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Newly Nulabee

26 Jan

I am anti-Disney. I don’t understand people who insist on watching Disney movies repeatedly as grown adults, and never has that craze been so popular than with this Frozen nonsense. I might watch Mulan sometimes, but the only reason will be because there is a child in the room or because I am playing a Mulan drinking game. Something I can’t get enough of, though: Pogo. I only knew him as the Disney remix dude until I began working at my college radio station, then I realized he remixes much more than just Disney movies. The soft vocal cuts are like cotton in your ears, and the sounds he pulls together are so tender that everything he makes I just want to cradle in my arms. A new French artist, Nulabee, takes on the same idea, though does not aim to be so saccharine.

There is a certain weight in all three of Nulabee’s newest tracks. I’ve noticed a pattern where most of the lines end on a lower note than they began; this is apparent in the Holly Drummond remix, which also features somber vocals. Nulabee’s “Fade” is a great reinvention, with more layers than the original. Nulabee is adept at taking what he needs, highlighting it, and renewing it for his own gain. The samples of Kimbra’s “Settle Down” prove this point in “Down with Me.” Samples are strung together with a quick and coherent bassline in “Glitter,” though I can’t place their origin. That doesn’t make it any less his own, though, weaving his own signature into the bits that he’s re-appropriated.

Find more information on Nulabee on his Facebook, Twitter, and Soundcloud.

I went, I saw, I listened: Sego

23 Jan
There's a 'g' behind Petersen, I promise. S-E-G-O

There’s a ‘g’ behind him, I promise. S-E-G-O.

I have been to a number of concerts in the short amount of time that I’ve so far resided in LA, but I seem to always find my way back to the Bootleg Hifi. This past Monday I was drawn in by local apathetic indie rockers, Sego.

Sego has a brand of indie rock that is influenced heavily by their demeanor, and they come off as chill and carefree millennials. Vocals by lead singer Spencer Petersen are often only a step above glottal fry, but in their most notable track “20 Years Tall,” they bounce playfully with the bass and blah blah blah blahs. Petersen and drummer Thomas Carroll are the founders of Sego, and they have created a mighty beast of genre-defying musicianship. “20 Years Tall,” both recorded and live, is a testament to what kind of band Sego is, a loud and exciting yet monotone and contemplative one. Sego isn’t without its playful tracks, though, “False Currency” being one of my favorites, though that may have a lot to do with how much I love the lyric video they made. (Musta been hard to make with two righties.)

As far as their set at the Bootleg, I couldn’t have been more satisfied. I enjoyed the delicate melody that lead into “Wicket Youth” and of course chanting along with “Engineer Amnesia” (the latter of which gave me Modest Mouse goosebumps). The group is tight onstage, evidence of the amount of shows they’ve played in the past year to gear up for their big break. They will be playing a whole bunch more soon, like with Body Language in February in a few cities along the west coast. Get your tickets here.

Their Wicket Youth EP is out now. For more information on Sego, visit their website, Facebook, Twitter, and Instagram.

This is an anti-guitar stands show.

This show was strictly anti-guitar stands.

The Folky Skins of Anna Dobbin

15 Jan

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I have a great local release from the esteemed musical borough of Brooklyn, NY for you all tonight. Skins, an intimate 9-track release from singer-songwriter Anna Dobbin, is a delightful acoustic string of melodies with jazzy instrumentation and folky overtones. Most of all, though, it is the smooth Deb Talan-like vocals (for those Weepies fans out in the musical blogosphere) from Dobbin that carries this album, and, if you are looking for a serene soundtrack to listen to on this Thursday night, you have come to the right place.

Dobbin describes the album as a palette of a great variety of songs that she, with the help of a few other musicians, weaved together into a comprehensive piece. One of the reasons I am digging this album is its utter simplicity. Aside from the eclectic bassoon, which does fit perfectly mind you, the tracks are Dobbin, some light clickity-clack of a drum set, and the familiar sound of a comely acoustic guitar that is strummed creatively. Interspersed throughout the album is some lead guitar and keys, but it is done so tastefully that it does not shake the placidness the listener feels while first hearing this album.

Let’s take a listen to “The Trouble I Could Cause,” a quintessential Dobbin track (as my description above portrays). The song begins with a lightly strummed acoustic guitar next to flicked drum beat. Dobbin’s voice is filled with a blissful pulchritude that, while tranquil, still sounds worn. This piece specifically features some vocal layering that adds an echoing effect to the sound adding to the song’s power. The orchestral quality provided by the bassoon is refreshing and different; one might not think it would work, but just take one listen and you can hear how it does indeed help the song.

Another track that caught my attention on the album is a duet named “So Long” (co-producer and vocalist Austin Greenfield can be heard singing verses on the track). The acoustic features a segmented strumming pattern and trading vocals. It is as if Josh Radin or Peter Bradley Adams combined with JayMay or Ingrid Michaelson and the output was this piece. All in all, it is a pleasant song with consistently good vocals – controlled and calm.

Nice going! Listen to the rest of the album.  

D R E A M C O A T unveils studio performance of debut single, “Beautiful Kingdom”

13 Jan

D R E A M C O A T

Dreamcoat is a new act that hails from Melbourne, as do many of the artists that I cover here for the Music Court. Their debut single, “Beautiful Kingdom” is luscious and lingers, and watching them perform it live in studio shows them distinctly in their element.

I love how every vocal lasts a few beats. I love being soothed by the guitar strums. I love that the drums become much more than the spine of the song, becoming the heart and soul as well. This is the first that we’ve heard from Dreamcoat, and what a great first impression they have made. Their debut EP will be out in March, so we will hopefully hear more from them very soon.

“Beautiful Kingdom” is available for download on the D R E A M C O A T Blank Tapes page. For more information on Dreamcoat, visit their Facebook, Twitter, YouTube, and Soundcloud.

GRRL PAL releases second installment of their song-a-month project for 2015

12 Jan

GRRL PAL

Vowel-averse GRRL PAL has embarked on a year-long mission to release a new song every month. Their most recent installment is NGHT, an in-your-face romp that at times sounds like it is imploding. The accompanying video watches the duo recline and dance intermittently as the sun sets.

Short licks of high vocals ring throughout the intro, and follow well into chorus, along with many other quirky noises that GRRL PAL has molded into a song. There are distinct similarities between this and Purity Ring, if Purity Ring inhaled a little helium. There is also a very subtle, yet handsome bass line that holds everything together with grace. And for these reasons this hyper-sweet jam is irresistible. Even if you’re not the type to spontaneously start dancing, “NGHT” will make you want to frolic with GRRL PAL in your front yard in the dusk.

Download “NGHT” for free on GRRL PAL’s Soundcloud page, where you will also find its predecessor, “Paradise,” also available for download. For more info on GRRL PAL, visit their tumblr, Facebook, and Twitter.