Saturday, February 5, 2011

Interview - Deadhorse

American post rock/ instrumental kids Deadhorse released their excellent debut studio album We Can Create Our Own World late last year in between a hectic touring schedule of the states. Drop-d caught up with the band’s guitarist and all round nice guy Brian Morgante to discuss among other things the highs and lows of recording their debut album, the bands three live recordings and why Deadhorse have no problems with people stealing their music.

Drop-d: Thanks for taking the time to do this Brian. Can you tell us a bit about how Deadhorse came to be?

Brian: Deadhorse started as an idea to put a full band sound to my solo stuff. I was doing a lot of acoustic/folk music at the time, as well as playing in another band called Awaken, North Wind. Rachel and I got some other friends together to start turning the folky stuff I was writing into something with a lot more life in it. It was a lot of fun and meant as something to be a side project as Awaken, North Wind was still the main focus. Through a series of events that if I explained would make this a ridiculously long interview, Awaken North Wind was no longer, and we moved Deadhorse to the forefront of our focus. After doing some shows with the material we had, we decided it was time to write. When this started, we toyed with the idea of going completely instrumental as it would be a challenge for all of us, something we have never done, and something we had been wanting to try. The curiosity was well worth it, and we started going in that direction, and here we are today.

D: The band seem to rotate a lot of different musicians, is there a reason for this?

Brian: We face the same exact challenges as any other band. When it comes down to it, you have to know what your priorities are, and what you’re trying to accomplish. Deadhorse is meant to be a work machine, something full time and out on the road as much as possible. We have gone through a wide number of people just on the basis alone that people were unable to tour. We also come from a part of the country where we are the only band doing anything like this, and there aren’t a lot of people that want to commit full time to a project like this. The passion in our area is still firmly rooted in the hardcore scene. There is nothing wrong with that, but it has made it difficult to secure a solid lineup because of it. We had to play with a lot of friends at the beginning who were willing to fill in when they could to get this going. Now we are spread out across 4 states, but finally have a solid lineup. A lot of bands trying to do something full-time go through the same stress of finding people that are passionate about the music, are talented at what they do, able to get along with one another, and tour full time. That is a very small minority of the population when it comes down to it,(laughs).

D: The debut album We Can Create Our Own World, which I thought was excellent, was released late last year. What were the highs and lows when making the record?

Brian: Well thank you, I’m glad you have been enjoying the music. We finished up and released the album in June of last year, after we had started recording it in November of 2009. There was a lot of start/stop in the recording process for many reasons. First off, we were still writing the songs as we were recording them, so we were constantly changing things up, and revising songs before we were happy enough with them to go to record. We were busy with shows, and everyone was busy with work as well, so schedules would conflict with spending time in the actual studio. Also, we were recording with friends here in Erie that were also working on a wide variety of other projects, and we were splitting up the time equally to give everyone a fair chance at making some progress, so it was slowed down for all of us, truth be told.

On a good note, it was great to work with our friends Mark Graziano and Eric Buman, whom I had recorded with before with Awaken North Wind. They are just local friends of ours who have an intimate studio, a lot of knowledge, and a lot of passion for what they do. Sure, they’re no “big name” producers, but we have a lot of fun, a lot of control, and we get things sounding exactly how we want them to sound without spending tens of thousands of dollars. It was laid back, and we were able to try a lot, take our time, and really make the record all it was supposed to be. Also, the studio is located behind what is now a defunct venue in our area called Forward Hall. It was a legendary place locally, and for thousands of touring bands over the years. We were able to record a lot of the guitars in the empty hall during the days, which made for some of the really big sounds on the album. We had mic’s from the front to the back of the venue, stretching over 40 feet for some real big room noise. It came out beautiful, and we were quite happy with it.

As far as lows go, it mostly came at the very end of the entire process. Everything was behind schedule and and we were leaving for tour in just a couple days, and still did not have the album finished. We spent sleepless nights recording the final touches and mixing/mastering together to get everything done. I’m not going to lie, we were quite delusional by the end of it, and had not slept in over 30 hours on the last day of straight mixing. It was crazy to take it all the way to the deadline like that, but it still came out awesome, and we owe it all to Mark and Eric for sticking through with us and helping us create exactly what we were shooting for.

D: With one studio album under your belt do you think is it going to get harder to make music that you are excited to make?

Brian: Not in the slightest. We were very excited about this release, and even though it has started to get a bit redundant on our ears, it has been super encouraging to share the music with new audiences each and every night on the road. It has given new life and depth to the music, to where it is still very much enjoyable to go out and share these songs. We’re getting geared up for the vinyl release at the moment, which is within this very month, and that alone has even poured some new excitement back into this music we have played to death,(laughs). We already have a lot of ideas for new material, and are excited to actually find some time to get writing and working on it. We would like to get back into the studio at some point in 2011, and make it a much quicker process than last time,(laughs). We want a more raw feel, that’s for sure, but still big as ever, if not bigger than We Can Create Our Own World. We’re going to be trying a few different things, some interesting collaborations, but nothing that is going to reinvent our sound or mark us as something you won’t be able to recognize. We’re just ready to keep the gears rollin’ and make sure we have new music to share with the world as soon as possible!

D: You have released three live recordings, what was the thinking behind this?

Brian: The thinking behind this was quite simple – why not? As far as those three recordings went, it was nothing that was planned, or had any sort of strategy behind it. Both The Blot Spot and Musica had just come to us before we had played our sets that night and said “Hey, we’re recording this, do you want the tracks?” We said yes, tore them apart, and said, why don’t we just put these up online so people can check it out. People are always 50/50 about live releases, and in my personal opinion, I don’t even really like them that much. We just wanted something else we could share with people, and want to continue to do the same thing with other live sets we might get. Every one has a different feel to it, or those little mess ups you can pick up on, it just puts life into what we’re doing, and just a silly way to document what we have been up to. The radio show was a ton of fun as well, and definitely the best “live” album we had done so far. It’s almost like we release our own bootlegs, so think of it in that way. These are nothing special, just something you would be able to hear if you came and saw us live, and something we want to share with you for free. Sure, pay for the studio tracks if you can, but you can have these ones for free.

D: Are the band working on any new material?

Brian: Yes, we are working on a new piece for this next tour. We have not changed up the set at all since we started touring, and we wanted to introduce a new piece on this one. I’m not going to say too much, but what I do want to say is that it is going to be collaboration between us and our tour mate – William James. He does “punk rock performance poetry” and we’re going to combine what we do with what he does, so it will make for something quite different all together, we’re really excited about it. We might have a new intro as well, but we will not be playing any of the full -length newer songs live as they are not completely written as of yet. As the 2011 tours progress though, we will slowly introduce more new material before we start recording!

D: What would you say has been the pivotal moment of the bands existence so far?

Brian: We have had a few stressful moments on tour where it felt like it was do or die and coming down to a decision of trying to stick it through or give it all up and try something else. One that really sticks out to me was on our last tour in October, when our bass player since the beginning decided he was going to part ways with us right in the middle of the tour. We all sat on the floor in a friend’s dorm room in Harrisburg trying to figure out what we were going to do. We had to decide if we were just going to call it quits and head home, or try to figure out a way to continue the tour, and keep the ball rolling for Deadhorse. Sure enough, we made some phone calls, and ended up with Michael, our new bass player from Delaware, that has been a friend for years. It just happened to work out that we were headed south, and we left Harrisburg bright and early, picked him up in Delaware, started teaching him the songs in the van on the way to our next show in Virginia, and he started playing with us that night. It was unbelievable, and I still can’t believe we pulled it off, but we did. The tour ended up being a success, and he is now our new full time guy, and couldn’t be happier about it. It was probably the most stressful/pivotal moment for us as a whole as of yet,(laughs).

D: How much does illegal downloading affect your sales and does it bother you that people steal your music?

Brian: Illegal downloading has affected everyone’s sales, but honestly, it really isn’t that big of a deal to us. Truth be told, we made sure to send the album out ourselves to the trusted download sites that we download music from. Let’s all be real – we all download music. Most of us download music before we purchase it these days to make sure it’s a band we want to support and music we will continue to enjoy for a long time. We figured if most people are truly thinking like this these days, its not time to change everyone’s minds, but rather start changing how bands are dealing with their music. We sent our album out to every blog site, peer sharing site, etc. etc. we could, just to get it out there. Because of that, we have seen the album spread to literally hundreds of other sites, and really stretch to all corners of the country, giving us a lot more exposure than we could have imagined if we would have frowned upon the illegal downloading. The people that have really enjoyed the music have stayed in touch, and have even purchased albums, shirts, vinyl, etc. off of our online store that we operate ourselves. We are connecting with audiences that we do not have the ability to reach yet in person due to being an independent band, but whatever is going on, it’s working.

If anything, we would like to encourage other bands to do the same thing. Stop being stingy and get off your high horse when it comes to your music. People are going to find a way to get it for free, but if it’s good, you should have nothing to worry about. People that connect with what you’re doing will want to support it just as you support what you love. We just have to remember people cannot support you if they have never heard you, so make sure you’re heard as far as you can push the envelope!

So by all means, we encourage people to steal our album, listen to it, burn copies for friends, put it on your iPod and everyone else’s iPod on your street. Re-blog the album downloads on your site, and send it to 10 of your friends’ download sites as well. At the end of the day we’d rather people be listening to our music for free, then not hearing it at all.

D: A lot more bands nowadays are being forced to go it alone – do you think the lack of investment and risk taking by record companies is going to have a negative effect on the development of new bands?

Brian: I think if anything, it can be more of a positive effect at this point. I could write pages an pages on this question alone, but I will try to keep it brief,(laughs). With the evolution of music over the last few years, we saw this pivotal transition of all things considered “underground” moving to the forefront of a lot of media, and popular society. Because of that, there was finally a lot more money to be made in a culture that never really had much money to begin with. Just like anywhere else that people find there is money to be made, we saw a gigantic influx of bands jumping on style wagons to ride all the way to the top of the charts without having to do any work. Labels knew how to market the underground to a wide mainstream audience, and the fans and bands bought into it.

With a lot of that disappearing, I feel it’s almost a breath of fresh air for a lot of us that are trying to do something real, and not just get a free ride to the top of the world. It is going to help weed out a lot of the bands that are just trying to jump on a bandwagon, and completely cut out a lot of elements that were starting to ruin music in and of itself. Without all the help from the record companies, bands have to get smart and creative – something a lot of bands do not know how to do these days. They have to take care of their own business and expenses, make their own budgets, and not rely on big record label banks to bail them out with tour support, and cd sales to stores worldwide. There is no more money like it was before, so it has to be more about connecting the true passion, the true creativity, the true art form of what we do. It will be back down to the die hards, which is something I am excited to see.

D: Deadhorse have toured the states quite extensively, what do the band do to pass the time on the road?

Brian: We stay pretty quiet in the van, and do not really do much different than other bands. We like to read, listen to music, watch movies on laptops, etc. Sometimes we just have simple discussions, and we take a lot of naps, eat a lot of snacks. We’ll put on 90’s hits and sing really loud sometimes. Other times we’ll just watch the scenery roll by as well as all of the people in the cars. For a while we were really big into the video game emulators, so Oregon trail for windows 95 became a staple of van activity. We’ll do band work that needs to be done, which could involve interviews like this, or taking care of booking some shows over the phone for future tours, working on new merch designs, that sort of thing. We just do whatever we can to make the long drives not seem so awful,(laughs).

D: What is the bands tour schedule for 2011? Any dates planned for Ireland?

Brian: As of now we are headed out in Feb/March with our friend William James, whom I was talking about earlier. Check out what he does at http://williamjames.whatis174.com . Our drummer is going on a short tour with his other band first few weeks of April, but we’re looking to be back out on the road April 16 to May 13. That will be New England loop for the first time, as well as some upper Midwest. After that tour, we really want to go west, and finally hit the left coast for the first time. We’re trying to play Cornerstone festival this year, and hoping that we can figure out plans to get overseas by late 2011, or sometime early 2012. We’ll be looking for as many other bands to tour with as we possibly can this year, and we want to show no signs of slowing down. Hoping to tour 90% of the year if we can.

D: Who is the best band you guys have played/toured with and why?

Brian: We have met a lot of incredible bands on the road, and it’s really hard to say just one. There are so many people that we feel so connected to, and really enjoy everything about the people and their creations. If I can name a few, I would highly recommend checking out some of the following bands that we have had the pleasure of sharing the stage with this year: Analecta, William James, Halibut, Anderson Cale, John Gold, Like Wild, Torch Runner, Low Sky, Braveyoung, The Never Setting Suns, Advent, Skyline Summer, Run Forever, Aficionado. They are all doing amazing things, and all deserve so much credit, so check them out!

D: Who was the last person you went to see live?

Brian: It was a local show here in Erie after we got off the last tour. Rachel and I went to see The Chariot at a venue called The Hangout. The Chariot has always been a favorite of mine due to their wild stage antics, but unfortunately for the performance, Josh Scogin was not at this show because he had to fly home that day, because his baby was being born. This is obviously a great and exciting thing, but definitely a bummer for the show, as it was The Chariot with no front man, which meant no vocals, and no Josh Scogin antics(laughs). I am excited though for right after this upcoming tour, Rachel and I got tickets to see Godspeed You! Black Emperor in Philly, which will be one of their final shows ever after a 10 year hiatus.

D: How would you describe Deadhorse to a person that had never heard of you?

Brian: I usually tell people we have a very big, very epic sound, something comparable to “movie soundtrack music”. We just play heart-felt, passionate music that put a big smle on our faces, and can only hope it puts a smile on yours.

D: Any last words?

Brian: A huge thank you for this interview, it was a lot of fun to do, and hope it was a good read even though my answers can be quite long sometimes(laughs). We want to invite you guys in Ireland to be a “fan” on our face book page to keep up with what we’re doing, as well as where our tour dates are headed. www.facebook.com/deadhorsemusic . Also, we have our full length album coming out on vinyl shortly after the next tour begins, so you can pre-order one of those over at our online store, www.deadhorse.storenvy.com as well as pick up shirts, cds, hoodies, patches, all other kinds of merch. If you do the “tweet” thing, check out @deadhorsemusic, and follow us. You can listen to our entire full length for free as well as download the three live albums we were talking about before exclusively through our band camp site, www.deadhorse.bandcamp.com . That is all the online promotion I will do for now(laughs). Thanks again, and hope to see you all out there on the road in the near future!

D: And thank you Brian, we hope to see you guys grace our shores real soon.

Friday, January 28, 2011

Jeudah – The Edge of the World (single)

The story behind new Swedish band Jeudah is something of an interesting one. Its two members Jan Jämte and Kristian Karlsson, have for years been plying their trade in different hardworking bands in their home country of Sweden. Vocalist Jämte with progressive, alternative metal group Khoma and instrumentalist Karlsson with post rockers Pg.lost and Eskju Divine.

Living over 800 kilometres apart the two musicians haven’t had many opportunities to meet in person, instead the idea of Jeudah has been forged through a long distance relationship built around countless hours of telephone conversations and experimenting alone in front of microphones and amplifiers. And the result according to the band is a sound that encompasses vulnerability, heaviness and epic soundscapes – all in a straightforward, melodic manner.

Jämte explains further “When Kristian sent me a few songs in 2008 I immediately felt there was a musical connection. Sometimes you don’t have to talk a lot, or spend hour after hour in a rehearsal room. You just hear it and know what to do. So I just started to sing. It was like opening a dam.”

During a couple of months in 2008 Jeudah had written over 20 songs and in January the following year Jan and Kristian finally met to start the recording of the debut album While We Sleep. Recruiting Thomas Hedlund also in Khoma on drumming duties, the band kept all other outside interference to a minimum, recording and producing the album themselves. A year later the record While We Sleep was done and is scheduled for release through Blackstar Foundation in March of this year.

The first release from the album is the starkly, beautiful The Edge of the World. With a rumbling drumbeat, gorgeous guitars and piano blended with Jämtes vocal, which falls somewhere between Thom Yorke of Radiohead and Jón Pór Birgisson of Sigur Ros, it offers a small taste of what promises to be an excellent debut record.

The Edge of the World is available for free download at

http://jeudah.bandcamp.com/track/the-edge-of-the-world

Tuesday, January 25, 2011

Mogwai – Hardcore Will Never Die, But You Will

Already a contender for album title of the year, Mogwai release their eagerly anticipated new album, the exquisitely titled Hardcore Will Never Die, But You Will on February 14th. The bands seventh studio outing and a follow up to 2008s disappointingly, indulgent The Hawk Is Howling, finds Glasgows finest back in stunning form.

The albums breezes into life with the joyously, nostalgic White Noise, which harks back to the likes of the excellent Golden Porsche on the Happy Songs for Happy People record. This is followed by the electro tinged Mexican Grand Prix, its barely audible hushed words another perfect example of Mogwais selective use of vocals.

The snarling, sneering guitar work on Rano Pano, the records first release, is in somewhat stark contrast to what has come before it, but fits perfectly into the structure of things. For me however, the absolute highlight on an album full of highlights comes in the shape of How to be a Werewolf. The sweeping guitars of Braithwaite, Cummings and Burns coupled with the steady consistency of Martin Bulloch drums bring you to that rare place musically, where before the song even ends you want to press repeat and play it again and this time play the fucker loud.

Then, it seems as quick as it has all begun comes the final track You’re Lionel Richie, which ends proceedings in a hail of beautiful building guitars, pounding snares and hi hats and Japanese samples.

This is the band’s first release for seminal label Sub Pop and once again finds Mogwai hook up with producer Paul Savage (the man behind 1997′s exceptional Mogwai Young Team) who has to be commended on the outstanding production work he has done yet again.

There is very little to fault with Hardcore Will Never Die, But You Will so I am not even going to try. To be honest, the album kind of gave me head, all be it of course in a purely cerebral way. This is truly brilliant stuff, welcome back Mogwai.


Thursday, December 2, 2010

Mice Parade - What It Means to Be Left Handed


Originally Posted on CLUAS

Review Snapshot:
With ‘What It Means to Be Left Handed’, Adam Pierce and his Mice Parade have made an album full of worldly influences and a list of guest performers that is the stuff of any indie kids wet dream. Pierce once again exceeds expectations with the records many layers and wonderful production, which take the listener on an intoxicating musical rollercoaster well worth the admission fee.

The Cluas Verdict? 8 out of 10

Full Review: The term 'less is more' is certainly not one Adam Pierce makes his music by. His Mice Parade return with the boldly sprawling and intricate 'What It Means to Be Left Handed', a record crammed to the hilt with worldly influences.

Taking these influences from everything from Flamenco and West African Jazz right through to Shoegaze and Indie Rock, Pierce has enlisted artists as diverse as Swahili vocalist Somi, Meredith Godreau - aka Gregory & The Hawk - and members of the Japanese bands Clammbon and Toe, to bring this heady mix together.

The album's opener Kupanda (listen to it below) is an infectiously, vibrant showcase of worldbeat with beautiful kora strings and swaying African drums blended with Somis gorgeous melodic vocal. This really sets the tone for the musical journey the album intends to take the listener on.

The elation spills into the next track 'In Between Times', where regular collaborator Caroline Lufkin's pixie-like vocals weave sweetly around Pierce's sombre spoken words. Flowing seamlessly on its journey the album's next real couple of highlights are 'Recover' and 'Old Hat'. Recover, with its exquisitely layered guitars over hushed vocals, is backed by amazing percussion from Pierce showing a master of his craft at work. This is followed by the hypnotic 'Old Hat' which again uses layered strings, only this time accompanied by dreamy piano and electronics making these two tracks very cosy bedfellows indeed

The stand out track on the album comes in the form of Tokyo Late Night, a hauntingly, sublime piece of electronica featuring accompaniment by members of post rock stalwarts Toe. The track cements Pierce's place as one of the most exciting producers doing the rounds at the moment and showcases his almost fearless attempts at appropriately fusing different genres.

While running the risk at times of trying to do just a touch too much with this record, 'Mallo Cup' and 'Fortune of Folly' seem to sway slightly from the rest of the album, Pierce and his band on the whole do bring it together very well. It will be interesting however to see if they can translate it so well to the live stage on their current tour, only time will tell. For now though Mice Parade's latest work is well worth a listen or two.

Interview: Pg.lost

With their soaring guitar riffs and dark, beautiful melodies Swedish post rockers Pg.Lost are definitely a band it’s hard not to like. Their mesmerizing latest album In Never Out has become one of my favourite records of the year and one that cannot be recommended highly enough. Drop-d recently got a chance to speak to the band about their recent tour of the far east, the music scene in Sweden and more.

Drop-d: So guys how did the band start?

Pg.lost: It started just as a fun thing to do on the side of our other projects. Kristian was in the band “Eskju Divine” and Mattias and Gustav in a band called “My Idea of Fun”. We all knew each other from school but in their senior year of high school Mattias and Kristian started to hang out more and more. Eventually we started to have late night jams, with Rickard the bass player from “My Idea of Fun” on drums.

When it came to our first live show we were one person short. Rickard was doing his military service at the time and couldn’t participate but we decided to do it anyway as a trio. The band now consisted of: Kristian on bass, Gustav on guitar and Mattias on drums. The show went really good and the overwhelming review in the local paper made us think that this was maybe something more than just a fun side project.

The year that followed we tried some different styles with another friend, Gustaf, as a stand in on the drums before we recruited Martin and recorded our first demo just in time for New Year’s Eve -04/-05, and that is how the line-up is today: Kristian on bass and vocals, Gustav and Mattias on guitars and Martin on drums.

Drop-d: What influenced your musical direction, as in why do you think you play the music you play?

Pg.l: We played together just for the fun of it and didn’t have any plans of making this band into something serious so we don’t know really. All of us listened to some post-rock when we started; except for Martin, everything was new to him. No one of us was comfortable with or wanted to sing, we tried that for a while later on and that didn’t work, so we played whatever came most natural to us and tried not to think so much.

That is in principle how we still make music. Influences come from everywhere.

Drop-d: Your latest album In Never Out appears to take a darker tone compared to your other releases. Why do you think this is?

Pg.l: The songs felt darker, more destructive and maybe not as hopeful as our other songs. This was not something we had planned, the songs just turned out that way.

I’m not sure if people would interpret the dark feeling as anger but I think something has made us angry when we made the songs. It’s quite liberating to be really pissed sometimes.

Drop-d: I think In Never Out is a fantastic record, can you tell us anything about the next one, when do you think it will be out?

Pg.l: Thank you for the kind words. It’s too early, even for us, to speculate how it’s going to be because we haven’t really started with the next album yet. We only know what we want to do differently from the other records in terms of the actual making of it. The direction of it, and the production we don’t know. Maybe more playful and daring or maybe we’ll try to make it even darker than In Never Out.

It’ll have to take the time it takes but hopefully we’ll have something finished by late 2011 early 2012.

Until then we want to promote a compilation album that we’re going to be on together with a bunch of other great bands. We got contacted by Mirza from the band Arms & Sleepers, whom we have played with a couple of times in Europe. He asked if we wanted to be a part of this project called “Music Against Hunger” and we said we would be honoured. Here’s some more info about that:

https://usa.wfp.org/campaign/music-against-hunger

Drop-d: The band recently toured the far east, what was that like? Was it difficult to organise?

Pg.l: It was all fixed by the tour manager we had and it worked out extremely well. But then again he worked for like four months making it happen so… All we had to do was get the visas, buy the flight tickets there and back and get him as much material for promotion as we could.

We didn’t know at all what to expect so we tried to keep our expectations low and think that if it would be like shit we at least would have toured and seen China, something that not to many bands in our genre have done before.

Drop-d: What is the music scene like in Sweden at the moment?

Pg.l: Maybe we can’t really give it justice because we live in a rather small city with a limited supply of live shows and innovative artists. It’s different in the bigger cities like Stockholm or Gothenburg. Many times that is how it feels; that Sweden lacks really innovative artists. Something gets really popular and soon everything’s starts to sound the same. Well, it’s not only our hometown that’s small, the whole country is. It’s like it is everywhere I guess. The music that gets most space in media gets most space everywhere.

It’s of course not all bad. Sweden has generally been quite good at producing high quality music and bands since long and that doesn’t die out just like that.

Drop-d: Have you ever played Ireland before?

Pg.l: No. We actually haven’t been to Ireland… not yet!

Drop-d: Any plans to play over here in the future?

Pg.l: We have plans to play all over… so of course we’d love to do that but nothing is planned at the moment. If you have any good contacts, hook us up!

Drop-d: What bands are you guys listening to?

Pg.l: Our taste in music is quite diverse within the band. Of course we listen and like a lot of the same bands but at the same time some of us like bands/music that the others just can’t stand.

(The band later emailed on a list, nice guys!!)

Martin

Mutiny Within – Mutiny Within

Opeth – Watershed
Copeland - You are my sunshine

Mattias

Beach House - Teen Dream
Broken Social Scene - Forgiveness Rock Record
Kidcrash – Snacks

Gustav

Jay Reatard – Watch Me Fall

Villagers – Becoming a Jackal

Adebisi Shank – This is the Second Album of a Band Called Adebisi Shank

Kristian

Black Keys – Brothers
Radiohead – Ok Computer
Queens of the Stone Age – Rated R

Drop-d: Any advice for new bands starting out?

Pg.l: Make music that you really want to make and don’t compromise. Not said that you shouldn’t listen to each other or what other people say but don’t stop until your gut feeling says it is good. And focus on the music primarily, especially in the beginning. If other people like it then things will start to move on its own…

Drop-d: Cheers pg.lost!!

Friday, November 12, 2010

Ólöf Arnalds – Innundir Skinni

Having her solo debut Við og við named Record of the Year in her home country of Iceland, it would be easy for Ólöf Arnalds to sit on her laurels with its follow up Innundir Skinni . However nothing could be further from the truth.

If anything the classically trained violinist and singer steps out of her comfort zone for this record, deciding to delve into using the English language for three tracks. And as well as the traditional folk influences that were found on her debut, we find more contemporary and even Celtic influences scattered all over Innundir Skinni. Produced again by Kjartan Sveinsson from Sigur Ros, the record has a wonderful consistency throughout and Arnalds gives the impression of a musician who is completely comfortable with what she is doing.

The opening track Vinur Minn finds Arnalds alone reciting what seems to be an old fashioned Icelandic nursery rhyme before it transforms into some kind of cool seventies soundtrack with baby noises in the background. It really should not work but for some reason it does and immediately Arnalds has the listener intrigued in what is coming next.

The first of the three songs in English comes in the form of Crazy Car, a precautionary tale, warning a fellow Icelandic musician about the pitfalls of seeking fame in the US with Arnalds seeming completely at ease switching from her native tongue.

The stand out track on the album has to be Surrender which features backing vocals from fellow Icelander Bjork. With a wonderful fragility throughout the song, one could think a vocal powerhouse like Bjork may be the only voice you pay attention to, but her backing vocals are just that and the two voices interweave perfectly.

The only gripe with what is at times a mesmerizing swirl of a record comes with the slightly sombre tracks Vinkonur and Madrid which seem to bring the listener back down to earth when staying lost in the whimsical beauty may have been a better option. This said Innundir Skinni is a stunning, unique record from a very accomplished artist and will hopefully bring Arnalds to a much larger audience.

Drop-d Rating: 9/10

Interview: The American Dollar

Hailing out of Brooklyn, New York, The American Dollar was formed by school friends John Emanuele and Richard Cupolo in 2005 to as they say themselves “play the kind of music that we wanted to hear”. The bands captivating blend of cinematic post-rock( if I can call it that) has won them a large amount of critical acclaim and a loyal following stateside. I recently caught up with drummer and keyboard player John, to find out a little more on all things American Dollar.

D: Hi John, thanks for taking the time to do this, you and Rich met in school could you tell us about how The American Dollar came about?

John: Yeah, we met in high school and played in a few different bands through high school and college and we began American Dollar in August 2005, when we were taking a chance making a side project from our other project at the time. Upon our first track that we made being licensed by MTV Battlegrounds, we decided to go forward with making our first full length album.

D: And what about the origins of the bands name?

John: We just thought it fitted the band pretty well, it can be seen as provocative and the phrase has many meanings in different contexts, yet it’s internationally understood and relative especially with what’s happening politically and economically.

D: How would you describe your sound and what are some of your influences?

John: We sometimes describe it as cinematic music, it has characteristics of experimental, indie, post-rock and electronic mixed within it. Our biggest influences have been The Album Leaf, Telefon Tel Aviv, Explosions in the Sky and Pink Floyd to name a few.

D: Do you feel there is huge progression from your debut record to your latest one?

John: From our first album we’d say there is a noticeable increase in the complexity as well as increases in fidelity that have come along with equipment upgrades from album to album.

D: What is the recording process like when you make an album?

John: We record all of our tracks on the fly, they are not written in advance of recording.

D:And what is the most difficult part of transferring this when you play live?

John: Initially the challenge was figuring out how to get all of our live samples to play our keyboard parts, figuring out how to get everything sync’d correctly and be able to hear it properly. Figuring out that part of the equation ended up taking about 2-3 years, so we only began performing live in August of 2008.

D: Since then you’ve toured quite a bit any highlights spring to mind?

John: We once played a show on the roof of the Old American Can Factory in Brooklyn for the Rooftop Films festival. Our friends who came to the show said they could hear our music from several blocks away, mostly due to the three rows of PA speakers that were amplifying our equipment into the night. As we played, people from the tops of the other apartment buildings around us watching were applauding.

D: That’s pretty cool, would love to see you guys play over here, are there plans to tour outside of the States any time soon?

John: Always hoping to tour outside of America, but still no concrete plans.

D: Some critics have said your music would be the perfect compliment for dark, dramatic films about depression, drug use, death, or horror, would you agree with this??

John: Our music definitely has been used in that context in CSI:Miami and many other placements we’ve had in different media. We appreciate and cherish that people think this!

D: So what’s your idea of a perfect soundtrack?

John: I think a perfect soundtrack comes about if it stands on its own beauty and completely fits the dramatic, comedic, or horrific elements of the media it is written for and then goes a step further and impresses you beyond your expectations. Personally, most of my favourite soundtracks are from when I was a child where the music usually appeals to me on some sort of subconscious or emotional level.

D: What bands are you listening to at the moment?

John: Lately we’ve been listening to a lot of different music but two of my favourites at the moment are Baths and Boards of Canada.

D: And John, just before you go, what’s on the horizon for the band in the near future?

John: More recording and just taking on whatever opportunities present themselves. I just want to mention that we have all The American Dollar back catalogue on a name your price download at theamericandollar.bandcamp.com.

D: Cheers John, thanks again for your time.