My Monday routine for the past few months has been a new experience for me. I’ve gotten up earlier, made a good breakfast with some tea, and had time to simply wake up and begin my day right. Even so, the environment has been unbelievably mellow. The mornings were often dreary and overcast, fighting the sun as it tries to greet the day. Especially in the cold weather, life itself felt cloudy.
These are the mornings that I bring the big guns of relaxing music. 95% of the time, this comes from my go-to morning band, Iron & Wine. This has become especially true since they came out with The Archive Series, which you may all expect a review of that soon.
Today, the song has been from none other than The National. With all of the recentcollaborations by members of the band, I have gotten back into my vice of 2010’s High Violet. Today’s track is “Lemonworld,” the first song I ever heard by The National. I have always been so intrigued in The National because of vocalist Matt Berninger. How is he able to captivate on big festival stages with such a low, almost monotone voice? I still can’t answer that question, but I love their music and find myself hooked regardless.
As Spring knocks on our door, enjoy this song to slow you down and help you relax. That’s what I’m doing today.
Geographer have made a name for themselves as a unique indie rock group with dreamy, electronic elements. Frontman Michael Deni is often quoted for his description of their music as “soulful music from outer space,” which is surprisingly accurate as farfetched as it sounds. Ghost Modern officially released today under Roll Call Records, the fourth album from the trio from San Francisco founded in 2007.
http://http://open.spotify.com/album/3YL14IGd7bGMhmo0938SOi
Following a 45 second ambient intro, “I’m Ready” wastes no time in revealing the stylistic growth the Geographer have experienced since their last release in 2012. While the trademark chill synthesizer use is as present as ever, Deni takes charge with bold melodies unlike any he’s ever written. “You Say You Love Me” brings back electronic drum tones and synthesizers that either came strait from the 80s or from Garage Band. I’m still not sure. The thing is…they still make it sound pretty good. “Need” provided a distant, chilling track reminiscent of Alt-J and, dare I say, Sigur Ros while “Keep” still stands out at my favorite track on the collection.
The record takes from a lot of different influences to add on to their already unique sound. In some ways, their style moved in complete opposite directions. While one could argue that the rock and indie influences are more present than ever, one could also address the immense depth that has been added to the synth and drum tones. The guitars are consistently more present than what listeners may be used to due to the wavering, effect saturated piano tones that create depth in the background. It’s as if they went further out to space, but somehow played louder for us to hear.
While it may be tough to top 2010’s Kites in my mind, see attached videos for reference, this record has the potential to be a really interesting listen as time goes on. The initial reactions and observations are only on the surface and I expect to uncover more about this music as I listen again and again. It comes down to what I’ve said about a few albums before in that, regardless of your opinion after the first listen, it may take more time to appreciate it than your standard band.
For those that read my piece on Vinyl Theatre earlier this week, this will be a well-timed extension of that tangent.
Music today serves a completely different purpose than it used to. For thousands of years, music solely existed as a form of performance. Within the last 100 years, we have seen that shift to the combination of live performance and produced recordings. Whether we are referring to Thomas Edison’s phonograph or the compact disc, the changes came with a lot of opposition from musicians. In fact, some musicians tried to boycott Edison’s phonograph because they believed it would completely replace performance.
Even if they were wrong there, it wasn’t completely farfetched considering what recordings represent today. Whereas recordings used to be optimized to capture the beauty of live performance, they are now used to perfect those live shows often beyond what they could ever be.
Some artists such as Dave Grohl and Jack White have openly opposed this trend towards unrealistic perfection, claiming that the mistakes and impurities within recordings are what make them music. As humans, are we meant to be perfect?
No, and neither is our art.
The problem is that not many artists accept this. The obsession over the perfectly mixed, three-minute, radio-friendly single has somewhat overtaken artists’ willingness to be bold. One note that is barely off time, one vocal take that isn’t perfect, and it is nixed automatically. Artists have this inherent fear that, if they don’t match up to the preciseness of the music around them, their music will be disregarded.
The imperfections make it beautiful. In the end, this movement towards perfection only proves for disappointment in live shows. The pressure to match up to the expectations of recordings is higher than ever, and I’ve seen far too many concerts when I think that they just can’t do it. What’s the point in faking it? So many artists choose to stretch themselves too thin by trying to be exactly like their produced works, and that’s not how it’s supposed to be. They do this rather than providing something beautiful that would be lucky to be captured in recorded form.
There is a way to responsibly advance our musical capabilities with technology while still holding on to what makes it a human art form. I’m a recording major. I am immensely fascinated by the art of production and the possibilities that lie in front of us today. Through all of this, I can’t help but step back and think, when is it going to sound too perfect? Will people notice, or just expect more?
Next time you go see a live show, pay attention to how closely they are able to live up to their recordings. Maybe they don’t sound like them at all. Maybe it’s a perfect copy. Maybe they disappoint you beyond belief because they simply aren’t what you thought they were. Excluding extreme examples, I really only feel this strongly when artists can’t match up to what they portray themselves as.
I implore us all to stop this unnecessary need for perfection within our music. Demand the imperfections, because after all, it is what makes us human.
Those that even moderately keep up with this blog know about synth pop. While the growing genre may go under many names, synth pop is a style of dance-heavy indie rock that, in a way, represents the stylistic return of 1970s disco. They say music goes in cycles, commonly returning to styles and instrumentation that was popular 30 or 40 years ago, and I think synth pop has done just that.
But it’s just so damn catchy. They explore unique keyboard tones and aren’t afraid to redefine the line between standard instrumentation and innovative electronic experimentation. It takes from influences of funk and soul to make it nearly impossible to stand still during a show. All of this is of course accented by relatable lyrics and plenty of heartthrob frontmen. As unbelievable as the experience is to see Walk The Moon live, a major flaw was revealed to me yesterday at Old National Centre in Indianapolis.
Not unlike any genre, the advancement of technology has allowed for bands to create whatever sound they want through production. When one song can contain over 250 tracks and unlimited editing software, there are nearly no limitations to modern music engineering. In that, synth pop bands are able to take their compositions and present them in the most addicting, full form possible.
With this opportunity also comes the reality that they may fall incredibly short in the realm of live performance. You can layer as many tracks as you want over a recording and, while that may represent talent on the composition end of things, it doesn’t mean that you can perform it that well.
I saw Magic Man stop through Indianapolis last night, and while the average age seemed to be something around 13, I enjoyed myself at the show. Since their quick rise from their addicting debut LP Before The Waves, Magic Man are becoming the pinnacle of what so many synth pop bands strive to be. The show also featured Great Good Fine Ok and Vinyl Theatre as openers on this early Wednesday night show.
Great Good Fine Okay were phenomenal. Whether it was their neon suede jackets or a multicolored LED light tambourine, they were showmen. Their sound filled the room with immense depth and the musicianship of the musicians, particularly multi-instrumentalist Luke Moellmann, shined through in every aspect of their performance. The group was tight and lead vocalist Jon Sandler captivated the crowd with his falsetto melodies that, at some points, embodied Michael Jackson and Of Montreal‘s Kevin Barnes. The rhythm section was perfectly unified, thus providing the tight backbone that is necessary for any successful live performers. Through all of this, I still couldn’t help but think that this band can’t go too far with a lead singer that relies on light falsetto notes. They were such great performers, but when the vocals don’t cut through the heavy layers like Alex Caplow or Nicholas Petricca, it just doesn’t go to the next level for me.
This brings me to Vinyl Theatre and the ensuing flaws that come with trying out the synth pop genre. If you go on SoundCloud right now and listen to them, you may be impressed. You may be hooked and ready to see them live. I must say that you will be disappointed.
Though Vinyl Theatre gained a great response from the high schoolers in the crowd, people like me saw through this as a poor attempt at creating a full sound to rival the all stars of the genre. It was as if they were trying to play down to the age in front of them, and at times they played way harder than their voices and manpower could handle. It simply wasn’t together. Did Keegan Calmes have a good voice? Absolutely. In my opinion his voice was better suited for this genre than that of Great Good Fine Ok, but beyond that, I was left unimpressed beyond belief.
This problem is more relevant than ever in this genre because of the power and fullness that is implied by the production. When I go to a synth pop show, I expect to hear vastly different tones and instruments intertwined together without it feeling forced, and that is just the issue I ran into while listening to Vinyl Theatre. It just didn’t feel unified.
It is at times like these that we must act as the gatekeepers of the music industry. Bands shouldn’t earn popularity and shows solely by their ability to write and produce their music. Leave that for the composers, not the performers.
Isn’t live performance the root of musical expression? Hopefully the modern listener is able to recognize that, if artists’ can’t match their live performances to the level of their recordings, they aren’t going to rise in the industry. For artists like Vinyl Theatre, it will catch up to them someday.
I’m always hoping to keep it real with you all…so here goes nothing!
As my brother has been bringing the blog content for the past few weeks, which I am ever so grateful for, I have been sick for the past 3 weeks. It has not been fun, and has made it difficult to enjoy life as I normally would. This week finally brought a resolution, but this process is something that I have luckily never experienced before in my entire life. Throughout it all, it has made me focus on the true priorities that life is able to give us: love, hope, laughter, and counting your blessings, no matter how small they may seem.
Though it has been a tough month, I feel humbled, too. My current medical struggle is thankfully temporary, however for so many, it is all too permanent. My heart aches for those who don’t feel their best each and every day for whatever unique reason, and I am here in solidarity with you all today.
For my triumphant return to writing, I give you my playlist of the week, encouraging us all to find a bit of zen in our lives, no matter what form our struggles may be taking today to try to claim it. Enjoy a playlist that will allow you to savor a bit of peace in the moment you’re in, and delight in the boundless joys of spring. Note: this playlist is best listened to in its exact order.
There are far better days ahead than any we leave behind,
Not long after announcing their new album Drones that will drop in June, English powerhouse trio Muse released “Psycho” today. Once it gets past an odd military dialogue, the song begins with that classic metalhead, jammy style that has defined the sound of these Brits for years. It gives us a perfect taste of the politically charged album that challenges the way we think and act socially.
The song is weird, there’s no denying that. The lyrics are borderline uncomfortable, but they are that of a psycho. The military theme that remains throughout only perpetuates the odd nature of this song, but I suppose it could be expected once one considers “Madness” and some of the other songs Muse has released.
There are times when being a consumer in the modern music industry is too good to be true. Today we can listen to anything, virtually anywhere, for incredibly cheap or free. The only part of the industry that has remained fairly priced or potentially overpriced to compensate are concert tickets and merch.
I don’t mean to begin on a debate over music streaming and ethics in music consumption. The point today is that those moments when the industry is too good to be true aren’t all at the expense of artists. Sometimes it just hits you that this is something so beautiful that you will tell your children about it someday, and that happened to me on Sunday. Let me introduce you to the alternate reality, too-good-to-be-true live music phenomenon that is Sofar Sounds.
Pure, undisrupted, passionate music is filling unique spaces around the world nearly every day. Sofar Sounds, or SOngs From A Room, was founded five years ago in London by a group of music-lovers that were tired of the contemporary concert environment. The goal was simple: get back to the basics and enjoy music without the distractions of conversation and excessive drinking in the crowd. They begun booking artists in small spaces such as apartments or art studios that could provide the intimate listening experience they desired.
Today, Sofar exists in over 100 cities worldwide. To attend shows, all one needs to do is subscribe to their email list. They send out an email at the first of every month with all of the dates and cities for that month, but no more information about the shows. Those interested RSVP for the event with a few short response questions and, if selected, receive only a time and address.
I attended Sofar Sounds #1487 in Chicago this past Sunday, one of 25 Sofar shows that partnered with International Women’s Day. My friend and I received the address and anxiously drove to a part of Chicago that I wasn’t too familiar with, north of the loop and west of Lincoln Park. We arrived at an industrial looking plot of land with only our confusion to console us, until we saw the address “1907” spray-painted on a steel door to what appeared to be an abandoned warehouse.
Despite some apprehension, we found a few volunteers for Sofar who directed us to the show. We winded up four flights of old, discolored stairs before opening up to a series of windy hallways. There were occasional posters to reassure us that this was actually the right place before we arrived at a large curtain, where we could hear voices and instruments from the room over.
We entered to an art studio with incredibly captivating abstract and fantasy pieces scattered on the walls. As this was a bit before doors officially opened, musicians were sound checking and those that were there were either musicians or involved on the Sofar team. The few large windows gave us one of the most beautiful views of the city I’ve ever seen, essentially the 180° turn from what most stock photos must be. Instead of the lake complementing the skyline, we saw a landfill and several industrial buildings with the triumphant city poking up not far behind. As questionable as that sounds, it was a beautiful view that represented industry and business in one swing…Or at least that’s how we saw it after a beer or two.
We felt welcomed to the Sofar global community immediately upon walking in. We had comfortable discussions with strangers and Sofar volunteers throughout the night, particularly once they found out that they were hanging with the future Sofar Indy team.
The first group was called Skylr, a chill, jazzy group with no permanent name that was founded four days before the show. They began by having the crowd snap on the downbeat while they sang a few lines in chilling harmony. The lead vocalist had an absolutely beautiful voice that was complimented by minimalist, yet tasteful instrumentals. The music was almost too pretty to be authentic and live. I couldn’t stop but compare the sound to a more chill and jazzy version of Glass Animals. They also covered “Always Where I Need To Be” by The Kooks, a perfect way to cut to my core. I honestly could have listened to the lead vocalist for hours without getting bored, and I hope this group stays together and releases some music soon.
Next up came Quinn Tsan, and take this as you will, but I could have fallen asleep to their music. The lead vocalist played on a nylon string guitar and sang in a manor that was almost in the background once one paid attention to the guitarist and the bassist. Both of them were taking their instruments to the next level, as if they were representing another vocalist. For me, they were the exciting part about the group.
The night was capped by solo artist KSRA. Armed only with a piano and her voice, this woman took music to the next level. She entered, determined, immediately in a trance of her own creativity when she stepped on stage. She utilized syncopated piano lines over her accurate vocals to create a full sound from only one person. There were times when she vocalized what would have been a piano solo with incredibly precise runs. She teased the crowd with vibrant and confident lines, immediately regressing to the most tender of melodies.
It was as if she desperately needed her music to communicate. It didn’t matter if she was singing about her underrepresented Syrian heritage or her passionate human desires that most wouldn’t be brave enough to sing about, she felt the music in her soul. That passion was transferred to the audience Sunday night, as she played one song with a volunteer guest drummer from the crowd and asked everyone to hum an underlying melody for the entire piece. It was chilling. While it’s hard to say if I enjoyed her set more than Skylr, it’s safe to say that the Sofar lineup this month brought it and did not disappoint.
Throughout the entire night, I found myself dumbfounded by the reality that something like this exists. I felt like I was let in on one of the most unique, best-kept secrets of the music industry. It was untainted and beautiful. I’ve been to hundreds of concerts around the United States from the highest production value to the smallest coffee shop gigs, but there is something about a Sofar show that will forever remain significantly different to me.
Here’s to the beginning of my experience with Sofar and hopefully the beginning for you, subscribe here and be on the lookout for our Indy startup in the coming months.
THE WAIT IS OVER! Against much of what I’ve said since Mumford & Sons released Babel in 2012, I just can’t hate on them anymore. I’ve been beyond excited for the new album ever since they announced they would be pulling a Bob Dylan and going electric, as my biggest complaint has always been lack of variety across their albums.
Well, Wilder Mind is sure to disappoint those Mumford fans that wish they would write the same song for eternity. To be fair, it seemed they were going that direction for a long time, and I was the biggest whistleblower. Today is the day they proved me wrong. Mumford released “Believe” while also also revealing that the album is influenced by such artists as Fleetwood Mac, Radiohead, and Led Zeppelin. Anything compared to those three deserves a chance, and that is just what this song deserves.
I don’t care if you hate them as much as I did or you have a tattoo of Marcus’ face on your face so people just might mistake you for him, this is a great song. It is passionate, spacious, and blossoms beautifully from start to end. The electric guitar solo is experimental, something that I have been asking for from the beginning.
Is this song going to be the best Mumford song to dance to on the lawn this summer? Probably not, but it seems even they can’t handle that forever. But where’s the banjo? Why are there more drums than a single bass drum on the downbeat to help me dance?
Stop yourself. It’s time to let them experiment, and I personally can’t wait to watch and enjoy the ride.
My Morning Jacketannounced their new album this week titled The Waterfall while also releasing the album artwork and new track “Big Decisions.” This was exactly what I needed this week.
The song is produced in a way that seems more live and genuine; It feels like Jim James is closer to me as the listener than he was in, for instance, Circuital. It just has that sound that reminds me of seeing them absolutely kill it at Bonnaroo in 2001. The chorus functions perfectly for their first single, considering I can’t keep it out of my head, and the slide guitar is a nice touch as well.
When it comes down to it, it’s not their most ambitious song they’ve ever released. It doesn’t necessarily sound much different than some of my favorite songs off of Z, but it doesn’t need to. This single gave me a taste of what I love about My Morning Jacket. It gave me something new to reconnect me with the band. That will in turn bridge the gap to the new record and whatever direction they it in.
The latest winter storm may have stopped a few music lovers Sunday night, but it sure didn’t stop the show. The Lone Bellow and Odessa took over Radio Radio in a performance that, had all of the visitors shown up, would have been a packed house. The sold-out show likely represents the last time that The Lone Bellow will be performing in such a small Indy venue, but that’s only a part of the treat that the attendees got that night.
Odessa began the night with their distant, yet endearing style of playing. It’s tough to describe the vast influences that resonate from singer Odessa Jorgensen, an established violinist who has performed alongside Edward Sharpe & The Magnetic Zeros and at Carnegie Hall. This time around she’s not playing the violin. Those looking for a versatile artist need to look no further.
. PHOTO BY CHRISTOPHER PEREIRA
Radio Radio was filled with haunting harmonies and lingering instrumental tones that consoled the crowd’s displeasure with the weather. At times, the harmonies were so tight they could have passed as synthesizers or instrumental tracks – a trend that stayed consistent throughout the entire night. The performance gave off a mellow vibe that still called for plenty of attention; and while there were still many filing in for the eminent performance of The Lone Bellow, many of us found ourselves hypnotized by the beautiful serenity of the opener.
Did someone turn on the new Lone Bellow song? Nope, that’s just them playing. This is an actual thought that went through my head, as I stood astonished by their tightness as a group. They sang with a certain vocal clarity that, in recent memory, could only be matched by St. Lucia last September in the Egyptian Room. Those that know the band know that harmony is the most important aspect of their music, so much so it’s the inspiration for their name.
“Lone Bellow has created a sound that mixes folk sincerity, gospel fervor, even heavy-metal thunder, but the heart of the band is harmony: three voices united in a lone bellow.”
The Lone Bellow came out to a crowd of loyal fans – a surprising amount that traveled from surrounding cities for the show. They opened with the title track of their newest LP, Then Came The Morning and set the tone for a night filled with crowd interaction, incredible dynamic contrast, and (of course) unbelievable harmonies. They performed for nearly two hours, including a rare encore at a venue of this size.
They embraced musical simplicity to place further emphasis on the lyrics and gorgeous harmonies that seemed to dance around the room. The style throughout the night teetered on southern rock and folk to the roots of country and rock n’ roll. The night featured a balance of tracks from their 2013 self-titled debut LP as well as the newest record, in which they collaborated with Bryce Dessner from The National.
They truly connected with the Indianapolis crowd, making many jokes about race cars and the harsh winter. One song featured a “pause” for what seemed like forever, warranting a few cycles of applause before they entered again with a strong a cappella section. It was an energetic performance that will remain in the memories of attendees for years to come – and this is only the beginning. We may all expect The Lone Bellow to return very soon, but let’s just hope the weather treats us better that time.
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