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On the Edge of the World with Troup

21 May

Troup

Here is a question for you all. What happens when you take a Wales-born musician fully ensconced in the Britpop scene and throw him into the emerging Indie rock scene of California? Think of a chemical solution. Sometimes you squeeze some fluid into the solution and, while you may be covering your face and bracing for impact, nothing happens. In this situation, the solution popped, and out erupted an intriguing mixture of Coldplay-esque melody and west-coast indie. The sound that splashes your ears is heavy on melody, harmony, and soul. And it ain’t acid. It’s damn refreshing. So how about we take a dip into Troup.

Troup formed after frontman Alex Troup moved to Los Angeles in 2006. In exploring the local music climate he met producer/keyboardist Evan Beigel and eventually added guitarist Claudio Tristano, bassist Darren Thomas McGuire and drummer Brandon Davis. Troup released their first album Last Chance for Romance and it has started gaining radio play everywhere from local California stations to BBC radio. And it’s totally alright to jump on board. The band demonstrates a keen ability to create radio-friendly hits that are all different. Troup does not suffer from the dreaded “it all sounds alike” syndrome.

“Edge of the World” leans on Troup’s British sensibilities, focusing on an easy-to-swallow chorus with light harmony and a crying echoed guitar slide, well done by Claudio Tristano. Troup has a wonderful pop/soul voice. If bands are carried by their lead singer’s ability, Troup (talking about the band now) will certainly be able to transcend markets. The “oh” and bridge portion around 2:30 is clear Britpop, and while I hate to beat a comparison, it does certainly sing out Coldplay or Snow Patrol. The song goes down smoothly and aside from a sound flicker throughout it fits Britpop like a warm mitten.

But hold on one second. I told you this band had diversity and “Some Lie” brings it. The song travels across the pond with Troup and demonstrates his Los Angeles experiences. It actually plays like an introduction to the city. I can imagine a chorus of California-ites doing the beginning “la, la, la” part as one hovers of the Hollywood sign. It reminded me of the las in Old Man River’s “La.” More importantly than my idiotic movie song ideas, “Some Lie” demonstrates the variety of Troup, and why I think this band can seriously go places. The chord progression is purposefully choppy in a relaxed fashion allowing the rhythm section of Darren Thomas McGuire and Brandon Davis to take over until the guitar comes in with an overlayed solo after the first verse/chorus, adding to an increasing wall of sound. I applaud Evan Beigel. It’s west coast blues, focusing on effects layered upon a blues track. And Troup uses this background to demonstrate his soul. He sings with passion and even grunts a bit. Killer song.

“Mickey Mouse Teeth” rounds out my three-song exploration of Troup, but I will provide you with where you can listen to more below. We drop down to an eccentric acoustic progression carried by Troup’s voice. It features this foot-stomping bass beat that combines with the western rhythm, heavy on singular percussion and spacey synth. It’s just another different song on a debut release full of gems.

Troup has a few places where you can visit them.

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Ramblin’ Along with the Riff Raff

14 May

Today, we focus our attention on a peripatetic quartet called Hurray for the Riff Raff. While the band’s crowded palette of melodious Americana beauty and bayou folk is enjoyable in itself, Hurray for the Riff Raff is really the story of the lead singer whose twangy tune, southern flair, and attractive vocalizations elevate the honky-tonk conglomeration to a musical diversity that would be lacking without her.

The singer (front and a little left in the image above) is Alynda lee Segarra, a mid-20’s Puerto Rican from the Bronx whose young nomadic ways led her to New Orleans where she pursued music and released two records in 2008 and 2010. In 2011, the UK record label Loose Music released Hurray for the Riff Raff which compiled the best songs from her first two records. Alynda met a folk outlet called the Tumbleweeds and they latched on to her and formed Hurray for the Riff Raff. Their first album, Look Out Mama, was released May 1.

Hurray for the Riff Raff features a bounty of influences. It’s expansive folk sound is commodious and comfortable, and Alynda’s sweet croon jumps out at listeners like Florence Welch’s voice did at first listen. In some way, the voices are alike. Florence’s voice is more operatic, powerful, indie, and British, while Alynda’s is smoky and bluesy with this dark rust analogous with true, inspired Americana. It seems like an odd choice of description but if I was to describe Alynda’s voice it would be American.

“Look out Mama,” the title track, is the perfect example of this. Alynda’s voice complements the fiddle with this sincere acoustic simplicity that mentally transports listeners to a mixture between cornfields and sticky swamps. The song itself is blues/folk at its finest, infectious, and, come on, an impromptu yodel sneaks into the ending. How cool is that? I mean, really, that is awesome. I apologize for my boyish enthusiasm, but subdued yodeling can bring that out of me, I guess.

“Lake of Fire,” track six on the record, plays a little differently than “Look out Mama.” The full range of the band is heard. The piece is a throwback. It is a combination between 60’s SoCal surf and upbeat pop/blues. It’s a good example of how diverse the band’s sound is, and it also demonstrates the range of Alynda’s voice.

The last piece I have for you is not on the album, but I just think it is an excellent cover of a song by my idol, John Lennon. Alynda’s mutual love for Mr. Lennon can be deciphered through her piece “Ode to John and Yoko,” a Beatles-inspired song on the album. Here is Alynda performing “Jealous Guy”

Minimalistic, relaxed, and well done.

Check out Hurray for the Riff Raff’s:

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Closing the Distance – Neal Casal

3 May

Neal Casal

While most of these new artist posts profile, well, new artists, I am going to change it up a bit and recognize a solo artist whom you may not know from his extensive solo material, but you very well could have heard of from his band-work.

Neal Casal is best known for his lead guitar with Ryan Adams and the Cardinals where he recorded four successful albums with the band. When the group went on hiatus in 2009, Casal continued with several projects, and, in 2011 joined forces with Black Crowes’ frontman Chris Robinson as lead guitarist for his project called the Chris Robinson Brotherhood. They are going to jump in the studio and cut an album, by the way.

As well as being a talented guitarist, Casal has an excellent voice, and band-work aside, he is an accomplished solo artist who just recently released his 10th studio album entitled Sweeten the Distance, a splendorous collection of engaging alt/country tracks. Let’s be honest. Many lead guitarists cannot sing. Casal can. He can sing well, really well, and such a voice can often fall to the background of a band with a leadman at center stage. His solo work allows him to shine and today I want to profile a couple of songs off of his new album.

Sweeten the Distance was recorded with producer Thom Monahan (Devendra Banhart, Vetiver, Pernice Brothers, Lavender Diamond, the Fruit Bats), and the indie effect is noticeable. Songs feature creative layering with just the right amount of country twang. My favorite track off of the 10-track album is “Need Shelter.”

My initial thought after delving into the picked acoustic guitar and feasting on the whiny electric and laid back percussion was comfort. The music invokes images of a sun-doused grass and air that smells like sweet corn bread. It is melancholic but just so easy to sink your teeth into. Casal’s voice fits the melody well and sparked an immediate comparison to a countrier version of Josh Ritter. The song itself actually reminded me a bit of Ritter. The chorus features easy harmonies. Like I said, it is an exceptionally easy listen and it is engaging, and like any summer afternoon it fades away and ends too quickly.

“Time and Trouble” is the other track I have for you. This one is immediately different (the feedback comes as a bit of shock – but multifarious sounds are good especially when they are unexpected). Two guitars play over each other before Casal’s voice comes in to complete a Beatles/Stones-like rhythm that bops quickly and leads into a rich chorus jam-packed with harmonies, twang, and the easy-to-drum-along-with percussion. This song is more upbeat and gets you moving a bit. Great sound to this one as well.

The entire album can be streamed on Soundcloud and for more information check out Casal’s website

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Decoding for a Good Cause

2 May

Alright! We finally begin the devoted new band profile binge that I have been discussing for the past two weeks. And what a great way to kick it off with an alt/rock band that is using its late 90s throwback style to promote a good cause throughout May. Let’s talk about the band first and then we will go into what they are doing.

Decoded was born from a chance encounter between singer/guitarist Derek Jordan and producer Davey Julson-Rieley. Rieley has done mixes for a whole slew of bands including Dropkick Murphy’s, Skillet, Rise Against, and LCD Soundsystem. They put together a project of players, called themselved Decoded and are set to release their debut EP The Split this Spring.

Some of Decoded’s other material is a little rawer and grungier, but this is an excellent example of what solid vocals laid over a poppy alt/rock track can do. The reason I label “Open Season” and Decoded as a late 90s throwback is because this type of compact and precise alternative music latched on and engaged a whole scene for a few years. The song begins with a light riff over a heavy guitar, accentuating the riff which ensnares the listener. Jordan’s voice effortlessly sounds over the verse leading into a chorus rich with vocal swings and harmonies which fall almost immediately back into the verse. The fills during the verse – collapsing drums and firm electric – are excellent and the competent bass carries the verses with ease. After the third chorus, Decoded plays with the listener and toggles the audio in dueling guitars manner – which I like – and I love the end because it teases the verse. Great piece.

So what is Decoded doing that I find honorable? They are taking their residency at AMPLYFi in Los Angeles and sponsoring a campaign called Rock For A Difference Los Angeles! Every Thursday in May the band will share the stage with other acts in order to sponsor a different non-profit organization a night. It is charitable and a great use of a residency! Do you live in Los Angeles? Get out to one of these shows!

Here’s a list of the Los Angeles organizations that will be featured and on what dates:
May 3rd – Ace of Hearts – http://acesangels.org/
May 10th – Create Now! – http://www.createnow.org/
May 17th – Coalition for Clean Air – http://www.ccair.org
May 24th – HeARTS Giving Hope – http://www.heartsgivinghope.org/
May 31st – Rent.Food.Broke. – http://rentfoodbroke.com/

For more information on the band and Rock For a Difference check out the band’s:

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Living Life Among the Savages

29 Feb

Peter Barbee is living among savages. While I am pretty sure that the savages are a little different from those written about by Shirley Jackson in her domestic, short-story compilation Life Among the Savages, they are still savages – and they influenced the name of Barbee’s pseudonym. Barbee recently released his debut album Wanderings of an Illustrative Mind, and its dreamy indie concoction is musically insightful.

My sister told me to check out “New York City,” one of the 12 tracks from this Smoky Mountains native, and it hooked me immediately – enough that I got the urge to check out the entire album and then share my findings with all of you. Before I move on let me shamelessly plug my sister’s arrival into the blogosphere. If you are interested in fashion I ask you to check out her blog, Hipstersleek. While my view of “in style” is a pair of jeans and a sweater, she has some great insights into the world of runway/street styles.

On to Among Savages. The album is multifactorial. Yes, this is a word often used in scientific studies and mathematics, but I believe it is a great way to describe Barbee’s musical style (see I can use style too). Barbee plays with orchestral smoothness, alternative pop beats and variegated harmony. In order to successfully fuse all of these genres, though, the singer must be a chameleon of sorts, and Barbee’s voice certainly has this quality.

I’m going to start with the beginning. Simple enough, right? “Start at the Beginning” is not surprisingly the first track on the album and I think it does an excellent job introducing Barbee’s blend of indie music. It begins with refreshing strings followed by Barbee’s repetition of the title of the track. I immediately get a taste of OneRepublic, specifically Ryan Tedder’s voice, but the song travels a more subdued route. I also think Barbee has even more range to it. The man knows how to sing. He knows when to lay off and when to hit listeners with high notes. The ending is comfortable and infectious. The harmony is creative, to say the least.

I jump forward in the album to “Faith in You,” a concise track that features immediate piano and easy percussion. The song gradually rises, focusing mainly on Barbee’s excellent voice, until we hit a driving chorus that mixes an effervescent violin with the rhythm. 

The song that initially drew me into Among Savages was “New York City.” It is track 11 on the album and also features some of the best lyrics in the entire compilation of music.

It must be hard to live in the midst of all those buildings
Where the changing of the wind don’t seem a miracle at all
Don’t bother end to end, it’s a maze of bad habits
Where the rabbit in the hat is just a train in the fog

Yeah, you came here with nothing and you leave here with the same
Sometimes the road that you were walking on is going the wrong way
Just come as you are
When you leave, you will be changed 

That is just a small sampling of the piece about the big city. Barbee is a Nashville guy and this song is not an ode to NYC, but I do love the message that one must live everyday like it is a gift. I feel that this message while tired is always true and refreshing, and I don’t think his thoughts are hackneyed but personal and candid. The music though is where the strength lies.

Immediately, it is easy to notice something different about this song. The staccato piano leads into a Band of Horses-like harmony. A driving percussion sets the tone. The song is infused with clear Irish elements followed by loose horns and background party noises. It is like what happens when you combine Great Big Sea with eccentric indie music. That is just awesome! You know a song is great when it is over three minutes long but feels like it only lasts a minute. It moves quickly and is so wonderfully catchy. This is my favorite song on the album and absolutely relevant in the “great new artists and song” discussion.

For more about Among Savages visit their website. Twitter. Facebook

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