I’m still tinkering with a few elements of TWIAPC and I think the next change is gonna start right now. From heres on outs I’m going to keep New To Know posts to one or two groups. They’re going to be more frequent but by relaxing the rule of 3 I hope to be able to give the groups I feature a little more verbiage. I’m also working on a few other new features and I think this move will balance the content out. So, with that said get to reading about these two great acts.
This Philly trio has just released their first album Imaginary Friends which is the perfect title for the heavily nuanced collection of songs. Each of the 13 tracks are a separate exploration of chimes, claps, echoes, hollow piano chords and harmonies. No single song comes off as an easy creation, the density and layering of the music make Imaginary Friend a wonderful trip into complex land of psychedelic indie rock. They do pick up the pace a bit on a few of the songs but for the most part they remain in a dreamy haze of hypothetical lyrics and curious arrangements. Three plays into the album I still haven’t fully settled into it which isn’t a bad thing as I keep discovering new facets of their sound. Looking for some loose new tunes? Give Grubby Little Hands a try.
Every once in a while I hear a voice that really draws me in, the rest of the arrangement could drop away and I would still be a pleased listener. That is how I felt when I first heard Danny Batemen’s voice on his band Uncles’ new album Replacing Words With Other Words. Credited to listening to his Southern grandfather sing to him as a child his voice brings a distinct twang to the New York based group. Batemen and his bandmate Will Schwartz have been writing their slice-of-life songs since they were teens but I have a feeling a few years on em has given their lyrics the tarnish that really makes an impression. Accompanied by a ever changing group of instrumentalists who strum banjos, double basses and violins Uncles’ sound is definitely Americana but with a hint of big city influence. For a first album there is an undeniable shine of promise, now I just want to hear how they will evolve.
It isn’t the most earth shattering video but the album it is from is perhaps one of my favorite of the year. Tokyo Police Club never seem to get enough respect but their new LP Champ is perfect fodder for your summer soundtrack. It drops June 8th and the band will be swinging through town with Passion Pit at The Mann on June 27th. A lovely line up for a picnic concert.
[MP3] Wait Up (Boots Of Danger)(Passion Pit Remix)
tame impala – solitude is bliss from EL NINO on Vimeo.
Tame Impala is Australia’s newest indie offering and their scooping up a ton of blogger praise. I’m a little late to the party but I can tell you the party is well earned. The video is an abstract meander through anxious crowds, solo grooves and unhinged anger. All elements found throughout Tame Impala’s work. I’m certain you’ll be hearing more from Tame Impala so why not get started with this well tuned video. They’re on a NA tour with MGMT this summer. Catchem if they come to you.
[MP3] Vital Signs (Midnight Juggernauts Cover)
There is break dancing, there is a Mondrian aesthetic, there is a lot of silliness, there is some fun with props. Oh yeah, there is also a damn good pop song. Their new album Omni came out May 4th and it is filled with most excellent jams. You’ll have as much fun listening to it as they no doubt had making this video.
I am super super excited for some new Scissor Sisters. The new album Night Work is due out on June 28th. Once I have that in my possession then it will truly be summer. Until then enjoy this morsel of glam pop wonderfulness. I’m also adding this video to ones I would someday like to reenact. Get me to the dance floor so I can properly express my excitement!
Opening for Mumford & Sons was the Australian group The Middle East, the group’s folky minstrel show was a excellent choice to start the evening. The Middle East consists of seven supremely talented musicians – six guys and one lovely girl more than able to hold her own- who play an astonishing assortment of instruments. I had initially seen them do a short set at SXSW that hadn’t lived up to my expectations after hearing their album. But all seven were crammed onto a small stage in freezing temps so I chalked it up to the less than ideal setting and was eager to hear them in much improved conditions at the TLA.
With a full stage to spread out on The Middle East was clearly more at ease. On his perch the drummer was able to go into a trance as he attacked through the material. The lone lady, on keys and flute, had plenty of space to smoothly switch around as needed. While the boys with their strings – banjo, guitar, bass and violin- had more than enough room to wander and jam. I mention the space factor because the group’s playing at this show was so effortless, allowing them to really invest in the ebb and flow their songs demand; a marked difference from SXSW when it looked like they were struggling to even hold their instruments.
Led in turns by the two main guitarists, they played a short set that highlighted both their slow building almost orchestral pieces like “Pig Food,” as well as, their more intense material like “Beleriand.” Being able to make a visual connection to the subtle arrangements that propel their work gave it a much more lush sound as you watched each member go about their part. I can’t remember ever seeing a glockenspiel played with as much nuance as I did when watching them play – in particularly on “Blood”- nor was I expecting the drummer to play in such a carefully riotous manner. Actually experiencing the construction of these songs brought a whole new life to their intensity. Unlike many groups of this size, who could easily cut their members in half if a few of them learned how to play a tambourine or floor tom, every member of The Middle East is vital to building their complex sound. Constantly rotating instruments and roles they all carry their weight in giving their music character; whether it was taking the lead on vocals or providing the airy flute line floating almost unnoticed through many of the songs everyone respects the others role. Seeing The Middle East live revealed new depth to their sound that I had previously not appreciated. Now even listening to their record I feel the presence of all seven members in the music. I look forward to discovering what happens when they begin to evolve their sound in their future recordings.
I find it difficult to fully wrap words around the brilliance of Mumford & Sons live show. I don’t want to numb you with effuse praise nor do I want to downplay the impact their music has on a room. These four men work a magic on stage that is both visually mesmerizing to witness and sonically enveloping, taking you directly into the pure bliss of the resounding bass, the careful pluck of the banjo and the simple rhythm of the keys. Sunday’s show was Mumford & Sons at their best, a combination of old and new, folk and rock, tenderness and anger. It was a careful mix that left the audience totally stated.
Beginning with an epic –and I do not use that word with the casual flippancy of others – rendition of “Sigh No More” Mumford & Sons’ lush plaintive harmonies set the standard for the night. Lead singer Marcus Mumford’s voice- slight rasp in fine form- led the charge as the bass gave the song a pulse that gradually picked up as Country Winston’s banjo whisked away the heart of the piece to it’s frantic peak. It was the perfect way to start their long and varied set.
For a group that has been on the American radar for a relatively short period of time (mind you they’ve held precious realty in my heart since 2008) Mumford & Sons has managed to sell out their entire first head
lining tour of the US; a feat that they readily credit to their amazing fans. As I have previously (and repeatedly said) when an artist is genuine in their appreciation it is palpable in their performance. Sunday as I watched them play I found on numerous occasions this grin come across all four fella’s faces at one time or another, a grin that suggested they still cannot believe all those people had showed up just to see them play. Their bodies and souls go into every song, Ben Lovette hunches over the keys, his feet taking a wide stance to give him the best leverage on the machine and watching Ted Dwane dance and sway with his up right bass is a sight to behold. During the show they used very simple white back lights timed to emphasize their music and combined with physicality of their playing it made quite a visual impact.
The set list crossed familiar territory, “Little Lion Man” received full audience participation, “I Gave You All” carried all the anger and pain of the lyrics as Mumford’s voice pushed his voice to its rawest reaches as the banjo fluttered in the back. “Roll Away Your Stone” was Mumford & Sons in their element calm verses infused with the rowdy energy of their impassioned harmonized choruses. There was a broken string snafu in the intro of “Awake My Soul” that gave an unexpected pause for some casual stage banter but didn’t at all detract from the quality of the second attempt.
The group inject the set with some new songs, “Nothing Is Written,” “Lover Of The Night” and”Whispers In The Dark” all suggest their next release will be much more rock and roll. The later two both saw Mumford then Lovette taking their place at a drum set. The energy surrounding these new tracks had their typical bawdy rawness but with an electrified edge as even Dwane traded his upright for an electric bass. I’m terribly excited to see how the music evolves with more play time and after some time in the studio.
There wasn’t a moment during the show that I felt Mumford and Sons wasn’t putting their all into their playing. They played long and with an unfiltered passion that swept up the entire audience. By the time they came out for their encore, a fantastic version of “White Blank Page,” there wasn’t a person in that room who wasn’t under their spell. If this is just the beginnings of Mumford & Son’s streak to fame I see an increasingly bright future ahead for them.
[MP3] Cousins (Vampire Weekend cover) – Mumford & Sons
It has been a doozy of a day and it is just the first in a string of crazy days so pardon the brevity of my post. There is plenty to look at though so dig in!
FREE ENERGY “Bang Pop” from Free Energy on Vimeo.
The Philly act is up to their usual playful antics in their newest video for their addictive single “Bang Pop.” Populated by the lucky kids selected from an open casting call a few weeks back the video couldn’t capture the defiant but good spirited Free Energy ethos any more perfectly.
[MP3] (This Shit Was) All I Know – Drake vs Free Energy (Hood Internet)
When I first heard High Violet, the new album from The National, I wasn’t bowled over, as I had been with Boxer Alligator. I wasn’t disappointed I was just hoping it would be more of a departure from their successful -but well used- formula. However. at the urging of the great Ryan P Hansen, I gave the full go a few good listens; somewhere towards the middle of the fourth spin I discovered they have made a departure. Only they’ve gone inwards rather than outward, digging deeper into the nuance of their formula and making subtle tweaks that only become apparent after some investigation. High Violet is now making its way towards the tops of my 2010 list.
Oh, and the video? It is extravatacular.
The National – “Bloodbuzz Ohio” (official video) from The National on Vimeo.
Melodica, Melody & Me is a new group to my ears and this video was what first caught my eye. The retro reel fits the sweet lyrics perfectly. They’re about to do a little UK acoustic tour with Bombay Bicycle Club and hopefully will be making it stateside sometime soon.
In the hazy space that is my mind right now this video found a place to resonate. The dreamy pop is soothing but still catchy. Inlets’ new album Inter Arbiter features Zach Condon (Beirut), Angel Deradoorian (Dirty Projectors) and Maria Jeffers and Marla Hansen of the string quartet Osso is sonically refreshing, you should buy it, listen to it, then go see him while he tours all over North America. All over, that is except for Philly. Le sigh.
Mark McAdam has been in the music making game for quite a while – since 7th grade to be exact – including a stint with Dermot Mulroney’s band Cranky George during his years in LA. Now McAdam has settled in Brooklyn and into a new phases of solo music making. The start of his lastest effort coincided with beginning of development for his friend Keiran Mulroney’s (Dermot’s screen writing brother) movie Paper Man. Inspired by the quirky movie’s characters and plot he began to create an album around them. The result is magnificent.
The eleven tracks on Paper Man Songs stand alone with their own stories and character. “Adderall” offers an ironically calm homage to the ADD remedy, just one of the calmer more reflective pieces on the album. “Around The Bend (Or, The Optimist)” is a poppier ode to the search for El Dorado. The instrumental tracks written for the score are unpretentious but effective; easily evoking the emotions reflected in the Paper Man story line. McAdam’s years of song writing experience have given him a well developed sense of the ways music can tap into emotion. This album is a stellar reflection of that skill.
Chicago’s The Damn Choir was born out of moment of kismet when Katy Myers happened upon a recently broken hearted Gordon Robertson in a bar. Initially Katy deflected his musical advances but eventually Gordon won her over. In the year and a half-ish since that fateful day the two have acquired two more musicians – Chelsea Heck (vox) and Miguel White (drums) – and developed their own folky sound.
Myers’ steady luscious cello lines provide a rich backdrop for Robertson’s perfectly imperfect voice; the relationship between the two gives distinct character to the group’s songs. The addition of Heck’s supporting vocals gives the material a middle dimension and rounds out the arrangements. Lyrically The Damn Choir explore relationships from all sorts of angles; tender reflection, longing rhetoricals and simple missives. It is a promising start for the relatively new four piece; I can only imagine, as they become more comfortable with each other’s abilities and start getting more musically curious, their sound will only improve.
These six dudes from Sioux City, South Dakota are making really really really good music. There is a lot of banging percussion along side some shouty vocals and, of course, bizzy driving guitars but, it never gets messy instead it becomes a high energy symphony of fun. We All Have Hooks For Hands is capable of taming the beast that is their collective sound but don’t forfeit any of their allure when they do so. Letting a simple piano line or a steady drum beat take center stage and allowing the group vocals and additional instruments spiral out from there -as they do on “Hold On C’mon”- is a welcome counter to the full-steam-ahead pace of other tracks.
They’re tucking back into the studio this summer and I cannot wait to hear what they have when they emerge. I unflinchingly predict great things. Get on the bus early.
A little over a year ago a friend of mine asked me to create a playlist for his workouts. He knew I used a carefully assembled tracklist to blast me through my workouts and he wanted something similar to give his routine some new drive. I had spent hours finding the right assortment of remixes, catchy pop songs and familiar classics to provide the right ebb and flow for my hour long gym session. The task requires a lot of tweaking and personal adjustment and I told my friend as much. He wasn’t hearing any of it so, I pointed him in the direction of Girl Talk’s Feed The Animals and told him to start there. Well, it seems to have lasted him nearly 18 months because a few weeks ago I got another email request for a fresh workout soundtrack. I wasn’t sure what direction to point him in this time until I got this new epic mix from Moshi Beats. There are a few familiar pairings and segues from the Girl Talk’s efforts but, if you’re in need of 42 minutes of easily consumable bumpin grooves then here you go. It is chalk full of familiar tracks chopped and blended in a workout friendly mashup. I sent this along to my friend yesterday and got a text this morning with his full approval. Hopefully, it will do you equally right.
Take one of my favorite songs, give it to one of my favorite remix artists and what do you get? Brilliance! It’s got just the right amount of funkiness mixed in Sarah Barthel’s seductive vocals. It’s perfectly imperfect.
[MP3] Mouthful Of Diamonds (Alan Wilkis Remix) – Phantogram
Keepaway has had it’s way with Fol Chen’s new single In Ruins and oh what a way it is. Starting with the uptempo track they add some electro twitches and video game beats; popping out the catchier roots of the song. The subtle distortion works with the song rather than trying to tear it apart. Much love for both versions.
[MP3] In Ruins (Keepaway Remix) – Fol Chen
Ok, ok, this track is technically not a remix; it’s just a wee weirdo electro gypsy romp that perfectly complements my current silly mood. The Swedish artist has been featured on TWIAPC before for his rockin mash up work but this track is nothing but the product of his musical mind. I’m in a generous mood so I’m tossing in his rad Rihanna remix he gave his zip to (care of Sheenabeaston).
[MP3] Rude Boy (Passporte Royale Remix)
The Amplifetes – Whizz Kid from THE AMPLIFETES on Vimeo.
The artistry of this video really grabbed me. Anders Hellman’s animation is way cool; the simple black and white cut out images popped 3-D with scribbles to top it all complement the Swedish groups fuzzy pop music. The Amplifete’s consider themselves a mix of psychedelia, classic rock and electro and their tunes solidly support the claim. Another Nordic band to love.
The Mary Onettes “The Night Before The Funeral” from Labrador Records on Vimeo.
Recent TWIAPC fav The Mary Onettes sent this video along this week and man oh man do I heart it. The song “The Night Before The Funeral” is a solitary reflection on a young love that has run its course. The video nails that feeling of solitude perfectly. Directed by the group’s Philip Ekstrom it follow his brother Henrik as he wanders through a series of locations the brothers have a sentimental attachment to from their childhood. The flat lighting and slightly quirky character match the song to a T. Another Nordic win!
[MP3] The Night Before The Funeral
Sebastian Blanck “I Blame Baltimore” from Rare Book Room Records on Vimeo.
The fantastical space odyssey captured in Sebastian Blanck’s new video was just the kind of playful narrative I’ve been in the mood for lately. It’s sentimental and off beat much like the music on his new LP Alibi Coast. The imagery is simple and sweet not needing to be a big production or totally silly. It is just delightful. A wonderful way to float into the work of Sebastian Blanck.
Oh, Florence how do I love thy gingery ways. This video from the last single off of her spectacular album Lungs is all sorts of saturated color yumminess. The woman knows how to work the camera and almost as well as she knows how to stop you in your tracks with her voice. If you haven’t already purchased Lung get to it if for no other reason than to blast as the soundtrack for a dance party of one. I highly recommend it for the good of your soul.
I had the pleasure of sitting down for a chat with this Philly band a few weeks ago and found a trio with some major musical ambition. They’ve got their eyes on capturing a share of the indie pop rock market and the work ethic to make it happen. At the beginning of their journey they’ve already got a lock on Spoon-ish piano riffs and catchy singable lyrics; and yes, they are aware of the strong Spoon influence on their early work. Those comparisons though have driven them back to the studio and the new material is equally catchy but entirely of The Fleeting Ends conception. The piano cuts a tidy pop swatch across the jangley guitars to great toe tapping effect. Lead singer Matt Vantine has a voice made for pop; a little bit pleading a little bit crooning. As the young group continues to rack up live show experience and defining their strongest sound I wouldn’t be surprised to see them steadily achieve their musical ambitions.
When I first heard Lay Low I was taken by the tenderness of her voice. Her new single “By And By” is a simple sweet morsel of pop reflection that she delivers with a coy coo. It was enough to draw me under the spell of Lovísa Elísabet Sigrúnardóttir – the lady behind the stage moniker – and into her new album, Farewell Good Night’s Sleep, I dove. She calls it country music and she has certainly done her research as she manages to capture the essence of the rich history of female country crooners. The native Icelander has a fascinating command of her vocals tuning the notes and the delivery style to set the mood for each track. Accompanied by the requisite smooth steel guitar her soft voice spreads over the arrangements with authentic twang. The album’s 12 tracks each have enough variation to carry your attention but also run with a relaxing continuity. A delightful new artist for your consideration.
Villagers is the brainchild of Irish wunderkind Conor J. O’Brien who, with the encouragement of his parents has been pursuing his creative muse from the early age of 12. Getting lost in the works of Roald Dahl and Jim Henson fed his imagination which, over the years, has bled into O’Brien’s work. Clearly he enjoys the role of storyteller – in particularly when it requires taking on a bit of a character- and the majority of his songs do spin an interesting tale. The instrumentals, mostly played by O’Brien on the record, are rooted in folk influence but branch out into pop and rock territory as the direction of the lyrics require. Those lyrics are as charming as they come and wear the polish of a man who isn’t afraid to indulge a little fantasy. The few tracks I’ve been able to get my hands on have been lyrically and instrumentally satiating in their wit and intention. Leaving me eager to hear more, much more.
Villagers’ debut album Becoming A Jackal comes out in the US on June 8th and they’ll be doing a brief tour through the North East later in June, including a stop in Philly on the 22nd.
I had the hottest ticket in Philly last Friday for the Beach House + Washed Out show in the sanctuary of The First Unitarian Church. To be totally honest I was not amongst the masses to worship at the altar of Beach House. That isn’t to say I don’t appreciate their music I just think their are other acts out there that are more exciting. When given the opportunity to see them live though I figured I should check them out; see if the secret is in the set.
To get the evening started Washed Out, much buzzed about electronic artist out of Georgia, was tasked with getting people at the packed Sanctuary show in the Beach House spirit. It is rare that I find an one man electro act something worth watching – usually I’m most happy dancing like a crazy person to their music – however, Ernest Greene dancing around his keyboards, laptop and other odds and ends was plenty intriguing. He mentioned it was his first seated show and it was immediately apparent why. Washed Out makes music that requires dancing; to not move to his effect laden loops would be almost disrespectful.
Starting with luring base beats Greene slowly builds a dense series of loops and effects. It took a mere two minutes before kids were on their feet tranced out his work. It was a brief set but he successfully revved up the crowd in preparation of Beach House’s pending arrival.
Under the shimmery diamonds hanging from the ceiling Beach House – Victoria Legrand and Alex Scally – claimed their spot on a dimly lit stage. The set up was basic; Scally and his guitar, Legrand on keys and a live drummer as was the stage banter. The group kept their focus on their music channeling a mesmerizing amount of energy into putting on one transfixing show.
Legrand’s voice was raspy and seductive commanding the attention of everyone in the room. She has a voice reminiscent of some of the great pop female vocalists Grace Slick’s howl, Stevie Nick’s ethereal hum even a bit of Dusty Springfield’s twang. Watching her produce the words live give the lyrics a richness and sincerity missing from their records. When not singing she is pulsating over her keyboards keying out lush synths and providing a visual expression of the energy her voice usually carries.
Countering the richness of Legrand’s voice and instrumentals Scally weedles his way deftly through the intricate guitar lines. I noticed that there are a few parts that I had previously credited to the keyboards but are actually his careful picking on an effected guitar. His fingers effortlessly made quick work of the clean rhythm lines it was incredible to watch him at work. The few moments when he wielded a slide were complete bliss.
The set list flowed beautifully, punctuated with the occasional “thank you.” Where I had been expecting to hear wave after wave of fuzzed out rock I actually got a well framed and potent live show. I am still not the biggest fan of their recorded material but, having heard the music live, I now better understand the skill behind their sound. Beach House’s real magic is in their astounding live performances and that is more than enough to make me a champion of their cause.
