Posts Tagged ‘Louisville’

From White Reaper’s debut full-length album, “White Reaper Does It Again”, out 7/17/15. For some people, what makes a song really great is how good it sounds when you’re driving a car. Meaning, is this something you’re gonna play when you’re driving around and you need to show your pals something really sick and everyone will dig? Or if you manage to steal the aux cord from whoever’s driving there better be a reason why they shouldn’t throw you out of the car. A good reason would definitely be White Reaper. White Reaper is a band from Louisville, KY that play thrashy but shamelessly fun rock for you and your friends. Their new record, “White Reaper Does It Again” features the band playing 12 tracks of distorted rock to drive for miles to. On “Sheila,” their singer Tony Esposito jams and chugs through the song’s verse, before a synth line surfs in for the chorus, something you really want to cruise with. It’s a track that’s well-written and perfect for driving your car to the beach, the moon, or wherever possible.

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The Waves are a Psychedelic Pop project based in Louisville, Kentucky. The band are effectively the solo project of Austin Garner (although there is a drummer for live gigs) and from the sound of this single he is completely immersed in all things psychedelic. ‘Drifting’ is a totally blissed out song for balmy summer daze and ‘(I Can’t Seem to Get) Away From You’ is a Wondermints/Jellyfish style Psych Pop piano ballad with gorgeous multi-tracked harmonies……….download this and wait for the album. Available as a “name your price” download from http://thewaveslouisville.com/album/drifting-away-from-youplus there is a very cool pic of Nico on the cover.

The group came to be from a musical project started by Singer/Songwriter Austin Garner in 2010. The group went through multiple lineups as the self titled album was recorded and released in 2014.

The group is currently a two piece consisting of Austin Garner on Guitar and Vocals with Tai Lendh on Drums

WHITE REAPER – ” Cool “

Posted: March 20, 2015 in MUSIC
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Louisville’s premier garage-punk trio White Reaper were nonetheless one of the bands who where recommended to me recently, White Reaper’s three members – singer/guitarist Anthony Esposito and the rhythm section of identical twins Nick and Sam Wilkerson – are thick as thieves, and have played together in countless different arrangements over the years. Their self-released 2013 single “Conspirator” b/w “The Cut” best demonstrates the immediacy of their breakneck live sets – one listen and you feel as though you know every one of Esposito’s crunchy guitar riffs and melodic hooks by heart.

 

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Joan Shelley’s music is startling,  It startles because of its closeness, the near-instant sense of familiarity we feel when you listen to it. Her songs fill the air around you, echoing and resounding like a voice lost in the later of American and British folk revivals – some Anne Briggs maybe even a little of Linda Thompson. But none of them are “trad arr. Shelley.” Joan wrote them all. Listen to her sing and it’s evident. You’ve never heard that voice before, either. its just perfect and timeless. Electric Ursa was recorded in Louisville, Kentucky and marks Joan’s first release for No Quarter Records.

It includes collaborations with new labelmate Nathan Salsburg, as well as several other of Louisville’s fine musicians. In the eight songs that make up this record, we are seeing an artist in her stride, able to move seamlessly between darkness & light, attempting to reconcile the wild expanse of the future with the burdens of memory. And at the center of it all are songs of a nature beautiful, precise, and clear vocals , delivered to us by her singular voice.

Over the past five years, Joan Shelley has recorded several albums, toured with her band, on her own, and as a duo with Daniel Martin Moore, playing concerts for spellbound audiences all over the globe.

Upcoming shows  UK tour dates:

04 Mar | The Glad Cafe, GLASGOW ,05 Mar | The Old Fire Station, PENRITH, 06 Mar | View Two Gallery, LIVERPOOL ,07 Mar | The Lounge at Gullivers, MANCHESTER, 08 Mar | De La Warr Pavilion, BEXHILL-ON-SEA ,09 Mar | Regal Eagle Session, LONDON, 10 Mar | Rough Trade West, LONDON 6pm, 11 Mar | The Green Note, LONDON

From the new album “Little Neon Limelight” out March 16/17th, This is a busy week for the members of the Louisville, Kentucky–based band Houndmouth. The quartet kicks off their North American tour , tonight, before swinging South next month, hitting several prominent festivals including Texas’s SXSW, Alabama’s Hangout, and Tennessee’s Bonnaroo before wrapping up back in Kentucky at the Forecastle Festival in July.


The band is also gearing up for the release of its sophomore album, Little Neon Limelight (out March 17th), featuring the track “Otis,”  written by keyboardist/vocalist Katie Toupin, it’s a tribute to, yes, that Otis, the late Georgia soul singer Otis Redding. Toupin’s serenade is accompanied by the band’s signature four-part harmony. Toupin wrote the song’s chorus first, and it was only when she began working on the verses that she realized her love for Redding was complicated. “When you truly love a voice,” she says, “you feel like you get it in a way that other people don’t.

“Long Shadow” by Twin Limb ,is a dream-folk trio from Louisville. They formed in 2013 as the duo of Maryliz Bender (vocals, drums) and Lacey Guthrie (vocals, accordion). They were later joined by multi-instrumentalist Kevin Ratterman. He plays guitar, adds additional percussion, and runs a midi/laptop setup. Yesterday, they officially released their first standalone single, and there should be a debut album on the way shortly.

The band cites influences such as Sigur Rós, Mazzy Star, Zola Jesus, and Bat For Lashes. I can definitely understand that, Also sounds like a really stripped down Zola Jesus. With a dash of Sylvan Esso, and a dash of  Sharon Van Etten thrown in. “Long Shadow” was unleashed on soundcloud about a month ago, but it was finally made available for downloading yesterday. There’s something unusual and unsettling about this song. The slowly tumbling, tom-heavy drums and the dark, heavy bit played by the accordion give it a very menacing sound. It gets to the chorus, and things get much brighter right away. At least temporarily. The faux strings section brightens it up. The vocal chorus brightens it up. At the end, it starts soaring, Then it keeps rising and rising, daring to kiss the stratosphere.

The vocal that keeps going “Over you, Over you” that I’m reminded of Sharon Van Etten’s wonderful 2012 album Tramp. “Long Shadow” song is sad and triumphant at the same time. It simply isn’t long enough.