Cougar Microbes

- Cougar Microbes: Who is Alana Stewart? Describe yourself and your music to the uninitiated.

- Alana Stewart: I’m a vocalist & lyricist who tries her best to play different instruments. I geek out about things like endocrine disruptors and gender/family politics to the point of being annoying to my friends. You might like my music if you dig strong female vocals. You might like my lyrics if you dig portraits of peoples and cities, the art of seduction, religion and moral didacticism. Or you could just generally like fly chicks from California.

- CM: What time did you wake up today? Was it out of choice or necessity?

- AS: 10:30 am. I rarely wake up to an alarm if I don’t have to. I do my best work at night anyways.

- CM: How have you been killing time on this UK stopover, hobbies?

- AS: I have been constantly working and promoting my music while in the UK. I did an interview for Steve Lamacq on BBC 2 and he played my song, ‘Perfervid‘. I did an interview with Ollie on Shoreditch Radio‘s “My band is better than your band“. I had 4 shows, lots of meetings with labels and publishers, but I also drank a ton of tea (because nobody makes tea better than the English). Fashion week was fun- that was the most indulgent thing I did I think. I got most of my kicks and giggles sliding down tube station stairwell bars. If I knew how to skateboard I would go nuts grinding on them.

Good job London.

- CM: What have been your favourite venues on this tour? Any venues you absolutely hated?

- AS: Rule #1 never be ungrateful for a show that someone else booked for you. All the venues were great. The sound at The Bull & Gate was especially great. I really love Martin the door guy. And I love the impoverished elegance of The Old Queen’s Head. I haven’t bought new clothes in a very long time, so any time a venue has a natural decay I really appreciate it because my wardrobe fits right in.

- CM: How has it been different to play to audiences in the UK compared to back home?

- AS: Audiences in the UK are great listeners. You’re a very polite bunch. Normally in The States I try to include as many songs into the bill as possible where people can sing-a-long to the refrain or at least clap because I find that Americans really love the sound of their own voices and bodies. I try and submit to that urge and include them on songs. Americans love to participate in sound. Brits I find are a bit happier to observe and listen. Or maybe I’m wrong, maybe you’re all dying to sing and clap you’re just unsure of the social consequences.

- CM: Is there a song you are simply sick of playing?

- AS: I’m sick of playing songs I wrote 4 years ago, but as my songwriting has gotten better, I’ve noticed I don’t get sick of songs as quickly.

- CM: Are you able to write on the road or do you do this in your off time?

- AS: I can write while not being “at home“, but it definitely requires free time and personal space. I need to be alone or with other musicians.

- CM: Favourite track of yours and why?

- AS: A track called ‘So Be Glad‘. I’ve had a couple people ask me if they could use the song as a backing track for videos they’ve done celebrating Gay Pride. And I also had a woman who had given up a child for adoption cry when she heard it. She was a complete stranger and she cried in front of me- it was surprising and very sobering. The beginning lyrics are “I’m not allowed to fall in love. I’m not allowed to be caressed and kissed and hugged… So Be Glad for your partner who supports what you do, and Just know that there are those who don’t have love like you do.“

At the end of the song you realize that the narrator has given up the rights to her child. She felt it was necessary because she didn’t have enough money or a stable relationship. I’m really interested in why parents abandon/give up their children. My sister is adopted and intentional separation from biological family seems tragic to me.

I also love the song because it has bowed bass and kalimba, two of my favorite instruments.

- CM: If you could record any cover what would it be?

- AS: I’m trying to find a Rod Stewart song that I love right now that isn’t too difficult to pull off. Rod Stewart was married to an Alana, whom I compete with for google seniority. But he was also married to a woman named Rachel (my legal first name is Rachel, my middle name is Alana, which I go by). So it seems that Rod Stewart and I have some type of cosmic connection and I think if I found the right song of his to cover, The Universe might bless me in some way.

- CM: Do your songs go through many revisions via demo recordings?

- AS: Rarely. But now I am becoming more ambitious with my song structures. I desire more motion and scope lately. Motion and scope require consideration and deliberation, aka revisions. So I expect there will be a greater number of revisions from here forth.

- CM: What is more important: the lyrics or the melody?

- AS: That’s like asking what is more important, your mother or your father. They’re both necessary for different reasons. Melody is important for its physical properties, how it makes your body sway or react, how it feels… Lyrics are important for your mind. Imagine you see a really attractive person walking down the street- that is the melody. Then, when you meet them, you’re delighted to discover that they’re interesting and intelligent on top of having a stunning body- that is the lyrics. Together, it makes for the ultimate attractive song.

- CM: What are your views on auto tune in music in 2011?

- AS: I’m a big fan of auto-tune-the-news. “Hide ya kids, Hide ya wife.” No rules. This industry shouldn’t forget it’s about having fun and being playful.

- CM: Any other artists from your local scene we really should know about?

- AS: YES. New Orleans & San Francisco has some majorly under-shared music that is very deserving.
New Orleans: Hurray for The Riff Raff.
San Francisco: Honeycomb.

Hurray for the Riff Raff‘s- ‘Bricks‘ is probably one of my most favorite songs of all time.

- CM: Most flattering thing you’ve read about yourselves?

- AS: I’m most flattered by the thank you letters I get for writing the album. Especially the ones from strangers. I appreciate the opportunity to brag, but I’m gonna go ahead and move on to the next question. haha.

- CM: What was the first record/tape/cd you ever bought?

Janet Jackson duh.

- CM: What was the last song that got stuck in your head?

- AS: I had a major thing for La Roux‘s ‘Going in for the Kill‘. I wish I had written that song. Glad someone did at least.

- CM: What was the last show you paid and queued up for?

- AS: I don’t pay for shows. I am living in a state of poverty. But… probably Kermit Ruffins in New Orleans.

- CM: If you had to bring on artist back from the dead in exchange for sending a living artist down ,which artists would it be and why??

- AS: Well, she’s not physically dead, but metaphorically I would bring back Lauryn Hill. She’s probably the one artist that impresses me the most- with everything she does. But I know she is doing a good job raising up the next generation of Marley‘s so I can’t get mad at her. Who would I kill? Justin Bieber.

Alana Stewart releases ‘The Misuse of Chemistry‘ EP this spring on ChessClub Records

TRACKS:

The Children of Laos, circa 2005.

Boys will be boys – Tel Aviv 2010

Back in the summer of 2009 I caught Edward Sharpe & The Magnetic Zeros storm through their first London performance in the intimate surroundings of The Lexington in North London. Their debut album ‘Up From Below’ was already a regular fixture on my ipod and would deservedly end up as this sites number one album of the year. That night it was immediately obvious to me and the 100 or so people in attendance that we were witnessing something very very special and, dare I say it, spiritual.

In the time since the multi-membered musical cult have played shows across the planet charming and seducing new audiences along the way. Their name has been steadily rising as the music press and blogs began to pay attention helped in no small amount, I’m sure, by the mass appeal of standout track ‘Home‘. My immediate fear when I found out about these upcoming London performances was that some of the intimacy I had observed back in August would be lost on a larger audience.

The counter argument of course is that that that their heightened success has given the band the freedom to further their creative ideas. Ideas like playing 5 consecutive nights at The Old Vic Tunnels for example….

As far as London goes I haven’t experienced many venues as concealed as this one. It took us a good twenty minutes to find despite it only being 5 minutes from Waterloo. On any other day this may have resembled one of the many graffiti blanketed passages in the area but a throng of people outside as well as a massive Edward Sharpe & The Magnetic Zeros mural were kind of a giveaway.

Walking into the venue we were presented with a carnivalesque mood with performers and art installations all around. After being frisked by some alien cops (and being rewarded with sweets for it) we wandered around the venue stumbling across one crazy happening after the next. In between massive moon and sun effigies and wandering characters we witnessed a Mardi Gras style funeral whilst avoiding the overpriced beer in the Texan Tavern. The band were not due on stage for another hour but arguably we were already starting to get value for our money.

All of these side shows would have counted for little if the music had not been up to scratch and that was soon put to the test. With the introductory sounds of ‘Janglin’, the band’s de facto anthem, playing over the PA the 10 or so members began zigzagging their way right through the audience to reach the front. With an outbreak of smiles hitting both the stage and the audience the band burst into their first number and I was reminded of what made me fall in love with The Magnetic Zeros to begin with.

The band effortlessly reeled off big tracks like ‘Up From Below’, ‘Carries On’ and a spooky rendition of  ‘Desert Song’ inducing mass sing-alongs at every possible occasion. Their sound has seemingly evolved after constantly tourign so that these songs appear to be much bigger and much more of a collective effort in comparison to the recorded versions.

This impression of cohesion and harmony was reinforced by a succession of band members lining up to play “their” songs. This gave us a chance to hear a new song fronted by cool as ice guitarist Christian as well as a sweet Simon & Garfunkel like number titled ‘Every Part Of You’ by excitable pianist Aaron. The highlight of course was hearing the amazing Jade Castrinos deliver a spine chilling rendition of ‘Fire & Water’ which was previously released only on their ‘Itunes Sessions’ EP. With so many talented musicians and vocalists on stage every song culminates in an explosion of melody and energy.

No Edward Sharpe review would be complete without a mention of frontman Alex Ebert. Even in those moments when he is not directly involved in the singing you feel you can’t take your eyes off of him. The shamanistic singer guided his band mates and the crowd throughout the night creating a very real connection. Spending a good portion of the set in the middle of the dance floor he is, as ever, the charismatic cult leader shepherding his followers along the path to ultimate enlightenment.

A brilliant rendition of ’40 Day Dream’ peaks and soars but by this point you got the feeling that half the crowd were waiting for one thing in particular. Of course they wouldn’t be disappointed as the familiar guitar and whistle intro of ‘Home’ eliciting a huge cheer. I fear that this may someday become the band’s equivalent to Radiohead’s ‘Creep’ but for now they still manage to play it with gusto. Compared to the last time I saw them there was noticeably less interaction between the protagonists Alex and Jade as they sung they parts. As a result the song took on a spiritual significance rather than a romantic one but was not worse off for it.

With the glorious notes of ‘Om Nashi Me’ ringing around the venue this would have been a fitting conclusion to a brilliant night but The Magnetic Zeros had more yet more surprises in store. After inviting the audience to a serving of milk and cookies (yes, really!) on the way out they continue continue playing for an extra hour or so just outside the venue surrounded by hundreds of new and old adoring fans.

It would have be sufficient to just show up and play a few songs but once again it feels like I have subscribed to a complete audio-visual experience. It’s precisely this willingness to always go the extra mile that makes this crazy talented bunch a true delight to witness live. 

More than anything I get the feeling that Edward Sharpe & The Magnetic Zeros are having fun doing what they are doing and most of all having fun being together. Perhaps that is the secret to their magic.

TRACKS:

If records all had a note with them to say ‘This record will be best played while your..‘, Utidur‘s (Pronounced Ohh! Detour) 7 inch debut effort would read; ‘This record would be best played while your on a high and want to stay there.’

The darker, more mournful moments of this EP are only there to remind you that the happier moments are to be appreciated more, it is possibly the sweetest record i’ve heard in ten years.

The Icelandic 12 piece delivers layers and layers of folk and jazz with a child-like pop innocence, from the Sufjan Stevens’ hum of ‘The Glow/Reteat‘ to the Calexico urgency of ‘This Mess‘, with even prettier and more intricate imagery.

I think ‘This Mess‘ should ultimately be played in no better place than running through narrow Parisian streets with huge red and white awnings, whilst being chased by an angry mob, downing a bottle of best red wine in your retreat. Obsure I know, but I’d be willing for this scenario to happen if I could have this played in my ear as I run. It is my favourite of the six song effort and one of my favourite songs of this year so far.

I’ve always been a sucker for slide guitar and it is used to minimalist perfection in ‘Until Mourning‘ with horns and strings until the singing duo that is Gunnar Örn and Kristinn Roach pipe up with strong harmonies leaving enough space to appreciate the arrangements.

I’ll really look forward to more of this playful, creative bands work, if only to imagine where they should be played.

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Post by the photogenic Thom.

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TRACKS:

The Chronicles of Austin (aka the adventures of miss@ledewitt, miss @amyalexandra and a good friend we like to call tequila)

Supermalt at Notting Hill Carnival

Our knowledge is a receding mirage in an expanding desert of ignorance