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Connor Beitel

From Alabama to Texas, Connor Beitel is the Creative Director at Small Batch Productionsin Austin, TX. In addition to being a writer at Vinyl Mag, Connor helps run an organic audio/video experience for emerging musicians called Small Batch Music Project.

Early Review: Sweet Spirit’s Cokomo

Posted on September 23, 2015September 24, 2015 by Connor Beitel

If you haven’t already heard, disco/rock nonet, Sweet Spirit, are about to release a gigantic party-bomb of an album. The Austin-based group fronted by writing partners Sabrina Ellis (Bobby Jealousy, A Giant Dog) and Andrew Cashen (Tear Dungeon, A Giant Dog) are set to release their first full-length LP in mid-October on Nine Mile Records. Earlier this year, Sweet Spirit released an EP as well as a 7” with Spoon frontman Britt Daniels, quickly establishing the band as a force to be reckoned with in the Austin Music Scene. After seeing the band twice in one week at Waterloo Records and Hotel Vegas, and finally getting to listen to their album, Cokomo, I decided it was time get the word out.

Sabrina Ellis at Hotel Vegas
Sweet Spirit at Hotel Vegas // Photo credit: @smallbatchpro

Cokomo blasts off with “Take Me to a Party.” An extremely full track that boasts pitchy synths and wailing guitar riffs alongside belting vocals and beckoning horns. Whether crammed into a dirty bar or in front of a diverse crowd, Sabrina manages to turn the performance into a full-on dancing affair.

The subsequent track, “Baby When I Close My Eyes,” feels like a future-tropical space ride in and of itself. Released as the first single for their up-and-coming album, the song dives right in with an intergalactic groove that is quickly accompanied by a catchy little riff. Then suddenly, Ellis slips into the verse with, “L, is for the way / We look when we’re together / U, because we’re unashamed.” Finishing off the spelling of “LUST,” the ballad-esque space-pop describes the more fearsome side of love.

“Poor,” the fifth track, was one that particularly stood out to me. This old-school pop/rock track resonates in its description of the pleasures of the little things in life. You can’t help but feel the passion behind the bellowing of Ellis’ voice proclaiming, “Someday I’ll have a house that I can call my own / For now I call the mattress on the floor my home.” This song could very well be the embodiment of the life of a struggling artist, with high aspirations and an attitude that cannot be swayed.

Two tracks later, Andrew Cashen takes the driver’s seat on lead vocals for “Someone Like You.” This doo-wop insta-classic, reminiscent of 50’s greats such as The Platters or The Penguins, arrives sonically in full force. Coming in from every direction, hard-rocking harmonies paired with some skillful dramatic rests, it’s sure to make you dance with moves you never knew existed.

With one of the most memorable albums as well as performance of this year, this whole album is Christmas come early. Their album is only topped by the sheer attitude and aggression that this band puts into making a truly captivating live performance. Never letting instruments drown each other out, while also displaying each in its own prowess throughout the set, these guys know what they are doing.

Big shout outs to new Sweet Spirit members Leslie Matthews, Samuel Rives, & Cara Tillman, rightfully in charge of the horns & harmonies. Cokomo comes out on October 15th, but you can listen to the album’s single, “Baby When I Close My Eyes,” and a track from their 7” with Spoon’s, Britt Daniel below.

 

Review: Hardy & The Hardknocks: Drownin’ on a Mountaintop

Posted on June 30, 2015June 30, 2015 by Connor Beitel

T. Hardy Morris Press

T. Hardy Morris is back with his second LP and a new haircut (above photo related). Continuing his journey as a solo artist, Morris partners with Dangerbird Records to release Hardy and The Hard Knocks: Drownin’ on a Mountaintop. Igniting with distorted guitar and heavy pedal steel, the album’s leading track, “Young Assumptions,” gives an introduction to what Morris dubs crunge. He describes crunge as a sort of lovechild between alt/country and grunge, which might sound something like Curt Kirkwood of the Meat Puppets joining the Nashville duo Steelism. Creeping into the opening track with soft cooing, Athens great Matt “Pistol” Stoessel (Cracker, The Whigs), utilizes his pedal steel. Stoessel takes the edge off of Morris’ weighty guitar distortion, like a tall adult beverage after a full day of work. T. Hardy uses the length of the album to toy with and explore the newfound genre. Seeing how far he can push in one direction or another, with darker and harder tracks such as “My Me” and the lighter more melodic “Quieter (When I Leave Town).”THM Drownin'

The sophomore LP brings about a more decisive sound than the slightly sulkier 2013 relaease, Audition Tapes. With the writing and recording surrounding the birth of his first child it’s clear that Morris is lyrically coming from a more grounded perspective. Rounding out the album singing, “Just like in the movies I can’t catch each word/ but love is a language with no subtitles”, the Georgia native says he wanted to focus on the simplicity of the lyrics, while making a point to keep things straightforward. Recording at Athens’ famous Chase Park Studios, Hardy and the Hard Knocks take on a sound matured from Morris’ days in his band Dead Confederate. Coming full circle from the angst-y diatribes of an emo-era southern rock band, to the cultivated sound that stemmed from his first solo LP.

All in all, T. Hardy Morris produces a strong yet melancholy album that lyrically echoes the simplicity of traditional Southern lyrics. Sonically, the pertinent pedal steel gives new meaning to the rugged rock that often emanates from the Athens music scene. Having just played AthFest, Hardy & The Hard Knocks are currently touring the Southeast with Drive By Truckers and Delta Spirit. Check out Morris’ old haircut and have a listen to the first two tracks from the album, “Young Assumptions” and “My Me” below.

 

T. hardy old haircut (T. Hardy Morris w/ old haircut)

Shaky Knees 2015: Xavier Rudd x Vinyl Mag

Posted on May 8, 2015May 7, 2015 by Connor Beitel

xavierrudd

If you’ve kept up with the festival circuit at all in the last decade, you have undoubtedly heard of solo instrumentalist Xavier Rudd. The native Australian, through his proficiency in a variety of culturally unique instruments, creates truly impressive albums that blend world music with vocals reminiscent of the artists that have inspired him, such as Ben Harper and Natalie Merchant.  Rudd has toured as a solo act for more than a decade and is noted for his eclectic assemblage instruments, including didgeridoos, djembes, organettes, and others as he captivates crowds with his outward-emanating charisma and talent.

With his ninth studio album, Xavier Rudd has pieced together a band under the moniker “The United Nations” composed of nine musicians hailing from various locales around the world in what he deems his “dream project.” The album, Nanna, employs a heavy reggae tone, making it no surprise that it was mixed by Errol Brown, known for his work with Bob Marley. In the lyrics, Rudd blends this reggae with calypso and polyphonic sounds. Strong themes of harmony and togetherness resonate throughout the album to bring about a hopeful dream for what the future may hold if we can all just get along.

Vinyl Mag: The members of The United Nations all have very eclectic heritages as well as musical backgrounds. How did The United Nations come to be, and what effect do you perceive that diversity to have had on the recording process and resulting sound of Nanna?

Xavier Rudd: The UN came together very organically, feels like our ancestors had a cup of tea and decided to put us together. Everybody has a different story and a different background, and when the musical influence of everybody’s stories come together, they created a very eclectic and interesting record.

VM: You seem very connected to your Aboriginal heritage, being proficient in yidaki and other native instruments, and many of your songs seem to promote discussion on the subject. With music being such an integral part of the Aboriginal culture, how do you interpret your connection between that culture and your own music?

XR: Sometimes our ancestors choose music to guide us or challenge us. I feel my music is oftentimes just me holding space for the spirit to come through. I don’t judge this or involve my ego in trying to analyze it. I am content in saying that it’s not for me to know.

VM: There is a very fluid message of togetherness and harmony throughout the album. You seem to have a strong vision for the future. What would you say is the backbone of your philosophy?

XR: Patience. Humans have become very accustomed to a fast paced society that doesn’t resonate with our natural progression in our natural place in creation. Patience has become extra hard for human beings so much so that I think we have almost lost touch with what that really means.

VM: You grew up in a very small town in Australia [Torquay, Victoria >7,000 pop.]. What strikes you as the most notable memory to have stuck with you from growing up in a small town?

XR: Space, time alone, and being in the bush.

VM: Erroll Brown has a quite a musical history in the reggae world, working with notable acts such as Peter Tosh, Rebelution, and the one-and-only Bob Marley. How was the process having him involved in the creation of Nanna? What most drew you to him as a musical engineer?

XR: Erroll’s involvement was very organic also, he appeared at the right place at the right time, and was presented to mix this record. It really was a perfect match.

VM: How does it feel being out in front of the audience instead of playing behind the (super-cool) instrument command-center-set-up you have?

XR: It feels groovy. I am having a great time.

VM: What is next for Xavier Rudd, and what does the future hold for Xavier Rudd and The United Nations?

XR: Not too sure; I don’t plan much of anything really.  We will let the spirit guide this amazing project and see where it lands.

 

Be sure to catch Xavier Rudd and the United Nations playing the Boulevard Stage at Shaky Knees this Sunday at 6:45 p.m.!

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