Maybe it’s not that much of a revelation when a band puts their stamp on a music scene by releasing songs from GarageBand. But the chances of sustaining momentum in Philadelphia? Uhh, yeah. Whatever Slutever. Nicole Snyder and Rachel Gagliardi are the obnoxiously bitching punk duo that are Slutever. In the past six months I’ve seen them go from some band Reading Rainbow likes to a band that makes Philly music news and gets played on Sirius XMU’s Aquarium Drunkard radio show. And at some point, even a ‘fun’ band begins to take itself seriously. The fantasy life that is college has just finished for one of these girls, and no, her plan is not to just smoke mad blunts. Slutever have planned a seven week national tour, partially funded through a Kickstarter campaign, starting on July 1 in Boston. Their first tour across the states. And to think the last time I saw these girls we were trying to figure out how to gain entry to a Dum Dum Girls show. It’s Slutever, right?
A chat with Chris Wood is a whirl wind tour of his musical career; first, his gig as drummer for Downtown Harvest; then, the spacey trip-hop side project Grimace Federation; finally, to his main focus right now Orbit To Leslie. Taking on a new role as frontman Wood has high expectations for Orbit, as well he should. The five piece first began a few years ago when Wood returned to Philly after a stint in LA and wanted a few fresh faces for some jam sessions. He called on a childhood friend, some other well respected local players slapped on a phrase he once saw on an organ effect button and Orbit To Leslie was born. What has come of those jam sessions and a grip of well received gigs is a well rounded and worldly dream rock group. Defined by intriguing percussions and steady vocals the band just released The World Was Saved With Chocolate Cake. The album, initially intended to be an EP, is a direct reflection of the fella’s assorted styles. Dipping into a few different pools of influence from afro-pop to echoey garage rock it plays well as a whole with some weaker spots but tracks like Chocolate Cake shine bright enough to pull the weight. The further refinement of their sound that is sure to come from supporting this record will only push Orbit To Leslie closer to their full potential.
TWIAPC:In your solo work it is just you and the myriad instrumental lines you’ve created. How does performing to support this album differ from your other group effort?
TWIAPC: You clearly have a knack and a comfort level with a wide variety of instruments. Are there any in particular that feel more natural or, conversely, more unusual?
TWIAPC: There is a rather ruminative tone threaded throughout Year In The Kingdom. Was there any one thing or event tumbling around your mind while writing or, do the songs reflect singular moments or ideas?
TWIAPC: Both your solo work and that you do with Fleet Foxes falls safely in the chamberish folk portion of the genre spectrum. Are there any other “sounds” you’ve been curious to dabble in?
Holiday Shores are one of the most enjoyable new acts I’ve come across this fall. Not only is their album Columbus’d The Whim one you can’t help but grin and groove to while its playing but they’re also a lot of fun live. They come from the beaches of Florida and their laid back attitude is undeniable in their music and in their general outlook…
TWIAPC: You’re sound is very much tied to your Florida/beach roots but did you always aspire to capture a new take on the Beach Boys-ish sonic aesthetic?
Holiday Shores: We love Beach Boys. I think we’ve all been listening to them since we were very young. So, in a way, we grew up with them and our appreciation for that massive turn in pop music has only grown as well. Influence is a hard thing to trace, but when you’ve listened to an album like Pet Sounds, or even just a song like Surf’s Up, a million times, it will probably make it’s way into your own output, even in very small ways. I think for us, much of the Sixties music we heard as children became our roots music; we didn’t know anything else for awhile. So, to hear any comparisons with our music to that music is such an honor. The sound that Brian Wilson created is unparalleled and always will be, but it is also uniquely inspirational and I think we’ll always draw from that.
HS: The group has gone through a good amount of changes in the last year. Just before the recording began last winter the line-up began to change and dwindle when responsibilities with school increased. Many times, whole parts of songs would be completed solely by Nathan in his bedroom, or just a couple of us in the living room. However, a song like Edge of our Lives might be the best example of a group effort, as it was worked out during practices for some shows we played around that time. This summer the line-up changed again with the addition of PJ on bass and Clayton on drums, neither of whom played on the record. At home, we tried to play as many as we could with two drummers, but for touring we actually had to split up the duties because neither drummer could be out for the entire 5 weeks. Our CMJ run was carried out with Clayton, and our Evangelicals tour has been held down so solidly by Ryan, who flew to Phoenix to meet up.
Due to the nature of the recording process, the songs take on varying new colors when performed live, and I think this is something people would probably have to just see us, to see.
HS: Well, we’ve all been fortunate enough to come across some awesome, affordable, older gear. Nathan swears by his early 80′s Juno-60 and hopes for the best with old Farfisa organs found for cheap. A song like Days Drag really benefits from the amazing patches on the Juno, and the shimmering wash a Farfisa can provide. Coupled with a few pieces of old drum sets, we were able to use a great amount of vintage equipment on the record, from a nice old Sunn bass head to a beat up 60′s Fender Jaguar. If you can’t have much good recording gear, you might as well get the sweetest sounding musical equipment you can find.
HS: We had been thinking for awhile that Continental Divide didn’t mean much to us personally (we had never seen the Continental Divide until yesterday) and on top of that, there is a Bluegrass Group called Continental Divide who had the name long before we did, and probably use it to greater effect. Right before the record was going off to get mastered, we were all racking our brains for a better, more meaningful name. So, one night, as we were signing rent checks one of us looked at Nathan’s street address on the check and said, “Holiday Shores…we should just call it Holiday Shores.” Naturally, the name rang deep within Nathan’s psyche as it was the street he lived on for much of his adolescent life. But for the rest of us it had no street-name connotations, but rather more restful, new beginning, feelings. “Holiday” is a great word that simply means, a day to remember, a day of celebration, a day of rest. There are a bunch of little communities around the country called Holiday Shores, and most of them are on lakes. I think for us, the name signals a cause for celebration, like an explorer finally reaching a place they can settle down in.
HS: Hey, thanks a lot. I think this may come from a comfortable feeling we all have playing with each other, and playing live in general. Honestly, its a vibe that comes to us when the music feels good, and that’s really great to hear that it’s evident. The songs have always felt malleable to us, and in that sense we are able to work within parts and make changes while we move through a song, if the spirit leads…haha.
Holiday Shores are playing Kung Fu Necktie next week (Nov 17th). Don’t miss it.
TWIAPC: I wasn’t surprised to read that your work is influenced by classic ska bands like The Specials, there is strong evidence on that in your sound (in particular in your syncopation). Where else do you draw your inspiration from?
The Dodos are about to embark on a full US and European tour to support their freshly released album Time To Die. Before they do though, I got the chance to pick their musical brains
The Dodos will be skating the streets of Philly October 12th then playing a show at The Church. Get out and catch their fantastic live show, vibraphone and all!
Here’s a capcha from their Daytrotter session - Paint The Rust
And here is a great video from The Shoot Music Don’t They with the fellas on the streets of Berlin.
While I was up in Brooklyn this weekend for After The Jump Fest I had the pleasure to chat with Philly’s own Drink Up Buttercup. These four gents have come quite a way in the last few months, amassing their energy, talent, passion and dollah dollah bills to make a running leap into the wider world of indie music. Beyond increasing their number of shows this has mainly meant going into the studio to record their first album. According to Ben [bass, general chaos] there wasn’t one way they went about trying to capture their unmistakable live sound, there were many ways. Depending on the song they adapted their recording style. At times parsing each member’s contribution and laying them down separately at others all four of them piling into the studio together. Not surprisingly, James [guitar, vocals, ring leader] admitted, the exactness of the click track didn’t really mesh with DUB’s heavily improve nature. So, more often than not, they ended up scraping convention and tearing it up in the studio. Those tracks are now in the finishing stages before the public gets a little taste of what is to come with the release of their first single this fall.
Catching their gig this weekend the was, once again, a noticeable improvement of their delivery. For those of you who are unfamiliar with DUB’s raucous shows, they make their music with garbage cans, tool boxes and an assortment of other odds and ends, as well as, the usual suspects (bass, guitar, drums). When there is that much involved there is a fairly good chance that what will come out is unformed, aimless noise. Not in the hands of these fellas though. Their outrageous energy is tamed by a clear vision of where they are taking their audience and shaped by adept musical skill across the board. Watching them over the last few months I have seen them become much more comfortable on stage which has served to fully round out their sound. Taking this show on the road will, no doubt, build up Drink Up Buttercup’s following. Rippling out from their tight Philly base to claim members in each stop along the way.
Despite the growing momentum, and crazy tour schedule staring them down, they all remain relatively unphased by what is to come. They’re winding down their day jobs, planning the video games arsenal to be packed and spending a little quality time with their Philly crew in preparation for the road. And, in a few weeks they will throw their garbage cans, beat up tool box, toys and the rest of their instruments into a van and head out for an indefinite tour of the east coast. And, while I’m sure they’ll miss all that home has to offer and have to partake in some shmoozing that is counter to their antisocial ways it is clear the minor impediments are no threat to need they have to make their music.
Be sure to get yourself out to see them now while their playing the small venues that truly complement their offerings. It will be a night to remember.
Gods & Gentlemen
