The Pattern Theory - The Pattern Theory

Berlin based instrumentalists The Pattern Theory have spent almost two years distilling their ideas for the eight songs that make up their self titled debut album. The band has put this down to producing too many ideas musically and being overly perfectionist, so lucky for The Pattern Theory all this time and care has paid off.

Recorded at night in rented office space in East Berlin the records sound is a stark contrast to its setting. Skillfully played, the eight tracks have a real laidback freshness to them not at all conjuring images of bleak, disused office blocks instead offering a glowing elegance and charm. Where other instrumental bands rely exclusively on a more severe, vigorous impact, The Pattern Theory seem more focused on articulacy and detail in their songs structure and this serves their debut well.

This attention to detail is clearly apparent throughout the record and is especially evident on tracks like Framed Fields and Coracles, two examples where you just know the trio rehearsed them over and over before they were happy with the finished outcome that appears on the album. The minimal harmonies and melodies that also dominate tracks, such as the opener Pyramid Schemes and to a lesser extent Chevrons are visibly influenced by Steve Reich and seventies rock but given their own unique sound enriched by vibraphones, synthesizers and xylophones.

All in all The Pattern Theory have created a very interesting debut record which is somewhat different to the majority of the other instrumental bands doing the rounds out there. It is an album full of charisma and inventive music, something that the band felt took time to produce and we should be glad they did.

The Pattern Theory are currently preparing to take the album on tour and the band have been busy practicing for this with extensive European tours playing with people as wide ranging as Russian Circles, Plants and Animals and Library Tapes. The album is set for release on May 13^th but can be heard exclusively until then on The Pattern Theory bandcamp page.

Bandcamp

Interview with Giants

Initially formed in 2005 in Americas mid west, post rock outfit Giants have never relented in doing things their way. Their self titled first EP recorded on a shoestring in Cedar Falls, Iowa was originally intended to have vocals, but when the band heard the instrumental tracks they felt their music was strong enough on its own merit and left the vocals out. The band hand burned three hundred CD-R’s of the EP and sold out of them after just their first two shows. This was the end of the EP until now.

Five years on and after two full length albums, a split 7” with label mates Beware of Safety, Giants have gone back into the studio to re-record the first EP for its official release for label Mylene Sheath. We caught up with guitarists Heath Hospodarsky and James Lyle to find out more.

I suppose we should begin at the beginning, so when and why did you start Giants?

Heath - We started in the summer of 2005, I was getting a little worn out of the typical scene back home and we wanted to start something that was different than what was coming out of the Cedar Valley. We started out as a three piece and then added James in after a jam session we had.

James - When we started as a band we actually planned on adding a vocalist. Because of that, the structures of the songs and the overall feel of our first EP are different than the rest of our stuff.

What kind of music did the band listen to growing up and what influence does it have on your music?

Heath - I personally listened to a lot of American Football, Anathallo and Appleseed Cast. I think it really was apparent in our 2005 EP.

James - Our collective musical tastes definitely cover a lot of ground. My first tape I remember buying was Dookie in 2nd grade or so. I don't think we sound like Green Day really. Although some lady told us we sounded like System of a Down once. So...that was weird.

There seems to be something of a naval theme with some of the song titles on Old Stories, is there a reason for this or is it just coincidence?

Heath - We named the songs after we saw the artwork, thought it would work well with the theme if we named the songs accordingly.

Can you tell us a bit about the recording process for Old Stories and will you be doing anything different in this regard for the next album?

Heath - The recording process for this is slow typically, we are all located in different areas of the Midwest, so getting together to record can pose a challenge, especially recording different songs at different times, it can be difficult to match tones, but we try our best. I think we are going to try to record everything for the next record in a few days so we can keep things consistent.

And what is the word on the new album?

Heath - We have a few new tracks finished up and we will hopefully have more within the next month.

James - Yeah, basically we are finally writing again for the first time in more than a year and we are all excited to be going through that process. We don't really have any info on any themes or how the album is going to differ from other giants stuff because we are still in the early stages of writing.

What are Giants up to at the moment?

Heath - Basically we are trying to write music we actually enjoy and are happy with. We are going to be going into the studio to demo some new music soon that helps to listen to it over and over and decide if we really like what we have done or if we shall start from scratch again. We are also trying to get into play some shows again.

How did the split 7” with Beware of Safety come into existence?

Heath - This is a long story. We were originally supposed to do the track with a band called Lvngs (lungs) but that fell through. After that it was going to be with Lavina, but once all their new tracks fit onto their record we were back at square one. I got a hold of Steve (Beware of Safety) and asked if they had a track that would work on the 7" and they did, we clarified it with Mylene Sheath and the rest is history. I think the tracks compliment each other.

James - We have been lucky enough to spend time with and play several shows with Beware of Safety so we were all very happy that we were able to do a split together.

Who else in music would you most like to work with?

Heath - I can’t think of anyone off the top of my head. We have got to work with people who I would call close friends and I can’t ask for much more than that.

How do you feel about genre classification in music?

James - I kind of consider it a double-edged sword. Someone might choose to or choose not to listen to a band solely on someone saying "they sound like this band." However, I think you usually need more of an explanation than "listen to this band" before you take the time to listen.

What were some of your favourite albums of 2010?

Heath - I don’t really think I even got a new CD in 2010? That’s sad I know.

James - I buy stuff after it's been out for a while a lot of the time. There are a lot of bands on my "need to listen to" list. I know Heath and I were both excited about the Owls s/t vinyl re-release this year. That doesn't really count but whatever.

Who was the last band you saw live?

Heath - We played with Appleseed Cast last Thursday so I guess they qualify for the last band I saw live.

James - Our bassist Dave got to check out one of David Bazans house shows last month and said it was amazing. Earlier this year I had the opportunity to see The Tallest Man on Earth and it was one of the best shows I've ever been to. So go see him.

What’s the best and worst thing about touring?

Heath - Best: a couple weeks ago James and I spent like three hours reliving the days of touring, that is always really fun to get to hear other peoples perspectives. Its fun to be able to get out and play music with your best friends.

Worst: Trying to sleep. I’m kind of a diva.

James - Best: What Heath said. Retelling all the random tour stories is always amazing. Also, trying to invent stupid things to do to waste time the twenty three hours of the day that you aren't play a show.

Worst: The worst thing is how much my hand hurts from signing so many autographs. Obviously joking with that one.

Any plans to tour Europe?

Heath – There have always been talks, but its making it work with our lives that’s the real kicker.

James- Hopefully someday. It's always been a dream of ours.

What inspires Giants to keep making music?

Heath - I think it’s our love for music and our friendship with each other.

Any last words?

James - Hi to my family in Ireland! I have relatives scattered all over there and have been lucky enough to come visit a couple of times. Hopefully Giants can do the same soon.

Thanks guys!

The rerecorded EP is now available on iTunes, but will be officially released as a limited edition vinyl 7" on June 14th, 2011 to celebrate Giants first four recorded songs on the eve of their 6th anniversary as a band.

Check it out here

Slow Six - Tomorrow Becomes You

Christopher Tignor, one imagines, is quite the clever fellow. Not only does he design his own signature music software (which is free on the groups website), play a series of spellbinding shows with The American Dollar and Caspian but now his Slow Six ensemble have put together the enchanting classical/ rock hybrid Tomorrow Becomes You.

Tignor and company have since 1998 been stunning unexpected audiences with impromptu shows all over downtown New York blending twenty minute electro acoustic scores with captivating electric guitars, keyboards and opulent amplified strings. The bands previous releases saw them receive critical acclaim from publications including The New York Times and sign to prestigious classical label New Albion. Tomorrow Becomes You sees Slow Six move away from the more contemporary classical sound of these previous albums to a more rock infused, minimalistic resonance which turns out to be an inspired decision.

The record bleeps into life with The Night You Left New York, nine minutes of beauty from its Brian Eno style opening to the eruptive guitar soaked finale and everything in between, keeps with the Slow Six mantra of being fearless when it comes to embracing their musical evolution. This evolution is carried throughout Tomorrow Becomes You and prevalent with the likes of Cloud Cover parts one and two and the compellingly dark ambiance of Because Together We Resonate. The album culminates with the elegant and optimistic These Rivers Between Us, guaranteed to play over and over in your mind long after the record finishes, it is quite simply dazzling.

Tomorrow Becomes You is a beautifully composed, emotionally unrestrained record, awash with taut rhythms and unravelling melodies and derives its influences everywhere from The Brodsky Quartet and Michael Nyman to the afore mentioned Brian Eno and Bjork. My only complaint about this record is that it was not brought to my attention sooner.

Check it out @ Last.fm

Eksi Ekso - Brown Shark, Red Lion

Since releasing their superbly title debut I Am Your Bastard Wings in 2008, Boston’s Eksi Ekso have gone from six to three full time members, become infatuated with synthesizers and totally changed direction for their new album. Said album Brown Shark, Red Lion finds the newly stripped down trio explore orchestral pop, synth-soaked dance and balls to the wall rock with sadly, fairly hit and miss results.

After feeling constrained by the apathy of working within a large band seemingly destine to remain within its post rock constraints, current members Tom Korkidis (vocals, guitar, bass, keys), Alex Mihm (drums, loops, percussion) and Sean Will (keys, synths, trumpet, samples) broke these shackles to record a more experimental sound. As the three spent more time working together, it became clear they these new more experimental myriad of ideas would never have survived the democratic process of a six-piece group and as a consequence of this Brown Shark, Red Lion was born.

The first of the records gems, and there are some, arrives with Rein, White Sun a emotively charged, beautifully arranged mantra that captures Korkidis’s smooth vocal range particularly well. This flows effortlessly into the next track Brown Shark, Red Lion, a laid back, rolling affair that could not have happened had Eksi Ekso existed with larger numbers. With this track the trio have somehow managed to expand its sound by refining it which is something that must take a lot of work to achieve. The Pilot and the Pod also stands out, even if at times the vocals are eerily reminiscent of a youthful Bryan Ferry and Roxy Music. The albums closer Black Sea Accomplice ends proceedings in magnificent style, all sumptuous strings, chanted vocals rising to perfectly composed freefall before flickering out to the sound of a solo violin.

Overall the inconsistency of the album as a whole does take away from what Eksi Ekso have attempted to do with Brown Shark, Red Lion. When it’s good the album is very good alas when its not there is a sense of mediocrity and chances wasted or spurned.

This said however, this is the first release from the new, streamlined Eksi Ekso and if the band learn from this, improve it and grow Brown Shark, Red Lions follow up could turn into something quite majestic.

Deadhorse Announce US tour

Deadhorse, the post-rock/instrumental band based out of Erie, PA is about to embark on their fifth U.S. tour. The first half of the tour will feature dates throughout the New England area, making it the first visit to states like New Hampshire, Massachusetts, and Connecticut for the band. The second half of the tour will be a loop around the upper Midwest, a route not taken by the band since late last summer. Most of the shows are completely booked with the exception of a few that will be confirmed in the very near future. If you are near any of these dates, be sure not to miss one of the hardest working DIY bands out on the road today. Confirmed dates are as follows:

April 16 - Victory Township Building - Polk, PA
April 17 - The Foxhole - Reynoldsville, PA
April 19 - Kung Fu Necktie - Philadelphia, PA
April 20 - CCSU - New Britain, CT
April 21 - Heirloom Arts Theatre - Danbury, CT
April 22 - TBA - Boston, MA
April 23 - Ground Zero - Allentown, NH
April 25 - Filigree’s Gallery - Buffalo, NY
April 26 - TBA - OH
April 27 - Rumba Café - Columbus, OH
April 28 - Two Way Inn - Detroit, MI
April 29 - University of Toledo - Toledo, OH
April 30 - Midland Motor Inn - Midland, MI
May 1 - The Clearing - Owosso, MI
May 2 - Generic - South Bend, IN
May 3 - E.L.B. - Rockford, IL
May 4 - TBA - Milwaukee, WI
May 5 - TBA - Minneapolis, MN
May 6 - The Red Rooster - Aberdeen, SD
May 7 - Cultiva - Lincoln, NE
May 8 - TBA - KS
May 9 - The Vertical Violet - Wichita, KS
May 10 - The Warehouse - St. Louis, MO
May 11 - The Red Herring - Urbana, IL
May 12 - Radio Radio - Indianapolis, IN
May 13 - The 86 Club - Cincinnati, OH
May 14 - LOVEFEST - Jamestown, NY

Radius System - Architects of Yesterday

French experimental rockers Radius System explode back into life with the release of their new record ‘Architects of Yesterday’. The Parisian duo, founded ten years ago by Gregory Hoepffner and Axel Dallou, have been conspicuously quiet since their 2008 release ‘Escape/Restart’. The difficulties they faced transferring that record to a live audience saw the pair dissolve the live band altogether and the frustration and anger felt during this period is evident in ‘Architects of Yesterday’, but this is not a bad thing.

While Radius System may have been silent the last couple of years, Hoppffner and Dallou have been the complete opposite instead honing their skills and talent with a vast array of side projects including Time to Burn, Painting by Numbers and Template. The result of this favourably impacts on ‘Architects of Yesterday’ and shows a perpetual growth of the two musicians at its centre and gives the impression that these side projects were intrinsically used to ultimately strengthen future Radius System recordings.

The darkness which envelops the album can be instantly felt on the track ‘Curators’, a brooding, atmospheric straight up slice of rock which would not have been out of place alongside the grunge coming out of mid nineties Seattle. ‘Siberian Winter’ finds the band in a more solemn, reflective mood stripping everything back giving the song an exquisite rawness and fragility. The problems of the past are addressed on the track ‘Vacant Before’, a clearly direct reference to the dissolving of the live band and you feel Hoppffner and Dallou are somehow trying to exorcise this demon with the brutality and anger they unleash on their instruments. Highlight of the record comes with the title track, a sweeping, relentless post rockesque landscape painted by two very capable artists.

Overall Radius System have with ‘Architects of Yesterday’ produced a solid, accomplished and intermittently aggressive rock record. The electronic beats and distorted guitar channels of their earlier work have now been put to bed allowing for a more basic and it can be argued a much improved rock feeling to the new album all of which is encompassed and emphasised by a sense of nostalgia and melancholy. Good to see a band learn and grow from difficulties in their past, a refreshing change.