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Lets It Burn with passion, integrity & spirit
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letter from the editor Twenty issues down, many more to go. Found: Music Uncovered Magazine has experienced its fair share of changes throughout the years, all for the better of course, but our love for music and the artists who feed our love will forever remain the same, hence the birth of our Best Of issue, a celebration of the best articles and designs from the past 20 issues. This celebration could not have come at a better time in light of the recent departure of David Bowie from this world. He filled our lives with energy, passion, and humor through his music and acting careers. For me, music emotionally ties people together; it can spark a conversation, ignite a passion, or simply, for nostalgia purposes, take you to a different time and place. No matter how far away someone may be, simply sending them a song "just because I thought of you" is so thoughtful and genuine. It's an extremely powerful connection to have for not having met someone face to face, but only listening to them through an electronic device. And for that we thank you, the musicians, artists, and creators, who fill us with life and love. Let the celebration begin!
Barcelona, Spain w w w.ber n iesdin er.com
www.finelinemusic.com
www.majesticmadison.com
www.thecedar.org
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ZZ Ward (born Zsuszsanna Eva Ward in Abington Pennsylvania) is an American singer, musician and songwriter signed to the Boardwalk Entertainment Group and Hollywood Records. ZZ Ward is also managed by E. Kidd Bogart’s Boardwalk Music Group. She released her debut EP, Criminal, on May 8, 2012. Her debut album, Til the Casket Drops, was released on October 16, 2012. Ward has already made herself a staple blues name in a very small amount of time since her hit single, Put the Gun Down, reached its way into the Top 40 Billboards. Now she’s getting ready to head out on tour, scheduled to hit numerous festivals and shows. We were lucky enough to have a quick chat with her about rap, inspiring female vocalists, growing up in Oregon, and what’s to come for the future.
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2013 Summer Issue
photo credit: modmobilian.com
Still from live studio performance of “Criminal” on YouTube
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So you were born in Abington, PA and then moved to Oregon. I would have pegged you for a New Orleans native given your sound. Where did you get your southern rock and blues influence from? I couldn’t tell you to this day. Coming from PA and then moving to a house up in the woods in Oregon didn’t really play an impact in my musical tastes. I’ve just always loved rap and blues music ever since I can remember. I just love the way it sounds, I love the way it hits me. I’ve always been hooked to it.
When you moved to Oregon you joined a band at the age of 12. What was that experience like at such a young age? It was actually my dad’s band, I was 12 and 13 during that time. They knew I could sing, so they let me come up and sing on stage with them for a lot of their shows. It’s funny, I tell people that and they think it’s so cool, but at the time, people weren’t super into having a kid onstage singing with a bunch of grown men. Some people turn their nose down to young singers, not taking them seriously or scoffing at them. But it gave me a good feel for the business and helped me get really acquainted with music at a young age, so I look at it as a good thing!
On your mixtape, , you sample a lot of beats from very different and eclectic rappers such as Tyler, the Creator and Childish Gambino. Is rap a big influence in your music?
So your name is Zsuszsanna Eva Ward. Look at me thinking of ZZ Top or ZZ Hill before thinking that ZZ was just an abbreviation of your name. What ethnicity is that?
I’ve just ALWAYS loved rap. One thing that has always attracted me to music is its authenticity. With blues music, you can really hear the emotion in their voices, in the instruments, in the overall feel. Same with rap. You can hear that same emotion in rap music, they really mean what they are saying. Again, there is just something that is so real about it that hits me.
(Laughs) Thanks! It’s Hungarian. My mother was born in Budapest.
Favorite rap artist? Oh man...I could name so many right now. I would have to say Illmatic by Nas is without a doubt one of my favorite albums. Always loved Jay-Z…who doesn’t? I’m really into a rapper right now named Azealia Banks, she’s from Harlem and spits fire. Check her out.
On your debut album, , you have a song with Kendrick Lamar. What was it like collaborating with such an influential rapper on the song, “Crying Wolf?” It’s funny, the song is about a drunken guy who is chasing after me. The producer of the song was drunk in the studio when he made the track, so I wrote the song after that because I liked it so much. When the idea to incorporate a rap track was thrown into the mix, Kendrick Lamar came up as a good fit, and he absolutely slayed the track. I’m a big fan of him.
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You have a beautifully developed and soulful voice. Who are your favorite vocal influences when it comes to the more soulful blues and rock side of your music? Tina Turner, for certain. It’s crazy, name her most popular song.
Um….Proud Mary? See, that’s ridiculous, because she has so much incredible vocal work it’s ridiculous. She f****** murders every track she has on her duo albums, along with anything else she’s done. When it comes to female singers, I’ve always listened to women that sound like men, extremely loud and belting voices that have extremely mature tonal quality. Love Big Momma Thorton, I’ve always listened to her. Vera Wood Hall is another, she’s not very popular but she should be, she’s up and coming. Oh, and Mavis Staples. I could keep going.
Any male vocalists you take influence from? Robert Plant. Plain and simple.
photo credit: interviewmagazine.com
ZZ Ward
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What is your favorite song off of your debut album? Of course I want to say all of them but…”Last Love Song” probably has to be my favorite.
What is your favorite song to perform live? “Blue Eyes Blind!” The crowd always gets going when we start that one up. I love to turn acoustic on a lot of the tracks that I do live, and we have a lot of fun with that.
What instruments do you play? Guitar, harmonica, and keyboards.
Any future endeavors you can tell us about? When’s the next album?! Well, I just put out my first album in October, so I’m not really working on anything right now. More focused on just getting my name out there on the tour I’m heading out for soon! We are playing shows in London and Paris and then playing all over the U.S. at festivals like Bigfoot and Firefly. I’m actually going to be headlining a festival in my home town which is…
Weird? …scary. Yea, a little weird. It makes me more nervous than any other show I’m doing because I was raised in this place and want the people to be proud of my hard work in representing my city.
I have no doubts that you will. I’ll be coming out to see you soon at one of your shows! Hell yea!
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www.stubbsaustin.com
www.finelinemusic.com
www.thecedar.org
www.majesticmadison.com
www.high-noon.com
www.abbeypub.com
www.citywinery.com/chicago
www.oneeyedjacks.net
www.spottedcatmusicclub.com
www.workplay.com
www.thebottletree.com
www.thecrocodile.com
www.nectarlounge.com
www.johnnyds.com
www.kingsbarcade.com
NEW ORLEANS
ARLESTON
APEL HILL
ASHEVILLE
NASHVILLE
ATLANTA
NEW ORLEANS ATLANTA
YORK CITY
ATHENS
ATHENS CHARLESTON
RALEIGH/DURHAM/CHAPEL HILL
CHARLESTON
ASHEVILLE
NASHVILLE
NEW YORK CITY FEATURED
ASHEVILLE 36
NASHVILLE
LOS ANGELES
SEATTLE SANPORTLAND FRANCISC LOSDENVER ANGELES PORTLAND OMAHA DENVER OMAHA AUSTIN Our staff writers set out on a musical roadtrip, discovering the nation’s hottest local bands. TULSA MADISON DENTON/FT. WO CHICAGO AUSTIN NASHVILLE
NEW YORK CITY
RAY WYLIE HUBBARD
Countr y
As Burroughs wrote, “America is not a young land:
rock favorites, such as Small Faces and Buffalo
it is old and dirty and evil before the settlers, before
Springfield, and even includes a special guest
the Indians. The evil is there waiting.” That is what
appearance from Ringo Starr. “The album really
I think American country music should be—old,
does have a lot of attitude,” Hubbard says. “We
dirty, and if not evil, then dark. I love imagining
made it to play loud, and I think the sonic quality of
the darkness of the American country, the isolation
it is just beautiful. Even if you don’t like the singer
and the howling of the empty wind. And that is why
or the songs, you’ll like the way it sounds.” It’s a
I love Ray Wylie Hubbard’s music. A country artist
dark and dirty album, and so full of life that you
based out of Austin, Texas, Hubbard is a seasoned
couldn’t stop listening to it if you wanted to. And
veteran of the music scene. At 67 years old, he’s
as you go back farther into Hubbard’s discography,
been in the business since the mid-seventies with
you’ll discover that every single album is that good.
his first album, Ray Wylie Hubbard and the Cowboy
Ray Wylie Hubbard is what good country music
Twinkies , and seeing as how his most recent album,
wishes it could be.
The Grifter’s Hymna l, was just released in 2012, Hubbard shows no sign of quitting or even slowing down. Just the opposite. The Grifter’s Hymnal is a country masterpiece, a unique and individual work of art that takes inspiration from Hubbard’s classic
AUSTIN TMI HOT PICKS
The Sword (Heavy Rock) Mohawk Thurs, Feb 13 6:30pm $20 The Glitch Mob (Industrial) Emo’s Tues, Mar 25 10pm $22
Ray Wylie Hubbard Photo Credit: Todd Wolfson
Turnpike Troubadours (Roots) Fri, Apr 4 7pm $18
THE GETAWAY DRIVERS Po p/ Ro c k / Fo l k he Madison-based group The Getaway Drivers
from Wisconsin). With their power folk edge,
is recording a new album, and you should be
they sound almost like Steve Earle meets The
as excited as I am. Formed in 2006, this septet
Decemberists. My favorite thing about local
has only released one full-length album (though
bands is their fervent followers—if you visit
they’ve also recorded two EPs), but after a
any of the Getaway Drivers’ social media pages,
successful Kickstarter campaign, Wooden Box
you’ll see dozens of Madison locals telling the
Heart should be available by June of 2014. Led
group how great they are, how much they love
by
the
them and how they have every single album each
group melts creamy pop/rock in with smooth
individual member has been on! When you have
country power folk, all for one deliciously
a whole city behind you, what can stop you?
roots-inspired sound. The Getaway Drivers’
That local excitement sometimes turns into a
music features Manor and Sheila Shigley on
national, and even international feeling, and
lead vocals, with harmonies that could make a
I wouldn’t be surprised if the Getaway Drivers
barbershop quartet cry, all alongside acoustic
were catapulted into the spotlight after Wooden
and electric guitars, cello, violin, bass and
Box Heart drops, with the whole of Madison
drums. The band is one of Madison’s most
right behind them.
singer/guitarist/pianist
Bob
Manor,
consistently quality acts, constantly providing good alternative country songs whenever they’re needed most. Their most recent EP, Black Dog Days, is a fantastic presentation of contemporary southern rock (never mind the fact that they’re
MADISON
Dan Butson, Barbara, Brad Graham, Ken Keeley Bob Manor, Sheila Shigley, Greg Thornburg Photo Credit: via Facebook
Leeding Zeroes (Indie rock) Fri, Jan 31 5:30pm $5
The Naked (Alt) The Majestic Tues, Mar 11 7:30pm $25
Wakey! Wakey! (Alt Rock) the frequency Wed, Apr 2 8pm $15
TMI HOT PICKS
www.mohawkaustin.com
www.abbeypub.com
www.citywinery.com/chicago
PINN PANELLE Ro c k t r o n i c a
Derek Song, Justin Conway
Paper Arrows (Indie Rock) schubas Sun, Jan 26 7pm $10
Dinner And A Suit (Pop) The Abbey Tues, March 4 8pm $8
London Grammar (Indie) metro Fri, Apr 4 6:30pm $20
TMI HOT PICKS
Chicago has always been a pretty rocking city—if
viral, racking up over a million views in just two
your city had as much snow and cold weather as
weeks. As of 2013, Pinn Panelle has just released
they do, you’d probably spend most of your time
their second album, Ghosts and Liars . A fantastic
inside listening to music, too! It’s a small wonder
and rocking album, it seamlessly melds hard
that a band like Pinn Panelle can thrive there.
rock with electronica. Every song on the album
In 2007, singer-composer Derek Song moved
makes me think of the story behind the band’s
from Chicago to Boston where he met his current
name: “Pinn Panelle comes from the words ‘Pin
collaborator, beat-maker and drummer, Justin
Panel’ being made to sound like a human name.
Conway. After a few years gaining buzz around
‘Pin Panel’ refers to the face of a Pachinko game
Boston, the group moved back to Chicago about
machine, and, to us, the act of turning those
the same time new developments in the world
words into a human name relates to how people
of electronic music were exploding. Subgenres
turn to technology and other artificial things for
like IDM and grime were becoming popular, as
comfort or love.” Like the name’s origin, Pinn
well as artists like Skrillex, Nero, and Rusko. In
Panelle’s music is dark, a little sad, and has
the spirit of all this electronic innovation, Derek
the relentless drive of technology, or someone
began to build his own custom music controllers
endlessly searching for love.
and experimenting with new live performance interfaces. Then in 2012, the band uploaded a video of them covering Skrillex’s “Scary Monsters and Nice Sprites” to YouTube, where it went
22
CHICAGO
TANK & THE BANGAS R&B
Deep in the Southern United States, New Orleans
joined forces to create one all-star group. The
is a city like none other. Filled with magic, music
artistry, energy, humor and love that Tank and
and a rhythm all their own, it gave birth to
her bandmates put into their music is nothing
jazz and continues to cultivate musical growth.
short of extraordinary. Their newest album
EnterTank and the Bangas, an R&B outfit that
Think Tank, just released this past December,
embodies all the bold and enduring creativity
is an exciting and soulful journey through love
that has placed NOLA on the American arts map
and life and everything in between. Through the
for decades. Fronted by larger-than-life Tarriona
past two years, Tank and the Bangas have taken
“Tank” Ball, the group is an eclectic mixture
their explosive live shows to events such as the
of R&B, soul and spoken word. Back in 2010,
Jazz and Heritage Festival, Write NOLA Festival,
Tank released her first solo album, RandoMe,
League of Black Women Conference, and many
a compilation of singing, scatting, rapping and
others, including two appearances on BalconyTV
reciting poetry over soul, jazz and rock tunes.
New Orleans. Regardless of whether or not the
For instance, take the song “Random Love,” in
Bangas go down in the annals of history, Ms.
which Tank covers Norah Jones’ “Don’t Know
Tarriona Ball certainly will!
Why” with a poem spoken in between the second and third verse, and Tank completely owns it. With her inimitable style and intoxicating voice, it’s no wonder that she and the BlackStar Bangas
NEW ORLEANS
Tarriona Ball, Norman Spence, Joshua Johnson Merell Burkett, Nita Bailey Photo Credit: via Facebook
TMI HOT PICKS
Glen David Andrews (Funk) d.b.a. Mon, Jan 27 10pm $5
The Soul Rebels (Jazz) Tipitina’s Fri, Feb 7 9pm $15
The Orwells (Flower Punk) One Eyed Jacks Tues, March 11 9pm $10
www.bluebirdcafe.com
425 LAFAYETTE ST.
www.joespub.com
DARLING GUNSEL Electronica/Dance
Jezebel Gunsel, Ricky Terry, Dr. Scott Photo Cred: Via Facebook
TMI HOT PICKS
The Tender Few (Indie Rock) Bottom of the Hill Wed, Jan 29 9pm $10
Marissa Nadler (Dark Folk) The Chapel Wed, Feb 19 7pm $15
Castles In Spain (Rock) Brick and Mortar Fri, Apr 4 8pm $20
Doo doo, doo doo doo… The opening of Darling
tramp. Yeah, mad rad name. The g roup’s 2012
Gunsel’s hit single “Straight Girls” will easily
debut album, Unresolved Heart, is a dance-
slip into your head and dance around in there,
fest through nightclubs and the backseats of
and the equally addictive music video will
cars.
not help resolve the issue in the slightest. An
for initial seduction, and leave on long after
openly queer group from San Francisco, Darling
the post-coital cigarette. Personal favorites on
Gunsel takes electro-pop to an all new level.
the album include “Straight Girls,” of course,
Riding high on th eir success as electro-pop duo
“Dutch Courage,” and the title track “Unresolved
Ejector (voted San Francisco’s Best Local Band
Heart,” the text taken from a Rainer Maria Rilke
2010 by the SF Bay Guardian), synthesists Dr.
poem, naturally. This isn’t your usual addictive
Scott and Ricky Terry decided to embark on a
American/Kiwi queer electro-pop trio… This is
new challenge: a new electro-pop band with
an addictive American/Kiwi queer electro-pop
a female vocalist. By January 2012 they had
trio that quotes poetry. Regardless of gender
teamed up with New Zealand native Jezabel,
or sexual identity, Darling Gunsel will get your
a vivacious vocalist who helped create the
blood pumping and get you ready for the night,
Darling Gunsel we now know and love. In case
whatever it may bring.
you’v e been wondering, the word “gunsel” is old street slang that means a young hoodlum who’s kept as a sexual companion by an older
54
It’s the type of album that you turn on
SAN FRANCISCO
OF VERONA Electronica
Hypnotic, dark electronica that is close to
could score a soundtrack to a film that takes
otherworldly... That is the best way to describe
place in the not-too-distant future.” It’s a sci-fi
Los Angeles-based trio Of Verona. Formed
electro pop that will have you amped for hours
in 2010, Mandi Perkins, Dillon Pace and Jeff
on end and most probably ruin the soundtrack
Sojka have wor ked tirelessly to make their
of any futuristic film that you will see from your
grou p one of the most buzzworthy electronic
first listen onward. “Why didn’t they just hire Of
band on today’s music scene. After extensive
Verona?” you’ll ask yourself for the thousandth
touring, they released their first EP Fall Like
time, as the people around you glare. I would
Roses in 2011 to quiet, but considerable acclaim
not think it will be too much longer until you
from sources such as MTV Buzzworthy and Hits
do, in fact, hear Of Verona on soundtracks, as
magazine, the latter of which featured them as
well as on an international level of airplay that
one of the top five acts to break.
they richly deserve.
In 2012 the gro up released their first studio album, The White Apple , to even more praise, from critics and audiences alike. The album is a da rk and ethe real experience and, to quote an iTunes reviewer, “[it sounds like] music that
LOS ANGELES
Dillon, Jeff, Mandi Photo Credit: of Verona Press Photo
TMI HOT PICKS
The Lonely Wild (Folk) Bootleg Theatre Sat, Jan 25 11pm $10
Birds Of A Black Feather (Southern Rock) The Satellite Thurs, Feb 13 9pm $15
Tyrone Wells (Pop) The Coach House Sat, Apr 12 8pm $20
www.high-noon.com
www.brooklynbowl.com
NAHKO & MEDICINE FOR THE PEOPLE Ac o u s t i c T h u m p - h o p Medicine comes in all shapes and forms. There
melodies take on different faces each time you
are pills and therapy, religion for others, the love
listen to them. Nahko’s greatest gift undoubtedly
of family and friends. One of the most universal
lies in his lyrics—they explore the ebullient,
medicines is music, and few understand this
vibrant joy of life and the celebration of culture
as well as Nahko and Medicine for the People.
and identity; however, they also contain fearless
Fronted by Nahko Bear, this Portland-based group
condemnation of social ills, such as poverty,
is one of the best up-and-coming bands in the
racism,
United States, point blank. Their music is deeply
integrity that Nahko and his band have is nothing
introspective, social minded and, in a sense,
short of admirable. The love they have for
spiritual. Nahko, whose heritage draws from
humanity and our earth is transparent in every
Apache, Puerto Rican and Filipino backgrounds,
part of their music. If you watch the video for
was adopted into an American family and suffered
the song “Budding Trees” (by young and talented
from an identity crisis starting at an early age.
filmmaker Grototote), dozens of people are lip
It was through music though that he began to
synching to one song and showing what makes
heal, and, over the years, has found others like
them an undeniable part of humanity. It will
himself to join him on the journey of personal,
really make you feel like you’re part of something
spiritual, and communal growth through music.
special, and you are. Nahko Bear knows it, and
The music of Nahko and Medicine for the People
now you do as well.
cannot be readily summarized. Musically, they draw from a variety of sources, from hip-hop to folk, tribal to jazz. It’s largely focused on guitar and vocals, paired with good rhythms and
and
environmental
destruction.
The
PORTLAND Nahko Bear, Hope Medford, Don Corey, Jeanna McAnally, Aliina Champion & Time Tibner Photo Credit: Via Facebook
TMI HOT PICKS
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Dent May (Singer Songwriter) Mississippi Studios Sun, Jan 26 8pm $10
Seance Crasher (Multi-instrumentalist) Valentines Tues, Jan 28
The Creepshow (Psychobilly) Doug Fir Lounge Tues, Apr 4 8pm $14
AIR DUBAI Hip-Hop
Nick Spriegl, Lawrence Grivich, Michael Ray, Taylor Tait Photo Credit: Luca Venter
TMI HOT PICKS
Quadron (Soul) The Ogden Theatre Tues, Feb 11 7pm $25
Gardens & Villa (Indie Rock) Larimer Lounge Tues, Mar 4 8pm $14
Lost in the Trees (Folk) Hi-Dive Sun, Mar 30 8pm $10
Hip-hop is a genre which has found its greatest
beats, it took about a year to decide to go a
success with individuals—you could probably
more organic route—by 2009, the group had
name ten great hip-hop artists off the top of
enlisted Nick Spreigl (drums), Lawrence Grivich
your head, but you’d have to really think to name
(guitar),
more than a couple of great hip-hop groups.
Taylor Tait (bass). Within two years, the band
Even then, most of those groups consist of a duo
had two albums, Wonder Age (2010) and Day
or a trio, nothing like, say, a sextet. That’s where
Escape (2011), with the EP Warning released
Found comes in, to introduce you to the best (or
in 2013. Air Dubai has received much critical
possibly only) six-piece alt hip-hop group on
and commercial acclaim, including being named
the scene, Air Dubai from Denver, Colorado. Air
Westword magazine’s “Best Hip-Hop Band” of
Dubai seamlessly melds a variety of styles from
2010, 2011 and 2012. With national airplay on
pop, soul, rock and electronica to its hip-hop
the radio to successful tours with OneRepublic,
base, creating an exhilarating experience for the
Lupe Fiasco and Jake Miller, this is one group
listener, whether you’re at the club or simply
you can’t afford not to hear!
Michael Ray (keyboard/synth), and
listening along at home. The group wasn’t always so large and genre-bending however; its origins date back to 2008 when high school friends Jon Shockness and Julian Thomas decided to create a hip-hop duo. Originally using pre-recorded
DENVER
www.40watt.com
www.meltingpointathens.com
VINYL www.vinylatlanta.com
www.terminalwestatl.com
www.johnnyds.com
www.thedise.com
www.theroyalamerican.com
www.musicfarm.com
DC www.blackcatdc.com
www.930.com
www.bluebirdcafe.com
www.exitin.com
www.joespub.com
www.brooklynbowl.com
www.kingsbarcade.com
www.catscradle.com
WE BE LIONS Ro c k
Kid Fox, Ricky, Mike, Jake, Beats Photo Credit: Via We Be Lions Facebook
TMI HOT PICKS
Youth Code (EBM/ Industrial) The Slowdown Wed, Feb 5 8pm $8
Marshall Crenshaw (Power pop) The Waiting Room Lounge Sun, Mar 2 5pm $25
The Talbott Brothers (Folk Rock) The Barley Street Tavern Thurs, Mar 6
Somehow, in the wasteland of Nebraska, Omaha
was a four-song EP called Stray Cats, which came
has cultivated a thriving musical scene. The
out in December of 2012; the group is currently
‘00s saw the success of acts such as Bright
in the middle of recording their latest full-length
Eyes, Cursive, and Rilo Kiley, and now in our
album which is due to be released this winter.
awkwardly-named decade, we have another crop
Though I cited acts known for indie folksiness,
of Nebraskan musicians bringing up the ranks.
We Be Lions is nothing but. Loud and wild rock
Leading the pack is Omaha’s own We Be Lions,
‘n’ roll, they take influence from groups like Red
an up-and-coming five-piece rock group that has
Hot Chili Peppers, Sublime, and just a hint of old
already made a splash with local crowds and is on
school Incubus. These are young men with a clear
their way to dominating the Midwest. Formed in
idea of their musical style and how to achieve
early 2010, the band went through more changes
it. They’ve been called the perfect college rock
in their line-up than Lady Gaga does at an awards
band—their mix of rock, hip-hop and funk makes
show. During their second incarnation, We Be
for highly fun and energetic shows and albums,
Lions released a self-titled album in 2011—it
something that you will not want to miss.
received positive reviews and sold quite well, but by 2012, the group had reached its third and present incarnation. While learning past material, the new We Be Lions were also composing their own songs, and their first recording to be released
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OMAHA
THE MAD TEA G a ra g e Po p
Asheville’s punkabilly/garage rock band Mad Tea
debauchery. Much like the hatter and his friends,
recently changed their name from the iconic Mad
these two craft tunes that are a magical mess of
Tea Party. Thankfully, Mad Tea presents audiences
The Addams Family and garage rock. Each song an
with glorious sets of whimsical and upbeat tunes.
experience in its own right, the Mad Tea creates
Self-proclaimed “low brow” visual artist Jason
surprising and enchanting music without any real
Krekel and freelancer Ami Worthen manage to
guidelines or genre-it’s just really great rock’n’roll
meld a variety of sounds and genres (both pop
with a magic twist.
culture and musical) with apparent ease. Nimble instrumentals give way to playful lyrics and joyful melodies - everything about this mad duo
Jason Krekel and Ami Worthen Photo Credit: Max Cooper Photography
spells “f-u-n.” Apart from releasing a Christmas themed sampler, the duo have also released two EPs, Rock’n’Roll Ghoul (2010) and Zombie Boogie (2009), in addition to a full-length album Found a Reason (2008). Title track “Rock’n’Roll Ghoul” is a whirling dervish of a “uke-abilly” number, “Blues Slip In” is relentlessly cheerful, and “Possessed” brings out a more garage rock feel akin to The Chalets. With a solid dose of classic pop culture
TMI HOT PICKS
references (Krekel grew up steeped in monster and superhero culture) and Worthen’s writing prowess, the two make an unstoppably joyful team. The duo made an appearance at Charleston’s Rockabillaque last October and consistently appears at trademark Asheville establishments alongside other local favorites. The duo’s next year will hopefully be filled with cheer, recordings, and festivals galore. Though they’ve ditched the “party” part of their name, for reasons relating to a certain political faction, Krekel and Worthen remain true to their mission statement to spread happiness and
ASHEVILLE
Lake Street Drive (Indie Improv Rock) Grey Eagle Tues, Feb 25th 7pm $18 The Duhks (Acoustic Roots) Pisgah Brewing Company Sun, Mar 23 7pm $15 Daniel Rosen (Multi-Instrumental) Orange Peel Thurs, Apr 10 8pm $18
www.bottomofthehill.com
www.hi-dive.com
THE GOLD PARTY E l e c t r o/ I n d i e
TMI HOT PICKS
Dirty Bourbon River Show (Gypsy Brass) The Melting Point Sat, Feb 1 8pm $15 New Madrid (Indie Rock) 40 Watt Club Thurs, Feb 13 8pm $31 The Whiskey Gentry (Bluegrass) Georgia Theatre Fri, Apr 4 8pm $10 Dan Geller, Benji Barton Brian Smith, Sethen Maleno
Athens DJ and GO BAR veteran Dan Geller (bass,
down favorites “Luxury and Light” and “Discolite”
beats, shapes), formerly of Boulevard, heads this
showcase the band’s nimble melodies and effects
indie electro quartet as they churn out pop and synth
without overwhelming the senses. “On Your Side,”
infused dance hits. After Boulevard disintegrated,
its accompanying remix, and “Smoothie” are equally
Gellar’s remix of their song “Discolite” inspired
as catchy but tone down the dance floor, taking on a
fellow GO BAR goers Benji Barton (vocals, keys,
darker tone than the bouncy “Luxury and Light” and
guitar), Brian Smith (guitar, vocals, synthetics),
“Discolite.” Regardless, The Gold Party’s tracks lay
and Sethen Maleno (drums) to complete the indie
down serious electro business, bringing well-crafted
electro dream team.
and intelligent tracks to the table. Introspective
Since 2009 the team has released four tracks
and only occasionally melancholic lyrics pair with
and a few remixes to date, the band teases that
infectious synth-laced beats in a manner similar to
they are currently recording and producing their
legends David Bowie and Peter Murphy.
freshman LP amidst playing their usual slew of gigs around Athens’ bar and music scene. In 2011, they released their first EP, dubbed Luxury &
Light via Athens-based Kindercore Records. Hands
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ATHENS
QUEEN SHEBA S p o ke n Wo r d
If you ask Queen Sheba how she became a genius,
as well as “from coffeehouse to Coliseum” in the
she’ll reply, “I was born.” Born Bethsheba A. Rem,
US. Queen Sheba has been published in a score of
the Queen is one of the reigning spoken word
magazines and poetry journals, spoken at over two
artists not only in the United States, but in all of
hundred universities (along with being the poet in
North America. The debate of whether or not lyrics
residence at the University of Illinois-Champaign
are poetry has been a long and hotly contested
Urbana, and been the key note speaker at events
argument, but no artist blurs the line as well as
such as Take Back the Night, Domestic Violence,
Queen Sheba; endless lines of brilliance are dropped
AIDs Awareness for Young Adults, and the National
over neo-soul tunes and hip-hop beats with award-
Women in Hip-Hop conference. It’s always a little
winning musicians. It’s no small wonder that two
unnerving when you find such a good artist. You
of her albums have been nominated for Grammy
don’t know quite what to do with yourself… All
Awards, and Sheba herself has been nominated the
I know is that I’m going to keep listening to the
NAACP Image Award for her works in the hip-hop
Queen all night long.
feminist anthology, Home Girls Make Some Noise. She is ridiculously and unapologetically talented, and that talent has taken her all over the world, touring in Europe, West Africa, Cuba and Canada, Bethsheba A. Rem
ATLANTA TMI HOT PICKS
Gaelic Storm (World) Terminal West Wed, Jan 29 7pm $20 Lucy Wainwright (Singer-Songwriter) Eddie’s Attic Tues, Feb 18 7:30pm $20 Johnny Clegg Band (South African) Variety Playhouse Wed, Mar 26 7pm $35
www.thecrocodile.com
www.nectarlounge.com
SUSTO D a r k Co u n t r y
Here at Found , we definitely support local music.
the aching of young love with both its lyrics and
And for us, local is Charleston, South Carolina,
lonely guitars. Tracks like “Acid Boys” have a
so the boys from Susto are our own homegrown
more robust sound, and explore a young person’s
talent! The group’s name is taken from a folk
urge to explore and to create a better (or at
illness that is defined as a “fright sickness” and,
least more interesting) life. “I don’t want to die
literally, a loss of soul from the body. Symptoms
here, not now.” Those words have particular
include
insomnia,
meaning coming from a Southern band. At times
listlessness, and despondency, among others. The
Northerners seem to regard the South as a dying
most effective treatment for susto is a ceremony
country, but, as you can see, it’s still full of life.
known as the barrida, or “sweeping.” As much
Instead, we may just have a touch of susto, and
as I love the name Susto, I think they might be
are in need of a barrida-and that’s exactly where
better suited calling themselves “Barrida”—their
Susto the band comes in to save the day.
nervousness,
anorexia,
music is a soulful sweeping of emotions, and they get you right in the folky emotions. Susto defines their music as “dark country,” which fits very well. Songs like “Smoking Outside” capture
CHARLESTON Taylor McClesky, Eric Mixon, Johnny Delaware, Jordan Hicks, Justin Osborne
TMI HOT PICKS
The Hooten Hallers (Hillbilly) The Royal American Wed, Jan 29 9pm $5
Caked Up (dj) The Music Farm Sun, Feb 23 7:30pm $25
The Dirty Guv’nahs (Rock n Roll) The Charleston Pour House Thurs, Mar 27 8:30pm $15
NATURAL CHILD D a r k Co u n t r y
Nashville has recently become a hotbed of up-
towards sex, drugs and alcohol. “I don’t love you
and-coming artists, with iconic venues such as the
baby/ I just love that ass” they cheerfully proclaim
Ryman and the Exit/Inn bringing hungry fans the
in “B$G P$MP$IN,” off their sophomore album
latest music from the world over. The scene is as
Hard in Heaven, released in October 2012. With
intimidating as it is legendary. Setting oneself up as
nine tracks clocking in at 36 minutes, it’s a fast ride
a band or musician can seem daunting at best and
and the only reprieve is the somewhat trance-y title
near-impossible at worst. However, there is one act
track that shows the band returning to the roots
in Nashville today that is on the cusp of breaking
of electric blues with a steady bluesy bass line and
out – enter Natural Child, everybody.
easy-going drum beats complimenting distorted
The self-proclaimed “greatest rock n’ roll band
guitar riffs and solos. Compared with band’s first
in the world” was formed in 2011 by bassist Wes
album For Love of the Game, Hard in Heaven stands
Traylor and drummer Zack Martin. They brought
up better as a fully Natural Child release, while For
on bass player Seth to make a blend of rock and roll
Love of the Game still saw the band getting used to
all their own, even if they borrow certain elements
its own sound. Catch their music on Spotify, or look
from influences such as the White Stripes, the Black
them up on Facebook. And don’t miss a live show if
Keys, and Kings of Leon. Favoring a stripped down,
Natural Child comes your way—it’s sure to be a hell
no-nonsense approach to rock music, Natural
of a concert.
Child takes the precedent set by Jack White et al to the next level with their high energy tempos and lyrics that express a youthfully exuberant attitude
NASHVILLE
Wes, Seth, Zack Natural Child Official Photo
TMI HOT PICKS
Cloverdayle (Country) The Listening Room Cafe Wed, Feb 5 6pm
Solids (Rock) The End Tues, Mar 18 9pm $10
Cut Copy (Psychedelic) Marathon Music Works Wed, Mar 19 7pm $25
www.930.com
www.fillmoremb.com
THE COFFIN DAGGERS Psyc h e d e l i c S u r f P u n k Surf music and B-horror films are two cornerstones
staple of the live New York scene, the group will
of modern Americana, or at least, idealized idealized
have you thrashing around the dance floor until
Americana. The Coffin Daggers take the carefree
you’re covered in sweat and about to collapse,
nature of surf music, dramatics of B-horror films,
and still you scream for an encore. Frankly, it’s
and good old-fashioned punk to create some truly
refreshing to hear an entirely instrumental band,
kick-ass music. The group dates back to early 1999,
especially one with such infectious sound and
founded by Viktor Venom (who you punk rock kids
energy. So if you find yourself in New York (or if
may know as one of the founders of Nausea, as
The Coffin Daggers are headed toward a town near
well as a member of Reagan Youth and Chaos UK).
you), pull yourself up from the computer for a night
Venom, along with Rob Morrison and Peter Klarnet,
of surf punk. For everyone else, you can check out
takes influence from a variety of artists, such as
The Coffin Daggers’ first album, Monsters of the
Link Wray, Henry Mancini, Duke Ellington, and
Id, available online for purchase and streaming.
of course, the Cramps. The guitars and keyboards
Try not to start a one-person mosh.
are beyond compare in this group—mad rhythms and melodies keep the listener in a trance, while an expertly placed theremin ensnares you. While The Coffin Daggers’ music is instrumental, the absence of lyrics does not leave the audience in want. A
NYC
TMI HOT PICKS
DK & The Joy Machine (Percussive Singer-Songwriter) The Way Station Tues, Jan 28 7pm Black Taxi (Rock) Rockwood Music Hall Fri, Feb 14 11:30pm $15 Shearwater (Rock) The Bell House Sat, Mar 22 7:30pm $15
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Viktor Venom, Rob Morrison, Peter Klarnet Photo Credit: R. Stacy Fenner
JEANNE JOLLY Co u n t r y/A m e r i c a n a / Fo l k TMI HOT PICKS
Together Pangea (Rock) Local 506 Mon, Feb 10 9pm $10 Two Cow Garage (Rock n Roll) The Pour House Music Hall Wed, Feb 26 8pm $10 S. Carey (Folk) Kings Sat, Apr 12 9pm $12
Jeanne Jolly Photo Credit: Via Facebook
After bouncing around Los Angeles and Boston,
that features operatic flourishes and asks the
Raleigh born and bred Jeanne Jolly returned home
age old question, “why can I not get over you?”
to be reborn. Though classically trained at the New
Jolly’s voice soars. It’s warm and golden and true.
England Conservatory, she had not taken up either
Brimming with wisdom, wit, and life, Jolly’s honest
guitar nor songwriting as a career until returning
to goodness lyrics and songwriting skill will win you
home to Raleigh in 2009. Jolly released a self-titled
over, no matter which musical genre you prefer.
EP in 2008, following up with sophomore EP Falling
At home in the studio and on stage, Jolly’s earthy,
in Carolina in 2010. Her most recent and first full-
down home melodies glimmer brightly solo or
length release, Angels, has roped Miss Jolly some
accompanied by her very talented musical family,
serious praise from the likes of The Boston Globe
namely Chris Boerner (guitar, producer) and Nick
and New York Music Daily. Always composed and
Baglio (drums, keys). She has become a staple at the
joyful, Jolly radiates joy and strength, the kind that
North Carolina State Fair and has appeared at the
you can only draw from vintage country music and
Hopscotch Music Festival and recently completed
fresh air.
at month long tour across the USA. “Now that I’ve
“Angels on Hayworth St.” has an old country twang
surrendered to this crooked road, I know just where
to it that, when paired with Jolly’s clear, lilting
I want to go. I want to go with you.” With you we
voice, has a crisp, autumnal air. “Good Man” plays
go, Miss Jolly.
like a great Emmy Lou Harris ballad, alternating between powerful yet controlled vocals to hushed verses. “Tear Soup” is a dramatic and fun affair
RALEIGH
www.thesmell.org
www.theslowdown.com
www.workplay.com
www.thebottletree.com
Beardyman
Perotá Chingó “La Complicidad”
“Oh! (feat. Foreign Beggars)”
Foster the People “Pumped Up Kicks”
The Microphones
David Byrne & St. Vincent
“I Felt Your Shape ”
“Dinner for Two”
Nico Vega “Beast”
Mikaela Davis
“I’m Just Trying to Be Your Friend”
Harry Nilsson “Thursday (Here’s Why I Did Not Go to Work Today)”
Lorde
“The Love Club”
Serena Ryder “What I Wouldn’t Do”
Grouplove “Sit Still”
Stooshe
“Hoochi Mumma”
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The A-Side
Ryn’s Mix
“My Mother Always Said I’d Waste My Life”
Azealia Banks “Fuck Up the Fun”
The B-Side Whitley
Taylor M.’s Mix
“Big Nasty Pants Down Jam Down”
Grouplove
“What I Know”
Foals
“Bad Habits”
“Cheap Clothes”
Kings of Leon “Family Tree”
Leagues
Trampled by Turtles
“Walking Backwards”
“Victory”
Grizzly Bear “Yet Again”
Sigur Ros “Brennisteinn”
The Apache Relay
Umphrey’s McGee
“Can’t Wake Up”
“Conduit”
Portugal. The Man “Purple Yellow Red and Blue”
Youth Lagoon “Daydream”
Local Natives “Bowery”
Let’s just
hang out!
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J
ust as recorded music provides the soundtrack to our lives, a festival experience expands upon this realization as the lines between life and live music merge into one. From May 17th to 20th, creative forces from around the world buried their toes in the plush sand of Gulf Shores, AL to kick back and rock out with old favorites and new discoveries. Whether the Red Hot Chili Peppers closed out Saturday
night’s festivities with timeless hits to an audience that spanned the entire beach, or The Revivalists’ soul blasted rock got the weekend rolling at Thursday’s KickOff Party, music of all shapes, sizes, and styles swept through the venue like the cool ocean breeze that capped off the picture perfect weather. From tan lines to tank tops, and bikinis to body paint, spirited fans of all ages left positive impacts on one another, as their upbeat vibes danced to the rhythm of life.
Welcome to the Hangout Music Festival.
2012 Summer Issue
970 Morrison Drive Charleston, SC 29403
LINEUP
september / october / november
A self-proclaimed “language nerd,” “knowledge seeker,” “skateboard junkie” and “mix-tape enthusiast,” Astronautalis shatters any illusion of what the typical rapper should be.
86
2012 Winter Issue
Do you remember the first rap song you fell in love with? “Return of the Funky Man” by Lord Finesse. Every time I hear it, I just get so excited. I know every word. It’s so far removed from the music I make now, but also there’s this sort of continual of keeping it real. It always nudged me away from making me pretend to be a badass or that I sold drugs. It helped me to get more and more comfortable in my own skin. That’s when I started to write about old dead generals and Russian chemists.
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Are you influenced by writers? Yes, Mark Helprin and specifically the book “Winter’s Tale.” His language is very flowery and dense. His writing is very sincere. There’s nothing tongue and cheek about it. He’s emotive and open in a way that a lot of people think is corny; but I am completely in love with his stories. They are huge and epic and beautiful. They represents art and history and everything I need in a book. If you listen to my record Pomegranate, the language is heightened much more than hip-hop and isn’t as conversational as This Is Our Science. I got a huge influence from his language.
Is there a defining moment when you fell in love with words? One of the most singular moments of my life was when I had my mind completely blown when I was in college working on scansion of classical theater and breaking down the actual poetry. Shakespeare writes in iambic pentameter, but he also breaks the rules constantly. Adds an extra syllable, inverts the stress and unstress, makes all these complex changes. My professor gave us the first ten lines of Hamlet’s ‘“to be or not to be” speech to write them all out, mark all the scansion, where’s there’s inversions or incorrections. After you got it all marked out, you’d go back and circle all of the incorrect parts—the inversions and the extra syllables, circle ‘em all. Circle the words that they’re a part of. And if you just read those words, they read like an almost perfectly structured summary of those ten lines. Like a sentence, flawless. You can do this through 90% of his plays. When I saw that, that—just the power of the written word
became so abundant in a way that had never ever existed. There’s tons of speculation as to why he did that. One common speculation is just for direction for actors to be able to read and understand because there were no directors in his day. You didn’t even get a full script, you got sides, you got your lines and the cue line for them. But the other more beautiful, ephemeral concept was that he didn’t know he was doing it. He just inverted when he thought he was supposed to. It just came to him, and it’s sort of like a summary for himself and a summary for the audience to draw their attention to these parts. Both of those possibilities are beautiful. One is beautiful in an incredible, technical way and one is beautiful in an incredible savant way. I loved language, but that just blew everything wide open. theatre kid and
photos by: Jonathan Hoffner
Can you explain why freestyle tends to get criticized? Freestyle is abstract expressionism. It’s like an explosion on a canvas. Part of the problem with rap and freestyling is that it suffers the burden of proof that you are actually freestyling. Rap is so much about competition, so if you freestyle really well, people tend to doubt that you didn’t take it from something. Part of its beauty is letting go of that and just enjoying the fact that it’s happening. People should think of it as a jazz improvisational approach. I try to give a wink and a nod to the audience so they are actually part of it.
When did you feel like you really nailed it? I really latched on after I read “Outliers.” The concept there is that 10,000 hours of practice should make you successful. I have blown way past 10,000 hours of freestyling in my life. Way past! Like WAY past! And freestyling is my niche. When I started out, I was as bad as everyone else, every other white kid who ever tried to rap. I had no edge. I just did it more then everybody, I worked so hard at that. I never worked hard at anything in school, but I worked hard at that.
When you first started, how many hours a day did you practice? All day when I wasn’t talking or skating. I got to the point where I could do it in my head. I would do it while I walked my dog. I would wear ear buds and do it in class. I would run one ear bud up my sleeve and put it into my ear and pretend to be paying attention. But, I would be listening to rap music and freestyling. I started washing dishes at age 15. I would just stare at a tile wall for an entire eight hours standing and just rap and rap and rap and rap under my breath. It’s good because washing dishes gives you a rhythm anyway, like you’re just playin’ plates.
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Do you have a specific meter that you use? No, I definitely change all over the place. I’m a theatre kid and a definite lexophile. Super language nerd. There are songs I’ve written in iambic pentameter, and others I’ve written in rhyme. The most interesting thing for me is finding more complex ways to enjoy language. Sometimes though, the music can be so complex that you can’t understand a damn thing I’m saying. So I’ve sometimes got to reel it back.
How did the skateboarding community influence you? Where we grew up in Florida, we all skateboarded all the time. I was a rap kid wearing winter camo and baggy jeans, and all my friends were punk/ indy rock kids. At this time, directors like Spike Jones were creating these skate videos as incredible pieces of art. This was so cool for us because these skaters were our rock stars. I still get star struck about pro skaters even if they’re 17. I’m like, “Oh my God that kid can 360 a nine stair.” We watched skate videos and that’s where our music came from. It was amazing because songs would flow perfectly. These were our visual mixtapes.
Were actual mixtapes popular when you were younger? Oh yeah. Jacksonville was just a weird community. There wasn’t a lot going on and the scene had died. So it was a big community of mixtapes. When you made guy friends (not just for girls), you would make tapes for each other. I still have all these. It was all about introducing people to new music. It was like look at this band I found—you can have them now. So there I would be, wearing full on hip- hop gear at a Modest Mouse concert. And while I was digging Wu-Tang Clan, I was also loving Arches of Loaf and Built to Spill.
“I’m a theatre kid and a definite lexophile.
Super language nerd.”
What has been the most challenging part about choosing a career path as a rapper? Telling my parents. Which is hilarious because my parents are wonderfully supportive, but I was terrified because I thought that they were just going to kick me out of the house. As silly as it sounds, Eminem and 8 Mile really changed rap music. They changed what was acceptable in rap music. When I was first freestyling and battling, I had to go into the worst neighborhoods, train yards and graffiti dungeon warehouses, wherever I could to battle. Back then, the idea of being a white rapper was foreign and out of the question. Now you can go to any college town in America and there’s an open mic MC night at least once a week, generally more. America’s relationship with rap music was different, it wasn’t pop music yet. Now even Justin Beiber raps.
What was their reaction? I didn’t tell them, actually, they found out. My older brother was a successful rap DJ in Florida. He had a gig opening up for A Tribe Called Quest and the Black Eyed Peas at the University of Florida. It was an outdoor free show with 5,000 people. I was 13 and he let me freestyle rap at the beginning. Turns out my parents were standing in the crowd, because it was my brother’s biggest gig ever. They didn’t even know I could do that. Then they were super wonderful and supportive. I owe my brother a lot for that.
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When you are not freestyling, what’s your song creation process? It’s very calculated. Word by word, line by line. It’s a writer’s process. I generally know the concept of the song and where I want it to go. I do research and prepare long before I ever write anything. I never jammed in a garage or worked with a band. I learned my artistic process from theater, from academics. I learned how to make art from making theater through being a director. When you’re a director, you read the play 10,000 times and everything you can about the play. You read about the time in history. You read about the jobs and lives of these people. You absorb everything. You read about the playwright, you read about reproductions of the play. It’s a research job, and you basically build this like physical or sort of mental corkboard in your mind of all these facts and inspiration sources and ideas and images and tearing pages out of magazines and making photocopies, and just scribbling notes and you’re just building this beautiful corkboard of all these things, and you take it, and when, when it’s full you step back and you think of the concept and the direction you really want to go. I have a really good ability to retain information.
Is that what you did for This Is Our Science? Yes. I had these two disparate elements. I wanted to write a record about my life on tour, my travels and my exploration; but I also wanted to make a record about scientific discovery and development. I knew there was a way to make them come together and that there was a tie to bind them. I didn’t know how to get there, so I just kept absorbing both until they became so big that they bled over and all of a sudden it made sense that the process of artistic development is the same as the process of scientific development and personal development. It’s this faith, it’s this leap forward that you don’t know where you’re going, but you know there’s something there so you push yourself and push yourself and Marie Curie eats polonium, and you get on tour, and you tour until you collapse. Like, you just do these things over and over and over again ‘cause you just know what’s out there. So that’s sorta how it works.
What would be an ideal type of tour you would take? I will do a houseboat tour on the Mississippi in a heartbeat! I am completely smitten with that idea. I’m always into the romance of travel. I love most water. I grew up a block from the Atlantic Ocean. It is 80 degrees in March and it will peek at 88 or 90 come summer. I could live in that ocean. In Seattle, I lived a few blocks from the Pacific Ocean. The Pacific Ocean is like a beautiful woman. A beautiful woman that’s totally stupid and boring in bed. It’s the most gorgeous thing to look at, but you can’t do s**t in that ocean because you will die because it is freezing cold. You literally have to wear a wetsuit so thick it could stop a 22 caliber bullet. There are killer whales and the seals are angry. Now, since I have moved to Minneapolis, I live like a few blocks from the Mississippi River. It’s amazing how fond I’ve become of it so fast. It stretches so long and it’s so very different in different regions. I never spent much time in the North on the Mississippi, but down south it’s really wide and still and slow and warm. It’s its own sort of lazy, but up north it’s really cold and clear and brisk and fast. Up here, there are all these locks and dams from the old mills. The way it flows is absolutely gorgeous. I’ve fallen madly in love with the whole thing.
But you relocated and call Minneapolis home now?
Who, musically, do you think should be paid closer attention to?
I love Minneapolis! It’s one of the most exciting music scenes in America. My circle of friends is all about music and art and writing and video and film. It’s an incredible community of 150 people that are working in amazing ways. Minneapolis has always supported and cultivated its arts scene. They weren’t trying to be or comparing themselves to Chicago, Seattle, LA or New York. It’s a confidence thing. It resonates throughout the whole scene. People just do their own thing the best they can and the results are awesome.
Ryan Olson. Ryan Olson is a name that you probably may not recognize because he never gives himself credit for the work that he does. He is the man behind Gayngs. He also produces Polica. He sits in the background and really shapes these songs. Ryan is a mad scientist at the center of all things musical in Minneapolis. He’s got some sort of fingerprint on everything.
Sounds like the this city shares the same sentiments as your record label, Fake Four? Yes, they do. When Fake Four approached me, they were the first record label that came to me with the truth, this is how much money we have—what do you want to do with it? So, I told them: I want xxx on the record, xxx on PR and I want to hire this person to do it, xxx deal for distribution, etc. They were the first record label to ask about how I made money, ask about my fan base, ask about the dynamic interaction with my customer base. Just simple business stuff, like you’re opening a drugstore. And they just trusted that I knew it because I’d been doing it for eight years and making money off it. They gave advice, but it was up to me. I just needed to be on budget. Fake Four is one of the most exciting record labels. They’re currently doing indie music in a way that indie record labels used to do music. They’re not shooting for the stars; they’ve got real projections on what they can be, as a label. So they keep it small, intimate. I know the guys—every band on the label. It’s been good all around.
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Who do you think is the most influential artist of the last decade? Radiohead. Without a doubt. You can be cynical about that band all you want, but everybody pays attention to them, everybody cares, and everybody falls at their feet. Everybody. Partly, too, because they don’t fall at anybody’s feet. Except for these weird, German electronic musicians and old, dead Russian composers. They’ve cut through everything and continually changed the business of music and the art of music as well.
Who musically do you want to hang with? David Bowie, for sure. And James Blake. I mean, my music is so dense and huge and his music is so sparse and beautiful. I just wanna ask, “How do you make two sounds and just be like, ‘yep, that’s the song! Done.’ How do you resist the urge to add strings to everything and crazy drums? How do you do that?” I’d also really like to talk to Lord Finesse, the guy that made me a rapper. I owe so much to him. I’ve been to four continents and 30 countries because I fell in love with his music 19 years ago.
We will travel to four continents and 30 countries for the next 19 years because...
we have fallen in love with you.
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Panama Panama
An international travel series featuring An international travel series featuring The Music Initiative’s Editor-In-Chief and 2012 Emerging Artist T. Champagne journeyed to Panama to experience three vastly differing regions of the country in 10 days. The purpose of this experimental trip? To see, interview and experience how music and the arts, nature, food & spirits, architecture, and the human spirit transcends borders.
more importantly, the area known as Casco Viejo. Tuesday 3am Armed with two very small backpacks, a guitar, a DSLR camera, and a microphone, we, excited and exhausted, de-board our plane to a deserted Panamanian airport. Meandering through the empty waiting areas, and check-in terminals, we pray that our cab driver, who we have been
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we speak no Spanish), will be there to greet us. We easily pass through customs, and as the airport exit doors open into a balmy tropical atmosphere, Blas, our trusty driver, greets us with a smile, open arms, and some solid English. (Thank you for the recommendation Evan at Los Quatro Tulipanes!). The
the grey haze of 2012 Fall Issue dawn at the fish
former beer bottler chatted up local beers, the history of the canal and how the city had morphed from an old world oasis into an architectural mecca for businesses and tourists alike. As we Bridge, we venture into the massive, very sleek, modern Panama City and the backdrop/ location for the 2008 Quantum of Solace. As the newly constructed Trump Tower looms before us, we glance quickly, at each other, back and forth, wondering what we had gotten ourselves into. Was this a modern world? Were we not getting a taste of a Third World country? Were we not going to get to experience “old” architecture, history and culture? As suddenly as our hearts had dropped, and our vision of the dream trip crushed; they were lifted again as we catch a glimpse through
mongers unloading their catch at the wharf. The contrast of the dilapidated boats floating in the water flanked to the left by modern steel buildings reaching for the heavens and to the right, the breathtaking old world architecture boasting its strength, classic beauty, and longevity, reinvigorate our spirits immediately. Blas skillfully navigates the narrow streets, parks the cab, hands us a key, and points to a door. Unsure of what will lie behind the locked door, we turn the key to enter Los Cuatro Tulipanes and caught our first glimpse of the modern sophistication, coupled with a reverence for historical architecture that would remain constant throughout our time in Casco. What we also learned, pretty quickly, is that Panamanians are some of the most hospitable people around. You can’t beat arriving at your hotel at 4:30am to find two cold Balboas (local beer) waiting in the fridge for you, right?
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JAMES & black 110
2013 Fall Issue
“Gu eri lla So ul” from L to R: Bella Black and Bruce James
Bruce James of James and Black
First of all, we must say: There cannot exist a better term than Guerilla Soul to describe your sound. Do you have any insight on the origination of the term? Bruce James: I have always said that being an independent musician on the road is guerrilla warfare. It is even more true now with unconventional methods prevailing in the music industry. With us it just fits – we are making it work while completely “breaking the rules” unrepentantly. Bella Black: We’re an independent group on a mission to spread our music the world over. Right now we’re doing that with our lives strapped to our backs and wherever & whenever we perform we leave it on the stage, nothing but soul.
We know you guys are from Texas, but with your abundance of soul, and your lack of 10-gallon hats, we are dumbfounded, what were you guys doing growing up? BJ: I grew up in Houston—Phil in Dallas—big cities —we have lived in Austin for over 15 years. My folks love Willie and Waylon but growing up in a very multicultural church and going to a performing arts high school in Houston, I was introduced to soulful stuff way before learning and loving the subtle beauty in real country music…
Bella and Bruce, please tell us how/where you guys first met? BJ: I got a call from Bella in the summer of 2011 in Austin. She was looking for someone to produce a demo for her. We got together and it was just right—she is an incredible songwriter. It was not long after that we hit the road. I think our first tour together was in the fall of 2011.We did a 2-month residency at a place in San Diego. I think we were doing 13 gigs in 13 days with 1 night off—4 hours a night for 2 months. It was a great incubator for what we are doing now.
And how did that fateful meeting lead you to where you are now, touring foreign countries and producing records together? BJ: After that west coast trip we did a 3-week tour of Belgium, Holland and Germany. The response was overwhelming. We started making plans to go back after returning to the states and everything just kind
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of lined up. After about 6 months back in the states, we decided to pack it up and just go. It has been amazing how things have been happening. It has been completely organic—one gig turns into 10 —the folks we have met have become family. We have done about 30,000 kilometers in 8 countries so far—the doors keep opening up, so we keep running through them.
Bella, how did you get your start singing (post choir)? In other words, we wanna know how you went from the choir stand to the stage. BB: I enjoyed my work, but I was no longer passionate about it [administrative work]. That led to an enlightening conversation with my mother which prompted me to relocate to pursue my music career.
S R O O D E “...TH KEEP OPENING UP, SO WE KEEP RUNNING ” . M E H T H G U O R TH
Bruce, your voice has drawn comparisons to Dr. John and Tom Waits. How would you best describe your unique voice? BJ: It’s the only one I have, haha. I wanted to sing like Marvin Gaye —I still do—I guess there are some things that have influenced the tonal quality of it. Unfortunately, I am a smoker, but hopefully not for long...
from L to R: Bruce James and Bella Black
Tell us some of your influences ranging from the obvious to the obscure B-Side stuff. BJ: I love good songs—I love the Flaming Lips and Uncle Tupelo—I love Karl Walinger (World Party), Tom Waits, Paul Simon—Motown and Stax were special because of the songs—I mean Otis or Al or Stevie could sing anything and make it a hit but the songs and production of those institutions made a serious impact on me musically. The sound of the recordings made a huge impact on me as well—the sound of the drumst—the distortion in the vocals—the little things—every record is a text book. BB: Mahalia Jackson, Al Green, Betty Davis, Mavis Staples, Goodie MOB and Pearl Bailey.
So, who’s getting the heavy rotation on your iPods these days? BJ: Unfortunately my Macbook, ipod, protools rig, and all my music was stolen off of the train somewhere between Antwerp and Amsterdam last August. As a business model, I am not a fan of Spotify but it allows me to check out some new music. I have been listening to M. Ward and Andrew Bird. I love Gregory Porter. There a couple artists from the UK I really love: Laura Mvula , the Noisettes. DJ Phil Ross: I have so much music its hard to say. I’ll say TNGHT, Addison Groove, and Diplo for now. BB: Ann Peebles, Laura Mvula, Gnarls Barkley, Fantasia, Dr. John.
Tell us your “closet song”. You know, that song that you are embarrassed to admit that you truly love, but behind closed doors it’s a different story! I KNOW one of y’all is rockin’ some Bieber…spill it! BJ: I love Neil Diamond.
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DJ Phil Ross currently touring with James and Black
“i HAVE
SO MUCH MUSIC...”
Were you guys auditioning new instrumentalists and out of nowhere, Phil shows up, turntables in hand, asking to borrow an extension cord or what? Seriously though, what was the catalyst to bring the “flava” of Phil Ross to your already-established sound? BJ: I have played in projects with Phil for about 15 years actually. We had a project called Erbamate back in 2000—Phil was actually the “vocalist” in that band using samples and the turntable. We started playing music together again when we returned from Europe the first time and I kind of pitched the concept to him and he totally got it. He loves to travel and learn new languages as well. He has always been on my 4am list—you know—those cats you can call at 4am when something is wrong, so it was a natural fit to the crew. Musically, we have been doing the trio for a year now and it has really evolved into something I really enjoy the space in the music—the hybrid of the organic stuff and electronic thing.
The sound is unique and original and pure badassery. How have audiences received Phil’s “spin” on your music? BJ: I love the word badassery—I think I’ll lift it from you—haha. The audience loves it! The DJ culture in Europe is huge; for the public here it is a natural thing. At the Porretta soul festival it was a bit different. He was the first DJ to perform at the festival in its 26 year history. Some of the old timers were a bit offended—I consider it a victory. DJPR: People have been very receptive, but there will always be people out there who don’t like what i do and I am ok with that.
One last one for Phil, and then you are off the hook: You are exploring new territory, as far as your instrument of choice is concerned. Can you tell us how your journey has brought you from ‘90s Hip-Hop to today’s Guerilla Soul? DJPR: Well, I was bored as a dj honestly. I moved to austin in 1997 and after seeing a jam session that Bruce was in I wanted to play with bands. I started playing with sound effect records and guitar pedals, playing with hip hop artists, jamming with drummers and anyone else who wanted to play. I started taking musicians to my dj gigs; I didn’t want to dj anymore, i just wanted to play original music. I remember the first time i did this i took a djembe and a cello player and I played Star Wars movie records and scratched Beatles records. Everyone was like what is this guy doing, but I really didn’t care. Eventually I formed my own funky jazz band. I wanted to push jazz to new levels with my instrument. After a couple of years of searching for a keyboard player, we met Bruce and he immediately joined the band. He taught me a lot about the music industry, I learned how to listen and play with other musicians. The band eventually split up, but we played on and off again over the years and this last summer he invited me to come play with James & Black.
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from L to R: Bella Black and Bruce James rockin’ out
“i love the word
badasser y.”
from L to R: DJ Phil Ross, Bella Black and Bruce Jame
e n o s a w “...it of those completely
organic things that just kind of ev olved.� 118
We noticed that you guys are sometimes performing as the Transatlantic Soul Conspiracy. Is this a permanent thing in Europe, or more of a oneoff gig with your Dutch cohorts while playing Amsterdam? BJ: Once again it was one of those completely organic things that just kind of evolved. A friend of mine in Austin “introduced” this cat Jay Tee Teterissa to me— incredible bass player in Amsterdam who introduced us to Marcellino ( the drummer ). We met Naomi at a workshop we did with her in Breda – Our good friend Martin Rhode, who had worked with the North Sea Jazz festival for decades, suggested we put something together for a festival in Leiden. We just did a gig in Vondelpark in Amsterdam with the band supporting Candy Dulfer. We are trying to put some more things together for the band—great folks! Killing musicians! We have met great musicians all over Europe. We had the opportunity to play with great band from Bologna, Italy as well. I had the opportunity to do some recording with some great artists in Amsterdam—one the projects, Eminent Stars, will be released on a German label next year—the other, Rocky Marsiano, is available now on vinyl. Exciting stuff.
If it is even an issue, how has the language barrier played a part in your European tour(s)? BJ: It has not really been an issue. In the Benelux pretty much everyone speaks English—good for us because Dutch is incredibly difficult! Music is a universal language. We have picked up some Italian, Spanish, and German, even some Basque. It has been really interesting keeping up with the different languages. Phil is our official translator; he picks it up pretty quickly.
You guys seem to be developing quite the following in Europe, which is awesome. However, we want to know when you are going share the wealth back home here in the States! BJ: Hmmmm….our calendar is filling up though the end of the year. We go back to Belgium and Holland in September and October. We are getting into the studio in Amsterdam as well—ooking forward to making a new album. We are back in Spain in the first part of November. We are doing a tour with Slackers in Germany, Austria, and Switzerland for the end of November then back to Italy in December. We are already booking festivals for next summer in Europe. I guess we’ll come back when we are invited...
Last, but not least: If there were a fire and you could only save one thing, what would it be? BJ: Bella and Phil—everything else can be replaced...
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1. "You’re Not Good Enough"- Blood Orange
8. "WLWYCD"- Polar Bear Club
2. "Says"- Nils Frahm
9. "Living for the Future"- Vex Ruffin
3. "When You Lose Your Mind" - The Royal Oui
10. "What Death Leaves Behind"- Los Campesinos!
4. "Love the House You’re In" - Moonface
11. "Friends" - ILLLS
5. "Gazelle"- André Obin
12. "Lefty Lucy" - BYOG
6. "Mermaid" - Swearin’
13. "Me and You"- Jake Bugg
7. "Whalesong" - Yamantaka // Sonic Titan
14. "Heaven" - Clap Your Hands Say Yeah!
staff selected tracks from The Seasonal Spin 124
Blood Orange /
Cupid Deluxe
Dev Hynes is one of the coolest people in music. Born and raised Ilford, Essex, Hynes has been singing, composing, songwriting, producing and writing for years. A true renaissance man of the music world, he has been involved in many different genres of music as a writer and performer, writing songs for Florence Welch on her #1 2009 album release Lungs and for The Chemical Brothers for their 2007 Grammy award-winning album We Are The Night. Touring in and out of many bands for much of his career, Hynes created a stage persona/project, Blood Orange, that showcases yet another extremely creative side to him. The follow up to 2011’s Coastal Grooves, Blood Orange returns with some truly hypnotizing and fluid tracks on Cupid Deluxe. Even from the first track, “Chamakay” brings forward some Prince-esque vocal vibes that blend beautifully with the subtle percussion and smooth bass lines. Once we get halfway through the album, Hynes surprises with two or three tracks featuring some ear-worthy rap, proving his versatility as an artist. With some great guest vocals, Cupid Deluxe has a distinct positivity that will have you moving.
Nils Frahm /
Spaces
Spaces could not be a better name for this album. If you are a fan of beautiful, atmospheric music, Nils Frahm is your man. Born in Hamburg, Germany and based in Berlin, Frahm takes you to the moon and back in this eleven track album spanning the course of close to two hours. Frahm refers to the album as a “not-exactly-live live album,” taking recordings from over 30 live performances under a two year period. The album flows flawlessly, however, and captures him creating massive soundscapes (reminiscent of a Sigur Ros album) to booming classical pieces that truly showcase his talent. A true ivory man since childhood, Frahm was taught to play piano by Nahum Brodski, a student of the last scholar of Tchaikovsky (one of the pioneers of piano in the 19th century). With that background in his back pocket, Frahm has an incredible sense of blending classical piano playing with contemporary composing. On his other albums, the sense of him in a studio by himself is what is enchanting about his melodies, with small mistakes and echoes that make them extremely intimate. On Spaces, however, the live audience element makes these intimacies come to life. Absolutely gorgeous, a must buy.
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The Royal Oui
/ Forecast
Husband and wife team Ari Shrine and Adrienne Pierce managed to make it on their own as solo artists, but they recently came together as pop/folk duo The Royal Oui—and magic happened. The Vancouver-based duo released their first EP Forecast last fall via File Under: Music. “When You Lose Your Mind” slowly gains dreamy momentum as their harmonies float above an acoustic folk melody. The track dips into easy, twirling choruses and verses, building to the song’s sweet finish. Second track “Actual Size,” picks up the pace a little with a fuzzy and warm feel. The duo’s voices, layered with the hazy instrumentals give the entire track an shining, eclectic feel. Forecast reflects the duo’s bright and whimsical nature, foretelling of good weather and times ahead.
Moonface /
Julia With Blue Jeans On
Part Nick Cave, part The Beatles, and yet so much more, multi-instrumentalist Spencer Krug began making music as Moonface as a side project designated for musical bits and bobs that did not align themselves with his array of collaborations. Simple piano melodies rush into deeply emotional ballads, as they do in “November 2011.” Krug’s voice softly declares, “I am a barbarian” throughout both “Barbarian” and “Barbarian II,” against haunting piano accompaniment. The album’s title track is a dreamy love ballad with Krug’s voice at its best, nimble and vibrant, accompanied by a slowly building, classically clear piano. “Love the House You’re In” echoes of classical piano tradition with poignantly clear lyrics, “I regretfully withdraw my offer to improve myself... You’ve got to love the house you’re in.” Moonface’s inherent penchant for using classical music bits and adding them to his otherworldly yet accessible bobs makes Julia With Blue Jeans On a moving and enjoyable album such that we have not seen in a long while.
André Obin /
The Arsonist (remixes)
In his first full-length album, Boston synth-pop master André Obin creates a hypnotic soundscape to astound and amaze. Electronic pop is the name of his game, and The Arsonist takes home all the prizes. It’s a masterful record, one created by a musician who knows exactly what he wants. The sweeping crescendos are overwhelming; Obin’s music is so all-encompassing that you don’t even notice that the music has absolutely engulged you until you’re halfway through the album. It’s the kind of music that you could dance and sway to for hours without ever feeling tired. Greeted with wide acclaim and critical success, The Arsonist is one of, if not the, best electronic albums of the year, and quite possibly the decade.
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Swearin’ /
Surfing Strange
Philadelphia rock band Swearin’s second album Surfing Strange is a strange brew of punk, rock, and indie. Everything from their dissonant harmonies to crashing guitar riffs, displayed perfectly in album opener “Dust in the Gold Sack,” quickly mixing in girly punk vocals. Dissonant vocals and arching, summery guitar melody feature heavily in “Watered Down,” with everything fading together in a casual, breezy way. “Mermaid” is a whiskey stained rock ballad with delightfully grungy chords, while “Parts of Speech” keeps a steady, slower pace and eerie, echoing vocals. The album really hits its stride with “Melanoma,” a more thoughtful and melancholic ballad that winds its way into your memory. “Loretta’s Flowers” embodies both whispering pop, sweet and slow punk that will have you hitting “replay” time and time again. Last but not least, they pay homage to old school psychedelia in “Glare of the Sun,” and to vintage punk in “Unwanted Place.” A strange brew of psychedelia, beach punk, and rock, Swearin’ hits just the right notes to weave a wonderfully intoxicating album.
Yamantaka // Sonic Titan /
UZU
UZU is a trip down the rabbit hole—a rock’n’roll, Japanese art-filled, psychedelic rabbit hole of wonders. Multi-instrumentalist duo Alaska B and Ruby Kato Attwood celebrate Asian heritage and art in a thunderously original and inspiring manner. Their edgy rock melodies mixes with shimmering Japanese vocals and artful flourishes that make each song a nightmare and dream inducing journey. “Seasickness Pt 1” lulls the listener into a gray, melancholy dream state before “Seasickness Pt 2” takes the stage, incorporating 80s backbeat and tinkering instrumentals alongside ethereal vocals. Strange and intriguing, “Bring Me the Hand of Bloody Benzaiten” plays off the group’s more theatrical numbers, and the listener can feel the piece setting the stage for a climactic scene. “Saturn’s Return” plays like an underwater fairytale-somewhat muted and dreamy, vocals and piano instrumentals floating and lightly playing off of one another. The duo’s rock opera style and penchant for the theatrical put the imagination of an entire world into a single shimmering album.
Polar Bear Club /
Death Chorus
With pounding drums, driving guitars and frontman Jimmy Stadt’s high energy vocals, Death Chorus reaffirms Polar Bear Club as one of the most commercially viable post-punk bands in the country. Characterized by Jimmy Stadt’s high, almost screaming vocals and thrashing guitars played over fast tempo drums and a pounding bass guitar, Death Chorus sounds a bit more adolescent than you would expect from a band three albums deep in their genre. Each of the ten tracks moves at a fast pace and unmistakably places the band firmly in the pop punk category. Fans of the genre’s inception in the late 70s and early 80s may be surprised by the album’s heavy emotional component, including the band’s attitude toward love and death, the past and future. This album will draw fans of Yellowcard and Taking Back Sunday-a solid effort and musically sound rendition of a modern take on the post-punk genre.
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Ghostly International Records www.ghostly.com
www.hopelessrecords.com
Vicious Recordings www.viciousrecordings.com
Vex Ruffin /
Vex Ruffin
Vex Ruffin’s self-titled offering will leave your eardrums wondering what you have just listened to, and why you like it so much. To understand what I’m saying, you need to give the album a few listens, maybe a day between each one. One thing that jumps out right away is Vex’s voice – a monotonous, nasal drone that somehow complements his choice of snare drums and bass effects extremely well, best exemplified on “It Will Come”. Each of the songs on the EP have the same basic ingredients – simple, expressive drum beats, droning vocal track, and sludgy bass. No two tracks sound quite the same, and it’s definitely unlike any other electronic no-wave offering we’ve heard so far. According to the man himself, the album is made up of songs from a catalogue of literally hundreds of songs, so it will be interesting to see what Vex comes out with next. But this album is truly one of the most weirdly satisfying products of its genre, and is absolutely worth a listen.
Los Campesinos! /
No Blues
Somewhere along the way over the past few years/since..., Los Campesinos! grew up. I first heard the Cardiff-based group back in 2008, my freshman year of college. “You! Me! Dancing!” was one of those songs I listened to on manic repeat and drove my roommate crazy. I don’t know what happened, but I fell out of touch with Los Campesinos!, as is wont to happen with too many relationships, until their latest studio album, No Blues, reunited us. What I remember is a happy twee-pop band, but I was greeted with a mature, indie-rock outfit. In this case, “mature” doesn’t mean “boring,” it means “masterful.” Los Campesinos! are as fun as they ever were and, after five full-length albums, they have a direction and drive that I was not familiar with a few years ago. No Blues is a toe-tapping, head-bopping, ass-shaking album, and it’s like a night out on the town with an old friend.
ILLLS /
Hideout from the Feeders
ILLLS is Steven Ross, pop/post punk musician who is hard to pin down, but crafts a beautifully hazy music with pop, rock, and punk influences. Hideout from the Feeders is his followup to his debut EP Dark Paradise, released in 2012. “Out” plays like a marching tune to a strange dream with echoing, beachy guitar instrumentals. “Colleen” and “Our Shadow” are fuzzy, hopeful numbers with arching melodies and sweet lyrics. “Coma” bounces around in a heavenly haze with vocals playing second string to the guitars and drums, and “Wales” progresses similarly in a ballad-like manner. Ethereal female vocals lace choruses in “In Gray,” and “Friends” echoes in a similarly beach afternoon manner, especially with the filtered vocals. “In the Woods” is a rousing and fun number that makes a great album closer with it’s chantey choruses and Grouplove-like guitar melody. All in all, Hideout from the Feeders is a solid, delightfully dark album that will have you reminiscing about carefree days, with a punk rock twist, of course. It’s a strange brew, especially when put into words, but the experience itself is indescribably wonderful.
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BYOG /
Out of the Dark
Recorded at Willie Nelson’s studio in Austin, Texas, BYOG’s (Bring Your Own Groove) debut album is a smart compilation of feel good jams that range from the nostalgic and bittersweet to funny and upbeat. Album opener “Lefty Lucy” starts things off with a funky, goofy beat. “Silver Teeth” follows suit with jam-worthy piano and guitar melodies. “Satisfied Alone” rings in with a sweet rock theme and blues guitar solo. Now really in their groove, they continue “The Cost,” a Red Hot Chili Peppers-reminiscent number. “Shattered Wheel” and “Stone Rodeo” take more downbeat turns that really showcase their poignant lyrics and vocals. “Renaissance Man,” the album’s last track, employs harmonies and folk-inspired melodies to bring a more wistful and thoughtful tone to the album. All in all, a great album, and a debut album nonetheless!
Jake Bugg /
Shangri-La
If Shangri-La was indie-rock style blues played by a young British man, then for all accounts and purposes, I am there. Nottingham-based musician Jake Bugg released Shangri-La last November, and masterfully avoided the dreaded sophomore slump. Shangri-La is a roller coaster of high octane folk rock songs. Bugg’s nasal tenor and plunky guitar makes his music sound much older than his years, like he was plopped in 2013 directly from 1963. He reminds me a bit of a contemporary Wanda Jackson, and, though he’s a British boy, Bugg rips the Southern country blues style out of him for all its worth. Shangri-La is worth its weight in the ambrosia they drink in earthly paradise.
Clap Your Hands Say Yeah! /
Little Moments
Two words—IN LOVE. Clap Your Hands Say Yeah’s second EP titled Little Moments is effortlessly flawless and perfect in all the ways. Formed in 2005 in Philadelphia, PA, Alec Ounsworth and Sean Greenhalgh released Little Moments in August 2013 with more synth, less guitar, and a trippier attitude. Their omniscient aura is relaxing; instead of screaming and crying about their problems, they are simply explaining them with a calm energy. “Little Moments” is one of my favorites simply because the opening reminds me of the old-school, 8-bit Nintendo game Outrun (if you don’t know what that is, I’m sorry…just sorry). “Only Run” basically gives a giant “F-U” to whoever broke his heart, but in the most polite way possible, which is completely endearing, and Sean’s backup vocals tie the track together in a bittersweet basket of emotions. It’s just one of those albums you can sit at home and listen while petting your cat, or live, where you may, or may not be “la da di da di, dancing with molly.” If you do one good thing this year, since New Year’s resolutions are already out the door, purchase this EP, and look for the full-length album tentatively out April 2014.
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Albert Olton
Sometimes things can get a little heavy. Sometimes you only hear bad news. Sometimes you just feel bad, plain and simple. Albert Olton and Revalayshun are here, all the way from Barbados, with a remedy. They may not be able to cure all the world’s problems, but as long as they keep playing, they may not have to. Instead of wallowing, Olton and his crew seek to inspire with love and light without shying away from reality. Olton plays alongside co-songwriter Daniel Medford (vocals, keys), Timothy Ashby (guitar, vocals), Pierre Dominique (bass), Pedro Williams (drums), and Akeem Olton (keys). “Evil Forces” will soothe your soul after a long hard day, while “Shine the Light” will energize you. Olton has released six albums since 1999; the latest, Human Rights, dropped in 2011 and title track “Human Rights” strikes a more whimsical note than Olton’s the band’s other more serious tracks. Pairing serious lyrics with light and cheery melodies can be tricky business, but Olton tackles it with ease, and it’s particularly obvious on “Human Rights.”
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(Barbados, Lesser Antilles) Albert Olton facebook photo
Olton first came onto the music scene in 1994 after entering a talent competition and being snatched up by a local band. It was not until 2003 that he really developed his Rastafarian style and social message. As frontman for Revalayshun, Olton is well versed in the tourist music scene, but his original music comes from a much more personal space. Inspired by current events, Olton creates a musical archive enveloping the good, the bad, and the in-between. Never giving in to melancholy or helplessness, Olton imparts chill vibes and socially conscious messages in a soothing cadence, matched with equally mellow guitar melody.
“Inspired by current events, Olton creates a musical archive enveloping the good, the bad, and the in-between.”
Masters of cool and killer guitar solos, the boys of Seoul based Rock’n’Roll Radio will do a number on everything you thought about rock’n’roll. As their name implies, these guys are all about rock and roll-they live and breathe it. Everything they do is infused with a sentiment of rock’n’roll cool - whether it’s vintage, classic, or modern, they’ve seemingly ensconced the entire genre and produced something so pure that it’s difficult to describe. After all, rock’n’roll is a genre as well as a feeling, and Rock’n’Roll Radio nails it every time. Nearly flawless guitar melodies drive the songs with old-school rock god vocals, accompanied by a fair amount of of jumping around the stage, of course. Ultimate crowd pleaser “Shut Up and Dance” will take you back to the first time that you heard real rock music - it’s an experience that can rarely be replicated, but Rock’n’Roll Radio manages it with their enthusiasm and flawless composition. The entire band emits a kind of collective cool that
only adds to their charm. “One Week” features harmonies that touch on Coldplay, but with a more 80s vibe. They released their first album Shut Up and Dance last October and have been making rounds at live music and rock festivals since then, notably playing at the World Rock Festival and Korean Live Music Festival. Don’t let the cardigans and cute sunglasses fool you, Rock’n’Roll Radio only looks cute—when they play, they dispel all “cuteness” and manfully replace it with rock’n’roll mastery.
“...when they play, they dispel all "cuteness" and manfully replace it with rock 'n' roll mastery.”
Rock 'N' Roll Radio (Seoul, Korea)
Rock 'N' Roll Radio - facebook photo
Bogota, Colombia w w w.d i r tyk itch en .co
Brisbane, Australia www.racecafeon line.com.au
Raúl Cazabet (Buenos Aires, Argentina) Raúl Cazabet performing at Bossanova en Argentina 2012 facebook photo
Raul Cazabet’s soothing voice blends perfectly with his guitar melodies, creating a comforting and exotic aural experience. “Valizas De Amor” soars gently, winding sweetly through Cazabet’s verses and choruses with ease. “Hilo de Agua” resonates with golden charm while “Luz Amarilla” sings like a sweet autumn lullaby. “Recuerdo y Estrella” ebbs and flows strongly, reflecting Cazabet’s strong vocal control and emotional range. You need not speak Spanish to comprehend the depth and message of his ballads. His easy going demeanor belies deep, poetic tendencies that make for greatly soulful music. Cazabet bypasses all “exotic singer/songwriter” stereotypes and instead treads a more authentic, heartwarming ground. His ballads are light instead
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of melancholy, bright and beautiful. The overall effect is all together more powerful and mood altering than gut wrenching and morose ballads often found in the singer/songwriter genre. Cazabet performed a full set for TÚNEL 57, a Buenos Aires live music program, in addition to performing “Valizas de Amor” for BalconyTV. “Tronco el Camino,” “Rodar,” “Luz Amarilla,” and “Kothbiro” all round out an already impressive set that surpasses many of his contemporaries in terms of composition and soul.
“Cazabet bypasses all "exotic singer/ songwriter" stereotypes and instead treads a more authentic, heartwarming ground.”
Alice Way
(Kaunas, Lithuania)
Alice Way is firecracker. With a head full of red hair and a voice that’s soothing at times and desperate at others, Way creates her own brand of indie-folk that is making a splash across her hometown of Kaunas, Lithuania. She sings in English and is accompanied by guitar and sometimes a piano. According to her website, she “just love(s) to create. Whatever it is: songs, lyrics, poetry, novels… Just create something that wasn’t there before and is better than an empty space.” Well, I for one would say that the songs off the EP Wanderlust are definitely than most the teeny-boppers topping the charts these days. There’s precious little information on Alice Way out there right now—one interview on a blog reveals that she’s considered herself an artist her whole life and seeks to create in any way possible. Alice Way facebook photo photo by Justinas Rimeikis
The Wanderlust EP features four songs and is available for purchase on iTunes, though you can hear two of the songs on Spotify. The songs, as the EP title suggests, deal with themes of a transient youth, love, and an urge to travel and experience as many things as possible. She’s currently studying jazz at Vytautas Magnus University (VMU). Hopefully she continues to produce great music through her career as a student, and perhaps a full length album, when she completes her studies.
“...Way creates her own brand of indie-folk that is making a splash across her hometown...”
Porto, Portugal www.h o te lm al aposta.co m
Vienna, Austria w ww.25hours- h otel .com /wien /
The Nymphs press photo
The Nymphs The 21st century has brought us many great things (the Internet, civil rights), but no one can deny that the 1940s, 50s and early 60s conveyed a certain style and class that is almost obsolete today. It is not surprising that we often express affection for these eras, and for that certain brand of nostalgia, we offer the Melbourne-based quartet The Nymphs. These lovely ladies are a mainly vocals group, often acapella, who implement swing, jazz, and mid-century pop elements to create a bright and brilliant sound. Sisters Jane and Clare Hendry met their bandmates Bek Chapman and Kelly Day over eight years ago while singing in a university choir. Since then, they’ve been busy rehearsing, writing, performing live shows on television programs, releasing their debut EP (in 2010) and working on their first fulllength album. The quarter has a sound akin to the Andrews Sisters and, sweet as their vocals are, their lyrics could sass the pants off you before you can order a double whiskey. As their official description
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(Melbourne, Australia)
states, The Nymphs are like “the Andrews Sisters drinking single malt with Mae West at the Old Bar.” Not content to limit their creative inspiration to artists from the mid-twentieth century, these sirens also take influence from contemporary singersongwriters like Joanna Newsome and Emilíana Torrini. Add in matching dresses and impeccable vintage style, and you’ve found the most breathtaking vocal group to be found not only in Australia, but in the world.
“These lovely ladies are a mainly vocals group, often acapella, who implement swing, jazz, and mid-century pop elements...”
Mezre
(Istanbul, Turkey)
Aras Savas (keys, guitar, vocals), Alpay Vural (accordion, keys), Deniz Demirbas (guitar), Kadir Kurt (bass), and Emre Durgun (drums) came together to form Mezre in 2006, joined together by their admiration for nature and penchant for making music. Named after one of their favorite places in the Kackar Mountains, Mezre finds their inspiration in the loveliness of nature. Though they reside in the bustling city of Istanbul, they often seek refuge in the refreshing mountain air that they worship in their songs. They devote their craft to that which inspires them: nature. Wrapping their exotic tunes with everything from the crisp mountain air to the warmth of the summer sun, Mezre takes note of their precious surroundings. According to them, whenever they tire of Istanbul’s bustling streets
and winding, lantern lit alleyways, they set off for the mountains, where they feed their creative impulses. “Kalk,” translating to “Up,” twinkles softly, a whispering and dark ballad that sings like a moonlit night in the mountains: simultaneously relaxing and haunting. The slightly jazzy, bar-friendly “Masal” breezes through with a more psychedelic sound, really paying homage to their “psychedelic alt rock” self description. The entire set winds through exotic melodies with psychedelic vocal harmonies and ornate instrumentals, all set against a solid alt rock bass guitar. With any luck, Mezre will graduate from Turkish bars and stages to a more international scene, especially given their environmentally minded messages and passions.
“…Mezre takes note of their precious surroundings.”
Mezre - facebook photo
Lisboa, Portugal w w w.norfest.pt
Tel Aviv, Israel w w w. bpm - m u sic.com
Mika Vember It’s been over twenty years since the rise of the confessional female singer/songwriter. Back in the early ‘90s, it was all about Ani DiFranco, Tori Amos, and PJ Harvey, with a score of other talented ladies singing their hearts out. Even in this notoriously fickle industry, the audience never fails to be thrilled by a gifted singer/ songwriter. Presently, I’m enthralled with Vienna’s own Mika Vember. Vember, née Michaela Koglbaurer, is one of the most talented artists in Vienna’s rock scene today. Her first foray into music took place while she
(Vienna, Austria)
was still in school, singing and playing guitar for a local band. By 2007, she had developed her stage name (inspired by German media scholar Bernward Wember) and own unique sound, influenced by musicians such as Chrissie Hynde, Tom Waits and Ani DiFranco. With a deep and distinctive voice, Vember creates instantly intriguing music. Catchy melodies and flawless production only add to her music’s charm. Songs like “Easy as Pie” are fun and infectious, while other songs like “Summer Nights” have a reluctantly grown-up sound, full of regret and lost love but tinged with the memory of happiness. Even though English is her second language, Vember has fast become a lyrical master in it. Vember’s multiinstrumental talent helps her exert control over her sound, and really, it becomes magical. Responsible for vocals, guitar, loops and percussion, her backing consists of Martina Winkler (accordion, xylophone), Alexander Nefzger (“all sorts of keys and knobs”), Börn (bass and acoustic guitar), Günther Pauls (bass) and Alex Kerbl (drums). Every one of these elements helps to create a polished, yet emotionally raw sound. Plus the fact that there is a member who solely plays accordion and xylophone? Pure brilliance. Though Mika Vember’s last album, Our Lady of the Loops, was released in 2010, I find it inconceivable to believe that we’ve heard the last of her. If you live in Vienna, you can catch Mika Vember and her band playing around town, and as early as October 2013, she performed a dazzling new song on BalconyTV. Hopefully a new album is in the works as well! It’s impossible to let a talent like that go to waste.
“Vember's multi-instrumental talent helps her exert control over her sound, and really, it becomes magical.” Mika Vember, photo by - Ute Zötsch
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”Everything from classic rock to sitar music to folk ballads stimulated Buttery's creativity.”
Guy Buttery
Guy Buttery
(Johannesburg, South Africa)
It’s not very often that one man, armed with a single guitar, can properly entrance an entire crowd without uttering a single word. Raised amongst musical talents in both his family and Zulu tribesmen, Guy Buttery left his hometown on the North Coast of South Africa to embrace the many other instrumental influences the world had to offer a bright musical mind. Everything from classic rock to sitar music to folk ballads stimulated Buttery’s creativity, and he quickly took up learning the mandolin and sitar, in addition to guitar. He released his first album When I Grow Up in 2002 and his sophomore album Songs from the Cane Fields won the South African Music Award (SAMA) for “Best Instrumental Album” in 2005. He has traveled far and wide on the festival circuit, as well, playing across the United States, United Kingdom, Europe, and Australia.
Much like the minds of groundbreaking scientists, Buttery’s brain seems to have come up with an endless variety of manipulations for his guitar and playfully combines them in an incredibly poetic and elaborate manner. In addition to acoustic guitars, Buttery also works magic with the mbira (a wooden instrument with metal keys native to Zimbabwe), saw, ebow and loops. A true storyteller, Buttery does not show a need for lyrics, instead he pours all thought and energy into his guitar, letting his melodies speak for themselves. Buttery released his fifth record Live in KwaZulu, now available on iTunes and Bandcamp, in June 2013 and toured South America last fall. You can catch one of his jaw dropping performances for BalconyTV Johannesburg or peruse any of his albums for inspiring and relaxing songs.
Melbourne, Australia www.p rin ceba n droo m.co m . a u
Bisz (Poznan, Poland)
Jaroslaw Jaruszewski aka Bisz facebook photo
World, prepare your ears. Polish rapper Bisz has quietly been building his arsenal of fierce beats and rapid-fire verses to unleash a veritable firestorm on your unsuspecting ear drums. Jaroslaw Jaruszewski started rapping in 1999 as an extension of his poetry. By slowly becoming affiliated with other hip hop artists and gaining a following over the years, Bisz eventually gained a following by playing clubs and recording in his home studio in his hometown of Bydgoszcz. Bisz (whose name translates into “into you”) released his first recording in 2007 in the form of Zimy (Winters), a collaboration with fellow rappers EP and Cosa. He continued to gain popularity and subsequently released his first “mainstream” album in 2012, Wilk Chodnikowy. The album has sold about 15,000 copies to date Bisz was awarded Artist of the Year in Bydgoszcz.
that’s why many Poles respond so positively to his music—he’s bringing a voice to a post-war generation that struggles with globalization and a loss of national identity. In Bisz, they find a reason to pump their fist and proudly claim their Polish heritage.
Wilk Chodnikowy is a hard-hitting album of 14 tracks that features Bisz as his best and angriest. With songs like “Pollack,” “Jestem Bestia,” “Banicja,” Bisz’s rapping deals with nationalistic themes, street life in Bydgoszcz, and the general feelings of a disaffected youth struggling to find his place in the world. Perhaps
“...he's bringing a voice to a postwar generation that struggles with globalization and a loss of national identity.”
Bisz produces almost all of his own tracks, preferring a beat selection that nods to traditional Polish music with string arrangements and bells layered over snares, cymbals, and scratching records. It lends itself well to his style of rapping, which is rapid and clear. The hooks are clean and complement the beat well. Check it out for yourself, though. Wilk Chodnikowy (Pavement Wolf) is available on Spotify or for purchase on iTunes. You can also find a host of live performances on YouTube. Rock on, Poland!
Classifying themselves as “reggae soul vibe” and “rustic indie rock,” Brisbane’s Fire and Whistle Theory remain somewhat enigmatic, despite a string of recent successes. Often compared with The Black Keys, Johnny Cash, and Queens of the Stone Age, the five-piece rock band magically meshes indie rock (with a solid twang, of course) and country western in a darkly smooth way. Let’s postulate that if Fire and Whistle Theory were a liquor, they’d be whiskey. Frontman Tom Greenwood’s seductively husky voice is slightly reminiscent of very early Tom Waits, with a softer edge. Backed by Keith Vogel and Jordan Locke on guitars, Damian Blacka on bass, and Mitch Clark on drums, Greenwood’s ballads gracefully wind their way into Vogel’s classic rock tinged solos. Combined with effortless accompaniment on rhythm and bass guitars, and drums, songs like “Mr. Potential,” “Golden Guns,” and “Take Me Alive” rise to a new level for rock-indie, rustic, or any other kind. The band plans on rereleasing their previously recorded EP somewhere in between playing endless gigs, notably
with fellow Brisbane indie rock outfit Ball of String. They also made an appearance at last year’s Red Deer Music and Arts Festival, wowing crowds with their expert solos and gritty lyrics. Masters of their craft, kings of jam sessions, Fire and Whistle Theory’s music rings of a rock ’n’ roll that we haven’t heard for a long while. Their tracks speak of controlled composition and exquisite execution unparalleled by their peers. No matter where they came from, these are cowboy rock princes in the making, may we stand and witness their next acts of greatness and, hopefully, a re-release of their Golden Guns EP.
“Masters of their craft, kings of jam sessions, Fire and Whistle Theory's music rings of a rock 'n' roll that we haven't heard for a long while.”
Fire and Whistle Theory (Brisbane, Queensland)
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Fire and Whistle Theory
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LITIUM Records
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Charleston, South Carolina w w w.m o rg a ncreekg r ill.co m
Noiserv (Lisboa, Portugal)
David Santos aka Noiserv photo by Vera Marmelo
Citing music boxes and childhood wanderings as inspiration, one man show Noiserv (David Santos) will soon be a name on your radar. In the likes of William Fitzsimmons and Radical Face, Noiserv takes all that is whimsical and bright and turns it into a deeply nuanced musical journey. Starting in 2005, Noiserv released an EP that same year and followed up with One Hundred Miles from Thoughtlessness (2008), 3pistas-Vol. III (2009), and A day in the day of the days (2010). Noiserv’s enigmatic song titles embody an almost Shel Silverstein-like quality that, when combined with his softly resonating voice and tinkering instrumentals, solidifies his trademark style. His cover of The Pixies’ “Where Is My Mind” turns the classic punk rock piece into a sweet, sweet lullaby. “It’s easy to be a marathoner even if you are a carpenter,” off of Almost Visible Orchestra, Noiserv’s most recent release, meanders through a twinkling wonderland,
enveloping the listener in a truly wonderful world. If you liked the soundtrack to Amelié, then you will thoroughly enjoy Noiserv’s tracks that glimmer with whimsy and childlike awe. BLITZ magazine awarded Almost Visible Orchestra second place in their best albums of the year rankings and his video for “Mr. Carousel” earned him international renown in it’s own right. Noiserv’s original compositions and indie folk soul have forged a new brand of quirky and lovely music that will charms and inspires in equal measure.
“...Noiserv takes all that is whimsical and bright and turns it into a deeply nuanced musical journey.”
There's a time and place for all things. If the mood strikes you for a quiet and melodic Puerto Rican guitarist, I suggest Harry Rag, neé Kristian Prieto Vachier. Born in 1986, Rag has already proved himself to be one of North America's finest guitarists. The San Juan native has released eight solo efforts, in addition to playing with group Alegría Rampante (also highly recommended). With the release of his latest EP Sweet Dreams, Muna Lee, Rag proves his complete mastery of acoustic guitar, with 12 tracks of beautiful and inventive melodies drawing from classical guitar, jazz, vaudeville, and contemporary indie and pop music. The songs are best described as minimalist, though there are more forces at work than one can detect at a first glance. At a casual listen, they seem simple and sweet. A few listens later you can hear the intricate complexities of melody and rhythm at work. Rag's music has been described as having a cinematic quality and I would not be surprised if,
in a few years, I find myself watching an art film and hear Rag's trademark tunes in the score, especially "Oh, What a Dandy Moral Compass" and "Intangible Sprinkles Waltz in the Garden." Though Rag's music is largely orchestral, his song titles are so inventive that they do more than any lyrics could, though his songs with lyrics are fantastic as well. So if you’re in the mood for some amazing guitar-driven, unclassifiable music, you must listen to Harry Rag. You don’t even have an excuse not to, because most of his music is available for online streaming. If not, just wait till next time. I’m sure Harry Rag will be around for a long while.
“Though Rag's music is largely orchestral, his song titles are so inventive that they do more than any lyrics could...”
Harry Rag
(San Juan, Puerto Rico)
Harry Rag
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Sunshine Coast, Australia w w w.go ddessofb abylo n .co m.au
media company Delhi, India ww w.b a l conytv.com/u/oijo
production company Winner of The True Award 2012
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Crimea, Ukraine www.b alconytv.com /ci ties
Ondrej Galuska website photo
Ondrej Galuska (Prague, Czech Republic) Odrej Galuska has been a fixture on the Czech music scene for the past 20 years with his band Eggnoise, but recently went solo to release O.G. and the Odd Gifts, which has received worldwide critical acclaim. Galuska is a talented multi-instrumentalist proficient at guitar and trombone. His recent solo debut, however, focuses on his talents as a guitarist. His folk-rock rhythm and unique strumming patterns complement his clear voice very well, and his songs (which he sings in English) are some of the most descriptive I’ve heard in quite a while. He deals with themes of loneliness, fear of the unknown, and hope. Though he’s based out of Prague, he’s garnered fame around the world thanks to his recent appearances on BalconyTV and other artist showcases. His solo album received four nominations at the Independent Music Awards TAIS, and he recently recorded the soundtrack for Academy Award Nominee director Jan Hrebejk’s new film Svata Ctverice. Galuska’s music sounds a bit like Jack Johnson without the island rhythm. Maybe the best way to describe him would be to say that he’s a
guitarist with a poet’s eye. In the song “Fears” featured on his BalconyTV appearance, he sings “Fears will never let you go/ And the tear in your mother’s eye/ And goblins from the neighbor’s door/ And the blood on the windscreen”. These lyrics, coupled with the upbeat rhythm of the guitar, evoke powerful mental images that leave the listener captivated, wanting more. You can find Galuska’s music on his website, or check out his YouTube performances. Do it quick – I’d be shocked if we weren’t hearing much more from this up and comer on a global scale within the coming months. His work is changing what we thought we knew about Eastern European folk music and putting a new spin on an old genre.
“He deals with themes of loneliness, fear of the unknown, and hope.”
Raskatoff Blues Smotritel Mayaka, Maria Vechtomova, Evgeny Petrov and Igor Moiseev came together in 2010 to form Raskatoff Blues and, while it took a little while to find their creative grounding, trying out several different styles, they soon settled into some wellfit jazz/blues shoes. Vechtomova’s voice glides like velvet above the group’s smooth melodies, bouncing nimbly amongst the string accompaniment. The Raskatoff Blues quartet has earned themselves a loyal following, particularly around the city’s restaurant and bar circuit. As accomplished at composing original pieces as they are covering classics, such as “The Girl from Ipanema,” the four piece group has a knack for giving thoughtful pieces a fun and carefree air. Even their more thoughtful numbers like “Summertime” have a breezy, swingy quality that adds a decidedly refreshing air to them. Raskatoff Blues official website photo photo by VKontakt Photo
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(Kostroma, Russia)
Last year saw them performing a jazzy and carefree rendition of original song “Romance” for BalconyTV and headlining at a multitude of gigs around Kostroma. “Mon Ami” is a spirited track that will keep you on your toes, incorporating a little more folk into their typical jazz/blues feel. They are currently working on their next album while playing around Kostroma, even making appearances at the town’s City Day.
“Vechtomova's voice glides like velvet above the group's smooth melodies, bouncing nimbly amongst the string accompaniment..”
Johannesburg, South Africa www.bottomof thehil l .com
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Sydney, Australia www.int erm usi c.com .au
White Wolf Wandering (Brighton, UK) The banjo has made a comeback in a big way, and I’m thrilled about it. It seems like alt-folk is the new cool music of the day, and that means I get to hear a lot of twanging banjo. Some people say that the banjo is an awful instrument—I say those people haven’t heard the banjo played well enough, and direct them to the UK’s own White Wolf Wandering, the best new alt-folk group out of southwest England. In the style of Mumford & Sons and Fleet Foxes, this up-andcoming new group boasts acoustic guitars, banjos, tambourines and a bass drum to their lineup, all for one enjoyable musical experience. Their enthusiastic, yet somehow delicate and sad sound, sounds like a woodland adventure, complete with dappled sunlight and dark twists and turns. Songs like “Pull Her Soul Away” and “Daydreams of the Insomniac” feel like a fairy tale, and yes,
White Wolf Wandering facebook photo
one of the darker ones. Along with their talented musicianship, White Wolf Wandering has a unique sound, and is not just one of the countless Mumford & Sons knockoffs. I have a feeling that this is one indie band that will quickly have people buzzing, and convincing all naysayers about how great the banjo really is.
“Their enthusiastic, yet somehow delicate and sad sound, sounds like a woodland adventure, complete with dappled sunlight and dark twists and turns.”
Hanna Meyerholz
Hanna Meyerholz (Hamburg, Germany) Germany has long fostered amazing composers and music makers. From Bach to Strauss, Germans have weaved a rich tapestry of musical talent. When it comes to popular music, however, most of the international community can barely name any bands that hail from Deutchland (with a few exceptions like Kraftwerk and Rammstein). For those of you who are more singer-songwriter inclined than electronica or heavy metal, I present to you Hanna Meyerholz. This talented young woman is quickly turning heads in her home country and, soon, around the world. She creates largely acoustic pieces that showcase her guitar skills, and her delicate vocals deliver beautifully emotional lyrics. Having just released her first album last November, she has managed to accumulate a large amount of media buzz solely through her live
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performances and demos, including an incredible Damien Rice cover, posted on Soundcloud. An impressive songwriter as well as a performer, you can feel her embody each and every one of her songs. You don’t have to worry about not speaking German—she sings in flawless English. I wouldn’t be surprised if Meyerholz is someday added to the pantheon of German composers.
“I wouldn't be surprised if Meyerholz is someday added to the pantheon of German composers.”
Brisbane, Australia www.racecafeonline.com.au
Brighton, UK www.alfiesmusic.com
Santiago, Chile w w w.p or ta ld isc.co m
last call
Mohawk Austin, TX
What is the clientele and atmosphere like at the Mohawk? The Mohawk has as a diverse clientele, as is our own tastes in music. You’ll find neck tattoos, suits, Beardos & tech-geeks all drinking Lonies together and stage diving to their favorite bands. “All Are Welcome.”
What makes the Mohawk stand out amongst the other music venues in Austin? The Mohawk believes there is more raw talent on bikes and in mini-vans than in most of the big ass tour busses out there. We are about discovery. That Main bar at Mohawk in Austin, TX
has always been our focus, and is the focus of our booking partners Transmission Entertainment, to seek out those bands and bring them to our stages to meet new fans. We listen to every band that we book, and we usually buy the t-shirt, too. We have also been voted “Best Live Music Venue in Austin” by the Chronicle for the past three years.
What type of music do you typically promote? We’ve had Ice Cube, Iggy Pop & the Stooges, Yelle, Youth of Today, Sleep & Bill Callahan grace our stages – we run the full gambit.
What's rocking on your iPod?
Ice Cube performing at Mohawk
Currently – Kurt Vile, Iceage, A$AP Rocky & Soft Moon are in full rotation.
Tell us some up-and-coming Austin bands that we need to know about. There are many great Austin bands playing at the Mohawk–Ancient Wisdom, Megafauna, Sour Notes, Mike & the Moonpies, and The Shivery Shakes–among others.
Who have been your favorite acts to take the stage at The Mohawk?
Mohawk Drink Specials
Big K.R.I.T., The Murder City Devils, Sleep, Bad Brains, TV On The Radio, Big Boi, Iggy + more.
Beertunie
High Life in a martini glass with an olive.
Mohawk Summer Shandy Coors Banquet on ice with gingerbrew, fresh shredded ginger, lemon and mint.
Absolut Moscow Mule made with root ginger brew and fresh lime juice.
Murder City performing at Mohawk
www.mohawkaustin.com
912 R ed River Aus tin, TX / 617-423-0069
s i m p l i f i e s
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2013 Fall Issue
Brendan James photo by Joseph Tennant
Brendan James press photo
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What’s new in the world of Brendan James? Just dropped a new album Simplify in August, and now I’m running all around the country playing it live for folks. It’s been some of the best touring of my life so far.
Inspiration for the “Simplify” song? Lately I can’t help but feel like we’re a pure people distracted by a growingly loud noise- progress. I wanted to write a song pointing out some of the drawbacks— less human interaction, more material greed, less consideration for the natural world.
You always do interesting videos, how did this one unfold? My first thought these days is to include real friends and real people in my videos, hopefully resulting in a more tangible and authentic final product. This particular concept came pretty easily- just asked a bunch of friends to camp out for a weekend, bring good food, and be ready to have fun. It doesn’t take much.
You’re in the kitchen and you are making your fave meal...what is it? I make a pretty mean marinara from scratch these days, good and spicy, with whole grain pasta, and maybe a ceasar salad on the side... and if we’re talking ideal, apple pie would have to be involved.
Brendan James photo by Joseph Tennant
“I moved to where I wanted to live,
stopped letting the music biz dictate that.�
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Name and describe 5 things you have seen over the last 6 months that were simple, but perfect. 1. The small cabin in the woods that I wrote the song in... with no more than running water, electricity, a bed, fireplace, trees, and a river outside. 2. A meal at a private show in California consisting of whole grains, organic veggies, and fresh fish. 3. The cliff we jumped off of at 11,000 feet into Blue Lake just north of Boulder. 4. A dance party under a full moon, on a dock in the Chesapeake bay. 5. Having breakfast with my wife after three months on the road.
Name 3 ways you have simplified your life over the last year. I moved to where I wanted to live, stopped letting the music biz dictate that... Changed my diet to veggies and whole grains and almost no meat, and threw out a list of possessions I was saving up to buy.
Brendan James press photo
Most simple album cover? Beatles, White Album.
Don’t cheat and google it, but name 3 songs with simple in the title. “Simple Life” by The Weepies “Simple Song” by The Shins “Simple Lives” by Nicholas Williams
How do you define a good time? Finding a great hike or ocean swim, or a volleyball game with friends, some great food, a few drinks, and late night dancing.
Chimpanzee, Anteater, Sparrow, or Marlin? You have to be one for a day...which one and why? Definitely a Marlin. I love swimming, and have dreams about breathing under water. Plus I’d love to fool a fisherman, take him down to my world, mess with him for a while.
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Who designed your album cover? An artist by the name of Courtney Ay, out of Philly. And it’s my favorite to date.
Pick one song on the new album that you really want people to listen to and think about and tell us why. “Constellations.” It’s all about everyone being in the same struggle, no one being different. We all battle an unquenchable thirst for uniqueness and individuality…it felt good to write about it.
Is there a charitable cause you feel passionately about? Better treatment of livestock. Less plastic in the oceans. Educating kids about diet and the environment.
Brendan James photo by Sara Spangler
You have an upcoming tour with Tony Lucca? You looking forward to it? How do you determine who you will be hitting the road with? Yeah this tour is gonna be like none I’ve been on. Two bands on stage, original songs as well as covers, and a bunch of wild personalities. I think its gonna be insane. A lot goes into determining a touring partner... personality, style of play, and ability to draw crowds all helps when determine whether it’ll be the right fit or not. Tony and I have been in similar circles for years. I think we’re both really excited.
What elements do you think make a good photograph? I think the best photos are the ones that make the viewer wish they were in it themselves. But composition is key, as is interesting use of light. Light is everything.
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If you had a time machine and could go anywhere for 2 days where would it be and what would you do? I would probably go 500 years into the future. I think a lot about the planet and how we treat it, and it’d be cool to see how its faring, and maybe come back with a helpful report.
When you are thirsty, like Sahara Desert thirsty, what’s your go-to bevvy? There’s a beverage for all occasions if you ask me. Daytime favs are sweet tea, OJ, or naked juice, but after hours you’ll usually see a bourbon of some kind in my hand (jack, highland park, or bulleit works) or a beer like FatTire, Dos Equis, or Rogue Dead Guy.
Brendan James press photo
Life is such a special gift, what things in your own life are you most thankful for? My health, my marriage, our community of friends, and my seemingly tireless drive to write better songs.
Finish this sentence: “Friends wander...... “ …into my life, and if they’re honest and positive, I hope they stay awhile.”
Your musical hero? Bob Dylan
For the past five decades, Bob Dylan has shape-shifted our social consciousness. Following in the footsteps of his musical hero, Brendan James is the next troubadour to elevate and inspire a generation ready for change.
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Brendan James press photo
Check out the May 14, 2016 Spring Issue for fresh music and exciting interviews from all around the world.