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Showing posts with label depreciation guild. Show all posts
Showing posts with label depreciation guild. Show all posts

Tuesday, June 25, 2013

Spring/Summer Features: Courtship Ritual, Rohypnotise, Azar Swan + DeliMag Print Issue #34

With the summer months now upon us, these closing days of June provide occasion to highlight recent features I’ve written for The Deli Magazine. Included are a number of significant pieces published on the website, as well as those appearing in the Spring Print Issue (No. 34, Volume 2).



An unsettling sense of foreboding runs throughout “Wild Like Us,” the A-side single from Brooklyn's Courtship Ritual, who recently played their label GODMODE's show at the Northside Fest. Evoking the spirit of 90’s era 4AD artists like His Name Is Alive and their disquieting “Can’t Go Wrong Without You,” ominous overtones emerge from within the spaces surrounding the song's sparse arrangement. B-side “Biesenbach on the Beach (Klaus)” maintains a similar level of spaciousness, driven along a singular bassline and minimal slap percussion as vocals repeat the lines “grey fox grey – beach day.” Recorded by Colin Alexander and mastered by Joe Lambert, the tracks are available digitally worldwide and as a limited edition cassette on the GODMODE imprint.


Courtship Ritual on The Deli by Dave Cromwell

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“Fade to Grey” is an enticing chilled-out track being offered up for free by emerging dreampoppers Rohypnotise on their bandcamp page. A loose and jammy drum pattern rises up from the depths, with soft, dreamy vocals quickly entering the mix. The vocal phrasing and subsequent deliberate matched-stepped chord progression brings to mind the work that former Depreciation Guild and current Ice Choir creator Kurt Feldman does so well. There’s sophistication in the songwriting and recording here, with the initial pattern giving way to a much bigger centrally located hook. With plenty of movement throughout the track, little sonic surprises like tambourines and keyboad lines appear at surprisingly opportune moments.


Rohypnotise on The Deli by Dave Cromwell

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Elements of Kate Bush at her most adventurous emerge in the vocal stylings of Zorah Atash as she sings with her band Azar Swan on the hypnotic new single 'In My Mouth.' Its rhythmic pulse pushes forward with a teutonic minimalism that somehow manages to also swing in the process, positioning this track next to the output of Swedish electronic duo The Knife. The subject matter and overall sexual overtones is as primal as it gets, and the relatively new genre classification called "Witch House" may be as good a place as any for this emerging sound. The track has been released as a digital 7” on Pendu Sound Recordings and is well worth adding to your goth-dance playlist.




Azar Swan on The Deli by Dave Cromwell

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The Deli Magazine recently put out its Spring Print Issue (No. 34, Vol. 2), which features the Best of NYC Emerging Artists.  A number of Dave Cromwell features appeared within.


Lazyeyes are no strangers to this blog, as a number of their live shows have been covered here over the last year. Additional Deli Mag Features have served to keep attention deservedly on this promising dreampop band.

"Wait" wraps itself in a lush atmospheric bed, as butterfly high-hat percussion syncopates between dueling open note arpeggios and rising guitar melody lines. The vocals are impressionist colors against pastel blue and pink skies. Previous track "Nostalgia" is paced a bit quicker as more distinctly dominant guitar riffs drive to a delightful instrumental conclusion. Iconic 90's bands like Ride through present day jammers Diiv act as reference points, as they all share similarly appealing qualities.



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The musical vision of AndrĂ©s Pichardo becomes fully realized under the band name Grand Resort. A much anticipated debut EP, "Vanguard Dreams" was released this past September, garnering a wave of positive feedback. “Night Is Dark” features the kind of heart-tugging, bouncing along chord progression you could imagine playing as you fall in love with someone. Undistorted jangle-pop guitars weave through as the repeated refrain “take me away for a week” has you swooning for this perfect girl you’ve just met.



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Brooklyn based multimedia artist Christiana Key creates a captivating electronic, experimental musical vision under the name Delphic Oracle. “The Bodywood” traverses the same thumping tom toms and deep bass-synth doom of “Pornography” era Cure, while adding middle-eastern tinged vocals and belly dancer rhythms. In addition to classical training in violin, piano, and voice, one can expect dramatic costumes in the live show. Having recorded her first solo EP with Patrick Canaday of Gemini Stereo in Atlanta , GA , that imminent release is much anticipated.





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Chanteuse Anya Skidan followed up her debut album “Shine the Brightest” with a 3 song EP that presents an ambitiously eclectic side. Lead track “Indigo Child” builds off electric piano arpeggio chords while guitar atmospherics shimmer underneath. Channeling a sultry vocal delivery that bear similarity to the Tori Amos/Fiona Apple lexicon, an air of dreamy mystery is woven throughout. Conversely, “Content Blues” demonstrates traditional piano chops within an old time New Orleans style format.





Monday, March 11, 2013

Ablebody - All My Everybody - EP Review




Former Depreciation Guild and Pains of Being Pure at Heart guitarist Christoph Hochheim has created a new solo project called Ablebody, and will be premiering his new songs live at SXSW. Appearing to have put aside his primary instrument in favor of synths, samplers and a laptop, the most surprising aspect are vocals much stronger than anyone could have anticipated (since he never sang in either of those bands). The recently released 5 song EP’s cover image is a seated body with no head, placing clear emphasis on the band name meaning. That of an able body, ready for instructions.

Chimes on the dominant beat accentuate the multilayered atmospherics of first single“Sally Hot Jazz.”  With vocals that evoke Tears For Fears at their peak (“Sowing The Seeds Of Love”) the chord progression does in fact touch the edges of actual jazz. Wonderfully streamlined at under three minutes in length, impeccably crisp synth textures share sonic space with a marching, natural sounding percussion (capably supplied by former Depreciation Guild band member and twin brother Anton) while otherworldly sine waves build to a sunburst conclusion.

“No Room For I” expands on this sonic palette as its near five minutes in length would allow. Brief moments of sparser instrumentation encourages focus on the emotion being conveyed. Curiously, this wonderfully strange and mysterious song’s title does not seem to be mentioned even once. However, hook sequences with the repeated lyrics “one more night” and “I can see your eyes” create the sense of wonder as to why it wasn’t called either of those. Vocal placement is artfully crafted here as deeper harmony cascades under the higher register lead.

The cleverly titled “Phantasy” pops along a synth bass and danceable beat with those wonderful chiming bell sound samples at the forefront. Using perhaps The Pet Shop Boys as a reference point this time, the bridges are still more sophisticated structurally, with minor chord passages lifting the track above mindless dancefloor fare.

“Quick & Painless” slows everything down significantly. Near dirge-like in overall pacing, chirping synth textures evoke “The Man Who Fell To Earth” era David Bowie . The overall feeling is as reverential as seeing sunlight streaming through a cathedral’s stained glass window.

Closing track “Sister Marie” is a Harry Nilsson composition that surprises, not only as a cover choice, but also in its execution. Presenting this one as something you might hear on a post-Pink Floyd Syd Barrett solo album, it is perhaps a fitting conclusion to a most creative debut.

Links for further information:

http://ablebody.bandcamp.com/

http://mysocialist.com/blog/2013/03/11/review-ablebody-ep/