I recently went to see Tinker Tailor Soldier Spy at the cinema. Of course, on the surface that doesn’t have much to do with the release of Reuben Bullock’s new record Man Made Lakes, but bear with me. When I saw Tinker Tailor, my immediate thought upon leaving the theater was “That was an idea was so complex yet genius I’m amazed no one had done it earlier.” And that’s exactly what I think when I listen to this LP.

Before I go any further I must admit that I am not writing this based solely on the strength of Man Made Lakes. I also listened to tracks from the band’s previous LP Pulling Up Arrows, another recommendation. As far as the new stuff goes, “Avails of Loneliness” is phenomenal. It’s easy to marvel at its technical skill, but there are other things to be impressed about as well. The closest I can get to describing this track is comparing it to Noah and The Whale, but darker. Having said that, there is a fantastic layer of uplifting keyboard melodies toward the end that completely changes the track’s mood. The vocals are very similar in this track to those of Charlie Fink, a complementary comparison in my book. Springsteen and Gin Blossoms are relevant as well.

The track the duo have chosen to release to the iTunes of the masses is “The Rain”, which is a fine track, just not as emotional as “Avails of Loneliness”. What it does do, however, is show that this is a band with competent and complex songwriters striking enough to be compared to the likes of Arcade Fire or Bright Eyes. I can honestly say I have no idea what any of the songs I have listened to are about, but it’s clear that the fantastic imagery used paints pictures of honest sentiments. “You are the rain and I am the last thing that you touch.” I haven’t got a clue what that means, but it’s sheer poetry in terms of the imagery.

Without a doubt, Reuben Bullock are a band that, over the strength of two LPs, have demonstrated they can tread a very fine line between desperation and euphoria like they don’t exist. Seriously, just listen to “Avails of Loneliness” a couple times and you’ll be hooked. I can’t wait to hear more from this band, and I certainly can’t wait to say that I gave them a great review before they hit it big, which they inevitably will. I’d like to gloat like that.

Anyone who enjoys listening to the likes of Noah and The Whale, Arcade Fire, and maybe even The Smiths (who are able to convey a similar degree of emotional baggage) shouldn’t hesitate to check these guys out. In fact, no one should hesitate to.

MP3: Reuben Bullock – Avails of Loneliness

MP3: Reuben Bullock – Devil’s Time

Official Site / BUY

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Koko and the Sweetmeats, a four-piece from Seattle, recently announced the release of their new record Sacrifice. The band, who were named “Best Garage Band” for 2011 by Seattle Weekly, describe Sacrifice as a concept “double EP”. The six songs on side A are reinterpreted on side B. It’s free for a limited time on their Bandcamp.

Within the first few seconds of listening to the LP, I had the band pegged down as “The Phoenix Foundation but a bit heavier.” And I wish that were true, because it’s a nice sounding description that would make me look sensible in my first article for Obscure Sound. But it just isn’t that easy to pin down. By the end of the first track I decided my descriptive line would be “channeling the spirit of Neil Young.” But no, a few more tracks in and any listener will discover that doesn’t quite nail it either… although I maintain that the singer, Garett Van der Crimp, sounds very similar to the Canadian singer-songwriter, which is certainly no bad thing. But one thing is clear: this record will never, ever be a hit. And this is a record that has no intention of being a hit.

Sacrifice is dense. Not in the stupid sense of the word, but in the fact that almost every song on this 12-track album seems to be covered in a layer of white noise (presumably feedback from a guitar), and this makes it all the more challenging to get to grips with the music, in the best possible way. This is a band that do not underestimate or patronize their listener, which frankly is something this industry has been crying out for lately.

Interestingly, Koko and the Sweetmeats have listed Prince as one of their key influences. This does seem a bit bizarre, as there is nothing on this album to suggest that Prince’s synth-pop and dance-oriented numbers are conducive to Koko’s repertoire. However, excitingly (for me at least) this means there is even more to come from this quartet, who have already showcased loads of potential on this professional and sprawling LP.

If you held me at gunpoint and asked me which single song from this LP to download, I would probably plump for “Love Song to Make Us Millions“, the second track. It’s not just for the wry nod to mainstream pop music in the title either. It features the kind of riff that wouldn’t be amiss on a ’70s rock album, but nicely distorted to fit in with the aforementioned theme of density. It would seem there is too much to this band to base the song on that opening riff, however, and the rest of the track makes it nicely challenging, but possible, for the listener to identify various rhythms within the song. Excellent stuff. Fans of The Brian Jonestown Massacre and The Dandy Warhols should download this immediately.

So to summarize, since it’s currently retailing at the price of $0.00, I can’t recommend downloading this LP enough, if only to give it a chance. You won’t be disappointed.

RIYL: David Bowie, The Dandy Warhols, The Brian Jonestown Massacre, Neil Young, The Phoenix Foundation, Smith Westerns

MP3: Koko and the Sweetmeats – Love Song to Make Us Millions (Side A)

MP3: Koko and the Sweetmeats – Will We Ever Make It to the Ocean? (Side A)

Bandcamp / Facebook

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Louisville’s hidden treasure Silver Tongues, and their debut album Black Kite, serve as a glorious throwback to classic rock bands. They hearken back to the days when a debut album could freely experiment by dabbling in multiple genres. Today’s bands frequently have to hit the ball out of the park on the first at-bat, and then repeat the success or fail to gain traction in the business. Silver Tongues seem to take pleasure in twisting listeners’ expectations. There’s nothing taken for granted, and it’s not as if the band’s taking unnecessary risks with their musical direction. They’re just willing to admit that, when a band’s getting its feet wet, sometimes there’s nothing more valuable than pushing the envelope and trying a variety of sounds. And with an independent label backing them up, it’s a safe bet they’ll get the chance to build their musical reputation on their own terms. This is the work of a band which may not find its “hit” until a third or fourth album, but give them that time to grow and the rewards will be immeasurable.

It’s not that I’m saying their songs aren’t worthy of wide exposure, because that would be a mistake. “Wet Dawg” sounds like Kings of Leon if they dared to let a song speak for itself rather than burying the lead in a mess of pseudo-pop trappings. Silver Tongues is worth supporting due to their ability to transform songs into an addictive live gems. I was lucky enough to catch the band live at Headliners in Louisville back in January and, even as a co-opening act playing before the supposed “big draw,” they immediately roped the crowd in with a live performance that showcased the music above the hype. There’s plenty of pop hooks buried within to keep the songs reverberating in your head. Also, the fact that the band’s working the road and building these songs in a live setting proves they’re not happy merely letting the studio versions speak for themselves.

Speaking to the album’s quality, however, is the fact that every song plays its role. The cohesion is one aspect listeners find immediately appealing about Black Kite. “Warsaw” would be perfectly at home on a Coldplay album with its frantic string backdrop, but the vocals are pure ’70s classic-rock, with layered harmonies and an arrangement coupled with a slow-build climax that is immediately accessible and repeatedly listenable. The album’s opener, “Highways,” has an unforgettable backdrop of organ drone and handclaps-meet-bass-drum percussion. And the album’s title track, “Black Kite”, and the beautifully melodic “Hope For” manage to successfully bridge the gap between bands like Mumford and Sons and Kings of Leon with the ethereal vocals and simple acoustic arrangements. Today’s more modern pop-leaning bands tout the hook as coming first above all else.

The result is a nine-track album which plays well as a coherent, well developed debut and a template for a band willing to push its exploratory envelope in pursuit of a long-term career. Black Kite came out too late in 2011 to make my list of best albums of that calendar year, but it has already won a place in my heart as one of the most interesting efforts I’ve heard during this one. I expect to hear big things from this band. Like the Black Keys before them, they seem destined to build a respectable basis for long term success on their early records. And with the right push, they would seem poised to have a similar breakthrough once their material has time to develop to its full potential. Put simply, Silver Tongues is a keeper, and their impressive debut has legitimate heft and staying power. You won’t want to miss it!

Official Site / BUY

This article was re-printed with permission from Hear! Hear! Music.

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There’s a musical revolution afoot.

Actually, it’s more like a throwback to the past. Nevertheless, it’s happening, and there is no quitting in sight. All over the airwaves, rampant sampling has become the norm in many genres, while other bands have simply taken major inspiration from big sounds of decades past.

While select fans are crying sellout, others are just happy that remnants of their past are finding a way back to modern music. Curious? Look no further than these ten tracks for the freshest nostalgic whiffs of today.

…And people thought the reprisal of vinyl was just a phase.

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Fitz and the Tantrums – Don’t Gotta Work It Out

Sounds like: Hall & Oates, Sly and the Family Stone, motown

By the time you’ve hit 0:16 on this funky sextet’s playground of a jam, you’ll know there is something special here. Try not to bob your head when the saxophone bottoms out on scattered off-beats. Hold back from thrusting your hips when their xylophones meet the piano or when the tambourine shimmies like some energized American Bandstand dance-off.

The L.A. group has been asked to tour with everyone from Maroon 5 to Flogging Molly. And why not? With their breakout hit “MoneyGrabber” and arena-filling sound, it’s difficult to imagine them relegated to small clubs and hangouts. Look for them to make big moves on the charts for months to come.

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The Black Keys – Lonely Boy

Sounds like: Robert Johnson, Blind Lemon Jefferson, Mississippi blues/garage rock

Fresh off their El Camino album release, The Black Keys released this driving track as the first single. “Lonely Boy” has the perfect sound for that coastal road trip you’ve been meaning to take. While the sunroof is optional (yet recommended), their insatiable riffs are not, mixing signature garage crunch with a chorus of children singing “I got a love that keeps me waiting.”

The actual song sounds just like the infamous car that the album was named for, revving itself to life in the first few seconds and encompassing every shred of atmosphere retained from childhood memories of your father’s fix-it shop. Yes, the blues are here, but never have they shown the ready-to-go initiative like this Akron, OH, duo proudly display here.

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Florence + The Machine – Shake It Out

Sounds like: Bjork, Kate Bush, religious hymns

MP3

Talk about building up to moments of climax: this English art-rock group, fronted by the incredibly moving power of singer Florence Welch, makes it their business to provide mysterious, oft-subdued sounds that burst through the fourth wall when nobody is looking.

One part costumed masquerade, another part church hymnal, this song makes Florence a cool household name again and is bringing the haunting melodies of female singers from the ‘80s to the 2010s. After singing along just once, you’ll have a hard time putting this down.

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M83 – Midnight City

Sounds like: Pet Shop Boys, Kraftwerk, synth-pop

You’ve likely already heard this plenty of times on that Victoria’s Secret commercial (mainly because it repeats the hook almost from start to finish). But the truth is the entire album, Hurry Up, We’re Dreaming, is built to feel like you are floating in space. The French electronic band cuts a supremely lucid effort, nodding to ‘80s sounds and gentle wave-like instrumentals.

Be ready to snap your fingers at one point, and get your mind blown at another. They don’t let up until you come to. That is, if you feel like waking up. Also, don’t miss the saxophone solo.

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Black Angels – Young Men Dead

Sounds like: Cream, Jimi Hendrix Experience, Vietnam-era acid rock

Flashy is not exactly what one might call this Texas quintet, but maybe that’s the allure after all. Although this particular track is nearly four years old, it’s worth mentioning, if only due to the minimalist-yet-monstrous musical march that’s produced. It’s evident with much of their catalog.

By the time lead vocalist Alex Maas stomps through the first fuzzed-out line, “Fire for the hills/Pick up your feet, let’s go,” the filthiest of facial expressions often pastes faces. It’s a definite treat for classic-rock fans and guitar aficionados alike.

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Gary Clark Jr. – Bright Lights

Sounds like: Jimi Hendrix, Stevie Ray Vaughan, Lenny Kravitz

MP3

With a Citizen Cope-like swagger and a whole lot of soul dripping from his blues-steeped Epiphone Casino, Gary Clark Jr. has swept the Austin City Limits by storm, securing multiple Best Blues and Electric Guitarist awards in his younger days three different times.

His introspective lyricism, coolly collected solos, and yet-to-breakout stature on the national stage have earned him a healthy cult following. But as his ties to Alicia Keys, Eric Clapton, and Steve Winwood become more obvious, so too does their addictive influence.

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Mumford & Sons – Little Lion Man

Sounds like: Crosby, Stills, Nash and Young, Bill Monroe, bluegrass, gospel

MP3

These West London folk heroes have been making the banjo cool again with little hits like this, which takes us on a dusty speed bluegrass trip backed by power gospel harmonies, led almost romantically by the brawny might of Marcus Mumford.

Fans of square dancing, Patsy Cline, hillbillies and bonfires – let’s not forget a nice romp in the hay – will find solace here. Still in disbelief that such a thing could make a comeback? Check out these Duluth, Minnesota natives, who’ve been keeping it real since the early 2000s. Bluegrass is hardly a thing of the past.

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The Dead Weather – Hustle and Cuss

Sounds like: Jethro Tull, Captain Beefheart, prog-blues rock

It’s hard to describe this rambunctious, Jack White-led foursome in simple terms, especially since their genius is coming from the guy who fashioned a crude guitar out of little more than a Coke bottle, a busted plank, and some nails in the opening scene of It Might Get Loud.

One minute they channel the raw drumming of John Bonham. On other moments, they descend into a strangely mesmerizing chapter of bizarre rasp and clash, leaning on the deliberate shakiness of Alison Mosshart’s voice (of The Kills fame.) Don’t be quick to dismiss them for their oddity. There are two solid albums here full of intriguing messes to get lost in.

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Beats Antique – Revival

Sounds like: Ravi Shankar, electronic afro-beat, Middle Eastern influences

This constantly shape-shifting outfit from Oakland does it, well, like a family heirloom. The cool part about this track, like much of their work, is the fact that casual electronic influences can be heard amidst a number of more-traditional belly dancing grooves.

This fusion of world music styles has won over countless festival-goers at northern Nevada’s Burning Man and more. For those who can’t seem to cross entirely into any one genre, these are the virtuosos you’ve been looking for.

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Easy Star All-Stars – Dub Side of the Moon

Sounds like: Your favorite classic albums… dubbed out with reggae twist

Another group worth mentioning despite this nearly 10-year-old album is the Easy Star All-Stars. The All-Stars are like a trending brain-trust of reggae musicians mixed with the best dub artists. It’s a comforting venture for anyone who loves their old album collection more than life itself (and isn’t readily defensive about updated versions of past standards).

Furthermore, their progression of covering famous records (The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band; Radiohead’s OK Computer) indicates that they may well not be done yet. This take on Pink Floyd’s quintessential masterpiece has been on the Billboard Reggae Charts since it was released in 2003, proving their outreach is for real.

This list was put together by Drew Nelson of T-Shirts.com, which has a wide variety of music t-shirts, featuring bands past and present.

The post Ten Songs Reinvigorating the Past appeared first on Obscure Sound: Indie Music Blog.

Despite the fact that you don’t hear a lot pertaining to the Carolina Chocolate Drops on mainstream radio, they are Grammy winners. So it’s not terribly surprising that one if its founding members, Rhiannon Giddens, has a new project creating quite the buzz: Sonic New York.

I recently had the pleasure of attending Sonic New York’s second show ever at a small venue called One Longfellow Square in Portland, Maine. I had seen a poster hanging in the window a few weeks prior, and there was no way I was going to miss it. I recognized Sxip Shirey’s name, as he had recently played at Occupy Wall Street alongside Amanda Palmer and has worked with the Dresden Dolls and author Neil Gaiman.

I’m going to go out on a limb and say that Sonic New York is one of the best shows, if not the best show, I have ever had the pleasure of attending. I was wildly impressed, and though I was rather ill (it is flu season), I could not pull myself away.

Their sound is all over the map. There is a lot of the folk and old-timey influences that you would expect from Giddens, including the most gorgeous cover of “Dink’s Song” I have ever heard in my life. Her love of Irish music is obvious in the way she uses her voice on songs like the a-cappella “Bottom 99”. Sxip Shirey keeps things lively with his plethora of homemade instruments, bells, pennywhistles, and special effects. Sonic New York’s bio describes their sound as, “an explosive melding of Brooklyn, the British Isles and North Carolina”, which is accurate enough.

Adam Matta, a reputable NYC beat boxer, was a pleasant surprise at the show. Now a regular addition to the Carolina Chocolate Drops, Matta is also featured on Sxip Shirey’s most recent record (also titled Sonic New York). His resume is pretty impressive, and he has worked with acts like Bobby McFerrin and Sufjan Stevans. His job in the new band? Human drum machine.

Joe DeJarnette, who produced Sxip’s last record, completes the group on bass. The lanky musician known as “Joebass” also touts an impressive career, working with the likes of Bob Dylan and founding the WIYOS. I dream of a triple bill. Imagine, if you will, the Carolina Chocolate Drops, the WIYOS, and Sonic New York. Yes.

Sonic New York has yet to release an album, but you can also listen to recordings of their songs on Facebook and Soundcloud. There are also a few videos available on YouTube, and all of the members are present on Sxip Shirey’s Sonic New York album.

RIYL: The Books, Janelle Monae, Beat Circus, Humanwine, Jason Webley, Romashka, Harlequin Jones, Vermillion Lies, Katzenjammer Kabarett, Csókolom

Sxip Shirey – Dreamland

Official Site / Bandcamp / BUY

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One cold New York City night in January 2009, I found myself in the back room of the Bowery Poetry Club, encircled by the typical PBR-wielding twenty-somethings and some of the most magical music I’ve ever encountered. By wandering in to find shelter from the shivering chill, I had unknowingly stumbled upon the EP release party for the 11-piece superband Emanuel and the Fear.

Indeed, while the atmosphere was almost obnoxiously similar to most downtown shows, the featured band was anything but cliché. With lead singer Emanuel Ayvas’s velvety vocals backed by a subtly commanding orchestral coalescence including piano, violin, cello, trumpet, and trombone, this Brooklyn-based band produced a soaring sound quite unfamiliar amidst the Bowery’s usually gritty ambiance. The band’s upbeat, poppy melodies combined with their Bright Eyes-esque lyrical poetry allow an air of hauntingly harmonious irony that permeates the audience like a sharp January shiver. After hearing their chilling rendition of Radiohead’s “National Anthem,” I knew this was a band I had to keep my ear on.

Sure enough, a few months later, I spotted the distinctively big-haired Emanuel on the cover of L Magazine, listed as one of the “8 NYC Bands You Need to Hear”. Since then, these pioneers of orchestral pop/rock have been gaining recognition throughout the East Coast and Europe (believe it or not, they’ve been much buzzed-about in Germany) while remaining loyal to their Brooklyn indie-rock roots. Emanuel and the Fear’s newest EP, Hands, was set to be self-released this July but has recently been pre-released on the band’s BandCamp page. Don’t let the title of their first single, “Vampires,” fool you; its cacophonous playfulness is certainly a refreshing departure from today’s sultry obsession with the mythical bloodsuckers, proving once again that Emanuel and his band are indeed fearless when it comes to their music.

RIYL: Electric Light Orchestra, Matthew Good, Beulah, Bright Eyes, The Beatles, Field Music, The Alan Parsons Project, The Moody Blues, 10cc, Sweet, Jens Lekman, The Besnard Lakes, Super Furry Animals, The Leisure Society

Emanuel and the Fear – Dear Friend

Emanuel and the Fear – The Finale

Emanuel and the Fear – Vampires

Emanuel and the Fear – The Perfect Me (Deerhoof cover)

Emanuel and the Fear – Over and Over (Demo)

Emanuel and the Fear – The Rain Becomes the Clouds

Official Site / MySpace / BUY

Mike’s note: Gotta love the nods to ELO during “Dear Friend”. More contemporary artists taking a stab at this sort of majestic orchestral rock would be nice.

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Sometimes, the story of a good band can be told through the variety and blend of their influences. Put a new spin on something old, or make fire from a pile of old sawdust. Creating something original is often described as the holy grail for aspiring new bands, and this mantra is most certainly the inscription on the Brickwork Lizards‘ declaration.

Hailing from Oxford, the Brickwork Lizards came to London for an intimate and lively show at The Comedy Pub, tucked in between Leicester Square and Piccadilly Circus and just up the road from The Comedy Store (confusing? after four beers I certainly thought so). Anyway, intoxicated navigational issues aside, I managed to find the venue successfully, and was excited to see that the band had squeezed an audaciously wide variety of instruments onto a deceptively small stage. It consisted of an electric guitar, an electric cello (I thought they looked stupid too, but trust me it works), a djembe drum, a full drum kit, bass, banjo and – played by frontman Tarik Beshir – an Oud. Now, you may not recognize the name of this Arabic lute-style instrument, but you will definitely recognize its unique and familiar sound, which transports you instantly into the arid desert of the Middle East. When coupled with Beshir’s ethereal, muezzin-style vocals, it gives a taste of something contrary to the standard, acoustic guitar-toting singer/songwriters we have seen a million times before.

And the broad range of influences doesn’t end there. While listening to the Lizards, my girlfriend and I thought we’d have a game of “list the influences” whereby we’d count on our fingers how many different styles of music we could hear coming from this one band. We gave up when I’d run out of fingers and thumbs (and, possibly, decided it might be time for another trip to the bar). There are elements of blues, jazz, skiffle, rock, classical, folk, country and swing with African percussive styles and, of course, the floating Arabian melodies of Beshir. Add on top of this the outgoing and comedic rapping of MC Tomohawk, and you can see that Brickwork Lizards are most certainly eclectic in their influences but, crucially, they are blending them together in a fresh and innovative direction.

I didn’t leave the venue with any particular song rattling round my head, as there was such variety that picking out a distinctive and catchy melody became that much more difficult. Impressed as I was with their variety and musicianship, I still struggled to pick my favourite song. Perhaps then, this band may grow in stature after a few listens, but despite fantastic innovation and musicianship, no song stood out as obvious single material.

No laughing-all-the-way-to-the-bank smash hits then, but a fantastic, interesting and genuinely original band nonetheless.

Brickwork Lizards – Live at Cirque Subite

Brickwork Lizards – Pink Panther Variant (live)

Official Site / MySpace

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by Andrew Wallace Chamings

2009’s The Seldom Seen Kid managed a one-two punch that was seemingly impossible: it won the much coveted British Mercury Music Prize and sold a lot of records. This gave Mancunian art-rockers Elbow some long overdue admiration across the industry and some space to choose their next direction. As husky front man Guy Garvey put it, “It’s the first album we’ve made without the comedy anvil hanging over our heads.” With Build a Rocket Boys!, Elbow have not returned with more arena-filling choruses, beautiful as they were. Instead, their fifth full-length boasts a sparser sound and a lament on lost youth. In fact, there are no recognizable hits on the self-produced album. First single, “Neat Little Rows” is a rare misstep on an album that rocks out but always feels like its building up to something that never quite arrives.

Garvey’s lyrics have always been worth scratching on a class desk, and Build a Rocket Boys! maintains this tradition. On album highlight “Lippy Kids” Garvey’s soft howl sings of wayward English teenagers loitering on street corners with a lyrical deftness that can rightfully be compared to Morrissey or Stuart Murdoch. “Stealing booze and hour-long hungry kisses, and nobody knew me at home anymore,” he sings. Garvey sounds like he is genuinely yearning for a return to the chaos of adolescence, and it’s hard not to want to put your arm around him and reminisce through the rainy streets together.

The swaggering guitar and hefty groove of 2009’s infectious “Grounds for Divorce” are largely missing this time around, making way for a more stripped down and elegant sound. However, the band’s go-to trick of repeating a melodic hook through strings and a vast collection of voices (on this album, the Halle Youth Choir are used) is still here. The epic album opener, “The Birds” coda, exemplifies this. Its arrangements open up subtly to cello stabs and delicate synth pops that the sound extremely interesting, occurring before the epic coda to boot.

“With Love” and “Neat Little Rows” both owe a debt to LCD Soundsystem, with clear production, big bass thumps and hand claps. But it is not until the following track; “Jesus Is a Rochdale Girl”, that the album finds its real heart. The soft folk song gets up close and personal with Garvey as he whispers “I have a single heartbreak, I celebrate and mourn” over a clear acoustic guitar and soft electric piano waves. The song has an emotional weight, but also a light touch that is comparable to Jeff Tweedy, or even Neil Young at his most fragile. This beauty is echoed on the piano-led “The River” and the sweeping but humble album closer, “Dear Friends”.

When Garvey sings “He openly wept as he listened to me” on the simple analogous ode “The River”, it’s a clear moment of delicate splendor. After spending 2011 trying to decipher Thom Yorke’s breathing patterns and listening to PJ Harvey sing through the medium of a World War 1 soldier, it’s a welcome, affecting and direct vocal that you can turn up, sit back and get lost in (versus resting your ear on the speaker wondering if Jonny just played a guitar line). It’s somewhat harder to go on the journey back with Garvey on the more bombastic, orchestral numbers, such as “High Ideals”, which never quite reaches the soaring heights of 2009’s “On a Day Like This”, and is too precisely produced and stripped-down to let the band find their groove.

When bands make albums about nostalgia and the golden days of youth, it often misses the mark. It can feel like being forced to weep at old photographs and soak up saccharine memories (Mr. Oberst). Arcade Fire managed it last year by making it an epic war in which we could all take a side and sing along. Elbow succeeds here as Garvey manages to avoid mawkish sentimentality, and takes us with him on a candid look into his past through a dry wit, arresting voice, and a big heart.

Elbow – Jesus Is a Rochdale Girl

Elbow – Lippy Kids

Elbow – The Birds

Official Site / MySpace / BUY

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by James Daly

There are plenty of musicians that use the luck of being born with a celebrity surname to speed up their own career, but not Laura Imbruglia.

The younger sister of pop queen Natalie has spent most of her career trying to forge it in the Australian music scene without the merits of a famous moniker, but admits juggling the Imbruglia tag with a burgeoning punk rock career has not been easy.

“I’d say it’s probably hindered me a lot in some ways,” the 27-year-old says. “On the other hand, the surname probably makes some people more curious to check me out than just a name they’d never heard of. I didn’t want to play under a false name, though, because it’s my name too!”

While older sister Natalie swept to world stardom in 1997 with “Torn” and has helped pave the way for soap stars to become successes in the pop universe, the younger Imbruglia headed in an entirely different direction.

“I didn’t consciously go in the opposite direction to Nat. Besides the fact that my Nirvana obsession in high school turned me against most pop music, I could never be a pop star, even if I wanted to. I lack grace, co-ordination, posture, glamour and finesse.”

This year has consisted of two big talking points for the pint-sized punk: the release of her second album The Lighter Side Of… and a move to Melbourne.

“I always wanted to live there one day and my boyfriend had to move there for work. Now is as good a time as any. Melbourne just seems to put more effort into its cafes and bars. The coffee is more consistently good and the strangers are friendlier.”

Yet despite the hopes that new surroundings, coupled with the release of her second album, could prove to be the catalyst for that push into music stardom, Laura isn’t hedging any bets.

“Music is pretty much just an expensive hobby for me,” she says. “I’d recommend [to budding musicians] getting a well-paying job and having money to actually do stuff like go on holidays overseas once in a while. I’ve made sacrifices over the years working fairly simple jobs that have been flexible for touring but I don’t tour much anyway and my brain is just melting.

“I’ve never actually been on a proper holiday. I’ve only ever toured places. I know I’d feel guilty if I went somewhere overseas without my guitar though. I have so many boxes of CDs to sell, and so many new foreign ears to play to!”

A brief European tour a few years back left an impression on the singer-songwriter, who has a small but strong UK following and would welcome a return to these shores.

“Europe was fun but my priority is going somewhere I haven’t been before first. Unless, of course, a European label was to sign me and bankroll a tour!”

“The majority [of fans] are in Oz but I have a little European collective thanks to my sister’s obsessive fans and the touring I did there a few years back.”

The Central Coast native has, though, recently turned to an age-old pastime to combat the frustrations of making it in the music scene. Yet, unlike most punk-rockers, it isn’t drugs, but something much more addictive: karaoke.

“My karaoke obsession is fairly recent,” Laura says. “For a while I was living just around the corner from a pub that hosts weekly karaoke every Friday and Saturday. I had never stumbled across such interesting characters in my life – all in the one room! I really want to make a documentary about it but the copyright issues make me think it’d be too hard and expensive. I love how all kinds of people get into it and they turn up every week, it’s their favorite thing to do. I have no idea what they do for work but I bet they work in an office or in construction. Sometimes there are groovy retirees too.

“From a karaoke performer’s point of view, I just like getting up and selling the song. I’m always concentrating really hard at my own shows trying not to make mistakes. At karaoke, I get to let loose a lot more and be silly.”

So, why aren’t some karaoke versions of her album tracks on the latest record?

“My manager actually wanted me to make a karaoke video for each song on my album but that sounds like a lot of work for probably only my enjoyment. Also, an Australian band made a silly karaoke music video only a year or so ago. It’s been done.”

Laura grew up on a staple diet of Bob Dylan, The Carpenters and Queen, the latter being the largest influence on Imbruglia, who proudly wears a tattoo of Freddie Mercury on her right arm.

“I look up to anyone who does their own thing regardless of whether it’s popular or not. Especially if they’re actually good but faced with the reality that the majority of the world is into dodgy shit,” she says. “If the lyrics aren’t very good, then the music has to have awesome melodies, harmonies, instrumentation or riffs to keep me interested.

“Most of the music I like is past its heyday. I listen to music from the ‘60s and ‘70s mainly.”

Three years after releasing a self-titled debut with varying success (“Looking for a Rabbit” was voted No.2 in MTV Australia’s Video of the Year for 2007) Laura is back with the traditional difficult second album, and it has ventured into an altogether darker place.

“Yeah I’d say [it is more melancholy]. It’s the only thing I’ve done that I’m actually proud of and can handle listening to. Part of that is maturing as a writer and learning not to record lyrics or songs you’re not entirely happy with.

“But I think the melancholy and loneliness also contributed to me writing more emotionally raw songs which I think is uncommon. It’s hard to find an emotionally raw song that isn’t cheesy or earnest. I hope I’m not earnest,” adds the musician who chose “depressing, countrified, stark, humorous and bent,” as five words to sum up the record; they are perhaps the same five she would use to describe herself.

The album also comes wrapped in a comic book style artwork, with the cover lovingly created by artist Ray Ahn.

“I know Ray from working with him at my old record store job. He does all my album covers, I love him. He hates how specific my requests are. Lluis Fuzzhound did two pieces, he was recommended to me by my producer, Nick. Some of the artists were friends but a lot of them were strangers who volunteered their art when I blogged requesting artists.

“I’m not a crazy comic fan but I did like Mad Magazine when I was a kid. I also got into the Harvey Pekar ‘American Splendor’ comics after watching that movie [starring Paul Giamatti]. Sometimes something takes my fancy and I get obsessed with it. Once I had the Mad comic concept for my album art, I got really excited about making it as authentic as I could. I had recorded the music and found myself sitting on the album for about a year before releasing it so it gave me something to focus on. “

But regardless of whether the second album is a success, or indeed she is herself, the younger Imbruglia is content with the uncertainty of the future.

“I have no idea what I’ll do next,” she ponders. “Maybe the move to Melbourne will give me a fresh outlook on life. I’d like to be really successful at something for once in my life. Even if I was successful at running a boutique karaoke night that doesn’t have the [Kings of Leon] song “Sex on Fire” on its books, I’d be happy with that for a while.”

RIYL: Darren Hanlon, Killing Heidi, Magic Dirt, Sarah Blasko, Jebediah, The Grates, Something for Kate, Sally Seltmann

Laura Imbruglia – Wouldn’t Be Surprised

Laura Imbruglia – Looking for a Rabbit

Laura Imbruglia – It’s Getting Worse (live)

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The post Interview with Laura Imbruglia appeared first on Obscure Sound: Indie Music Blog.

by Stephen Swett

Three years removed from his last full-length album, Canadian sensation Jeremy Fisher follows through with his most complete album yet. Released on October 25th, Flood is an outstanding collection of indie-folk tunes that will leave you craving more from this Dylan-esque singer-songwriter.

Jeremy Fisher began his musical career with the independently released Back Porch Spirituals in 2001. Essentially a tribute to Fisher’s greatest influence Bob Dylan, each track features lively acoustic guitar melodies and an accompanying harmonica. There is even a tune found here called “Song For Robert Zimmerman”. The sound, however, is raw, and most of the songs are pretty similar. A terrific debut, but Fisher would have to break away from his imitation of Dylan if he wanted to make an impact on the music world.

Moving along, his next work, Let It Shine, was released in 2004 to a smattering of fans, but this album would push Jeremy Fisher into the limelight for the first time. He finally broke away from traditional folk, employing a variety of instruments to supplement his superb guitar riffs. Several Canadian radio stations awarded his single “High School” significant airplay over the next year, spreading his name to the masses.

With an ever-growing fan base, Jeremy Fisher did well to keep his followers in awe with his third full-length album, Goodbye Blue Monday, released in 2007. Simply put, this is one of my favorite albums of the past couple years. Every song hits me like a delicious Thanksgiving dinner, and I feel completely satisfied after listening. The choruses are innately addicting, but unlike modern pop songs these do not get tiring or overplayed.

Like many Jeremy Fisher listeners, I was curious how one could possibly follow up such a masterpiece as Goodbye Blue Monday and, to be honest, was not expecting a comparable encore. Jeremy is now shoveling my words back into my mouth. Flood is fantastic, and it is clear now that Jeremy Fisher has fully grown into an expert singer-songwriter. His lyrics are clever and rich, while his melodies are still intoxicating. It is impossible not to sing along to his catchy choruses as well. It’s hard to imagine that former Bob Dylan-wannabe Fisher could transform his sound so completely into an individualized act. Now that he has found his own voice, this Canadian journeyman definitely has the talent to rise to the top of the indie music scene.

The album opens with the single “Shine A Little Light”, a delightful track that lends itself to being the single as it is probably the most conventional song of the collection and, therefore, fit for a wider audience. But that does not mean the song lacks spirit or energy. What makes the song even better is Jeremy Fisher’s homemade music video, featuring his iPhone.

The next track is called “Naked Girl” and is about exactly that. Despite the near immaturity of the song’s topic, Fisher is surprisingly able to blend profound lyrics with incredibly poppy ones. In one moment, Fisher sings, “Everybody wants to see a naked girl,” which I hope needs no explanation. Later on he sings, “The shadow of a shadow is the sun itself,” which had me thinking for a while after I heard it.

Next is the tune “Laissez Faire,” which is less of a critique on Western political-economic systems and more of a Vampire Weekend-like reggae-rock track. Once again, the chorus pulls the song together, and we now have three songs which are all in the running for the best on the album. What follows is the ukulele-driven “Come Fly Away”, which is best described as fun to listen to. It may seem like a lazy adjective to use, but once you hear it you’ll know what I mean.

The fifth song on the album, “Nothing to Lose,” sounds like it’s straight off Bob Dylan’s Infidels album. Fisher’s piano playing matches his talent on the guitar in this slower, uplifting ballad. The lyrics, “Life is just a speck in the sky, a teaspoon of honey, the blink of an eye,” bears a striking resemblance to Dylan’s simple yet enlightened verses.

“Alison” comes next and might be the best song on the whole album, although I could say that about every one. The infectious chorus carries the tune and leaves you wanting more. It’s gotten to the point where terrific and catchy choruses are just expected from Jeremy Fisher songs. How does this man keep churning out these unbelievable refrains song after song? Every band takes a track off here and there in order to fill in the gaps of an album, but Fisher maintains quality throughout.

Next we find “Morning’s Broke,” a beautiful and brilliant piano piece which offers a relaxing three minutes of listening. After that, however, Fisher reverts back to his immaturity with the track “On A Monday,” a song about “getting messed up on a Monday.” Once again, the chorus is supreme and lyrics down-to-earth, forming a tune that’s thoroughly enjoyable.

The simplicity of “Summer Rain,” Flood‘s ninth track, is refreshingly uplifting and bound to put a smile on your face. Next is a traditional folk jingle, “Umbrella,” which might easily be found on the Juno soundtrack if it were written a few years ago. Then, at the 02:40 mark of the song, Fisher switches drastically to a sing-a-long chorus which could have been a terrific song in itself. Jeremy Fisher ends strongly with “All We Want Is Love”, a song with a strong bass line and, (do I even need to say it?) a great chorus.

As a full compilation of tracks, Flood is extraordinary, drawing from a wide range of influences, and will hopefully cement Jeremy Fisher as one of the premiere indie artists to emerge this year. I fully recommend that you download this album. But be warned, once you listen to these songs you will be hooked on this Canadian musical talent for some time. Once believed to be a Bob Dylan impersonator, Jeremy Fisher has now found his own unique sound and should continue to impact the music world for a long time.

RIYL: Bob Dylan, Matthew Sweet, Kings of Leon, Kasabian, The Kooks, Tallest Man on Earth, The Dead Weather, The Black Keys

Jeremy Fisher – Come Fly Away

Jeremy Fisher – Cigarette

Jeremy Fisher – Shine A Little Light

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MySpace

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The post Jeremy Fisher’s Flood appeared first on Obscure Sound: Indie Music Blog.