Tag: Oscar Award

New Video: Acclaimed Drummer and Songwriter Kyle Crane and The Shins’ James Mercer Team Up on a Shimmering and Nostalgic Single

Kyle Crane is an acclaimed drummer and prolific songwriter, who has been a part of the touring bands for the likes of Neko Case, M. Ward and others. Additionally, he was the drum double for the Oscar Award-winning film Whiplash.  Crane recently announced a solo album of his own, Crane Like The Bird, which is slated for a January 18, 2019 release, and the album is reportedly steeped in Crane’s autobiography: Crane’s father was a Coast Guard lieutenant and pilot, whose helicopter went down in a search-and-rescue mission in 1997. The album tells the story of the time leading up to his father’s death and the effects on them; in fact, the album cover photo is a picture of his mother at the crash site, throwing a rose out to sea, and the album art includes his father’s old pilot logs and maps. 

As a result, the album’s material touches on love, loss and memory but also ski lifts and Nintendo, perhaps as a reminder that along with love, a healthy dose of nostalgia is part of the universal experience. Interestingly, the album finds Crane collaborating with a who’s who of indie music including Conor Oberst, Daniel Lanois, Kurt Rosenwinkel, Luke Steele, Peter Bjorn and John‘s Peter Moren, Sabina Scuibba, Brad Mehldau and The Shins’ James Mercer — and each collaborator allows the material on the album to be sonically diverse, as the material nods at points to jazz, New Wave, country and others. The album’s latest single is the jangling, Smiths-like “Wishing Cap,” an achingly nostalgic track that wishes for simpler and easier times, perhaps with loved ones who aren’t with us now. 

Animated by Tim Lierman, the recently released video is a larger metaphor for being transported back in time. After putting the wishing cap on, the video’s hero is transported with the task of healing a world that has fallen apart. That world represents Crane’s broken heart, after his father’s death. As Crane explains, “When I would visit my Grandparents i would stay in my father’s old room that he grew up in. One time I was rummaging through the closet and I found an old shoe box with letters and an old green baseball cap in the closet. I thought ‘what if I put this hat on and it gives me special powers and I can climb through that old photo on the wall and be transported to the past’”

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Earlier this summer, you may have come across a post featuring the Western Massachusetts-based indie rock band The Sighs, and as you may recall, the band can trace its origins back to 1982 when its founding members Robert LaRoche (lead vocals, guitar) and Tommy Pluta (bass, vocals), bonded over their mutual love of The Beach BoysCrosby, Stills and Nash and other acts that employed the use of multi-part harmonies; of course, it also helped that while jamming together, LaRoche and Pluta quickly learned that they own voices blended together beautifully. Tom Borawaski (drums) and Matt Cullen (lead vocals, guitar) were recruited to flesh out the band’s sound and to complete their initial lineup, and as a quartet the band quickly made a name for themselves as a must-see live act across the region. As Tommy Pluta explains in press notes “One luxury of living in Western Mass is that we played all the colleges and clubs for years and years. By the time things started happening for us, we were primed for it — we sounded really tight and everything was just spot on.”

As luck would have it, the members of The Sighs crossed pants with John DeNicola, an Oscar Award-winning songwriter, who co-wrote “(I’ve Had) The Time of My Life” and producer, and his production partner Tommy Allen at the China Club, and they then signed with Charisma/Virgin Records, who eventually released  What Goes On to critical acclaim. And adding to a rapidly growing profile, the band went on tour with nationally touring acts like Gin BlossomsDada and others. But after a number of lineup changes the band eventually dissolved with members of the band pursuing individual creative projects or focusing on family life, and so on — and the result was that The Sighs became less of a focus for its members.

Interestingly enough, the band’s third full-length effort Wait On Another Day can trace its origins to recently unearthed batch of demos recorded on analog tapes back in the 90s that the band’s Matt Cullen recently stumbled upon.  Once Cullen had shared the demos with his bandmates and their longtime producer John DeNicola, the members of the band decided to reconvene at DeNicola’s Upstate New York-based studio and revise a handful of songs; however, as the band’s drummer Tom Borawaski explains “.  .  . it all came together so well, and we were having such a great time, we ended up making a whole album. It really just took on a life of its own.”

“All the years of playing together left a permanent mark on us. It wasn’t too difficult to tap into our musical and personal bond again,” LaRoche says of the album, which occurred over a spontaneous five-day recording session. As Borawski adds, “Everything had more of a spark to it than when we made What Goes On, where we put all the songs under a microscope and tried to get it all completely perfect.” And as a result, the material possesses an urgency and vitality that most bands wish they could capture on record. And while the material of Wait On Another Day thematically focuses on many of the things the band’s members wrote about in their youth — the prototypical rock related subjects of girls, getting kicked around, hopes and dreams and falling in love; but perhaps because the members of the band are now middle-aged men, the material unexpectedly possesses a wistful ache of someone who has been forced to accept the passage of time, and the strange realization that the moe things change, the more things manage to remain the same.  Heartache is heartache, no matter how old you are or what you’ve done and seen, and hell, at some point life is ultimately about having the courage to go on towards what’s next after life has broken your heart.

Wait On Another Day‘s first single “It’s Real” was jangling guitar pop with gorgeous harmonies, impressive guitar work and the sort of anthemic hooks reminiscent of f The SmithereensStarfish, Gold Afternoon Fix and Forget Yourself-era The Church with a swooning, urgent romanticism. That shouldn’t be surprising as the song focuses on being desperate, youthful love with that pretty young thing you can’t get off your mind and the anxious excitement that comes about as you wonder aloud to yourself  “Can this be real. Is this what I’ve been seeking and desiring for so long?” But it’s unde-pinned for the hope of finally achieving something you’ve dreamt of for as long as you could remember.  And while album title track and latest single “Wait On Another Day” continues in a similar vein as its preceding singles — in other words, deeply heartfelt, jangling and anthemic guitar pop, the band manages to capture something timeless within the material. After all, rock is ultimately about the connection between a group of friends and musicians with big dreams and something to say about their lives and experiences but interestingly enough the material manages to sound as though it could have been released sometime between 1988-1993 — or well, yesterday. And what this song managed to remind me of today was the fact that when the world seems on the verge of complete collapse there’s always the comfort and hope of love and of music.

 

 

 

Formed in Western Massachusetts back in 1982, The Sighs initially began with its founding members Robert LaRoche (lead vocals, guitar) and Tommy Pluta (bass, vocals), two lifelong musicians, who had bonded over their mutual love of The Beach Boys, Crosby, Stills and Nash and other acts that employed the use of multi-part harmonies — and the duo of LaRoche and Pluta quickly learned that they own voices blended together beautifully.  Tom Borawaski (drums) and Matt Cullen (lead vocals, guitar) were recruited to flesh out the band’s sound and to complete their lineup, and as a quartet the band quickly made a name for themselves as a must-see live act across the region. As Tommy Pluta explains in press notes “One luxury of living in Western Mass is that we played all the colleges and clubs for years and years. By the time things started happening for us, we were primed for it — we sounded really tight and everything was just spot on.”

As the story goes, the members of The Sighs crossed pants with John DeNicola, an Oscar Award-winning songwriter, who co-wrote “(I’ve Had) The Time of My Life” and producer, and his production partner Tommy Allen at the China Club, the band signed with Charisma/Virgin Records and released What Goes On to critical acclaim; in fact, the band built upon a growing profile with tours with Gin Blossoms, Dada and others.

The Sighs third full-length effort Wait On Another Day is the first release from the Western Massachusetts-based indie rock quartet in over 20 years, and the material on the album can trace its origins to a recently unearthed batch of demos recorded on analog tapes back in the 90s that the band’s Matt Cullen stumbled upon. Once Cullen had shared the demos with his bandmates and their longtime producer John DeNicola, the members of the band decided to reconvene at DeNicola’s Upstate New York-based studio and revise a handful of songs; however, as the band’s drummer Tom Borawaski explains “.  .  . it all came together so well, and we were having such a great time, we ended up making a whole album. It really just took on a life of its own.”

“All the years of playing together left a permanent mark on us. It wasn’t too difficult to tap into our musical and personal bond again,” LaRoche says of the album, which occurred over a spontaneous five-day recording session. As Borawski adds, “Everything had more of a spark to it than when we made What Goes On, where we put all the songs under a microscope and tried to get it all completely perfect.” And as a result, the material possesses an uncommon urgency and vitality — of the sort the most bands wish they could capture on wax; but interestingly enough, as Pluta notes, the material on the album focuses on many of the things they had written about in the past: girls, getting kickedd around, hopes and dreams and falling in love. And perhaps because of the band’s age and experience, the material possesses the wistful tone of one, who has accepted both the passing of time, and the strange sense that the more things change, the more they manage to remain completely the same. So what if you’ve traveled the world, read the great novels, seen and done all that’s needed to be seen? Heartache is heartache and everyone knows it at some point, and life is about knowing what to do once your heart is broken again and again and again and again . . .

The album’s latest single “It’s Real” is jangling guitar pop paired with gorgeous harmonies, impressive guitar work, and the sort of anthemic hooks reminiscent of The SmithereensStarfish, Gold Afternoon Fix and Forget Yourself-era The Church but with a swooning and urgent romanticism; after all, the song is about some of the classic rock ‘n’ roll tropes: wildly passionate love with that pretty young thing and the desperate excitement of it being real, for perhaps the first time and of finally achieving something that you’ve dreamt of for such a long time.