Archive for category Electronic
Needless to say, after our interview with Jhameel earlier this year, we were pretty smitten with the 20-somrthing who hails originally from Minnesota but now calls California home. That is, smitten both with his earnest attitude and his indie-pop talent and sensibilities. And Jhameel continues to give away high-quality music free of charge with the third installment of his series WAVES, a five-week event in which he premieres a new free single each Tuesday. This week it’s the title track, and while it might slow things down a bit tempo-wise, it’s every bit as addicting as “Collision” and “White Lie,” which dropped in Week One and Week Two, respectively. That keyboard riff is intoxicating and, like much of Jhameel’s stuff, it’s addicting. Download “Waves” below.
The downtrodden synth-pop of Keep Shelly In Athens is somewhat mesmerizing. There’s an eclectic blend of all kinds of electronic elements that seems to create this dreamy soup for ears to swim in. Their new EP Our Own Dream has been out for 10 days now, and everything I’ve heard has lulled me into some kind of weird stupor, where I feel as though I’m wandering through a forest just before the sun has set in the sky, and there’s that weird twilight that casts everything in odd shadows. What I’m trying to say is, it’s largely about a mood with this Grecian band, and I dig the vibe they’re putting out.
This video is kind of adorable, as it features nothing but shots of a cutie-patootie toddler wandering around in natural settings, generally having a good time. It’s about as trippy as the song itself, which is a track by ABADABAD remixed by Keep Shelly In Athens. Check out the video and a few KSIA tracks below, and soak in the strange peace.
At first, Boston-by-way-of-D.C. duo Mike and Cody drew me in with nostalgia. Upon listening to the first few tracks on their self-produced EP Let’s Go!, I immediately flashed back to the synthier-pop days of Hellogoodbye, a mainstay of the musical phase I get all heartsick for every now and then. But I give these guys credit for really impressing me with a song like “Headphones On,” which builds with a low-key guitar melody, some lo-fi vocals and subtle percussion, and then ratchets up just a bit with some catchy drumming and then cuts loose nicely with some echo effects and a little synth-and-guitar bridge. While they lean toward the unabashedly digitized side of electro-pop on a handful of Let’s Go!‘s seven tracks — and still manage to impress — “Headphones On” is the clear-cut example of the pair’s hard work on the short-player and ability to construct a traditional, good old-fashioned rock(ish) song. The whole EP is available for free on their bandcamp page, and you can grab “Headphones On” as well as “Everything You Do” below.
Long story short, I could see many of these songs blowing up on any campus — or commercial for that matter — radio station.
The first time I ever heard Walk The Moon was at a concert this past January, and I was so taken with their live show that I felt compelled to walk straight over to their merchandise stand, buy the band’s debut record I Want! I Want! and shake the hand of lead singer Nicholas Petricca. Petricca organized Walk The Moon while a student at Kenyon College, albeit before a few lineup changes in the years after. The band calls Cincinnati its hometown, but with how infectious their hook-laden brand of indie-pop is, it’s not hard to see why plenty of dates on their current tour have sold out and why many listeners who have seen them live are instant fans.
This year has seen the band gain plenty of buzz, not mention gigs playing at some of the biggest music festivals around. They were on Spin Magazine’s “25 Must-Hear Artists” for Bonnaroo, and their song “Anna Sun” was named Esquire‘s song of the summer. The band is currently on tour with Fitz & The Tantrums, and will play a sold-out show in Cleveland tonight before playing Columbus on Friday and then two straight nights in Chicago. They’ll headline a few dates at the end of this year and then support Young The Giant starting in February. Plus, their new album on RCA Records will be out sometime soon, we hope. There are big things in the works for these dudes.
The aforementioned lead singer of Walk The Moon, Nicholas Petricca, was kind enough to spend a few minutes talking to The Wounded Jukebox before the band’s show in Pittsburgh on November 7. Questions, answers, and tracks below!
In the last nine or ten months, you guys have played Bonnaroo, Lollapalooza, and CMJ. What has it been the way for you guys to explode the way you have in that span?
It’s been a pretty wild year, for sure. Explode is definitely a relative term, cause there’s a band like Foster The People — as far as our trajectory goes, they’re a year ahead of us. But they’ve truly exploded over the last nine months with their record kind of going everywhere across the world and number-one singles and everything. But for us, on an independent level, the length that we’ve gone in just this year has been really amazing and more than we could’ve expected. It’s been awesome to play some milestones like Bonnaroo and Lollapalooza and then Great Escape, which is sort of like SXSW over in Europe. But it’s been wonderful and we’ve met a lot of great people. We’re building right now the foundations of the fanbase that’s going to hopefully carry us for our whole career.
You guys have been working on a new record. Is it in the same vein as I Want! I Want!, or is it something different? Where are you guys headed?
Since it’s the first record with RCA, and our first record with any label, we’re sort of taking the best of the I Want! I Want! stuff and then… It’s going to be half best of the old stuff and then half the new stuff that everyone’s heard from the live shows and whatnot. So it’s pretty ideal for us. I love I Want! I Want!, but the RCA record is going to be the thing that truly introduces us to the world. I’m happy that songs like “Anna Sun” and “Quesadilla” will be on there, but there’s going to be a lot of new stuff as well.
Talk a little bit about the producers and other people you worked with so far in recording the new album.
Our producer was Ben Allen. He did the Gnarls Barkley stuff, and a lot of Cee-Lo Green’s stuff, and also my favorite Animal Collective album, Merriweather Post Pavilion. He’s done a million other things. But for a long time when we’d sort of talked about ‘Who would be our dream producer?’ he was the name that always came up. So it was a real honor to work with him — we were down in Atlanta with him for a couple months. We also had the help of a legendary recording engineer named Nick DiDia, who was also integral in the recording process.
Did you guys feel good about the sessions that you had down there?
Absolutely. This is actually the first time with this final lineup that all of us could do it together. It was everything we could hope for. The guys in the band are extremely talented and I think everyone sort of rose to the occasion. When you have a producer like Ben, there’s a lot of decisions where, in the moment you’re like ‘Let’s try this,’ or ‘Let’s go this direction,’ and I’m fortunate to be in a band with a bunch of guys that can do anything you ask of them. We definitely squeezed a lot of new life out of the songs that people know from I Want! I Want! and these recordings are far and beyond what we’ve done with the old stuff.
If you guys have a signature song, it’s definitely “Anna Sun.” Can you talk a little bit about how that song came to be, or what it’s about?
The name was inspired by a professor at Kenyon College, where I went to school. Her name is Anna Sun, and she’s a really inspiring person. The song isn’t really about her, but she has an awesome name (laughs). But it definitely has elements of college and the whole feeling of leaving childhood behind but keeping with you a sense of being a child your whole life and the sort of happiness and sadness that comes with that. There’s a lot of lyrics that are snippets of memories or stories of growing up. That’s sort of the vibe of the song.
I wondered what led to you guys deciding to do the video for “Anna Sun” the way you did?
A friend of ours who ended up being a videographer — his name is Patrick Meier — and his project is called Contrast Productions. He was just a friend of ours who is really talented, and he called me up one night with the idea of the one-shot, one-take sort of journey. It was just sort of a nugget of an idea. We started brainstorming over the course of a couple of months, and knew at some point that we needed to have a ridiculous dance sequence. So we brought on a dance choreographer and a dance team, and it just sort of evolved out of playing around. Actually a lot happened the night of. We had an idea of how it would flow the best, but it really depended on all the people who showed up and brought costumes and props and brought their own personality to it. It wasn’t really a whole lot of anything until the night of when everyone kind of put their own soul into it.
Did you get a lot of compliments on those dance moves?
(Laughs) Yeah, it’s usually the one that happens right in the middle of the dancing where I’m just sort of flailing around — that’s the one people say the most to me about.
You guys are in Cleveland (tonight) and Columbus on (Friday) and then you’re back in Cincinnati on November 25th. What are you looking forward to about coming home, about being back in Ohio?
It’s always great coming home. This is where all this began and that’s where we have the biggest sense of family, and a loyal fanbase. We’ve started to feel that way in a lot of other cities, fortunately, because things have been going really great. We’ve started to kind of take a foothold in places like D.C. and Los Angeles, but there’s something about the Midwest that feels a little different. We’re certainly proud of coming from Cincinnati. There’s a lot of bands that take the initiative to move to really big cities, and we’ve been fortunate enough to build everything out of home. I think people from Cincinnati are proud of having us come from there too. I hope they are.
So at Kenyon College, you majored in something like pop music, right?
At Kenyon, everyone in the music department studies some element of the classics. My degree was specifically in composition and theory, and so I studied a lot of the theoretical and styles of how everything is put together, which I ended up loving. And my senior thesis was applying classical theory to pop and rock music, and so the big idea was you can get the same amount of meaning and reward out of applying theory to rock and pop music.
Is there some kind of wisdom you learned then that you carry along now for songwriting?
I think more often than not the theory is less of a method and more of a language. It’s sort of like ‘Can you speak music?’ I mean, I have my own tendencies as far as verses and choruses and how things are put together. But there’s certainly no hard rules or laws to what we come up with. Somebody told me once — and I liked this — to never distrust the first thing that comes out, to sort of follow it through and so we try see through whatever idea comes to the table.
With “Iscariot,” there’s some really beautiful a cappella-style harmonies. What drove you guys to record that song like that without much instrumentation?
That song was actually one that I wrote for that last project in college. I always wanted to write something that was primarily just voices. At the time the band was all people from a cappella groups in college, and so we had a history with that. I think more than any other instrument, the human voice is the one that can really speak to people and carry you the hardest as a listener. It was just something I always wanted to do, and I thought it added another level of depth to the album.
What’s your favorite snack on the road?
We do mow through a lot of hummus and pita bread. We actually just left Williamsburg, Virginia where our friends have this ice cream and chocolate store called Kilwins. So no we’re just gonna get all kinds cavities and things from eating their chocolates and other goodies and stuff.
You guys do face painting and have a real interesting energy during your live shows. What do you enjoy most about being out in front of those crowds and performing a live show?
The best part is always going to be the audience and how connected we feel to them on a particular night. The face paint is one of those added small things where it’s more than just performing, it’s like having an experience with all those people and sort of sharing and creating together. That’s kind of a cheesy way to say it, but I love on a night where we’re doing the facepaint we’ll go out into the crowd and pass it along to people, and then you have complete strangers painting each other’s faces. There’s a sense of camaraderie that comes with that, and the whole point is just to have fun and be a kid.
I might be the only one, but the electro-pop groove of “Marchin In” by Sweden’s Lo-Fi-Fnk immediately reminded me of Lykke Li’s “I’m Good, I’m Gone.” Could be the fact that both are from Stockholm, or that they both have a knack for creating rhythms to tap your toes and clap your hands to. Lo-Fi-Fnk are Leo Drougge and August Hellsing, and the duo is said to be hard at work on a follow up to their sophomore LP The Last Summer. They’ve toured in support of Architecture in Helsinki, and have shared stages with Hot Chip, Crystal Castles and Junior Boys. “Marchin In” is a slow-burning groover somewhat reminiscent of Canadian outfit Of Montreal.
Lo-Fi-Fnk will be playing a short string of US tour dates beginning November 12, and I have to imagine that seeing their live show is akin to a very funky, very friendly dance party. See what I mean by checking out “Marchin In” below.
And as a BONUS, check out the band’s remix of Foster The People’s smash hit “Pumped Up Kicks” as well!
This is a new batch of music that I have been meaning to post about, but haven’t been able to. All of these artists are deserve their own posts, but it’s just not gonna happen. So use this as a preview to go check out more of their music!
The Lowbred Watts – Download entire album for free here
Jesse Payne – Website, Free mp3 below
Fairlamb – Bandcamp
DM Stith and John Mark Lapham are joined at the hip as The Revival Hour, a duo bent on canvassing their music in all the vintage colors of the rainbow. Between the two of them, they’ve collaborated, remixed, been remixed and produced a whole heckofaton of the great music you’ve heard in the past few years (The Earlies, The Late Squad, My Brightest Diamond, Shearwater, Richard Swift). They have a new double side out featuring two very different songs, in two very excellent fashions. The one getting all the attention is “Hold Back”, with Dr. Dog shadows pouring from it an all directions. The piano and fuzzy choir reverb is spot on proof of what experience can bring to a song. I can just picture a closed-eye Stith beating his chest while recording the vocals. I jist dunno how ta howld bak sun! You might not hear the best of it on the first listen, but once you get wind of the string entrances, and all the touches the floating choirs give, you’ll be convinced how great the song really is.
Hold Back by The Revival Hour
On the flip side is “Run Away”, a falsetto jungle romp with all the effects of that hallucinogenic plant you accidently licked earlier. You’re running, running, running away as fast as you can, but the demons of your mind are still right behind you…and they have wings! (Wraiths on wingzzzzzz!) Ahem…
It doesn’t matter where you start: the double side is good all over. Keep The Revial Hour in your thoughts. You’ll want their record, which is under construction even as you read.
*And if you haven’t heard of DM Stith or his counterpart before, you’ve been missing out on one of the best vocalists and musicians in the biz.
DM Stith – Abraham’s Song (Bibio remix) by The Wounded Jukebox
(The “Hold Back”/“Run Away” double side is available now from Asthmatic Kitty Records