Tag: album review

Kid Cadaver are a three piece from Los Angeles. They have been active for the last couple of years, and this is their second release.

I am personally not a fan of the bands name, to the point where I had to force myself to listen to the songs contained in the download link. While the name might make one think that this is going to be some kind of campy horror-punk band, the band is actually some kind of danceable electro-rock music, at least in my opinion. Right out the gate, ‘Let Your Youth Show’ bursts out with a stadium-sized helping of singeableness. This song probably kills in a live setting.

These guys excel at writing melodic hooks and singable choruses that grab your attention and make you want to sing along. There is an almost wistful melancholy at work; check out the backing chorus on ‘Stable’. To see how they are able to reinvent a technique, notice how the background chorus makes a reappearance in the next track, ‘Hesitating’. Same technique, but the emotional impact is very different. ‘Hesitating’ also features some of their most catchy melodic phrasing.

If you’re looking for musical brutality and heaviness, you will not like these guys, but if you’re looking for solidly written material that is danceable and fun while being musical and intelligently constructed, definitely give these guys a whirl. This album could be the soundtrack for a really happening party, a testament to the beauty of youth.

Great music can help us through some truly trying times. Even in some of our bleakest moments, having such a pure emotional outlet to hold onto can act as a sort of beacon, illuminating a strength in ourselves we never knew existed. This acts inversely as well. As musicians create, they pull from within themselves to overcome immense existential trials.

Such is the case for Nashville, Tennessee-based The Get Togethers’ debut record, Home As In Houston. Released on September 24th, the group marries indie rock and pop with a finely tuned ear. On top of tight musicianship and infectious melodies, Bethany Gray Frazier’s tumult of an adolescence is the basis of the entire LP.

The listener is taken back to the year 2007. Then seventeen, Bethany Gray becomes romantically involved with one of her teachers. The police investigations and court hearings that would follow alienated her from her peers, an almost impossibly real turn of events that led to a devastating high-speed car collision, marking the end of this chapter of her life. Each track on Home As In Houston is named for one month of the year, describing the events that transpired in each month. Acting almost as a diary, the album trudges through heartbreak, loss and desolation, narrated by Gray Frazier herself. The lyrics are dense, with an overwhelming capacity for lovelorn catharsis, but are delivered plainly. It is devastatingly easy to feel exactly what she feels, becoming involved in the story.

Even aside from the loose narrative and obvious thematic elements, Home As In Houston stands strong musically. The standard rock outfit matches the tone of the lyrics almost effortlessly, with practically unforgettable hooks and driving choruses, both complimenting Bethany Gray Frazier’s vocal work and carving out its own path just beneath her dreamy croon.

With the release of the Home As In Houston LP now under their belts, The Get Togethers are planning a full US tour for the fall of 2013. The single, “June,” can be streamed on the band’s SoundCloud page while the record hits digital and select brick-and-mortar stores. The Get Togethers have truly set a high bar for themselves and their brand of indie pop.

Berlin based musical mastermind Jacob Faurholt is back with his newest creation under the moniker of Crystal Shipsss. This is a fairly lengthy affair, spanning 13 tracks in length, and will be available September 23rd.

Crystal Shipsss seems to revel in schizophrenic isolation. The displaced quality of the vocal track in the overall mix would seem to bear testament to this fact. There are times when the vocals are swimming in a sea of aural chaos; lyrics such as the oft-repeated ‘I’m not crazy’ further reinforce this understanding. As with all other instances, the insistence on the sanity of the protagonist would appear to underpin the notion that sanity is in fact not within his grasp.

Musically, the aural aesthetic is an extension of the last album. There is a lot of reverb and distortion, but whereas a metal band would use the distortion and reverb to elicit a type of bludgeoning force, the use of distortion is much closer to the concept embedded in the name, while the reverb supports that sense of dislocation and questionable mental fitness.

The use of distortion as an effect results in a type of aural obscuratanism, a blurring of instrumentation and definition, something almost psychedelic and deconstructed. This might explain the overarching emphasis on sanity at different points, because this is in fact the musical rendition of a mind on lysergic, the soundtrack to a mind-blowing peak.

The thing that ties this bit of neo-psychedelia together is the sense of melody that was in evidence on the last album. In a very oblique way, the melodic element in Crystal Shippps’ music is similar to the melodic devices employed by Albert Ayler- simple, diatonic, catchy and singable, a perfect foil to the sheer trippiness of the rest of the proceedings.

Leif Vollebekk has quickly become on of my favourite new musicians. This process occurred immediately upon exposure with great ease.

Vollbekk, is a young man who currently resides in Montreal. He recently released his second album “North Americana” after his 2010 debut “Inland” . North Americana is a heart wrenching, soul stirring and mind modifying storm. It is a marvellous piece of work that does mysterious things to me.

I was eager to sit down with Vollebekk and pick his brain about the process of creating an opus.

He explained the album taking more time than anticipated due to the refusal for mediocrity and a sound he didn’t feel comfortable with. He recorded with his perfectly suited band, traveled throughout the seasons and worked with the incredible Howard Bilerma (Godspeed, Arcade Fire) and Tom Gloady (Sigor Ros, Ryan Adams) and collaborated with Sarah Neufeld (Arcade Fire). Each song was recorded live to tape and no compromises were made.

The musicianship, audacity and emotive responsibility is evident in every moment of North Americana.

It is naked, rare and un-apologetic. Vollebekk shared that it is an autobiographical piece of work with room for interpretation. Vollbebekk is also shockingly approachable, hilarious and warm.

The concert itself was at the cozy Media Club. Michael Feuerstack (Snailhouse) opened and shattered everyone’s hearts; properly seasoning us for the emotional and interplanetary evening.

Vollbekk’s show was an experience unlike any other. His band- Hans Bernhard (bass), Phillippe Melanson(drums), Joe Grass (pedal steel) and Adam kinner (tenor sax) are excellent musicians who work together like one person with several limbs.
There was a absolute sense of presence in everything, the songs performed have never sounded that way before and never will again. This is evident of Vollebekk allowing to play without borders and invite his music as a burrow directly into him self. There was no sense of stress, fatigue or deceit. . The music just happened and it happened stunningly.

The essential guide to a Gentlemen of the Road Stopover comes in the form of nicely bound passport. A true gentleman or lady of the road holds onto this in the same manner a world traveler holds onto their government issued passport while abroad. The back page summarizes the general ethos of a GOTR Stopover in seven simple guidelines.

“To enhance your enjoyment we suggest:

1. Arrive early, stay late

2. Hear as many bands as you can

3. Take the party from the stage to the town

4. Eat the local food, drink the local drink

5. Say a friendly hello to new faces

6. Stamp your passport

7. Have a grand time

See you around town!”

If you leave the Stopover with a well worn passport and closely follows these guidelines it’s almost certain you’ll leave happy.

Mumford & Sons ascended to their status as festival headlining Grammy winners incredibly fast even by today’s overnight sensation standards. They wasted no time in channeling their success towards creating something much more than their emotionally charged folk rock with their summer Gentlemen of the Road series.

Beginning last year, the Stopovers pop up in small towns with character that are handpicked by Mumford & Sons themselves as are the artists on the bill. After attending last year’s Stopover in Dixon, Illinois with a fellow gentleman there was no question if we would return for a stop on the 2013 Series. This year our city to absorb was Troy, Ohio the first of three American Stopovers. The charm of this Eastern Ohio town was soon apparent with its stunning courthouse, many (almost too) lifelike sculptures, a scenic promenade along the Miami River, and a very well-preserved downtown. Also obvious upon arrival was the length that organizers go to in order to fully integrate a Stopover with its host town. Around the downtown square buildings were covered in banjos and various other instruments, massive banners specific to Troy hung three stories long, and top hats and mustaches representing the official Stopover logo were ubiquitous. Along the shores of the Miami the the throngs of people had invaded with their smattering of living quarters (i.e. tents). The air was thick with excitement and it was clear that this much action hadn’t hit Troy in much time if ever.

The main stage plopped down on Troy High School’s football field and by the time we arrived both the field and the bleachers were packed. Friday night’s music festivities were headlined by the always entertaining Edward Sharpe & the Magnetic Zeros. Nine members onstage was not enough for the exuberant frontman as he worked to make friends and fans alike part of the set. He was quick to ask for the audience’s input for the setlist and they were eager to hear cuts from the group’s recently released self-titled album. Later on, the boys from Mumford & Sons joined the fun to perform a song the bands had written together while touring via train the previous summer, aboard the The Big Easy Express. Ebert and Jade Castrino’s call and response hit “Home” was a fitting way to end the night’s proceedings as thousands had found a new temporary home in Troy.

Once the main stage had wrapped up on Friday it was time to follow rule three and take the party from the stage to the town. This rule had been followed to a T as the streets of Troy were brimming with enthusiasm. The local watering holes were full of characters ready to pass out shots and pose absurd questions. A younger sect of the crowd gathered around speakers blasting Bassnectar and the like. The real party went down at the local Elks lodge which played host to a Late Night Bluegrass jam each night. Friday featured Jeff Austin of Yonder Mountain String Band and his group The Here and Now. For those that crammed in, the strumming and foot stomping went late into the night.

Before hitting the shows on Saturday we decided to learn a little more about the history of Troy. Our passports directed us to the Overfield Tavern & Museum, Troy’s oldest structure built in 1808. Here we were transported back in time 200 years while our insightful guide Terry toured us from room to room. The tavern was once the main hub of the area where residents and travelers would gather for spirits, backroom deals, and to get a feel for the current happenings (we decided to call it that era’s Facebook). We learned of counterfeit currency, lady spittoons, and the county’s first court proceedings held in the small room upstairs. We could have spent hours exploring the past within the walls of the Overfield and we almost did until we checked the time and realized we had a prior engagement at Troy Memorial Stadium to hurry off to.

Luckily we emerged from our time travels to the 19th century in time to storm the field for the funky dance styling of Brooklyn crew Rubblebucket. The colorful eight person band lets nothing stand in the way of putting on one of the most fun shows around. Not even cancer. Hardly a month out of surgery for ovarian cancer, lead vocalist and saxophonist Kalmia Traver took the stage with her usual poise and enthusiasm as they jammed their way through new track “Save Charlie” and got silly for older favorite “Silly Fathers”. Traver sends plenty of positivity into the universe and the it appears to have been returned in kind with an encouraging post-op diagnosis. Mumford & Sons’ trumpeter Nick Etwell, a new friend to the band, joined the party onstage to assist with their biggest hit “Came Out of a Lady”. Never a band easily confined to a stage the horn section hopped the railing for one final freak out from atop fans’ shoulders.

After great sets from Justin Townes Earle, Brit rockers The Vaccines, and old time folk stars Old Crow Medicine Show, it was time for the main event. The crowd has been sizable throughout the weekend but by this point people were packed in to the point that the Troy football field looked as if it might burst. The masses were chomping at the bit when the band took to the stage in complete darkness to open with “Lover’s Eyes” before turning the bright lights on for “Little Lion Man”. The mood only escalated as the band ripped through a set of emotionally wrought songs spanning both of their albums. The band and crowd reflexively played off each other as seemingly everyone fervently sang along while the Mumfords poured their energy into every note. The band had hopped on stage earlier for Old Crow Medicine Show’s “Wagon Wheel” and the favor was returned for a group rendition of “Awake My Soul”.

After a quick break the UK troubadours reappeared around a single microphone for a relatively quiet take on Springsteen’s “I’m on Fire”. The magic of the Stopover was apparent as people from near and far gathered to sing along with the hosts of the event, especially during the encore. People had converged on Troy, Ohio from with a singular purpose of coming together and they did just that as Mumford & Sons played the Beatles classic “Come Together” with a little help from The Vaccines and Rubblebucket. Once the finishing blows of “Babel” and “The Cave” were struck the crowd was stunned, but that’s not to say there some people out there didn’t want more.

After the closing set a small group of people were lucky enough to stumble upon the Old Crow Medicine Show boys having a jam session in the parking lot behind the field. Simply playing for themselves and sheer enjoyment, the crowd grew as more people caught wind. Eventually they took a break, but not before playing pied pipers and leading the way to the nearby water park that appeared much like an oasis in the desert. They continued to pluck away and even sang a lucky birthday gal a tune at midnight, but soon the attention was drawn to the pool party to end all pool parties. Rubblebucket showed up to ride the slides and Marcus Mumford himself was challenging any takers to chicken fights. An unaware lifeguard tried to shut this down but it was quickly explained to her just who she was ordering around. Old Crow gave way to a DJ and the Troy Stopover faded into the night as looks on people’s faces ranged from bewilderment to pure joy.

With their hands on approach to everything from location, to the art themes, to the musicians involved, and even the rules at the pool party, Mumford & Sons have created one of the most genuine and exciting events within the current festival boom. They may headline Lollapalooza and Bonnaroo, but the Stopovers are where Mumford & Sons truly shine because it is about more than just their time on stage. Cities around the world will always draw crowds, music festivals or not. Instead, the Stopovers draw people to towns like Troy that still have the spirit of simpler times. These towns are sadly fading away from the landscape, but the Stopovers spark the adventurous side of people. They hit the road to take in everything they can from not only their surroundings but from their fellow ladies and gentlemen of the road and if they do it right they leave with a sense of wonderment.

Basement shows are sometimes a mixed bag. When you’re half-cocked, sweaty, rubbing against a few dozen doing the same, any grunge-y blast of noise coming at you can be just as entertaining as the last. Amidst this blur often comes a hotbed of new ideas where people get ballsier than they would had they been playing for a more broad audience above ground. This can be a powerful force, although some musicians can get too comfortable in that reassuring cul de sac. It pleases me, then, whenever I hear an artist who has the potential to break free of that which they may not want to break free from. They are the ones who stand out from the pack as the alpha dog, although they may come in the form of any archetype at all, including the depressed, the lonely, and the frustrated.

Dylan Ewen seems to be a man who is nothing short of honest. Take a look at his tumblr and you’ll find comics and drawings about insecurities most men would take in silence to their grave. Yet through his art, and especially his music, he turns these would be destructive forces into the driving power of his work. This is never more apparent then on Bufu Records Alt 2013

Alt 2013 is a four song statement articulate in its brevity. Initially we get a fuzzy summation of the existential dread and philosophical confusion that comes with the early 20’s. “Ego Trip” can be a song in which you identify in the frustration of feeling nihilistic in the face of the zealous and blindly faithful, or a reminiscence of a former life lived in chaos depending on your point of view.

Even though the lyrics can seem negative at times, the fuzzy surf rock nature of Dylan’s aesthetic makes it all fun and worthwhile even if you don’t agree with his ethos. In “You’re a bitch Part 2 (still a bitch)” Dylan makes an antagonistic declaration which could have come off in a totally different way if it didn’t sound like he was standing up for himself and the bitch in question didn’t actually sound like a total bitch.

Musician and artist types, as well as those who rejoice in social media, will likely find “I live in public” to be an anthem for them. Once again its possible to read the song multiple ways, as an attack or an admittance, in this case I would say both. To me its admission of being an attention whore, and loving it, and hating it. Where to place the blame? Was I born like this? Or did my idols and lovers twist me into this? All of this is put to music in a simply effective way.

Of all the underground kids who lived and died by the basement house show, Dylan Ewen has what it takes to break out, if he wants to that is. I would be overjoyed to see him headlining clubs and making a living out of his work. At the very least there are hundreds of basements around the US and abroad who would be honored to have the chance to get drunk and sweaty near him, even if they don’t know it yet.

The difference between disliking a band and respecting a band is an important one. If there is sufficient evidence that a certain group is a bunch of talentless hacks, than there’s nothing wrong with saying so. Being second-rate, by the way, has nothing to do with character and everything to do with artistry. Criticism need not be personal.  Over the last decade or so, Gogol Bordello has built up a reputation as an eccentric group of gypsy punks who are very talented at the stirring the pop cultural pot. Their name comes from the Russian writer Nikolai Gogol, who introduced Ukrainian culture to Russian culture. The band’s goal of bringing popular music from Eastern Europe to the English-speaking world has succeeded fairly well, and this is why, as mentioned earlier, it is easier to respect Gogol Bordello than to like their music.

Pura Vida Conspiracy has all of the pomp, spontaneity and sense of humor that is to be expected from the band at this point. Frontman Eugene Hütz gargles and stammers through the album with furious apathy. His idiosyncratic, yet consistent vocals matched with the accompanying rock band, accordions, and violins creates a homogenous feel to the tracks, and during some moments it feels gimmicky. Yet, Hütz is actually from Ukraine, and as a result, the synthesis sounds authentic. Thus, Vampire Weekend syndrome, whereby rich white males appropriate world music in a quixotic attempt to appear cosmopolitan (put on some yacht rock, dude), is, thankfully, avoided.  The band sounds best when they change paces on tracks like “I Just Realized,” or the sweeping finale “We Shall Sail.”

Blurring pop genres is a very difficult thing to do, and it is often said that the best artists accomplish this mighty task. Though I have not seen Gogol live, I’ve heard that they’re great performers. This may explain my relative disinterest with their recordings. Despite what School of Rock may have wanted us to believe, a great rock n’ roll show does not change the world, but it may prompt you to be more enthused about a band and, in turn, appreciate their recordings more than you would have. Pura Vida Conspiracy sounds consistent with the rest of their discography, and diehard fans will be pleased.

The LA electronic beat maker Tobacco has teamed up with Zackey Force Funk to make the tight outlandish sounds of Demon Queen. For anyone not familiar with Tobacco’s previous work, the creative sounds he laces into neo-industrial beat driven tracks seem to pull you in multiple directions at the same time, which can be a mind warping experience. Meanwhile, and unlike really any other rapper, Zackey Force Funk relies on his ability to croon, opting for a falsetto and soft-spoken delivery where other rappers typically boast with bravado. Tobacco is known for his work with Black Moth Super Rainbow, and a sort of obsession with analog electronic insturments, such as the vocoder and the Rhodes keyboard. He has also had a productive career as a solo act, releasing two full length albums and three EP’s in less than four years. With both his solo efforts and Demon Queen, he has notably taken a more experimental and slightly more adventurous approach to his music.

Dropping Demon Queen into your player starts off as a bold move on its own. At the first notion of effected vocals which lead us into the galactically heavy, 80’s style synthesizers of “Lamborghini Meltdown,” the adventure is already well underway. The sound is so fresh and futuristic, and crafted with such precision, it becomes infectious. Tobacco’s backing vocals in “Vodka” sounds like robotic, a theme in his solo work as well. Deep sub-synth bass ripple along the low end and Zackey Force Funk’s high pitched croons echo’s bounce along the track. Chuck Steak’s slow rapping guest spot on this track brings a nice new flavor to the mix.

The demonic party continues with hot and ominous bangers like “El Camino 2” and “Swoll Tongue.” The latter of the two featuring an onslaught of high end electronic madness. The breakdown regresses to vocals, keys and an obviously audible click track. Tobacco’s seems to be toying with the ideas, and the winning ones stick, a boldly creative approach not nearly prevalent enough in today’s music. The composition on “Swoll” proves to be very well rounded, with the melodic chorus likened to a valley between the synthetic mountains.

N8 No Face boasts “ten thousand push up’s before my breakfast-es” on the opening the “Demon Practice.” This two minute blast is in your face with no apologies. Playing the Demon Queen hype man, N8 No Face proves to pump up the distorted demonic beats to their fullest potential. “Love Hour Zero” is an excellent break from the madness. A ballad, really, the tune shows the versatility of the group. Effected acoustic guitar twangs over the pumping “80’s exercise tape” beat. The lead is reminiscent of a classic TV show introduction, in the best way possible.

The album’s first “single” is “Rude Boy,” a dynamic story about a dude shooting his gun off in the middle of a ripping party. Interlacing creative sounds own this beat, with an echoing lead creating waves over multiple effected keyboard riffs. N8 No Face comes in to explain the details with clarity. “Bad Route” has no guest spot which means Zackey Force Funk and Tobacco take turns telling the story; Zackey with light and extremely tasteful crooning, and Tobacco with his robot voice , use of samples, and tight, infectious synth leads. “Despise the Lie” is an awesome blast to wrap up the album, rounding out the cast of characters with an excellent guest spot from Isaiah Toothtaker. The song starts with his aggressive line “get these suckers the fuck up off of me.” This tune proves there are no weak tracks in this collection.

Quite possibly the most interesting album released this year, Demon Queen should certainly raise some brows with Exorcise Tape, in addition to confusion amongst innocent bystanders and, ultimately, the energy of the dance floor at the trendiest of underground clubs in LA, New York and elsewhere. Those bold enough to throw this demonic album in their players will be exposed to something completely new and totally wild. The use of guest spots was wise and absolutely enhances the final product. Mastermind Tobacco and compadre Zackey Force Funk should be commended for seeing this project through and approaching it with such open creativity, for what came out of it is devilishly good.