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Headphones, Poplar Trees, and Adam Brock

13 Jan

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In the liner notes of his summer 2013 EP, Adam Brock writes “Everyone finds solace in song, regardless of age and circumstance. I hope this music serves that purpose for some.” Keen statement from the young musician from Oregon. Brock, a multi-instrumentalist with a sensational ear for melody, is the best kept secret in the Pacific Northwest. Heck, he may be the best kept secret along the entire Western coastline. With a whispery vocal that he skillfully layers to the euphonious instruments that he plays, Brock is the sweetest sound in Indie that you are not listening to … but will be soon.

I know I lay down a lot of praise on this blog, but I know when I should particularly highlight an artist. Brock is that artist. He is also humble and unassuming, which is a major plus in my eyes. This is a dude who not only knows music but also puts time and effort into perfecting the intricacies of his tunes. His small selection of music from last year was quite impressive, and it is all available on his Bandcamp for free, so I totally suggest checking it out.

“Poplar Trees” is from his 3-track release in January of last year. The first 30 seconds are a bit deceiving because Brock immediately provides this mystical vocal track that sounds like other Pacific Northwest bands like Fleet Foxes. This, of course, is not a bad thing, for I am a bigger fan of folk harmonies than most, but it is not Brock’s predominant sound. The consequent electric percussion and keys is more of Brock’s scene, and oh my does he sound like a young Death Cab for Cutie, does he not? The early 2000s Indie Pop bleeds from the song. Then, the bottom falls out of it and the song is carried by a halcyon picked guitar and Brock’s sweet voice. It is as the ultimate blend, and it is done masterfully.

“Headphones,” released in June, also maintains that Ben Gibbard sound (almost a minimalistic Postal Service). There is also some Bright Eyes and the Shins thrown in for good measure. Brock knows what he is doing. In this piece he even adds a Velvet Underground-like string section (cello, viola, violin). Honestly (and why would I lie), Brock’s music is excellent. He displays ability far beyond his years. There is only one question I can ask: why is he not touring the U.S.? Let’s make Adam Brock more known.

Check out his Facebook and Website.

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The Amazing Blondel Sinfonia

9 Jan

Amazing Blondel

Gosh, I have not done a 60s Band of the Week post in months. You know, when I first started the Music Court back in 2009, my intention was to create an epic music amalgamation. Quite simply, I wanted to highlight newer bands I enjoyed with the perennial sound of the 1960s/early 1970s – the music that made me fall in love with … music! I do not want to lose the latter goal. Thus, my New Years Resolution for the Music Court is to go back to my original intention. While new music, incipient artist profiles, concert reviews, and other keen posts from Music Court writers will crowd the pages of the Music Court as always, I am bringing back the 60s/70s and continuing with the epic band profile list. Amazing Blondel kicks off the year!

Sinfonia is the Italian word for symphony. Two roots in this word. Sym meaning “with” and phon meaning “sound”. It’s a Latin word (symphonia) derived from greek (both usages were for instruments). This mini English lesson does have a purpose; I promise. The consonance associated with sinfonia is ancient. Sweet sounds have always engendered pulchritude and comfort. This was no different in the in the 60s/70s. Available among the genre smorgasbord was a sub-genre of the folk revival called folk baroque. Known musicians like Simon and Garfunkel (“Scarborough Fair”) and Nick Drake explored this genre, which blended English antiquity with modern American sounds. This was just one example of progressive folk/pop.

The Incredible String Band took this genre to new levels with the release of its exceptional album The 5000 Spirits or the Layers of the Onion. This album implemented medieval instrumentation (oud, flute) and African instrumentation – we can thank the perspicacious Robin Williamson for this. Thus Medieval folk rock was born. Two of the most popular bands from this genre were Pentangle and Amazing Blondel. Amazing Blondel was unique, though. Many bands in the Medieval folk rock genre embraced jazz and electric music influences. Amazing Blondel stayed true to antiquated instrumentation (lute, theorbo, cittern, tabor, ocarina, flute, crumhorn, dulcimer, and glockenspiel). For the flute, they were compared with Jethro Tull, but Amazing Blondel was in a musical class of its own with a multifaceted genre that no one could quite pin down. It was medieval-style music with British performers. I’m just impressed the band was able to find the instruments I listed above. One would think there were (and are now) not many music shops selling crumhorns.

Amazing Blondel was started by John Gladwin and Terry Wincott, two multi-instrumentalists who left harder rock music to form a band that focused more on delicate instrumentation and wispy singing. The band focused on acoustic instrumentation and clearly pulled from a good amount of resources. The band added Eddie Baird after the release of its debut self-titled album in 1970 and started touring with bands like Procul Harum and Genesis (makes sense, right?) The full band released three albums from 1970-1972 and a few more after John Gladwin left. Of the band’s albums, the 1972 release England is my favorite of the band. Why don’t we have a listen?

The strings in this track are mesmerizing. The listener is caught in the instrumental story. The song shifts from a depressed darkness to light fast-paced strings and then back to staccato rhythms over a glum harmonium (may be a mellotron). I was always struck by the proficiency of the musicians. It’s a remarkable little piece and my clear favorite on the album.

“Landscape” is your classic upbeat medieval piece fit with lovely flute, background strings, and mellotron. The vocals are fine and feathery like a soft pillow. It is also just so British, which works so well for all of Amazing Blondel’s music. It is difficult to dislike this song. It’s just beautiful, plain and simple.

What Do “You Say” About Morning Fuzz?

6 Jan

Morning Fuzz

Feeling glum? It’s Blue Monday, the day marked off as most depressing of the year. There is a f-f-freezing cold blast that is   providing brumal torture to a large portion of the United States. Depressed, you say? Let the Music Court lift your spirits. Well, I don’t know what good our words will do. Let me rephrase. Let the Music Court introduce you to a band that will help put a smile on your face.

“You Say” is my favorite track off of vivacious alt/rock band Morning Fuzz’s debut album Chasing Ghosts. From its outset it pumps energy into your cold and weary bones. Shake the languor and get your toes tapping and head bopping. This quartet from New York wants to engender some warmth to replace the soul-sapping cold. So turn up the volume and read a bit about the creation of Morning Fuzz.

The band is the spawn of Ultra High Frequency, a rock band created by New York natives Frank Fussa (Vocal/Guitar) and Christopher Johanidesz (Bass). After UHF met a sudden end, Fussa and Johanidesz decided to strip down the musical concoction and regroup as a band that focuses on catchy rhythms, uplifting harmonies, and, dare I say, good old-fashioned rock n’ roll. After a few EPs, the band finally found a constant drummer (Marco Sulis) and also added guitarist Michael Cullari to take on a more elaborate, full sound.

Since then, Morning Fuzz has gained a performance reputation on the East Coast, and wrapped up the recording of its full-length LP (which was released in Summer, 2013), which they recorded in Laundry Room Studio with producer Barrett Jones. You can check out the full-length here.

“You Say” is a jaunty track that is balanced by a staccato guitar rhythm. The sprightly rhythm drops out in favor of light harmonies pre-chorus, and then a chorus that is a premium example of call-and-response melody. It’s a catchy, well-constructed song that makes you feel happy. The alt/rock groove is strong throughout the debut album, but “You Say” stands out.

Check out more of Morning Fuzz on the band’s Website, Facebook, and Twitter.

Whetherman’s Weathered Mind

4 Dec

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Take one seasoned, bucolic folk artist whose music inspires laid back scenes of pastoral pastures and fresh water streams. Mix this artist with a full band of five additional skilled musicians who infuse even more rhythm and melody to the music. Your end-product: a dozen colorful pieces enriched with apple pie Americana and rustic soul. 

Whetherman is the independent project of musician Nicholas Williams, who, since 2007, has released studio albums under the moniker. Streams and Pastures is the newest release from Williams, who has added five additional band members to complete an efficacious six-person band. Williams (Guitar, Harmonica, Ukulele, Banjo, Mandolin) adds Rachel Murray (Vocals), JP Salvat (Percussion), Alex Hayward (Drums, Misc.), Adam Mantovani (Upright Bass), Eric Brigmond (Keys, Trumpet) and Drew Matulich (Fiddle/Mandolin) to the mix. Quite a stock of instrumentalists, huh? Such cases leave open the potential issue of overcrowding, but Whetherman skillfully balances the instrumentals and creates a relaxed blend of music that hits on folk, country, and Americana roots.

Each song on Streams and Pastures is distinctive. That’s difficult to do. While the music abides by an overarching home cooked feel, Whetherman successfully uses its stock of musicians to develop dulcet individualized music. Let’s hit on my two favorite songs from the album. 

Williams and Rachel Murray sing over initial percussion and acoustic instrumentation. The song is carried by laid back percussion and plucked, airy strings, which help establish an easy-going tenderness and calm atmosphere. It’s highly listenable. You don’t want it to end. In overwhelmingly simplistic terms, the music is just nice. 

“Weathered Mind” is more upbeat and infectious. The country swing is effervescent. The gradual layering of tracks works so well in this song, and the culmination of sound is melodious. The song sounds like it was created by the spawn of Jack Johnson and Ray Lamontagne, tranquil and weightless like Johnson’s acoustic stylings and instrumentally conscience like Lamontagne’s folk. 

Check out the band’s Website, Facebook, Twitter

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Little Red Lung is a Rare Bird

9 Nov

LRL

I’m not sure I can sufficiently write words that can compete with the press photo above. Generally, any combination of soldier with an alligator head on his shoulder, braided and bucolic headdress, and suited recreations of the Pale Man, take the perennial eclectic cake and leave me speechless. But that would do Little Red Lung a major disservice, as there is much to talk about concerning this Los Angeles Indie band.

Modern music reviewers – and I’m one of the greatest offenders – often bandy around the genre Indie when describing current bands. We do this because the genre is low-hanging fruit; so many bands fit the encompassing description that it is easy to attach the title to several musicians. The genre itself has been perverted through the years, initially only serving to describe bands who abided by a do-it-yourself approach without the aegis of labels. So, when I describe Little Red Lung as a quintessential example of true Indie music, you must bear with me.

Little Red Lung is everything you want in an Indie band. As the photo above suggests (and the music will suggest when I post it), the band is eccentric and attractive. Each tune is a diverse sampling of innovative instrumentation and esoteric organization. Indie music at its purest is like a Dali, a delicate smattering of surrealism mixed with distorted shapes and emotions. Little Red Lung’s music is art, and it’s absolutely delightful to listen to it.

Little Red Lung grew out of a solo project by singer/keyboardist Zoe-Ruth Erwin, a musical free spirit, who, after a sabbatical in East Tennessee, returned to LA and gathered a trio of local music veterans (Ali Nikou – guitar, Rob Hume – bass, and John Broeckel – drums). Together, this unconventional quartet formed Little Red Lung. In 2012, the band released its self-titled debut and received overnight success. A U.S. Tour, features in Deli Magazine, and a performance at Bonnaroo in 2013 have cemented this band among burgeoning Indie superstars.

“Rare Bird” is a perfect depiction of Little Red Lung’s talent. Erwin’s vocal is flawless; it features a Florence-like passion that projects over the abstruse instrumentation to form a perfect complement. Everything from the unconventional percussion to the eerie marimba to lyrics like “a hairline fracture in the wind” build this song into an odd, tender track, which makes the depressed, grungy drop-down even cooler. The song falls like Alice down the rabbit hole. It’s unsettling and frankly really cool.

“Fangs” is different. An acoustic guitar lets Erwin’s tender vocal harmonies shine. The vocal is a huge strength of Little Red Lung, and I’m glad it is emphasized in the track. The song also features well-placed strings that help create a contradictory warmth, considering the lyric (“I knew you were waiting to die the whole time”).

Conclusion? Get on the Little Red Lung train. More great music to come.

You can check out the Full EP at Bandcamp. Track the band on Facebook or Twitter.

 

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