A generation primarily built on ironic defiance, the hipster uprising of the last decade has eluded true journalistic pigeonholing solely due to it's flexibility in the face of definition*. While this self-aware adaptability has yielded new heights of both creativity and accelerated mania- by 2012, the scene itself more resembles the abrupt diversity of a 60-gig playlist on shuffle than the relevant paradigm it truly is. Traditional continuity is increasingly rare these days mainly because reinvention and experimentation seem to be the calling card of artistic survival. When a Playlist Mentality breeds a narrow attention span, it’s a huge risk to sound familiar- but it’s an even bigger gamble to sound like yourself, which is one reason why Beach House is such a refreshing act. From their 2006 self-titled debut through 2010’s Teen Dream, the Baltimore duo of Victoria Legrand and Alex Scally have found new, polished ways to create the same ethereal sounds. Whatever your opinion is on the fluttery dreampop of Beach House, Bloom, their fourth full-length album, will do little to sway that stance. They may be the most reliable indie bands in the business- and for that reason, it’s fun and ultimately very gratifying to welcome them back with open arms.
The release date for Bloom was announced last month and the feeling in the air seemed to dictate a sure-footed preparedness- as if people appreciated the early heads up as a means to systematically ready themselves for the album of the summer. Somehow this occurred a.) without feeling the slightest bit anticlimactic but b.) while still seeming amazingly low-key in it’s inevitability. Then Beach House released the first single from Bloom, “Myth”- a tune so lovely, so snowflakey, so Beach House- that it seemed to somehow render the album’s success even more of a foregone conclusion. It's a wonderful song of dueling notes- reassuring both in terms of the band and music itself. And along with M83’s “Midnight City”, it may be one of the most iconic flagship singles of the past five years. As for Bloom itself- well, of course it’s pretty great. A cornucopia of hypnotic synths, shimmering strings, and delicate fuzz, it plays like one, big auditory blanket leaving little doubt that it is the defining testament to the band's meticulous, atmospheric sound it aspires to be. The ten-song tracklist even offers some competition for “Myth”- “Wild”, “Lazuli”, “The Hours”, and “Wishes” can all firmly stand up against the best Beach House output from albums past. Victoria Legrand has also never sounded better as the heavenly production values from Teen Dream are in full force- although the intensity from that previous album is decidedly not. This lack of weight is the only aspect of Bloom where it truly falls short. Edginess is not something the new album strives for- in fact, it often feels so lush that you half expect it to spontaneously flutter away mid-listen. These songs may fog up the mirror, yet they never threaten to break the glass- as it is, the album feels alarmingly slight at times. And for this next phase of Beach House to be truly evolutionary, it probably needed a little more heft. That doesn’t mean that Bloom is anything less than the lovely, divine offering it truly is (and this is ultimately a very small quibble that is taking up too much space)- but in order for each successive release to be as foregone as this one, here’s hoping that Beach House throws us a curveball next time, even if it ends up in the dirt.
Nobody ever said you weren't pretty, Beach House. But damn.
*Sure, it's easy to cast a label by external appearance. But this was a generation primarily defined by the music- and the music scene has developed into an accelerated smorgasbord of subgenres and bedroom sounds. After all, who knows what's playing on the earbuds in 2012?
- FJ
Monday, April 30, 2012
M83 Live Review (In the Venue SLC 04/29/2012)
Critically acclaimed M83 played to a full house last night at In the Venue in Salt Lake City. The show started off similar to an of Montreal or Animal Collective-esque set with an actor dressed in an alien like costume, armed raised to amp the crowd up. Shortly thereafter M83, led by French Producer Anthony Gonzalez, took stage. Wasting little time they went into "Intro" from 2011's well received "Hurry Up, We're Dreaming." Following, the band kicked the show off with "Teen Angst" and "A Guitar and A Heart." Aside from Anthony's on point vocals, he switched between guitar, bass, keys, while turning dials which are unknown to me.
Notably, Morgan Kibby's ambient vocals were an immediate crowd pleaser along with Jordan Lawler's ability to play multiple instruments, with the two often switching positions. Although the set wouldn't be complete without drummer Loic Marin's ability to hold it all together while pouding on the drums.
M83 played noteable tracks such as "Kim & Jessie" and "Year One, One UFO" which is a more ambient instrumental track. Towards the end of the set, the hit "Midnight City" might have been the icing on the cake as touring member Ian Young ran onto the stage bursting into an unforgettable saxophone solo, which got the crowd going absolutely wild. Young also joined the band onstage again for "Couleurs" during a three song encore, which left the crowd in awe.
Check out FPT's interview with M83: "Soundcheck with Anthony of M83".
POP ETC "Live It Up"
POP ETC formally known as the Morning Benders released their first music video from their forthcoming album due out June 12. Enjoy the song "Live It Up" below.
Friday, April 27, 2012
This Many Boyfriends - (I Should Be A) Communist VIDEO
Here is the official video for '(I Should Be A) Communist' from one of the high rising bands I have on my radar, This Many Boyfriends. It doesn't quite have the same ring as 'Young Lovers Go Pop!' but it still offers a good listen. Look for the release from This Many Boyfriends on May 21st.
Thursday, April 26, 2012
The War On Drugs - Come To The City (Live On Letterman)
The War On Drugs dropped by Letterman last night and performed their track 'Come To The City' from their great album Slave Ambient. Just an amazing live act and a band that rightfully deserves more attention then they are currently getting.
Wednesday, April 25, 2012
James Iha "Look to the Sky"
Over the years, the possibility of a followup album to James Iha's 1998 "Let it Come Down" has always been there, but it has been mostly speculation. Iha is most commonly known as one of the founding members of the Smashing Pumpkins as well as being a member of A Perfect Circle. Last year he made it apparent that he was almost done with his second solo album. Well, it's done. "Look to the Sky" was released on EMI Music Japan on March 14, with a worldwide release to come later this year. From the teaser below, the album sounds more dynamic than "Let it Come Down" which is mostly acoustic. Personally, I am incredibly excited for this!
Look the the Sky
1. Make Believe
2. Summer Days
3. To Who Knows Where
4. Till Next Tuesday
5. Dream Tonight
6. Dark Star
7. Appetite
8. Gemini
9. Waves
10. Speed of Love
11. 4th of July
12. A String of Words
Japanese Bonus Tracks
13. Diamond Eyes
14.Stay Lost
Look the the Sky
1. Make Believe
2. Summer Days
3. To Who Knows Where
4. Till Next Tuesday
5. Dream Tonight
6. Dark Star
7. Appetite
8. Gemini
9. Waves
10. Speed of Love
11. 4th of July
12. A String of Words
Japanese Bonus Tracks
13. Diamond Eyes
14.Stay Lost
Beach House – Equal Mind
I was one of the lucky ones that got to grab Beach House's limited 'Lazuli' 7" release on Record Store Day. The B-side on the single is 'Equal Mind' and it is a glowing, soothing song from the duo. For a B-Side this song is so good and makes you wonder how great the new album 'Bloom' is going to sound if this couldn't make the final cut. Victoria Legrand's vocals are as humbling as ever in this friendly song. Be sure to check out FPT's interview with Victoria here.
Tuesday, April 24, 2012
Father John Misty’s Fear Fun
Father John Misty, otherwise known as J. Tillman who is better known for as work with the Fleet Foxes (Drummer) until his departure earlier this year. Is set to release Fear Fun on Sub Pop May 1st.
Tillman has been recording and releasing solo albums since 2003, admitting that the albums were a result of an "immobilizing period of depression," in his Seattle home. He claimed songwriting had always been an "interesting and necessary because he saw it as this vehicle for truth", but eventually had the realization "that all he had really done with it was lick his wounds for years and years, and become more and more isolated from people and experiences, never putting any risk into his music."
He goes on to say, "I lost all interest in writing music or identifying as a 'songwriter'. I got into my van with enough mushrooms to choke a horse and started driving down the coast with nowhere to go. After a few weeks, I was writing a novel, which is where I finally found my narrative voice."
Fear Fun
1. Funtimes in Babylon
2. Nancy From Now On
3. Hollywood Forever Cemetery Sings
4. I'm Writing a Novel
5. O I Long to Feel Your Arms Around Me
6. Misty's Nightmares 1 & 2
7. Only Son of the Ladiesman
8. This is Sally Hatchet
9. Well, You Can Do It Without Me
10. Now I'm Learning to Love the War
11. Tee Pees 1-12
12. Everyman Needs a Companion
Tillman has been recording and releasing solo albums since 2003, admitting that the albums were a result of an "immobilizing period of depression," in his Seattle home. He claimed songwriting had always been an "interesting and necessary because he saw it as this vehicle for truth", but eventually had the realization "that all he had really done with it was lick his wounds for years and years, and become more and more isolated from people and experiences, never putting any risk into his music."
He goes on to say, "I lost all interest in writing music or identifying as a 'songwriter'. I got into my van with enough mushrooms to choke a horse and started driving down the coast with nowhere to go. After a few weeks, I was writing a novel, which is where I finally found my narrative voice."
Well, I am overwhelmed with joy he found his narrative voice! With the first track, "Funtimes in Babylon" the album is immediately separated from his previous work as J. Tillman, which strongly utilizes his vocal abilities accompanied by a more upbeat array of instruments. Not to mention the beautifully constructed lyrics which are much more narrative. The album continues on to songs resembling a classic rock/pop sound like "Nancy From Now On" and "I'm Writing a Novel' with the strumming of an acoustic guitar and Tillman again utilizing his vocal range. In the end, I have to say I am a bit sad he left Fleet Foxes, but I Love this album! Listen to it Below!
Fear Fun
1. Funtimes in Babylon
2. Nancy From Now On
3. Hollywood Forever Cemetery Sings
4. I'm Writing a Novel
5. O I Long to Feel Your Arms Around Me
6. Misty's Nightmares 1 & 2
7. Only Son of the Ladiesman
8. This is Sally Hatchet
9. Well, You Can Do It Without Me
10. Now I'm Learning to Love the War
11. Tee Pees 1-12
12. Everyman Needs a Companion
Beach House: SOUND CHECK INTERVIEW

VL: How’s the weather?
FR: There was a cold snap here today. All of a sudden things went from 75 degrees
to 55 overnight.
VL: Same here. Alex is
building our stage design out back. I’m
actually at his house. He’s working
outside and I’m inside. It’s
drizzling. What a bummer.
FR: Yeah. I’m really
regretting not wearing socks today. But
y’know…
VL: Well, maybe that’s good in a way. Is it raining?
FR: No, it’s really nice outside. It doesn’t make any sense. Anyway, let’s get started. I’ve been listening to Bloom a lot. It definitely feels like a Beach House album-
but, to me, a different shade of you
guys, but still part of the same organism.
How do you think it compares to your earlier work?
VL: I don’t really like to compare records. It’s a hard thing to do. It’s totally a matter of opinion. As a person on the inside of every detail, I
like to think that the core of Beach House or whatever makes Beach House what
it is, it’s going to be different every time.
But the core of what we do stays the same, how we work together, how
passionate we are about stuff, how exacting we’ve become. A lot of things have stayed the same but a
lot of things have developed, matured, and evolved. So on that level, I don’t think it’s like the
past but we all quite naturally grow off one another. I could go into detail about what point in
the process this starts happening but usually we start going in a new direction
immediately after recording an album.
FR: Before I even heard the album or “Myth”, I was immediately
won over by the artwork. To me, it calls
to mind this conflicting imagery of intense, fluorescent lighting as well as
soothing ambience. How did that come
about?
VL: I think this time with our art for the LP, CDs, posters,
things like that- we were trying to go for more of a unified vision, a unified
feeling. That image with the lights and
the other four images in the artwork are all images that were taken
spontaneously throughout our lives- whether it was on a cell phone or
whatever. It’s not trying to be high art
or mind-blowing. A lot of the things we
do and love are based on a feeling. So
it was a moment in time and looking back on it for us, it absolutely resonated
with the music. I think we kind of work
abstractly as well. It’s the same thing
with titling records- a word has a certain vibe to it and to us it makes sense and it stays with us and it sticks
around. This image, and the other images
inside the album art, have that same feeling.
For us, it’s a feeling and a moment and it doesn’t go more analytical
than that and I think that translates to the viewer or listener. Obviously, what you said, I wouldn’t argue
with that.
FR: Teen Dream had a really intense touring schedule. I think it was something like 64 dates in 17
countries. With more shows approaching,
how do you guys prepare for such a rigorous schedule?
VL: For Teen Dream, we did about 180 shows and that’s like a
school year. I think that more than that
can be kind of destructive. I have some
friends who have done like 200 shows and they seem absolutley fried. We’ll play a lot of shows this year but we’ve
so far scheduled things in a way- here’s the thing about experiences, you get
better about durations of time, what you want to do, what you’re capable of
doing, how you can bring the best show.
You don’t want to fly in and fly out of places because you can’t do
production. We’ve been rehearsing a lot here
in Baltimore at our practice space and getting prepared stage-wise and
show-wise. I was talking earlier about
building and getting merchandise together and all kinds of special things and
doing all that detail work, it takes up a lot of our time. That’s how we get ready to tour. We try to get some rest- but it’s this really
enjoyable, militaristic lifestyle when you’re actually touring. We really love it- the process of getting to
the city and then basically building the stage that day and then you get to
play the show. All of the energy you
have, the goal is the show itself. It’s
been about six months and we’re all really excited to be back on the road. This is the longest we’ve ever not toured
since we’ve been in a band and we’ve been playing since 2005. Before we had gone one to three months max
without playing shows- so we’re ready.
Well, we’re ready as we’ll ever be.
The first couple of shows we will be getting used to the setlist, working
things out, and making sure the rhythm of the show is as effective as it can
be.
FR: Do you have a favorite place to play?
VL: In the world?
FR: In the world.
VL: Well, it’s hard to say because there are a lot of places I’ve
enjoyed playing. I have to say, on a
general note, the type of places we love to play are smaller, close shows. The ideal size is nothing bigger than 1200. Obviously anything smaller than that will be
an intimate show and anything bigger than that will be a huge show- it will be
harder for some people to see stuff, it’s not the ideal situation for us. I definitely love going down south and I’m
not just saying that to please anybody.
I really, genuinely have this sort of same pull like when you’re heading
west. It’s almost feels like
magnetically the west is calling. There’s
something that happens when you’re heading down 95 and you get past that
nightmare of a traffic zone. But once
you get free of that, it really feels like a different world. I feel like Baltimore is a total mix of the
south and the north. It has that sense of
being messed up, downtrodden, dark, y’know?
But it doesn’t have the speed thing that New York has or Philadelphia
tries to have. So I feel like the
further south I go, the happier I get.
But yeah, the south- there have been a lot of amazing venues you wouldn’t
expect to really like. It doesn’t have
to be this high quality place. It can be
a shithole. A lot of those factors… that’s
what we love about touring, it’s totally different every day and a lot of unexpected
things can happen. It’s really great.
FR: As far as characterizing Baltimore, when I think of popular
things to come out of Baltimore- I think of Beach House, I think of Cal Ripken,
and I think of HBO's The Wire. Have you ever
seen The Wire?
VL: I’ve only seen a few episodes of it. So I’m not a loyal Wire-watcher. But maybe on tour…
FR: Maybe so. Getting
back to the music, “Myth” is a pretty flooring lead single. Can you tell me how that came about? I think it’s really interesting- the album is
called Bloom, it’s coming out in May, but every time I hear “Myth”, I get a
snowflake vibe.
VL: I think an important feeling for us, and this is something we
will try to create live as well, is a sense of timelessness. A sense that when you’re experiencing the
album or when you’re at a show or even for ourselves, it’s important that we don’t
feel that since the album comes out in Spring, it has anything to do with
Springtime. The album title and the time of year it’s come out are two things
that weren’t meant to be on purpose. In
a boring way, putting it out in May is the soonest we can put it out and it
being called Bloom, we weren’t thinking “Oh yea, it’ll be a Spring record”. For us, it’s a lot bigger than that and that’s
why I think the timelessness is important.
You were talking earlier about the artwork and I think it’s important
that you do not feel like you’re in a literal, specific place. You could be in an atmospheric place in your
mind or imagination and I think, for us, that’s the ultimate direction with the
titles and songs. These songs, in a way,
a lot of them are journeys. And,in
general, with all music, I think that’s the effect it has on people. Something is speaking to you, calling to you,
and it’s taking you someplace else. So
we hope that maybe people can see beyond literal connections and go a little
bit deeper than that and more abstract instead of “Spring. Flowers…” It can be that for some people but I know, as
an artist, it’s not what it’s about. It’s
an experience from beginning to end.
FR: In the past, you've worked with the guys in Grizzly Bear.
VL: Years ago. Yeah.
FR: You collaborated on “Two Weeks” as well as the Twilight
song. Will there be any more
collaborations in the future? What was
it like working with those guys?
VL: I have no collaborations planned for right now because my
focus, as usual, is on Beach House. That’s
the most important thing for me and Alex, our dedication to Beach House. It’s kind of hard to remember what it was
like working with them. They’re really
nice guys and it was really easy and it happened really quickly. But I don’t have anything planned right
now. I have plenty on my plate.
FR: Music now is available in a variety of formats. You have digital downloads, CDs, vinyl of
course, and even cassette tapes are making a modest comeback. What is your favorite listening format for
music and on which do you think Beach House sounds best?
VL: For me, personally, I listen to tapes on a walkman that I
connect to my stereo- and I listen to vinyl.
For me, the order is tape, vinyl, then digital files. If I really desperately want to hear
something, I buy it and listen to the mp3.
But that’s when I really want something right away and I don’t have
it. For me, I really like the physical,
tangible music. I like albums. I like looking at old vinyl. With new vinyl, I usually think the packaging
is pretty awesome. I think it’s
something that’s extremely classic and should never go away. I don’t think it’ll ever go out of
style. I just think it’s something that
got maybe put on the side because people got so impressed with CDs and
mp3s. In the end, though, vinyl is the
most durable and the best sounding for most albums. Also, we recorded our last two albums,
including this one, on two-inch tape. I
think that we are audio-philes. Alex is
probably more of one than I am but we both have an idea of production for Beach
House. Tape can really create incredible feelings with sound and a computer
cannot replicate warmth or this flow that a record player can. Like a Gene Clark record, my dad gave me a
copy of that on vinyl and it’s kind of hard to find. But that’s even better too when you find
something that’s handed down to you from your dad or your uncle when he says “Here’s
a stack of records!”. It becomes really
meaningful. It’s like someone giving you
a book or a memory. It’s hard to give
someone an mp3 and be like, “Here’s this mp3 that I clicked on for five seconds
of my life… it really meant a lot to me..”
It’s good for sharing. Music
sharing is an amazing thing that humans do.
And if you want to make a mix tape or a playlist, that’s awesome. I just think that for me the experience is
taking time out for yourself. Putting an
album on, cracking a beer, or not cracking a beer and taking like an hour. If you can spend an hour on Facebook, you can
spend an hour listening to a record. It’ll
make you feel a lot better.
FR: So the music scene has really gone sideways in the past ten
years from Napster to iTunes to Spotify.
The way people listen to music has changed and we touched on that a bit
already. But where do you see the music
scene going in the next ten years?
VL: I hope that we find some sort of equilibrium. The way things have accelerated for me in the
past six years… ten years for me feels like a different era. We’re lucky because when we started putting
our music on the internet in 2006, it was still a pretty innocent time. MySpace was still a place where bands felt
was exciting because people were liking their music. There was still an innocence. But in the last six years, it’s accelerated
to a point where I can only see it spinning out of control. I think there is an end to everything and I
just hope people become more discerning about how they want to experience
things. And that if fans and music
listeners listen to a ripped version,they realize it’s not something that the
artist decided to put out and that you’re doing yourself a disservice in terms
of quality. You’re not having the
experience the artist wanted you to have and that they worked so hard for you
to have. I really don’t know where it’s
going. For all the people that I talk to
about how fast they think everything’s going, about how artists are built up
and discarded in like five seconds…. I mean, an artist who is coming out with
their first record has so much pressure on them immediately to deliver
live. They don’t even have time to build
up years of touring. We had a couple years to develop and play in front of no
one. Even if we had buzz in the
beginning, we still played shows in front of zero people. We weren’t so blown up out of proportion that
we didn’t have a chance to grow naturally.
I wish the best for artists starting out now and I hope that people can
be clever and figure out ways to take back the system to a more physical experience
of music and learning how to use the internet as a tool and not an
identity. That’s a big thing. Artistically, artists need to find a place
where they’re like “I’m an artist.. what’s my relationship to my fanbase?” Is it that you Twitter every five seconds
about what you had for lunch or what you’re doing with your dog? Or is it, “Hey, we have a show tonight and
the first ten people to Twitter back get on the guest list”. That’s an interesting and fun way to use it. You’re not compromising your artistic identity but you’re also using
the internet as a tool. I think the
industry’s always going to have problems.
It’s been like that even when there was no internet. Industry is kind of like the opposite of
art. But it’s a crazy mess. I just think that teenagers and twenty-five
year olds and forty year olds- we all need to have the same collective conscious
thought that we need to take a step back and slow our lives down and not be so
much in this alternative reality world.
Then, we might enjoy our lives more and that might affect everything.
FR: As a female frontwoman, I’m interested to see how you’ll
respond to this next question especially in how this pertains to the industry
versus art angle. How do you feel about
Lana Del Rey?
VL: Ohhhhh, I don’t want to talk about it. It’s hard to say. It’s really not my place to talk about
artists because I don’t know what’s going on in her mind. But I do feel like there are ways of being
sexy or sensual or alluring or attractive that don’t rely on exposing your body
parts or playing into stereotypical Maxim magazine-style notions of what a sexy
person is. So for me, the female artists
I’ve always looked up to are the ones who don’t play the game that set female
artists backwards. Instead of talking about
music, we’re talking about how hot someone is.
For me, my only concern about that was just… are people even talking
about music anymore? Or are we just
talking about nonsense? That’s another
big concern I have. The world seems to
be more preoccupied with drama or boob jobs or lip jobs or image and all that
shit more than whether or not this person is actually a freaking artist or do
they actually write good songs or do you
actually enjoy the album? I found it
slightly irritating that I felt most people were talking about things that had
nothing to do with music. I also saw how
it could be really hurtful for an artist to encounter that type of negativity, kind
of a backlash. Like I said, I can’t
speak for her or anybody. I can’t say
what her reasoning is or how she was marketed or how much control she had. But I do think that the female artists I’ve
always looked up to, they are being themselves, they are smart and intelligent
women. I can’t say anything for her, I
don’t know her. I was mostly
disappointed though with the fact that it was all anyone could talk about for
almost a year. I found that depressing and
I saw it as a really sad reflection of the state of the internet and the state
of music journalism. I felt like people
weren’t talking about whether she was a good songwriter or made good records.
FR: She’s almost become iconic.
But for all the wrong reasons. Or maybe they're the right reasons.
VL: For me, what I meant when I said the industry is always going
to have problems- even in the 80s when you had glam-metal bands when it was all
about hair and metal pants and having women with their tits out and cherry cola
or whatever. I almost felt for a second
like we were back there. People were
still being tantalized by the same shit they will always be tantalized by. For me, it was a weird throwback to a time
period and I was like, “Jesus!” Because
up until that point, I’d seen plenty of artists that never made me feel that
way. But for some reason the world
started talking in a way that reminded me of another era. I hope as well that people can learn from
that experience. I’m curious to see what
she’ll do next. Maybe she is an artist
and will learn from this experience and see how vicious people were. Because the internet can also be really
fucking vicious. So artists have to
protect themselves and be aware that if they do certain things, people are
really going to… like… get them.
FR: I think it was one of the few times where people put up their hands and said “Whoa,
whoa… we’re calling bullshit…”
VL: I think Hipster Runoff handled the situation really honestly
and hilariously. I think what you
learned from that experience is who was an honest person and who was part of
the problem. And that’s sort of where it
was actually interesting because it did divide people between people calling “bullshit”
and people playing the game. And the
people playing the game were so clearly playing the game and the people who
were like Hipster Runoff were kind of like showing that this was a potentially
huge problem with “us”, y’know? People
being on the internet and how we talk about stuff and the language that we use
and the dumb things we are still attracted to- and have we really only come
this far? I have hope. I think that was just a moment and it
passed. And thank God it passed. Now you know what can happen.
FR: The guys at Hipster Runoff brilliantly dissected that entire
experience.
VL: Well, it was more than Lana.
She became more than what she is.
She became a representation of an idea or of a potential problem in the
future. What happened to her was almost
like a learning experience for the internet or something, y’know? I hope she’s okay.
FR: Me too, me too. To
Lana!
VL: She is a human being after all.
FR: Yes, she is.
- Fr. Jones
Edward Sharpe & The Magnetic Zeros - Here ALBUM PREVIEW
"In the middle of the recording process we realized we were essentially making a double album. Being four years since our last album, the writing explored a wide variety of subject and sound, as it turned out we had a lot to say," "Instead of putting it out all at once, we found that two different albums seemed to be forming. Alone these albums are albums. Together these albums express a varying and so relatively living portrait of our lives."
HERE Tracklisting:
1. Man On Fire
2. That’s What’s Up
3. I Don’t Wanna Pray
4. Mayla
5. Dear Believer
6. Child
7. One Love To Another
8. Fiya Wata
9. All Wash Out
Monday, April 23, 2012
Reptar's "Body Faucet" - Full Album Stream
Here's a link to stream Reptar's new album, in its entirety, over at YouTube!
Body Faucet is due out next Tuesday, but the band has just announced the album stream, 8 days early.
Body Faucet is due out next Tuesday, but the band has just announced the album stream, 8 days early.
Labels:
Album Stream,
Body Faucet,
Reptar
Play It Forward - Fresh Cut Collective
Milwaukee, Wisconsin has never really been known as a hotbed for up-and-coming musical acts, although there have been a few to come out of the Cream City. However, after living in the city for a couple of years, it's pretty obvious to me that this could (and undoubtedly should) be changing. With that in mind, it is my pleasure to introduce you to Fresh Cut Collective, the most promising hip-hop act to come out of the city, as well as a group of amazing people and artists.
Fresh Cut Collective is comprised of five members (see the line-up below) four of whom perform live instruments accompanied by one lead vocalist. The notion of a hip hop act backed by a live band isn't necessarily new, but FCC does a great job at keeping it intriguing and enchanting. Not to mention that this style of hip hop is the most enjoyable when translated in to a live performance.
The group has just released an album, RE-FRAME (part one), and features some incredible qualities, let alone some entertaining music. The band is not releasing the album on CD form. Instead, Fresh Cut is distributing "Dropcards," a card about the size of a credit card made of biodegradable material that contains a website and download code on the back. After the listener downloads the music, they can bury the card in the ground, and low-and-behold, wildflowers will bloom as the dropcard is lined with seeds.
And the music is just as organic. After giving the album a once-over, it was eminent that the group had just as much fun recording it as the audience will have listening to it. The album delivers an amazing amount of energy, as the group blends a healthy dose of guitar riffs, keyboard hooks, and drums, mixed with Kiran's cadence and vocal rhythm.
Tracks like "Bangy Bangy," "Go Flash!" and "Errybody Get Loud" bring forth a sound that emulates what FCC is out to accomplish: a natural sound that is transferred beautifully into their live shows. The group initially recorded the pieces to the album individually, but later scrapped the work they had put in, so they could instead record the album together, to deliver a more "natural" sound. The story of the group's efforts put forth is not only impressive, but the result is incredibly exciting to listen to. You can find more information on the band by visiting their website (FreshCutCollective.com) and "liking" them on Facebook.
UPDATE: To get the new album, as well as learn more about FCC, check out their Bandcamp Page here: freshcutcollective.bandcamp.com/
Meet The Members:
Patricio Amerena: Keys/Synth
Matthew Gorski: Drums
Scott Hlavenka: Bass
Nick Perow: Guitar
Kiran Vee: Vocals
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Fresh Cut Collective In Studio |
The group has just released an album, RE-FRAME (part one), and features some incredible qualities, let alone some entertaining music. The band is not releasing the album on CD form. Instead, Fresh Cut is distributing "Dropcards," a card about the size of a credit card made of biodegradable material that contains a website and download code on the back. After the listener downloads the music, they can bury the card in the ground, and low-and-behold, wildflowers will bloom as the dropcard is lined with seeds.
![]() |
RE-FRAME (part one) |
And the music is just as organic. After giving the album a once-over, it was eminent that the group had just as much fun recording it as the audience will have listening to it. The album delivers an amazing amount of energy, as the group blends a healthy dose of guitar riffs, keyboard hooks, and drums, mixed with Kiran's cadence and vocal rhythm.
Tracks like "Bangy Bangy," "Go Flash!" and "Errybody Get Loud" bring forth a sound that emulates what FCC is out to accomplish: a natural sound that is transferred beautifully into their live shows. The group initially recorded the pieces to the album individually, but later scrapped the work they had put in, so they could instead record the album together, to deliver a more "natural" sound. The story of the group's efforts put forth is not only impressive, but the result is incredibly exciting to listen to. You can find more information on the band by visiting their website (FreshCutCollective.com) and "liking" them on Facebook.
UPDATE: To get the new album, as well as learn more about FCC, check out their Bandcamp Page here: freshcutcollective.bandcamp.com/
Meet The Members:
Patricio Amerena: Keys/Synth
Matthew Gorski: Drums
Scott Hlavenka: Bass
Nick Perow: Guitar
Kiran Vee: Vocals
Beach House - Lazuli
Beach House have their newest single 'Lazuli' out now from the upcoming album Bloom. 'Lazuli' was also featured over the weekend as a Record Store Day only limited single. The lush sounds of Beach House continue to flow in this track and make the anticipation of Bloom seem that much more exciting.
Saturday, April 21, 2012
Rusted Root 4/13/2012 - CONCERT REVIEW
While Friday the 13th may be considered to be an
unlucky day by some, this past Friday I was lucky enough to be part of the sold
out crowd at The State Room for the Rusted Root concert.
Rusted Root have been busy working on a new album to be
released later this year and have been trying out the songs on the road as part
of their already eclectic live set. The new songs fit in nicely with the older
tunes and helped compliment an evening which spanned their twenty plus years as
a band.
The opening song of the show was the always energetic “Martyr”
which is always a surefire way to get the crowd moving. The energy from the
band that transferred into the crows was palpable as we all swung are arms
around and moved our bodies to the rhythm of the music.
Next we were treated to favorites “Lost in the Crowd” and “Back
to the Earth.” These are fan favorites that didn’t disappoint. As stated
previously, new songs were introduced to many of us for the first time and it
was a privilege to be witness of such pieces of music before they’ve been
released. “Monkey Pants”, “Fortunate Freaks” (the title of their upcoming
album) and “Up and Down” were all exceptional and made me more excited for the album
to release.
The song, “Cat Turned Blue”, which is always a blast to
hear, was made so even more with the inclusion of cover snippets of “Superstition”
and the always mind blowing “All Along the Watchtower” which always seems to be
a jam band staple.
I would have enjoyed hearing more from the last album, Stereo Rodeo, but was happy with the selection
of tunes provided.
The highlight of the evening for me, as it is every time I
see them, was the encore of “Ecstasy”. The song begins with percussionists and
bass player building a simple beat into a mass crescendo of awesome sound. When
singer, Michael Glabicki, comes back out and strums his first chord, the energy
in the room reaches an all time high as dancing bodies becoming one intensely formed
mass of joy. The band is full swing at this point and the crowed is experiencing
joy in its most pure and rawest form.
This was the seventh time I’ve seen the band live and it was
a show that I will not soon forget.
--Mark.HaTe
For ways to support the band you can visit the following
places:
Labels:
concert review,
jam bands,
Live Review,
rusted root,
The State Room
Friday, April 20, 2012
Radiohead Performs "Lotus Flower" on Austin City Limits
Enjoy a sneak peek of Radiohead on Austin City Limits with this just-released performance of "Lotus Flower".
Tanlines Show Review at The Empty Bottle
It should also be noted that The Empty Bottle is quite an amazing venue. Part dive bar, serving the best (and incredibly well-priced) libations, the small, triangular stage raised about 2 feet off the ground, the crowd packed in early for the sold-out show.
Tanlines surprisingly opened with a slower and more mellow version of "Rain Delay," one of my favorite tracks off their new album. The crowd became anxious when the first single, "Brothers" began next, and it was clear the mainly young, well-kept audience members were ready to get down. Once the more upbeat tracks began, the crowd erupted. "Yes Way" started and even I became incredibly eager and excited. It was evident that my dance moves were going to need to be showcased that evening.
The best part about a lot of the band's set was just how uncanny and unique they sounded live. I'm always somewhat weary when watching a group that's work is primarily electronic and (for lack of a better word) produced. The vocals were somewhat quiet, but it's difficult for me to blame the band for that (even the openers, Rewards, sounded a little muffled most of the time). But on tracks like "Yes Way" and "Not the Same," where Eric Emm sings with a little more of Morrissey-esque vocal tones, the band sounded impeccable.
Oh, and let me not forget that Jesse Cohen, the bands' drummer, gave a quick shout out to Chicago, saying that it was one of his favorite cities in the US, topped only by Madison, WI, where Cohen attended the University of Wisconsin-Madison. I made sure to voice my opinion on the fine city from which I used to call my home.
The highlights of the set were harnessed in tracks "Real Life" and "All of Me." "Real Life" was featured on their EP, Settings, as well as Mixed Emotions, and features the best mixture of Tanlines' strengths: fabulously upbeat drums (snare, tom, and bongos) were played so crisp by Jesse Cohen, and equally enjoyable vocal parts and lyrics, including a chorus of "Mass Aloha." And don't even get me started on "All of Me," one of my favorite tracks of 2012, was matched in a live atmosphere by a rousing crowd, dance club-like ambiance, and the mood of the crowd was equally matched by the duo.
All in all, I must consider myself lucky to have attended this show. The Empty Bottle has a listed capacity of 166, an incredibly intimate atmosphere for a band that is destined to blow up soon. Ultimately, as my night wore down, and my ride back to Milwaukee came to an end, I came to the decision that this was the most fun I've had at a show all year, and I can not wait to experience my next Tanlines show. ;(
Below are the rest of the dates on Tanlines' North American Tour:
4/20: Minneapolis, MN - 7th Street Entry
4/23: Vancouver, Canada - Fortune Sound Club
4/24: Seattle, WA - Barboza
4/25: Portland, OR - Doug Fir Lounge
4/27: San Francisco, CA - Rickshaw Stop
4/30: Los Angeles, CA - Echo
Labels:
;(,
All of Me,
April 19 2012,
Chicago,
Live Show Review,
Real Life,
Rewards,
Settings,
Tanlines,
The Empty Bottle
Cut Copy's Ben Browning Releases "Lover Motion"
While Cut Copy has been hard at work on the followup to the critically acclaimed Zonoscope, bassist Ben Browning has been hard at work on his debut solo Album "Lover Motion." The album is available on iTunes and will be available on vinyl and cd. He also will be playing a handful of dates in the U.S. Until then, enjoy the video for "I Can't Stay" below.
Thursday, April 19, 2012
The Quick & Easy Boys
With two full length LPs, national tours, and opening for the likes of Deer Tick, Wooden Birds, Blitzen Trapper, and so on I present to you...The Quick and Easy Boys. A Portland trio consisting of Jimmy Russel (Guitar/Vocals), Sean Badders (Bass/Vocals), and Michael Goetz (Drums). More commonly known for their R&B, funk, psychedelic rock, and pop infused sound. The boys quickly made a name for themselves in Eugene, Oregon before heading to Portland with their electrifying stage performances and the "leave nothing behind go all out kind of energy."
In 2008 they released their debut LP "Bad Decisions With Good People." Since then they have spent the last two years on the road bringing their unique "Minutemen, Funkadelic, and Willie Nelson" sound to the masses.
Presently, the Boy's are touring through the spring to promote their sophomore release, "Red Light Rabbit." At times this album sounds like an extension of "Bad Decisions With Good People." The album kicks off, "with Foster I..." consisting of a fast-paced punk infused sound. The album continues into the single "Take Your Medicine" with layered guitar solos over the funk driven melody. The album takes you on a journey with an interesting array of sound from pop, psychedlic rock, and funk slowing down and speeding back up again. I'm not exactly sure how, but it works well. All in all "Red Light Rabbit" brings you the diverse sound with danceable tunes the Quick & Easy Boys are Known for.
They will be playing at the State Room tonight in Salt Lake City, which in my opinion is one of the best sounding venues in the area. This isn't something you want to miss! For more tour dates you can visit their website here: http://thequickandeasyboys.com/
"Red Light Rabbit"
1. Foster I...
2. Take Your Medicine
3. Black Panther
4. Breakin' Love
5. 7 Ways
6. Red Light Rabbit
7. The Letter
8. Señorita
9. Sweet Anticipation
10. Spicey Paella
11. Daggers
The Walkmen - Heaven
The Walkmen are set to release their follow-up to 2010's 'Lisbon', and will be releasing their new album titled 'Heaven' via Fat Possum on June 5th. Lead singer Hamilton Leithauser describes the new album as more mature... “The detachment you can feel throughout our younger records is gone. We felt like it was time to make a bigger, more generous statement." Check out the albums first track 'Heaven' and you get a feel for what Leithauser is talking about, as the sound is very pleasant and grown up.
Wednesday, April 18, 2012
Lotus Plaza "Spooky Action at a Distance"

"Spooky Action at a Distance"
1. Untitled
2. Strangers
3. Out of Touch
4. Dusty Rhodes
5. White Galatic One
6. Monoliths
7. Jet Out of the Tundra
8. Eveningness
9. Remember Out Days
10. Black Buzz
The Shins - The Rifle's Spiral VIDEO
Here is the latest and greatest video from one of the original Indie rockers, The Shins, check out 'The Rifle's Spiral' below.
The Shins: The Rifle’s Spiral on Nowness.com.
The Shins: The Rifle’s Spiral on Nowness.com.
Tuesday, April 17, 2012
Radiohead - Mexico City 4/17/2012 SETLIST

Mexico City 4/17/2012 Setlist:
01. Bloom
02. 15 Step
03. Airbag
04. Staircase
05. The Gloaming
06. Morning Mr Magpie
07. Supercollider
08. I Might Be Wrong
09. Nude
10. Reckoner
11. Identikit
12. Little By Little
13. Lotus Flower
14. There There
15. Feral
16. Idioteque
ENCORE #1
17. You And Whose Army?
18. Kid A
19. Exit Music (For A Film) TOUR DEBUT
20. Paranoid Android
ENCORE #2
21. Give Up The Ghost
22. Planet Telex
23. Street Spirit
I Am In Love - Palm VIDEO
London based band I Am In Love are back with another new tune, titled 'Palm', which is accompanied by a video. I am a huge fan of their 'Call Me An Animal' track and 'Palm' is right around the same territory. It brings a throwback sound to the 80/90's darker era that shows hints of The Cure, New Order and Joy Division. If the band continue to keep producing top tracks such as 'Palm' their identity is only going to continue to pick up steam and grow.
Monday, April 16, 2012
The Vaccines - Why Should I Love You (COVER)
The Vaccines sophomore album is written and mostly recorded and is going to come out this year (According to the Band). In the meantime check out the bands cover of R. Stevie Moore's track 'Why Should I Love You' which will be out on a limited (500) release for Record Store Day this coming Saturday.
The song will be on a split 7" with R Stevie Moore, and will be a limited vinyl only release featuring The Vaccines version of R Stevie Moore's "Why Should I Love You", and Moore's version of "Post Break-Up Sex".
Sunday, April 15, 2012
The Lumineers Live Review
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Dead Sea |
The Lumineers are your new favorite foot-stompin' band to sing along with. After a couple EPs and adding two members to the band, the Lumineers are touring around the country promoting their self-titled full length album. Here in Salt Lake City at the State Room members of the band were joking around interacting before and after the show with the audience.
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Setlist |
It made me laugh to see the keyboardist without shoes on stage. Who does that? Being a new addition to the band, some of the older songs were written without a keyboard leaving this man to shoot pieces of trash in a slingshot at the dancing crowd. Make sure you catch the Lumineers before he gets a foot disease or assault charges. Half the crowd chanted the "HOs" and half the "HEYs" while the band left the stage to sing and jimmy jangle Ho Hey on our level. This is the closest the I think I'll ever get to the band, they're having a breakout year and their fan base is growing fast.
Since the show I haven't stopped listening to their album and cannot wait until I can get a hardcopy on vinyl next month. Listen to the Lumineers for a ole fashioned singalong and catch them live for a earful of new-aged folk music.
Friday, April 13, 2012
The Cast of Cheers - Animals VIDEO
The Cast of Cheers have me excited for their upcoming debut album Family which is set for a June 18th release. 'Animals' is the bands 2nd proper single and it comes with a funky jammed packed guitar melody, layered with some catchy vocals. Check out the video below and begin your drooling for the full debut album 'Family' in June.
Thursday, April 12, 2012
Radiohead - Santa Barbara, CA 4/12/2012 SETLIST
Radiohead hit up show #13 on the tour just one day short of Friday the 13th. This stop on the tour will be Santa Barbara, California where they will play live at the Santa Barbara Bowl, with the next stop being Coachella. I will update the Setlist tonight as it becomes available.
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Santa Barbara, CA 4/12/2012 SETLIST:
01. Bloom
02. 15 Step
03. Morning Mr Magpie
04. Staircase
05. Codex
06. The Daily Mail
07. Myxomatosis
08. The Gloaming
09. These Are My Twisted Words
10. Pyramid Song
11. Supercollider
12. Lotus Flower
13. Weird Fishes/Arpeggi
14. Feral
15. Little By Little
16. Idioteque
ENCORE #1
17. Separator
18. Nude
19. Identikit
20. Planet Telex
ENCORE #2
21. Give Up The Ghost
22. Reckoner
23. Paranoid Android
'Identikit' Live San Jose, CA 4/11/12
'The Amazing Sounds Of Orgy' San Jose, CA 4/11/12
Yuck debut new track: "Chew"
Just in time for Coachella, British alt-rockers Yuck debuted a new track this morning entitled "Chew." Nothing groundbreaking from the band, but still a great track.
The Morning Benders = POP ETC
The Morning Benders recently changed their name to POP ETC and now have their debut album as POP ETC on the way. The debut self-titled album will be available on June 12th via Rough Trade. Take a listen to 'Everything Is Gone' and 'Halfway To Heaven' below, both of which will be on the new album.
Until late last month the band was known as the morning benders - they announced the name change to POP ETC via this announcement and at the same time released a free mixtape featuring all new material. You can check out the mixtape here.
Wednesday, April 11, 2012
Radiohead - San Jose, CA 4/11/2012 SETLIST
Radiohead are fresh off their Seattle, WA show on April 9th which featured a setlist full of TKOL era tunes mixed in with some older classic songs such as Idioteque, There There, Lucky, and Everything in Its Right Place. Tonight the band are back again to perform in San Jose, California, this will be the 12th stop on the current tour. The setlists throughout the tour have been very consistent in giving fans a good share of newer material, playing a solid show of 22-24 songs with a double encore included. Tonight should be no different as Radiohead continue to dazzle music fans across the country. Check out Monday's Seattle Setlist as you get ready for tonight's show. I will update the blog with a live setlist and add photos and videos as they become available.
Seattle, WA 4/9/2012 SETLIST:
01. Bloom
02. 15 Step
03. Airbag
04. Little by Little
05. Myxomatosis
06. The Gloaming
07. Morning Mr Magpie
08. Pyramid Song
09. The Daily Mail
10. These Are My Twisted Words
11. Nude
12. Identikit
13. Lotus Flower
14. There There
15. Feral
16. Idioteque
ENCORE #1
17. How To Disappear Completely
18. Weird Fishes/Arpeggi
19. You and Whose Army?
20. Lucky
ENCORE #2
21. Give Up The Ghost
22. Reckoner
23. Everything in Its Right Place
'Weird Fishes/Arpeggi' (live in Seattle Apr. 9th 2012)
San Jose, CA 4/11/2012 SETLIST:
01. Bloom
02. 15 Step
03. Morning Mr Magpie
04. Kid A
05. Staircase
06. The Gloaming
07. The National Anthem
08. The Amazing Sounds of Orgy
09. Climbing Up The Walls
10. Karma Police
11. Identikit
12. Lotus Flower
13. There There
14. Feral
15. Little By Little
16. Reckoner
Encore #1
17. Separator
18. I Might Be Wrong
19. Myxomatosis
20. Everything In It's Right Place
Encore #2
21. The Daily Mail
22. Planet Telex
23. Idioteque
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