Infinite Shuffle

June 4, 2013

161 – NO

Filed under: Los Angeles, N — assman41 @ 1:31 pm

One of the most-annoying trends of the last 5-10 years in the indie music world is bands giving themselves incredibly vague, one-word names.

I’m looking at you, Girls, Women, Boy and The Men. (It’s as if these bands are actually part of one, big family.)

Anyway, the latest no-name band is, coincidentally, called NO. Not to be confused with a number of similarly named bands, including a post-punk outfit from Australia that hit big in the late ’80s, this indie-rock foursome hails from Echo Park in Los Angeles and has an EP and some singles to its name thus far.

On that EP, Don’t Worry, You’ll Be Here Forever, the most obvious comparison is The National. However, where those Brooklynites’ sound seems to be rooted in punk, NO leans a little poppier.

The above album was released in 2011. But it wasn’t until late last year, with the release of the single, “What’s Your Name”, that the band really started to create some buzz.

On that song, and a few others it recently recorded during a Daytrotter session at SXSW, the band develops a much more anthemic sound, similar to that of White Lies, with slow-burning indie ballads that explode at just the right time.

NO are still a supporting band for now, but it shouldn’t be long before they become a headlining act.

May 7, 2013

158 – The Mowgli’s

Filed under: Los Angeles, M — assman41 @ 11:31 am

For some of you, it might be difficult to get past the glaringly horrible grammar error in The Mowgli’s name. But if you’re able to quell your inner high school English teacher long enough to listen to the band’s debut EP, then you’ll find a group loaded with endless energy and potential.

The Los Angeles eight-piece doesn’t hold anything back on Love’s Not Dead, which came out in October 2012. On the opening track, “San Francisco”, the group channels The Polyphonic Spree while churning out an instant classic.

They continue their Up With People thing on “The Great Divide”, but with slightly lesser returns.

Then comes the album’s sleeper track, “Time”, which is just as great as “San Francisco”, but for totally different reasons. On this track, The Mowgli’s switch gears, drop all the harmonies — save for one notable line — and become something closer to the Plain White T’s or Okkervil River.

On “Slowly, Slowly”, the band changes gears again with a faster-paced indie-rock tune that wouldn’t sound too out-of-place on a Switchfoot album. But don’t let that comparison twist your stomach into knots. If this is what the band considers filler, it could do worse.

The closer, “Carry Your Will”, is a slow-builder that sounds almost like an indie-Christian rock song, with the band incorporating its signature harmonies throughout.

Overall, the disc is an interesting mix and shows some versatility from the band. And at just under 18 minutes, it’s an easy one to get through. The Mowgli’s hit the road next month and will make their way around the country, including stops at such festivals as Bunbury (Cincinnati), Lollapalooza (Chicago), Bumbershoot (Seattle) and LouFest (St. Louis).

January 21, 2013

143 – Family of the Year

Filed under: F, Los Angeles — assman41 @ 8:22 pm

It’s been almost two years since I saw them live at SXSW, but now seems like as good a time as any to talk about Family of the Year.

The indie-pop group from Los Angeles has roots in several different locales, particularly Massachusetts. Brothers Joseph and Sebastian Keefe were born in Wales and eventually moved to Martha’s Vineyard. They were part of a couple of regionally well-known bands in the Boston area. Eventually, they and some bandmates moved to L.A., where they met Christina Schroefer, thus completing the core group that would become Family of the Year.

While occasionally dabbling in some different musical genres, the vast majority of Family of the Year’s sound centers around beautiful male-female harmonies and pop-folk instrumentation.

That is the first track on the band’s debut EP, 2009’s Where’s the Sun. It was originally titled “Down to the River” but was changed when it was included on Songbook, the debut full-length that was released later that year.

While the album was a nice starting spot for the band, it only had one other real notable track, “Let’s Be Honest”.

During the next two-plus years, the group put out a trip of EPs — Through the Trees, St. Croix and Diversity. The most notable track from these that wouldn’t eventually make its way on a full-length in the States was “Chugjug”, which was included in a 2010 Advil commercial.

Finally, in July 2012, the band put out its sophomore full-length, Loma Vista. With its tighter compositions, stronger harmonies and catchier tracks, the album stands as a notable step forward for the band.

Some of the better tracks are “The Stairs”, “Diversity”, “Hero”, Everytime” and “Find It”. But the best track here, and arguably the band’s best to date, is “St. Croix”.

Family of the Year were actually just in Chicago on Sunday for the final day of the Tomorrow Never Knows festival. Unfortunately, the show was sold out by the time I became interested in it.

With any luck, it won’t be too long before they return to the Windy City.

November 5, 2012

136 – Milo Greene

Filed under: Los Angeles, M — assman41 @ 3:00 am

One of the most underrated figures among all of the late-night talk show hosts has to be Carson Daly. Part of that is attributed to his time slot, but more of it is probably due to his formerly douchey public persona. However, since he rejiggered the format of his show several years ago, it’s easily become the hippest, most refreshing thing on late-night television.

The best element of “Last Call With Carson Daly” is the expertly shot concert videos that anchor each show. And it was on a recent episode that I got my first look at the band Milo Greene, whose performance of the song, “1957”, was featured. I had heard the song before on the All Songs Considered podcast and took note of it. But seeing a live version took my appreciation to a whole new level.

The song calls to mind Of Monsters and Men — but only in the male-female harmonies. It is nowhere near as bombastic as their Icelandic counterparts. That being said, the song is probably the fastest-paced track on the album.

For the most part, the group sticks to softer, more heartfelt tunes, filled with swaying harmonies and crescendoing percussion. For comparison’s sake, imagine how Wye Oak might sound if they had twice as many band members.

Speaking of the band’s makeup, it’s a five-piece that hails from Los Angeles — oh, and nobody is named Milo Greene. Besides the drummer, everyone else plays various instruments and shares vocal duties. That not only results in the great harmonies, but it also reduces the chances that any of the songs will sound too similar.

In addition to the aforementioned Icelanders, Milo Greene would fit nicely on a playlist that included Mumford & Sons, The Head and the Heart, The Lumineers, The Avett Brothers and Fleet Foxes.

On the band’s self-titled debut, which dropped in July, there are 13 tracks, but four of those run in the 30-90-second range — and a couple of those are more instrumental in nature. Of the more conventional tracks, there is no real filler. Besides the above two videos, other strong entries include “Take a Step”, “What’s the Matter” and the instrumental “Polaroid”.

April 22, 2012

111 – Warpaint

Filed under: Los Angeles, W — assman41 @ 12:01 am

Warpaint’s moniker seems mighty apt. Because no matter how many layers of pop sensibility these four women from Los Angeles put into their music, it’s all covered with an impermeable coat of darkness that fills every nook and cranny of their songs.

The above track is from the group’s debut EP, Exquisite Corpse, which came out in 2009. From the opening track, “Stars”, the band establishes a heavy, almost psychedelic, tone. Not ones to show haste, Warpaint’s slow-building style on every song adds to the spine-tingling feel on the album.

They even manage to take a well-known standard and turn it into something raw and primal. On the track, “Billie Holliday“, Warpaint sample and put their own unique spin on Mary Wells’ Motown classic “My Guy”.

They continued to pay homage to those that came before them when they released the song “Undertow”, the big single off their first full-length album, 2010’s The Fool. The song started out as a cover to Nirvana’s “Polly”, but eventually grew into something totally different. However, you can still hear the influence, including in the unmistakable line “hurt yourself.”

While the entire album is pretty solid throughout, I’d be remiss if I didn’t mention my favorite track, “Baby”. It’s the one track on here that doesn’t quite sound like the rest. It’s almost like an acoustic ballad.

February 12, 2012

102 – The Belle Brigade

Filed under: B, Los Angeles — assman41 @ 12:01 am

While I have never read any of the Twilight books, and vow to never watch any of the movies, I have to admit one positive thing about the franchise — the musical director certainly knows what she’s doing.

That woman, Alexandra Patsavas, has been in charge of compiling songs for all four of the movie soundtracks to date, and, so far, she’s done a bang-up job, having convinced a slew of great indie and pop bands to produce songs for the movies.

The soundtrack for the latest installment — with the unbearably long title, “The Twilight Saga: Breaking Dawn — Part 1” — was released in November 2011. The list of acts isn’t quite as impressive as past discs, but one song has stood out so far.

“I Didn’t Mean It” by The Belle Brigade has slowly been getting more and more airplay on radio stations. And for good reason.

I first heard the song a few weeks ago on my favorite local station (WGCS 91.1 FM “The Globe”) well before I knew about its connection to the movie soundtrack.

The song was strong enough that I had to find out more about the band. The group consists of siblings Barbara and Ethan Gruska. The Los Angelenos from a family with strong ties to the music and entertainment industries.

After overcoming their sibling rivalry, the pair a formed band in 2008 and released a self-titled debut in April 2011.

The above song is the second track from the album. It’s also a great table-setter for the rest of the disc, as it perfectly highlights the band’s strong Fleetwood Mac influences.

The album is full of quality songs, including other standouts such as “Losers”, “Lucky Guy”, “Rusted Wheel” and “My Goodness”.

Considering how much they’ve already done in such a short period of time, The Belle Brigade looks like a band that has a very bright future. They will be in Chicago soon to open for Good Old War — a show that I very much want to attend.

November 18, 2011

90 – Grouplove

Filed under: G, Los Angeles — assman41 @ 2:53 am

I’ve heard a lot of great music this year, but my biggest qualm has been that there have been very few albums that have stood out to me.

In fact, there’s only been about a handful that I’m even currently considering among the best of the year. But after hearing the debut release from Grouplove, I may have to add another one to the list.

The Los Angeles quintet — by way of Brooklyn and Crete (yep, that Crete) — has churned out a rather infectious collection of indie-pop/rock ditties that should help propel the group onto the radar of all the top music blogs and publications.

The rookie effort, titled Never Trust a Happy Song, came out Oct. 4 and was preceded by a self-titled EP last year.

I first discovered the band via the above track, which I heard on NPR’s All Songs Considered podcast. The show’s hosts, Bob Boilen and Robin Hilton, immediately fell in love with the group — and with good reason.

Grouplove have a pretty familiar sound. Think Pixies, but poppier. Or maybe Los Campesinos!, but less annoying, more catchy and not British.

I found a short review from earlier this year that describes their sound better than I ever could.

They are quintessentially indie, with a whiny-voiced male frontman, a female singer who does alt-girl insouciance so faithfully Kim Deal could sue, and a bunch of sloppy-catchy guitar tunes that go, as per the old rule book, either quiet-loud-quiet-loud (the fast ones), or quiet … loud (the slow-build ones).

In addition to the above two songs, other strong tracks include “Colours”, “Lovely Cup”, “Naked Kids”, “Spun”, “Betty’s Bomb Shell”, “Chloe” and “Cruel and Beautiful World”.

The group is coming to Chicago in mid-January, but I almost definitely won’t be able to attend. So, with any luck, they’ll return quickly. Or, perhaps we’ll meet up in Austin for SXSW in a few months.

May 30, 2011

71 – The Airborne Toxic Event

Filed under: A, Los Angeles — assman41 @ 2:01 am

For as long as there’s been pop music, there have always been “it” bands. They pop up, seemingly out of nowhere, get showered with a bunch of critical praise, make a bunch of money, then, more often than not, fade from the public consciousness as quickly as they arrived.

As blogs have become more prevalent, this cycling of flavor-of-the-week bands has not only accelerated but also increased in breadth.

The first time I really took note of this latest phenomenon was in the latter part of 2008 when the indie scene was being inundated with bands destined to flame out before they were able to make any real impression on fans.

Some of the biggest names I recall from that period were The Airborne Toxic Event, Pains of Being Pure At Heart and, to a lesser extent, Late of the Pier. While I knew that all of these bands had put out some good songs, I was so turned off by their overhyping that I didn’t give their music much of a chance and just pushed them to the periphery of my musical landscape.

Now that I’ve had some time for my bias to dissipate, I can finally give the bands a more proper accounting. And the timing worked out well since a couple of them just released their sophomore albums within the last few months.

I’m looking forward to delving into Pains of Being …, but, for now, I’ll just focus on The Airborne Toxic Event, which released its self-titled debut in August 2008 and followed it up with All At Once this past April.

The hype machine for TATE was working overtime in 2008, as the band received praise in nearly every music magazine out there. The media assault reached its nadir in May 2009 when Carson Daly devoted an entire episode of “Last Call” to the band.

Their popularity was not entirely surprising, considering they’re from Los Angeles and were doing the kind of not-so-soft indie rock that everyone eats up. As far as their sound, the best comparison I can come up with is a harder version of Okkervil River.

I remember listening to the album at least once, but the bulk of the songs just failed to grab me. There were exceptions, such as the big singles, “Gasoline” and “Sometime Around Midnight”. But, for the most part, the disc seemed like way more of a miss than a hit.

Now, after having listened to it a few more times this weekend, I can still detect several misses, but I’ve also discovered a few more solid tracks. The album opens and closes strong with “Wishing Well” and “Innocence” and also hits high notes on “Happiness Is Overrated”, “Something New” and “Missy”.

The Airborne Toxic Event – Wishing Well

Because of my newfound interest in the first album, I had high hopes for the latest release. Unfortunately, it was a little more miss than hit again.

The band seemed to be doing a lot of experimenting during its hiatus and it negatively affects the overall flow on this disc. All At Once opens with the title track, which sounds like it could have been a B-side to Neil Diamond’s “Coming To America”.

I did give stars to a few tracks, such as “Numb”, “It Doesn’t Mean a Thing”, “Welcome To Your Wedding Day” and “Strange Girl”, but overall it was rather lackluster.

And the disc closes on “The Graveyard Near the House”, which sounded like a total rip-off of “Hey There, Delilah” by Plain White T’s. So much so that I often found myself singing the lyrics of the latter at different points in the song without missing a beat.

The Airborne Toxic Event – The Graveyard Near the House

I realize my sentiments weren’t exactly positive, but what can I say? Some bands put out great albums, while others just have great singles (e.g. Ladyhawke). You should at least give Airborne Toxic Event a chance — or perhaps a second chance — before you totally write them off.

You can check out a whole mess of videos — including every track on the new album — at their official website.

And look for my post on The Pains of Being Pure At Heart in the coming weeks.

April 24, 2011

Outroversion threeplay #3

Filed under: B, Dublin, Lake Worth Fla., Los Angeles, Outroversion, R — assman41 @ 12:01 am

In my latest installment of goodies that I found over at Simon’s site, I give you a band that needs to stop making music, another that already has and one that has yet to put out an official album.

Billy Boy On Poison

When you hear, “On My Way”, the opening track on Billy Boy On Poison‘s 2009 debut, Drama Queen Junkie, you’re immediately sent a few years back in time when the band Jet ever-so-briefly ruled the world.

Billy Boy On Poison – On My Way

However, just like their Australian counterparts, BBOP don’t have much staying power. It quickly becomes apparent that they are just a one-trick pony, churning out glam/garage-rock that conjures up thoughts of bands such as The Subways and Living Things.

Although this five-piece band hails from Los Angeles, at times you would swear that it was borne out of the same scene that begat British rockers the Arctic Monkeys and the Fratellis.

They do try to slow things down on occasion, and do so successfully on the introspective “4 Leaf Clover”. But, aside from a couple of good tracks, this album is a throw-away.

The group, which takes its name from a quote in A Clockwork Orange, is said to be working on a sophomore album. But if it’s anything like the first one, don’t waste your time on it.

The Rocking Horse Winner

I begin this entry on a sad note. After putting out two very solid albums at the turn of the century, The Rocking Horse Winner has since disbanded. But their music lives on, and I shall now attempt to describe it.

Fronted by the soft, angelic voice of Jolie Lindholm, TRHW sounded like a less-rocking Shirley Manson fronting Dashboard Confessional. In fact, Lindholm has sung on several of that emo band’s recordings.

Evoking memories of The Sundays in their heyday — and perhaps the Cranberries without the accent — TRHW deliver emotionally raw tunes that uplift rather than depress, like their emo brethren.

The Rocking Horse Winner – When Songbirds Sing

The Lake Worth, Fla., outfit formed out of the ruins of the band As Friends Rust. Lindholm joined as the vocalist and, after making a split demo, they released their debut State of Feeling Concentration in 2001. They put out Horizon the following spring, but within a couple of years, they had called it quits.

The various band members have since gone their separate ways. In fact, unsurprisingly, guitarist Henry Olmino is now touring with Dashboard Confessional.

Meanwhile, Lindholm is fronting a new band, Popvert, which released its second album in 2009.

You can still hear some The Rocking Horse Winner’s songs on their MySpace page.

And, on a sidenote, the band’s name is derived from the title of a short story by D.H. Lawrence. I actually had to read it in high school and watched the movie. It was an interesting one. You should check it out.

The Riot Tapes

It’s difficult to make a good comparison for The Riot Tapes, mostly because there aren’t any well-known acts out right now that sound like them.

This female-fronted pop-rock five-piece from Dublin are most similar to what you might’ve heard on the radio around the late ’90s and early Aughts.

That sound is most prevalent on their first single, “Photograph”, where they sound a lot like Garbage, with Elaine Doyle playing the role of Shirley Manson.

“Open Eyed Dreams” starts out slow, with Doyle baring her soul about a lost love — I think. And song ends with that late ’90s vibe.

That retro label isn’t meant as a bad thing. The Riot Tapes definitely have modern feel as well, especially on the more electro-based tracks “Sun Keeps Beating” and “Everything Is Local”

The Riot Tapes – Everything Is Local

As of yet, The Riot Tapes have only shared some demos online and have not yet put out an album, but when they do, it should be pretty solid.

You can hear six tracks, including a live one and a remix of “Photograph”, on their MySpace and Facebook pages.

April 3, 2011

SXSW 2011: Follow-up

Filed under: Austin, Lafayette La., Los Angeles, Nashville, SXSW — assman41 @ 5:24 pm

After the barrage of music I listened to leading up to and during SXSW, I sent my ears on hiatus for a little while afterward. Upon returning home, the only music I listened to for about a week and a half was whatever was on the radio during my commute to and from work.

Now that I’ve had plenty of time to recuperate, I’m back with a vengeance. I downloaded as much stuff as I could find from all the new bands I discovered in Austin and have been lying on my couch listening to it all for the past day or so.

Rather than putting them in any special order, I’ll just discuss the bands in the order that I listened to them.

The Civil Wars

As I noted in a previous post, The Civil Wars are just a man and a woman — John Paul White and Joy Williams — and they’re from East Nashville, Tenn., and Muscle Shoals, Ala., respectively.

They sing beautiful country harmonies over an acoustic guitar and an occasional violin. At times, Williams’ voice kinda reminded me of Alison Krauss.

All of the songs on their debut full-length album, Barton Hollow, are solid, but the title track is definitely the highlight.

The Civil Wars – Barton Hollow

GIVERS

I kinda regret missing these guys. This was the band that my friends saw while I was soaking up all the free food and beer I could while crashing a private party across the street from said show.

All of my friends said GIVERS was one of the best bands they saw during the week, and they’ve received a lot of positive post-festival reviews — including shout-outs from NPR and Time magazine.

http://www.time.com/time/specials/packages/article/0,28804,2060909_2060910_2060865,00.html

The quartet, which hails from Lafayette, La., plays very solid, indie-pop with an Afrobeat vibe reminiscent of Vampire Weekend and a little island flair.

GIVERS – Up Up Up

They put out a five-song EP in 2009 and will thankfully be releasing their debut LP next month.

Lord Huron

A perfect opening act for GIVERS would be Lord Huron. They sound a lot like the Fleet Foxes, but with a notable island twist.

Lord Huron – Mighty

The group is from Los Angeles, with roots in Michigan, and has put out a pair of EPs — 2009’s Into the Sun and last autumn’s Mighty. With only seven songs between to the two discs, they’re definitely leaving me wanting more.

I am most assuredly looking forward to their first full-length release, whenever that may be. In the meantime, maybe I’ll go see them when they pass through Chicago in May.

Zookeeper

I’ll be the first one to admit that Zookeeper really isn’t as good as I thought after seeing them live. Maybe it was the fever’s fault, but when I saw them the first night I was in Austin, I found myself transfixed by their music on multiple occasions.

I remember comparing them to acts such as The Band when I saw them live. But after listening to their album, Becoming All Things, that is no longer apt.

Really, I’d just call the Austin group a run-of-the-mill indie folk group.

Zookeeper – Boy & The Street Choir

The Lemurs

Speaking of my first night in Austin, it’s clear that the best band I saw that day was actually The Lemurs.

The hometown crew had the Ghost Room jumping with their surprisingly solid indie rock set.

They also mix in plenty of electronica and called to mind VHS or Beta a bit.

The Lemurs – My Definition

This comparison may be totally inane, but on at least one song, the vocals reminded me of a non-British Simon Le Bon.

I feel like these guys have the potential to breakout nationally.

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