Trentemøller Interview And Performance

On Monday, November 1^st, 2011, Project Rhythm Seed’s Myles Crawley met up with Danish Producer/DJ/Songwriter Anders Trentemøller to discuss growing up in Denmark, his early successes, his current tour and what’s coming up next. Following are excerpts from that conversation, along with a review of Trentemøller’s live show the same night.

By Myles Crawley

Showbox at the Market is a great medium sized venue in downtown Seattle, just across the street from Pike Place Market. It’s a vibrant part of the city, with lots of foot traffic that includes natives and tourists alike. I just flew in from New York City the day before, so the busy sidewalks are a welcome reminder of the usual throng and ongoing pulse of Manhattan. I’m here tonight to visit with Anders Trentemøller, whom I’ve been looking forward to meeting for some time. Although Anders is very well known in Europe, his popularity here in the US is just now beginning to take off. He played at this year’s Coachella Festival in Indio California to an enormous crowd and was extremely well received.

When I arrive at Showbox, the band is still in the midst of their soundcheck. After twenty minutes of snare and kick drum, the usual “check 1-2’s” and a couple of quick tunes, Anders walks over and introduces himself. He has a warm sparkle in his eye, and I can tell right away that we’re going to get along well. We find a little spot backstage to sit down and chat. Join me now for that conversation:

MC: “So, where are you at right now in your tour?”
AT:  “This is actually our second last gig on the tour. We go to Vancouver tomorrow and that will be the last stop on the tour.”
MC: “And then you go home to Denmark?”
AT: “Yeah, yeah, then I go back to Denmark and we play two final gigs in Copenhagen and then that’s it actually.”
MC: “For the year?”
AT: “Yeah, maybe actually for the next year yeah, because then I will start working on my next album and then maybe the setup will be a little bit different, I don’t know. So this is one of the last gigs with this kind of setup.”
MC: “So your touring band might changed then, given the way that the next album turns out?”
AT: “Yes. Exactly, although I think most of the people will still be involved.”
MC: “How does playing in America differ from playing in Europe?”
AT:  “Actually it isn’t that different because most of my music is instrumental music and that kind of makes it a bit more open for people to put into the music whatever they feel. There are no lyrics that really dictate what the music is about. Of course we also have vocalists tonight, but still I think 70% of our music is without vocals. So I think the feedback is pretty much the same from America to Europe.”
MC: “But the audiences must be smaller here.”
AT: “Yeah, although we were very lucky in the big cities like LA, San Francisco and New York. It was so loud and it was like maybe 1,400 or 1,500 people. But in a city like Seattle it’s less because I’m not that known and it’s still very underground.”
MC: “I think so, but growing.”
AT: “Yeah, we played Coachella a few months ago and that festival really did a lot for us. A lot of people found out about us and also about our live show, so it definitely helped. After that festival a lot more people started coming to our shows.”
MC: “So you have a new album, Reworked/Remixed, coming out on November 15^th.”
AT: “Yes. This is mostly artists that I have remixed. And then it’s also people that have remixed me, along with cover versions of my songs. Then there are some quite interesting things, what I call remix swaps. Me and Modeselektors, and Unkle also, and the Danish band Efterklang. We remixed each other. Modeselektors asked me for a remix. Instead of getting money I asked them to remix me back. So it was much more artist to artist. There were no labels involved and no money. It was purely for the music and I really like that approach because then you both get something out of it. For me it was also great to work with people that I really admire.”
MC: “Do you write new music while you are on the road or do you wait until all touring is finished and you’re back in your own space?”
AT: “For me, I’ve been trying to do some simple things while we are on the road, but it’s really hard. There is no quietness, and we are playing nearly every night. We sometimes party a little bit after the show, and then we drive to the next city and have sound check and all of that, and so suddenly the time has gone. I definitely work best in my studio, alone. And most of the time I’m actually just sitting with my upright piano. I don’t use the computer. I start with the most basic melodies and chord progressions. That’s really important for me. It’s not only about the sounds and production. What I really want are some chords and some melodies going on. Then later on I begin to transform it to the computer and make beats around the melodies.”
MC: “What was life like for you as a child growing up in Denmark? Were you from a musical family?”
AT: “No, no, not at all. No one actually played music in my family, but my parents were always supportive. I can remember when I was 4 or 5 years old, I always played our piano to the music on the radio. And then I built my own drum sets out of pots and cans and drove my parents crazy, banging all the time. Later, in my teenage years, I played in a lot of bands. I played all kinds of music, jazz, blues – all kinds of stuff.”
MC: “Was there a music scene in the town that you lived in?”
AT: “No, we lived in the countryside. For me there were only three things to do back then. I could play football, ride motorcycles or play music. I was very often bored, which kind of fuels the creative drive. There was plenty of time for just dreaming and for playing music. Later, when I was sixteen or seventeen, I was tired of living there because nothing ever happened. It was really not a place for a teenager to live. So I moved to Copenhagen and from there I quickly met other people who also played music.”
MC: “How did you support yourself when you first got to Copenhagen?”
AT: “I actually worked for seven years as a kindergarten teacher. It was only a half day job so I still had time to make music. I had no money. All my money was spent on buying a sampler or buying new gear. I was also very lucky because the Danish government had an arts subsidy that I received. I had one and a half years to work on just my music. I didn’t have to work in the kindergarten. After that I was actually able to live by doing music. I still played in a lot of weird bands, just to make money.”
MC: “Was there a defining moment in your career when you knew that things were finally going your way, and that you were going to make it?”
AT: “Yeah. I think it was about six years ago when myspace was big. I was very bad for not getting on the internet, so I was quite late in discovering myspace. Finally I got on and created my own profile and in two or three weeks I had like half a million friends. People from all around the world wrote to me, and suddenly I realized that my music was being listened to in the UK, Brazil and Iceland. It was really great for me to see that my music was out there, and that it was touching people. I was hearing my music being played more and more on the radio, and then we played the Roskilde Festival in Denmark (see below for a video from this performance). The same thing happened as it did after Coachella. More people found out what my music was about. After that concert things started moving very fast.”
MC: “What kind of music are you listening to these days?”
AT: “Well, it’s not only me, but the whole band. We are totally crazy about the new Tom Waites album. His latest album just came out about a week ago. It’s really fantastic. It’s so well produced, and when I say well produced I mean like dusty and really rough sounding. I think Tom Waites has never sung as good as he is right now. It has so much nerve and you can really feel him in the music. We are actually listening to that album as part of getting into the mood before we go on stage. We have done that for the last week actually. I’m also a big fan of a guy called Dirty Beaches. He’s doing this thing called lo-fi music. All his beats are created on cheap drum machines, and then he puts those beats through his guitar amp. His guitar and voice also go through the amp. Everything is recorded with one mic, so it sounds very rough. It reminds me of Suicide, one of my big inspirations. And he has this Suicide – Alan Vega way of singing that I really like.”
MC: “What’s next for Anders Trentemøller?”
AT: “Well, when I get back to Copenhagen I will spend the next year working on my new album. I’m also playing about 10 DJ gigs throughout next year. The rest of the time I’ll be in my new studio. I just built a new studio, so now I can record drums, guitar and bass. Before I was sitting in my bedroom in my apartment, and my neighbors were not happy. After eight o’clock in the evening I would have to wear headphones. I was so tired of it. So together with my drummer and Marie Fiskers we have this quite big studio that we have built. We love touring and playing but we’re looking forward to going back in our own little cave to just make music.”

Trentemøller’s live show was upbeat and captivating. He strikes a fine balance between programming and performance. Some of his material is pre-built, but most of it is played live, a point that Anders takes very seriously. He constantly fights with the misconception that he is only a DJ, and isn’t really playing his songs. But the entire band is accomplished and plays a flawless set of music to a very excited audience. Trentemøller’s new album Reworked/Remixed is out now and available here.

The Bloody Beetroots Release ‘Church Of Noise’

The Bloody Beetroots, helmed by Sir Bob Cornelius Rifo – Italian producer and masked electro/punk-rocker – has unleashed Church Of Noise via Ultra Music/Dim Mak Records. The video for “Church Of Noise,” directed by Charlie Lightening , who has done work for Arcade Fire, Primal Scream, Beady Eye and Kasabian can be seen below.

A “cultural-musical movement” as he calls it, Church Of Noise is Rifo’s inaugural collaboration with Dennis Lyxzén of Swedish hardcore punk-pioneers Refused and The (International) Noise Conspiracy, who appears in the video.

The song was produced in London by Rifo and studio maverick and Killing Joke founder/bassist Youth, whose vast production credits include Paul McCartney, Crowded House, The Verve and Primal Scream, just to name a few.

Says Rifo, “Dennis and I have decided to break the mental barriers and we are here today to fight together,” Rifo explains. Of their otherwise unlikely paring he says, “There are many common ideas between Romborama (the Beetroots debut album) and The Shape Of Punk To Come (Refused’s seminal album). Both are primarily inspired by the anarchism of Malatesta.”

You don’t have to know your anarchist history to get what Church Of Noise is about: faith and frequencies, the familiar and the ferocious and most of all, freedom.  With its siren-call of bittersweet strings waving like morning-after battle flags as well as the raw, chugging live bass and guitar-shards framing vocals that alternate between adrenal caterwaul and spoken-word break-downs (“…It only takes a sound to change the beaten path/It only takes love and courage to take it all back”…), Church Of Noise is the most ambitious Bloody Beetroots recording to date.

Church Of Noise is now available at iTunes and Beatport.

A Night Of Music For Seattle Children’s Hospital

By Alana Crawley

Seattle’s beautiful Benaroya Hall was packed to the brim on Friday, November 4^th, 2011 for The Symphony Guild and Grammy Award Winning composer Mateo Messina’s fourteenth symphony, “The Last Wonder of the World.”  This event not only had a stellar line up, with acts such as Civil Twilight, Five for Fighting’s John Ondrasik, and NBC’s “The Voice” finalist Vicci Martinez headlining, but it also was for a good cause: all proceeds went to benefit the Uncompensated Care fund at Seattle Children’s Hospital, which provides quality care to all children, regardless of their ability to pay.

A Seattle native, Mateo Messina is best known for his work on movie soundtracks, such as Juno and Up In The Air.  Each year, he composes what he has termed an “alt-symphony” specifically for The Symphony Guild and the Uncompensated Care fund at Seattle Children’s hospital.  These “alt-symphonies” differ from your typical symphony fundraiser events and have, in the past, featured acts ranging from Alice In Chains to the Pike Place Fish Mongers to a Starbucks Barista, all accompanied by the fabulous Northwest Symphony Orchestra.

This year’s event featured our friends, Civil Twilight, who played the first half of the concert.  Traveling all the way from their home in Cape Town, South Africa to show their support for this great cause, the guys wowed the crowd with their mysterious, edgy stage presence and energy-filled performance.  They played their tune, “Save Yourself,” which perfectly set the emotional tone of the night, and followed it with a new song entitled “Holy Weather.”  They closed their set with their hit, “Letters From the Sky,” which, of course, caused show-goers to gossip excitedly during the intermission about how incredible Civil Twilight had played.  During the show, we just so happened to be sitting next to the sister of singer and bassist Steven McKellar and guitarist Andrew McKellar.  We even got a chance to talk to the band’s drummer, Richard Wouters, who informed us that the band has been working on a new album that should be released sometime next year.  Keep your eyes open for it!

Following Civil Twilight was John Ondrasik from Five for Fighting.  The crowd knew the words to his hit songs “100 Years” and “Superman” and enthusiastically sang along.  The hall was rank with positive vibes and an infectious feeling of hope by the end of his set.  Vicci Martinez and special guest Joanita Nambassa played next, and if the audience members weren’t already teary eyed from Ondrasik’s set, they definitely were by the end of this inspiring song, entitled, “I Am Strong.”  Joanita Nambassa is from Kampala, Uganda and is a patient receiving music therapy at Seattle Children’s Hopsital.  She suffers from a blood disorder called sickle cell anemia, which causes her red blood cells to assume abnormal, rigid, sickle shapes.  Martinez and Nambassa’s uplifting performance demonstrated the strength of the human spirit and received a much-deserved standing ovation.

The finale featured all of the night’s performers and left the audience feeling motivated and excited to have been able to be a part of such a special night and contribute so such a wonderful cause.  We all walked away that night feeling proud of the unbreakable spirit that is present in our race: the human race.   We, as humans, can overcome the greatest obstacles, whether they are physical, mental, or emotional, and I’d say that that is definitely something worth celebrating.  This undying strength that we all have in us and that was shown not only through the stories of the patients at Seattle Children’s Hospital, but also by the musicians present that night, could not have been conveyed in a better way than through music.

Free Music Friday – Mannequin Men and El May

Hello again and welcome to another edition of Project Rhythm Seed’s Free Music Friday. This week flew by, and it somewhat feels as if we were going against time, which to a certain degree we were thanks to air travel. On Monday we brought you the news of a posthumous album by Amy Winehouse called Lioness: Hidden Treasures. On Tuesday it was the Swedish band Korallreven’s new release, entitled An Album By Korallreven. On Wednesday it was all about Duran Duran’s new video for “Girl Panic!” starring Naomi Campbell, Cindy Crawford, Eva Herzigova, Helena Christensen and Yasmin Le Bon. Thursday we took the day off entirely. Yikes! We’ll chalk it up to a late night in the studio. Today we are pleased to bring you two great new artists/bands, Mannequin Men and El May. So get busy downloading and we’ll see you next week.

Mannequin Men
If the Replacements had met Peter Sellers on the floor of a dive bar somewhere in the Midwest, they may have drunkenly thought up the Mannequin Men.

Four punker-types with a penchant for getting wild at house parties and spending their free time in a CCR cover band. Their latest album, Lose Your Illusion, Too, is the outcome of a few years of playing gigs and paying dues. Formed in late 2003, founding members Kevin Kujawa, Seth Bohn, and Ethan D’ercole began the group as an excuse to hang out together and write songs. The band self-released their Showbiz Witch LP in 2005 and began playing around Chicago, sharing stages with The Black Lips, The Circle Jerks, No Age and many others.

Out this week, Mannequin Men’s self titled LP,  was recorded in Benton Harbor, Michigan with Bill Skibbe and Jessica Ruffins at Key Club Recording Company and, in our humble opinion, the band captured their strongest album to date! Aside from vocals and a handful of overdubs what you’re hearing is Mannequin Men live in the studio, with no headphones and all kinds of amp bleed all over the place. There’s no Pro Tools editing, no punch-ins or cosmetic touch-ups to cover anything up as the songs wouldn’t be improved by any studio tricks. So, here is the track “Flying Blind” off of Mannequin men newest album.

Mannequin Men “Flying Blind”

El May
El May is Australian born, Lara Meyerratken. Lara has performed and/or recorded with many acts such as Ben Lee, Crooked Fingers, Luscious Jackson, Luna, Britta and Dean, Nada Surf, and Sneeze. El May songs have featured in TV shows Melrose Place, The Lying Game, and Pretty Little Liars. Michelle Williams performs her song “Hero” in the 2005 movie The Baxter. Other soundtrack credits include Our Idiot Brother (2011) and Dutch film Life In One Day (2009).

Lara has composed and recorded original music for Comcast, Austrian Telekom, Oronaine Skincare, (RED), DEL software and Kelloggs. She was the Musical Director for the Cannes ‘Best Original Music’ Gold Lion Award winner for Match.com in 2010, and won the 2005 ‘Best Cover Art’ ARIA Award for the Ben Lee album Awake is The New Sleep and is contributing both musical performance and visual work to the Blow-In exhibition currently going on at Museum & Crane.

With the band’s blessing, she recently recorded a stunning cover of Small Black‘s “Pleasant Experience“. You can download it below for free.

Pleasant Experience – El May (Small Black cover)

Duran Duran Premieres “Girl Panic!” Video

Rock icons Duran Duran have unveiled their hotly anticipated new video, a nine-minute short film for the song “Girl Panic !”, taken from their recent, critically acclaimed new album All You Need Is Now. Watch the premiere below.

Directed by Grammy Award-winner Jonas Åkerlund, this dazzling video reunites five of the world’s top supermodels - Naomi Campbell, Cindy Crawford, Eva Herzigova, Helena Christensen and Yasmin Le Bon with the members of Duran Duran in a day-in-the-life-of exposé, where the girls take on the roles of the members of the band and the guys are in the supporting cast as bellhops, waiters, chauffeurs and members of the press. The short film, shot in and around The Savoy in London over two days earlier this summer, was produced by Black Dog Films and made in association with Swarovski Elements. The world-famous crystals were incorporated not only into the fashion and jewelry, but also in the sparkling interior objects and furniture, and the Swarovski Crystal Curtain.

The five ‘supers’ bring their own style, irreverence and personality to the character of each band member, as Naomi Campbell steps up to the mic as lead singer Simon Le Bon, Cindy Crawford strikes a pose as bassist John Taylor, Eva Herzigova embodies keyboardist Nick Rhodes as the only blonde in the band, Helena Christensen rocks out as drummer Roger Taylor and Yasmin Le Bon makes a droll turn as ‘the anonymous guitarist’.  Domenico Dolce and Stefano Gabbana play Harper’s Bazaar UK’s guest fashion editors for the day during a photoshoot scene (still images from which form a 22-page cover story for the December issue of the magazine.)

Encompassing every ounce of trademark Duran Duran humour and glamour, the stunning short film tops any video the band has ever made and has been the most talked-about music and fashion collaboration of the year. Duran Duran has sold more than 80 million albums worldwide throughout their career. And now, without further adieu, “Girl Panic!”:

Stream Swedish Duo Korallreven’s Debut LP

Swedish electro-pop duo Korallreven have revealed the details and track listing for their debut full-length, An Album By Korallreven, to be released on Acéphale on November 15. Korallreven came together after Marcus Joons returned from an extended trip to Samoa where he found inspiration in the local Catholic choirs. Mesmerized by the beauty of the South Pacific and the exhilaration of travel, he shared his newfound passion with Daniel Tjäder  (also of The Radio Dept) and a partnership was born.

The group take a blissful journey through influences as far flung as southern rap, dreampop, reggae, and minimal techno, among many others. Korallreven’s first single “Honey Mine” was released earlier this year to great acclaim, alongside their summer-released A Dream Within A Dream mixtape that featured an extremely well-received remix of Britney Spears‘ “Till The World Ends.” The mix is available for download here.

They followed with second single “As Young As Yesterday,” featuring Victoria Bergsman (Taken By Trees, The Concretes) and remixes by Panda Bear and Girl Unit. An Album By Korallreven wistfully yearns for summer days.  As our days shorten and the cold sets in, take it from the Swedes: nothing quells the stirring for warmer months quite like the brightness of a sincere pop song.

An Album By Korallreven is now streaming in it’s entirety below.

An Album By Korallreven

Universal Republic To Release Amy Winehouse’s Lioness: Hidden Treasures

Following her tragic passing on July 23, 2011, some of the producers and musicians who worked closely with 5 time Grammy Award winning artist Amy Winehouse, among them Salaam Remi and Mark Ronson,  spent time listening over the many recordings that Amy had made, before, during, and after the release of albums Frank and Back To Black.  It was said by all who worked with Amy that she never sang or played a song the same way twice. It quickly became apparent to both Salaam and Mark that they had a collection of songs that deserved to be heard, a collection of songs that were a fitting testament to Amy the artist and, as importantly, Amy their friend.

The album,Lioness: Hidden Treasures, the third album from Amy Winehouse, without question one of the most talented, original, and best loved artists to emerge in popular music for decades, will be released in the United States on December 6th through Universal Republic Records.

The 12 track collection features previously unreleased tracks, alternate versions of existing classics as well as a couple of brand new Amy compositions, and has been compiled by long-time musical partners Salaam Remi and Mark Ronson in close association with Amy’s family, management and UK record label Island Records. Lioness: Hidden Treasures proves a fitting tribute to the artist, the talent and the woman, and serves as a reminder of Amy’s extraordinary powers as a songwriter, a singer and an interpreter of classics.

After hearing the album Amy’s father Mitch Winehouse had this to say: “I spent so much time chasing after Amy, telling her off that I never realized what a true genius she was. It wasn’t until I sat down with the rest of the family and listened to this album that I fully appreciated the breadth of Amy’s talent, from jazz standards to hip hop songs, it really took my breath away. “Halftime”, I’d never heard before, is just incredibly beautiful. If the family had felt that this album wasn’t up to the standard of Frank and Back To Black we would never have agreed to release it. We believe it will stand as a fitting tribute to Amy ‘s musical legacy.” A portion of the proceeds from the sales of the album will go to the Amy Winehouse Foundation. “Our Day Will Come (Reggae Version)” and “Like Smoke” featuring Nas are among the first singles featured at radio this week.

Lioness: Hidden Treasures track-listing:
“Our Day Will Come (Reggae Version)” – reggae re-working of classic 60’s doo wop song produced by Salaam Remi. Recorded May 2002.
“Between The Cheats” – new Amy composition recorded in London in May 2008 for potential inclusion on album three produced by Salaam Remi.
“Tears Dry” – originally written by Amy as a ballad, this is the original version she recorded in November 2005 in Miami with Salaam. The later uptempo version  appears on Back To Black.
 “Wake Up Alone” – the first song recorded for the Back To Black sessions. This is the one-take demo recorded in March 2006 by Paul O’Duffy.
“Will You Still Love Me Tomorrow” – Amy’s beautiful reading of the Carole King written Shirelles classic. Produced by Mark Ronson and featuring the Dap Kings with string arrangements by Chris Elliott who did all the strings for Mark’s tracks on Back To Black. Recorded in September 2004.
“Valerie” - one of Amy’s jukebox favorites. This is the original slower tempo version of the Mark Ronson produced post Back To Black single. Recorded in December 2006.
“Like Smoke” featuring NAS  – Amy and Nas became really good friends after Amy name checked the New York rapper on Back To Black’s “Me & Mr Jones”.  “Like Smoke” is finally Amy doing a song with one of her favorite artists. Produced by Salaam Remi. Recorded in May 2008.
“The Girl From Ipanema” – the first song the 18 year old Amy sang when she first went to Miami to record with Salaam. Salaam remarked that “the way she re-interpreted this bossa nova classic made me realize that I was dealing with a very special talent. Her approach to the song was so young and fresh, it really inspired the rest of our sessions.” Recorded in May 2002.
“Halftime” - Amy had talked to Ahmir ‘Questlove’ Thompson of the Roots about working together. “Halftime” is a song that Amy and Salaam had worked on since the Frank sessions.  The result is beautiful. Recorded in August 2002.
“Best Friends” – Frank era live set opener produced by Salaam Remi. Probably the first song that early Amy fans would have heard live. Recorded in February 2003.
 “Body & Soul” with Tony Bennett - cover of 30’s jazz standard with hero Tony Bennett. Recorded at Abbey Road Studios London in March 2011 and produced by Phil Ramone. Amy’s final studio recording.
“A Song For You” - heartbreaking and emotional version of the Leon Russell classic made famous by Donny Hathaway. Hathaway was Amy’s all-time favorite artist and the song was recorded in one take, just Amy and her guitar, at her home in London during the spring of 2009 as she battled her demons. Produced by Salaam Remi.

Free Music Friday – Three Blind Wolves

Hello everyone and welcome to another exciting edition of Project Rhythm Seed’s Free Music Friday. It was a wild week of music with a whole bunch of free tracks, starting on Monday with Marissa Adler. She was kind enough to offer up three free tracks as a special Halloween treat for all you PRS viewers. On Tuesday we introduced you to a new artist named Lauren Zettler, who we met and interviewed in Manhattan last week. Lauren just released All Of The Miles under the moniker Lightyear and delivered a free track from the EP. On Wednesday, London’s own Roots Manuva rocked the house with a preview of “Here We Go Again” off of his new album 4everevolution. On Thursday we reviewed the beautiful new album from Florence + The Machine, entitled Ceremonials. Which brings us to today – our favorite day of the week. We recently came across a new band from Glasgow, Scotland called Three Blind Wolves who play a very unusual style of alternative folk music. Recently signed to Communion Records, these boys are right now embarking on a quickie tour to test their talents on US audiences. Three Blind Wolves is offering up an entire acoustic album for your listening pleasure. Download it and enjoy it over the weekend. We’ll see you next week for more fun and excitement.

Three Blind Wolves
Powerful performances, heart-warming, four part harmonies and raw talent, Glasgow based Three Blind Wolves are creating quite a storm. Drawing influences from the likes of Neil Young, Neutral Milk Hotel and The Band, these four hairy Glaswegians have sold out venues across the UK, bagging support slots with fellow Scots Frightened Rabbit and We Were Promised Jetpacks as well as gaining a strong reputation further afield following two successful tours in the Netherlands.

2011 brought the release of their mini album Sound Of The Storm on Communion Records, a well deserved slot at the BBC Introducing stage at T in the Park, Scottish Alternative Music Awards for Best Live Act, a track from their album featured on the MOJO magazine cover album and Rolling Stone Germany making Three Blind Wolves their ‘one to watch’, naming them as an impressive ‘raunchier Fleet Foxes.’ The charismatic, dynamic and engaging four piece band are landing today in Atlanta, Georgia and will tour throughout the US during the month of November. Below is a tour poster with more details. And below that is Three Blind Wolves’ acoustic album entitled The Maybe Forest.

The Maybe Forest – Three Blind Wolves

Florence + The Machine ‘Ceremonials’ – Album Review

By Natalie Ekstrand

First album, Lungs, from Florence + The Machine was easily one of the most unexpected crossover pop successes.  Fast forward to the release of their second album Ceremonials on October 31^st and Florence + The Machine is still creating music that showcases Florence Welch’s beautiful voice with a larger than life sound.  Ceremonials is an exquisitely crafted baroque pop record that is sure to stir the audience both emotionally and spiritually.

An artistic representation of Ceremonials would be the inner architecture and décor of the palace at Versailles: Extravagant, ornate and awe inspiring with an almost transcendent quality.  Florence + The Machine beautifully harmonizes grand instrumentation so that it is not overwhelming but powerful and majestic.  This album is full of opulent pop arrangements, glittering harp appearances, intricately layered harmonies, strategic and forceful percussion and of course Welch’s expressive and expansive vocals.

Florence + The Machine – Shake It Out

“Only If For A Night” builds from softer harp and piano into a beautiful culmination of soulful vocals and percussion.  Previously released tracks “Shake it Out” and “What The Water Gave Me” make an appearance next.  “Never Let Me Go” is reminiscent of an 80s love ballad with its hazy vocals and musical cloud of guitar, piano and synth instrumentation.  “Breaking Down” is a beautiful chamber orchestra piece.  80s influence reappears in “Lover to Lover” while church organ and Welch’s voice add an Arethra Franklin like quality.  “No Light No Light” is a more sophisticated version of “Kiss With A Fist” from Lungs.

The album takes an eerie turn with “Seven Devils” a song that builds with X Files theme piano, warning violin and strong percussion topped with calmer vocals from Welch.  “Heartlines” and “Spectrum” keep the momentum of the album flowing.  “All This and Heaven Too” is another powerful love ballad strategically building into Welch’s trademark vocal bursts.  “Leave My Body” ends the track list with gorgeous soulful vocals over another lush musical arrangement.

Ceremonials is one of the best album releases of 2011 if not the best.  Florence + The Machine continue to produce lavish musical arrangements featuring their distinctive percussion and Welch’s unique signature.  Each song is ornate and dramatically crafted like a baroque art piece.  You can buy Florence + The Machine’s Ceremonials here.

Ceremonials tracklist:
1. Only If for Night
2. Shake It Out
3. What The Water Gave Me
4. Never Let Me Go
5. Breaking Down
6. Lover to Lover
7. No Light No Light
8. Seven Devils
9. Heartline
10. Spectrum
11. All This and Heaven Too
12. Leave My Body

Roots Manuva – ‘Here We Go Again’ Featuring Spikey Tee

Roots Manuva returns with a new single and it’s one of the standout cuts from the acclaimed ‘4everevolution’, the brooding, magnificent ‘Here We Go Again’.

Over an intense, thunderous collision of hip hop, techno and dubstep, Rodney Smith aka Roots Manuva drops lyrics about an old friendship gone bad: “something in his life isn’t right with him/ He’s caught up in the hype and it bites within.” A clear-eyed, deadpan exposition of the dangers, temptations and, more cuttingly, childishness of “street life,” Smith is keen to emphasize that he isn’t preaching. Everything he says applies to himself as much as anyone else and a fate he avoided more through luck than judgment. The tune is finished off perfectly by a pure, soulful chorus from Spikey Tee.

Spikey Tee was originally part of seminal British hip-hop-ragga-soul collective the Sindecut (Virgin Records), but these days is better well known for his work with Mr Scruff, Jah Wobble, Sola Rosa and Bomb The Bass. Now based in Australia he works on occasion with up and coming producer Dizz1. When Dizz1 played him the beat for “Here We Go Again” he immediately told him it was perfect for Roots Manuva. A few emails and phonecalls later and the tune began to come together, a mixture of menace and beauty which, in its grace and the urgency of its message, shows an artist as relevant as ever.

Remixes for the single come from UK Black Music veteran Dobie (two versions, aimed at the “Mosh Pit” and “Smoky Backroom”), hotly-tipped grime producer Preditah and man of the moment, Falty DL. But as ever, it’s the calm authority and intelligence of Roots Manuva’s voice which will stay with the listener.

Stream ‘Here We Go Again’ below.

Roots Manuva – ‘Here We Go Again’

A Visit With Lightyear’s Lauren Zettler

By Myles Crawley

Today marks the release of the Brooklyn, New York band Lightyear’s first EP, All Of The Miles. As a freshman release, this album clearly stands head and shoulders above the field. It’s a beautiful work, starting out with a heartfelt track called “Home” that makes even the most jaded heart long for the warm embrace of a familiar place. The synth pads and textures running through the five tracks are melodic layers that add a magnetic quality that immediately holds the interest of the listener and doesn’t let go.

There is no doubt that this collection of songs will garner much interest from music supervisors and will become widely used in television and film. These tracks naturally lend themselves to the support of visual photoplay. Its not forced, it just happens. The music itself is grounded and specific, yet it creates cerebral imagery for the listener. There’s a dark and melancholy side to All Of The Miles and yet it seems to resolve and create a positive vibe that makes you want to conquer and not give up. The production quality of this EP is superb. All Of The Miles was produced by Justin Loucks and Ian Fitchuk (Madi Diaz, Peter Groenwald) and recorded in Nashville at a small private studio. You can listen to and download one of the best cuts on the EP, entitled “It Beats”, below.

04 It Beats – Lightyear

The mastermind behind Lightyear is Lauren Zettler. Last week I had a chance to sit down with her at a coffee house in Manhattan and discuss the making of All Of The Miles. Lauren grew up in a town just outside of Indianapolis, Indiana. She’s a classically trained pianist who attended Berklee College of Music in Boston, Massachusetts. Upon graduation she went to work for Universal Music in their digital music department.  She was trying hard to convince herself that working in the music industry was enough. She wanted to make money and really wasn’t interested in being a starving artist, but realized that if she didn’t pursue her dreams and aspirations, she might someday regret it. After a year at Universal, Lauren left her job to follow her heart and become a singer/songwriter.

Lauren began attending open mic nights, one of which was at the Lucky Cat in Williamsburg, Brooklyn. She had never played live in front of people before, so the open mics provided a good opportunity for her to begin to explore who she was as an artist, writer and performer. Lightyear is a moniker for Lauren Zettler. The band members are interchangeable. The name Lightyear developed into something meaningful for her following a significant life/relationship change. She looks at it as measuring a limitless growth and feels that it describes a particular distance that she has traveled in a short period of time in her own life as an artist.

Unlike many other songwriters, Lauren only half finished these songs before taking them into the studio. She says that she did this on purpose so that she could bounce them off of her production team and the other musicians involved. But more importantly, she feels that by not fully defining the songs, prior to recording, allowed her the opportunity to finish them from a position that she feels was more relevant. She wanted to create in the moment and capture how she truly felt at that specific time. As far as strategies go, this was obviously extremely effective for Lauren. She has successfully created an EP that captures emotion and gives the listener some sense of who she is as an individual. We think there are great things just ahead for Lauren Zettler and Lightyear. Check out All Of The Miles when you get the chance. You can stream the album and purchase it here.

Marissa Nadler Offers A Few Treats For Halloween

Boston-based dream-folk artist Marissa Nadler has announced the release of her Covers Volume II available on November 8 as handmade CDs at her Etsy shop.  As a special Halloween treat Marissa is offering up three tracks for you to stick in your mp3 goody bag: covers of Clinic’s “Distortions,” Bruce Springsteen’s “The River,” and Bob Dylan‘s deep cut “Farewell Angelina. Covers Volume II follows her critically acclaimed s/t full-length out now on her own Box of Cedar Records.

After releasing several albums with Kemado (and having one of her songs inspire the name for vinyl start-up Mexican Summer), Nadler ventured out independently for her critically acclaimed self-titled album, which has been featured on NPR “World Cafe: Next,” NPR First Listen, Vogue, KEXP, Pitchfork ‘Overlooked Records of 2011′ with an 8.1 album review, and as one of SPIN’s “5 Best New Artists for June,” among others.

Farewell Angelina (featuring Red Heroine)

Distortions featuring Red Heroine and Faces On Film

The River (featuring Faces on Film and Red Heroine)

Covers Volume II Tracklisting:
1. Winter Lady – Leonard Cohen
2. Learning To Fly – Tom Petty
3. Birds – Neil Young (after the goldfish)
4. Farewell Angelina – Bob Dylan (bootleg series vol. II)
5. You Don’t Miss Your Water – William Bell
6. The River – Bruce Springsteen (off of the River)
7. Motel Blues – Loudon Wainwright III
8. Distortions – Clinic
9. Sara – Bob Dylan (off of Desire)
10. The Book of Love – The Magnetic Fields (69 Love Songs)
11. Avalanche – Leonard Cohen (off of Songs of Love and Hate)
12. All My Trails (spiritual, traditional)
13. Close Your Eyes I’ll Be Here In The Morning – Townes Van Zandt

Free Music Friday – Pyyramids and Eight And A Half

What’s up everybody? Welcome to another edition of Project Rhythm Seed’s Free Music Friday. The theme for this week’s FMF is collaborations as you will see below. This week has been full of free tracks. On Monday we brought you a review of Campfire OK’s Strange Like We Are which included a free download. On Tuesday it was an in-depth look at Sting‘s new box set , written by Reed Trachy, our newest addition to the PRS team. This post also included a free download of “Rock Of Calvary“. Today we have two tracks to offer you. The first is from Pyyramids and the second is from Eight And A Half. We hope you enjoy them both. Join us next week for more news, reviews and interviews on Project Rhythm Seed.

Pyyramids
From the mystical, unGoogleable beyond comes Pyyramids, a new collaboration by OK Go‘s Tim Nordwind and singer Drea Smith.  Living in the dark, atmostpheric grotto midway between the dance floor and the mopey teenage bedroom of the mind, Pyyramids’ six-song debut, Human Beings, will be available on October 31st from Paracadute, the full-service, 21st century record label OK Go founded on their 2010 parting from Capitol.

Pyyramids comes as a reinvention for both players and steps into new, wild territory.  For Nordwind, the guy with the bass, beard, and glasses in OK Go, Pyyramids’ expansive textures find him far from the bright indie pop and all-inclusive videos that have made OK Go one of the more recognizable – not to mention most-watched – acts of the digital age.  For Smith, formerly the saucy half of the electro-pop duo He Say She Say – and a stint with Lupe Fiasco – it brings her songwriting into a place of bold new maturity without sacrificing the force of her singular presence.  For both, it is an unlikely partnership entirely befitting the new age.  Bonding first over dark British pop from the early ’80s like The Smiths and Joy Division, and stranger more modern fare like Micachu and The Shapes, Nordwind and Smith are natural collaborators.

That Ain’t Right

Eight And A Half
Consisting of Justin Peroff from Broken Social Scene, and The Stills‘ alums Dave Hamelin and Liam O’Neil, Eight and a Half has quickly turned heads. More synth-heavy than any of the members’ previous work.  In the new band, Hamelin plays guitar and O’Neil is on synth, with Peroff, of course, on drums.

Recently Peroff said “We started making music long before the Stills broke up. And [the breakup] just sort of excelled the completion, because the Stills weren’t writing in the studio. They weren’t active at all. Dave moved to Toronto, so that made things easier, and Liam was in Toronto helping to engineer the new Metric record. So we were all in Toronto at the same time.” Peroff, Hamelin and O’Neil are self –producing their new project for Arts & Crafts Records. The album will be mixed by John O’Mahony (Coldplay, Metric) and is expected in early 2012. For the time being we have a taste test in this new cut called “Scissors”.

Scissors

Cataldo ‘Prison Boxing’ – Album Review and Free Download

By Reed Trachy

The project of Seattle resident Eric Anderson, Cataldo introduced itself to the local music scene with its self-titled debut in 2005. Six years later, we’ve been given Prison Boxing; the kind of album that exemplifies an artist hitting his stride. It’s simple enough – most tracks seemingly the product of a lone songsmith and his guitar. But it’s the inventive arrangements that make Cataldo’s third LP the best so far.

Enlisting the help of producer Tucker Martine (My Morning Jacket, Laura Veirs) was no doubt a savvy move on Anderson’s part. The album flows seamlessly throughout its nine-track duration without being bogged down by excessive production value. Instead, it sounds like it should: an indie record by an indie musician.

That’s not to say Cataldo is without a few qualities of more established artists. Anderson’s music is often reminiscent of Colin Meloy (Decemberists) and Zach Rogue (Rogue Wave) among others. However, he distinguishes himself by blending common chord progressions with clever instrumentation, not to mention catchy melodies and sharp lyrics.

Cataldo – Rock of Calvary

Rarely does one find “let’s begin at the end of a bad year” as the opening line of so cheery an album. And in this contradictory fashion, “Deep Cuts” sets a great tone for the remainder of Prison Boxing. “Rock of Calvary” (available for free download below), is an upbeat tune with catchy trumpet and driving banjo, that picks up where the first track leaves off, and “Cash on the Barrel” sounds like a single waiting to happen. This tends to be cliché for third tracks, but one listen to the chorus’s hook reveals a sound that will undoubtedly appeal to the masses.

While Anderson does not employ quite the same level of vernacular, “My Heart is Calling” evokes a Meloy-esque feeling, mirroring his work with Tarkio, and early Decemberists albums. The seventh track, “Fog on the Glass”, has all the qualities of a mid-era Death Cab jam (with the addition of saxophone).  It might be the most revealing song on the album as to just how far the Seattle artist has come. Cataldo has never lacked ingenuity, but this particular track seems his most creative to date.

While Prison Boxing is nothing groundbreaking, it is truly an enjoyable listen from beginning to end. At times it sounds like the work of a talented songwriter having a simple good time, and others a composer meticulously orchestrating his next masterpiece. In the finale “Reach Out and Touch Someone’s Hand”, Anderson proclaims “there’s no doubt, it’s time to make some new plans”. For now, he can rest assured his most recent plans have gone swimmingly, and Prison Boxing will be a tough album to top.

Nada Surf To Release New Album – First Track Available For Download Now

Barsuk Records is pleased to announce the release of the new Nada Surf record, The Stars Are Indifferent To Astronomy, on January 24, 2012. Stars is Nada Surf’s seventh record, and fourth for Seattle indie label Barsuk, following the successful and critically lauded Let Go (2003), The Weight is a Gift (2005), Lucky (2007) and their self-released covers record if i had a hifi (2010). This is their first album of new material in four years. The band will perform a day-of-release show at New York City’s Bowery Ballroom.

Nada Surf’s lineup for 15 years has been and still is Matthew Caws (vocals, guitar), Daniel Lorca (bass) and Ira Elliot (drums), though this time, as on if i had a hifi and the tour that followed, they invited guitarist Doug Gillard (Guided by Voices, Death of Samantha) to join in the proceedings. Chris Shaw (Wilco, Brendan Benson, Elvis Perkins in Dearland and Super Furry Animals) was brought in to produce and record, having worked with the band before when he mixed their hit song, “Always Love.”

Unlike all of the other Nada Surf records, Stars was made with a distinct attempt to capture their live sound. “We’ve always played faster and a little harder live,” says Caws, “but we’d play so carefully in the studio.  So with this album, we made a conscious decision to preserve what it felt like in the practice room, when you play with that new-song energy.  Just embrace it and not worry whether we’re overdoing it, kind of get all the thinking out of the way.” The tempos are high, but the songs bristle with hooks, breathtaking changes, and Nada Surf’s trademark bridges.  The educated ear will hear the influence of many bands from ’60s Brit-pop to post-punk and vintage indie, and yet there is an unmistakable Nada Surf sound: a certain rhythm section groove, introspective chord shapes and the unique emotional weight to Caws’ voice, both boyish and very soulful, a combination of wisdom and vulnerability.

Nada Surf had made all but their first record outside of New York, figuring they’d avoid distractions.  But if you want to preserve the energy of the practice room, why not record in the practice room?  So for Stars they set up shop in their rehearsal space in Lorca’s long-time loft in Williamsburg, Brooklyn.  The place is nicknamed “The Sitcom” because it regularly hosts a revolving cast of colorful characters and some legendary parties. There were some issues though – “We couldn’t do vocals late at night,” says Caws, “because the music from the bar downstairs would come through the floor.”

“Making this album was such a joy, the most fun we’ve had with a record,” Caws continues. ”For many years I’d only write if I had something troubling going on in my life and I needed to break through, but now I wanted to get past writing about just myself. That new outlook, for me, is the engine for making this record.” The Stars Are Indifferent to Astronomy continues the notion of music as an alternative reality, and songs as things you can keep by your side for inspiration and support, which is what makes Nada Surf a truly beloved band. Download the first single from The Stars Are Indifferent to Astronomy, “When I Was Young”, below.

Nada Surf – When I Was Young

Sting: 25 Years – The Definitive Box Set Collection

By Myles Crawley

There are very few musicians out there today who can claim to have had the same level of musical impact on the world that Sting has. Over the past quarter century he has written and recorded some of the most melodic, intelligent and rhythmically infectious music available. His discography and body of work is staggering and his approach to the creation of music is energetic and downright prolific. He has been able to jump musical genres like they were mole hills rather than mountains, and he’s done it with style and grace.

I had the opportunity to meet Sting and work with him on the Police’s first tour through the US. Being the opening act for a group that so quickly gained international attention was somewhat daunting, yet totally exciting and exhilarating. I remember standing on the side of the stage after my set, watching Sting, Andy Summers and Stewart Copeland attack their instruments and dominate their new fans. From that very first time I saw Sting on stage, plucking bass lines on his old Fender Jazz bass, while pumping bass pedals with his feet and singing some of the most intricate vocals known to modern music, I knew the guy was going to be a major star. After a successful career with the Police, he was able to reinvent himself and embark on what has been an extremely robust solo career. He has maintained that same sense of vitality throughout the last 30 odd years, the culmination of the last 25 of which I am currently listening to.

Sting: 25 Years – The Definitive Box Set Collection is chock full of incredible content. Containing three CD’s full of music, a DVD of a rough, raw and unreleased live performance at Irving Plaza and tons of great photographs, this is any Sting fan’s nirvana. Disc 1 kicks off with studio versions of five of his biggest hits, before turning to three live versions that provide a clear picture of just how talented and tight his live band is. There are 15 tracks on this first CD alone. And that’s just the beginning. A total of 45 tracks across all three discs provide hours of listening pleasure.

I must admit that I personally found this collection to be somewhat overwhelming. As I listened through the three discs I suddenly realized that I was re-tracing the steps and phases of my own life. I began to remember songs I listened to on my first date with the woman who became my wife and partner. Other songs brought back memories of our wedding night together, the births and young lives of our children, vacations together and Christmas mornings in houses that we have since left behind, with extended family and much loved family pets who are no longer with us. But as the melancholia subsided I was left with a warm, satisfied feeling, happy with where life has led. And it would seem Sting has been there all along, weaving the soundtrack for our rich and vibrant lives. Hopefully you will experience the same myriad of feelings when you listen to this incredible box set of music. Sting: 25 Years – The Definitive Box Set Collection is a must have for any Sting fan. If you are a fan, then take my advice – buy it, load it, sit back and listen to it, and enjoy the journey down the hallways and along the winding pathways of your own life. Buy Sting: 25 Years – The Definitive Box Set Collection here.

Sting: 25 Years – The Definitive Box Set Collection play list:

Disc 1
01 If You Love Somebody Set Them Free
02 Love Is The Seventh Wave
03 Consider Me Gone
04 Moon Over Bourbon Street
05 Fortress Around Your Heart
06 Bring On The Night/When The World Is Running Down You Make The Best Of What’s Still Around (Live)
07 Driven To Tears (Live)
08 I Burn For You (Live)
09 Be Still My Beating Heart
10 They Dance Alone (Cueca solo)
11 Englishman In New York
12 Fragile
13 We’ll Be Together
14 Sister Moon
15 The Secret Marriage

Disc 2
01 All This Time
02 Mad About You
03 Why Should I Cry For You?
04 The Soul Cages
05 When The Angels Fall
06 If I Ever Lose My Faith In You
07 Fields Of Gold
08 Seven Days
09 Its Probably Me
10 Shape Of My Heart
11 When We Dance
12 I Hung My Head
13 I Was Brought To My Senses
14 You Still Touch Me
15 I’m So Happy I Can’t Stop Crying

Disc 3
01 A Thousand Years
02 Desert Rose
03 Ghost Story
04 Brand New Day
05 Send Your Love (Dave Audé remix)
06 Whenever I Say Your Name
07 Stolen Car (Take Me Dancing)
08 Soul Cake
09 The Hounds Of Winter
10 Next To You
11 We Work The Black Seam
12 The Pirate’s Bride
13 Never Coming Home
14 Russians (Live)
15 The End Of The Game (Live)

Campfire OK ‘Strange Like We Are’ – Album Review And Free Download

By Natalie Ekstrand

Campfire OK’s first album entitled Strange Like We Are dropped earlier this year. It is quite a good record, which begs the question – how come many of us have not heard of this band? With the recent uptick in popularity of folk rock bands it is surprising this Seattle based sextet hasn’t received more attention. If bands’ similarity were described as familial relations Campfire OK would be a cousin of Mumford & Sons as well as Fleet Foxes. That doesn’t mean this band is only for fans of folk rock. You will find plenty of Americana, Jazz, Classical and Ambient influences as well.

Strange Like We Are isn’t all that strange. Defining something as strange connotes a certain odd or dysfunctional quality that this record certainly does not possess. It’s uniquely beautiful. Each song is intricate and brings new discoveries with each listen. “We Lay In Caves” introduces you to the band’s everything but the kitchen sink instrument method. Each instrument is beautifully layered leaving you in suspense for the next track to begin. The LP includes softer somber folk melodies like “Brass” as well as upbeat forceful anthems such as “Strange Like We Are.” While “Primp and Prune” showcases the soulful jazz beats with its church choir piano rhythm. “You Would Owe Me” is basically an ambient rock track featuring the singer’s folk ballad. Needless to say these songs are varied and interesting.

CAMPFIRE OK “Strange Like We Are”

At first listen Campfire OK’s music may seem just like any other indie folk rock band but a deeper look uncovers beautifully instrumented and intricately crafted songs that are rich and full of texture. Their sound is really more like an experimental folk orchestra. Sure the lead singer’s voice may not be for everyone and on the surface many of the songs may seems similar but beneath lays a real diamond in the rough. Campfire OK has put out beautifully orchestrated folk power ballads and emotionally charged pieces with this first effort.

Free Music Friday – Ashtar Command, Data Romance And A Bibio Remix Of Noah And The Whale

Hi everybody and welcome to another edition of Project Rhythm Seed’s Free Music Friday. We hope you all had a fantastic week. As usual it’s nice to see Friday roll around, with the weekend waiting in the wings. This was a great week of music here in the Rhythm Seed offices, and we were absolutely delighted to share it all with you.

On Monday we brought you a review of Boy and Bear’s new album, Moonfire – and what a splendid album it is! On Tuesday it was a musical present from a far away land. Straight from Snowdonia, Wales, We Are Animal lit the house on fire. These guys are destined for great things. On Wednesday it was another album review. This time, Phantogram’s Nightlife and a free download of their song “Don’t Move”. On Thursday we introduced you to a brand new band on London’s own Luv Luv Luv Records called Binary. Their tune, “Prisoner” reminds us of a mixture of T.Rex and Duran Duran, but with a fresh, modern feel injected. On today’s Free Music Friday we have three new tracks for you. The first is from Ashtar Command and features Alex Ebert from Edward Sharpe and the Magnetic Zeros. The second is from a cool new Canadian band called Data Romance. The third is a Bibio remix of Noah and the Whale’s “Waiting For My Chance To Come”. We hope you enjoy and find time to download and listen to all three tracks. Remember to support your local musicians and go out and see some live music.

Ashtar Command
Ashtar Command is the name of a collaboration currently composed of Chris Holmes (not to be confused with the former guitar player for the metal band W.A.S.P.) and Brian Liesegang. They just released their second album this week: American Sunshine, and have had songs featured in a number of feature films, television series, television commercials, and video games such as one of the first Microsoft Zune commercials, two Nissan Altima commercials, The Avengers soundtrack, and most recently on Rockstar Games Red Dead Redemption original soundtrack.

After hearing Chris Holmes DJ in South America, Paul McCartney requested that Holmes do something before McCartney’s own Friday set at the Coachella Festival in 2009. Chris Holmes toured with Paul McCartney throughout South America this year. Project Rhythm Seed originally highlighted Ashtar Command on August 17^th, 2010. You can read that article here. And now here is Ashtar Command’s “Save Me” featuring Alex Ebert.

Save Me – Ashtar Command (featuring Alex Ebert)

Data Romance
Data Romance is Ajay Bhattacharyya and Amy Kirkpatrick. A happenstance meeting between the two, in their hometown of Victoria, BC, led them to discover each others’ artistic talents which would eventually be incorporated into their music.  While the music and vocals seemingly come from opposite ends of the artistic spectrum, it’s this dichotomy that ultimately blends to create the band’s uniquely personal sound. The band released their self-titled debut EP this summer. Shortly after, they joined the acclaimed IDentity Festival – hitting cities on the east coast and performing alongside bands like The Crystal Method, Rusko and Kaskade.

Data Romance is currently at CMJ in New York City where they are playing four separate showcases over the 19^th, 20^th and 21^st.  Now here is their track titled “Spark”.

Spark by Data Romance

Bibio Remixes Noah And The Whale
It’s been a couple of months since we shared Yuksek‘s fantastic remix of Noah And The Whale’s “Life Is Life.”  With a North American tour around the corner and the recent release of the “Waiting For My Chance To Come” music video, the London-based five-piece teamed up with British music producer Stephen Wilkinson, better known as Bibio, to create a whole new take on “Waiting For My Chance To Come.” Bibio’s music is primarily electronic and experimental in nature. He currently releases music on the Warp Records label. Wilkinson developed a passion for experimental music during his time at Middlesex University in London, where he studied “sonic arts”. He developed his own style of music, drawing from contemporary experimental bands, and incorporating field recordings and found sounds.

Electronically modified guitar melodies and droning synthesizer sounds are a recurring theme in Bibio’s pieces, causing many people to label his music as a hybrid of electronica or intelligent dance music and folk music. Grab, hear and download the synth-heavy, vocoder-infused, and cowbell-driven remix of “Waiting For My Chance To Come” that will heat up any Autumn day.

Waiting For My Chance To Come – Bibio Remix

Binary’s ‘Prisoner’ – From London’s Luv Luv Luv Records

Binary are David Troster (vocals and guitar), Francesco Bondi (guitar and keyboard), Craig Lowe (bass) and Jake Sorbie (drums). Troster formed the band in late 2010 after leaving Yale University, where he was studying molecular biology. On his return to London he was introduced to Francesco Bondi through a mutual friend and the pair began experimenting with production techniques and crafting songs. The line-up was completed when Bassist Craig Lowe joined the band and brought in his childhood friend Jake Sorbie on Drums.

‘Prisoner’ is the London four-piece’s physical single released through Luv Luv Luv Records. They first came to the attention of Luv after they posted their track ‘Turquoise’ online over the summer. Listen to ‘Prisoner’ below:

Prisoner by BINARY

The track was mixed by Marilyn Manson and Nine Inch Nails collaborator Sean Beavan combining the band’s reverb drenched melodies with menacing production and industrial decay. Lo-fi electronics are interspersed with cold guitars to create a spooky atmosphere allowing the band’s sound to become darker and more intimate.

With live shows in the pipeline the single is released on November 28^th. It will be available digitally and on 7” vinyl.

Phantogram ‘Nightlife’ – Album Review And Free Track Download

By Natalie Ekstrand

The new mini LP, entitled Nightlife, from New York street pop duo Phantogram, comes out November 1^st.  With their first album release in February 2010, long time friends Sarah Barthel (vocals, keyboards) and Josh Carter (vocals, guitars) have enjoyed a fair amount of success for a newer band.  Compared with such promising new groups as The XX, Phantogram has a promising and bright future in the electro pop circuit.  Their musical careers are on the fast track with several festival appearances and ongoing tours alongside other well known bands.

Nightlife is, no doubt, the continuation of a good thing.  Carter explains that the mini LP is an extension of their first successful album, Eyelid Movies.  This group of songs continues with the same tangible rhythm, off kilter beats, and Barthel’s beautiful breathy vocals.  However Phantogram does leave behind the more trip hop sound of their previous album, in favor of a cheerier electro synth sound here.  “16 Years” starts off the track list with a celebratory percussion sound reminiscent of marching band drums at a pep rally.  Synth keyboard and Barthel’s light vocals are layered on top with the appearance of a beautiful guitar harmony.  Next, the previously released upbeat single “Don’t Move.”  The song title is ironic because listening to this song elicits body movement. You can listen and download “Don’t Move” below:

Phantogram – Don’t Move

Phantogram integrates horns on the track “Turning into Stone.”  “Make a Fist” sports a synth line very similar to “Mouthful of Diamonds“,  from Phantogram’s first album, with the addition of upbeat percussion and a slightly sinister keyboard sound.  Barthel’s voice builds from inaudible whispering gasps to stronger vocals throughout the entire track.  The end result is hypnotic.  Finally, the last two songs appear quite different from the rest.  “Nightlife” begins with bare acoustic guitar.  Layers of synth, vocals, and electro buzz are added later, but it is still a very different song compared to other songs on the album.  “Dark Tunnel” features more of Carter on vocals than any other song.

Nightlife is an alluring collection of songs that hypnotize the listener in a sonic, rhythmic trip.  The tracks are fresh, full of life and intrigue. This album is definitely the continuation of a great premier album from Phantogram.  Nightlife releases to the general public on 11/1/11 via Barsuk Records. We’ll leave you with the video for “Mouthful Of Diamonds”, off Phantogram’s Eyelid Movies album. Watch it below tour dates.

Phantogram tour dates:
10/20/11 – Millvale, PA
 – Mr. Small’s Theater – with Exitmusic
10/21/11 – Columbus, OH
 – Outland on Liberty – with Exitmusic
10/22/11 – Ann Arbor, MI
 – Blind Pig – with Exitmusic
10/23/11 – Chicago, IL
 – Metro – with Reptar & Exitmusic
10/24/11 – Madison, WI
 – High Noon Saloon – with Reptar
10/26/11 – Minneapolis, MN
 – First Avenue – with Reptar
10/27/11 – Omaha, NE
 – Waiting Room – with Reptar
10/28/11 – Denver, CO
 – Marquis Theater – with Reptar
10/29/11 – Salt Lake City, UT
 – Urban Lounge – with Reptar
11/01/11 – Sacramento, CA
 – Harlow’s – with Reptar
11/02/11 – San Francisco, CA – 
Fillmore – with Reptar
11/03/11 – Santa Barbara, CA
 – SOhO Restaurant and Music Club – with Reptar
11/04/11 – Los Angeles, CA
 – Music Box – with Reptar
11/05/11 – Phoenix, AZ
 – Crescent Ballroom – with Reptar
11/06/11 – Santa Fe, NM – 
SOL – with Reptar
11/08/11 – Dallas, TX
 – Loft – with Reptar
11/09/11 – Austin, TX
 – Mohawk – with Reptar
11/10/11 Houston, TX
 – Fitzgerald’s with Reptar
11/11/11 Baton Rouge, LA
 – Spanish Moon with Reptar
11/12/11 Birmingham, AL – 
Work Play Theatre with Reptar
11/13/11 Atlanta, GA
 – Masquerade with Reptar
11/15/11 Carboro, NC
 – Cat’s Cradle with Exitmusic
11/16/11 Washington, DC – 
Black Cat with Exitmusic
11/17/11 Philadelphia, PA
 – Union Transfer with Exitmusic
11/18/11 Hoboken, NJ
 – Maxwell’s with Exitmusic
11/19/11 Boston, MA
 – Royale with Exitmusic
11/20/11 S. Burlington, VT
 – Higher Ground with Exitmusic