Wednesday, April 8, 2009

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SXSW Interview With: Lights Resolve

Posted: 08 Apr 2009 02:37 PM PDT

If you pass them on the street, Lights Resolve look just like any other group of laid back guys, but catch them at a show and you’ll see that these four guys are extraordinary–they’re legends in the making. These guys have already been praised as restoring people’s faith in music. PopWreckoning caught up with these young music gods at SXSW. Check it out:

Joshua, PopWreckoning: Last time I talked to you guys, you were prepping for the giant NY show. How did it go? We covered it, but I wasn't personally there.
Lights Resolve: The Highline [Ballroom] show was awesome. It was like our first big step into doing something cool in the NY circuit that was worth talking about, I guess. We just had a bunch of bands on the bill that we were friends and it was a good vibe from the start. We also worked with Tattfoo that I told you about the last time. It's a NYC artist that's actually from Malaysia and we put something together with him and it was just a pretty magical night that over sold and it was at Highline Ballroom. It was rad.

JH: I had the greatest time in the world when I was trying to figure out how to spell Tattfoo when transcribing that interview. You guys have also been labeled as the biggest unsigned band on the East Coast.
LR: Really? By who? Must have been in Dayna's [the band's publicist] notes. Haha.
JH: I've also read it in other places as well.
Bethany, PopWreckoning: Our website.
LR: Haha.
JH: No, you guys have got Billboard, AP, Prosounds, Purevolume all sorts of giant media outlets backing you. How has that helped pushing you forward?
LR: I think just more and more people finding out about the band through different means. Everybody looks in a different place, as we all know, now with the internet. People check out their favorite things and they find us there. Then we see them at a show or we see them online, talk to them on whatever social networking site we find them on and we make a point to talk to every single person. I think that really helps. lights-resolve-1

BS: You guys just finished recording an EP?
LR: Yeah, But I think that maybe we might wait a little bit because we went down to Florida for just a little bit before we came here to Austin. And we're like, “Let's set up in a house and just write,” and we did for like five or six days and came up with some really cool stuff.
BS: So you looking at just a completely different direction for the EP or making it an album?
LR: Not necessarily. I think we are working toward an album. We'll see what happens. Everything is kind of up in the air right now. A lot of things shaping up and great stuff is happening. Only good stuff.

JH: Tell me a little bit about this Time Warner Cable special.
LR: For Time Warner Cable, they did a feature on us when we played Webster Hall, which is another amazing show in NYC. It was a venue that I never thought we'd be able to play, but we ended up playing there and it was cool. It was for an MTV2 thing also. It was Time Warner Cable and MTV2 and we ended up getting the chance to play with Dashboard Confessional, which was a cool thing. We ended up playing there and then we played at the Prudential Center in New Jersey for 18,000 people. So it was quite an experience that we would never have and won't have for a long time.
The coolest part of it was that they did a reaction. It was them, Chris Carrabba, a couple of guys from Panic [at the Disco], and they sat there and they critiqued our set-our three songs. It was pretty unbelievable to hear this guy who is so epic in the industry, sit there and tell us that he was blown away by our songs. It was definitely an honor.
Chris Carrabba, whether you like his music or not, great guy who was just like, “You guys sound like the Secret Machines and Muse and everything I like about them, but you guys are different. You guys have your own thing going on.” I took that as a huge compliment because most people respect both of those bands and he was all about it. He said we renewed his faith in music right now.
JH: That's a huge compliment.
LR: Yeah. That's a huge compliment and I see his point because there's not a lot of great stuff coming out right now, at least that I have found, and it gave us hope and an artist always needs that little bit of drive to keep it going. It was cool. lights-resolve-2

JH: I got to listen to your album when I did the other interview, but I never got to see you guys live until the other night at the PureVolume party and I was blown away by the extreme, well, I really like your album, but the energy in your live show is so much different than the energy that comes out in the album.
LR: You're talking about PureVolume?
BS: Yeah.
LR: Haha, that was not our energy. We had just driven 24 hours straight and we were just zonked out of our minds.
JH: So I was just ridiculously impressed with a bad show?
LR: That's amazing to me. We had a great show, well if you thought the energy was great at that show, last night was a great show. Yeah, last night was amazing. We certainly appreciate that, thank you. That's what we strive for. We strive for giving as much as we can possibly give until we're falling on our faces. To be honest with you, that's what the people deserve.

BS: You guys do a lot of stuff in NY and you're doing all these big showcases there, what are you doing to get your name out to the rest of the country?
LR: We have been touring since 2006 when we started the band. We did two independent cross country tours where we headed all the way out to California and back and then we did a tour with the Used. Which was awesome, but it was also like an arena tour, so that was a different experience for sure. After that we did another tour with a band called .

BS: Used fans are kind of crazy, how do they compare to your guys' fans?
LR: I'd venture to say that we don't sound anything like the Used, but the fans really, really appreciated it. We were the first band, the opening band out of I think five bands. There were Street Drum Corps, Army of Me, Straylight Run were the other openers and we were on first. Yeah, Straylight Run are good friends of ours. Will [Noon] actually just emailed me, but yeah, we were on first.
Usually the bands that go on first you're like “eeh,” but the kids really enjoyed it and we had some great experiences. I got to sing on stage with them and their guitar player played a song with us a bunch of nights and it seemed like their fans dug it, which is a great experience.

BS: They're here at South By-you going to check them out?
LR: Absolutely. Actually, our buddies in the Urgency whom our manager also manages, they're opening the show here. So we have two reasons to go. They're another really good band signed. Good, good friends of ours.

BS: Anybody else you're looking forward to checking out while you are here?
LR: We don't have any time. That's the problem. We're busy the whole time we're here. We're talking to you guys.
JH: Dayna's got you guys running in circles.

LR: I would have liked to have seen my friends from Head Automatica play.
JH: I didn't know that.
LR: Yeah, they're playing. -That's what Brad said. Brad said they were playing. We're going to try and catch the Cold War Kids tonight. I think it is at 7, where is that show?
JH: Give us a second and we can find. You have the itinerary of every band ever.
BS: I don't have the itinerary of every band ever.

LR: I don't even know, we were talking about this before, what's the “it” band to see this year? Like last year it was .
JH: The Decemberists show was a really big deal because they played that album beginning to end.
BS: CWK are at Lakeshore Auditorium Stage.
LR: What about like new bands because the Decemberists have been around?
JH: There was a huge buzz surrounding the Manchester Orchestra show.
LR: Yeah, but they were around, too.
JH: Hm. So you want even littler than that. I don't know.
LR: How was that, by the way?
JH: It was good. Very good.
BS: Yeah, and he had seen them before.
JH: And I thought they were awful before, but last night they were amazing.

BS: There are a lot of rumors of bands to must see. Like Metallica's supposed to play. And Kanye's rumored to be playing with somebody.
LR: What? No way. But we want little or local.
JH: Little. Kevin's worth seeing. .
LR: Give us new. Like really fresh. He's already out there, too.
BS: I would say to check out the Mae Shi, but they've been around, too.
JH: I forget you guys are from the coast, so what is brand new to us has been around for you guys for awhile.
BS: I know the Mae Shi have been around for awhile, but they're live show is amazing.
LR: Who?
BS: The Mae Shi. I was watching these guys and all of sudden the sound was coming from behind me and I thought the speakers were off, but I turn around and I realized the guitarist was singing and playing guitar and pushing his way through a packed room and holding it above him and playing. And I was like, shit he is right there in the crowd.
LR: Whoa.
BS: They're playing like 100 times here and I think you'd enjoy their show based off their energy.
LR: Cool.
JH: Yeah, that'd be a good time. You should check out the Republic Tigers. They're at the PureVolume House.
LR: Republic Tigers?
BS: Yeah, they're from KC.
JH: They're from KC, but I think they're going to take over the world.
LR: OK. That's good.
JH: You guys probably already know Dead Confederate.
BS: Josh is also a big fan of a lot of the female artists.
LR: Lydia. Have you guys heard of Lydia? We played with them last night.
JH: You got to cover them right?
BS: Yeah, I've covered them a couple of times.
LR: We actually didn't get to see them because we were warming up. They any good?
BS: Yeah, they are. I was worried they'd have to cancel their shows because was just sick.
JH: OK. Tiny bands from Austin-great energy, great Motion City Soundtrack everywhere energy-check out Driver F.
LR: Somebody else told us to check out Driver F. They guy who interviewed us yesterday.
JH: We've adopted them and taken them under our wings. I think they're the best band in Austin.
LR: Cool.
BS: Yeah, they have almost a full brass section.
LR: Really? For a second I thought you said a full breast.
JH: That too. I can't really think of more.
BS: Yeah. I have a lot of bigger names on my list that I'd like to see, I guess.
JH: I am kind of addicted to the fact that the entire Hotel Café is here.
BS: And I have almost everyone from Omaha.
JH: I would say your obscure band from Austin to check out is Driver F and they play at 3 pm at the Tiniest Bar.
LR: That's where we're playing tomorrow. 9pm. We'll be playing there.
JH: They're unreal energy wise. Like mics swinging. They do this amazing thing where the brass section will be playing the brass and the two guys will be on the moogs and then the lead singer will have to go run over to sing one of the brass will run over to the moogs and take over on those parts.
LR: Really?
JH: Yeah. It's amazing. We through a showcase with them and they just stole the show. It was very cool.
LR: Well, we'll absolutely check that out.

JH: Well, we will let you guys get back to your other things. We said this would be seven minutes and it was 14.
LR: Haha. Enjoy your day. Thanks for having us.
JH: I look forward to seeing you again not that you've told us that was bad show. I'll catch you tomorrow.

Lights Resolve: website | myspace

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Under Cover: Tommy James & The Shondells “I Think We’re Alone Now” (Part II)

Posted: 08 Apr 2009 01:19 PM PDT

“Look at the way we gotta hide what were doin’ / Cause what would they say if they ever knew, and…” Hey readers, in keeping up with the theme of last week’s post (see: Part I) I’m continuing my love for Tommy James & The Shondells and classic songs that stand the test of time.  Plus, you know you’re dealing with a classic song when The Chipettes put out a rendition, a pre-Black Eyed Peas‘ Fergie does it, and it’s spoofed by “Weird Al” Yankovic on his 1988 album Even Worse, as “I Think I’m A Clone Now.”  I kid you not.  So, welcome back to Under Cover: “I Think We’re Alone Now,” (Part II).tj-pic
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Snuff cover (1991)
I love a good punk rock cover, even though most of the time they aren’t that great (I’m talking to you, Screeching Weasel) and do more damage to the original than it deserves.  Come to think of it, this may often times be intentional on the part of the quintessential punk rock band!  British punk rockers Snuff sped up the rhythm, added wailing guitars, off-kilter background vocals, yet still found a way to put out something fun and danceable.  I could totally picture a live band playing this song at a rocker wedding reception as a way to get everyone on the floor.  In my research I found that one of the best punk rock cover bands, Me First And The Gimme Gimme’s, put out their own version, but I couldn’t find it to share it with you guys.  If anyone finds an mp3 of it, feel free to send it over.  Judging from their other covers, I’m fairly certain it’s great.
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Guster cover (2000’s)
Boston boys Guster never fail to disappoint at their live shows, sometimes playing for hours and hours for their die-hard fans until the venue starts flashing the lights warning it’s time to go home.  Although the quality of this live mp3 is a tad subpar, it was definitely still worth sharing because it captures the fun and interactive spirit of a Guster show: hysterical band members, witty banter, and an audience that is prepared to scream along to the tunes (of course they know all their songs by heart!).  Never ones to shy away from vocal harmony and acoustic guitar, they put their own spin on “I Think We’re Alone Now” with some generous tambourine and fast strumming that makes you want to dance and sing along.  Thank you Guster for reminding us of the excitement associated with an impromptu live cover song and how it can enhance an already awesome musical experience.  And I will most definitely see you at your next show!
–

Girls Aloud cover (2006)
What the hell is up with European girl groups and awful dance music!?  They certainly leave no good song alone and will most certainly jump on any opportunity to completely butcher something better left untouched.  I also don’t understand why these groups achieve chart success with their cover songs (often times surpassing the original rock versions)… who are buying these CD’s!?  Anyway, songstresses Girls Aloud put out their uber-cheesy dance track and (prepare to laugh your bum off…) actually performed it at a British nightclub called G-A-Y.  I swear to you I couldn’t make this shit up if I tried!  This no-frills, banal, over-processed cover is so awful that it actually makes me want to off myself, or someone else.  In fact, it’s impossible to watch their video and not want to punch one of them, any of them.  Why are there, like, 15 members in this group when only, like, one or two are actually needed to sing?!  I recall a famous Seinfeld episode where Jerry claimed mentally disturbed people with failed suicide attempts are in the worst positions since not being able to successfully complete the deed likely adds to their overall life dissatisfaction.  Don’t you fret!  This cover will sufficiently impair your desire to listen to music.  And live.  So, I’m sure turning up this dance version will get rid of that aforementioned pesky little problem.
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The Birthday Massacre cover (2008)
Just when I start to trust Canada again, they find a reason to push me away!  Toronto natives The Birthday Massacre released a synthpoptastic cover of “I Think We’re Alone Now” because, well, everyone else seems to be doing it, so I guess that’s why.  I mean, you can’t really expect much when their “guitar and programming” band member is named Rainbow.  And what’s with their bloodied Catholic school ensembles?  They look like rejects from the casting call for Britney Spears‘ “…Baby One More Time” video.  The lead female vocals are sweet and not annoyingly saccharine, which makes this song tolerable.  The industrial-esque feel and pulsating dance beats sound like something straight out of a New Order song gone terribly wrong, but we’ve all heard worse I’m sure (unfortunately).  In a Sophie’s Choice, gun-to-the-head moment, I’d definitely pick this track over the Girls Aloud version, but I’m not sure that is saying much about either song.  Man, I really hope it never comes down to that.
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And lastly, for my geekier, fun-fact lovin’ readers, check this out… as I was writing last week’s “I Think We’re Alone now” (Part I), American pop rockers The Rubinoos were playing their own cover (1977) live in Madrid at that very moment.  Now THAT is awesome.

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MP3 Minute: White Rabbits “Percussion Gun”

Posted: 08 Apr 2009 12:40 PM PDT

rabs2

After spending the better part of two years on the road (including festival stops at Lollapallooza, Glastonbury (UK), Sasquatch, Monolith and tours with The Walkmen, Spoon, Richard Swift, The Cribs, White Denim and Tokyo Police Club) Brooklyn by way of St. Louis’ White Rabbits got to work in their Brooklyn practice space to set about re-envisioning the dark pop of their debut Fort Nightly, while adding new sounds and influences to achieve an original work. The result is It's Frightening, their second full-length album, out on TBD Records on May 19th.

rabsFriend an tour mate Britt Daniel (Spoon) was enlisted as producer for It’s Frightening and the pair began the process of exchanging demos between Brooklyn and Portland. White Rabbits recorded It's Frightening over the course of four weeks, only taking a break to play the Transmusicales Festival in Rennes, France. The sessions were recorded by visionary engineer Nicholas Vernhes (Animal Collective, Deerhunter) at Rare Book Room in Brooklyn. Taking special care to recreate the unhinged nature of the original demos, the band utilized the wide range of tools in the analog-friendly studio to shape the personal spirit infused in the new tracks. Upon the completion of tracking, White Rabbits traveled to Austin, TX to mix the record with studio wizard Mike McCarthy (Spoon, Trail Of Dead) using his exceptional ears to transform It's Frightening into a uniquely rewarding headphone experience.

Today we’d like to highlight the intro track on It’s Frightening, “Percussion Gun”. The name of the track is an apt on as the song explodes from the get go in furry of pounding drums, akin to gunshots, before the keys and vocals join in forming a catchy number to get you moving around in the chorus.

White Rabbits - “Percussion Gun”

Tracklisting:
01. Percussion Gun
02. Rudie Fails
03. They Done Wrong / We Done Wrong
04. Lionesse
05. Company I Keep
06. The Salesman (Tramp Life)
07. Midnight and I
08. Right Where They Left
09. The Lady Vanishes
10. Leave It At The Door

White Rabbits put on a phenomenal and exciting show that you should make your business to check out. Don’t miss them as they crisscross the nation this spring/summer in support of It’s Frightening.

:
May 21 - Bowery Ballroom / New York City
May 30 - Grog Shop / Cleveland
May 31 - Do Division Fest (on @ 7:30pm) / Chicago
Jun 01 - Southgate House / Newport, Ky.
Jun 02 - Rock N Roll Hotel / Washington DC
Jun 04 - Middle East / Cambridge, Ma.
Jun 05 - Johnny Brenda’s / Philadelphia
Jun 06 - Brillobox / Pittsburgh
Jun 07 - The Summit / Columbus
Jun 09 - Mojos / Columbia, Mo.
Jun 10 - Firebird / St. Louis
Jun 11 - Bonnaroo / Manchester, Tn.
Jun 14 - Emo's / Austin
Jun 16 - Club Congress / Tucson
Jun 17 - Casbah / San Diego
Jun 18 - Troubadour / W. Hollywood
Jun 19 - Cellar Door / Visalia, Ca.
Jun 20 - The Independent / San Francisco
Jun 22 - Crocodile Cafe / Seattle
Jun 23 - Doug Fir / Portland
Jun 24 - Neurolux / Boise
Jun 25 - Urban Lounge / Salt Lake City
Jun 26 - Bluebird / Denver
Jun 27 - Slowdown Jr. / Omaha
Jun 29 - 400 Bar / Minneapolis
Jun 30 - High Noon Saloon / Madison
Jul 01 - Empty Bottle / Chicago
Jul 02 - Pike Room / Pontiac, Mi.
Aug 02 - All Points West / Liberty State Park, NJ

White Rabbits: website | myspace

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SXSW Interview with: O+S’ Orenda Fink and the Scalpelist

Posted: 08 Apr 2009 08:38 AM PDT

The math isn’t hard. O+S simply equals the new project from of Azure Ray plus the Scalpelist, a.k.a. Cedric LeMoyne of Remy Zero. Bethany had a chance to catch-up with the duo just a few days before their debut dropped at SXSW. This interview has it all: cool tidbits about the album and the group, the truth about what Remy Zero was like on tour, the future of Azure Ray, and even the exciting action of surviving a scorpion attack.

Bethany, PopWreckoning: I caught you today and you sounded great, but that was only like your 6th show ever. What have you guys been doing to prepare for these shows? What was it like adapting it to a full band for the shows from just you and Cedric on the album?
, O+S: Yeah. I mean, Cedric had a lot of his friends play on the record. Some of the people that played with us here played on it and one of the guys mixed it, so they're kind of already familiar with the material, but some of them didn't. We rehearsed for three days before we left and did a one week tour and that's it.
PW: Well, it sounds great.
OF: Thanks.
PW: Especially with how rushed it was for you guys to get in there with all those parking problems.
OF: Oh God, I know. It was a nightmare. But the musicians that are playing with us are super good.

PW: Have you been to SXSW before?
OF: Yeah, with other bands, but obviously not with O Plus S. This is our first time here.

PW: Now, you do have a bunch of other bands and solo stuff. Will that still be happening with O Plus S or is O Plus S pretty much what the future is for you now?
OF: No, I mean, O Plus S is definitely the future, but…Oh hey!
Cedric LeMoyne joins the interview.
Cedric LeMoyne, O+S: Hey.
OF: I was trying to get your attention.
PW: Hi, I'm Bethany.
CL: Cedric.
PW: Nice to meet you.
OF: It is definitely the future, but I think I'll do a solo record, too. It's kind of, I'm kind of looking at it as O Plus S will fill a certain niche and my solo record will fill a certain niche, too. I'll try to explore different areas of music with them so that they're not totally interchangeable, so I'll get a lot more out.  o-plus-s-1

PW: Cedric, you've played in all guy groups before, and Orenda, you've been with females with Azure Ray. So what is it like to do the male/female combo?
CL: The guys that I played with are very ladylike.
OF: Haha!
CL: I think playing with her has been fairly natural. It hasn't been much different than playing with the other guys because we all sort of spring from the same ground, so her dispositions and the things that she likes are all very similar to the way that the people that I grew up with in Remy Zero were. So it has not been too hard of a transition. Has it?
OF: Um. I don't know.
PW: No crazy tour adjustments?
OF: No, generally I think that girls are a little chiller on tour. Even though you think that it would be the opposite, but girls on tour…Ow! Ow!
Orenda was stung by a small scorpion or some creature. Welcome to Texas.

PW: Are you OK?
OF: Ow. Sorry.
CL: Oh my. Was that a scorpion?
OF: I don't know.
CL: Holy Toledo.
OF: I don't know. It looked like one.
CL: was just stung by a scorpion during this interview. That's the kind of mystical thing that happens to her. Just for the record.
OF: Haha. I guess so. Anyway. I think girls are definitely chiller…as I scream. Haha. But that said, Cedric and I are like brother and sister or soul mates.

PW: You have known each other from when you lived in Alabama.
OF: Yeah. A long time.
CL: 17, 18 years now we've known each other.
PW: Did you go to school together?
CL: Not exactly. But when Remy was just starting in Birmingham. She and Orenda, er I mean, she and Maria [Taylor] were just starting as well. But before when they were [Little] Red Rocket, then Azure Ray, we toured and had this sort of dynamic where she was sort like my little sister. I felt very protective and watchful over her, even from afar and over the years. I always wanted to work with her. There was even a small window of time where she sort of joined a version of Remy Zero long ago for a week or something like that.
OF: Then I got kicked out. Haha.
CL: It had nothing to do with me. I had been trying to wrangle her into my world for a long time. So, we've known each other for a long time and she's always been the kind of person whose way of thinking and approach to creativity have always been very attractive to me. So, I felt very fortunate and lucky when this window opened up in her very, very busy creative world to do this. A lot of natural, organic inspiration kind of occurred.
PW: Man, you made fun of him and called guys high maintenance and then he pays you all those nice compliments.
CL: Yeah. What's with that?
OF: No, I said guys.
CL: See. I'm not a guy. That's what I was sort of telling you. Haha.
OF: I've been very fair and I'm in pain over here.
PW: I wish I had something for that sting among the million things in my bag.
OF: Oh, no. It's fine.

PW: OK. Well, you have your debut album coming out. I heard it was inspired by [Orenda]'s trips to Haiti?
OF: Not exactly, but I definitely used those trips as inspiration. Part of the basis of the record was to do field recordings and take field recordings and make loops out of them. Then we were going to use that as a basis to form the song structure and the rhythm and the melody so I thought of all the places that I would really love to go and do field recordings and Haiti was one of those places. So there are a lot of Haitian field recordings in it. The songs aren't thematically inspired by Haiti. But there's little bits of Haiti in this.

PW: So what are some of the thematic inspirations then?
OF: It's mostly a love song record.

PW: What was this writing process. [Cedric], you're in Alabama and [Orenda], you're in Omaha?
OF: I did go to Alabama to do some field recordings, but we recorded the record in Omaha and now I live in Los Angeles.
CL: But when we started the record, I lived in Los Angeles, but then I moved to Alabama and flew to Omaha to do the recording.
PW: So next album gets recorded on the moon.
CL: With any luck. We're actually, she's actually talking of doing some sound collections in Africa. Which sounds amazing to me. When she brought the sounds to me, she sort of distilled them down to a certain body and then I would go in and I would find the pieces that I felt fit with the lyrics or the melody that she had started doing. So, if she does go through with that and does go to Africa to collect sounds, it would be amazing.

PW: Do you do sound collecting, too, or just the looping and the structure? o-plus-s-4
CL: On this project, as far as the atmospheric concrete sounds, she did all the collecting, but it was such a cool thing and opened up such a interesting way of working for me that I think we're going to keep that as sort of our foundation for how we start writing records and writing songs in the future as well.

PW: You both come very different music scenes it seems. I feel like with the music scene in Omaha, you hear about the Saddle Creek family, which Orenda's been a part of, but [Cedric] has been brought into. How has it been working with Saddle Creek for you [Cedric] and how has that scene compared to Alabama?
CL: It's not that different. When we all started in Alabama there was the Remy Zero world and what was the Little Red Rocket world, whom all went on to note and there was sort of the same sort of vibe where there was a lot cross pollenization and people dating between the bands. Then she went to Athens. There was sort of the same thing in Omaha.
So coming into her world that is fully formed with lots of deep long-standing relationships, it's interesting. I've always carried my own bubble around with me and it was interesting stepping into somebody else's gravitational pull. Some of whom I knew and some I didn't. So far, it has been great. I have felt very welcome and not too, well, we're isolated enough in our own little world. I think our influence is different than the Saddle Creek scene, but when we're working together we're still accepted and supported in a way that's really healthy. So far it has been good. I'll let you know later on when the sort of drama and bickering and politics come up. Haha.

PW: Have any fans given you crazy reactions from your other projects: solo, Azure Ray and the thousand others you seem to have and Remy Zero. Are they all pretty cool with the pairing?
OF: I think they're pretty pleased. I think the collaboration is so honest and just feels so right, I don't think it would inspire people to be negative or be "why are you doing this?" I've only gotten the opposite reaction.
CL: People are much more protective over what singers do and what lyricists do than what other musicians or producers do. I'm going to get it easier from my people than she will. I don't think that anything we've done is going to be so much of a departure that anyone would think it is a betrayal over what she's built over these years. I expect positive reactions.

PW: There are a few songs that have been floating around on the internet like at Stereogum you had "We Do What We Want To". What's the song you're most excited for people to hear and why?
CL: We should say we're excited for people to hear them all, but I am. The next sort of song that will probably be floating around will be "Permanent Scar". It's the first one that we wrote.
PW: That was what you guys played today as your closer?
CL: Yeah. It was actually sort of written before, well the genesis of the project went this way: it was the first song that we wrote together. But it wasn't written under that edifice of this project. Like we started that song and it just sort of sat around for awhile, but then we started this and brought it in. It has, because it was the first thing that we did together, it is special to me. Then a song that she wrote and I responded to the most heavily when she asked me into the project was a song called "Survive Love," which I think is the centerpiece of the album. I think emotionally it's the most depthful song and it is very unique sonically and has the lyrics and melody that let people see that side of her.
OF: I actually, "We Do What We Want To" is one of my favorite ones on the record. I'm glad that one was one of the first ones that people liked because sometimes, and most of the time, the song that I really like on a record is the song that nobody likes. There is a specific sample in that song that I feel really close to and I'm glad that is in there and I just remember getting the music back that Cedric had done on it and I remember driving around my car in Omaha and being like, "Oh my God. I love this. This is so rad." I had the sample and I wrote the lyrics on top of it and he just sent this music back and turned it into this crazy pop song and it was really exciting. That was my first, that was when I was like this is a real project.

PW: What are your plans after SXSW and the record comes out? Full tour?
CL: We don't know. Those plans are still developing. We're going to go to this show–there's a very influential radio station called KCRW and they have a show called Morning Becomes Eclectic that has supported both of our careers for a long time. We're going to play their show when the record comes out. Then it remains to be seen. I'm feeling keen, I'm feeling sort of pregnant with ideas to start on something else immediately though I know we're just starting this one. So maybe some sort of combination of starting a few new songs that could come out during this process or be used on another record and seeing if there are any exciting live prospects.
PW: I think for how few times you have played together live and how good you sounded, you have to do a tour.
CL: Thank you very much.
OF: Haha. We like you.
PW: No, I was impressed, you had just shown up and were rushed, but pulled it off.
CL: Yeah, we were. We were there on time, but then who organized the event didn't tell us there would be no parking, so it took me almost an hour to find a place to park. But, it seems like the few times we have played on this tour, a couple of nights have been really flustered and people have been anxious that we start the show, but they've always been really thankful that we were coming.

PW: Well, that’s really all. I'm sure I'll get to see you again. I'm actually from Omaha.
OF: Really? Have I seen you before?
PW: The most recent I saw you was when you performed with .
OF: I'm sorry you had to witness that.
CL: Haha.
PW: They just called you day of, so I thought it sounded fine.
OF: That was horrible.
PW: Nah, everybody was like "ooh, Bright Eyes members and Orenda!"
CL: You're very hard on yourself.
OF: No, it was bad.
PW: Everybody enjoyed that show.
OF: I was singing and I didn't know what the words were, what the rhythm was.
PW: Aw. People just went home remembering that it was a four hour show. I'm sure nobody remembers that.
OF: I feel bad for the people who have only seen me at that show.
PW: Yeah, I missed out on the other, well the Azure Ray shows because that was a little bit before I was in Omaha.
OF: Well, we might play some more. We were talking about doing some more stuff together.
PW: Yeah, you should. People would really like it.
OF: That's why I'm in LA.
PW: You guys should tour, especially with your husband gone on tour with the Faint.
OF: He's still in Omaha right now. He's in Omaha preparing and then he's gone. I'm only gone for a couple of days, but he's gone for a month.
CL: Then we'll make sure that as soon as he comes home that we'll have something else for us to do.
OF: Exactly. Haha.
PW: Haha. Ok, well I'm glad we all finally got to meet up. You were a pleasure to talk to.
CL: You too.
OF: Thanks.

O+S: website | myspace | @ Maggie Mae’s, SXSW

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Harassed and Coerced by the Ting Tings Tour Manager

Posted: 08 Apr 2009 08:26 AM PDT

**The views of this writer do not reflect the opinion of the rest of Popwreckoning nor its staff and should not be cited**

The Ting Tings put on an amazing and energetic show. I wish I could write about that, but instead I’ll dive into the tale of the asshole tour manager vs. the photographer who’s fully aware of his rights.

In celebration of the Ting Tings playing an all ages show at the tiny Record Bar, I took my 13 year old daughter Tori to witness such a popular band in such an intimate venue. In fact, the Ting Tings had 2 techs on stage the entire time, and a back of house soundboard that was as deep as the entire stage at the Record Bar. Their entourage was bigger than some of the audiences I've witnessed at the Record Bar. Hell, they were even guided to the stage by security with flashlights. At the Record Bar!

Tori and I grabbed a spot toward the front of the stage, stage right. I alternated between shooting and dancing my ass off. If their music doesn’t make you dance, perhaps you should check your hearing. But hearing wasn’t an issue at this show - the sound in the Record Bar, from the Ting Tings production equipment, was phenomenal. The sound from multi-instrumentalist Jules De Martino's kick drum, with my head about 6 inches from it on the floor, was insanely intense. This was not the show to forget my earplugs.

After getting a whole show of great shots, I was asked to follow a Record Bar bouncer out the smoking area. I grabbed Tori and we headed out there. Knowing what was about to happen, I took my CF card out of my camera along the way. The Record Bar bouncer told me that the tour manager of the Ting Tings wanted to speak to me, and that this had nothing to do with the Record Bar (kudos to him).

The manager entered the patio, and rudely demanded to know why I was taking pictures. I gave him my business card, told him who I was, and mentioned to him that I followed all the rules posted regarding photography (no flash). He said the pictures were the property of the Ting Tings and Sony and that he was requiring me to erase the images in front of him. I told him that I would not be doing so. He cornered me (this was a pretty big guy) and I moved toward the door. He continued to threaten me the entire time. At no point in the encounter did he offer me anything remotely resembling professional courtesy (or even HUMAN courtesy, for that matter) – just threats, harassment, and physical intimidation.

He threatened to call the police, and I agreed that he should. I also mentioned my 13 year old daughter, standing by my side, whom I had brought to enjoy the show (we even bought a $25 shirt!). After standing there and assessing the situation, I decided they had no legal basis to hold me.

I informed him that I was leaving, and that if he tried to stop me I would have him arrested for false imprisonment. I reminded him that in the United States, “Ting Tings Tour Manager” does not actually give him any legal status. I grabbed Tori and headed for the front door. The entire time, the manager stayed within a foot of me, at one point bumping into me. He continued to follow me through the parking lot, at the same distance, until I got in my car.

I drove Tori home, uploaded my card, and returned to the Record Bar to close my tab before the late show began. In retrospect, I wish I’d have waited for the cops, as the manager had most likely committed harassment, coercion, and assault. The manager should be fired or severely reprimanded.

Now if I could just get these Ting Tings songs out of my head!

The Ting Tings: website | myspace

We Started Nothing
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**The views of this writer do not reflect the opinion of the rest of Popwreckoning nor its staff and should not be cited**

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Jenny Owen Youngs - Led to the Sea EP

Posted: 08 Apr 2009 07:36 AM PDT

Led to the Sea, the new four song EP from a multi-talented New Jersey singer/songwriter is both literally and figuratively bring J.O.Y. to stereos and mp3 players everywhere. J.O.Y., or Jenny Owen Youngs, last caught my ear with her fun cover of “Hot in Herre”. The quirky charm that made that cover so much fun is still present in full force on this EP.

jenny-owen-youngs

The EP is framed around the bass heavy “Led to the Sea”. The sequences are so catchy, they’ll be in your head and I love the text painting when Youngs follows herself vocally with an echo on the line, “Follow the breadcrumbs into the sea.” In the first version of this song, Youngs gives some Imogen Heap vibes, and if there was any doubt that she vocally had the prowess to match Heap, it is even more apparent in the more electronica version found in the “Funny Energizer Mix”. This mix isn’t too different than the original, but does feature a few more vocal effects and a synth that bubbles up through the music as if bubbling up from the depths of the ocean.

In addition to “Led to the Sea” and its mix, this EP includes “Clean Break (Mountain Mix)” and “Nighty Night (Strings Mix)”. “Clean Break (Mountain Mix)” sounds like Fiona Apple at the French Riviera and “Nighty Night (Strings Mix)” is like listening to a waltz by Beirut. Both songs toy with harmonies and dissonance, but are unquestionably intriguing listens.

Led to the Sea is available now.

Jenny Owen Youngs - “Led To The Sea”

Tracklisting:
01. Led to the Sea
02. Clean Break (Mountain Mix)
03. Nighty Night (Strings Mix)
04. Led to the Sea (The Funny Energizer Mix)

Jenny Owen Youngs: website | myspace

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Contest Winners!

Posted: 07 Apr 2009 08:25 PM PDT

Congratulations to Evan Rutledge for winning a copy of Soul Men, starring Samuel L. Jackson and the dearly departed Bernie Mac, on DVD!

Another congrats to the winners of the Golden Bloom Doomsday Devices 7″ giveaway:
Ann Hara of Huntington Beach, CA
March Zeiger-Guerra of Penllyn, PA
Marina Agloro of Lacey, WA

Check back for more contests!

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Beirut to play Philadelphia’s Electric Factory

Posted: 07 Apr 2009 08:04 PM PDT

This Friday, Beirut hits a few dates nationwide (before heading overseas) to promote their latest release, a double EP entitled March of the Zapotec/Holland. The first, March of the Zapotec, consists of songs written by Beirut and recorded in Mexico with the help of Oaxacan march masters The Jimenez Band. The second EP, Holland, showcases founder Zach Condon’s latest bedroom-style recordings (a la Gulag Orkestar) under his former moniker Realpeople, including the previously released “Venice” and “My Night With the Prostitute From Marseille”, the latter of which is available for download below.

Beirut, whose 2007 The Flying Cup Club we adored and whose current EPs we’ve got in heavy rotation, will perform this Friday night, April 10th at Philadelphia’s supported by Sharon Van Etten, who releases her new album, Language of Stone, this May.

Tickets for the show can be purchased through TicketMaster for $25 plus applicable (insane) fees, or day of the show for $27. Doors are at 8:30PM. This is a show not to be missed. Popwreckoning’s own editrix Jessica will be in attendance — look for her in the photo pit.

Beirut - “My Night with the Prostitute from Marseille”

Beirut w/ Sharon Van Etten
@ The
421 North 7th Street
(7th btwn Callowhill & Spring Garden)
Philadelphia, PA
Friday, April 10, 2009
doors: 8:30 PM
$25 adv / $27 dos

Tour Dates:
Apr 10 - / Philadelphia
Apr 11 - Sixth & I Historic Synagogue / Washington, DC
Apr 17 - Coachella / Indio, Ca.
May 3 - Fabrik / Hamburg
May 5 - Paradiso / Amsterdam
May 6 - Cirque Royal / Brussels
May 8 - Forum / London
May 9 - All Tomorrows Parties / Minehead
May 12 - Bataclan / Paris
Jul 09 - Phoenix / Toronto
Jul 11 - Metropolis / Montreal

Sharon Van Etten: myspace
Beirut: website | myspace

March of The Zapotec and Realpeople Holland
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Photo: Jenn Perutka

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at 5:34 PM