Wednesday, July 30, 2014
"Mary Jane" is an infectious summer jam that will find its way on to a number of seasonal and party playlists. The source is Iggy & The German Kids, which is comprised of New Yorker Iggy (Ignacio Uriarte or Marshall, depending on whether one believes the website or Facebook) and production duo DTC Music Productions. DTC are Hubertus Dahlem and Freddy Todenhofer, who are from Germany and apparently met Iggy at Munich's Oktoberfest. Thus, the collaboration is Iggy & The German Kids. The synergy between the producers and Iggy, who trained as an opera singer as well as mastering several instruments, seems to have found a pop music sweet spot. A debut album is being prepared, and based on the evidence of the several tracks I've heard, I expect it to be good.
For the single, "Mary Jane" is paired with the more straightforward electro-pop song "Follow the Sun". Both are available singly or together on Amazon and iTunes.
Slow Club is a British soul duo consisting of Charles Watson and Rebecca Taylor. Both are excellent vocalists and each play a variety of instruments. Since forming in Sheffield in 2006, they have released two EPs and two albums, the latest and current one being the delightfully soulful and wide-ranging Complete Surrender. From the opener, "Tears of Joy", which sounds a bit like a cross between the modern dance rock of Arcade Fire and classic 70's folk rock, to "The Pieces", a swinging, soulful combination of rock instrumentation, horns and lush vocal harmonies, the album is a joy to listen to all the way through.
Complete Surrender is, in essence, an exploration of five or six decades of radio-friendly sounds with a refreshing willingness to embrace modern (or post-modern?) production techniques that somehow makes the whole thing even better - anchored in classic soul and pop, but a few degrees off from the often-heard "retro soul" sound. Those horns, those vocal harmonies, the insistent drumbeats, it's all of a piece and makes for one of the best records you'll hear in 2014.
The vocals and guitar lines on the ballad “Not Mine To Love” are extremely well-done, classic guitar pop - nothing new, but a classic sound that is presented just about perfectly. As it should be, the song is a showcase for Rebecca Taylor's vocals. Her range and just the variety in presentation are impressive. As slow and evocative as this track is, she switches to a quicker, poppier sound on the title track and the contrast between the quickened drumbeat and the lush strings throughout the track, as well as her multi-tracked vocals in the chorus, are terrific touches.
There's a big, Motown-meets-British-soul feel to "Suffering You, Suffering Me".
Watson has a few impressive vocal turns as well, and his quiet ballad "Paraguay and Panama" provides a nice counterpoint to the lush, full pop stuff.
Giving a bit of background to what drives their sound, Watson says: “We really didn’t want it to sound ‘retro,’ but we wanted it to have that grace and sort of respect for itself. I think it’s in the playing really. A lot of those old records they’re not coated in reverb and that’s what people tend to go for. It tends to just be really amazing players that have practiced and locked in. We just tried to practice the best we could.” And that, to me, is the point of Complete Surrender and where Slow Club have succeeded. They have clearly practiced, and certainly locked in. Like so much of the big radio rock we loved in days gone by (Fleetwood Mac, Hall & Oates, to name a few), these two are able to combine reverence and creativity in a delightful way. Take note of this record and these two musicians. They're at a very high level. The album is out now (released July 15) on Wichita Recordings.
Slow Club website
Tuesday, July 29, 2014
Try a few my favorite tracks from the album below. If you want to stream the entire album, you can do so at the Soundcloud or Bandcamp links. Bandcamp also is your friend for the reasonably priced digital download. A vinyl version also is available for those who collect such artifacts.
Monday, July 28, 2014
Never fear, we here at WYMA are here to help. May we suggest something that everyone might be able to agree on for the time it takes to chat a bit and eat your meal? How about power pop with a heaping helping of girl group, some garage grease and some bubblegum holding it all together -- what a great idea! And all this comes to you in the form of Only Come Out at Night, the new album from Milwaukee's Sugar Stems. There is humor, anger, and a lot in-between. On highlight track "The One" Betsy warns her date that she has no intention of being 'the one he is waiting for'; clearly no sitting around on a pedestal for this young lady. The pace is breakneck from start to finish, and the hooks come sharp and fast And since they are from Milwaukee, it might be a good excuse to break out the bratwurst.
Sugar Stems are Betsy, Jon, Drew and Steph, with friend Andy Harris filling out the sound on the organ. Only Come Out At Night is released by Dirtnap Records. The band is touring now, with a few more dates in the west and then a couple in Wisconsin. And if they are half as good live as they are on record, they may be the most fun concert you'll attend this summer.
July 28 Oakland, CA - Night Light
July 29 Riverside, CA - Mission Tobacco Lounge
July 30 Los Angeles, CA - Redwood
July 31 San Diego, CA - Ken Club
August 1 Orange County, CA - House of Blues
August 2 Phoenix, AZ - Time Out Lounge
August 8 Appleton, WI - Mile of Music
August 9 Appleton, WI - Mile of Music
We've been all in for Jessica Hernandez and the Deltas for some time, featuring them here at WYMA a few times, from as early as June 2013. So it's an understatement to say we've been looking forward to their first full length LP, Secret Evil, to be released on August 19.
Let's cut to the chase - Jessica Hernandez is a star waiting to happen. She's a powerhouse performer, blessed with a memorable and strong voice, and charisma to burn. And the Detroit native is backed by a crack outfit who do the rock and soul traditions of that music mecca proud, yet take it in their own new direction, influenced by not only Detroit's rich musical heritage but by rockabilly, ska, and Hernandez' Mexican-Cuban-American roots, having grown up in an inner SW Detroit neighborhood known as "Mexicantown". Her family owns a popular restaurant and a bakery there. This young Detroiter embodies the new Detroit resurgence - artistic, edgy, street smart, socially conscious.
Secret Evil is a big step up for this young band compared to their early recordings. It's well produced by Argentinian Milo Froideval (won a Latin Grammy for Best Alternative Album for Ely Guerra’s Hombre Invisible), and aided by the radio-friendly mixing of veteran hit maker Richard Gottehrer, owner of Instant Records, the label releasing Secret Evil. Gottehrer produced, among many noteworthy things, the Blondie hits, and there's a similar big city toughness yet accessibility here. The use of horns throughout this CD, which the band employs live as well, is outstanding, makes the songs jump, with a nod to the great Stevie Wonder 1970's hits.
Let's start with "Caught Up", a garage-surf rocker that perviously appeared on the band's Demons EP, with a very winning video here:
"Sorry I Stole Your Man" has a similar avant-garage feel, with a hint of Latin jazz and some fantastic background vocals honoring the band's Motown lineage -- love the girl group sound in the fade out -- though sorry to say there's no audio or video available for that one yet that I can link. That song has become a highlight of the band's live performances.
Here's a link to the audio of opening track "No Place left To Hide", maybe the most pure rock song on the record:
"Tired Oak", one of the songs on Secret Evil that seems ready for commercial radio:
Hernandez' range as both a singer and artist is best reflected in a ballad here, "Cry Cry Cry" (an original song, not the Johnny Cash classic), just a beautiful vocal where she puts her big rockabilly belt-it-out gear on pause, and instead shows off her softer and higher register. Recorded version not yet available for public consumption, but here's an audio of a fine live version:
The hit here in my view, and hey aren't we all frustrated A&R geeks, is "Dead Brains", a hybrid of Detroit soul, ska, and modern dance rock, with a killer chorus. If the band catches just a little break it wouldn't surprise me to see 80,000 kids at the next Bonaroo or Coachella festival jumping up and down and singing "Your brain's gone dead, you feel no power, where's your head?" Here's an earlier version of "Dead Brains" live, acoustic, super stripped down. Pop quiz: Is there anything more Detroit than piling into a Lincoln Continental with your friends and driving around singing? (A: No).
This album reflects Jessica Hernandez and The Deltas absolutely irresistible sound and personality. As good as Secret Evil is, and it will for sure be high on my Best of 2014 list, I still sense that Jessica Hernandez' best work is ahead of her. The sky is the limit for this band. Get on this bandwagon now while there's still room.
You can pre-order Secret Evil now for just $7.99 at iTunes here.
Jessica Hernandez and the Deltas Facebook page
Artist web page, tour dates etc
Sunday, July 27, 2014
US-based Melbourne native Dion Nania's Free Time very much impressed me last year with their self-titled debut (review here). Despite spending free time lately to work as the backing band for Richard Davies' resurrection of The Moles, they are sending more good music our way with the August 19 release of a double A-side 7". The two tracks are "Esoteric Tizz", which is said to be an energetic, up-tempo song, and the relaxed romantically focused "Guess Work". "Esoteric Tizz" isn't available for evaluation yet, but you can enjoy "Guess Work" right here, right now. The single will be released by Underwater Peoples, as was the debut album. We hope that the single signifies a new album of music.
For the 7", Free Time was Dion Nania (guitar/vocals), Jonah Maurer (guitar), Mike Mimoun (drums) and Adrienne Humblet (bass). Going forward, Eric Harm will be playing bass.
Free Time page at Underwater Peoples
Friday, July 25, 2014
The next installment of the wiaiwya-7777777 singles club, and the fourth for 2014, is on the horizon. Well, the morning of August 7, to be precise. But because these little treasures have a way of selling out, I'm bringing it to your attention now as pre-orders are available. The single is "When I Fall In Love"/"Just Let Me Be Here" from Cardiff, Wales' The School. Astute fans of the indie pop world may remember this band's highly praised LPs Loveless Unbeliever from 2010 and Reading Too Much Into Things Like Everything from 2012. For those of you for whom The School is a new experience, know that this is the kind of achingly sweet indie pop championed in the past by Sarah Records, and more recently by Shelflife Records and Matinee Recordings. There are memorable melodies, jangling guitars, and winning vocals, and you can't help but feel good when you hear it. In a way, it is medicine but with no bad side effects. The A-side is presented below for your consideration.
Facebook for The School
Soundcloud for release
Bandcamp for release
|Mick Taylor, in approx. 1971|
While the song is credited to Jagger-Richards like all Stones originals, Keith was MIA for this one and didn't play on it. Mick Taylor has long contended he wrote the music and Jagger the lyrics. Taylor's slide guitar in the middle and then his solo at the finish define the song, just super tasty.
The Stones did not perform the song live with Taylor until just last year in 2013:
Thursday, July 24, 2014
Dahnu Graham, Daniel Kerr, Billy Robertson and Suren Unka are pigs! Specifically, they are the Beach Pigs, from Auckland, New Zealand. In early June they released Grom Warfare, which they say portrays two years in the life of the members of the band. I don't know that they've been up to anything all that different from any group of young men. But unlike most guys with whom I passed the time in my 20s, the Beach Pigs make really good guitar pop. The guitars shimmer and jangle with a hint of garage grit, and the vocals deliver power pop harmonies. The melodies are good, with a lot of variety, but equally impressive are the rich textures in some of the tracks, such as "Big Peach".
The Beach Pigs don't have a label, and have self-released Grom Warfare on Bandcamp. Sure, it will cost you some money, but it is just New Zealand dollars anyway. And think of the value of being the first guy in your group to have the original Beach Pigs album. Priceless, yes, priceless. I've included a few tracks and a video below, and you can stream the entire album at the Bandcamp link.
And my firm conclusion is that all guitar pop fans should give this self-titled release a chance, because it is everything a good guitar pop album should be. The hooks are infectious and plentiful. Frontwoman Molly Rankin's vocals have the tone and emotional weight of Tracyanne Campbell (Camera Obscura), and the power of Wendy Morgan (The Popguns). And the arrangements are robust, fully realized, and determinedly sunny -- it is like Glasgow guitar pop on happy pills, or perhaps on a summer holiday to the coast. You know, the themes can be melancholy and a bit sad, but that doesn't mean the music has to bring you down. There is a hint of nostalgia in some of the '60s era melodies and surfy touches, but it all has a natural and cohesive feel.
So, jangling guitars, sturdy basslines, well crafted songs with some wry humor, great melodies, and standout vocals. It sounds like summer to me, and it sounds like a highly recommended summer album for you.
Alvvays consists of Molly Rankin, Kerri MacLellen, Alec O'Hanley, Brian Murphy and Philip MacIsaac. Alvvays is out now via Polyvinyl.
Canadian and European fans can see Alvvays live on tour now. The remaining dates are:
Guelph, ON @ Hillside Music Fest
Guelph, ON @ Hillside Music Fest
Kingston, ON @ Wolfe Island Festival
Montreal, QC @ La Vitrola
Cambridge, UK @ Junction
Liverpool, UK @ Kazimier
Dublin, Ireland @ O2 Academy
Birmingham, UK @ The Institute
Leeds, UK @ Brudenell Social Club
Newcastle, UK @ Riverside
Brighton, UK @ Komedia
London, UK @ Shepherd’s Bush Empire
London, UK @ Birthdays Presented by DIY Mag
London, UK @ Rough Trade East
Wednesday, July 23, 2014
On the More Weight EP Working demonstrates a great feel for the critical elements of the noise pop -- good melodies, sweet vocals and a wall of feedback. Couple that with some affecting songs and you have a band to treasure. We understand that an LP is planned for next year, but for the present this little nugget will do very nicely indeed.
The members of the band are Catherine Kolodij (vocals/gutar), John Kolodiz (drums), Mary-Kim Arnold (bass), and Matthew Derby (guitar/vocals).
Shelflife Records page for EP
Perhaps perversely, given my introduction, the album commences with a soaring ray of light in the form of "Skydive". Already released as a single, I think it is one of the highlight songs of the year so far. Such moments of brightness aren't typical here, to be fair, but the emotional weight of the songs is adeptly balanced by the thoughtful acoustic instrumentation, hushed vocals, ambient electronics, intriguing rhythms and, quite notably, the judicious use of space.
The brooding begins in earnest with the contemplative "Everything's A System, Everything's A Sign". The song is emerging as one of my favorites on the album for several reasons, but one is the delightful rhythm track.
Driven by ominous instrumentation, electro-pop track "Vampires" is one of the more up-tempo songs on Hollow Ponds. Then the pace drops to dream state for the standout track "Flame Exchange". Hushed vocals float on gently picked acoustic guitar and a barely-there synths to create a sadly beautiful song.
"Spanish Archer" gets the blood going again, bouncing along as perhaps the most mainstream pop song on the album. But Carney's more melancholy purposes pull us back on the following title track. In fact, the first third of "Hollow Ponds" is so sparsely adorned that the listener might be tempted to adjust the volume. Patience is rewarded, however, as the beat rises and vocals drop in, resulting in a very rewarding seven minute exploration of inner emotional landscapes. "In My Direction" continues the hushed vocals over yet another delightful rhythmic foundation.
"Try To Put It Out Of Your Mind" is the electro-pop version of a relaxing babbling brook, while "Openside" crosses the line into indie rock territory, and is the most expansive track on the record after the opening "Skydive". The album closes with the acoustic plucking and nearly whispered musings of "Slow Days".
Hollow Ponds is an interesting and rewarding journey. And at the end, we may all be able to call ourselves Astronauts. The album is out now via Lo Recordings.