popwreckoning

There are very few bands that I would consider featuring without running some sort of review or interview. The Delta Saints, however, are a band that I believe everyone should hear of. There’s so much I want to say about these boys.

The Delta Saints‘ high-energy style merges southern rock, blues, and soul into a sonic array of sounds and ideas that come out sweatily and wholly their own.

A Nashville band with multiple connections to the Lawrence music scene, they did an acoustic in-studio session at KJHK, KU’s student-ran radio station. I was lucky enough to sit in on the session with them. You can view a video of it here:

The Delta Saints – VooDoo Walk

In order to record their first full-length Death Letter Jubilee, The Delta Saints have started a Kickstarter campaign and have some pretty awesome rewards for anyone who backs them.

They play Kansas City at the Brick tonight (Oct. 29) with Root and Stem and Cowboy Indian Bear. They also have a few more tour dates coming up, which you can check out below. Make sure you go out and support these guys, check out a show, donate to their Kickstarter, buy a CD, or send them a comment on Facebook. Anything helps and a little goes a long way.

Make Do and Mend have announced they are releasing an all acoustic EP. Part and Parcel will be released on Paper + Plastick Records on November 22. You can stream “Unknowingly Strong” on their artist profile through absolutepunk.net here. Part and Parcel can be ordered on the MDAM webstore or a special from Paper + Plastick that includes moving clock parts.

They play The Fest in Gainesville then hit the road for most of November supporting Senses Fail and again in December supporting Thursday. Check out all of their tour dates below.

www.makedoandmend.me
www.myspace.com/makedoandmend
www.paperandplastick.com
www.panicrecords.net
10/29 – Gainesville, FL @ The FEST

w/ Senses Fail
11/4 – Detroit, MI @ St. Andrews Hall
11/5 – Chicago, IL @ The Bottom Lounge
11/6 – Lincoln, NE @ Bourbon Theatre
11/8 – Denver, CO @ Marquis Theatre
11/9 – Salt Lake City, UT @ In The Venue
11/11 – Seattle, WA @ Studio Seven
11/12 – Portland, OR @ Hawthorne Theater
11/14 – Pomona, CA @ The Glass House
11/15 – San Diego, CA @ House of Blues
11/16 – Mesa, AZ @ The Nile
11/18 – Austin, TX @ Emo’s East
11/19 – Houston, TX @ Fitzgerald’s
11/21 – Nashville, TN @ Exit/In
11/22 – Covington, KY @ Mad Hatter Club

w/ Thursday
12/26 – Sayreville, NJ @ Starland Ballroom
12/27 – Washington, DC @ 9:30 Club
12/28 – New Haven, CT @ Toad’s Place
12/29 – Boston, MA @ Royale Nightclub
12/30 – Philadelphia, PA @ Theatre of Living Arts

My Chemical Romance tip-toed around it in their album The Black Parade, but minus a few antics from Gerard Way there are very few if any bands that write music better suited for that of a cabaret than a bar. That is until you hear the recent album from Randall Shreve and The Sideshow. Appropriately titled The Jester, this album is full of top hat tipping, line dance kicking, attitude-filled tunes.

Take the first track “Alcohol”, from the first few moments you’re taken to a place with felt covered walls and dim lights. The tempo sashays back and forth between school band and a slow swing. Vocals are precise and distinct; Randall wants to make sure you hear each word.

Folk music makes a little appearance in the song “Strange”. A slow banjo pluck and a few bass brass notes bring the song in. The tempo is a touch slow and a little difficult to really get into until about a 1:30 in. This is when the other instruments take stage and bring everything to a rock level – full of angst and thrashing drums. The song jumps back and forth between these two planets of sound, which in the end works in their favor by keeping the audience intrigued.

In the song “Kiss My Ass” Shreve and the guys take that slow sway and mix it with a 60s barber shop piano melody. The vocals are so pleasant and expertly harmonized that you almost miss the random naughty words thrown in every once in a while. There’s also a sense of comradery among the members near the close of the song, you’d imagine arms over arms and smiles all across as they sang and swayed in unison.

Near album end you’ll find “Your Mother’s Fault” and a sound on a slightly different level than the rest of the album. The tempo is still about the same and fairly slow, but this time it’s riddled with electric guitar solos. This new “solo” element also shows up with the vocals at one point and together create some great drama throughout the 4 ½ minutes.

There really isn’t another band that I can compare to Randall Shreve and this is something that makes them a band to know. Their live set is just as fun as you’d imagine, but until you’re able to catch one, you’ve got The Jester to entertain.

Track Listing:

1. Alcohol
2. Pier 14
3. Strange
4. Pale Blue
5. Blood
6. Tango #69
7. Stoned
8. The Ghost
9. Haunt Me
10. Kiss My Ass
11. Your Mother’s Fault
12. The Clown
13. Where’s It Hurt?

Annabel, Empire! Empire! (I Was A Lonely Estate), Joie de Vivre, and the Reptilian are all featured on a 4-way split by Count Your Lucky Stars Records. Pre-orders are available now and the split is set to ship late October/early November.  You can listen to the Reptilian‘s contribution on the CYLS bandcamp.

To pre-order, go here.

www.cylsrecords.com

Frightened Rabbit released their new 3-song EP for free download. All that’s needed is a simple email address and it’s all yours. To download, go here.

A limited edition 10″ vinyl is set to be released on Atlantic on Oct. 31.

frightenedrabbit.com
facebook.com/frightenedrabbit
atlanticrecords.com

Anders Trentemøller ran his North American live tour through Liberty Hall in Lawrence, Kan. on October 19. He’s a Danish electronic composer with a fantastic ability to play with the power of a show between his forefinger and thumb.

The general tone is dark and ominous, with pleasant variations and light notes in between pieces with heavy bass beats and synthetic technic glitches. He does fantastic work on the tables, skewing samples varied by the cluster of knobs, wheels, and sliders under his bangs which cover his intense eyes the majority of the show.

 Xylos, a band from NYC, opened for Trentemøller for roughly thirty people spread about the main floor of the venue who found it nice to be able to sit on the step a set of paces away from the stage. By the end of their show, the number probably tripled.

Together for a little over a year, they play a dance-y sort of indie-rock through an array of instruments including two MIDI devices, a keyboard, drum set (both synth and standard), bass, guitar, bells, tambourines, hand claps, and anything they may have found in their tour bus. They control all these over the setlist with five members.

Being an opener, they had a spatially compact set which caused some issues along with minor audio problems, but they handled them fine and had fun. Their merch table had an oldschool Lite-Brite with ‘Xylos’ lit up, each letter to its own color. We bought two of their albums. Definitely worth checking out if you’re into the genre.

By the time Trentemøller had set up and gone through last-minute sound adjustments, the lower level of the venue had been filled to a point where you couldn’t see open floor, but it certainly wasn’t packed. The hall was not without black colors, piercings, and makeup. The size of the crowd kept it relatively tame throughout, but those who enjoy his style got to see a solid performance.

Alongside Anders, a four-piece band accompanied his electronics with two guitars, a bass, and drum set. His domain on stage included two keyboards with MIDI controllers on top of them, a splash symbol with two woodblocks clamped to its stand, and a Little Legends toy piano with a glockenspiel on top. He was wearing black leather boots, dark grey pants, and a black shirt with a black vest over it. Al Davis would’ve loved the scheme.

He smashed the symbol often to create a very offsetting tone, which supplemented the glitchy effects. By the end of the show, a sector of the symbol had cracked nearly to the center. I didn’t believe it was going to make it through the show, and in fact, it didn’t. The bassist smashed it with the neck of his instrument, sending the symbol, stand, and woodblocks to the ground near the end of the set. It never made it upright again.

The stage had screens capable of raising and lowering to center focal points of the arrangement and provide backdrops for video effects and reflected light. LED strobes, flashbulbs, dark red lowlights, bright bursts. All stimulating a sense other than our hearing from start to finish.

Trentemøller himself had quite an animated stage presence. He moved around his domain, eyed the crowd over his tables, jumped with timely precision, cheered along with the audience, and seemed to be having a great time doing it. There was a sort of quirkiness and uniqueness to his style of entertainment. He smiled so often while playing. The live band did as well.

Errors couldn’t be spotted easily because the genre brings glitches and dissonance with it. The glitches and dissonance are not a negative thing with the sound. It’s all very controlled and well-thought. They played as if they were having a total blast, and it resonated into the crowd, creating a general sense or feeling that what they were doing was correct. Additionally, the band did well with crowd interaction. They got everyone amped up for the drop-ins, the big hits. It’s the sort of music you enjoy moving to.

For his popular hit track “Miss You,” he started alone on stage with the movable screens raised, blocking out the sides and back, to focus attention on himself in the center of the stage. He controlled samples on the tables while playing the glockenspiel on top of the toy piano. It looked very neat and controlled, professional, like watching a hibachi chef. They never screw up, and they’re usually smiling.

The piece’s composition is very calm and beautiful. As the song neared its peak, the screens started to lower and the live band added instruments slowly to mesh with his samples. The distortion and effects kicked in, and the sound jumped to an awesome level.

Around half of the setlist included songs from the album The Last Resort. They finished the show with “Silver Surfer,” all smiling and seeming to really enjoy the atmosphere. After the end fade, Anders and the band came together with bright lights on them to close off the evening with applause, claps and waves.

I’m very glad I got to see them live. I’d like to see him in a full house with more crowd energy someday. The mixture of electronic work and live instruments, while incongruent to his albums, meshed well for a fantastic sound.

Review and photos by Mitch Favrow

Live Music is the newest release from Rough Trade Records and The Strange Boys. Now, the title is “Live” as in “give” or “with” not “strive” or “drive.” This IS NOT a live record at all. True, the title may cause some confusion, but The Strange Boys music shows that they are not confused at all.

The Austin, TX band fronted by Ryan Sambol have been playing since the early 2000’s when they formed from junior high jam sessions. This is the bands third full-length record and the first that will be released exclusively on the prestigious UK label Rough Trade.

Live Music sits comfortably in one sound, one style, one genre for the approximate 45 minutes that it plays out. What is that genre? Good question. The record definitely exists in a retro vibe but still has a very modern attitude. Dancey, rock ‘n’ roll, soulful, folky: these are the first words that come to mind. As far as a genre, well, we haven’t figured out a word for it yet. Whatever you want to call it, The Strange Boys are completely comfortable making that kind of music.

If you like Dr. Dog’s tendency to go retro, then this is the album you have been waiting for. The Strange Boys have found a way to take their style and recordings completely back to the 60’s, while somehow still keeping the music relevant to modern ears.

Sambol’s charming, whimpering voice creates a happy, lazy atmosphere. Especially on a track like “Mama Shelter” his vocal stretches and reaches for high notes like a lazy cat waking up from a nap stretching out it’s legs.

The Strange Boys also use the album to show off the large array of instruments that they can play. The typical acoustic, electric, bass, and drums are offered up in most songs. Then they add in little touches of upright piano, harmonica, and banjo. In the song “Right Before” an organ is also featured. All of these instruments, and especially the way they are expertly played and recorded, add to the classic 60’s and 70’s sound that is achieved on the record.

Not a soul who claims to like any kind of rock music could seem to find anything unpleasant about “Live Music.” The only problem is, just being pleasant sometimes isn’t enough to be remembered. By listening to one or two songs of this album you basically get the idea. Nothing new can be learned about the band or what they do by listening to all 14 songs.

I find it troubling as a listener that I still can’t figure out how something with such an interesting and developed style could end up coming across as boring when put in the context of an entire album. Each song is very likable on it’s own, but as an album they all just blur together.

In the end, Live Music is still missing that one single. That standout song that defines the record and the band. Unfortunately, this could be the thing that holds the album back from being heard by the vast majority of music fans.

With that being said, The Strange Boys’ “Live Music” is still worth a good listen or two. If a person can get past the second half of a record that drags then there is no doubt they would love the album. And for the rest of us, there are at least a few great songs to keep in the ol’ iTunes.

Songs to listen to:

Track 1- Me and You
This song starts the record out strong with a cool 70’s Kinks kind of vibe. The closest track that could be considered as a single.

Track 4- Punk’s Pajamas
A very catchy rock ‘n’ roll number that will pick up the spirits on a rainy day.

Track 5- You and Me
A breath of fresh air. It’s always nice to take a break for a love song in an album like this.

Track 12- Hidden Meanings, Soul Graffiti
One of the few tracks that breaks the mold just a bit near the end of the album. Unique driving chorus that builds and builds.

Review written by Mat Shoare

So, there’s this band whose CD has been playing in my car constantly since seeing them at Crosstown Station a while back. They’re called The Bright Light Social Hour and they’re from Austin, Texas.

It was one of those impulsive “I’m going to see this show, it could be really awesome or really terrifying” kind of nights. Well, it was definitely the former.

TBLSH has been on tour since September throughout the entire U.S. and Canada. They even made a PSA video about their tour.

If they played the whole tour like they did in KC, I’m sure they are making an impact in every single venue. They are just one of those bands. The kind you dance to the entire night, get their songs stuck in your head for weeks, and that you can’t seem to get enough of.

Sitting down with them before the show I could tell it would be an eventful night. Between the laid back personalities and the kindness of every member, they treated me like I had known them for months.

TBLSH is fronted by bassist and lead vocals, Jack O’Brien who’s stage presence pulls the audience in. Although, it could be his long hair and epic moustache that makes him so memorable.

These guys know how to rock, plain and simple. Their sound is a fusion of blues, funk and southern rock all mashed together making a beautiful blend that appeals to any loving rock n’ roll fan.

There’s this moment in their live show that sticks out the most. During a dynamic guitar solo from Curtis Roush, all four band members dancing around the stage stop to snap their fingers in the microphone.

After giving their self-titled a listen, the snapping has easily become my favorite part of their album. About halfway through the 10 minute track “Garden of the Gods,” I find myself snapping along with ease and usually rocking out the solo in my car.

Oh, and they have a keytar. Any band with a keytar is a win in my book.

These guys took home six awards at SXSW 2011, including Band of the Year, Album of the Year, Song of the Year, Best Bassist, Best Keyboardist, and Best Producer. They have played Austin City Limits, appeared on the cover of The Austin Chronicle twice, were featured in Paste Magazine’s Best of What’s Next and have sold out multiple venues in Austin and across the U.S.

The Bright Light Social Hour is a band we all need to keep our eyes on. They’re going places.

Hurry Up, We’re Dreaming is the sixth album from M83, AKA France’s Anthony Gonzalez.  The album is sprawling and ambitious, full of huge electronic hooks and filtered vocals. It’s brilliant, and occasionally bizarre dance music. Nearly every track sounds like it could be a pop hit.

The album begins with a five minute intro that begins with ambient synths, and whispered vocals. The song continues with Gonzalez reciting the phrase “carry on.” The song gets very big, very quickly. Zola Jesus joins in a kind of duet, and the sound of hope floats in. The song introduces us to the sound of the record, which is ‘80’s synth pop filtered into ‘70’s arena rock bombast, and Brian Eno ambience.

The next track, “Midnight City,” begins an instant hooks, which leads into a big ass beat. The hook continues through until the end. The song eventually fades out with the sound of saxophones. It’s interesting, this is obvious pop music, but it’s almost impossible to sing along to. This is music made for either car stereos, or to be heard through headphones. It’s rare that music can be heard so well as both.

Of course, not everything here is a pop song. “Raconte-Moi Une Histoire” is a spoken word piece. It’s basically the sound of a child actively endorsing the licking of psychedelic frogs. No, seriously. It’s funny once or twice, but it gets grating after a while. It interrupts the flow of a record that often works great as background  noise.

The only other real flaw is the length. At 72 minutes, spread over two discs, it’s a chore to listen to in one sitting. It’s a great record, but a bit extravagant. Still, as the outro fades out you won’t be disappointed. The anthemic songs will hook you into the dreams of the brilliant songwriter who made the record, and you’ll be coming back for more.

Tracklisting
CD1
Intro (featuring Zola Jesus)
Midnight City
Reunion
Where the Boats Go
Wait
Raconte-Moi Une Histoire
Train to Pluton
Claudia Lewis
This Bright Flash
When Will You Come Home?
Soon, My Friend

CD2
My Tears Are Becoming a Sea
New Map
OK Pal
Another Wave From You
Splendor
Year One, One UFO
Fountains
Steve McQueen
Echoes of Mine
Klaus I Love You
Outro

As Hell or Highwater (formally known as The Black Cloud Collective)  makes their debut on the Rockstar Uproar Music Festival, promoting their new band, Brandon Saller (drummer-vocals from Atreyu) sat down to give us an insight on what to expect from this upcoming band.

Elicia Nichols, PopWreckoning:  Why did the band choose to change the name from The Black Cloud Collective to Hell or Highwater?

Brandon, Hell or Highwater:  We wanted something that was kind of a statement name.  I think that all of us being around other bands have done this before.  The touring, the success, the struggle and we have had all the things that a new band has never experienced.  For us this is about the band of our lifetime and the music of our lifetime.  This to us is the shiny moment of our careers, thus far, we wanted it to work.  The saying is an expression of determination and we wanted to show our determination.

PW:  What other bands had you been working with?

Brandon:  I had played with a band called Atreyu, and then a couple of the guys our drummer and bass player were in a band called Thieves and Liars, our guitar player was from a band called the Confessions, so we all kind of came from different bands.

PW: What direction did you take your music with the new album Begin Again?

Brandon: It is a lot more rock and roll based, it’s a complete one eighty from Atreyu.  I don’t want to be considered a one trick pony, and I don’t think any of the guys would be considered one.  This style of music came naturally to us.  We are an open minded band and in my head we were excited about gaining new fans that had never heard our name before.  I think the fans of Atreyu would be into it as well especially those who enjoyed the last three Atreyu albums.  I think this music stands out on its own, without recognition of our past work.

PW: How long did it take to write the album Begin Again?

Brandon:  I wrote most of the songs in six months in between tours, and then we all got together and wrote the final three songs.

PW:  When did you release Begin Again?

Brandon: The album was released on August 9^th.

PW: With the Uproar Festival being your first tour as Hell or Highwater, I take it the band formed pretty recently?

Brandon: Yeah, we have only been and known each other for about a year.

PW: So do you feel you know each other pretty well?

Brandon: Yeah, it is a strange connection we all have its like we feel we have known each other for a while.  It’s important to have a connection and a similar goal.

PW: I understand Hell or Highwater is featured on the Muppets movie soundtrack which is set to release in November.  What was it like being a part of the soundtrack?

Brandon:  I did the song with a friend of mine Billy Martin who plays in Good Charlotte.  I had the opportunity over a year ago to do the song.  I love expanding in any way possible and doing new things , so  this was really fun to me. I have always been a huge fan of Billy and we have been friends for a while.

PW: So did you write the song for the movie or did you submit a previously recorded track?

Brandon:  The whole record for the Muppets movie is a second hype tool for the movie.  So we were covering Muppets songs.  We had the song called “Nightlife”, it was different because we listened to the song and did not know how to or how we could turn this into a rock song, like we had written it ourselves.

PW: If you were to fight any historical figure who and where would it be?

Brandon:  Ha-ha, Fuck, I’m not that pissed at any body.  Um, I’ll go for like a George Washington and he can pick the place.

Interview and photography by Elicia Nichols