The Music Court

Five-Pointed Star inside a Peace Sign with the Vitruvian Man (Pentacle Da Vinci Peace). I think this is trying to say something!

Welcome to a special installment at the Music Court. Yes, we tend to have many special sections, but it’s all the better to keep you readers on your toes. Three in Three is a fancy way of saying that I will profile three bands in three days. Three exciting bands that are making some fantastic music. Let’s start with The Mad Pride.

The Mad Pride, named after the same-name term of the movement of mental health services users and their allies, definitely targets the mind with their music. The brain-child of singer/songwriter/multi-instrumentalist Rowan Galagher, The Mad Pride hail from Wollongong, New South Wales Australia. This is a good example of why I love the Internet. The Mad Pride is from Australia. I am from New York. For those unsure about geographical differences and distances, Australia is far far away from New York. Yet, I can listen to music from this band because of the wonders of the Web. That’s pretty sweet, especially because The Mad Pride is making great music.

The Mad Pride has released three albums during the span of 2009-now. And, during this album catharsis, there has been an attempt to label the band in a certain genre. For some reason, we, the music public, feel the need to genre-specify every band we hear. We need to link them to other acts as well, in an obvious attempt to make our listen more comfortable. It is an odd necessity, but not surprising when you look at the human need for specificity. The Mad Pride does not fit neatly into a genre and because of this, the band has been labeled many different sub-genres. I will admit it, I always fall into the trap of searching for correct genre placement. Because of my commonality, let me try.

The Mad Pride focuses on dark, folk melodies that set a deep melodic picture. This, like a background on a portrait, allows for rich, experimental sounds to be added like fresh brush strokes, and, of course a voice. Galagher’s voice can be best described as theatrically quiet. It is a tender whisper that projects, a rare ability that soothes the listener while sending them into a near mental state of somber wonder.

In saying that, I believe the Mad Pride is a good example of Folk Noir (“dark folk”) that also plays with some late 60’s dark psychedelic folk melodies. Galagher has been compared to Syd Barrett and the comparison is apt. While Galagher has less of a psychedelic concentration, his music takes on a similar feel to post-Floyd Barrett. Galagher’s voice also reminds me of a toned down Roger Waters and Thom Yorke (to a lesser extent).

Follow this link: http://soundcloud.com/the-mad-pride and listen to “Virus With a Violin” and “Lion in a Cage,” my two favorite songs, and listen to vocal complexities paired with the caliginous melodies.

Interested in being featured on the Music Court? Send your information to musiccourt@gmail.com and I’ll be happy to take a listen.

Boy do I have a Monday treat for you readers. Today’s musical delicacy comes from the journey of Daniel Sheron and his experiences in Siberia. Inspiration can come from anywhere. Sheron’s came from the backdrop of snow-covered railways and benighted cities. His music tells the stories of those he encountered in Siberia and the changing scenery that composes the country. It is, as he describes, Trans-Siberian Americana, an original genre that combines traditional harmonies withpassionate lyric. With Fleet Foxes-esque harmonies and the folk prowess of a troubadour, Sheron and his band, Balto, put an American spin on the Siberian experience.

As the band’s page on Bandcamp.com states, “On December 15, 2010, six people entered a basement in Brooklyn, New York and emerged that night with an album that no one had expected. October’s Road.” And, like the Siberian Husky sled dog that the band is named after, Sheron and his band lead listeners through a triumphant first album, woven with melodic instrumentation, apt lyrics and smooth vocals.

I will profile the first song on the album which is available for free on (http://balto.bandcamp.com/album/octobers-road). The entire album is only $4 and is totally worth the money if you are a fan of Americana/Folk (with a Siberian twist). The opening track is a wonderful example of the concoction that Balto effortlessly creates.

The beginning harmony is inviting and cozy. The vocal seeps into strings and then Sheron’s vocal which is sweet and genuine. It is a perfect folk voice. “The Railyard” moves strongly with the backing guitar and other strings. At around 1:40, the harmony is rich and beautiful. The song is five minutes long, but it feels much shorter than that (which is a great thing).

Check out the rest of Balto’s debut album by following the link to their Bandcamp above. You can also visit them on Facebook at facebook.com/baltoamerica or an twitter at @BaltoOnTheRails.

The band is New York based and their next shows will be on April 5th at Arlene’s Grocery and April 10th at Rockwood.