The Good Natured - Interview & Show Review

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!

Check out Andy's stuff here:
http://vonpipmusicalexpress.wordpress.com/

And be sure to go and consume all things The Good Natured !

http://www.thegoodnatured.co.uk/

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/

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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

The Mast - The Propulsive Dual Dream

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's CMJ "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.

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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 showWhat 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.

Matt and Croms - on the mean streets of NYC
******

Find out more about The Mast at these links:

http://www.thedelimagazine.com/FeatureView.php?artist=mast
http://themastmusic.com/
http://listn.to/TheMast

http://themast.bandcamp.com/album/wild-poppies

EXITMUSIC - An Agitated Dream

Aleksa Palladino and Devon Church make a dreamy rock music under the name EXITMUSIC. Brooklyn based, the married couple play in a style that often starts out quietly, but ultimately winds up grabbing you by the throat. Their impressive live shows have been garnering them much deserved attention, and now the finely crafted recorded works they have been meticulously constructing will be released as their debut album "From Silence" this fall.

Listening to these recordings in advance of the release via their website, one can't help but be captivated by what you hear. On their leadoff song titled "The Sea," a tension is noticable at it lurks throughout the quieter moments. There is an unsettling pulse that is mysterious and moody. The direction seems to travel down sonic areas running against what one might associate with a more "upbeat" music.

"I don't think you can decide where your creativity comes from," Aleksa says. "I feel that there is a place that I write from, a place that needs to be revealed. And this is the mood and the tone of that place," she continues. "People often say our music is 'dark', and there's truth to that, but I don't feel like we're 'dark' people or even that our music is all that dark," adds Devon. ":We're just trying to express our experience of life as honestly and as compellingly as we can. Sometimes I get creeped out by how 'happy and upbeat' most music is. We are in the middle of 3 or 4 wars and a mass extinction, after all. After a point, this obsession with pop (especially in the indie world) begins to seem kind of insane."

Listen to their live performance of "The Sea"

On stage, Aleksa commands attention as the bands lead vocalist. She also alternates between playing guitar and keyboards. Devon stands tall as the primary guitarist, and shifts effortlessly between providing power chords, quick riffs or melody lines and even employs at violin bow on the strings at one point.

Much of their show has a solemn quality to it all. Frequently the vocals are presented like someone almost going into a trance. Of someone losing themself in the moment. "The feeling of being on stage is a really hard to remember clearly afterwards," explains Aleksa. "It's almost like you have to find the spot where you can lose yourself in the moment while still being totally aware of where you are in time. I'm not in a trance, I'm just singing the words as weighted as I feel them," she concludes.



Their live show also presents some interesting guitar interplay between them. While Devon tends to play the longer, extended melodic notes (sometimes with slide) Aleksa will execute bursts of quick, forceful strumming, that creates a fuller sonic wash. "For me, I try to combine rhythmic and melodic elements in my guitar parts, so I'll play chords that incorporate a traveling counter-melody that supports what Aleksa's playing or singing," says Devon. "I think of myself more as a rhythm guitarist than a lead guitarist, though I do play some "leads". But I almost never strum the guitar - just a few times during the set. Mostly I play arpeggios or deconstructed chords."

"It's a language that I keep developing… it's like a cast of characters or a palate of colors, each with something to say," adds Aleksa. "I often play melodies by picking one string really fast, like a mandolin. I think this tremolo style - those explosions are just as emotional as the human voice. And I use those parts to sing with my guitar, and to disrupt the certainty of measured time."

On one of the songs in their live show, Devon used a violin bow across his guitar strings, creating a unique sonic tone and effect.. "I used to play a lot with an e-bow, but I wanted something more expressive, and more guttural sounding," he offers by way of explanation. "I like the deep moaning sound that you can produce by dragging the bow over the low strings of the guitar. You risk a lot of dissonance and feedback playing with a bow and a lot of reverb and distortion, so the intent is ultimately to wrest something beautiful out of what could potentially be kind of ugly. The influence for me is more Sigur Ros than Jimmy Page, but I also think of the violin bits in early Velvet Underground," he concludes.

The two of them self-directed their video for "The Sea," using footage from Andrei Tarkovsky’s 1975 film The Mirror. "We'd seen a lot of Tarkovsky's films, and when Chris Swanson (who runs their label Secretly Canadian) suggested we try cutting an existing film into a music video, we thought of him. But we hadn't yet seen The Mirror," says Devon. "When we did a google image search for 'Tarkovsky' this stark, beautiful image of a sort-of deranged looking woman standing over a basin of water came up. Then there was another image of a woman levitating and a man standing reverently beside her. They were both from the Mirror. We youtubed some montages of the film, and it was just incredibly rich with imagery. Especially the wind stuff is amazing. In a way, Tarkovsky's wind is serving the function that the sea, the water, does in our song. His images, together with the stock footage of war and revolution that he used in his film, create this incredibly menacing, dream-like, apocalyptic feeling that seemed to fit perfectly with the music."

Since then the band has released another video, this time for their song "The Hours." Directed by Will Joines, the imagery finds Aleksa singing against her reflection and possibly coming to grips with a polar opposite version of herself. Devon supports by way of slo motion guitar strumming and the overall effect is transcendent. With sonic production qualities that put emphasis first and foremost on the vocals (multitracked and uniquely enunciated) guitar lines are the appegiated deconstructed chords Devon describes, combined with a sparse percussion that makes its inclusion all the more dramatic.

The couple came together from disparate backgrounds. Devon came to New York by way of Winnipeg, Canada, while Aleksa grew up in this city. In addition to the music she has always made, Aleksa has an extensive acting career, and is currently featured in the HBO drama "Boardwalk Empire."

The band's name is a reference to the music one hears as the credits roll at the end of a film. "Everyone always mentions radiohead, but that's not where we got the name from," states Aleksa. "Exit music is the name for the last piece of music to be played in a film… the song that ushers people out of the theatre… the last piece of that 'world' they take with them. That's what we heard when we played our songs back," she continues. "Music that suggests a transition from world to another. My grandpa, Tony Palladino, is a graphic designer and has always had a unique way of making letters and words speak for themselves (he designed the lettering for PSYCHO). Anyway, he took out the space between exit and music… it fortified the whole concept. EXITMUSIC."

Cromwell chats with Aleksa post-show

Find out more about EXITMUSIC via these links here:

http://exitmusic.bandcamp.com/

http://vimeo.com/exitmusic

www.myspace.com/thedeclineofthewest

Invisible Days/Crawl Babies/Shana Falana/Heaven - Live in Concert

A record release show is always a special occasion for an artist. It serves as a celebration for all the hard work and creative drive that goes into producing recorded works. On Thursday October 6, 2011 singer/songwriter/multi-instrumentalist Shana Falana threw just such an event at Brooklyn's Shea Stadium. Joining her on this night to help mark this achievement were friends and colleagues. Specifically the bands Invisible Days, Crawlbabies and Heaven.



Opening the show was the wonderful dream pop band Invisible Days.

I had been enjoying their song "Daysleeping" for a few months now.



This band 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 this genre. Combine that with songwriting that shows thought and precision and its becomes clear (or less invisible) as to why their sound resonates so well with me. 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.



The aforementioned "Daysleeping" takes the superior vocal harmonies even higher, bringing to mind the gold age of "gaze" bands like, Ride for example.



I had also been enjoying their track "Solitary Time" for a while now - ever since picking up their CD at a previously attended show of theirs.


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Good News! The band is now offering this track as a free download, which can be gotten here:

http://www.invisibledaysmusic.com/media

Next up was the trio Crawl Babies

Their psych rock sound and visual presentation gave them a bit of a Jesus & Mary Chain feel.

Especially their drummer who played in the stand up style of Mo Tucker and Bobby Gillespie.

Listen in:



Their 60’s tinged sound points to a band like The Raveonettes as possible sonic reference point.

Finally it was time for the headliner.

Shana put on her typcially dazzling light and sound spectacular.

As expected, the set relied heavily on material from the "In The Light" EP

Listen in to this night's performance of "Tragic"



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___________

One more from the EP, a live performance of "U.R. Everything"


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____________

Following Shana's wonderful performance, was another band that presents a blended dual male vocal front - Heaven

___________

Listen in to the single "Mountains Move"

The song is moody, dark and dreamy (all rolled into one). Of note is guitarist Matt Sumrow's outstanding guitar work, which alternates between clean-note arpeggios and wah-wah effected chorusing.

Essential Links:

Invisible Days
http://www.invisibledaysmusic.com/

Crawl Babies
http://crawlbabies.bandcamp.com/

Shana Falana
http://www.shanafalana.com/

Heaven

http://www.youareheaven.com/