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Let us continue with even more ACL coverage today with more interviews coming your way from festival artists. Today our interview is coming your way from indie supergroup Bad Books. Now the festival may be over, but you can still read about how bands would plan their own festival, the current status of their band, and tons of other things. Read on for interview questions and responses.
Everyone is suffering through their ACL hangover currently and the music world will surely slow down a bit over the next few days. This new tune “Sonic Tomb” from Woodsman is exactly the kind of song that fits that mood we’re all in. It’s a slow and methodical burner of a jam that’s an all instrumental, contemplative piece of work. I digs it.
Woodsman are apparently currently at work on their 3rd LP with no set release date just yet. This tune is said to be just a one and done single that may or may not make it onto the upcoming album.
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When this first came onto my player, I really thought it was going to be some sort of jangling psych rock hit, which I was completely okay with at the time. But, that being said, I’m much more impressed with the direction this new tune from Each Other takes, meandering into its own realm of art pop, even floating off into a creative bit of atmospheric noodling towards the end of the track. It’s a good thing that the band’s Heavily Spaced EP is soon to come so we can see what else these Canadians have up their sleeve.
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I’ve long praised the wonderful work of I Was a King, and for a bit I felt like I was the only one that noticed. It seems that wasn’t true at all (thank goodness) with the band getting a touch of grace on production duties; Norman Blake of Teenage Fanclub and Robyn Hitchcock share duties on You Love It Here. If that’s not enough to sway you towards the excellent work of this Norwegian trio, then perhaps I can push you just a little further.
Three albums into their career and the group opens You Love It Here with perhaps one of their best songs, “Frozen Disease.” The guitar has that nostalgic ring to it, distorted yet melodic. The song itself has a down-trodden temp, but Frode’s voice has this warmth to it that somehow allows the song to avoid any sense of melancholy, even if that’s the intent of the vocals. Then they move off into their meat-and-potatoes indie pop, blending slightly angular guitar work, emphatic drumming and harmonies that would make your mother swarm. “Leave” is the sort of song that originally endeared me to the group, and it’s clear that even with great producers on hand, you can’t take away a band’s songwriting sensibilities.
You’ve only got to skip ahead a few tracks to see the progression I Was a King has made in their songwriting; it’s nice to see them holding close to certain aspects, yet still see them pushing forward. “Hanging On” isn’t filled with distorted guitars, rather it’s filled with vocal harmonies and light instrument strumming. I particularly love the change in the vocal pitch that comes in right at 1:40 on your player; this is a mood affecting shift that’s been perfected by the likes of Nada Surf. Another move that was unexpected, yet welcomed, was Anne taking the lead on “Superhero.” For the majority of the track, there’s a hint of guitar, though it’s been cleared out in the studio to let her vocal shine through, remaining the perfect focus. It’s striking, not only for the power in Frokedal’s voice, but in its ability to break up some of the album. While I love power-pop and such, a little differentiation goes a really long way.
As always though, the winner on You Love It Here seems to be the sound of the guitars. “Food Wheels” enters near the end of the album, and while there’s still that element of swirling guitar, a more rudimentary sound is what struck me most. The distortion is peeled back, and I dare say that there’s a bit of a jangle to the track. It’s similar to the earlier appearance of “Eric” on the record, though that track has more of a chugging folk guitar vibe, and a more pronounced rhythm. All in all, these tiny additional touches demonstrate both exceptional songwriting and the band’s ability to adapt/change.
Sometimes when I listen to a record like You Love It Here, I want to hold it close to my heart/ears. It’s the perfect pop record that I can play any time of year, and it will always bring a smile to my face. That’s selfish though; the whole world needs to get a chance to listen to I Was a King. If you make one decision today, I beg you to make sure that it’s to pick up this delightful record from our friends in Norway; it’s a decision that will improve your life drastically, I swear.
[audio:https://austintownhall.com/wp-content/uploads/2012/10/1-01-Frozen-Disease.mp3]
ACL 2012 coverage continues with a giant photo post for Friday. Here is the list of artists: Los Campesinos, Patrick Watson, Delta Spirit, Afghan Whigs, Alabama Shakes, Florence and the Machine and M83.
We’ll have more on which bands did what, for sure. This I will tell you, Florence has pipes. Very impressive, as I recall early in her career being a bit of mess live. Alabama Shakes deserve their popularity. Patrick Watson (Wilson according to the lineup, awww) and his band may have been the best group of musicians. Delta Spirit is an all-growns-up festival band. Likewise for M83. But seeing the Afghan Whigs? That was pretty bad ass.
Click through for overload.
We’ve long supported the four dudes in So So Glos, but oddly, we’ve yet to see the full-length they alluded to earlier in 2012. But, they do have another new song, which may bring us closer to that release. As the band nears up for a frenzy at CMJ, this song appeared, again showing the bratty rock n’ roll stylings of the band; this time they’re turning up the noise even more, but still holding tight to those inner melodies they’ve got going on. Here’s to the boys, and hoping they get that album out to us as soon as possible.
Download:So So Glos – Son of Ambition [MP3]
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It would be difficult to think of Chelsea Wolfe without the haunting imagery that always seems to surround her, especially in the artwork and promotional materials that accompanies her release. But, with Unknown Rooms: A Collection of Acoustic Songs, the title alone suggests a more intimate view from which we may look into the life of Wolfe. If anything, the only haunting that remains is the mesmerizing beauty of her voice, and the emotional pull of her latest batch of songs.
“Flatlands” is the opening track on this release, and also the longest of the bunch. The opening of the song is a personal guitar strum, with the quieted sound of crackling vinyl (or recording tape) making its way through. Wolfe enters the picture, serene and effortless, with her mention of “flatlands” almost coming off as floodlights. Careful string arrangements only do more to create an aura of pure majesty in her singing, careful and composed. I don’t think too many other artists can do it up this way. While I loved this song, it didn’t take me long to find one of my favorite tracks to date from Chelsea Wolfe.
“Spinning Centers” would almost seem playful, if it weren’t for that fact that Chelsea comes in on the cusp of the winds, her voice floating in softly atop the careful string work (both in guitar and accompaniment). Her vocals here are rather gentle, as opposed to the more forceful presentation she demonstrated early on. With her voice toying on the verge of a whisper, it’s difficult not to be drawn in by her voice alone. From here Unknown Rooms moves into “Appalachia,” which in name and mood seems more like a wayward folk number. It was here that I noticed more that her arrangements often bring more to life in these tracks than the actual guitar work; she probably doesn’t even need a guitar with such a strong vocal performance like the one she gives here.
Oddly, the latter half of the record is filled with echoes of Wolfe, with her presence sounding faint and distant in tracks like “Hyper Oz” or “Our Work Was Good,” the latter being one of my favorite short tracks of the year. In less than two minutes she captivates you with airy guitar strumming and a vocal that is haunted by its own whispering echo in the far off distance. But, none of it prepares you for the closer, “Sunstorm.” This tune is possibly one of the most spirited tracks Chelsea Wolfe has composed to date, and with that, she demonstrates that she can pretty much do whatever she wants in the near future. There’s no weakness, even if this song seems out of place on the rest of the recording; there’s an electric piano in place of the usual guitar. For me, it’s a reminder that Unknown Rooms might just be a stepping stone for Wolfe. She’s got an incredible voice, warm songwriting and above all else, it’s hard not to be captivated by what she’s doing. Put this one down as another great stepping stone into a quickly exploding career.
[audio:https://austintownhall.com/wp-content/uploads/2012/10/04-Appalachia.mp3]
Our ACL weekend has now come to a close, so it’s time for us to start recapping the festival with interviews and a multitude of lists. Playing the part of our first post-ACL interview is up and coming band Royal Teeth. Band members Gary Larsen and Nora Patterson both took part in answering our questions and we of course appreciate the time. Follow the jump for full interview.
Those of you having trouble creeping into your Monday activities might want to steer clear of this tune from Ethereal and the Queer Show; it’s got that slow vibe that just might make you want to call it a day. Honestly, I like the wispy quality to the vocals, allowing room for the rest of the song to breathe in and out. There’s no propulsive beat, leaving you with a dream quality tune that you’re sure to revel in, if you’re in need of a brief escape from today. The duo’s Cosmotopia LP comes out on October 30th, just in time for you to lapse into a quiet hibernation for the winter months.
Download:Ethereal and the Queer Show – Horse [MP3]
We’re slowly recovering from an extensive weekend at Austin City Limits, so I’m grateful that we’ve got this solid track from People Get Ready for you to enjoy. It begins with a slow steady rhythm, and it builds and builds, but only briefly erupts near the end of the song. It’s interesting to say the least, but it’s got a light spirit to it, which is exactly what my body needs today; I’m sure everyone leaving or living in Austin agrees! You can check out the group’s self-titled album when it hits stores on October 23rd.
Download:People Get Ready – Middle Name [MP3]
