Monday, December 5, 2016
On December 2nd I finally achieved one of my long standing show goals to see Athens GA experimental rocker Mothers live. I'd heard of them from CMJ 2014 but failed to see them both during that CMJ and on their subsequent NY visits. And yet despite their amazing set the most rewarding surprise of the night lied in one of their openers: a trio by the name of Yairms. Considering they've played shows with favorites Big Thief, Palm, WRITER, and Friend Roulette, I'm surprised I hadn't experienced them sooner. The now Brooklyn based band create a narrative driven blend of psychedelic folk reminiscent experimental rock. From the moment they started their first song of the night, it was abundantly clear Yairms was making music practically tailor-made for my interests: incredibly distinct vocals, infectious angular melodies, and curiosity piquing lyrical narratives.
There is, on their debut EP Part One, a delightful keen sense of self, a sidestepping of obvious songwriting tropes and song structure, and an innovative spirit that keeps the songs fresh even after numerous listens. While Yairms' only constant has been singer/songwriter Jerry Rodgers, there is a sense of collaboration as Rodgers enlists the help of friends to fill the ranks of both his live and recording outfit. That collaborative spirit is evidenced in much of Yairms recorded output - the drum parts provided by Andrew Hiller of Alhhla and taken up by Peter McLaughlin live are intricate and impressive: they're partly a showcase of sorts that still fit in perfectly with the songs. And that's part of Yairms appeal - the songs are complementary to Rodgers with no great pains taken to make them so. There is, even at their most frenetic, an ease and comfort and despite the fact that you probably haven't heard what Yairms is doing before there's an effortless feeling of familiarity that hooks you. They're pretty much guaranteed to become your new favorite band.
Friday, November 18, 2016
A couple weeks back Brooklyn based quintet Landlady announced The World Is A Loud Place, their newest collection of jams out early next year and solidified the announcement with not one but two cuts from the upcoming album. Turns out releasing songs in pairs wasn't just a one-off decision as we once again get a twofer in the form of "Nina" and "Solid Brass". Much like "Electric Abdomen" and "Driving In California", the juxtaposition of the two songs makes them all the more enjoyable. The fact that "Nina" and "Driving In California" come one after another is another piece of the puzzle of how the album might proceed but if I've learned anything from the quartet it's to expect only the unexpected. The fivesome are a wildly inventive collective and Adam Schatz's gift of pulling inspiration from anywhere and everything means the songs can be about pretty much anything and are all the better for it.
"Nina" is not the sort of song that gives up its secrets easily. And that's OK. It's enjoyable regardless of your ability to piece together Schatz references. Landlady have never been the type of band to retreat into mysteries and they don't do so here. "Nina won't you let me be a servant to your every word"/"Nina won't you let you be a servant to your every breath" are Schatz's only mentions of the eponymous vixen and your interest in deciphering her importance has a lot to do with how Landlady play with form on the track. After an establishing main theme of the chorus, the band shifts to a sparse cantering section filled with climbing guitar figured and alternates between the two before finally giving way to a completely new third section. Schatz's love songs have never been explicitly just that but "Nina" is handled with sort of reverence and the sense of storytelling that comes through at not just a lyrical but at a band level ensure that its sense of admiration is handled thrillingly.
"Solid Brass" forms a sort of counterpoint to "Nina" both in form and vision. The love in "Nina" in a galvanizing one based in respect in adulation and "Solid Brass" handles it's subject with a sense of fun and delightful subtlety like that of an inside joke. The choruses metamorphose; changing words but not melody eventually becoming an amalgam of all its form and connecting the ideas into one phrase accompanied by the cathartic entrance of a choir of voices and a modulation. "You won't be sorry that you met me/I talk too much but rest assured you'll hear it lower in the morning". There's a lot happening to make such a moment satisfying but the self-referential, repetitive nature of the chorus unfurling into a sensible distillation of the song's ideas is an impressive feat of lyrical sleight of hand.
Landlady's third full length album The World Is A Loud Place is out January 20th on Hometapes.
Monday, November 7, 2016
One of the most thrilling things about Brooklyn based Columbian electro pop duo Salt Cathedral is how they continue to push their sound forward without losing their sense of self. It's an all to easy thing to do especially in the pop realm where being able to pull from/pivot into different sounds and influences is pretty much expected but since the earliest days of the band and it's previous incarnation il abanico, Juliana Ronderos and Nicolas Losada have been able to retain something uniquely theirs even after they shifted from experimental prog rock quintet to just a duo.
"Unraveling" largely continues that tradition. Where previously released "Lift Me Up" and "Homage" were sample based b-sides, the production on "Unraveling" both resembles that of songs from their OOM VELT EP while also taking things in a different direction. Part of that may be in fact due to the nature of the collaboration with Matisyahu. Known for his spiritual take on reggae, the most surprising thing is how similar Salt Cathedral's penchant for tropical-inspired rhythms fits with Matisyahu's own style ensuring a collaboration that comes off as pretty effortless. Ronderos' vocals have always been the ace up Salt Cathedral's sleeve and though they're not as featured prominent as Matisyahu's riffs and raps, the moments the surge to forefront are enjoyable. Ronderos and Matisyahu's lyrics form an interesting parallel despite the difference in who they're addressing. Ronderos' are direct; a sort of aggressive nonconfontation "If you're looking to fight me, intermittently all I have for you is bread and flowers"/"If you're looking to bring me down, you won't find me, you won't find me at all" Ronderos offers lyrics that are such an active presentation of meeting animosity with love and positivity. Matisyahu's are intially more abstract but much more visceral. Delivered upward/internally, his lyrics are more appeals for strength to confront those challenges.
"Unraveling" shows off more of Salt Cathedral's versatility as it utilizes a different musical style and imbues with the bands own strengths as well as introducing other players into their orbit. Salt Cathedral's production in "Unraveling" is sure and confident enough to actively represent them as they allow Matisyahu to take the reigns and the main focus. It was a surprising step but one that ultimately succeeds due to the duo's strong sense of self. Whether the duo's upcoming forthcoming full length debut will feature more collaborations I don't know but based off how seamless their work with Matisyahu was, I have faith that others will stay true to the band's distinct character.
Friday, October 28, 2016
Thank goodness Brooklyn quintet Landlady with their increasingly unnameable genre of music keeps themselves busy touring. That was not only how I got introduced to them but also how I learned that their follow up to their pretty much immaculate sophomore effort Upright Behavior was done. I wasn't exactly sure how frontman Adam Schatz and his fellow co-conspirators could possibly top themselves but if I learned anything from Landlady's vivacious live energy and articulate, intricate songcraft it was that it definitely could be done it was merely a matter of when.
Though Landlady's new album The World Is A Loud Place isn't out until early next year, their new singles "Electric Abdomen" and "Driving In California" are more than capable of tiding us over until then. They're decidedly different in sound, subject matter, and message but unmistakeably theirs in sound. Considering the varied but also shared musical backgrounds of the band's five members there's never been any shortage of tight knit playing and ecstatic grooves but "Electric Abdomen" is a wonderful slow burn. It builds upon a steady pulse gradually incorporating not only the quintet but a group of guest artists (like a string quartet form from friends/collaborators) and yet as is their way they manage to effortlessly avoid too much cacophony despite its dizzying assemblage of instruments.
"Driving In California" meanwhile changes gears from the funk vibes of "Electric Abdomen", reminiscent of "Washington State Is Important" from Upright Behavior in sound not just references to places the band has been. Its change in sound is a bit of an ironic twist considering it swaps out strings for a brass and woodwind section. But "Driving In California" has some things in common with its co-single namely a steady run up to more spirited involvement from the rest of the band. It's an interesting take on the tour-inspired song/album as Schatz reveals a love of travel and awe for the little things that make each new place unique. Schatz also humorously shifts from place to place eventually undercutting his initially stated love with each subsequent place.
Landlady are one of those rare bands seemingly composed of all of the traits you're looking for in all the bands: infectious catchy songs that are also meticulously crafted and involved? Check. An incredibly present sense of self? Check. Lyrics that are intelligent but also easy to remember and sing-a-long to? In spades. If you weren't already excited about a new Landlady album just by virtue of the band's existence "Electric Abdomen" and "Driving In California" function as fairly easy sell on the matter.
Landlady's third full length album The World Is A Loud Place is out January 20th on Hometapes. You can pre-order the record as well as deluxe album bundles with everything from tees to patches now.
Thursday, October 27, 2016
Arguably one of my favorite new discoveries of the year so far, Seattle based singer/songwriter/producer Luke Culbertson aka Lofty Stills released a self-titled EP earlier this year. The EP's only fault, in my opinion, lay in its brevity. Culbertson songs were fully realized and masterfully arranged and his brand of twangy folk, intimate chamber pop, and atmospheric dream pop were large and lush without losing any of its personal appeal and most importantly was just damn good. The EP cruises from brilliant melodic moment to brilliant melodic moment without ever lingering on its excellent songcraft. And then it's over. The EP had a cohesive flow but like most tasty treat is over far before you'd like it to be.
The good news is that Culbertson has every intentions of following up on the taster worth of songs with a full length album. And that's essentially where you come in. A few short weeks ago Culbertson launched the official Kickstarter to aid in recording the best possible version of his debut album. That involves Culbertson going to Nashville to record the album at Joshua D. Niles' The Chapel studio along with friend/collaborator Timmy Andrews of Holden Days and coproducing the album with Carson Cody. If fully funded Culbertson will begin work on the album as soon as December which puts the album release somewhere in Spring of next year. That's an exciting turn around considering two years deep into the project Culbertson has released six songs of beguiling intricacy. Considering Culbertson plays/records/produces all of his songs by himself, the added help (including real live musicians bringing his arrangements to life) as well as going into the studio with a prepared set of songs to work with practically ensures time well spent. Despite his studio aspirations I doubt that Culbertson's songs will lose any of the bedroom pop. It's an album I want, it's an album you want. Even if you don't know it yet. So head over to the Lofty Stills Kickstarter and make sure it's an album we actually get.
If you still need some convincing, here's another taste of Lofty Stills' previous output.
Wednesday, October 26, 2016
Though his first single "To Move On" featured Los Angeles singer/songwriter Alex Izenberg prominently on piano, I've always assumed (mostly through his work on other projects/bands) that guitar was Izenberg's main instrument. "Grace" however offers up more of Izenberg at the piano and the results are positively stunning. Where "To Move On" flirted with pop conventions, "Grace" finds Izenberg with the spirit of a balladeer. Izenberg keeps his piano melodies simple while the arrangements get much of the flourish - cycling between pizzicatos and scene-stealing legato moments.
Where "To Move On" bounced jauntily to its own cathartic declarations of closure, "Grace" finds Izenberg once again in the route of romantic disappointment. Izenberg keeps his lyrics sparse but offers up the important parts of the narrative without affect. "The darkness had taken over me/Once I see her engagement ring" Izenberg croons with a pitch perfect air of melancholy. Much of the drama of his heartbreak is provided musically - the sweeping strings, the slight jar of how his chords hit.
It's composition is so natural that it's hardly surprising that for its video, that Izenberg and directors Nick and Juliana Giraffe (the same team behind Izenberg's "To Move On" video), opted for a straight forward performance of the track. It's gorgeously shot in beautiful church, softly lit and with the strings accompanying a piano bound Izenberg in the background.
Some elements of the song's recorded form - namely its weirder, more experimental leaning electronic effects are gone but so too are its layer - its glockspiel, its vocal harmonies and the like are missing here but the effect is the same; revealing Izenberg's talents as songwriter in their purest form. It's enough to get me properly excited for the rest of Izenberg's debut and its songs that find similar inspiration in life's myriad of troubles.
Alex Izenberg's debut full length Harlequin is out November 18th on Weird World. You can pre-order the album here.
Friday, October 21, 2016
The music of Brooklyn based singer/songwriter Natalie Bering's Weyes Blood project has from its first moments occupied a space entirely at odds with the circumstances of its creation. From debut full length The Innocents, Bering has offered up music with a sense of hushed, contemplative quiet that managed to incorporate medieval modes and melodies and update them in a way that didn't insist upon its own cleverness. On her third album Front Row Seat to Earth and "Do You Need My Love" in particular, Bering pushes her sound forward while still avoiding sounding too modern.
Instead Bering effortlessly recalls the west coast psych rock/folk scene of the 70s without succumbing to the homage entirely. Album standout "Do You Need My Love" is bewitchingly cinematic: reminiscent of the closing credits of a spaghetti western. Bering does a lot with sparse arrangement/accompaniment - relying almost entirely on her power of her vocals and the strength of her songwriting capabilities. Bering is able to imbue the simpliest words and phrases with emotional depth: "passion is the only thing/passion must mean everything" Bering sings in a way encompasses both a lovelorn appeal and also chiding derision both of the self and the nameless intended.
Bering's I's (as well as her you's) are formless but no less personal. Bering's narrative vagueness affords "Do You Need My Love" a universal standalone appeal without sacrificing any of its sincerity. Despite its universality "Do You Need My Love" also fits into incredibly intimate world of Front Row Seat to Earth.
Weyes Blood's third full length album Front Row Seat to Earth is out October 21st on Mexican Summer.