mp3: Megafaun -- "Volunteers"

mp3: Megafaun -- "Volunteers"

Durham's Megafaun is putting out a mini-album on Sept. 14. Read about the process on Hometapes' Tumblr.

Here are some Megafaun tour dates...

06/08/10 Arlington, VA @ IOTA Club & Cafe #
06/09/10 Hoboken, NJ @ Maxwell’s #
06/10/10 Cambridge, MA @ Regattabar
06/11/10 Northampton, MA @ Iron Horse Music Hall #
06/12/10 Buffalo, NY @ Sound Lab #
06/13/10 Ann Arbor, MI @ Blind Big #
06/15/10 Milwaukee, WI @ Club Girabaldi #
06/16/10 Eau Claire, WI @ House of Rock #
06/17/10 Madison, WI @ High Noon Saloon #
06/19/10 Bloomington, IN @ The Bishop #
06/21/10 Nashville, TN @ Exit/In
06/22/10 Knoxville, TN @ Pilot Light
06/23/10 Asheville, NC @ The Grey Eagle
08/06/10 Portland, OR @ Pickathon
08/07/10 Portland, OR @ Pickathon
09/11/10 Raleigh, NC @ Hopscotch Fest - King’s
^ with Tift Merritt
# with Sam Quinn


More after the jump...

review: Beta Radio -- Seven Sisters

Beta Radio
Seven Sisters
Self-released, 2010




Wilmington, North Carolina’s Beta Radio threw their hat into the Americana-Folk ring in early May with their debut album Seven Sisters. Ben Mabry and Brent Holloman (the duo behind Beta Radio) have offered up an album that is instantly familiar and undeniably catchy.

Musically reminiscent at times of Bon Iver’s atmosphere heavy For Emma, Forever Ago or the Grateful Dead’s "Mountains of the Moon" from their 1969 release Aoxomoxoa, the sonic landscape of Seven Sisters is sparse but far from empty. On tracks like "Khima," "Borderline" and "Brother, Sister," the slow scrawl of the banjo melody floats through the song and surrounds you like birdsong, coming at you predictably but surprisingly from several directions at once. Each of the songs on this album stays with you, forming a soundtrack for and changing the shape of the rest of your day.

It’s appropriate that a debut album concern itself with creation and Seven Sisters is no exception. Whether it is the creation of love and a place for that love, as the narrative of the album suggests; or the creation of the universe, as the album’s title and repetition of astronomical and astrological imagery suggests; Beta Radio’s lyrics and music carve out a space in your head and find a way to fit into your own cosmology.

Lyrically, Seven Sisters explores religion, albeit from a couch rather than a pulpit. The religious allusions are subtle and unobtrusive, concerning themselves more with mysticism than proselytization, much like David Eugene Edwards’ 16 Horsepower and Wovenhand.

Line for line, the lyrics are beautiful and surprising. In "A Place for Me" the lines “I wanted not to fight / With my heart but I’ll fight with my fists all night” evoke the heartache of leaving, of lovers’ spats of loss and regret.

The album leaves you with a simple but urgent lyric refrain in "Return to Darden Road"-- “Where do you go? / Come back to me / ‘Cause I love you so."
More after the jump...

WE Fest Preview -- Wilmington, NC

WE Fest is a funny little bird. It's a Wilmington, NC staple--kind of the definition of the underground. Starting as a zine-exchange festival, each day is only $1 (or $3 for underage) and bands come not expecting to get a cent.

The fest's heyday feels past, not that I knew that heyday, but hey (ha!) I've been here three years and every year WE Fest catches me by surprise.

I always forget about it. I'm an innocent bystander. I don't know what the machinations of the fest are. I think I spoke to the famed Kenyatta once. I don't see his band on the schedule this year. Don't know what's going on. I always feel that it could be bigger, better than it is, that its ideals are kind of holding it back, or that it's no longer holding up its ideals (a lot of local bands...) or that the industry has passed it by (bands no longer wanting to take a chance in a small town by the beach anymore).

But that's WE Fest by design. You're not supposed to know the bands. You're supposed to discover bands. You're supposed to take a chance and stumble in somewhere That's how I found this band who unfortunately isn't playing this year.

I'll go ahead and compare it to Rad Fest. Sure, the music was more closely aligned, but there was punk, hardcore, math-rock, folk stuff. You got the sense the bands really wanted to be near one another. But it costs $25. Not $1.

Maybe $1 worked 14 years ago, but gas money is a lot, and food is a lot and people only buy their albums from large fruit companies they can access on their desktop.

So (by design? by ignorance? by laziness?) I don't know most of the bands playing (the full schedule is here), but here are the few that I can recommend. You should check them out even if you aren't finding your way to WE Fest this year.



All bands are at the Soapbox:

Thursday, May 27th:
8pm- Coup De Grace
12am-Today The Moon, Tomorrow The Sun

Friday, May 28th:
Bootleg Mag showcase

9pm -Dylan Gilbert

10pm -Gray Young
11pm- I, Crime

12pm-I Was Totally Destroying It

Saturday, May 29th

7pm -The Paperjets

8pm -Unholy Tongues

12am-Zach Broocke

Sunday, May 30th
2pm-Marionette
5pm-Ponchos

Showcase: -

Eskimo Kiss Records

9pm -The Good Graces

9:30pm -Actual Persons Living or Dead

10:15pm -North Elementary

11pm -Citified

11:45pm -Jay Manley & Jane Francis (of Velvet)

12:30am -Goner

(The fest is on Monday as well, but I don't know any of those bands...I'll be at the beach, I guess.)

More after the jump...

New songs from Schooner

More new songs from Carrboro, NC's Schooner.

You'll know them from the recently released Duck Kee Sessions and these new songs are part of a larger full-length.

More rockabilly in these I think, or I just can't make up my mind.
Stream these below or download them from the VR Presents website.
Sweet.




More after the jump...

review: Schooner Duck Kee Sessions

Schooner
Duck Kee Sessions
CyTunes, 2010

Schooner: "Feel Better"

Schooner is haunting my thoughts, it's got this distant reverb in the vocals, like that Jens Lekman character. Though nothing of Schooner is really haunting--instead it is classic, jangly folk rock, non-cheesy 60s surf with these clear melodies. "Feel Better" is the standout, though "Lose Yourself" is a close second, with its little twangish pull in there.

Schooner is from Carrboro, NC and led by Reid Johnson and that's his voice I can't get out of my head. Some nice bells in "Duck Kee Nights," this time the crickets echo in my mind and the wind rushes, rushes--it's nice for Schooner to carve out a folk-pop niche in all this grandiose noise of the world. "In All Probabililty"--that's a good one, as well.

Duck Kee Sessions can only be purchased at CyTunes.org with 100 percent of proceeds going to brain cancer research in memory of Cy Rawls.

Here is the full band lineup I just copied off of CyTunes:

"Maria Albani plays bass, sand blocks, and percussion. Billy Alphin plays drums and percussion. Kathryn Johnson plays keys, djembe, and percussion. Reid Johnson plays guitar, ukulele, xylophone, synthesizer, harmonica, toy piano, vibraphone, and percussion. Jerry Kee plays 2-inch tape machine."

The EP is in collaboration with a bunch of artists who created various artwork for the EP, including my favorite (above) from Shirle Koslowski. All the other art, from peeps like Will Hackney and Catherine Edgerton of Midtown Dickens and John Harrison from North Elementary can be viewed here.

Word is that a full length is coming sometime later this year as well.

Go pick this up.


More after the jump...

review: All Your Science Volume 2

All Your Science
Volume 2
Self-released, 2009

Review by Andrew

The new album from Durham duo All Your Science is appropriately titled Volume 2 given that it follows their debut Volume 1 and that this second record seems, in some ways, a continuation of their first effort. The sound of the sophomore work is nearly identical to the first record's clean but lo-fi feel, which certainly isn't a bad thing. The guitar and drums (and other assorted instruments) and sparse vocals echo on each song like you're standing in a dimly lit basement watching the band live. It's the perfect sound for All Your Science. As far as the songs on Volume 2, the band has not strayed too far from their difficult to describe style of shoegaze meets drum and bass meets indie rock. However, on this latest effort, it's clear that the band has taken more time to fully realize their ideas, adding unexpected instruments and some really interesting rhythms.


"Club de Sons" opens the record with Dave Z. laying down a quick, almost tribal drum beat that guitarist Lu Lubenstein quickly tags along with, playing bent, surf rock guitar notes that fall into the gaps of the staccato rhythm. The sparse and clean guitar sounds almost cheerful, but also haunting before finally devolving into a distorted musical car crash in the final twenty seconds. Both members sing on "This Time," a slow song about lost love that floats along on a gentle lilting guitar riff and plodding drums. The song has a catchy chorus that sounds honest and actually quite pretty with the duo's voices simultaneously clashing and meshing.


The songs “Burried” and “Powder Down” both feature intricate playing by this pair, while also demonstrating a new versatility. “Burried” contains a few brief measures of banjo playing that could not be more unexpected or welcome. The guitar line the banjo apes is an intricate, almost metal sounding riff that—both on guitar and banjo—adds a really interesting texture to the song. The rhythm of “Powder Down” is fast and driving, with Dave Z. slamming his snare drum along to a subdued guitar riff that somehow sounds great with a frantic accordion. If anyone ever needs music for a scene in a movie with a high speed unicycle chase through a circus, this just might be the perfect song.


Dave Z. plays a mini drum kit, one he designed to be carried on his back while riding a bike, and this is the set he also uses when recording. That he's able to get so much noise and provide such interesting and varied beats to the songs with this limited set-up is a real testament to his drumming abilities. Likewise, Lu Lubenstein manages to do a lot with her guitar (and piano) playing, which has become more intricate and captivating since the last album, as she has as good a sense for when to play a note as when to leave a space empty.


Volume 2 is an enjoyable record that is especially satisfying because it demonstrates a good deal of growth since All Your Science's debut. If you have the chance to catch the band live, you probably should check them out, as they put on a really fun show. Until then, though, you can enjoy both of their records for free at http://www.4gre.org/allyourscience/


You can also check out a short documentary all about the backpack drum set: http://www.imdb.com/title/tt1399243/ More after the jump...

Troika Festival Wrap-Up Links

Future Islands on Friday night of Troika. Photo by Jeremy from Secret Carrboro Ninja Patrol

Didn't make it to Troika in Durham, NC this year. I'm a loser. If I was a real media outlet, I would've "dispatched" somebody. Too bad. Luckily, a few fine folks were there:

The Secret Carrboro Ninja Patrol has a breakdown of many of the sets, along with pics, pics, including Lonnie Walker and The Love Language. And don't forget the Beard Patrol, either.

Wallow in the goodness here (Day 1), here (Day 2) and here (Day 3).

Mann's World comes through with a video offering of Rat Jackson, The Loners, and The Love Language with some advice for the fest organizers.

Daily Tar Heel lays it out with Day 3 love.

In retrospect, here are the Scan's picks and the Daily Tar Heel's picks.

If you find some more reviews/pics from other sources, let me know in the comments and I'll add them.

More after the jump...

2009 Troika Fest in Durham, NC

Troika Festival is this weekend in Durham, NC.
Was just going to make some picks for the Troika Festival this wknd in Durham, but screw it, here's the whole schedule with some nice vids scattered in.

Thursday, Nov 5

Durham Central Park



7:45 Megafaun
7:00 The Beast

Backstage at the Durham Performing Arts Center
11:00 Bowerbirds
10:00 The Future Kings of Nowhere
9:15 Humble Tripe
8:30 Ghost Cats

The Pinhook
117 W. Main St

11:15 Max Indian
10:30 Aminal
9:45 House of Fools
9:00 The Desmonds

Duke Coffeehouse

11:45 Future Islands
10:45 EAR PWR
10:00 The ExMonkeys

Broad St Cafe
1116 Broad St

11:45 The Moaners
11:00 The Dry Heathens
10:15 Pink Flag
9:30 Regina Hexaphone

Rest of the schedule after the jump...

Friday, Nov 6

"Troika Evenings" at West End Wine Bar

601 W. Main St

8:30 Birds and Arrows
7:45 Liza Kate
7:00 Tea and Tempests

Marvell Event Center

119 W. Main St





10:30 Embarrassing Fruits
9:45 The Proclivities
9:00 Wembley
8:15 Ryan Gustafson

The Pinhook
117 W. Main St

11:00 Bellafea
10:15 Caltrop
9:30 Grappling Hook
8:45 Scientific Superstar

Trotter Building
410 W. Geer St

12:30 Dex Romweber Duo
11:30 Gentleman Jesse & His Men
10:30 Hammer No More The Fingers
9:45 Brett Harris
9:00 The Huguenots

Duke Coffeehouse

Duke University
East Campus

12:00 Birds of Avalon
11:00 I Was Totally Destroying It
10:15 The Pneurotics
9:30 The Ringing Cedars

Broad St Cafe
1116 Broad St

12:15 Pipe
11:15 The Dirty Little Heaters
10:30 Whatever Brains
9:45 Jews and Catholics

"Late Night" at Bull McCabe's
427 W Main St

12:15 Beloved Binge
11:30 All Your Science

Saturday, Nov 7

"Rock, Paper, Scissors" at Trotter Bldg

Arts & crafts marketplace!

410 W Geer St

2:30 Mount Moriah
1:30 Tin Star
12:30 Three Days in Vegas

"Troika Evenings" at West End Wine Bar

601 W. Main St

8:30 The Tender Fruit
7:45 Jasmé Kelly
7:00 Sequoya

Marvell Event Center
119 W. Main St

10:30 Luego
9:45 Lud
9:00 Bright Young Things
8:15 Sea Cow

The Pinhook
117 W. Main St

11:00 Gray Young
10:15 Citified
9:30 Veronique Diabolique

Duke Coffeehouse
Duke University
East Campus
Trinity Ave & Buchanan Blvd

11:15 Lonnie Walker
10:15 Schooner
9:30 Veelee
8:45 D-Town Brass

Trotter Building
410 W. Geer St



11:30 Red Collar
10:30 The Travesties
9:45 Maple Stave
9:00 The Bronzed Chorus

Broad St Cafe
1116 Broad St

12:00 The Love Language
11:00 The Loners
10:15 Rat Jackson
9:30 Dynamite Brothers

"Late Night" at Bull McCabe's
427 W Main St

12:15 Pistil
11:30 Butterflies

More after the jump...

review: Horror Vacui I Was Totally Destroying It

Deckfight is participating in an albums of the decade blog tour. Check the dates and list at www.10blogs1decade.tumblr.com

Also, check out the Deckfight review on IWTDI's previous EPs and a Q&A with the band.



Horror Vacui
I Was Totally Destroying It
GreyDay, 2009

I Was Totally Destroying It: "Come Out, Come Out"
I Was Totally Destroying It: "A Reason To"

Just read that big Rolling Stones cover story about how the Beatles broke up. That ended up as a mess and a lawsuit. Read another article that Rachel Hirsh and John Booker the main songwriters for Chapel Hill's I Was Totally Destroying It broke up as well. Lucky for all of us, that resulted in Horror Vacui and the band plays on.

It's the second full-length (I guess) for the band, though they smashed some EPs together in between this new release and their self-titled original.

I always thought I was a huge fan of the first album, but what I learned recently was that I was a fan of a couple songs that carried the whole thing. At a IWTDI show, I'll be the guy yelling "To Nomenclature" as I think it's one of the best pop songs I've ever heard, and I'm a sucker for "Hey Alright" and "My Favorite Haunt" as well. But reflecting back on those songs and album, it's clear that Hirsh was a bit reserved, still feeling her way as a singer, performer, keyboardist and part of this whole "band thing." There are (at least to me) clear Hirsh songs and clear Booker songs. But on Horror Vacui, despite the duo's romantic separation, the two function better together.

There is harmony, and I don't just mean in vocal parts, but the instruments gel, the voices gel. Even though the lyrics speak of separation, there is a cohesiveness. On "A Reason To" probably the song most about a divided couple, the keyboard sets the melody line, but it complements the rhythm guitar very well. All parts are working on full cylinders even though the lyrics speak of something different. There is no round robin here of instruments (okay, you play your part, then you slowly move in, and we'll see how long that goes...), no these are realized, full, dense, good.

"Done Waiting" will induce screams with its soon to be familiar opening; "Caterwaul" has a well-defined urgency; "Green Means Go" are the Get Up Kids on reverb with a good understanding of keyboards; "Come On, Come On" has this boot-kick beat to it, as if its asking a bunch of alt-kids to line dance.

But, this album is about two songs to long, mostly tailing at the end. "Turn My Grave" seems out of place, "Forfeit to Win" is an excellent song, but takes the energy down a notch; a good concept structure-wise, though I don't think the band really pushes it as far as it could go. The middle of it has this odd breakdown that should have gone more punk, but settles for garage-band noodling.

But the first nine of this album really pushes IWTDI forward, pulling in some new arrangements while making sure the core catchy punk pop is well preserved. Lumping this band in with any Warped Tour emo-synth-pop wannabes would be a mistake--IWTDI only flirts for fun with those bands, and takes the best elements that has developed in that scene and makes them tantalizingly better. Its obvious that the band is not done yet artistically, that they still are capable of making some great trips, though they don't have all the roads figured out.


More after the jump...

Friday Five: 5 Questions with I Was Totally Destroying It

First it was this. Then the review of the Done Waiting/Beached Margin album. Now it's an interview with the band. Next week it will be a review of their new album, Horror Vacui. What else do I have to do to convince you that I Was Totally Destroying It (IWTDI) is worth your devotion?

The band plays an album release party tomorrow, Oct. 10th at the Cradle in Chapel Hill, NC with Lonnie Walker, Des Ark, Rat Jackson and Lake Inferior.

IWTDI is made up of Curtis Armstead on guitar, Joe Mazzitelli on bass, Rachel Hirsh on keyboard and vocals, along with drummer James Hepler and vocalist/guitarist John Booker who were nice enough to answer a few questions.

And for a completely different type interview with the band, check out this feature in IndyWeek.

1) I dont' usually ask about band names, but "I Was Totally Destroying It" has this weird existential vibe to it, because multiple members (usually a 'we") actually equal an "I." So where did it come from?

JOHN: Existential would be nice, wouldn’t it? It’s a stupid story: I was in a band a long time ago, full of philosophy majors, so every van discussion turned into some deep, “meaningful” debate. One time we were discussing the “cathartic nature of destruction”- and I referenced a time when I was doing some renovation work- breaking up a slate walkway with a pickaxe- the description of my actions came out of my mouth as “I Was Totally Destroying It”. Somehow, it elicited a laugh, a “write that down”, and it stuck. When starting IWTDI, I wanted a band name that no one else would have (too many problems with that in the past), and that wouldn’t take itself too seriously. What I love about the name is the juxtaposition of it, the irony: if we were a metal band I would HATE it- but because we’re a pop band, I love it. As far as everyone else is concerned, it’s quite polarizing-although I’ve had a large amount of people tell me it’s the “best band name” they’ve ever heard…

2) I know you guys had some label problems (with local label Neckbeard Records) before getting on Greyday. Not to really rehash a difficult time, but what did that experience teach you (if anything) about this thing called music business?

JAMES: Whew. It's a really hard question to answer without the full story being out there, you know? I think first it's important to note that we approached the previous label situation with a good amount of caution, primarily because of the whole friendship/business thing. So rather than saying we learned anything, maybe it's better to say that what we already knew served us fairly well, and the situation reinforced our belief that we had a handle on our business. People on both sides had reservations about how it would all work out, and it became clear pretty early that it wasn't the right thing for either us OR the label.

JOHN: I’d like to think it taught the OTHER parties involved something about the music business- ours wasn’t so much “learned” as it was “why didn’t we just admit/realize this was going to happen?” I’ve been doing this a really long time, and sometimes that can mean a little and sometimes it can mean a lot. I’ve seen every side of the business- I’ve worked at labels, I’ve obviously been in the bands. I’ve been a frontman, I’ve been a sideman, I’ve been a hired gun. I’ve played to a sold-out Bowery Ballroom, I’ve played Kirby’s Beer Store in Kansas. I’ve been in cover bands, I’ve been in math rock bands. I’ve seen friends go on to sell 100,000+ records, I’ve seen friends that were poised to sell 100,000 records get absolutely fucked by a major(or an indie!) and break up. And that doesn’t even touch on Hepler’s years of experience (or the rest of the band for that matter). There wasn’t a lot left that this could teach me, other than to always bet on yourself. And trust your gut.

By the way, Greyday has been AWESOME for us so far- we don’t ask anything unreasonable of them, nor they of us, and I’d like to think THAT sheds the most light on the former situation than anything else. Wink wink.

I Was Totally Destroying It from Mann's World on Vimeo.

3) For Horror Vacui, is this the first time you're touring beyond the home state as a band? What's been some of the feedback you've heard in other parts of the country? What things is the band most looking forward to on a larger tour?

JOHN: This will actually be our second full-on tour with this band. We’ve done a lot of 2 or 3 day trips taking us places like Ohio and New York- but we also did a 3 week US tour in summer ’08. All the way to the west coast and back- it was a whirlwind trip- lots of 10+ hour drives, etc. This October tour will be a lot easier- covering a lot less mileage in about the same amount of time, although we plan to get back out to the west coast as soon as possible.

We’re really looking forward to sharing this tour with Ohio’s The Story Changes. A lot of the time, two smaller indie bands touring together can actually work against putting the whole thing together, but we’ve got some really cool shows lined up, and The Story Changes are super organized like us and they are absolutely inspiring live- so I think we’re all looking forward to the challenge of sharing the stage with them every night.

I’d say the feedback we get when we head outside of The Triangle is often MORE positive than what we receive at home. We’re lucky to have been embraced by many who support us here and enjoy the music, but Durham and Chapel Hill are scenes that were built on a very different sound than what we are currently after. All our old bands were very much a part of that musical mentality, but our pop leanings are not always a perfect fit in the Indie Mecca. Brooklyn probably hates us, Omaha probably hates us, San Francisco probably hates us- the more scarves and v-necks and skinny jeans you see, the less we are probably welcome. So yes, we love branching out into the other territories-often it can be very welcoming and rewarding and reaffirming. We’ve also been told Spain would love us.

4) I've been impressed with all your releases with how much of a sensibility you guys have for melody, arrangement and overall pop excellence (that sounds like an award category). How was that sense honed or does it just kind of come naturally?

JAMES: We all have our individual strengths and weaknesses, but each of us has a sense of songcraft. We pay very close attention to every detail of every song. The main vision comes from John and Rachel, but when we really get into the arrangements, the sounds, the minutiae of the songs, I think it's when we're at our best. I would hesitate to say it's honed, necessarily, because to me that's something you strive for and only achieve in degrees, but our songcraft is definitely conscious or intentional, and while much of it comes naturally, we don't rely on natural ability to get by.

JOHN: Melody is certainly my focal point, and my favorite part of the writing process, and I think my best contribution to IWTDI. Melodies seem to come to me very quickly, and usually I kind of just know I’ve got something if it’s instantly satisfying. I had been in a lot of riffy, guitar heavy bands, and really strove to focus on vocals much more this time around, and I somehow just got lucky in that respect, I’d like to think. However, to a certain degree, I feel I’ve exhausted my go-to tricks for writing the basic concepts/structures of IWTDI songs, so for whatever we do next, I’m really excited to open the band up more to musical ideas Curtis or Joe or James might have, and see if that pushes my melodies into new territory. It’s very exciting to write outside those comfort zones- every songwriter has go-to concepts, and it’ll be nice to try to experiment with our formulas more soon. It’ll still be IWTDI, but I’d like to think we haven’t written the same song twice YET, so I’d like to keep pushing that mentality even further.

5) Looking at your body of work so far, what are some of the changes that you've noticed over that time?

JOHN: Just the other day, Curtis and I jumped in my car and the first thing that came on the radio was a song off our first album. We both remarked that we hadn’t listened to that stuff in a while and how the track really sounded like a completely different band- a past project that we had moved on from (although we both stated that we still love it in many ways). That first album was a glorified solo record for me, for the most part. Inter-band workings changed a lot as soon as that was done, specifically, Rachel and I became a songwriting team.

Early on I’d say the music was pretty unabashed- nothing and everything to prove at the same time. Then about 2 years ago we hit a brief moment of self-consciousness: unsure how to proceed into “Horror Vacui”, I think we tried to do a few things for someone other than ourselves, which you should never do. We bounced back, really started improving in the later half of 2008, and after a year or so of neuroses and second-guessing (pretty much all on my part), we ended up with “Horror Vacui”. It might not be EXACTLY the album I envisioned, which will probably always frustrate me, but I’m learning (at the behest of my bandmates who assure me it’s DONE and AWESOME) to let it go. I’ve made a lot of albums at this point, but this one has been
the hardest for me to detach myself from- I’m HOPING that means I’ve done something right, and I’m TELLING myself it might just mean that this is the best I’ve done, so far.

More after the jump...

Friday Five: 5 questions with Nathan White of Nathan Oliver

Nathan Oliver is the larger cumulative project of North Carolina's Nathan White, whose new album released this year, Cloud Animals, has been a pleasant surprise. White agreed to answer a few questions about his album and the scene in the Triangle area.

Nathan Oliver: "Icicles For Fingers"
Nathan Oliver: "French Press"
Nathan Oliver: "State LInes, Pt. 3"


1) What's your perception of what's going on with all the different bands in the Triangle area?
Nathan White: I completely agree--there is such a vibrant music scene in Raleigh/Durham/Chapel Hill today. Honestly, there are so many new bands and side projects popping up, it's hard to keep track of everyone. You can go out almost any night to venues like Local 506, The Cave, or Pinhook and catch local talent. A lot is happening and people (especially area students) are really receptive. There's a great community feeling--from showgoers and musicians alike.

I am not from the Triangle area originally. I'm grew up in Greenville, NC which is an hour and a half east of the Triangle. There's a very different (absent) music scene there. My favorite record store and venue were shut down long ago. I moved to Chapel Hill in 2000 to attend UNC, and I have only recently left. I drive back to Chapel Hill almost every weekend. I have a feeling I'll move back soon enough.

2) I know on Cloud Animals you use a lot of different musicans from various bands and projects. Do you have a steady "band" now that you practice with or develop songs with? Or do you still pretty much do it on your own, then throw the band together before shows?

My songwriting still mimics a solo artist perspective (probably why I kept the Nathan Oliver moniker, instead of changing it to a band name). I tend to write the bulk of each song before bringing it to anyone else. I do ask different musicians to write bass parts or drum parts and bring them to what I already have--which is what I did with Cloud Animals. I think it made for a pretty diverse and unpredictable record. So from the sense of developing new songs, I don't have a full band that I write with.



3)My favorite song off Cloud Animals is probably "Red Panda." It just seems kind of a departure from the rest of the folk-ish songs on the album, that it took me off guard at first, but then it was the one song I kept coming back too.

That and "Alone in a Fog" and I guess the two are related by their more electronic & distorted elements. Any thoughts on those songs? Were they a conscious choice to experiment or did they just pop out? Or do you think those songs are pretty much a continuation of the rest of the album and I'm just out of my head?

Haha, those are the rock songs of the record, and better reflect me as a guitarist and what we try to do as a live band. We are definitely heavier and noisier live, so that's where these songs came from. "Red Panda" was supposed to be this quirky, demented rock song with surf guitar in it. It also has this random tirade during the second breakdown that Mark Lebetkin (our viola player) came up with on the spot. It got a little deconstructed but I was really happy with the way it turned out. "Alone In A Fog" was the last song that I wrote and recorded for the album. It's about leaving someone to their own self-loathing devices. I was really happy with the way the ending of that song turned out.

The songs are heavier than most of the album, but I still think they fit us pretty well. We had some heavier moments on our first album too ("Greys & Blacks").

4) I really like the tone and feel of "Icicles for Fingers." It has this crazy carnie feel to it that I think appeals the sadistic type. What was the inspiration and direction for that one?

"Icicles for Fingers" is kind of this demented rollicking Johnny Cash song to me. I always hear a Pixies influence in this song. The bassline and trumpet kind of give it a carnival feel. The song is about a friend of mine who moved cross-country by himself and tried to reach out to new people who eventually turned cold toward him. It's about knowing where home is and who you can trust.


5) Lastly, here's kind of a stupid generic question--but what's the one album that you couldn't go without?

Right now probably something by Radiohead. They're huge and still phenomenal. Today let's say In Rainbows. Tomorrow it'll be completely different. The Microphones? Unwound? Nirvana?

More after the jump...

review: Hear Here: The Triangle Various NC artists

Hear Here: The Triangle
WKNC and Terpsikhore Records and Flying Tiger Sound
Various North Carolina Artists, 2009

Compilations are always a weird beast to review, because well, they are disjointed by their very nature. There is not supposed to be continuity, only fresh revelations. It's hell to listen to, because I have to keep referring to the tracklisting just to see which song is going. But none of that is the fault of Hear Here because it does what a comp is supposed to do--introduce excellent new music. But Hear Here takes it a step further and does not just throw a bunch of songs on a disc, but asked all of the bands included to record an original song. And we're not talking slouches. Here's a new Rosebuds single, a new Love Language and Birds of Avalon single, something from Annuals and Terpsikhore Records spin-off band, Sunfold. And Lonnie Walker, Hammer No More The Fingers, The Never are like old nearby friends--it's always good to see them in the neighborhood.

All of the bands are from the Triangle area of North Carolina, an area that is being flooded with good music. But the good kind of flood. There is a serious revolution going on there; it's no joke. In fact, it's easy for me to name another 6-8 unsigned/independent bands that should've been on this comp, that could have created an equally as satisfying mix of music. Hit up this and this for a few examples. So there's no Bellafea, no Midtown Dickens, no Red Collar, no Aminal, no Megafaun, no Bowerbirds. Only one Trekky Records band. But then, this comp succeeds in introducing me to yet another wave of bands that are now on the totally awesome list, like Motorskills. Their song "Right As Hell," sounds like it was a Thom Yorke B-side, which in this case is a good thing. They do not copy Thom Yorke, they embody him, or at least a really air-tight compact version of something he might do. The Kingsbury Manx also offers a gem with "Custer's Last Stand" as they take a new surf music approach to a U.S. western showdown.

A friend of mine told me it was a big deal that Colossus had a new song on here, as they're an older-type metal band who are getting back together for a few shows. So the song is a good welcome back gesture.

I was pleasantly surprised by the Americans in France track, their snotty, dirty garage sound is finally endearing to me. Also surprised by the track from The Never. Called "Littlest Things" it doesn't veer far from their previous work, but it does incorporate some gentler, quieter parts than I'm used to with their music--usually it's so quick and poppy, whereas this is simple and understanding rather than on a sugar rush. It's good for them and their harmonies on this track soar.

There are several hip-hop/rap songs on here from bands like Kooley High and The Beast that I can't really comment on because I have no knowledge of them or other groups that may be like them. With that said, I guess I will comment--I enjoyed "My People" by The Beast.

This disc is worth picking up and knowing about because knowing is knowledge in case anyone was wondering. Track list is after the jump...



Track List:

1. Lonnie Walker, “Feels Like Right”
2. Kooley High, “Can’t Go Wrong”
3. The Love Language, “Horophones”
4. The Never, “Littlest Things”
5. Colossus, “Sunglasses in Space”
6. Birds of Avalon, “Telepathic Creep”
7. Hammer No More The Fingers, “The Visitor”
8. Motor Skills, “Right as Hell”
9. The Kingsbury Manx, “Custer’s Last Stand”
10. Blount Harvey, “The Three”
11. Static Minds, “Time Bomb”
12. The Beast, “My People”
13. Americans In France, “No Love for a Prophet”
14. Inflowential, “Sheriff”
15. The Old Ceremony, “Gone Go the Memories”
16. Sunfold, “Weeping Wall”
17. The Rosebuds, “Brad Cook is Not Your Man”




More after the jump...

Friday Five: 5 More North Carolina Bands You Should Hear Right Now

We goodnaturedly went back and forth with the guys at Earfarm for a couple of days about their choices for the top North Carolina bands you should hear right now. The basic criteria seemed to be bands generally ignored in the popular indie rock press (i.e. not featured in Spin or on semi-huge national indie rock tours). In our opinion, there were some pretty glaring omissions.

And there are a few more glaring omissions off our list. This opportunity coincided nicely with a new Friday list feature we wanted to start, called the Friday Five.

So here's 5 more North Carolina bands you should hear right now...

5. The Never



The Never: "Cavity"

Good friends and part of the Trekky family with Lost in the Trees, their pure chamber pop-rock and fanciful art is sensational. Think Mae, The Beatles and Tim Burton.


4. Nathan Oliver



Nathan Oliver: "Icicles For Fingers"

Composed of Nathan White and his merry band of roving pranksters, alt-grunge beats meets folk with an electric twist. Their newest is Cloud Animals and it's a gem. I'll get a review up one day, I swear.

3. Dylan Gilbert



Dylan Gilbert: "No Mystery"

Earnest solo indie rock full of experimentation and introspection from somewhere other than the Triangle. Dylan once told me he wrote over 100 songs for his last album, The Quiet Life. He picked 14 great ones. Similar to Bright Eyes with a Ryan Adams kick. He probably hates those comparisons.

2. I Was Totally Destroying It



I Was Totally Destroying It: "The Witch Riding Your Back"

Now come the serious contenders. Great pop punk rock, that goes beyond silly Alternative Press cliches. "To Nomenclature" and "Done Waiting" are so hook-laden and catchy the band might as well mount me on the wall, because I'm caught up with their bouncy effortless rhythms. It's made me respect pop again. And Horror Vaccui promises to bring more of the same greatness.

1. Red Collar



Red Collar: "Pilgrim"

I guess after the comments over at EarFarm, this isn't totally unexpected. I've been a huge fan since their EP got pressed in my hands--a blend of Bruce Springsteen and Fugazi and The Hold Steady with poignant working-class reflection. There is no skippable material on Pilgrim, just when you think they've topped out with "Communter," "Tools" and "Rust Belt Heart" in the middle here comes "Hands Up" and "Used Guitars." If you've never been inspired by a rock and roll show, then you've never been to see Red Collar. They've caught lightning in a bottle with Pilgrim--its a captivating and danceable and an ultimately hopeful mix of nostalgia and the American dream. Dare I say a modern classic? I will gladly dare.

More after the jump...

review: Lonnie Walker's These Times Old Times w/ tour dates & vid

It was a name whispered in my ear..."You gotta hear Lonnie Walker." Then Brian over at Bootleg mentions them and books a show. Huh. Then the Ninja Patrol starts it up. And finally I get to hear the Lonnie Walker goodness. Man, he's good. Oh, snap! Not a one-man band anymore, and no one was ever named Lonnie! Ho Ho Ha Ha! Made up of originator, Brian Corrum, Lonnie Walker's new disc got to me the old-fashioned way, making me savor its tasty delights. For These Times Old Times the debut by Lonnie Walker is amazing, great and wonderful, wham bam, thank you ma'am. Lonnie Walker is the apex and culmination of the cultural momentum, one that includes alt-country (Lucero), another one that includes folk-punk (Against Me!/Avett Brothers), and another that loves everything Tom Waits. This is the album that makes every other alt-country band wannabes turn their heads and pick up hardcore again. Because Lonnie Walker does it right and does it true.



"Compass Comforts" with its crowd-pleasing Dixie punk-stomp and fast-pickin. And another that can't be denied is "Summertime." Its quick spittle about corndogs and "wasting gas to go fast in reverse" is the transcendent traditionally structured song that all the kids will love and "Pendulum's Chest" will woo the critics, just as Dead Confederate did last year. With backing from The Annuals' Terpsikhore Records, Lonnie Walker is that amazing awesome thing to burst forth from North Carolina that you will now go and tell all your friends about. You will, yes you will. Tour dates and a vid of "Pendulum's Chest" below.

Jun 16 Charlottesville @ IS Venue w/ Motel Motel
Jun 17 Richmond @ The Triple w/ Motel Motel
Jun 18 Greensboro @ Green Bean w/ House of Fools(acoustic) and Motel Motel
Jun 19 Chapel Hill @ Local 506 w/ House of Fools and Motel Motel
Jun 20 Greenville, NC @ Spazzatorium w/ Howlies, House of Fools, and Motel Motel
Jun 21 Wilmington, NC @ the Soapbox w/ House of Fools and Motel Motel **Bootleg Mag Show**
Jun 22 Charleston, SC @ Ashley Street House
Jun 23 Atlanta @ Criminal Records
Jun 23 Athens @ GoBar (w/ Werewolves, Trashcans)
Jun 24 TBA Sumwarsin, Tennessee
Jun 25 Knoxville @ Pilot Light
Jun 26 Asheville, NC @ New French Bar w/ Nat’l Geografics
Jun 27 Charlotte @ Dugg Dugg Gallery w/ Nat’l Geografics




More after the jump...

New vid: Hammer No More The Fingers "Fall Down, Play Dead"

Was looking for a reason to write about Hammer No More The Fingers (HNMTF) again, so here's a good one. The alt-grunge-power-rock trio from Durham, NC just let out on all of us unsuspecting souls a new video of "Fall Down, Play Dead." The song is from their new record, Looking for Bruce out on Church Key and recorded by J. Robbins. This is one of those songs that makes you yell: "Tight rhythm section! Tight rhythm section!" and "Oh, awesomeness is here!" Don't quite get the moving mobile device/concert poster conceit---but there's a nice teaser at the end that says "To Be Continued." One day, one glorious day, all these great mysteries of HNMTF will be explained!

This song reminds me of that one time I was watching HNMTF and the owner came in and shut them down for being too loud and Duncan wore the cheesiest neon-patterned shirt I had ever seen and I had thought I had died and gone to indie rock/basketball heaven because I could simultaneously watch the band and the Eastern Conference Finals on the biggest, nicest flat screen ever--and I was only like 5 feet from both of the action-filled events. Wait, that was last weekend.

Here are some more dates for the band--they play all the freakin' time so hear them or book a show for them.

Jun 5 2009 ASHEVILLE, North Carolina @ New French
Jun 6 2009 COLUMBIA, South Carolina @ The Whig
Jun 12 2009 WINSTON SALEM, North Carolina @Wherehouse
Jun 13 2009 PITTSBORO, North Carolina TRKfest @ Piedmont Biofuels
Jun 15 2009 HIGH POINT, North Carolina @ NCBF
Jun 19 2009 CHARLOTTE, North Carolina @ Tremont w/ Lights Fluorescent More after the jump...