Tag: 2013
Warning: Attempt to read property "post_id" on null in /dom375187/wp-content/plugins/enhanced-category-pages/classes/ecp/Enhanced_Category.php on line 143
Warning: Undefined array key 0 in /dom375187/wp-content/plugins/enhanced-category-pages/classes/ecp/Enhanced_Category.php on line 232
REVIEW: Circle Takes the Square’s Decompositions: Volume Number One
Circle Takes The Square‘s Decompositions, Volume Number One is a record that dissolves boundaries, a journey through time arriving at the crossroads of an epoch. Blurring the lines between human and animal, earthly and supernatural, linear and cyclical, and creative and destructive, Decompositions sounds like a fevered ayahuasca dream.
Listening to Decompositions‘ stream of apocryphal consciousness is both exhilarating and confounding, much like a classic thriller. Ambitious and epic, it’s clear why the project took over two years in production to come to fruition. Sonically lush, musically progressive, and densely lyrical, Decompositions is a Pandora’s box that will be studied for years to come.
A tribal chant sets the tone for the album in the opener “Enter by the Narrow Gates,” a song that bridges the gap between the shamanic traditions of Native Americans and the cacophony of 21st century post-hardcore. With the help of modern instrumentation, CTTS create a hypnotic, often mind-bending vibe as somber aboriginal-style chanting gives way to a soundscape of slow, crashing drums, distorted electric guitars, and finally, the carnal screams of a shattered reality, welcoming the end of one Earth cycle and the beginning of another. It’s a signature song, and one of their best to date.
The opener flows seamlessly, as does much of the album, into “Spirit Narrative,” a short burst of progressive hardcore with lyrical themes of shapeshifting and animal transformation. Had they existed in 17th century colonial America, it’s quite possible CTTS would have been burned at the stake for heresy(!) Background screams from guitarist David Rabitor add to the brutality of the song.
“Way of Ever Branching Paths” is one of the album’s standouts, with bizarre time changes and a much looser feel in parts than CTTS have experimented with in the past. The song conveys an “order out of chaos” feel, while the lyrics explore esoteric and spiritual revelations drawn from Earth’s archaic history. Melodic singing from bassist Kathleen Stubelek and drummer Caleb Collins provides a welcome, if chilling break from the din of screams. It’s also possible to view the song as a metaphor for the diverging lives of the bands’ members, which are geographically spread across North America.
From this point on, the album builds in momentum and intensity, hurtling towards some great unseen cataclysm. “The Ancestral Other Side” references the ancient symbol Ouroboros in the line, “Through fevered visions, silence devouring its own tail, Unbroken circle, grant us the crisis needed to heal.” It’s an existential take on music as a therapeutic and constantly evolving force set against the blank canvas of silence. It’s also a reference to the cyclical, primordial Earth themes that are present throughout.
“Prefaced By the Signal Fires” should remind longtime fans of “A Crater to Cough In,” one of the band’s more epic and heavier cuts from their 2004 release As the Roots Undo. The track kicks off the second half of the album, flowing into the more contemplative but still heavy-as-hell “A Closing Chapter (Scarlet Rising).” Here, ominous melodies blend with bone-crushing rhythms and vague prophecies of Armageddon and the end of time as we perceive it.
“Singing Vengance into Being” and “Arrowhead as Epilouge” revisit themes of animism, higher consciousness, cyclical time, and death as transition. The tension builds with snarling guitars, growling bass and aggressive drums, and the Circle’s token call-and-response vocal stylings of bassist Kathleen and guitarist/vocalist Drew Speziale, before climaxing with “North Star, Inverted.” The album’s dreamlike, acoustic-flavored finale perfectly bookends with the opener, bringing a long-awaited vision to its epic conclusion. It’s Neurosis-meets-Mazzy-Star, a goose bump-delivering acceptance of the end, rife with elaborate instrumentation and haunting vocals. The feeling of stark finality is what makes it so special, and arguably the best song of their career.
It’s a stunning accomplishment that often defies description, a true piece of art and snapshot of a band (and civilization) at a fractal boundary. Through dark times, Circle Takes the Square carry the light of knowledge and self-discovery.
9/10
REVIEW: Concord America’s Shag Nasty
What do edgy punksters, the beach, and a be-grilled Marilyn Monroe doppelganger have in common? Yeah, you should be confused. But you should also be ready for some insanely awesome listening, because all of these elements – and a hundred others, for that matter – combine to form Atlanta band Concord America’s first full-length album, Shag Nasty.
These boys have been taking the Atlanta music scene by storm for over a year now, maturing steadily from tossing glitter into audiences everywhere to playing some serious rock-meets-punk-meets-beach-meets-grunge-meets-doo-wop with well-known bands like Foxy Shazam. We’re not kidding – everyone from your dad to your weird roommate that wears the same flannel shirt every day will be listening to this band soon. A lot of this comes as a result of the unheard-of chemistry between ConAm’s members: guitarist and vocalist Ben Presley, bassist Vinny Restivo, and drummer John Restivo. This – together with a rare knowledge of their craft, a lack of fear of dwelling into unknown musical territory, and some pretty huge imaginations – puts Concord America in the ranks with the best and brightest newcomers nationwide.
Now, with the release of Shag Nasty, more than just a handful of hard-partying Atlanta twenty-somethings will understand the trio’s power. The album kicks off with “Roller Derby”, a powerful, beachy anthem, only losing speed momentarily for an organ intermission or two that add insane dimension to the track. The fun continues through “Kids” with a chorus of Restivo’s retro “ooh-ahhs” until the mood becomes dark and sexy on “Low Beat”. This song is especially near and dear to our hearts as it exemplifies some very unashamed, Pixies-esque fast-slow-fast instrumentals, keeping us constantly somewhere between brooding and pumped up, all the while always ready to dance like mad men. And Presley’s voice? It’s positively skin-crawling (in a good way, we swear) as he belts out “Low beat, low beat…” more and more slowly and sensually.
“Shag” opens up the second half of the album, and we’ll be frank: it’s easily the best track of all. It’s simple, it’s whimsical, and it’s different from everything else ConAm has done. With nothing but a guitar, a few drums, a xylophone, and Ben’s hypnotizing voice as he drawls “Love is ____ baby, come and see. Love is ____ when you’re loving me” (insert “simple”, “stupid”, or “evil”), it’s a clean, sugar-sweet love song through and through. The romance continues through “Anniversary”, a fun tale of lovers that’s sure to be your summer anthem. As you ease toward the end of the record, “Skinny Rock N’ Roll Man” will satisfy fans of the Black Keys and a bit more bluesy acts, while “Love” is a very raw, slightly folksy tribute. It feels totally sincere, as it was recorded in the backyard of the Hoodau – the home shared by the ConAm boys – and, like the rest of the album, is filled with the kind of sheer time and patience that only a band with a rainbow amp and a slew of Goodwill outfits could produce.
Circle Takes the Square pre-orders available now
It’s finally happened. The moment we have all been waiting for. Our dear, talented friends from Circle Takes the Square have released Decompositions: Volume Number One digitally, and now it’s time to get your pre-orders in for physical copies…and so much more.
For those of you who don’t remember Vinyl Mag’s first interview ever, Decompositions: Volume Number One was recorded/mixed/mastered by Anthony Stubelek at Rockstudio in Brunswick, Ga. and released through the band’s own label, Gatepost Recordings.
Now back to the pre-orders. Dudes. We need to talk.
Let’s start with the “Bug-Out Bag” Survival Kit. I can honestly and sincerely say that I have never seen a cooler package put together by a band. It’s golden. For $115, you get a custom CTTS:
- Survival kit with “high-quality Military/UN approved items”
- Flashlight engraved with the lyrics “Illuminate the Way”
- Water bottle
- T-shirt (illustration by CTTS’s own Drew Speziale) *remember to enter your size manually
- Decompositions: Volume Number One vinyl and CD
- Koozie
- Two buttons
- Poster
- Tote bag
Seriously? This thing is unbelievable. If the world does end (like if those silly Mayans got their dates mixed up), you’ll be totally set, and you’ll have a damn killer album to carry you through the apocalypse.
“We were considering the prospects of the bundles,” said Kathleen Stubelek of CTTS. “The idea came from wanting to put together something that pertained to the album, yet was also full of items that people could actually use…not just merch for merch’s sake. So it’s basically a companion to the apocalypse. You have a survival kit, the nicest one we could find. You have a little flashlight, a water bottle, and you have the perfect soundtrack for watching your surroundings crumble around you! It’s completely self indulgent, but it was a lot of fun to put together.”
So there you go. Completely brilliant.
Other pre-order packages are available if you want to take your chances.
So get all up on it, and enjoy!
PREVIEW: September Call-Up’s self-titled
Hey guys and gals – September Call-Up (formerly releasing as Christian Bitto) is back to introduce a few new songs from his upcoming full-length album September Call-Up to be released later this year under the name. Bitto is going on a mini-tour this month and will be giving away his three promo songs that are on the album (hell yes).
First song on the album is called “Ghost”. It has a steady driven beat that eventually calms down to slow verses, accented by subtle bass and drums, as well as a soft strum of guitar. Towards the end of the song, Bitto’s sings, “I don’t need a ghost that makes me afraid/I don’t need a ghost tells me where to lay/I don’t need a ghost tells me when to pray/ I don’t need a ghost/Don’t need a ghost/I’ll pray to ghosts at night/They’ll keep me/ Safe/.” Interpret this however you wish, but I took it as a commentary about outside influences controlling people’s beliefs and actions. The message is subtly powerful, and Bitto delivers it without cramming it down your throat.
The second song is called “Song No. 3”. This song, also slower paced and driving, is strong but not loud. It sounds so melancholy and apologetic; yet towards the end, Bitto’s emotion definitely shines through as his voice gets a little grittier.
The last song of the promo is called “Our First Fall”. It’s fully acoustic – just Bitto and his guitar. This is my favorite of the three. If the title doesn’t tell you, the song is about lovers parting. I love the simplicity of songs like this – just two music entities put together in perfect synergy… “Time stops when the camera clicks/You sit quietly, bite your lip/Forever stays forever in a picture frame/It’s not the same/Time stops when the camera clicks/You cry angrily, clinch your fists/This isn’t it, this is not okay/My perfect life a picture frame/Picture frame/.” How can lyrics like that not get you?
Tour Dates:
Jan 18- VIP Taproom, Bethlehem PA
Jan 19- Pete’s Candy Store, Brooklyn NY
Jan 20- Stella Blues (with special guests No Program, Samantha Benderoth Band), New Haven CT
REVIEW: Snowbeast
Album: Snowbeast by Snowbeast
The upsurge of intentional lo-fi music that has pervaded the Internet lately has usually been written by artists looking to emulate roughness and obscurity through the recording means now offered on everything from Ableton Live to Pro Tools. Without question, many of these faux-fi musicians seek the warmth of analog or grittiness of a past era’s recording technology, but Snowbeast’s lo-fi tendencies and stripped aesthetic never sound over-wrought or exploitative. There is honesty within this EP that somehow gets lost or strangled out of a recording once it undergoes the slick treatments of post-production.
But Snowbeast’s strength doesn’t lie solely in its production. Vocalists Riun Garner and Brayden Pichor drawl and scream their lyrics, which hinge on the threat of growing older and the paranoia that accompanies too much change too quickly. “Backyards and alleyways/ Skateboards and roller blades/ It’s all stayed the same,” Riun sings, ending the repeated refrain with “It’s you that has changed.” At certain moments, Snowbeast break from their grungy, shout-along guitar rock to dabble in Vampire Weekend tropic stomp and electro noise, and these left turns occur only when the lyrical mood becomes harried, panicked, or even playful. Snowbeast have crafted an entire world that expands beyond their EP. Their moniker, EP title, and opener all share the same title, and their Facebook page provides a proper definition of the Snowbeast that stalks their persona. In short, to “capture a glimpse of a Snowbeast” is to witness truth, ease the mind, and retreat into a world free from pain. It’s a bare release from a bare-bones band –one that invites you into the church they recorded in and hands its music to you with delicate ease and raw emotion.
7/10
REVIEW: Carpet of Horses’ It’s Only Light EP
An EP recorded in three different countries inevitably sets up some pretty massive expectations for a worldly and sophisticated sound, right? Get this: Carpet of Horses, a project fronted by Tobin Stewart, just released It’s Only Light – and though the EP was created in the earthly cities of Toronto, Berlin, and Tel Aviv, the six tracks and the mood they evoke are almost otherworldly.
You wouldn’t think it possible, considering Stewart’s project has only 78 “likes” on Facebook. Trust us, though, when we say that that number is going to be increasing – by A LOT – sooner than you can say “Oblomov” (this is one of the most impressive tracks on It’s Only Light). While listening to the EP, it’s easy to compare the sound to that of some of indie music’s greats: we hear Elliott Smith, Death Cab for Cutie, Iron & Wine, Bright Eyes, Frightened Rabbit… are you excited to listen to these six tracks yet?
Though the first track, “Algamest”, is simply a 49-second light instrumental intro, it conveys perfectly what is to come on the rest of the EP: a whimsical, sometimes folksy, often even eerie, set of fantastic songs. The title track introduces Stewart’s airy, soothing, slightly chill-inducing voice. By “Oblomov”, we’re in indie music heaven. Stick clicks and a violin open up the tune, catapulting us into the perfection of the vocals as Stewart sighs, “Laaaaaazy bones….” The dark-yet-vibrant mood continues, until Stewart’s voice crashes into the beautiful sound of a piano and some incredibly ghostly whistling, which ushers us onward into the next track, “Stars on Montsou”, which features absolutely ideal instrumentals.
By “The Rider”, the EP’s final track, we’re almost exhausted from such ethereal and busy listening. But this song – possibly the best of all – gets us excited all over again. The soothing mixture of the simple instrumentals – featuring a piano and a trumpet – and uplifting vocals make for an entirely calming end to a perfect album, one that both keeps you on steady feet and shoots you, unapologetically, into another universe.
REVIEW: Evan Andree’s Invisible Sap EP
Evan Andree is an up-and-coming singer/songwriter/producer/music journalist, born and raised in the home of the brave. The Atlanta native’s song Panic (off of his Flags Pt. II EP) has recently been featured in Nike UK’s ad campaign “Find Your Greatness”. Now, Andree has released a new EP titled Invisible Sap, which has been online, accessible, and furthermore, FREE, for over a month now. I took it upon myself to stay in on this fine Friday evening and download this free little musical gem I had been introduced to earlier in the week.
The EP starts off with American Dream, a bubbly number with a modern-day John Mellencamp meets Jacks Mannequin-esque sound (is that too weird?), appropriately singing of those first butterfly feelings that come with young romance. I will admit that at this point in the game, I’m kind of just….eh.
But oh! Wait! There’s more. Track numero dos begins playing, and here is where I realize that perhaps this kid may be on to something. Your Song (thankfully) takes on an entirely different sound than American Dream; slowing it down altogether, giving it a little more lyrical depth, and allowing Andree to become more vulnerably exposed. The song that I claim as my favorite off of Invisible Sap would most definitely be this track – the ending was executed perfectly.
The third and final track titled Mr. Teleportation heavily emotes the aforementioned Jack’s Mannequin sound, but in much more bearable doses. I can say that after listening to this particular track a few times, I really began to enjoy it. It encompasses that same light and bubbly tone that resonates throughout the entire EP, but this track really owns that sound like no other. “Light and bubbly” easily and often translates as generic, but Andree really did something right with this one, setting it apart from all the others who tried and failed.
Invisible Sap will remain free-for-download for a few more weeks and can be accessed here.
My opinions are my own, so don’t just take my word for it – go and create your own!
REVIEW: Blink 182’s “Boxing Day”
So…blink-182 has come out with a new song, “Boxing Day,” off of their new holiday EP, Dogs Eating Dogs. Always exciting news for me when there is a new blink song.
That being said, the song is pretty mundane. Not bad…just kind of forgettable.
It’s a song to drive and not pay attention to. A good background song – not powerful or groundbreaking. It desperately wants to be heartbreaking, but unfortunately, the most you can say is that it’s kind of a bummer. There is a dreary tone, and the emo kid in me is all about a downer Xmas song, but it just kind of drones on to the point where you find yourself thinking about your grocery list (or am I just really A.D.D.?).
I will say that I do think that it is more “blink-sounding” than most of Neighborhoods was, which bodes well for future releases. It looks like Mark and Tom have finally found their middle ground (hopefully…I don’t want to hear any more AVA-wannabe songs), and I am excited for what’s coming.
P.S. Really like Travis’ lil drum solo at 3:19. Might actually make the end my favorite part of the song. Go figure.
REVIEW: The Last Tycoon’s Ballad of the Bloodstained Bible
Take a large dose of Sufjan Stevens circa Seven Swans, mix in a little Ryan Adams, and toss in just a dash of more current folk acts like Mumford and Sons, and you have “Ballad of the Bloodstained Bible”, The Last Tycoon’s newest single.
John Gladwin, currently living in Athens, Georgia, ushers in the song with a slow, melancholic banjo. From the moment the first note hits – as if the incredibly substantial title didn’t tell you enough – one can see that this song isn’t just your everyday folk song about love and loss. The tune, inspired by Southern Gothic literature, runs much deeper. By the time you reach the haunting chorus, chills run up your spine: “There’s bloodstains on the family bible…” Gladwin goes on to describe gunshots and, somberly, the fact that “sometimes love don’t get you through.”
Gladwin’s worldly lyricism and musical talent in “Ballad” express his unceasing understanding of the world and, especially, the Deep South. Just as writers like Flannery O’Connor, William Faulkner, and Truman Capote expressed the region’s mystic, often grotesque, nature, Gladwin achieves the same ends in song with this single. At one moment, Gladwin sings darkly of “neon crosses” that “burn through the night”; the next, the song builds into a dangerous atmosphere, a man walking solely with his “hat too low”, warned that, “one wrong step and you’re gone.” The rest of the song works in much the same pattern, ultimately leading to “strange fruits hanging on the trees”, a reference to the southern practice of lynching.
After one final, echoing chorus, the band finishes with an impressive last minute of instrumentals – a folksy banjo, a characteristically southern piano, and so on. With “Ballad of the Bloodstained Bible”, the Last Tycoon successfully transports the listener from his or her cozy living room to the historical South, sinister bloodstains and all.
REVIEW: Rivals by Her Bright Skies
Here is a band from the land of beauty. Introducing Switzerland’s rock/pop punk group called Her Bright Skies. They’ve just released their third album titled Rivals through Panic & Action records on November 19, 2012. They hail from the small town of Jönköping in Switzerland, and they got their kick-start in 2005. Since then, they have released two EPs (Beside Quiet Waters, DJ Got Us Falling in Love) and two full-lengths (A Sacrement: III City, Causing a Scene). With a sound that can be compared to Crown the Empire, Sleeping with Sirens, and Close to Home, they have very catchy melodies and lead singer, Johan, has an incredible vocal range. They have a huge following in Europe, and are breaking through here in the US. They’ve shared the stage with the likes of Asking Alexandria, Paramore, Bring Me the Horizon, 30 Seconds to Mars, August Burns Red, and plenty of others.
The current album Rivals was birthed in the states in New York City. HBS teamed up with producers Shep Goodman (Bayside, Cute Is What We Aim For, From Autumn to Ashes) and Aaron Accetta (Four Years Strong, He Is We, Forever the Sickest Kids). Less than two months later, out came a catchy, 11-track album. The album was then mixed by the legendary producer/engineer/mixer Mike Plotnikoff (Flyleaf, My Chemical Romance, Hawthorne Heights). Their single Lovekills is featured on the album, and the music video is nearly at 40,000 views on YouTube after being posted just a day before the album release. With an appealing chorus stating: I take take take what I want want want/And I pick pick pick it apart part part/I take what I want and I can’t get enough/And I want your heart. A personal favorite on the album would have to be “Bonnie & Clyde (The Revolution)”. It’s a slower, more melodic song. However, I feel this song really shows off Johan’s range. From the bottom of my heart/To the top of my voice/Let the spark in your eyes/Set the whole world on fire/Let’s start a revolution is the chorus and ending of this harmonious song. The whole album itself is a great listen, and you guys can get it off iTunes for only $9.99, so go support them and their music!
Members:
Johan “JayBee” Brolin – vocals
Niclas Sjostedt – guitar
Peter Nilsson – guitar/backing vocals
Jolie Karlsson – bass/backing vocals
Jonas Gudmundsson – drums