “Maybe he knew…” but I don’t think that he did. I think it’s just that perfect.

ST: How would you label your sound? I’ve read the term “garage punk” thrown around a lot on the internet.

P: Anytime we’re asked that at a border crossing, because they always ask “What band are you in?” and then “What kind of music do you play?” We all collectively answer with “rock and roll.” As cliche as that is, I think that’s what we’re going for. A fun rock and roll band. We’re all just having fun and ideally we just want everyone in the audience to be loose and crazy. I think “punk” is a bit of a stretch I think “garage rock and roll” is kind of where it’s at.

ST: Well, rock and roll is a cliche for a reason, it’s great. Are you excited to play with Billy Idol?  

P: Yeah, I’m so stoked.

ST: Well congrats on everything that’s happening, and thanks for taking the time to speak with me.

P: Thank you!

EP REVIEW: Carmen Villain “Quietly/Let Go”

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Looking to get lost in a world of sound? Carmen Villain, aka Norwegian singer/songwriter and former model Carmen Hillestad, has released a new 7” single of dreamy pop music, Quietly/Let Go.

“Quietly” is an eerily ethereal soundscape of guitars and brooding background noise. While the music builds around her voice, Villain’s vocals remain tethered down, dark and dreamy. “Let Go” is a quieter track that feels as if you’ve gotten lost in a forest; it starts with chattering bird-like noises and swirls of synths and reverb. Villain’s muffled voice is only present for the last minute of the song, before the track fades quietly out.

Quietly/Let Go is available to download digitally on January 20th. For those of you who prefer a copy you can show off on your bookcase, you’ll have to wait until February 10th when the physical copy is released through Smalltown Supersound. 

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TRACK PREMIERE: LAYNE, “I’d Go to Space With You”

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Budding young pop rock artist, LAYNE, released a catchy new single today off her forthcoming EP, Warrior, due out early next year, following up her debut, Mind Games, which came out last spring. Her new track, “I’d Go To Space With You”, is an upbeat, anthemic pop jam about finding one’s place among a world of “cool kids”. Heralding back to motifs of first love, social awkwardness, and the art of fitting in, the theme alone is ever-relatable. Accompanied by gleaming bubblegum guitar hooks and infectious vocals that are simultaneously refreshing and nostalgia-inspiring, however, the track is a wonderful throwback to late 90s/early 2000s suburban alt-rock and punk pop, while also showcasing LAYNE’s musical talent and knack for songwriting. If it’s any indication of what’s to come from the LA via North Dakota transplant, Warrior will not disappoint.

Listen here to Audiofemme’s exclusive premiere of “I’d Go To Space With You”, here via Soundcloud:

ALBUM REVIEW: Braeves “Drifting by Design”

Braeves

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Childhood friends Ryan Colt Levy and Derek Tramont are the backbone of Long Island ensemble Braeves, but it was a labor of love and experimentation with more recent add-ons Thomas Killian McPhillips IIV and Nick LaFalce that brought forth their melodically-inspired new sound. The group, produced by Mike Watts, has garnered comparisons to Local Natives, The Shins, and Grizzly Bear, undoubtedly owing to their rich, echoing vocals that move over a similar rock/pop landscape. However, there’s a driving quality embedded in EP Drifting by Design that diverges from what we know and moves us graciously toward “Braeve” new territory.

The quartet doesn’t waste any time. From the very first drum lick in “Guest of the Gun,” Levy’s vocals ring out with a captivating presence that bends along the roving refrain. Melody and percussion play off one another, the rhythmic lyrics and sliding vocals crackling with McPhillips’ slick beat.

The EP then moves to more somber, minor-resounding terrain with “Talk Like Strangers,” a percussive rumble continuing to power the album’s course. This track unleashes Braeves’ lyrical prowess with a succinct, familiar tale of two people found foreign to one another in the wake of their mutually faded affection: “We talk like strangers in empty storylines / Stare right through each other, then on to the next lie.” Trapped by false notions of one another, they lean on illusion to ride out the storm: “Ooh, hallucinate yourself the perfect lover / Dressed in best intention, dripping with another.”

Next comes the standout – the lilting, soulful mid-tempo “Souls in Transit.” Keyboards tumble from a daydream, followed by the entrancing ebb and flow of an undulating lyric line. Levy’s vocals are rawer and realer than before, a fresh and gravelly timbre added to both his suspended falsetto and delectably pliable straight tones. Amped, electric strings break out on the chorus, and the refrain lifts from the ground for a few breathtakingly weightless moments before gliding softly back down to the swaying bass line.

At last, the EP goes out on a rolling surge in the form of “While Your Body Sleeps.” Percussion and vocals intermingle once more and throw themselves at the canvas, building to a cacophony of vibrant sights and sounds that reaches its apex, then fades.

What Braeves have brought us in Drifting by Design is that up-and-at-‘em feel that gives their soulful meander indelible purpose. It is a sound untouched by wanderlust and un-plagued by aimlessness, yet one that paints a vivid reverie nonetheless. It manages to tell the tale of that most surreal and ambling journey, remaining firmly planted in the present while at the same time boundlessly moving forward, unstoppable as life. It is Braeves’ arduously crafted design that gives this ode to a drifting trajectory the capacity to soar.

VIDEO OF THE WEEK: Chastity Belt “Black Sail”

Chastity Belt - Group “Black Sail” is not the typical fare for the ballsy, brazen females of Walla Walla, Washington’s indie rock group Chastity Belt. Nevertheless, their irreverent 2013 debut No Regerts from Help Yourself Records kicks off with the sonorous, uptempo track, highlighting Julia Shapiro’s powerful, pining tone before diving into the cohort’s staple off-kilter gems like “Nip Slip” and “Pussy Weed Beer”, which showcase their more widely known talent for wry, foulmouthed humor.

Don’t get me wrong. I love the smuttiness – bring it on. Some days you just need a good ole sing-along to “Chips and dip, nip slip!” but “Black Sail” happens to be just as delightful a surprise. A driving beat and inviting chord progression carry on through to the end, and catchy riffs scattered throughout blend seamlessly with the round, entrancing vocals. Now, the track can be savored via its new video accompaniment, although, I recommend you don’t savor your dinner at the same time.

Director Maegan Houang paired the uneasy ache of “Black Sail” perfectly with a tale of weather-beaten Oregon Trail pioneers turned gruesome, Zombie-laden slaughter fest. The surprisingly low-budget, non-union shoot in Morongo Valley, CA yielded a finished product of stunning panoramas, poignant performances, and remarkably believable gory effects. Its final moments – when the last survivor must resign herself to an unbearable fate – will never leave your memory.

ALBUM REVIEW: Helado Negro “Double Youth”

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After a slew of collaborations (Bear In Heaven, Devendra Banhart, Julianna Barwick, and others), Roberto Carlos Lange retreated inward to make Double Youth, his fourth full-length release as Helado Negro. Recorded largely in Lange’s home studio in Brooklyn, the album is constructed with simple tools: easy, percussive beats and lullaby-like vocals that swing between Spanish and English. The whole thing falls somewhere between abstract and danceable.

Double Youth‘s guiding theme–and its cover art–comes from an old poster from Lange’s childhood, which he had forgotten about until he pulled it out of the back of his closet one day, in the early stages of recording the album. The image of the two boys posing together, looking both twin-like and not, resonated with Lange. Twosomes crop up everywhere in the making and music of this album: the poster reminded Lange of the warmth of a familiar memory, but also of how far away from that memory he had come; his vocals overlap Spanish with English; the beats recall block party bass lines booming from car speakers, but they easily turn tranquil, with a delicate motif of watery arpeggios that cycles forlornly through this collection. Its components laid bare, Double Youth feels like a conversation, and a kind of imperfect twinship, between voice and computer.

The album’s front half floats by like a pink cloud: the bouncy single “I Krill You” and subsequent track “It’s Our Game” are the two catchiest songs on the collection, and Lange’s lullaby voice is like melted chocolate drizzled over the beat. But over the course of Double Youth, the music develops a huge amount of texture. By the time we get to “That Shit Makes Me Sad,” the cyclical and moody closer, melodies have grown into landscapes, and the early tracks’ sweetness subsides into a strangeness that’s still vaguely benevolent.

On September 2nd, Double Youth will waft gently down to earth, courtesy of Asthmatic Kitty Records. If you simply cannot wait that long to be soothed by smooth vocals and delighted by playful beats, you can stream the whole enchilada over at Pitchfork, in anticipation of the album’s release. Check out “I Krill You” to get a taste: