Vinyl Mag – Page 54 – Founded in Athens, GA.

Top 20 Acts to see at South by Southwest 2015

Posted on March 11, 2015March 13, 2015 by Rebecca Smith

Running around Austin at hyper speed while trying to scarf down a taco can be daunting at best, so we’ve compiled a list of our favorite acts you should take care not to miss this year. Happy Hunting!

20. Hey Marseilles

Hey Marseilles is a 7-piece orchestral band with folk elements not unlike that of The Decemberists. With a propensity for story telling through melody, Hey Marseilles could be perfect for those looking for adventure.

See them at Parish on Friday, March 20.

19. Thee Oh Sees

Less than a year after they released their album Drop, Thee Oh Sees have announced that they have another on the way. Mutilator Defeated At Last is not coming out until May, but surely we will be able to preview some of it at one of their many shows in Austin this year.

18. Gringo Star

Siblings Nick and Peter Furgiuele have earned the right to call themselves tenacious. Having appeared alongside acts like Best Coast and The Black Lips, Gringo Star has been creating indie melodies for years and is a fixture in the Atlanta community.

Check them out at The Pizza Loft (301 Chicon St.), March 20.

17. DeLorean

The feel good beats of DeLorean hail from Barcelona, Spain where, let’s be honest, they know a thing or two about dance music. Named after the time machine in Back to the Future, DeLorean has an uncanny ability to persuade everyone in the room to move their bodies. Unfortunately their shows haven’t been announced but no worries; where we’re going we don’t need roads!

16. Angus and Julia Stone

This brother and sister duo hit it big with their song “Big Jet Plane.” Their self-titled album Angus and Julia Stone is an elegant example of folk rock’s simplicity and candor. Catch them at various venues in Austin.

15. La Luz

Surf rock with an edge and a message. That’s what you get with La Luz, featuring vocals that channel Nico and an ominous organ.

Check them out at Hotel Vegas Patio  (1500 E 6th St) Friday, March 20.

14. Ballet School

It’s hard to pinpoint exactly why we love Ballet School so much. Perhaps it’s because they use the dreamiest elements of 80’s synth pop to transport us to a simpler time of trapper keepers and neon leg warmers. I digress. Be sure to check out their album The Dew Lasts an Hour and keep a lookout for them in Austin.

13. Charlotte OC

Charlotte OC’s vocals are haunting account of heartbreak similar yet unique to that of Banks or Kimbra.

We think this incredible artist is going places fast, so do yourself a favor and check her out at Latitude 30 (512 San Jacinto) Friday, March 20. RSVP here.

12. Kelela

Kelela’s smooth vocals paired with interesting synth layers make for a unique ebb and flow sure to make for a great performance. She just announced the release of her new EP Hallucinogen in May so maybe we will get to hear a few tidbits in Austin.

11. Surfer Blood

Surfer Blood is everything you’ve ever wanted on that summertime mix tape you’ve been meaning to make.

Maybe if we’re lucky we’ll get a sneak peak of their new album 1000 Palms, due out in May, at their show at Lamberts (401 W 2nd St) on March 18.

10. Lois & the Love

Lois & the Love have been tempting us with singles for years but they are finally set to release in their first album this summer, aptly named Love is Louder. We suggest you take the opportunity to see their powerhouse performance before they really blow up.

9. Dry The River

Sure, Dry The River made waves with their 2012 LP Shallow Bed but an obvious shift to edgier lyrics and melodies can be heard in their newest album Alarms in the Heart.

But don’t take our word for it; see for yourselves at Buffalo Billiards  (201 E 6th St) Tuesday, March 17.

8. Alvvays

What better way to celebrate the fresh spring Austin air than to let Alvvays’ sun drenched rock & roll wash over you like a rogue wave.

Molly Rankin infectious stage presence is not to be missed this year at Cheer Up Charlie’s (900 Red River St) March 19.

7. Palma Violets

If you happen to be the kind of person always looking for an album you can listen to all the way through without skipping a song, look no further than Palma Violet’s 180.

The Londoner’s psychedelic, garage-rock vibes will be on display at Parish Thursday, March 19.

6. Twin Shadow

Florida native George Lewis Jr. is bringing back 80’s inspired chillwave in a big way. His unique electronic melodies and his smooth vocals are the perfect way to unwind after a long day of show hopping.

His third album Eclipse drops right before his performances at Stubb’s BBQ March 20.

5. Courtney Barnett

Australian artist Courtney Barnett’s deadpan vocal delivery mixed with her folky-garage rock style is refreshing and just fun to listen to.

She’ll be playing her entire debut full-length album Sometimes I Sit and Think, and Sometimes I Just Sit at Stubb’s BBQ on Wednesday, March 18.

4. Run The Jewels

Run The Jewels is the incredible brainchild of rappers Killer Mike and El-P. From their first self-titled album Run The Jewels to the sequel Run The Jewels 2, these guys don’t hold back and continue to blow us away.

See them at Stubb’s BBQ on Friday, March 20.

3. Odesza

Consisting of Harrison Mills and Clayton Knight, this electronic duo is sure to put on a good show. Their hit song “Say My Name” featuring Zyra is guaranteed to be a crowd pleaser.

If it’s dancing you want, it’s dancing you’ll get at their show at Parish, Wednesday, March 18. RSVP here.

2. BØRNS

Garret Borns’ sweet falsetto croons are just what you need to get you into the SX spirit. It’s pretty difficult to listen to his EP Candy without getting inspired so we dare you to try it.

Catch him at Parish (214C E 6th St) Wednesday March 18. RSVP here.

1. Stromae

It’s fitting that Paul Van Haver chose to be known as Stromae, which means “maestro” in French vernacular. He’s been conducting entire nations to get out of their seats and dance to his hit song “Papaoutai”. Up until now it’s been pretty hard to catch him live in the States so we suggest you take advantage of this awesome opportunity.

Playing at Stubb’s BBQ (801 Red River St) Wednesday, March 18.

Artist to Watch: Years & Years

Posted on March 11, 2015March 13, 2015 by Andrew Plaskowsky

In five years, a lot can happen. Most students will complete their secondary education in less time. Even a president’s first and possibly only term is over and done in four years. For the British electronic pop trio Years & Years, five years is what was needed to generate substantial waves on the blogosphere and British radio.

The band was fully formed back in 2010 when vocalist Olly Alexander joined the then quartet following bassist Mikey Goldsworthy hearing him sing in the shower. Then in 2013, the now trio signed with French record and fashion label Kitsuné – which is home to artists like Phoenix, Two Door Cinema Club, and Hot Chip.

Moving forward, the trio released two commercially unsuccessful singles, despite being critically acclaimed by music journalists and bloggers. This opened a doorway for the band the following year when the group signed to Polydor and gained recognition for its first release “Take Shelter.”

Fast forward to 2015, and the band has certainly captured the attention of the world after being named the winner of the BBC Sound of 2015 poll. Years & Years were quick to springboard off the promotion and release the Y & Y EP not even a month ago.

Alexander’s voice can fit into nearly any situation, from the boy band tinges in “Desire” off the now trio’s latest extended play the Y & Y to an emotionally affected and uncredited feature in the explosive garage house anthem “Stronger” off Clean Bandit’s New Eyes. Band member and beat maker Emre Turkmen is able to play off the strength of Alexander’s chameleon vocals to create a majestic yet atmospheric soundscape as evidenced in the euphoric “King.”

“King” is truly unlike anything I’ve heard in the last year and definitely a song most mainstream pop acts would have killed to use as their own single. The soaring vocal hook is coupled with a synth mimicking a royal procession as a deeper bass grinds away underneath. It’s extremely easy to get lost in the various components of the song and that’s not a bad thing in this case because it shows that each layer is interesting on its own.

https://soundcloud.com/yearsandyears/king

The EP ends on a less upbeat note with the simple downtrodden piano ballad “Memo” as Alexander sullenly airs his feelings out to an unknown lover “Who wouldn’t want it when he looks like that? / I want you stay / and if I try my hardest, would you look my way?”

https://soundcloud.com/yearsandyears/years-years-memo

Years & Years’ age and musical versatility is exhibited in a fleeting 15 minutes and hopefully the group is able to continue its momentum by making its way stateside either on its own or as an opening band. The breath of fresh air it offers is much needed in both American pop music and British pop music. Don’t sleep on them for too much longer or you’ll find yourself in the dust this time next year.

St. Vincent shares “Teenage Talk” on latest ‘Girls’ episode

Posted on March 10, 2015March 10, 2015 by Kelsey Butterworth

Girls has a reputation for being astute when it comes to the music that plays over final credits, and its 3/8/15 episode “Tad & Loreen & Avi & Shanaz” is no exception. After main character Hannah is given some bombshell news by her mom, her expression of confusion and fear cuts to an unreleased St. Vincent b-side called “Teenage Talk”. Annie Clark and Girls creator Lena Dunham are friends, and the show’s music supervisor reached out to Clark’s team, who had this unused demo lying around. Besides Clark’s pensive, honeyed voice, the 90s alt-synths and stuttering drums are immediate St. Vincent tip-offs. The song is way too short – as with most things surrounding this fabulously talented artist, we’ll never have enough.

In the track St. Vincent looks back on the past, specifically the generally overrated period of teenagerdom. Her sad and reflective lyrics (“I don’t think the past is better, better / Just cause it’s cased in glass / Protecting us from our now and later”) make the song sound like an update to Vanessa Carlton’s “White Houses”. Clark closes out “Teenage Talk” by wondering what her former beau thinks of her now. As is her wont, she uses esoteric imagery to get to the relatable heart of heartbreak.

An official version hasn’t yet been released, but fortunately a high-quality stream has been circulating around Tumblr. It’s that or deal with the monstrosity that is HBO Go, so choose wisely.

SXSW 2015: Lenka x Vinyl Mag

Posted on March 10, 2015March 13, 2015 by Rebecca Smith

Despite what you think you know about SXSW, we’re guessing Lenka could teach you a thing or two. She has been a fixture of the festival for years and has a special connection with Austin that was written in the stars. That, plus her new single “Blue Skies” off her upcoming album, The Bright Side, has us anticipating just how crazy awesome her showcase this year will probably be.

VM: How many shows will you be playing at South by, and which ones are they?

Lenka Kripac: I’m playing two shows. The Aussie BBQ and ASCAP Presents, both on March 20.

VM: What is the general theme of your new single, “Blue Skies?”

LK: Optimism that things will be better. And um, the weather?

VM: Can we expect the same sentiments to be repeated in your upcoming album, The Bright Side?

LK: Yes, it’s a super optimistic album. I feel like that’s my biggest strength as a songwriter and communicator. Imparting a feeling of hope and happiness in our lives.

VM: You’ve had such an interesting and colorful career. What are some of the biggest changes you’ve experienced creatively as an artist between now and when you were in Decoder Ring?

LK: Not being in a band, means always having to form a band. I’ve employed so so many awesome musicians over the years. It’s a rotating roster, depending on people’s other projects and availability. It can be quite stressful making it all work. But creatively, of course, I’m free to explore whatever I feel, so that’s liberating.

VM: Who are you most excited to see play this year at South by?

LK: Marina and The Diamonds! I’ve always been a fan but never seen her live. Hope I can get to a show!

VM: You’ve said in previous interviews an astrologer once told you that Austin was the perfect city for you to live in. What attributes do you think you share with the city that people are trying so hard to “keep weird?”

LK: Well, I do like to surround myself with wonderful weirdos. I guess there’s something in my stars! Freedom to be weird is very important to me.

VM: Are you a barbeque joint or a food truck kind of gal?

LK: Both, either – I’m gonna eat it all. But I need a lot of veggies on the side, too, please!

VM: In your opinion, what are the biggest differences between making music in the U.S. and Australia?

LK: It’s very S L O W in Aus, I find. People are too wrapped up in living the good life maybe. My experience in the U.S., though sometimes still complicated, has been much faster. People are always ready and excited to work.

VM: The Bright Side is set to release in June. Will you be releasing any more singles before then?

LK: Yes, I hope so! Not sure which song though…

VM: Will you be playing any other songs from your new album during SXSW?

LK: Yep, a few more for sure!

SXSW 2015: The Knocks x Vinyl Mag

Posted on March 10, 2015March 13, 2015 by Nikki Smith

From New York City, The Knocks started in their own apartment in a homemade studio. Eventually they made it to Chinatown, and now they’re taking over. These two are dedicated and continually growing and improving. Ben “DJ B-Roc” Ruttner and James “JPatt” Patterson came together in 2009, making their own hip-hop beats as roommates. Now, their love of disco, funk, and hip-hop have come together to land their music in the Will Smith box office hit, Focus. Vinyl Mag got a chance to interview the two friends about their unique sound, their origins, and their future. We look forward to catching them at SXSW, where they will be DJ-ing several showcases. Their music is catchy, feel-good, and dance-worthy – definitely two guys you should be listening to.

Vinyl Mag: Your single “Comfortable” was in the new Will Smith movie, Focus. Did you see the movie?

Ben Ruttner: No, I haven’t seen it. I’ve been getting a lot of texts from my friends when they’re in the movie theater.

VM: That’s exciting! How did you find out about it?

BR: Yeah, it’s one of those things where you hear about, and you kind of forget that it actually happened, which is cool. It’s number one at the box office right now, which is cool.

VM: That’s awesome! Do you plan on seeing it?

BR: I’m going to wait for On Demand.

VM: Your music is an interesting combination of hip-hop and contemporary classic. How do you find a balance between the two genres?

BR: I think it just happens naturally; we just pull from all of our influences. When we first started, we made a lot of “poppy” stuff with a more hard-hitting, almost urban influence. Then, we started to stray away from it towards more of this straight dance stuff. Since then, our new album is definitely going back to that original sound of ours, more influenced by early Gorillaz, Fatboy Slim, kind of 90’s pop but more credible trip “poppy” bass stuff, but it all has that kind of funk, disco influence to it, which is the thing that brings it all together.

VM: I can definitely hear that in your music. You guys started in New York?

BR: Yeah, we met in New York. I was born in Vermont; James was born here in New York. We met here, and we were roommates first, and we used to make hip hop beats together, and then we started making more and more music.

VM: How has your life in New York influenced your music?

James Patterson: We’re both DJ’s, so we like to test music out on different kinds of crowds, and if it doesn’t work, there’s a bunch of different scenes. We really have to be on our toes when we get to a gig and want to play different kinds of music – that way we can see what works, and when we get back into the studio we can incorporate different techniques.

VM: Do you think that your different backgrounds influence the music at all?

JP: Definitely. Sometimes, we listen to more rock or more funk and gospel, but we both listen to hip-hop. We take that into consideration when we’re making music.

VM: Do you think your music has evolved since your start in 2009? How so?

JP: Definitely; it’s just better in every way. Our equipment is better, and the sound is better; we’re going through a lot of different influences, just being here [in New York]. We’re trying to be relevant and stay relevant while keeping our own sound.

VM: When you first started, did you do a lot of your own recording, or did you have your own studio?

JP: We had a studio in our bedroom, and then we got a studio in Chinatown that we built. We’ve always had our own space.

VM: Is there a particular sound that you guys are going for in your latest tracks and for the future?

BR: We really like to use classic influences and have stuff that sounds like it could be retro and give it a future element. We call it “future retro” – no, “future classic,” “retro futurism” – but that’s basically the whole vibe. We try to keep with a feel-good sound; we have a couple of somber songs, but it’s very much so upbeat, feel-good music. We try to keep it organic and try to have a cool edge to it but keep it super accessible. We don’t think of ourselves as a super-indie band; we definitely make pop music. We’re trying to bring back that whole vibe, when Moby dominated the airwaves, Fatboy Slim, and Gorillaz – that really cool pop music that has something different you can put your finger on.

VM: A lot of artists remix your songs. What is that process like?

BR: We have so many friends who are producers and DJ’s that we’ll just reach out with a trade – we’ll remix their song, and they’ll remix ours. If it’s a bigger artist, they have to go through the label, and we’ll get them paid and do it. The ones that come out the best I think are the ones we get for free from friends, because they care a little bit more than trying to get some money.

VM: You guys will be making your way to Austin, Texas for South by Southwest this year? What are you most excited about?

BR: We’re headlining the Neon Gold showcase on the last night, which is going to be fun, because it’s a really great venue, Empire Garage. We’re playing with some friends, Alex Winston and Marina Diamond [Marina and the Diamonds], so it’ll be like a family affair because we’ve been friends for years.

VM: Do you think you’ll have to explore at all, or will you be hitting the road?

BR: Oh yeah – we’re there for the whole week, because we’re playing a bunch of stuff for interactive, and then we’re basically stuck there for the whole week. We’ll definitely be walking around, and we go every year.

VM: Who are you looking forward to seeing at SXSW?

BR: I don’t know; I’ve kind of been out of the loop. I like to go see artists I’ve never heard of before; I feel like that’s what it’s all about. Some people treat it like Coachella, where you go see these huge artists, but it’s such a shit show trying to get into all these parties. You have to be on the list, and you’re there with all of your friends, and you can’t get in. I like to go to the weird, off-the-beaten-path shows and see some band I’ve never heard of.

VM: What shows are you playing this year at SXSW?

BR: We’re actually just doing the Neon Gold showcase and the Atlantic showcase; those are our live shows. Then we have a couple DJ sets; I think we’re DJ’ing a Nylon party and the Crazy Heart party.

VM: Are you a taco truck or a barbecue joint person?

BR: Taco truck is me.

JP: I’d probably go for taco truck too; BBQ is pretty heavy.

VM: You guys don’t have a lot of BBQ up north, do you?

JP: No, we have lots of taco trucks.

VM: Well maybe you should try some BBQ in Texas – I hear it’s pretty good.

JP: Definitely.

UPDATE 3.10.15 11:00 a.m. –

The Knocks announce the release of their forthcoming So Classic EP on April 7 via Big Beat/Neon Gold. Check out their new video for “Dancing With Myself” below!

Madonna: ‘Rebel Heart’

Posted on March 9, 2015March 13, 2015 by Andrew Plaskowsky

Back in December 2014, the Internet was still repairing itself from the assault of Kim Kardashian’s nude photo shoot when 13 demos in various stages of completion from Madonna’s upcoming thirteenth LP Rebel Heart surfaced. This was met with severe backlash from Madonna herself, who broke an iPod and posted the picture on Instagram likening to situation to terrorism.

Despite the leaks, she insisted some of the tracks would not be used and the ones on the final album would be tweaked. Less than a week later, the floodgates opened, and by January 2015, not only had nearly every single demo from the recording sessions leaked, but so did an unmastered copy of the super deluxe edition.

While she remained quiet about the final batch of leaks, more and more information surfaced about how the record was supposed to be a double disc with one being Rebel and the other Heart. Though the product was not a double disc, the thematic duality of the record coupled with some of Madonna’s most genuine lyrics makes Rebel Heart her most sonically interesting release in the last decade of her 30+ year career.

Instead of focusing on working with a single producer much like her first few albums, the album includes production from Avicii, Diplo, Kanye West, and Ryan Tedder. The album opener “Living For Love” is a deep house cut that features a piano part played by Alicia Keys, background vocals by MNEK and a grandiose bridge. The album juxtaposes the concept of empowerment between a menacing bassline and an unrelenting beat, a common theme repeated throughout the duration of the record.

“Joan of Arc” showcases the vulnerable side of Madonna is a poignantly reflective first verse “Every time they write a hateful word / dragging my soul into the dirt / I wanna die / never admit it but it hurts.” It’s interesting to hear her deconstruct the image that media has constructed for her. My only complaint with the finished track is the seemingly out of place drums that weren’t present in the leaked demo.

“Iconic” and “Veni Vidi Vici (feat. Nas)” are two of the album’s most self-referential songs, the first being a trap track – yes, you read that correctly – with a spoken intro by none other than Mike Tyson and a rap verse by Chance the Rapper. The latter song sees Madonna’s voice somewhere between spoken word and singing as she describes her career by interpolating the titles of her previous singles (I opened up my heart / I learned the power of goodbye / I saw a ray of light / music saved my life) within the verses. If you listen closely you can hear a small “Ray of Light” sample and the horn section from “Holiday” during Nas’ fiery guest verse.

“S.E.X” is an interesting turn in the momentum of the album as it recalls the Erotica era with more spoken word, this time in a laundry list of objects needed for S&M: twisted rope, a leather mask, fish nets and raw meat. It’s a jarring transition before the orchestral “Messiah” but it stands as a testament to how Madonna strives to rebel ageism in the industry.

At 19 songs, the deluxe edition is one of Madonna’s longest albums clocking in at 74 minutes and is certainly one of her most diverse. Grab a listen when the album officially drops tomorrow.

4.25/5

Saturn Valley: ‘On The Rings’

Posted on March 6, 2015March 13, 2015 by Morgan Greenfield

Without a doubt, the streets of Athens consistently churn out exceptional musical talent. One particular band to take note of is the up and coming Saturn Valley. Consisting of five players Chris Freiberg on Keys, Christian McDaniel on percussion, Nick Jones on guitar, Zach Webster on drums, and Scott Andrews on bass (previous bassist/bassist on On The Rings Charlie Ferrell), this band channels the funk of Santana, the skills of Jimmy Page, and the overall essence of Widespread Panic. Each and every song consists of creatively different jazz tones, especially in their recent album, On the Rings.

The song “Odysseus” begins with one of the tastier riffs on the album. However, once the drums ensue, this tune starts to take on many different routes. The drums lead listeners into a metal-based synth spell and then bring listeners back to that original riff. Quite a fitting song title for such a journey.

“Rusty Bane” brings out the more sensual side of SV. The song begins with a horn section, opening the door to the keys and guitar’s simple, soul-filled notes. Then, all hell breaks loose when nothing but funk enters the mix, a surprising segue from the prior melancholy tone. Each note then ventures into classic funk, leaving you bouncing as there music fills your speakers. Billy Cobham fans, this one is for you.

“Tollbooth” is another great catch on this album, focusing primarily on the skills of Frieberg as he takes the lead in his own style. This song shows truly the skill and effort these lads have dedicated to this band, as well as their love for music. Miles Davis circa Bitches Brew would be so proud.

What’s truly beautiful about this album is the apparent and absolute hard work these guys have put into its creation. Each song was well mixed – including their live show, which you can find on ReverbNation.

Saturn Valley has created music that can relate to any music lover out there (unless you are truly against instrumentals). With their hard work and experience, Saturn Valley can really rise. Athenians, you can currently snatch this catch at Wuxtry.

3.8/5

Bright Light Social Hour: ‘Space Is Still The Place’

Posted on March 5, 2015March 13, 2015 by Morgan Greenfield

Touring legends Bright Light Social Hour are at it again with their kick-ass new album Space Is Still The Place. Courtesy of band mates Jack O’Brien, Curtis Roush, Edward Braillif, and Joseph Mirasole, this compilation will be just another step of progress in the name of Rock. Woven with funk, soul, psychedelic tones, and straight good ole fashion rock n’ roll, this album brings a unique sense to the scene moving this band up in the ranks alongside artist like Moon Taxi, The Tontons, and Quiet Company.

The premise behind the album comes straight from Bright Light’s insane touring schedule throughout the south. After their southern binge, they created the concept of “Future South” and collaborated to bring this idea to life.

The album starts off with a bang with the song “Sweet Mandele,” a western trip backed by a Beatles mentality. The drums provide an almost tribal element as the guitar rings out bluesy chords with the occasional post punk twist. However, you will receive inexplicable chills once the breakdown occurs. Slowing tempos and spacy vibes turn suddenly into the perfect indie dance tune.

The next song to turn to on this album is “Dreamlove.” Bringing out that synth that fans adore these days, this song brings you back to 80’s culture, releasing memories for those who remember when the Jam and Bauhaus reigned supreme. Diving deeper underneath the musical fills, the bass line is quite amazing. A total jam song you should play at your next party – trust me, the entire song seems to be about getting high.

The bass lines only get better with “Ghost Dance.” Starting off with killer bass runs accompanied by those Jimi-inspired guitar riffs, “Ghost Dance” is just another hit on this album. By this song, fans will get a sense of Jack White-esque writing.

Their slower tune, “Sea of the Edge,” is also noteable. The guitar gets more simplified, and a jazzy tone shines through. This song is one of the more generic sounding listens on this album, reminding us more of their genre counterparts, really.

Such basicness becomes completely overruled once “Outerboros” hits your speakers. With repetition, this band brings the blues back with yet another Jack Whitey sounding song, yet still possessing that badass southern feel.

The next song shows BLSH’s diversity by bringing forth a pop sounding beat. The drums are tight as the guitarist strums those chill chords. The song holds true to the BLSH sound, but adds more of a radio-sounding side to their portfolio.

The album overall is worth a listen. There truly is a song for anyone. Good job, boys.

Be sure to catch BLSH on tour (dates below), and pre-order Space Is Still The Place here and here for vinyl.

5/5

BLSH Spring Tour Dates:

3/5 New York, NY @ Mercury Lounge (Early Show)

3/6 New York, NY @ Mercury Lounge (Late Show)

3/7 Philadelphia, PA @ Boot & Saddle

3/27 Austin, TX @ Stubb’s **Official Album Release Show**

3/31 New Orleans, LA @ Gasa Gasa

4/1 Pensacola, FL @ Vinyl Music Hall

4/2 Jacksonville, FL @ Jack Rabbits

4/3 Orlando, FL @ The Social

4/4 St. Petersburg, FL @ The State Theatre

4/6 Macon, GA @ Cox Capitol Theatre

4/7 Atlanta, GA @ The Earl

4/8 Carrboro, NC @ Cat’s Cradle – Back Room

4/9 Washington DC @ DC9

4/10 Brooklyn, NY @ Baby’s All Right

4/11 Cambridge, MA @ Middle East (Upstairs)

4/12 Burlington, VT @ Higher Ground Showcase Lounge

4/14 Montreal, QC @ Quai Des Brumes

4/15 Toronto, ON @ Horseshoe Tavern

4/16 Grand Rapids, MI @ Founders Brewing Co

4/17 Chicago, IL @ Empty Bottle

4/18 Cincinnati, OH @ The Woodward Theatre

4/19 St. Louis, MO @ Off Broadway Nightclub

4/21 Nashville, TN @ The Stone Fox

4/22 Little Rock, AK @ Revolution Music Room

4/23 Tulsa, OK @ Vanguard

4/28 El Paso, TX @ Lowbrow Palace

4/29 Phoenix, AZ @ Valley Bar

4/30 San Diego, CA @ The Hideout

5/1 Los Angeles, CA @ Bootleg HIFI

5/2 Costa Mesa, CA @ The Wayfarer

5/3 San Francisco, CA @ The Chapel

5/5 Portland, OR @ Mississippi Studios

5/6 Vancouver, BC @ Media Club

5/8 Seattle, WA @ Tractor Tavern

5/9 Spokane, WA @ The Bartlett

5/10 Boise, ID @ Neurolux

5/12 Salt Lake City, UT @ Kilby Court

5/13 Denver, CO @ Bluebird

5/15 Dallas, TX @ The Kessler Theater

5/16 San Antonio, TX @ Jack’s Patio Bar

6/6-7 Houston, TX @ Free Press Summer Festival

My Morning Jacket Share Three New Tracks From Upcoming ‘The Waterfall’

Posted on March 4, 2015March 4, 2015 by Kelsey Butterworth

Today, My Morning Jacket announced their upcoming LP The Waterfall (being released May 4 on ATO Records) and shared the studio version of their first single, “Big Decisions.” This will be their seventh studio album, with another due in 2016 arising from the same sessions that yielded The Waterfall. For this first set, its themes are centered around those midlife transitional periods that crop up after you’ve settled down. Lead singer Jim James likens the songs to embodying “a weird turning point for the universe. … the sound of the page turning and not being sure what’s coming next.”

All told, they’ve shared three of its tracks, all of which were premiered live in early February at the band’s yearly Mexican festival One Big Holiday. Though it’s hard to discerningly review live tracks because their sound quality is all over the map, Vinyl Mag makes its own rules, so here ya go.

“Big Decisions”

“Big Decisions” starts off like a tropical drink, but quickly switches to some of the best Flying V power chords the band has put to tape. Jim James puts on his best McCartney affectation for the chorus: “What do you want me to do?” becomes “What do you want me ta tooooo?”, and his falsetto doesn’t make itself as known as it has in the past. But the band’s formative pedal steel DOES, which is just one component that makes this a return to form. Jacketheads felt betrayed by the sonic departures of 2008’s Evil Urges, whose songs like “Highly Suspicious” felt even more like a drug trip than usual. But “Big Decisions” has the circa 2002 southern charm and big, tough choruses a la “One Big Holiday.” My Morning Jacket have proven time and again that they can reinvent themselves while staying true to their farm jam essence.

“Compound Fracture”

We’ll forgive MMJ for copping the drumbeat from Drake’s “Hold On, We’re Going Home,” because what follows is a swirling, anthemic ode to enduring friendship. Bits of “Compound Fracture” sound like a sped up War On Drugs melody, which makes sense given the band’s multiple stage collabs with TWOD frontman Adam Granduciel (including at this very festival).The warm guitar hugs you as the synth spurts send you skyward. In line with “Big Decisions” it’s a pretty straightforward classic rock take, but thankfully features some vintage James screamo.

“Only Memories Remain”

“Only Memories Remain” is the sleepiest, meandering-est of the trio. As with most MMJ album closers (“Good Intentions” doesn’t count), it’s the closest thing to a waking dream state. Live it clocks in at six minutes and change, which, unusually, is brief for them. Though the live recording masks the lyrics, its title and tracklisting placement heavily imply that it focuses on death. Given that My Morning Jacket like to present codified bodies of work, this parallels nicely with the track ender “Movin’ Away” on their last record Circuital, which examined how a life in transition can sometimes create another life entirely.

The tracklisting for The Waterfall is as follows, whose song names reinforce what themes we should expect to hear:

Believe (Nobody Knows)
Compound Fracture
Like a River
In Its Infancy (The Waterfall)
Get the Point
Spring (Among the Living)
Thin Line
Big Decisions
Tropics (Erase Traces)
Only Memories Remain

WATCH: Modest Mouse: “Of Course We Know”

Posted on March 3, 2015March 4, 2015 by Kelsey Butterworth

Modest Mouse is a band with big ideas, and now that they’ve released “Of Course You Know,” that’s never been more apparent. Given everything we know about their forthcoming (3/17) release Strangers To Ourselves, we’re in for some heavy you-know-what.

“Of Course We Know” is the FIFTH new song we’ve heard, and you can bet the order the singles were rolled out in has been intentional. The first four, “Lampshades On Fire,” “The Best Room,” “The Ground Walks, With Time In A Box,” and “Coyotes” more or less sprouted up every couple of weeks. Their titles hint at a companion record to Arcade Fire’s The Suburbs, and their accompanying artwork thusly frames the target of choice: the dreaded suburban sprawl. With “Lampshades On Fire,” it was concentric circling waterfront homes up close; soon enough it was a similar image, but from a higher birds eye view. Now, “Of Course We Know” features evil-eyed businesspeople, presumably the sprawl’s developers. So, the question arises: of course they know what?

“Of Course We Know” is some doom-laden, chanting Monk-type indie rock. Isaac Brock’s shimmering vocals and chiming chords give it a cultish feel. The lyrics are unsurprisingly vague, repetitive in the creepiest ways. “The streets are just blankets and we sleep on their silky corpse / Covered up by them, why would we ever want to wake up?” is a hell of a way to open the song. Each chorus, if you could call it that, has Brock whisper-howl-grunting, “We just do not know.” At clear odds with the song’s title, the narrator must be lying about something. And not to jump to conclusions, but real estate developers are known for lying. Though it may be way too early to hurl thematic guesses around, big picture, Modest Mouse are attempting to tell us something about the American Dream. Hey, 2015 is as good a year as any to examine society through song.