Nosey Atlanta Exposes Trap Music

Nathan Honnold goes deep, real deep, for Nosey Atlanta to expose Trap music deep in the city. Thank god we have Nosey Atlanta as the 4th pillar of democracy! Kudos to Nosey Atlanta for taking charge and setting the bar high for other journalists not just in Atlanta but for the entire world.

More information on this story can be found here on Creative Loafing.

Also this is a picture of my cat sleeping:
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Lavender Diamond – Light My Way

Lavender Diamond’s new single “Light My Way” could be described as what happens when you make dreamy electronic pop for adults who also like folk music.

Frontwoman Becky Stark is often compared to Linda Ronstadt and Karen Carpenter, but her music, over time, has become less and less “retro.”

Her voice is reminiscent of those artists, but a more apt comparison is Vashti Bunyan. Her voice has a similar airiness to it, and a similar edge to it that suggests an awareness of the stark reality under all the preciousness. She sounds less quirky and fey than many comparable singers, and she gives you the impression that she’s doing it all effortlessly.

On “Light My Way,” her thin vocals are mixed with a heavy and clear-sounding electronic arrangement. The contrast shouldn’t work, but it does. David Fridmann’s production sounds cleaner than you might expect from the man who showed MGMT how to use distortion, but he manages to make bassy blips sound organic and trebly twinkles sound strident in a way that serves the song very well.

Laura Davis’ music video features Stark dancing in a California industrial park. It doesn’t look like a typical California scene- there are no city lights or desert mountains. It looks a bit more like a Brooklyn-made music videos, many of which also often feature industrial landscapes and dance recitals by lonely girls in dresses. But it looks nothing like a Brooklyn video; the night sky in New York never has that hue, and the cute girl hopping around alone in this video looks neither painfully shy nor manic. Stark looks as comfortable with her image as she is with her idiosyncratic sound.

 

As of today’s date, Lavender Diamond do not have any scheduled shows in New York, but touring info can be found on Lavender Diamond’s website.

 

December Tour Dates

12/11 – The Chapel – San Francisco, CA

12/13 – The Sunset – Seattle, WA

12/14 – Doug Fir Lounge – Portland, OR

2012, New York

Mean Creek’s new single floats on a nice river of fuzz | New York Music News

This review for Mean Creek’s single, “Come On, Before It’s Gone,” will be the first music I’ve ever reviewed on any type of official forum. So lucky for them, I like it. Because I have a seven week old baby at home and don’t have time for shitty music.

It starts nice and fuzzy with harmonies kicking in that sound like mint chocolate chip ice cream to the ears – sweet and cool. Mean Creek sounds similar to Yuck, what with the bendy string notes. But that’s okay, because I happen to like Yuck. I could describe both bands as 90’s alternative revival, and that’s cool

The term “shoegaze” comes to mind. But despite the distortion and ambience, this song feels shiny due to the positive slant of the chorus. Sorta like you’re gazing down at a new pair of chucks that you wish had a little more dirt on them. Still pretty comfy, though.

 

2012, New York

 

 

 

The Lighthouse + The Whaler at The Mercury Lounge | New York Music News Recap


It is recommended listen to this band for a minute.

On line for The Lighthouse + The Whaler at The Mercury Lounge I eavesdropped someone telling his friend “My girlfriend has better taste in music than me, so that’s why I’m here”. These words fumed my brain holder. Simply, how can you know if someone’s opinion/taste is better? I can’t figure it out and again questioning my existence. After-all(but-so-it-be)  The Lighthouse + The Whaler was able to put my mind at ease with a for a short time with an interesting/fun show at The Mercury Lounge.


This is the kind of band where you can get down in the general admission section or listen to on the balcony. They work dynamic melodies in smooth-sizzle-fuss that you might find unpredictable.

Band History

The Lighthouse and the Whaler is a band from Cleveland, Ohio, though its name alludes to the waters off the coast of Massachusetts. Inspired by a theme from Moby Dick, the band’s name alone is enough to make underpaid Literature teachers beam with pride.

It all started with two musicians — Michael LoPresti and Aaron Smith — who decided to collaborate in a field one sunny afternoon because that seemed nicer than playing in a basement. By the end of the day they had written their first song. They gave it a profound name: “The Field Song.” When it was selected for a Paste Sampler CD, Aaron and Michael decided to make a proper run at it.

The Lighthouse and the Whaler released a four-song EP in 2008 and a self-titled/produced/released album in 2009. Two songs from that album — “White Days” and “Under Mountain, Under Ground” — found their way to TV and radio. With more fans to play for, The Lighthouse and the Whaler hit the road and toured across America. Somewhere between Boston and Seattle, the band picked up three new members — Matthew, Mark and Steve – thereafter, fulfilling the prophesy that was to be five young men stuffed in a forest green Chevy Venture, searching for open ears and loyal hearts.

The Lighthouse and the Whaler plays indie-pop and does not believe that genre labels tell you anything you need to know about a band. It has nevertheless caught the attention of MTV, Paste, FILTER, Spinner, Under the Radar, Daytrotter, KEXP and other media outlets that cater to indie-pop music fans.

The Lighthouse and the Whaler has performed at venues and festivals like The Rock’n’ Roll Hall of Fame, SXSW, House of Blues, Pop Montreal, Shubas and Rockwood Music Hall, though its favorite show to date took place in the attic of an old bookstore. The band has shared stages with Sufjan Stevens, The Temper Trap, and The Dodos, and shared blankets while sleeping in its donated mini-van, inappropriately named Rihanna.

John Richards of KEXP called The Lighthouse and the Whaler his new favorite band. He may be the smartest man on the planet.

2012, New York

Toro Y Moi announces new album, Anything In Return

In the new issue of Interview, on stands today, Toro Y Moi discusses the first details of his forthcoming album. In describing his process for Anything In Return, Toro Y Moi’s Chaz Bundick says, “I’m just trying to make sincere pop music that’s not all processed and bubblegum. Underground isn’t always relevant; I want to see what’s popular, then put my own spin on it.”

The product of a move from South Carolina to Berkeley, CA and the subsequent extended separation from loved ones, Toro Y Moi’s third full-length, Anything in Return, puts Chaz Bundick right in the middle of the producer/songwriter dichotomy that his first two albums established. There’s a pervasive sense of peace with his tendency to dabble in both sides of the modern music-making spectrum, and he sounds comfortable engaging in intuitive pop production and putting forth the impression of unmediated id. The producer’s hand is prominent- not least in the sampled “yeah”s and “uh”s that give the album a hip-hop-indebted confidence- and many of the songs feature the 4/4 beats and deftly employed effects usually associated with house music. Tracks like “High Living” and “Day One” show a considerably Californian influence, their languid funk redolent of a West Coast temperament, and elsewhere- not least on lead single, “So Many Details”- the record plays with darker atmospheres than we’re used to hearing from Toro Y Moi. Sounding quite assured in what some may call this songwriter’s return to producer-hood, Anything in Return is Bundick uninhibited by issues of genre, an album that feels like the artist’s essence.

 Born and raised in Columbia, South Carolina, Chaz Bundick has been toying with various musical projects since early adolescence. Having spent his formative years playing in punk and indie rock acts, his protean Toro Y Moi project has been his vessel for further musical exploration since 2001. During his time spent studying graphic design at the University of South Carolina, Chaz became increasingly focused on his solo work, incorporating electronics and allowing a wider range of influences- French house, Brian Wilson’s pop, 80s R&B, and Stones Throw hip-hop- to show up in his music. By the time he graduated in spring 2009, Chaz had refined his sound to something all his own. Music journals across the board touted his hazy recordings as the sound of the summer, and he released his debut album, Causers of This in early 2010.

Since then, Bundick has proven himself to be not just a prolific musician, but a diverse one as well, letting each successive release broaden the scope of the Toro Y Moi oeuvre. The funky psych-pop of 2011’s Underneath the Pine evinced an artist who could create similar atmospheres even without the aid of source material and drum machines. His Freaking OutEP, a handful of singles and remixes, and a retrospective box-set plot points all along the producer/songwriter spectrum in which he’s worked since his debut, and Anything In Return is another exciting offering that shows he’s still not ready to settle into any one genre.

 

 

 

TORO Y MOI

 

 

 

10/13 – San Francisco, CA – Treasure Island Music Festival

 

 

 
   
Toro Y Moi
Anything In Return
Carpark Records
Street Date: Jan 22, 2013 
CD/LP/MP3
1. Harm In Change
2. Say That
3. So Many Details
4. Rose Quartz
5. Touch
6. Cola
7. Studies
8. High Living
9. Grown Up Calls
10. Cake
11. Day One
12. Never Matter
13. How’s It Wrong


The Jezabels Interview | New York Music News

Heather Shannon and Sam Lockwood of The Jezabels hang for a minute and talk to New York Music News. The band is currently on tour here in America with Yukon Blonde and playing at Webster Hall on October 17.

So what’s the difference between the America and Australia music industry?

Heather:The sheer size of the music industry in America. There’s a lot more commercial stuff we’re not used to.

Sam: You have to do it!

Heather: You have to tread carefully though.

What about New Zealand?

Heather: It seems like Australia steals all of New Zealand’s Celebrities, and names them as their own.

Sam: So, they’re pretty much the same country now. You never need a passport to go there.

Interesting. I think America might steals Australian celebrities. So what do they say about you in Australia where you have had a lot of success as a band?

Heather: One of the Cd reviews we had in Australia, they described our sound as Gothic Australian which includes Midnight Oil.  I don’t know. I think there is an Australian sound in our music but it’s hard to put your finger on it. Maybe it’s the vast atmospheric sound.

Sam: Someone else said we sound like explosions in the sky with Hayley Mary as a front woman.

I read that you called it Intense Indy.

Sam: I made that up as a joke, but it does work.

Heather: Because indy bands tend to take themselves so seriously.

Sam: It’s an ironic statement.

Heather: People accuse us of doing that [being so serious]

Sam: That’s why is a jo-oke(sarcastically).

Heather: It kinda takes the piss out of us and the whole genre.

So, who writes the tunes?

Heather: We all write together and probably wouldn’t have it any other way. We all like playing our own parts, and feeling like we’ve built a part.

Sam: It’s important tot us that we  feel a bit validated by our artistic input into the songs… it’s very democratic.

 

 US Tour Dates with Yukon Blonde

10/03/12 Wed
The Independent
San Francisco, CA

10/10/12 Wed
Kilby Court
Salt Lake City, UT

10/11/12 Thu
The Larimer Lounge
Denver, CO

10/13/12 Sat
Majestic Theatre
Madison, WI

10/14/12 Sun
Lincoln Hall
Chicago, IL

10/15/12 Mon
The Blind Pig
Ann Arbor, MI

10/17/12 Wed
Webster Hall
New York, NY

10/18/12 Thu
Middle East Downstairs
Cambridge, MA

10/19/12 Fri
Rock N Roll Hotel
Washington, DC

10/20/12 Sat
Union Transfer
Philadelphia, PA

10/22/12 Mon
Club Metronome
Burlington, VT

10/26/12 Fri
Beachland Ballroom
Cleveland, OH

10/27/12 Sat
The High Watt at Mercy Lounge
Nashville, TN

10/28/12 Sun
The Basement
Atlanta, GA

10/30/12 Tue
Bottletree
Birmingham, AL

10/31/12 Wed
Circle Bar
New Orleans, LA

11/02/12 Fri
Fun Fun Fun Fest at Auditorium Shores

2012, New York

Rush Midnight Interview | New York Music News Investigates

WILLIAMSBURG:  Eyes fixed and camera ready, staff photographer Jenkins LeWhisker sipped a beer, listening to Rush Midnight’s set at Cameo Gallery.  Intrigued by an earlier glimpse of the band, JLW wondered how such a rich sound could come out of a rhythm section.  “How could this be?” he wondered.  So Jenkins went deep — real deep — undercover as Rex Manning  and interrogated former Twin Shadow bassist Russ Manning and Chad Hodge until they divulged the secret of Rush Midnight.

Excuse me, can you help me out?  Since I’m fictional and not real at all, I don’t know how describe what I just heard.    

Russ:  It’s like dance music from the early 90’s with some RnB Influences.

Chad:  Emphasis on the rhythm section.

 Super.  Yeah, so how do you do that… how did you actually write the music? 

Russ:  First off it’s just the bass keyboards and drums.  You get the groundwork and then slowly build the melody part by part.

Chad: I feel like Russ brings an idea for a live show.  The songs are already there for the record, so we adapt those songs for a live show.

Russ:  All the samples on the record are live.  Live programmed drums.  The whole idea is to make it sound live, sound 70’s, ya know:  close mic, dry room, 70’s drum set.

Chad: There’s a certain vibe we create by programming drums and keeping the live feel.

This sounds like a lot of work.

Russ: Yeah, but that’s what I used all my time for on the road [with Twin Shadow].  You go into a room in England or whatever, and you have an amazing drum kit from the 70’s, and you’re like:  “let’s mic these drums.”  And I sampled the drummer from Twin Shadow on his snare and on his kick, ya know, and we reproduced that for the record.

So how was the whole experience building Rush Midnight piece by piece?

Russ:  It’s been a long trip.  We’ve both been playing together for 4-5 years.  It’s just been a bedroom thing until now.  Now it’s time to show it, and see what people think.  So we have an E.P. coming out soon.

So you guys have some shows coming up, what are you looking forward to?

Russ:  Really Looking forward to Miami. We love Miami, and Miami loves us.  And has treated me well as a DJ.  So think they’ll treat us well as a band.

Russ:  How does your snare feel at night when you hit it medium in bed?

Chad: Usually, I sleep next to my snare.  I try to get to know it intimately…Ask it questions, like:  “How did the show go for you?”  But it never says anything back to me.

How does that make you feel?

Chad: Sometimes unappreciated.  It makes me really want to do a good job and focus on the snare more.

Say No More Mon Amour

 

2012, New York

Dum Dum Girls EP Release Party @ Europa

Think 90s with less angst, add some punkrock sultriness, and you get the Dum Dum Girls.  The band was at Europa last night celebrating their new EP, End of Daze, which was released on Sub Pop last week.  And so it was amidst a room of velvet couches, beaded curtains and blue light that Dee Dee, Jules, Sandy and Malia took to the stage, tuning their guitars while the crowd waited, anticipating greatness.  With the first guitar riff, they knew the Dum Dum Girls would not disappoint.

These chicks rock.  And not in the clichéd chick-rock sort of way.  But in a complex, dynamic way that blends femininity with punk and doesn’t apologize to the uninitiated.   Their lyrics, sometimes pained and morose,  marry nicely with their sound, which varies from upbeat poppy tunes to lovesick hymns.  We can’t wait to see what they bring next.

 

2012, New York

Barclays Center Opens In Brooklyn | New York Music News

Welcome to Brooklyn?

D-Day is finally upon us.  We’ve been hearing for years about the benefits and burdens that the Barclays Center would impose on Brooklyn.  And, tonight, we will see who was right all along.  We’re hopeful that the good will outweigh the bad, because if the nay-sayers predictions transpire, we’re all doomed.  We still have to live here.

Today’s biggest worry:  TRAFFIC.  Will Jay-Z’s opening night performance result in even more gridlock at the notoriously painful Atlantic Ave/Flatbush Ave intersection?  That remains to be seen, but it seems unlikely that things will go off without a hitch.

Even still, police and soldiers (really!) are maintaining a presence just in case.  A few protesters, angry over what the opening of the Barclays Center means for the Brooklyn vibe, came out today to show their lack of support.

And just what will the Barclays Center do for or the Nabe?  Jobs?  Maybe.  Hooters?  Maybe.  But concerns over the rumored Hooters and like establishments probably stem less from outrage over big-breasted waitresses glistening with sweat and hot sauce and more from the worry that Brooklyn is just becoming another Manhattan.  Or worse.

Either way, this train has left the station, and we’re all on board whether we like it or not.

 

 

 

 

 

2012, New York