Like any great album should, Big Light’s full-length debut Animals in Bloom (2010) draws me in more completely with every listen. The songs endlessly unravel as one’s ears open to the nuances. I’ve been enamored with the band since they debuted in San Francisco near the end of 2007 and it’s all in the combination. Skillful songs, prodigious musicianship, and a certain sincerity. It’s the kind of music you want to sit back and take in and also the kind that you want to move to and lose yourself within. It’s the best of all genres, melding the weight of rock, the earnestness of folk, the edginess of indie, and the transcendental psychedelia of jam. The band’s sound is easy to love and hits with an immeasurably depth. As my friend Melissa and I would say to each other back then, “Big Light plays just the kind of music I want to hear.”
From the grittiness of “Triceratops”, to the tenderness of “Departed”, to the touching words, melodies, and guitar riffs of “Rainbow Eyes”, Animals in Bloom gets inside. “Good Time of the Year”’s youth-filled intimacy is undeniable and “Monster” strikes with washes of sound. “Heavy” just tears it all apart. It’s not just the raging guitars that send you to oblivion but the band as a whole progressing, ripping, lying deep within the groove. Unabating until the raging finale moments of “Bonebreaker”, the album is a solid realization of Big Light’s limitless potential. The album’s lyrics are poetic, pensive, inspiring and filled with color. The songs catch inside your head and refuse to let go. It’s intimate and makes you feel included.
The San Francisco foursome features Fred Torphy (lead vocals, guitar, songwriting), Bradly Bifuclo (drums), Steve Adams (bass, vocals) and Jeremy Korpas (lead guitar, vocals). After several shifts in lineup, this band feels like the one Torphy needs to convey what’s inside his head. Torphy’s voice morphs from track to track all the while staying endearing and real. And his guitar solos soar. Bradly Bifulco contributes a strength of foundation and depth that stands out on every song. ALO’s Steve Adams exemplifies what this incredible player can do when offered an alternate existence. And the most recent addition of Jeremy Korpas seals the force of Big Light. Korpus’ ripping playing which has earned him the name “Swordfish”, raised the bar of Big Light’s musicianship, allowing the band to travel where it was ready. A nod to the benefit of timing and luck, Korpas’ inclusion came by chance after needing a place to crash when first moving to SF. By way of a friend he landed on Torphy’s couch and later joined the band. Together these four individuals gesture gratitude to the great bands that inspired them – Dr. Dog, The Slip, Wilco, and My Morning Jacket – yet seamlessly unite to create a sound that is undeniably Big Light.
Yesterday, I got to chat with songwriter Fred Torphy about the album…
How does the current state of Big Light compare to what you imagined when you originally formed the band?
Torphy: Probably closer to what I imagined it being. More professional and cohesive and focused. That was something we had to work for, a permanent lineup. You saw a lot us in the formative days. It was sprawling then and you never knew who was actually going to play. That was always really hard to deal with as a bandleader. All the coming and going of the personal and getting the band staffed probably. You don’t want to push any of those things. It needs to happen on its own. Give it time. That happening was cool. I’m just stoked that it’s where it’s at right now. And that we are more lean and mean. More focused.
Are there any unseen insights into the album that you want to share?
Torphy: Mechanically we got really experimental and went deep. There are sounds you might not hear unless you’re listening on headphones. There are all of these undercurrents of noise that prevail from the beginning to the end. We capture sounds that aren’t musical in some senses. Detuning ukuleles or dropping an amplifier on the ground so that it makes a crazy thunderous sound. We put ghosts in the recording so that they could be heard later when someone is listening a little closer.
The one thing that probably nobody one knows is that there’s one guitar amp that we ended up using for 90% of the record that we got from this dude who lives in an apartment that’s next to the studio where we recorded. He’s this guy Kidd Candelario, Jerry Garcia’s right hand man for like 30 years, his guitar tech and all this stuff, and he has a bunch Jerry Garcia’s old gear. He gave us this Fender Twin that had belonged to Jerry and that Jerry used on stage for a really long time. We went back and looked at pictures and saw this thing. We had this modified Fender Twin that was Jerry Garcia’s primary guitar amp and we used it in every situation imaginable because it was cool… it sounded so different from everything else because it was modified for him. It was really loud and you could do crazy shit with it. It was fun playing with that thing. The history, recording the album in San Francisco… We’re not a Grateful Dead leaning band at all in any respect. I mean we like improvisation, we love that band, but they aren’t a model for Big Light in any way. But we did love using that guitar amplifier to make all the cool guitar sounds.
Who’s singing the words before the chorus on “Rainbow Eyes”?
Torphy: We call that the “gang vocal”. Our friend Ty Roberts and his family, Sabrina & Ted, Chris Joseph, Ray (Bradly’s wife)… There are probably 40 voices. We threw a whiskey and pizza party one night in the studio and invited our supporters and friends and asked them all to yell “rainbow eyes”.
Below is a teaser for Animals in Bloom featuring studio and tour footage and clips from their December ‘09 performance at San Francisco’s Fillmore Auditorium, all set to an excerpt of the new track “Triceratops”.
For Big Light, club dates have translated into high profile gigs, including appearances at Outside Lands, Noise Pop, Wanderlust, and High Sierra and at renowned California venues such as the Troubadour and The Roxy in Los Angeles and The Fillmore in San Francisco. They’ve also been placed on bills with Spoon, Broken Social Scene, The Mother Hips, Dead Confederate, Surprise Me Mr. Davis, Everest and Howlin Rain. As a fan from the beginning, it’s truly exciting to stand back and watch Big Light constantly progress and evolve at such an electrifying rate and receive due recognition for their musical journeys. Big Light’s CD Release tour for Animals in Bloom kicks off with a performance at San Francisco’s Independent on March 4th (TODAY!).
Mar 4 – The Independent, San Francisco, CA – Animals In Bloom Release Party w/ Guns for San Sebastian and Everest
Mar 5 – 50/50 Brewery, Truckee, CA
Mar 11 – The Saint, Asbury Park, NJ
Mar 13 – Sullivan Hall, New York, NY
Mar 17,18,19,20 – SXSW, Austin, TX
Apr 8 – Crystal Bay Casino, Crystal Bay, NV
Apr 16 – Cooper’s, Nevada City, CA
Apr 17 – South Lake Tahoe Earth Day Festival, South Lake Tahoe, CA
July 1,2,3,4 – High Sierra Music Festival, Quincy, CA
Animals in Bloom is for sale on the Big Light’s website, at Amazon, and on iTunes where you can download the added bonus track of “Piece Together Wings”, co-written with Nathan Moore and featuring Dan Lebowitz (ALO) on pedal steel. Jeremiah Kille of Conspiracy Surfboards created the memorable album artwork for Animals in Bloom. Check out more of Jeremiah’s work.
I’ve never been much of an Of Montreal fan, but I’m currently in love with their video for “Wraith Pinned To The Mist & Other Games”. It follows the psychedelic, Yellow Submarine-esque, slightly violent journey of little square-bodied cartoon characters and friends. Love the purple one’s dance moves at the end (3rd from the right!).
The style of their music still doesn’t entirely capture me, but… as it often seems to be, there can be things you quite like hiding around the corner from a band you thought you disliked.
Said style is theatrical techno-pop glam, one that seems to have changed over the years from a more quirky, indie pop sound. They also tend to fuse gloomy lyrics speaking to apathy, loneliness and death, with bouncy, upbeat melodies and hooks. Certainly, the music is catchy in some bizarre, deranged, and fantastical way.
One more tune. Listen to “She’s a Rejector”, just to hear Kevin Barnes sing the following:
There’s the girl that left me bitter
Want to pay some other girl
To walk up to her and hit her
For those of you already enamored by The Avett Brothers and especially those who aren’t yet, check out this view of “Murder in the City”. It captures the brothers candidly sharing their song about family. The video is frank and touching, sweet and intimate. The song is off of The Second Gleam EP (2008).
Their upcoming tour begins at the end of the month and takes the Avetts across the states and beyond to both Europe and Australia.
The energetic, Swede pop perfection of The Tough Alliance immediately entangled me when I first heard “Neo Violence”. It’s spring loaded, synth heavy, techno-tropic and gets you giddily dancing. I adore their wry humor at the end. I finally dove into their last two releases and got turned on to more TTA. The songs are bright, emphatic, and uplifting, buoyant with constant explosions of sounds. I’m surprised they haven’t yet hit the scene harder in the U.S.
Check out the rad video for “Simple Games” from the New Waves EP (2006). It’s got girls jumping rope in the breathtaking, sun-dappled outdoors and projections of breaking waves (a recurring visual motif of theirs).
Childhood friends Henning Fürst and Eric Berglund formed The Tough Alliance in 2003. The Göthenburg, Sweden duo have polished their glammy blend of pop and electronica through a series of EP and album releases, first on the locally based Service label (home to Jens Lekman and Studio) and then on their own label, Sincerely Yours, beginning in 2006. Each critically acclaimed creation helped to establish them as a central force within the Swedish indie music scene. TTA began attracting greater international attention in 2007 due to outstanding reviews for A New Chance (2007) and American distribution.
Adding some color to their story, The Tough Alliance amusingly have an infamous reputation for their live appearances and receive frequent attention in the Swedish media for lip-synching to their backing tracks while ambiguously wielding baseball bats. The resulting accusations of glorifying violence and hooliganism haven’t gone unnoticed. TTA directly confronts all detractors in the lyrics of “Neo Violence”, which ascended to number 13 on the Swedish album charts in 2007.
No U.S. dates at the moment, but keep your eyes out for The Tough Alliance.
Neo Violence
No no need for a baseball bat
Don’t need no knife for a sharp attack
No excuses, no looking back
We think too much about the things we lack
This neo violence
Pure self-defiance
This neo violence
The Tough Alliance
I hardly noticed your short romance
Your careless manners and your anxious glance
Kissed and telled, got paid in advance
You’re far behind now love you missed your chance
This neo violence
Pure self-defiance
This neo violence
The Tough Alliance
Truly sorry thought you’d get the wink, it’s in our nature to be out of sync
Truly sorry thought you’d get the wink, it’s in our nature to be out of sync
This neo violence
Pure self-defiance
This neo violence
The Tough Alliance
This neo violence
Can’t stand the silence
This neo violence
The Tough Alliance
I just fell in love with Francois Virot. His stripped down folk pop has a special vocal effect that gets me deep inside. Virot, out of Lyons, France, is becoming a favorite abroad and it’s not hard to tell why. Yes or No may be his first official release, but the fully conceived ideas within the album, achieved with no superfluous additions, are that of a sage. Virot fills out each of the tracks on his own, making it truly hard to believe that this music is made by just one. The bare instrumentation on Yes or No, one guitar, sometimes two, one voice, sometimes two or three, plus handclaps, finger taps, and bits and pieces of percussion, sound like a symphony in my ears. What is created is music that is entirely so much more than what one expects to hear from a “singer-songwriter”. The songs seep with emotion, releasing beautifully suppressed anger, all the while overflowing with generosity and Virot’s open heart. His strum is hard, but the essence is soft, and the melodies soar. You don’t think of a guitarist with a guitar but instead, whatever Virot wants you to imagine.
Not surprisingly, Virot has been chosen over and over to be a part of Blogotheque’s Take A Way Shows. The shorts feature musicians performing in unusual environments, offering an intimate look at the artist. Take the time to get into the one below…
Edward Sharpe & The Magnetic Zeros journey back in time, taking listeners on a magical trip into a realm of love, hope, and happiness. The music evokes an era when cynicism didn’t course through the veins of pop music. Echoing the Mamas and the Papas, Arcade Fire, Johnny Cash, even Elvis, and it seems like something indie folk rebel Devendra Banhart could really get into. Bohemian-clothed and bearded, the troupe channels the communal sound of the 60s and 70s, all the while making music that is just as retro as it is forward thinking. It’s just that hippy, love-in, commune sort of vibe that might inspire you to take your clothes off and jump into a lake with them.
Alex Ebert and his collective of kindred spirits are intent on bringing love to the world in the form of feel-good sing-alongs. The vocal harmonies are performed with joyous abandon, intertwined with layers of instrumentation. The eleven members play an eclectic mixture of trumpet, pianos, percussion and xylophone and cause the energy to swirl with a well-executed, harmonious blend of folk, blues and rock. This neo-psychedelic folk troupe is becoming known for the jubilant energy they bring to every performance, having mastered the skill of engaging the audience at every opportunity. They have just as much fun playing their songs as the audience does receiving them. Even the most cynical of listeners, might find themselves jumping up and down in response. The band looks like a collection of hippies and vagabonds and certainly inspire a feeling of freedom. Ebert says he has a firm belief in utopia and you can feel it.
The group is led by Alex Ebert, known for his role as vocalist for electro-clash band Ima Robot, formed in the late 90’s and also rooted in L.A. He left Ima Robot in late 2008 to begin Edward Sharpe & The Magnetic Zeros, named after the messianic figure found in a novel he was writing at the time, who transcends his dismal world by tapping into a form of universal music. As described by Ebert, Sharpe “was sent down to Earth to kinda heal and save mankind… but he kept getting distracted by girls and falling in love.” Ebert met singer Jade Castrinos in Los Angeles, and the two began touring the country with their entourage in a converted school bus during the summer of 2009. Ebert’s vocals are powerful, but it’s the synergy created with Castrinos’ earthy yet angelic voice and boisterous attitude that put the band over the top. The group’s first album, Up from Below, was released this July, and the single “Home” has made its way onto Gossip Girl, Community, and several MTV shows.
To experience the revival, find Edward Sharpe & The Magnetic Zeros as they zoom around the country…
Nov 25 – El Macambo Club, Toronto, Ontario
Nov 27 – Lincoln Hall, Chicago, IL
Nov 28 – High Noon Saloon, Madison, WI
Nov 29 – The Varsity Theater, Minneapolis, MN
Dec 1 – Boulder Theater, Boulder, CO
Dec 2 – Sheridan Opera House, Telluride, CO
Dec 4 – The Bell Tower, Pullman, Washington
Dec 5 – Neumos, Seattle, WA
Dec 8 – The Biltmore Cabaret, Vancouver, British Columbia
Dec 9 – Doug Fir Lounge, Portland, OR
Dec 10 – WOW Hall, Eugene, OR
Dec 12 – Great American Music Hall, San Francisco, California
Dec 14 – The Mayan, Los Angeles, CA
“Weed Money Man” is irresistible evidence of California musician Brett Dennen’s humor. The band has captured their recent tribute to selling herb in this ridiculously hysterical video. Despite the fact that the song seems to some degree a joke, it is filled with Dennen’s smooth, soul-powered vocals and an unforgettable ska groove. Dennen’s keyboard player, Jon Solo, is featured rapping on the track. Keep your eyes out for Colorado celebrity, Ryan Jalbert, during the rocking guitar solo. Love Dennen’s smirk throughout.
According to Brett’s site, the song was written and recorded by “rock reggae hip hop sensation FTE (For The Establishment)”. FTE is a mix of Brett Dennen’s band crew, devised this summer while on the road supporting OAR (Of A Revolution). They wrote the song to beat out OAR’s “gang” in a competition to see who could write a better song about weed and money. “We won!”, exclaims the band. Too funny.
Don’t miss Brett Dennen live at the Ogden on Thursday, December 3rd and on the rest of their U.S. tour.
November 20 – Terminal 5, New York, NY
November 21 – The Trocadero Theatre, Philadelphia, PA
November 23 – The Guvernment, Toronto, ON
November 24 – St. Andrew’s Hall, Detroit, MI
November 25 – House of Blues, Cleveland, OH
November 27 – Pantages Theatre, Minneapolis, MN
November 28 – House of Blues, Chicago, IL
November 30 – Turner Hall Ballroom, Milwaukee, WI
December 1 – People’s Court, Des Moines, IA
December 3 – Ogden Theatre, Denver, CO
December 5 – Crystal Ballroom, Portland, OR
December 6 – The Moore Theatre, Seattle, WA
December 7 – Commodore Ballroom, Vancouver, BC
December 10 – House of Blues, San Diego, CA
December 11 – Marquee Theatre, Phoenix, AZ
December 12 – The Wiltern, Los Angeles, CA
December 31 – Fox Theatre, Oakland, CA
I saw Imogen Heap on Sunday for the first time since she performed at the Fox Theatre in Colorado back in 2006. I was blown away then by the eccentric ingenuity and musical explosion that is Imogen Heap, and last night was no different. Imogen performed as part of the live radio show, E-Town, which gives viewers an intimate look at featured artists. Musicians perform 5-6 songs and are interviewed by the host in front of a live audience. Imogen connected immediately with fans both with her quirky humor and by revealing unfiltered thoughts, whether it be her nervousness or how she commands her various gadgets, all with that alluring English accent.
Here are some tracks off Imogen’s latest album, Ellipse(2009), recorded in the basement studio of her elliptically shaped family home, which she bought several years ago. Coincidentally, the studio used to be her old play room! Love it.
Her music is gorgeously layered, atmospheric, electro pop filled with sound effects, bizarre instruments, and Imogen’s achingly ethereal voice. Her vocals, with the use of layering, become a shimmering orchestra of breathy coos, chirps, whispers and hums. Each song is heavily produced, incorporating elements of dance, rock and electronica, all with a feminine edge. In addition to manipulating electronic sounds, she works with organic ones, maybe water dripping or the sonorous ring induced by spinning her finger around the top of wine glass. Imogen constantly pushes her own sonic limits, which makes the music so endlessly captivating and mesmerizing, sending you adrift into a land of her own invention. You can feel her perfectionism and the pressure she places upon herself within each masterfully crafted sonic masterpiece.
Sunday evening, she played barefoot among an array of keyboards, laptops, gongs, a keytar, an Array mbira (based on the African thumb piano), and the curious “hang” – a flying saucer shaped, harmonically tuned steel idiophone. This quote from a 2005 interview, perfectly describes the soul behind the sounds. “I just love crafting and shaping sounds. Actually, many of the sounds that I work with start off as organic instruments – guitar, piano, clarinet, etc. But I do love the rigidity of electronic drums… I would record live drums, and then I would spend a day editing them to take the life out of them. I like to breathe my own life into these sounds, and I do try to keep the ‘air’ in the music. Some people think electronic music is cold, but I think that has more to do with the people listening than the actual music itself.”
The London songstress did not get on well with the music teacher at her boarding school, so she resorted to teaching herself sequencing, music engineering, sampling and production on Atari computers. She went on to study at the BRIT School of Performing Arts & Technology. Imogen made her solo debut at the celebrated Prince’s Trust Concert in Hyde Park in 1996, during which she performed four songs between sets by none other than The Who and Eric Clapton. i Megaphone came out in 1998, but she didn’t hit the spotlight until her electronic duo Frou Frou found itself with a song on Garden State soundtrack in 2004. 2005’s Speak for Yourself was inspired by her recent divorce and features the intoxicating single, Hide and Seek. I actually found out about Imogen from my 16-year-old cousin who told me that playing Hide and Seek during dance performances was all the rage. Both “Goodnight and Go” and “Hide and Seek” were featured on the O.C., after which “Hide and Seek” made its way to #1 on the itunes download chart. In 2006, Heap was nominated for two Grammy Awards and made a legendary appearance at Coachella.
The genius of Imogen Heap was ever-present on Sunday. Catch her on remaining U.S. dates if you can. Otherwise, start listening and don’t miss the next time she works her way through the U.S.
Nov 17 – Granda Theatre, Dallas, Texas (SOLD OUT)
Nov 18 – La Zona Rosa, Austin, Texas
Nov 20 – Exit In, Nashville, Tennessee (SOLD OUT)
Nov 21 – Square Room, Knoxville, Tennessee
Nov 22 – Variety Theatre, Atlanta, Georgia (SOLD OUT)
Nov 24 – Vic Theatre, Chicago, Illinois
Nov 26 – Queen Elizabeth Theatre, Toronto, Ontario
Nov 28 – Higher Ground, Burlington, Vermont
Nov 30 – Sixth & I Historic Synagogue, Washington, Washington DC (SOLD OUT)
Dec 1 – Theatre Of Living Arts, Philadelphia, Pennsylvania
Dec 2 – Webster Hall, New York, New York
Dec 3 – Music Hall of Williamsburg, New York, New York
The more I read about Fanfarlo, the more I get how extensive the interest is in this young, London-based quintet. The band, formed in 2006 by multi-instrumentalist Simon Balthazar, creates highly orchestrated, swelling indie-pop filled with trumpet, violin, mandolin and majestic vocal harmonies. The result is wonderously sublime and buoyont, ripe with an injection of melodic sunshine. The band released their debut album, Reservoir, earlier this year to swelling acclaim. The endearing collection of songs is filled with near misses, but “Harold T. Wilkins” and “The Walls Are Coming Down” get it just right and feel positively good. In an effort to spread the word far and wide and make their music as accessible as possible, Fanfarlo chose to offer Reservoir as a $1 download on their site for the first six months after its release. Seems to have worked well. The band’s heavy internet presence, captivating live show, and appearances at SXSW and CMJ, haven’t hurt either. The blog found on their site homepage and diary is hysterical.
At points, I get the feeling that Fanfarlo might have the undeniable youth-inspired energy of Ra Ra Riot who broke rapidly on the scene back in 2006/07. But I haven’t seen the band live yet, so we’ll have to see if the hype has merit. We’ve got the chance as the rising band is on a highly anticipated tour, hitting intimate venues in music hubs across the U.S.
Nov 13 – Moes, Englewood, Colorado
Nov 14 – The State Room, Salt Lake City, Utah
Nov 16 – Knitting Factory, Boise, Idaho
Nov 17 – Crocodile Cafe, Seattle, Washington
Nov 18 – The Media Club, British Columbia, British Columbia
Nov 19 – Doug Fir Lounge, Portland, Oregon
Nov 20 – Great Basin Brewing Company, Sparks, Nevada
Nov 22 – Amoeba instore performance, San Francisco, California
Nov 22 – Rickshaw Stop, San Francisco, California
Nov 23 – Fingerprints instore performance, Long Beach, California
Nov 23 – The Echo, Los Angeles, California
Nov 24 – The Casbah, San Diego, California
Nov 27 – Muddy Waters, Santa Barbara, California
Nov 29 – Club Congress, Tucson, Arizona
Nov 30 – Sante Fe Brewing Co, Santa Fe, New Mexico
Dec 2 – Waterloo Records instore performance, Austin, Texas
Dec 2 – The Independent, Austin, Texas
Dec 3 – The Loft, Dallas, Texas
Dec 4 – Cactus Records instore performance, Houston, Texas
Dec 4 – Walter’s On Washington, Houston, Texas
Dec 6 – The Bottletree, Birmingham, Alabama
Dec 9 – Metro Gallery, Baltimore, Maryland
Dec 10 – AKA Philadelphia instore performance, Philadelphia, Pennsylvania
Dec 10 – Johnny Brenda’s, Philadelphia, Pennsylvania
Dec 11 – IOTA Club & Cafe, Arlington, Virginia
Dec 12 – Brillobox, Pittsburgh, Pennsylvania
Dec 14 – Majestic Cafe, Detroit, Michigan
Dec 15 – El Mocambo, Toronto, Ontario
Dec 16 – Il Motore, Montreal, Quebec
Dec 17 – T.T. The Bear’s, Cambridge, Massachusetts
Dec 18 – Webster Hall, New York, New York
Grizzly Bear just released an extraordinary claymation video to go along with the song “Ready, Able”, off of their summer release Veckatimest (2009). The video, directed by Allison Schulnik, depicts creatures as their colors and forms melt and morph in a fantastical natural world. The music provides a gorgeous backdrop. As the song floats along, so does the story.
The band’s eccentric sound incorporates lush choral arrangements, atmospheric folk melodies, and exploratory song structures. The harmony-laden, lush grandiosity of their swelling tunes, feature dreamy vocals from all four members. The resulting resonances and melodic swirls offer a seductive, boozy elegance. Their music plays like the Beach Boys mixed with Nick Drake, fused with the theatrical feel of Devotchka and a touch of David Byrne.
Grizzly Bear formed in 2000 in Brooklyn with members Daniel Rossen (vocals, guitar, keyboards), Ed Droste (vocals, guitar, keyboards), Chris Taylor (bass, backing vocals, various instruments, producer) and Christopher Bear (drums, backing vocals). Droste wrote the first album as a form of catharsis after a bad breakup. He gave the CD to his friends and a copy found its way to Bear and Taylor, who liked what they heard. The two met Droste by way of a friend and offered postproduction and remixing help on the songs. The result was Horn of Plenty (2004). Rossen joined to perform guitar on the live shows. In 2006, the band had the good fortune to support TV on the Radio, in 2007, Feist, and in 2008, the band opened for Radiohead on the second leg of their North American tour. On the last date, guitarist Jonny Greenwood named Grizzly Bear his favorite band. Other admiring fans of the group include Fleet Foxes, Jeff Tweedy, CSS and Beirut.
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