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Bonson Berner Beats

8 Nov

Bonson Berner, a Los Angeles-based Indie band, wonders How Can I Be an Immigrant If I’m On My Planet, the title of their new album. In a similar vein, I’m wondering how can I be a nomad if I have my own home. Okay, maybe that’s not too similar.

In 1988, glam-band Cinderella released “Don’t Know What You Got ‘Till It’s Gone,” and while the song is a classic example of terrible 80’s power ballads, they do make a good point. Hurricane Sandy knocked off the electricity in my house, and the power authority has yet to turn it back on. Thus, no heat or lights. I have become a nomad, traveling from home to home, crashing on couches (mainly) in exchange for affable company. Thus, posting has been difficult. It is eerie in New York. The last two weeks have gone by in slow motion, and, we can only hope that this weekend brings an end to this tired movement. Since I am currently in an area with internet connection, I do want to lose an opportunity to provide you with some great new music.

1988 also saw the release of the Talking Heads’ final album Naked. The 80s were not a complete wasteland for music. Bonson Berner, the band I would like to focus on today, plays a call-back style of music reminiscent of Talking Heads percussion and synth.

Bonson Berner is the product of musicians Pato Aloi, who, after forming an influential indie band in Argentina called Siga La Flecha, created a musical project with local musicians and titled the consortium Bonson Berner. How Can I Be an Immigrant If I’m On My Planet is the band’s first release, and it was produced in Argentina and Los Angeles.

“Running Days” moves with its inventive percussion and synth. Diego Cuevas, synth, and Blair Shotts, drums, lay an itinerant track that persists through the short piece with strength and toe-tapping rhythm. The percussion is what immediately reminded me of the Talking Heads, who also stressed constant rhythm in their songs. Gustavo Limon emphasized this rhythm in his guitar. The song, though, is carried by Aloi’s croon. In a style similar to The National’s Matt Berninger, Aloi’s voice masterfully rises and falls, and, much like the percussion, remains a constant force. The stop-motion video is well done and matches the song well.

“Movement 4” moves similarly, but it features more of a light South American guitar, which provides an intriguing juxtaposition between American and South American indie music elements.

Listen to more of Bonson Berner’s new album

Check out their Facebook and Website

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Hurricane Sandy – Blue Moon

2 Nov

I thought this was a particularly cogent picture to choose from the massive wreckage of Hurricane Sandy. What was once jokingly coined the Frankenstorm because of its combination of a massive nor’easter and a Hurricane (and its near-Halloween arrival), quickly shaped into one of the worst storms to ever hit the Northeast. The picture represents a loss of innocence; a fun roller coaster meets the strength of a storm. It is almost unreal to witness the devastation. As a New Yorker, I can confidently say that individuals from New York and New Jersey are gritty. We handle adversity well. But the force of Mother Nature has left almost all residents shocked. And we are still feeling it. My house is without power, but my family is safe, and that is all that is important.

Although I experienced the storm, I am writing this post miles away from New York. I am in San Diego covering a conference for my work. Thus, I do have an opportunity to let you all know that I am alright, and I look forward to getting back to posting on a more consistent basis.

It goes without saying that my posting schedule has been cut lately. It has almost been nonexistent. You can expect a Music Court revival after the new year. Yes, come 2013 I can guarantee a schedule of more frequent posting. Until then, I hope to complete at least two posts a week (one being a new band).

New bands please continue sending your material to musiccourt@gmail.com. If I do not get back to you immediately, please be patient. I receive a large amount of e-mails, and I usually read them in bulk (once or twice every week). I will get back to you. New bands I would like to cover are put on a list, and I follow it chronologically. I love listening to all of the new music and writing engaging posts about them. So, how about we get to some music…or rather a video.

I am having some difficulty embedding it, but since I really do enjoy its inventive structure, I urge you to check out the video of The Lost Brothers’ “Blue Moon in September”. The Lost Brothers are made up of Mark McCausland and Oisin Leech, an Irish duo. They released their first indie/folk album in 2008. The video of hand-crafted props and puppetry tells an odd story that features paper clouds, a clay moon, and a baritone beluga. The song itself swoons like the light rocking of a ship on the seas…or in the case until you are attacked by a sea monster.

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Shamefaced Sparrows in the Surf

24 Oct

Who said surf rock was dead? Surf rock will never die. While the combination of spring reverb, rapid tremolo picking, and liberal use of the vibrato arm may not be a common technique mixture any longer, that doesn’t mean the skill has evaporated. The technique, which found its wings in the early 60s, has been up in the clouds waiting to gather enough strength to pour back down. The Shamefaced Sparrows are looking to trigger that cloud explosion.

Guitar-driven surf rock first became popular with Dick Dale and the Deltones. Dale was influenced by his Arabic musical roots, and he experimented with rapid picking and reverb. Soon, other artists caught on, and the style became a craze. Link Wray, Duane Eddy, The Ventures, The Tornadoes, and many other bands mastered the style and released a variety of songs based on the same formula. And just like its quick rise, it declined in popularity (like most musical fads), and was replaced by new styles of music.

Recently, though, surf music has seen a revival. Quentin Tarantino’s 1994 “Pulp Fiction” soundtrack helped. “Bustin’ Surfboards” by the Tornadoes was among several surf tracks featured. The rhythm guitarist of the British surf act the Tornadoes was George Bellamy. Recognize the last name. George is Matthew Bellamy’s father. Matthew, of course, is the lead vocalist and guitarist of Muse, and he paid tribute to the genre that his father helped develop with the 2006 song “Knights of Cydonia.”

Enough with the boring history. Let’s get to the good stuff. The Shamefaced Sparrows fell in love with surf music as schoolboys through their shared obsession with “Pulp Fiction”  and its soundtrack. A new wave film introduced them to “Jack The Ripper” by Link Wray, and while they were previously aware of Wray’s music, they were ignorant of that particular song. It sparked a more in-depth focus on Wray’s music. Surf rock was instilled in them since they were young. As musicians, it wasn’t tough to pick a type of music to play.

The first reverbed note echoes all the great surf songs of the past. It is refreshing to hear this music. I use refreshing because, like riding waves on a cozy summer day, the music splashes you with salty notes and smooth bass. The song title is fitting. The vocals add an intriguing quality to this piece. While the music almost calls to be instrumental, the effect-saturated vocal introduces a neo-psychedelic, Elephant 6 quality.

We pick up “The Madison” next, which begins with an immediate call back to one of the most famous surf rock tracks of all time, “Misirlou” by Dick Dale. Shredding before shredding was conceptualized. Pure awesomeness. This opening section combines additional riffs with some extraneous voices spliced into the tape (nice touch). When it seems like it is about to hit a climax point at around 40 seconds, the song changes into a light-hearted White Stripes/Black Keys-like riff and vocals. A tremendous transition. Just plain cool.

The Shamefaced Sparrows label their music as Death Pop. Might I suggest a change? To me, the music sounds more like “surfadelic” or “indiesurf.” The Shamefaced Sparrows have something here. Can the music use some refinement? Yes. But that will come with time. This is not just a throwback act. They are adding modern elements into an old fad. There is no shame in that.

Check out some more materia: http://soundcloud.com/shamefacedsparrows

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Pulling Out an Upset Victory

19 Oct

This is not a scene from an upcoming action flick starring Jason Statham. It does look like it could be, right? Although the picture may not depict the latest box office gem, it is an accurate symbolic depiction of the band that enters the New Band Palace today. Like the image of the band depicted above, The Upset Victory is a high-energy rock outfit that punches the listener with edgy vocals, speedy riffs, robust percussion, and stout guitars. The group has quickly sped out of the parking garage and onto radio stations throughout their home base of Cincinnati.

The Upset Victory was founded in 2006 by Stephen Campbell (guitar), Frank Hammonds (guitar/vocals), Eric Vice (bass), Jason Dill (vocals), and Aaron Roy (drums). They released a self-titled EP on Takeover Records. After a few more EP releases, The Upset Victory released their first full length, Before the World Ends, in May of this year.

So why should you spend your time reading about and listening to the Upset Victory (besides from the band photo above). There is a refreshing quality to their music. The tunes invoke memories of heavy punk/rock bands from the early 2000s, but, the band does not lose sight of melody and lyric, putting great care into impressive harmonies and a dual-guitar attack. The Upset Victory employs effects skillfully. Besides from the clear talent of the musicians, the music itself is tightly arranged and recorded. Every vocal shriek, mini-riff, and drum fill, is organized. The vocals are most impressive. They thrive in the music, taking on the guitar riffs like a prize-fighter.

“The Worst in Me,” track two of Before the World Ends (which you can buy here), initially gives off a Living Colour impression, but quickly separates itself from funk/metal and enters into straightforward, hard-hitting, toe-tapping rock. If you like the brand of rock that you can move to, this is the band for you. Listen to some more of their material at their Soundcloud page. Check out their website and Facebook.

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Nearing 1000 Posts – The Future Direction of the Music Court

16 Oct

Hiatus may not be the correct word, but it is the closest “music-related” term I can use to describe my lack of activity over the past several weeks. This is no excuse, but I have been busy. Work, school, and travel have occupied my time, and this activity has taken my mind off of posting. When I started the Music Court more than three years ago, I wanted to be different from other music blogs in both content and care. My material was to be fresh, well-written, and different. Since this initial proclamation, I have grown as a writer and listener. I hope that the blog has consequently and consistently improved. I also agreed that I would never just throw a post up for the sake of content needs and, with some exceptions, I have not done this. I will not start now.

That being said, these last few months have certainly cut down on my available posting time. Plus, in my opinion, the blog has not had much coordination or constancy. I have not been able to focus on developing exciting new topics and engaging reads. Some posts have been effective. I have grown to love reviewing fledgling bands, and I hope this assists them in their musical endeavors. New bands, don’t fret, still send your material. I am looking at it, and plan to review it. I have a list created and will make my way down it soon. Sorry for any wait that may occur.

What am I trying to say? While I may not be posting much now, I envision some time on the horizon, and with this time I will focus on lifting this blog from the doldrums of inconsistent posting to a hybrid schedule again. There will be more of a focus of spreading content throughout social media. There will be more activity in general. Until then, I urge you, please hold on. The next few months may remain busy, but I will find time to continue to post. Soon, though, more posts will come!

Also, I will make my usual plea. Are you interested in writing for a music blog that emphasizes creativity, humor, and passion? Explore writing for the Music Court. E-mail me at musiccourt@gmail.com if you are interested. Let’s get to talking!

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