Tag Archives: indie rock

Out of sight, out of music: Filardo, Winter, and Sales

2 Mar

I really wish there were more lights to illuminate Sales a little better.

If I were ever to become famous, I think I’d be like Sales. They played to a riled crowd at the Echo in LA last Tuesday, and couldn’t disguise how grateful they were for all the support.

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It’s all Beecher’s Fault

16 Feb

Last week I heard the first new music from Florence + the Machine in what feels like decades. I really loved their debut, Lungs, and I think this upcoming release will echo the raw energy from tracks such as “Kiss with a Fist” and “I’m Not Calling You a Liar.” Coincidentally, or perhaps serendipitously, this week I also heard Beecher’s Fault with a track called “Matchstick Kings.” It reminds me very much of the energy and emotion that F+tM exudes, but with a nostalgic and bright twist.

“Matchstick Kings” reminds me immensely of “Dog Days are Over.” In both, the intros are slow and purposeful, building up to something but coming to a pause before launching into the full song. Beecher’s Fault offer Boyhood-like false memories of your childhood with cute xylophones and admission that “we are the kids that never get old.” Of course, this isn’t true; we do get old, and we become adults. We build our lives like they built little matchstick “things” but inevitably, this means that they must fall apart. But once they do, we just start over again.

Visit Beecher’s Fault on their website, Facebook, and Twitter.

Silent Partner makes some noise

27 Jan

I love music. I know that seems obvious, but bear with me for a moment. One of my passions is discovering new music, but I also love sharing it, hence this article and the many I’ve written up until now. I could not live without music, or sounds in general. I would have a very hard time if I was suddenly struck deaf. Which brings me to the subject of this article, Tom the Lion’s “Silent Partner.” The video for the track shows a woman signing along with the lyrics in a manner that I can only describe as heartbreaking.

Rebecca Withey is herself hearing impaired, and she does an incredible job emoting throughout this clip. There is an overwhelming amount of silence felt throughout, despite the track swelling and cascading with rhythm and feeling for four minutes. The minute-long intro watches Withey stare silently back at you, but the vocals don’t provide any relief. Withey lip-syncs along to very few of the lines in the song, and even then she is not loud. She is forlorn, her gestures exact. (The continuity editing of this video is superb.) Though the song isn’t necessarily about being deaf, this video is a perfect intersection of theme and emotion. The song would be tragic without the video, and vice versa, but paired together they become something more.

“Silent Partner” is from Tom the Lion’s Sleep LP, which is out now. For more information, visit Tom the Lion’s website, Facebook, Twitter, YouTube, 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.

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

13 Jan


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.

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