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Taking a Ride with Calaca Strides

7 Mar

Calaca Strides

Calaca Strides bends genres with a created blend of low-fi, lugubrious melodies joined with bluesy acoustic riffs and upbeat vocals. In some ways, the music may represent a subtle contradiction, but Calaca Strides blends the music together with precision.

Hailing from England, Calaca Strides released Brittle Breeze  back in September of 2012, and the four-song EP is impressive in its musical scope. Specifically, the first and last track feature the intriguing musical concoction I mention above.

“Monster,” the concluding track on the EP, begins with a plucked acoustic guitar drenched in strung-out background sound. The song creates an ethereal atmosphere, like an enigmatic sky with clouds vacillating between rain and mist. The consequent euphonious vocals over the rapid playing of acoustic guitar notes creates a medieval aura (much like Amazing Blondel did in the early 70s with “Sinfonia for Guitar and Strings”). The song is an ode to progressive rock and modern folk.

“Row By Row,” is the nearly seven minute opening track on Brittle Breeze. It is an impressive song. I appreciate its multifaceted musicality. The listener is introduced to tremendous melodies that naturally transition into an eccentric mixture of folk/blues (almost like Amos Lee). The sounds introduced throughout the piece are fascinating.

Check out the rest of the album by clicked on it above. Stay up on Calaca Strides on Facebook and Twitter or visit the website.

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Get Some Scars with Lux Lisbon

25 Feb

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To sum up Lux Lisbon in a few words, this is music you just want to keep listening to. Lux Lisbon’s unique brand of classic rock inspired Indie power pop is electrifying, stimulating, and infectious. The 5-piece band met in Nottingham University and has been creating sprawling melodies and anthemic harmonies since its inception. With a sound like the Killers and Muse, Lux Lisbon is powerful and they are not afraid to demonstrate it.

The band is made up of Stuart Rook – Vocals, Songwriting, Piano, Synths; Charlotte Austen – Vocals, Bass; Alastair Jones – Guitar; Johnny Colgan – Drums; Rob D’Ath – Guitar, Vocals. The band saps the full sound out of all of its instruments and vocals to create a theatrical, Spector-like wall-of-sound.

The band will release an EP called Get Some Scars on March 25 of this year, and below is a sampling of the four tracks from the EP. They will be touring the UK to support the release.

“Get Some Scars” begins with neat harmonies that transition into a steady beat. The vocals are spot on; a Brandon Flowers-like croon with deeper inflections. The chorus, featuring an amalgamation of voices, hooks the listener. Heck, the entire song has that effervescent, hooky quality that encompasses good pop songs. It makes you want to hit repeat when the song ends. But before it does, pay close attention to the skillful vocal layering at around 3:30 (“when I get to the gutter). Organized, contagious, and cool.

“Bullingdon Club” is heavier. The song is certainly more Muse-like. It is an ardent, Matchbox 20-like, heavy-hitter with all the qualities of a great power rock hit: effective electric guitar, tremendous vocal, well-placed synth, fast-paced percussion, and moving bass. This is one heck of a composition.

Keep track of Lux Lisbon: Website, Facebook, Twitter

 

 

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The Wizard of Norway – Christoffer Øien

20 Feb

Christoffer Øien

What kind of music can you expect from a 25-year-old singer/songwriter from a small fishing village in Norway? Did you guess enchanting folk with a hint of haunting strings laid over an enigmatic vocal? You did? Wow, good guess!

Christoffer Øien is a true find, and in a burgeoning musical world, he represents a perspicacious musician with tremendous ability that should be recognized by a global audience. Øien’s music is expansive folk; it mixes the style of some of Joe Purdy’s slower, lugubrious pieces with a mystical Radiohead flavor. The sound is bewitching, and one wants to continue listening to the wizard of Norway.

Let’s take a listen to two songs; the first a disturbing lullaby called “Sandman.”

The song is, well, creepy. It’s creepy in a good way. Øien clearly wants to elicit the feeling of an unsettling lullaby. Øien combines drawn out strings with light keys and acoustic guitar. The music culminates in a beautiful combination of strings that soothe the listener. His lyric is imaginative, and he sings such distinct lines as “it feels like rain, tastes like wine” and “it sounds like pain, but it’s all in my mind” Eerie and oddly enticing.

“The Wizard” begins with a plucked acoustic guitar and transitions to Øien’s unmistakable vocal. The song, like “Sandman” combines several influences, and, in some parts, almost takes the form as a gloomier early Coldplay composition. I can continue to search for Øien’s style in other musicians, but it may be wise to simply describe him as refreshingly original and tell you all to listen to more of his first album, Monster.

Check out his website, Facebook

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Musical Autonomy – Atom Orr

18 Feb

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Christopher Hoffee’s journey in the enigmatic realm of music has eclipsed 20 years and shows no sign of slowing. Hoffee has played in three bands since 1990, but has achieved a level of comfort as a solo artist, Atom Orr. His most recent release, Galaxies With Long Yellow Curtains, came out last summer and features an intriguing collection of alt/rock pieces.

Atom Orr demonstrates an engaging pre-Indie style that focuses on captivating melodies and creative lyric. His maturity shines through the pieces, and the diversity of his music is refreshing; he strikes a pleasant combination between the Josh Joplin Group and REM. The music though remains fresh, a testament to Hoffee’s ability to take elements from the current musical climate and meld them into his own music; a collective autonomy – one born from perspicacious musicality and capability.

“Dive” is my favorite track from the album. It begins with subdued keys and percussion behind Hoffee’s gritty but dulcet voice. The space-like synth in the chorus helps the piece swoon well, and the strings create an ethereal aura that plays to the songs melodic efficacy. Simply, it is one damn enjoyable song, and you should check it, and Atom Orr, out!

Learn more about Atom Orr at the website.

The Rise of Jamie Lidell

9 Feb

You never know what you’re going to get when you find an artist that doesn’t fall in the bounds of a specific genre. Sometimes it is just too erratic and “art for art’s sake.” I know there is merit in pushing boundaries, and it’s great to challenge the status quo of music, but I still need melody, and I still want to enjoy what I’m listening to. I don’t care how avant-garde you are. If I don’t like your music, my opinion isn’t going to change just because you think you’re original. You can write new stuff all day that no one has ever composed or dreamed of, but if it’s garbage then I don’t know what all the fuss is about. There is another case though.

Some artists can’t be placed into a solid genre for a better reason. Sometimes artists are just putting together albums that reach far boundaries that become a sublime blend of music that keeps you guessing the entire record. Sure, I love it when bands like AC/DC put out albums because you know exactly what you’re going to get, but I also love being surprised and finding something fresh in a new album.

I recently stumbled upon the music of Jamie Lidell. He is a solo artist from England. He currently lives in Nashville and puts on one hell of a show. He achieved his fame looping rhythm tracks with his vocals and performing as a one man show. I caught wind of this because he is featured on a Simian Mobile Disco track that I love (Off the Map). His music is incredibly soulful, super rhythmic and a complete dance marathon of melody laden music. I can’t imagine this guy being a secret in the music industry much longer.

Both of these songs are the night and day of his music so just in and check out the range of this up and coming artist.

Check out his website for more.

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