Ablebody - All My Everybody - EP Review

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

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

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

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

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

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

Links for further information:

http://ablebody.bandcamp.com/

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

Eraas Interview - Foreboding Percussive Synthscapes

"Black House" leads off Brooklyn band Eraas’ self-titled album with an under two-minute instrumental of sustained textures. The track starts out mysteriously pensive, but ultimately transforms to a more dark and foreboding mood. This unsettling feeling is a theme that runs throughout the whole album. Deeper tracks like "A Presence" use metallic klang and deep tom percussion counterpoints against atmospheric synths and guitars. Vocals are delivered in hushed cadences. The rise and ebb of percussive pulses and sustained sound washes create tension and anticipation. "At Heart" begins with (then reprises) mechanical clacks that sound like pumping oil rigs off in the distance. Rolling toms and a dominant bass line create a foundation for falsetto vocals over top. “Ghost” emerges by way of slow, distant buildup.

Sleigh bell percussion shakes over a pulsing, heartbeat pattern as guitars engage in call and response open note structures. Block piano chords and cave-dweller drumming sets the pace for “Skinning” as various sustained melodies weave in and around it. Vocals are more discernible, with the tandem falsetto paired against a lower pitched tenor. “Moon” serves as an ambient interlude into “Briar Path,” which comes on driven by a clearly defined bass progression. The descending vocal melody line in “Fang” pairs nicely against a commanding bass line, while shorter percussion enhanced tracks like the aforementioned “Moon” and “Crosscut” place emphasis on overall ambience.

* * * * *

Q: The sound quality of the entire recording makes for a wonderful headphone listening experience. What did you use to create the sonic textures on the opening track “Black House?” Was it a difficult, labored recording process? Or did the tracks and ideas come together relatively quickly?

A: Thanks. Yeah that track is actually some bits of viola, violin and cello and some other things mixed in. Wind chimes in a strong wind. I think the landscape from Days Of Heaven was in mind for that track. The recording process was fairly labored, though I don't want to sensationalize it as bands often do. Bands love to say "Making this record was a nightmare" or amp up the fact that it was really difficult. We love the process and won't release the result til we're happy with it. A lot of work went into writing and recording ERAAS, but it was quite rewarding actually. A lot of it was about discovery and chance. I think it's important to be as specific as one feels necessary in order to execute something to their intention, but it's also bad to get caught up in analyzing things too much. I feel that more than 50% of the time "first thought - best thought" applies.

Q: What inspires the design of a track like “A Presence?” Do you create it with cinematic thoughts in mind?

A: I think this song has a "repetition as a form of change" vibe in mind, though it's not too repetitive on the whole, more the bass and drums in it that are after that. It was created, as most of this album was, with as you put it "cinematic thoughts in mind" - I think music is really visual for us, so whenever we're working on stuff it's less focused on the machinations of the elements than it is on the overall mood that we're trying to create. When we make music we're really just focused on creating a mood.



Q: There is an impression given at points within your song"At Heart" that sound like oil rigs clanging off in the distance. While rolling tom tom percussion create a feeling not dissimilar to the seminal work of Kate Bush and her groundbreaking "Hounds of Love" album, in particular the track "Running Up That Hill." What is it about the mood created by atmospheric washes and rolling percussion that appeals to you? Do you feel this kind of listening experience creates a time shift in ones perception?

A: Interesting comment on the oil rigs, and arguably more interesting about Kate Bush. We did not have that in mind at all. I'm not really sure we were thinking about a time shift in one's perception. But I will say that the atmospheric washes as you described did inform the rest of the song. It was started by recording chimes on a tape recorder that weighs about 8 lbs - then recording the warbled playback of that through a mic and manipulating it. That set the tone for the song and we built the rest of it around that sample. Vocals were last.



Q: Your track “Ghost” evokes thoughts of spiritual forces that have been with humanity since the very beginning. Who or what are the ghosts that impact your life?

A: I guess memories, nostalgia, romanticizing the past as well as the future - and decidedly *not* romanticizing the past or the future. The song is actually more political/social than anything regarding the direct relationship one has with a ghost or ghosts from their past/present. The first line is "Down the stairs of broken hope while torches light the big wall.." - it resolves into a destructive force that comes to aid in an unjust situation.



Q: The lyrics for “Briar Path” emerge by way of high/low vocal tandem, contributing to a sense of mystery and wonder. It’s more likely that the “briar” referenced is less about tangled plantlife, but instead suggests a difficult place or problem - a prickly situation in life. Would this be a more accurate interpretation? What else can you tell us about this song?

A: For Briar Path the idea was about escape. Someone escaping something adverse to them - not necessarily a person or a force, but a situation. It addresses the idea of not living up to your peers, falling short of rites of passage that are often bullshit anyway, but still you feel a bit of pressure. Trying to sort that out. Or just falling short of one's own expectations, trying to understand why you keep turning up empty no matter how often you try to surpass it.



Q: A number of the shorter, percussion emphasized ambient tracks like “Moon” and “Crosscut” hearken back to Brian Eno ’s seminal recording “Another Green World.” Did that record, or any following that one (which may have been influenced by it) provide inspiration for you to choose this particular path of writing and recording?

A: I'm a pretty big Stars Of The Lid fan but actually Austin did "Moon" on his own. Of course Eno is arguably the pioneer of ambient music and I have great respect for him, but again I think that track is just about something visual, a mood. It's brief and acts as a sort of palette cleanse or moment to step out of things before "Briar Path" begins. Never thought of "Another Green World" in relationship to anything I've done. Perhaps something more like "Apollo: Atmospheres And Soundtracks" that Eno did with Roger Eno and Daniel Lanois . "Crosscut" is more influenced by contemporary electronic music. Simply acts as a hybrid of the drums in "Briar Path" and "Fang" that allows them to go together.

This interview appears in an edited form directly on The Deli Website here:

Blog:

http://nyc.thedelimagazine.com/node/12832

Published Interview Link:

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

What You Should Know:

Preferred band Website address – http://www.eraasgroup.com

Origins: The Bronx, and southwestern CT.

What it is: Dark, atmospheric, percussive, electronic.

For those who like: The Knife, Glass Ghost, Yvette

Relevant info: Eraas tours the U.S. in February and March supporting TRUST.
Dates can be found here: http://www.undertheradarmag.com/news/trust_announce_headline_tour

Equipment/Recording interview for Delicious Audio

- How much of your recording is done at home versus in the studio?

We do it all in our own space. Wouldn't call it a studio per se and the location changes.

- If you use a studio, what do you record there and what do you record by yourself and why?

We record everything on our own. We're not fond of the idea of someone else having an influence on production/mixing and thus in effect, the songs. We have to do everything ourselves. Not saying we would absolutely *never* work with a producer, but definitely not in the foreseeable future.

- What are the pieces of equipment that you find particularly inspiring when recording at home? 

I can't reveal this. We have some nice equipment and a lot of shitty equipment. We like spring reverb, tape recorders, drum machines. Typical stuff I guess, but we are into chance. Sometimes we use things very conventionally, often we don't, for better or for worse.

- What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?

Not sure in terms of recording equipment. But I think we might add a bass VI one of these days. Because they sound beautiful.

- 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?

Self produced.

- Do you use rack effects or guitar pedals to forge your own sound? If you do, please list the ones you use the most and let us know why you love them.

We don't use rack effects really. We do use guitar pedals. Unashamedly we use a decent amount of boss pedals. I guess people think that's uncool, but fuck, they're built like tanks. I've been using the same RV-3 for going on 14 years.

- Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?

As I stated there's always an element of chance in our process. I think we just carry on til we have something we both like. We both know when it's done, or almost done.

- Who determines the direction and style of your recordings?

We both do.

- Is there a person outside the band that's been important in perfecting your recorded or live sound?

No.

-What other artists would you say have had the biggest influence in your approach to recording? Why?

Hip Hop. Home recordings of friends. *Some* classical music. Dub.

- Would you say that your live show informs your recording process or that your recording process informs your live show? Both? Neither?

Both. We're always changing our songs. We change them when we write them, when we record them, when we play them live. Sometimes we change the live songs a very long time after they've been recorded, or even a very long time after they've been changed in the live versions themselves. I mean months and years. We're often evaluating how they can be changed, improved, brought more in one direction or another. It just comes about like, "this section has always felt too long to me but I didn't realize till recently, can we try it this way or that?" etc

- Is there a piece of equipment that you find particularly useful on stage?

Not especially to be honest. We liked the SP404 for a while but we've scrapped it for now.

- 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?

We don't care about fashion. I'm not a flashy dresser, I wear the same things every day. Web design doesn't matter as much to me as it did 7 or 8 years ago. Maybe someday we'll have a big fancy page and all that but I think if you're listening to music in front of the internet it doesn't count for much anyway. I'd rather have people sit in a room and listen to our record front to back not being on the fucking facebook all the time. I realize that's not the way things are going, but still I'd rather not worry about some prestigious artful website right now. At least they can listen to it on a walk with headphones or something to that effect. As long as people can hear the music somewhere online and then if they want, take it elsewhere. However I do think album art is very important to contextualize things, obviously.

- What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?

I think the most challenging was learning how to make something without thinking what anyone is gonna say about it. You should treat everything you do like it's your first project. Also treat everything you do like no one is going to hear it, you're just making it for yourself. You can be yourself that way, and take risks and go to places you wouldn't otherwise. If you're thinking about what people will think a lot of the time, you're not doing it right. Also if you're hinging on your influences too much, that's not a good way to be in either. I find the best things happen when I tune out my influences and let things come more naturally. Might sound pretentious but that's really the way I've made the material I'm most excited about, and that lasts the longest for me without reeking of influences or sounding unsure of itself. I think the challenge in recording/writing is finding your voice and staying true to it. Emulating your influences is not inspiration no matter how well you do it. It should be about taking different things that mean something to you (music and not music) and making something new with that.

Teen Interview - Psych Gospel Pop

Fresh from honing her craft as a member of Here We Go Magic, creative force Teeny Lieberson embarks on a more personal project with her sisters, the psych gospel project TEEN. There is a retro feel to their debut album “In Limbo,” with the initial example being the opening track “Better.” Buzzy brass synth beds and jammy melodic keyboard lines run throughout. The lyric “I’ll do it better than anybody else” is repeated in a chanting cadence that serves as a hypnotic mantra of confidence. Though synths dominate, it definitely is not “dance music” by any stretch, as the drum track is firmly rooted in the rock canon.

The spirit of 60s girl groups like the Shangri-Las run through an ambitious in length, over six minute sprawler simply called “Charlie.” Methodically paced and bordering on David Lynch/Julee Cruise hypnagogia, a surreal element hovers over it all. Another slow building epic-length track is the meditative "Roses & Wine." With a steady bass pulse providing anchor for hypnotic, swirling vocals to weave around, clever word-play emerges from the lyrical content. "I break for roses and wine- for just a little more time - for there to be sparrows where there are crows - for the nest to pull into the undertow," ultimately putting forth the universal question "will you be missed when you're gone?"

* * * * *

Q: What motivated you to choose the uniquely retro musical style for songs like “Better?” Can keyboard rock once again carve out its own meaningful niche in present times guitar dominated indie rock?

A: When I wrote that song I was listening to a ton of Neu! and Brian Eno. That's where the 'retro' part comes in, I suppose. I wanted for drum tracks to just go on and on. I was doubling synth over synth to get that really thick sound that happens a lot in Brian Eno recordings. At that time, I wasn't really playing guitar, but now I'm playing it exclusively. So hopefully keyboard and guitar rock can merge it's own powerful thing.



Q: Presenting universal themes that are easily related to can quickly endear artists to their listeners. Is this kind of personal revelation cathartic once recorded? Is there sometimes a point where a song becomes less about you personal, and exists simply as a literary theme?

A: Absolutely. I find as a songwriter, if it's too close to home, the song can lose some sort of imagination. I don't really like to talk about my personal life that much, so by creating a character, the music becomes more inspiring, more like a play. It morphs into something magical and less intellectual. A cartoon version of yourself.



Q: Many of the songs on this album are over five minutes in length, with more than a few well over six. Do you see any risks in putting tracks this long out there, especially in today’s quick soundbite driven environment?

A: You know, I didn't really consider it because I just wanted to do what felt natural. We were all listening to a lot of kraut and psych so having long songs didn't seem like a big deal. But people definitely have less patience for it now. I'm still not sure if we'll take that into consideration for our new music.


Q: Did you intend “Roses & Wine” as a declaration to make time for the good things in life? The song seems to evolve into an internal rumination on having an impact on the world, or at the very least - some else's life. Would that be an accurate interpretation? Any other thoughts on what you might expect a listener to take from this track?

A: Yea, that's pretty close! I wrote it while my father was very sick and practically immobile. All I wanted was for him to be able to experience simple things like talking a walk, eating a big meal. I would've done anything to help him achieve that. So I wrote this song as a sort of prayer.



Q: How was the experience of working with producer Sonic Boom on the tracks for In Limbo? Did he offer advice on how certain things should sound?

A: Pete's wonderful. We really had a great time working with him. He really took basic ideas and turned them into swirling space. When he came into the project, our songs were full of track on top of track. He eliminated about half of them immediately. He's also a master at lifting things off the ground, and by taking the drums out, or the lows out of the bass, he would achieve that "alien" sound. It was really exciting to watch him work and understand that simplicity is key.



Q: Do you perceive your sound as a new twist on what is part of the psych-rock genre? That is, with emphasis on floating layers of vocals, as opposed to extended instrumental guitar jams?

A: Yes I would. And I hope other people do too. Our vocals are key to our sound because they're used as another instrument, another texture. I rely on them as a writer to do things that a guitar or a keyboard could. But I wouldn't count out guitar jams in the future. We might have some coming.

This interview appears in an edited form in The Deli Magazine, Print Issue No. 33, which can be found here:

http://nyc.thedelimagazine.com/12385/deli-nyc-issue-33-people-get-read-high-high-babies-chrome-canyon-electronic-scene-nyc-more

And directly on The Deli Website here:

Http://www.thedelimagazine.com/band-interview.php?artist=teen

What you should know:

Preferred band Website address :
http://www.facebook.com/teentheband

Origins: Halifax, NS & Maplewood, NJ.

What it is: Psych + Gospel + Pop + Psych.

For those who like: Warpaint, Pond, Maroon 5

Relevant info: TEEN's debut LP, 'In Limbo' was released 8/28 on Carpark Records. Produced by Sonic Boom. Played shows with Ariel Pink, Dean Wareham and Santigold + toured with Hospitality. "Better" was #38 on Rolling Stone's 50 Best Songs of 2012

Equipment/Recording interview for Delicious Audio

- How much of your recording is done at home versus in the studio?

About half and half.

- If you use a studio, what do you record there and what do you record by yourself and why?

It's fun to record on your own because you have absolute control. It can get so much more experimental when it's just you. But going into the studio allows the sound to be that much bigger and that much better.

- What are the pieces of equipment that you find particularly inspiring when recording at home?

Tascam 424 Portastudio- 4 tracks just do things on their own accord, so you never know what you're gonna get. Sequential Circuits TOM- great drum machine... the sounds are wacky and tunable.

- What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?

Anything that would make my vocals sound the best that they can. I still can't totally get them sounding as clear or beautiful as I want them too. Oh and a Korg MS-20 because it's my favorite synth ever.

- 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?

Nah- we're gonna work with a producer I think...No more home sessions with the band. I'm really hoping to work with my friend Daniel Schlett at Strange Weather on some future music. He's super talented.

- Do you use rack effects or guitar pedals to forge your own sound? If you do, please list the ones you use the most and let us know why you love them.

Pete (Sonic Boom) used a Roland SDE 1000 on our vocals (I think that what the unit was) and it sounded great. And Space Echo always get the job done.

- Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?

I approach things differently with different groups of people. When by myself, it's all spontaneous. I don't write anything beforehand. But with TEEN, we're trying to only track what we can play live, so that requires some rehearsing.

- Who determines the direction and style of your recordings?

Depends on who I'm working with!

- Is there a person outside the band that's been important in perfecting your recorded or live sound?

Sonic Boom.

-What other artists would you say have had the biggest influence in your approach to recording? Why?

The whole Here We Go Magic crew. I kind of learned everything I know from them. They taught me the value in improvisation, looseness. Nigel Godrich was amazing to work with because he wouldn't let you get too in your head. Mistakes can be happy.

- Would you say that your live show informs your recording process or that your recording process informs your live show? Both? Neither?

Both. I think they naturally influence one another.

- Is there a piece of equipment that you find particularly useful on stage?

Boss Metal Zone. Dirty and kinda cheesy.

- 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?

We've worked with a lot of people, all of whom have been amazing. Valerie Gnaedig + Annie Lenon (winsomebrave.com) did our website. Sam Fleischner + Megha Barnabas worked with us on the "Electric" video. Janis Vogel has done two videos for us now. I think the visual aspect can be equally as interesting as the music and we're always aiming for that. We've been very lucky to work with these amazing artists.

- What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?

Self-criticism. Allowing things be loose. You don't want to lose spirit but it's so easy to get caught up in minutia. It's much better to let things be.... But when you get out of the heady struggle of mixing and you feel kind of proud, being able to share your music with your friends is the most rewarding.

The Babies Interview - Catchy Lyrical Melodic Rock

With their follow up album "Our House On The Hill" now out on Woodsist Records, Brooklyn's The Babies exhibit the cohesiveness of a fully realized band. Lead track "Alligator" finds Kevin Morby presenting his vocals in that conversational style first made popular years ago by Chuck Berry (think "Memphis" or "No Particular Place To Go"). The opposite of flowery (or obscure) poetry, the words come at you exactly the way people talk to each other. "There's no plans - watcha doin' later? Take my hand - alligator." And "I like your hair - how do you do it?" Ultimately the frustration is revealed when it's stated "It's no fair that you're taken. It's unfair, that you're spoken for." "Slow Walking" is classic boy/girl duet with lots of tongue-in-cheek "whoah oh wah" background vocals. What initially seems like an "I don't love you anymore" song twists and morphs along with way, with Cassie saying later on that "I'm not leaving like I said I would." "Get Lost" churns along a buoyant four chord progression with that now instantly recognizable Cassie guitar lead sound. These instrumental notes played are melodic to the point of being lyrical - that is, as if they are another set of lyrics.

Q:  Do you feel the type of lyric and vocal presentation on a song like “Alligator” allows listeners to quickly get into your music and the messages it is attempting to convey? Does Cassie play all the smokin' guitar leads? (and especially the one on that song?) On that note, how did the recording of the whole album go? Is there a fair and agreeable distribution of who plays what when it comes time to lay down tracks?

Cassie: Kevin's said that when he wrote "Alligator" he was trying to channel a Jonathan Richman style of storytelling. As for the leads - Yup! There are a few leads I don't play - Kevin plays lead on "See The Country" and part of "Slow Walkin" and Tim Presley of White Fence plays lead on "Chase it to the Grave." The recording was a very smooth process. We recorded many of the songs after having played them live a bunch, and we tracked most of the instruments live.

 

 



Q:  Is there a certain amount of wry humor being projected on the album? Who brought “Slow Walking” to the table first? Do the two collaborators then write their own part of the story?

Cassie: "Slow Walkin" is a song that I had half written before I showed it to Kevin - I saw potential for it being a good song for The Babies but wasn't sure where to go with it. Kevin and I jammed on it with acoustic guitars for about an hour and then it was a done deal. Even though I came up with it first I think of this song as being very collaborative - everyone in the band contributed something to it.

Q:  "Mess Me Around" channels Black Francis at his peak Pixie period and even the sustained lead guitar lines sound like an homage to that band. Is the accusatory "you're a dumb idiot" lyrics your sense of how those "messing you around" perceive you?

Kevin: "Yes, although I am not the character in the song. But to that character, that is correct. It's a chant of anger and frustration towards a situation you were born into and wish you could get out of. It's pointed at all sides actually, outward towards an enemy, as well as inward, towards one's self."

 



Q: "Baby" is the first Cassie solo lead vocal. "I got a reason now - for you to come around." It goes from initially sweet and heartfelt to demanding - "you gotta come around." The video recently released to accompany depicts the universal fantasy of when singing Karaoke, you are imagining yourself on stage at a huge venue. The video itself is charmingly low budget in the way Sonic Youth would sometimes do. In fact, the deadpan vocal presentation hints at Kim Gordon cool. Does Cassie see Kim as any kind of influence or reference point for her own pubic personna (music or visual style)?

Cassie: I love Kim Gordon and Sonic Youth, but I can't say that she (or anyone else in particular) has had a huge influence on the way I sing or present myself in public. With my singing it's like - it's the only way I know how to do it. I don't even want it to sound like it's deadpan, but I guess that's how it comes out. I have been influenced in recent years by Lou Christie . He has really innovative vocal arrangements and I love his use of falsetto. Also the harmonies of bands from the 70s, like the Carpenters and
America .



Q:  “That Boy” finds Kevin detailing everyone’s (it seems) heartbreak. The seemingly simple rhyming quality of the couplets give the impression of an unlabored composition. As if it flowed out quickly with relatively little editing. Is that an accurate impression or was there more designed effort involved?

Kevin: "That's pretty spot on. The song has never had much structure, it's a song I had written a long time ago, that was never too defined, just something I would always come back too when idly strumming the guitar, and I tried to capture that essence in the studio by just doing a few takes of me playing it."

Q: Kevin shows up solo with acoustic guitar on the quiet and instrospective "Mean." Delivered in class Boby Dylan style, the "chorus" (including Cassie on ghostly background vocals) consists of the one word "mean" (repeated three times). A surprising saxophone solo makes its way into the mix unexpectedly. The Dylan vocal stylings are taken further with "On My Team," progressing it forward the way Bob did from his early acoustic recordings to the full instrumentation he realized with The Band. The repeated title line morphs from Kevin vocal only to Cassie fully out front. Has the Dylan influence been as profound on you as so many others have stated over the years? Is he still the gold standard that songwriters look to when making music that puts its emphasis on lyrics?

Cassie: Kevin really loves and is inspired by Bob Dylan. Me, not as much. I like him but there's a wall there that I haven't broken down. I'm more of a Neil Young kinda gal.

Note: I had previously written a review of signficant album track "Moonlight Mile" here:

http://nyc.thedelimagazine.com/node/10446

Q: "See The Country" is another Cassie lead vocal, with Kevin on background. "Gonna see Sedona in the snow, and the rolling hills of Idaho" is how this travelogue goes. Ultimately "where will I go?" becomes the thematic hook. Touring extensively the way you now are, do you feel you're getting an adequate opportunity to see all the interesting things this country has to offer?

Cassie: Yes. I've always loved traveling across America since I was a little kid and my parents would take me on vacations to the National Parks. Part of the reason I love touring is getting back that childhood feeling. It's wonderful to be able to see so much beautiful scenery.

This interview appears in an edited form in The Deli Magazine, Print Issue No. 33, which can be found here:

http://nyc.thedelimagazine.com/12385/deli-nyc-issue-33-people-get-read-high-high-babies-chrome-canyon-electronic-scene-nyc-more

And directly on The Deli Website here:
www.thedelimagazine.com/band-interview.php?artist=the-babies

What you should know:

Preferred band Website address – http://thebabiesband.tumblr.com

Origins: Brooklyn, NY.

What it is: Melodic three minute rock songs with lyrical emphasis.

For those who like: Modern Lovers, Pixies, Dinosaur Jr.

Relevant info: The Babies released their second album “Our House On The Hill” this past November on Woodsist Records.

Equipment/Recording interview for Delicious Audio (featuring Cassie and Kevin)

- How much of your recording is done at home versus in the studio?

Our latest record was recorded in a nice studio. Our first album was technically recorded at Kevin's house, but it was a studio-like setup, recorded by Kevin's bandmate in Woods, Jarvis Taveniere.

- If you use a studio, what do you record there and what do you record by yourself and why?

Our only release that we have recorded ourselves was the EP "Cry Along With The Babies." We record in a studio because we're a full band and it seems like it would be difficult to make a decent-sounding recording with the whole band.

- What are the pieces of equipment that you find particularly inspiring when recording at home?

Kevin and I both have Tascam DP-008s that we use when recording on our own.

- What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?

I'd like to have a reel-to-reel 8 track and an old tube condenser microphone.

- 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?

Our next record will likely also be recorded and produced by Rob Barbato, who we worked with while making "Our House On The Hill." We love working with him. He is extremely talented and easy to get along with.

- Do you use rack effects or guitar pedals to forge your own sound? If you do, please list the ones you use the most and let us know why you love them.

I use an Electro-Harmonix Memory Boy and a Boss Super Overdrive while playing live, and also while recording sometimes. Kevin uses a booster pedal playing live and that's it. We also both sing through Holy Grails.

- Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?

We wanted our last record to have the energy of playing live, so we tracked almost all the instruments live for many of the songs.

- Who determines the direction and style of your recordings?

It's a group decision.

- Is there a person outside the band that's been important in perfecting your recorded or live sound?

Rob Barbato was incredible as a producer. He brought many ideas to the table that made our recording sound way better than it would have otherwise.

- Would you say that your live show informs your recording process or that your recording process informs your live show? Both? Neither?

Both. Our live show informs our recording primarily, but there are some parts on our record that we hadn't been playing live, and after we recorded them we started.

- Is there a piece of equipment that you find particularly useful on stage?

I love my '65 Fender Pro Reverb amp. It never lets me down. It's hard to play out of other amps sometimes.

- 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?

I'm a visual artist as well, so the visual component is very important to me, especially in terms of album artwork and music videos. It's important for a band to have a defined aesthetic, whatever that means to the band themselves.

- What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?

There can be stressful moments when someone is trying to nail a part and it takes a while. However, it's extremely rewarding when you listen back to the song and it sounds better than it did in your head.

*****

An edited version of this recording and equipment interview can also be found at The Deli Magazine Delicious Audio site, located here:

http://audio.thedelimagazine.com/the-babies-and-the-recording-process

Ex Cops Interview - Shamanistic Sound Design

 

Creativity in both songwriting and sound design are the first things you notice about Brooklyn ’s Ex Cops.  With the release of their debut album “True Hallucinations,” the tandem of Brian Harding and Amalie Bruun present an eclectic collection of diverse pop styles.  Capably assisted by band members Sam Bair (drums), Leif Huckman (bass) and Kai Kennedy (guitar), the groups sound is also molded by producers Dan Shapiro and John Siket . The album opens with an under two minute percussion-and-bass-heavy, mostly instrumental piece mysteriously called “S&HSSX.”  First single “James” employs an appealing blend of keyboard pads and background vocals, set off against twangy western guitars. The lyrics reference imagery like a “broken bottle in a plastic tomb inside a darkend room,” how “there’s nothing left to steal” and “going insane on a subway train,” suggest themes about internal struggles with addiction. The album is being released by New York’s Other Music label.

 Q: You’ve chosen to title your album “True Hallucinations.” The definition of a hallucination is to see or experience something that isn’t really there, or that exists only in your mind. Yet pairing the word “true” with it implies some kind of factual basis. Is this the impression you want to convey with this title? To present these songs as a reality that appears like a dream?

 

A: I lifted the title from a book by Terence Mckenna . He goes on a bunch of shamanistic trips where he experiences visions of the future and past. Some of these things were drug induced but in his mind's eye they were completely real. I always liked the title and wanted to use it for something and this record made total sense.

 

Q:  The opening  track “S&HSSX” appears to include some foreign language spoken word narration. The title initials surely stand for something. Can you reveal what they are? The clacking percussive force is reminiscent of Brian Eno ’s “In Dark Trees” Have you found any influence in, or are you a fan of Mr. Eno ’s work?

 

A: If I told you what it stands for, I'd have to kill you, so no, I can't reveal what that stands for. The foreign narration is Roman Polanski who has been a big influence on me. He can't tell you what he says either.  I love Brian Eno . Here Come the Warm Jets scared the shit out of me when i was a teenager, and it still sort of does. I just saw a performance of Apollo at the WFC Wintergarden with Mike Gordon and some others and it was beautiful.

 

Q: An early release of yours (now included on the album) is the song "The Millionaire." The lyrics to it are cryptic, making one curious as to their meaning. Somehow children being a "reaction" lead to "sympathetic crimes" among other things, ultimately coming back to "remembering" the individual referenced in the song title. Though lyrics often fit together due to their rhyming qualities (and these certainly do) can you shed any light on who or what this song actually refers to?

 

A: This is something that's new to me because I wrote the lyrics in about 5 minutes, and usually when I do this they don't really mean anything, or maybe they do and I just don't care about knowing, sorta like a dream that's really fucked up but it's better just to go back to sleep and forget about it. But I'm still trying to figure this one out. I just always see a dark forest and gnomes when I hear this song. I dunno.

Q: One deeper album tracks like " Billy Pressly " come off as enthusiastic sweet pop that drives along a rolling drum pattern. With the lyrical hook expressing a sentiment to "dry your eyes," the tandem male and female vocals are processed to a television show ready sheen. Do you envision songs like this one potentially being shopped to a medium like that?

 

A: If they pay me enough, they can put it on Honey Boo Boo. But no, it wasn't the intent. This was a tough song that went back and forth between sounds, but we decided to make it pretty polished. I basically asked John (Siket) to make it sound like Dick Dale playing the Vaselines.

 

Q: "Nico Beast" is also built around an energetic drum pattern, that slowly melts back into playful vocals and other instruments moving up in the mix. While much of the track features studio enhanced, cleverly placed vocals, the song ends on a loose jammy feel, revealing the basis of what the track was initially structured on. Is this song title referencing the Velvet Underground chanteuse? As one of the least commercially pop songs on the record, do you feel it's important to show this other side to your sound, especially with the many straight pop songs included?

 

A: This was one of the first songs I ever recorded in that little room in Bushwick with Dan Shapiro . I don't remember recording this song for a number of reasons, but it was something that happened organically and I wanted to include that aspect on a record of mostly pop songs. I like that it's 2nd to last, sort of like a credits for a film and a bit of "Hey we can also do this" wink. I wasn't really thinking of Nico at the time, but I guess she was kind of a beast.

Q: Other songs on the album like “ Ken ” (driving pop with lots of vocal hooks layered in and around each other), “Seperator” (clearly defined four chord guitar progression and distinctive tambourine stroke. Rising harmonics on the chorus is powered by quickly strummed guitar shimmers) and “Spring Break (Birthday Song)” evoke the joyous innocence of early British Invasion pop, that initially took the world by storm in the early 1960’s. While another deep track “Jazz and Information” moves away from the sweeter pop, showing a more mature outlook both musically and lyrically. The addition of saxophone to the sonic mix underscores this point. Do feel all of these diverse styles can be presented to a listening audience without any confusion as to what the Ex Cops sound actually is?

A: This is something that is always a thing with me, for better or worse. I'm the dude who thinks the White Album is the best Beatles record. I have a really short attention span and I love a lot of music. I would love to be able to go in an make a Can record using the same 4 instruments and creating a totally controlled sound, but it's not me. I like to jump around and get into trouble. This album moves along in waves but it's still in the Atlantic.

 

This interview appears in an edited form in The Deli Magazine, Print Issue No. 33, which can be found here:

http://nyc.thedelimagazine.com/12385/deli-nyc-issue-33-people-get-read-high-high-babies-chrome-canyon-electronic-scene-nyc-more


What you should know:

Preferred band Website address – www.facebook.com/pages/Ex-Cops/134183596643923

Origins: Kai and Sam are from Madison, WI . Leif is from CA.  Amalie is from Copenhagen . Brian is from Charlotte, North Carolina.

What it is: Devotional Tropical Goth.

For those who like: Vaselines, Beatles , Raveonettes

Relevant info: Ex Cops release their debut album “True Hallucinations” in January on Other Music Records

Equipment/Recording interview for Delicious Audio (featuring Brian Harding, Dan Shapiro and John Siket)

- How much of your recording is done at home versus in the studio?

Brian: I usually start out recording a rough track of me playing shitty drums in our practice space and layering it on Garage Band, something I've gotten a cursory grasp on. Or I'll find someone whose good at it. Our first EP was totally home recorded and I do love that warmth and weirdness, but I love combining both, which can be a rocky road, but I love records like Odelay which sounds like a bedroom recording but is like a million dollar record done by the Dust Brothers.

- If you use a studio, what do you record there and what do you record by yourself and why?

Brian: I've been in an out of studios a lot in the past 5 or 6 years, and I love recording in them. I feel totally at home in a studio and I love every single aspect of it. From playback, to smoke breaks outside, to ordering food, to staying up late doing overdubs, everything about it makes sense to me. On the other hand, recording in your room with a friend is also greatly satisfying. I guess I just like pressing the button.

- What are the pieces of equipment that you find particularly inspiring when recording at home?

Brian: I like to collect percussion stuff. I think that stuff can make a song. Like half the songs on Exile are so cool and that's because of all the weird shakers and drums they had lying around. Same for Remain in Light and a lot of Spoon records. As far as gear goes, I'll pass this to Dan and John:

John S: I'm really fond of my UREI LA3's, my API 3124 and my Lexicon 300L. Brian has a penchant for reverb, and I used the Lexicon extensively. I think you can really hear it on " James." I really like percussion as well, and I can get a bit obsessive about parts and sounds. I did a lot of tambourine and shaker overdubs with my buddy, Patrick "Taps" Guden. We used a 70's Neumann U87 for that. That mic worked well for that application. In a couple of places I used a Copperphone as a randomish drum mic--you can hear that in the breakdown of " James ." That sound was exactly what the mic picked up--no processing. It was serendipitous.

Dan: My favorite pieces of gear are my MacBook Pro and my Apogee Duet. They really allow me to keep up with Brian and get some great sounds quickly, when the songs are still coming together. This way, we spend more time creating songs, and less time trying to find the perfect snare tone.

- What one piece of hardware/software would you most like to add to your recording setup (cost not an issue)? Why?

Dan and John: I had a conversation with John about how he used to have a Fairchild 670. I would love to add that to my setup and run everything from vocals to 12-string guitar solos through it.

- 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?

Brian: I like both. I'm a control freak and I don't love the idea of a producer deciding EVERYTHING in a little room. That being said, working with John was so rad because I could do both, and also listen to his ideas which were cool. I'd like to bust Phil Spector out though. Hope he makes it to 88.

- Do you use rack effects or guitar pedals to forge your own sound? If you do, please list the ones you use the most and let us know why you love them.

Brian: I'm pretty happy with the guitar pedals on garage band. We did 100 percent of the EP "White Women" on GarageBand pedals. I like the blue delay, the chorus, and a few others I can't think of. For the album I use Boss Delay, Boss Chorus, Holy Grail reverb, and a modified Ibanez TS-9 overdrive.

- Do you have a particular recording style that you aim for? What techniques do you employ to recreate it?

Brian: I just want it to sound as organic as possible. The moment it starts to sound to slick I have a panic attack and instantly want to fuck it up somehow.

Dan: Definitely the more organic, the better. I like to think on my feet, and adapt to whatever sound we are going for.

- Who determines the direction and style of your recordings?

  Brian: I like to think that I'm the captain, but I'm always (sort of) open to new ideas. I can get a little bombastic about it being a certain way, and I realize I have demo-itis because I've been listening to it in my head for so long in that way. But I definitely always have an idea of who or what I want it to sound like and will fight to the end to keep it.

- Is there a person outside the band that's been important in perfecting your recorded or live sound?

Brian: I mean Dan and John have obviously been super important. We still have room for live sound improvement, having only been playing for like a year, and we are looking to get a permanent sound guy for local and tour support. I can't fuck with some of these sound guys!

-What other artists would you say have had the biggest influence in your approach to recording?

Brian: I'm obsessed with the 33 1/3 books. I love Dylan 's approach and wish I could bottle up that laissez faire attitude that he had. You hear 10 different versions of Visions of Johanna and they're all good and it feels like he just picked one out of a hat. It's incredible to me. Then I'll watch the making of Rumours or Aja and it's like, oh shit, that's cool too! To be that mathematic about the process while still retaining a soul.

- Would you say that your live show informs your recording process or that your recording process informs your live show? Both? Neither?

Brian: I think, with us, the recording informs the live show. I love bands that can capture the recording in a live show. I saw Neil Young a couple years ago and was shocked at how much Old Man sounded EXACTLY like the recording. For the longest time in past projects I was lazy about live shows and I just can't do that anymore. I want it to sound great, and we have an amazing band that can do that.

- Is there a piece of equipment that you find particularly useful on stage?

Brian: I'm happiest using Fender amps. You can't go wrong with a Deluxe. And oddly enough I'm super into Roland JC-120's.

- 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?

Brian: We have PR of course, Solid Gold who are amazing. I do Twitter and Facebook. We come from backgrounds of art and fashion, so yeah, we can't not be involved with that. You look at Factory records and the amount of thought they put into visuals and aesthetics are crazy and admirable and we don't take that lightly. We have an in house photographer, Annelise Howard Phillips . We like clothes. You will never see us in cargo shorts.

- What do you find to be the most challenging aspects of the recording process? On the flipside, what aspects are the most rewarding?

Brian: Everything is a challenge, or we wouldn't be doing it. But hearing the playback on the ride home is pretty rewarding.

December Live Shows-Lazyeyes, Sparxx, Dead Stars + more

December 2012 has been something of a whirlwind month regarding live shows attended.  That combined with event previews, longer writing assignment and interviews has made for the kind of alternating anxious/euphoric feeling that seems to dominate my activity at this time of year.

Things kicked off on the first Sunday night with a show at Legion, located nearby the ever-growing-in-popularity neighborhood of Bushwick, Brooklyn.

Hippy quickly won the audience over with their appealing brand of alterna-rock that places emphasis on vocal harmonies.

The songs are well-crafted and capture the essence of what made a band like The Pixies so initially appealing.

Up next was the female-fronted heavy-thrash sounds of Sharkmuffin.

Their explosive, high-energy set ended with vocalist/guitarist Tarra smashing her guitar to bits.  The shock value was not lost on the audience.

Worthy of a photo op, the artist proudly displays her handiwork.

Finally getting a chance to catch my friend Lindsey's project for her original songs - BabyAcid.

Kyle and Linds have a chemistry that works well together, and it can be felt in songs they presented on this night.

*****

That following Friday afforded an opportunity to venture out again (after staying in all week to review music and prepare interviews) - checking out Brooklyn Bazaar for A Night Of Curated Music presented by that very publication I spent all week staying in and writing for - The Deli Magazine

Of particular interest was catching the set from a band who impressed over the summer (at the 4 Knots Fest) - Devin

Devin the band (and their charismatic frontman) put on a most entertaining, hard rocking show.

The tunes are killer - the show dynamic - there is a lot to like here.

The venue itself is something of anomaly as far as the Brooklyn rock scene usually goes.

L-shaped with a huge flea market vibe, the area furthest from the stage has a bank of ping pong tables and the above wide open room for this huge game of kickball ongoing.

Joining me for the fun on this night was Young Unknowns singer/songwriter/guitarist Meredith.  Her recorded works and live show is definitely worth checking out.  Give a listen here:

Emily Wells headlined the night.  Her sound a unique one-woman show that put emphasis on synth loops, electronic and acoustic percussion.

*****

The very next night it was out again, with the first stop at Pianos on the lower east side of Manhattan to catch  Lazyeyes.

Having written a preview for this show that ran on The Deli Mag website, I described their song "Wait" as wrapping itself in a lush atmospheric bed, with butterfly high-hat percussion syncopating between dueling open note arpeggios and rising guitar melody lines. While the vocals come across as impressionist colors against pastel blue and pink skies.

"Nostalgia" is paced a bit quicker as more distinctly dominant guitar riffs drive to a delightful instrumental conclusion. Iconic 90's bands like Ride through present day jammers Diiv act as reference points, as they all share similarly appealing qualities.

The revelers at Pianos, checking out the band.

*****

Rushing over to Muchmore's in Williamsburg, Brooklyn, I arrived just in time to catch the set from Marlon Rando.

Their sound was properly guitar heavy - as one sporting a flying vee should be.  Additionally, that mini keyboard pictured there produced a rich background wash of lush textures.

--------

Next up was the band I've come to know and love over the last two months - Sparxx

Fronted by the captivating presence that is Heather Sparx, the band delivers tightly crafted dreampop.

Both guitarist Justin Matthews and drummer Cinque Kemp exhibit a highly evolved level of musicianship that is both impressive and entertaining.

Heather is very much out front, however, and embraces this central role with appealing charm.

While the boys keep the sonics a bed of swirling synths, thundering percussion and soaring guitar textures.

_____

In under a weeks time another Sharkmuffin show was experienced, and although no instruments came to destruction this time around, the high energy show was still there.

Tarra takes command of the proceedings with catchy songs and impressive guitar riffing.

There is still a recklessness lurking just below the surface, and the set ended with her charging out into the crowd and body slamming a number of the audience members.

*****

Four days later is was back at Muchmore's to catch a night of music kicked off by the mighty Quiet Loudly

Faulty guitar cables and FX boxes cannot hold this band back for long, as Max and the boys laid down the gospel of rock as it should be.

When you are a badass drummer - you just know it. Serious beard too.

Quiet Loudly play exactly that way. (The quiet bits set up the Loudly one's so much better!)

Check out this amazing song by them:

_______

Next up was the now increasingly familiar sounds of Lazyeyes

The boys delivered tight, efficient set that keeps the focus firmly on their hook-laden songs.

A few audience members attempted to engage in some enthusiastic slam dancing.

The band did their part by crunching out it's signature sound.

While the further audience members jostled for maximum rock stomp n' view position.

_______

After hearing about the next band for the last few months, it was finally time to check out the explosive rock of Dead Stars

These guys are the definitive power trio, crushing out a tightly coiled set of hook-laden pop songs.

Ferocious bass, thundering drums and classic 90's era grunge-pop guitars compliment vocals and lyrics that exhibit intelligence and wit.

The often delivered in tandem voices of cousins Jeff and Jaye Moore give the band a fuller overall vocal sound.  That combined with killer guitar melodies and overall strong songwriting points to a band that is clearly on the rise.

 _______

Heliotropes came on and proceeded to whip the the audience with their guitars like a Steve Albini sledgehammer.

These four ladies present a deep heavy sound that (to my ears) take the best of 70's metal pioneers like Black Sabbath and Ted Nugent and put a female voice on the front of it.

There is a refreshingly early 1970's vibe to it all.  The pace is measured and foreboding - until it explodes into  a burst of hair whipping frenzy.

Time signatures change - the pace quickens from doom-laden plod to speedball ferocity.

Fellow show chronicler Dean Keim covered this night as well, and can be read here:
http://deankeim.tumblr.com/post/38344041158/heliotropes-dead-stars-lazyeyes-and-quiet-loudly

******

Keeping with the two day rule, Friday December 14th had me back out at Brooklyn Bazaar for another really big show!

Arriving in time to catch some of Habibi's set I was left with a positive impression of both image and sound.

Black Marble followed, and their near-gothlike sounds appeared to find much of their inspiration by way of Andrew Eldritch and his Sisters of Mercy

Headliners The Pains Of Being Pure At Heart ripped through a fast-paced set of tunes that drew equally from their first two albums.

Pretty Peggy Played in Platform Shoes

The Pains continue to put on high level, professional shows, while still managing to hold on to their indie kid roots.

*****

A mere two days later it was back out again for what was being billed as a new indiepop party called "Rough Smooch." With TPOBPAH frontman Kip Berman and WNYU's Maria Sherman on DJ duty, the crossroads of neighborhoods Williamsburg and Bushwick bar Legion was a particularly happening location on this evening.

Maria and Kip played songs that drew from their own unique, personal collection which included tracks by The Indelicates and pre-Loveless era My Bloody Valentine.

The Grand Resort opened the night's live show and quickly took charge with their tightly coiled pop songs.  In addition to their excellent originals, they covered one of the best songs the 1990's produced.  Check it out:

Following them were local rockers Kissing Is A Crime, who kept the party going.

Meanwhile, out in the DJ room, Kip was busy keeping interested fans entertained in between song selections.

Jen snapped a photo of Lisa, myself and Monica - reminiscing about the show we attended together just two days earlier.

Back to the stage area, The Hairs finished off the night's live show entertainment.  Earlier this year I wrote a Deli Mag feature on this band, which can be found here:
http://nyc.thedelimagazine.com/node/9686

Two days following that had me dropping in to a coffee and wifi establishment frequented by IT types to catch up with an old friend.

I first met Ed Van Beinum in 2008 while he was on tour playing drums in the band The Indelicates.

Detailed accounts of their New York shows can be found chronicled in this very blog at these links:

http://davecromwellwrites.blogspot.com/2008/07/indelicates-live-in-new-york-new-jersey.html

http://davecromwellwrites.blogspot.com/2008/07/blog-post.html

http://davecromwellwrites.blogspot.com/2008/07/w.html

******

In keeping with an event every two days, it was out again on Thursday the 20th - this time for shows happening at two separate venues.

First up was Glasslands and the opportunity to reconnect with last years new friends and faves The Mast

I had previously done an extensive interview with them for The Deli Magazine last October, which can be found here:

http://www.thedelimagazine.com/FeatureView.php?artist=mast

Though vocalist Haale is still the central focal point of their music, the overall sound has evolved significantly since then.

Gone are percussionist Matt Kilmer's live drums, with the duo choosing to go a strictly high tech electronic route for all instrumental backing.

Matt now plays a variety of keyboards and electronic-trigger hand drums to create the full and magical sound they make.

Listen in to how they sounded on this evening:

******

Immediately following their set I rushed on over to The Lab in Bushwick for an event I had written a Deli Mag preview for earlier on in the week.

My fave new discovery of the last two months - Sparxx - was headlining a night where they would be shooting footage for their debut music video.

Dream-Pop from Bushwick, NY: Sparxx

http://nyc.thedelimagazine.com/node/12084

Arriving just in time to catch the set from emerging rockers Slonk Donkerson

these boys have the right attitude and musical chops to build on.

Their songs are good and the approach dynamic enough to keep everyone interested.

-----

Once again, the melodious tones of Brooklyn rockers Hippy graced the stage.

Nick and Jenny have really catchy songs that are so much fun everyone immediately starts dancing with a smile on their face.  The true essence of the live show experience.

In addition to being a cool bass player, Jenny works at SiriusXM Satellite radio, which I've been a subscriber to since the mid 2000's.  There are so many great channels on there that I'm never bored in the car (and especially for the late night journeys back from these very gigs).

There's a lot to like about Hippy

-------

The main event on this evening was the live performance and video shoot for Sparxx debut music video.

Heather looked even more resplendent than ever, with cat patterned coverup frock and the jeweled headpiece that graces her bandcamp page image.

There is a punky edge to the glamour, however - for all the dance trappings - Sparxx never strays too far from the rock band they really want to be.

Or perhaps it's all just the perfect hybrid of both worlds.

Listen to how they sounded on this evening:

-------

The boys and girls who love Sparxx

Heather approves

******

Staying consistent with the every other night out pattern, it was off to the final night of Brooklyn Bazaar's wonderful series of free shows on Saturday, December 22nd.

Battling the traffic into and the subsequent nightmare scenario that is finding a parking spot in Williamsburg on a Saturday evening, I made it just in time to catch the set by new friends Dead Stars

Jeff Moore and his band sounded better than ever on the bigger stage.

Having a kick-ass drummer that also sings background vocals will certainly enhance any band - and Jaye fills that role masterfully.

The boys sounded awesome on this day.  One of my fave new bands!

Check out the killer music here:

Following Dead Stars was the electronic textures of Dan Friel

The man cranked out a sonic stream that paid homage to early Tangerine Dream and Kraftwerk

------

Tiny Victories were next to take the stage.

Once again, electronic textures were the dominant sounds, but more defined songs with vocals.

Full trap drums kept the rock element alive throughout many of the selections.

But hammered on electronic percussion was also employed in equal measure.

*******

Finally it was time for previously unannounced super secret headliner - none other than Toronto hardcore act Fucked Up

Having first caught their show the previous summer at The House Of Vans, I knew what to expect and was fully ready for it.

Frontman Damian "Pinkeye" immediately launched himself into the crowd, getting lost and winding up on the far wall - charming the audience there.  Though "Event Security" were initially prepared for potential wrestling matches - the audience actually behaved perfectly according to "slam dance rules" and there was no unnecessary trouble in that regard.

The band behind Damien is a full on throttling machine.  Quite proficient at that speedy punk sludge so necessary for this kind of act.

I particularly enjoyed the playing of bassist Sandy Miranda (a/k/a "Mustard Gas") who can be learned all about via this link here:
http://heartymagazine.com/features/sandy-miranda-of-fucked-up

Smart looking girls with glasses like to hardcore slam jam too.

******

A fitting end to a month of far too many shows to actually blog about (and yet - here it is).  Body slamming in a pit in front of a thrash band with a crazed lead singer and followers who enjoy the physical contact of random smashing into each other.

I guess I haven't outgrown this yet either.