Nikki Smith

James Supercave of LA are to release their most recent EP in late March. “The Right Thing” is their newest single. James Supercave utilizes various styles in this single and creates an epic poetry of sorts. The single starts with synthesizer sounds combined with twangy vocals (but not too much as to sound similar to vocals like Mumford & Sons, don’t worry). The combination of the synthesizers and the raw vocals is somewhat experimental, and this modern sound is specific to this generation of artists. The vocals grow high-pitched and mimic the futuristic sound. There is a one second pause and a powerful guitar boost at 1:08, similar to a metal beat. Almost at the same time, the track slows down. Violins replace the guitar, and harmony replaces the synthesizer. Everything becomes soft. The vocals get deeper, almost opera like. At 3:00, the sound takes on a revelatory mood and finishes out with distorted synthesizer sounds and clean-cut guitar riffs.

“The Right Thing” is proof of James Supercave’s versatility. As an English major, I’m inclined to say that it resembles an epic poem in song form. Its up’s and down’s create a journey of emotions and sounds.

Keep James Supercave on your radar. There is a possibility that James Supercave will tour with War Paint in the spring and will make a few appearances at SXSW.  You’ll want to be there.

Fanfarlo’s 3rd album, Let’s Go Extinct took me through time and never let up the energy. The London-based band started in 2006. Their first album, Reservoir (2009) seems more solemn with a less technological sound, while their most recent album, Rooms Filled With Light (2012) has a similar experimental sounds as its follow-up,  Let’s Go Extinct (releasing February 11). However, the vocals and overall style have remained the same throughout, with echoes and soft melodies that can sometimes hypnotize the listeners, when it’s not causing them to tap their feet.

The album opens upbeat with “Life in the Sky.” The piece starts with what sounds like humming and eerie synthesizers, but the mood lightens with harmonizing vocals. Synthesizers seem to be a main characteristic of this album, in comparison to the two previous, and can sometimes sound futuristic or 80’s like.

“Cell Song” follows with a dream-like melody, accompanied with a tambourine. I couldn’t help imagining a 70’s roller skating rink.

“Myth of Myself (A Ruse to Exploit Our Weaknesses)” slows it down to sweet sounding tune. The sound of (maybe?) a ticking clock brings about the experimental sound of the album. And who can resist a little flute action?

Then, “A Distance” combines a saxophone melody and an 80’s synthesizer sound. “We’re the Future” features surf-like guitar chords and “Landlocked” invokes a tribal dance. It’s amazing how Fanfarlo is able to maintain a specific sound and also combine so many musical styles. “Painting With Life” really caught my attention; it’s the first piece that starts with only vocals, “This is where it happened. We used to go here all the time,” and then cue the distorted keyboard and violin. It really sets the sentimental tone of the song, which the violin really just heightens.

The sensual saxophone returns in “The Grey and Gold”, and a piano is introduced in the hypnotic “The Beginning and the End”. Fanfarlo combines all these instruments, which aren’t normally associated with each other, and makes a uniform and beautiful album.

“Let’s Go Extinct” is the embodiment of this beauty. The song lasts close to 6 minutes and is slow and lullaby-like. It was hard not to just lay down and listen peacefully.

Fanfarlo…please don’t go extinct.

North American Tour Dates

Bayside reminds me of my “sk8r grl” phase (refer to bio), although their first album, Sirens and Condolences, came out in 2004; I was in the 4^th grade. However, if I had known of them in my teenage years, I’m sure they would’ve ranked right up there with My Chemical Romance and Good Charlotte (refer to bio). I hope that is not offensive; I really liked MCR and GC. Bayside consists of Anthony Raneri for vocals and guitar, Jack O’Shea for lead guitar, Nick Ghanbarian for bass, and Chris Guglielmo for drums. Bayside’s newest album, Cult, is similar to Sirens and Condolences in its natural and coarse sound. Cult is full of angst and rebellion, very nostalgic of the early 2000’s for most of their listeners. Bayside has come 10 years since their first album and has somewhat become a cult of their own in that the quantity of their followers has greatly increased. And for long-time Bayside fans, this album fits perfectly into their discography.

Furthermore, Bayside is a perfect example of that punk-pop sound listeners must have an “acquired taste” for. Bayside is currently touring with similar styled bands as Four Year Strong, Daylight, and Mixtapes in the Great American Cult Tour. Dates below.

Cult opens with a drum roll and a vengeful guitar in “Big Cheese”. The guitar riffs seem to be specific to Cult, especially in this piece. They are sharp and swift, and somehow remind me of Power Rangers… Interestingly, there are group lyrics, similar to gang chanting. This definitely brings about the “cult” feel of the album, as if Bayside is starting a revolution. It seems an appropriate piece to open. Raneri sings, “I love to be wanted, but all I want is to be loved. Is that so much to be remembered, never swept under the rug?” Bayside makes a comeback and wants their followers to know it, although I don’t think they ever forgot.

Raneri’s rough voice carries the rebellious sound of the album throughout, and the gang singing continues to make his voice seem more powerful, as in “Time Has Come”. Angst is obvious in the lyrics as Raneri sings in “Hate Me”, “We’re perfect as perfect can be. I hate you and, baby, you hate me.” There continues to be a sense of opposition throughout the album, whether it is against the subject of the songs, authority, or time.

“Transitive Property” is a slower melody and somewhat melancholy, but not to the point of depression. Bayside’s soft side comes out when Raneri sings, “You’re my rock, if I’m still yours”. It is a relaxing piece compared to the high energy of the bulk of the album. “Objectivist on Fire” continues the solemn atmosphere with solo vocals.

The album ends with “The Whitest Lie”, which opens with the guitar riff that we hear in “Big Cheese”. Here is the most prevalent use of the gang singing, and Bayside suddenly seems like an army. Bayside isn’t just a cult with a following; it is a voice for the angry and the hurt. They embody grit and heartbreak, and the album ends on an empowering note.

The Great American Cult Tour:
3/5 – Cleveland, OH @ Beachland Ballroom
3/6 – Pontiac, MI @ The Crofoot Ballroom
3/7 – Milwaukee, WI @ The Rave
3/8 – Chicago, IL @ Concord Music Hall
3/9 – St. Louis, MO @ Fubar
3/11 – Denver, CO @ The Summit Music Hall
3/12 – Salt Lake City, UT @ Club Sound
3/14 – Seattle, WA @ El Corazon
3/15 – Portland, OR @ Hawthorne Theatre
3/16 – San Francisco, CA @ Slim’s
3/18 – Pomona, CA @ The Glass House
3/19 – Las Vegas, NV @ Hard Rock Live
3/20 – San Diego, CA @ House of Blues
3/21 – Los Angeles, CA @ House of Blues
3/22 – Tempe, AZ @ Club Red
3/24 – Dallas, TX @ The Door
3/25 – Austin, TX @ Mohawk
3/26 – Houston, TX @ Warehouse Live Studio
3/28 – Ft. Lauderdale, FL @ Revolution
3/29 – Orlando, FL @ Beacham Theater
3/30 – Atlanta, GA @ The Masquerade
4/1 – Carrboro, NC @ Cat’s Cradle
4/2 – Baltimore, MD @ Baltimore Soundstage
4/3 – Philadelphia, PA @ The Trocadero
4/4 – New York, NY @ Best Buy Theater
4/5 – Worcester, MA @ The Palladium

Balance is key in Be Forest’s sophomore album, Earthbeat. The members, the sounds, and the technique all share some element of balance. Similar to nature, the pieces come together to create an elegant whole. Whether or not that’s what Be Forest was going for is unknown, but the listener, no doubt, feels wholesome and fulfilled. The listener envisions forest grounds and can almost smell wet leaves while listening to the album, for it is the essence of nature. Costanza Delle Rose on bass and vocals, Erica Terenzi on drums and vocals, Nicola Lampredi on guitar, and newly added member, Lorenzo Badioli for synth/atmosphere make up the four members of an evenly distributed assemblage from Pesaro, Italy.

Be Forest’s first album, Cold from 2011, embodies winter and is…cold, at times. Still Be Forest maintains their light sound with soft vocals, as in Earthbeat.

Earthbeat opens with “Totem”. The opener is a crucial and interesting piece of any album. It’s a preface of what’s to come and sets the mood. “Totem” is an instrumental piece with tribal drumbeats, which are prevalent throughout the album and create the wild atmosphere that makes the listener feel the need to break out in a rain dance.

“Captured Hearts” follows with deep guitar chords and ethereal vocals that mimic the wind. This happens often, the blending of opposing sounds, specifically dark and airy, but it harmonizes beautifully. Woodwinds in “Captured Heart” and, faintly, in “Airwaves” bring about that earthy, natural beat that the album claims.

“Totem II” acts as an intermission with the reoccurring rhythmic drumbeats and faraway guitar riffs. Intermissions are just as important as the opening. It can act as a break in lively albums or a period to reflect and relax.

The intermission seamlessly transitions into the slower second half. “Colours” follows at a steady pace and creates a languid atmosphere for the second half. The album is capable of using synthetic instruments but creating a raw sound, which becomes meditative. At no point does the album leave the listener feeling restless or weary. In fact, it had a profound effect accompanied with vivid imagery, for me, of nature.

The album is out February 4^th.

I think most have been in a state of unknowing and indecisiveness when it comes to the beginning stages of a relationship. Although this is the most exciting part, the game becomes strenuous. Jacob Summers debuts his single “Stop Playing With My Heart” under the name  Avid Dancer. The single is played in two versions, which reminds listeners of the waves that come with a relationship and also the fact that there are two sides of every pair. Both versions have the same lyrics but very different styles. However, Summers’ voice remains soft and hypnotic.

The first version has a surfer vibe with synthesizer sounds and staccato chords. It has a somewhat pessimistic tone, for Summers seems to be pleading, “So help me, stop playing with my heart.” He is determined but wary as he sings, “Want to know your name, and are you feeling the same.” This curiosity comes with meeting new people, and we are always eager to know everything about this other person; how easy it would be without the fluff and secrets. Summers is strong out of the gate, but the unknown takes a toll on Summers, as shown in the second version.

On the other side, the Anchorage Trails version has an old western sound with a somber tone. Combined with the same lyrics, this version is bleak and worn. Summers sounds defeated, as is the case in the ups and downs of relationships. His snare drum contribution, combined with the harmonic female voice, heightens the somber sound and gives the single an air of finality. Yet, the lyrics give no hint of resolution and it seems the couple is in a state of perpetual questioning, always searching for something new.

There’s a picture of Death Valley on Xiu Xiu’s website. It is here, in this vast landscape, that I imagine the first track of Xiu Xiu’s most recent album reached its inspiration, or some place like it. What sounds like a steady breeze opens the album, Angel Guts: Red Classroom, along with a few ominous notes – as if singer songwriter, Jamie Stewart, hopes to hint at the emotional sound of this album for his devoted listeners.  Most who hear it may find it distressing or even scary – and it is just that – but it is Xiu Xiu’s talent for evoking these feelings from listeners that makes it a piece of art.

Jamie Stewart began Xiu Xiu in San Jose, California and has taken on members Shayna Dunkelman and Angela Seo. The name comes from a 1998 Chinese film, Xiu Xiu: The Sent Down Girl, about a 15 year old girl who is betrayed and violated by government officials, and Xiu Xiu is not afraid of being as controversial as their name’s source.  But don’t be swayed. Angel Guts: Red Classroom is a surprisingly relaxing journey and offers release from the day’s events, specifically when listening to the softer songs of the album like “Botanica de Los Angeles” and “New Life Immigration”. Whether or not it is Stewart’s choleric, deep voice, or the rhythmic synthesizers, or a combination of the two that can cause a jump from solemnity to rage is up to you.

Since Xiu Xiu’s first album, Knife Play, released in 2002, their sound has gone through minor changes, but Stewart’s voice has remained the same, a unique one. Deep is the only way to describe it, but never monotone, deep in the sense that his voice somehow gives a deeper meaning to his words. And then at times, you can feel the pent up emotion when Stewart screams in “El Naco” and “Silver Platter”. Although “deep” may seem to limit Stewart’s style, he is very capable of sounding soft as in A Promise, and also sensual as in Nina, a Nina Simone cover album released right before Angel Guts: Red Classroom.

“:Red Classroom” ends the album with the continuous breeze, but no ominous notes. Instead, a frightening noise similar to that of a revving engine, then the breeze as a note of relief, and then nothing.

Angel Guts: Red Classroom is to be released February 4.

Farewell Young Lovers is the most current album of Todd Gautreau and Jeff Ryan, out January 21^st. The euphoric album opens with the upbeat “Flowerbomb,” for which they just released a video. Crushed Stars has kept their dream-like style since their earlier albums such as in In The Bright Rain and even their cover of “99 Red Balloons.”

The album takes on a somewhat psychedelic sound in “Our Interest in Claire,” but still eloquent, as if this would be the theme song to watching a lava lamp move. Then “Fly,” a lullaby of sorts, follows with a sprinkling of piano keys and harmony from a female voice. “Poppies” takes an instrumental approach, an intermission in the album. The second half opens strong with “Haters,” a sound different than most of Crushed Stars’ tracks. “Haters” is easily the most energetic, but still maintains that weightless feeling of the entire album. Finally, “Crocodiles” ends the album on a peaceful note.

The album is languid and simply beautiful. Everything should move in slow motion while this album is playing, and that goes for all of Crushed Stars’ albums. It can sing you to sleep (as it did to me late one night), ease your daily woes, or make you see objects in a softer light. Farewell Young Lovers is a unified album that brings to mind summer sunsets, nostalgia, thoughtfulness, and contentment. The album opens optimistically and closes with a sweet farewell.

Although Crushed Stars has a continuous and particular style, they are very versatile as shown in this album. They are able to evoke a feeling of high-ness and also one similar to a dream state. “Fantastic Birds” for example, Gautreau describes, “And we are like fantastic birds/ With our voices still unheard/ Under a canopy of trees/ Laughter and iridescent streams.” The vividness continues in “Haters”, “Singing in the churches with our hearts too full of hate/Shining on the surface but they won’t get through the gate.” Crushed Stars ends appropriately with “Crocodiles”, bidding farewell to all the young lovers, “So long my friend, we’ll see what tomorrow brings.” A complete album made truly with love and delicacy.

With a 90’s garage-band punk sound, Midnight Reruns opens with energy in “Going Nowhere”, in which Graham Hunt sings, “I’m here for you and no one else…I ain’t going nowhere without you.” It’s as if Hunt exclaims his longing and promise to his restored project from 2010. Singer, songwriter, guitarist, Graham Hunt retired his position as guitarist of Trapper Shoepp & The Shades to dedicate his time to Midnight Reruns (both are Milwaukee-based). With the contributions of Karl Giehl, Brady Murphy and Sam Reitman, Midnight Reruns has proven to be quite versatile and layered.

The band has an expansive capacity for layered sounds and moods. For example, in “T.V.Z” and “Basement Guy”, a piano sets the tempo that the rhythmic drums work well with. Likewise, in most songs, two guitars can be identified, both very strong and harmonic, to create a somber mood, as in Grand Slam, or a sprightly sound, as in “King of Pop”. Although most of Midnight Rerun is upbeat, there is no lack of soft sounds. In fact, some of the most upbeat songs on the album start slow, like “King of Pop” and “Stop Lyin’ Down”. “Interlude” is the best example of this dream-like, lullaby sound. One would definitely be mistake to consider Midnight Reruns a flat sound, instead they force you to rethink your judgments and listen more than once, as stated in “Pharmacy Eyes” when Hunt sings,  “Don’t look at me with those judging eyes, I can tell you’re sick of me.”

Moreover, Midnight Reruns brings about nostalgia, hence the name of the band, a message of replaying and feeling comfortable with past midnight mishaps.  Hunt sings of memories, misadventures, and future ambitions (or lack of). “Grand Slam” relates of heartbreak, loneliness and tears, while Hunt reminisces in “Summer Smoker”, “I go to a place where I can smoke or get high…can we all just go back to that day in July”. The album ends with “Basement Guy”, which seems to be a reply to the monotonous and vague question, “Where do you see yourself in five years?” Apparently, “scarfing down on Cheetos”, being complacent, and never leaving the basement. Midnight Reruns is Dazed and Confused.  It is high school. It is regret. It is contentment. And it is available November 12^th.

FOR FANS OF: Superdrag, The Replacements, Weezer, Mean Jeans

It was an interesting experience making homemade cookies to Blanche Blanche Blanche’s most recent album, Breaking Mirrors. I felt mad and impatient, ready to throw my no-bake cookies against the wall. That’s an exaggeration, of course, but the essence is very real. Blanche Blanche Blanche even warns on Facebook, “Don’t come to our shows if you don’t want to kick ass or get beaten up!!!”

On the surface, Smith’s voice sounds monotonous and Phillips’ guitar sounds repetitive, but I think that’s the point. It is not that Smith is incapable of canorous sound, as we hear in “Papa’s Proof” and “Wink with both Eyes”, but her voice strengthens the rawness and punk edge of the anti-materialistic message. Repetition plays a large role in mocking the culture of materialism as heard in “Fire” and “Zeroing In”. At some points, the songs seem to mimic an infomercial with the repetitive beats and lyrics. This message becomes even clearer in “Crowd Noise” when Smith sings, “No need to relay things, as we respond to playthings. We decide the ratings” and “The same things are the good things”, which sarcastically portrays the idea that we consume media, and media consume us. Literally, I have watched in amazement people almost run into each other while texting and walking, and not once do they avert their eyes from the technology that has proven to be there for us when we most need it (BBB’s sarcasm is rubbing off on me).

The fact that it is dark and not catchy only emphasizes the anti-material attitude of BBB. It challenges you to sit and listen, and dares you to delve deeper to find out what BBB thinks about secular satisfaction. BBB wants us to ask ourselves, “What do ‘things’ mean to us?” What does “house, dinner, nail polish, remover….” mean to us? It is important to transmit these thoughts through an industrial genre, for it makes obvious the terror of being a slave to consumerism and conformity; it parodies our obsession with media as Smith screams, “I don’t want it, that’s the ad”.

Get passed the necessary harshness and blunt attitude to hear the message we all know is true: having ‘stuff’ does not make you smarter or a better person. If it is too much to take in, take a minute to reflect while listening to the ambient sounds of “Market Thrush”, and then vigorously nod your head or pound your fists to the rest of the album. Blanche Blanche Blanche’s newest album, Breaking Mirrors comes out November 5^th.