Tag: Arcade Fire

Arguably best known as a member of Sons of an Illustrious Father, with whom she’s toured with since she was 17, Lilah Larson is embarking on a solo career with the release of her full-length solo debut Pentimento slated for release in early 2017. Recorded at Montreal‘s Hotel2Tango Studios with Howard Bilerman, who has worked with Arcade Fire, Godspeed You! Black Emperor and Vic Chesnutt, the album is reportedly comprised of intimate meditations on deeply conflicted and confusing love, relationships long since failed and their lingering ghosts of ache and regret, in which Larson accompanies her vocals with drums, guitar, and a 19th century pump organ. Pentimento‘s first single “tbh” is a bittersweet yet ambivalent lament in which the song’s conflicted narrator misses and longs for a lover, who simultaneously makes her feel miserable and uncertain, and it evokes a dysfunctional relationship in which there’s an equally ambivalent and maddening push and pull — the sort of push and pull that’s better and maybe more exciting than a relationship that just peters out to its inevitable and crushing conclusion.

While featuring a sparse arrangement of Larson her vocals with strummed acoustic guitar, the focus is squarely on the singer/songwriter’s aching yet proud vocals singing heartbreakingly honest lyrics that expresses the wounded and confused psyche of someone desperately in love and yet kind of hates every single moment of it.

 

 

 

 

Publicly claiming Arcade Fire and Talking Heads as major influences and with each member having musical backgrounds in a number of different genres including rock, country, jazz and electronica, New York-based indie rock quintet AMFM — comprised of David Caruso (vocals, guitar), Harper James (guitar, synth, keys), Gian Stone (drums), Dan Shuman (bass) and Steve DeVito (guitar) — have started to receive attention for a sound that draws equally from contemporary indie rock and classic rock as you’ll hear on the band’s latest single “Heroes,” a rousing and anthemic single about the desire to live life your way and only your way, with no regrets.

Sonically, the New York-based quintet pair anthemic and infectious hooks with shimmering guitar chords, a propulsive Station to Station-era Bowie-like rhythm section, an uncanny sense of melody and harmony and punchily delivered lyrics, which remind me quite a bit of New Radicals‘ “You Get What You Give” but while subtly evoking the desperate desire to change the course of one’s life — and of hitting the road with intention of leaving everything behind.

 

British indie rock sensation Escapists can trace their origins to when Simon Glancy (vocals) relocated to London to concentrate on his songwriting, and as soon as he moved he asked the only musician friend he knew to help him record his musical ideas, Oil Court (guitar). Court then quickly recruited his friend, composer Max Perryment to play bass. And as the story goes, the trio spent a week of intensive songwriting sessions before deciding that they had enough musical and creative simpatico to continue collaborating together. Court’s former schoolmate Any Walsh (drums) was recruited to finalize the band’s lineup, and the newly formed quartet began writing and recording material inspired by Arcade Fire, The National and Broken Social Scene.

The quartet’s debut single received airplay from XFM‘s John Kennedy and within that year, they were touring with Imagine Dragons and played sets at Reading and Leeds Festivals. Continuing to build upon the buzz they received nationally, the quartet spent 2013 writing and recording the material that would comprise their 2014 debut, Only Bodies, which was released to critical praise from the blogosphere.

Over the past year or so, the band has reportedly gone through a change in sonic direction with their sound inching towards dance-floor-leaning post-punk. “Pyramid Scheme,” the first single off the band’s Eat You Alive possesses enormous, anthemic hooks, shimmering and angular guitar chords, thundering drumming, sinuous bass lines, and swooningly plaintive vocals. Structurally speaking there are some playful changes in tempo in a song that sounds as though its indebted to the likes of U2, Editors, The Killers, New Order and others.

Certainly, with such an enormous hooks and a dance-friendly sound, I think we’ll be hearing quite a bit from them over the next few months.

 

 

Kate Spalla’s CMJ 2014 Highlights

As I’ve mentioned in a couple of previous posts, the CMJ Festival here in New York has become one of the preeminent and important music festivals of the entire calendar year for independent artists and their labels, music […]

Luminous, the Horrors’ much-anticipiated and long-awaited follow up to their critically applauded 2011 release, Skying was recorded over a 15 month period in the band’s East London studio/laboratory/bunker with co-producer Craig Silvey, who has worked with the […]

Recorded over a 15 month period in the Horrors’ East London studio/laboratory/bunker with co-producer, Craig Silvey, who has worked with the likes of the Yeah Yeah Yeahs, Arcade Fire and the National, Luminous is the much-anticiapted and […]

The Copenhagen, Denmark-based duo of Mads Damsgaard Kristiansen and Esben Valloe formed Reptile Youth back in 2009. And their 2012 self-titled debut was released to world-wide critical praise with publications like Spin and Nylon comparing the band to […]

Escort is a 17 member — yes, 17 — member disco act founded by producers Eugene Cho and Dan Balis, and fronted by the incredible Adeline Michèle, and features a cast of musicians who have played […]

Time Stays, We Go! is the fourth full-length release from the Veils, and the first album released by the band in over four years; the highly anticipated album was produced by lead singer/songwriter Finn Andrews and […]