Discover Top Posts Tagged with #bronze float

2/22/25.

Holy cow. Where has this band been? Nag Ar Juna are (were) a Japanese oddball/jangle/pop band. This was released in 2013 by the Tokyo label de.te.ri.o.ra.tion. The label's last release was 2019.

Nag Ar Juna move between pop sounds reminiscent of early Pastels, Bronze Float (listen to that guitar), The Clean or The Velvet Underground (some of these songs have that Mo Tucker chug). There are several releases on the label from this band. Really, take some time to go through them all. I've been listening most to "How Many Friends Can Die Happily?", but "doqu" has more vocal interplay (male and female). There's a definite Georgia Hubley vibe on the 2nd song, "Sasage".

Of course, I'd be remiss if I didn't also mention Maple Fyshh. Nag Ar Juna must have listened to them while growing up. But, I hope it always goes without saying...Nag Ar Juna have crafted a sound all their own. Fantastic.

#Nag Ar Juna #Japan #de.te.ri.o.ra.tion.#Tokyo #The Pastels #Bronze Float #The Clean #Georgia Hubley #Yo La Tengo #Maple Fyshh #The Velvet Underground #Mo Tucker

Bronze Float - Runnaway

#bronze float #indie rock #alternative #indianapolis

2/7/16.

Third Uncle Records is at it again. This is a fairly prolific label based in Indiana. Bronze Float would fit into the guitar based indie rock category. Listen to that guitar tone! I can hear sounds of Pavement - but to me the vocals aren’t at all reminiscent of Malkmus. If you like Pavement that much, might I recommend Clearance.

As this album moves on it becomes more and more sedate and decidedly lo-fi. My advice is to jump on this now. I’ve noticed that Third Uncle releases seem to sell out (I waited too long on that Honey Radar release I posted not too long ago). They release very limited, and very cool releases.

#Bronze Float #Third Uncle Records #Indiana #Pavement #Honey Radar #Clearance

JUSTIN VOLLMAR - Every Place Is Home CD from the original press sheet: JUSTIN VOLLMAR is a preacher’s kid, and the states familiar to his youth are Virginia and West Virginia. He loves the ocean. ‘EVERY PLACE IS HOME’ was recorded in Anderson, IN through a student-engineering job Vollmar had at the university there. It is his first attempt at creating something more narrative than individual songs alone and the end result has something to do with a young man coming to an awareness of mankind’s relativistic predicament. Biography as base for poetics, in the tradition of Belle & Sebastian and The Microphones, the music is plaintive for the most part. Vollmar’s boyish voice has a quality that lends the tunes fragility, as if they could somehow fall into a hush at any moment. Leaving the listener hanging between lines, yearning for the next image. But, this is not the sound of misery, nor the ‘quiet music’ of Low or other hush-core greats. Fluid shifts from major to minor keys leave traces of unique characters with hope in their eyes, evoking the more optimistic days of Leonard Cohen. It is a joyous account of the young man’s search for a home in every place. Bits of found sound and subtle nods toward minimalism contribute to the cinema sound of Vollmar’s music. It is as American as Wes Anderson and Hal Ashby (Harold & Maude). Nothing can grow closer when you're not an optimist. released 05 November 2002 Bluesanct (INRI069) CD = ltd to 500 copies http://bluesanct.bandcamp.com/album/every-place-is-home

#Vollmar #Bronze Float

VOLLMAR - 13 or so People who need chances CD from the original press sheet: VOLLMAR is from Bloomington, IN, by way of WV. He’s made an album of obvious songs (recorded at home) with obvious sounds (recorded elsewhere). At the same time being both less and more than his first record, Every Place is Home (Bluesanct 2002), 13 or so People in need of chances is an exercise in traditional folk-song story-telling with contemporary structural elements. The record has a first half (nylon stringed guitar and voice), interlude (instrumental for found sounds and toy piano), last half (electric guitar and voice) and end (youth and hope). Sounds are used to narrate the songs and direct the listener into new settings while also allowing Vollmar to create pieces that are both surreal and expressionistic. Musically, he sounds simultaneously old (maybe Donovan or Townes Van Zandt) and new (maybe Warn Defever or The Microphones). Structurally, it may be said that the record has more in common with the experimental films of Stan Brakage or Hollis Frampton than with any particular musical artist of our time. And like J.D.Salinger’s 9 Stories, each of the songs are about separate people who collectively make a family of sorts. 12 songs exploring 13 or so characters, their weaknesses, vulnerabilities, and sensitivities in search of some glimmer of light. The discovery is that people are moving in different directions. Like label mates Drekka, Elephant Micah, rivulets, and static films, he is part of the Day2 Alliance family of artists, all exploring the joys and problems of community and placement through artistic expression. "Biography as base for poetics, in the tradition of Belle & Sebastian and The Microphones, the music is plaintive for the most part. Vollmar’s boyish voice has a quality that lends the tunes fragility, as if they could somehow fall into a hush at any moment; leaving the listener hanging between lines, yearning for the next image." – S.Lewis, Chicago Reader released 07 September 2004 Bluesanct (INRI074) CD = ltd to 1000 copies http://bluesanct.bandcamp.com/album/13-or-so-people-who-need-chances

#Vollmar #Bronze Float #Aurora Dorealis

VOLLMAR- Okay CD from the original press release: This is the third record from vollmar, the group/solo-artist from Bloomington, IN. These “Sorry Sue”, “Bus Stop”, and “Mtn.” songs as Justin Vollmar himself refers to them are placed with care to piece together a story when it’s there or give attention to musical themes when they feel more important. Sometimes both happen. What happens happens. We think this record is really pushing things. By splitting the record up into three recognizable sections, approaching the conceptual, denying its pretensions, and latching onto the moment vollmar are giving us the kind of honest representation we need in order to know music is alive. With an approach to pop and experimental music akin to the early albums of John Cale and structural elements informed by albums of Brigitte Fontaine and Areski like “Je ne connais pas cette home” or “Le Bonheur” vollmar are keeping the idea and the album alive in the digital age. In addition, vollmar has two lt. ed. seven inches and LP's respectively due to be out this year, has just returned from a full U.S. tour with John Ringhofer (Half-Handed Cloud and Sufjan Stevens Illinoisemaker), and has completed two European tours within the past year. released 21 November 2006 Bluesanct (INRI081) CD = ltd to 500 copies http://bluesanct.bandcamp.com/album/okay

#Bluesanct #Bandcamp #Vollmar #Bronze Float