Tag: review
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REVIEW: Forecastle Festival Day Three
The last day of Forecastle was sweltering, and inclement weather loomed for later in the day. Waking up that morning, we were in for a bit of an unpleasant surprise. We had been made aware of Animal Collective’s cancellation days prior to the festival, but it seemed that Dan Deacon suddenly just disappeared off of the schedule. Besides these disappointments, there was much to look forward to including Toro Y Moi, The Forecastle Incident, Purity Ring, and the legend Robert Plant.
Toro Y Moi
I first saw Toro Y Moi during his SXSW set this year where I thoroughly enjoyed his set of chill pop, and sounds of R&B, jazz and funk. His Forecastle set was no different. Walking up to the main stage there was a decent crowd gathered who were getting down to his music in the late afternoon. He set the tone and was an appropriate act to be placed before Grace Potter and the Nocturnals.
Greensky Bluegrass
Greensky Bluegrass was the optimum choice as opener for The Forecastle Incident on that afternoon. Fast-paced blue grass with hints of rock and roll amped up the crowed, if you couldn’t tell already by their name for what you would be in for. A cover of Prince’s “When the Doves Cry” was a pleasant surprise.
Grace Potter and the Nocturnals
Leaving Greensky Bluegrass and walking over to the main stage to catch Grace Potter and the Nocturnals, the noise overlap from stages was incredibly evident. All weekend the overlap had been bad, and is one of my biggest complaints about this festival, but for some reason Sunday during the late afternoon it was just the worst. Making my way halfway down the Grace Potter crowd to the soundboard, sound overlap from the Red Bull Ocean Stage was intense. Every word coming from El-P & Killer Mike could be heard crystal clear- annoying is an understatement.
But knowing how Grace Potter brings it to the stage, either way, noise overlap or not, this audience was about to get a real afternoon treat. Her stage presence is always amazing and on point. Her energy is incredible as she dances around on stage in a sparkling ensemble, killing it on her guitar, laying on the ground to flick off her shoes, and her piano skills are addicting. It’s hard to be in the audience at a Grace Potter show and not be drawn into her music and lyrics by her genuine emotion, it’s quite addicting.
The Forecastle Incident
After an absolute high was implanted in the audience from Greensky Bluegrass, there was an overall feeling that anyone at the Boom Stage for The Forecastle Incident was about to be treated to something special that afternoon. How could this set not be special when you have The String Cheese Incident, Sam Bush, Ronnie McCoury, Jason Carter, and Andy Thorn all on one stage. The set was a mix of Cheese and bluegrass favorites, completely instrumental. With so much talent packed on the stage, the music that was produced that afternoon was memorable and impeccable. At the end of the set I left feeling absolutely content and fulfilled, but also unsure of when, and if ever, I will be treated to something like that for awhile, or ever again.
Set 1: Blackberry Blossom > Rivertrance > Quicksburg Rendezvous, Blue Moon of Kentucky, MLT, Bollymuster, Stingray, Birdland > Wheel Hoss > Birdland
Robert Plant presents The Sensational Space Shifters
He’s a legend, what else can I say? Black clouds loomed in the distance and it was only a matter of time before the skies opened up and torrential rain, accompanied by thunder and lightening, would cut Plant’s set short. Songs included, “ Tin Pan Valley,” “Black Dog,” “Going to California,” and “What Is and What Should Never Be.” Everyone seemed to be enjoying themselves and there were a lot of wide eyes as this was a first time for seeing Robert Plant for many. When the rain came there was no stopping it, “Upon us all, upon us all a little rain must fall…It’s just a little rain.” (Led Zeppelin)
Overall the festival was jam packed with incredible music, (for the most part) some beautiful weather, and it just was a memorable experience. The pros defiantly outweighed the cons this weekend, and if the 2014 lineup looks promising, I wouldn’t mind making the trek all the way back to Louisville.
REVIEW: Forecastle Festival Day Two
Saturday’s lineup packed in the most music and variety of the festival with acts from Shovels & Rope to Foxygen to Dawes to Matt & Kim to Jim James…the list goes on. So much to see and so little time to do it all in. The day started off with some cloud coverage, a light breeze, and a smoother entry into the festival grounds.
Needless to say, even though the day started without a hitch, the weather had a plan of its own. With the sun shining and not a dark cloud in sight the festival was evacuated around 4:40PM for about an hour after the National Weather Service issued a severe thunder storm warning cautioning wind gusts up to 60 MPH and hail. With neighboring Indiana close by and the 2011 Sugarland stage collapse still heavy in the heart of the music industry, the evacuation, although annoying to some, was an appropriate call on behalf of festival organizers.
The evacuation caused a shift in the schedule and sets were pushed back nearly 45 minutes to an hour past original start times. Conflict caused by this shift occurred for those hoping to catch headliner The Black Keys and make it to one of the late night shows as those had and maintained their original start time of midnight. Besides this minor hiccup, Saturday proved to be one full of impressive music and one of the best days of the weekend.
AMTRAC
While taking in the sights and sounds of the Forecastle grounds I came upon AMTRAC laying it down on the Red Bull Music Academy Ocean Stage, an afternoon party under the freeway if you will. Full of diverse remixes, and house with disco sounds, he set the tone for the Ocean Stage for the rest of the day. Acts to follow on this stage included MNDR, TOKiMONSTA, Nosaj Thing, and the festival favorite Matt & Kim.
Shovels & Rope
This South Carolina duo served up an afternoon set full of Southern rock, blues, and rock ‘n’ roll. The stage presence, charisma, and chemistry between was mesmerizing and sucked the crowd deeper into their songs- Then again they are husband and wife. Shovels & Rope kicked Saturday off on a high, toe tapping, southern note and treated us to set that left us pleasantly surprised and wanting more. (P.S. Please come to Athens, GA? Thanks!)
Foxygen
You must be doing something right if Wayne Coyne (The Flaming Lips) shows up to watch your set. Part musical experience and part theatrical performance, Foxygen delivered and the crowed enjoyed.
Alabama Shakes
“WE LOVE YOU BRITTANY!” resonated throughout the crowd before the Shakes even stepped on to the Mast (main) Stage that Saturday evening. A jam packed crowed stretched the entire width of the grassy field and far back past the soundboard. It seemed that this was the largest crowd the main stage had seen so far all weekend. As the Alabama Shakes took the stage a huge smile came over lead singer and guitarist Brittany Howard. Throughout there set which consisted of, “Rise to the Sun,” “Hang Loose,” “Hold On,” I Found You,” “Boys and Girls,” “Be My Baby,” and “I Ain’t the Same,” Brittany conversed with the audience, not to fill, but to simply interact. Howard’s demeanor was that of appreciativeness and delight and the crowd fed off of her enthusiasm for her craft.
The Joy Formidable
I can always respect someone who can curse like a sailor and make it sound classy and fun. First impressions of The Joy Formidable were literally, “Shit, I’d love to be friends with these people.” Saturday was my first time being introduced to The Joy Formidable which was formed in North Wales in 2007. The energy produced by this trio was high and unexpected for that early in the evening. They performed their song “Whirring” and some others off of their The Big Roar (2011) album and a mixture of new material. This set was a highlight for me this past weekend and would absolutely loves to see The Joy Formidable again.
Jim James
Wearing his infamous purple suit, My Morning Jacket’s front man Jim James took the Mast (main) stage and started off the set with “State of the Art.” From twirling around stage, to head banging and shaking is flowing hair while shredding his guitar, to raising his golden bear to the heavens, and his backing band bringing absolute heat, his stage performance was complimented with the sounds of James’ debut highly acclaimed solo album Regions of Light and Sound of God. He closed out the set with a memorable “Let It Be Cover.” Leaving his set, and after seeing him in action for the very first time, I understand what all the hype is about, I totally get it now.
The Flaming Lips
Lighted tentacle tubing flowing the length of the Boom Stage up to a raised platform, LED screens behind, white smoke filled the stage, and out of its depths Wayne Coyne emerged with a fake baby doll in his arms. Like a king of some weird alien alternate universe Wayne enchants the crowd with his spectacle from atop of his pedestal. From using a search light to shine onto the crowd to blowing bubbles The Lips’ set was a delight to the eyes, but also music to our ears. The set included “Look…The Sun Is Rising,” “The W.A.N.D.,” “Race for the Prize”, and the DEVO cover “Gates of Steel.” And for those not that big of fans, yes they played “Do You Realize??”
LATE NIGHT: The String Cheese Incident
Set 1: Drums > Howard, Can’t Wait Another Day > Orange Blossom Special, Cold on the Shoulder, Sometimes A River, iBam! > Minor Swing, Just One Story, Hotel Window, Impressions > Colliding > Restless Wind
Encore: Ramble On
Late night. Cheese. The Louisville Palace Theater…need I say more? It was hard to go to a show like this and not have high expectations or feel like you were about to experience something “special” Although there are mixed reviews from fans alike concerning the song selection, personally I was down to hear anything and was just ready for a good time, and apparently so was everyone else around me. Personal highlights included Orange Blossom Special and Just One Story. I could not have picked a better ending to day two at Forecastle than with e a Cheese show at the historic Louisville Palace Theater.
REVIEW: Forecastle Festival Day One
After taking a seven-hour trek and making it through the cluster of endless lines of eager festival goers, we were finally greeted by Louisville’s 85-acre Waterfront Park overlooking the Ohio River. With a lineup including headliners The Black Keys, The String Cheese Incident, The Avett Brothers, and Robert Plant, Forecastle Festival seemed to have something for everyone. Since its start in 2002, Forecastle has evolved from a homegrown local festival to a nationally recognized and flocked-to music experience.
In addition to the four stages pumping out nonstop music all weekend, the festival grounds were host to numerous live art displays, a Kentucky Bourbon Lodge, and a poster showcase of some of today’s most recognized poster makers. Food options were abundant with local offerings like the Holy Mole Taco Truck, Heine Brothers Coffee, and Jeni’s Splendid Ice Creams, festival favorites like Pie for the People and Grateful Burrito Brothers, and chain vendors Jim ‘N Nicks’s Bar-B-Q.
As a city fest, with noise ordinances stopping music around midnight, Forecastle kept the party going with three late night shows. Kentucky native Wick-It the Instigator and Eliot Lipp hit the stage on Lousiville’s own riverboat the Belle of Louisville Friday night. The String Cheese Incident took over The Louisville Palace Theater with a midnight show Saturday night, but if Cheese wasn’t your thing, the Belle of Louisville was host to the sold out late night Houndmouth show with Night Beds and The Wheeler Brothers.
Day One Recap
We can’t start talking about Friday without talking about the horrendous lines we were greeted with at both festival entrances. After arriving around 6:30 p.m., we finally made it in 45 minutes later just in time to catch Big Boi and kick off this Forecastle weekend. With the sun shining and a breeze coming off the Ohio River, we hit up the Boom Stage just as the crowd began to sing “Ah ha, hush that fuss, Everybody move to the back of the bus”.
Big Boi
The favorites and classic Outkast songs were played: “Rosa Parks,” “Ghetto Musick,” “The Whole World,” “Ms. Jackson,” “So Fresh, So Clean,” and “The Whole World”. Even with a “Bombs Over Baghdad” tease, the crowd still loved every minute of his set. Although still in recovery from a knee injury from earlier this year, Big Boi told the crowd he was not going to miss Forecastle and braved the stage on crutches and sang from a throne ornately decorated in red velvet and gold embellishments.
Old Crow Medicine Show
As the sun began to set over the river and barges floated by, the backdrop was set for a pluckin’ good time on the Mast (main) Stage. Although murmurs could be heard throughout the crowd just wanting and wishing to hear “Wagon Wheel”, Old Crow Medicine Show delivered a set that kept the crowds dancing and stomping their feet. With covers and easy sing-a-longs to “This Land is Your Land” and Tom Petty’s “American Girl” the scene was set in anticipation for Friday’s headliner The String Cheese Incident.
The String Cheese Incident
In the cool of the night, under the explosion of pre-show fireworks, a circus of sorts was about to start on the banks of the Ohio river. Those familiar with a String Cheese show had an inkling of the party that was about to erupt out of an otherwise typical festival incident, and those seeing Cheese for the first time were unprepared for the massive dose of fun that was in store. “Rosie” kicked off the set followed by “Best Feeling” into “On the Road.” A cover of Aerosmith’s “Walk This Way” really seemed to get the crowd going. The rest of the set included “Song In My Head,” “Sirens,” “Let’s Go Outside,” and “It Is What It Is.” “Valley of Jig” and a stellar “Colorado Bluebird Sky” closed out the night. Overall, Cheese delivered fun and heightened our anticipation for the late night Palace show.
REVIEW: of Montreal premiere first single off new album
of Montreal is the kind of band that wanders in and out of its time. At the height of fame for Kevin Barnes and crew, around the Hissing Fauna era, their sound was modern and fresh. By Paralytic Stalks, the band propelled into the future, prompting the loss of a few unprepared fans.
With the release of the single “fugitive air”, we expect that lousy with sylvianbriar – to be released October 8 – will force the listener into a time machine set to the 1960s. It’s even apparent in the album art, a psychedelic swirl of intense colors and type.
As much as we hate to make this cliché reference, it’s impossible not to hear the Beatles in this tune. The opening guitar riff screams Harrison, while the sweet ooh-ahhs at the chorus harken back to McCartney. And, much like a Lennon signature, the track feels entirely lyric-driven. This retro sound is no surprise though, considering of Montreal ditched digital embellishments in favor of a 24-track tape machine.
That’s not to say that today’s listener won’t adore this single, and, ultimately, lousy with sylvianbriar in its entirety. In fact, the track fits comfortably into 2013, considering the rise of surf-punk bands like Wavves, FIDLAR, and Bass Drum of Death. Finally, it seems, the past, present, and future have collided for of Montreal.
P.S. Pre-orders available NOW HERE!
REVIEW: Look Alive’s ‘Mistakes and Milestones’
Look Alive, an up-and-coming band straight out of Atlanta, Georgia, is kind of like a manifestation of all of your favorite pop-punk bands from 2004. Intrigued? Well, rightfully so. These guys have been at it in some form or fashion for over 10 years now, and now the time has come for them to release their latest EP, Mistakes and Milestones, via Autumn + Color Records. Luckily, we got a little preview of the album; indulge in our thoughts:
The album’s intro, “Transitions”, essentially sets the theme for the EP in just 50 seconds. The album then jumps into the second track, “Anchored”, which is an ode to the bad break-up that we all have been through at least once in our lives. Singer Jacob Causey’s aggressive vocals pair nicely with the direct lyrics and definitely strike a nostalgia chord for earlier pop-punk enthusiasts.
“Sink or Swim” is the third track on the album, and by this point, a clear pattern in song placement has been formed. The album takes you through all of the emotions you inevitably go through in the throes of failed relationships, with “Sink or Swim” expressing the stage of self-loathing and reflection, heard loud in clear with the focal point of the song, “Don’t let me hear your say I’m just some castaway sailing out towards the nothing I became”.
Track 4, “The Way I see It”, continues to follow suit with the reflective process- you know, that moment when you realize it’s time to live your life yourself without reservation? That what this one’s about- that glorious realization that no ones opinion is going to deflect you from your dreams.
By Track 5, you’ve reached the song “Farewell” (may be my personal favorite). There’s a bitter tone to Causey’s lyrics, and the energy is slowed down just enough to give it the dramatic edge over the rest of the album. “You are reckless, and I’ve accepted this”- Hold tight listeners, because at this point we have reached acceptance, and what a glorious feeling that is.
Look Alive closes the EP with the track “Over Under”- the end of an era of sorts, moving forward is the name of the game with this track.
Bravo, Look Alive – you have taken us through a realistic depiction of the emotional rollercoaster ride relationships and life will throw your way. Furthermore, bravo for making a fan out of all of us at Vinyl Mag. Be sure to check out Mistakes and Milestones when it drops July 2nd .
REVIEW: David Lynch and Lykke Li’s “I’m Waiting Here”
Two years since David Lynch’s “Pinky’s Dream,” the release of his upcoming album, The Big Dream, is creeping along quite nicely, with Lykke Li’s whispered hint of a far sexier and more surreal theme of an album that may indeed be much bigger and better than its predecessor.
“I’m Waiting Here,” the Lykke Li/David Lynch collaborative single, is the only track released from the album so far, but lucky us, it is also accompanied by a music video (that is, unlucky for us, not directed by Lynch himself). Regardless, the video is the window to the song’s soul, and its vacant and hypnotic feel not only matches the track’s sound wonderfully, but it too will leave you feeling the way Lynch always intends to make you feel — just a little bit crazy.
It’s a tedious video following a long road as the landscape slips out of view over and over and over again. Our eyes follow along like the weary driver’s herself, as Lykke Li’s lovesick and airy voice repeatedly serenades us with the haunting words “I’m waiting here.” The video drives us with layered footage of the lanes, tricking us as if we’re focusing dry eyelids struggling to stay open until suddenly we’re parking in a headlight-lit neighborhood right off the side of the never-ending road. Then it’s over.
Which leaves us waiting here, as well.
The video tells us nothing, which is why its aftertaste leaves you feeling vaguely uncomfortable and subtly curious. There’s no explanation of the neighborhood we’re led to, nor do we have any sense of where we came from or who we are. Lykke Li sings “I’m waiting here,” but she also tells us that she’s burned bridges to get where she waits — granting an especially eerie and mysterious vibe. There is a story here, but we don’t know what it is.
It’s a simple and fitting visual for a song that instantly became my favorite Lykke Li song and a promise that “The Big Dream” is worth the wait after “Pinky’s Dream.” Where “Pinky’s Dream” has absolutely been repeated through my speakers, “I’m Waiting Here” gives the impression that perhaps “The Big Dream” will be worlds different than what we had originally expected.
Of course, that is an excellent thing. Right now we can’t know what strange neighborhood Lynch will drop us off at when the album is released next month, but it’s definitely a drive I’m willing to tag along for.
REVIEW: Heard In The Mountains’ Will To Well
In 2011, Vancouver-based band Heard In The Mountains got together and began shattering the windows of a local church – metaphorically speaking, that is. As their casual jam sessions began to morph into the beginnings of an actual band, their sound transformed into a rock-meets-pop-meets-indie powerhouse, and frankly, we’re surprised they didn’t blow that church’s roof clear into the night. Take a listen to their debut EP, Will To Well, and you’ll see what we mean.
The EP’s first track, “Sills”, is undeniably reminiscent of Fleet Foxes, but only for a moment. Mitchell Walford’s delicate, beautiful piano opens up the track, but quickly ushers the listener into an intense, slightly electronic moment. This provocative pattern continues for the entirety of the song, and through it all, we are swept up by Walford’s irrefutably sweet voice, feeling every high and low he hits. “Raccoon Hands” shows another dimension of the band’s sound. Walford’s vocals are paired with those of guitarist Daniel Baxter, and the effect is irresistible. What really perfects this song, though, are its lyrics. For example: “Memories, like bricks, to my feet, become tied, down into oceans you like to call eyes.” Convinced yet?
“Major Change” truly allows the fivesome’s synth-pop influences to shine through. But while other acts allow such genres to overpower their sound, Heard In The Mountains layers the track with whimsical, simple indie-rock instrumentals and a theme we can all relate to: the onset of massive changes in our lives. All of these elements are perfectly crafted to inspire and enlighten the listener. Will To Well’s final track, “In The Meadow”, concludes the album in the most natural of ways, both literally and figuratively. We are reminded once again of the group’s knack for alternating between slow and fast, soft and loud, exclusively indie to powerfully pop-y. And herein is where this band’s potential lies. An uncanny ability to appeal to every set of ears time and again could take them from the pews of a tiny church to the world’s largest stages.
REVIEW: “Palm Reader” by Sonny and the Sunsets
Sonny and the Sunsets’ follow-up to Longtime Companion is entitled Antenna to the Afterworld, and like many indie artists to go before them, Sonny Smith and his band are ripe to tackle death and its aftermath. The band suffered the loss of a close friend, and that tragic experience has led them produce songs like “Palm Reader,” a light ditty about reading palms and impending death. The production on this song is top-notch with its sharp, analog synths and country-western electric guitars. The song kicks off with the low-register twang of the main guitar riff, and that riff continues for the majority of the song. Smith’s vocal track is the only component that really misses the mark in the song, with such bland lines as “Every year, they say the end is near/ But we’re still here.” His voice is too jarring amidst the warmth of the instrumental tracks, and his lyrics rest awkwardly between the quirk of Syd Barret and the heart of Phosphorescent. The song is whimsical and is not meant to erupt at any point, but it never seems to find its way.
7/10
REVIEW: Lemuria’s “Oahu, Hawaii”
Buffalo, New York’s own Lemuria is dropping their newest album The Distance Is So Big on June 18th, but prefacing that date, they have decided to release a few sneak-peaks from the album- the most recent being “Oahu, Hawaii”. Upon pressing play, I noticed Lemuria had strayed from the norm in certain aspects, but in other respects you still find the deadline Lemuria traits, such as the dramatic 15-second build to really get you amped on what your ears are in for. Alex Kerns takes on the lyrical lead for the song but is quickly met with Sheena’s bubblegum melodies.
In a recent interview [Vinyl Mag] conducted with Lemuria, Sheena spoke of Alex as a “man of many words”- this song being no different. That concept alone, paired with strategic lyrical repetition, make for the basis of almost the entire song. If you were already a fan though, the magnitude of their simplicity is probably something you’ve already come to love. As far as the intensity goes, “Oahu, Hawaii” tends to ricochet back in forth between about a 3 and 5- but don’t be fooled, these guys definitely have it in them (and will probably release that energy elsewhere in the album). It’s clear, though, that this song in particular holds a lot of meaning to the members, having named the album from a direct lyric in this song. Have a listen for yourself here, and be sure to check out the new album when it drops.
REVIEW: September Call-Up’s Air And My Sleep
Christian Bitto, singer of the September Call-Up, is a lot like Leonardo da Vinci. How, you might ask? Quite simply, Bitto is a Renaissance Man of vocals, a jack-of-all-moods, you might say. From first track to last on his album with drummer Jesse Gimbel, Air And My Sleep, Bitto switches constantly and effortlessly from a soft, near whisper to a powerful shout, before retreating back into a passionate warble. Such a truly textural range is the focal point of this otherwise very calm, smooth indie record.
Its first track, “Negative Film”, is exemplary of the EP’s depth. As Bitto utters, “Gave you my word, it wasn’t worth a spit. Gave you a kiss, it tasted like shit,” the song has a very Ryan Adams, alt-country feel to it. Before you can even process that comparison, though, Bitto becomes a 2013 version of Michael Stipe, his voice loud and all-consuming through the chorus.
“Our First Fall” is a song everyone needs at some point in his or her life, for a lonely, heartbroken kind of night. Bitto’s cloud-soft voice paired with very angry, tearful lyrics sweeps you into a storm of emotions you can relate to. “Song No. 3” is probably our favorite on the EP, and is equally heart wrenching. Comparing Bitto’s vocals to that of Conor Oberst is inevitable, and only makes the track tug at your chest more.
Toward the end of the album, a sense of nostalgia begins to emerge, especially on “Burnt Orange”, a very pretty track about love come and gone. “Ghost” is a surprisingly upbeat tune instrumentally, raising the tempo of the album before a pleasant crash into Air’s final track, “9”. The September Call-Up couldn’t have chosen a more perfect track to conclude their album – it’s sensitive, dreamy, and thought provoking. And after listening to the record, you see that the duo’s intention, all along, was to get listeners thinking. Job well done.
Air And My Sleep is due out June 25 through Wissahickon Records.