by Lauren Tischler

Summer; everyone’s favorite season. If you are immersed in tasteful conversation with a friend or loved one, there is a large chance that nearby ears will catch speak of summer album releases, and perhaps familiar phrases
like “Lollapalooza.” That’s right, the musical pleasures of summer are right around the corner. With album releases expected from Hot Hot Heat (Future Breeds), LCD Soundsystem (This is Happening), and Marina and the Diamonds (The Family Jewels), summer 2010 has the potential to be extremely friendly to music fans. As well as Chicago’s biggest music festival, all you Californians are probably already excited for the annual and prestigious Coachella. This year, the festival boasts big names like MGMT, Grizzly Bear, Jay-Z, and even ’80s superstars DEVO (and yes, from a show I experienced a few months ago, they will still be rocking the white jumpsuits in their old age.) But as effectively as festivals do their job in bringing indie bands out of their club-scene closet, 2010 holds some wonderful summer tours for us.

Folk gods Blitzen Trapper announced a 15-stop tour earlier this month, while Europeans will be blessed with the presence of the Dirty Projectors in early July. Alas, music is not the only sensory treat of the season. For all of you who dread sitting in a dark theater with unfamiliar faces, summer marks the opening of your local Drive-In Theater (if you still have one). This year, you can bathe in the sun before enjoying awaited films such as Michael Cera’s latest appearance in Scott Pilgrim vs. the World, where he plays the same awkward, closeted sex fiend we all love so dearly, plus a few sucker punches and comic book-inspired visuals. I recommend taking your time to see The Living Wake as well, a quirkier, almost upbeat version of 2007’s Wristcutters, which breaks the fourth wall quite a bit and stars Adventureland’s Jesse Eisenberg.

So with all of this and much more to look forward to, I took the opportunity to make my first submission to Obscure Sound as a contributing writer. What I put forth is a playlist full of sunny sounds that I hope will fire you up for this summer. With music from artists both old and new, known and unknown, I handpicked the tracks that led me most to reminisce of sunscreen, late night bonfires, and sand-covered skin. The playlist consists of reggae roots from Slightly Stoopid, sunny synth leads from Phoenix, light love ballads from the Maccabees and the Temper Trap, and of course catchy head boppers provided by Rilo Kiley, the Arctic Monkeys, and much more. From the bottom of my summer-filled heart, I invite you to adopt this playlist as the anthem of your much deserved summer. Enjoy.

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Rilo Kiley – Breakin’ Up

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Phoenix – Summer Days

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Slightly Stoopid – Nobody Knows

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The Maccabees – First Love

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Stereophonics – Pick a Part That’s New

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Arctic Monkeys – Mardy Bum

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Little Joy – Brand New Start

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Tokyo Police Club – Breakneck Speed

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Norwegian Recycling – Sorry For I Mashed You

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Voxtrot – The Start of Something

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Tegan and Sara – Take Me Anywhere

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They Might Be Giants – Don’t Let’s Start

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The post Sound of Summer appeared first on Obscure Sound: Indie Music Blog.

As displayed in the previous feature that covered my personal perception of prolific artists, a substantial amount of recognition and success does not always equate to artistic satisfaction. By nature, musicians often yearn to craft their definitive opus, a release that defines their talent, compassion, and commitment toward the art of music. So, say you are a member of a group who will inarguably be looked back upon as one of the most stylistically influential bands of this current decade. You have millions of fans, have become a popular name in your field, and have a plethora of experience under your belts in regard to touring, recording, and writing music. What incentive is there left to manufacture quality? Well, the desire to constantly be artistically productive is not only inherent in artists that are classified as prolific. These musicians are not in it to make a quick buck, or even a small one at that; the role of a songwriter in the music industry is one of the most unstable of financial occupations in the world. The reward comes in producing something that others love and the artists themselves admire. Also, there are few better things in life than actually being able to support yourself – even if it is just by scraping by – by doing something that you love.

Out of the three members in the Los Angeles-based Little Joy, many readers will likely be most familiar with the name Fabrizio Moretti. As the drummer for the now world-renowned The Strokes, he has experienced the trials and tribulations of stardom on both an independent and mainstream level ever since The Strokes exploded onto the scene in 2001 with their debut Is This It, one of the few albums released in the past decade that can already be classified as an influential stepping stone to subsequent groups of a similar vein (which, as we all know, are many). True, the experienced Moretti makes up one-third of the group, but the other two members are also just as experienced and within a similar realm of success; Rodrigo Amarante is the lead vocalist and guitarist of Los Hermanos, one of the most reputable Brazilian groups of the decade (though they are currently on hiatus), and Binki Shapiro. Shapiro has created a buzz around Los Angeles for several years with her multi-instrumental abilities, tackling aspects like guitar, piano, and bass in Little Joy in addition to ukulele, organ, and melotron. She has also become notable for being Moretti’s current girlfriend (he had previously dated actress Drew Barrymore). By listening to the chemistry emitted on Little Joy’s debut album by these three members, though, this one appears to be going strongly and productively already.

I suppose that when describing the sound of Little Joy it would be appropriate to compare it to the styles of The Strokes and Los Hermanos, two of the groups that the members of Little Joy derive from. It would be linear to call Little Joy a fusion of both groups, as Little Joy’s style is considerably more laid-back than either, but it is certainly not startling that both Moretti and Amarante have chosen to take this direction. Both The Strokes and Los Hermanos have attempted upbeat pop charmers with a lo-fi edge in the past, but never quite as consistently or successfully as Little Joy. Their self-titled debut album is full of the hooks one should come to expect from masterful songwriters in the vein of Moretti and Amarante, two artists who have certainly been around enough versions of success to distinguish what will fare well in the contemporary music scene. Moretti initially considered the outfit a solo project of sorts after writing the majority of the initial tracks, but after discussing the prospective future of the project with Amarante one night after the Los Hermanos frontman finished contributing his skills toward some tracks on Devendra Banhart’s Smokey Rolls Down Thunder Canyon, he decided otherwise. Shapiro was later introduced to the duo by some mutual friends, finding their stylistic direction to be a breath of fresh air as she joined the process shortly thereafter.

Scattered throughout the songs on Little Joy’s debut, one is likely to find any sporadic smatterings of reggae, R&B, folk, and – of course – art-rock. This provides for a very enjoyable representation of indie-pop, propelled by an intelligent mixture of infectious guitar-led rockers and barrenly enjoyable acoustically-led folk songs. One of my favorites in the latter category is “Unattainable”, a very touching love song with Shapiro on lead vocals. Her separately layered gentle, word-less croon consumes the backing of the track, while the placid reverberating of a bass consumes one ear and the delicate progression of an acoustic guitar takes over the other. “I can’t coerce you into this one,” she admits over the hauntingly overlapping melody of her dual vocals and the acoustic-bass combo. “Jealousy lay all your spells to your bed, I’ll choose unloved instead.” My favorite track on the album, “The Next Time Around”, falls somewhere in between both categories. A very active rhythm section is initially prevalent over the simplistic progression of an acoustic guitar, but the magnificent chorus sees an expansion into a series of slick guitar progressions and accentuated drum fills. Amarante takes lead vocals on this track and most of the others on the album, and his capacity in the style of serene indie-pop is highly commendable.

“Brand New Start” also is highly representative of their generally lighthearted demeanor, shedding lights of optimism that many other groups of a similar vein are somewhat reluctant to expose. “There ain’t no lover like the one I got,” Amarante repeats twice over a twangy guitar progression with an underlying brass melody. “She and I in a brand new start; gotta give all my love.” The lyrical content throughout Little Joy maintains high accessibility without being overly predictable or romantically overwrought, opting to match simplistically enthralling melodies with lyrical content of a similar nature. The album’s content on both ends, though, is joyous for the most part, with even the more somber songs like “Unattainable” and “Play the Part” bursting with hope and brightly effused melodies. For the three well-traveled and experienced musicians in Little Joy, such success can be expected. Even for such expectations though, do not be surprised if Little Joy makes a big splash when their debut is released on November 4th.

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Little Joy – The Next Time Around

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Little Joy – Unattainable

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Little Joy – Brand New Start

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Rough Trade Records

MySpace

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The post Let a Little Joy into Your Life appeared first on Obscure Sound: Indie Music Blog.

After a rewarding 2007, the new year has already embraced us with several artists who demonstrated great potential and ability on their recent releases. As for this past month, whether it has been through reputably innovative artists (Xiu, Destroyer) or brand new acts who have yet to even be signed (The Delfields, Run Dan Run), the optimism surrounding music in 2008 has been enjoyably exposed thus far.

01. School of Language – Disappointment ‘99 (post)
02. Dengue Fever – Woman in the Shoes (post)
03. Destroyer – Shooting Rockets (From the Desk of Night’s Ape) (post)
04. Winter’s Fall – Muddy & White (post)
05. The Helio Sequence – Can’t Say No (post)
06. Xiu Xiu – No Friend Oh! (post)
07. Little Beirut – Belle de Jour (post)
08. Neon Neon – Raquel (post)
09. Goodtimes Goodtimes – Desire (post)
10. The Delfields – A Slippery Slope (post)
11. The Feminists – The Beginning of the World (post)
12. The Sugar Oaks – Los Rebeldes (post)
13. Run Dan Run – Your Name Escapes Me (post)
14. The Steeldrivers – Blue Side of the Mountain (post)
15. Nick Jaina – Maryanne (post)

DOWNLOAD ENTIRE COMPILATION>>>
(70.7 MB, .RAR file)

The post Obscure Sound: Best of January 2008 appeared first on Obscure Sound: Indie Music Blog.

In regard to most successful musicians, a work ethic is practically immeasurable. Quality and quantity often interchange with critics and fans alike overemphasizing the latter and its “importance” toward an artist’s reputation. There are some artists like Scott Walker who release one album every ten years or so, maintaining a prolific status without showing any signs of selling out. Then there are other artists like Ryan Adams or the recently featured Miss Li who are seemingly able to release a few albums per year, keeping fans on their toes with a usual plethora of quality. The most important thing is that all of these artists succeed in captivating a targeted fan base; they just do so in different forms. As for finger-pickin’ Canadian native Steve Dawson, his releases tend to come in sporadic bursts. In any given year since going solo, Dawson can surprise by either releasing a handful of albums in one year or nothing at all. When he released his debut that year to gracious applause, he chose to do something rather unique in response. Instead of just dilly-dallying around, he released his last album, We Belong to the Gold Coast, just 4 months later in December. For those who have the nerve to call such a method a “rush job” before even giving either a single listen, the exceptional quality displayed in both releases speaks otherwise.

Showing consistency in the annual pattern of his releases, Dawson plans to make this new year an important one. He has two brand new albums on the way, both full-length releases set to be released later this year. This first one is entitled Waiting for the Lights to Come Up, while the second one is the more concisely named Telescope. Though he could have easily chosen to release one album per year since 2005, two per year for two years is appeasing enough. It just seems to be the way Dawson works – and with the sheer quality he has released in succession, there is absolutely no reason to complain. Growing up on an eclectic variety of jazz, soul, and pop/rock from the ’60s and ’70s, Dawson first took guitar lessons at the age at an early age. With plenty of acclaim set to come his way, I doubt Dawson has any regrets about going solo. His newest albums look to be a very enjoyable affair. Though I have only given one album (Waiting for the Lights to Come Up) out of the two this year a listen, it is looking good so far for Dawson.

Apart from his strong songwriting and melodic capabilities, if there is one aspect that separates Dawson from the majority of indie-folk songwriters, it is his talents on the guitar. He is an incredibly gifted steel guitar player, finger-picking rapidly and without hesitation while utilizing a fair share of lap steel techniques both on stage and in the studio. However, though his albums are a proficient display of his technical chops, it is his songwriting that truly impresses the most. His latest, Waiting for the Lights to Come Up, features the likes of Keith Lowe on bass, Chris Gestrin on keyboards, and Scott Amendola on drums. They are an especially talented group that has played with everyone from Fiona Apple to K-OS. “With musicians of this caliber, I knew that most of the magic would be happening quickly on early takes, even before the band was too comfortable with the new material,” Dawson said of the new album. Perhaps that explains the prompt release of two whole albums. “I thought it would be interesting to have [the two albums] both done in the same space at the same time, and by the same people,” Dawson explained. Well, whatever his method may have been, it certainly works on Waiting for the Lights to Come Up.

Though it is not the best display of his finger-picking or instrumental skills (check out “Fun Machine One”, “Swinging in a Hammock”, or “Fire Somewhere” for that), the smoothly layered “Room to Room” is demonstrative of Dawson’s best songwriting to date. Beginning with a simplistic acoustical melody that is shortly supplemented by an electric guitar and a strain of keys, the song evolves into a relaxingly uplifting track that – using decaying rooms as a proper metaphor – touches on romantic and sociological effects of fading relationships. The chorus is neither boisterous or dramatically transitioned, yet Dawson’s production skills allows the bridge and its proceeding verse to have a dramatically resounding effect that lingers throughout the country-led guitar solos that follow. “Oh, and I know that the problems are hard to see,” Dawson sings of the issues that unspoken conflicts can lead to, led profoundly by soaring vocals that manage to transition country, folk, blues, and rock in impressive fashion. “And they go on from here, but they always start with me,” he ends the song, with a glimmer of optimism peaking through the shimmering underlying guitar lines. A baritone guitar steals the show in the infectious “At Arms Length”, a very pleasing opener to an album that serves as both an outstanding display of Dawson’s instrumental and songwriting prowess. Whether you enjoy his take on vintage Hawaiian music on “Hard to Get Gertie” and the wildly impressive “Swinging in a Hammock” or prefer more direct attempts like the accessible “Room to Room”, Waiting for the Lights to Come Up is a diverse display of talent that manages to juggle several genres with ease. It is certainly the right way to kick 2008 off for Steve Dawson. We can only hope that Telescope is just as good.

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Steve Dawson – Room to Room

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Steve Dawson – At Arms Length

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Steve Dawson – Fun Machine One

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Official Web Site

MySpace

BUY

Do you play an instrument?  Have you ever dreamed you would practice guitar?  If you love music, learn how to play and read music!  Sign online today and find the best music instrument lessons in your area.  There are many different musical instruments to choose from!  No matter what music instrument you want to learn, there are lessons near you!

The post Steve Dawson is Waiting for the Lights to Come Up appeared first on Obscure Sound: Indie Music Blog.

Usually above this text, there is a picture of an artist or band posing ceremoniously for a photographer with the intent of public distribution. You will be hard-pressed to find any photos like this of Thom Bell. A photo of him accepting a prestigious award is more than symbolic of his career. Much like the career of this masterful producer, arranger, and songwriter, the preference for substance over style resounds in his own unforgettable musical legacy. Though he was never found on stage crooning fervent soul classics like Marvin Gaye or Otis Redding, Bell’s work behind the scenes made him arguably the most important figure of soul music throughout the 1970s. Born in Jamaica but raised in Philadelphia, Bell found his love for music very early in life while studying classical piano at the age of 5. Working diligently throughout his childhood, Bell’s recognition rose fast and he was conducting and arranging songs for local groups by his late teens. When Bell caught his first break and a major label (Cameo Records) came calling in 1967, he was only 24 years old. While Marvin Gaye, James Brown, and Sam Cooke among many others had popularized their own form of soul music before Bell’s national inception, Bell introduced a style to the world that would later be dubbed “Philly Soul”. Seeking solace in sweeping strings, endearing horns, and other grandiose orchestral arrangements, this smooth stylistic innovation brought enormous success to Bell’s name throughout the 3 major groups he worked with: The Delfonics, The Stylistics, and The Spinners.

When Cameo Records approached Bell with the intentions to produce the then-aspiring The Delfonics, he was a mere session pianist for the label. However, upon seeing his impeccable grasp regarding production and arranging, the label knew that Bell was the right man for the job. Almost immediately, Bell and The Delfonics’ manager, Stan Watson, formed the Philly Groove label in association with Bell Records (no relation to Thom Bell). Under the label, Bell produced The Delfonics’ classic debut album, La La Means I Love You, in 1968 and introduced his form of Philly Soul to a wide range of audiences. Under Bell, The Delfonics later went on to become one of the most memorable soul acts of the decade. Though they never quite echoed the sales of The Stylistics, The Spinners, or The O’Jays, their cult following continues to grow and brilliant gems like “I’m Sorry” and “Didn’t I (Blow Your Mind This Time)” are absolutely irresistible, the latter receiving a bit of revived exposure in 1997 when Quentin Tarantino used it as a focal song in his entertaining film, Jackie Brown. Bell produced and wrote three albums for The Delfonics from 1968 to 1970, all of them being fantastic. I recommend all three wholeheartedly, or at least their greatest hits. Like all three of the soul acts Bell primarily worked with during his career, they declined after Bell left. Despite The Delfonics’ brief time in the spotlight, their success gave Bell the vehicle to expose his irresistible style of suave soul to the world. This led to bigger and brighter things, establishing Bell in the early ’70s as one of the most sought-after songwriters and producers in the music industry.

After the The Delfonics’ finesse started to faded, Bell moved onto another freshly aspiring soul group. Like The Delfonics, Bell discovered The Stylistics out of local hype and after being personally impressed with lead vocalist Russell Thompkins, Jr.’s spine-tingling falsetto and the backing band’s melodic capabilities. When Bell and fellow songwriter Linda Creed produced and released The Stylistics’ self-titled debut in 1971, it garnered immediate attention. When the debuting single, “You’re a Big Girl Now”, dabbled in the charts at #73, it proved as only a tease. The prom floor classic, “You Are Everything”, was one of the many great moments on the debut. From Thompkins Jr.’s rich falsetto to the brilliant electric sitar over Creed’s simplistically powerful lyrics, it is a flawless soul classic. Though you have likely heard it before (either at a prom, in a movie, or as a cover), this is the type of song that simply never gets old. Though it reached #9 and went gold, The Stylistics’ most popular song still had yet to come. Naturally, the exceptional “You Make Me Feel Brand New” was also written by Bell. Reaching #2 both in the US and UK, it was one of the best songs of 1974 with its sheer beauty and delicate arrangements. It also proved as a farewell for Bell, as he left The Stylistics that same year. Similar but even more dramatically impacting than his work with The Delfonics, Bell had made The Stylistics into stars with their first three albums. Though they had marginal success after Bell’s departure with commendable songs like “Na Na Is the Saddest Word”, their success and originality was undoubtedly never the same.

When Bell left The Stylistics, he appeared to be looking for a challenge when he decided to produce The Spinners for Atlantic Records. Unlike Bell’s first two projects, The Spinners were hardly a rookie band. They had been around since 1957 while Bell was still a teenager, going by virtually unnoticed for 15 years before Bell decided to lend a hand. The Spinners always had the proper tools in place, they just never knew how to execute their style properly. Bell provided his magic touch and, predictably enough, The Spinners became one of the most successful soul bands of the ’70s. In fact, many respected critics consider The Spinners to be the greatest soul group of the early ’70s; the exact period in which Bell took the wheel. Considering the abundance of blossoming soul artists during that time period, it is a remarkable lasting impression to leave behind. The Spinners would eventually chart dozens of Top 100 singles, with five coming off of Bell’s first production with the band in 1972’s The Spinners. The Spinners’ finest album, it featured era-defining classics like “I’ll Be Around” and “Ghetto Child”. When Bell left The Spinners in the late ’70s, he was responsible for molding three wildly influential bands in a timespan of just over 10 years. Though Bell also produced artists like The BeeGees, Johnny Mathis, and even Elton John for a short while, he will always be remembered for his unforgettable impact on the genre of soul music.

Thom Bell is one of those rare songwriters that comes across once every 20 or 30 years. He defines a genre, perfects it, and leaves memorable examples to influence later artists in all enduring forms. Though he is still alive and well at the age of 64, he continues to live a life away from the spotlight. I can hardly blame him. After all, this legend has nothing more to prove.

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The Delfonics – Didn’t I (Blow Your Mind This Time)

The Delfonics – I’m Sorry

The Delfonics – Break Your Promise

VIDEO: La La Means I Love You (live)

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The Stylistics – You Make Me Feel Brand New

The Stylistics – You Are Everything

The Stylistics – Betcha By Golly, Wow

Check out a recent video of Thompkins Jr. singing “Betcha By Golly, Wow”. He still sounds great.

VIDEO: Rockin’ Roll Baby (yes, Bell can write blues too)

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The Spinners – I’ll Be Around

The Spinners – Ghetto Child

The Spinners – I’m Coming Home

VIDEO: Wake Up Susan

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BUY: The Delfonics, The Stylistics, The Spinners

If you wish to jump right into it and purchase the best-of compilations, I fully recommend La La Means I Love You: The Definitive Collection (The Delfonics), Ultimate Collection (The Stylistics), and A One of a Kind Love Affair: The Anthology (The Spinners).

The post Soul Music’s Genius Sculptor: Thom Bell appeared first on Obscure Sound: Indie Music Blog.

Seeing the rampant success of bands like Xiu Xiu and Man Man, Jacob Cooper must have been considering all aspects when deciding on the name for his new solo project. Following the currently popular band-naming ritual of duplicating an one-syllable word twice, he decided to take a slight risk and repeat it three times instead. Sounding almost like a cacophony, Cooper eventually decided on Bark Bark Bark in early 2003, based on a phrase in his favorite classic video game, “Duck Hunt”. Based out of Tucson, Arizona, Cooper has stuck with the name for the most part despite occasional quick changes on tour to humorous names like OMG WTF, Anne Frankenstein, and Lil’ Islam — mainly to attract some much-garnered attention. As those aliases may display, Cooper is indeed a bit of an eccentric character. Whether it is his fondness for “ghost hunting” (exploring haunted houses) or his obsession with sci-fi and zombie movies, his creative outlook on life carries over to his musical career quite interestingly. His debut album, Haunts, is filled with lively tracks focused on “ex-girlfriends, outer space, zombies and ghosts.” While his recollection of crazy ex-girlfriends can certainly be found comparable for most listeners, the topics of zombies and ghosts tend to be a bit more on the anomalous side. In fact, only a few songwriters in the form of Owen Pallett or Stephin Merritt come close.

Ironically, though Cooper claims to hate synth-pop, much of his music is electronically generated through sequencers and synthesizers, incorporating occasional guitars and drum loops for a customary appeal. As a studio band, Bark Bark Bark usually consists of solely Jacob Cooper, though he often receives live help from fellow musically inclined friends. Haunts has built a steady amount of hype after Cooper’s busy touring schedule; sharing the stage with names like Of Montreal, Architecture In Helsinki, Ratatat, and Sunset Rubdown. Speaking of Of Montreal, while it is not nearly as deeply layered or shrouded with complexity, Cooper’s stylistic delivery is not far off from Kevin Barnes’. Usually singing with a high-pitched delivery of fury and romantic trepidation over a bustling assortment of synths and keys, Coopers’ hooks find themselves to be frequent vacating the fourteen songs on Haunts. The songwriting is often surprising and intriguing, substituting traditional verse-chorus format for enjoyably offbeat motives and cloudy desideratum. With Haunts set to be released on May 22, there are several tracks off the album that I have found myself humming along to during the day; a surprising incident considering unconventional structures and unpredictably boastful melodies contained in the pleasing debut.

The title track, “Haunts”, is a very strong piece of songwriting through its display of vigorously innovating songwriting, drawing an appeal for fans of left-field electronic pop music. While the synths are typical and expected, Cooper’s incorporation of guitar and rhythm gives the album an entirely new introspective, sounding oddly like Interpol’s Paul Banks during the brooding chorus where Cooper sings convincingly, “I’m the one that haunts you.” The introductory track, “Brand New Shoes”, delivers a convincingly infectious two minutes of enjoyable pop, supplying an outburst of synths to a contagious chorus in which Cooper makes another swift sign of comparative evidence to Kevin Barnes or even The Chameleons’ Mark Burgess, as Cooper emotionally cries out, “I’m still sick of you, you’ve got me running around, but these shoes are so new.” While several songs like “Heart” and “I’m Needy” sound too jumbled for their own good and the near-rap approach in “One Thing Stands” falls flat, the majority of songs on Haunts remain engaging and worth the listen. “I Love You But I Don’t” begins shakily but transcends into the most polished song on the album through its masterful incorporation of classical piano and buzzes of synth. “We will eat your father’s toast and we will watch your mother roast,” is one of the indistinguishable lines on “I Love You But I Don’t” that Cooper sings, leaving interpretation up to the individual listener. The catchy “Tattoos” is a definitive example of Cooper’s twisted wordplay and makes nice use of his distorted instrumentation, while “Pluto Never Forget” is memorable in the distinctive trait that it leaves an impression as a concisely written gem bustling in artistic determination and rapid progression. Cooper certainly draws up several forms of innovation in the generally enjoyable Haunts, an album that truly establishes an artist with no comparison that will be deemed entirely accurate.

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Bark Bark Bark – Haunts

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Bark Bark Bark – Brand New Shoes

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Bark Bark Bark – I Love You But I Don’t

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Official Web Site

BUY

The post Bark Bark Bark “Haunts” In Debut appeared first on Obscure Sound: Indie Music Blog.

I know that some of you have probably been wondering why I haven’t even mentioned SXSW in the past few days. How could a music blog do such a thing? Well, with unfortunate thanks to school, I was one of the few who couldn’t make it out to Texas to attend arguably the biggest indie music event of the year. Also, the size of SXSW is massive, knowing that I wouldn’t be able to cover it alone. Anyways, every other blog seems to be doing a fine job with their coverage, even if the official SXSW site is still the best place to go for MP3s and information. At the conclusion of the event, one of the bands who has received a significant amount of attention from their showing has been The 1900s. Indeed, they hold a risky numerical band name but that is just one of several demonstrations of the band’s expressive confidence. They are one of the thousand blossoming bands originating from Chicago, a city which never seems to cease on producing fresh and original musical talent. The 1900s actually formed when three of the members were still in high school over a decade ago. Singer/guitarist Edward Anderson, lead guitarist Mike Jasinski, and drummer Tim Minnick were all friends in high school, playing in an untypical high school band. In a time where alternative rock and grunge were popular, the trio decided to craft experimental noise rock under the band name of Minotaurs of P. Like most bands in high school, Minotaurs of P dissolved when the three members were forced to attend separate colleges. Upon returning to Chicago a decade later in 2001, Anderson contacted Minnick and found him in the band Forty Piece Choir. The two had a happy reunion of sorts and Anderson collaborated with Minnick in Forty Piece Choir for a brief amount of time, though quickly moving to become a member of the alternative Plane. After sensing an urge to work again musically with his high school pals, he contacted bassist Charlie Ransford from Turner Joy in hopes to start a new band. Once Ransford was in band, he called both Minnick and Jasinski and all four members formed the beginnings of The 1900s, with all members playing their original instruments and Jasinski adding keyboard to his repertoire. After recording several demos, the foursome decided that adding some feminine vocals would be an interesting and wise decision. Jeannie O’Toole and Caroline Donovan joined the band in the summer of 2002 along with violinist Kristina Dutton of Smallwire, finally completing the lineup. After participating on several recordings, Dutton was replaced by Andra Kulans. Jasinski has called the redheaded female vocal section “The Murphs” ever since the two joined out of a casual dinner conversation. The 1900s opened for Bobby Conn shortly after their formation, igniting the beginnings of what would become a very promising band.

Their debut EP, Plume Delivery, was released last May to warm reviews. “Bring The Good Boys Home” and “A Coming Age” are the first two tracks off of that EP, but “When I Say Go” is a brand new track that Charlie Ransford told me will be used as promotional means in order to see who is interested in releasing the band’s brand new album, scheduled for release later this year. The band was also interested in seeing the song’s reception at SXSW, which came off very well at their last show on Thursday. “When I Say Go” is a continuous build of Mike Jasinski’s keyboards, Andra Kulans’ strings, and Tim Minnick’s guitar. The vocals of Jeanine O’Toole and Caroline Donovan are both presented in this enjoyably warm song, both showcasing a very collectible effort for melodic harmonization over the studiously bounded instrumentation. With each new verse, a new instrument comes into play, eventually folding into a chaotically enjoyable conclusion.. Originally aided by sole percussion and keys, a slight guitar peeks through a few verses later before the involvement of strings into is incorporated shortly afterward, signaling the lyrical contrasting of, “I’ve been leaving all my clues like my footprints in the snow,” followed by a quick violin swipe, “and you never thought you’d be so slow, first one to the gate when I say go”. I actually find the track to be quite progressive from their album last year, displaying a richer sound in utilizing all the band’s members to the full extent. That is not to say the tracks on Plume Delivery were bad though, as “Bring The Good Boys Home” is quite entertaining as well. The whole has that whole 60s acidic feel, promoting that feeling of trippiness that everyone loves when hearing retro organs. The song is another display of The Murphs’ great vocals, with the verses being pleasantly bare until the chorus is lifted by a series of guitar-oriented additions and vocal exclamations. “A Coming Age” is more reminiscent of comparisons made of the band when they first appeared on the scene, with names like Belle & Sebastian and Camera Obscura being thrown around in order to distinguish a sound. “When I Say Go” and “Bring The Good Boys Home” do not reflect these relations to a full extent, but listening to “A Coming Age” makes it coherent to hear where such claims originated from. Edward Anderson sounds like a distant version of Stuart Murdoch, singing a sugary melody over Casio keys, guitars, and even the trademark brass that Belle & Sebastian are traditionally known for. Sure, we’ve all heard the style before, but the melodic arrangement makes “When I Say Go” another worthwhile gem from The 1900s. You can find similar chamber pop accomplishments on Plume Delivery, released on Parasol. They all seem like a likable bunch as well, being big fans of relaxing on their couches on Sunday afternoons and Andrew Bird. Also, Edward Anderson and Caroline Donovan are currently dating, which would explain the great duets. Look out for a new release from The 1900s later this year. If their new material is in a similar nature to “When I Say Go”, we’re all in for a treat.

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The 1900s – When I Say Go

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The 1900s – Bring The Good Boys Home

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The 1900s – A Coming Age

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Official Web Site

BUY

The post The 1900s appeared first on Obscure Sound: Indie Music Blog.

Any rock historian could easily stress the importance of The Jesus and Mary Chain. Though the influential band from Scotland did not receive such deserved recognition or sales during their active years, critics and fans have finally been beginning to realize the band’s influence on all types of contemporary music. The Jesus and Mary Chain’s lack of mainstream success can largely be attributed to their creative sound and innovative presentation, consisting of feedback experimentation, excessive reverb, droning vocals, and live sets that could sometimes consist of twenty minutes of pure noise; though with brothers Jim and William Reid leading the way, the band always pulled it off. Their 1985 debut Psychocandy is considered a classic for good reason, mixing together memorable melodies with an aggressive guitar attack that was one of the first to implement the “shoegaze” aspect. Even with that in mind, The Jesus and Mary Chain were not a shoegaze band. They were generally alternative but they still were cited as a large influence by other bands when the shoegaze genre started to rise in the late 80s and early 90s. After releasing their sixth and final album, Munki, in 1998, founder William Reid left the band and The Jesus and Mary Chain saw their demise. Their legacy still carried on strong though, influencing a vast amount number of bands ranging from Nirvana to My Bloody Valentine. Through the next several years, even though the Reid brothers were no longer working together, they were still active in music. William went on to form a solo career under the name of Lazycame and Jim formed Freeheat with Ben Lurie, who also was a member of The Jesus and Mary Chain during the peak years. To round out the lineup, the two enlisted the help bassist Romi Mori and drummer Nick Sanderson, both formerly of the Los Angeles-based The Gun Club (the band with Jeffrey Lee Pierce and his tragic story). Even though Jim and William Reid both announced plans to reform and play at Coachella this year, I believe that Freeheat is some great material to get hyped up for The Jesus and Mary Chain’s live reunion on April 27th. Though the Reid brothers are over twenty years older since their explosive debut of Psychocandy, both appear to have the same intensity and passion that they did as youthful musicians. It’s nice to see that experience hasn’t gone to their heads. Concerning Freeheat, their debut came in the year 2000 when they released the EP, Don’t Worry Be Happy. After another EP two years later, The Retox, they collaborated on the compilation Sunsets And Silhouettes along with William Reid and his younger sister Linda, also known as Sister Vanilla. This marked the first time the brothers were appearing on the same release since Munki.

While it appears clear that both of the Reid brothers are now dedicating their time to The Jesus and Mary Chain, taking a look at Freeheat’s debut full-length Back On The Water is certainly worth it for fans of both Reids. After a numerous amount of delays, the album was finally released last June. Consisting of seventeen tracks, ten of them are live while the other seven are brand new studio tracks. The live tracks were recorded live at The Paradiso in Amsterdam, demonstrating Freeheat’s live quality concisely. I would even go as far to say that it is comparable to The Jesus and Mary Chain’s vintage performances. Not the actual songs, but the performances themselves. All of the live tracks are extremely tight, with only the crowd’s excitement often giving away the fact that it is an actual live show. “Down” is one of the seven studio versions on the track, being a song that the band calls “the most airwave friendly ear candy with a delight that shimmers down your spine and dares you to sing”. Sure, Freeheat is more accessible than The Jesus and Mary Chain but I don’t see “Down” hitting any major radio stations besides those of college alternative radio stations. That being said, it’s an enjoyable song and hearing Jim Reid’s accustomed vocals are refreshing, even if the generic chorus will only cause spine tingling to those in love with simplicity. The opener “Keep On Truckin'” is hypnotic and entirely worthwhile, with Reid’s vocals again making their mark over a set of distinguished guitar effects and droned amplification. “Keep on truckin’, keep on suckin’, and keep on fuckin’,” is perhaps a line comparable to The Jesus and Mary Chain, who were always known for their quick remarks on sex, drugs, and anything that seemed morally shocking, even if it was a bit more in-depth than “Keep On Truckin'”. With the useless lyrics aside, the song is melodically comparable to Reid’s better days. In addition, I came away impressed with the live rendition of “The Two Of Us”. Being one of my favorite live songs on the album, primarily due to the backing vocals that Romi Mori lends during the chorus and second verse. Paired with Jim Reid’s relaxed vocal style, their duet in the chorus is worth a listen. The song also proves as a great example of how interconnected Freeheat seems to be when playing live. The fact that I enjoy the majority of the live songs on Back On The Water more than the studio recordings tells me that Freebird is perhaps one of those bands who just sounds better live. Even though studio tracks like “Down” and “Everything” are presentable, they can hardly hold a candle to the live versions of “The Two Of Us” or “What Goes Around”. In addition to the Freeheat songs, I put up three great songs from The Jesus and Mary Chain’s greatest album, Psychocandy. As you can see, their rough-edged sound of distorton and guitar experimentation may have turned off listeners in a year of decorated synth-pop, though anyone can recognize that The Jesus and Mary Chain were truly ahead of their time. I am looking forward to their reunion at Coachella.

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Freeheat – Down

Freeheat – Keep On Truckin’

Freeheat – The Two Of Us (live)

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The Jesus and Mary Chain – The Living End

The Jesus and Mary Chain – Taste the Floor

The Jesus and Mary Chain – The Hardest Walk

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Official Web Site: Freeheat, The Jesus and Mary Chain

BUY: Freeheat, The Jesus and Mary Chain

The post Freeheat: An Appetizer to The Jesus and Mary Chain appeared first on Obscure Sound: Indie Music Blog.

Pela defines themselves as the definitive “American rock ‘n roll band”. Placed in an era where fortune often originates from superficial aspects, Pela can wholeheartedly attribute their rising success to occupational risks and genuine hard work. Primarily based in Brooklyn, New York, the members of Pela have originated from states as far as California, coming together through the distinct likelihood that is music. Vocalist and guitarist Billy McCarthy, lead guitarist Nate Martinez, bassist Eric Sanderson, and drummer Tomislav Zovich have all achieved a variety of different accomplishments in their quest to pursue music to the fullest extent. Anything from selling neckties in Times Square to playing polka at Croatian weddings sufficed for financial support in a time for the stereotypical broke musicians. In addition to such interesting occupations, several members have graduated college, learned new languages, studied jazz, and even lived in Africa. They have also toured extensively over the past two years, gaining followers at a rapid pace that grants rivals with jealousy. During these tours, they have also learned the ropes with the some of the best, sharing the stage with artists such as The Flaming Lips, Sleater-Kinney, Norah Jones, The National, and The Decemberists. Man, it seems the term “free time” is obsolete in Pela’s vocabulary. All this means is that defining Pela as “working class artists” certainly seems applicable considering their dedicated nature. The results from their efforts equate to music that is enjoyable, rich, and original in this decade of superficiality and general blandness. This was demonstrated on their first two EPs, All in Time in 2005 and the iTunes-exclusive EP Exit Columbia Streetlast fall. Both received gracious reviews and now the band’s success has reached an all-time peak, appearing in the upcoming documentary “Rockin’ Brooklyn” with local artists like TV on the Radio and The National. Along with the documentary and their ironically titled song “Episodes” appearing in an episode of Scrubs, it should only be a matter of time before Pela joins the ranks of the elite artists originating from Brooklyn. While the band expresses noticeable influences among the characteristics of Springsteen, The Replacements, and The Pixies, Pela has grasped a certain factor of innovation that is rarely heard from the average contemporary artist.

At the moment, alongside a brand new world tour, Pela are planning to release their debut album Anytown Graffiti on April 24th. When I first heard the first song on the album, “Waiting on the Stairs”, I was instantly reminded of the ambitious nature that exceptional modern acts like Arcade Fire and British Sea Power incorporate into their songs. Perhaps this is a foreshadowing to an eventual eventual following, as I can’t see Anytown Graffiti being released with little recognition. Billy McCarthy’s hook-inducing vocals are backed by an array of extremely distinctive musicians, crafting melodic fortune worthy of an immediate listen. In addition to fan favorites like “Lost to the Lonesome” and “Waiting on the Stairs”, Anytown Graffiti is an impressive album worthy of respectable recognition. Indeed, “Lost to the Lonesome” is an immediate eye-catcher, displaying the band’s fondness for crafting bodacious melodies that resonate with the utmost passion. With an introductory stutter of a deep bass line from Sanderson, the double guitar attack of McCarthy and Martinez eventually find their way into the picture as Zovich’s percussion increases with rapidity. “Just don’t stand there like a ghost in my room,” McCarthy eventually concludes the rapturous chorus with, “and don’t just stand there telling me I’m nothing”. Clearly frustrated over the topical ideals of “loving” relationships, such viewpoints are expressed consistently on Anytown Graffiti. They themselves cite the album’s central theme as a reflection of “broken love, reckless hope, confusion, celebration, isolation, discovery, addiction, loss”, in addition to the traditional youthful angst that usually goes hand-in-hand with quality these days. “The Trouble With River Cities” reminds me of Springsteen’s working class ideology, depicting the average American as someone who desperately seeks to leave their small hometown in search of larger towns. “At times when you tremble you seem to resemble a window that stayed open too long,” is a line that builds the song up powerfully. In addition, songs like “Your Desert’s Not a Desert At All” and “Anytown Graffiti” provide for a nice change of pace as a display of the band’s slower-paced and more emotional tendencies. The latter of the two keeps the aforementioned working class depiction in place as well, with McCarthy directly pleading, “I’d kiss them tears right off your face,” in emotional distress after, “get in this car, we’ll get out of this place to county line near the air force base”. From the explosive “Cavalry” to the dynamic “Tenement Teeth”, Anytown Graffiti is a considerably strong debut from a band who appears destined to make a name for themselves.

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Pela – Lost to the Lonesome

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Pela – Waiting on the Stairs

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Pela – The Trouble With River Cities

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Official Web Site

BUY

The post Pela: The Latest From Brooklyn appeared first on Obscure Sound: Indie Music Blog.

I usually find split singles to be a fun listen. After all, the chance that you’ll like at least one of the songs is favorable. For those unaware, a split single is usually a release from a record label that features two bands on the same release. What I find entertaining, other than the music, is that the two bands sometimes feud as to whether they will have the first or second spot on the album. Humorously enough, this is one of the motivation factors that enables a band to use all of their capabilities to write the best song they can. The latest split from Sweet Records (an independent label based out of Northeast England) contains two fantastic songs that caught my immediate attention. The first track comes from Minotaurs (above) and the second one is from BlackFlower (below). Both hail from England, with Minotaurs being from South Shields and BlackFlower emerging from Newcastle. They also both have a clear likeness for clever and catchy power-pop. Minotaurs formed out of six friends bored of their seaside town. Andrew Coiley, Tom Devlin, Sarah Farrell, Andrew Forster, Grant Lagan and Michael Ross all knew that they shared a common interest in music shortly after meeting each other. After gathering up the proposed band and building up an audience from live shows, they released their first demo Fireflies in 2005, limiting it to fifty copies. In April 2006, Minotaurs released a three-song EP titled Demonstration #1, catching the eye of NME with fantastic songs such as “Anyone Who Had a Heart” and “The Trouble You Are In”. Actually, NME went on to call them “quite simply brilliant” and even though NME hands out compliments to everyone these days, I’d have to agree that Minotaurs produce some of the most cleverly executed songs I’ve heard in some time. In December, they released a self-titled EP for “Anyone Who Had a Heart”, now only available as a 12″ vinyl. It introduced three new songs: “Keepsakes”, “Dictaphone”, and “Good Care”, along with a Christmas single, “(Baby) Give My Heart a Home This Christmas”. The split single includes their brand new single “Partisan”, making it their seventh song released (excluding the songs on their debut demo, Fireflies). “Partisan” is certainly their most mature effort yet, mixing together shades of Teenage Fanclub with Matthew Sweet, producing the perfect sound as far as the likable genre of power-pop goes. The song is based off several layers of masterfully conducted guitars with a chorus that is complemented by a single strain of synth. With the addition of several backing “doo daa”s from Sarah Farrell, a lively rhythm section, layers of guitars, and Andrew Coiley’s irresistible vocal melody, it sets the tone for an excellent power-pop song.

Minotaurs – Partisan

Official Web Site

BUY

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Now, on to BlackFlower. I consider them to be the most impressive of the two on the split. Keeping in mind that they only consist of four members, they expose a very energetic sound that holds a significant amount of emotional intensity. The late 80s and early 90s certainly appear to have been a big influence for BlackFlower, whose comparisons to The Smiths, The Housemartins, and Gene are easily stated. Actually, the lead vocals for BlackFlower sound strikingly similar to Gene’s Martin Rossiter. In addition, Stu Robson’s guitar is so powerfully used in the split single “Crying Shame” that one cannot help but remember the importance of Johnny Marr’s contributions to The Smiths. Speaking of The Smiths, BlackFlower’s lyrics certainly represent a similar amount of melancholy. While the beauty of “Crying Shame” lies in it’s melody and musical organization, the lyrics certainly aren’t happy-go-lucky either. “You don’t even want to hurt me, just want to walk away,” the ardent vocals sarcastically boast, “I don’t even really hate you, can’t stand to see your face” Such lines hold the same enjoyably pessimistic lyrical philosophy that Morrissey had before he got laid in Rome. It’s an extremely enjoyable track though. As far as diversity goes, their other songs are an accurate depiction of a varied band. Both “Flowers On Our Grave” and “Bad Love” are very moving, showing a musical depth that was not shown in even the excellent “Crying Shame”. While “Crying Shame” bordered on catchiness and replayability, these two songs really are an emotional example of a band in touch with their ability to produce their deepest emotions in the form of music. Both songs are around five minutes but the length is never an issue. Despite the slow tempo, the invulnerability that the band displays is a rare sight in the days of commercial bandwagoning. “Flowers On Our Grave” is weaved with a warm organ and amorous vocals that linger in a sullen and hopeless emotion of unrequited affection, breathlessly sighing “she won’t take my hand, she won’t walk with me” over a matching guitar accompaniment. “Bad Love” is another nice one that focuses on the relationship between keys and both the electric and acoustic guitar. The twang effect used on the guitar is particularly effective, with the wailing providing a proper sensation for a tale already clouded in a sensation of sympathetic loss and regret. My thanks goes out to Sweet Records for introducing me to two great new bands. The split will be released on March 12th for £2.00 ($4.00). BlackFlower’s other single “You Won’t Get a Girl Like That” is just as impressive as the songs here. The cover art is great as well.

BlackFlower – Crying Shame

BlackFlower – Flowers On Our Grave

BlackFlower – Bad Love

Official Web Site

BUY

The post Sweet Records’ Impressive Split: Minotaurs & BlackFlower appeared first on Obscure Sound: Indie Music Blog.