Legs Like Straw are a hard act to classify. Their sounds encapsalate Radioheadish samples and Nine Inch Nails build-ups – that all come together smartly into a small pop package. It is a testament to any listener/reviewer who can hear something that conatains any bit of electronica and not compare it immediately to Postal Service; these guys do not fall in that category. Their music is more moody and contains harsh feeling drones that seem like they’ll never end – adding a dark undertone to their songs which Jimmy Tamborello and Ben Gibbard could never live up to. They purposefully choose their sounds unlike other amatuer acts that seemingly throw sounds into a song simply because they have the software to do so. The instrumental quality of this EP speaks for itself, but the vocals could sit more upfront in the mix – but this is more a matter of preference than a directive. Decidely heavy keyboards and solid drumming all add up to a moody, dreamy undertaking from an interestingly arranged band. They toe an interesting line between ugly and beautiful sounds – and I like it. Here’s to you, Legs Like Straw – great job. You can grab the EP for free at http://www.legslikestraw.net/.
Archive for March, 2009
California Wives aren’t from California. They are midwesterners, althought their sound does have a sunshiney ring to it, especially their electro/Franz Ferdinandish first track, EL84 – which I was pleasantly surprised by – it has a good, solid rock bass line and just enough synthesizer to let you know we are in the new millenium. The drums are solid and recorded well to boot – it’s kind of Ratatat – until the chanty vocals come in and take away from the overall intro/jammy Explosions in the Sky guitar riffs. I’m impressed by the production value and considering I’m listening to a Myspace page right now, that says quite a bit for the Wives. Unfortunately, they could use a lesson in recording vocals – they are almost ineligible behind the loud and pristine instrumentals. And in all honestly, I wouldn’t mind them being an instrumental band, the music is very appealing – loud in the right places, quiet in the right places – but the lack of quality in the vocals really takes away from the overall feel of these songs. This is a great band, and they could be pushed even further by strong and powerful/upfront vocals – but alas, you have your whole life to make your first great album – so although this is a strong turnout for a first EP, I have a feeling the next one is going to be twice as good.
It was another fantastic month for Chicago’s Independent Music Review – we are gaining ground every week on our goal to become Chicago’s one stop shop for independent music reviews. Some highlights from March:
· We revamped the look of the website
· We topped our previous month’s unique views
· Added the ability to show video
Soon to come:
· More video, pictures and other interactive media
· Guest Bloggers
· More consistent updates!
Without further ado, here are the Top 5 folks we reviewed in March:
· Clifton, Roy, and Folkstringer
Thanks again for submitting your music guys! Be sure to tell your friends about Chicago’s Independent Music Review!
http://liveexhaust.blogspot.com/2009/03/risk-artists-take-when-performing-live.html
Fellow blogger Chris has continued the conversation I had started with my recent post: On Songwriting and Performance…. It’s always great to hear people really taking into account the importance of music and the toll it takes on those who decide to do it for the rest of their lives.
Hey all – Chicago Reader just put up this list, of sorts, of the Best um, well, stuff? in the Chicago Music Scene of 2009. Considering we are only 3 months into ‘09, it’s my contention the list is a bit premature.
http://www.chicagoreader.com/best_of_chicago_09/music/
Your thoughts? I’d have to say that I agree with Empty Bottle on Wednesday nights..but if I’m not mistaken you can catch some really great singer songwriter stuff at Uncommon Ground? Chime in and let me know what you think!
I am a longtime believer in the duality of human nature. There are certain songs and certain artists who have the astute ability to personify duality through their craft. One of these people is Drew Danburry.
He dares not let beauty get in the way of his art: insomuch as forcing himself into a strictly pop aesthetic, but, none the less beauty shines through. His songs are intimate and ugly, recordings deceptively lo-fi but polished, his vocals natural, but pulsing. All of these opposites collide with one another and explode into an album that is an all around treat to listen to. Consistently throughout the album, “This Could Mean Trouble, You Don’t Speak for the Club” you can hear friends of Drew laughing, clapping, and having a particularly good time (or at least sounding like it) – normally the recording process is tenuous, slow, and particular – in other words, not a time for friends and family to come around joking and laughing while you are pressing the past year’s hopes and dreams down onto the physical and audible plane of existence. This gives the artist a decidedly human touch – which, along with the excellent lyrics and hooks that disappear before you can grab onto them – create an album rich with language and meaning – that, to use a cliché, stays with you long after you’ve pressed the off button. It’s as if Drew is saying, we don’t need to worry about the production (although it sounds stellar) and pushing his and the listeners concentration onto the songs and their meanings. Now I could sit here and dissect every lyric for you, but I think that would be better left to you all. I will say this: Musicians, as a community, and as a country, are ready to move beyond the perfection of radio pop music – and there is a new crop of pop sensible folk artists who refuse to parlay their identities and sound for the greater audience – Drew Danburry is recreating a truly American sound, and we thank him for it.
Drew is going to be playing in Logan Square at The Whistler April 14th at 9pm (21+) – I’ll be there – and I hope you will too.
In the meantime, I’ll be posting a video of Drew’s newest single, “Artex” later on tonight for you all to enjoy.
Ryan Shields hails from Florida, but has a familiar and eclectic acoustic sound. As you all know, I have a soft spot in my heart for singer/songwriters – but Ryan is talented in the surest sense of the word. He lists his influences at Ben Harper, Jack Johnson, and other surf-folk artists – and they all shine through his tunes, but do not take away from his overall musical pallet. For examples sake: the harmonies on “Tired” are Beach Boy esque, oohing and ahing their way around an easy riff, until a bluesy electric guitar comes in and raises the song out of its acoustic haven – eventually segueing to a backwards acoustic riff – yes, I said backwards acoustic guitar riff. I’m not always enamored as much by songwriters such as this, but his production alone is beauty beholden. The vocals sound natural, not forced, and thanks to his backing band, which includes his brother, every second of every song makes you want to beach yourself in sunshine and sand. I highly, highly recommend checking Ryan out before he gets too popular; trust me kids, you’ll be one of the coolest on the block. Other high points include “Love” and “towns”, the former of which is an homage to his influences – he sounds alot like a male version of Tristan Prettyman – who is delicious in her own right. None the less – college radio, for better or for worse, here comes Ryan Shields.
Review recommends: Love and Tired
The Assassins are self described rockers and on their first, self-titled, debut album, they demonstrate their ability to play loud and in your face. The first noticeable issue I heard was the guitar tones. They are always a few percentage points away from where they should be, a bit too watery here, a bit too crunchy there; and the vocals are just a tad too high in the mix. For example, when the instruments come crashing in on “Ancient Astronomers” I was really hoping to hear the angst personified not only by Dave McCormick’s cracking vocals, but also by the epic eruption of the rest of the band as well. The performance is tight throughout the length of the album and there are no qualms about the style here. They sound like they know themselves and have a commanding energy throughout the album. They are an almost Metallica, without the speedy metal riffs and mixed in with a dash of late 90’s alternative rock. Power screams abound while slow, melodic solo’s crawl around a hard hitting rhythm section. They have a very mainstream rock sound, fans of Metallica and Staind won’t be disappointed.
Greg is a singer/songwriter who plays a combination of blues, rock, and folk tunes. Let me get this out of the way quickly, he does not sound like Coldplay – which is pretty surprising. Normally, a singer/songwriter will go the obvious route of somebody who has been there before, aka, Bob Dylan, or even Jason Mraz; thinking that despite the obvious vocal similarities, the lyrics and/or their playing will help them rise above. Fortunately, Greg doesn’t seem to be doing that. His music is certainly original, and from song to song there isn’t a real cohesiveness – in his attempt to jump from genre to genre he ends up losing a little bit of his own identity and really leaves me to wonder who he is and what is he trying to offer up to the listener. He is a jack of many trades, playing guitar, bass, violin and handling the vocals on all these tracks, which is commendable – especially due to the variance in genre. His lyrical content can sometimes be lacking: “I control the sands, I could turn the tide if I wave my hands, the grass and wind they’d obey my commands….” but overall it’s interesting enough to keep me listening. Like most other one man bands though, his songs chug forward without giving his vocals a chance to soar, or the listener a break. As a huge fan of the musical bridge, I really missed it here.
Greg Reed is a genre jumping songwriter capable of much more than his first release. As soon as he gets a handle on who he is musically and where he wants to take himself, he’ll be one to watch out for. Here’s to looking forward to some great tunes in the future from him. Stop by his website and download the pop countryesque “No Time To Lose” – probably his best song from this album; which is the sound he appears most comfortable in.
Review recommends: You Know What I Want and No Time To Lose
www.gregreedmusic.com
As my afternoon grinds to the inevitable 3 pm halt, I recall reading a story once about the plight of the singer/songwriter.Well, really, about the overall performer.
It was in an interview Thom Yorke did. In describing a conversation he had with Michael Stipe: Stipe was articulating to Thom, after Radiohead’s mega-hit, OK Computer, that the expressiveness of a performer can never be reconciled with the consistent need for adoration/ feelings of inequity that undeniably come with the territory. In other words, it is a razor’s edge that the songwriter walks – having to bare one’s soul to the world while praying that the exorcism is thoroughly enjoyed, accepted, and shared by those who may not have the slightest understanding of the experience. To speak even more plainly, to be a rock star, you must be absolutely confident in what you do but, be completely insecure with the broken experiences and shifting reality you’ve created. This creation is a direct cause of massive anxiety and introversion, being that by most definitions, your “art” is defined by how many other people enjoy it. So the challenge, the standard as to what is “good” in opposition to that which is “great” would be the singer/songwriter/performer’s ability to be in two places at once, absolutely sure that they are unsure – this tiny, curious grain is completely instrumental to relating with an audience – and it can’t be taught, there are no lessons to learn it, only an ability that most don’t have, but all can see.
