Tag: 2015
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The World Is a Beautiful Place & I Am No Longer Afraid to Die: ‘Harmlessness’
Noted as one of the frontrunners for the emo revival of the 2010s, The World Is a Beautiful Place & I Am No Longer Afraid to Die is a nine piece indie punk band from Connecticut. Their music can be described by their use of confessional lyrics and a large range of instruments that make a “full” band sound. Although their discography includes a lot of EPs with great content on each, the full length albums tell entire stories through the progression of tracks and are highly regarded as an accumulation of the best of TWIABP. Harmlessness is the second studio album to be released by The World Is a Beautiful Place & I Am No Longer Afraid to Die and will be available on Sept. 25, 2015 for purchase. A streaming version of the album is currently available for free on Bandcamp, or you can purchase it digitally for $7.
Harmlessness brings a new chapter for the band by creating a flow of motion from start to finish. The tracks blend into each other so well that the album doesn’t feel like it’s made up of individual songs, it’s more of an elongated soundtrack. The switching of male and female vocals brings depth to the album, and layers of harmonies make the feeling more visceral. An ode to realizing, forgiving and carrying on, Harmlessness is warm-sounding with heavy impact.
Because the themes mentioned in Harmlessness are similar to “Whenever, If Ever”, it’s easy to draw comparisons between the two full-lengths. However, Harmlessness exceeds all expectations. The album draws on floaty riffs that fade into the background and pull forward at just the right times, allowing space for the sweet twangs of the synthesizer to shine through. Every different instrument is used at full potential, with the right sounds pronouncing at the right times to give an unparalleled listening experience.
The album starts with “You Can’t Live There Forever,” a kick-off to ignorance of people in the world around us. With lyrics littered with rhetorical questions, the track ends with the important phrase “we think that the world is alright, and that’s a lie.” It’s interesting to note that the name of the band, The World Is a Beautiful Place, is taken very seriously throughout the lyrics of “Whenever, If Ever” but is torn apart on the first track of Harmlessness. This could be a progression of TWIABP as a band, or possibly a further stab at self-realization through breaking ignorance. Either way, it is a powerful start.
The third track “January 10th, 2014” was released early as a single and is easily one of my favorites from the album. The song draws from the story of Diana the Hunter of Bus Drivers, a woman that killed at least two bus drivers in Ciudad Juarez, Mexico during 2013. The news of the killer spread rapidly through the city, plaguing its citizens with fear of the unknown for months. The track encourages everyone to draw on bravery and hope for something better despite atrocious things that have happened in the past, citing the killer as an example of past horrors. “We are brave and strong, but don’t you quiver.”
Another special mention should be made for the final two tracks on Harmlessness. “I Can Be Afraid of Anything” and “Mount Hum” are the finale of a brilliant climb. They summarize the full album through a post-rock build up to the chanted phrases of high impact. “I Can Be Afraid of Anything” revels in the phrase “I really did dig my own hole, but I’m climbing out,” with the entire band breaking into whimsical harmonies at the height of the song. “Mount Hum” does the same, but in the classic TWIABP style of layered lyrics. Much like the infamous “Getting Sodas” from “Whenever, If Ever,” “Mount Hum” finished off an impressive album with a message that remains even after the track ends:
“Come off and fall, so that I can pick you up. Our homes are not the kind of places you own. We were ghosts even then, errant sunlight on our skin. Sunlight, sunlight. And we drove out to the bluffs, raced each other through the dust. We’re all going to die.”
Each song on Harmlessness manages to carry some sort of weight, and it is impossible to list all of the reasons and meanings. Some important positive mentions are on “Mental Health” and “Rage Against the Dying of the Light,” where the lead singer chants “you are normal and healthy to forgive yourself” and “I am alive, I deserve to be.” Overall, the album exposes the dark points we all experience throughout our lifetimes with questions that we have all thought about at one point or another (like the emotional line “Whose side am I on?” from track four’s “The Word Lisa”). Despite the hardships we all have to pick ourselves up and keep moving until we reach a beautiful place.
Easily one of the best new albums to come from 2015, Harmlessness should be at the top of everyone’s “need to listen to” list.
Tracks to listen to: “January 10th, 2014,” “Rage Against the Dying of the Light,” “I Can Be Afraid of Anything,” “Mount Hum.”
The Front Bottoms: ‘Back on Top’
The third album release from indie punk band The Front Bottoms brings in new instruments to accompany the quirky and angsty goodness that is Brian Sella.
Back on Top brings a mature sound to a band that was made famous for being quirky. The album uses a different production and sound value, which can be seen in the clearness of each instrument and the synthesized twang placed on every lyric. Elements from the past two albums are still present in Back on Top such as the style of anecdotes as lyrics and if you listen closely, you can hear backup female vocals that were introduced on a few songs such as the self-titled album’s “Flashlight.” For dedicated fans, it’s little connections like that between albums that make listening to the discography more of story-telling experience. If the first two albums were sarcastic introductions to the hardships of being an adult, Back on Top is the perfect addition to a trilogy making light of all the crap we go through.
The album kicks off with “Motorcycle” and “Summer Shandy,” both lighthearted tunes that bump along without any snags. Although they’re catchy songs, nothing about them stood out too terribly much.
“Cough It Out” and “HELP,” tracks three and four off of the album, were released earlier as singles and already gained prominence through streaming services like Spotify and Youtube. The songs were originally met with criticism for such a different sound with the main complaint being that it was more electronic than the indie acoustic sound that made The Front Bottoms famous. The straight-forward confessional lyrics that made the band popular can still be found in places like when Sella repeats, “I am delusional with love,” or “I don’t know what I’m going to do about anything.”
“Laugh Till I Cry” shows off Sella’s impressive vocal range, putting lots of emphasis on his accent that set The Front Bottoms apart from others. The use of sound effects like a motorcycle when the lyrics scream “motorcycle” makes this track one of my favorites off of the album.
“Historic Cemetary” for someone that sings about “getting high” so much, Sella has openly admitted to not being a fan of smoking. The irony of that only adds to the humor found in dark places of the album. Sella touches on difficult topics, particularly on how to deal with emotional hardships through relationships, personal importance, and our place in the universe. This track brings in a singer other than Sella that spits dark spoken word about drug abuse over a bright and poppy synthesizer. Nothing could epitomize The Front Bottoms better than that.
“The Plan (Fuck Jobs)” is another personal favorite, because it starts off with a quieter acoustic guitar that lets Sella show off his lyrics and voice. Kicking off with personal faults like hypocrisy through lyrics like “when my mind is uncertain, my body decides,” “The Plan (Fuck Jobs)” accomplishes what the rest of the album is hinting at. It balances the Front Bottoms sound that everyone is used to with its new elements in a way that welcomes the listener to something new.
“Ginger” and “West Virginia” are more of those catchy filler album songs that give the listener something to jam with their friends on a road trip or something to blast at a party. “West Virginia” manages to show the goofy side of Sella that has been missing a little on this album. He even slips in “ride or die” to describe some friends in West Virginia, whom he also gives a personal shout out.
The ninth track, “2YL,” is another favorite. It’s a shout-out to the tingly feelings you get from romance with cute little stories that could rival the perfect dates we’ve dreamt about. A instrumental break with a large trumpet section is refreshing and a great addition to the lightness of this song after which Sella professes his affection, saying “I can be the rainbow in your sky” and his willingness to be there for someone else.
The hardest part of closing an album is picking the perfect track to finish the list. “Plastic Flowers” is a great end to a blossoming album. The highlight is the mid-song monologue that Sella speaks, encouraging everyone to chant along to the chorus of “I believe that someone’s got a plan for me even if I don’t know it yet.” “Plastic Flowers” tags a bigger sound with more background vocals, leading up to a the conclusion of their discography so far: even though things are hard now, it will work out in the end. Another added bonus is that if you’re listening to the album on repeat, the end of “Plastic Flowers” flows perfectly into the beginning of “Motorcycle,” bringing everything full circle for round two, three, and four.
Overall, Back on Top brings a new sound that evenly splits the album into songs that sound vaguely like “old Front Bottoms” and songs that scream “new Front Bottoms.” Characterized with chanted choruses and those certain lyrics that stay hooked in your mind long after the song is finished, Back on Top is a light-sounding but hard-hitting addition to the musical arsenal of The Front Bottoms.
Tracks to check out: “Cough It Out,” “2YL,” “Plastic Flowers,” “Laugh Till I Cry.”
firekid x Vinyl Mag
Firekid is the project of guitarist and singer Dillon Hodges (you may know him and the second youngest person ever to win the National Guitar Championship at the age of 17 #prodigy).
Since gaining recognition as a bluegrass artist, Dillon has transformed himself, taking on the moniker firekid and expanding his genre. He has also signed with Atlantic Records and will be putting out his first full length album this spring.
We grabbed a few minutes with Dillon to talk about the recording process, summer touring, and of course, his upcoming album. Check our interview below, and Athens readers, be sure to get over to the 40 Watt tonight to catch firekid opening for Delta Spirit. Gonna be a great show.
Vinyl Mag: What made you decide to record in Muscle Shoals? How did it influence your sound?
Dillon Hodges: Muscle Shoals is my home. It’s where I grew up and where I’ve recorded ever record prior. It’s always been a part of who I am, and I didn’t want this new project to be missing that.
VM: Where does the name firekid come from? As a singer-songwriter, why not stick to your name?
DH: If the firekid project had been more singer-songwriter, I think I would’ve kept my name; but, when the tracks started to fall into place, it became apparent how much of a departure from previous works it was. The name sort of tells that story. It’s a rebirth.
VM: How did it feel getting signed to Atlantic? How did that come about?
DH: Being signed is a dream for most artists, but I couldn’t have imagined being associated with a legendary label like Atlantic. The history and romance between Muscle Shoals and Atlantic runs deep. The label is largely responsible for the putting the music of The Shoals on the map, and The Shoals is responsible for some of the greatest works the label ever put out.
VM: You’re playing at Hangout Fest in May. Are you excited to play a huge fest in your home state?
DH: Hangout has been on the bucket list. I’ve never been before, so it’ll be perfect to experience it for the first time also as a performing artist.
VM: Who are you most looking forward to seeing there?
DH: Tough call…definitely planning on seeing Foo Fighters, Beck, and Joey Bada$$.
VM: “Magic Mountain” is a strong departure from your “Dillon Hodges” sound – what inspired the new direction?
DH: The inspiration for the project definitely comes from a change in the songwriting style. The songs themselves were the inspiration for the sound. They dictated a lot of the production.
VM: How have followers reacted? The reviews have been fantastic (congrats!).
DH: Feedback from friends and fans has been encouraging. Much time and love has been poured over this project. Positive reviews were never the goal, but they can certainly let you know if you’re on to something.
VM: Do you have anything coming up for Record Store Day? Are you looking forward to any releases?
DH: Firekid doesn’t have anything coming out on RSD this year, but I’ll be picking up The Black Key & Junior Kimbrough record and J Dilla “Love.”
VM: Can you give us any info on your upcoming album?
DH: The record will be out in a couple months. Most of the content was recorded in Florence, AL. Overdubs took place in Silver Lake, Los Angeles. It’s a record driven by the songwriting; however, my flatpicking will be featured more on this record than any previous release.
VM: Are you releasing any more singles soon?
DH: We’ll be putting out a live EP in week or so!
VM: What is next for firekid?
DH: We are currently working on rolling out a ton of new online content. It’ll feature new music and live performances. We’re also excited to be continuing our tour. We’re constantly adding date, check out my page for updates!
*See you guys tonight at the 40 Watt!
Apr 14 40 Watt Club w/ Delta Spirit Athens, GA Tickets
Apr 17 The Music Farm w/ Delta Spirit Columbia, SC
Apr 22 Hal and Mal’s Jackson, MS
Apr 23 Scruffy City Hall Knoxville, TN
Apr 24 Bourgie Nights Wilmington, NC
Apr 25 Isis Restaurant & Music Hall Asheville, NC
May 13 Zanzabar Louisville, KY
May 14 High Watt Nashville, TN
May 15 Hangout Music Fest Gulf Shores, AL
May 16 Hangout Music Fest Gulf Shores, AL
May 17 Hangout Music Fest Gulf Shores, AL
SXSW 2015: Colony House x Vinyl VIDEO
Colony House is a Tennessee-based trio composed of Caleb Chapman (vocals), Will Chapman (drums), and Scott Mills (guitar). Their debut album, When I Was Younger, has received critical acclaim (and has been playing on my Spotify for well over two months).
The guys sat down with us at South by Southwest this year to chat about recording their album, their most popular live songs, and unconventional songwriting methods. Enjoy the Vinyl Video below, and also be sure to catch CH on tour (dates below)!
Upcoming Tour Dates
Apr. 23 – Tuscaloosa, AL @ Tuscaloosa Amphitheater with Need to Breathe
Apr. 24 – Fayetteville, AR @ Arkansas Music Pavilion with Need to Breathe
Apr. 25 – Kansas City, MO @ Crossroads with Need to Breathe
Apr. 28 – Houston, TX @ Bayou Music Center with Need to Breathe
Apr. 29 – Grand Prairie, TX @ Verizon Theatre at Grand Prairie with Need to Breathe
Apr. 30 – Oklahoma City, OK @ Bricktown Events Center with Need to Breathe
May 02 – Huber Heights, OH @ Music Center at the Heights with Need to Breathe
May 03 – Madison, WI @ Orpheum Theater with Need to Breathe
May 04 – Grand Rapids, MI @ DeVos Performance Hall with Need to Breathe
May 06 – Louisville, KY @ Iroquois Amphitheater with Need to Breathe
May 07 – Knoxville, TN @ Knoxville Coliseum with Need to Breathe
May 08 – Greenville, SC @ Bon Secours Wellness Arena with Need to Breathe
May 09 – Charlotte, NC @ Uptown Amphitheatre at NC Music Factory with Need to Breathe
May 13 – St. Petersburg, FL @ Jannus Live! with Need to Breathe
May 14 – St. Augustine, FL @ St. Augustine Amphitheatre with Need to Breathe
May 15 – Raleigh, NC @ The Red Hat Amphitheater with Need to Breathe
May 16 – Alpharetta, GA @ Verizon Wireless Amphitheatre with Need to Breathe
May 15-17 Gulf Shores, AL @ Hangout Festival
June 18-21 Dover, DE @ Firefly Music Festival
Jul. 09 – San Francisco, CA @ Nob Hill Masonic Center with Need to Breathe
Jul. 10 – Las Vegas, NV @ Mandalay Bay Beach with Need to Breathe
Jul. 12 – Los Angeles, CA @ Greek Theatre with Need to Breathe
Jul. 15 – Boise, ID @ Morrison Center for the Performing Arts with Need to Breathe
Jul. 17 – Portland, OR @ Oregon Zoo Amphitheater with Need to Breathe
Jul. 18 – Redmond, WA @ Marymoor Amphitheater with Need to Breathe
Jul. 21 – Morrison, CO @ Red Rocks Amphitheatre with Need to Breathe
Jul. 23 – Papillion, NE @ Sumter Amphitheater with Need to Breathe
Jul. 24 – Minneapolis, MN @ The Cabooze with Need to Breathe
Jul. 25 – Eureka, MO @ Six Flags St. Louis with Need to Breathe
Aug. 06 – Portsmouth, VA @ Ntelos Pavilion with Need to Breathe
Aug. 07 – Asbury Park, NJ @ Stone Pony Summerstage with Need to Breathe
Aug. 08 – Boston, MA @ Bank of America Pavilion with Need to Breathe
Aug. 10 – New York City, NY @ Terminal 5 with Need to Breathe
Aug. 11 – Vienna, Va @ Wolf Trap with Need to Breathe
Aug. 12 – Florence, SC @ Florence Civic Center with Need to Breathe
Aug. 14 – Nashville, TN @ Riverfront Park with Need to Breathe
Aug. 15 – Memphis, TN @ Levitt Shell at Overton Park (Moon River Fest) with Need to Breathe
Aug. 16 – Indianapolis, IN @ Farm Bureau Insurance Lawn @ White River State Park with Need to Breathe
Aug. 18 – Rochester Hills, MI @ Meadow Brook with Need to Breathe
Aug. 19 – Highland Park, IL @ Ravinia Festival with Need to Breathe
SXSW 2015: Liza Anne x Vinyl Video
Liza Anne is a rare gem. Not only is she talented and accomplished, but she pairs that with extreme humility and a charming childlike wonder. For someone who has already made a name for herself and has an international tour under her belt, Liza still manages to maintain a complete and utter sense of gratitude and bewilderment that this is happening to her. She seems to be unable to believe that she could be so lucky, and each new opportunity excites her more than the last.
That’s not to say that this career just happened to her. Liza is a true talent with a penchant for heartbreakingly honest lyrics and endearing relability, an unbeatable combination for a folk singer (though rumor has it, her new album will challenge her genre placement).
We commandeered a corner of Farewell Books in Austin during South by Southwest this year to chat with Liza about her first time at the festival, as well as her upcoming album Two and what is next for her.
SXSW 2015 Tour Diary: North of Nine
[tps_header]
LA-based quintet North of Nine just released their debut (Randy Jackson-produced) EP Alive last month to rave reviews. The band is made up of of 19-year-old singer/songwriter/frontman/keyboardist Jackson Guthy, as well as drummer Rob Ketchum, guitarist Michael O’Grady, bassist Edison Lo, and keyboardist Nolan Frank.
With their South by Southwest debut this year, we asked North of Nine to document their week in Austin in a tour diary so that we could share their first-time experience with all of you. Check out their diary below (after you take a look at their newest video for “Can It Be You?” right here).
[/tps_header]Walking Around Austin
Rob leading us around Austin – was such a blast, so much good food and music.
SXSW 2015: Milo Greene x Vinyl Video
“I think I’m more a creative…I’m not that good of a musician. I’m not the best songwriter in the world. I’m an okay performer. But I always have a vision.”
Milo Greene are a “cinematic pop” band from Los Angeles, California. Their name comes from a fictitious booking agent that they created to help them get shows in their early days (he’s apparently a very classy gent).
In January, the band released their newest album, Control, for which they are now rocking a non-stop tour. We caught up with them at South by Southwest this year to talk about their music, their dream film scoring gig, and their alternate personalities.
Apr 18 Spring Jam at The Grove Mount Pleasant, SC
Apr 25 Countdown to Hangout Fest Mobile, AL
Apr 29 Red Bull Sound Selects at the Echo Los Angeles, CA
May 09 Grand Sierra Silver State Pavilion w/ Foster The People Reno, NV
May 10 Revolution Center w/ Foster The People Boise, ID
May 12 The Complex w/ Foster The People Salt Lake City, UT
May 13 Fillmore Auditorium w/ Foster The People Denver, CO
May 15 WinStar World Casino w/ Foster The People Thackerville, OK
May 16 Austin Music Hall w/ Foster The People Austin, TX
May 22 Sasquatch Quincy, WA
May 23 Sasquatch Quincy, WA
May 24 Sasquatch Quincy, WA
May 25 Sasquatch Quincy, WA
May 26 Top Hat Missoula, MT
May 27 Republik Calgary, Canada
May 28 Starlite Room Edmonton, Canada
May 30 The Pyramid Winnipeg, Canada
Jun 01 High Noon Saloon Madison, WI
Jun 03 Motorco Raleigh, NC
Jun 04 The Mothlight Asheville, NC
Jun 05 Visulite Theatre Charlotte, NC
Jun 06 3rd & Lindsley Nashville, TN
Jun 07 PARK TAVERN Atlanta, GA
Jun 09 Grop Shop Cleveland, OH
Jun 10 Three Rivers Fest Pittsburgh, PA
Jun 12 The Hollow Albany, NY
Jun 13 Higher Ground Burlington, VT
Jun 16 Port City Music Hall Portland, ME
Jun 17 Daryl’s House Pawling, NY
Jun 18 Westhampton Beach Performing Arts Center Westhampton Beach, NY
Jun 20 Firefly Music Festival Dover, DE
Jul 17 Forecastle Louisville, KY
Jul 18 Forecastle Louisville, KY
Jul 19 Sloss Festival (July 18-19) Birmingham, AL
Jul 21 ONE EYED JACKS New Orleans, LA
Jul 22 Fitzgerald’s Downstairs Houston, TX
Jul 23 Club Dada Dallas, TX
Jul 24 Center of the Universe Fest Tulsa, OK
Jul 25 UMS Underground Music Showcase Denver, CO
Aug 22 Harlow’s Sacramento, CA
Sep 06 Fashion Meets Music Festival Columbus, OH
SXSW 2015: Geographer x Vinyl Mag
In a noticeable evolution, Geographer’s new album Ghost Modern tells a story about what to do once you’ve realized life is meaningless – with melodies that range from delicate to danceable. We caught up with lead singer and multi-instrumentalist Mike Deni, after his show on the last day of South by Southwest to talk about the new album, transitioning band members and the process of finding a new sound.
VM: What’s the story behind the name and theme of Ghost Modern?
Mike Deni: I was talking to my friend about Post-modernism, because I’m always trying to figure out exactly what it means. He went to a really good school – I mean, I went to a pretty good school, but he always helps me with the intellectual stuff. So he was explaining to me what post-modern really means, and I was like, “it sounds like this is ghost-modernism.” That was the first time I really said it, and then it kind of took on the meaning of when something is so post-modern that you erase all meaning from it.
It’s really deconstructionist – like if you think about something so much that you tear down its illusions so there’s nothing left. If you root through all those things then you find the core or the nucleus is nothing. That’s where I was at and it wasn’t doing me any favors to feel that way.
I had this other friend who was like, “I know you’re really into thinking life is meaningless and there’s no purpose, but I would challenge you to see where you can take that, because you don’t want to live your life just wasting your time until you die. You think you’re this dark person, but you’re a really light person who has positivity and drive.” So that’s really the thematic of the album – life is meaningless, but we’re not going to just sit here and sulk. What are we going to do? It’s not hedonism. It’s not, “let’s go out and party and do drugs and fuck.” It’s, “let’s find something other than meaning that’s also deep.”
VM: Why did you choose “I’m Ready” as the first single?
MD: I think that was the last one that I wrote for the album, and it came real quick, which is exactly what happened with “Kites,” our other biggest song. So when that happened with “I’m Ready,” I thought it was a really good sign. Then I finished the songs, and I finished the demo, and I realized this was my favorite song that I’ve written for this record, and I was just crossing my fingers that my manager felt the same way. And he did!
I had a different song up for the lead single, which isn’t even on the record anymore. The song was so cool, but I think he could see that we weren’t going to be able to pull it off, and I couldn’t finish it correctly – it was weird. So then “I’m Ready” was a no-brainer for the lead single. It’s so rare to have a label that’s on the same page as you, but they were like, “so lead single’s ‘I’m Ready’ right?” I was cringing for what they would say. I thought they would pick “You Say You Love Me” because it’s a little more of a dance song.
VM: Can you tell a little bit about your songwriting process for this album?
MD: I write like piecemeal – I’ll be walking around, and I’ll hear a melody in my head or a lyrical phrase, usually for a chorus, and I’ll just record it into my phone. So then I have this enormous list of recordings, and I’ll just chip away at those. If I have some down time, I’ll actually sit down with an instrument and flesh it out, and then it kind of builds from there. Sometimes I have time, if I’m at home and we’re not touring, where I can just write for five or six hours a day.
On this one I really wanted to finish the songs before I made the demos, because I think I got a little wrapped up in sound effects on the last album. The music I was listening to in between them where just real singer/songwriters like Paul Simon, James Taylor, Cat Stevens, and Jackson Browne. So that was the stuff I was really feeling a deep connection to – not that any of it sounds like that, but I think the ethos is the same.
VM: Why is it important to you for your albums to tell a story?
MD: I think it’s because I wanted to be a novelist. That’s the artistic medium that I respect the most. I mean, painting is the most artistic medium. If you think “artist,” you see a picture of painter. But a novelist can create an entire different life. When you’re reading, you’re in another world. That’s the greatest way to escape, much more so than even a movie, because you’re using your own mind to do the escaping- an active escape. I’m a failure as a novelist, but I do try to write like that.
I think it can be a problem, because in the beginning my songs were really overly complicated. That same friend who gave me that great advice about Ghost Modern said, “make each song about one thing.” He actually is a novelist named Nat Silverson. It was really hard for me to do that, but the first song I tried to do it was, “Patience.” That song started out so complicated – it was about aphorisms and how stupid they are, and then I was like, “Mike, this song is about patience.” So I made the song about patience, and it was so hard for me to do, but I did it and I’m deeply proud of it for that reason.
VM: You guys have really taken your sound to the next level; what was the most difficult part of that process?
MD: The big difference for me was the string arrangements on the album. I always felt afraid to try and do that, because I don’t have any training with that. I’ve been taking music lessons since I was little, but nobody ever taught me how to arrange music. I know people who do that, and at first I was thinking, “alright, I’ll just get them to do it.” But I also knew I need to control the output, because when you put it out there someone’s going to put different make-up on it – they’ll dress it up in a way you don’t like, so I just decided to try it.
I sat down at my keyboard, and I downloaded this application that has really realistic sounding strings. I wrote these really weird string lines where, when I brought them to the string players they were like, “are you sure?” So I think that’s a big difference people will hear at first. Also, I’ve calmed down a whole lot. I feel comfortable in myself, and I’m trying to make my music less and less. I think space is very beautiful, and I think a lot of my earlier music was really cluttered just because that’s how I’ve always recorded music since I was like 13 – just layering stuff and layering stuff. By the end you have this enormous Dagwood sandwich that you can’t tell one taste from the other.
VM: Geographer recently underwent some changes; can you talk about that?
MD: The other guys toured with me and recorded with me but didn’t want to tour anymore for different reasons – but they were good reasons. So they did record with me, but shortly after recording the record, our drummer left the band, and after a few tours the cellist left the band. So we sat on the record for like a year. I found these guys after six months of auditions. I needed amazing musicians, but I wanted really good people. When you’re on the road, you might play music together for 30 minutes, but you live together, you’re a family, you eat together, you sleep together, so I need to love these people.
VM: How many times have you been to SXSW?
MD: Four times. The first time, we only played one show, and that was fun. We were like, “we love South by!” The next time we played nine shows and it was like, “ehhhh.” Then the next time we went, we played seven, and I had a broken ankle. I was sitting on a stool playing dance music, because I got hit by a car three weeks before.
VM: How many shows are you playing this year?
MD: Six. It’s perfect I think. Right now, I’m ready to go.
VM: What are your favorite acts you’ve seen thus far?
MD: I didn’t see anyone. I wanted to check out Tobias Jesso Jr. because I’m a song guy, and I like that he’s a song guy. I feel like he’s trying to do the same stuff as I am but in a completely different way.
VM: Are you food truck or BBQ Joint people?
MD: BBQ. I love the sit down. That’s my favorite meal on the road. Driving through Memphis or Austin – and we’re not going to get any this time around. We have to leave, but we’re going to be back here in May.
VM: What’s next for you guys?
MD: Mohawk in May. We’re finishing this tour, going up to Denver, then cutting across the country and going down the west coast. Then we have to learn the rest of the new songs and videos, photo shoots, that kind of stuff. Then we’re going out again in May to hit the rest of the country that we didn’t hit this time.
You can catch Geographer live at The Earl on May 26, 2015.
SXSW 2015: Fatherson x Vinyl Mag
For those in the know, Fatherson coming to America is big deal. Though well-loved and celebrated in their home of Glascow, Scotland, the three-piece has been making waves in the states with their single “I Like Not Knowing.” We got together with Ross Leighton, Marc Strain, and Greg Walkinshaw during South by Southwest with some brews to get the scoop on Fatherson’s new album I Am an Island and their experiences in the U.S. thus far.
Vinyl Mag: Where did the name “Fatherson” come from, and when did you guys change it from “Energy!”?
Ross Leighton: Yeah, we were called “Energy!” before and something else before that. We changed it to “Fatherson” maybe three years ago. It just kind of happened; we knew we wanted to change the name, but didn’t really know what to name it.
VM: Can you tell us about the writing process and overall theme of I Am an Island?
RL: I Am an Island was slowly turned into a concept album by accident. I think the title kind of set the pace for the whole thing. What I liked about it was we managed to fit the theme into a couple of songs, so it kind of just happened. The title of the album is a metaphor. Everything is going really well, but you really know what’s going on, so you’re like on an island amongst a ton of other islands with all your friends all the time.
VM: Did all three of you collaborate on the album, or was it mainly you writing the lyrics?
RL: I wrote all the lyrics. A lot of the time it just comes… but it changes. We don’t have a set process. It’s nice.
VM: What would you say the biggest difference is between playing in the US as opposed to the UK, trying to get people to understand what you’re doing?
Marc Strain: It’s hard to tell, because in New York peopled traveled really far to come see us, and we’ve had a great time. I kind of feel like the crowds are pretty similar. People come out and get involved. Our music has rock aspect to it. People jump about, and we have a good time. We also have the quiet, softer albums as well where we can have just as good of a show.
Greg Walkinshaw: It just works with a good cross section of people. I think if people can feel it and get into it, then they’ll be cool for the rest of it. That seems to be how it’s gone so far.
VM: You’ve been really well received in the states, which I’m sure feels great, but does it even compare to the incredible response you’ve received in Scotland. I mean, you did sell out your last show in Glasgow?
MS: We’re so close to the stuff that happens in the UK and Scotland, so it’s a lot of hard work. I guess the States are so far away, and for people to come and see us is a really amazing experience. Some people know all about us, and some of them drove three and half hours to come and see us at our New York show, and we didn’t even know they knew who we were. It’s our first time here, and they know all about us.
RL: The show was in New York, and people came from Philadelphia and Boston. We were like, “what happened here? We’ve never been here before, and you’ve taken that time our of your life to come and see us, first of all, and sing your heart out.” It’s awe-inspiring. It’s crazy.
MS: It’s really rewarding. Scotland and the UK have always been really special to us, but this has been really, really cool as well, in a lot of completely different ways.
VM: On that same note, how is playing with bands that are so established in Scotland?
RL: It’s weird when you start seeing your name pop us in lists of Scottish bands. To even be thought of is kind of crazy.
MS: You start to meet all of these guys as well, and you’re so ready for them not to be that nice, but everyone’s been lovely so far.
VM: Why do you guys play the music from movie credits at the end of your shows? How did that come about, and what movies do you typically play?
GW: It just happened one night by accident. Someone was playing John Williams; I think it was E. T. after the show one night. Since then, after every show we do it. Nine times out of 10 everyone will know it, and it’ll give them a wee smile. It’s just about making the experience.
MS: It’s a lot of fun; we like it. You walk out and think it was pretty funny.
RL: We’ve done Top Gun, Jurassic Park, Indiana Jones, Star Wars, Sweeney Todd; anything we fancy. Mission Impossible, that’s a good one.
VM: Is this your first time at SXSW?
RL: Yes. This is our first proper time in the States.
GW: We had a show in New York a couple days after we came here.
VM: What’s your first impression?
MS: It’s very hot. New York was pretty normal, but this has been crazy hot.
VM: You just need another beer. I think our countries like to drink, so we should get along for that if nothing else. How many shows are you guys playing here?
RL: We’ve done two so far, five all together. We have one this afternoon.
VM: How does it feel to be listed by so many sources as one of the top bands at SXSW?
MS: It’s cool. It’s obviously a big thing, coming over. We’ve always toyed with it for a few years. We just wanted to come over to show we’re not lost in the sea of all the other bands. We weren’t expecting that.
VM: Is there anyone in particular you guys are excited to see play?
MS: Basically the amount of music condensed down to two streets is amazing.
GW: There are a couple of bands. I really want to see Twin Shadow. We have a showcase tomorrow, but I really want to catch it.
RL: I want to see a band called More Than Conquerors; they’re really good friends of ours from the UK. And I want to go see Future Islands in person.
VM: Do you guys see yourselves more as “BBQ joint” people or “food truck” people?
RL: We had breakfast at a food truck place around the corner.
MS: That was amazing. I don’t know what’s breakfast about brisket, and cheese, and potatoes. That’s not breakfast in Scotland, not even close.
RL: I don’t think we’ve tried enough stuff yet to make that comment yet.
MS: We’ll get back to you on that one.
SXSW 2015: Twin Peaks x Vinyl Mag
“We were wingin’ it the whole time. We’re still wingin’ it, and it’s going great.”
When the founding members of Twin Peaks decided to drop out of college and pursue music fulltime, they really were just “wingin’ it.” A philosophy that has worked out so well for the group, they’ve decided to live their lives by it.
We caught up with front man Cadien James at South by Southwest and found out quickly that sometimes, the best strategy is not having one at all.
Vinyl Mag: You guys recorded Sunken pretty quickly in order to make money on tour. Did you feel you had a little more leeway with Wild Onion?
Cadien James: Yeah, we were able to take our time with it. I started playing with Taylor here and there. He wasn’t around for the first album. We were able to experiment with having some buddies of ours help us work on the album that knew how to engineer. Taylor plays, but it’s buried in the tracks, but we had him play on a couple things, and now he’s playing live with us.
VM: Your videos for “I Found a New Way” and “Flavor” feel really summertime oriented, and they make you feel really young and youthful. Would you say that’s basically what Wild Onion is about?
CJ: We’re not a band who often thinks about what we’re going for. I think it naturally comes out with a natural process. My thing is, if we were to have a biography about us one day, or an autobiography if I do it, it’s going to be called “Wingin’ It,” because we’re always winging it. I guess we have a summer vibe. If that’s what you take out of it, that’s wonderful. No, the album is a little sad boy sometimes, because I’m just singing about a babe, but it’s still summertime vibes.
VM: Can you tell us about your decision to pursue music full time?
CJ: We all loved playing together. We were trying to play a lot more house shows when we were finishing high school. We booked this DIY tour before we went to college, so we went to all of these house shows across the west coast and the states. We were all in school and all thought that would be much cooler, so we dropped out – wingin’ it. We were wingin’ it the whole time. We’re still wingin’ it, and it’s going great. I guess a lot of people can wing it, and it ends up really bad, but we’ve been lucky in the sense that we all have a similar mindset with it, and we wing it together. We know what to say yes to and what to say no to.
VM: I know you guys are BFF’s, but what’s the most obnoxious thing about touring all the time with each other?
CJ: Oh, just that I’ve slept with all the dudes from the band more than I’ve slept with ladies at all in my life. A lot of the smells; the smells are bad.
VM: Can you tell us about your decision to release the demos album, Mind Frame, for free?
CJ: When we were thinking about doing the demos – I love Wild Onion, but I was sick of listening to it. I’m very happy with it, but there are things about it that I think could be better, and that’s why we always keep making more music. But I was also going back through the demos thinking, “these have some magic to them.” There was a nice characteristic to them. Some people might get something out of it, and I’d like them to hear it. I want to give them a gift. You see a lot of musicians who put out their albums before they’re for sale, like Chance The Rapper – he’s one of the most successful rappers coming out in the last couple years, a real success story, and he’s never sold any of his music. He has two great albums out. It’s a lot harder being a rock band to do that and sustain yourself, because there’s less money in being a rock band right now. You have more people involved, and the money is more spread out, and there’s less of it. It’s a little harder to put your music out for free as a rock band. Maybe I’m doing it wrong; I could learn some things. Anyone out there [reading] this, let me know.
VM: Some people have called your music ahead of its time – maybe even a bit ambitious; do you agree or disagree?
CJ: I feel like it’s behind its time almost. We play old school rock ‘n’ roll. Like I said, we never worry or think about those things too much. We have three different songwriters. We all write different kinds of music, but when we get together and play it, it works, and we’re all fans of each other’s stuff. We don’t worry about trying to have a super-cohesive sound necessarily; we just try to make a good album, a good piece of art we can celebrate live. It’s totally different live, because we have all sorts of things on record that we can’t think about doing live.
VM: Do you guys get sick of people talking about your age, or do you see it as a compliment?
CJ: We’re very lucky. There aren’t a lot of bands that are young, our age, right now that I’m a big fan of. There are a lot of great bands in Chicago right now that are doing stuff. In general, I’m not missing a lot of bands that 19 or 20-year-olds. I guess I am proud of that.
VM: We’ve seen your name all over Austin and feel like you guys might be the hardest-working band at SXSW. How many shows are you playing?
CJ: Nine total; we’ve already played three. Maybe this year we are, but not in past years when there were a lot more unofficial shows. Now SXSW is on everyone’s shit. They won’t let you do a certain amount of shows that aren’t official, and there are so many bands and so much social media, it’s a little bit harder, and there’s a lot more competition. I remember when I first heard about SXSW, Black Lips were playing 15 shows. The notoriety of that at SXSW is what I would hear going up before a game, but coming down here – this is my third year – this is the most shows we’ve ever played. I guess we’re playing more than most people. I’m down, I’m tired, I have a couple more days, but I’m still with it. I got free beer.
VM: What are you most excited to see this year?
CJ: We started to see a lot of our friends from Chicago. Maybe that makes me lame. I really hope I can catch Sheer Mag this week. They’re really cool, out of Philly, really dope, kind of 70’s power pop punk band. A lot of Chicago artists, because I do have pride in a lot of bands who are a couple years behind us, who are around our age, doing their first SXSW. I’m just so happy and proud to see them coming out here and making it on their own, trying to find any shows they can play, saying, “alright, we have two. Let’s go, road trip.” There are a lot of Chicago bands down here. Strange Faces, Modern Vices, The Boxers, Petty Crimes, and some of the older bands in Chicago, too.
VM: You guys are going to be busy.
CJ: Yeah, I don’t really have time to see anyone. I have tomorrow off. I’m just going to try and see some friends, but I also really want to go swimming in the river, since you can do that here. So, I might miss out on some bands and go swim. Last year I had a broken leg at SXSW; grateful to not have one this year. The first year I went to swim there, and it was fucking wonderful. We jumped off that bridge, and we were so excited about the rope swing. Bands are cool and all, but I like water.
VM: Do you guys consider yourselves BBQ joint people or food truck people?
CJ: I’m gonna say food truck, because the best food truck is BBQ Heaven, which is a BBQ joint that is a food truck, and they have Trailer Treasure. They got a spot by Hotel Vegas this year. We met them our first year, but they have this huge keg filled with Louisiana water seasoning with crawfish in it for free, free beers, and then they have shark and alligator meat to buy. We are going! It is dope! I’m gonna say food trucks.
VM: Is there anything else you guys would like to say?
CJ: Just keep breathing! The four words I appreciate in life are love, kindness, compassion, and positivity, and I try to think about that wherever I go, whatever I do. So I hope all of you reading this, I hope you can fuck with that too, because I fuck with that.