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A Monk of the Rarest Kind

8 Feb

The job for new bands out there is just getting harder and I’m not just talking about the fact that they must compete with washed-down mainstream garbage. The root of the problem is monotony. Too many bands sound exactly alike. This was easy to get around in the 60s because, well, even mainstream was good music. But today, listeners with keen ears are always searching for something different, something exceptionally unique. Music that when it comes on the iPod captures the listener. Indie music has become increasingly popular because of the bored listener. Now, if you are a new band, you better bring something new to the table. And, if you do infuse some originality into a worn genre, well, you will hopefully succeed – because you are worth it.

These are the bands that I like to focus on in the New Band Palace section of the blog, and I am not going to stop today. We travel to Eugene/Portland, Oregon, to seek out a collective of talented musicians who have decided to tackle a bushel of genres and create an eclectic blend of jazzy rock n’ roll that can blow your socks off with its productive sound, professionalism, and absolutely sick riffs.

Rare Monk released a 7-track album called Astral Travel Battles in June of 2011 and have been playing shows around their area of residence. The album deserves recognition. It is a small featurette of the effervescent sound that the band produces and it hits on so many layered elements you can lose count. The band is Dorian Aites: Vocals, Guitars, Keys, Percussion; Isaac Thelin: Violin, Tenor Saxophone; Jake Martin: Guitar; Forest Gallien: Bass, Keys; Rick Buhr: Drums, Percussion.  Thelin rocks the afro in the photo above.

The best way to explore a band is to dive right into their music, so let’s take a swim in Rare Monk’s synthesis.

“Shoot Me Down,” which tells the story of a hardened escaped prisoner who is hunted down and (well listen to the song to find our what happens), is track one on the album, and, while the lyric features gem lines like “If my soul’s spending on credit, oh please Lord, don’t send the bill,” I want to focus a little more on the structure of the song itself. It’s important to start any album off with a strong composition, and “Shoot Me Down” begins with a kick-ass guitar riff that blends with some light percussion and Dorian Aites’ clear, guttural voice. At around 25 seconds, the band introduces a violin that gives the song this interesting western ditty feel – a little Modest Mouse-like. The song moves quickly through the chorus and then Thelin actually shreds on the violin. It is a refreshing solo – s0 different and well-done. A violin can work in hard rock songs and I’m glad Rare Monk employs it. At around 2:35, Rare Monk provides me with the first example of their originality. Many bands would have ended the song at that mark. Instead, the band displays true professionalism and slows the song down entirely into this Ska-like reggae beat that leads into a David Gilmour-like guitar solo from Jake Martin, splattered with soul and effects. Then a moving drum and bass lead to the culmination of the song which is the quick chorus.

“Somnifero” gives Rick Buhr an immediate drum solo and Forest Gallien a wonderful, jazzy bass riff that complements Thelin’s tenor saxophone. Martin’s guitar fits into the ska category again and the effects give the fills a 70’s progressive rock feel. Dorian Aites’ vocal is strong and contained, and I like its tenderness. Tthe tenor sax solo is the best part of the song. It is paired so well with the chaotic drum – like wine and cheese – and I absolute adore the little sampling of “These Are a Few of My Favorite Things.” The runs at the end with the bass is a perfect way to end the album.

My favorite song off of the album, though, is “Mama Bear,” and although it is an instrumental, I feel it may say the most about the band’s originality. The riff is simple, a droning, effect-saturated melody, that leads into a violin run that says more than any word could. This leads into a brief guitar and violin riff. What I find so spectacular about this song is the band’s competent use of melody layering, an aspect of music that can be difficult to master. If you close your eyes and listen to one part of the song, say 2:35 into it, you can hear everything. Listen for the violin over the initial riff, and then keep the background in mind when Thelin loses his mind on the violin.

Listen to more of Rare Monk’s music on their Bandcamp and check out their Facebook for more details

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Beaming with The Widest Smiling Faces

25 Jan

Aviv Cohen

Aviv Cohen is a throwback. He is a consummate musician with a keen ear, laid-back skill, and an innate knowledge of what makes good music. It is always so refreshing being introduced to a musician who knows what they are doing and Aviv – who is the sole employee of the band The Widest Smiling Faces – has good reason to grin.

Aviv, who is based in Brooklyn, NY, has just released his second album Me and My Ribcage, and it features 12 tracks of ambient folk with a hint of medieval sampling and excellent guitar work. Most importantly, the music is light and breezy – like the sunny, cool New York afternoon that is just outside my window as I type this. It is a pleasure to listen to Aviv’s graceful melodies and you can tell that he – and Chris Wojdak, who added textures and assisted with arrangement, on the album – took care to make sure that the layers and sounds remained smooth.

The title track, “Me and My Ribcage” is the opening song on the album.The first minute of the song sends you soaring through light, immaculate clouds, into a denseless, gravity-less atmosphere. The weightless guitar sings a peaceful melody which at the one-minute marks pauses and leads into a soft acoustic guitar and Aviv’s low-fi, tender vocal. His vocal is actually a bit abstruse. I don’t know what to make of his calm vocal. It’s as if he is living in a different time, as if he recorded this back in 1930 – every word vibrates – similar to the way that John Darnielle plays with his voice even thought it is quite different. I actually do get a bit of the Elephant Six feeling as well.

British Progressive Folk groups like The Amazing Blondel played medieval-esque music back in the late 60s and early 70s, and the beginning riff of “Two Lips” followed by the multi-layered, accented vocal feels like this. I catch a little of Syd Barrett in the vocal. I also absolutely love the feeling I get when I listen to this. It is eccentric music – almost psychedelic (more in the Elephant Six way than the late 60’s way). Aviv is also a proficient lyricist and I would like to highlight the ending of the song:

“And two words sting my eyes with doubt brushed under skin and out of mouth (and down) he lied to feel our beating hearts it pulled us back to where we started.
In a way I had to grin we cut the hands from off of it and all his fingers red with stain will lead us to a house unfaded on the reeds.”

Poetic and well done

I am including “Lazy Boy” as my last sampling of Aviv’s music. I love the fullness of this song. Aviv’s music is relaxing and an absolute pleasure to explore. I suggest you take a listen to the entire album which is available here.

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A Man of Many Different Parts – New Music from Andrew Sheron

13 Jan

Andrew Sheron

 
Andrew Sheron is a multi-instrumentalist from Brooklyn, NY who refuses to be bogged down by genre constraints. What do I mean? Sheron’s nine-song debut release Travelling Time which he released with his band Everyman of Parts is an excellent example of musical diversity. I cannot label it because each song has its own distinctive flavoring. The album is like a layered dip – you scoop the concoction up with a chip and, is that guacomole?
 
Travelling Time , which can be streamed in full for free on Everyman of Parts’ bandcamp (click Travelling Time), features a wide gamut of influences. We move from conventional folk to funk to alternative metal to classic rock to jazzy piano. When an artist attempts to tackle so many influences in nine songs the result is usually disastrous, but Sheron and his band delicately interweave these influences back-to-back so listeners are able to follow along and enjoy the music.
 
The best way to review an album like this is to just get to the music. The curious bunch has already clicked on the link above and are listening to some of the songs. If you haven’t, no worries, I am going to highlight a few tracks from the album that I am enjoying on my first listen.
 
Before I get to this, some long-time readers of the Music Court may recognize the last name Sheron. You are not losing your mind. He is related to Daniel Sheron of Balto who we featured way back in April of 2011 (okay not really way back). You can read that post here.
 
Now let’s move on with the show.
 
 
We are starting with an upbeat tune called “Display Case” that infuses indie sensibilities with pure funk. I think the funky, skillful guitar is well done by Sheron. The piano, which is also played by him, carries this 60’s Hammond organ theme that I not only enjoy, but also respect. I love tangible hearing classic rock influences in modern music. The backing horns in the culminating choruses are excellent – credit to Joseph Peterson – Trombone and Marc Plotkin – Alto Saxophone  as well as the horn arrangers Anne H. Goldberg and Sheron himself. This is a treat.
 
 
“Are you Cold” begins with a simple Cat Stevens’-like acoustic guitar riff. This song features Sheron’s voice which is smooth, tender, and emotional. He is clear and concise. The lyrics are able to shine through and gems like the lyric, “I wonder if she’s beautiful to me because she’s frail, and if under her distrust and pain I’ll find my holy grail,” shine. The song rises with strings and bravo to Christopher Marion – Strings & String Arrangements – the strings are perfect, especially the end. The harmony that creeps into the song before Andrew Sheron’s awesome falsetto is wonderful. The song is itself a beautiful portrayal of insecurity.
 
 
I am bouncing between tracks. This is track three on the album and, wow, a bit of a difference right. This was what I labeled alternative metal. It seriously sounds like Rage Against the Machine. And it is so unexpected. The grunginess in the vocal is actually well done. There is an interesting harmony that meshes well with the highlighted blues. There is also a wall of sound effect that the heavy guitar and drums (excellent in every song – kudos to Alex Raderman) fosters.
 
 
The last song on the album, “The End of the Rope” is my favorite. There is an obvious soberness to the sound but that does not mean that the song is downright lachrymose and depressing. No. I feel that it is more just an introduction to the neat jazzy part that you are about to experience. Wait for it. Yes, there is the piano. Sheron is a great musician. This airy solo features so many influences. There is an element of bassy grunge, acoustic folk, jazzy piano, and vocal honest. It is a perfect close to an excellent debut release.
 
Visit the band’s website, Facebook, Twitter 

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Ramblin’ with the Acoustic Bluesy Tunes of Jacob Miller

25 Oct

Jacob Miller

 When I interviewed Jacob Miller I asked him what I ask every musician that I interview. If you were stuck on an island with only access to three albums what would you choose to listen to for an extended period of time. Miller, a 21-year-old blues/country/ragtime acoustic fingerstyle technician originally from Wisconsin, answered, “Townes Van Zandt’s Flyin’ Shoes, Tift Merritt’s Another Country, and Ton Van Bergeyk’s Lulu’s Back in Town.  And I thought, wow, how diverse and fitting for his cited musical genres. We have Van Zandt’s country croon, Merritt’s twang, and Van Bergeyk’s insane finger-picking guitar skill. “All on vinyl,” he completed his list with a laugh.

Miller is a member of a special breed of modern musician, one who does not do a disservice to his inspirations, but rather carries on the warm tradition of their music. His unique brand of bluegrass and ragtime inspired finger-picking is peaceful and the tunes emit an effortless Nick Drake-like relaxation, but they also are effervescently folksy in the vein of Dave Van Ronk and early Bob Dylan.

“That Same Old Feelin'” is a great song to open Miller’s collection with. This, and 12 other tracks appear on Miller’s debut album Blue Ridge Ramble, a hearty, mature career opener and a great buy. “That Same Old Feelin” encaptures the sunny afternoon, on-the-porch, feel; so acute, you almost feel that you are there sipping a cold beer.

Fittingly, this is exactly what Miller was going for with the album.

“Laid back is definitely the feel I’d like to portray with my music,” Miller said. “The majority of my time West was spent on the porch playing and drinkin’ with friends. The old time style just seems to paint a simple picture; something that’s easy to fall into.”

Miller, who first picked up an acoustic guitar (his aunt’s) when he was 12, moved to Portland, Oregon, at 18, with intentions to pursue music. “I moved into a house of phenomenal folk/blues traveling kids,” Miller said. “I became enthralled with old time, backcountry blues, and bluegrass from the early-mid 20th century. A good friend and housemate of mine, Cliff Mitchell, introduced me to finger-style ragtime and things just seemed to escalate from there.”

Miller continues to put in the time and effort to study the genre and better his ability. That is refreshing. He is only 21 years old and the talent simply oozes from him. Let’s check out another tune from the album.

“Bone Orchard Blues” is my favorite song off of the album. The verse is obviously carried by the creative, repetitive guitar hook that is so reminiscent to traditional blues that it is like someone reincarnated Mississippi John Hurt (whom Miller cites as an inspiration) and put him in the recording studio. Miller does not have Hurt’s deep croon, but his droning, one-tone vocal style fits the depressed blues lyric well. It’s impressive sophistication. And, in the style of his blues inspirations, Miller is currently traveling with no particular destination in mind.

“As far as touring, my plans are ever-changing. I’ve spent this last year traveling around without a clear destination.  But it’s nice, as I seem to stumble upon shows to jump on rolling through the various towns I’ve stayed in. I’m currently in Arizona for another week or two and plan on catching a greyhound to California to stay with some friend for a bit.  I plan to busk some while in San Fran. Afterwards I’ll be making my way back up to Portland to visit some family and play as many bars/venues as I can find.  From there, it’s pretty open-ended.”

To check out and buy Miller’s first release visit his Bandcamp – http://jacobmiller.bandcamp.com/. You can also friend him on Facebook – http://www.facebook.com/jacobaaronmiller

 

Matt Kiefer’s Musical Craft

4 Sep

Matt Kiefer cares about music’s honesty. What is musical honesty? Artists are quick to go into studio and process songs like a frozen McDonald’s hamburger. It is easy. There are little mistakes. But musical honesty occurs when an artist refuses to let the “studio” do work for them. Kiefer, a musician and recording engineer from Pittsburgh, does find himself in an interesting situation because he is a recording engineer. If anyone knows a screw up, he does. He explained to me that he once would record several versions of each piece in meticulous fashion. But now, he thinks authenticity is most important.

“Of course I want the songs to sound perfect for the listener and capture the best possible performances but I also think those live takes and occasional mistakes sometimes add to the beauty or naturalness of the song,” Kiefer explained in an interview with The Music Court. “I used to stress over little things and take 5, 6, 7 or even 10 takes of a track to assure that the performance was spot on..But now I only take 2 or 3 takes at most and just keep the best ones. On the EP you’ll hear some occasional string smudges and stuff like that, but I think it feels more real to the listener…Like im sitting there playing it right in front of you. I’d rather give people something honest and that will translate perfectly live rather than “studio magic” up some polished manufactured piece that falls apart or doesnt translate the same way live. I like my recordings to say:  “I’m not the best musician, I screw up like everyone does…But I mean well!” I really just want to seem human.”

Kiefer’s worldly pieces do feel human and one can feel the love that Kiefer has for melody and quality. In the instrumental “Lucky Vegas,” Kiefer’s fluffy guitar transforms into a more pleading sound with the culmination of the creative drum beat that changes throughout the piece. It is fresh and original. “New York Puppy” provides a similar, but deeper feel. The song moves with the guitar’s efficiency. Kiefer will be releasing a free EP soon, but before that release check out his Reverbnation for songs. Follow Matt on Twitter: http://twitter.com/#!/realmattkiefer

Like I wrote earlier, I had a chance to do some Q+A with Kiefer. Here are Kiefer’s insightful answers.

1.) When did you first start recording and writing songs?
I first started writing songs when I was about 12 years old when i started playing guitar and really started listening to punk rock. Bands like The Ramones, Rancid, and The Smiths were all I was listening to at the time and all of their songs were just a few chords and really easy to play so I dabbled with their songs a bit and eventually started learning how to pick the chords up by ear and pretty soon I was figuring out and jamming along with all my favorite records and albums. As far as recording music goes, I worked my ass off cutting grass and selling it when I was about 15 and bought a little four track tape recorder from the pawn shop (that I probably paid way too much for, come to think of it now) and started making demo tapes in my bedroom with a crappy pawn shop mic and crappy old cassette tapes I’d find in my dads dirty dank basement. I remember I would sit on my bed all day and record hundreds of ideas that I’d come up with and just listen back to them thinking I had hundreds of songs…when all i actually had were just the same riffs and chord progressions in different keys! (laughs)
2.) What were your big music influences when you were growing up and how did this shape you into the artist you are now?
Growing up I listened to a lot of punk rock and a lot of 80’s soul and RnB. The punk bands were introduced to me by kids Id cut school to skateboard and get stoned with and new bands I’d find out about going to shows around the city. My dad used to play a lot of Journey, Alabama, Prince, The Jacksons, 80s Pop, & Jimi Hendrix records throughout the house so I think naturally I ended up being influenced by the old school stuff hearing it all the time. The focus with all those classic groups was strong melodies, so i think my sense of, or intent of wanting to be super melodic with anything I do probably stems from them.
3.) Okay, give me the rundown of what you have been recording. Just solo tracks? Have an album in the works?
Well, right now im recording an EP that will be for download absolutely FREE in the next couple of weeks on various music sites on the net. Im calling it “The FREE-P” and expecting to have it up for download by the end of September.. So far its just me and a bunch of acoustic tracks layered on top of each other… but I’ve got some great friends who are layering keys and strings on the EP as well as playing drums and various other instruments for me. But the majority of the work is just me in my home studio. So look out for that! After that I’ll be right back in the studio working on a full album slated for release around the end of this year. The album will be a mix of chill melodic acoustic tracks and also a full band feel at times ala Red House Painters/Sun Kil Moon. I really want to release a very strong collection of music this year.

5.) I’ve noticed that you put a lot of effort into melody. “Lucky Vegas” is an instrumental and “Be Honest” has a melodious long folk opening. The melodies are fantastic. Talk with me about them?
Thank you! I’m glad people appreciate the melody! I definitely put a lot of focus on making sure the melodies are strong but still accessible to the ears of everyone. I can respect great musicians like Steve Vai and Joe Satriani, who are very melodic in their playing, but I cant force myself listen to their music for more than 5 minutes without feeling like their songs are just completely ‘masterbatory!’ (Laughs)
Instrumental music is something that I’ve listened to for many years and is really all I listen to these days besides classic Oldies and 80’s pop. When writing Lucky Vegas I was sitting in my hotel room on the Vegas strip at the Monte Carlo Hotel on the 43rd floor just staring out the window at 3 a.m. trying to write a melody that captured how I felt looking at all the lights and the people and the experiences I had in the city that week and the plane ride there. That song kind of wrote itself actually. That’s usually what happens. I start with a simple melody and it takes off from there and then two hours later I have a 3 or 4 minute piece of music that im in love with and describes a feeling or emotion or memory for me.
Be Honest was kind of the same process. It is a song I wrote a few years back about a failed relationship and the bitterness that comes along with the ending of it. Whenever I use lyrics in a song I always want the melodies of the instruments to be just as strong, if not stand out more. I kind of put my lyrics and voice second to the instruments. In this particular song I layered a bunch of guitars on top of the main guitar in an attempt to really add an atmospheric feel without turning on 15 pedals and making it sound like a My Bloody Valentine tune. I think it worked out the way I wanted it too, doesnt feel too cluttered! (laughs) Originally the intro was about two bars long then the vocals dropped in, but I really was digging the feel of the harmonies & the visuals I got in my head from of all the guitars after I wrote them so I decided to just let it ride a little longer and really build up something in the listeners head to the point where you feel like “Whats coming after all this?” Really wanted an epic intro to the lyrics, especially for first time listeners hearing my music for the first time.
6.) What is your favorite part of recording songs?
I can’t say there is a part of recording songs that i would call my favorite… To me the whole experience is absolutely enjoyable. I like the engineering aspect of miking instruments up, getting good tones, playing around in Pro Tools, breaking the recording “rules,” getting cool sounds and so forth. I also really enjoy the experimentation that comes along after I get the bed or main guitar track and vocal track recorded. Adding harmonies, taking them away, extending and building off of parts, adding new instruments… I also really enjoy listening back to the finished product & figuring out what I could do to change the song and make it better or breathe a little more. The way a song sounds once its recorded, mixed, and mastered usually sounds way different than when I originally wrote it. What I like about that though, is at the heart or core of all those layered melodies and different instruments is really just a very simple song I can play on the acoustic guitar and sing along with all by myself and still have them same impact.
7.) I always ask this, so bear with me, if you had a chance to have record a session with three musicians (alive or dead) who would they be and why?
Hmmmm…thats a tough one! There’s so many great musicians that I would love to collaborate with! I think I’d definitely like to get Prince in the room with me because I know he is gonna write some real crazy sh*t and probably bring the funkiest vibe with him.
Jeff Tweedy from Wilco would be pretty cool too. He seems like he lost his mind long ago and had it replaced with lots of insight and also knows how to make 50 incredible and timeless songs out of the same 6 chords over and over. Last, we would need someone who can throw down on the rhythm section so I’d probably ask Jeff to call his drummer Glenn Kotche. Dude is absolutely nuts on the skins and extremely innovative with some of the different rhythmic instruments he’s invented! I definitely reccommend Googling or youtub’ing him and watching his videos. Im always humbled anytime I get the chance to accompany musicians who are better than I am. Whether they are famous (never), strangers, or just my friends who are great at what they do. I think no matter how good we may believe we are, theres always something big or small we can learn from someone else.
8.) Future plans and aspirations?
Future plans are definitely focused around getting this EP out this month, and getting an Album out before the years end. From then on its gonna be back to touring either solo or with a full band. Whichever makes more financial sense! (laughs)
As we speak, I’m auditioning new members for a full ensemble to play out. We are gonna really bring something diverse to the live shows. Id like to have a set that incorporates a lot of loud, wet, atmospheric and distorted full band sounds and then we switch it up and pick up the acoustics and pianos a few songs later. Lots of ups and downs and something that really takes the audience for a ride for 45-60 minutes. Bring out some crazy lights, Projector screens and visuals and really talented musicians to really help bring these songs to life. The biggest and most attainable goal of it all though is just to keep writing songs that speak to me and keep me inspired and just hope other people can relate as well.

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