Tuesday, November 30, 2010
Here's a tune from that record - "Birth Reunion" (below) - which starts out with minimalist electro-haze (resembling their contemporaries, Beach House, in that regard), but then the drums start picking up, pummeling louder and faster as the guitars ferociously pur through Fender twin reverb amps (and this could reflect their collaboratnig with J. Robbins of Yeasayer or their work with producer Chris Coady who galvanized past Yeah Yeah Yeah's records). And those drums never stop - just continue their tumbling forth, trancelike, with those shooting start guitars bending and swaying gracefully on top.
Enjoy watching 3 cute girls get ready for their own private dance party.
More info on Thank You here.
They perform Friday night at the Magic Stick - with freak-jazz collective Junger Witt and Cotton Museum.
This month saw Tyvek, Detroit's celebrated lo-fi noise-pop collective, unveil it's In The Red Records debut LP, Nothing Fits.
Previously a more illusive band, record-wise, you had to catch them at their merch tables to peruse whatever the latest limited 7" (or tour-only CD-R) they had recently whipped up. Now, however, in a little more than a full calendar year, they've got two proper full length albums buzzing and screaching out into the general air - last year's self-titled, and now, this latest release on In The Red.
Renowned for their vigorous, spilled-out live shows and their grating guitars - the band seem to be successfully translating all their loose/loud punk-dented-new-wave noise into comprehensive album-sized presentations.
Take a listen to the opener: Tyvek - "4312"
Monday, November 29, 2010
Savoy / 23 N Washington St / Ypsilanti, MI 48197
Thu Dec. 30th, 2010 - Sun. Jan. 2nd, 2011
@4PM Every Day
Music from 5PM to 2AM + Late Night Dance Party on NYE
$7/night or $25 for 4 Day Wristband
All Proceeds Go To 826michigan's Programming in Washtenaw County.
and, since it is that time of year again - that end-of-year time... my mind has already shifted into "year end list-"-mode. And I started thinking back on all the great songs coming from artists 'round SE-Michigan...
As I attempted last year, here's this year's "top songs" from local artists... and by "top" I just mean those songs that were particular favorites of mine... - So,...yes, highly subjective, (or, just random...sometimes its just the luck of the show, the serendipity of catching some of these songs live and thus having my ears turned...)
DC's Favorite Locals - 2010 Red #'s = Scheduled Mittenfest Performers
(i love all these songs - this list coulda been way above 50... good work detroit)
36. Slowdance - Matthew Dear
35. Zoos of Berlin - Movie On August Ray
34. Mister - That That
33. 52-Week High - Market Dictates
32. Juliets - Evolve Into
31. Fur - I Want to Let You Down
30. Dutch Pink - Corn Palace Heirs
29. Red Iron Orchestra - Song for the Unnamed Band
28. Frontier Ruckus - Silverfishes
27. Jessica Hernandez & the Deltas - Neck Tattoo
26. Conspiracy of Owls - Raving Mad
25. The Ruggs - Savage Henry
24. Pewter Cub - Wallflower Mourner
23. Breathe Owl Breathe - Dogwalkers of the New Age
22. Robin Goodfellow - Susannah You See Beyond
21. Electric Lion Soundwave Experiment - Vote @ 7-11
20. Lettercamp - First Kiss
19. Child Bite - Odd In
18. Legendary Creatures - It's Got Soul
17. Drunken Barn Dance - A Winter's Tale
16. Rogue Satellites - Mix Tape Club
15. Dale Earnhardt Jr Jr - Vocal Chords
14. Fawn - Hip Parade
13. Deastro - Genesis Weapon
12. Illy Mack - Squirrels
11. Oscillating Fan Club - Hide & Seek
10. Silverghost - D.N.A.
Pure kinetics - a propulsive tune showcasing the duo's vascillatings between new-wave and post-punk with Mothersbaugh/Newman recalling monotonish/robot-y vocals painting ominous dystopias of technological advancement gone wrong (all with a shredding guitar and whirring spaced-out synth).
9. Marco Polio & the New Vaccines - Ghost
A mesmeric synthesized bass line washes over the listener and locks them into a house groove as acerbic, theremin-mimicing guitars haunt the nooks and crannies. "If I were a ghost," as the chorus goes, "I wouldn't even want to haunt you."
8. Prussia - Sister
"Sister" starts minimally, a curling melody over curtseying string pizzicatos, but the bass and drums start hammering under a keyed-up piano and soon the snare starts getting chopped up and suddently it's movin' and morphin into a fractured flamenco, roused nicely with some brass.
7. Black Lodge - Paper Money
With an indelible bass line shimmying in an almost ESG-flavored hybrid of garage and disco, "Paper Money" is like the post-punk version of Barrett Strong's "Money (That's What I Want)" - with a viscerally motor-mouthed regaling of "a day in the life of a dollar bill..."
6. Bars of Gold - The Husle
Yes, in fact, a banjo and a scream/sing throaty vocalist can facilitate a dance song... and yes, this is...well, almost...a dance song. (In fact, the devestating beat, made almost industrial sounding with its relentless march, is actually a match of the beat from the classic disco single of the same name.
5. The High Strung - Barn Party
There are nights where I feel I attend "parties" similar to the one described in this spooky, tall-tale-ish indie-rock shuffler.
4. 800-Beloved - 1992
The shimmering guitars seem descended from Cure's "Pictures of You," but once you get past that, perhaps you'll realize this is an endearing homage (perhaps aiming towards that year as a fateful marker of the certain endpoint for the goregous, gooey, austere and jangly pop/rock that sustained us through the 80's, from the Smiths to the Sundays... ("Sunday, baby, is the name I give to you / later, maybe, after 1992...")
3. The Satin Peaches - Red
Their best song to date. As Jen David (of Illy Mack) put it, it's almost like a resurrection of that atl-rock glory from the early-ish 90's, - elaborate riffs, driving drums, soaring guitars and vocals that cut into both nostalgia and cathartic release. (think "Cherub Rock" with a lot more fire and 90-mph drums)
2. Secret Twins - Dead Heart
A running beat and a jittery yet melodic guitar make a graceful grind - plus that melody after the second tempo-shift has been stuck in my head for 300-days straight. Songs like this assure me that these two understand what Lou Barlow was going for (be it Sebadoh or whatever) of blending beautiful melodies and heartfelt sentiment with a healthy amount of shambolic rock and noisy shredding.
1. Macrame Tiger - Lucy Sue
It starts out simple, a twangy country sway that takes its time, like its waiting for the rabble of the crowd to simmer down. Then Pedro's vocal melody with its lilting, rubbery vibratto hovers over a waltzing beat and we all get comfortable. Then the synthesizer comes in and links up with Lu's hazy "oohh oh oh wooh oh" and you have what might be the most indelible chunk of musical magic my ear's have heard thus far this year... so simple, so pretty - and then it builds....and builds... reaching a Hey-Jude-ian sing-along that's wound up assuring that I listen to the full 7 minutes each time I spin it...
Friday, November 26, 2010
Pierce: “We’ve got a lot of gift horses…”
Milo: “I see…”
Pierce: “And, the cost is astronomical…that’s why we’re trying to get people to buy our gift-horses…”
Milo: “You’re talking about the vinyl records of George Washington’s Teeth, coming out next week?
Pierce: “No, I’m talking about horses. Horses that we’ve been keeping in Rob’s backyard.”
Ray: “We’ve kind of decided to get back together as a band just to launch our new stable.”
Pierce: “Yeah, we’re breeding horses. It’s a first…it’s man-horse…relations…”
Milo: “A man is involved in the breeding?”
Ray: “Mainly just Pierce…”
Pierce: “Allow me, later, to introduce you to my son, Horse Jr….”
John: (to Pierce) “I could see you having a horse. Seriously.”
Pierce: “A horse/man/boy… (mimics eerie mutant ninny sound)”
John: “…or a pony.”
Ray: “What if it was a horse, same shape, but it didn’t have the front legs, just the two back legs, that were human legs, and it would constantly be slumped forward grinding his face in the round and would have to walk backwards just so it wouldn’t be as painful…? This is what you came over for, right Jeff?”
John: “I’m sure you had nothing better scheduled.”
The Oscillating Fan Club, after a shaky year that included a quasi-hiatus and considerably raised inter-band tensions, are, for lack of a more nuanced descriptor, “back together” and releasing their 2nd full length LP, - George Washington’s Teeth on Bellyache Records, this week, at the Loving Touch in Ferndale.
The band gathered (at their practice spot in drummer Robin Veresh and guitarist Pierce Reynolds’ residence) for an interview to discuss the tunes they recorded at Jim Diamond’s Ghetto Recorders through the late summer/early autumn of 2009. Singer/bassist John C. Fairweather chimed in with some sober and sane surmising of their year, while guitarist/singer Ray Thompson discussed the exploring of “extremes” – from rawer, more shambolic shreds to poppier, more delicate amblings. Reynolds embellished the potential flabbergasting absurdities sprouting upon each ellipsis…
Milo: “After you let these horses out into the wild, what next?”
Ray: “I don’t think we’re gonna release the horses. Just the album.”
Pierce: “They need to stay under ground for their entire life…they’ll never see sunlight.”
Rob: “Like mole horses?”
Pierce: “Dance! Dance, Mole Horse! (claps hands).”
Milo: “These horses probably aren’t very happy…”
Ray: “They have not voiced displeasure. Once we get them a healthy dose of Xanax.”
Pierce: “And, they also watch a lot of ‘Yo Gabba Gabba.’ It’s good for young horses.”
This devolves into their mad scheme to steal enough electricity for the television sets entertaining this army of underground horses (who, it later is revealed, are actually blind-folded) and then into their methods of covering up the smell wafting from mine shafts by cooking pungent blends of food, (food that may or may not have traces of dead horse and more Xanax mixed in…)
When I turn the tape recorder back on, John calmly, in a soothing singing voice, assures: “Everything was great…we’re all totally sane!”
Started in late 2004, the Oscillating Fan Club have blended sensibilities for 60’s Brit-Pop and British garage with inclinations toward gruff, kaleidoscoped experimentalism, sublime obscuro structures, and raucous/kinetic rock n roll. Reynolds’ tinnier, surf toned Fender glides gracefully with Fairweather’s steady bouncing bass, balancing with Thompson’s lower, snarling Rickenbacker and Robin’s tumbling drums’ formation of a more shambling, almost-off-the-rails propulsion. A spastic pop that marries surf rock to art rock.
2008’s Feverish Dreams, As Told By… that beautified the grime of frazzled psyche-pop with intricate production, eclectic instrumentation and sunshine bursts of twangy surf and head-swimming swarms of spaced-out atmospherics.
Ray: “(George Washington’s Teeth) is kind of all over the place. We have some regal songs. Some are regal. It’s a little more manic than the last album. This one feels a little more accentuated. These songs would have been a bit more ‘of the moment’ if we had put it out when we were ‘back in that moment,’ when we were still a band and then not a band and then a band again.”
Pierce: “We had some technical difficulties.”
Ray: “Let’s just say, these guys didn’t like me or the album. I drank and yelled and through bottles.”
Pierce: “Then we drank.”
Ray: “They drank together as I drank somewhere else and then we met again…”
Pierce: “And drank together, some more.”
Ray: “Then we played the Blowout…This all happened in early February, when we had our own blowout.”
Pierce: “The thing is, any time you do something for five years, that’s a certain milestone and you need to tell everybody involved in it that you hate them and not see them for a month.”
John: “And…simultaneously…(that you) love them.”
Ray: “You need to get it all out, so it’s cathartic. And then take an Epsom salt bath with everybody.”
They continue unpacking George Washington’s Teeth, which was recorded with much less instrumentation and culled songs that had more adrenaline and more of a lo-fi, blemish-baring grimace.
Ray: “This album is a little bit more bare. Songs are more mature, well, some of them.”
Pierce: “In the loosest sense, it’s a concept album.” (Rob shakes head, mouths the word ‘No.’)
Ray: “The album was written a year ago, before the title even happened!”
John: “It’s more than a concept album… Really, it’s about the early years, Washington’s early years, pre-revolution.”
Ray: “Most people don’t know that when we refer to George Washington’s Teeth, we’re talking about his original teeth, not the ivory. Post-baby-teeth, pre-ivory-teeth. His middle teeth.”
Pierce: “He always looks so stern in those paintings, post-ivory. It’ s because he has so much teeth pain.”
Pierce: “(Washington) listened to a lot of T-Pain.”
Ray: “The album is based mostly on T-Pain.”
Pierce: “And colonial fruit-baskets.”
Milo: “What was it like being ‘a band apart?’”
John: “… Sad.”
Ray: “Well, Pierce was doing DevilFish, Rob was doing Scare Bear and I was doing Pigeon, so we each at least had an outlet. John had a desk job, so that’s where he got to release his full creative juices.”
Milo: “What brought you back together?”
Ray: “We were bored. Just kinda wanted to make music again.”
Rob: “I don’t think we ever really ended. I remember it just became awkward and not as fun.”
Ray: “There was no Yoko. We were still writing.”
They concluded that this album could be a “grower.” A “return-listen” kind of album.
Pierce: “I think we were going for a really strong, psychedelic pop leaning on the first record. Almost a Nuggets-style compilation and I feel like this album is a whole lot more of a varied mix-tape. It’s really exciting to get re-excited and rejuvenated about the band and realize that not only is the band doing it again, but we’ve got an even stronger, more exuberant collection. We’re actually releasing a 2nd record, on vinyl!”
Tuesday, November 23, 2010
Which, given Detroit's deluge of willing and able musical talent, can mean a calamitous, splendidly nerve-wracking evening wrung with that itchy and exhilierating vibe of: everything going on everywhere at the same time.
Well - yeah, for tomorrow, per usual, that's true. There's plenty to see and hear as we all whirl our ways out to the bar on this night of nights for spirited self-destruction (unless you're the one prepping the tofu-friendly items at the crack of the next dawn).
But it seems, more than before, that the majority of the suitable shows are taking place after the fateful day of football, gluttony and Hallmark-hued grinning pilgrim cartoon masking roots of imperialism.
Friday night, of course, one of our most highly renowned local incarnations, the Gories, will reuniute (for a second time in a calendar year) to perform at the Majestic Theatre.
The next day, Silverghost will celebrate the release of their first proper full length LP at the Magic Bag in Ferndale.
And... on top of these and a handful of notable nationals rolling through town this week, we've also got an ambitious line up at the Belmont, Saturday, in Hamtramck, featuring the inimitable Marco Polio & the New Vaccines (pictured). They welcome Bars of Gold (with their D.C.-set drummer back in town) along with the up-and-coming gypsy-freak-soul collective Pink Lightning and the Flint-based americana act Empty Orchestra.
Don't blow yourself out on Wednesday. Eat somewhat hearty but somewhat light on Thursday. You'll need a few wits and brain cells to operate and propel thy self to a bunch of shows over the weekend.
Take a nap.
Sunday, November 21, 2010
Saturday, November 20, 2010
Friday, November 19, 2010
One of my "first favorite" bands "on the scene" was this shredded up shunt of sunshine muck called New Grenada. They were an ideal blend of pop and punk - an experiment of stirring sugar with strychnine. They had a lot of heart and they howled it all out for much of the 2000's, releasing a half-dozen recordings until finally fizzilng into a bit of an amorphous existence through last year. Well... the last chapter is wrapping up - and the group plays their final show (reuniting with former/longtime member Shawn Knight) for Saturday's Lager House performance.
The Cold Wave opens up and the band will have a DVD of live footage from their 10 year "reign of terror."
The Sights release their long awaited LP at the Loving Touch in Ferndale, Saturday, with Prussia
Thursday, November 18, 2010
Wednesday, November 17, 2010
Tuesday, November 16, 2010
And listen to this remix:
The Drums - Me And The Moon (Twin Shadow Remix With No FX):
Forget is out now. more info from Terrible Records.
Monday, November 15, 2010
Bolstered by members of Godspeed You! Black Emperor, Fly Pan Am and Set Fire To Flames, they join hands betweeen distinctively French-and-German sensibilities - whether it's the effervescence of French Pop, as experienced on "Allez Vous Faire Influencer" (hear-it-here) with it's gurgling synths evoking some intergalactic lounge of go-go dancing romantics and tall, dark mysterioso anti-heroes, or on the even more gaping, motorik-beat shunted space-out of "Premier Souffle" conjuring the darker, almost trance like jam outs of Neu-esque golden-age Krautrock.
More info from Semprini Records.
Get some visual ideas:
Sunday, November 14, 2010
((Montreal based trio gets heavy on haze... (read a recent Pitchfork post about them and follow up on them from Semprini Records. ))
...at it's atmospheric layers, the imposing whir and roar of synth and fuzz-pedal guitar drones could facilitate the discorporating laser light show scene from 2001;
...at it's dream-pop layers, the feather flicked melodies through celestial, airy vocals beg to dim the lights and calm the rabble of any room or urge to drive on down empty, rain soaked freeways under light-pollution defying stars and a smirking crescent moon.
and upon it's indie/art-rock layers, the shuddernig guitars echo over deceptively intricate bass grooves and driving beats, leaning and strutting forward into otherwise instantaeous hooks curtained with coarse and bemusing noise effects.
It is romantic and haunting... Soak up the dreamy/dreariness as best you can in these waining autumn nights.
take a listen to their single, "Ordinary Dream" via Pitchfork or Semprini
Their tunes are decorated with steady, almost XX-feeling grooves under timorous teasing vocal melodies slide into the more shambolic plodding of feedback manipulation taking the form of some cathartic cliffside howl into the ether; at other points it drifts into a continous looping guitar drone under shimmering synth hums - like some kind of a Frippy/Eno type slow march.
Friday, November 12, 2010
“I’m not the metal guy.”
“The way it comes out,” for Lackner, is via rap music. With inclinations towards Northern Soul, acid jazz and spaced-out funk, the pale, bearded, lanky Lackner finds his voice through the swift incantations of hip/hop poetry.
Bryan Lackner is charting his influences and past penchants, naming Zappa, Captain Beefheart and Primus; a glint in his eyes showing he’s conscious that it’s not helping to clarify his submersion into hip/hop music. “I’d love to be in a metal band, but that’s just not me. It just comes out the way it comes out.”
Raised in Rochester, Lackner was the shy 6th grader, off in the corner, jotting down lyrics (some of them already with a death-metal sensibility). Then, being uprooted to Maryland for junior high, he was sequentially molded by the teen-attuned catharses of grunge rock and soon after the more fantastical goof-venom of horror-core.
His release came in the form of rhythmic renditions from his poetry-packed notebooks. After high school, in 2004, he moved back to the Metro area. This would begin his transition from the darker, more industrial-leaning material of his intial project Brain Sick, to a more bebop and brass inflected East Coast flavored shuffle, which became Mister.
(above photo: Trever Long)
With his buoyant, rounding baritone flow, a lingering Midwest drawl wrung with accentuated articulation, Lackner, as Mister, warms the arrangements with his relatable character eking, prevailing and endearing, through densely spewed narrative verses of heartbreak and empty pockets that somersault into swaggering, anthemic pop choruses.Mister’s breakout show was 2010’s Metro Times Blowout where he opened for a heavily indie-rock line up, Fawn, Carjack and Zoos of Berlin. Since turning a lot of heads that night, most of them accustomed to seeing those types of bands with that type of sound, Lackner has seen a surge of enthusiasm and camaraderie from “the rock crowd,” be it Marco Polio & the New Vaccines to the various bands throughout the Loco Gnosis label family. He considers that to be his “most important” show to date. Up until now he’s taken whatever he can get, from a
“I just never felt that: ‘Oh I’m totally-with the hip/hop crowd or I’m totally-with the rock crowd. I’m just doing what I do. I like being able to bridge that gap.”
Lackner would start to flourish in 2007, before Myspace became a ghosttown and still facilitated networking. He linked up with UK-based hip/hop artist Dr. B. who provided him with a bevy of beats and samples to build off. Free. No questions. Just a heartening help from across the pond. Lackner felt that the tacit impression from his
Lackner had been developing his freestyling chops since he was 15, mingling in between Goo Goo Dolls covers at acoustic-heavy open mic nights with his sinuous wordage surging humbly over scratchable CDJ accompanying beats. Feeling a bit of inertia with his darker, caustic Brain Sick side, he jotted down one word after a set… ‘mister’ and started chuckling to himself. Following that gut reaction, he renamed the project. “The horror-core stuff just wasn’t me anymore,” says the soft-spoken lyricist of his scream-heavy past.
Beyond the sonic palette, Lackner said he wants “to have as much going on as possible,” in his live shows; to be “as entertaining as possible.” He dresses mostly in two pieces of a three-piece suit and spends little time up on the stage or in one spot. He regales a set he did in
“I’m glad it sounded the way that it did,” Lackner says of the samples’ brazen brass, mystic flutes and musing strings set upon arresting beats. The smoother, more soulful palette he acquired from Dr. B and later evolved through work with Que C and Devi, was integral in growing out of the darker, edgier sound of the mid-00’s. “I’m not one to just rap the same way on anything, whatever the music’s giving me, that’s what I’m putting out. This allowed me to get calm. And, I’ve been listening to Motown my whole life. I want the sonic palette to keep getting bigger; I’ll add backing vocals, more background stuff, different elements, just so you’re getting more out of it.”
Since he sort of stands upon a sort of fence post, its significant when Lackner reports back upon “this massive
“I like taking down the wall; if I’m on stage, I like jumping off the stage right in front of people. I want people to have a good time. I want people laughing. I want people to just dance or whatever. So, now, I’m more comfortable with doing the shows. Because now, I can see it, that people are really enjoying themselves.”
“Maybe people take it for granted. Those same kids that’ll spend $35 at a show at the Fox for somebody that’s already far beyond-well-off, you can go just down the street and see a band that might blow your mind even further and they are struggling every day.”
While he built contacts in the hip/hop community through 2008, it’s this year, really, where Lackner’s personal momentum and connectivity to the community have both considerably been ameliorated, thus spurring him onto an even deeper reverence for his fellow locals, be they of the rock crowd or of the hip/hop crowd.
“I wanna see all these people succeed,” he said of his comrades on both sides. “I would love if we could do the whole big Motown bus caravan tour and just drive around and have six or seven bands. Go around and say, this is how we do it here, this is what’s going on in
Over the last two years, Lackner said he’s grown as a lyricist. He said he admires his longlost freak brethren from the rock n roll side, Beefheart or Claypool, who are able to make the most mundane snippets of days into provocative poetry. “I’m not trying to make a really good rap song. “I want to have a good song. I want to have my place in the timeline of recorded music; I want to leave something. I’m not worried about a hot verse or a hot punch line.”
“I want a good song.”
Mister will release his Cookin with Que C EP this winter. (Tracks are available for preview, now, on his bandcamp site (link).) He is also working on a couple other EPs, stay tuned to his Facebook for info on those as well as upcoming shows.
Wednesday, November 10, 2010
Monday, November 8, 2010
Thursday evening, as part of Sakana (in Ferndale)'s weekly musical/dj showcases.
The EP will be ready for public acquisition sometime in early September. But come see, er, hear, rather, how their energetic live show has translated. Down some low-sodium soy sauce chased by white pearl sake as you drift into an ethereal psychedelic daze at the playback of "Lucy Sue"
Sunday, November 7, 2010
Saturday, November 6, 2010
But the experiment, it seems, will likely mature into a steadily recurring live creature. A melding of sound art, fractured bebop, clarinet-squealed jazz freak out, and noisy experimental krautrock spices - it's predominantly drums - with multiple musicians at multiple kits armed with multiple sticks. Howling, yowling, indecipherable human voices whirl atop these disjointed marches and snaky melodies.
Thursday, November 4, 2010
will join Mr. Dick Valentine the swaggering honcho of The Electric Six (pictured right)
...to perform at a benefit show for said alligned artists' dear friend, Robert Wonnacott as he faces serious medical issues without any insurance.
This goes down Sunday evening - at the Crofoot in Pontiac (doors at 6pm)
My one bloggy comments - would be to snipe about the still highly disconcerting state of health care in America - with no encouraging signs ahead what with all the gridlock likely to collide ceaselessly throughout a split house and senate. (Health Care Industry Still Bracing for Change -
Secondly, Wonnacott has been a close ally to the Six since the mid 90's and a contributor to some early Wildbunch demos - and thus the Six, or at least some-and/or-most of the Six will gather, alongside a crowded line up of fine local groups, to help him out in his time of need.
Wednesday, November 3, 2010
Mellifluous lead vocals shift from a quirky-charmed sing-speak to a soaring anthemic call alongside, lead guitars dance and entrance with instantaneous hooks, while a subtly intricate wavy bass line slaloms beside tight pounding drums, all in all bringing more of a more glowing pop/punk hurrah vibe to the old indie-ethos of quiet-loud-quiet song structures (see: "How See Disappears.")
Certainly they draw from indie rock, but there's nothing lo-fi about this sound. It feels they're meticulous in effectively crafting both the -quiet- and the -loud- aspects of each of their pop ballads (see the jolting, keyed-up vigor of those firestorm guitars of "Dead In My Tracks" only get pulled back for the endearing serenade of the vocals setting the scene atop quieter, breath-catching instrumentation) - and then of course it all gose out the window, the guitar solos, the drums explode and we build it all up to a closing crescendo.
Plus, they make sure to match the dynamism of their arrangements when they bring 'em out live.
So give it a chance - Saturday - at the Crofoot - when they release their 4th proper recording, Keepsakes - paired with The Ashleys, Patrick Davy & the Ghosts and the Handgrenades
Tuesday, November 2, 2010
Monday, November 1, 2010
I really don't know where to start. It's like a pop-record Twister matt, with each of the trios hands and feet stuck into different sensibilities and time periods. This is Violens first proper LP after an EP, a handful of mix-tapes and a handful of remixes (MGMT) - and it feels like, with their pleasing schizophrenic balance, that they're on their way to being the true inheritors of the strange love-child betwixt Roxy Music and the Smiths.... but with much more fuzzed-out-noise-pop-psychedelics.
Listen: Violens - "Acid Reign"
Friendly Fire Recordings