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.
In early August, Modest Mouse released the music video actor Health Ledger directed for the song “King Rat”, a bonus track off of 2007’s We Were Dead Before the Ship Even Sank.
The animated video was conceptualized and directed by Ledger, but left unfinished when the actor died of an accidental overdose in January 2008. The Masses, the film company that Ledger was a partner in, completed the video in his honor. The video was animated by Terry Gilliam (Twelve Monkeys, Fear and Loathing in Las Vegas).
Disturbing and intense (consider this before watching), the video presents Ledger’s unique perspective on illegal whale hunting, an abuse which he stood vehemently against. It reverses the role of whales and the poachers who hunt them off the coast of Australia. In the video, humans are hunted by a ship of whales. They are harpooned, beaten with clubs, skinned alive, processed and made into seal food.
Modest Mouse chose to release the video in honor of Ledger, being his last directorial work. According to the band, Ledger approached them with the concept for the video back in January 2007. “Heath and I have a mutual friend and when we were in Australia, some of us in the band went out on a boat with him and his family and friends and talked about the idea,” Modest Mouse frontman Isaac Brock told VH1 in 2007. “The idea sort of dropped, but then he just sent me an e-mail saying that he wanted to do it.”
The band wrote the following in a post on their Myspace blog. “Always one to operate from his heart and take a stand for what he cared deeply about, Heath’s intention was to raise awareness on modern whaling practices through a potent visual piece without having to say a word. It was his way to let the story, in its candid reversal, speak for itself.”
Proceeds from the iTunes download of the video benefit the Sea Shepherd Conservation Society, an international non-profit organization committed to ending the slaughter of ocean wildlife worldwide.
In 2006, friends Erick Crosby (guitar, vocals), Drew Rassmussen (drums), Jeff Pappendorf (keys) and brothers Nicholas David (Guitar) and James David (bass) came together to create an outlet for their musical ambitions. They named the band Yourself and The Air. Crosby, who started the group, chose to leave school at the College of Du Page in Chicago to write music for Yourself and the Air over pursuing music within the confines of an institution. The band had one goal: “make music and feel better”. And they were driven by the notion that as artists there is no other choice than to make art and share it.
I fell upon the band through a recommendation from a worthy source and was immediately pulled in. The musical concept is familiar but the earnest truthfulness and emotion that I sense behind the notes sets the group apart. The rolling guitar-driven indie rock embodies a deep mixture of sounds. It feels intimate and seemingly comes natural to the group of self-proclaimed amateurs.
The band’s first release came in 2006, “Hola mi Cielo”, and in 2007 they released “Cold Outside Brings Heavy Thoughts to Think”. They began touring nationally in 2008 and responded with the EP “Friend of All Breeds”. As the band puts it, with this record, Yourself and The Air stopped playing instruments and started playing songs.
Imagine seeing Thom Yorke (of Radiohead) play a small club. No momentous visual effects and light boards but instead you’ve got the sonic genius of Yorke up close and personal. A limited number of fans watched Yorke perform his solo album “The Eraser” in its entirety last Friday at the Echoplex in L.A. (660 capacity) and at the Orpheum Theatre (1970 capacity) on Sunday and Monday. Other songs included several new and/or previously unperformed songs plus the Radiohead B-side, “Paperbag Writer,” from 2004’s ‘COM LAG’ EP. The star-filled band featured Beck’s Joey Waronker on drums, Red Hot Chili Peppers’ Flea on bass, Mauro Refosco of David Byrne and Bebel Gilberto on percussion, and longtime Radiohead/Yorke producer Nigel Godrich on guitar/synths/laptop. The “public rehearsal” at the Echoplex was announced on Friday at 8:30am and tickets sold out within the hour once released at noon. Madonna, Prince, Sting, Slash, Neil Diamond, Celine Dion, Daft Punk, Zack De La Rocha, Spike Jonze, Rick Rubin, and Barbra Streisand were all there.
If you didn’t make it in, check out some the videos taken over the 3 nights. Yorke’s humor comes out in these clips plus his righteous dance moves. The magic of these evenings is felt.
10.02.09 Echoplex – Los Angeles, CA
The Eraser, Analyse, The Clock, Black Swan, Skip Divided, Atoms for Peace, And It Rained All Night, Harrowdown Hill, Cymbal Rush
Encore I (Thom solo): Open the Floodgates, Lotus Flower, Skirting on the Surface, Judge, Jury, Executioner
Encore II (full band): Paperbag Writer, The Hollow Earth, Feeling Pulled Apart by Horses
10.04.09 Orpheum Theater – Los Angeles, CA
The Eraser, Analyse, The Clock, Black Swan, Skip Divided, Atoms For Peace, And It Rained All Night, Harrowdown Hill, Cymbal Rush
Encore I (Thom solo): Lotus Flower (Moon Upon A Stick), Open The Floodgates, Super Collider
Encore II (full band): Paperbag Writer, Judge, Jury & Executioner, The Hollow Earth, Feeling Pulled Apart By Horses
10.05.09 Orpheum Theater – Los Angeles, CA
The Eraser, Analyse, The Clock, Black Swan, Skip Divided, Atoms For Peace, And It Rained All Night, Harrowdown Hill, Cymbal Rush
Encore I (Thom solo): Lotus Flower (Moon Upon A Stick), Skirting on the Surface, Super Collider
Encore II (full band): Paperbag Writer, Judge, Jury & Executioner, The Hollow Earth, Feeling Pulled Apart By Horses
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