Features: Life Size Maps, Dead Heart Bloom, Berlin, Field Mouse

There is a heroic nature to Mike McKeever’s musical project Life Size Maps.   Following in the digital footprints marked out by Kurt Feldman’s Depreciation Guild and additional game/sound practicioners Anamanaguchi, McKeever employs similar song design concepts.

“This Same House,” the band’s latest single release shimmers with a celestial background pulse as cleanly defined vocals overlay forceful guitar washes and precise synthesizer hooks. Lyrically, the story is one of trying to keep focused on what you really want to do, while the endless all night party swirls around you.

 

A number of surprising changes masterfully embedded in this just over three minute songs shows intelligence and dare we say it, prog rock leanings. Life Size Maps continue to showcase this sound, frequently playing out live in venues all over the New York area.

Life Size Maps on The Deli Mag by Dave Cromwell

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A series of recent EP releases by Dead Heart Bloom sees the New York City band connecting on an expanded sonic level.

 
The results present the best kind of recording collaboration between the songwriter/performers and producer, allowing the musicians to stretch out creatively, while establishing a shimmering ambiance around it all.

The most recent release “So It Goes” leads off with the track “Broken Babylon” (available as a free download on their bandcamp page deadheartbloom - broken-babylon ) and moves with a pace and sensation of flowing waves.
 


 Deliberate snare drum roll punctuation echo the style of Colm Ó Cíosóig in My Bloody Valentine, while guitars ultimately launch off into the stratosphere like a NASA space shot. Although the dense layers of keyboards and effects-heavy vocals fill the entire sonic field, every bit is audible and never feels crowded. Rubbery bass lines are centrally positioned in the mix, making for a pure headphone/headtrip listing experience. The band is currently on tour, playing select shows around the east coast.

Dead Heart Bloom on The Deli Mag by Dave Cromwell

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Getting the opportunity to speak to an iconic figure from your past is always a treat.  It really is one of the biggest perks of being a music writer. The musicians who’ve made indelible impressions on one’s coming-of-age youth always hold a certain magical leverage.  One such artist who clearly falls in this select group is 80’s MTV darling Terri Nunn of the band Berlin. 

For the uninitiated, Berlin was one of the biggest bands in the world throughout the 1980’s. Forming in Los Angeles, they burst into music fan’s consciousness in 1982 with their platinum-selling debut EP “Pleasure Victim.” The lead single from that album “Sex (I’m A)” was in constant rotation on MTV (back when that channel was also in its infancy, and only showed music videos).

Follow-up singles “The Metro” and “Masquerade” from that album solidified them in the minds and hearts of fans worldwide who were tuned in to this new wave of electronic dance-rock music. Terri and Berlin hit No. 1 worldwide in 1986 with the Giorgio Moroder written and produced “Take My Breath Away,” which won the Academy Award and Golden Globe for Best Original Song.

Now after releasing their seventh studio album “Animal” this past September, Berlin is embarking on an east coast tour that starts in Asbury Park, NJ on April 30. Additional shows in Philadelphia and Hanover, MD are on the tour, with their major New York City show on May 3rd at The Cutting Room.

In anticipation of these eastern tour dates, Terri spoke with me about the history of her band, as well as the new album. She describes the new album as one that incorporates modern electronic dance music (EDM) while retaining the groundbreaking synth-electro-pop sounds and vocal qualities that initially defined Berlin. The title track was the first song co-writer and producer Derek Cannavo composed, and after listening back to it Terri states “we knew this partnership was meant to be.” The accompanying video depicts Terri in a club setting, engaging in flirtatious behavior that celebrates sensual animal sexuality. “I originally wanted as many different looking people in the video as possible,” Nunn said. “My director Chad Michael Ward helped me bring this vision to life. The youngest in the video is 19, and the oldest is 76,” she continued.



Speaking about some of her more memorable times in New York City, she recalls that “playing a show with The Thompson Twins at Radio City Music Hall was a great moment.” The New York connection remains strong on the current album as mix masters John Alicastro and Mike Lauri added their magic touch to many of the tracks. When asked if she came to New York to complete this work, she laughed and said “we did everything via email. This is the modern way now.”

Berlin’s first album in eight years, “Animal” features 12 tracks, including a wonderfully updated cover of the Jefferson Airplane classic “Somebody To Love.” This should come as no surprise to anyone who knows Terri’s history, as she has referenced that band’s legendary frontwoman Grace Slick as her single most important inspiration to become a singer.

Check out Berlin’s latest album here as well as all their upcoming tour dates.

A previously published version of this Berlin feature can be found Here at MySocialList.

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Brooklyn dreampoppers Field Mouse prepare their first full length album “Hold Still Life” via Topshelf records. Scheduled for release on July 22, the album was co-produced by the creative forces of singer/lyricist/guitarist Rachel Browne and producer/guitarist Andrew Futral.

Splitting recording time between two noteworthy Brooklyn studios (Seaside Lounge and Let Em In) in late 2013, the mixing was handled by Kyle Gilbride (Swearin' Waxahatchee, Upset). The new tracks stay true to the band’s original dreamy guitar style while adding sonic elements like synthesizers to the mix. Heartfelt pathos can be frequently found through the combination of sweet vocal melodies and introspective lyrics. “Asteroid,” laments that “it’s a shame” how often we just “walk away” from each other. Deeper cuts like “Horizon City” shows the band expanding on preconceived notions of their overall sound, simultaneously touching on both prog and punk elements. “Bright Lights” ostensibly incorporates bittersweet feelings of longing, joy and sadness, all at the same time.  Until those tracks are released, check out the video of Field Mouse's single from one year ago, entitled "Tomorrow is Yesterday."



The band will be playing at Cameo Gallery in Brooklyn on May 26.

Field Mouse on The Deli Mag by Dave Cromwell

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Post Hurricane Show Recaps

A seriously damaging hurricane named Sandy ripped through most of the Eastern United States last week.  Some of us were lucky to only lose power for a few days - while others were not as fortunate and lost considerably more.  Relief efforts continue to demonstrate how people come togther and support each other in a time of crisis.  These efforts are to be applauded.

Prior to that wrecking force of nature, a recap of CMJ shows attended were being chronicled.  They continue here now.

Friday night October 19, 2012 had The Deli Magazine presenting it's Mostly Psych Stage at Pianos on Manhattan's famed Lower East Side.

Arriving in time to catch Deli Mag CMJ Issue front cover artists Foxygen beginning their set, the packed lower (main) stage floor  made getting closer a most difficult task.

With a little effort some forward progress was made - allowing for a closer perspective on their live performance.  While the band appeared to be enjoying themselves, their presentation was a bit chaotic and lacking in the tight cohesion one might expect from such a prime timeslot (and in front of such a large crowd).  Still, their recorded works exhibit a creativity that has garnered them the accolades and attention they've gotten so far.

You can read an in-depth feature on this band in Fall Deli Mag - Print Issue #32 Volume #2, found here:
http://tinyurl.com/aoezrqm

Escaping the crowded downstairs room, it was a quick jaunt up the staircase to catch a set by the wonderful dreampop band Field Mouse

Having attended a number of their shows over the last year, I've come to expect a high quality presentation, and this show served to reinforce that.

The music they write, record and play live is lush and gorgeous.  It's everything I love about pop music that skewers towards the romantic, without ever crossing over into maudlin.

Rachel Browne is the perfect dreamy-girl frontperson.  Pretty, great voice, plays well and writes from the heart.  What more could you ask for?

Andrew Futral embraces his role as guitar maestro and studio wizard with a visible confidence that comes from knowing you've got all that down.  The fact that he plays lefthanded points towards an early and unwavering commitment to his craft.

The band has been featured by yours truly a number of times, both in The Deli Mag and this blog.

Read what I wrote about them on this occasion:

http://nyc.thedelimagazine.com/node/7983

As well as a full interview here:

http://www.thedelimagazine.com/band-interview.php?artist=field-mouse

With a fuller expanded feature on that interview right here:

http://davecromwellwrites.blogspot.com/2012/05/field-mouse-heartbreaking-yet-uplifting.html

Find out more here:

http://fieldmouse.bandcamp.com/

Fortunately the next band on the need-to-see-and-hear itinerary immediately followed in the same location.

Ex Cops had been one of those bands on the 'must check out' list for a while now.  Having them perform here as part of this showcase provided the perfect opportunity.

Along with the pop sensibility and songwriting of Brian Harding, the band features vocals and keyboards from Amalie Bruun, who also performs her own material as a solo act.

Listen to this evenings performance of their song "Broken Chinese Chairs(z)"



First writing about this band earlier this year (which can be found on The Deli Mag here:
http://nyc.thedelimagazine.com/node/9433
and in this very blog here:
http://davecromwellwrites.blogspot.com/2012/05/recent-deli-mag-features-sophisticated.html)

The above posted “Broken Chinese Chairs” takes their cleverly self-described devotional tropical goth and points it towards a more classic new wave ethic of the late 80’s. Carefully layered chunky guitar chords, single note melody lines, brass and flutey synths all support punky-sweet female vocals. The mysteriously titled “S&HSXX” clacks with a percussive force reminiscent of Brian Eno ’s “In Dark Trees,” while “The Millionaire” evokes the kind of dreamy make out groove that a band like “Washed Out” is known for.

Having the good fortune to catch them perform again a mere four days later at Glasslands afforded the opportunity to capture this live performance of the above-mentioned song "The Millionaire"



Find out more here:   http://excopsband.com/

*****

Shuffling down the stars again, I made it into the big room just in time to catch a set by the recently buzz-heavy Mac DeMarco (who apparently was playing absolutely every CMJ showcase he possibly could).

The room was once again jammed to the rafters. 

It was easy to see why as DeMarco puts on a most entertaining show.

Aided by some well placed promo earlier in the year, Mac has in recent times revealed his truer self.

That being a guitar weilding, humorously crooning, flannel shirt wearing Canadian slacker boy.

Check out this night's performance of "Baby's Wearing Blue Jeans"

*****

Next up were a rather interesting percussion and synth ensemble called Hundred Waters

Hailing from Gainesville, Fla. the band played lengthy improvisational pieces that incorporated electronic elements with rapid percussion.

A dual tandem of female vocalists (who contributed on various keyboards and percussive instruments as well) presented their songs via a cascading and overlapping style.

Overall the band sound evolved across a spectrum between ambient, open ended jazz and a more familiar electronic rock.

*****



As is often the case during these long festivals, projected starting times for bands tend to get pushed further back as the night goes on.  It turned out to be closer to 2:30 in the a.m by the time featured artists of the night - Young Magic hit the stage.

It was well worth hanging in there, however - as their music and visual presentation was magnificent.

Once again leaning on drone electronics, heavy percussion and adding bright guitar to the mix, Young Magic's sound draws from a considerably different global resource than the artists before them.

The lovely Australian/Indonesian-born Metali Malay provides all the vocals and guitars.

See and here how they presented themselves on this evening:

Focusing on electronic washes and soundscapes (when not also thundering in with percussive mallets) was fellow Australian (and founding member) Isaac Emmanuel.

Metali also put down her guitar at times to concentrate solely on vocals.

Listen in (and check out the stunning visual projections) in this additional clip from their performance:

An in-depth feature on this band (written by yours truly) can also be found in the latest Print Issue of The Deli Magazine (linked above), and on The Deli Website Here

*****

Field Mouse - Heartbreaking yet Uplifting Dreampop

Emotionally engaging, carefully crafted dreampop songs are the appealing sonic domain of Brooklyn’s Field Mouse. The formidable songwriting and recording team of Andrew Futral and Rachel Browne create aural landscapes that can melt the hardest of hearts. Having expanded to a four piece with bassist Danielle DePalma and drummer Geoff Lewit, the group has been playing numerous live shows around the city, as it prepares to release its next record. 

Interview:

 Your band strategy at present appears to be the measured release of one song at a time (rather than a full album up front) - and playing lots of live shows. Is this an accurate portrayal of what you are doing? Could you further expand on why you are going about this approach?

Rachel: It's pretty accurate. We have a lot of songs but didn't think releasing them all at once would be wise. At some point in the fall we met the guys from Small Plates, who were into the idea of putting out a 7". We thought this was a good way to start. We put out another song (Glass) on our own as well.

Andrew: It feels like there are a lot of bands doing this now. Releasing a song at a time just made sense. There are only two songs on our 7" so it made sense to stagger the release of the songs so that people were interested in it longer. As for playing live often it's a combination of us not getting to see each other that often so usually we have to play shows to hang out and also we are lucky enough to get offered cool shows that are hard to turn down.

The song and video for "You Guys Are Gonna Wake Up My Mom" is lush and gorgeous. How did this song come about? Who started it? Rachel just strumming on guitar and singing? A simple song? How then did it develop in this larger than life sound we now presently hear? How does one build a sound like that?

Rachel: I wrote the verses first and Andrew and I arranged the chorus melodies together. We built it up to sound the way it does in practice sessions.

Andrew: The song definitely started as chords as Rachel strumming and singing but she was playing the lead part with the rhythm part at the same time by changing the voicings of the chords. The main sense of longing that the song has comes from the song being in the key of E major but us never getting around to playing an E chord. So the whole song feels like it's trying to resolve itself and it never does. The main balance of the song on the production side is trying to keep the energy levels and intensity changing and never feeling too aggressive.

The video for that song is really cool too. Lots of overlying images - the point of view you'd have rushing down a highway with lights on the side. Who conceptualized this and put it together? Is there anything interesting you can tell us about the making of this video?

Rachel: Andrew had very specific ideas for this video and he did everything for it. We filmed some of it in our practice space and a lot of it up in Connecticut on a nice autumn day.

Andrew: We shot that ourselves in our practice space and then I went out and shot some time lapse stuff and kind of created a collage of images. It was my first time directing anything so I tried to keep it pretty simple I just wanted it to be a pretty simple visual representation of the dreamy spacey thing that was sonically happening in the song. A lot of the video is me discovering that "Luma Key" exists in Final Cut. Chroma key is when you record stuff infront of a green screen and then you "key out" the green and put in your own background but luma key is when you key out specific amounts of darkness or brightness so that is how everything got over layed. There are lots of layers and they all have a luma key filter on them with separate thresholds. 

Tell me about the song and video for the equally dreamy heart-tugging song "Glass." The big hook in the song is the lyric "When you're out of love" - yet the vocals are so stylized to the point it take many listens (and a look up) to get that meaning. How important is the mood being set with sound - and vocalizing - than actual literal interpretation of words? What does "it would never be us" refer to? Is just another reference to heartbreak?

Rachel: Thank you. Lyrics are very important to me and sometimes I do think it's nice to hear what you want to hear - literally - before you actually know what the person is singing. I wanted the mood of the melody to fit the words, for sure. This song was hard to write because its lyrics are actually pretty upfront about a real situation. To me, anyway.

Andrew: Mood being set with sound is important for every band I think. It might take a few listens to get the correct lyrics of the song but you won’t be surprised when you read them because they are working in tandem with the music and both part of establishing the same mood.

The video that goes with it is this super slowed down image of Rachel. What is involved in putting something like that together? Does it take the latest in super sophisticated film equipment and a tech person who knows the intricacies of using it? Something simpler than that?

Rachel: That video was directed by our friend Shervin Lainez and Andrew. It's actually about 15 seconds slowed way, way down. Nothing too sophisticated. It was fun to make, I had to keep a straight face through a bombardment of confetti, wind and bubbles.

Andrew: It's actually pretty simple. It's 15 seconds of Rachel slowed down to the 3:40 of the song. Twixtor is a relatively cheap and nice plug in for creating slow motion that looks cool at speeds as slow as 8% of the original speed (which is close to what the video was). It was shot on a Canon 7d at 60fps at 720p and really it was just our photographer friend Shervin Laniez and I shooting Rachel with bubble guns, confetti, turning lights on and off and high powered fans and manically as we could and when that gets stretched to 8% speed it just becomes super dreamy and it feels like you are watching this intimate thing but really it's just slowed down chaos.

The third song you've relased now - in this, your modern era - is "Happy." To my ears another perfect piece of sugar coated dreampop that still exhibits a sonic urgency. The emphasis once again is centrally focused on Rachel's voice. Your credits indicate the songs are produced by Andrew - and that the vocals are engineered by your band member Danielle. Does she have a particular skill or expertise in bringing out this amazing vocal quality? The guitars, on the other hand (and possibly synths) create a musical base, making it all sound like an orchestra. While the drums build and create tension. You all play so well together. Is the lyric "that's what you get for loving your regret?" It's good if so. I really like it (and of course can relate to all this kind of wallow) - but - what's that got to do with being "Happy?"

Rachel: We work with Danielle at a studio she works at called Seaside Lounge. She and I have been working together since college in various studios and she does know how to get a solid vocal sound. Seaside Lounge also has some amazing gear, including a real plate reverb. Yes, that is the lyric. "Happy" comes from the sarcastic, or maybe not, part of the chorus: "You give me nothing/I'm happy." I think at the time I meant it.

Andrew: Title is 100% sarcastic. Danielle is great at what she does! She decides the general chain of what preamp and how much reverb is used. We all went to the college together at the music conservatory at Purchase College so we all kind of know our way around the gear. I think the secret behind the vocal quality is 90% Rachel's natural voice and 10% the Plate reverb used at Seaside Lounge where the vocals are recorded. Usually Danielle will set up the mics and everything and then we leave the room and Rachel runs protools until she likes the takes she has done. As for the guitars, I don't think there is a single note being played on guitar that isn't being played by a synth too. I just wanted the chordal instruments of the song to have a kind of anonymous texture. The goal with that is to have a sound that the listener doesn't 100% understand but because it's so reverby and anonymous sounding. I wanted it to be intense but ignorable so that Rachel's vocals were definitely the focus. 

INFO BOX

1. Band address: http://fieldmousemusic.com/

2. Origins: Brooklyn, New York

3. What it is: Alternately uplifting and/or heartbreaking dreampop

4. For those who like: Lush, My Bloody Valentine, Asobi Seksu, Cocteau Twins 

December Dreams 2011

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.




http://nyc.thedelimagazine.com/node/8018
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Field Mouse


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?




http://nyc.thedelimagazine.com/node/7983

http://fieldmousemusic.com/

________________________________
Clouder


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 Pistols Johnny Rotten and The Fall's Mark 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.




http://nyc.thedelimagazine.com/node/7931
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Farewell Republic


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.



http://nyc.thedelimagazine.com/node/7181