my morning jacket – Vinyl Mag

Broken Hands x Vinyl Mag

Posted on November 3, 2016December 6, 2016 by Camren Skelton

Imagine you’re standing on a jetway, planes soaring above and beside you, the sound of jet engines roaring on all sides–and you might just know what it feels like to be in the crowd at a live Broken Hands gig. Relatively new to the music scene, the British rockers have already received significant U.K. radio airplay with their lead single, “Meteor,” and their debut album, Turbulence, is set for release Nov. 4. With slots at SXSW and CMJ, the band is already making significant headway into the U.S. market.

We sat down with bassist Thomas Ford to talk about the band’s exciting new release, inspiration, and what it’s like when you step foot through the door of a live show.

VM: How would you describe your sound to someone who is unfamiliar with the band?

TF: It’s kind of the sound of jet engines and flights we really tried to convey in the album. A lot to do with escaping. It’s pretty heavy but the song always gets what it needs at the end of the day.

VM: And your debut album is set to come out next month, so what are you most excited for fans to hear?

TF: Really just the whole thing. As soon as people understand what we are trying to say, even if they don’t really like it, that’s not good, but if people hear it and they understand what we were trying to say with the album, understand where we were when we wrote it, then that is kind of big for us.

VM: When you set out to record the album, did you have a set plan or was it more of an experimental process?

TF: The songs in themselves, it was like one main songwriter. And then we found almost the concept, the vehicle we wanted to write with. It was very easy to write together and to achieve the same kind of goal. So the songs we worked on for a good six or seven months, and then we got into the studio, and that’s a great place to check creativity because we are very like-minded. So once we kind of built the song and everything up around it, then we went mad with the sounds. It was pretty straightforward, but then we went mad at the end.

VM: So the music video for “Meteor“ was captured at one of your sold-out shows, and the whole venue is covered in silver foil. Is this something you do at every show? What’s the inspiration behind it?

TF: We were playing shows and the album wasn’t actually out yet. So we couldn’t have people see the cover and instantly see all of the information, what was there to convey the concept. So it was really important to us that when people came into the shows, they weren’t just guessing to what we were trying to get to. We wanted to really build the experience up. So we got these huge parachutes of silver foil and then draped the entire venue. Because you could be in a really normal, everyday club in London and then step through the door and suddenly you’re in this capsule, and light reflects off all the walls. And I think it tied into our concept. They hadn’t heard it yet, so they got to hear the concept before they had a copy of the album.

VM: Speaking of live shows, how would you describe the vibes from a Broken Hands gig?

TF: We really try and extend how we wrote the album over into the room. And embody each song as it comes. We’ve got quite a big energy. So it’s hopefully kind of the feeling of getting sucked into a vacuum and then popping out the other end, a very kind of loud, windy experience. It’s almost like hearing it sounds like you’re near an airport, hearing a jet engine go, hearing things soar from one side to the other. For us, it’s all about extending and embodying that and trying to bring people as close into that as possible.

VM: Since forming, you’ve landed spots at festivals including SXSW and CMJ, was this your first time playing in the U.S.?

TF: Yeah, SXSW was the first time. That was one of my favorite weeks, ever. The states are just fantastic. I’ve only been to a few places yet—New York, Boston, and Minneapolis is another favorite, and it’s so different every single time. So many different people. Pretty much everyone is very vocal. They tell you exactly what they want to say. Whereas in England, it doesn’t matter if they like it or not, they might just walk away from the show. Which is really odd. But I love it out there, it’s crazy and there’s always a whole bunch of people to talk to afterward, which is huge. SXSW is truly something. It was really up there for us.

VM: Do you have any dream venues to perform at?

TF: We like the look of Red Rocks, and there’s a really cool place in Minneapolis, I think it was called First Avenue. And then I think Terminal 5 in New York was one. But every single room we get to play in is going to be exhilarating.

VM: What kind of artists are you listening to at the moment? Are there any you look to for inspiration?

TF: We all live together in one big house, we moved in together to write the album. It’s kind of a strange thing because if one person really gets on something, then everyone else is drawn in on it. This week has been Depeche Mode, and they just announced a tour which is absolutely wicked. I think in terms of a show, a band that has longevity and composure, My Morning Jacket, are really big for us. Really admire what they do, especially on stage. The energy they put out, but at the same time, it’s so composed. It’s ridiculous. I would love if we could get anywhere near opening for them.

VM: Circling back to your new album, out of all the tracks on Turbulence, which lyrics resonate with you the most? Or do you have a favorite track, one you’re most excited for fans to hear?

TF: Funny enough it is “Turbulence.” It just embodies the most what we were going for in the album. I think it was the first track we wrote, and we were coming back through the old tapes, and things change in the recording process, but when we put on “Turbulence,” it hasn’t changed since the day we put it together and arranged it in rehearsal space. Every time we play “Turbulence” it really reminds me of the beginning of this whole thing. The beginning of the album, the beginning of getting out to the world.

Check out Broken Hands’ debut album, Turbulence, out Nov. 4 via SO Recordings.

Rundown Recap: Shaky Knees 2016

Posted on June 1, 2016May 31, 2016 by Chris Hunkele

It has long been known that spring officially begins in the South the weekend of The Masters tournament in Augusta. The ‘tradition unlike any other’ offers new beginnings with each dirt cheap pimento cheese sandwich and $3 domestic draught. However there’s a growing argument that spring doesn’t quite get rolling until Shaky Knees takes over whichever plot of Atlanta real estate its founders find suitable.

In four short years, this festival has risen to the top of the region’s music scene by offering up 3+ days of consistently solid lineups. Like most festivals, Shaky Knees offers full weekend passes, single day tickets and VIP treatment, but the biggest coup here is the late night sets at local clubs throughout the city. After each headliner finishes pouring it on at the Peachtree Stage, music spills over into some of Atlanta’s most happening spots including Terminal West, The Masquerade, Variety Playhouse, Center Stage, and The Earl. The late night sets allow further examination of a day’s new find or simply a chance for non festival-goers to see a huge act in an intimate setting. It’s the perfect ending to a sunny spring day.

Though in it’s fourth year, the festival has yet to find a permanent home and I can’t figure out why the festival keeps jumping around…Are the coordinators trying out every venue until they find one that sticks, or do they just keep getting kicked out for noise complaints? I know the Old Fourth Ward Park and Atlantic Station were too small, but I thought Central Park was a great host last year. The sports fields and parking lots provided plenty of room to spread out and shade trees were plentiful. This year’s installment was housed in Centennial Olympic Park and and on the lawn in front of the Georgia Dome. Atlanta’s Olympic memorial handled the large crowds well but didn’t provide much in the way of sun relief. Drinks were easy to get, restroom facilities were clean, and food options were great. I especially admired the incorporation of local restaurants into the various food courts. Food trucks were again front and center but one could also snag a BBQ sandwich from Fox Bros or a burger from the Grindhouse tent. Nice touch. I do wish festivals would take a page out of Augusta National’s book and stop charging $7 for a Dos Equis…but I digress.

Overall it was a well coordinated endeavor, aside from the pedestrian bridge over Marietta Street connecting the Peachtree, Ponce de Leon, and Buford Highway Stages to Boulevard and Piedmont in front of the Dome. At peak times the bridge became a log jam and forced 10-15 minute wait times to get to the other side of the park. Next time just pay whatever the city wants to shut down two blocks of traffic…

Now here’s a rundown of our favorite (and not so favorite) acts from this year’s fest:

The Front Bottoms

The hot afternoon sun didn’t stop the crowd from enthusiastically singing along to the catchy tunes of “Au Revoir (Adios)” and “The Beers.” With their earnest lyrics and witty banter in between each song, catching The Front Bottoms was like catching up with old friends over a few cold beers. – Camren Skelton

Craig Finn

Finn’s laid-back, confident style and thoughtful lyrics made for a performance that was more introspective than other acts of the weekend. Although taking in Finn as a solo act is different than hearing him with The Hold Steady, the performance is still just as captivating and intense. – Camren Skelton

Beach Slang

Although they were playing an early set, I was impressed at the large, engaged crowd these punky newcomers attracted. After taking requests from the crowd and making jokes throughout, Beach Slang put on an entertaining show that kept the crowd singing along until the very end. – Camren Skelton

Wolf Alice

Heading over to the main stages, I was able to catch British alt rockers Wolf Alice, and they did not disappoint. As people made their way into the gates, they trickled into the area around the stage, just as enthralled in the band’s folk/grunge/electronic elements as I was. Despite the hot Atlanta sun, the band brought a big crowd and put on a performance that was a favorite of the weekend. – Camren Skelton

Barns Courtney

The acoustic set Courtney delivered made for a performance that was unlike any other I saw throughout the weekend. Although he was standing on stage alone with his guitar, he filled the stage with a big sound and proved that he earned his spot on our Artists to Watch list. – Camren Skelton

Hop Along

This freak-folk/grunge-pop outfit from Philadelphia absolutely blew me away. Emotive vocals, angsty lyrics, and intricate guitar licks fuel their heavy pop sound. I love how lead singer Frances Quinlan’s voice perambulates the spectrum of screech-scream to delicate whisper through each song.

Catchy, painful, even epic at times. The soundtrack to your next breakup. – Chris Hunkele

Day Wave

If Weezer, Washed Out, and Real Estate were puréed in a blender, you’d end up with the smooth synth sounds of Day Wave.

Soundtrack to your next road trip. – Chris Hunkele

Baskery

Sirens, man…These Swedish sisters were everything of which Circe warned Odysseus. The self-proclaimed “banjo punks” commanded the stage with infectious, foot-stomping energy. It was impossible to look away as they flawlessly harmonized their way through the mid-afternoon Atlanta heat.

Your girlfriend’s favorite band, your new guilty pleasure. – Chris Hunkele

Silversun Pickups

Holy Crap! – who thought shoegaze could be so intense? The plan was to watch through “Lazy Eye” and head over to see Huey Lewis & the News, but an hour later I found myself trying to shake Brian and Nikki’s fuzzy guitar tones from my ears. I never expected a performance that good. – Chris Hunkele

The Decemberists

The unexpected dig of Silversun’s set made me late for The Decemberists, which honestly wasn’t a bad thing – ’twas damn near impossible to slide into melancholy after such an energetic performance. It was kind of a bummer as I was really looking forward to seeing the Portlanders for the first time, but my gut tells me they’re the kind of band that requires four walls to really lock you in. – Chris Hunkele

My Morning Jacket

I made my way over to the big stage (aka Peachtree) looking to get sucked into an epic Jim James performance, but all I saw were a lot of theatrics. I was hoping to hear something to make me fall in love with MMJ again, but the half a dozen or so songs I stuck around for only served as affirmation that my ears will never hear anything the way they first heard 2005’s Z. – Chris Hunkele

Murder By Death

The second night of Shaky wrapped up with a late night Murder By Death set that absolutely rocked. As tired as I was, it’s never hard to get in the mood to belt out “Lost River” or “I Came Around”. I Scooped up these tickets the day it was announced and am really glad I was able to power through to the 1am start time. – Chris Hunkele

Parquet Courts

These guys rip. Saw ’em at the 40 Watt last year and was curious to see how their sound would translate to the great outdoors. I definitely recommend seeing them in a club, but if all you have is a festival chance, get there early and try to move up front. – Chris Hunkele

Nothing

I was so looking forward to this I sat through their sound check. The heaviness of their new record was replicated on stage, but the vocals were…well…just bad honestly. Almost cringeworthy. Though they did do a pretty sick cover of Radiohead’s “Creep”. – Chris Hunkele

Deftones

Completely blown away by Chino and the boys. Any heaviness or on point vocals I was hoping to get from Nothing, I received tenfold from Deftones. If this year’s Shaky Knees was an episode of Supermarket Sweep, their set would’ve been the Farmer John golden wrapped hams. – Chris Hunkele

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