August seems to always come with a slight twinge of melancholy that we've now entered the third and final real month of summer. Oh, sure there can be some balmy beach days in early September, but for the most part this time of year is when you want to make good on summer-fun plans. Along with this pursuit of one more perfect beach day comes a new batch of music releases from various corners of the globe. While hometown New York City counts for half of what's reviewed here, there are still two others hailing from continents ranging over the most extreme northern and southern locales.
There is a distinctive quality to the rock and roll that rises out of New York City. From 50's era “doo wop” through the late 70's punk rock and beyond, the feel and vibe of building front stoops, electric guitars, subway cars and crowded bars all permeate it's sound. Blues-rockers New York Junk evoke all of that and more on their latest record “Dreaming,” which is out now on Tarbeach Records. Recorded at Golden HIVE Studio in Prague, Czech Republic at the end of 2019, it was mixed and mastered in February 2020.
Primary vocalist, guitarist and songwriter Joe Sztabnik's history traces back to those mid-1970's punk rock days, emphasizing it's poetic and literary side (sometimes overlooked when referencing “punk.”) Bassist, backing vocalist and songwriter Cynthia Ross shares a similar historical timeline as a founding member of The 'B” Girls. That band toured with The Clash, The Ramones, The Dead Boys and Blondie, and Cynthia also provided back-up vocals on Stiv Bators' “Disconnected” and Blondie’s “Auto American.” Similarly, drummer Gary Barnett's roots trace back to legendary NYC clubs like CBGB's, playing significant shows there in the mid-70's.
Lead off track “Gutter Angels” developed through a collaboration between Joe and poetPuma Perl, who's lyrical writing serves as the inspiration for this gritty tome. Chugging along like a mid-70's east village classic, Joe's raspy vocals spit out the lyrics in Lou Reed/Jim Carroll hybrid fashion. “Angels on the subway train - Angels in the rain. Wings of fury in the street - Halos melting in the heat. Gutter Angels up in heaven - Looking down upon us all. Bless the homeless, Bless the dope fiends, Bless the sidewalks where they fall.”
The Jim Carroll “people who died” vibe intensifies as people who are no longer with us (angels up in heaven) get name-checked with this verse: “Danny’s nickname was “Guerrilla, Linda’s was 'The Stick,'
Tito climbed through windows, Minerva made him pay. Lenny popped the car trunks - All on Christmas Day.” It's a powerful opening track leaving no doubt about what this record is all about.
“She Don't Care” comes on like a long lost Johnny Thunders and the Heartbreakers rocker. Based around a tandem guitar and bass riff melody line, Joe sings out lyrics combining serious and somewhat humorous appeal. “Hey little girl – what'cha tryin' to do? With your dirty red hair. You little 2-bit whooore. Hey little girl – oh you're drivin' me wild. Cause you talk too much – with your 2-bit smile.” Chugging guitar chords lead into the head-bopping chorus “Everybody calls me up to say – you're insane. Everybody tries to tell me- you're deranged. Tell me tell me what do you want when you – feel the pain. The way you scream and shout so loud you know you – drive me insane.” Quick Thunder-esque licks snake between each section, punctuating the cool.
It's delta bayou 12 bar blues for the record's choice cut “Walk My Dog.” Well, “delta bayou” that's been run through an early 1960's Rolling Stones filter. “If you wanna, you can walk my dog – come on baby – put a leash on me. But if you want my love – girl you better run!” There's also a touch of The Cramps swagger-n-raunch with it's slithering bass-guitar driven rhythm, and lines like “if you wanna you can ride in my car, and if you wanna you can be my star.” 60's Fender guitar tone and steady shimmering ride cymbal emphasize the blues licks in-between verses.
“Don't Cry For Me” keeps that 60's Stones (by way of Chuck Berry) vibe going with double-time drive, self-descriptive lyrics and conversational vocal style. “Workin' real hard in that midday sun. I'm never slackin' off just to get my job done,” Joe sings with early Jagger feel. While “the boss man is sitting there, sippin his iced tea,” the workers know “you better hurry up if you want to leave at 3.” Over a bold rising bassline the chorus hook “don't cry for me baby” (with filligree guitar licks in-between) punches out on “until I'm gone.” The spirit of Berry's “You Can't Catch Me” and “Memphis, Tennessee” live on inside these grooves.
Cynthia's audible “2-3-4” count-in and immediate heavy pounding tom-toms out front of a dirty low-down propulsive guitar rhythm introduces the Ave B side opening track “Scared.” Serving up graphic lyrics with impassioned vocals, Joe sings: “This is the way, which way the wind blows – learn something nobody else knows. I (ah I ah I) want your mind. When you hear the wind blow, yeah you know which way to go – when the guns are pointed at you. Blood all over my clothes, blood all over the floor. I'm fucked up – I don't care – I'm scared. Why wouldn't I worry? Of what I see in my tv set. Hey watch out, it's jumpin' out – it's trying to catch me.” Those levels of paranoia are understandable with everything that's going on (especially these days). However, the only way out of this state of mind is choosing to (as Joe sings) “let my heart and soul be free.”
Bright, angular guitar licks pierce the air, leading in to a sweet shuffle groove on deeper track “Passion.” Rolling out this lyrical tale emphasizing relationship challenges (both at home and on the road), the vocals exhibit a world-weary sincerity. “Well I've got the passion, but I ain't got the bucks, to fill my heart with another shot of your love. Hallways filled with your makeup on the walls. You got all the junk, so I guess I better crawl.” With all that going on (including “dirty hotel rooms”and “posters on the floor”) what holds it all together is the turn-around line “cause your love keeps me on the run.”
Title track “Dreaming” closes out the EP in grand style with a ballad penned by Joe back in 2008 (as detailed inside the record sleeve). Relying on basic guitar chords and a laid-back rhythm section, primary emphasis is placed on personal lyrics and raw vocals. “I'm dreaming of you – why you went away. The roads all turned blue – since you left me here. I'm all alone.” There's a folk-song quality in how the progression holds steady for a time while each new line is delivered. Ultimately there is a shift downward with an unanticipated chord change on the words “oh baby.” With the final words delivered (“as my world fades away”) a series of euphonious toned guitar lines begin, adding further musical emotion to the candid lyrics that precede it.
Carrion is an Industrial Rock band from the northern forest lands of Norway, coming together in 2014. Founded and fronted by the bands only constant member Adrian Kjøsnes (working under the moniker Hide Beliya`al) with additional contributions from musicians Dave Diamond and Sam Dusk. A new single has now been released titled "The Blood Ov Saints," which is the first new material since last years full-length album “Iconoclasm.”
Created on modular synths (no digital numerical presets here) one is immediately drawn into foreboding low register tones that introduce “The Blood Ov Saints.” Industrial music has always derived an element of it's defining qualities by recreating the sensation of being inside a factory surrounded by humming machinery. Even more mainstream rock artists like Pink Floyd (It's factory segment on the “Animals” album) or Iggy Pop and David Bowie's collaboration on “The Idiot” (the track “Mass Production” in particular) served to capture the hypnotic drone of mechanized assembly. Those impressions are here as well, along with other details like a slow chain-rattle percussion alternating with a deeper tone thump. It all serves to set up a dramatic lyrical reading that the artist describes as a “dark, alternative path to salvation.” To that end, there's thoughtful poetry in lines that state: “So cast the first stone, and watch their heavens fall - Into the maelstrom - Hear the trumpets call.” As the track progresses, audio textures of what sounds like high-pressure air driven manufacturing devices add to this dystopian imagery. More forceful tom-tom drumming emerges underneath significant moments with the ultimate lyrical declaration: “We'll wash away our pain – with the blood of the saints.”
Also included with the release is an acoustic version of “The Light,”which first appeared on 2019's “Iconoclasm” album. Here the track benefits from the spacial qualities open air strummed guitar chords provide. With a disquieting synth pulse running underneath, more poetic imagery emerges via the lyrics “holding on to the umbilical noose, I'll make my way back up.” The vocals are delivered in rough whispery style that evokes the work of a similarly like-minded artist like Mortiis. It all leads to the pivotal vocal refrain “give me your hand – I'll give you my heart – on my knees to feel your light.” An unexpected extended-note guitar solo (of sorts) arrives in the 3rd minute (of this 4 minute rendition) echoing the melody line and bringing the track to it's conclusion.
After 10 years with the influential NYC noise-rockers A Place To Bury Strangers, bassist Dion Lunadon announced he would be leaving to pursue a solo career. Truth be told, Dion had already begun his solo recordings while still with that group, releasing singles in 2016 and 2017, before putting out an 11-track full length record in '17 (fully reviewed on DaveCromwellWrites here). Now in these changing times and current social crisis issues, Dion is back with a new track “When Will I Hold You Again.” Released as a duet with vocalist Kate Clover, the track is dedicated to everyone whose been separated from loved ones as a result of this current worldwide pandemic.
With Dion playing all the stringed instruments (guitar and bass) along with drummer @griffin_kisner, the track thunders open on a crisp percussion figure, throbbing bass line and melodic guitar riffs. Duet vocalist Kate Clover and Dion share a sense of urgency on opening lines “TV television New York shut down. I’ll hold you closer again. All alone I’m in the dark.” A palpable level of intensity can be felt in the aggressive guitar riffs slashing in and around each vocal passage. Kate's vocals move up in the mix on the Covid influenced lines “Freezing cold I feel the sweat. Filled with fear as I disinfect. I can’t see the enemy I can’t see it come.” As the track careens forward with increasing ferocity, each vocalist repeats the title line in alternating call-and-response style. It all culminates with a final 30 seconds throttle like The Stooges “Fun House” era mayhem.
The track is now available at Dion's bandcamp where you can name your price.
All donations will be split evenly between City Harvest (who help feed New Yorkers in need of food) and CampaignZERO. Dion will match all donations up to $1,000.
Previous DaveCromwellWrites Features on Dion can be found HERE and HERE.
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Returning to the DaveCromwellWrites universe are Sydney Australia's gazey, dreampop and psych-rock collective Trillion. Their previous six song EP “When I Wake” received an extensive track-by-track review this past November here (which immediately garnered “Best Of” placement in the following month's year-end accolades). The band is now back with their recently released current 5 track EP “Move To You,” and a debut video for the single “Soft.” Recording their individual parts separately as one might suspect during these harrowing times, the end result shows a determined creativity in spite of those challenges.
Opening track (and single) “Soft” (along with it's accompanying video) immediately explodes off it's quick drum cue-in. No longer content to envelope all with 3 guitar layers (as was their previous incarnation) we now have four (4!) guitarists doing their very best to fill in every inch of the sonic spectrum. It certainly makes for a powerful buzzing wall of down-stroke strummed mayhem, while somehow allowing the throbbing bass guitar and whip-crack drumming to penetrate and be heard. With images of sparklers overlaid on top, close-ups of each instrument is afforded their feature moment throughout the video. Male and female vocals are blended together as a melodic force withing this Spector-sonic wall of sound. Hard pummeling percussion emerges as intensity levels rise, with voices, and guitars inserting melodies inside the overall structure. The video is a total trip that occasionally breaks up into digital cube blocks looking like previous decades media (VHS tape?) and other elements, like floating amoebae. Kudos to the bassist for wearing an adorable cat-themed t-shirt stating that “The End is Meow.”
The EP's second track “Out of Your Mind” initially emerges at a more measured pace, with guitar shimmer rising up as if out of the mist. Soon enough a dominant bass-line and solid drum pattern begins, accompanied by wah-wah guitar textures. A series of intricate guitar melodies weave in and around each other before a solo female vocal begins. Those voices come at the track from different angles, blending in seamlessly with the instruments melodic forays. There's a hypnotic element to the rhythms and things get quiet in places, allowing for dramatic focus via those layered voices. As the track progresses it blows up into a full-on psych-rock tableau,before falling back into that hypnotic groove.
Third cut “Don't Be Sorry” develops out of a tom-tom driven drum pattern and distant swirling guitar embellishments. As the full progression establishes itself with sheering guitar chords and buoyant bass-line over top, male vocals appear in a contrasting effects-free manner. The 4 guitar formation allows for plenty of background wash while one plays a distinctive hooky melody line, paired against the bass guitars low-end harmony. Vocals return with previously established clean delivery, while another guitar melody snakes its way over that. The title line ultimately materializes with female voice enhancement and billowy guitars.
Rising up out of swelling atmospherics and faded in drum pattern, “It's All I Need” serves as the first of the final two longest tracks [6:01 each] on the EP. Returning to that buzzing-bee-wall-of-sound, the multiplied tandem guitars would surely evoke a nod of approval from Rhys Chatham. With an ever-steady bass guitar once again holding its structural center, the drums are free to explore a variety of accents off of the primary beat. Male vocals with ethereal female harmony evoke that 90's-era MBV/JAMC/Slowdive style. Sonorous guitar riffs abound in-between vocalizing, impressing how an “orchestra” of guitars can produce an appealingly controlled noise. The final minute injects an intensifying step-up before pulling back to a dreamy spacious conclusion.
Final entry “When it Comes to You” appears to begin mid-progression, as if fading the mix in as the recording rolled. There is a decidedly different element to the guitar sound, as slightly off-kilter “warbling” tones appear. Shearing, pitch-bended guitar chords soon make their way up front while the ever-present driving bass and percussion lock it all down. A distinctive guitar melody surfaces over top of combined “shear,” “warble” and rhythm-section. More paired boy-girl “Halstead/Goswell” vocals arrive, blending in seamlessly with (and sometimes submerging under) the roiling instrumentation. Momentary quieter plateau's serve to set up another round of explosive turbulence. It's all adds up to a brilliant composition of dreamy-gaze bliss, and a fitting closer for this excellent EP.
Trillion's tunes and more can be found using the link tree below:
Innovative Norwegian artist Mortiis has created a unique catalog of music that dates back to the early 1990's. Emerging out of the Black Metal scene, Håvard Ellefsen developed a solo project for the longer form music he was creating, complete with a dark and mythical image to accompany it. Those early releases would see him co-founding a genre known as “dark dungeon synth” with significant solo records released between 1993 and 1999.
Those 90's era releases make up what is known as his Era 1 material, which encompasses extended ambient musical pieces that are equal parts cinematic and beat driven. After touring this solo material throughout Europe, Russia, Australia, Mexico and South America this past year, Mortiis will perform his Era 1 material in USA and Canada for the first time in 20 years. Engaging in an email interview with the artist just prior to his arrival on North American shores, a number of questions presented allow for a further look into this musical universe.
DaveCromwellWrites: Since you will be playing your Era 1 material which is all instrumental (with some brief spoken word segments) is your goal to let the music speak for you entirely, precluding the need for a vocal microphone in front of you?
Mortiis: I honestly haven´t analyzed anything that deeply...I always just go with what feels right and, when it feels right, that is good enough for me. That said, I like the idea of instrumental music, as it opens the mind in a different way that say music with sung lyrics tend to do, where lyrical content and the emoting of the voice probably dictates how "you´re supposed to feel" about the music... When I started listening to Tangerine Dream and Klaus Schulze 25 years ago, it was a very special experience in the sense that it could take me to different places every time...It was instrumental (for the most part) so even though the music was the same on every repeat listen, the landscape of my mind would continue to change... That may sound a bit pretentious. I´m not saying this is why I chose to create instrumental music, but perhaps it did play some role. Btw these shows are completely instrumental. I tried the spoken word, and I didn't feel it worked well live.
DCW: Your recent live appearance at The Place Club in Saint-Petersburg, Russia shows your stage set up as a single keyboard embedded within a box-like structure. You appear to be playing the melodies with your right hand, and chord work with your left. What else is going on in there? Do you have effects processors that you also manipulate throughout the performance?
Mortiis: That´s not anything I feel anyone needs to know, haha! When you try to convey atmospheres and perhaps take people away to strange places, you don´t really feel the need to inform them about what software is going on and what mac model I use up there, haha! I know some bands love to flaunt gear, personally, for this type of music, it´s the last thing I want to see or hear about. It´s all about the visuals and sonics.
DCW: Do you have a dedicated sound person that is touring with you? Is that person integral in assisting with coordinating the additional sounds (like percussion and other orchestration) that are necessary to provide the full scope of these compositions in the live environment?
Mortiis: No I do not bring sound people with me. This is pretty much a one man operation. I mean I bring one or two assistants, but their job is usually getting me from A to B, handle merch, and so on. It really isn't need in the sense that I bring the stuff that I need and I set it up on stage myself, all the music and all the composition related work, has been done in the studio. I have no interest in pretending that a lot of this isn't on tracks, because it is, just like all other music created and performed electronically. Of course it would be awesome to bring along organic instruments and people to play them, and at that point you´d want to bring a dedicated sound technician as well, and it´s something I´d like to do in the future for sure.
DCW: You've stated that you were in part inspired and influenced by electronic ambient artists like Tangerine Dream, Klaus Schulze and others in that musical realm. As an avid fan of these artists works myself (and who listen to their vast catalog on a daily basis) what is it about what they've done that resonated in particular with you?
Mortiis: Musically I didn't pick up a whole lot from them, the thing that really blew my mind was these seemingly endless songs they created. I had never seen anyone do that before, and it almost felt like they were these outlaws that broke a bunch of conventional rules...They made really long songs that covered entire sides of LPs, and they created really atmospheric (and sometimes, in my mind, at the time, dark) music that wasn't created using the instruments I was used to at the time, which was your guitar, drums, vocals... I had listened to stuff like Pink Floyd, but this took things to extremes. I think it was the idea that you shouldn't worry about conventions and standards that inspired me the most. I loved the music, but I didn't really try to emulate it...Mostly (probably) because I wouldn't have known how to do it, haha!
DCW: In addition to those synthesizer pioneers mentioned above, you've name-checked the film score work of Vangelis and early pop experimentation of Kraftwerk. Are you also familiar with and can you appreciate the large catalog of work that Ulrich Schnauss has created over the years?
Mortiis: To be brutally frank, I was not familiar with his work, but I did check him out on Discogs, albeit briefly, and it´s sounding really good. Not quite as "pure" sounding as Tangerine Dream for example, and more melodic (what I heard so far) than someone like Klaus Schulze (who was very soundscapy back in the day) but this sounds really good.
DCW: Your Wiki indicates you have two other active band members in Levi Gawron (Levi Gawrock Trøite) – guitars, programming, mixing, bass (2001–present) and Tim Van Horn – drums (2011, 2017–present). As it appears you are completely solo on this tour, do you still plan to incorporate them in Mortiis at some point down the road?
Mortiis: Tim and Levi were part of the industrial part of Mortiis and they don´t really have anything to do with this version of it, which has largely been a solo effort. Then again, I have brought people into this version of Mortiis in the past, so never say never I guess.
DCW: The Era 1 music is sweeping, grand and orchestral. It has been stated you've done soundtrack work on films where you've composed atmospheric music along with some of it actually “semi-song structured, with some melody and sense to it." The collected music has been said to be eventually released as a Mortiis album. Is that project still in the works and would you be agreeable to provide a soundtrack to other films if the opportunities arose?
Mortiis: Yeah that music was actually released as "The Unraveling Mind" fairly recently and yeah, if someone offered me a soundtrack job I´d certainly consider it. I mean there have been offers, of sorts, in the past, but more often than not they are from "directors" claiming that their vague "it´s in the pre-production stages" projects have tiny budgets, but offer great promo if I do it. Yeah I fell for that and did a million shows in the old days, getting paid peanuts...So while I may come across as sounding cynical, those days are over for me. If you want it, you have to pay for it, haha!
DCW: You have frequently mentioned how growing up as a “hard rock guy” you were initially inspired by classic metal bands like Iron Maiden, Saxon, AC/DC, Accept and Judas Priest. That combined with the showmanship of Alice Cooper helped formulate your visual presentation. How do you see the progression from that to the ambient soundscape music you ultimately evolved over into? Is there an actual progression, or is is simply the case of being interested in two separate things?
Mortiis: I think it boils down to me at one point becoming very horizontal in my musical tastes and interests, as opposed to the really narrow minded hard rock metal guy I was when I was a young teenager in the late 80´ies. It´s really kind of odd, because the scene that really opened my eyes to other kinds of music, was the early Black Metal scene in Norway, and i think by and large, the consensus is, that anyone that comes out of that early scene, is a narrow minded music fascist, and that´s not true at all. People in the scene at that time, had a very diverse and eclectic musical taste...We´d listen to everything from Venom and Mayhem to Diamanda Galas and Devil Doll. so yeah all that said, it definitely was a case of me being into a whole variety of stuff...When I left Emperor, I was disillusioned with bands because in the past 2 years, I had been a member of 2 other bands that had some pretty hopeless members, and gotten booted out of the one band with the talent and obvious future (Emperor) so I was frustrated and pissed off at being in bands...At that point, it was easy for me to chose to go solo, and focus on keyboards and atmospheric music... THAT step was born out of being pissed off and tired of the other options, which was being in a metal band.
DCW: There's a live show of yours from October 1999 at The Batcave in NYC (since closed down) that has recently shown up on YouTube where you perform as a 4 piece (you and three other synth-percussionists and an operatic female vocalist). Do you recall that show or at least that period of your performance art (there is an additional “member” being a sacrificial female figure) and what were you attempting to present from a theatrical perspective?
Mortiis: That was part of The Stargate tour in 1999. It was part of the US tour that year, and it was the first proper US I ever did. That´s Sarah Jezebel Deva on vocals, and Erik and Fredrik, also of No Festival of Light / Ordo Rosarius Equilibrion fame on the percussion. I don´t really remember a whole lot from that specific show, since the tour was pretty much 25-30 shows almost back to back. I recall the NYC show from that tour as being a pretty decent show, although that footage you refer to, I have seen it, is pretty lofi and doesn't really do it a lot of justice...At that time I was really focused on filling the stage with stuff going on, it was really my way of doing what WASP and Alice Cooper had done decades earlier...albeit in a totally different musical setting. I mean I never really ever stopped to consider "hey, you´re existing within this twilight zone where goths, industrial people, metal people, and these odd dungeons and dragons people show up - are they collectively going to get what you´re doing, or understand where your ideas come from?"... I don´t know if I should have, but I never did...I always acted on instinct, and never looked back (well, almost never). I don´t think I ever thought it terms of "drama" or any other theatrical terms like that, I just wanted cool stuff to happen on stage...I like my dose of "thinking man´s music and entertainment" but at least at the time, I didn't consider Mortiis to be that, it was just a question of "OK is this cool? Would I like this as a fan? OK let´s do it."
DCW: With you often mentioning JRR Tolkien an an early influence on, at the very least, your initial visual imagery, one wonders what other authors you have read, admire or are interested in. Another admitted Tolkien devote is celebrated author George RR Martin. With the popularity of Game Of Thrones, many (including myself) went seeking his “A Song Of Ice and Fire” series. Have you read those books, and if not, what else have you enjoyed in the literary realm?
Mortiis: Well to be honest I didn't explore fantasy authors too far outside of the Tolkien realm. I think at the time I kinda felt that nothing else came close...It was the same way I felt when I started looking for fantasy movies after seeing Conan the Barbarian, and realizing that there really wasn't anything else out there, that wasn't either flat out horrible, or at best low budget...I did like the Excalibur movie, though. Anyway I did eventually read a lot of the Dragonlance and Death Gate Cycle books, by Margaret Weis and Tracy Hickman. Another series I really liked was The Sword of Truth by Terry Goodkind. If memory serves me right, I came across the first book in the series by accident, and it just turned out to be really good.
Beyond that, I've not really been delving too deep into fantasy genres...It´s been a mix of authors like Neil Gaiman, F Paul Wilson (and the fantastic "Night World Cycle"), Bukowski, Hunter Thompson, and not to forget the fantastical (albeit very dark and mostly horror) Necroscope and Psychomech series by Brian Lumley.
I neither read nor watched Game of Thrones so far, believe it or not. I just fell off the wagon...I watched all the Tolkien films obviously, and quite liked most of them...I did read the Narnia books, but they´re pretty much for kids, so I didn't get a whole lot of out of those. Something people may not realize, is that the original Thousand Nights and One Night stories, are brutal as hell...Nothing to do with the watered out versions most people know. Worth a read for sure.
Mortiis will be performing his latest record "Spirit of Rebellion" in it's entirety. This work is a re-interpretation of his classic 1994 ambient album Ånden som Gjorde Opprør.
Tour dates are as follows:
March 28 – Metro Gallery – Baltimore, MD
March 29 – Brooklyn Bazaar – NYC (Tickets can be gotten here)
March 30 – The Raven – Worcester, MA
March 31 – Petit Campus – Montreal, QC
April 1 – Velvet Underground – Toronto, ON
April 2 – The Forge – Joliet, IL
April 4 – El Corazon – Seattle, WA
April 5 – Hawthorne Theatre – Portland, OR
April 6 – Metro Opera House – Oakland, CA
April 7 – Lodge Room – Los Angeles, CA
Find tickets to all of the shows and connect with Mortiis via his Social Media outlets here:
Never underestimate the power of a well-placed press release and complimentary early-evening showcase. When a flyer for Maya Vik wedged its way into the multitude of daily emails received, the sultry image it contained was enough to spark further investigation. One listen (and view) of the video “On It (Kapow!)” convincingly made attendance at this late November event a must do.
Inspired to learn about an artist who was previously a mystery, all efforts were made to scour back catalogues and press history.
Maya as she appeared on stage for the November 20 show at Pianos
Two solo albums had previously been released. 2011’s “Chateau Faux-Coupe” and 2012’s “Bummer Gun.” Both present outstanding collections of driving funk-fueled tracks benefitting from the impressive production and songwriting team of Maya, Basmo Family and Morgan Phalen.
Check out the wonderful “On It (Kapow!)
The live show was just as impressive, and possibly even more so. Maya sings in soft and sensual tones while throttling her bass in true slap-funk style. Filling out her band (and also playing on her records) were virtuoso keyboardist/backing vocalist Haakon-Marius Pettersen and drummer Marius Simonsen. All three of them play at an extremely high skill level that is both passionate and intense. While her overall sound echoes the late 80's and early 90's work that Minneapolis deity Prince produced, Maya's unique perspective transforms it into something entirely new.
With everything driven along and centered around her dynamic bass playing, keyboardist Pettersen fired off frequent solos that could have easily fit in a prog, fusion or jazz ensemble.
Simonsen's drumming was certainly equal to the task, locking in solidly with Maya's bass, clicktrack timekeeping and quick burst fills.
Prior to the performance, I conducted a spirited face-to-face interview with Maya, who answered every questions with enthusiasm, charm and grace.
Q: You live in Brooklyn now. How is this experience for you?
A: It’s really great. I’ve been back and forth a lot when I need to do shows and visit, and I love doing both. But living in New York and Brooklyn is a lot of inspiration. We did a New York tour in April, including a residency here at Pianos for a month and a half. Then there were also our CMJ shows here, so I feel like this venue is a second home.
Q: Do you see yourself as a funk and soul musician?
A: A funk musician, yes. More towards the funk and R&B side as opposed to what would be called indie music.
Q: Were you as influenced by the movie “Purple Rain” as one might assume?
A: I grew up listening to Janet Jackson and Prince and all those bands coming out of that era. So for me it was very natural to make music inspired by what I like to listen to. Without trying to directly copy anything, it’s the sound I love the most.
Q: When you were playing with your first band back in Oslo – Montee, was it of a similar sound as to what you are doing now?
A: Not really. It was more of a dance/pop sound along the line of Daft Punk.
Q: In general, do you like electronic music with extended instrumental sections?
A: I prefer vocal music more. Especially since I started to sing just two years ago.
Q: You’ve been an out front vocalist for only two years?
A: Yes. I don’t even call myself a singer, but rather a bass player who also sings. In Montee I didn’t really do any singing at all. Just a bit of background vocals. My purpose there was to play the bass.
Q: Then how did things develop to the point where you are now a lead vocalist?
A: It started off very casually. Over glasses of wine I agreed with those asking me to do it. It just kind of evolved, but ultimately ended up pretty good. When we made the first album there wasn’t any definite plan or goal to move in this direction. I didn’t really want to play live shows right away as a solo artist. As things progressed, I began to realize that perhaps I could do something like this. There was a feeling of relief in becoming aware of this. I had always been in a band situation from the very beginning, so it was kind of nice to now be in this position.
Q: What exactly is a “bummer gun?”
A: If you are having a bad day or someone is being mean, you just bring out your bummer gun and you shoot it at them.
Q: Ah. I see. So it actually is a device that produces good results from bad ones.
A: Yes, either the trouble is turned into something good, or the bad thing just disappears. It’s about doing good for yourself, because the ‘bummer’ is personal to you, and may not be bothering anyone else.
Q: Did you come up with this idea? Coin that phrase?
A: We wrote that song with a guy named Morgan Phalen who co-wrote a lot of songs on the second album. He basically moved into the studio with us and we wrote the second album. He’s a funny guy who comes up with a lot of interesting word combinations. We like things that sound cool, but have an actual meaning as well.
Q: Is there sometimes too much literal analysis placed on song lyrics?
A: I think at times, yes. Growing up not speaking English, my focus was on how the words were pronounced and the overall sound of them, rather than their actual meaning.
Q: I’ve discovered over the years that many artists write this way. Words that might not necessarily have a specific story behind them are fit to a melody. Oftentimes the listener then projects their own feelings on imagery that leaves much to the imagination.
A: It’s true. Sometimes I find meaning in the songs I’ve written after it’s completed. This comes from being in one particular state of mind while you are composing it. Then listening back to it a couple of months later, you become more aware of what you were feeling at that time.
The artist and writer share a moment post-interview.
Maya has released a new EP titled "Lay Low" that not only features her own wonderful vocal performance, but collaborations with a number of guest vocalists as well.
Listen to her dreamy ambient take, that features rattlesnake ticketty high-hat and muted thudding percussion, angelic vocals and an overall spaciousness punctuated by enveloping synth pulses.
Find out anything else you would like to know about Maya via these links:
Now in his early 70’s, Scott Walker has risen to a near mythical status. Originally emerging on pop music’s landscape in the mid 1960’s with The Walker Brothers, their massive hit “The Sun Ain’t Gonna Shine Anymore” shares the same epic qualities as anything Phil Spector ever made.
After leaving the group, Scott recorded four extraordinary solo albums, known simply as Scott, Scott 2, Scott 3 and Scott 4, in the space of three years. He has continued to study many forms of music throughout his life, including intense study of contemporary and classical music and Gregorian chant. He has distinguished himself as a composer, arranger and producer.
On November 26 a digital album "Songs from Montague Terrace (A Tribute To Scott Walker)" was released, featuring many wonderful performances from a variety of noteworthy artists. Sondre Lerche and his psyched-out take on “The Plague,” Coves wonderfully dreamy rendition of “Dutchess,” along with eight more inspired contributions. Another stand-out track is James Levy’s brilliant deep-voiced retelling of “It’s Raining Today,” which not only emulates Walker’s vocal style, but points towards his likely influence on Brendan Perry of Dead Can Dance, Richard Hawley and David Bowie.
You can listen to all the tracks on it streaming here
On December 1 a live concert album release party celebrating those songs was held at New York City’sLe Poisson Rouge.
Both the album and live show were produced by All Souls Music, the nom de plume of promoter (and musician) William Dirickx-Jones.
In addition to the all star cast of local and international performers contributing their voices to this show, a live string section was conducted by classical violinist/orchestrator Gillian Rivers.
Opening the show was Satomi Matsuzaki of Deerhoof, who's distinctive voice immediately set the tone for each sincere and heartfelt performance to follow.
Julia Haltigan appeared early in the night, much to the delight of many in attendance.
No stranger to this blog, Julia's talent and charms have been previously chronicled here
Adam Green (of Moldy Peaches fame) followed, adding a jaunty, lighthearted touch of class to the proceedings.
His performance was animated and energetic, providing an element that was particularly appreciated by the audience.
A notable appearance was made by chanteuse, lyricist, painter, and multimedia artist Little Annie.
There were more than a few solemn moments throughout the night, and this certainly qualified as one.
Eytan Oren brought things back to a somewhat amusing level with the way he went about his performance.
Reading the lyrics from his cell phone, I couldn't help think back to the time I saw Richard Hell do a show at CBGB's reading from a handwritten pad he had in front of him. Technological advances on this similar issue aside, Eytan's vocal rendition was a good as everything else he's done with his own band.
The duo known as Ex Cops turned in a beautiful rendition of Scott's wistful ode to the city of "Copenhagen."
Gillian's lush string arrangement and Will's gentle piano work provided the perfect accompaniment for Brian and Amalie.
Earlier this year an extensive interview and analysis was conducted with Ex Cops for The Deli Magazine, with expanded coverage here at this blog.
One of the bigger names of the night provided valuable assistance with overall show coordination.
Not only did Nicole Atkins sing brilliantly (as one would expect) but also contributed amusing banter and introduced many of the acts.
Her particular talents have been chronicled here on this blog many times, most recently here.
Invisible Familiars is fronted by Jared Samuels, a noted live and session multi-instrumentalist.
Joining Jared to lend their voices to his performance were none other than Cibo Matto and Sean Lennon. This provided an unexpected level of charged electricity to the overall proceedings.
Things rose to an even more dynamic level when South African born composer Ella Joyce Buckley and her band delivered a thrilling avant-garde rendition of "Farmer in the City."
With the most dramatic lighting of the evening, Ella and her band took one of Scott's most experimental compositions into a uniquely psyched-out direction.
Many in the audience appeared mesmerized by the sights and sounds.
Visually there were moments that shared similarities with classic New York psych-rockers like A Place To Bury Strangers.
The whole experience was thrilling and much respect has to be given for this grand performance.
For the nights final performance, string conductor and orchestra leader Gillian Rivers stepped out front to sing as Will provided piano accompaniment.
As it turns out Gillian is more than instrumental arrangements, and has a quite lovely voice.
So we can certainly add that to a resume that includes classical violinist, string arranger, in-demand live and studio session artist that has collaborated with Sonic Boom, MGMT, TV on the Radio, The Wordless Music Orchestra, Sigur ros, Yeah Yeah Yeahs, Nicole Atkins and The Pierces.
Gillian and this reporter during the evening festivities
Dave Cromwell has been writing about music since the dawn of the internet age. In addition to the steady flow of features here on this site, he has been a regular contributor to The Deli Magazine (both Print and Web) since 2010. With numerous Print Issue cover features and weekly contributions on the Deli website, scores of artists have received the Cromwell point of view. Along with ongoing contributions to this site and The Deli Magazine, Dave has written for Dingus, My Social List, The Waster, Spin and Rolling Stone magazines.
