Posts Tagged ‘Maryland’

Once upon a time, the key word for Wye Oak’s music was “catharsis,” mostly thanks to Jenn Wasner’s volcanic guitar breaks. But on 2014’s Shriek, they dismantled the formula they’d recently perfected in favor of a restart, a redefinition. And The Louder I Call, The Faster It Runs is the culmination of that, an album that defies easy comparison as Wasner and Andy Stack meld stratospheric synths, wiry rhythms, and melted guitar lines. The catharses are often subtler now, but there’s a whole different kind of release in hearing a band sound like this  like freedom. There’s still an inherent melancholy to their music, but Wye Oak are now processing that differently. Rather than stare into the depths of human experience, they’re reaching for the horizon and turning their searching eyes skyward.

The phrase “dream pop banger” would be a contradiction in terms if not for this glorious song, the centerpiece of Wye Oak’s album of the same name. Jenn Wasner, who has spent a decade honing one of the greatest voices in indie-rock, sings about the inexorable urge to seek patterns in chaos, repeating the title with mantra-like fervor: “The louder I call, the faster it runs / The louder I call, the faster it runs.” And then the song seems to do precisely that, growing faster, louder, more joyously overwhelmed, as it spins around and around its central refrain.

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Released April 6th, 2018,

Written and Produced by Wye Oak 
Jenn Wasner: vocals, guitar, bass, piano, keyboards, programming
Andy Stack: drums, guitar, bass, programming, keyboards, piano, upright bass

Pedal Steel on “You of All People” and “Join” by Colt Miller
Cello on “My Signal” by Paul Wiancko 
Violin on “My Signal” by Michi Wiancko 
String Arrangement on “My Signal” by Paul and Michi Wiancko

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In the case of Baltimore’s Have Mercy, what wins out-and what ultimately astounds-is raw, unfiltered passion. The band’s debut LP, The Earth Pushed Back, was one of the most honest records of 2013-an album that fans of punk and emo from Brand New to Tigers Jaw to Taking Back Sunday simply couldn’t afford to miss out on.

Produced by Paul Leavitt (All Time Low, The Dangerous Summer, many more), A Place Of Our Own is a refined, more muscular version of what they did well on The Earth Pushed Back – as if they trimmed the fat on some aspects of their sound while showing major growth across the board. It’s an organic, sometimes subtle and sometimes very noticeable type of growth. Everyone simply sounds better from an instrumental perspective, and Swindle’s gritty vocals have become only more defining this go-round.

Since forming in 2011, Swindle feels the band truly has “grown up as musicians and people and cannot wait for everyone to hear A Place Of Our Own.”

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I listened to have mercy, then lost track of them, only to come back to them when they were touring with a few other great acts (tiny moving parts, broadside, real friends) and be more appreciative and in awe than ever  Honestly, they deserve more recognition. The lyrics are great and they are instrumental good as well.

Have Mercy Currently signed to Hopeless Records

Katie Von Schleicher recently announced the release of a special 7″ single to come out on Full Time Hobby on May 4th. The track ‘Glad To Be Here’ was launched online a couple of weeks ago, and today we bring you the flip side ‘Party Dawn’.

The confidence that Von Schleicher exudes on the new single belies the fact that she just released her debut album, Shitty Hits, last year. ‘Party Dawn’ is a song that crackles with thoughts and memories, electrified by Von Schleicher’s brooding voice. The atmosphere of the song is heavy, accentuated by rumbles of thunder and delicately splashy percussion. Although always seemingly on the verge of breaking into a fully cathartic moment, she keeps her patience and her poise throughout, only letting minor surges of feeling eke out at a time, ensuring that ‘Party Dawn’ maintains its focus and magnetism throughout, and is all the more impressive for that.

Von Schleicher says about the new songs: “On a break from touring this winter I went alone to Maryland, where I am originally from, and made these two songs, taking the gear I’ve very happily accrued since making my album Shitty Hits. I built a fire, I set up my gold drum kit, I saw a ton of stars and felt smushed by silence, and it was lonely, so I made these songs. “Glad to Be Here” is where I find myself right now. “Party Dawn” is tied to Maryland, to my friend and our adolescence. Both are a bridge toward the subject matter of my next record. Back in New York, my collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) contributed guitar and bass, and Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound) mixed it.”

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Released May 4th, 2018

gtrs, piano, synth, drums, vocals – kvs 
gtrs, bass – adam brisbin 

Snail mail vinyl

Snail Mail’s EP debut (originally released on cassette July 2016) is now available on black 12″ vinyl, 45RPM. First pressing of 1000 copies with download code included. Habit, the debut 6 Track EP from Baltimore’s Snail Mail, is a perfect, late-summer record. Lindsey Jordan, who is 17-years-old, wrote Habit in her suburban Maryland bedroom between shows and school. She teamed up with her friend and drummer Shawn Durham and bassist Ryan Viera to record the six-track EP in DC. The result is six really amazing indie-pop tracks that will be loved by fans of Best Coast, Alvvays and Veronica Falls.

 

Katie Von Schleicher follows up her 2017 album “Shitty Hits” with “Glad To Be Here”, available now and as a 7″ on May 4th just in time for her upcoming US and European tours. Produced & engineered by Von Schleicher, herself , Glad To Be Here incorporates the warmth and saturation of Bleaksploitation and Shitty Hits, while nodding towards what’s next.  “On a break from touring this winter I went back to my childhood home in Maryland. I built a fire, set up my gold drum kit, saw a ton of stars and felt  smushed by silence. It was lonely, so I made these songs. ‘Glad to Be Here’ is where I find myself right now. ‘Party Dawn’ is tied to Maryland, to a dear friend and our adolescence,” says Von Schleicher. Bringing the songs back to New York, she finalized them with collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) and mixed them with Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound).

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This Brooklyn-based singer-songwriter Katie Von Schleicher, who’s hitting the road with Mitski this summer, treated Paste to her stirring, emotion-packed songs.

Katie Von Schleicher

Katie Von Schleicher - Glad To Be Here

One of the best spots for new, independent music at SXSW in Austin, Texas — is Cheer Up Charlie’s. Katie Von Schleicher and her guitarist Adam Brisbin stepped away from the frenetic energy of the festival, walked into the makeshift Spire Studio Tour Bus (basically a camper trailer, parked on Cheer Up Charlie’s lot, with brilliant recording gear, amps guitars) and performed “Mary.” It’s the quietest song from Katie Von Schleicher’s magnificent 2017 album, S***** Hits.

“On a break from touring this winter I went alone to Maryland, where I am originally from, and made these two songs, taking the gear I’ve very happily accrued since making my album Shitty Hits. I built a fire, I set up my gold drum kit, I saw a ton of stars and felt smushed by silence, and it was lonely, so I made these songs. “Glad to Be Here” is where I find myself right now. “Party Dawn” is tied to Maryland, to my friend and our adolescence. Both are a bridge toward the subject matter of my next record. Back in New York, my collaborator Adam Brisbin (Sam Evian, Jolie Holland, Buck Meek) contributed guitar and bass, and Julian Fader (Ava Luna, Frankie Cosmos, Nadine, Palehound) mixed it.”
Katie Von Schleicher, 2018.

Katie Von Schleicher  just after this filming to tell me more about “Mary.” “I’ve been teaching a songwriting class and it’s funny now to break these things down into craft and intention,” she says , “but I do feel that writing to a person’s name is a really tender practice, one that can unlock kindness and a conversational tone. If speaking to a part of yourself, personifying it, singing warmly, you can spare your faults and self-criticisms by speaking as if to another person [and] maybe even take your own advice. As much as they’re personal, I’m also trying to get close to some of my favorite things, which also include Randy Newman’s ‘Marie’ and Raymond Carver’s short stories (so full of conversation). For me, ‘Mary’ is a place and time rather than a person, childhood and youth and the strange space I’ve found in going back to the house where I grew up in Maryland to make records now.”

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Lindsey Jordan has a lot of firepower for an 18-year-old. The Maryland-based Matador Records signee was stylishly clad with a red guitar in tow and sleek shades. Throughout the set, the band gave way to the commanding Jordan for a powerful 40 minutes in front of what felt like the largest crowd of the day. Something big is brewing here, take note…For Indie rock wunderkind Lindsey Jordan and her band, Snail Mail, have announced the release of their debut album. Lush, which follows 2017’s Habit EP, is out June 8th via Matador Records.

“Pristine” continues the personal, intimate feel of Habit, which was written in Jordan’s suburban bedroom. But “Pristine” aims a bit higher, with soaring choruses and crisp guitars crafting a shimmering backdrop for Jordan’s musings on young love. “Don’t you like me for me?” she sings. “I know myself, I’ll never love anyone else.”

Ah, to be young. And yet, “Pristine” is a grand step forward for a promising songwriter who — despite the hype — is really just getting started.

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Lucky you! We have copies of this Japanese-only Instant Banquet CD Sampler left from The Safes’ recent tour of Japan. 20 big hits from the Hi-Vo catalog—some from long out-of-print singles. If you still fancy the compact disc, this one’s for you!

Track List: 
1. The Routes “Meant To Be” (3:40)

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2. The Missing Souls “Gotta Have Your Loving” (2:55)
3. The Safes “Crystal Ball” (2:40)
4. Quitty & The Don’ts “Running Out of Time” (2:07)
5. Swamps “Hate Hate Hate” (2:42)
6. The Rebel Set “Trails!” (3:01)
7. The Improbables “Bad Vibrations” (2:39)

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8. The Stents “Meet Mike Hate” (3:05)
9. Gorilla* “Oh Tonight”(2:17)
10. The Reverberations “The Way I Want You” (2:26)
11. The Fadeaways “Kicks & Chicks” (2:28)
12. Pow Wows “Hey Doctor” (4:37)
13. The Torments “The Creamer” (2:23)
14. The BellTowers “No Matter” (2:46)
15. The Beginner’s Mynd “Singing

Released March 7th, 2018

The official souvenir of Field Trip South! The Field Guide zine is a 12-page show guide impeccably designed by Hi-Vo and featuring all your faves: Groovy Movies, The Hall Monitors, Baby Shakes and more! 200 originally produced for the festival. This is all that’s left! Also included is a two song flexi-disk with The BellTowers and The Improbables ripping some fine garage psych.

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released March 7th, 2018

The BellTowers recorded and mixed by Paul Mutchler
The Improbables produced by Mike Kennedy and The Improbables. Recorded and mixed at Fairmount Funeral Sound Studios.

Formed in 2004 when Alex Scally and Victoria Legrand—both of whom had just recently graduated college—found themselves in different bands in the Baltimore indie rock scene (Baltimore has spawned Dan Deacon, Ponytail, Future Islands and more). After playing together in a different band that siphoned off members, it eventually just became the two of them writing songs on an organ and a guitar. Eventually, they’d have a live drummer, but it’s remained Legrand and Scally since the beginning.

It’s hard to peg Beach House to a genre beyond that big nebulous “indie rock,” but after 15 years and seven releases, they are a genre unto themselves. Because they haven’t expanded their palette that much, the beauty of the Beach House catalog is tracking how they recontextualized their sound again and again, adding more drums, making the songs faster and shinier, and moving back again to their lo-fi sound. While their albums all sound similar, they all stand as unique entities. Their self-titled debut album was released in 2006 to critical acclaim and has been followed by Devotion in 2008, Teen Dream in 2010, Bloom in 2012, Depression Cherry and Thank Your Lucky Stars in 2015, and B-sides and Rarities in 2017.

Legrand’s vocals to 1980s psychedelic rock vocalist Kendra Smith of the band Opal. The group’s influences include This Mortal Coil, Cocteau Twins, The Zombies, Brian Wilson, Françoise Hardy, Neil Young, Big Star,and Chris Bell.

Last week, Beach House dropped “Lemon Glow,” the lead single from their upcoming seventh album. It’s due out later this spring—no hard date has been announce yet—but this new single is a perfect appetite whetted. Build on a gauzy drum and organ figure, it’s cut with Legrand’s lush vocals and occasional searing blasts of guitar from Scally. Turn the lights down low, indeed. This vaulted to the top of our most anticipated album of 2018 list in four minutes and five seconds.

Beach House

Recorded in 2 days, Beach House’s debut LP is a lo-fi mirage, the scrappiest version of an album that can be described as so lush you could sleep on it. The album was the culmination of a couple years of experimentation and live shows. “Apple Orchard” is the song that ran through MP3 blogs, but for my money “House on the Hill” is the album’s centerpiece.

producing music composed largely of organ, programmed drums, and slide guitar. Of the origins of the band name, Scally said: “We’d been writing music, and we had all these songs, and then there was that moment where you say ‘what do we call ourselves?’ We tried to intellectualize it, and it didn’t work. There were different plant-names, Wisteria, that kind of thing. Stupid stuff. But, once we stopped trying, it just came out, it just happened. And it just seemed perfect.” In an interview with Pitchfork, Legrand addressed their two member status; “[I]t’s a way to challenge ourselves: What do you do when it’s just the two of you… [O]ne of the reasons this has been such a fulfilling experience for me is that with two people, it’s so much easier to achieve things that feel exciting and new.”

Released October 2006 through Carpark Records the band’s self-titled debut album, Beach House,

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Devotion

Released 10 years ago on February 26th, 2008, Beach House’s second album Devotion marks the point where Beach House found their sound. Singer Victoria Legrand and her musical partner, guitarist and keyboardist Alex Scally, have traveled far since then. Later albums, like 2015’s gorgeous Depression Cherry, have made them one of the most beloved indie acts of their generation. But this one stands alone as a moment of discovery. It felt then and feels now like a glimpse of a private world. A secret worth treasuring.

It was received with similar acclaim and was included in Best Albums of 2008 list. On October 21, 2008, the group released the single “Used to Be”Beach House also recorded a cover of Queen’s “Play the Game” release of the Red Hot Organization’s 2009 compilation, Dark Was The Night.

In 2009, Legrand provided backing vocals on the song “Two Weeks” by the indie rock band Grizzly Bear. She later collaborated with the band again by providing vocals to “Slow Life”, the band’s contribution to the soundtrack for the film Twilight: New Moon.

Teen Dream

If Devotion is the album that put Beach House on every indie fan’s radar and represented the first appearance of the Beach House we know now, Teen Dream was the one that put them in the first two lines of festival lineups.

The duo’s “dynamic and intense” third album, was released on Sub Pop Records.  After touring Devotion for close to two years—and writing on the road, as “Norway” debuted during promotion of the album—the band worked with producer Chris Coady for the first time, and suddenly the shimmery, beautiful organ sounds became even more shimmery and beautiful. 

Teen Dream features the lynchpins of the Beach House live show, like “Zebra” and “Take Care.” . Teen Dream did little to alter Beach House’s core characteristics– slow-motion beats layered with hazy keyboard drones, rippling guitar figures, and Victoria Legrand’s melancholic melodies– but greatly amplified them to the point of redefining the band’s essence, from that of introverted knee-gazers into an assured, emotionally assertive force.  Legrand stated: “I see this as just another step in a direction. I would not want to say that 2010 will be our year, necessarily, I hope it’s just another year in which we do good work. I don’t want to be defined by this year, I want it to just be a beginning.

While Beach House have a reputation, in their music at least, of being pretty serious, anyone who’s been to a live show knows that they’re really funny and personable during the in-between song banter. They also sometimes cover songs you wouldn’t expect them to cover. Case-in-point: They played a sinister, amazing cover of Gucci Mane’s “Lemonade” at festival spots in 2010. My favorite part of this cover is that some media outlet (I can’t find this now, but if someone could help me out @ me) interviewed them at the time about “their new song about lemons” and they had to explain it was a Gucci Mane cover. It’s impossible to imagine someone interviewing Beach House in 2018 not knowing Gucci Mane.

Bloom

Bloom shot Beach House to the stratosphere; it delivered on all the sonics of Teen Dream, and even debuted at No. 7 on the Billboard charts. Listening to this album is like riding a horse into an infinite vista, where you will meet everyone you’ve ever loved. Released on March 7th, 2012 the band streamed a new song, “Myth”, from their website. The album Bloom was released on May 15th, 2012 via Sub Pop Records. A second song from the album, “Lazuli”, was released. The band released a short film, Forever Still, The film, directed by the band and Max Goldman, was inspired by Pink Floyd’s Live at Pompeii and features the band performing songs from Bloom at various sites around Tornillo, Texas, where the album was recorded. The idea for the film came from the band’s desire to make quality promotional content they could control artistically: “We had previously been involved in too many live sessions, radio tapings, photo shoots, etc., where the outcome was far below our personal artistic standards.

We also felt a need to distance ourselves from the ‘content’ culture of the internet that rewards quantity over quality and shock over nuance.

Depression Cherry & Thank Your Lucky Stars

In August 2015, Beach House released their fifth LP, Depression Cherry which they promoted the usual ways, by doing tons of interviews, appearing on late night TV and releasing singles. It had a bunch of songs that felt of a piece with Bloom—the highlight being “Sparks.” A month after Depression Cherry came out, the band surprise dropped another album, Thank Your Lucky Stars, a darker, more lo-fi album—in some ways, it’s the spiritual sequel to Devotion—that they didn’t want to have fall into the “traditional” album cycle of promotion. As a set, the albums are a good encapsulation of everything Beach House had done leading up to 2015; the lo-fi, the widescreen and everything in between.

The album was released on August 28th via Sub Pop Records (on Bella Union in the UK)  and the band announced a world tour in support. Talking of the direction of the new album, the band said “In general, this record shows a return to simplicity, with songs structured around a melody and a few instruments, with live drums playing a far lesser role. With the growing success of Teen Dream and Bloom, the larger stages and bigger rooms naturally drove us towards a louder, more aggressive place; a place farther from our natural tendencies. Here, we continue to let ourselves evolve while fully ignoring the commercial context in which we exist.”.

B-Sides & Rarities

Compilations of B-sides and rarities are often either released at the end of a long career as a vault clearing, or as a way for a band to reset after a long creative period. In Beach House’s case, this release feels like the latter, a way for them to put a capstone on their last six albums, as they look forward to whatever is next. Like, maybe a new album in 2018. The fun highlights here are the remixes, because you don’t realize how malleable Beach House songs are until you hear them fussed up.

The compilation, B-Sides and Rarities, was eventually released on June 30th, 2017, and was supported by a new song, “Chariot”, which served as the lead single of the compilation and one of the two previously unreleased songs on it.