#simon chisholm

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What I’m Listening To: Patrick Wolf, Josh Pyke, The Panics

By Simon Chisholm

Lupercalia – Patrick Wolf

I pre-ordered this CD on a whim. The single ‘House’ popped up on YouTube one day and I just went with it. What roped me in? Listen to the way he pronounces ‘conkers’, English accents get me every time.

This is a CD made up of such ridiculous pop music it may be carcinogenic. It is happy, upbeat and exciting right from the first measure. The instrumentation is made up of sampled sounds, real instrumentation, and sounds processed into oblivion. Instrumentation includes the typical pop line-up of piano, strings, bass and vocal layering. The harmonic change is dramatic and moving. The sounds tend to become more organic as the album progresses.

The vocal performance is strong. Wolf’s voice is deep and throaty and he executes with amazing diction.

Apart from the single ‘House’, highlights include the arrangement in ‘Armistice’, and the second half of ‘Time Of My Life’.

 Produced By Patrick Wolf. Released in 2011 by Mercury Records.

Josh Pyke – Only Sparrows

I invested in this release based on countless columns in free music magazines.

This album blew me away after the first listen. For some reason I had been overcome with a sense of peace, happiness and satisfaction. I was relaxed and excited at the same time.

This is the first time I’ve listened to Josh Pyke and I must say I was very impressed.

Pyke makes use of loops to build a groove and a backbeat, and then layers his folky acoustic guitar and sweet crooning voice over the top.

The story behind the creation of this album is that Josh went to New York to write and record as he wasn’t finding inspiration at home in Australia. This search and story really comes through in the poetry of the songs. There is a real sense of melancholy and hopelessness, forming into a feeling of frustration and finally starting to find a calling. These ideas come across both in the lyrics and the soundscapes created by the instrumentation.

Highlights include the single ‘No One Wants A Lover’, but you must give the whole thing a listen start to finish. It really is a good listen.

Oh and the CD case has rounded corners. 

Produced By Josh Pyke and Wayne Connolly. Released in 2011 by Ivy League Records.

The Panics – Rain On The Humming Wire

This is an easy to listen to rock album.

The raspy vocal delivers catchy, smoothly flowing melodies with seemingly effortless execution. Each line ends with a perfect cadence. The album’s lyrics revolve around story telling, aided by the movement of the accompaniment.

The instrumentation mostly acts as a backbeat playing the feel and groove of the track. The harmonic change is distinct and is defined by the bass guitar staying true to the tonic note of the chord.

The highlight of the record is the single ‘Majesty’ and ‘Endless Road’.

The Panics are:

Jae Laffer – Vocals, Piano, Guitar

Drew Wootton – Guitar

Paul Otway – Bass

Myles Wootton – Drums

Jules Duoglas – Vocals, Keyboards, Guitar.

Produced By The Panics and John O’Mahony. Released in 2007 by Drew Process.

[symonn]

Written By Simon Chisholm

‘Thistled Spring’ is Portland Oregon band Horse Feathers’ third studio album. Encompassing their indie folk style, Horse Feathers’ latest release sees them metaphorically thaw from their 2008 effort and embrace the changing landscape of the Spring.

Horse Feathers was introduced to me through the often-annoying ‘Recommended Videos’ sidebar on YouTube, while checking out Chaz Knapp’s band ‘Our Brother The Native’. I must have liked what I saw on that sleepless night, because not long after, I purchased the CD, without fully knowing into what I was investing. I would be lying if I said that was a terrible idea.

‘Thistled Spring’ is a chilled out, relaxing folk record that is sad and sombre, yet uplifting. It features dynamic melodies and accompaniment that are strangely hypnotic, lulling the listener into a comfortable state of mind. The songs flow easily from one to another, taking the listener along for the ride.

The layered instrumentation is sparse but effective. The layers build with the ebb and flow of the track, which is enhanced by the large amount of dynamic range. Harmonic change is used to create dramatic changes in the arrangements. It is the use of repetition of ostinatos that lulls the listener. The use of motifs on the piano and strings creates interest by providing accents, acting as a response to the vocal and moving the track forward.

The instrumentation has a very organic tone and includes; Piano, Violin/Fiddle, Cello, Banjo, some Percussion (Tambourine, Clicks, Crash Cymbals, Bass Drum, Glockenspiel), Acoustic Guitar, and Electric Guitar (Check the credits below for a full list). Each of the instrumental parts has a relatively simple part to play in each track, but in this case, the simplicity is all the more effective. There are a number of performance techniques used on each element of instrumentation, most noticeable on the strings.

Vocalist Justine Ringle sings metaphorically about love, springtime landscapes, drought and floods in his characteristic soothing, melancholy drawl. The vocal is not lazy, and it is not over dramatic. It is executed in such a way that keeps the listener engaged, without chewing up and swallowing the eardrums. Ringle’s voice has a strangely soothing tone colour. Counter melodies are provided by the strings, dancing around Ringle’s flowing vocal.

My overall thought of ‘Thistled Spring’ is that is just so relaxing. It’s like listening to the wind and rain tell you an epic story on a particularly refreshing springtime evening after hot, hard-working day and a hearty meal.

Horse Feathers is:

Justine Ringle – Vocals, Guitar,

Nathan Crockett – Violin, Saw, Vocals

Catherine Odell – Cello, Vocals

Also on Thistled Spring:

Sam Cooper – Banjo, Mandolin, Piano, Vocals, Harmonium, Accordion, Violin, Percusion

Lisa Molinaro – Viola

Victor Nash – Trumpet, French Horn

Released in 2010 by Kill Rock Stars.

[symonn]

  Written By Simon Chisholm

James Blake is a British electronic producer and songwriter. After a number of E.P releases and rising fame, he released his self-titled LP in early 2011. I was introduced to the post dub step sounds of James Blake when my brother showed me a beautiful live performance of the song ‘Wilhelm’s Scream’ at the BBC.

James Blake creates sparsely textured sound-scapes using slow throbbing electronics, processed sounds, synthesisers, percussion and vocoders. The textures vary subtly based on the mood; the vocal and accompaniment layering define the arrangements.

The grooves and sounds are disjointed in some places, and at times the songs are harmonically dramatic. The overall sound is chilled out and easy to listen to. Being an electronic producer it’s only natural for Blake to make use of House-like beats and coincidentally house-like grooves. The backbeats feature some rather severe rhythmic pieces, most likely achieved through directly editing the waveform, and sampling. This severity gives some of the tracks a rigid, disjointed feel, and other times the accompaniment is relaxed and free; the contrast feels refreshing.

Blake delivers his vocals in such a way that it sounds like crying; there is a sense of strain and desperation. The melodies are sung at the top of his range, but not falsetto, giving that strained sound. The main body of the songs consist of vocal layering. The lyrics are simple, making use of repetition, layering, flowing melodic contours and melismas (one syllable sung over more than one note).

The main accompanying instrument is piano, whose performance is very dynamic in it’s use of volume, attack, flourishes and relaxed feel. At times the piano takes on a classic ‘pop’ role. Other accompanying instrumentation includes elements including clicks, pings, slaps, shakers, noise, and various sampled percussion sounds. There is a sense that a lot of the performances were derived from experimentation with sound and manipulation. The use of electronic sounds promotes interest in the backing tracks.

‘James Blake’ released in 2011 by ATLAS. Produced by James Blake.

[symonn]

Written By Simon Chisholm

I’m not a huge rap fan. Most of the hip hop we are bombarded with on the mainstream is about clubbing and ‘bitches’ and the whole thing just makes you ill. Steve Liriks’ LP ‘Pardon Me I’m Going Thru A Phase’ was recommended by fellow ‘What I’m Listening To:’ Reviewed Chaz Knapp, who also contributes to the accompaniment. Steve Liriks has created a rap/ hip hop album that is easy to listen to, and does not leave the listener wishing death on anyone who takes part in the making of ‘beatz’ and ‘spitting lyrics’.

The first thing I notice about Steve Liriks’ music is that its not a conventional four-on-the-floor back beat. There is actually some substantial instrumentation in the loops. The beats are groovy, using swing, and laid back feels; accents are syncopated. The beats aren’t overly complicated, they are only busy enough to serve their purpose, lay down the groove and keep the track flowing.

The instrumentation is fun. You get the impression that he’s spent time playing around and having fun with synthesizer sounds and effects. The fact that the sounds used aren’t conventional in a mainstream sense makes them interesting. The opening track has that futuristic sound typical of oscillating whirring synth sounds, and sawtooth leads. The accompaniment isn’t only electronic, there are some cool acoustic drum beats as well. Also, Chaz Knapp contributed some accompaniment arrangements for a couple of tracks.

Lyrically, Steve tackles themes including social commentary, dream chasing, philosophic life lessons and serious world issues. Setting him apart from a lot of rappers is his seriousness in lyric writing; Steve is not joking around, he is not trying to funny. Something that I admire in Steve’s performance is the high level of difficulty in which the syllables are phrased. The rhythm and phrasing of the words perfectly flows with the groove and is delivered with extremely clear articulation and diction; and he takes breaths somewhere in there too.

As an added bonus, “Pardon Me I’m Going Thru A Phase” is a free online release. You can download it here:

<http://www.djbooth.net/index/mixtapes/entry/steve-liriks-pardon-me/>

My favourite track is ‘World Ends’. For it’s message and the dramatic instrumentation and arrangement. This track is a fulfilling way of finishing the album.

[symonn]

Written By Simon Chisholm

Easton is a band made up of a group of friends. It’s a project that is ongoing, a fun interim between the busy lives of it’s members. ‘H & H’ was released independently in the US summer of 2010. I was drawn in to this band by Elliot James, a former member of ‘Hey Monday’. This is a collaboration of five talented and passionate guys doing what they love, and loving what they do.

The first interesting thing about this E.P. is in the title, ‘H & H’. Looking at the track listing we notice that there is two tracks entitled ‘H’. As dramatic, film inspired instrumentals (an introduction and an interlude) the ‘H’s act like bookends, separating the tracks and also cleansing the ‘auditory pallet’. This interesting concept lends the song titles to the name of the E.P. ‘H & H’. An interesting concept.

The production and engineering on this release is fantastic. All of the elements are full sounding and strong. The songs have been crafted to allow each member to show skill. Each instrument plays interesting parts that compliment each other and contribute to a thick, full, busy and moving texture.

I love the drums sound, it is sharp and full. They manage to fill up a lot of the texture. They are very busy, playing beats that utilise most of the kit and smashing out copious amounts of fills. Elliot’s drumming is most definitely the backbone of the tracks.

The bass is strong and powerful, supporting the groove supplied by the keys. The keys and synthesisers add a lot of ornamentation, and flits in and around the other instrumentation without getting in the way.

All of the tracks are likable and are an enjoyable listen. The songs are high energy and fast moving, with a sense of urgency in the vocal style. The boys make use of interesting rhythms and grooves, creating catchy hooks and danceable anthems. There is constant movement in the harmonic change, using altered riffs and passing notes. There is some evidence of experimentation with sounds and electronics in ‘H(1)’ and ‘H(2)’

The acoustic and bonus tracks are a nice inclusion, filling out the E.P. and adding interest and highlights to the dynamics of the band. The B-Side ‘Bittersweet’ is a track that contrasts to the rest of the songs. It features a number of vocalists, who I assume are all of the band members and possible guests.

Easton are:

Elliot James, Marc Ryan, Chris Martin, Skyler Mondell with help from Jeremy Michaels

Released Independently in 2010. Produced by Easton and Co-Produced by Matt Laplant.

Get H&H here: http://easton.bandcamp.com/

[symonn]

Written By Simon Chisholm

Emma Louise is a young independent artist from Brisbane. Her folk pop tunes are mind blowing-ly beautiful. At only 19 years old Emma Louise has already achieved more that us ‘bedroom musicians’ could dream of. At 15 she had already won two Q Sing Awards for her song writing, and she has played support for aussie heavy weights Sarah Blasko, Bob Evans and Boy and Bear with upcoming support for Josh Pyke. This release marks the next step for this young singer songwriter, and is the first of many more to come.

Emma Louise was suggested to me by a friend, and boy am I glad he made that suggestion! This E.P. is captivating from start to finish. These four songs take you on a ride over galloping melody lines, emotional tensions and breezy textures.

Emma demonstrates a large vocal range. Her galloping, free-feel approach to the melodies is playful. The freedom of the vocal is perfect. There is a complimentary mix of chest voice and falsetto, and it’s a good falsetto! ‘Bugs’ boasts some beautifully airy backing vocal ‘ooh’s’. There is some creative use of lyrical repetition.

Emma Louise has crafted the songs with an uncanny way of matching lyrical tone to the instrumental and  harmonic tone. One of these ways includes varying the textures when the vocal enters and exits.

The accompanying instrumental performances are skilled and well executed. Within the instrumentation there is a large amount of dynamic range, meaning that the ebb and flow of the music is both more dramatic and more complimenting of the tone of the tracks. The percussive elements littered throughout are fun, and well placed.

The standout track for me is ‘1000 Sundowns’. This was the track suggested to me. Historically, this track has stuck with Miss Louise since her time at high school. It is slow, sad and moving. There is an electric guitar arpeggio accompanying a symmetrical vocal contour. The harmonic movement of the track seems to have a swaying feel to it. The song is about a lost love, and Emma really gets into the mood, the vocal is strained and you can really hear the pain in her voice.

Overall, the E.P. is populated by honest, heartfelt, easy to listen to compositions. After listening you are left relaxed and smiling. The only bad thing worth mentioning is its too short! I await the next release with interest. Kudos Miss Louise.

‘Full Hearts & Empty Rooms’ released independently through MGM in 2011.

Produced by Mark Myers.

[symonn]

Written By Simon Chisholm

Ari Herstand is an independent multi-instrumentalist singer/songwriter based out of L.A. I came across this track somewhere on Tumblr. It was accompanied with a caption something along the lines of ‘love this song’, or ‘so me right now’, which piqued my interest. What are social networking sites for if not to share music that moves us?

This is one of those truly beautiful songs that stop you in your tracks. The overall effect of the track is relaxing and emotionally moving. The mix is very spacious and airy, which supplies that element of relaxation.

The song tells the story of a relationship. It is a melancholy recount of the trials and tribulations in the search for love. The lyrics  communicate angst, frustration and heartbreak. The track concludes with our protagonist showing acceptance.

The instrumentation is sparse. The main instrumentation is the vocal and piano with a steel string acoustic guitar. As the track progresses, the texture and intensity builds with the aid of adding instruments. We hear a string interlude and a weeping accompaniment, as well as a female vocal and, towards the end, a classic rock band. The piano motif in the conclusion of the song is pretty. It is nicely timed and executed.

Ari’s vocal is almost strained. It sounds as if Ari is in pain or trying to sing quietly so as to not wake someone. It has an intense, breaking quality that implies emotion, that he is choked up over the events he is recounting.

Deep underneath the mix is a low rumble and click, what I would identify as the sound of a vinyl record. The quality that give a vinyl record its ‘warm’ sound.

The arrangement, instrumentation and movement of the track mimic the turmoil and emotion of the relationship. As the story unfolds the track builds into full rock band instrumentation including groovy electric guitar solo. The arrangement is a progression. The structure is made up of a number of different sections building to the conclusion. I’ve labelled them thus: Intro/ Passage 1/ Interlude/ Passage 2/ Build-up/ Conclusion.

The performance is not virtuosic, but it is crafted ingeniously from start to finish.

Sit down and listen.

Ari is known for his live looping performances, check out the one below.

‘Your Eyes’ appears on the album ‘Whispering Endearments’ released independently in 2008 by Proud HoneyBee Productions.

[symonn]

Written By Simon Chisholm

I came across the amazing Chaz Knapp after stumbling upon a series of video works entitle “50 People One Question”. I was so moved by the soundtrack he had provided for the work ‘London’ I went searching. The piece on the London video is entitled ‘Célébration à une Nouvelle Vie’, and can be found on the free online release ‘Vie comme un Parasite Faisant la fête’.

Chaz Knapp is one of those artists who has an impeccable knack for creating beautiful music. He has used very simple instrumentation to create moving sound-scapes that leave you relaxed, calm and excited for more. This album revolved around a piano, with violins and cello swaying around the motifs.

The compositions seem to revolve around a theme and variation style of structure. There is an overall theme and tone to the compositions, and as they progress countermelodies and variations swim around the central theme. Sections are formed through this repetition and theme building. The songs flow effortlessly, changing and taking shape almost unnoticeably. This use of repetition and variation creates movement. The ebb and flow of the songs strike visions of a creel running over pebbles, of swaying trees and falling leaves.

The songs seem to be made up of harmonic progressions that mysteriously never seem to end. The repetitions are hidden amongst the countermelodies.

Knapp has used sounds and instrumentation that are not of the traditional studio ‘perfect’ quality. These organic sounds are far more real than sound recorded ‘properly’ in the studio. You can hear imperfections on the attacks and in the room reverberation. These ‘imperfections’ are not errors. They add to the organics of the sound. The ‘imperfections’ are, in fact, ‘perfect. Knapp has also made a creative use of a click track or metronome and static as  percussive devices.

You can feel the striking, resonating sounds in your whole body. This release works well as background music, and is enjoyable to listen to with full attention. I find that I do not want to write about this music, I would rather sit back and enjoy listening to this truly wonderful work of art.

Close your eyes and let the music take you away.

My favourite track is ‘Célébration à une Nouvelle Vie’, which is featured on the Fifty People London video.

Fifty People One Question – London – Where Do You Want To Wake Up Tomorrow?

Released online in 2008.

Available for free download here: http://www.archive.org/details/ChazKnapp-VieCommeUnParasiteFaisantLaFte