Category: Reviews
Vinyl In The Forest: Vinyl’s Top Favorite Moments of Electric Forest 2014
Imagine a place where you can immerse yourself in total freedom. A place where responsibilities of the daily grind are abandoned and your inner child is encouraged to come out a play. Inhibitions, judgements, and preconceptions dissolve away with every smile and hug exchanged with a stranger. And that worldly concept of “stranger” fades as old and new friends become a part of this forest family and community.
Envision a world where Mother Nature’s beauty is enhanced by the audible and visual delights of artistic wizards; an environment where all human senses are stimulated and the concept of time is nearly nonexistent. Whether a newcomer or Electric Forest veteran, this festival is something special to all of those touched by its magic.
Over the four days at the Double J Ranch, we were truly treated to the splendor of such a treasured venue and special event. It is a challenge to fully describe what is experienced at Electric Forest and although many times impressive, photographs do not do this festival justice. Days later we are still taking everything in and we have comprised a list of our top favorite moments from this year’s Electric Forest.
Sensational Covers: Some of our favorite covers of the weekend came from Umphrey’s McGee, The String Cheese Incident and from the ever surprising Ms. Lauryn Hill Incident. Umphrey’s orchestrated the party Thursday night at the Sherwood stage with their stellar two-set show that included their concoction of “Come As Your Kids”-Nirvana’s “Come as Your Are,” and MGMT’s “Kids”- and Dead or Alive’s “You Spin Me Round” during the second set. The following day, and first night of three of Cheese’s Electric Forest performances, Cheese served up a funky danceable rendition of Chromeo’s “Bonafied Lovin.” Bob Dylan’s “Just Like Tom Thumb’s Blues,” The Police’s “Spirits in the Material World,” Fela Kuti’s “Zombie,” and Talking Heads’ “Crosseyed and Painless were also performed by Cheese over the weekend. When it came time for the Ms. Lauryn Hill Incident, we came with an open mind and we were impressed with the collaborative efforts that produced some of the best covers of the weekend including Stevie Wonder’s “For Once In My Life,” The Beatles’ “Something,” along with some Bob Marley and, of course, some Fugees throwbacks.
Totems/Rage Sticks: Love them or hate them, totems are here to stay. There seemed to be a lot more totems this year than previous years and the more the totems the more chance for creativity. Some of the top totems seen this year included one with Bubbles (from Trailer Park Boys) with some kitties which read “God, this place makes me frisky.” Another which spoke the honest truth read, “F**k Real Life,” and we cannot forget to mention the totems that read “CARL??” Props to everyone who got their creativity on with these, sometimes annoying, rage sticks and brought a smile to our faces.
Not All Who Wander Are Lost: Some of the best moments of the weekend were spent wandering in the Sherwood Forest both during the day and at night. A headliner in its own right, the forest is a pleasure for the senses. From getting lost in the art instillations, to the conversations with new friends, to (the occasional) losing track of time laying in our hammocks staring up at that blue Michigan sky peaking through the tree tops, to just sitting and watching the ever changing visuals make the forest come to life every night, and to even stumbling upon Super Tall Paul’s show after that second night of STS9 and hearing him break out in The Jungle Book’s “I Wanna Be Like You,” the forest is a magical universe all on its own. Differing worlds between day and night, taking time to explore and fall in love with Sherwood Forest alone is enough to make you never want to leave.

Wish Upon A Star: Now, this may be more of a personal favorite moment for us at Vinyl but one late night walking through the “secret” exit of the forest heading back to camp we happened to look up at the night’s sky and see a shooting star over head. If that doesn’t validate how enchanting this place is, we don’t know what else does.
Havarti Party: The String Cheese Incident knows how to throw a party or two and their performances at this year’s Electric Forest were no different. Going into their sets you know a spectacle is coming, but to what extent, that’s something you just have to wait and see. It was Saturday night, the second night of Cheese, and the second set started off with “Outside Inside” and ‘Valley of the Jig” while a video gamed themed extravaganza raged on, complete with gigantic inflatable Mario coin cubes, floating UFOs above, Pac Man stuffed characters on poles, full costumed dancers, butterfly confetti, lasers, smoke, and, oh, fireworks of course. This sensory overload of a party was ridiculous, insane, and unlike any other of that weekend. Everyone at this performance adorned a smile and there was not one still body in the Ranch Arena. The positive and electrifying energy of the crowd and the collective jaw dropping awe everyone was sharing in seemed to only fuel the band. Positive hoots and remarks could be heard throughout the crowd, we even heard someone calling this display a “Havarti Party”- that brought a smile to our faces. It’s moments and such celebrations of life like this that new and old Cheese fans don’t forget from a weekend like this.
Be Anything, Be Anyone: There is almost this sense of a judgement free zone when you step on the property that houses Electric Forest. This is a place to be free; a safe place to be whoever and whatever you wish. There is no dress code and being yourself is not only encourage but respected. If you want to let your freak flag fly, do it. If you want to wear nothing but body paint, you’re welcome to. This is a place where the mutual respect, acceptance, and support of fellow festival goers is almost unlike anywhere else.
Matt and Kim: First off, we cannot remember a time when an artist so openly talked about her lady parts…and we mean talked about it A LOT. From talking about shoving things up there to rubbing balloons on it before throwing them into the crowd…you get the picture. Shock value and apparent openness was there but it did not overshadow the afternoon party this duo brought to the Ranch Arena on Sunday. Matt and Kim’s intensity, vivaciousness, and love of what they do translated into a responsive crowd that fed off every word and action of Matt Johnson and Kim Schifino. It was hard to not be entertained from the two jumping around stage, Kim standing on her drums, throwing 300 balloons out into the crowd for them to blow up and even getting all the individuals with totems to move to one side. Fan favorites and the band’s hits were played, of course, and became a giant sing-a-long with the crowd singing every words back to them.
Until Next Year…: When was the last time you left an event, concert, anything really, where you exited and a collective cheer with clapping and happy yelling erupted? We couldn’t remember a time either… After Cheese’s third and final performance of the weekend we headed to catch Moby’s DJ set at the Tripolee Stage by the main entrance. While our minds were being blown by the fact that the DJ up there on stage was indeed Moby, we’re not talking your 1999 Play Moby, his set was interrupted by the news that a fierce storm was headed our way and everyone needed to leave the venue. It was an abrupt way to end the music that weekend, but the heads up to batten down our camp’s hatches was appreciated, aka throw everything in our cars and sleep in them for our final night. Leaving the venue was bittersweet; we were a tad solemn that the weekend was in fact over, but we were so grateful and extremely happy to have experienced such a magical event. The crowd as a whole seemed to be going through similar emotions and as the mass of attendees walked their final exit through the gates of Electric Forest, unified cheering and clapping broke out. The outburst was a shared thank you to everyone who had been involved in the weekend.
SomeKindaWonderful: ‘SomeKindaWonderful’
Somewhere at the intersection of the Black Keys, Outkast, Kings of Leon and Curtis Mayfield lies the Cleveland band “SomeKindaWonderful” (check out our SXSW interview here!) and their self-titled release out today via Downtown Records/White Clover Records. Good god, this stuff is catchy. Every song sounds like it could be in an Apple ad or movie trailer. In fact, as I listened to the album, I pretty much pictured everything from whiskey advertisements to kissing-in-the-rain moments from all my favorite chick flicks (not that I have that many).
The album kicks off at a wild pace with “Cornbread”, raspy and soulful with plenty of heavy drums from Ben Schigel and bluesy guitar riffs from Matt Gibson (fitting name, huh?). This is the kind of song you would expect to hear as a woman in stilettos walks slow-motion away from a rather menacing explosion, AK-47 in hand, completely unaffected by the chaos behind her. “It’s a conscious revolution” wails front man Jordy Towers, who moved to Cleveland from LA to get away from the big labels and conformity he felt was rampant in the big city. He certainly finds himself on this album, adventurously exploring with his lyrics while remaining very relatable.
Nowadays, bands rarely fit into a particular genre. But SomeKindaWonderful manages to fit into all of them, mixing pop, soul, rock and roll, funk, electronic, R&B, and western together effortlessly. “Police” is a perfect example of this, with John Legend-esque vocals peppered with gospel backing vocals and electronic beats reminiscent of Disclosure. Somehow these sounds blend together seamlessly, in an incredibly dynamic way.
“Hard For Days” means exactly what you don’t think there’s any way it could actually mean. It is a pop-y but risqué tune dedicated to “that first wave of lust when you meet a new mate” in the words of the band themselves…literally about being hard for days. Not gonna lie, it took me aback, with its eyebrow-raising lyrics, but once you jump in, the water’s nice. Kind of makes you want to roll around in bed with someone.
“Honeymoon” makes a quick u-turn, veering off in the opposite direction, lamenting about that inevitable moment when you realize the honeymoon phase is over, and love sucks. “I ain’t got time for a broken heart” sings Towers, and I don’t believe anyone is fighting him on that one. This struggle between love, infatuation, heartbreak and starting over is a theme dealt with in “Caveman”, “Amaretto”, and “Reverse.”
“Reverse,” the single that has been climbing charts, tells a story of a f*cked up relationship and a lover with a wandering eye. It’s like the soundtrack to that moment in the movie when the two lead characters realize that they will never work, but no matter the pain and suffering they’ve caused each other, they feel they belong together…but with a far more realistic feel to it and pretty epic instrumentals.
“Devilish Man” is my absolute favorite track off this record. Opening with a John Wayne quote, the track mixes western music with a heavy dose of soul, telling the story of an lyin’, cheatin’, drinkin’ scumbag that (SPOILER ALERT) ends up being an autobiographical tale about the narrator himself.
Exultant and uplifting tunes like “Burn” and “Shine On Me” round out a record that talks a lot about life and love, with lyrics that you instantly know the words to and choruses that build like Imagine Dragons’ do, with a tad bit more soul. It is an incredible album, really. Keep them on your radar, because SomeKindaWonderful is going to be big really soon.
Cut Copy at Variety Playhouse
When Australian vocalist Dan Whitford of Cut Copy announced on stage Tuesday night that, based on his observations, Atlanta loves to party, the crowd at Variety Playhouse went out of their way to uphold their reputation.
The sold-out show also featured CLASSIXX, a nu-disco duo from Los Angeles who played songs from their latest LP, Hanging Gardens. The set included a few different female vocalists who were present in spirit on a large futuristic TV screen. Tracks like “All You’re Waiting For” and “A Stranger Love” were fun and poppy, yet intricate and unique. Faster songs like “I’ll Get You” featured the question, “do you like bass?” and judging by the crowds enthusiastic dancing, I think it’s safe to say the answer is yes.

By the time Cut Copy took the stage, the audience was warmed up and ready for more. As the Aussies provided the party noise, the crowd was expected to bring the boogie. While the title of their most recent album, Free Your Mind, was projected in the background, Cut Copy only played a few tracks from the record. One of which being “Let Me Show You Love,” a trippy feel-good song paired with a black and white spiral background that was enough to put anyone in a trance. “In Memory Capsule” featured a skippy synthesized beat that the audience had great fun dancing along to, but the track ended with too much guitar distortion.
Audience members were appreciative of throwbacks like “Where I’m Going” from their previous album, Zonoscope, and sang along devotedly, but the real climax of the show was when Cut Copy played uber-hit “Hearts on Fire” from the 2008 album, In Ghost Colours, that featured enjoyable samples of saxophone. As Whitford sang, “with hearts on fire, I reach out to you tonight,” arms extended out to the crowd with the audience reciprocating, the positive energy was absolutely infectious.
“Out There On The Ice” was one of the most fast paced and intricate songs of the evening. By the end of the song, Cut Copy was all over the place, chaotically running around stage, playing each others instruments, climbing on top of equipment and jumping off while accompanied by sirens and fast-paced beats. “Lights and Music,” a song about second chances for the sake of a good time, also proved to be energetic enough to get everyone moving.
The band is no stranger to Atlanta, having recorded the previous album, Zonoscope, with local producer Ben Allen (Animal Collective, Gnarls Barkley, Matt & Kim), who happened to be in attendance. This could possibly explain the proclivity for merrymaking that Whitford has come to expect from the people of Atlanta, but one thing’s for sure – Cut Copy’s symbiotic relationship with their audience made for one great party.
Athfest 2014 Compilation Album
June is upon us, which means, Athens readers, that AthFest is right around the corner. AthFest Music and Arts Festival is like Christmas in June for the plethora of music lovers in the Classic City, a weekend of more music than you thought possible, with 14 venues and two outdoor stages hosting bands spanning every genre, most of them calling Athens home.
Every year for the festival, AthFest releases a compilation album produced by Ghostmeat Records (David Dondero, Drive-By Truckers), the proceeds of which go to benefit AthFest Educates, supporting art and music education in the Athens area. This year, however, the album will be released exclusively on vinyl—a first for the AthFest compilation.
I had a chance to grab a first listen, and saying I enjoyed it would be a vast understatement. Every year, AthFest reminds me how lucky I am to live in a city filled with such amazing art and music, and this compilation album is a testament to that.
The album kicks off with “Forest Gum” off New Madrid’s newest album, Sunswimmer. New Madrid is band that has been making more than waves, not only in the Athens music scene, but nationally as well, mixing southern rock roots with the psychedelic and indie influences of the modern Athens music scene. “Forest Gum” is awesome.
Ruby the Rabbitfoot takes over next, with “Ways.” Unsurprisingly, this song is instantly catchy, as Ruby croons over the acoustic guitar, universally appealing, but maintaining the down-to-earth indie vibe that has made her an Athens favorite.
“Rust and Bone” by Family and Friends starts slow by way of acoustic guitars, a violin and some heavy drums, and then builds with incredibly intensity, exploding with such pensive lyrics as “wondering if there’s a better way to live or at least a better way to die.” The song picks you up, whirls you around and sets you back on your feet, reeling from the trip.
Faster Circuits is groovy and psychedelic and evokes a good amount head bobbing with their psych-pop jam, “Relative Obscurity.” Indie rockers Elf Power do the same with their tune “Life the Shell,” singing, “and no one’s ever home when you ring the bell, and nothing’s ever there when you lift the shell.”
Of course, the Drive-By Truckers make an appearance on the album, with their raw and mellow “Rock Solid” tune from their Record Store Day EP release, Dragon Pants. The boys do what they do best.
Somewhere between Amy Winehouse and Billie Holiday lie the enchanting and unique vocals of Andrea DeMarco, complemented by the clear voice of David Krislis on the folksy “Meredith” by Cicada Rhythm that redefines the folk sound.
Nicholas Mallis and his deep, booming voice ask, “why do you light the candles when the storm hasn’t happened yet?” on his moody track, “Why Do You Light the Candles?” while Shade remains as capricious as ever on “Know Your Sine” with a mix of rock, punk, noise-pop, and indie music that is uniquely their own.
Ghost Owl closes out the album with “Eleven.” Ghost Owl is three quarters of the disbanded Athens legend and AthFest veteran band, Perpetual Groove, and although I have heard the name many times, I hadn’t had the chance to sit down and listen to them. They are a complete departure from the organic jams of P Groove and sway towards the indie rock genre, heavier, with a greater tendency towards electronic sounds and effects and a much more epic sound that builds throughout the song.
The AthFest 2014 compilation album makes me proud, as always, to be an Athens resident, a member of a community so rich with new and unique sounds, constantly pushing the boundaries to create music that the rest of the world can only imitate. And as someone who has seen about half of these bands live, I can assure you the festival itself will be just as exhilarating as the album. One thing is for certain, you DO NOT want to miss out on buying this record, and especially attending the festival.
Pre-order the album here!
Party in the Park 2014
Party in the Park took over Centennial Olympic Park this Saturday, May 17th to a huge crowd of flower headband adorned teens, hipster parents with well-dressed hipster children and drunken college students alike. The weather had cleared up perfectly, amidst horrid rumors of yet another rained out outdoor Atlanta event.
Aside from an already impressive lineup featuring the likes of Girl Talk, MGMT, The Joy Formidable, Minus the Bear and Stokeswood, Party in the Park featured a food village including vendors from Chick-fil-A and Papa Johns and an exclusive tent by the Party in the Park sponsors, the one of a kind Desperados tequila flavored beer.
The Desperados Tent, conveniently located in an ideal concert viewing space, was open strictly to those over 21 years old and featured a graffiti artist and various acts throughout the night – including sword swallowers, acrobatic dancers, and hula-hoopers in full body makeup.
Desperados, the new beer by Heineken, is blended with tequila barrel-aged lager. This mixture tones down the bitterness typically associated with beer and adds a smooth, sweet flavor because of its spirits influence. Desperados is perfect for a night out with its unique style, taste and dynamic packaging.
The crowd was enjoying themselves laying in the grass, in the Desperados tent or just arriving during Stokeswood high energy, easy-listening set that suited the mood instilled by the beautiful weather and environment of Atlanta’s day long festival in the park.
Desperados in hand, I joined the crowd seated on the grass and waited for Minus the Bear to take the stage. The crowd welcomed the Seattle, Washington natives with loud cheers. Starting their set off with “Summer Angel” off their 2010 album, Omni, Minus the Bear brought loud energy and a twangy guitar sound to re-energize the crowd. Mid-guitar change, Jake Snider welcomes the crowd and tells us how excited he is to be back in Atlanta—with a few references to the legality of pot in Washington with answering whoops and cheers thrown in—and proceeds to play a crowd favorite off of their 2005 album, Menos El Oso, “The Fix.”
Dave Knudson brought an amazing energy whenever he took center stage with an equally incredible response from the crowd, especially during his guitar solo in “The Fix.”
Minus the Bear ended their set with “Pachuca Sunrise,” which Jake Snider delivered beautifully.
Hailing from North Wales, The Joy Formidable was next to take the stage. With Ritzy Bryan as lead vocals and guitar and Rhydian Dafydd as bass and backup vocals, the two create a powerful force of energy and put on a fervent performance. Matthew James Thomas intense drum-banging added to the loud punch the band brought on. Overall, the Joy Formidable put on a powerful punch, playing crowd favorites like “Maw Maw Song” and “Whirring” and got me even more pumped to see one of my favorites, MGMT.
MGMT’s performance was everything I expected it to be – trippy visuals, a seemingly half-lucid Andrew Vanwyngarden and a performance that was exuded then filtered through a kaleidoscope of whimsical talent. Whether you were standing in the middle of the crowd in right by the stage or lying on the hill faraway watching MGMT’s performance as the sun set, both experiences would have been equally blissful.
By the time “Kids” came on, I had gotten to the lying down part of the show. When the first few notes were played though and recognition swept the crowd, everyone around me ran towards the crowd because of how infectious the energy was.
One of my favorite parts of MGMT’s performance only lasted a few seconds, but its simplicity and beauty was mind blowing. While some of the band members were changing out their instruments, Vanwyngarden began strumming the chords on an acoustic guitar to Carole King’s “You’ve Got a Dream” and sang a few lines of the timeless song.
Last to take the stage was Gregg Michael Gillis, better known as Girl Talk –and I say that loosely, because Girl Talk as well as about 50 festival-goers all took the stage together. Girl Talk was hidden behind two inflatable sneakers and a huge table, but his energy was explosive as the stage was filled with guys and girls dancing. The entire crowd was dancing and jumping along to the entire set – his first in three years.
Aside from the rambunctious, and sometimes inappropriate, ramblings of the hype man, British Nick, Party in the Park was one of the first outdoor Atlanta event in a while to deliver on all fronts – good drinks, an excited crowd, beautiful weather and amazing music all day.
The Stargazer Lilies: ‘We Are the Dreamers’
The Lilium ‘Stargazer’, or the Stargazer lily, is an oriental lily characterized by its vibrant pink color and very fragrant aroma. And as far as The Stargazer Lilies are concerned, it seems to be the musical equivalent of the poppies from the Wizard of Oz; once under their influence, you don’t feel like doing much of anything but laying staring at the sky, wafting gently along as if in a dream.
Previously of Soundpool, John Kep and Kim Field have left the faster tempo of their previous shoegaze tunes behind them while stripping and slowing down the sound to create The Stargazer Lilies, self-described as “butterfly wings, slowly beating guitars enveloping the listener, ethereal breathy female vocals floating on a melody, rocked out bossa nova beats and bad ass bass throwing down the rhythm.”
The We Are the Dreamers album cover is made up of lilies and leaves, with a misty, hazy gossamer filter. I spent a good amount of the time I was listening to the vinyl gazing at the cover itself. Inside is a similarly flowery page in bright pastels and organic hues overlaid with the whimsical and pensive song lyrics that make up the album. The record itself is a rich pastel-pink with the signature lilies in the center.
“We Are the Dreamers” starts the album off at a leisurely pace with an ambling melody and hypnotic vocals, singing “with stardust in our eyes, the clouds are at our feet, we are the dreamers, wide open are the skies.” The tune is soporific, as is the majority of the album, and feels like taking a trip to the land of the Elves in Middle Earth (hoping everyone gets my Lord of the Rings reference.)
“Del Rey Mar” continues the dream sequence of the album with a psychedelic, more acoustic number reminiscent of the 60s or Xanax daydream in a field of lilies.
The album doesn’t have much in the way of variety and is more like one long dream sequence than anything, with the exception of the slightly more upbeat “Light of Day,” which sees a slightly faster tempo and slightly heavier guitar.
Don’t make plans to be active while listening to “We Are the Dreamers;” you’ll more than likely end up laying on your couch thinking of some field somewhere in some hazy utopian forest clearing. It’s optimistic and introspective, and definitely soothing. Its angelic vibe rocks like a lullaby, gently soothing and warmly embracing the soul with some talented guitar work thrown in. Honestly, while it may not be the catchy music you get ready to on a Saturday night, it’s the perfect jam for a Sunday morning hangover.
“We Are the Dreamers” was released in late 2013 via Graveface Records, and you can catch it at your local vinyl store.
White Blush: ‘Loves Park’ EP
Carol Rhyu’s independent project, White Blush, continues to grow and is well worth the listen this summer while you welcome warm winds and cool sheets. White Blush’s most recent EP, Loves Park, is one you’ll want to know sooner than later for its sheer simplicity and natural beauty. Rest and relaxation accompanies this EP.
Loves Park opens with “Wish,” featuring Rhyu’s signature airy voice and synthesizers. The ambient sounds are intensified by soft whispers and are untainted by harsh effects. Among the liveliest pieces are “Summer,” “Neptune,” and “Mysterieux.” The quickest way to get my attention and my hidden dance secrets is with a light 80’s synthesizer, prevalent in “Summer.” I can easily imagine “Summer” playing at a swanky nightclub somewhere – not sure how the dancing would look, but I would try it.
“Neptune” exhibits a somewhat ominous sound with reverb guitar effects and rhythmic bass sounds that mimic drumbeats. Finally, “Mysterieux” ends the EP with Rhyu’s captivating synths. There was something familiar about “Mysterieux” when I listened to it, as if I had come across it on Stereomood months ago. It is always when I hear a song the second time that my ears naturally decide if they like it or not, and “Mysterieux” was accepted, its origin a literal mystery.
Loves Park will most likely be making an appearance on my playlist as I drive home from work during these summer afternoons. Loves Park radiates and encourages meditation and thoughtfulness essential for the long, hot summer to come.
Modest Mouse at The Norva

I’ve been standing in the crowd for going on an hour now. Empty stage. Empty Beer cups and a steadily emptying wallet (f*ck you, six-dollar Miller Lites.) Years of pent up nostalgic attachment to Modest Mouse’s music has me restless. Nervous even. Seeing a favorite band for the first time is similar to meeting a hero- there’s always that nagging fear that they’ll disappoint you. Then the lights drop and the crowd ignites. I scan the discography in my head for the perfect opener- hell, anything would be amazing. It’s Modest Mouse.
Is there anything worse than the deflation of not knowing the opening song at a concert of one of your favorite bands? I’m forfeiting some of my indie-cred here, but I had never heard “The Whale Song” before. No bother. The unfamiliar introduction granted me more time to absorb my surroundings.
The NorVa in Norfolk, Virginia exudes a post-apocalyptic vibe. A warehouse style venue with rigid edges and an upper level where those who couldn’t wedge themselves into the mob below crane their necks over the railings and rain down beer foam. The acoustics are of the deafening sort- where you could yell the most embarrassing things to your friends, and they would never hear you.
For the majority of the crowd, the show officially began with song number two. “3rd Planet.” There’s just something incredible about being immersed within an entire audience unafraid to belt out every lyric, no matter how ridiculous they sound doing it. Though I couldn’t hear a thing over the amplifiers ricocheting electric guitar off of hundreds of skulls, I’d like to imagine we sounded good. Or, at the very least, in key.
Frontman Isaac Brock wasn’t technically a frontman at all. He led the band from stage left. Modest, right? How fitting. “Trailer Trash” was next. A scary reflection on a white-trash childhood in a trailer park, smothered with fears of inadequacy and feelings of regret. All of those negative emotions exploding into a musical fireball that engulfed the crowd in hot lights and piercing guitar.
Around the time when the floor transitioned from slightly sticky to Defcon 5 shoe magnetism (more alcoholic precipitation from the second level), the band eased into “Custom Concern.” Slower, sadder tunes don’t necessarily translate well into live settings. Such additions to the setlist run the high risk of filling bathroom stalls and bar tabs. But something about waking up at noon, finding your shoes and being pissed off about having to go to work registered with the crowd. The collective voice of general admission overtook Brock’s vocals: “Gotta go to work, gotta go to work, gotta have a job.”
The appearance of a banjo evoked requests from the audience of songs featuring the familiar twang of five strings. Blaring horns launched “This Devil’s Workday,” and even at the expense of a sack full of puppies set out to freeze, the crowd consumed the tune with vigor. Existentialist anthem “Bukowski” was next, followed by a time machine back to high school in the form of “Ocean Breathes Salty.” I have to admit, I’ve never heard hundreds of voices unify in such hilariously amazing falsetto before (You missed! You missed!)
It’s hard for a band not to break out the song that showed them the door to critical acclaim, so naturally “Float On” made a welcomed appearance. And why not? It’s a damn fun song to sing along to, even if half the time you’re impersonating the guitar melody. Post-song finally brought us some interaction with Brock, which was mostly incomprehensible babble, cursing, something about his new haircut and a plea for somebody from the audience to toss up a hair tie. A headband descended from the second level allowing Brock to “look like Keith Richards for a few songs.”
One last time, the banjo came out of the wood-work for the heaviest song of the evening, “Satin in a Coffin.” There were some structural trimmers in the buildings during that one. If you hadn’t lost your voice or your mind by that point, you were obligated to.
Encore breaks amuse me. Everyone knows the band is coming back out for a second serving, but the unwritten law of concert-going still binds the crowd to yell their asses off until they fire the amps back up.
This encore break was less of a break and more of an extended interlude- what one fan referred to as the “longest bong hit in human history.” Even after 10 minutes, the audience never faded. They earned a gem of an encore for their efforts. The pulsing bass line of “Tiny Cities Made of Ashes” energized the flesh mob swimming on the floor. “Shit in your Cut” into “Fire it Up.” And after some banter between band mates, some suggestions from the upper balcony, and a “f*ck it,” from Brock, Modest Mouse sent the crowd home with a beautifully mutated combination of “Styrofoam Boots” and “Wild Pack of Family Dogs.”
What would be the opposite of phoning it in? Kicking down our doors and shoving a cursive written note down our throats? That’s what happened then. 20 years later, and Modest Mouse is still the independent music standard that infant bands shoot for. If they’re playing near you, go see them. You won’t be disappointed. These are just my modest opinions and, like kittens, I’m givin’ them away.
Cherub: ‘Year of the Caprese’
I don’t know what it is, but I’ve noticed a huge wave of bands (usually all white) with major 90’s R&B influences popping up all over the place. From HAIM to Daft Punk, this resurgence has become the new trend in dance music, and Cherub is no exception. They’re new album, Year of the Caprese, out today, is drenched with 80’s and 90’s nostalgia. It’s hard to listen to it without picturing scrunchies and neon swim suits.
Hailing from Nashville, TN, Cherub’s two-member line up consisting of Jordan Kelley and Jason Huber gained recognition with their dance club hit, “Doses and Mimosas” and through word of mouth about their uproarious live performances which earned them a slot in major music festivals like Lollapalooza, South by Southwest and Bonnaroo. They’re electro-pop funk sound promises a party, but they’re album sounds more like something on your pre-party playlist. A gateway drug, but far from the hard stuff that will get you waking up in a Mexican hospital with no shoes.
Year of the Caprese, to me, sounds like atmosphere dance music, or chill grind wave, if that’s even a thing. But if it’s not, then at least Cherub can say they paved the way for something other than another excuse for frat guys to start going to music festivals. While the beginning beats and synth-pop influences hook you into the song, it never climaxes, the beat never drops, the full out dancing never starts. It just stays leveled throughout the entire song – really throughout the entire album.
Seeing how they got their notoriety from their live performances, I can see how songs like “Disco Shit” and “<3” could be much livelier and more beat-driven on a live stage with hundreds of people singing along. But I doubt I will ever find out since backward hat-wearing guys grinding girls in crop tops brings back horrible middle school dance memories of my South Florida youth.
Check out their outrageous video for “Doses and Mimosas” released today!
Tour Dates:
May 29 – Las Vegas, NV; Our Big Concert presented by X107.5
May 30 – San Diego, CA; X-Fest presented by San Diego 91X
May 31 – Los Angeles, CA; KROQ Weenie Roast
June 1 – San Francisco, CA; Live 105 BFD
June 7-8 – Ozark, AR; Wakarusa
June 12 – Manchester, TN; Bonnaroo
June 21 – Denver, CO – Westword Music Showcase
June 22 – Dover, DE; Firefly Music Festival
June 26-29 – Rothbury, MI; Electric Forest Festival
June 28-29 – Pilton, UK; Glastonbury
July 18 – Salacgriva, Latvia; Positivus Festival
July 19 – Bern, Switzerland; Gurtenfestival
August 1-3 – Montreal, Canada; Osheaga Festival
August 15 -17 – Somerset, WI; Summer Set Music & Camping Festival
September 6-7 – St Louis, MO; LouFest
The Wonder Revolution: ‘WOW’
Rocks, trees and other organics are the driving force behind The Wonder Revolution’s new LP WOW, and the genre of “wondermusic” it strives to create. Whimsical sounds and capricious melodies are the heart of the album, blended together in a seemingly made-up-on-the-spot way, winding along like an abandoned mountain road.
The album, which features a musical relationship between revered Kansas guitarist David Lord and Les Easterby of The World Palindrome, is set to be released May 27 via Air House Records and seeks to “inspire wonder” with its tunes. In an interview with Impose, Lord revealed, “the creation process is a type of wonder experience formed with a similar mindset as when I explore the forest, gaze at the sky or am able to do anything and be in the moment, with some distance from mental chatter.” The album certainly reflects these inspirations and feels very much like a musical accompaniment for a night sky or summer sunrise.
Clear, honest vocals and acoustic guitar melodies are speckled with the sounds of birds chirping, children playing and nature itself on a record that wisps lazily along like a leisurely summer breeze. With no distinct beat or regular meter, the adventitious melodies are sometimes like lullabies, on such tracks as “Breathing With a Butterfly” and “Tree Woman,” but pick up slightly on more upbeat tracks like “Pixie Mountain” and “Cloud Wonder Sky (Outside In).” However, the music never moves too swiftly, retaining its languid pace throughout the record.
Lord’s guitar skills are an overwhelming force on the album, showcasing his dexterity and creativity. On “Wonder Lensed,” his unique combination of unusual tuning and classical playing style produces a casual, dreamy sound that is complimented by vocals reminiscent of Bon Iver’s on For Emma, Forever Ago. Abandoning standard song structure, “Wonder Lensed” feels like a passing thought or fleeting feeling.
Micajah Ryan, who has worked with the likes of Bob Dylan and Guns N’ Roses, engineered the album, creating an encompassing sound that fills empty spaces with the sounds of life itself. Lord attributes everything he knows about recording to Ryan, and his heavy influence on the album is apparent.
WOW feels like a lackadaisical stroll through a fairy-inhabited wood, with no destination in mind. There’s not a lot of variety in the sound, but it’s intoxicating. If you’re not careful, it may lull you into a world of dreams and wonders, somewhere outside in the forest, wavering between sleep and consciousness.

































