Posts Tagged ‘Goddamn Band’

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Kevin Devine is an independent singer/songwriter from Brooklyn, NY. He plays alone, with his Goddamn Band, and as a member of Bad BooksKevin Devine released his ninth full-length, Instigator , and he just kicked off a headlining North American tour with Adult Mom and Chris Farren as support. To mark the occasion, he’s releasing a video for “Daydrunk,” a song about resisting the temptation to stare down the bottom of a bottle in the daylight hours. The video was directed by Daniel Ralston and stars Devine, Heather Matarazzo (Welcome To The Dollhouse, The Princess Diaries), and Gaby Dunn as customers at a dive bar — they do karaoke, ward off unwanted advances, make tough decisions that could impact other people’s lives. All in a day of dark, depressing daydrinking

“Daydrunk” from Kevin Devine’s Instigator, out now on Procrastinate! and Triple Crown Records.

Kevin Devine is a master storyteller, an independent singer/songwriter from Brooklyn, NY. He plays alone, with his Goddamn Band, and as a member of Bad Books. he imbues his ninth album “Instigator” – from the biting power-pop of “Both Ways” and “No Why” to the angular, Nirvana-esque “Guard Your Gates” & gorgeously finger-picked “No One Says You Have To” with intricate details and often-uncomfortable truths. Their meanings are personal, but their themes are universal. It’s a skill that makes both his albums and his live show so alluring: Even when Devine’s writing about the world at large, he’s pointing a mirror back at himself. And it’s there on “No History,” a string of personal vignettes centered on the September 11th, 2001 attacks. It’s a song made much more meaningful by both the din of the 2016 presidential election and current global climate.

Kevin Devine is going it alone these days. Not musically, so much, as he’s never short of collaborators to lend their hand to his various efforts. But, in just about every other respect, he’s operating largely as a one-man operation. He’s releasing his own music through his newly-minted Devinyl Records imprint, crowdsourcing via Kickstarter to fund the release of his records, and even doing the lion’s share of the legwork on the promotional front. You know, because the life of a working musician isn’t busy enough.

Kevin Devine seemingly couldn’t be more reenergized by the entire process, so much so that the fruits of his fundraising allowed for not one, but two new records, each one tailored to decidedly different sides of Devine’s punchy pop rock personality. “I might be someone who is uniquely positioned to do it, since I have a few pretty distinct iterations of my musical personality,” Devine says of his decision to parse his new material out over two separate recordings. It’s an accurate statement coming from a songwriter with a firm grip on the two potentially pejorative strains of power pop, that of the sweetly sentimental singer/songwriter and the rock star with a noisy taste for flavorful hooks. Devine’s music dips its toes in both waters,

So to date we have “Bulldozer” and “Bubblegum”, two records with their own feel and identity that together paint a portrait of the artist. But, don’t be fooled by the titles. Ironically enough, the tough-sounding Bulldozer gives in to Kevin Devine’s more streamlined pop inclinations. Backed by members of countrified alt poppers Everest, Devine and his backing Goddamn Band shape-shift their way through the pop rock spectrum, offering up acoustic ballads (“From Here”, “For Eugene”), atmospheric alt rock (“Couldn’t Be Happier”, “Matter of Time”), Beatles-esque pop jaunts (“The Worm in Every”), and hard-driving guitar rock (“She Can See Me”). The reference points are deliberate, with Devine citing Neil Young (Zuma and On The Beach, to be precise), Elliott Smith, Nebraska-era Springsteen, and Teenage Fanclub as sources for the record’s inspiration. It’s quite the grab bag of influences, but Devine makes good use of the sonic sprawl and everything plays nice together.

But, if Bulldozer plays the part of mature older brother, Bubblegum, is the snot-nosed middle child crying out loudly for attention. In part two of his musical juggling act, Devine strips away much of the polish and pop finesse boasted on Bulldozer, allowing for a less deliberate sound that gets by on scruffy volume and youthful exuberance. Devine’s take? “I actually think they kind of yin and yang together pretty well,” he opines. In the end, it’s hard to argue. One hand washes the other,