SweetTeaPumpkinPie

Album Review: Clair Morgan-No Notes

Phil Vanderyken — Wed, 22 May 2013 14:45:32 +0000

Artist: Clair Morgan
Album: No Notes
Label: N/A
Release Date: November 13, 2012

www.clairmorgan.com

America…wide open spaces, suburban sprawl, cities that never sleep. Distance means nothing and everything. Blue oceans, snowcapped mountains, deserts, pine forests…a melting pot of every race, every ethnicity in the world. Land of extremes, land of contrasts and paradoxes…so vastly different from coast to coast, and all too often so mind-numbingly homogenous. If music and art are the reflection of the character of a nation, then what could truly be called ‘American’ music? By its very nature it has to be eclectic, region-specific while at the same time somewhat generic. Does the claustrophobic environment of New York City inspire different music from the sun kissed beaches and carbon monoxide-choked freeways of Los Angeles, the scorched desert of West Texas, or the green hills and quaint wooden houses of, say, Virginia?

All of this goes through my mind as I’m listening to Richmond, Virginia’s Clair Morgan. On the album No Notes, I hear open space and time, melancholy, whimsy, as well as a certain comforting suggestion that life will probably never suck too badly. Stylistically, I guess this is called “indierock,” which carries some baggage of its own. Chiming guitars, pumping bass, and slightly whiny vocals a bit reminiscent of Sondre Lerche.

Luckily, Clair Morgan adds his own twist to the genre. Musically, many of the songs are based on delicately percolating guitar and bass figures, often filled out with glockenspiel and various exotic-sounding percussion sounds with intricate drum patterns and elaborate vocal harmonies. The result kind of sounds like a cross between indie, prog and ‘70s AM rock.

“Wave onto Wave” starts off the record with some cool percussion sounds, leading into a song that’s a prime example of the band’s signature sound. “All Over Me” is a foot-stomping rocker with raunchy guitar work. “Shut Your Mountain Down” is a favorite, breaking down the Claire Morgan sound to a more low-key, stripped-down version in a sweet male/female vocal duet. “Some Coin” goes even further, swaying gently over a bed of brushed drums and vibraphones until a fuzzed-out guitar rides the song to the finish. “Wrapped in the Black” and “Battleship Heart” remind me of a cleaned-up version of Television without the New York angst.

At times, No Notes gets lost inside its own elaborate patchwork of musical ideas, sounding just a tad too polished and cerebral while, at the same time, lacking a little in emotional conviction. But the marriage of different styles and influences is pulled off quite brilliantly, adding yet another patch in the ever-evolving quilt of American “indierock.” There’s more than enough melodic goodness to keep your ears humming, and your brain wrapped inside of a pleasant sonic haze that keeps you wanting more. The question as to what exactly constitutes ‘American’ music will probably never be answered, and just as well.

Interview: The Ridges at SXSW

Stephanie Lanham — Tue, 21 May 2013 15:35:18 +0000

On March 14, The Ridges performed at our SXSW showcase. I interviewed them after their set and discussed their own elations for being at SXSW and more.

http://theridgesmusic.com

http://theridges.bandcamp.com/

http://www.youtube.com/RidgesBand

SXSW is not just an opportunity for bands to showcase what they’ve got— as music lovers themselves, it’s also a chance for them to check out their favorite bands. After catching The Ridges perform at one of our showcases shared with The Deli Magazine, I talked to them about their own elations for being at SXSW, which included Austin’s Mother Falcon, as well as their musical inspirations and why they’re named after a mental institution.

The Ridges are an orchestral folk-rock band from Athens, Ohio led by guitarist and main vocalist Victor Rasgaitis and cellist and accompanying vocalist Talor Smith. The duo are joined by cast of about 14 rotating band members who play various instruments including cellos, violas, violins, upright bass, horns, banjo, mandolin, accordion, and drums. Their sound ranges from an eerie, yet worldly tone that is similar to Andrew Bird, to lighter folk-driven melodies. In the band’s darker tunes, such as “Overboard” and “Not a Ghost” off their 2011 self-titled EP, Rasgaitis’ vocal style is similar to that of The Mars Volta frontman Cedric Bixler-Zavala.

The Ridges – Photo by Julio Jimenez

Although Rasgaitis can be compared by voice, the band’s all-acoustic instrumentation is what truly stands out. According to Smith, the compositions of their songs are built around the cello. “We treat string instruments and orchestral instruments as the main voice, instead of having them as background,” explained Smith. “It’s kind of like a solo guitar, except it’s a cello.”

Rasgaitis and Smith were raised on classic rock, but their sound also reflects Smith’s love for classical music and Rasgaitis’ childhood memories of his mother’s love for movie musicals. “If you listen to anything from the ‘40s, like Ed Pryor, it’s all massive orchestras and strings. And those are pop songs,” said Rasgaitis. “I heard that with the rock and roll, and [thought] we can write pop song structures, we can write choruses and verses, and I can be into that kind of lyrical element of it, but we can also have this real sweet, lush instrumentation.”

Their mission is to create anything that a rock band can, but without the use of electronic instruments. While The Ridges continue to work on their forthcoming record, expected to be out later this year, they will also be making their first appearance in DC. The Ridges will be headlining at The Sunshine District (formerly Ghion), DC’s newest music venue located across the legendary 9:30 Club, on Saturday June 1st. Click here for tickets.

The Ridges – Photo by Julio Jimenez

STPP: How do you think your set went at J. Blacks tonight?

Victor Rasgaitis: Oh, it was a blast. We had a lot of fun playing here. We’re playing seven showcases over the week here at SXSW. We played one on Tuesday, tonight, two on Friday and three Saturday. Saturday is going to be crazy.

We’ve been on tour. We were on tour for a week before we got to South by. I think it’s safe to say this was one of the best on-stage sound we’ve had. When you can hear yourself, it’s a lot of fun. We’re not an easy band to work with either. We got a lot of instruments.

Talor Smith: It’s hard with the cellos. Most sound guys don’t know what the hell to do with it. He did a great job.

Rasgaitis: But we had a cool crowd tonight. They were attentive, fun and receptive. We had a blast playing.

STPP: That’s great. Is there anything that you’re looking forward to while at SXSW?

Rasgaitis: This is our first time.

Smith: We’re looking forward to everything.

Rasgaitis: All of our showcases are obviously a priority and our highlight, but we’ve seen a couple of amazing bands. We saw Mother Falcon play, which I’ve been wanting to see for years. They played at the Parish. They’re an Austin band. They’ve got like 20 members. It’s like a mini orchestra.

Smith: It’s the most incredible thing. You’ll never see anything like it.

[Oddly enough, I ran into Mother Falcon shortly after this interview. You can read their interview here.]

Rasgaitis: And we were excited to see Lord Huron play yesterday. We saw our friends The Seedy Seeds, who were our tourmates for the tour down here. We’re excited to see them play. They’re playing a lot of showcases with us, so it’s pretty fun.

The Ridges – Photo by Julio Jimenez

STPP: What do you guys think about being here at SXSW? The fact that everyone is here for one common reason: their love for music.

Smith: It’s an overwhelming, incredible experience. I can’t even put it into words how incredibly cool this is.

Rasgaitis: Everybody is super receptive, which I mean, is just the best thing ever. From anyone you talk to on the street to anyone who comes to a showcase or even wanders into a showcase, has been really cool. It’s just been like “I don’t know you, but I want to check it out.” Like I really want to “find my new favorite band” kind of thing.

Smith: Yeah, so many people are here to look for new music and that’s really cool because we want to provide that new music.

STPP: So what are your guys up to now? Is there a new record coming out?

Rasgaitis: We have an EP that we released a little over a year ago, a five-track EP. And we just spent the summer recording a full-length album, which is slated for a 2013 release, sometime this year…We haven’t actually released any information about it yet other than that it will be out this year. We’re hard at work mixing it, but it’s been an absolutely massive project… [The new album] really captures our live energy. We couldn’t be happier with how it’s turning out and we can’t wait to release it.

The Ridges – Photo by Julio Jimenez

STPP: I can’t wait to check it out. How’d you get together?

Smith: We got together through Ohio University. He was playing a show…

Rasgaitis: Athens, Ohio, our beloved hometown. Everyone reading this should go to Athens, Ohio and play there. There are a lot of great venues for all different sizes of shows. The one we play most often is Casa Nueva. It’s just a cool, vibed-out venue. It’s great. Right in town on the one street we have. It’s in a cool college town that’s really music-supportive. It’s gorgeous. It’s in the hills of Appalachia. There’s a giant, old abandoned mental institution that overlooks the whole city. It’s this old Victorian-esque architecture. That’s actually what we’re named after – it’s called The Ridges.

STPP: Why name the band after a mental institution?

Rasgaitis: There’s a couple reasons; the classical architecture is kind of like our strings section, and it’s built in the middle of these Appalachian hills, which is the folk rock side of us. So it kind of perfectly embodies that. Also, it’s one of the most haunted places in the country.

Smith: 13th most haunted in the country.

STPP: Scary! Have you guys been there?

Rasgaitis: We recorded our EP in there. We spent five winter weekends there.

Smith: In the abandoned lobotomy room with electroshock therapy.

Rasgaitis: It definitely added a vibe to our music. Aside from us being named after the place, and thinking we should play there and that it’d be great, we’d played a show in there and thought it was amazing and that we should record there. But we were also looking for that not-able-to-be-replicated sound of a room that was distinct, unique and special.

STPP: Well, you certainly accomplished that goal.

Rasgaitis: We used two rooms to get different sounds. One room was a bigger room that we used for probably most of our stuff, and then for special things we had an old tiled lobotomy operating room. They had really bad lights in there, so you couldn’t have the lights on because it would get really hot. It was one of those experiences that nobody else has had. It was totally unique and weird.

STPP: Did you guys record the forthcoming full-length record in an odd location as well?

Rasgaitis: The full-length was recorded mostly in this church that had really sick acoustics. You can get natural reverb that you don’t have to mess with.

The Ridges – Photo by Julio Jimenez

STPP: What musical inspirations do you have?

Smith: Well, I’m a classically trained cellist and I went to school briefly for cello. So yeah, I’m definitely influenced by classical music. I’ve listened to it my entire life so that’s a big influence for me. That and ‘60s and ‘70s.

STPP: A lot of bands today seem to be inspired by those decades.

Rasgaitis: It’s got to be a part of our age group right? Like all our parents handed us the music and said this is awesome, and we said “you’re right.” We were both raised on that classic rock. You know, she was more into that classical scene, and my mom raised me on movie musicals and stuff, which actually has an odd overlap with classical. If you listen to anything from the ‘40s, like Ed Pryor, it’s all massive orchestras and strings. And those are pop songs. So there was this bizarre thing. I heard that with the rock and roll, and it was like “Oh, we can write pop song structures, we can write choruses and verses, and I can be into that kind of lyrical element of it, but we can also have this real sweet, lush instrumentation.”

Smith: The way that we do it is very unique because we treat string instruments and orchestral instruments as the main voice, instead of having them as background, which is what a lot of other bands that have strings do. So yeah, we’re kind of different in that sense. It’s kind of like a solo guitar, except it’s a cello.

Rasgaitis: The cello is definitely the definitive element of our sound. We build the whole band around the sound of the cello. We’re all acoustic, nothing electric. Kind of our mission statement of our band is to do anything that a rock band can do without the electronics. You listen to classical music and it’s the most powerful stuff you’ve ever heard. It’s intense; it’s powerful; it can be angry; it can be exciting. It can be whatever you want it to be, and that’s kind of what we’re trying to harness. The idea that we can make whatever emotion we need to make with acoustic instrumentation.

STPP: Where are you guys going after South by?

Rasgaitis: Tour ends with South by. We did like a two week kind of stint. Then we’ll be back in Ohio and finishing up the record. Next tour is yet to be slated.

STPP: One last question, sweet tea or pumpkin pie?

Rasgaitis: Sweet tea any day.

Smith: Pumpkin pie.

The Ridges – Photo by Julio Jimenez

_____________________
Click here for our short and sweet recap of our SXSW adventure.

This Caught My Ear (STPPFest2013 Confirmed Artists)

Daniel Taylor — Fri, 17 May 2013 16:52:23 +0000

Band: The Sea Life
Album: In the Basement
Track: “Surf Rock Nine”
http://thesealife.bandcamp.com/track/surf-rock-nine

A punchy bass line and driving guitars drew me in, but the weird warbling noise layered behind the main vocals encouraged me to stay. This is worthy indie rock. The singer’s voice reminds of The Killers or Elefant. “Surf Rock Nine” is a gateway song to an interesting Washington D.C. band; however, the rest of the album has more of a subdued and mellow dream-pop sound.

Listen if you like: The Killers, Franz Ferdinand, The Strokes, and Elefant.

Band: Young Rapids
Album: Day Light Savings
Track: “Discuss”
http://theyoungrapids.bandcamp.com/track/discuss-2

A bright and poppy track. All of the instruments rush around and drive the song forward, while the vocals have a tired and unaffected delivery. Makes for some nice contrast against the up-tempo pace of the drums and guitars. The music made me want to dance like a spastic nerd, but the vocals persuaded me to stay off the dance floor and just be a wallflower. Has a similarity with mid-career Strokes.

Listen if you like: The Strokes

Band: Higher Animals
Album: N/A
Track: “Legend”
http://higheranimals.org/

“Legend” is a real stunner. It has a shimmering, methodically-paced opening. Once the vocals kick in, you will be hooked. Mimi Sun’s vocal delivery will instantly transport you to 1988 when Edie Brickell was singing with some New Bohemians. If that reference is too old, I will just say this has a Feist feel going for it. Legend has a folky sound, and a quiet and delicate instrumentation keeps a steady and peaceful tempo. I feel like I should be listening to this in the woods or by a stream.

Listen if you like: Feist

Band: Sun Club
Album: Sun Club
Track: “Repulsive on Chocolate”
http://sunclub.bandcamp.com/track/repulsive-on-chocolate

“Repulsive on Chocolate” was the first track that caught my ear off of Sun Club’s self-titled album. It is a bit slower paced and angrier than the rest of the tracks, and gets really pissed during the second half. Great emotional build up and release. The rest of the album has interesting tracks and has a more of a Spinto Band feel, only with more grit and jangle.

Listen if you like: Angry Spinto Band

Interview: Harmonic Blue

Katie Cole — Fri, 10 May 2013 17:34:52 +0000

www.harmonicblue.bandcamp.com

www.harmonicbluemusic.com

On Friday, April 12, 2013 College Park’s Harmonic Blue played at Move the Movement 2013: Women’s Empowerment Concert at the University of Maryland. This was just one stop of the Spring Tour for the multi-genre quartet.

With a unique blend of jazz, blues and folk, Harmonic Blue embodies a soulful combination that will warm your hearts. They have a sound very similar to a fusion of Steely Dan, Alabama Shakes, Dave Matthews Band and Wilco. The band is composed of Zach Field (vocals), Gabe Bustos (producer and bassist), Anthony Ajluni (guitarist), and Sam Balcom (drummer).

Since forming in July 2011, Harmonic Blue has been quite busy in making their name known across the region. Within the last two years, the boys have released two EPs, including the most recent 2012 release of Villa Borghese, won UMD’s Battle of the Bands, and most recently were named The Deli Magazine Band of the Month for April 2013.

Harmonic Blue took time out of their schedule to speak with me after the show.

STPP: Great show tonight guys! I downloaded the Villa Borghese EP and loved it, but I was blown away watching the show tonight. It was not what I expected at all. There are so many bands that sound exactly like their albums, but you guys definitely brought the EP onto the next level.

Zach Field – Wow, thank you so much.

STPP: I saw everyone else dancing and having fun. There were a lot of fans that came and talked to you guys afterwards. How do you feel the show went tonight?

Anthony Ajluni – Better than I thought it was going to go. This was just a different show for us because we didn’t use any of our own equipment. So, I’ve been telling people it’s like cooking in someone else’s kitchen, you don’t really know right where you want to be with the sound because you’re not familiar with the equipment.

Field – Sam didn’t have a hi-hat.

Ajluni – My guitar amp broke right before the start of the set.

Gabe Bustos – A lot of times when stuff falls apart, you end up getting a better show because you scrap any preconceived notion and go out there and give it what you got.

Ajluni – I think that’s what happened, it was just like definitely not going through the motions, just kind of had to listen to each other.

STPP: Zach, was there a reason you weren’t playing guitar tonight?

Field – Well, I haven’t been playing guitar for a while because I injured my hand. I don’t skateboard, but I was skateboarding and I fell off and messed up my hand. It really sucks. I haven’t been playing guitar for almost a year now.

Ajluni – Indirectly I think it has actually made us a better group, not because I’m happy that Zach can’t play, but it threw a kink in what our regular plan was so we had to adapt some of the songs. It’s allowed Zach to be a really dynamic singer because his head could be 100% in the singing game and it has allowed me to have a little more breathing room sonically with the guitar. Gabe can shine through bass more. It’s more stripped down so every element can be a little more potent I think

STPP: Yeah, absolutely, that’s something I did notice while I was watching the show.

Bustos – It’s like what we were talking about earlier, about doing something in studio and trying to do something different, but recreate it live. Zach’s written a lot of songs where we do want two guitar parts and it’s a challenge.

Field – It frees you up while limiting you at the same time.

Bustos – So it’s been a good learning experience to feel each other out more dynamically, but it’s definitely still a challenge we have not solved yet.

Ajluni – I don’t think you ever solve it, just get better at dealing with it. With a song like “Silver Spoon” I’ve tried to take Zach’s part, and my guitar part and make them into one. Sometimes it works and sometimes it doesn’t.

Sam Balcom – The most important thing is that Zach can now do a kick flip.

STPP: I know you’re halfway through your spring tour. How has that been going? Any good stories?

Field – Well, Anthony got pregnant.

Ajluni – No, it’s just been regular debauchery that happens.

Field – A bar fight here or there. Sam coked somebody with his drumsticks, it just happens sometimes.

Ajluni –We’re not very wild people.

Bustos – Next week (April 19th) we’re opening up for Tigerfest

Field – Maybe we’ll party with Wiz Khalifa.

STPP: What are your upcoming plans for 2013?

Ajluni – We’re doing a summer tour and we’re going to go from DC, New York, out west to Chicago, Detroit and as far south as Atlanta. We’re also hitting a bunch of places in the south like Nashville, Columbus, Wilmington, and a bunch of other places in between. I think we’re going to get 15-16 cities in about 3 weeks. It will be the first time that we get off the East Coast.

STPP: That’s great. I know you released Villa Borghese in November, any chance for a full length this year?

Ajluni – Not in 2013. The big development is we are getting a house together in October. It’s going to be a recording studio also and we’re going to cut a full length. So you can expect a full length the first half of 2014. I still think there’s a lot more to get out of the songs we have.

Field – We may drop a 3 song EP in between, we’ve been entertaining the idea.

Ajluni – Something live maybe.

STPP: I do have to ask about the new “Silver Spoon” video and the location of the warehouse.

Field – That’s in Southeast DC, Sam’s backyard. Basically we just slid underneath this giant garage door. We shouldn’t have been there.

Ajluni – It’s near the Naval Yard. I think it was a bomb factory actually, but they’re starting to clear them out and turn them into apartments and restaurants. This one is still in renovation mode.

STPP: It looked like it didn’t have a floor.

Ajluni – It was just straight dirt. We definitely were not supposed to be in there. There was a hinge door on chains, it was only like 3ft open. It was just enough for Sam to put his bass drum through and we crawled in this place, looked up and said this is the place, bring the cameras in.

Field – There were just windows everywhere and the sun coming in.

STPP: It looked like a great location.

Ajluni – It wasn’t legal.

STPP: How does it feel to be back at University of Maryland?

Ajluni – It’s always great to come back. We all have so many good memories here. This is our home; this is where we started the band. Zach met Gabe in the dorm rooms. I played with Gabe at an open mic here. It was a natural progression where it was a bunch of friends that met in college that were playing music. We played a few parties, thought this was fun, and people liked it. It was this combination of events that went from freshman year meeting in the dorms to playing in front of a football stadium 4 years later.

STPP: Last question, sweet tea or pumpkin pie?

Field – Pumpkin Pie.

Ajluni – Whisky.

Balcom – Earl Grey.

Ajluni – I take that back, Earl Gray with lemon.

Album Review: Naam – Vow

Daniel Taylor — Mon, 06 May 2013 19:35:18 +0000

Artist: Naam
Album: Vow
Label: Tee Pee Records
Release Date: June 4, 2013

I have a history with metal/heavy music. My first true musical loves were metal bands like Metallica, Anthrax and Slayer. As I grew older, my taste shifted to indie rock and I buried that first love in my musical backyard. But like a dog with a bone, I sometimes go back and dig it up. Bands like Naam keep me in touch with my past.

Naam’s newest release, Vow, is a sludgy, persistently pounding brand of psych-rock metal. Naam are proficient in their craft and have some high points in Vow, but the experience is marred by unnecessary filler tracks and tonal repetition. Vow’s twelve tracks will test your patience.

There are three tracks that stood out to me: “Of the Hour,” “Midnight Glow” and the album’s final track, “Beyond.” Add “Vow” and “Pardoned Pleasure” and this would have been an interesting EP that I could get behind. But the remaining tracks caused me to lose listening steam. “Beyond” is the strongest track; when the song began, I thought I was listening to a heavier version of Pink Floyd’s “One of These Days.”

Pink Floyd’s influence can be heard throughout the synthesizer-heavy album and if you are a fan of the sonic drone of The Black Angels and Black Mountain, this Brooklyn-based heavy psych band may be for you.

Listen if you like: Black Mountain, Black Angels, Pink Floyd, and The Warlocks

http://www.facebook.com/KingdomOfNaam

Album Review: Blackstone Rangers – Into The Sea

Gavin Murray Miller — Fri, 03 May 2013 14:05:05 +0000

Artist: Blackstone Rangers
Album: Into The Sea
Label: Dallas Distortion Music
Release Date: June 8, 2012

EP’s are a difficult art form to master. Even when done well, they can come across as a collection of tracks intended to demonstrate the scope and breadth of a band, seeming more like a sampler intended to whet the appetite in anticipation of the eventual LP. Their brevity rarely allows for the complexity and internal logic that a good album tends to possess. That said, Blackstone Rangers has managed to offer up an EP that is both complex and compelling.

The self-proclaimed “distorto-pop” trio from Dallas has a distinct sound which, while reminiscent at times of notable acts like Interpol and Le Tigre, never gives the impression of blatant imitation. The opening track, a densely-layered soundscape punctuated by the simple refrain “Into the Sea”—the title of the EP—sets the tone for the ambient noise and resonating guitars of later number like “Hollyglen” and “I Won’t Tell.” The upbeat “Sheen Machine” indicates that Blackstone Rangers is a band that refuses to be pigeon-holed into any single category and can, as the lyrics advertise, induce listeners to get out on the dance floor just as much as lose themselves in the reverb-drenched guitars and dream-like synth riffs that pervade Into The Sea.

In their own words, Blackstone Rangers claim that they seek to pay homage to the experimentation of late-70′s and early-80′s while “approaching the dawn of something new.” After listening to Into The Sea numerous times, however, one is tempted to ask whether the band has achieved its goal of creating a fresh and original sound… something we have not, in fact, heard before? This is never any easy feat for a band, especially one showcasing its recording debut. Into The Sea hints at the promise of a band that will, no doubt, find the unique sound it craves through its ability to blend varied influences and sculpt haunting sounds capable of drawing in listeners.

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Similar artists: Interpol, Phantogram, Nerves Junior

Interview: The Spyrals at SXSW

Stephanie Lanham — Wed, 01 May 2013 15:43:26 +0000

On March 13, I interviewed The Spyrals at our SXSW showcase. We discussed their forthcoming record, Out of Sight, their inspirations and more.

www.thespyrals.com

http://thespyrals.bandcamp.com

The Spyrals, who played at our SXSW showcase, have a rock and roll vibe with a garage-psych feel. The three-piece band from San Francisco is made up of Jeff Lewis on vocals and guitar, Elliott Kiger on drums and newest member Dylan Edrich on bass. Their sound is composed of jangly guitar riffs, heavy reverb and hallowed out vocals that pay homage to ‘60s rock and roll.

Although their heavy use of reverb is more prominent in ‘60s surf rock, The Spyrals fall somewhere between Eric Burdon and the Animals and 13th Floor Elevators. There is also a heavy Kinks “You Really Got Me” feel in their song “Calling Out Your Name.” Not only do The Spyrals take you into another decade with their style of music, but Lewis says their lyrics are also written to “take someone into another world and escape from reality.”

The Spyrals – Photo by Julio Jimenez

While The Spyrals’ self-titled first album delves into a more psychedelic realm of rock and roll, their forthcoming LP, Out of Sight, will feature a more stripped back version for their sound. Although there is no set release date, Out of Sight is expected to be out later this summer.

After their set at SXSW, I was able to chat with The Spyrals about Out of Sight, their inspirations and the lack of mysteriousness in today’s rock and roll. Check it out.

The Spyrals – Photo by Julio Jimenez

STPP: Can you tell me how you guys got started?

Jeff Lewis: I started the band about 4 or 5 years ago. I got a couple people together and made an EP. I found Elliott about three-and-a-half years ago to play drums. And then we had another bass player who played with us shortly after that. He just left the band a couple months ago and moved down to LA, so we got Dylan to come on bass. We’ve done two EPs, a couple singles and a full-length album. And we have an album coming out in a couple months.

STPP: How does your forthcoming album differ from your previous album?

Lewis: It’s more stripped back. Our first album has a lot of reverb. Our new album is just more direct.

Elliott Kiger: The vocals are more present too.

Lewis: There’s also a bit more swing to it. The songs are more bouncy and fast. Our first album is more of psychedelic sound, with trippy extended stuff, and our newer album has shorter songs.

Kiger: They’re definitely brothers though.

Lewis: Yeah, it’s like an extension of the first album. It was just the next place to go.

STPP: What inspirations drive the style of music you play?

Lewis: I think the inspiration is just from real rock and roll. We’re not trying to go for any particular sound, [but] the ‘60s music is a big influence because that’s the definition of real rock and roll.

STPP: Any bands in particular?

Kiger: I would say that if Creedence, The Stones and 13th Floor Elevators had a baby – we’d be that baby.

STPP: What has been the most difficult issue being in a band?

Dylan Edrich: There’s just so much music, it’s hard to get it all seen together, you know? It would be sweet if nationally people could just hear about a band, but it’s not that easy. The hardest thing I think is getting the word out about a band you really believe in and get people to [check them out]. Once they go see them, it’s like “duh, that’s awesome.”Until they do, it’s like “whatever.” It’s kind of annoying.

The Spyrals – Photo by Julio Jimenez

STPP: Obviously the market for music has changed since the ‘60s. It’s a lot tougher now for bands to make money, but at the same time, more bands are becoming noticed. I mean, what do you guys think? Has the market become worst or better for bands these days?

Lewis: I think it’s harder and easier. I mean, it’s harder because there’s not a lot of money getting thrown around to bands like it used to be; when you get signed to a label and they give you a bunch of money to make a record and send you out on tour. Now you got to do all that stuff your own at first until people take notice; then you can get more opportunities.

Edrich: Yeah, I think it’s harder to separate out different types of bands. Everyone is trying to pigeonhole bands. It’s so hard to get out from under the publicity you do get. You know, what reverberates on the internet is sometimes a determent. [There will be] some bullshit like we sound like Guided by Voices. What? No. Never. That’s not true. And you just want it to go away.

Lewis: I feel like the internet is a distraction in a way. It’s great that people can find out about us, like we have a lot of people in Europe and other places that really like us and buy our records, but at the same time, [that instant accessibility] gives away some of the mysteriousness of a band because you can just YouTube anything and just watch all their videos, instead of having to search for it. Or to just find out about a band from listening to the radio. So it’s like this really underground thing. I don’t think there’s a lot of mainstream music fans who take the time to search out bands that much anymore. Or [if they do], they just eat them up really quick.

Kiger: Yeah, and you’ll just burn yourself on a band in like a day. You can spend three hours listening to all their stuff and watching all their videos and be like “Ah, I’m done.” That’s not good.

The Spyrals – Photo by Julio Jimenez

STPP: I think music being consumed digitally adds to that as well. If you listen to vinyl, you’re more engaged with the music.

Lewis: It’s good to have the physical thing in your hand. It’s exciting that people are buying vinyl more than ever now. I mean, in the last five years, it’s just been increasing. That’s hopeful for bands like us; for people to buy our vinyl.

STPP: What inspired you to play music?

Edrich: I mean, it’s all I can really do. It’s awesome that I have the opportunity to because it means the most to me. I believe that music can heal the world.

Lewis: Yeah, pretty similar to that. It’s the only thing I’ve wanted to do for a long time. My dad taught me how to play some chords on the guitar when I first got one.[My parents signed me up for piano lessons when I was like five years old, which gave me a [sort] of backbone, even though I hated it. I eventually made the teacher quit. I think it was during my birthday and I didn’t want to play piano, so I made a fit. And she was like, “I’m done. He can go home.” [laughs]

Edrich: I wanted to play the harp when I was four. My mom gave me a violin instead. I’m thankful for that. I’m the only musician in my family though.

Kiger: A lot of people play piano in my family. I play some piano and guitar, but drums came about because I was a rambunctious 14-year-old boy, and my parents thought it would be good for me to beat on something, besides my younger brother, so they got me a drum set.

STPP: What would success be for you guys?

Kiger: To support ourselves and to be able to dedicate the majority of our life to [making music]. We’ve done pretty well by piecing things together with the time we do have, but if we could focus on this all time [that would be success]. I sometimes daydream about all the stuff we could do and how often we could put out records and all the cool stuff, but we’ll see.

STPP: What do you think when people say that you should follow your passion and do something you love as your job?

Kiger: Uhh, I gotta eat [laughs]. It’s easy for someone else to say that. Some gigs you get paid 60 bucks, and that goes straight to the gas fund. So then what are you going to eat? I love that when people say “You guys should be on the road all the time.” Yeah, yeah, yeah – you’re at home eating. … Food is important [laughs].

Lewis: I think a lot of people say the opposite though too. Like when you’re growing up and people say “that [being a musician] is a bad career move; there’s no money in that.”That’s kind of the consensus with the parental figures it seems like. I think when they see that you really enjoy it and are somewhat a success in your own mind, they become more supportive.

I think a lot of people are really scared to take hold of something like being an artist or a musician because their afraid of being poor all the time. But, you have to take that chance to find any kind of success.

Edrich: I’m really lucky because I’m a teacher, so I teach music when I’m not performing. I could do that forever and be one of those frumpy old piano teachers. I believe in the future of music, and teaching is like the other side of the coin of performing. I’m lucky to be able to eat totally from music.

The Spyrals – Photo by Julio Jimenez

STPP: Is there any sort of message you’re trying to give through your music?

Kiger: I think it’s just us playing music we would like to hear. I don’t think that there is one overall message. We just like music and we want people to like the style of music we do. It’s been really cool to meet other bands that like what we’re doing and to see other bands doing stuff we like too. I think that’s the reason I do it. We play music that I want to hear.

Lewis: For me, from the perspective of writing the lyrics, they’re written to take someone into another world and escape from reality and to suddenly introduce questions about the world we live in. Not to be overly political or anything, but just to [point] out what we’re doing. Our album is a general map. Our first album is like an adventure. There’s loneliness and trying to find something – those sort of themes. It’s more than just each song is about a certain thing. I think when lyrics come out, they come from somewhere [deeper]. You’re not trying to do something specific. It just kind of happens and you’re like “oh, that makes sense to me and I hope other people understand it too.”

STPP: Lastly, sweet tea or pumpkin pie?

The Spyrals: Pumpkin pie!

The Spyrals – Photo by Julio Jimenez

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Click here for our short and sweet recap of our SXSW adventure.

88 MPH

STPP — Mon, 29 Apr 2013 16:27:21 +0000

88MPH is Baltimore’s newest up and coming cover band. Whether you like the Beatles or the Foo Fighters, 88MPH is the band for you.

SET LIST:

ADDICTED – saving abel
AGAIN – flyleaf
A PRAISE CHORUS – jimmy eat world
AIN’T TALKING BOUT LOVE – van halen
ANIMALS – nickelback
BACK AGAINST THE WALL – cage the elephant
BEVERLY HILLS – weezer
CHERRY PIE – warrant
CRAZY BITCH – buckcherry
DIRTY LITTLE SECRET – all american rejects
DRIVE MY CAR – beatles
EVERLONG – foo fighters
FACE DOWN – red jumpsuit apparatus
FLAVOR OF THE WEAK – american hifi
FREE FALLING – tom petty
FUNK 49 – james gang
HARD TO HANDLE – black crowes
HIT ME WITH YOUR BEST SHOT – pat benetar
HOT BLOODED – foreigner
JESSIES GIRL – rick springfiel
JUST A GIRL – no doubt
LAYLA – eric clapton
MISERY BUSINESS – paramore
NO EXCUSES – alice in chains
PARALYZER – finger eleven
PHOTOGRAPH – def leppard
RIDE WIT ME – nelly
RUN TO YOU – bryan adams
SEMI CHARMED LIFE – third eye blind
SEX ON FIRE – kings of leon
SHARP DRESSED MAN – zz top
SPACESHIP – puddle of mudd
STRAIGHT ON – heart
TAKE ME HOME TONIGHT – eddie money
TO BE WITH YOU – mr big
YOU OUGHTA KNOW – alanis morrisette
YOUR LOVE – the outfield

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Check out their Facebook

Album Review: Ravenous – Splendid

Daniel Taylor — Sun, 28 Apr 2013 21:56:56 +0000

Artist: Ravenous
Album: Splendid
Label: Self-released
Released: 21 July 2012

I am a big fan of ‘90s indie rock. It all began in 1991 with a cassette tape of the Pixies’ Doolittle. From there, I jumped onto Pavement, Built to Spill, Guided by Voices… you know, the stalwarts of lo-fi and American indie rock. The band Ravenous reminds me of those glory years. To be more precise: if Sam Coomes of Quasi fronted for Ultimate Alternative Wavers-era Built to Spill, you would know what this band sounds like.

Splendid is a fun, fuzz-soaked and rocking trip back to my beloved era of indie rock. If the blurb about Sam Coomes puts you off (many of my music friends cannot take his unique nasally delivery), you are missing something special. The vocals grow on you. Trust me.

After a short intro, the fun begins rather quietly with “Hiway, Holmes” but the track quickly spirals into a beautiful calamity of guitars and a jam-worthy rhythm. The dramatic shifts that Ravenous employs with great effect in their songs keep you guessing, and ultimately keep you listening.

“Miami Viceroys” is a beautifully off-kilter song. It resonates in that familiar ‘90s indie rock guitar sound that Built to Spill made famous. The same can be said for “WWBMD” (What Would Bill Murray Do), a punchy and lurching song that captures the feel of BTS but morphs into a stunning and screaming guitar explosion that would be quite welcome on an Archers of Loaf record.

I have name-dropped a few of my favorite ‘90s bands; therefore, I will not be bucking the trend when I compare “The Dock” to a Robert Pollard song. It has the rocking atmosphere and characteristics of some of Guided by Voices’ more rollicking and drunken tunes. It is a rock and roll anthem that chugs along and makes me want to grab a beer. High praise, indeed.

Ravenous delivers a wonderful homage to my favorite era of indie rock. I am looking forward to what they do next.
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Listen if you like: Quasi, Built to Spill, Guided by Voices and Archers of Loaf

Ravenous Facebook page

http://ravenous.bandcamp.com/

Interview: Dorine Levy at SXSW

Stephanie Lanham — Fri, 26 Apr 2013 00:19:42 +0000

Dorine Levy, an indie pop artist from Israel, performed at our showcase in Austin during SXSW. After spending the day together, I got to know Levy’s story and her passion for music. Check it out.

www.dorinelevy.com

www.facebook.com/dorinelevy

Photo by Julio Jimenez

Dorine Levy, an indie pop artist from Tel Aviv, Israel, performed alongside her husband, Eitan Shapira (percussionist), at our showcase in Austin during SXSW. The duo performed songs from Levy’s forthcoming album, Underwater, as well as a few older tunes. Although performing without their usual bassist and guitarist, the duo was still able to keep the crowd moving with the assistance of digital instruments, such as an electronic drum pad and synthesizer. Dorine Levy’s music is best described as dance pop with an edge. Her musical inspirations stem from ‘90s hip-hop and rap, as well as grunge and a side of Pink Floyd.

Although Levy’s songs are sung in English, her first language was French. She grew up in Montreal, Canada, but moved to Israel in her early teen years. Like any emotionally unbalanced teen, Levy needed to find a way to dull the pain from leaving behind everything she once knew. Using music as her outlet, Levy began writing songs, but did not immediately perform them in front of an audience.

“I was always singing and admiring music, but I used to be a shy person; I couldn’t sing in front of people,” said Levy. “I was writing songs a bit on the guitar, but I would never admit that I wanted to make music.”

Photo by Julio Jimenez

Levy pursued other passions, such as fashion. But a year after attending fashion school, she quickly realized that her true passion was music. “Everything that I made was [somehow] connected to music,” she said. “All the professors would tell me that I made such musical pieces.” With that, Levy decided to follow her heart. She enrolled in a music school in Tel Aviv, where fate decided to show its face again by introducing her to Shapira.

Performing songs in English in a country where Hebrew is the dominant language was a bit difficult at first. But recently, Levy has noticed a change in musicians braving the Hebrew-speaking crowd by performing songs in other languages. She is grateful at how open-minded Israelis are. Levy believes the Internet has not only made music global, but that it has also made people more willing to accept new sounds.

Photo by Julio Jimenez

Levy is currently working on her first full-length album, Underwater, which is to be released late this summer. She will be releasing a few singles, as well as a music video for “There For Me” ahead of the album. Visit her website at www.DorineLevy.com to stay up-to-date.

And as always, I couldn’t leave out our signature question, “Sweet tea or pumpkin pie?” Levy’s response: “[Although] I’ve never had it before (because we don’t have it in Israel), Pumpkin pie.”

Photo by Julio Jimenez

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Click here for our short and sweet recap of our SXSW adventure.