In a purely traditional sense when we think of a rock band we tend to imagine a bunch of bearded guys, and (occasionally) the groupies that come with it. However the last decade has seen the expansion of a different kind of band, the girl/guy duo; sometimes lovers, sometimes friends, or sometimes something incomprehensible.
She Keeps Bees is from Brooklyn. Notwithstanding their name which could make them sound like yet another indie folk band, this duo/couple push in the exact opposite direction. She Keeps Bees is all about rock, blues rock more specifically; The sounds are deep, harsh and brutal…echoing the likes of The Kills or The White Stripes.
However, compared to those former bands, these guys seems more pure and raw, with less electric guitars, less nerve, and the prominence given to singer Jessica Larrabee‘s deep and enchanting voice lends their music a very intimate atmosphere.
For their second album ‘Nests‘, imagine Cat Power accompanied solely by a guitar and drums, and playing a living room in Alabama. This is what She Keeps Bees sounds like: a group of ( very talented ) close friends who enjoy what they do and need the minimum sound to create immersing rock.
It is quite fitting that we just featured an ode to the fertile musical territory that is Brooklynbecause it continues to produce noteworthy artists. Not least mysterious trio Sensual Harassment who have taken the act of providing scarce information on oneself to a new level with a minimalist website and bio to boot.
This is largely irelevant because this bunch have a lot to show in the tunes department. Take the track ‘Boss‘, a personal favourite, with it’s Bronski Beat meets ‘Hot Fuzz‘ era The Killers (with all the influences that entails) melody and riff overlaid with some decidedly modern Justice-like beats for an example of the band’s multifaceted attack.
Elsewhere on tracks such as ‘Fever‘ the band channels Tears For Fears having a very public row with Passion Pit. Sensual Harassment juxtapose sounds that are rooted in two different eras in a captivating way that leans more towards an affirmation than a cheesy tribute.
The album ‘Alpha Draconis‘ is out now through the band’s website.
When it comes to music, Brooklyn seems to be the land of cool. From The Velvet Underground to Sonic Youth, TV on the Radio through to MGMT (and this list can go on and on), whatever the generation, when you hail from BK you are seemingly ahead of the pack and, somehow, able to generate something new and ‘different’ that will shake the music world. Snowmine look set to follow this blueprint.
This indie psych-pop ensemble is set to release their debut album ‘Laminate Pet Animal‘ on the 3rd May, and something tells me they will not stay unnoticed. Fronted by new-classical music composer Grayson Sanders, the five-pice offers richness and diversity encompassing tribal beats, echo pedals and classical orchestrations.
The album shows a surprising ability to juggle between the pop-rock rhythms on tracks such as ‘Penny‘ to more afrobeat/tropical sounds on the likes of ‘The Hill‘. The strongest aspect is the frontman’s magically soothing voice which is reminiscent of Fleet Floxes‘ singer Robin Pecknold.
Needless to say that they will naturally be compared to the likes of fellow Brooklynites Yeasayer, Grizzly Bear or Dirty Projectors. Furthermore their sound undoubtedly fits that beach surf indie wave that is currently so en vogue. But instead of blindly following the current like countless other acts Snowmine’s intriguing style is representative, to follow the theme, of gloriously riding a wave.
Their inspiration comes from love, lost and found and forest trips, and this clearly transpires through their music. With its vibrant melodies ‘Laminate Pet Animal‘ is definitely a perfect record for this summer.
It’s been just over 3 months since Cougar Microbes referenced TV On The Radiolast time and that is way too long in my books. Fortunately my favourite Brooklyn rockers have returned from their rather short hiatus with last wee’s release of 5th studio album ‘Nine Types Of Light‘.
The album was preceded by the single ‘Will Do‘ which is a slow burning number reminiscent of a more optimistic take on 2008′s awesome ‘Love Dog‘.
As usual TV On The Radiojust don’t know how to release a bad album.
Having recently reviewing Matt & Kim‘s latest “grown-up” offering ‘Sidewalks‘ we jumped at the chance to catch them live when they rocked up in london in March. It feels sometimes like the Brooklyn combo’s greatest strength, their energy and exuberance, can see them ignored by “real” music fans. But on the night I was pleased to see the duo had not matured completely.
The thing about The Garage is that even when it is (supposedly) sold out there is a lot of breathing space round the sides which suits me just fine. There is a notable high presence of chequered shirts and skinny jeans which I imagine makes this crowd not too dissimilar from the ones M&K usually entertain back home. Significantly, and to their credit, this is also the portion of the audience who are the most rabid when the headliners hit the stage. Tonight this excitable and youthful segment of the audience MADE this show.
This electricity clearly gets the band buoyed from the get go and very quickly they were throwing themselves into every number like their lives depend on it. Kim Schifino is an authentic ball of energy; her limbs flailing all over the place and a smile permanently etched on her face. Matt Johnson takes the role of the twitchy master of ceremonies speaking 100 words a minute with his nervous excitement visible and contagious.
Dropping bits and bombs from their entire discography means the band’s progress from 2006′s ‘Matt & Kim‘ to last year’s ‘Sidewalks‘ is easy to pinpoint. So whilst their repertoire mixes effortlessly its seems the newer numbers are more satisfying to play and perform. Of the many well recieved songs ‘Cameras‘ seems to win the biggest appreciation showcasing our cocksure heroes doing what they do best and loving it.
I have a feeling that tonight may not have necessarily won any new fans over. After all this type of cathartic mass sing along experience is not as fun if you are not screaming along to every word or in the case of the duo at this point sweating and dancing in the front row.
For those who knew what they were in for Matt & Kim gave 110% and a delivered a textbook performance. Catch them on their extensive US road trip in June, you won’t regret it.
Following her stop over promo tour Cougar Microbes and Alana Stewartdiscussed UK venues, Rod Stewart covers and “resurrecting” Lauryn Hill. I’m pretty sure this is how it went down:
- 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
A few weeks ago I caught talented Brooklyn based singer/songwriter Alana Stewart performing during her first mini UK tour. A full interview is going to be featured on these pages in the coming days. In the meantime here is the video for ‘Perfervid‘ as an introduction.
It takes a cold heart and a degree of self-importance to dismiss Matt & Kim offhand as childish and naïve. There is no doubt that many do. There is undeniably an air of youthful enthusiasm to their made-for-radio, synth-pop – with emphasis on the ‘pop’. But scratch beneath the surface and you unearth a real craft for imaginative song structuring. And, as the Brooklyn art-school duo hone their talent, a degree of – wait for it – enlightened lyricism is even starting to prevail.
Their third album ‘Sidewalks’ was released at the end of 2010 in the US but for the well-behaved non-file-sharers out there it officially hits UK shelves at the end of March. Like its 2009 predecessor ‘Plans’ the new full-length is incredibly polished, yet producers Ben Allen and Oliver Straus preserve some of the lo-fi urgency that shot the outfit into the billboard charts.
‘Sidewalks’ is very much an album of two halves. Die-hard fans of Matt & Kim’s previous work will be comforted to hear the familiar upbeat innocence which, musically at least, dominates the first half of the album. Kim Schifino’s exuberant percussion is prominent as ever yet this is far from being ‘more of the same’ with quasi hip-hop rhythms lending a new ‘freshness’ to their work.
Midway through this ten-track slice of pop, proceedings take a slightly more minimalist turn on ‘Where You’re Coming From’. Low on instrumentation and simple in structure the track shows a new level of maturity from this likable duo. It is a pattern that peppers the rest of the album, most notably on ‘Northeast’ which would be unlikely to appear on either of the outfit’s previous releases.
There is, however much in Matt Johnson’s lyrics which point to compromise. On the whole the music may be uplifting but the message is more contemplative and at times regretful. Themes focus heavily on strained relationships and resentment towards life on the road. On ‘AM/FM’ the lines “meet after dark and just follow me, treads been worn away, wrong side of the street” wouldn’t feel out of place in a Springsteen notebook. Though the pace and delivery remains urgent and vivid, the words reveal undoubted melancholy – “we tore the walls out, in this old bedroom of your house,” says Johnson on ‘Where You’re Coming From’, “to make room for dreams”.
There are the obligatory sure-fire hits and they are undoubtedly good – ‘Camera’s’ is a stand-out track which in a sense captures the essence of the entire album in three lines: “pound my steering wheel, we yell to the windshield, I’m finally home”. Yet it isn’t all deep and serious, ‘Good for Great’ could slot easily into any of the acts previous collections with lines like: “we sing along though the notes are wrong, we sing along through night and dawn”. It is, however, the understated tracks that triumph, making this the New Yorkers’ strongest release to date.
Overall ‘Sidewalks’ is an unexpectedly honest and personal affair. Sadly it is hard to shake the feeling that the chirpy duo have cheated themselves slightly – the desire to keep things low-key almost wiped out by the fear of upsetting the core support. You feel that anybody who really gets the outfit must surely appreciate each piece of work for its own merits. The result is that the album feels disjointed in places but equally whets the appetite for an exciting new direction. Matt & Kim are growing up. That is not necessarily a good or a bad thing.
‘Sidewalks’ is out in the UK on 28th of March via Different Records and is available in all the very best record stores. Take your pick.
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In a purely traditional sense when we think of a rock band we tend to imagine a bunch of bearded guys, and (occasionally) the groupies that come with it. However the last decade has seen the expansion of a different kind of band, the girl/guy duo; sometimes lovers, sometimes friends, or sometimes something incomprehensible.
