Tag: Kishi Bashi

Single Review by William Ruben Helms

Officially formed in Athens, GA during the winter of 2014 and comprised of primary songwriter Gresham Cash (vocals, guitar), Wes Gregory (drums) and Connor Sabula (bass), the indie rock/psych rock trio Oak House have developed a reputation for an uncompromisingly weird sound that effortlessly meshes elements of melodic and pop-leaning indie rock, psych rock, experimental rock and grunge rock paired with contemplative and visceral lyrics that explore and investigate life’s inevitable conflicts; bur interestingly enough, Cash’s songwriting is largely influenced by classical music, jazz, Eastern melodic structure and contemporary, minimalist instrumental music, which unsurprisingly gives their overall sound a cinematic air.

Now, if you had been frequenting this site earlier this year, the Athens, GA-based trio’s sophomore effort Hot or Mood was recorded at Chase Park Transduction with Drew Vandenberg, who’s worked with of Montreal, Toro y Moi, Kishi Bashi, Deerhunter and Mothers and the album reportedly finds the band accurately capturing their live sound and energy — and as I wrote of the rapidly shifting album single “Cut That Out,” the track managed to capture the narrator’s vacillating thoughts and emotions with a shaky, unsteady almost anxiety-inducing accuracy. As the band’s Gresham Cash explains in press notes ” I wanted to craft a picture of dreams by using frenetic, shifting imagery with a blend of hopeful nostalgia muddied by sadness, depression, suicidal thoughts, etc. Also, I felt that anxiety, depression and suicide are things that not only influence us directly, but also, those around us; hence, the chorus, ‘We’re all responsible for someone else.’ The ending is the feeling of the dream unraveling combined with the feeling that you are living within someone else’s dream: unsettling to say the least. Your only defense against the confusion and discomfort is like swatting at an irksome fly that keeps buzzing in your ears: ‘Cut that out.’”

Hot or Mood‘s latest single “Esque” continues in a similar vein as its predecessor, thanks to a rapidly shifting structure that touches upon ambient and minimalist electronics, anthemic power chord-based indie rock and expansive psych rock — and while sounding as though it were influenced by OK Computer and Kid A-era Radiohead; but pay close attention to the lyrics, as the song’s narrator at one point ruminates on the relativistic nature of time, in which past, present and future all co-exist simultaneously as the song feels like swirling, feverish and anxious dream.

The band will be embarking on a tour throughout next month and it’ll include an August 20, 2017 stop at The Bowery Electric. Check out the tour dates below.

Tour Dates: 

August 10 – Athens, GA @ Caledonia Lounge
August 11 – Orlando, FL @ Will’s Pub
August 12 – Tampa, FL @ New World Brewery
August 14 – Raleigh, NC @ The Pour House
August 15 – Durham, NC @ The Cave
August 16 – Harrisonburg, VA @ Golden Pony
August 17 – Washington, DC @ TBA
August 18 – Philadelphia, PA @ TBA
August 20 – New York, NY @ The Bowery Electric
August 21 – Fairfield, CT @ Fairfield Theatre
August 22 – Syracuse, NY @ Funk N Waffles
August 23 – Pittsburgh, PA @ Black Forge Coffeehouse
August 24 – Huntington, WV @ V Club
August 25 – Lexington, KY @ Green Lantern
August 26 – Newport, KY @ Southgate House Revival
August 27 – Nashville, TN @ Fond Object Records

 

 

 

 

 

 

Single Review by William Ruben Helms

Comprised of Gresham Cash (vocals, guitar), Wes Gregory (drummer) and Connor Sabula (bass), the Athens, GA-based indie rock/psych rock trio Oak House formed in 2014 and since their formation they’ve developed a growing reputation for a sound that possesses elements of melodic indie rock, grunge rock, psych rock and prog rock paired with contemplative and visceral lyrics that explore and investigate life’s inevitable conflicts — and for high energy live shows.

The Athens, GA-based trio’s forthcoming sophomore full-length album Hot or Mood was recorded at Chase Park Transduction with Drew Vandenberg, who’s worked with of Montreal, Toro y Moi, Kishi Bashi, Deerhunter and Mothers and the album reportedly represents a cohesive sample of their live sound — a sound that has been described as tumultuous, melodic, raucous infectious and immersive.  The album’s latest single “Cut That Out” is rapidly shifting and angular song with propulsive, rolling drumming, droning synths, buzzing guitar chords and a throbbing bass line that seems to capture the narrator’s rapidly vacillating thoughts and emotions, and with an unshakable anxiousness. As the band’s Gresham Cash explains in press notes ” I wanted to craft a picture of dreams by using frenetic, shifting imagery with a blend of hopeful nostalgia muddied by sadness, depression, suicidal thoughts, etc. Also, I felt that anxiety, depression and suicide are things that not only influence us directly, but also, those around us; hence, the chorus, ‘We’re all responsible for someone else.’ The ending is the feeling of the dream unraveling combined with the feeling that you are living within someone else’s dream: unsettling to say the least. Your only defense against the confusion and discomfort is like swatting at an irksome fly that keeps buzzing in your ears: ‘Cut that out.’”

 

 

New Audio by William Ruben Helms

Linnea Olsson is Swedish singer/songwriter and multi-instrumentalist, who quickly established herself as a go-to cellist, thanks in part to her having worked with Peter Gabriel, Sting, Ane Brun and Maia Hirasawa. Lately, Olsson has begun to receive international attention for her self-proclaimed cello-driven fantasy pop. Now, if you had been frequenting this site around the end of last year, you may recall that I wrote about “The Weekend,” a swooning and gorgeous track that reminded me quite a bit of Kishi Bashi as a classical string arrangement was paired with extremely modern and ironic lyrics describing a desperately neurotic and delusional narrator, who escapes into a world in which she’s an enormous star, who gets revenge on those who wronged her. Her latest single “Hall of Tragedy” thematically is much more serious; but it will further cement the Swedish singer/songwriter and multi-instrumentalist’s burgeoning reputation for crafting swooningly gorgeous cello-driven pop — and in the case of her latest single, the song also serves as the perfect showcase for an undeniably beautiful vocals in what may be arguably be the moodiest and most atmospheric song she has released to date.

 

 

 

 

 

Single Review by William Ruben Helms

Quickly establishing herself as a go-to cellist, who has worked with Peter Gabriel, Sting, Ane Brun and Maia Hirasawa, Linnea Olsson is Swedish singer/songwriter and multi-instrumentalist, who has begun to see international praise from the likes of The New York Times and The 405 for her self-proclaimed cello-driven fantasy pop. Olsson’s  latest single “The Weekend” is a simply put a stunningly gorgeous and swooning track that sonically speaking reminds me of quite a bit of the work of K. Ishibashi and his solo recording project Kishi Bashi as a classical-leaning string arrangement is paired with extremely modern and somewhat ironic lyrics in which the song’s narrator talks about drinking enough to forget everything that’s happened in the past week or so and treating the weekend as a much needed escape — from everything; however, the narrator’s escapist fantasies involve getting revenge on those who wronged her by becoming the biggest, most fantastic star on the face of the earth.

 

Single Review by William Ruben Helms

If you’ve been frequenting this site for the past couple of years, you’ve likely come across a  handful of posts about renowned violinist, vocalist, composer and producer K. Ishibashi and his solo recording project Kishi Bashi. And with the release of two critically applauded full-length efforts  — 151a and Lighght — Ishibashi has developed a reputation for decidedly crafted and swooning orchestral pop in which he employed the use of samplers, looping machines and other electronics for a lush and densely layered sound. Ishibashi’s third, full length effort Sonderlust was produced by Grizzly Bear‘s Chris Taylor, engineered by Pat Dillet, who has worked with Angelique Kidjo and David Byrne, and features the contributions of drummer Matt Chamberlain, who has been in the backing bands of Morrissey and Fiona Apple, as well as having a stint in of Montreal, and the album is a radical sonic departure from the sound that first caught the attention of the blogosphere as the material leans heavily towards hook-laden, electro pop as you would have heard on Sonderlust‘s earliest released single “Say Yeah.” Interestingly, this massive change in sonic direction came about from two different sources — the first being that Sonderlust‘s material didn’t come immediately or through his usual creative processes.  “As I sat down to write songs last summer, I went to all my usual conduits of creation: violin loops, guitar, piano and I came up with the musical equivalent of fumes,” Ishibashi explained in press notes. “I tried to create orchestral pop recordings that I assume were my forte, and in turn, I found myself standing in front of a creative wall of frightening heights.” Second was that along with a period of creative uncertainty, Ishibashi also faced faced significant changes in his personal life, the sort of changes that had him questioning everything he thought he knew about being in love, loving another and desiring another. And as a result, the album’s material focuses on heartbreak, the difficult struggle to move forward and the how that heartache influences every subsequent relationship.

The album’s latest single “Can’t Let Go, Juno,” is comprised of shimmering and cascading layers of synths, a gorgeous and soaring string arrangement, Ishibashi’s aching and plaintive vocals, propulsive, four-on-the-floor like drums in what may arguably be some of Ishibashi’s most danceable, seemingly straightforward and hook-laden pop-leaning material he’s released to date. However, lyrically speaking, “Can’t Let Go, Juno” focuses on the lingering ghosts of a past relationship that has haunted the song’s narrator, a narrator who recognizes that he’s had a difficult time letting go and moving forward — and as a result, the song possesses a bittersweet sense of unfinished business, all while sounding as though it drew from New Order and Cut Copy.

You can catch Kish Bashi on a lengthy North American tour this fall, and it includes an October 2, 2016 stop at Webster Hall. Check out tour dates and ticket information below.

Tour Dates
9/27: Athens, GA @ Georgia Theatre (tickets)*
9/28: Charlotte, NC @ Visulite (tickets)*
9/30: Carrboro, NC @ Cat’s Cradle (tickets)*
10/1: Silver Spring, MD @ The Fillmore – Silver Spring (tickets)*
10/2: New York, NY @ Webster Hall (tickets)*
10/3: Boston, MA @ Royale (tickets)*
10/4: Philadelphia, PA @ Union Transfer (tickets)*
10/6: Toronto, ON @ MOD Club (tickets)*
10/8: Cleveland, OH @ Beachland Ballroom & Tavern (tickets)*
10/9: Pontiac, MI @ Crofoot Ballroom (tickets)*
10/10: Chicago, IL @ Vic Theatre (tickets)*
10/11: St. Louis, MO @ Delmar Hall (tickets)*
10/12: Minneapolis, MN @ First Avenue Mainroom (tickets)*
10/14: Omaha, NE @ Slowdown (tickets)^
10/15: Englewood, CO @ Gothic Theatre (tickets)^ 
10/16: Salt Lake City, UT @ Urban Lounge (tickets)^
10/18: Seattle, WA @ The Showbox (tickets)^
10/19: Vancouver, BC @ The Fox Cabaret (tickets)^
10/20: Portland, OR @ Wonder Ballroom (tickets)^
10/21: San Francisco, CA @ The Masonic (tickets)^
10/22: Santa Cruz, CA @ The Catalyst Atrium (tickets)^
10/23: San Diego, CA @ Irenic (tickets)^ 
10/24: Los Angeles, CA @ The Belasco Theater (tickets)^ 
10/26: Tucson, AZ @ Club Congress (tickets)+
10/28: San Antonio, TX @ Paper Tiger (tickets)+
10/29: Austin, TX @ Mohawk (tickets)+ 
10/30: Houston, TX @ White Oak Music Hall (tickets)+
11/1: New Orleans, LA @ One Eyed Jacks (tickets)+
11/2: Atlanta, GA @ Variety Playhouse (tickets)+
*  w/ Twain
^  w/ Busman’s Holiday
+  w/ Laura Gibson
Single Review by William Ruben Helms

Initially beginning his recording career as a member of Regina Spektor‘s and Sondre Lerche‘s backing bands, as well as a co-producer and full-time member of critically acclaimed indie act of Montreal, violinist, vocalist, composer, and producer K. Ishibashi through the release of critically applauded two full-length efforts — 151a and Lighght — with his solo recording project Kishi Bashi has developed a reputation for decidedly crafted and swooning orchestral pop with a subtly modern take, as K. Ishibashi would frequently use looping machines and samplers for a lush, layered sound.

Produced by Grizzly Bear‘s Chris Taylor and engineered by Pat Dillet, who has worked with Angelique Kidjo and David Byrne, and drummer Matt Chamberlain, who has been a member of Morrissey‘s and Fiona Apple‘s backing band, as well as being a member of Montreal, Ishibashi’s third full-lenght effort Sonderlust reportedly finds the renowned composer and vocalist expanding upon the sound that first captured the attention of the blogosphere. Interestingly, Ishibashi has publicly mentioned that Sonderlust‘s material didn’t come immediately or through his usual creative process. “As I sat down to write songs last summer, I went to all my usual conduits of creation: violin loops, guitar, piano and I came up with the musical equivalent of fumes,” Ishibashi explains. “I tried to create orchestral pop recordings that I assume were my forte, and in turn, I found myself standing in front of a creative wall of frightening heights.” This period of creative uncertainly, along with significant changes in his personal life, led the composer, violinist, vocalist and producer to experiment with a new musical direction. “I questioned everything about what it means to love and desire…the difference between loving someone and being in love,” Ishibashi explained.

The album’s first single “Say Yeah” has Ishibashi pairing twinkling and shimmering synths, lush string and wind arrangements, propulsive drum programming, an incredibly infectious hook and the renowned violinist, vocalist and producer’s tender and aching falsetto in a swooning yet dance-floor friendly song that interestingly enough sounds as though it were indebted to disco and both 80s and contemporary electro pop — all while still possessing a swooning Romanticism. Lyrically, the song is a plaintive and urgent plea to a lover to stay and try to make it work because the narrator can’t just bear to be without his love.

You can catch Kish Bashi on a lengthy North American tour this fall, and it includes an October 2, 2016 stop at Webster Hall. Check out tour dates and ticket information below.

Tour Dates:
9/27: Athens, GA @ Georgia Theatre (tickets)
9/28: Charlotte, NC @ Visulite (tickets)
9/30: Carrboro, NC @ Cat’s Cradle (tickets)
10/1: Silver Spring, MD @ The Fillmore – Silver Spring (tickets)
10/2: New York, NY @ Webster Hall (tickets)
10/3: Boston, MA @ Royale (tickets)
10/4: Philadelphia, PA @ Union Transfer (tickets)
10/6: Toronto, ON @ MOD Club (tickets)
10/8: Cleveland, OH @ Beachland Ballroom & Tavern (tickets)
10/9: Pontiac, MI @ Crofoot Ballroom (tickets)
10/10: Chicago, IL @ Vic Theatre (tickets)
10/11: St. Louis, MO @ Delmar Hall (tickets)
10/12: Minneapolis, MN @ First Avenue Mainroom (tickets)
10/14: Omaha, NE @ Slowdown (tickets)
10/15: Englewood, CO @ Gothic Theatre (tickets)
10/16: Salt Lake City, UT @ Urban Lounge (tickets)
10/18: Seattle, WA @ The Showbox (tickets)
10/19: Vancouver, BC @ The Fox Cabaret (tickets)
10/20: Portland, OR @ Wonder Ballroom (tickets)
10/21: San Francisco, CA @ The Masonic (tickets)
10/22: Santa Cruz, CA @ The Catalyst Atrium (tickets)
10/23: San Diego, CA @ Irenic (tickets)
10/24: Los Angeles, CA @ The Belasco Theater (tickets)
10/26: Tucson, AZ @ Club Congress (tickets)
10/28: San Antonio, TX @ Paper Tiger (tickets)
10/29: Austin, TX @ Mohawk (tickets)
10/30: Houston, TX @ White Oak Music Hall (tickets)
11/1: New Orleans, LA @ One Eyed Jacks (tickets)
11/2: Atlanta, GA @ Variety Playhouse (tickets)

 

 

Single Review by William Ruben Helms

 

Born in rural Vermont and currently based in Atlanta, GA, Nick Takenobu Ogawa is a classically trained cellist and composer, who writes, records and performs under the moniker Takénobu. As the story goes, Ogawa was raised in an extremely small town with a population of about 1,000 residents — and as a result, the cellist and composer grew up playing in the woods, since he had no next-door neighbors and had no cable TV. His parents were professors at Middlebury College, and when Ogawa turned 6, they introduced him to cello, and he took private lessons and practiced religiously until he had turned 18. But after 12 years of study and orchestral playing, Ogawa began veering away from classical music and started focusing on a self-taught style of play that borrowed techniques from his guitar playing and composition based on a variety of roots and world music influences.

Ogawa moved to Kyoto, Japan, where he spent a year experimenting and cultivating his unique playing style and sound — until he had suffered a wrist injury from intense practice. He then wound up attending Haverford College in Philadelphia where he graduated with thoughts of entering law school; however, instead of studying for the LSAT’s and preparing applications, Ogawa moved to Vancouver, BC, where he recorded his full-length debut album. He then moved to Brooklyn and won the 2006 Williamsburg Live singer/songwriter competition and with the winnings he was able to release his 2007 debut effort, Introduction. The album was released to favorable reviews but didn’t gain much exposure.

Frustrated and despondent, Ogawa was close to giving up on pursuing music. But just before his own deadline, the Vermont-born, Atlanta, GA-based cellist and composer submitted his debut effort to Pandora. And ironically enough, just as he was about to give up was the exact moment that he started to see increasing press attention and commercial success; in fact, thanks to Pandora’s recommendation algorithm, in the four year period between 2007-2011, Introduction received enough streams and sales that Ogawa was able to focus on music full-time, releasing three more full-length album. Adding to a steadily growing national profile, Ogawa’s music has received airplay on NPR‘s Morning Edition, has opened for Kishi Bashi and performed and arranged cello on Dessa‘s “It’s Only Me.”  

Reversal, Ogawa’s fifth full-length effort is slated for a February 12, 2016 release and the album’s first single “Curtain Call” pairs a gorgeous and moody cello composition with Ogawa’s achingly plaintive vocals singing about a relationship that has come to an inevitable conclusion, and both sides have recognized that they have to part — perhaps forever. Sonically speaking the song employs the use of several different layers of cello to create a lush and yet spectral arrangement that emphasizes the melancholy sense of acceptance at the core of the song.

 

 

 

 

Single Review by William Ruben Helms

If you’ve been frequenting JOVM over roughly the last 15-18 months or so, you may have come across a couple of posts on Scott Reitherman, the creative mastermind behind indie electro pop sensation, Pillar Point and the former frontman of pop act, Throw Me The Statue. With Pillar Point, Reitherman has received national attention for a melancholy yet bouncy electro pop sound primarily comprised of vintage, analog synthesizers, drum kits and sleek bass lines. It’s a sound that’s been compared favorably to several blogosphere darling acts including Washed Out, LCD Soundsystem and others.

While touring to support his solo debut with of Montreal , Reitherman was planning to write and record his sophomore full-length effort, Marble Mouth in his Seattle home when Kevin Barnes unexpectedly invited him to record the album in his home studio. As soon as the tour wrapped up, Reitherman spent several months crafting demos and went to Barnes’ home to flesh out, refine and then record Marble Mouth‘s material with contributions from Washed Out’s drummer Cameron Gardener and Kishi Bashi‘s percussionist Philip Mayer. Reitherman then spent a six month sent in New Orleans writing and refining both the album’s lyrics and vocals. And as Reitherman explained in press notes, New Orleans managed to influence the album’s lyrical direction.“New Orleans was the most meditative and mysterious part of making the record,” Reitherman explained. “I wanted to sink into that city and scrutinize the romantic southern sojourn.”

Marble Mouth’s first single, album opening track “Part Time Love” paired layers of twitchy and cascading synths with propulsive, four-on-the-floor drumming and Reitherman’s ethereal cooing to craft a sound that’s reminiscent of Talking Heads, Tobacco and others, while it subtly nodded at Top 40 pop; in other words, the sound is tense, neurotic and incredibly danceable and accessible pop with infectious hooks. The album’s latests single “Dove” pairs confessional R&B/pop-leaning lyrics sung with Reitherman’s achingly plaintive and emotive vocals with house music-leaning production comprised of layers of cascading synths, skittering drum programming, a glitchy and dramatic string sample and swirling electronics in what may be arguably the most club-friendly song of the entire album.

Single Review by William Ruben Helms

New Audio: Kishi Bashi’s Swooning and Romantic Cover of The Talking Heads “This Must Be The Place”

As a child, I was a huge fan of Talking Heads. I’ve probably seen and heard Stop Making Sense more times than about 80% of the population before I turned 15 and several of their albums — […]

Single Review by William Ruben Helms

Originally, known as the frontman of pop act Throw Me The Statue, Scott Reitherman’s solo recording project Pillar Point has received attention for a melancholy yet bouncy electro pop sound primarily comprised of vintage, analog synthesizers, drum kits and sleek bass lines. As the story goes, Reitherman was planning to write and record his sophomore full-length album in his Seattle home when he received an unexpected invitation to record the album at Kevin Barnes’ home studio, while Reitherman was opening for of Montreal during their US tour.

Once the tour wrapped up, Reitherman spent a few months crafting demos of the material that would wind up comprising Marble Mouth before spending a month at Barnes’ house refining and recording alongside of Washed Out‘s drummer, Cameron Gardener and Kishi Bashi‘s percussionist Philip Mayer.

Reithernan then spent a six period in New Orleans writing and refining both the album’s lyrics and vocals. And as Reitherman explained in press notes, “New Orleans was the most meditative and mysterious part of making the record. I wanted to sink into that city and scrutinize the romantic southern sojourn.”

Marble Mouth‘s first single, album opening track “Part Time Love” pairs layers of twitchy and cascading synths with propulsive, four-on-the-floor drumming and Reitherman’s ethereal cooing to craft a sound that’s reminiscent of The Talking Heads, Tobacco and others, while subtly nodding at Top 40 pop; in other words, the sound is tense, neurotic and incredibly danceable and accessible pop with infectious hooks.

Uncategorized by William Ruben Helms

K. Ishibashi, better known by his pseudonym Kishi Bashi, is a violinist, composer, vocalist and producer who has recorded and toured with the likes of Regina Spektor, Sondre Lerche and Of Montreal (where he was a full-time member and co-producer). And while […]