Originally published in Redefine Magazine.
Direct link to article
The Music Box
Hollywood, CA
October 14, 2010
When a band tours to support an album as enchanting and staggering as The Morning Bender's "Big Echo," it is likely to be a challenge. In this case, the four-piece band could have either constructed a big roar of a live show or kept the beauty simple, like a brisk California breeze. The band chose the latter, and while there were a few songs that could have benefited from a bigger bang, the show at The Music Box in the heart of Hollywood was still delightful. While three out of the four band members are originally from Southern California, the Los Angeles weather somehow knew that the guys started playing music in Berkeley and welcomed them with familiar cloudy weather. The grey skies set a nice, gentle tone for the day and show.
Opening for The Morning Benders was New York's Cults, with its bright melodies and dreamy cadences. Cult's core was vocalist Madeline Follin and guitarist Brian Oblivion, and for the live show, they tripled their army to six, to include keys, drums, bass, and a second guitar. While Cult's song, "Go Outside," has been heating up the blog world all year, the live show fell a little short. The chemistry between the band members was not strong and though Follin danced like she was enjoying the performance, she had an uneasy look on her face. Oblivion provided back-up vocals on the songs, but when he took the lead, his voice sounded unpolished. Between the lovable glockenspiel on "Go Outside" and the spookier "The Curse," Cults showed a lot of potential with its range in sounds. The group just has to work on adding some spark to the live show.
Following Cults was another group from New York called Twin Sister. The band shared some of the awkward tension that Cults had, but it worked better for Twin Sister and its music. The five-piece was lead by vocalist Andrea Estella who was dressed in '80 garb--big hair, milky skin and all. Her vocals were airy and reminiscent of Bjork and the odd tone of CocoRosie. She gripped the mic and kept it close to her as if there was a reason to protect it from others. Her gaze made her seem shy, but also like she was hiding a wicked plan. Songs like "The Other Side Of Your Face" and "Milk And Honey" had a strong '80s vibes similar to those of The Cure and the Sixteen Candles soundtrack. The set ended with a fun, upbeat cover of La Bioda's "I Wanna Be Your Lover."
The anticipation for The Morning Benders was high by the time the band hit the stage at around 11 p.m. The band members must have sensed the enthusiasm in the air and teased the crowd by playing the beginning notes of "Excuses," the charming album opener off Big Echo. Just as the hearts of audience members were filled with joy at the sound of those first notes and before anyone knew it, the band smoothly started playing "Promises." The band was foreshadowing, but it was not quite time for "Excuses."
While The Morning Benders stuck to the basics and did not exaggerate its sound with additional instrumentation, there were a few small details that added a nice touch to the show. On "Hand Me Downs," drummer Julian Harmon multi-tasked between his drum kit and a drum pad, adding a well-rounded, resonating beat. Vocalist Christopher Chu kept his voice warm and not too fervent, but when the other three guys joined him on harmonies, the songs sounded tremendous. The long instrumental sections in "Mason Jar" and "Stitches" sounded nice, but were possibly too hypnotic for the especially energized crowd.
The rawness of older tracks like "Damnit Anna," "Boarded Doors" and "Waiting For A War" were more in tune with people's energy level. Before going into "Waiting for a War," Chu encouraged the audience to bounce around, and people happily complied.
One song from "Big Echo" that should have taken some energy from the former was "All Day Day Light." On the album, the song is a divine high point with fiery zeal. Had the band members magnified the emotions of the song, it would had been an epic sight, but instead they chose to slow it down, which was disappointing. Predictably the last song of the set, "Excuses" made up for the night's bumps, as time seemed to stop for its infamous "da-dums." Chu ditched the guitar for shakers and led the crowd as everyone sang along.
As an added treat, The Morning Benders performed a lovely cover of Fleetwood Mac's "Dreams" for the encore. With ease in their musicianship and harmonies, the guys of The Morning Benders proved their deep understanding and knack for California's cordial, luminous pop sound. While there were a few lulls throughout the night, The Morning Benders bode well without any Hollywood artificial flavoring.
Wednesday, October 20, 2010
Tuesday, October 12, 2010
Album Review: Chico Mann - Analog Drift
Originally published October 12, 2010 in Redefine Magazine.
Direct link to article
Chico Mann
Analog Drift
Wax Poetics
A
Although it may be difficult to confine the music by multi-instrumentalist Chico Mann to just one genre, it is safe to say that his sophomore release, Analog Drift, is a quintessential New York album. With a heavy Afrobeat and Cuban influences, vocals in both Spanish and English, and a number of synthesizers in hand, Chico Mann, aka Marcos Garcia, creates a melting pot of soulful and sexy sounds, much like the city that never sleeps. Previously released digitally through Garcia’s Website, Analog Drift is now expanding its audience through Wax Poetics Records and is ready to be played on the dance floors. Right from the first beat, a listener will want to put on a fedora hat and take over the town.
Considering that Garcia grew up in New York and New Jersey and that his father was the owner of a NYC Latin record label, it's easy to see the authenticity in what he is trying to do with his music. Garcia has a deep understanding of which sounds from the past, present and future can work together to induce dancing. On the first track, "Harmonia," Garcia sings, "Queremos harmonia," which translates to, "We want harmony," and harmony is exactly what Garcia accomplishes on the album. As funky bass lines and finger-picked guitar rhythms lay the foundations, synthesizers shimmer and fill out each song. All the sounds seem to respect one another, allowing each one to breathe and flourish.
On "Anima" and "All That Is Rising," the synthesizers appear to have a conversation with each other. Before any vocals kick in, the instruments follow a call-and-response pattern. "All That Is Rising" has a more dramatic beginning as percussion builds up anticipation, creating imagery of an empty warehouse or a dark alley. More movement is slowly introduced, like a city transitioning into its time for nightlife.
While there is a lot of use of electronic sounds, the songs all come off as fun and smooth, as opposed to being hyper. A sense of hipness remains consistent throughout. With a modern touch, the album incorporates all that was cool in the '70s and '80s, from roller discos to break dancing. At times, Garcia's vocals reach a higher-pitched spectrum, but remain aligned with the energetic tradition of Cuban vocalists. The lyrics are more like phrases rather than stories, and while some are memorable, the focus is more on the musical groove and getting in the zone.
With a cover of Talking Heads' "Once In A Lifetime," the album goes deep into the '80s and wraps up nicely with the slower tempos of "Metele Mano" and "This Love." Even as the album seeps into nostalgia, the good energy remains. There is no moment on the album where things clash or seem forced. Like the diverse history of New York City makes it one of the most fascinating places in the world, Analog Drift takes the classic and the new to make an invigorating experience.
Direct link to article
Chico Mann
Analog Drift
Wax Poetics
A
Although it may be difficult to confine the music by multi-instrumentalist Chico Mann to just one genre, it is safe to say that his sophomore release, Analog Drift, is a quintessential New York album. With a heavy Afrobeat and Cuban influences, vocals in both Spanish and English, and a number of synthesizers in hand, Chico Mann, aka Marcos Garcia, creates a melting pot of soulful and sexy sounds, much like the city that never sleeps. Previously released digitally through Garcia’s Website, Analog Drift is now expanding its audience through Wax Poetics Records and is ready to be played on the dance floors. Right from the first beat, a listener will want to put on a fedora hat and take over the town.Considering that Garcia grew up in New York and New Jersey and that his father was the owner of a NYC Latin record label, it's easy to see the authenticity in what he is trying to do with his music. Garcia has a deep understanding of which sounds from the past, present and future can work together to induce dancing. On the first track, "Harmonia," Garcia sings, "Queremos harmonia," which translates to, "We want harmony," and harmony is exactly what Garcia accomplishes on the album. As funky bass lines and finger-picked guitar rhythms lay the foundations, synthesizers shimmer and fill out each song. All the sounds seem to respect one another, allowing each one to breathe and flourish.
On "Anima" and "All That Is Rising," the synthesizers appear to have a conversation with each other. Before any vocals kick in, the instruments follow a call-and-response pattern. "All That Is Rising" has a more dramatic beginning as percussion builds up anticipation, creating imagery of an empty warehouse or a dark alley. More movement is slowly introduced, like a city transitioning into its time for nightlife.
While there is a lot of use of electronic sounds, the songs all come off as fun and smooth, as opposed to being hyper. A sense of hipness remains consistent throughout. With a modern touch, the album incorporates all that was cool in the '70s and '80s, from roller discos to break dancing. At times, Garcia's vocals reach a higher-pitched spectrum, but remain aligned with the energetic tradition of Cuban vocalists. The lyrics are more like phrases rather than stories, and while some are memorable, the focus is more on the musical groove and getting in the zone.
With a cover of Talking Heads' "Once In A Lifetime," the album goes deep into the '80s and wraps up nicely with the slower tempos of "Metele Mano" and "This Love." Even as the album seeps into nostalgia, the good energy remains. There is no moment on the album where things clash or seem forced. Like the diverse history of New York City makes it one of the most fascinating places in the world, Analog Drift takes the classic and the new to make an invigorating experience.
Sunday, October 10, 2010
Artist Feature: The Fresh & Onlys
Originally published October 10, 2010 in Redefine Magazine.
Direct link to article
One would think that a band like The Fresh & Onlys, which has relied on a home tape machine to record material for two full-length albums, more than five 7" records, an EP, and a few cassette tapes, had found a working formula for their recordings. However, when it came time for the San Francisco band to record its third album of effervescent garage tunes, the band members were left unsatisfied with working from home, instead desiring to try something different.
"We got really concerned about being too redundant, at least sonically," says Shayde Sartin, the band's bassist. "It's kind of good to challenge yourself with a new environment."
In the hopes of expanding their spectrum and making the music sound bigger, the band--which also includes Tim Cohen on vocals, guitar, and keys, Wymond Miles on guitar, and Kyle Gibson on drums--turned to Tim Green and his San Francisco-based Louder Studios. Green is a member of the band, Fucking Champs, and also played in the renowned punk band, The Nation Of Ulysses. His work behind the recording board is just as impressive, having included clients like Tristeza and Sleater Kinney . However, it was Green's work with The Melvins and Lungfish that most impressed Sartin.
"I love how he records sonically," Sartin says. "I like how he records guitars. I like how he records vocals. So, it seemed like an obvious choice. I felt really comfortable to go work with a person who had some kind of acquaintance."
The Fresh & Onlys is still a young band, having been formed in 2008 as a project between Cohen and Sartin. So, it is nice to hear the band members already wanting to expand their horizons. For the third album, which is entitled "Play It Strange" and will be released on In the Red Recordings on October 12, the band really wanted to focus more on the production aspects, starting with recording the songs on their own, allowing Green to become familiar with the material before recording anything at Louder Studios.
"By the time we got in there, he knew the songs, and he knew that we like to work fast," Sartin says. "He likes to work fast. We had the songs figured out. We kind of wanted to get in and get the physical parts done and then work on the sonics a little more. He was really good at facilitating working on the color of the songs."
The songs were recorded in late 2009 and now, several months later, the band members are reflecting on the end result and finding themselves to still be happy with the recordings.
"There was definitely a little more [of a] confident feel as far as the performance goes on the recordings with Tim Green, as opposed to the ones we did on our own," Sartin says. "The sounds were definitely more articulate. [The album is] way more druggy than I realized it was when we were recording it, which I like. It has a certain haziness to it that is very complementary to the songs."
The Fresh & Onlys' music is known for being hazy. Taking cues from San Francisco's historic psychedelic music scene, the band layers an aura of cloudiness on top of what essentially are good ‘ole pop tunes. "Play It Strange" is poetic, but does not lose its garage rock appeal. The album is gritty, even as songs like "Summer Of Love" and "Fascinated" have a ‘60s flowery feel, and "All Shook Up" is perfect for a beach party. Cohen's vocals alternate from ghostly to that of a crooner. Simple lines like the ones in "Fascinated," where Cohen says, "Tell me what you're fascinated by," and, "You're such a pretty girl," would have made girls swoon in the ‘60s had they been sung by The Beach Boys.
At one point, The Fresh & Onlys had a female band member who sang and played percussion. Heidi Alexander, who is also a member of the San Francisco band The Sandwitches, added an even more spirited touch to songs on The Fresh & Onlys' self-tilted debut. Her Sandwitches comrade, Grace Cooper, also contributed harmonies. One of the highlights from the debut is the song "Peacock And Wing," where male and female vocals are sung in unison. With the band's sophomore release, "Grey-Eyed Girls," the female vocals were a little less prominent, and this is even more noticeable on the new album. Alexander does sing back-up vocals on "Play It Strange," but she is no longer able to tour with The Fresh & Onlys because of her time commitment with The Sandwitches.
Like any developing band, the songwriting is expected to change a little bit from album to album. In fact, Sartin claims, his involvement in The Fresh & Onlys is the first time that he has been able to evolve as a musician and songwriter. Sartin has played with a large number of other artists including Kelley Stoltz, The Skygreen Leopards and Ty Segall, but this is the first time that he has had creative input in a band. Being a member of The Fresh & Onlys has enabled him to feed off the energy and ideas of the other group members, and vice versa.
"If you are writing songs in a room and you don't have much confidence in what you're doing, you never allow yourself to evolve. But if you're getting encouragement, you're getting feedback and you're collaborating with people, then you start trying new things."
Typically, Sartin and Cohen initiate the structure of a song. Sartin comes up with a chord structure or other musical idea and Cohen will create floating vocals on top. Miles and Gibson also help articulate ideas in new ways, with Miles focusing counter melodies . Regardless of who does what, the band members attempt to flesh out every idea without putting any of them down. The process is always positive and productive.
"I'm hitting Tim with ideas musically that he normally wouldn't come up with and vice versa, so it naturally works out in the end because he's freed up some time thinking about chord structure or thinking about a rhythm, and I'm free of thinking of lyrics and melody," says Sartin.
Not only do the band members keep an open mind when writing songs, but that quality is something they look for when deciding the labels that will release its albums. Having already worked with a handful of labels, The Fresh & Onlys decided to go with Los Angeles' In the Red Records this time around--both for the people that work there, as well as its reputation for pushing boundaries.
"It's one of those labels I've always had a lot of intrigue with, because despite their [reputation] as a garage label, they've actually done a lot of things that aren't," Sartin says, "especially in the last few years with The Vivian Girls, Blank Dogs and The Ponys. They've kind of stretched out beyond being a sort of punk label, and the owner Larry Hardy is an amazing person. He has a very eccentric taste in music and it seemed like a good fit because we weren't the typical garage band."
The Fresh & Onlys' eagerness to work with a bunch of different people has resulted in many good opportunities. The band has already toured with King Khan & The Shrines in the US and Deerhunter in Europe, and they have two tours lined up for this year, beginning with a US tour with Royal Baths and finishing off the year with one with Clinic.
According to Sartin, when the two fall tours were booked, The Fresh & Onlys were originally planning to focus on songs from "Play It Strange." However, as the band members are always thinking ahead, they will introduce new songs they have written recently as well.
Though the band has been on the road a lot in the past two years and has a constant flow of new releases, its members have not lost any of the excitement when it comes to releasing new material. Every release is a step up, and the excitement only grows.
"If we do an LP and the next thing is a 7", I'm more excited for that 7" than I was for that LP before it," says Sartin. "You take every one just as seriously and you try just as hard, if not harder. To me, [with] every release--no matter how small or big--there should be a growth. There should be a sort of marker of growth."
Direct link to article
One would think that a band like The Fresh & Onlys, which has relied on a home tape machine to record material for two full-length albums, more than five 7" records, an EP, and a few cassette tapes, had found a working formula for their recordings. However, when it came time for the San Francisco band to record its third album of effervescent garage tunes, the band members were left unsatisfied with working from home, instead desiring to try something different.
"We got really concerned about being too redundant, at least sonically," says Shayde Sartin, the band's bassist. "It's kind of good to challenge yourself with a new environment."
In the hopes of expanding their spectrum and making the music sound bigger, the band--which also includes Tim Cohen on vocals, guitar, and keys, Wymond Miles on guitar, and Kyle Gibson on drums--turned to Tim Green and his San Francisco-based Louder Studios. Green is a member of the band, Fucking Champs, and also played in the renowned punk band, The Nation Of Ulysses. His work behind the recording board is just as impressive, having included clients like Tristeza and Sleater Kinney . However, it was Green's work with The Melvins and Lungfish that most impressed Sartin.
"I love how he records sonically," Sartin says. "I like how he records guitars. I like how he records vocals. So, it seemed like an obvious choice. I felt really comfortable to go work with a person who had some kind of acquaintance."
The Fresh & Onlys is still a young band, having been formed in 2008 as a project between Cohen and Sartin. So, it is nice to hear the band members already wanting to expand their horizons. For the third album, which is entitled "Play It Strange" and will be released on In the Red Recordings on October 12, the band really wanted to focus more on the production aspects, starting with recording the songs on their own, allowing Green to become familiar with the material before recording anything at Louder Studios.
"By the time we got in there, he knew the songs, and he knew that we like to work fast," Sartin says. "He likes to work fast. We had the songs figured out. We kind of wanted to get in and get the physical parts done and then work on the sonics a little more. He was really good at facilitating working on the color of the songs."
The songs were recorded in late 2009 and now, several months later, the band members are reflecting on the end result and finding themselves to still be happy with the recordings.
"There was definitely a little more [of a] confident feel as far as the performance goes on the recordings with Tim Green, as opposed to the ones we did on our own," Sartin says. "The sounds were definitely more articulate. [The album is] way more druggy than I realized it was when we were recording it, which I like. It has a certain haziness to it that is very complementary to the songs."
The Fresh & Onlys' music is known for being hazy. Taking cues from San Francisco's historic psychedelic music scene, the band layers an aura of cloudiness on top of what essentially are good ‘ole pop tunes. "Play It Strange" is poetic, but does not lose its garage rock appeal. The album is gritty, even as songs like "Summer Of Love" and "Fascinated" have a ‘60s flowery feel, and "All Shook Up" is perfect for a beach party. Cohen's vocals alternate from ghostly to that of a crooner. Simple lines like the ones in "Fascinated," where Cohen says, "Tell me what you're fascinated by," and, "You're such a pretty girl," would have made girls swoon in the ‘60s had they been sung by The Beach Boys.
At one point, The Fresh & Onlys had a female band member who sang and played percussion. Heidi Alexander, who is also a member of the San Francisco band The Sandwitches, added an even more spirited touch to songs on The Fresh & Onlys' self-tilted debut. Her Sandwitches comrade, Grace Cooper, also contributed harmonies. One of the highlights from the debut is the song "Peacock And Wing," where male and female vocals are sung in unison. With the band's sophomore release, "Grey-Eyed Girls," the female vocals were a little less prominent, and this is even more noticeable on the new album. Alexander does sing back-up vocals on "Play It Strange," but she is no longer able to tour with The Fresh & Onlys because of her time commitment with The Sandwitches.
Like any developing band, the songwriting is expected to change a little bit from album to album. In fact, Sartin claims, his involvement in The Fresh & Onlys is the first time that he has been able to evolve as a musician and songwriter. Sartin has played with a large number of other artists including Kelley Stoltz, The Skygreen Leopards and Ty Segall, but this is the first time that he has had creative input in a band. Being a member of The Fresh & Onlys has enabled him to feed off the energy and ideas of the other group members, and vice versa.
"If you are writing songs in a room and you don't have much confidence in what you're doing, you never allow yourself to evolve. But if you're getting encouragement, you're getting feedback and you're collaborating with people, then you start trying new things."
Typically, Sartin and Cohen initiate the structure of a song. Sartin comes up with a chord structure or other musical idea and Cohen will create floating vocals on top. Miles and Gibson also help articulate ideas in new ways, with Miles focusing counter melodies . Regardless of who does what, the band members attempt to flesh out every idea without putting any of them down. The process is always positive and productive.
"I'm hitting Tim with ideas musically that he normally wouldn't come up with and vice versa, so it naturally works out in the end because he's freed up some time thinking about chord structure or thinking about a rhythm, and I'm free of thinking of lyrics and melody," says Sartin.
Not only do the band members keep an open mind when writing songs, but that quality is something they look for when deciding the labels that will release its albums. Having already worked with a handful of labels, The Fresh & Onlys decided to go with Los Angeles' In the Red Records this time around--both for the people that work there, as well as its reputation for pushing boundaries.
"It's one of those labels I've always had a lot of intrigue with, because despite their [reputation] as a garage label, they've actually done a lot of things that aren't," Sartin says, "especially in the last few years with The Vivian Girls, Blank Dogs and The Ponys. They've kind of stretched out beyond being a sort of punk label, and the owner Larry Hardy is an amazing person. He has a very eccentric taste in music and it seemed like a good fit because we weren't the typical garage band."
The Fresh & Onlys' eagerness to work with a bunch of different people has resulted in many good opportunities. The band has already toured with King Khan & The Shrines in the US and Deerhunter in Europe, and they have two tours lined up for this year, beginning with a US tour with Royal Baths and finishing off the year with one with Clinic.
According to Sartin, when the two fall tours were booked, The Fresh & Onlys were originally planning to focus on songs from "Play It Strange." However, as the band members are always thinking ahead, they will introduce new songs they have written recently as well.
Though the band has been on the road a lot in the past two years and has a constant flow of new releases, its members have not lost any of the excitement when it comes to releasing new material. Every release is a step up, and the excitement only grows.
"If we do an LP and the next thing is a 7", I'm more excited for that 7" than I was for that LP before it," says Sartin. "You take every one just as seriously and you try just as hard, if not harder. To me, [with] every release--no matter how small or big--there should be a growth. There should be a sort of marker of growth."
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