Welp, here we are facing a beautiful weekend here in the North East and after this week I am plum tuckered out. I have lots of goodies for you in the next few days but I thought I would bring this week to a close by sharing some bits from my in box that caught my eye.
I can’t tell you how bummed I am I missed Lookbook’s stop in Philly. They make the kind of revving pop music you should be pumping on beautiful spring days. They released their new single “Over and Over” this week and a video to really drive home how awesome they are.
Lookbook – Over and Over from Bo Hakala on Vimeo.
Fresh for your weekend dance mix DJ duo Philadelphyinz have dropped House Of Yinz a mix “inspired by Doug Lazy, the Jungle Brothers, Sugar Bear and a lot of other rappers who made uptempo jams with bad puns on the word “house” on their albums in 1991.” It packs a six track wallop you’re sure to enjoy.
[MP3] At The Park (Skinny Friedman remix)
The concert calendar has some new exciting additions for you to check out. Chief among them next weekend’s Human BBQXXXII presented by Pilam. The line up is a mixed bag of awesome. If you haven’t see Pink Skull or Anamanaguchi they’re worth the price of admission but with BBQ included I can’t imagine a valid excuse not to come early and catch These United States, Netherfriends and The Extraordinaires, amongst others. These are the kind of event’s Spring was made for so get out there and enjoy.
And finally to round out this random wander through my in box I give you Koot Hoolmi’s Hall & Oates cover project The Dark Side Of Hall & Oates. There is really no other place to file this other than in the curious and unexpected file. Koot Hoolmi is an artists collective who decided to cover the famous duo’s classic hits using unusual harmonies, minor key digressions and, of course, Tuvan throat singing. The result is interesting enough to give it a full listen and if you like the taste go buy the full tribute over at CD Baby.
Oh, the Swedes. How do they manage to continually produce refreshing musical acts? Perhaps it is the water or maybe a government that supports the arts. The Mary Onettes have the mystery ingredient in spades. They have two well received albums to their name, the self titled 2007 release and last November’s Islands which marked a real maturation of their airy indie pop. Layering reverberant guitars with echoey vocals and using classic synth it a little up tempo punch. The group’s arrangements evoke a sense of detached reflection while lead singer Philip Ekstrom infuses them with the perfect degree of cool emotion. There is an undeniable classic 80′s pop feel about their work but, especially on the new album, the group has maintained the essence of the retro sound while adding a reverent but evolved indie sensibility.
They will be kicking off their US tour here in Philly on the 19th at Mar Bar.
The Canon Logic knows a thing or two about assembling all the right pop elements to create catchy songs without sounding formulaic. Their new album FM Arcade is riddled with strong guitar riffs, accessible (ie singable) harmonies, exuberant piano lead melodies and even some hand clapping. The single “Nights At Armour Mansion” lends a nod to pre-boy band male led pop of the late eighties while “Dead Man” has a jangly indie flavor about plutting them toe-to-toe with their fellow Brooklyn indie rock bands. The tracks stand alone, each with their own distinct appeal yet the album, when played straight through, has its own cohesive ebb and flow. I’d bank on greater experimental works to come this new band.
They’re coming to Northstar Bar on April 9th with Freezepop, Plushgun and Pants Velour.
[MP3] Nights At Armour Mansion
I love it when the stars seem to align and a band appears on my radar like buck shot from assorted sources. Numerous folks have praised their experimental tunes; one person calling my attention towards the unusual arrangements of voice, mechanized noise, banjo, glockenspiel, piano, etc another excitedly claiming them as their favorite new musical discovery. After listening I must agree that they aren’t afraid of trying out some new shit and for the most part with an incredible rate of success.
The Philly group is seven strong which not only provides a lot of energy to their work -and I can only imagine a lot of varied inspiration- but a lot of sources for sounds. On tracks like “Dear My Body…” and “Rabbit” they rock a subdued psych-folk vibe with chanty group vocals; the kind of music you’d find in a mumblecore flick. On others like “The Turn Around” they dabble in tweeish electro pop territory. It’s clear their interests are sorted and they’re attempting to explore as many of them as possible however, while it is really enjoyable for the most part, I’d like to hear a clearer purpose to their music making. But that is what a sophomore album is all about. For now, I like where there coming from and I am excited to see where they will go.
They’re contributing their track “Female Wrestler (less urban version) to Edible Onion‘s forthcoming compilation A Cure For The Broken Hearted while their own album People Songs came out March 23rd.
Austin natives Octopus Project are well known for the inventive musical endeavors. Their lone show at SXSW, a project called Hexadecagon, took their own standards up a notch. The piece, written for an eight-channel sound and eight-channel video system, was presented twice in back to back sets under a tent in the parking lot of Whole Foods. The line was crazy long as people waited to see what exactly a this experiment would look and sound like. After two hours we got our wristband for the second set and managed to get a nice spot close to the stage with great views of all of the various instruments – electronic and elsewise- that OP use in their electro-pop arrangements.
The stage was set in the round so all eight-channels surrounded the entire audience and the video was projected on the tent’s ceiling. Watching as they got themselves organized it was easy to get the sense of how complicated this show was. Once the whole thing began though the complications were entirely masked by the precisely executed combination of audio and visuals. The group created every aspect of the show themselves (with the help from a few friends) from the videos that played overhead to programming the systems needed to fully maximize the surround sound effects. Before each track played all the machinations were triggered and without missing a beat the band would launch into the good old fashioned electronic orchestrations.
Octopus Project’s music alone is enough to leave you breathless but wrapped up and presented in this magnificent manner made it most unforgettable. They use traditional instruments -drums, guitars and bass – as well as electronic – synths, samplers and a theremin- to create a meticulously choreographed sonic dance. The physicality of their combined playing styles only served to further the visual element of Hexadecagon.
Toto’s bouncing attack on the drums has a manic grace about it that countered Yvonne’s precise manipulation of the theremin. Amidst the busy-ness of the other instruments and the flashing of the movie above she was the embodiment of calm, adding visual continuation of the slow dips and rises created by the instrument. The music was written to maximize the presence of the surrounding speakers and as a result contributed a very distinct energy to the piece. Each surround sound effect was timed to correspond to the abstract images in the projections, where you stood in the room defined your experience. Hexadecagon was the most comprehensively conceived live show I have ever seen on such an intimate scale. I doubt it would be replicable but I sure hope Octopus Project continues to attempt such feats in the future.
There are few greater feelings than taking a chance on a show and having it totally blow you away. This is how I felt after watching Megaphonic Thrift play at Habana Calle on Wednesday night. We chose to hit up this set after hearing praises from many well respected South By goers. Putting aside plans to go to Cheer Up Charlies to see an excellent line up [Best Coast, Fluffy Lumbers and Cloud Nothings] we went the official showcase route to see MT’s late night set.
I really had no idea what to expect having not heard of them nor their music before that day. All I knew was that the Norwegian super group was made up of members from CasioKids, Low Frequency In Stereo, Stereo 21. A bit of knowledge that doesn’t really lend itself to establishing sonic expectations except that whatever they sounded like it was going to be intelligent.
The room was small but amped for a space at least three times it’s size, another unexpected touch. The reason for the plethora of amps was made perfectly clear the instant the set began. Megaphonic Thrift are loud. Really loud. The quartet use nothing more that wickedly lush guitars, throbbing bass and smashing percussion. Being loud is easy; how Megaphonic Thrift manipulates all that audible weight to create a malleable piece of music that doesn’t overwhelm is not. I liken it to an artists use of negative space. They create a mass of sound from which they carve a distinct rhythm and even some crisp lyrics when necessary. The resulting music is beyond satiating, it is a masterful presentation of restraint in the name of greatness.
The guitars carried out a noise pop initiative while creating visceral harmonies with the undulating bass and crashing drums. The vocals, which are definitely of the shoe gaze variety, are excellent but don’t attempt to equal the presence of the instrumentals. When Richard Myklebust or Linn Froekedal did sing they worked into the arrangements never really pushing to the front instead simply lending to the complexity of the material.
At 35 minutes the set was over far sooner than I would have liked; I could have easily blissed out to much more. Immediately after they were finished everyone in the room seemed to be left in a bit of a daze as the energy released by Megaphonic Thrift’s set still hung in the air. Now, looking back over all the shows I saw (with the exception of one) during SXSW – including the buzz band sets and those I was really excited about- nothing really compares to my first Megaphonic Thrift experience.
I have since gotten my hands on their full catalog Decay Decoy and A Thousand Years Of Destruction and their recorded material is just as superb. Obviously without the intense sound factor the songs sound very different but even when coming out of your headphones the music is a step above most other bands attempting this sort of intelligent music making. They don’t have plans to be back in the US anytime soon so, you’ll have to make due with the albums but I will most certainly be seeking them out the next time they do make it back on this side of the pond.
thanks to Ryspace.com for the live recording
Over four days I was inundated with enough stimulai to keep my little ADD self fully satiated. Going in I wasn’t really sure what to expect other than late nights and lots and lots of music. While both proved to be major themes it was the little things that really made SXSW a wonderful experience.
For those of you who aren’t familiar with Austin let me tell you it is a town that sincerely and rabidly supports live music. There is a concentration of venue space that is astounding and during SXSW even the Whole Foods (the best Whole Foods in the entire world if you ask me) hosts shows. Even though the venues vary widely when it comes to quality each definitely had it’s own quirk factor. It is because of the existing live music culture that permeates Austin that a music festival of this magnitude is not only possible but really enjoyable. My favorites were:
The French Ligation Beautiful outdoor park with Austin skyline in the background was a lovely setting to see The Antlers. If Saturday hadn’t be horrendous I would have loved to see Frightened Rabbit here as well.
The Longbranch Inn Quirky to a T. With the best tie dyed taxidermy I have ever seen. It was, hands down, the best place to catch Grooms, The Beets and Sisters.
There were a lot of local-ish groups that made the trip down to Austin as well and it was nice to be able to watch them perform in a whole new context. The mounting time on the road seems to have improved the Free Energy fellas’ comfort on the stage. Lead singer Paul’s voice was a little more ballsy and fit the rest of the group’s rock energy.
Bridges & Powerlines were incredibly tight,proving there is real potential in them thar guitars. It was fantastic to see Drink Up Buttercup pull people in from other rooms during their show at Purevolume. They are rapidly accelerating towards mass awareness and their harmonies and playing are improving in lock step. Finally, Dinosaur Feathers played a whole slew of shows and debuted new material all to really enthusiastic audiences.
Little Thing #3: New Discoveries
As you wander form showcase to showcase you can’t help but get sucked into new acts. The amount of music available at all hours is pretty much a music junkies dream. Hearing Explode Into Colors in the open lot near Cheer Up Charlies was spectacular. This high energy dance rock group hold nothing back and their mixed bag of influences sucked me in immediately. Props to them for also continuing on to MtyMx gathering in Mexico. Tobacco is insane. Literally pulled me in from off the street with some gritty, sorted, funky beats. I only got a small taste but hopefully they’ll be through Philly to support their pending album (featuring Beck which isn’t half bad).
Little Thing #4: The Clear Mobile Network interviews
While I was in Austin I did a few interviews for the Clear Mobile Network live TV coverage of SXSW. What I didn’t know going in was that the studio was a giant plexiglass room on the back of a truck that would drive around Austin while I did my interviews. It was a surreal experience. During one hard right while Matthew Perryman Jones was singing all the mics fell over and while stopped at a stop light a woman got out of her car to take a picture of me, Jared Mees and Megan Pierce of the Grown Children. Thankfully the interviewees were most excellent (stay tuned for extended write ups) and on the whole it was a pretty unique experience. [see the view from the couch]
Little Thing #5: The People
The absolute best part of SXSW was meeting so many people with whom I’ve tweeted, gchatted, emailed or spoken with over the phone but hadn’t yet met in person and spending time relaxing and hanging out with my extended music family. To now have had in person conversations with some of these folks as well as made some silly music centric memories with them made the week spent in Austin one I will not soon forget. Already looking forward to next year.
Tomorrow I’ll post my reviews of the best shows I saw at SXSW 2010.
It Gets Your Body Movin’ – Suckers (Live at sxsw 2010)
There were a seemingly endless array of options for entertainment while in Austin. I managed to partake on quite a few of them and I’m working on more detailed write ups of the highlights but I thought I would share some pics from a good number of the shows I saw.
More to come…
I’m taking a long weekend for SXSW and while I’d love to say I will be posting rabidly, this is my vacation so I’m going to simply enjoy what there is to see & hear. Then, when it is all over on Sunday, I’ll jump in and start providing you more detailed thoughts and reviews.
In the mean time, I will be posting a few quick pics (like the one above of Philly’s Drink Up Buttercup) over on TWIAPC’s tumblr page. And, as always, you can follow my momentary musings on Twitter.
This bitty gem was dropped in my box this week and I knew immediately I needed to share it. I am a convert to the feel good makings of Edward Sharpe and The Magnificent Zeros and Anjos, of the prolific RAC , manages to give it a fabulous low key build. Totally complimenting the original’s western vibe this version is ripe for the soundtrack pickins.
Home (Edward Sharpe & The Magnificent Zeros) – RAC remix
The always dependable Hood Internet has been rocking my socks this weekend with their hip-pop mash up delicacies. Mostly cause they just dropped a mash up that also serves as a look back over the past 10 years all packaged up in 6ish minutes. It’s as filling as mash-ups get without being overwhelming. Listen love and be sure to catch one of their set at SXSW iffn you’re headed down that way. Oh, and they’re trying to make a music video and raising funds the internets way so if you have some rebate dollars you want to donate go here> Donate
The Hood Internet – Decalogue (The Hood Internet vs The 2000s)
Yoshimi Battles The Purple Robots (Cam’ron vs The Flaming Lips) – Hood Internet
The Crookes are strumming some undeniably luscious summer melodies. Clearly influenced by the more intelligent brit pop forerunners their lyrics are apathetically witty and their guitars plucked with just the right amount of bounce. Its the kind of music you should add to your chores mix because pretty much anything will be made at least 73% more delightful if they are providing your soundtrack. Their EP Bloodshot Days will be out on April 5th and they’re making the SXSW rounds as well.
Image courtesy of Per ForsbergThe Swedish duo Sweet Serenades, have their fingers on the pulse of an irresistible pairing of the simple harmonies & guitars from the 80′s with the ethereal quirk of nordic indie pop. Their song Die Young has already earned a spot on Grey’s Anatomy and the rest of their tunes are worthy of similar placements. They prove themselves capable of including some playful synths but don’t stray from the simplicity of their bass and guitar lines. This isn’t revolutionary music making but it does contribute to the essential canon of happy making music. Their album Balcony Cigarettes is shooting for a US release later this year. Until then you’ll have to make due with the track they’ve so politely allowed me to share.
photo courtesy of Matthew JohnsonThe Middle East create delicate music that launches your wonder into the dreamiest of orbits. Their track “Fool’s Gold” wraps gauzy lyrical layers so subtly around themselves you almost forget where it begins. The harmonies created by the male female voice meander deliberately around the minimal instrumentals carefully avoiding stepping on each other’s toes. A lot of thought has gone into these arrangements and I can only imagine watching them perform live is a similarly breathtaking. They are going to be on the road with Mumford & Sons this spring [May 16th at the TLA in Philly] which will make for one astounding line up.
A Winter Of Mixed Drinks the third LP from Scotland’s Frightened Rabbit has finally hit US shelves. It easily qualified for my most anticipated album of 2010 and I am delighted to report the Selkirk fellas have changed the formula just enough to suggest curiosity while maintaining the qualities that make them distinct and addictive.
Wisely deciding to push his lyrical dexterity beyond the realm of “break up” songs Scott focused more on the emotions involved with vulnerability and strength involved in being alone. The result being an album that leans more toward resurrection than heart ache. Scott’s yelpy croon is as fine as ever and he still turns a phrase the likes of which you’d be likely to hear from any sage barstool philosopher; at times jovial and playful at others reflective and raw. On “The Loneliness & The Scream” he puts words to those moments when you anxiously need someone, anyone to acknowledge your existence then brings in a rondo of howling backup vocals to drive home the urgency of those moments. It is just one of many powerfully orchestrated moments on the album.
While Scott’s range of perspective has evolved so to has the rest of the group’s instrumental adeptness. Grant’s percussion is still the core of the group’s energy. Pushing and pulsing through tracks like the album opener “Things” with the verve you heard on the last two albums. However, this time through when the arrangement dictates more restraint his drumming holds more confidence and intention. The arrangements as a whole suggest the increase in touring has made them more ambitious. Considering they were a pretty ambitious group to start with, the new extremes make for a satiating and rich listening experience. The intense build at the start of “Skip The Youth” which then trips into the pared down plodding bass/piano lead only to build again slowly with layered dreamy guitars and fuzzy drums exemplifies the success of their evolution. The entire album is a testimony to a group’s ability to take chances, explore and yet remain true to their essential sound.
The fellas are set for some SXSW shenanigans then to Europe then finally back to the US to tour properly in support of A Winter Of Mixed Drinks (Philly date April 30th at The Church). As great as they may be on record nothing, NOTHING compares to their live show. So, buy the album, buy your ticket and join the ranks of dedicated Frabbiteers.
