melancholy; too soft and delicate; too dreamy and n d i e hypnotic; too personal and intimately revealing in rock takes its lyrics; too low-fidelity and low-budget in its its name from production; too angular in its melodies and riffs; "independent," too raw, skronky and abrasive; wrapped in too which describes both many sheets of Sonic Youth/Dinosaur the do-it-yourself attitudes Jr./Pixies/Jesus & Mary Chain-style guitar noise; of its bands and the small, too oblique and fractured in its song structures; lower-budget nature of the labels too influenced by experimental or otherwise that release the music. The biggest unpopular musical styles. Regardless of the indie labels might strike distribution specifics, it's rock made by and for outsiders -deals with major corporate labels, much like alternative once was, except that but their decision-making processes thanks to its crossover, indie rock has a far remain autonomous. As such, indie greater wariness of excess testosterone. It's rock is free to explore sounds, certainly not that indie rock is never visceral or emotions, and lyrical subjects that powerful; it's just rarely -- if ever -- macho about don't appeal to large, mainstream it. As the '90s wore on, indie rock developed audiences -- profit isn't as much of a quite a few substyles and close cousins (indie concern as personal taste (though the pop, dream pop, noise-pop, lo-fi, math rock, labels do, after all, want to stay in post-rock, space rock, sadcore, and emo business). It's very much rooted in the among them), all of which seemed poised to sound and sensibility of American remain strictly underground phenomena. underground and alternative rock of the '80s, albeit with a few differences that Origins: 1980s account for the changes in underground College rock and noise rock rock since then. In the sense that the term Main articles: College rock and Noise rock is most widely used, indie rock truly The Jesus and Mary Chain performing in separated itself from alternative rock California in 2007 around the time that Nirvana hit the In the mid-1980s, the term "indie" began to mainstream. Mainstream tastes gradually be used to describe the music produced on reshaped alternative into a new form of post-punk labels rather than the labels serious-minded hard rock, in the process themselves. making it more predictable and testosterone-driven. Indie rock was a reaction against that phenomenon; not all strains of alternative rock crossed over in Nirvana's wake, and not all of them wanted to, either. Yet while indie rock definitely shares the punk community's concerns about commercialism, it isn't as particular about whether bands remain independent or "sell out"; the general assumption is that it's virtually impossible to make indie rock's varying musical approaches compatible with mainstream tastes in the first place. . There are almost as many reasons for that incompatibility as there are indie-rock bands, but following are some of the most common: the music may be too whimsical and innocent; too weird; too sensitive and
Thanks for the compliment but we already have a live drummer...
n this era of music and technology, anyone can literally do anything and if it is diverse and catchy enough, it will catch on. For Ireland's Two Door Cinema Club, an unconventional electronic rock act, being diverse and catchy is what they are all about. They are a young act that has gained much attention through not just their music, but their enthusiastic live sets. While opening for acts like Phoenix and Delphic, Two Door Cinema Club has achieved a global buzz and shown they will be around for a while. They are band that makes serious music without taking themselves seriously, which in the end may prove to be their greatest asset in surviving in the dog eat dog world of music. I had the opportunity to speak with singer and main beat maker Alex Trimble. Take a look at my interview with Alex as we discussed living up to an Irish legacy, the band's unique sound and structure and hitting the road with the France's favorite new wave rockers, Phoenix. You hail from Ireland, the land of U2, The Pogues, Oscar winning songwriter Glen Hansard of The Swell Season and The Frames. Do you feel any pressure arriving in America being an Irish band and having to live up to those before you? We tend not to take note of any pressure. Those acts are very different from us too. I think we fit into a different area. The Pogues fit into the very Irish influenced category, Glenn Hansard fits into a more folky category and U2 fall into the boring and predictable category. Where does the name Two Door Cinema come from? Are you all fans of films and going to the theater? Its named after a cinema near where we live called the Tudor Cinema. It came about after Sam mispronounced the name of the place. It seemed to stick so we changed the spelling to suit it! We're all pretty big film fans and going to the cinema is always a good activity for a day off on tour! The sound and style of the band is really unique, who are some of your influences? This is a really hard question for us. I always say anything and everything which sounds like a bit of a cop out answer but its genuinely true. Everything we do, see and hear has an effect on our music.
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ool's Gold is a Los Angeles collective that weaves together Western Leave No Trace pop aesthetics with African rhythms and melodies.[1] The group started as a side project of musicians Luke Top (a vocalist and After many tours following the release of their bassist) and Lewis Pesacov (lead guitarist), who set out to explore self-titled debut, the once sizeable collective their shared love of various forms of African music (specifically organically evolved into a tight-knit five-member Congolese, Ethiopian, Eritrean and Malian), Krautrock, and “Band,” featuring vocalist/bassist Luke Top, guita1980s dance influenced pop music. rist Lewis Pesacov, drummer Garrett Ray, multiFormation instrumentalist Brad Caulkins, and percussionist The band was formed initially as a collaboration between Salvador Placencia. Confident, focused and much Top and Pesacov in 2007. Top had immigrated to Los more personal, this new line-up allowed for the dynaAngeles from Israel at age three, while Pesacov mic of the group to blossom, redefining and sculpting earned a degree in classical music theory and their sound for their sophomore LP. composition while studying underneath American composers Mark Randall-Osborn and Franklin An obvious distinction in the new record is that it is sung Cox. Joining their cultural and musical backpredominately in English. This was an intuitive choice, much grounds, the two began writing songs in the way the debut album leaned towards Hebrew. “Singing together, many of which would eventually in Hebrew on the first record allowed me to find my voice; it appear on their self-titled debut album in helped me to come out of my shell and push myself into letting 2009. go, both as a performer and songwriter” says singer Luke Top has said that the band's name came Top. “As the words and themes for this record started to from a trip he and Pesacov took to Northern take shape, I knew I had to express them in English, my California in which a mutual friend described a first language. Being that this is a far more personal time when she found fool's gold in the ocean.[2] and nuanced collection of songs, it was important to Fool's Gold expanded to a sizable band composed me that my ideas were expressed as clearly as of numerous accomplished and unique musicians. possible, both to myself and to the listener.” Among the members joining Top and Pesacov were Garrett Ray, Jimmy Vincent and Matt Popieluch of Pesacov's other band, Foreign Born; Latin American pop Discography star Erica Garcia; former drummer for The Fall, Orpheo [edit]Studio albums McCord; Michael Tapper, formerly of We Are Scientists as well Fool's Gold CD/12" (IAMSOUND as several other percussionists, musicians and vocalists. In late 2009, the band was chosen as of one Beyond Race Records, 2009) No Trace CD/12" Magazine's 50 Emerging Artists, resulting in a spot in the Leave publication's #11 issue, as well as an exclusive Q&A for the (IAMSOUND Records, 2011) [edit]Singles magazine's site.[3] Fool’s Gold fiery live shows have earned them invitations to The "Surprise Hotel", Limited Edition 7" Hollywood Bowl, The Summerstage in Central Park NYC and The (IAMSOUND Records, 2009) Black Sessions in Paris. Fool’s Gold have played events such as "Nadine", Limited Edition 7" Glastonbury, Reading, Leeds, Oya, Austin City Limits Music Festi- (IAMSOUND Records, 2010) val and London Calling Fest (Amsterdam). Debut album The songs for the band's self-titled album Fool's Gold were mostly recorded live over a two-day session at the Sunset Lodge recording studio in Los Angeles in 2008; tracks were later completed in various apartment living rooms in the early parts of 2009. Top and Pesacov collaborated on the music, written over a three-year span. The album was released on September 29, 2009 through Los Angeles label IAMSOUND Records on both 12" vinyl and compact disc formats; it was subsequently released worldwide on January 25, 2010.
Foster The People UpMark About New Album, Gun Lead by the witty yet wiry-thin songwriterOpen and synth addict Foster, FosterTheir The People are young, boisterous and responsible for the infectious track “Pumped Up Kicks,” that is now on KROQ’s Top 10 Most Played lists and fast becoming one of 2011 s summer anthems. Violence, And Bungee Jumping On Stage At Coachella. While KROQ’s Nicole Alvarez interviewed frontman Foster last month in the back of KROQ, we followed up with them as they kicked off their national tour – already sold out in most major cities – on March 8th at Soho in Santa Barbara. As the live set now boasts 5 people, we chatted with the original three: Mark Foster, drummer Mark Pontius, and bassist Cubbie Fink about their much-anticipated album, Torches, due out May 24th and snapped some live shots of their energetic, gear-heavy live show. Our main take-away? Their live-set ‘fosters’ a fun, fist-pumping dance party, (during “Pumped Up Kicks” they had the crowd singing along.) But underneath Foster The People’s jolly, synth-pop exterior, the band members have depth and wit. They’ve also managed to retain modesty and refreshing down-to-earth laid back humor despite the crazy track their lives have taken since the band formed October 2009. So listen close to the lyrics of “Pumped Up Kicks,” and read the interview below, and you’ll realize there’s more to FTP than meets the eye….And be sure to check ‘em out at SXSW, Coachella, or outside of Cali, in a city near you! KROQ: You are soon releasing your first full-length album on May 24th. What’s your favorite track? Mark Pontius: A track called “Call it What you Want.” It’s the one we did with Paul Epworth (producer of Bloc Party, Adele and Cee-Lo Green.) Cubbie: Me too. But the cool thing about that album is I think it really represents who we are as a band. We all have very eclectic music tastes and have spent our lives exploring different genres. In a lot of ways, the music is fresh, but at the same time it has a weird familiarity; it feels like you’ve heard it before because it’s pulling from some many different places. KROQ: You are often compared to label-mates MGMT, Phoenix, Peter, Bjorn & John, etc. How does that feel? Mark Foster: (slightly rolls his eyes) I mean, it’s awesome but when you are a new face, you fall under whoever was before you. But next year, people will be comparing another new band to Foster The People. KROQ: Where there any unexpected muses then musically for the album? Foster: Aphex Twin. A lot of my programming chops come from growing up on Aphex Twin. As for the other stuff? There’s a lot of soul, a lot of Motown. A lot of influence from Brian Wilson. I’ve lived a lifetime of listening to music. When I write songs, it’s pulling from bits and pieces of whatever is floating around How did it feel when he first heard his song on the radio? Next KROQ: When was the first time you heard “Pumped Up Kicks” on the radio? And how did it feel. Foster: Two months ago, on the way to the rehearsal, we heard “Pumped Up Kicks” playing on the KROQ. It was cool because the DJ talked about it afterwards, saying “This is my favorite song on KROQ right now.” It was wild. (He grins wide.) KROQ: The beat in “Pumped Up Kicks” is almost misleadingly uplifting – while the lyrics are surprisingly morbid. Is that a typical song-writing trait of yours? Mark Foster. I wrote the music first. So that is probably why the music and the lyrics have their own identity. But there’s definite irony. I like to undercut the music with something that is ironically opposite. With music, you can communicate different layers of a story depending on where the music and the melody go. You put a certain melody under a certain word; you can make that word mean a million different things. KROQ: But the lyrics about a kid with a 6-shooter gun walking into school is surprisingly dark territory……especially for a pop song. Is this an issue you feel close to? “To me the epidemic isn't gun violence; the epidemic is lack of family. ”Foster FOSTER: I kind of wrote the song to bring awareness to the issue. That sort of thing keeps happening more and more in our country; it’s kind of turning into an epidemic. To me the epidemic isn’t gun violence; the epidemic is lack of family, lack of love, and isolation – kids who don’t have anywhere to go or anyone to talk to and that’s what makes them snap. When a 13 or 14-year-old kid brings a gun to school and does something, sure, you blame them for making that choice….. But at the end of the day, he or she is still just a kid and there’s a lot of other things that led up that moment that should have changed.