Posts Tagged alternative
“Sugar Still Melts in the Rain,” Sarah Mary Chadwick
–if you like Amanda Palmer, you probably like Australian visual artist and songwriter Sarah Mary Chadwick. It’s a beautiful altfolk song with sparse piano and bold speak-singing which conveys heartbreak and emotional depth—“I float here on a cloud of pain but I would do it all again.” Sugar Still Melts in the Rain [Sinderlyn] is due out May 11, 2018.
“Rounded Sound,” Roxy Rawson
–Bay area artist and classically trained musician Roxy Rawson impressively fuses varied elements and vocal stylings for an artistic, eclectic result. She studied violin and piano at University of Paris VIII. Rawson’s vocals remind me a bit of St. Vincent. Her full-length album Quenching the Kill is out March 23, 2018.
“California Finally” is the Los Angeles band’s dreamy tribute to the “weird golden paradise” of the place they call home. The new album, Floating Features, will be out May 11, 2018. The indie surf-rock band will be on tour this spring after SXSW. See dates below.
La Luz is:
Shana Cleveland [singer/guitar]
Marian Li Pino [drums]
Alice Sandahl [keyboards]
Lena Simon [bass]
Floating Features Track listing:
- Floating Features
- Loose Teeth
- Mean Dream
- California Finally
- The Creature
- My Golden One
- Golden Dozer
- Greed Machine
- Walking into the Sun
- Don’t Leave Me on the Earth
03.18.18 – Dallas, TX – Not So Fun Wknd
03.20.18 – Tucson, AZ – 191 Toole
04.26.18 – Austin, TX – Levitation Festival
05.11.18 – San Francisco, CA – Rickshaw Stop $
05.12.18 – San Francisco, CA – Rickshaw Stop $
05.13.18 – Arcata, CA – The Miniplex $
05.14.18 – Eugene, OR – Wow Hall $
05.16.18 – Vancouver, BC – The Biltmore Cabaret $
05.17.18 – Seattle, WA – The Crocodile $ *
05.18.18 – Seattle, WA – The Vera Project $ * &
05.19.18 – Portland, OR – The Aladdin Theater *
05.22.18 – Boise, ID – The Olympic *
05.23.18 – Salt Lake City, UT – Kilby Court *
05.24.18 – Ft. Collin’s, CO – Hodi’s Half Note *
05.25.18 – Denver, CO – Larimer Lounge *
05.28.18 – Omaha, NE – O’Leavers !
05.30.18 – St. Louis, MO – The Ready Room !
05.31.18 – Chicago, IL – Subterranean ^
06.02.18 – Grand Rapids, MI – Pyramid Scheme ^
06.03.18 – Toronto, ON – Horseshoe Tavern ^
06.04.18 – Montreal, QC – L’Esco ^
06.05.18 – Portland, ME – SPACE Gallery ^
06.06.18 – Boston, MA – Once Ballroom ^
06.08.18 – New York, NY – Public Arts ^
06.09.18 – Brooklyn, NY – Northside Festival at Baby’s All Right &
06.10.18 – Philadelphia, PA – Underground Arts Black Box %
06.11.18 – Washington, D.C. – Songbyrd %
06.12.18 – Raleigh, NC – The Pinhook %
06.13.18 – Atlanta, GA – The Earl %
06.14.18 – Jacksonville, FL – Root %
06.15.18 – New Orleans, LA – Santos %
06.19.18 – San Antonio, TX – Paper Tiger #
06.20.18 – El Paso, TX – Monarch #
06.21.18 – Tucson, AZ – Club Congress #
06.22.10 – Los Angeles, CA – Teregram Ballroom #
& – All-Ages
$ – w/ Ancient Forest
* – w/ Savila
! – w/ The Whiffs
^ – w/ Gymshorts
% – w/ Timothy Eerie
# – w/ Summer Twins
“In Between Stars,” Eleanor Friedberger
vigorous, edgy and catchy new synth-pop, goth pop. Eleanor Friedberger will release her new album Rebound [Frenchkiss Records] on May 4, 2018. instead of live instrumentation, she utilized programmed drums, a Juno synthesizer, and muted guitars for a different sound. She recently spent some extended time in Greece, where she has family. She said: “After a month in Athens I asked my friend, the Greek musician Σtella, “What’s one thing I have to do before I leave?” After some long and careful consideration she smiled and said, “you have to go to Rebound. It’s a time warp; kind of an 80s goth disco where everyone does the chicken dance; you’ll love it… but it’s only open on Saturdays after 3:00 AM.” Rebound proved to be a revelation in terms of finding the sound and energy for my fourth album. The club was very dark and despite the no smoking signs, like everywhere in Athens, it was very smoky. The “chicken dance” Stella mentioned was a solitary one. I copied the slouchy strut, moving back and forth in line, swinging my arms in time to the music that at first sounded like Joy Division or maybe The Cure, but never revealed itself– one could only assume it to be knock-off by an unknown Baltic band. It was alienating and exhilarating. “In Between Stars” is an attempt at a song you could hear at Rebound. It’s a dark and disorienting; my warped version of 80s goth disco.”
“Whenever You Want It,” Danielle Duval
Supercharged and empowering indie rock song with super cool guitar riffs from the sophomore album LOSE IT which is out now. About the song, Danielle Duval says: “It’s a song about no fear; being open, ready, and up for anything. The quest to find, cash in, and go for what or who you’re after. It’s a song about the recognition of love when it comes, and to go for it no holds barred, no reservations, no apologies.”
–“What Am I Gonna Do” is a beautiful, wistful song from Widowspeak guitarist Robert Earl Thomas. The song sets a particular mood of options and choices with its dreamy and winding melody and soothing vocals. This song reminds me of “Watching the Wheels” by John Lennon. The vocals also make me think Daniel Ash of Love and Rockets. The new black and white video finds Robert wandering alone around lower Manhattan at night, the vast skyline flush with opportunity behind him.
Robert said: “’What Am I Gonna Do’ is more about an era of my life than any particular relationship, although some really concrete endings had me scrambling during that time. I was sort of lost without any obvious sense of self, either as a lover or as the person I thought I moved to New York to become. The song’s central question still dogs me, but what am I gonna do? I mean everyone has those moments of doubt. For the video, it made sense to shoot in lower Manhattan because a lot of those memories are set against that part of the city; and to do it with Otium who has been a friend since I was that other me.”
His solo debut, Another Age [Captured Tracks] will be released on February 16, 2018.
1 – Another Age
2 – I Remember
3 – Cryin’
4 – The Weather
5 – Wednesday Morning
6 – Winona Forever
7 – My Fault
8 – What Am I Gonna Do
9 – Word of Mouth
How did I miss this Canadian band play Boston earlier this month? Vocals are a little bit Lily Allen, a little bit Lorde; melody is a little bit xx. a little bit Cults. Overall cool, dreamy and a song to play on repeat for hours. It’s that intensely infectious. what an amazingly talented young band. I look forward to hearing more and seeing them play out live. Dizzy is: Charlie, Alex and Mackenzie Spencer and Katie Munshaw
Munshaw said: “Making music always stemmed from my being overly sensitive about everything, so when you’re that close to so many people you’re bound to meet the essential characters that screw you up enough to start writing about them.”
Totally Mild, “Lucky Stars”
such a pretty, heartfelt acoustic song from Totally Mild. It’s vulnerable and melancholic. The theatrical, stark tone makes it particularly powerful and memorable. The Melbourne, Australia band’s sophomore album, Her [Chapter Records], will be released February 23, 2018. The band has toured with Real Estate, Kurt Vile, Best Coast, DIIV and The Chills and will perform at SXSW in 2018.
Totally Mild is:
Singer/songwriter Elizabeth Mitchell
Zachary Schneider [guitar]
Dylan Young [drums]
Lehmann Smith [bass]
3. Working Like A Crow
4. From One Another
5. Lucky Stars
6. Today Tonight
8. Take Today
10. Down Together
After a six-year hiatus and several days before releasing its third album, Crack Up, Grammy-nominated Fleet Foxes performed at the Knockdown Center in Queens, New York as part of Live from the Artists Den. Live from the Artists Den is a critically-acclaimed television and digital music series best known for presenting secret concerts in non-traditional, often historic settings.
The episode airs this month. Check your local listings.
Regarding the band’s six-year hiatus, lead singer and guitarist Robin Pecknold explained: “I felt like I wanted just a broader range of experience as a person and a musician to draw from in direct and indirect ways, so it seemed like something worth being open-minded about.”
Fleet Foxes formed in Seattle, Washington in 2006. The band released its self-titled album in 2008 and Helplessness Blues in 2011.
Fleet Foxes is:
Robin Pecknold [lead vocals/guitar]
Skyler Skjelset [guitar, mandolin, vocals]
Casey Wescott [keyboards/ mandolin/ vocals]
Christian Wargo [bass guitar/ guitar/ vocals]
Morgan Henderson [upright bass/ guitar/ woodwinds/ violin/ percussion/ saxophone]
Swarming Branch, “Zsazsur’s Real Estate Song”
Upbeat, catchy and quirky single. I get a bit of a Folk Implosion and OK Go vibe from this Columbus, Ohio based experimental electro/indie/folk project of singer/songwriter Andrew Graham, drummer Lon Leary and a rotating group of collaborating musicians. The new album from Swarming Branch— Surreal Number— (SofaBurn Records) is out now. The album was produced by Rob Barbato (Drinks, Kevin Morby, Peaking Lights).
Luca D’Alberto, “Endless”
Full throttle new wave classical music in this gorgeous, atmospheric song. Luca D’Alberto is a classical composer, arranger and multi-instrumentalist [violin, viola, violectra, cello and piano] from Italy. Endless [7K!] is out now. The album was produced by Martyn Heyne (Nils Frahm, Lubomir Melnyk, Peter Broderick, Tiny Ruins and The National).
About the album title, Luca said: “Endless is a secret place, a place where we can be free to remember everything, without being afraid, without limits. A place where we can let go of ourselves, without thinking, where we can allow our bodies to rest peacefully and find the courage to live the noisy silence of our lives.”
My heart belongs to several bands and artists but two bands will permanently possess a special spot: Jesus Jones and The Charlatans. I followed both bands in the 90s and befriended them as best one could without having sex with any band members. Kudos to singer Tim Burgess and bassist Martin Blunt for keeping The Charlatans going and the music flowing after the deaths of keyboardist Rob Collins in 1996 and drummer Jon Brookes in 2013. Different Days is the 13th album for The Charlatans, who formed in the late 80s.
For Different Days, core members Burgess, Blunt, guitarist Mark Collins and keyboard player Tony Rogers collaborated on this album with former Verve drummer Pete Salisbury, Brian Jonestown Massacre’s Anton Newcombe, Johnny Marr [featured on several songs including the lead single ‘Plastic Machinery’], New Order’s Stephen Morris, Paul Weller [“Spinning Out”], as well as spoken word contributions from Ian Rankin and Kurt Wagner. The Charlatans have never really hit it big in the United States like other contemporaries such as Oasis and The Stone Roses. In 2015 Q Magazine gave the band a lifetime achievement award.
In many aspects over the years, the band has transitioned from Britpop to indie rock. On Different Days, a California vibe definitely seeps into these songs. There’s still swagger and a bit of Manchester as well. It’s overall pretty laid back, sunshiny and optimistic. There’s the pretty and soothing “Hey Sunrise” with its jangly guitar. On the contemplative and catchy (the brilliance of Tim Burgess’s writing) “Solutions,” grooving percussion and a deep bass line propel along with gentle keys propel the melody. It’s one of my favorites. Maybe because I’m looking for one. The songs “Plastic Machinery” and “Not Forgotten” feature more guitar than keyboards with fierceness and swaying beats. “Plastic Machinery” tackles fleeting popularity and superficial happiness. “Not Forgotten” approaches how we evolve and what we learn from relationships: “I’ve taken every opportunity. Tried to be everything you wanted me to be. So why do you have to talk like that?” This is a spectacular album. It pulls me back in and can easily be filed alongside 2001’s Wonderland or 2006‘s Simpatico in its overall sound.
The songs on the latest album, Bones Will Last, from Portland singer/songwriter Kathryn Claire exude gorgeous melancholia through violin and strings-based arrangements. Lovely, bold chamber/folk music. The opening track reminded me of the heartbreaking violin melodies played by a character on the television show Treme. Meaningful, profound lyrics delve into existentialism and our place in the world. Just the type of songs to which I most connect. Claire’s deep vocals combine with exquisite layered orchestrations. These dark, provocative, thoughtful songs engage the listener and elicit deep emotions. Claire collaborated with Portland musicians Zak Borden (mandolin), Allen Hunter (upright bass), and Don Henson (piano) on this album.
I spoke with Kathryn Claire by phone last week.
Amy Steele: What do you like about the Portland music community?
Kathryn Claire: So many people are playing music. A lot of people are based out of here and touring extensively. It’s great when I am home because it’s such a thriving scene. It’s a great place to write, perform and record. and be inspired. I love it when I’m out in the world because people are aware of Portland and in the last ten years it has become a popular well-known city. It’s cool to be from Portland. I’m proud of the scene we have here.
Amy Steele: When did you develop an interest in playing music and in songwriting? I think you had some classical training when you were younger
Kathryn Claire: I’ve always been drawn to music and have been very musical from a young age. There was a lot of music in my family growing up. I’m the first person in my family to be a professional musician. My mom was a public school music teacher. My father was a gypsy jazz violinist as a hobby so that is what got me into that instrument. I started studying violin at the age of seven and singing in choirs. I taught myself guitar as a teenager and I started writing. I’ve always been a journal writer and a creative writer. I can’t remember my life without music in it. It is always a vital part of my life. It developed into something that I now do as a career.
Amy Steele: Have you always been a solo artist?
Kathryn Claire: I’ve always enjoyed collaborating. My career has been interesting. Part of what has allowed me to do this full time, to make a living, is that I’ve worked as a side person a lot. The violin is a versatile instrument in that way. I read music. I also have a really strong background in harmony singing. I’ve been hired by a lot of groups and to sing with other singer/songwriters. I like playing solo but I love having a few different instruments and sounds to work with and the energy for collaborating has always been inspiring to me.
Amy Steele: How did the (music) experience you had, working on other people’s projects, help with your own?
Kathryn Claire: I’ve been doing this for a long time and I’ve put out solo albums but this album has been huge for me. It really is my own. I’m totally fronting it. I wrote everything on it. It was my vision. I made all the decisions. I didn’t even work with a producer. I had this vision that evolved. It was my own and my own voice. I feel that the way I arrived at such a clear place was from working as a side-person for so long because I really have developed an ear in how to accompany other people. I have developed my own clear voice as far as being a side-person and I’ve developed a good ear for listening. I took a lot from other people and I’ve been influenced by my classical upbringing. I’ve played a ton of Celtic music. I’ve played with amazing songwriters. I’ve played in a rock band. I think that gave me an eclectic base and I synthesized that into this album. I feel like it’s a unique sound, totally my own, but inspired by all this work I’ve done with other people.
Amy Steele: What do you think makes a good song?
Kathryn Claire: Lyrically I tend to like it when you have a personal connection to the imagery and poetry of the connection. You’re writing from something that’s touched your heart but you’re not overly explicit so it allows the listener to make their own connection to the words and images that’s completely their own. I tried to be specific and close to me but letting there be openness to it so there can be some universality.
I think over time I’ve learned how to edit. Not trying to cram in so many words. Editing down so there’s a bit more simplicity in it. I’ve come to value that in a song.
Amy Steele: It seems that a lot of the songs are sad and a bit darker. Is it an outlet or your general mood and temperament? I listen to a lot of dark music but I think I’m very dark and gravitate towards that music. I was wondering what draws you to make that type of music.
Kathryn Claire: I definitely do have a darkness or a pensive side to me but as a performer I have a lot of energy and joy on stage and I really do feel that in my own life. I have a more positive and joyful energy. This music has been a way for me to express sadness and melancholy. The world is really beautiful and really sad. I tend to be compelled especially on this album in tapping into that darker nature in myself and in the world. I put the violin at the center of the album in the sound –it’s a violin/strings-centric album—and the violin has a deep sad melancholy to it as well. I tend toward darker music. I like minor keys. I like haunting melodies. I can get behind a major up-tempo song but my heart is really with the darker music.
Amy Steele: The song “Bones Will Last” you wrote about thinking about death and dying. How did you write that?
Kathryn Claire: It’s a really personal song that I initially wrote reflecting upon a loved one. The chorus got written a little bit later. I was just thinking of that image –“we’ll be gone but our bones will last.” The passing of timed. The ephemeral nature of life. That was central to what I’ve been thinking about. I’ve been thinking about death a lot and trying to be present while I’m here. I’ve had a lot of people pass away. Not just grandmas and grandpas but people my own age. You never know when it’s our time. In holding that and looking at that I think what are those things that last? That we leave behind? What are the bones of who we are? It became the theme of the album overall.
Amy Steele: What about the song “Sweet Chariot?” What inspired that song?
Kathryn Claire: One of the famous cemeteries in Paris where Jim Morrison was buried [Père Lachaise Cemetery]. I was in Paris in the fall of 2013 walking through that cemetery just reflecting on all these people that have gone before us. In the end that’s where we all go. The first verse of “Sweet Chariot came”—when I was imagining Jim Morrison. What would it look like to see his skeleton? Just ruminating on our bones. I wrote that first verse there and worked on that song for over a couple of years. I got to be in India doing some work [artist-in-residence at the American School of Chennai in 2015] there and I finished some more there. I wrote it in my journal and I’d sit with it and find a melody for it. I’m also grateful for our iPhones because I can collect these little pieces. That first verse felt like it came though me. It’s an interesting song and people have responded to it on such a deep level.
Amy Steele: What about the song “Never Be?”
Kathryn Claire: That is such a heartbreaking song. That was a breakup song. That one I wrote super fast. I was looking at this person I’d gone through a difficult breakup with. I’d seen some stuff on social media. You see images you don’t want to see. Unfortunately these are aspects of our time. Breaking up is even harder because you have all this access to people’s lives. I wrote the whole thing in a sitting.
I started playing around with my violin and a little loop pedal and that’s where I came up with the actual orchestration of that song. It starts with the pizzicato. It’s so strings-central. That was built on this loop pedal. Everything on that track is me. I’m playing the guitar and the violin and there’s no other person on that track. In the end I love that song so much.
Amy Steele: Over the years how has your music evolved?
Kathryn Claire: As a writer I have become a better editor. I went to Boston University for my freshman year and that’s when I got into writing and going to Club Passim and hearing singer/songwriters. I wrote a lot that year in Boston but I never edited. The songs were like journal entries. I’m now able to write a lot more universally. My voice is deeper and relaxed. My voice sounds like is has dropped into itself. It’s settled. The orchestration of the violin has evolved and grown and changed. I’ve just gotten to be such a better musician by playing with other people.
Amy Steele: Aren’t there fewer music programs in schools now? I played the violin and then I played flute. I didn’t continue it because in my high school it was required that you play in the marching band and I rode horses and it conflicted and also I just didn’t want to play in the marching band. Music and arts are so important in public schools.
Kathryn Claire: I will continue to do work in that direction throughout the course of my career. I believe in music education. We had such a killer music program in Eugene, Oregon. I grew up in the 80s and 90s. In that era you could join orchestra in fourth grade and by the time you’re in high school you’re playing symphonies with your friends. That was normal.
It becomes this elitist thing. Portland is cool to have these alternative programs. I’m grateful to have done that basic classical training.
Amy Steele: What type of challenges have you faced as being a woman in the music industry? I listen to a lot of female artists. I try to support women in music and all arts. women are still not the majority.
Kathryn Claire: It is challenging. The thing is like any work environment is still very male-centered. I get to collaborate with women but when I started out I played in a band and didn’t know how to set up a PA. It has been so important to me to work a PA, to know how to speak the lingo when you go into Guitar Center and there are all these dudes and they make you feel stupid because you don’t know what an XLR cord is. I went through the time to learn all the technological jargon to function. It was important to me to know it. I was talking to a female musician friend and I asked her if she knew of any well-known female music producers. In the studio I’ve never worked with a female engineer. These things make you realize that the music industry is really still male-dominated.
Amy Steele: I’m curious how many women study the business side of music/ the production side of music at Berklee or other schools. [note: Fader piece: Why Aren’t More Women Becoming Music Producers?]
Kathryn Claire: I’m in my late 30s. There probably is a lot of movement forward. I’m basing this on my experience as coming up in this 15 or 16 yrs ago. In that time it is changing but it is also women being able to shred and own it and front-women and to speak the language of music. I know for me in high school so many guys were in bands.
It can be intimidating and that’s where Girls Rock Bandcamp and other programs can get girls past that. I would have loved to have played in a rock band but I was intimidated. Where does that come from?
Amy Steele: our patriarchal society and assumed gender roles.
Bones Will Last is available now.