“Fred Astaire” – The So So Glos from Matthew Greeley on Vimeo.
I’m a sucker for a little old school dancing and the So So Glos give a taste of it with this video for “Fred Astaire.” It’s quick but still has enough to delight- I, for one, love the capture of the fella’s ratty converse wearing feet tapping along- as the top hatted man twirls through the sidewalks of New York. It’s a lice stylized contrast to the rushing pace of the song.
[MP3] Fred Astaire
[MP3] No More Pirates
TWIAPC fav Chris Garneau is back with another charming-if not slightly creepy- video. Considering the song is fairly strange on it’s lonesome it seems only natural that he pairs it up with some off kilter imagery. The puppetry is used to great effect, particularly when the skeletons are used to mimic the shuffling bones sound. Garneau’s videos are always a fun ride and this one is no different. I would love for him to pu tit all out there on the stage in one of his live shows. Not that his live stuff isn’t awesome as is, but it’d be a nice little change in the game.
Ida Maria “Quite nice people” from NewsOnRequest on Vimeo.
There really aren’t many ways I know if to fully convey how excited I am about Ida’s new album Katla coming out. Fortress Round My Heart has brought nothing but smiles to my life since it came out last year. This is the first nibble Miss Maria gave from the album and it’s most wonderful. As always her lyrics are honest and relatable and I really like that the video is very simple. Can’t wait to get my hands on the rest of Katla.
This album is fall. The new project from Jose Gonzalez -well, not necessarily new since Gonzalez and the two friends that round out Junip have been playing together since they were 14- is the sonic equivalent of throwing on a comfortable sweater and heading out into a crisp evening with bright red leaves crunching underfoot. The eleven tracks on Fields are familiar but none the less fascinating. The trio’s years of playing together, each building their individual abilities within the context of the others creates an easiness in their sound that you can’t manufacture.
Starting with the cooly retro “In Every Direction” you get the immediate sense that this group isn’t in a rush to get anywhere, instead they want you to settle in and enjoy the ride. Simple guitars set the mood while weightier moog and synthesized organs contribute the attitude. This chilled out 70′s vibe carries through the entire album, I haven’t enjoyed the sound of a well played rhodes in a long long while and when paired with Gonzalez’s unassuming vocals it is down right transcendant.
“It’s Alright” marks a turn for folkier territory as they thin out their arrangements-relying mostly on Gonzalez’s delivery and simple percussion to tell their tales. Compared to the lush warmth of the first few tracks the rest of the album plays out with a refreshing conciseness. The well orchestrated arc this album takes you through is just further evidence of Junip’s skill. Fields is perfectly timed for the season when we begin to slow down and become more aware. I would highly recommend loading this album on to your iPod and slipping some head phones on during that evening meander. It will be a blissful experience.
[MP3] Always (Run Roc Remix)
Scottish band Frightened Rabbit were back in Philly, this time at the union lunchroom come pseudo venue, for another night of fantastic music. I doubt I have seen any other band as much I have seen these five fellas and I can honestly say they have yet to disappoint me. We all have those bands whose shows we attend out of dedication and affinity for their work- even if you don’t like their latest album you just gotta go. Frightened Rabbit transcends that status as was on fine display during their most recent stop.
I have often mentioned that a large part of their live appeal is the genuine delivery of their material but as they’ve continued touring they’ve become masters of keeping it intriguing. During their set at The Starlight they found the prefect mix of old and new tunes. Opening with the rich guitar trance of “Things” off of their 2010 album Winter Of Mixed Drinks they enveloped the crowd in the swell of percussion and vocals that marks their work. For the rest of the show they volleyed between old and new encouraging the audience to sing along with Scott Hutchinson’s straightforward croon. It was awesome to see a room full of fans get fully swept up into their set.
The live version of “The Loneliness & The Scream” – which capped the evening- was even more dynamic than the album version, the dueling guitars and howled backing vocals pushed beyond the simple lyrics to alight the core energy of Frightened Rabbit’s sound- raw and fervent. Even when playing older material they gave it new spirit, no better demonstrated than by their refreshed version of “Backwards Walk,” now more reflective than relationship dirge. They even resurrected “Be Less Rude”a piece from their first album and one that never gets the attention it deserves. Their ability to avoid formulaic live shows along with the continue evolution of their songs assure me that Frightened Rabbit will continue to entertain.
[MP3] Be Less Rude (Daytrotter Session)
There are few people who’s work I just trust. When I see their stuff in my inbox I know it’s gonna do me right. Emilio Abadia is one of those people his jams always put me in a good mood. This new mixtape Night Life is no different. I threw this on today during a particularly stressful crunch and escaped into my headphones. It quickly put me in the zone and when it’s hour was up I was ready for anything. Try it on for size if you like gowan over to crossfaderking and download it directly.
Emilio Abadia’s – Night Life by Crossfader King
Track listing:
Cassius – I<3 U SO
Boys Noize – Yeah
DJ Eako, Peppe Nastri – Stupid Game (Stefano Pain & Marecel Mix)
Jerome Isma, Paul Thomas – Tommorrow
Chubby Fingers -Into The Night (Jazz-e Reflections Mix)
Robyn – Hang With Me (Avicii Club Mix)
Aniki -Lesbian Bondage Fiasco
Chris Lake, Marco lys – Atari Funked Te Amstrad
Steve Angelo -KNAS
Treasure Fingers – Lift Me
Dan Rockz – Liki Liki (Homeaffairs Dub)
Milton Jackson – Breathe (Roy Rosenfeld Remix)
In a TWIAPC first I give you an exclusive track from Ruby Isle’s newest release Appetite For Destruction. That’s right for their latest effort the dancepop trio, known for their groovable takes on everything from Animal Collective to Bon Iver, set their sights on reinterpreting the Guns ‘N Roses classic of the same name.
Of course they didn’t just wander into the studio to do danceable versions of each track -although that was a goal – instead they brought in all sorts of guests playing both live and electronic instruments including, but not limited to: strings, French female vocals and a jazz quartet. Har Mar Superstar even guests on the amazing “Sweet Child O Mine,” a version you could only pull off in the karaoke bar in your dreams. I’ve listened to the album a few times now and I really can’t find any notable flaws. Just further proof that Ruby Isle’s bold experimentation puts them in a class of their own.
You’d be a fool not to get your hands on the full deal but for now here is your first chance to get at “You’re Crazy” and a stream of “Paradise City”
[MP3] You’re Crazy
The opening track on Ra Ra Riot’s newest album is so mesmerizing I can see why they also made it the title track. The fullness of the arrangement- strings providing uncommon lushness to an affable bass line- combined with the plaintive, but not whiney, lyrics create a completely satiating song. It also establishes a standard for the album that may have been better introduced a little later as The Orchard’s structure as an album is a little off balance. At fist listen I was totally bored by the end of the 10 song collection however, after a few more intent listens I started to see the shape the well loved chamber pop group was trying to give the full release. Embracing the richness of the strings and refining their more poppy antics to progress their sound is a bold goal and, for the most part, The Orchard proves the density of talent amongst the group’s five members; there remains, however, some more work to be done in curating an album.
Despite the imbalance -one that struck me primarily because I had such expectations for this group- The Orchard still surpasses the majority of music floating around these days. The complexity and emotional weight of “The Orchard” is found again in the honest vocal delivery of “You And I Know” which builds in intensity into what only can be called organized chaos then cools itself off like many a relationship analysis. It’s a fine piece of expression and I can only imagine even more so live.
[MP3] Foolish (Daytrotter Session)
Bombay Bicycle Club have steadily been building their following in the US while simultaneously tucking some major UK accolades in their pockets for years. With the release of their most recent album Flaws I foresee a giant leap into the hearts of American folk lovers. Timing their second release for midsummer was a wonderful idea as the eleven tracks combine to create a serene soundtrack for those languid – and blazing- summer days. The real strength of Flaw is that it maintains the delicate musical construction BBC connoisseurs expect and truly relish in while also injecting some intriguing elements to attract a more commercial ear. The lead single “Ivy & Gold” skips along under the propulsion of cleanly picked guitars and a dryly galloping snare while the dense harmonies give the song it’s body. This level of intention is threaded through the entirety of Bombay Bicycle Club’s sophomore effort.
Each song on Flaw is a gentle exploration of the relationship between instrumentation and lyrics; the lyrics of “Leaving Blues” are calmly reflective but the phrasing of the underlying instrumentals suggest slight hesitation which evokes the false confidence of a self assured broken heart. The sweet soul of “Fairytale Lullaby” comes from Jamie McColl’s graceful guitar line, and would stand alone beautifully without vocals but the addition of Jack Steadman’s tender voice creates an even more satiating experience. All four members of the group are given an opportunity, at one time or another, to carry the listeners attention. The ebb and flow of this consistent rotation of focus is perhaps one of the most engaging elements of BBC’s work. Even a cursory listen to this album will satisfy you but give it your real attention and it’s layers will unfurl before you.
B+
New Zealand band Ruby Suns were a fitting opener for Local Natives during their stop in Philly last week. They have an equally laid back breezy sound and matching energy just on a smaller scale. From the moment go the trio were at their tropopical best, even a minor snafu with one of their prerecorded tracks couldn’t slow their flow.
They did pull in a heavier sound than I was expecting pushing the bass forward which gave their music an even dancier edge. It was clear a lot of people came to see them but those who just showed up early to see Local Natives were pulled into their set. Their stellar take on Prince’s “I Would Die For You” was definitely worth the price of admission. Despite being the smaller band the three with all their loops and samples effortlessly filled Trocadero’s large theater.
Local Natives took the stage next and set about delivering their pure California pop charm. Perhaps because I have now seen Local Natives a number of times, always in a more intimate setting, I felt the group’s smartly layered and percussively rich music lost a lot of it’s richness when blown up so large. While their actual playing was as delicious as ever and they were clearly having a lot of fun playing and feeding off the crowd’s enthusiasm it still sounded somewhat muddy.
The set hit all the high points off of their album Gorilla Manor “Airplanes,” “Shape Shifter,” “Sun Hands” to name a few. If you were just seeing them for the first time there was plenty to look at; seeing them live brings new character to what hear on the album – I am particularly fond of the rotating responsibility for percussion and the awesome harmonies they pull off- but the full effect was lost as the grand space ate a lot of the high end. The emphasis of the bass add a bit of new flavor but did a disservice to the intensity of the cymbals.
I will say the group’s rendition of Talking Head’s “Warning Signs” sounded the best I’ve every heard it under these conditions. Whether that is due to the difference in original composition or simply a fluke of the night I can’t say. There isn’t a doubt in my mind that Local Natives will continue to draw in more fans I just hope as they begin to write new material for their next album they take into consideration what it will take to fill the venues they’ll be playing without loosing any of their magic.
[MP3] Tane Mahuta – Ruby Suns
On the heels of Octopus Project’s amazing Philly show at Kung Fu Necktie last month I managed to find out a little bit more about their masterpiece Hexadecagon, where the found each other and how they came upon their unusual name.
TWIAPC: I was one of the lucky folks who got to witness Hexadecagon in it’s full glory during SXSW and it was one of the most thrilling and exciting shows I’ve seen this year. How did you develop the idea?
Octopus Project: The idea for the Hexadecagon show came about while we were on tour last year. We were listening to a ton of minimalist composers like Steve Reich and Terry Riley in the van and began thinking of ways to apply that to our own music. We thought one cool way would be to literally surround the audience with sound and visuals. At the time, we weren’t sure it would actually work — with everything synch’d up together, but thought it would be a fun experiment nonetheless. We ended up figuring out the technical side of things first, then set out to write songs/make videos based around this setup. It proved to be an incredibly inspiring way to work. We spent about 3 months on the creative side of things — preparing for the show. After the show, we decided that we liked the tunes so much that we wanted to make them into our next record. We spent a couple of months after the show recording everything in a stereo format, and now we have a new album!
TWIAPC: Does your dedication to an astonishing level of detail always a part of your creative process? Does it ever get exhausting?
OP: We do have a tendency to get way into the minutiae of things! Every time we start a new project, we say that we’re going to simplify things this time around, but it just keeps getting more and more involved each time. It never really gets exhausting though. I think we’re all really excited to focus on every little detail — wanting to make sure everything is totally perfect. We love that kind of focus. It’s definitely a lot of work, but never gets exhausting.
TWIAPC: I’m guessing you can’t execute Hexadecagon totally when you take it on the road. How did you devise the touring plan? What parts had to remain and what elements were sacrificed?
OP: At this point, it’s prohibitively expensive to take the whole surround set up on the road, unfortunately. We are working on a slightly different set up that would be tour-able and plan on testing it out on a short run in Texas in November.
For this current tour, we pared the songs down to a stereo setup. Now the songs sound more like the record. It’s still crazy and loud and colorful, but instead of the sounds spinning around your head, they’re now ping-ponging back and forth or fading between the stereo field.
TWIAPC: How did Octopus Project come to be? And where did the name come from?
OP: The band began as a recording experiment when we were in college. We had been in rock bands together in the past, but wanted to start a band where there were no rules and where we could be free to get as crazy as we wanted. So, we started this band.
The name came about when we were trying to name one of those previous rock bands. I was on the phone with a friend, each saying one word & the combination of the two became a potential band name. He wasn’t too fond of The Octopus Project, so we kept that in the back of our minds for when we started our own band.
TWIAPC: What were your influences when you first started making music and how have they evolved over time?
OP: When we started the band we were listening to a lot of folks like Cornelius, Stereolab, Flaming Lips, Sonic Youth, Daft Punk, etc…. We still like all of that stuff, but I think our interest has broadened quite a bit. Just trying to listen to as much stuff as we can get our hands on.
TWIAPC: If you could totally break out of your establish sound what genre/sound would you explore?
OP: I feel like we’re pretty free to explore whatever avenues suit us at the time. We try to not put boundaries on ourselves at all. If we”re excited about something we generally just dive into it, and hope that folks are excited to go along for the ride. There are zillions of sounds and musical ideas that we haven’t explored yet and are incredibly excited to see what’s next! The songs on the newest record are pretty spacey and weird, but the next record could totally sound like Bollywood jams. We’ll see!
[MP3] Wet Gold
While in New York for CMJ I was lucky to make the acquaintance of Django, Claire & Samuel the trifecta that make up Nightmare & The Cat. They are truly delightful kids who make very easy conversation as well as incredibly easy music. Theirs is a classic rock vibe with a tinge of folk. The music is rather unassuming, but with every listen you’ll find it settling in to your head -and heart- in the way a song should. The three decided to make a serious go at the music scene after realizing how much they enjoyed casually playing together. Their comfort with each other comes across in their sound, especially when they’re doing an unplugged session like they did at EVR during CMJ. Nightmare & The Cat doesn’t attempt to be too overtly retro nor too heavily invested in the indie rock scene; instead they’ve found a niche that will sound familiar even upon first listen. Right now they only have their self titled EP out there in the ether but all five tracks on it are fabulous and hopefully signs of greater things to come.
[MP3] Sarah Beth
When I first heard this new track from LA duo Kisses I wasn’t sure what to make of it. The track is slinky and spaced out- the kind of music you’d expect to hear in the elevator in The Fifth Element- but still incredibly accessible pop music. It piqued my interest so I went a researching. It turns out that Kisses’ Jesse Kivel’s musical goal is to send you on a bit of an audible journey through the essence of disco, new wave and -strangely enough-balaeric beats. Their new album Heart Of The Nightlife is full of similarly delectable songs that alternate between up beat and chill but all within a spectrum suitable for cocktail hour.
[MP3] Kisses