Posts Tagged ‘Ava Luna’

Moon 2

On Moon 2 Ava Luna’s de facto band leader Carlos Hernandez steps back, leaving space for the rest of the band members to step up and step into roles they hadn’t occupied on previous albums.

Felicia Douglass (now a touring member of Dirty Projectors) worked with percussion and sampler, Julian Fader experimented with synths, nearly every band member ran the computer during recording sessions, and Becca Kauffman (aka performance artist Jennifer Vanilla) composed her first song for the group “On Its Side the Fallen Fire,” a deeply layered orchestral piece of kate bush grandeur meets julia holter reverie. compared with previous Ava Luna albums, Moon 2 has fewer sharp turns into dissonance, fewer celebratory guitar parts, none of Hernandez’s signature screams. nevertheless, the infectious buoyancy of “Deli run” and “Walking with an Enemy,” are warm and bright, and songs like “Centerline” and “Phoebe (set it off)” venture confidently into pop territory. the title track, paint ing the elation and tumult of a crush, is set against a swaggering reggae bassline and warbling kraftwerk synths. “it’s like, every sci-fi movie has a nightclub,” says Kauffman.

http://

nadine oh my

Collaborative projects maintained from a distance are rather commonplace in today’s musical climate, but few retain the intimacy and ingenuity of nadine.  the three-piece is the creative byproduct of Nadia Hulett, part of the collective phantom posse, and Julian Fader and Carlos Hernandez, both of  Ava Luna.  though spread out across the country in different cities at different times, the trio linked up outside of Austin to cut oh my, an effortless, adventurous pop exercise in the form of a debut album.

Here to remind us that music is not just an audible experience, Minneapolis / New York’s Nadine make melodies that transcend acoustics. Their debut album Oh My is collection of sophisticated modern pop songs that resonate in the gaps, the space between deadlines and timelines. More akin to poetry set to music, Nadine is all about exploring feeling. Whilst most poets revel in the personal, Nadine’s process is collaborative whose core is singer Nadia Hulett (part of the loose collective Phantom Posse) and Julian Fader and Carlos Hernandez .

http://

The trio’s practice is marked by their commitment to playfulness, curiosity, and fluidity. Nadine’s songs have one foot standing firm in pop, but ebb and flow with exploration and experiment. Recorded over two years in Gravesend Studios in Brooklyn, NY and Dripping Springs in Austin, TX. Polyphonic melodies swing and gambol, instrumental layers take generous flourishes and unexpected turns with an ear to the wondrous and occasionally weird, crafting jazz-tinged lounge-pop all held together by Hulett’s characteristic vocals, strong with a sincerity and gentleness that holds the listener.

nadine’s debut is out today via father/daughter in the united states and memphis industries everywhere else.

http://

The seeds of Ava Luna’s latest album “Infinite-house” came about when the band was holed up in the unincorporated town of Benton, Miss. they happened upon an abandoned residence in the middle of the woods, which served a potent image throughout their writing process. It’s an appropriately spooky beginning for the Brooklyn quintet, whose handful of releases since their 2009 inception have tended toward the spectral and metaphysical—misremembered echoes of a delicate swirl of R&B,plus the ritualistic ecstasy of krautrock. But despite the album’s unsettling origins and the band’s otherworldly history, the lyrical interests of “Billz”, their first single from the record, are overwhelmingly practical.

“Who’s gonna pay my bills?” singer/guitarist Carlos Hernandez repeatedly cries amid a clatter of guitars and cymbals. The familiar question comes at the center of what’s otherwise a relatively straightforward love song, a surprisingly cynical meditation on the most utilitarian of concerns. The band’s instrumental attack, built around a couple of contorted guitar leads and buoyant keyboard lines, remains idiosyncratic, but it strips back a fair amount of the sonic clutter to foreground Hernandez’ vocal and the practicality of his message.