In the back of your mind, there exists a type of music that you’ve always wanted to hear but never seem able to peg down. You want it to be X and Y while still remaining Z. Every person has this formula, whether he admits it or not, for the type of music that he can easily fall in love with. The Reservations, a four piece band hailing from Portland, Oregon, encapsulate everything I adore about fun-loving rock and roll music.

But The Reservations’ self-titled album goes beyond meeting a simple checklist of sounds or ideas that make it a great album; there’s a spontaneity on The Reservations that few bands can capture on record, giving it a refreshing and lively voice. And it’s not spontaneous in a sloppy or disparaging sense, either; the album feels as if it is captured in one perfect take, where slightly off-key or off-tempo passes are forever gathered on the tracks.

Listen to “Live Forever” – DOWNLOAD MP3

Grabbing your attention from the outset, the album’s opening track, “Live Forever,” is a twisting jive that will make you clap your hands and shake your hips in rhythm. A scaling bassline leads into an instrumental climax that is a rather surreal blend of lounge-style pop and ’60s-inspired psychedelia. The vocal duties are split between the shrieking falsetto of the organ player, Chris Hoganso, and the deep howls of the guitarist, Rex Marshall, offering a striking juxtaposition that gives “Live Forever” a unique feel. The same vocal pattern continues throughout most of The Reservations, creating something of a dissociative personality pattern that matches the often spooky and tense nature of the organ.

Listen to “Dogs In The Daytime” – DOWNLOAD MP3

Another highlight from The Reservations is “Dogs In The Daytime,” a slow-rolling track that showcases the suave baritone of Marshall, who swoons listeners in the first verse with, “Well I’ve been working all day/ I’ve been working on finding you.” The drums sound relaxed and organic, and while they’re never overpowering, the quiet tumbling of maracas add just enough to the modern speakeasy motif that it all blends perfectly. There’s also a tickling guitar rhythm and a quickly struck organ arrangement buried beneath the vocals, making “Dogs In The Daytime” playful yet solemn.

What ultimately makes The Reservations unique is the sense of tension it constructs within its walls. On any given track, you hear the hammering of a keyboard, the bold chest-driven vocals, and the charming drum arrangements that collect themselves in a surprisingly homogeneous manner. Sonically, it feels like a modern day extension of The Zombies’ more pop-oriented songs — a high bit of praise, but a well-deserved comparison. The Reservations is simply one of those great albums you never knew you wanted to hear until you stumble across it in an accidental manner.

thereservationsportlandor.bandcamp.com

During my first listen to this record, I hated it. It seemed whiney, and the tape hiss and overall crunchiness overshadowed the melodies. The songs were like musical vitamins, so concentrated my body couldn’t absorb them. But after a few more listens, the figurative taste that Fruit Of The Spirit left in my mouth inverted itself, and before I knew it, I was entirely obsessed with this album.

After doing a little research on Paleo, I uncovered the reason for the detour which brought me from hate to love: this guy is my doppelganger! Like Paleo, I have completed a project where I recorded a song a day for a year; however, his triumph predates mine by a couple of years and it also landed him a record deal a couple of years after he finished (but perhaps my call from a David Geffen is forthcoming?!). And, similar to Paleo, I have often relished in the sounds produced by what I call less-likely-to-succeed instruments — miniature-sized guitars, peculiar percussion instruments, and funky little pianos like one children would play on. Also, his purported flair for writing thoroughly optimistic songs has matched my natural tendencies and predilictions.

Listen to “Holly Would” – DOWNLOAD MP3

All that said, perhaps Paleo is more like a kindred spirit than my doppleganger in its original sense? Paleo and I have very different sound stylings, and though I’d love to tell you all about mine, I’ll graciously leave that for another writer who can review my album one day. Instead, I’ll give you my take on this disc: Fruit Of The Spirit is easily the most unique and original collection of songs I have heard in years.

“Lighthouse,” which starts this album, has sunk itself into my brain like the ship it depicts in its lyrics. “Shine your light for me,” Paleo croons, and this simple string of words gives this song summer hit potential. Track two, “Over The Hill And Back Again,” picks up both in style and flow from the song before, and its drums — both steel and tom tom — carry on the indie-meets-island melody. This song also cradles what is perhaps the best line of the album, breaking the typical head-over-heels adage: “I am not a fool for love anymore/ It was never enough for me…”

The third song, “Pharaoh,” has a longing sentiment and is heavier than the rest in both lyric and sound. The piano treads with the weight of the vocals which hang off of it, breathily expounding, “Oh, the struggle…” And standout track seven, “Holly Would,” with its rudimentary but nevertheless driving percussion of tambourine, bass drum, and hand claps offers incendiary lyrics: “I would choose to follow you into any kind of fire…” and “Where is the passion, stirring the ashes…” How easily this song leaves its impression! But my current favorite track on the album is track eight, “Buddy Buddy,” due for the most part to its ear-piercing howl, which is simply a refrain of the words “Calling you.”

I reiterate: upon the first listen, one could be put off a little by this work. But then, something so raw and primal takes charge, and it becomes so interesting and admirable. Paleo harnesses honesty in his music that wins you over. “Honey Be Reckless” could make its way into an elementary school classroom and could easily be sung by a chorus of young voices even if the outro lyrics, “Nothing is real,” are potentially quite dark and more reminiscent of the kids as angsty teenagers. This album preaches a spectrum of experience.

Fruit Of The Spirit may not have expert production value, it may not be linear, it may not capture Beatles-esque songwriting, but it is true and apparently tried—the word on the street is that Paleo has traveled tens of thousands of miles over the last several years writing, recording, and performing. This album is heartfelt and unapologetic. And that makes it bold. And that makes it good.

Friday, June 17th, 2011
Doors 8:00pm, Show 8:30pm
@ Shea Stadium, Brooklyn (20 Meadow St.)
$12.00
All Ages

FACEBOOK EVENT: http://www.facebook.com/event.php?eid=150334218372959

Through a serendipitous string of events, Pacific Northwest-based Redefine Magazine was invited to curate an official showcase for 2011′s Northside Festival in Brooklyn, New York. This showcase will mark Redefine’s second event in the past year, following a wildly successful two-stage unofficial house party at SXSW.

Practical Alchemy finds Redefine on the East Coast for the first time. The showcase, to take place at Shea Stadium, will bring a varied and unlikely collection of performers to the well-known DIY venue.

Headliners Lucky Dragons will execute their standard goals of creating positive shared spaces which encourage crowd participation and collaborative music-making; Wires Under Tension will engage the audience with their blend of electronic and classical music, while premiering video art crafted by UK artist Peter Liversidge. Philadelphia’s RYAT and Brooklyn’s Big Spider’s Back will contribute heavily electronic sets with live processed video art, and experimental composer duYun will bring the lineup full circle with her avant-garde and classical bent. Additional details and videos for each of the performers can be seen below.

Practical Alchemy will not only attempt to unify sound and motion art, but all-ages crowds and mature audiences as well, while exploring how far a lineup can stretch stylistically while still feeling cohesive.

About Redefine Magazine

Born in May 2004, REDEFINE is a robust publication which covers niche subgenres and is comprised of selective musical tastemakers. The publication stays true to its ideals by employing democratic processes and by not compromising quality for quantity; REDEFINE takes pride in curating innovative, genre-bridging events, and takes the same approach to its arts coverage.

About Northside Festival

Created by The L Magazine, The Northside Festival, June 16-19, is a four-day celebration of Brooklyn and what’s next in Music, Art, Film and Ideas. The best regional, national and global talent will be showcased, all within the walkable radius of Williamsburg and Greenpoint. (MORE)

About Shea Stadium

Shea Stadium is a DIY recording studio and all ages showspace dedicated to documenting live performances, located at 20 Meadow St. in Brooklyn, NY. (READ ABOUT THE VENUE ON BROOKLYN SPACES)

FOR PRESS INQUIRIES, PLEASE CONTACT VIVIAN HUA (HUAV@REDEFINEMAG.COM)

A Lucky Dragons performance is more than just a live show; it is an interactive experience full of wonder that must be seen to be believed. With sets reminiscent of childhood science experiments, the Los Angeles-based duo of Luke Fischbeck and Sarah Rara craft feel-good environments. The goal, and the reality, is that their efforts encourage group experimentation and participation in engaging, improvised ways.

More information, videos, details, projects at
www.hawksandsparrows.org;
Download/stream a mixtape crafted by one of Lucky Dragons’ European record labels, Atelier Ciseaux, HERE;
Read our live show review of their performance with No Age HERE

By incorporating the dramatical swiveling and crescendos of classical music with the complexities of electronic gadgetry, Wires Under Tension put on a live show that feels simultaneously tense yet graceful. Premiering exclusively with this Northside showcase will be additional visuals, provided by UK-based multi-disciplinary artist Peter Liversidge, whose work you can view below.

More about Wires Under Tension at
www.wiresundertension.com;
Peter Liversidge’s portfolio is available through Ingleby Gallery at www.inglebygallery.com;
Download/stream a mixtape crafted by Wires Under Tension’s record label, Western Vinyl, HERE.

Performances with live visuals are becoming commonplace, but RYAT’s professionalism and dedication in this arena sets them apart. Paired with video artist Annapurna Kumar, RYAT’s live shows are executed to perfection, highly tech-savvy and remarkable examples of sound and motion art synthesis.

Below, see a live performance from RYAT, including a cover of Flying Lotus’ “Nose Art,” which Brainfeeder gives props to HERE, and Annapurna’s music video for RYAT’s “Superficial Friction.”

Listen to RYAT’s full discography at
ryat.bandcamp.com;
See Annapurna Kumar’s videos on www.vimeo.com;
Read our live show review of their performance with Pegasus Dream HERE.

Former Seattlite Big Spider’s Back (aka occasional REDEFINE staff writer Yair Rubinstein) will be releasing his self-produced, self-recorded, and self-mixed later this summer. Building off of his previous EP, entitled Warped, his new album will expand on his dreamy, psychedelic sample-based pop, and the live show will include real-time, processed video art!

Read his blog and more information at
www.bigspidersback.com;
Listen to his music on bigspidersback.bandcamp.com.

Chinese composer duYun primarily has her feet in the experimental jazz world, but we are excited to bring her avant-garde music and performances to the Northside Festival crowd. Exepect a plethora of musical instruments and atypical setups, as well as some visually-stimulating components! We will be streaming her new record, Shark In You on our website in the next day. Stay tuned.

See her website at www.channelduyun.com;
Stream her entire album Shark In You album on REDEFINE;
Read show review from 2010 on The New York Times;
See other videos of her performing HERE and HERE.

It is a good sign that this teaser EP, The Sound Of Ghosts, only makes me want to hear more tracks from Brown Bird. All four tracks share a similar essence and so I can easily associate them as all being the products of the same musicians. Still, each song carves out its own flow of sounds in a unique way. I’m picturing Brown Bird performing in a saloon style venue when I listen to these tracks.

The first two tracks are each excellent album starters, and the second track, “Bilgewater,” is the standout track of all four. I can easily imagine it accompanying a visual work of some kind — film, television show, art installation, etc. Thus, it is no wonder that this track appears to have the role of the single of the album (you can download it for free from their Bandcamp site).

Listen to “Bilgewater” – DOWNLOAD MP3

However, it is the third track, “Rat Tail File,” which is the most dance or jig inspiring, and therefore gets my vote for being the best track on this EP. The percussion — simple bass drum and hand claps — intertwines well with the guitar and the vocals, thickening the sound so much that it is a surprise to find out there are just two musicians in Brown Bird: David Lamb and MorganEve Swain.

Lamb and Swain round out this flash in the pan with “Cast No Shadow,” a somewhat darker, swashbuckling number. That title fails, considering this album definitely leaves trace of itself on the listener, but really that is a success shadow. I am ready for the full-length.

When tragedy happens upon us, we are struck with a pain that renders us disoriented, devastated, and bereft. In its wake, all we are left with is a fragile perception of reality, a lingering reminder of mortality, a severely broken heart. Such was the case for How To Dress Well’s Tom Krell when his closest friend Ryan Hitchon suddenly and inexplicably passed away last fall. And, in the dark days surrounding this loss, Krell began to slip away. And, as the winter froze every bit of life out of that dark fall, Krell penned the despairing “Suicide Dream 3″ – an outlet for the affects he could not bare to suppress. It was a gauzy, atmospheric ode in which Krell sung to his lost friend, as if he were there in the room; but, with every feeble attempt to touch him, the hazy apparition disappeared as quickly as Krell’s sense of hope.

It must have been the burgeoning spring, its warm sun melting the snow, that gave Krell a bit of perspective on the loss because early in 2011, Krell devised a much more positive plan for his sorrow. No longer finding solace in mourning, he envisioned “Suicide Dream 3,” the ode he penned in memory of his friend’s death, not as a permanent reminder of the tragedy, but as a memorial to someone he loved so dearly. Krell transformed the song into an orchestral wonder, possessing the original’s same dampened tone of anger, but ornately dressed in a wash of lush string arrangements. And, from there, the Just Once EP was born. The title of the EP denotes the singularity of this release – a limited edition 10″ release of a one-time-only orchestral approach to How To Dress Well’s dark, murky sound. But, it also refers to a segment of Rainer Maria Rilke’s ninth Duino Elegy, one of Hitchon’s favorite poems, a profound meditation on the unassailable intertwinement of life and loss. In Hitchon’s honor, the dirges of Just Once are meant to match what Ryan loved so much in Rilke’s elegies, their intensity and exultation and sensitivity to specialness and singularity of life. The remaining three tracks on this memorial EP are culled from How To Dress Well’s debut album. And, though they’re cloaked in a cleaner, orchestral exterior, the stunning darkness of HTDW’s debut is still very present. “Suicide Dream 1,” which Krell says, “…never felt complete until I added the verse about Ryan… something I’ve been doing live since he passed” is a heavenly take on the closing track to 2010′s Love Remains. It’s a conversation in the clouds in which Krell talks to Hitchon as if he was still here. “Suicide Dream 1″ gives voice to disbelief over the loss of his friend, gives voice in song to the state of denial with which much mourning often begins: through its looping, hymn-like incantations it numbs the pain better than any pill could do. “Suicide Dream 2,” the harrowing, noisy centerpiece of Love Remains, is stripped down to a lonely piano and violin. It’s a glimpse into Krell’s nightmare, a sparse, desperate cry for help with no outstretched arms in sight. Emerging from this dark solitariness, Krell attempts to embrace his lost friend on “Suicide Dream 3″: the somehow positive denouement of “Suicide Dream 3″ indicates that though Krell has not recuperated his lost love, he has done justice to the special bond he shared with Hitchon and to the special, singular life Ryan led. Following on this feeling, the EP closes with the jubilant “Decisions,” a highlight of How To Dress Well’s debut. It’s filled with the sound of celebration, an empowered march beyond pain and into the future. And though we never reach the end of that road – never truly reconciling the loss of those we have loved – we do learn how to walk back towards the light and how to remember in complex, meaningful ways; “Decisions” is the first step down that road. How to remember in a mode that doesn’t simply reopen wounds, but instead honors what has been lost and humbles those who are lucky enough to go on: this is the task Krell set himself with Just Once and the experience this very special record offers to a dedicated and sensitive listener.

It must have been the burgeoning spring, its warm sun melting the snow, that gave Krell a bit of perspective on the loss because early in 2011, Krell devised a much more positive plan for his sorrow. No longer finding solace in mourning, he envisioned “Suicide Dream 3,” the ode he penned in memory of his friend’s death, not as a permanent reminder of the tragedy, but as a memorial to someone he loved so dearly. Krell transformed the song into an orchestral wonder, possessing the original’s same dampened tone of anger, but ornately dressed in a wash of lush string arrangements. And, from there, the Just Once EP was born. The title of the EP denotes the singularity of this release – a limited edition 10″ release of a one-time-only orchestral approach to How To Dress Well’s dark, murky sound. But, it also refers to a segment of Rainer Maria Rilke’s ninth Duino Elegy, one of Hitchon’s favorite poems, a profound meditation on the unassailable intertwinement of life and loss. In Hitchon’s honor, the dirges of Just Once are meant to match what Ryan loved so much in Rilke’s elegies, their intensity and exultation and sensitivity to specialness and singularity of life. The remaining three tracks on this memorial EP are culled from How To Dress Well’s debut album. And, though they’re cloaked in a cleaner, orchestral exterior, the stunning darkness of HTDW’s debut is still very present. “Suicide Dream 1,” which Krell says, “…never felt complete until I added the verse about Ryan… something I’ve been doing live since he passed” is a heavenly take on the closing track to 2010′s Love Remains. It’s a conversation in the clouds in which Krell talks to Hitchon as if he was still here. “Suicide Dream 1″ gives voice to disbelief over the loss of his friend, gives voice in song to the state of denial with which much mourning often begins: through its looping, hymn-like incantations it numbs the pain better than any pill could do. “Suicide Dream 2,” the harrowing, noisy centerpiece of Love Remains, is stripped down to a lonely piano and violin. It’s a glimpse into Krell’s nightmare, a sparse, desperate cry for help with no outstretched arms in sight. Emerging from this dark solitariness, Krell attempts to embrace his lost friend on “Suicide Dream 3″: the somehow positive denouement of “Suicide Dream 3″ indicates that though Krell has not recuperated his lost love, he has done justice to the special bond he shared with Hitchon and to the special, singular life Ryan led. Following on this feeling, the EP closes with the jubilant “Decisions,” a highlight of How To Dress Well’s debut. It’s filled with the sound of celebration, an empowered march beyond pain and into the future. And though we never reach the end of that road – never truly reconciling the loss of those we have loved – we do learn how to walk back towards the light and how to remember in complex, meaningful ways; “Decisions” is the first step down that road. How to remember in a mode that doesn’t simply reopen wounds, but instead honors what has been lost and humbles those who are lucky enough to go on: this is the task Krell set himself with Just Once and the experience this very special record offers to a dedicated and sensitive listener.

JUST ONCE EP DETAILS
Limited to 1000 copies, this 10″ vinyl is a one-time-only orchestral release from HTDW. Each physical copy comes with a hand-written letter from HTDW and a password to view behind-the-scenes footage of the “Suicide Dream 2″ recording.
$1 of every 10″ sold will be donated to MindFreedom.org to benefit those with Mental Health Issues.

BUY EP!

JUST ONCE EP TRACKLISTING
1.
Suicide Dream 1 (Orchestral Version) 03:50
2.
Suicide Dream 2 (Orchestral Version) 04:50
3.
Suicide Dream 3 (Orchestral Version) 05:18
4.
Decisions (Orchestral Version) 02:40

HOW TO DRESS WELL ToUR DATES
6/17 Sonar Festival Barcelona
6/22 XOYO London
6/23 DNA Brussels
6/24 Trouw Amsterdam
6/25 Gruner Salon Berlin
6/28 Landmark Bergen
6/29 Sodra Teatern Stockholm
7/02 Roskilde Denmark
7/17 Pitchfork Festival Chicago, IL
8/6 OFF Festival Katowice,Poland
8/8 Glasgow
8/9 Manchester
8/10 Bristol
8/11 Brighton
8/12 London
8/13 Oya Festival Oslo, Norway

Ω

It is a toss-up between “Inaudible Song II,” and its predecessor, “Billy Bird,” when it comes time to recommend my favorite song from the optimistically-titled Only Good Thoughts Can Stay by Jared Mees And The Grown Children. On multiple random occasions, both songs have surfaced in my head while I have been out and about in the world, thus proving their true hook.

Listen to “Hungry Like A Tiger” – DOWNLOAD MP3

However, these songs do not stand alone in greatness; rather, they paradoxically melt together into a unified album; still, each song is told from different storyteller’s perspective. This explains the wide range of topics on the album — from second marriages to slow declines to dead birds… and on and on. In turn, this multi-viewpoint gives the work, as a whole, a depth of communication that is both noteworthy and charming. It is the kind of album that can wake you up in the morning and get you going. There is a spring-in-your-step sequence of three songs at the beginning: with the inciting horn-and-bass-coupling in track one, “Hungry Like A Tiger,” the rabble-rousing handclaps and piano in the next song “Limber Hearts,” and the steady, stirring drums in track three, “W.W.J.B.D.” Additionally, in each of those songs, there is Mees’ lyrical encouragement, from, “A problem ain’t a problem unless you keep on feedin’ it!” and “Holler if you can hear me!/ Holler nice and long and loud!” to “You’re not dying/ Your soul just can’t keep up with the plan!”

Track eight, “Even Little Mountains,” lyrically combines blunt honesty (“The question of the day is who will lead/ And who will get out of the way?”) and compassionate finality (“…Love a friend regardless of how this whole thing ends”) over a soundscape that is appropriately both uplifting and sincere. This song is the most poignant track on the album — amidst many other poignant songs — due in part to a brief lyric. The lyric is both beautiful on its own and aptly descriptive and commentative on the profundity of the various messages, presences, stories, and sounds across the entire album, for they are all “…just echoes of perfectly placed heartbeats.”

Both the music and the words leave comfortably indelible marks on the listener, and that lasting impression extends beyond the capacity of the first three tracks. Even when the song plots are grave — detailing disillusionment, discontentment, and even death — the upbeat melodies and full-bodied instrumentation lighten the mood so that the sympathy or empathy of listeners can be enriched with a sense of hope. This album proves that if you can put a song to it or write a song about it, you can not only live through any moment in life, but you can enjoy those moments on an unanticipated, deeper level.

Rotture
Portland, OR
2011 – 06/08

My Disco

Though the crowd’s cheering hinted at appreciation, the evening’s crowd of largely male and clad in black showgoers felt unwavering and uninspired. Hence, I decided to retreat into myself to appreciate the intensity of My Disco. I had just come from a show at Holocene where the ambient electronic jazz grooves of Golden Retriever had turned my mind into an introspection-craving unit, and I wanted only to meditate. My Disco provided an atmosphere for my continued introspection, though in a starkly different way.

Listen to “Closer” – DOWNLOAD MP3

With their brand of heavy psych-dance rock, I gained from My Disco a hyper-awareness of my body. Eyes closed, I visualized alternate versions of me stacked atop present me, layering like transparencies. These alternate versions of me were animated. They lived in momentary bliss. They danced without inhibition, heavy with stomping and jerky, elbow-flailing movements. By contrast, present me began to notice the strain in my body, as evidenced by my arms being crossed tensely across my chest. And though my feet were tapping and my head was nodding, that limited movement was the upper end of what I could allow myself to do in a public setting. Somewhere in my mind’s eye, alternate “me”‘s were having a more honest and open time.

My Disco’s name may seem like a misnomer, but when one sees them live, it is obviously fitting. Their music should inspire disco dancing of the most intense variety. Inspiration can be pulled from the way the band members become wholly entranced in their own sound, vibing in a way that seems dedicated to losing oneself in the moment. We can take note, but apparently, we don’t.

As My Disco’s set continued, their deep drum rhythms conjured movement in more concertgoers, but participation was slow-building and self-conscious. This group lethargy led me to yearn for the past, or a hypothetical future, or another locale in current time, where people are not so limited by fear. Perhaps someday, conventions will no longer dictate that we, your average showgoers, will stand around relatively unaffected by rhythms which should make our bodies freak out in unison with our minds. Perhaps someday, we’ll embrace the primal desire to seize life and feel music with more impetus.

Young Widows

My Disco’s set ended at midnight. I was sleepy and work-addled. I wanted to go home, but I told myself I’d check out one track of Young Widows and then reassess my exhaustion. But as Young Widows began plodding and shredding immediately, and with an expert hand that testified to solid musicianship and pacing control. They orchestrated their set in a way a film director might plot out an elaborate script, sonically tickling and teasing a showgoer like myself for an entire hour. Sleep foregone, I remained torturously entranced instead.

If one were to stare at bassist Nick Thieneman for the duration of a Young Widows set, one might never suspect that they are as stylistically varied as they are. His swaying and headbanging are almost unrealistically consistent and intense. Beneath this callous exterior, though, Young Widows are damn sophisticated. To pair their music with the word “sophisticated” — an adjective usually used to describe a lounge in which one drinks martinis rather than a hard rock band — may seem paradoxical. Yet, every time I began to get turned off by a sound I found too “dive bar blues”-y or “mainstream hard rock”-y, Young Widows thundered over or crept under with an attitude that told me they were far from who I thought they were.

What Young Widows do is just clever. Every track attracted me anew, whether through a throbbing bassline, a squealing effect, an unpredictable transition, or all three combined. Young Widows pull from a seemingly endless bag of tricks, and their live show inspires writing and encourages new ways of thinking. It’s simply just “excellent.”

On Feathersongs For Factory Girls, Part Two, San Francisco’s Stripmall Architecture create a sonic space that is a bit disorienting. Rebecca Coseboom’s vocals swirl like a cloud of smoke while electro beats, violins, and cello induce chills. The songs carry a strong volatile sensation similar to that of a treacherous nightmare, but one that a person would want to have repeatedly. There are signs of torment, but in some twisted way, Feathersongs is enjoyable.

Listen to “We Are Not Cool” – DOWNLOAD MP3

While each song has a dark underlying theme, Stripmall Architecture’s music does not lose
the danceability and sublime qualities of the electropop genre. Although not as strong as other songs, opening track “Daylight Machine” is rather buoyant. The song commences with some computerized sounds that almost convince the listener that the band is just another generic electro band, but do not be fooled. The band does it better on “Lemoncholic,” another upbeat number with shimmering guitars and synth. However, the fact that the vocals sustain a bewitching quality is what makes this song superior. Compared to their Part One EP, which was released last year, Stripmall Architecture seem to have a bit more fun on this release. They stretch the relationship between eerie instrumentation and beautiful pop songs. And even though the band can go from “Ownsome,” a lively and dramatic track, to the more somber “Prussian Blue,” both tracks fill the air with seduction. Silky vocals and cunning use of violins and cello bring it all together. It is daring for a band to showcase such range on an EP, but it is obvious that the band members gave each song a lot of thought, which results in a favorable release.

September 2012
In this music video for “Endless Summer”, grit, dirt, and color intermix to play hokey pokey with minorly morbid imagery, mundane shots, and glitter.

May 2011

When it comes to the genre of “garage rock,” most listeners take the “been there, done that” attitude. It’s just hard to find something new — or rather, a new take on the genre. Chicago’s Gypsyblood blow that attitude out of the water with their debut, Cold In The Guestway. Their garage rock is combined with some noise pop and the best elements of surf rock (part of a recent trend pioneered by the likes of Surfer Blood and The Drums). There is even some Rolling Stones era bluesy-twang thrown in the mix for good measure (“Dirty Thieves”). Even though this is their debut album, it is clear that the band has fallen into a good groove.

From the reverb-heavy “Take Your Picture,” which starts off the album on a bombastic, Midwestern rock note (the influence of fellow Midwesterners Guided By Voices is apparent), to the frenetic “In Your Blood,” Gypsyblood flex their guitar-swinging muscles. Throw in the oddly creepy “2-4-6 IntheDark,” and the anthem “My RKO is M.I.A,” and it solidifies: there is no doubting that Gypsyblood has created an album worth talking about. The occasional pop-driven swingy tunes like “A Song Called Take 2″ and “Superstition” provides the pre-requisite accessibility, but there is no mistaking the fact that Gypsyblood don’t mess around when it comes to boisterious garage rock.

Listen to “Take Your Picture” – DOWNLOAD MP3

Ω

Colourful Environments contains over an hour of West African music, and its title speaks to the mix’s inclusion of everything from boogie funk jamming to psychedelic rock noodling. To deviate slightly from our usual mixtape tendencies, Colourful Environments is available only as a one mp3 download, without descriptions or song titles. Anonymity and mysterious origins, though, are not enough to stop the grooves.

Voodoo Funk is a blog dedicated to a diverse cross-section of West African music, with chronicles of Gossner’s stays in West Africa, Nigeria, and Ghana — and over 30 hours of additional music for you to download and stream.

Curated by Frank Gossner,
Force behind Voodoo Funk