Alexis Tiedemann

Spinning Vinyl: Blondefire’s ‘Young Heart’

Posted on by Alexis Tiedemann

Blondfire says it all as Erica Driscoll sings, “So you turn a new rotation, and live a silent dreamy sigh.”

The album cover and design reflects the innovative music that Blondfire creates. The album cover is a mix of classic album art, reminiscent of the Rolling Stones’s fuzzy and glamourously out of focus Goats Head Soup cover, with a modern, artistic take on vinyl. An insert reveals a picture of the brother and sister, Bruce and Erica Driscoll, and the back is a vintage photograph of Erica holding flowers. Very sixties. And I love it.

The record itself is an awesomely mod, half-pink, half-white flower design with a green center. It looks rather awesome spinning on my Crosley record player.

And as the record begins rotating, I do just what Erica is crooning about. I “live a silent dreamy sigh.”

Young Heart is young and playful. It is bright and optimistic. The indie-pop band keeps it refreshingly raw, not letting the electronic parts overwhelm the instruments or Erica’s airy and luminous vocals.

“Waves” reminds me of a summer spent with my best friend, exploring the freedoms of adolescence, making bracelets, stealing our parents’ alcohol and kissing boys on the beach. In fact, almost every song reminds me of some fond, youthful memory.

Some tracks, like “Dear in Your Headlights” remind me of every weekend I spend in the beautiful city of Athens with my even more beautiful friends. She perfectly captures the age of half-innocence, and meager attempts to grow up while simultaneously staying young. Blondfire protests the monotony of adulthood as Erica sings, “I don’t wanna be like them, I don’t wanna be like you, I’d rather be a monster, just howling at the moon.”

The instrumentals are clean and brilliant. They are simple but powerful, and perfectly supplement the dreamy voice of Erica Driscoll. Songs such as “Wild and Wasted” and “Life of the Party” capture the playful, danceable vibe that Blondfire is clearly going for. But more somber and thoughtful tracks, like “We Are One” bring the message back down to earth.

Young Heart  was a delight to listen to on vinyl. Not only did I enjoy the fun, carefree music, but I loved the art of it. Listening to old, classic albums on the record player is obviously wonderful, but listening to a new artist on vinyl is a new and exciting experience, especially when Blondfire is the band that’s spinning.

Style Steal: David Bowie

Posted on by Alexis Tiedemann

Years ago, in 1969, David Bowie’s single “Space Oddity” landed on earth. With it, Bowie brought a sense of style the world had never seen. From androgynous space suits and fascinating prints to sparkles and fur, Bowie never failed to completely blow away the rules of fashion as he did the same to the rules of music. We brought a few of his signature styles down to earth this week, while still reaching for the stars.

This first outfit is inspired by Bowie’s love for black and white stripes. We paired a basic black peplum top from an Athens, Georgia store, Pitaya, with some chevron parachute pants from American Threads and some far out jewelry. Shapes are very important, and lines and peplum make this outfit stand out.

This next outfit is straight from space. We built this outfit around the shoes, which I got off NastyGal.com as a part of their Shoe Cult collection.  We paired them with wild space leggings and a faux fur coat, both from local Athens vintage stores Dynamite and Agora. The necklace is a Goodwill find, where unique jewelry is always abounding. David Bowie had a knack for weird leggings and fur, and we thought this outfit did his style justice without being as out-there as Major Tom himself. This outfit is perfect for a concert or a night out. Or the moon. Your call.

The leggings in this next outfit were also from Dynamite and were impossible to pass up in an article about David Bowie’s style. Not only are they tight, but they are incredibly bright with an exotic print. We added a faux leather top from American Threads to complement the leggings without taking too much away from them. We used Bowie’s love of blazers to finish off the outfit.

The last outfit is a one shoulder sparkly dress from Macy’s. We absolutely love the radiant vitality of the dress and the triangle shape pattern. It reminds us of the leotards that Bowie loved to wear on stage. But a little bit more suitable for those of us who aren’t from Mars.

David Bowie’s music set him apart from all the other pop musicians of his time. But he took it a step further with his style. Before there was Madonna or Lady Gaga or even Miley Cyrus with their shocking fashion statements, Bowie was breaking down the walls of the fashion world and blasting off into space. Now, especially coinciding with the rise of electronic music, that futuristic space style has become a modern trend. By updating and adapting David Bowie’s unique fashion sense, you can make a statement that will attract satellites and suitors alike.

Foster the People: ‘Supermodel’

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With their second studio album, Supermodel (released March 14th on Columbia Records), Foster the People has departed from the light, upbeat sound of Torches, replacing techno beats and airy vocals with a much more stripped down, heavier, instrumental, resulting in a raw and very real album. And it totally works.

Supermodel  is an angrier follow-up to its predecessor and proves that Foster the People is not in a sophomore slump—this  second album is certainly a force to be reckoned with. Supermodel is angry, brash, bold, unafraid, and raw, with cryptic lyrics alluding to growing up and coming to terms with unforgiving fame in a greedy world.

Many of the songs, such as “A Beginner’s Guide to Destroying the Moon” urge the listener to “think freely” and “smash the wall of apathy”, breaking free from the world which they have discovered to be petty and fake.

Self-fulfillment and satisfaction with personal success are also recurring themes that run rampant in Supermodel,  with such tracks as “Are You What You Want to Be?” and “Ask Yourself” in which they inquire, “is this the life you’ve been waiting for?” They offer their own experiences by reflecting, “Well I find the more I want, the less I’ve got.” The evolution of the band as a mid-level act coming to terms with not just indie stardom, but shooting to the top of the pop music charts, is obvious and clearly drives the music on this second album.

However, the upbeat rhythms and unbelievably bright melodies juxtaposed with dark lyrics that we have come to associate with FTP have certainly not fallen by the wayside. Tracks such as “Pseudologia Fantasia” (which is a term used to describe pathological lying) and “Best Friend” are reminiscent of Torches, with danceable grooves and surprisingly grave lyrics. Yet these songs are composed with heavier undertones and even darker, more cryptic lyrics.

The 30-second, vocal only track, “The Angelic Welcome of Mr. Jones” provides a nice intermission for the rest of the album, and the acoustic and very introspective track “Goats in Trees” breaks up the impassioned guitar-heavy tracks with a thoughtful, lyrical piece in which they bear their souls and refuse to shy away from such contradictions as “Don’t give up on me now, and I’m on the outside, but it’s warm on the outside. That’s a lie, I don’t wanna fall apart,” revealing inner struggles all humans face.

Songs like “The Truth” and “Nevermind” evoke thoughts of Radiohead and continue to deal with such issues as love and loss in the face of modern philosophy. The album ends with a quiet, acoustic number (“Fire Escape”) leaving us to reflect upon the album and our own lives.

Foster the People burst onto the music scene with “Pumped Up Kicks” in 2011, and while the tune was unbelievably catchy, it was easy to brush them off as a one-hit-wonder. However, Supermodel proves the doubters wrong and guarantees the band a lasting place in indie and pop music history. Heavier, weighty lyrics and instrumentals bring the band down to earth as they explore universally relatable worldly issues from the perspective of a band coming to terms with newfound fame. I want to listen to it again and again and again.

Vinyl Revival

Posted on by Alexis Tiedemann

I walk out of Low Yoyo, an Athens record store on Washington Street, brimming with delight. I can hardly contain my excitement as I walk back to my apartment a few blocks away.

Under my arm I carry two new records. They are not new, as in never-been-opened, still-in-the-package, never-been-played records. The corners of the covers show signs of wear and tear, and some scratches mar the cover artwork. They are merely new to me, two 33⅓ rpm microgroove vinyl records that I have previously not had the opportunity to place onto my Crosley record player and enjoy.

Pink Floyd and the boys of Led Zeppelin call to me from under my arm. “Walk faster” they whisper, “walk faster, we’re almost home.” When I reach my living room, the excitement builds.

It is not that I haven’t heard every single song from Led Zeppelin I and Dark Side of the Moon over and over and over again. Amongst others, these albums raised and nurtured me into a love for music I believe to be matched by only a small portion of our society. It is that I have never heard these albums in their original vinyl phonorecord format.

I move the globe that rests atop my record player while not in use and lift the lid. I slide Dark Side of the Moon out of its beautiful cover, which in and of itself, is a work of art. I lower the record onto the turntable, move the arm to the right until it clicks and begins spinning, and carefully place the needle on the very outside edge and wait.

It takes a moment for the music to start. Vinyl is not as loud as a CD in the car or as blaring as my iHome can be. Vinyl is subtle.

The heartbeat begins and grows louder. For the next 20 minutes or so, I am lost. I have disappeared into the music, into the original recording, into the scratches and fuzzes, into the tiny nuances of the sound that are so often lost in the compression and digitization of mp3s and downloads. Only when the arm clicks, signaling the time to turn the record to the other side, am I brought back to reality. Within moments, though, I am yet again lost, until the heartbeats return, and the album fades out.

I am not alone. A shocking new trend is occurring. According to Billboard, while CD sales continue to decline, vinyl sales jumped 17.7 percent between just 2012 and 2013 alone. Vinyl’s growth outpaced digital’s sales growth; digital sales only jumped 14.1 percent between the same years. In our digital world, vinyl is making a loud comeback.

I am a member of Generation Y, often called the “Millenials.” We represent technology, instant gratification, downloads, streaming, Netflix, Twitter, and blogging. We tweet and text more than we talk, and every piece of information imaginable is at our fingertips. So what is it about vinyl that draws us in?

Our parents grew up on vinyl. They were teenagers with Led Zeppelin and Pink Floyd, and record stores made their homes on every third street corner. For them, the return to vinyl, or “vinyl revival” as it has been called, is about nostalgia. But we were not there for Grateful Dead or Jefferson Airplane or Jimi Hendrix. It cannot possibly be a matter of nostalgia for us. But, if not that, then what could it possibly be?

For some people, vinyl just sounds better. In a July 29, 2013 Pitchfork article, Mark Richardson explains that while the sound quality of a vinyl record may not be greater, many people enjoy it because “it introduces distortion.” Bass notes are warmer, and scratches and fuzz seem more authentic. But he notes that the way people hear sounds and listen to music is “wholly personal.” And I agree.

Perhaps that’s just it. The vinyl revival is a reflection of the changing personal tastes of music consumers. Maybe it is a fad. Maybe it is just a characteristic of our generation. Maybe it is the novelty and antiquity of records that make them so desirable. But in the end, it is just a personal preference.

I like vinyl in the same way that some photographers still like to take photographs on film every so often. Something about the process, taking the film out and developing it yourself, and making a photograph appear is very intimate and special. It’s not like I want to carry around my record player and a crate of my favorite LPs all day. That is what Spotify is for.

But there is nothing in the world that matches the feeling of finding your favorite record on vinyl and rushing it home to put it on the turntable. It is a distraction, a break, an escape from reality. For a few moments, the world falls silent behind my Crosley. For a few moments, music is the only thing that matters.

Style Steal: Kurt Cobain

Posted on by Alexis Tiedemann

Jimi Hendrix rocked Woodstock in the 60s, Led Zeppelin rocked the entire United States in the 70s, and hair band after hair band sold out stadiums throughout the 80s. But the next music genre that swept the nation was something much more subtle than these rock giants. Polished, intense guitar sounds were replaced by raw, grungier music. And that’s how it got its name. “Grunge” music came out of nowhere, or actually, to be more exact, Seattle. And perhaps one of the most influential grunge rock and roll bands was Nirvana, led by front man and style icon Kurt Cobain. From converse, to flannels, to ripped-up jeans and t-shirts, Kurt Cobain changed the game. Now, as we see styles recycled, clothing too is being recycled and this worn out clothing has become the newest thing. We updated Cobain’s raw style to create a look that was both grungy and modern.

For this first look, Will Stewart, avid Nirvana fan and guitar enthusiast, wore a classic 90s style flannel we found at a thrift store layered over a worn out Hard Rock Café t-shirt. Any washed out, old, holy t-shirt fits the grunge style, especially underneath a flannel. Paired with old khaki shorts and worn out worker’s boots, anyone can go from Seattle factory worker to grungy rock star.

For this next outfit, bartender and art student Maggie Adams posed in red converse and another thrift store flannel for this shot. She rocked a striped shirt, a style Kurt basically cherished, that I found at a garage sale. The look is completed with black tights and ripped up jean shorts we made ourselves from old thrift store high rise jeans.

For our last look, Danielle Jordan, who works at American Threads in Athens, wore a fake leather asymmetric skirt from American Threads with knee highs and grungy green shirt, also from American Threads. Paired with another thrift shop flannel, Kurt Cobain is channeled through modern day fashion.

Kurt Cobain was much different than his predecessors. He favored thrift store clothing to elaborate costumes, and flannels to fringe. He favored holes to sequins and stripes to tie-dye. He dressed the way he played: stripped down, raw, and real. Using these qualities, we built modern pieces through which Kurt Cobain and his grunge music can live on in the modern world.

Lakker: ‘Containing a Thousand’ EP

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Digital audio workstations meet the end of the world on Dublin duo Lakker’s new EP Containing A Thousand out on R&S March 11.

This EP takes the listener on a journey through a post-apocalyptic wasteland where music is made from the grinding of machines left to continue manufacturing hunks of metal without a human in sight. Dark, almost foreboding melodies swirl around hard, industrial beats, creating a sound that could only be described as coming from a cosmos with only the faint memory of human existence.

Although it is their first album released on esteemed electronic label, R&S, this techno duo is certainly not an amateur act. They have been creating electronica beats for a decade, even having the honor of being spun by Richard D James (Aphex Twin) in his live sets—a distinction coveted by much of the electronic music world.

Complex, but intense beats begin the journey through a robotic wasteland with “Counting a Thousand.” Techno vibes from a satellite far from Earth circulate the air, as machines grind and churn perpetually, having continued their course despite the absence of humanity. Perhaps, the human race has jetted off to inhabit a new planet, and left only the remnants of parties and discos floating noisily over the crackling radio waves on a used-up earth.

“Mausoleum” continues with more metal-crunching, mechanical beats. Lakker’s roots in punk, metal, and broken beats can be clearly heard, mingling with the distinctive techno sounds they have become known for. Sounds that evoke images of machines humming through long plastic tubes elicit ominous, almost eerie feelings.

The EP gets a bit more tribal with “K’antu.” This track is curious sounding, like exploring the home of a person you have never met from a culture you have yet to experience. A little bit brighter and more optimistic sounding than the preceding tracks, “K’antu” feels as if it would make the perfect background music for Alice, had she fallen down the rabbit hole in outer space.

“Thermohaline” hits the listener like a meteor, from the moment the song begins. Powerful beats boomerang as the melody builds intensity in the background. This track has the horsepower of a Ferrari, but takes quiet moments for the listener to catch their breath before pulling them back into the music—hard.

Containing a Thousand certainly distinguishes itself from all other electronic bands out there. It takes the intensity of Excision minus the screeching sounds and dub step scratches and fuses them with the spacey after-world beats of Mimosa, taken to a whole new level of brooding intensity. While the album is rather dark and ominous, techno fans will certainly be swept away to another land by this EP.

Style Steal: Jimi Hendrix

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Our generation has been called the hippies of the new millennium; pot is legal, alternative couples can marry, and love and music are abounding in our culture and in our lives. And just as history repeats itself, so does fashion. Styles come back around and gypsy clothing has seen a new era of popularity. Who better to take fashion tips on that style than the man who led the Band of Gypsies himself? Jimi Hendrix truly pioneered the psychedelic look.  Yet while styles come back around, they change and adapt; they take on new meanings and new variations to reflect the new people that are wearing them. Danielle Jordan, sales associate at American Threads, and I put together some modern looks inspired by the big man himself.

 

 

 

 

 

 

There’s no doubt Mr. Hendrix was the king of bright colors and fringe. This first outfit was inspired by Jimi’s outfit at the legendary Woodstock Music Festival. We paired this cream fringe kimono and velvet bell bottoms from American Threads with a brightly colored crop top from NastyGal.com to create a look that is equally prepared to take the stage at Woodstock or go out on a Friday night. Don’t be afraid to mix colors and prints that don’t traditionally go together. If people had never mixed musical instruments that did not “belong” together, we would have never had rock and roll.  Get your grandmother’s fashion rules out of your head. She may make delicious cookies but I’m betting she never lit a guitar on fire in front of thousands of applauding audience members.

 

 

 

 

 

 

 

 

 

 

This next look was inspired by Hendrix’s passion for fur and hats. We layered a fur vest on top of a vintage dress (both found at Goodwill!) and topped it off with a black hat from American Threads. Bad hair day? Throw on a groovy hat and fix everything while looking totally cool. So simple. The shape of the hat is a bit more feminine and updated than the traditional top hat Jimi loved to wear, but it brings a bit of a contemporary feel to the outfit. Layering is imperative for the modern woman. You can wear as much or as little of it as you want based on the temperature or vibes of the day as it progresses.

The top in this next outfit is a total original. Danielle found it at a shop during Hulaween Music Festival last fall. Luckily, we found some similar dresses and tops on StyleHive.com. The shirt paired with homemade jean cut-offs and Minnetonka moccasin boots is pulled together by the flower crown atop Ms. Jordan’s head… that she made herself. Head to Pinterest.com or Google to find tips on how to make one of your own. With the fringe, brightness and flower-child halo, Jimi would certainly have been proud.

The last outfit we put together was one inspired by Hendrix’s use of earth tones and, of course, tie-dye. These bell bottom pants were another unique creation of Danielle’s. She started with white pants and tie-dyed them before bleaching the bottoms. However, if you don’t have the time or creative energy to tie-dye a pair of pants yourself, you’re in luck; we found a similar style on ThreadSence.com. The handmade bottoms went perfectly with the white linen, embroidered top. The shirt was my Mom’s from “back in the day” and of course, she has no idea how she came across it. However, a little searching on Etsy.com came back with a bunch of similar tops. We topped it off with a totally radical headband from American Threads and plenty of rings and bracelets.

Hendrix’s love and talent for music made him a legend; his style made him an icon. Whether he was playing an extended psychedelic version of the “Star – Spangled Banner” or shredding on his Fender Stratocaster while it was behind his head, he was always decked out, head to toe, in bright colors, far out patterns, fur, fringe, and tie-dye. His style was completely original and, in the end, timeless. Inspired by his appearance and mixed with a bit of modern fashion sense, you can be a real “Foxy Lady.”

Holychild: ‘Mindspeak’ EP

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“Everytime I Fall” is a new single by holychild off their upcoming Mindspeak EP due out on March 4th via Glassnote. LA indie-electronic-pop duo consisting of liz nistico and louie diller describe themselves as “making brat pop.” And this is exactly what this single sounds like. Bratty.

Angelic vocals lead off the track and the drums and melody kick off shortly after. It is rather difficult at first to hop on the unpredictable beat that seems at times to not quite keep up with the playful vocals. Lyrics such as “everytime I fall, fall away, I don’t even have to say, I know the story’s not the same with you” are whimsical and fun but seem to be more preoccupied with rhyming than relaying a message.

This single is a departure from other singles by holychild, such as “Playboy Girl” and “Best Friends” that have a more indie-rock, girl power vibe to them. However, “Everytime I Fall” evokes memories of a 90s pool party in a chick flick; it makes for a cheerful and sprightly dance tune, but feels like it just may be missing something. The melody is unique and has potential for greatness, but the distorted vocals are distracting and almost whiny, and take away from the rest of the song.

“I’ll never give it all to you,” holychild sings, and it feels as if they truly haven’t.

Angel Olsen: ‘Burn Your Fire for No Witness’

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If Nancy Sinatra and Joni Mitchell had a love child, it would be Angel Olsen… with a little bit of Karen O from the Yeah Yeah Yeah’s thrown in. Olsen proves her musical finesse and artistic diversity with her new album, Burn Your Fire for No Witness.

Originally from St. Louis, but Chicago-based, Angel Olsen began her career playing in coffee shops and with various bands before striking out on her own and embarking on her own to create solo album, Half Way Home, in 2012.

Burn Your Fire for No Witness, her second solo album that will be released on Jagjaguwar February 18, adds more depth to her sound as she matures her identity as an artist.

Beginning with “Unf—theworld”, Olsen sings softly, but with great depth. Her sound is very raw and stripped down, providing a background from which she ruminates in experiences of love and heartbreak. It often feels if she is singing to the listener from a different era; at times bringing to the imagination the idea that her music is broadcasting out of one of those vintage television sets from the 50s with her fuzzy vocals and vintage sound.

On “Forgiven/Forgotten”, she quickly dives into a heavier rock and roll jam with some punk-rock riffs and a serious dose of girl power. Despite bumps in the road, she asserts her self-assuredness but remarks, “I don’t know anything, but I love you.”

On the quirky and comical “Hi-Five”, jilted lovers and lonely feelings are abundant. This Johnny Cash-sounding ballad follows two people bonding over being deserted and lonesome. “Are you lonely too?” Olsen asks. “Hi-five, so am I.” It is relatable and fun and you cannot help but crack a smile.

These fun upbeat songs are balanced by slow, longing, almost mournful tunes. Olsen’s voice is clear; it is gentle but unwavering as she reflects upon facts of life over simple guitar melodies on songs such as “White Fire”, “Dance Slow Decades” and “Enemy.” From “White Fire” we find where the album title comes from.” If you’ve still got some light in you then go before it’s gone,” she urges, “burn your fire for no witness it’s the only way it’s done.”
Our heart aches with her on lonelier tracks, but more upbeat songs such as “High & Wild” and “Stars” raise spirits; head bobbing and tapping feet are inevitable.

Coffee shop tunes and rainy day music blend with reminiscent and bereft lyrics to create an album that is simultaneously modern and old-fashioned. Olsen’s sound has certainly been developed and cultivated since her first release. As she remarks on “Enemy”, “we might be older now, but is it changing anything?” For Angel Olsen, it certainly is. And it sounds awesome.

Pillar Point: ‘Pillar Point’

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In the music world, indie-pop electronica albums are like Starbucks; there’s one on every corner. So what sets Seattle band Pillar Point and its self-titled debut album apart from the rest? It blends the bright, fast beats and optimistic melodies of bands like The Naked and Famous with smooth, airy vocals reminiscent of Win Butler (Arcade Fire). But Pillar Point is much less in-your-face than other bands. It trades blatant lyrics and assertive beats for a more inconspicuous feel, and in doing so, evokes every emotion from melancholy to exhilaration. The music and lyrics are rather understated, a quality that many of us music consumers who miss the subtlety of music will most certainly appreciate.

While Pillar Point may be a new act to the music scene, the musician behind the project, Scott Reitherman, formerly of Throw Me The Statue, certainly is not. While his musical prowess and experience are evident, he is not afraid to deviate from his usual sounds and winds the music down an unbeaten path in this new album, out February 25th on Polyvinyl Records.

Songs like “Diamond Mine” and “Eyeballs,” at first listen, are instant dance classics, with quick beats that often change pace layered on top of buoyant synth melodies. But Reitherman’s vocals lend an ethereal, vaporous quality to the tracks and are often interjected with smoky, almost hypnotic bridges. Other songs, such as “Cherry” and “Dreamin’” slow down the pace a bit with mellow, dreamy melodies and lyrics that speak intimately of love and heartbreak. Reitherman displays childlike curiosity and playful innocence evocative of our first crush in “Curious of You”, complete with a sneakily woven Blondie reference in the melody and lyrics. Alternately, he tells of love with a distant, experienced wisdom on the next track (“Echoes”).

Listening to Pillar Point feels like floating over the rest of the electronic music we find out there today, dreamily and distantly enjoying the beats, yet also taking time to ponder the profound lyrics. Upon listening to the entire album, it feels as though you have come upon something truly great in a very delicate way. Perhaps the best way to describe Pillar Point is in its own lyrics from “Black Hole.” To listen to this album is “to sleepwalk through a lost empire.”