TYCHO
Princes Street Stage, 6.35pm
Sophisticated in sound and appearance, Tycho were the perfect act to mark the translation from late afternoon to early evening. Their lush, ambient instrumental rock almost flowed from the stage out onto the audience, like a wave delicately crashing onto a shore. The fresh feel of their work was effortlessly recreated, from the clean guitar in ‘Awake’ to the serene and sprawling synth of ‘A Walk’. In addition to the refreshing sound that Tycho are well known for, the audience was treated to a range of visuals projected on the screen behind the stage. Boasting a variety beyond imagination, from extra terrestrial imagery to expansive landscapes to clouds floating by in a California blue sky, letting yourself get lost in the experience was like a breath of fresh air. JEAN BELL
AURORA
Rotunda Stage, 4.30pm
Lithe in appearance and eccentric in character, AURORA seems more like a fairy than human. The aesthetic of the set was otherworldly with a misty forest scene lit up on the projector, complimented by AURORA being clad in lacy clothes reminiscent of medieval royalty. Looking like some kind of elf princess, her stage presence was theatrically energetic and expressive, and she earnestly expressed her delight at finally playing her first gig in New Zealand. AURORA’s enchanting talent as a vocalist was clear, often backed by three members of her band who offered delicate and soaring harmonies. Despite the heat the crowd was up and dancing and when the set came to an end, AURORA breezed off stage to the applause of a content crowd. JEAN BELL
Read more: http://www.undertheradar.co.nz/news/12148/Live-Review-Laneway-2017.utr#ixzz4XKZts7pS
Apparently as a kid i was always singing or humming away at something. I began singing lessons when i was 6 yrs. Musical theatre and music in general played a big part in my up bringing.
You’ve spent some time in Berlin…what was that like? Has it changed the way you make music? What’s the Berlin music scene like?
Of course Berlin changed me. How could it not? The music, the people, the environment ~ was the change I needed as an artist and as a person. Being in AK for too long can make you feel stuck sometimes. Berlin is the Electronic Music Capital of the world ~ thats what really caught my heart. The scene is alive over there. House music aint never felt and sounded so good.
Who or what inspires you, both musically and lyrically?
Everything and anyone. I like to think i have a broad perspective when it comes to what inspires me because Im constantly evolving too. My friends and family inspirer me ~ I like to have prolific, hard working people around me because they keep me on my toes.
How do you find performing and singing rather personal lyrics?
Its all part of it right? Thats what I believe being an artist is ~ We call it how it is. Dig into our darkest memories and share them with people we don't know, in the hope that they'll feel something too. Its about channelling a moment or an emotion and putting it into words or a melody. I often find that if I don't give my whole self to a song, I wont make it through vocally. Because, real talk, its the emotion that gets you through. I ain't afraid to be vulnerable in front of an audience because they my memories and my songs and i'm telling the story.
How would you describe being a solo female artist? Do you think this has had any impact on your work?
I love being a female artist, Ive had a very positive experience so far. I feel this is a trick question, in saying that, If you manifest negativity then thats what life will throw you. Male or female. Ultimately is about work ethic and wanting something enough to make it happen.
How would you describe your creative process?
Im still processing that.
How has it been working with the Fly My Pretties collective?
V lit. ~ I've certainly learnt a lot about myself. I feel honoured to work along side all the FMP legends. You have to remember I was in high school when they were dropping records left right and centre. So its pretty surreal.
What are your future plans?
Music. Travel. Evolve. Repeat.
A Girl Named Mo Interview
How did you guys each get into music? How’d you come to be in a band together?
I’ve been playing guitar and piano since I was 10. I come from a very musical family. I’d started writing my own music at 14. Started putting music to SoundCloud when I was 23… So I guess making music has always been a favourite past time. Two years ago I met Slade though his then girlfriend (now fiance oooooOOOOOoooh!) Olivia and when it was just Slade and I we had kind of a weird set up with a loop pedal and guitar… Very strange. It wasn’t the live sound we wanted. So Slade brought on Marcus who played an Octopad Electronic Drum Kit and once Marcus was in the mix everything fell into place.
Mo, how would you describe being a woman and the lead singer of a band?
Lets just say Slade and Marcus have very good partners who have trained them well to work with me. Jokes. Its different for every band. To me, being a family is very important to me. We keep each other in line - we are honest and up front. We challenge, annoy each other at times but for me I feel like one of the guys - and actually - there are times where they feel like two of the girls! Anyways, I love those boys. Disagreements are only ever over the music itself. Nothing personal, strictly business. Also, perhaps, as a woman (and I use that term loosely), I am very nurturing. Health and wellbeing and happiness is very important to me. I try to look out for the boys in that sense. I prioritise that.
What’s your creative process like? How do you guys get from having an idea to a finished song?
2 times out of 3 I write the music. Words, melodies, phrases, beats appear in my head all the time. I bring that to the group. Slade and Marcus will have their ideas about it - usually I will have the borders of the puzzle, Marcus and Slade fill it it. Other times Slade writes a beat that Marcus will learn and I write lyrics over.
Tell us a little about your lyrics…
I write all our lyrics. I love to write. I just love it! Its my favourite part of songwriting. I love to read a lot too. I have a wonderful boyfriend always giving me interesting books. From 19th century Russian Literature to Scar Tissue - that Anthony Keidis biography… I’m always remembering phrases that pop out for me. In that way I’m a bit of a literary magpie. Books, theatre plays, articles inspire the lyrics.
What’s on your mind when you’re performing?
I’m trying to feel what I wrote. I’m trying to take myself to that moment.
How has it been working with the Fly My Pretties collective?
Its been scary and intimidating to be completely honest. At times its been overwhelming. After shows sometimes I need to go for a walk by myself just to clear my mind. The lights, the glitz, the attention along with the creative demands and the high standard - its incredibly demanding. It’s no walk in the park - but having said that it’s a riot and I have to pinch myself sometimes just playing with my NZ musical IDOLS. Lots of fun.
What is your intention when making music?
I want to make music people can swoon to. I hope to create conscientious music that will take people far away without ever feeling homesick. I want to make music that is true to something I felt at whatever moment. Truthful music.
What are your future plans?
The World. Just to keep playing music and to stay grounded while being on the up and up! And also building really good side-careers outside of music is important for the future. And having families and strong relationships. Yeah but a fulfilling career especially when no one cares anymore is in the plan. I’m an actor. Marcus finished his masters in Public Health. Slade is into computer engineering. We’re pretty smart cookies. The future is bright.
Ills Winter Interview
How did you get into music?
I’ve been writing & playing music for as long as I can remember. It’s a true obsession.
Where does the name ‘Ills Winter’ come from?
Well, it’s quite simple, I was very ill and had some long winters. Kind of melancholy but what art doesn’t come from a bit of deep valley pondering? I’m much better now.
You’ve worked quite a lot with your husband Emile in the past – what was this experience like? Do you feel it had any impact on your music?
First day I met my husband he went out and bought a guitar, I didn’t know he wasn’t a guitar player or a singer - he wrote me a song and sang it to me, it was beautiful. I booked us a gig at some place a few days later, poor guy, it was a hardcore kind of straight edge gig & we were a bit out of place but everyone was lovely and we performed and it was cool. I didn’t know he was winging it. I think I fell in love with him straight away, he’s a brilliant musician and wonderful producer and man of many talents, so yes of course he’s influenced me as I have him.
How would you describe ‘Duchess of Whispers’?
It’s a piece of my psyche from a dreamer’s perspective. It’s about being an artist and what artists go through.
Your music feels very emotional and the lyrics are quite intimate. Who or what inspires you, both musically and lyrically?
I’m inspired mostly by people. Most I meet that have made an impression on me find their way into a song. Actually I just wrote a song inspired by an odd woman who came up to me in Newtown the other day. She wanted to lean on my shoulder when I was standing in the rain waiting at the traffic lights. She had an air of angry, so I let her. I really loved her insanity. I look forward to sharing that song in the next album.
How do you find performing and singing your lyrics?
I really love performing, but it’s also kind of terrifying if I’m honest, I get ridiculous stage fright sometimes, not because I don’t think I can play or anything. I think it’s because I can see all the things that could go wrong.
That all disappears once I fall in love with the people in the audience and anyway that’s the nature of live performance. I’m just a bit shy but I’m working on that, I’m a tiger underneath.
What’s your creative process like? Do you write lyrics then music, or what’s the process when you write a song?
I write lyrics and music at the same time, that’s why I like to always have the studio ready to record so the song doesn’t fly away before I’ve trapped it.
What is it like being a female artist in the music industry? Has this had any impact on your work?
Well some people think having a vagina really affects my guitar playing, did you know that the vagina controls how much practice one puts into shredding licks?
How has it been working with the Fly My Pretties collective?
Wonderful! It was cool seeing all the songs come to life in just a few days. I’ve made some good friends and looking forward to the summer tour.
If you could give your past self any advice, what would it be?
Don’t bother with Tom, Dick or Harry.
What is your intention when making music?
To make something good musically, that’s honest to my state of mind at the time and interesting. Sometimes I’ll write a song to comfort a friend even if they don’t know it.
What are your future plans?
Travel the world playing music with my band. Work hard, keep doing what I’m doing until the jig is up. Also learn how to play a medium sized harp.
Busker turned studio artist Graeme James has just released his debut album, News From Nowhere, consisting of a gorgeous collection of upbeat and string-focused folk. Having recently been in Auckland filming for TV show 7 Days, Graeme will be back in the smoke soon and is booked to perform at The Wine Cellar on the 22nd of October.
What have you been up to lately on the music front?
Well, I have just released my debut original album, News From Nowhere! Excitingly, it entered the NZ Album Charts at number 5, and we are currently touring it around New Zealand and Australia.
How did you get into music? What was your first record purchase?
My first record purchase was a cassette copy of ‘Californication’ by the Red Hot Chilli Peppers which I rocked on a prehistoric Sony Walkman when I was about 11. I first started playing the violin when I was 7 years old. It’s a terribly unforgiving instrument when you are starting out so my parents had to put up with a lot of terrible practice noises for years!
Did you ever imagine yourself being a musician?
Yes and no— as soon as I first picked up the violin I wanted to play professionally as a classical musician. I practiced for 1-2 hours a day for a long time but gave that dream up when I left highschool due to some shoulder issues. I can honestly say that I never thought I’d end up coming back to music as a career, in fact I tried a whole bunch of other things before I ended up right back where I started.
What musicians do you admire? Why?
There's a few musicians whose work consistently amazes me— Sufjan Stevens, Jeff Tweedy (from the band Wilco) and Josh Garrels stand out in particular for their ability to create album after album of incredibly clever, thoughtful songs. I think in general I’m inspired by music that has a real visual element to the songwriting— a good lyricist will write music that you can ‘see’ if you close your eyes.
What are you main inspirations and why? What feelings/experiences inspired the lyrics?
I try to take inspiration for songwriting from a wide spectrum of life experiences. My favourite albums are ones that have a whole variety of themes and emotions running throughout them. The trouble as a songwriter is that you often feel like songwriting when you are experiencing intense negative emotions and it can be a genuinely cathartic experience. It’s a bit different when you’re feeling happy— you tend to want to go and hang with people and pat some dogs. But if you only write songs when you’re feeling down then when it comes to releasing an album it can end up being a whinge-fest. So I try to make sure I’m taking inspiration from all sorts of life experiences. I'm also pretty interested in philosophy, sociology, theology, history -basically the ways in which we frame our reasonably short existence— so I those themes sneak through every now and then as well.
What was the experience of busking like? Did you ever imagine you’d end up doing that?
My dad actually took us out busking when were pretty young, and initially I was petrified— how terrible would it be if someone I knew saw me! In the end that experience was incredibly helpful- it got me out there and giving things ago. The good thing about busking is that you don’t really need a lot of things together to start and there’s not a whole lot of planning to do— you just get out there! So in that way it was a great entry into the musical world as a solo artist who was just working it all out. I do still do a spot of it, and it is still one of my favourite ways to perform. It is entirely unpredictable— no two days are the same, and you meet some amazing people. A real highlight was the street parties that developed over summers in Queenstown, playing under a lamp down by the lake— they were absolutely magical.
What do you find most rewarding about performing/making music?
By nature I’m a performer so it’s really helpful to have a legitimate outlet for that. I I also find it especially rewarding having the opportunity to meet great people and make genuine connections all around the world.
What’s your writing process like?
A lot of the album was actually written on the street— I’d come up with a jam on the loop pedal while busking and then record it on my phone. That worked well for me because I tend to start with the music and then slowly develop the lyrics over time. The street is also a great place to test ideas— people’s reactions to songs are always pretty clear— they either hang around or keep walking!
What advice would you give to your 18 year old self?
Think more about other people— you are not the centre of the universe.
What musical advice would you give to anyone interested in pursuing music?
I'd say that having the right expectations helps. Shows like the X-Factor make people think that if you stand up and make a noise all the world is going to fall at your feet in adoration. The truth is that there are so many genuinely amazing albums produced every year that get little to no attention. So if you do manage to build a following- no matter how small, don’t take that for granted. Also do your best to try and treat people nicely— obviously your fans but especially other musicians— the music industry in NZ is far too small to be sowing a lot of bad seed.
What future plans do you have?
As I mentioned earlier, I am currently on tour around New Zealand and Australia which is really fun. I will be playing in Auckland on October 22nd at The Wine Cellar with Albi and the Wolves. Over the summer I will be playing at a number of festivals around NZ and Aus including Rhythm and Alps, and all going well, we will head over to Europe next year for a few shows!
Tickets to Graeme’s gig on the 22nd October at The Wine Cellar are available through Eventfinda or www.graemejamesmusic.com.
Odyssey is the debut release of up and coming act After ‘Ours, the project of duo Michal Martyniuk and Nick Williams. Both established musicians in their own right, After ‘Ours was a fun and carefree venture for the pair. To learn a bit more about the guys, check out Craccum’s interview with the guys in this issue.
The duo incorporates into their work a diverse range of sound with artistic flair. Consisting of a finely-tuned fusion of jazz and hip hop, at times with a hint of an electronic undertone, there is a track for every mood here. From the groovy synth and pulsing percussion of ‘Spiryt’, to the mellow, yet rich, saxophone solo of ‘Gordon Blues’, every song has something unique and special to offer. The work feels cohesive with its consistent, yet never monotonous, sound running throughout, with each track flowing from one to another. The work feels collaborative to its core, with a range of vocalists each showcasing their unique talents.
When a record is said to be in the making for 5 years, one may begin to suspect that the album produced will be overdone and excessive; a kind of situation where too many cooks spoil the broth. However, After ‘Ours have proved to be a brilliant exception to this, with Odyssey sure to be a winner, with its positive vibes making it a perfect jam for the coming summer months. Odyssey is proof that more often that not, good things just take time.
Fresh and exciting new act on the scene After ‘Ours have accomplished much in their short time in the spotlight. Their premier album Odyssey, which fuses an eclectic mix of hip hop and jazz, was quietly released to overwhelmingly positive reviews in mid September and since then have their music video for their single ‘Be Around’ featured on MTV Australia. A couple of days before Odyssey was released, the guys had a yarn one sunny afternoon over some coffee and beer about the album.
Nick Williams and Michal Martyniuk form the core of the band and are both talented musicians who had their passion for music cultivated from a young age. Nick’s forte is drums, something he showed a natural talent for. “My parents were into music, and it was all around me,” Nick says, “I got a drum kit and started smashing that.” Michal, whose grandfather is a classical piano player, started playing piano and listening to music at a young age. “I remember my dad gave me my first record, and I chucked it on CD where I left it there and listened to the same album for four years.”
Both mention Steely Dan as a significant influence, with Nick highlighting acts such as J Dilla, Robert Galsper, and A Tribe Called Quest as sources of inspiration for the album. “We weren’t trying to sound like anyone but I wouldn’t say our stuff is completely new or original,” Nick explains, “The way I see it is modern old-school. So kinda doing the stuff we love which is an older style of music, but it’s got a little bit of a modern touch on it.” As evident in the range of sound offered on the album, Michal tried to include a mixture of genres in the album – “Sometimes you can get bored of jazz or pop album so we wanted to mix it up. From classical to techno, I’ve tried to find good things in every genre of music, and we mix it all together into different songs.”
The album is refreshingly collaborative in nature and includes creative input from multiple other vocalists and musicians. These artists bought their own influences to the work as well, with Nick and Michal giving few specific instructions on what the two wanted. “There was a common feeling and positive vibe towards the album,” Nick says. Some of the lyrics were penned these featuring artists, such as on the leading single on the album “See The Light.” Written by vocalist Kevin Mark Trail, Michal adds, “Kevin wrote lyrics about being positive, and about how the song felt at the time.”
Odyssey did take five years to complete, but it never felt like slogging away. “It was a musical journey. It wasn’t that we had an album that took five years to record, its that it evolved along the way,” Nick reveals, “It happed naturally and we didn’t force it.” With no time frame set to finish the album, they never felt pressured to rush it. “It was always fun and kind of an escape from other work,” says Michal “It was something we could do for fun, not money.”
Adding to this, Michal says they wanted a record “that we would be happy with it in ten years.” While the recording process was relaxed and exceptionally enjoyable, the two are serious about their craft and are self-confessed perfectionists. “We were aiming for everything sounding like it belonged and didn’t want to let it go before it was one hundred per cent,” Nick says. The pair took advantage of the self-directed recording process by taking the time to meticulously craft their album. “Sometimes we’d record a piano part then replace it with guitar part because it added to it, just little things like that,” adds Michal.
The pair has garnered much wisdom along their way, offering plenty of advice to anyone wanting to give music a go. “Learn as much as you can from other people,” Nick recommends, “and ask yourself: what’s your intention? What are you trying to say in your music?” They believe having some focus in your work is a good idea, with Michal saying its good to have a message or intent in mind “I think you have to believe in it to feel it in the music as well.” Michal recommends working hard as the this dedication will pay off – “Not just working, but know what you’re doing and working towards a goal. And party hard.”
So where from here for After ‘Ours? Michal says its up to how the album is received; “We’ll leave it up to people. If we get a good response we’ll get a band and start touring, and if not we’ll try to record another album to follow up and see what happens. We’re already writing stuff and will always be doing music, but we’ll see what people want us to do…perhaps a punk rock After ‘Ours?”
To give Odyssey a listen, search them up on Spotify, Bandcamp, or iTunes.
The kiwi rockers have just wrapped up a nation-wide tour spanning the length of the country to herald the release of their first single in two years, ‘Help Me’. This new single shows the undisputed masters of energetic and lively indie-rock effortlessly incorporating a fresh blusey sound into their work.
The hard working bunch of lads released their sophomore album Nobody / Everybody in early 2014 and whizzed around New Zealand on tour before popping over the ditch to grace Australia with some shows. Since then, they’ve set to work and continued to work on new material for their album.
Before the group headed off on their recent national tour, Craccum had a quick chat to guitarist Dave Rowland.
Originally known as Band Theft Auto, the band was formed by three high school mates in Christchurch. Dave recalls CCR’s first gig as having the potential to go either way; “Steve our singer was a real quiet guy and we had no idea what he’d be like when he got on stage. But when we hit the first chord it was great, a pleasant surprise.”
While their lives now revolve around music, the guys wouldn’t have thought they would end up in music; “None of us took music at school,” says Dave, “we kind of fell into it. We decided to play some live shows which went really well and decided to make the most of it.”
CCR’s upbeat and carefree sound makes sense when Dave names acts like John Lennon and The Kinks as some of the influences of the band; “We like their style of writing – short, snappy songs and really catchy lyrics.” Compared to their indie-rock orientated earlier work, new single ‘Help Me’ really shows this Lennon vibe. “We never want to try and pigeon hole ourselves by churning out the same stuff over and over again,” Dave says, “You learn a lot more as you go along, learn how other people write. The best way to write is to learn lots of different ways to approach things, so if you get stuck doing one thing you can approach it in a different manner.”
The band shares lyric writing duties, with Dave having a hand in the lyrics to their new single ‘Help Me’. He describes the song as being about isolation, a place where “most people end up at that point and that’s what inspired the lyrics.” The band is dedicated to delivering a genuine performance; “Steve will be quite particular with performing my lyrics, I understand that because he’s the one who has to deliver it. If he doesn’t get something he has to get it before singing the lyrics”
Playing gigs has been an interesting experience, with Dave recalling how the band “did a small show in Hamilton and a sixty year old man up the front did the splits in a pair of jeans….and old man jeans don’t have stretch in them.” Despite their riotous (puns, anyone?) live shows, the guys behind the instruments are proper gentlemen – “we signed a boob once in Christchurch. It’s the kind of thing you don’t really want to do it, but its kind of a bucket list thing. It wasn’t a pleasant experience and I wouldn’t do it again. I think that when you envisage it as a teenager you think it’s going to be the most awesome thing.”
For any of y’all toying with the idea of pursuing a musical career, Dave suggests you do it for the right reasons; “do it because you love doing it, not in the context of being rich and famous.” As with any career, there are ups and downs, but definitely lasting highlights; “It’s awesome as well when you see people who are inspired by what you do.”
So, what’s next on the agenda for Clap Clap Riot? The lads will continue working towards releasing their new album in 2017 and touring, with another single due to be dropped before then. Keep an eye out for any news on the band, which is sure to come –“everything’s lined up and it’s all go from here.”
65daysofstatic - ‘No Man's Sky: Music for an Infinite Universe’
65daysofstatic is an instrumental post rock, or for the more genre-meticulous, math rock band who have released a number of albums. This latest release however, marks the band moving into new territory – video game soundtrack scoring. The game No Man’s Sky is massively complex, being algorithmically composed as the game continues, allowing for an incredible 18 quintillion potential planets for the player to discover.
It has clearly been made as a soundtrack as the work feels incomplete at times when listened to on its own. The epic tone of the work is vaguely teasing in that it is invigorating but without the game in the foreground there is with no outlet or direction for the energy synthesised. The leading track ‘Monolith’ builds upon ominous and abrasive guitar resonances punctuated by jagged percussion before exploding with disjointed synth that quietly retreats, leaving you feel like you’ve just won a boss battle but passed out during the peak action of it. As with any soundtrack, a range of sound is employed, offering a dynamic and engaging listening experience. Shrill yet echoing ambient notes characterise ‘Hypersleep’, offering a moment of respite after the intense finale of ‘Red Parallax’.
To produce a soundtrack that could equal the seemingly limitlessness of the game might appear to be an impossible task but 65daysofstatic have created a soundtrack that will provide an excellent cinematic-like accompaniment. However, while it is certainly impressive No Man’s Sky: Music for an Infinite Universe illustrates how a game soundtrack sometimes is a bit hit or miss for standalone listening. If you were actually playing the game and the action was starting to heat up then the intensity of the work would be perfect, but on its own it feels excessive. Having said that, game soundtracks supposedly make excellent study music as they encourage you to concentrate, and I admittedly did feel pretty on point writing an essay with this in the background.
Electronic and classical music are bought effortlessly together in 5/8, the new EP released by Auckland-based musicians Levi Patel and Suren Unka. The two producers have collaborated with artistic flair, producing a record that they describe as cinematic, minimal house music. 5/8 feels like a multi-dimensional soundscape where Suren’s refined electronic vibe meets the ambient instrumentals of Levi in perfect harmony.
Craccum managed to sit the lovely two guys down for a quick chat about their work and upcoming EP release party.
Did you have any main influences or inspirations when making 5/8?
LP + SU: Music that inspired this project is stuff we both listen to like Jon Hopkins, Bonobo and Kiasmos. In particular, Kiasmos was a big one as one of the members is an electronic musician and the other does strings and stuff so it’s similar to our dynamic.
Because you both have different styles and previously worked in different genres, was it ever challenging to work together?
LP + SU: It was extremely easy. Coming from making solo music before where you’re on your own, then working together means if one of us gets stuck we can just pass it off to the other person and ask for help. We both have similar taste in arrangement, writing and the sound design side so if one of us has an idea then the other is on board.
Has making music together changed your appreciation of other music and styles?
LP: It has for me. I’ve heard and liked a lot of things in Suren’s music before and his process was kind of like a black box to me. He came up with an idea, and then went on his computer or synth and out came this great sound. Now I’ve seen more behind the scenes and see how he approaches things differently.
SU: Same with me. Piano and strings are having a big influence on what I’m making at the moment.
LP: He’s helped me not to be such a crazy perfectionist. I’ll get ninety-nine percent the way there and then I’m like “it’s not done” and Suren is like “I’m cutting it off” [laughs].
What do you guys find most rewarding about making music?
SU: Most of the satisfaction comes from making something new, but also the feeling of making music. Its really rewarding when what you’re feeling comes out in the music you’re making and is preserved in a song.
LP: What I find is really satisfying is when you create something that has a feeling which is enhanced when you record and listen to it. Once the work is recorded you can put a little bit more into the music and get a better expression. It’s also very exciting at the very start of writing something and it expresses what you want it to. There’s reward in the other parts as well, like refining and mixing it well.
Any advice to anyone who wants to get into making music?
LP + SU: There’s no fast easy way, just start doing it and keep making as much as you can. It also helps not to over think things. Don’t worry about what you think people want to hear, make what you want to listen to. When you start out it’ll be hard to get the sound you want, but if you keep working at it you’ll get closer and closer to what you want to listen to.
5/8 is out now on all digital platforms. To see the talented duo in their element, head along to their EP release party on 20th August at LOT23. Tickets available through UnderTheRadar or search Levi Patel and Suren Unka on Facebook for more information.
Metronomy is a British electronic pop group hailing from Britain. Formed in 1999 by lead member Joseph Mount, Metronomy has released a range of original material in addition to remixes of the likes of Lady Gaga. Summer 08 is product of the lone effort of Mount, with his talent for producing intelligent electronic pop made clear; the album is characterised by repetitive, yet not sterile, groovy beats. Mount knows how to craft a song and no loose ends are left on this album, with each effect and instrument conscientiously placed establishing a clean and well-structured feel to the work.
A staple combination of pulsing synths balanced by energising percussion creates a funky, dancey vibe that runs consistently throughout the album. Even ‘Mick Slow’, one of the slower paced songs on the album maintains a low-key energy that bubbles beneath its steady beat. Mount lavishes his work with an eclectic mix of audio effects that feel like they glide over you like a sonic wave, such as the soaring synth on ‘Old Skool’. Swedish pop sensation Robyn also makes a welcome appearance, whose sweet and velvety vocals compliment Mount’s high-key coo on ‘Hang Me out to Dry’.
However, despite its many merits Summer 08 is unlikely to be a memorable release from Metronomy. While the album is tidy, accessible and suitable for easy listening Mount seems to stay within his comfort zone and shies away from being too experimental or pushing boundaries. Perhaps Metronomy’s next record will include the full band, widening the pool of talent driving the creative synthesis of their release.
Teens of Denial is the most recent release from the intriguingly titled indie rock band Car Seat Headrest. What began as the highly successful solo project of lead singer Will Toledo, Car Seat Headrest has flourished into a full band venture, boasting a record deal with label Matador Records. Start to finishTeens of Denial pulses with passion and energy. While the tracks tend to be lengthy they are consistently full-bodied, rich with spirit and vigour. The exhilarating instrumental intro to ‘Vincent’ holds you in prolonged suspense, almost to the point of being in a trance, which you are snapped out of when Toledo comes in sounding like a reincarnation of 2004-era Julian Casablancas. Toledo maintains a clear influence in the lyrical content of the bands work, at times speaking for a whole generation of young people by revealing some of the anxieties and troubles facing disillusioned youth. ‘Ballad of the Costa Concordia’ compares becoming a functioning adult to a sinking ship, with Toledo earnestly demanding, “How the hell was I supposed to know how to steer this ship?”. In the track titled 'Joe Gets Kicked Out of School for Using) Drugs With Friends (But Says this Isn’t a Problem)’ Toledo confesses through his substance abuse “I get to know myself every weekend and I’m weak”, with steel guitar personifying the deflated and resigned feel of the song. Moving beyond a purely rock-oriented sound, ‘Drunk Drivers/Killer Whales’ features mellow electric guitar with a synth in the background, generating a dreamy, almost space-pop sound. Horns also feature on the album, with mournful and poignant horns characterising ‘Cosmic Hero’, a track where Toledo makes brutally honest observations about the effects of substance abuse. Given this is only the second album to be released by Car Seat Headrest as a full band, the potential for the act seems immense. Toledo is being saluted as an indie-rock hero; not only is he able to craft structured indie rock songs that avoid being too formulaic or predictable, Toledo also demonstrates a talent for writing clever and snappy, yet emotive, lyrics. With the driving force of a band behind Toledo, hopefully Car Seat Headrest will be on the road for some time to come.
Considering their breakout single ‘Creep’ was blacklisted by radio stations for being too depressing, Radiohead have done extremely well for themselves. They now boast three Grammys, a legion of fans, along with a reputation for being cryptic and melancholic. In light of their impressive back catalogue, 2011 album The King of Limbs was arguably underwhelming. It seemed like Radiohead had reached the limit of their collective creative capacity, with the electronic focus of album making the work sound more like a solo project of frontman Thom Yorke than a Radiohead album. A Moon Shaped Pool, however, deserves every ripple of accolade it has triggered in the music community.
Songs such as Desert Island Disc illustrate the groups finesse for crafting music in which the beauty is in its mindfulness; the muted bass, the simple percussion, and the unassuming guitar envelopes the listener in a bluesy bubble of sound, with Thom’s mellow vocals almost adopting the role of an instrument itself. Particularly of note is the extensive use of string instruments. At times this makes the album feel excessively theatrical like a film score, but ultimately the execution is impeccable, from the racy and electrifying first notes of the opening track Burn the Witch to the menacing closing of Daydreaming that genuinely sounds like a beast. The album isn’t exclusively mellow lounge music however: tracks such as Ful Stop illustrate Radiohead’s talent for creating a feeling of frenzied tension where their music almost hypnotises the listener.
While Radiohead may not be appealing to everyone, A Moon Shaped Pool is a rewarding and accessible listen, and particularly reminiscent of their 2007 album In Rainbows. Fresh, lush and emotive, this release proves Radiohead have mastered the genre of art rock.
Violent Femmes have been around for a fair while, with their debut album released in 1983. If the band’s name rings a bell this is probably the album you will know: it boasts classic tracks such as Blister In The Sun, Kiss Off and Add It Up. Lead singer Gordan Gano commands each song with his drawling vocals, delivering angsty lyrics that personify the group’s distinctive folk-punk sound. An excellent album both in its time and of its own right, I was curious to see how We Can Do Anything would compare.
It has been 16 years since the band released a full studio album and they stick true to their trademark sound on We Can Do Anything. A range of guitars, an acoustic bass and stripped down drumming are a given on each track, and the group demonstrates their talent for producing jaunty tunes using this simple array of instruments, a prime example being the track Holy Ghost. The group broadens their instrument use to include a tasteful amount of accordion in tracks such as Travelling Solves Everything and the inclusion of some saxophone in Issues really tops off the punchy kick of the song.
While the album was an enjoyable listen, it wasn’t a particularly memorable one nor really merits a repeat. While old-time fans swill understandably be stoked on the Femmes being in the studio again, the album lacks the freshness and youthful vigour of their earlier work: the exact qualities that made the band so great. For any new-comers to the VF game, sticking with the classics is the definite way to go.
5/10 rating
Standout track: What You Really Mean – soft acoustic guitar flourishing into a Violent Femmes version of a ballad, accented with piano and a saxophone.
