Showing posts with label The Person & The People. Show all posts
Showing posts with label The Person & The People. Show all posts

Globetrotting: Ipanema Cosmonauts - Lewis Fieldhouse - The Person & The People - Crocodiles - Tropical Nasty

Ipanema Cosmonauts - Kites.

Background promo - Ipanema Cosmonauts is the dream-pop, post-rock, nu-gaze, you-name-it duo formed by Alice and Serge in the cold, cold city of Saransk, Russia. Blending ambient guitar textures and pop laden progressions against effortless, serine and soaring vocal melodies, the band's thoughtfully crafted songs have a maturity and spaciousness that both hooks you in and lets you drift.

Influenced only in part by newer Russian bands, Ipanema Cosmonauts reach past cultural barriers to incorporate American jazz progressions, shoegaze lushness, pop melodies, and international collaborations with other US, European, and Japanese based artists.

Their debut release, Adrift starts with their most accessible and pop driven tracks, "Kites" and "Return", followed by their more well known tracks, "Black Helicopters" and "Washed", that originally propelled their success on music streaming services. Adrift will be released on all major digital music distributors on October 18th. Facebook here.


First of four tracks on the EP, 'Kites' demonstrates the more rockier side of the duo, they are capable of much softer and dreamy material. All is of a very high standard as they mix up the styles and consistently provide fine melodies and vocals.

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Lewis Fieldhouse - He Hath Made You Rich.

Background  - About ‘He Hath Made You Rich’ Caramelised R&B melodies and a Jeff Buckley approach to sparse, minimal, but wide open arrangements, ‘He Hath Made You Rich’ is Lewis bending the well-worn love song genre to his own experience and crafting something unmistakably fresh. His tender falsetto sounds like an alto sax as the arrangement expands into something that holds a candle to Tom Petty’s ‘Free Falling’.

About Lewis Fieldhouse. In 2013, Lewis Fieldhouse’s unswerving dedication to his craft led him through California’s Central Valley on a journey to absorb the musical heritage of his heroes. Like many things in life, it didn’t go to plan. Instead, he found himself exploring the topology of abject depression: feeling the weight of his mortality in the basement of a rundown Hollywood hostel, the sting of isolation in LA’s baking suburban sprawl. News of a personal tragedy at home and the burden of his own expectations had almost crushed the artist in him, but from the depths he began to write again. He created the persona of Theodor Washington for himself to deflect the debilitating anxiety and render the world around him through a more romantic lens. 


Each new song fed into his creativity, marking the stages of an artistic rebirth. Utterly apart from his peers in his rejection of the stale choreography of today’s media landscape, Fieldhouse presents to us his firebrand wit with a troubadour’s knack for both lyrical sincerity and absurdity. Offering snippets of life and coupling humour with calculating insight, his work evokes the sound of Eagles and Father John Misty. On his debut album Theodor Washington and the Central Valley, his ear for irresistible pop songwriting is undeniable. Three years and five thousand miles later, Lewis is making the music he has always wanted to make. Now he’s causing a positive stir amongst music blogs like The 405 and The Vinyl District, with It’s All Indie crowning him “one of the most exciting singer-songwriters in London at the moment”. Lewis’s expert take on Americana and the great american pop song comes from a place of humbled authenticity, and that alone makes Theodor Washington and the Central Valley something special. Website here.

See Lewis Fieldhouse live:
Thursday 24 November: RS Bar, Sheffield, 156 St Mary's Rd, Sheffield S2 4AX
Friday 2 December: The Ivy House, London SE15 3BE - Official Album Launch Party


'He Hath Made You Rich' builds from a slower melodic start into something quite powerful. The vocals add emotional intensity, as the song grows musically with the falsetto vocals driving it on.

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The Person & The People - Unemployment Blues.

Background - For nearly a decade, The Person & The People have been a staple in the Twin Cities music scene. After the band recorded their 2016 album Dark & Low, their long time drummer Adam Mallory moved across the country. At the same time, singer Nick Costa found himself jobless and unsure of his band’s future. 

He sat down to write an a new album and impulsively recorded the new album, Unemployment Blues. Recorded primarily in one take on a 4-Track cassette recorder in producer Dan Mariska’s basement, it is Costa’s most stripped down, honest, and soul-crushingly personal record to date.

The Person & The People will be releasing Unemployment Blues with two shows at The Warming House on October 28th and October 29th. It will be the second full length album by the band this year. Bandcamp pre order here.


'Unemployment Blues' is the first of ten well constructed songs on the new album. There is a very personal and genuine feel running throughout the album, with acoustic guitar and Nick Costa's pleasing vocals taking centre stage. It may be stripped back, however rather than feeling raw, the warmth is pretty much there in every song.

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Crocodiles - Not Even In Your Dreams.

Background - The second single "Not Even In Your Dreams" from Crocodiles upcoming album 'Dreamless'. "Not Even..." is the finale on 'Dreamless' which is do out 10/21 on Zoo Music.
 
Comprised of best friends Brandon Welchez and Charles Rowell, Crocodiles have earned their place as one of the United States’ most engaging, hardworking and consistent rock and roll bands of the past few years. Dreamless is the pair’s sixth LP, and is, at once, their most exploratory and focused release.

Whereas Crocodiles’ first two albums made their home amongst a stew of fuzzed-out psychedelia, and the following three albums explored Welchez and Rowell’s penchant for placing pop sensibilities against whirring guitars and barbed production, Dreamless sees the duo endeavoring on an artistic departure that positions their guitars in the backseat in favor of a more spacious, synthesizer and piano-driven sound.

The pair recorded the 10-track Dreamless in Mexico City over the course of 6 weeks. Having become something of a spiritual (and in the case of Welchez, literal) home to the duo, choosing D.F. as the location for recording allowed them to again hook-up with friend and occasional bandmate Martin Thulin (also a member of post-punks Exploded View). Between them, the trio shared instrument duties, with Welchez and Rowell handling the lion’s share of guitar and bass, Thulin and Welchez the live drum work, and Thulin focusing largely on keys. Facebook here.


The tenth and final track on the forthcoming album 'Not Even In Your Dreams' has a bright indie pop feel, with the piano adding to the tempo and overall upbeat musical vibe within the song.

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Tropical Nasty - Slipped Away.

Background from Amanda Alderman who made sure we heard of Tropical Nasty! - Ever see the classic, Looney-Tunes short where a snoozing cartoon was elevated into the air by an enticing, visible vapour, so powerful and alluring it often formed actual hands and sailed the sleeping soul like a magic carpet, toward the source of the deliciousness?

That’s what I experienced when Tropical Nasty’s audible effusion grazed my ears along with the Venice Beach breeze one, recent Sunday afternoon.  I was headed the other way on the boardwalk when their enchanting emanation stopped me in my tracks.  Encapsulated by their sound, I drifted right to them, just like in our treasured, vintage animation. 

Drenched with this Superband’s psychedelic funky rhythms and celestial strings, my pace quickened, my chest swelled and I swear I grew an inch taller as I neared them. When I reached the nucleus of this Pacific oasis, I joined an ungovernable myriad of beach goers who celebrated this rustic bunch of brilliant Enchanters.

This trifecta had launched an outdoor discotheque and inspired these spectators, donned in worn flip-flops and sun-kissed skin, to hop around like they were high and silly on Willy Wonka’s soda fizz. 

Who are these guys?!” I proclaimed aloud, and caught faces around me break into smiles because they were thinking the same thing.  Onlookers with mesmerised permagrins surrounded this shirtless trinity who rocked as if to win the vote of the universe’s god assembly on whether to eliminate or keep Earth. Their infectious, eclectic sound- all their very-own, original, spontaneous tunes relative to Jimi Hendrix, early, funky Red Hot Chili Peppers, Jack White, Led Zeppelin, The Meters and Bob Marley- touched everyone in proximity, overpowering them to dance and yawp. 

Meet the Wizards of Tropical Nasty:  Wondrous Drummer and lead vocalist, Myke Anthony, Bass Dynamo, Collin Bunch and Guitar- Master, Dave Tepper. 

They look like what would happen if Gwen Stefani and the original Tarzan got together and made kids.  I was surprised to discover they were from South Jersey when I had the privilege of purchasing their CD.  I was certain they were from a faraway continent, or Jupiter, and only spoke the language of music.  But they are, in fact, American buddies from Pennsville, New Jersey and they’ve been gracing L.A. with their mystic sound for a little over a year. See Tropical Nasty close-up while you still can, busking on the Venice Beach boardwalk and on the Santa Monica Pier, and follow them on Facebook here.


'Slipped Away' has some classic blues rock vibes mixed with powerful vocals and harmonies. The band add an extra funky dimension and create a very catchy and honest sound. Locals to Venice Beach would do well to keep an eye (and ears) out for these guys, the music really is full of hooks and feeling.

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Genre Mix Up: The Person & The People - Emily Rodgers - Grieving

The Person & The People - Hot Summer Nights.

Background bio - For nearly a decade The Person and The People have been a fixture in the Twin Cities’ “indie” scene and their experience is evident not only in their enchanting, nuanced live performances but also in their seemingly endless arsenal of catchy rock songs. Based on their past releases and their ability to navigate seamlessly from crunchy, beer-drinking guitar riffs to wistful ballads to angsty break-up songs, one can truly expect anything from their upcoming release Dark and Low.

The album promises to be collection of infectious melodies, dreamy hooks, punch-drunk guitar riffs, and sharp, relatable lyrics that poke fun at themes like society, love, and self-doubt. This creates delicate balance between everyday realism and confident farce. There are moments when we feel caught between the pull of the past and the promise of the future. Dark and Low stands on this precipice, draws a deep breath, and takes the next step. For The Person & The People, it’s fine. Album release date: Friday, April 22, 2016.

'Dark and Low' is a cracking album. 'Hot Summer Nights' the third of eleven tracks on the new release, is but a toe in the water of this fine collection of songs. The band crank things up on some songs, whilst on others there is a more leisurely and confident rock'n'roll swagger. But always there's the layered guitar riffs and melodies. If you like the featured track, I reckon you will be delighted with the album.

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Emily Rodgers - No Last Call.

Background promo - It’s clear from note one of Emily Rodgers’ new album, Two Years: she’s up to something a little different. Different from her past records, but different especially from so many of her contemporaries. In a world of indie-folk sameness, where epic and bombastic are the rule, Rodgers is deliberate and intense, quiet and bookish. And it's in its very quiet intensity that her music commands a listener’s full attention.

On paper, Rodgers’ music might seem like it would add up to folk or alt-country: A band with guitars, a pedal steel, some fiddles here and there. But on listening, you’re as likely to pick up on an undercurrent of shoegaze, chamber pop, even post-rock on Two Years. The violins oscillate under Rodgers’ melodies, more Dirty Three than country. The pedal steel soars. Rodgers’ voice, beautiful and world-weary, echoes.

On Two Years, her first album since 2009’s Bright Day, Rodgers worked with legendary producer Kramer, who was responsible for the sounds of first-generation shoegaze and slow-core innovators like Galaxie 500 and Low. (Kramer mixed and mastered Bright Day, and returned as producer this time around; he also produced two videos from the new album.) It’s fair to look at the album as a product of Rodgers’ unconventional writing -- she’s an English professor, and looks to literary sources for inspiration -- and Kramer’s sonic genius. Low comes to mind as a reference point; so does Tara Jane O’Neil.

That Two Years is her first recording in nearly seven betrays the fact that Rodgers isn’t rushing things. Song by song, she avoids the temptation to try to cram too many words into a phrase; there’s a deliberate confidence in her delivery. Rodgers takes her words seriously, and wants you to, too. (And not just her own words -- the album closes with a haunting, otherworldly cover of Neil Young’s “I Believe In You” that turns the original on its head.)

Make no mistake: Emily Rodgers’ songs generally aren’t happy. But in their contemplative melancholy, there’s a thread of fearlessness. Uplift and bombast may be the rage these days, but as Emily Rodgers makes clear, there’s something to be said for courage, contemplation and taking the time to let the words set in. Why create more of the same when something a little different can turn out this beautiful? Emily Rodgers "Two Years" (Misra Records) Release Date June 10th, 2016.

First of ten songs on the forthcoming album 'No Last Call' sets the standard on what is a treasure trove of beautiful songs. The songs don't so much switch across genres, but rather they melt them together. There is a feast of instruments, each one ideally suited for the melodies and the emotion of the songs. There may have been a lengthy gap since her last album, however if the material is going to be this good, then Emily Rodgers music is well worth the wait.

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Grieving - No Sleep.

Background promo - Grieving are a new band from Cambridge, playing direct, twisting indie-punk. The band played their first shows over the last couple of months, alongside the likes of Tellison and the much buzzed about Muncie Girls and have recorded six songs with Matty Moon (Bloody Knees, Lonely The Brave) set for release as a series of singles over the coming year.

In debt to the likes of Dismemberment Plan, Jets To Brazil, Drive Like Jehu and elsewhere the lo-fi pop of Guided By Voices, Bob Mould etc. you can hear the anxious, anthemic indie-punk of “No Sleep”.

Bassist Jack Hurst told The Fader: “No Sleep is one of the first songs we wrote as a band. It came together real naturally and I think we all knew when we left the rehearsal room with it finished that we had something there. Lyrically it’s about a previous bout of insomnia, how it can burden and disorientate you, especially as you get that little bit older and responsibilities weigh down on you further. There’s no time for a muddled head anymore. Zopiclone, referenced in the second verse, is a “nonbenzodiazepine hypnotic agent” according to Wikipedia. It works. Do not operate heavy machinery the next day.”

Straight down the line indie punk - no flowers in vases here, just good old honest bad attitude guitar riffs. Vocals give the song it's individual identity. A refreshing reminder that a few chords and plenty of energy can do wonders.


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Bumper Catch Up featuring: Rubblebucket - Mollie Elizabeth - Lilly Hiatt - The Kearns Family - WILDES and St Francis Hotel - Lucette - Caroline Strickland - Mon Rayon - Lala Salama

Keeping the comments a little shorter so we can cram a few more songs in than usual, this is our first bumper catch up of some really fine r...