Nearing the end of February, presented here are the most noteworthy recent features I've had published in The Deli Magazine. The soundquality and performances these musician deliver make for essential listening.
First up - The Pierces
Having resided in New York City for the better part of ten years now, it was a triumphant homecoming for the sister duo known as The Pierces as they played two sold out shows at The Mercury Lounge last week. Allison and Catherine Pierce (and their band) presented a set that was weighted more heavily with songs from their most recent release, "You & I." Sprinkled amongst those, however, were a number of classic tracks from earlier albums as well. Opening Thursday's show with Catherine's "Love You More," they hit the ground running, delivering those trademark harmonies on the rising chorus. Working their way through an hour long set, other highlights included Catherine's "Drag You Down," which weaves a lyrical tale of excessive weekends, poorly matched lovers and "just another role that you do." Allison introduced her heart tugging song about "dating another musician" stating that "we don't really recommend that" which elicited audience chuckles - before launching into the stark, haunting, acoustic guitar driven "I Put Your Records On." Naturally the co-written single "Kissing You Goodbye" was very well received, as was their Pretty Little Liars TV show theme song "Secret." For the two song encore, the singers took the stage minus any instruments at all and delivered a perfect acapella version of Simon & Garfunkel's "Cathy's Song," which they stated they've been singing together since their early youth. They followed that will a full band version of the vampish, going-out-on-the-town but nothing satisfies showstopper "Boring." A fitting, if somewhat inaccurate closer, as these artists are anything but that.
Space rock appears to be coming back in a big way, and bands like Brooklyn's White Hills are at the forefront of this movement. Their latest album "Frying on this Rock," (scheduled for release on March 20th) is a riff-heavy tour-de-force of epic psychedelia. The album was recorded by legendary NYC producer Martin Bisi (Sonic Youth, Brian Eno, Swans, Herbie Hancock, Boredoms) and features five jam-heavy tracks, with "I Write a Thousand Letters (Pulp on Bone)" clocking in at nearly 12 minues in length. That song presents clever use of distant conversational voices contributing to dreamlike texture as it weaves through industrial sounding guitars and a hypnotic drum patterns. Subsequent cuts emphasize sonorous power chords, rhapsodic guitar solos and and swirling synth tones. The band will be debuting tracks from the new album live at The Mercury Lounge on January 24. Special guests MOFO, which feature ex-members of A Place To Bury Strangers, will also be playing that night
One of the more satisfying aspects of discovering new and upcoming artists these days (besides being able to hear their great music) is seeing them acknowledging the artists that came before them - those who have been an inspiration for them to make music at all.
The Good Natured are just such a band, unashamedly ticking off their influences (Siouxsie & The Banshees, The Cure, Aha, David Sylvian/Japan, Depeche Mode, Kate Bush - just to name a few) in interviews.
Having started out as the brainchild of the youthful and gifted songwriter/vocalist Sarah McIntosh, TGN act now as a fully formed band, with brother Hamish and long-time good friend George filling out the musical duties on bass and drums respectively.
As they work their way through another well-managed US tour - hitting prime cities New York, San Franciso and Los Angeles - Sarah and the band have been both gracious and accomodating to those seeking them out for interviews and show reviews.
I consider myself fortuante to be among those having been granted this kind of access.
Read the interview I conduced in the band's US record label's offices (Virgin / EMI / Astralwerks) - presented below:
Introducing the the band, there is frontperson Sarah, who writes sings and plays multiple instruments; Hamish plays bass and George plays the drums.
Q: Sarah, you have a new guitar I hear.
S: Yes. A fender Stratocaster electric. I’d always played acoustic guitar before, but decided to add an electric this time.
Q: Is this your first time in New York?
S: No, we played CMJ Festival in 2010.
Q: George, I understand that you are a fan of heavy metal music. Which bands in particular?
G: All the classic ones. Metallica, Slayer, Machinehead – even Slipknot for a while. When you are an angry teenager, this music is great to vent your frustrations with.
Q: How did the band transform from what was essentially a solo project of Sarah’s to the full group of today?
S: I started writing songs about four or five years ago. When I got a few gigs, I didn’t really want to do them on my own, so I asked my brother Hamish if he could play bass with me. I then went to University and met George. From then as a three piece we jelled pretty well and became a band. Everyone brings something different to the table. A new element that makes its more interesting.
Q: When will the new record be released?
S: Our first single will be in April and the album should be out in September.
Q: Explain how “Video Voyeur” fits in with all of this.
S: That track is on the album, and we basically wanted to put it out there because he hadn’t had anything out for a while and wanted to let people know we were working on the record. It’s intended to be a taster and to get people excited.
Q: Were you surprised or excited by the success of your song “Wolves?”
S: I suppose both. That was the first song I wrote with Patrick Berger, who has produced most of the album. That was really the start of finding our sound. I think it takes a while to decide what you really like and narrow it down. When I met Patrick that’s when it came together. From then it seems to have progressed.
Q: It’s been reported that you had ‘the best time ever’ at the SXSW festival in Austin last year.
S: Yeah, we did. It was so good. It was amazing to be able to get up and do a gig – then have some food – and do another gig.
Q: What spaces did you play?
S: We played Emos and The Convention Center. We did loads, actually – at least 8 or 9 spaces.
Q: Do you think you will be playing there again this year?
Whole band: Yes, we think so. Fingers crossed.
Q: Sarah, talk about your tendency to sometimes do a walkabout out into the audience during your live performances.
S: If the stage is low enough, I’ll step off in the audience and have a little dance. It’s fun. It’s cool because people don’t expect it.
Q: BBC Radio’s Huw Stephens has been noted as an early supporter of your music.
S: The first song I wrote for The Good Natured, when I just started – I was determined to get it heard so I literally sent it to everywhere. I sent it to Radio 1 and he played it. I thought that was amazing and I felt that I wanted to really keep doing this. It definitely inspired me to keep going. It’s nice when people recognize what you are doing.
Q: There’s talk that you started out playing on your grandmother’s old keyboard. Do you still have it?
S: Yes. Some of the keys are broken now that it’s a bit old, but I love it - it’s amazing. She was going to throw it out, but I took it home instead and started writing on it.
Q: Do you come from a musical family? S: Our parents don’t actually play music, but they listened to a lot of music. Q: Like what, for instance?
S: Stuff from the 80’s like Blondie and Tears For Fears, Siouxsie & The Banshees – which definitely inspired us.
Q: I’ve heard you’ve been inspired by the lyrics of David Sylvian with his original band – Japan.
S: Yes, I think the album “Tin Drum” by Japan is really great.
Q: What is the songwriting process like for you? Especially when working with producer. Do they help you fashion how the song will ultimately sound?
S: Yes, definitely. With Patrick – he’s been a real big inspiration and has helped my ideas come to life. You definitely have to get on with the producer you’re working with and have a really good with them. I think production is really important to the songs.
Q: How did you write “Wolves?”
S: On an acoustic guitar. It started out quite driving. As we went along we’d add different bits – we’d add a drum beat and other sounds and just build it.
Q: Video Voyeur has benefitted from a number of interesting remixes, some quite techo/dance oriented.
S: It’s always really nice for us to hear how people interpret it and make their own thing of it. Every remix is so different and that’s really inspiring.
* * * * * * * *
The impression I'm left with Sarah is one of a young person who is professionally experienced well beyond her actual years. There is an utterly charming aspect to her combined gentle almost shyness, yet its obvious how confident and determined she is. Mix that with a prolific songwriting ability and its easy to see why so many noteworthy music industry professionals are eager to work with her.
On to the live show experience then - and what an experience it is. Heading over to Glasslands in Brooklyn on the 17th of January, The Good Natured took to the stage at 11:00 pm. The first thing you notice about Sarah and the band is their keen sense of style. Knowing full well that the "rock show experience" is as much a visual as sound presentation, their look is a cut above most club show acts. Sarah has impeccably combined the best of Siouxsie Sioux and Robert Smith, with her own glam/gam elements that bring to mind the leggy appeal of Britsh artist Sophie Ellis Bextor.
Adding to that the genius move of going out into the audience to sing directly to the crowd - not once but twice during this show - for the songs "Be My Animal" second song in - and then and later on again during "Dancefloor"
getting down with the fans
up close and personal
you really can't get much closer than this
well, everyone loved it
taking to electronic percussion for one song
Bassist brother Hamish plays a five string version of the instrument because, as he says "there's a a lower note that has to be gotten to"
A tight and entertaining set that leaves the audience wanting for more.
Signed posters for anyone who wanted one after the show. (Of course I wanted one).
As I have been known to do from time to time - take a picture with the band.
The pleasure was all mine!
Special thanks to Andy Von Pip and his great music site The Von Pip Musical Express - for his tireless efforts in making me aware of this band!
Social networking on the internet is a truly remarkable thing. The opportunity to present specifically tailored questions to iconic figure and founding brother of The Jesus & Mary Chain - Jim Reid, could not have materialized any other way. To say that I have been passionate about the music his band produced over the years would be something of an understatement. Having provided the soundtrack for the most significant aspects of my life during the 1990's, I more or less think in "MaryChain terms." The band's lyrics and melodies are so embedded on my emotional coding, that they continue to provide the standard for how I measure all music that has come along ever since. Getting to meet Jim in person when they toured their reunited band in 2007 was as memorable a moment as any can get. Being conversational friends with Jim now on the internet is almost too good to be true. However, that is the reality and the reason this very specific interview exits. Jim was kind enough to answer questions that focused on their tours of America, and the shows I was fortunate to attend.
Here then, the exclusive DaveCromwellWrites interview of Jim Reid:
At the beginning of 1990, you toured “Automatic” throughout America. It was a particularly significant time for me as it was my first chance to catch you live. You were to appear in New York in early March (at the venerable “Studio 54” location which has been leased out at the time and was booking rock shows as “The Ritz”). The original show had to be canceled at the last second due to some unforseen event. Do you recall what this was? Ultimately the show happened at the end of that month and it was my first experience of you live (which was a magical event for me). Do you recall this tour well, and can you share anything about it that stands out in your mind?
Jim: It was a strange period for the band, in the UK the writing seemed to be on the wall. The whole Manchester thing was going on and there were a lot of people who seemed to think this made the MC obsolete . Our single Head On which we had imagined would be a smash hit completely stiffed. However, we soon discovered that elsewhere in the world it was business as usual. Head On got heavy rotation on MTV, and for the first time when we toured the US, people who worked in the hotels that we stayed in had actually heard of us and were asking for our autographs. As far as the Ritz shows were concerned, the 2nd show was cancelled by the NY fire department, I cannot remember exactly why, but I am sure it had something to do with palms not being greased that ought to have been. I wasn’t aware at the time that this was the original Studio 54. I only found that out years later. Nine Inch Nails were the support band on this tour, and they seemed to do much better out of it than we did.
Later on that year, on Saturday 16 June 1990, you performed at a large outdoor arena show at Giants Stadium in support of Depeche Mode. I bought tickets to the event specifically to see you. Seeing Depeche Mode was a nice bonus, but for me an afterthought. How was that tour? Was it all part of the same tour – but simply another leg of it? I got the sense that you might have been a bit frustrated in that support slot – not being able to play your full show – and having to play in bright daylight. My recollection of the event (admittedly I was in “nose bleed seats”) was that it was difficult to hear you clearly. What was that whole experience like?
Jim: The shows with Dépêche Mode came about because they seemed to be fans of the band and they asked us to play with them. The giant stadium show I thought was pretty good. We didn’t take it too seriously. Thought it might be a bit of an experience. I thought the crowd weren’t too bad either, even though they all seemed to be about 12 and female. We were meant to do 3 shows with them. We did another one and Toronto, and we were supposed to do Dodgers Stadium in LA, but the people from the stadium refused to let us play because they were offended by the band name. Only in America.
In the summer of '92 I once again specifically bought tickets to a festival tour (Lollapalooza) for the primary purpose of seeing your band. The show we attended (and I recorded from my seats) was at the Jones Beach Theater in glorious Long Island (where I presently reside) New York. I have read more than a few reports over the years where you said you were not happy with the tour. One particular quote that stands out in my mind was that you were purposely forced to play at a lower volume than the events headliners. That you actually offered to “pay for more sound” but were denied that option. Even though we enjoyed your show (and I still have the recordings to prove it) your frustration with it all was apparent. How bad did it actually get? Was there anything enjoyable about this time?
Jim: Yes Lollapalooza was a bit of a nightmare for us. It was originally sold to us as a democratic event where nobody was actually the headline act. Of course, from the very beginning I knew this was bullshit, but I would only find out how bad it was when I got there. When it was said to us there was no headline band. We suggested that perhaps the MC should play last, which was generally met with laughter, then we found out that the Chili Peppers had brought in extra PA, when we suggested that we might do the same, we were told that it was not an option. It was also unfortunate that we went on after Pearl Jam, when the tour was booked nobody knew who they were, by the time we hit the road, they had sold about 1 million albums. We even tried to switch places with them, but they wouldn’t have it. Generally the whole atmosphere on the tour was devoid of any bad behavior, it was like a rock ‘n’ roll version of The Stepford Wives. Everybody was drinking mineral water and doing press ups, any rock ‘n’ roll shenanigans generally had something to do with either The Mc or Lush.
(In spite of the restrictions placed on the band, I remember being thrilled to see them - loved their set, and manged to record a number of their songs from my seat. Here is one of them)
Later on that year you embarked on your Rollercoaster tour of the US Curve and Spiritualized. We caught that show in New York at Roseland Ballroom in January 1993 (once again, trusty recorded hidden on my person – treasured dat cassette tapes having been lovingly played periodically ever since then). Our impression that night was that you were firing on all cylinders. Were our impressions correct? Was The MaryChain content with being in their rightful positions there – as headliners?
Jim: I cannot remember that particular show, but I thought the tour was pretty good, and we were generally just happy to be back with a roof over our heads and bright shiny lights in our eyes. As for firing on all cylinders, cocaine had become a regular occurrence with me at this particular point.
(Fortunately, I have a number of tracks I personally recorded from that show, and you can hear how well the band was "firing.")
It wouldn’t be until 2007 until our particular personal crew would get the opportunity to see you perform live again. The much heralded reunion of the band played two nights in New York, during the month of May. These two shows (and the events leading up to it) have been previously chronicled in the now legendary “Rob Dobbs and Dave Cromwell Excellent Adventure” (found here:http://mog.com/DaveCromwell/blog/164291). Getting to meet and speak with you, Jim – will always be an important and memorable event in my life. It just has to be that way. It is as much a testament to the importance the music you made over the years left an indelible impression on the significant passages of my life. Is there anything about the two New York shows you did on that tour that stands out in your mind?
Jim: When we did the reunion shows I had been sober for quite a few years and my main concern was whether I could actually play a show sober. I had never played a single show with the MC without being under the influence. It’s fair to say that when I first stepped up to the mic at that warm up show in Anaheim that I was shitting bricks, but the show went well and when I realized that I could do it I felt confident. The New York shows I enjoyed. We met up with our old manager Jerry Jaffe who we hadn’t seen for many a year. On the whole a good time was had by all.
Having covered my personal experiences with your US tours, perhaps a question about the influence of American artists on your sound. It its simplest equation, your appreciation of both The Velvet Underground and The Beach Boys led you to create this hybrid sound. However, you’ve mentioned The Stooges, The Shangri-Las and Phil Spector as equally important sonic influences. Even though you are a Scottish band, your sound was decidedly based on music created in the United States. What led to the initial fascination with these somewhat at-odds inspirational sources? What made you think to put them all together?
Jim: We were interested in a lot of American culture, but by the time we played America the things that interested us about the USA were gone. Rock ‘n’ roll is an American invention and it’s hard to be interested in it without also being interested in American culture. It may seem odd that a bunch of scruffy kids from Scotland should be interested in what was happening in America in the 60’s and 70’s but I don’t think it’s that different from The Beatles or the Stones trawling through old blues music for inspiration.
How do you feel about the new generation of bands that have looked to your sound as an influential springboard for their own creativity? There is a quote that has gone around for years now, saying to the effect that every band that became of fan of The Velvet Underground, went on to form a band of their own. One might say a similar thing has occurred with The Jesus & Mary Chain. I know you’ve been quoted recently as stating you admire The Black Rebel Motorcycle Club and a personal fave of my – The Raveonettes. Do you give your blessing to other bands that pay homage to you – like the UK's Blanche Hudson Weekend, Austin, Texas’ Ringo Deathstarr, or New York bands A Place To Bury Strangers and The Vandelles?
Jim: I haven’t heard all the bands that are supposedly into the MC I am pretty out of touch really. All in all though I think it’s flattering but you should always bring something of your own to the table, otherwise it could end up as pastiche. The MC were always about spreading a message – we didn’t invent anything we just picked up the pieces that we found and rearranged them. Our message was always ‘do it yourself, what harm can it do?’
Do you have any one particular fun or interesting story to share about any of your time in America? There is some amusing footage of you and William experiencing the hustling insanity of New York and Times Square. Walking past all the peep shows, and street hustlers. Was there a fascination in that? Did you ever wonder how anyone could live in all this madness?
Jim: America was always hugely entertaining to both myself and William. William now lives in LA. Although I said earlier that the America that we had been so inspired by was gone there was still enough of a residue and we felt like we’d walked into a Scorsese movie the first time we arrived in the US, which was New York March 1985. We played a couple of gigs at the Dancerteria and although they were only club shows I honestly don’t think that I had been happier at anytime in my life up til that point. A promoter called Ruth Polski who was known for taking a risk brought us over, she died a tragic death a few years later. She was a lovely woman.
Early proof of one fans admiration.
Meeting Jim was both surreal and spectacular. ________
This past fall, Demon Music Group re-issued the band’s six studio albums in a deluxe rollout replete with B-sides, demos, radio appearances, and multi-page booklets. Each reissue contains two CDs and a DVD.The 1985 debut classic Psychocandy and its follow-up, 1987's Darklands, came first.. 1989's Automatic and 1992's Honey's Dead will followed a week later, and 1994's Stoned & Dethroned and 1998's Munki arrived after that. For the full info on what's packed into these over-stuffed releases, go to the Demon Music Group website. You can preview all of the reissues in three dimensions, by way of 3DiCD, an interactive system that allows you stream audio snippets and flip through virtual reconstructions of each re-issue's liner notes. Here's Psychocandy:
Deep into the month of December, a moment is carved out to compile some recent writing features. Four bands whose music and/or live show which has left a favorable impression.
The Parlor Mob
Expect a guitar-solo-scorched face or two when listening to New Jersey's hard rockers The Parlor Mob. Currently touring in support of their sophomore album "Dogs," which was released this past October through Roadrunner Records, and anchored by the first single, "Into The Sun," this is a record without fillers. On that single, the lyrical subject matter combines both defiance and hope, while the muscularly heavy sound of the band leads you into a chorus that's as catchy as hell. "Fall Back" comes complete with brilliant start/stop breaks that underscore the fluid rhythm section. "Practice in Patience" shows the gentler side of the band, with emotionally strong vocals paired against an uncommon piano sound. "American Dream" chugs forward on heavy twin-tandem guitar riffing, as the lyrics express this current generations confusion about "who to trust" in the government. "I Want To See You" finds the band exploring more exotic rhythms, as a slightly jazzy, latin-tinged undercurrent propels it all towards a bolder, more rock heavy chorus. A blistering guitar solo elevates everything that much higher. "Hard Enough" takes on those gut-wrenching feelings of loss, as the lyrics state that "it's hard enough to walk this loney road without you - to miss everything about you." While "Take What's Mine" playfully references Jimi Hendrix's"Foxy Lady," the track remains true to an originalty - within the classic hard rock formula - that is woven through the entire album.
Sweetly sung, reverberated vocals are just the tip of the iceberg with the Field Mouse video (and song) "You Guys Are Gonna Wake Up My Mom." Young beauty Rachel Browne presents impressive imagery via pale, porcelain complexion, stylishly cut dark hair (with one carefully placed feathery blonde streak) and full ruby red lips. Strumming her guitar in a manner remiscent of iconic 90's dream-pop band Lush, the song itself is a brilliant recreation of that romantic and souful period of music. Touching the same emotionally dreamlike place that Austin's Ringo Deathstarr, Seattle's Seapony and Stockholm's I Break Horses do (all contemporary practioners of this genre) Field Mouse put their own unique spin on it, resulting in a gorgeously atmospheric sound. "Fall asleep - you might just feel brand new," Rachel sings. "I should know, I do the same thing - to," she adds with lovely clarity. Multiple images of her, the band and select footage (buildings, flames) all contribute to a visually psychedelic presentation. The overall feeling you get is one of uplift and beauty. What's not to like?
The delightfully chaotic live show that Brooklyn's badboy band Clouder presents is something that needs to be seen and experienced first hand to truly grasp it all. Frontman Eric Gilstrap already had a reputation for a loose Johnny Thunders-like presence in his previous band, Telltale. However, he has now put down the guitar and is fully focused on delivering his angst-filled tales as the rest of Clouder rumbles on behind him. The two guitar, bass and drums combo are better musicians too. In fact, as Eric screams, wails and tenderly emotes his lyrics of what one must assume is pure poetry, Max, Matt, Steve and Jim do a masterful job of creating rock sonics (and yes, sometimes sludge) with the skill of men who still want to be considered serious musicians. And they are. On "Broadcast Victim" a Peter Gunn detective groove is churned out by the boys as Eric's vocal tone and delivery resides in a place somewhere between The Sex PistolsJohnny Rotten and The Fall'sMark E. Smith. A wickedly tasty guitar solo (of sorts) leads the track to a madcap conclusion. "The Collapse" pitches delightful dual guitar and bass interplay against bright ride cymbal, as Eric wails on (in that Lydonesque way) about how relationships fall apart. An even ruder guitar outburst takes this one to its tender conclusion. Two more glorious tracks can be heard on their bandcamp page from this, their "Serious Business" EP. Clouder released their debut full-length album on 12/20 in the digital realm. Physical copies are planned for late Jan/early Feb. They recently played a big show with legendary Boston underground sensation 28 Degrees Taurus at Charleston on Saturday, December 3. A wild time was had by all.
Shredded bee-buzz guitars sawing between two chords is how Farewell Republic introduces “Wake” – the lead song off of their impending album “Burn the Boats.” The blended mixture of fluid drumming and layered guitars points to My Bloody Valentine as spiritual ancestors. The vocals come off a bit clearer than in Mr. Shield band's celebrated records - but there are similarities too: for instance the way background voices blur into icy guitar textures. A clever inclusion of backward-tape-looping tacked on the end suggests there may be more studio manipulation to this than initially realized. “Gliss” opens with a punkier feel (sneered Lydonesque vocal delivery, rough guitars and loose drumming) – but this edge is soon lost on the first chorus change. This alternating structure repeats, with the more tense passages sonically enhanced by sharp speedy guitar strumming and sprinkled with piano notes. “Just go away,” becomes the dominant repeated vocal phrase as the song is carried out via a simple piano line, ambient long-note guitar work and clacketty percussion. “Come Irene” is sparse, slower moving electronica. Deeper washes of background pads twist in unexpected ways, as vocals are delivered in a controlled manner. Acoustic guitar emerges in the mix to add a bit more warmth. “Burn the Boats” is scheduled for release in January, 2012. You can preorder the album on their bandcamp page. Additionally, there are two free download tracks to be had there.
I've recently written a number of features for The Deli Magazine that are worthy of a second look (and listen) and so are now presented here.
This is music being made by bands that have found their way onto my radar this year, and who I feel are leading a creative underground that certainly deserves more exposure.
With their new EP "Bleed Me" the guitar/vocalist and drummer grrrl tandem Clinical Trials steps up the noise-rock formula through the addition of orchestral and industrial elements, boosted by confident performances and songwriting.
In the record's highlight track, the suspenseful and almost scary "Whip It", the band takes the bold step of adding an unnerving brass section to the more traditional harsh guitar and rumble-crash drum sound. The soaring female vocals start out in a controlled manner but by song's end have progressed to throat shredding screams, in an ever-growing, cathartic tension buildup. That's what rock'n'roll is all about right there... The second track "American Girl" - as tense as the previous one - touches on middle-eastern rhythms for the verses, adding alienating low-toned synth bends to the mix. "Sweet Machine" is more bass guitar heavy, with a clean lively drum sound positioned against breathy come-hither vocals. References to "beauty queens" and "satisfaction guaranteed" completes the sex-for-whatever scenario. "White Fence" makes use of found audio vocal snippets (made to sound like radio transmissions) leading into a vocal delivery that pays homage to Kurt Cobain's more confessional moments. Rich organ textures pad the sonic space as lyrical points are made about "cyanide moments." If only Frances Bean would make up with Courtney – they would probably enjoy checking out this band together.
Exploring the dimensions of New York City band Indian Rebound transports you to a world of timeless creativity. Drawing on influences that point towards the original 1960’s English invasion, there is a classic, yet still modern feel to it all. Not content to simply rework already established ideas, the band is now working on a new collection of songs that promise more creativity and a deeper lyrical imagery. Songwriter Ethan Levenson answered a few questions on just what makes this band tick. http://www.thedelimagazine.com/FeatureView.php?artist=indianrebound
Layers of vintage synths and buzzy analog bass lines are the new background to the smooth soulful voice of Kurt Feldman in his post-Depreciation Guild project The Ice Choir. More "passionate" than songs from the previous now defunct act, the just released new track “Two Rings” presents lyrical references to “obsidian” and “black rain”, keeping everything just mysterious enough for the dream pop genre. Kurt has masterfully encompassed the influences of New Order’s “Every-time-I-see-you-falling” bits of their classic song "Bizarre Love Triangle" (take me back to my swirling alternative rock disco dance music days!), but he is actually a much better singer than Bernard Sumner ever was. Not completely rejecting guitars, there is a sweet and slithery solo that emerges just past the three minute mark and runs under the final bits of vocals up to the end. With this new direction coming out of the NY music scene, one has to wonder if a “Dead or Alive” or “Haysi Fantaysee” revival will be next? The new 7" single is out via Shelflife joined by the b-side track "The Ice Choir."
Invisible Days successfully blend gentle atmospherics, FX laden guitars, slithering basslines and appropriate rackety-tackety percussion with a vocal harmony that sets them apart from many other bands attempting the shoegazer genre. Combining that with songwriting that shows thought and precision, and it becomes clear (or less invisible) as to why they've grabbed The Deli's attention soon after releasing their debut single. On their song "Stewards" the vocals are placed far back in the mix, echo tinged, with strummed guitars more out front. It continues to build cathedral-like, while the drums stay routed in the here and now. "Daysleeping" takes the superior vocal harmonies even higher, bringing to mind the unforgettable gold age of "gaze" bands like Ride. The dream textures are still there, just not overpowering.
All the above = choice listening for modern times!
The tandem of single name only vocalist/guitarist Haale and percussionist Matt Kilmer make up Brooklyn based duo The Mast. Their combined talents produce a music that cannot be simply classified into an easily recognizable genre or style. Hyperkinetic percussion sets the groove for well-placed minimal guitar accents. Vocals delivered in a dual voiced tandem and precise diction phrasing do share similar qualities with School Of Seven Bells, but that's where that comparison ends. Their latest album “Wild Poppies” make use of percussion recorded with distinct crystal clarity. The stereo separation, placement and prominence dominate the instrumentation without overpowering it. Guitars are there, but secondary. The voices do share equal billing, however. The only overdubs on the album were done to enhance vocals. All the instrumentation was played live in the studio, with whatever effects needed added at that time. The result is a stunningly full sounding collection of songs that are both lyrically mysterious and sonically brilliant.
The band recently performed live as part of The Deli Magazine'sCMJ "Dream Pop" Showcase at The Delancey in New York City on October 18, 2011. Included below are photos (and one video) from that show.
Additionally, Haale and Matt were kind enough to answer some questions about what makes The Mast "go"
Your bio states that you built a home studio where you live in Brooklyn . Is this where you recorded the album and is it self produced? Did you find it difficult to accomplish the sound you were looking for? Or did it come easier than expected?
We recorded the album in a studio we built and did the engineering and mixing ourselves. We knew what sound we wanted, so it wasn't really hard getting that recorded. We wanted to make an album that we could play live, so we used our instruments--percussion, voice, and electric guitar--along with pedals and effects. Nothing was overdubbed except for the extra vocal layers. So recording was quite easy, we just played the songs the best we could.
Your song “EOA” finds arpeggiated guitar figures moving forward in the mix, sharing equal space with the busy percussion. The vocals are smoothed even further as the line “all hands on deck” is repeated. “And I say – EOA” becomes the primary (and mysterious) title line. What does EOA signify? What does it mean?
EOA means end of anxiety. I mention the country made of plastic waste floating in the Pacific, and armies thrashing cities, and then sing "All hands on deck"--it does seem that's an appropriate mantra these days. We have a lot to deal with, a lot to develop and implement, like biodegradable plastics, alternative energy technologies, and conflict resolution skills. I say, EOA--end of anxiety--because I think it's be easier to enact positive solutions if we do it in a state of calm--having a panic attack is of no help to anyone on a sinking ship.
“Definitions” builds around a descending guitar-line, allowing the voices to create counter-melodies. There is an almost ancient-ritualistic quality to it all. How much investigating have you done regarding music made in ancient bygone eras? Does this inspire you?
We listen to classical Indian music-- Matt studied South Indian percussion for years-- Persian classical music, Jazz that was created over the last 150 years, and Malian and other African music with roots that definitely stretch to ancient times. We've also listened to Icaros or medicine songs sung by Peruvian curanderos, which have been passed down through the generations. All this music is inspiring.
“Hummingbird” is quicker paced, but leaves space for a buzzy, bass-driven change section. What actual instrument is used there? Is it a synth or actual bass guitar? Who played it?
H: I'm playing that on my Les Paul using a POG 2 and a Full Drive distortion pedal.
“Lucid Dream” has the repeated lyric “I go everywhere – in this Empire.” Does this song reference how one has no limits in the dream world? How much of your dreams influence what goes into you music?
H: I guess waking dreams figure in to the songs quite a bit and so much in reality is dream-like. In the title track 'Wild Poppies,' I'm talking about wildflowers that were blowing in the breeze at the foot of a watchtower and a wall topped with spirals of barbed wire. It looked as if the wildflower was waving to the watchtower and the security cameras, or trying to communicate with them. Wildflower, watchtower---the words have a similar ring, but they're two opposite ends of the spectrum, in terms of what they represent. One is so delicately beautiful and one is so ominous. And with my 3-D dream glasses on, they were side by side in conversation.
As for lucid dreaming, that's a great thing to learn to do. When you lucid dream you can direct your dreams, and apparently go anywhere. You can fly over the Grand Canyon , take a spin around that diamond planet just discovered in the Milky Way, even practice your guitar, when you get really skilled at it. Not a bad way to spend an hour a day.
Your bio also states that Matt composes music for comedian Louis CK ’s television series “Louie” on the FX network. How did all that come about? How is it working with Louis?
M: Our friend Reggie Watts called me up one day asking if I could get a band together to do the music for the show. Reggie originally got the call to do the music but he was about to go on tour opening for Conan Obrien on his tour.
So I got a band together and we really clicked with Louis . He likes a lot of different music in the show, from old bop, to Jimi Hendrix , to eastern European gypsy music. All of the guys I got to play are old friends and amazing musicians that can cover a lot of territory stylistically. Louis is the kind of guy that knows exactly what he wants, so he's great to work with.
What are the pieces of equipment that you find particularly inspiring when recording at home?
The Les Paul guitar, Matt 's Cooperman frame drums, and Ableton Live.
We also have an electronic project we're working out, and for that one we also use Ableton, and Matt uses the Korg Wavedrum , and the Touch OSC pad.
Do you expect your next record to be self-produced, or would you like to work with a producer? If it’s the latter, who would you most like to produce your band, and why?
We're already working on the next album but if we could pick anyone, it would be Jack White , we dig his energy.
Do you use rack effects or guitar pedals to forge your own sound?
Haale uses a POG 2 and the Full Drive distortion pedal. The POG 2 is awesome, the bass sound you can get with it is huge, and the Full Drive just has a classic sound.
Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?
We like to get a transparent mix that still has character. The minimal instrumentation in our setup helps to get that sound. Also good mics, preamps, and mic-positioning are everything.
What other artists would you say have had the biggest influence in your approach to recording? Why?
Recordings produced by T-bone Burnett, Ethan Johns , and John Brion , and Rick Ruben , stand out as good examples of warm, clear recordings of live instruments and musicians. The approach is really just get good mic placement, check levels, hit record, play. Simple and effective.
Would you say that your live show informs your recording process or that your recording process informs your live show? Both? Neither?
They both inform each other. On the recordings, we are using the instruments that we play live. That was the only limit we set on ourselves, we weren't gonna use strings or bass or horns but wanted to make a full and satisfying sound with the two of us playing live.
Is there a piece of equipment that you find particularly useful on stage?
In our show now, we run everything through Ableton Live to really get the sound we want. We don't use it to play loops or clips, just for the effects.
_____________________________ With bands doing more of everything themselves these days (recording, performing, self-promoting, etc.) and the evermore multimedia nature of the world, how much effort do you put into the visual component of your band - fashion, styling, photography, graphic/web design, etc.? Do you do these things yourself or is there someone that the band works with?
For 'Wild Poppies,' we did all the artwork ourselves. The cover is a photo collage of poppies we planted in our backyard. We photographed them, made the piece, and designed the font ourselves. The videos we've released so far we also made ourselves, though we're finally working on a director and a cinematographer for an upcoming video, which is great. Looking forward to more collaborations with directors, filmmakers, and animators.
Croms catching up with Haale after the show
What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?
The most challenging thing is agreeing on a final mix. The most rewarding is actually playing the music and creating the sound. The first listen after a great take is a wonderful moment.
