Author: bella.king

Young & Sick – Young & Sick

The brainchild of Dutch artist, Nick Van Hofwegen, Young & Sick is a music and art project that has created artwork for musicians such as Foster the People and Mikky Ekko. He recently released a self-titled album on Harvest Records, Young & Sick is definitely a band to watch. Young & Sick has a lot to offer with groovy R&B melodies, powerful vocals, and interesting rhythms. The writing, performance, production, and album artwork was all done by Hofwegen and this album is a stunning debut by the artist. Young & Sick has positively-charged music but can transition to jazzy slow ballads with ease.

Hofwegen’s vocals are smooth and breezy and gives Young & Sick elements that adds a charming mood to the grooves of the synthesizers. His falsettos are impressive throughout the album and he knows his abilities and never tries to force it upon listeners. The harmonies are soft and gives a sort of calming nature to his falsetto. The album has some fun lyrics in it that are memorable, especially in “Mangrove,” and gives the album an alluring atmosphere. The vocal trills on Young & Sick are amazing and the gospel-like tones throughout the album are fascinating.

Young & Sick has incredibly groovy synthesizer melodies and rhythms and this album effectively shows that Hofwegen can develop his own sound without straying far from his influences. There is something unique to Hofwegen’s instrumentations, whether it is his laid back tiempo or his captivating usage of the synthesizer. The bass line at the end of “Counting Raindrops” is amazing and gives the song an infectious feeling to it. The mixture of R&B beats with retro synths and modern technology gives a sound to Young & Sick that is unique to him.

With impressive harmonies and rhythms, there is no doubt that Young & Sick will establish himself not only as an artist but also as a musician with this debut album. With various stand out tracks such as “Mangrove” and “Counting Raindrops,” this self-titled debut will launch Hofwegen’s career further than where it has gone thus far.

Bankrupt! – Phoenix

Hailing from Versailles, France, Phoenix is a alternative rock band that continuously make new and interesting music since 1999. Rising to popularity in 2009 with their fourth album Wolfgang Amadeus Phoenix, the album went gold in the United States, Canada, Australia, and was filled with instant hits such as “1901.” In their most recent album, Bankrupt!, Phoneix returns with their charming melodies and catchy vocals, the band seems to return in this new album with their classic sound but with a hint of something fresh. Phoenix’s line-up consists of Thomas Mars on vocals, Deck d’Arcy on bass and keyboards, Laurent Brancowitz on guitar and keyboards and Christian Mazzalai on guitar. This synth-heavy album blends new sounds for Phoenix but also interesting hooks.

The vocals throughout Bankrupt! remain reminiscent of Phoenix’s previous albums as there is a certain sound to Mars voice that is unique to him and Phoenix. Mars combines his sentences and even though the lyrics are not the ones that you can sing along to, his vocals are memorable. With that being said, the lyrics are not the thing that will stay on one’s mind but rather the tone of Mars voice throughout Bankrupt!. The title track is a nearly seven minute, synthesizer based song that does not necessarily focus on the vocals, but, they add an element to the song that makes more fascinating than if it was simply an instrumental.

The grooves on this album standout, especially in the opening song, “Entertainment,” that is easily absorbing as it is addicting. The mixture of a drum machine, synthesizer, and guitar riffs adds to eighties-centric melodies, which seems to be the main sound that Phoenix was trying to get to. These breezy melodies from three decades ago seems to give Phoenix a different sound from their previous records but adds character to their repertoire.

Phoenix in this new album shows that they are nostalgic for the music of the eighties but never strayed from their usual sound. There is a sound to Bankrupt that makes Phoenix seem like they are trying a bit too hard to revive eighties synthpop. Nevertheless, Phoenix has a catchy vibe to them that seems to draw listeners in.

Warpaint – Warpaint

As their first album that they have written together as a band, Warpaint’s self-titled album, Warpaint, is a minimalist sound that seems to suit Warpaint and their music. Formed on Valentine’s Day 2004, the current line-up for the band consists of Emily Kokal on vocals and guitar, Theresa Wayman on guitar and vocals as well, Jenny Lee Lindberg bass and backing vocals, and Stella Mozgawa on drums. Written mostly onstage during soundchecks, Warpaint worked on the songs more with acoustic guitars and percussion once back in the studio. Warpaint has a different sound to it than their first album, The Fool, as Warpaint has a much richer depth to it.

With ghostly vocals, Wayman and Kokal have an alluring appeal to their voices, which can draw an audience in. Lyrically, Warpaint is focused more on the distant and vacancy vocals rather than emotional depth in the writing. However, they do still have a kind of urgency to them that make the vocals even more intriguing. There is something entrancing on this album when it comes to the vocals. Whether it is the softness of the voices of Wayman and Kokal or the hypnotic tone of their voices.

With fascinating rhythms and an abundance of interesting guitar melodies, Warpaint is something that is full of lovely and layered music. Dynamics are subtle but ever so important throughout the album as the music climaxes and then meet its quiet end. There are few parts throughout the album that this subtleness is a bit off putting, such as in “CC,” but then again, this is what makes the album what it is. Also, their mixture of electronic sounds with acoustic guitar and drum machines seem to add an effect to Warpaint’s music that makes them unique to themselves.

Warpaint has certain sound to them that draws listeners in from the first lesson. Whether it is their soft vocals or intriguing mixture of electronics and guitar, there is something that anyone can find in Warpaint that they like. Warpaint’s psychedelic ambience in their experiment of a second album is something that will take patience to fully appreciate but worth the experience.

Forever – Painted Palms

With energetic vocals and bright instrumentations, Painted Palms blends pop with electronics in their sound in a stunning way. The band consists of two cousins, Reese Donohue and Christopher Prudhomme and grows to five members for live performances. Their most recent release, Forever, is their first full-length album and is a positive example of what Painted Palms can do. Painted Palms has an undeniably fresh sound that is intensely layered and fun. With various layers in their songs, it is easy for elements throughout the album to be overlapped, however, this makes the album all the more fascinating as it makes you want to listen to it on repeat to catch everything.

Formed states apart, the duo began exchanging music they had created and once they released their first EP on their label, they have established themselves as musicians. The lyrics on Forever are certainly not poetic but they do have a catchy vibe to them. Prudhomme’s vocals throughout the album are carried similarly to those of James Mercer of the Shins in the sense that both have a melodic tone in their voice and show off their range but know not to get carried away with it. Vocals remain engaging and there is an appeal in Prudhomme’s voice that is both enjoyable and lively.

Melodies on Forever are charming and their deeply layered songs shows that there is more to Painted Palms’ music than a simple rhythm and riff. Although the majority of the instrumentations in the album were made on the duo’s computers, there is still the natural sounds, such as the tambourine in “Here It Comes,” that pleasantly contrasts the heavy electronic sounds. The layering in this album can be overwhelming at times, but the structures of the songs are one of a kind.

Repeated listens to Forever is a must as that is the only way to catch all the fascinating details Painted Palms have put into their music. Even though the lyrics are somewhat lacking, this dense album shows that the duo can write and produce a good album. Painted Palms will definitely begin to make a name for themselves as they continue to develop their  sound, tour, and begin to work on their second album.

Cayucas – Bigfoot

Cayucas seems to pay homage to their home state of California in Bigfoot, with bright lyrics and simple instrumentations in a lo-fi setting. Zach Yudin, lead singer, started as a solo project named Oregon Bike Trails, however, he then expanded this project into a band with his twin brother, Ben Yudin on bass, and Casey Wojtalewicz on drums. A short but lovely album, Bigfoot seems to have a warm sound. There is obvious influences from early Vampire Weekend albums, but, Cayucas seems to build on this influence rather than simply trying to mimic Vampire Weekend. With that being said, these influences are not bad as there is still something unique to Cayucas’ sound.

The vocals throughout the album are breezy and simple. Yudin echoes his voice and seems to add an effect that would have sounded different than if there were simply just backing vocals. Lyrically, there may not be much depth in emotional meaning, there is still a charm in them that will leave the words cemented in your mind for days after listening. Yudin seems to use gentle vocals throughout the album and it sounds as if he mixes dialogue with his singing.

Instrumentals are simple and informal but seems to give Bigfoot a rounded sound when combined with the breezy vocals. There are a few interesting rhythms throughout the album, especially in “Ayawa ‘kya.” With the way Cayucas plays on this album, they seem to paint a landscape of the California coastline, but there is no main focus, simply a panoramic. Combining a natural sound with electronic, Cayucas seems to blend their surf pop influences, such as the Beach Boys, and their own unique sound in a seemingly effortless way.

An essential on any summer playlist, Bigfoot is a quintessential debut from Cayucas. However, as they continue to grow as a band, there is no doubt that they will develop their own style. In this thirty minute album, the band is able to create a nostalgic feeling for a summer bonfire on a beach in California in Bigfoot. Recently playing at Bonnaroo, Cayucas will be play shows in Canada and various cities across the west coast.

Supermodel – Foster the People

In their new album, Supermodel, Foster the People seems to send a message through their music about their opinions on current social issues. With darker lyrics and less electronic influences in the songs, Supermodel seems to be somewhat of a shift from their previous album, Torches. However, there is still the classic neo-psychedelic sound that seems to give Foster the People their popularity. Members of the band consist of Mark Foster (vocals, keyboards, piano, synthesizers, guitar, programming, percussion), Cubbie Fink (bassist and vocals), and Mark Pontius (drums and percussion). Supermodel sounds a lot like a toned down version of Torches, using more guitar driven melodies rather than a heavy electronic sound.

With an easy falsetto, Mark Foster seems to explore his range well throughout Supermodel and still maintain his one-of-a-kind voice. Much like Torches, Foster seems to have a sort of distinct tone to his voice that gives audiences a reason to come back to Foster the People’s music that is hard to find elsewhere. In the song, “Are You What You Want to Be,” Foster combines a catchy chorus with clever lyrics. Lyrically, the themes on this album are considerably darker than previously, dealing with Foster’s personal feelings towards issues with consumerism and “the ugly side of capitalism.” Foster the People recorded Supermodel in a two-step process, recording the instrumentals first and then writing lyrics and recording vocals second.

The instrumentation on Supermodel focuses more on the guitar aspect of their music rather than the electronic, unlike Torches. Hoping for a multicultural sound on this album, Foster the People used various instruments in different environments than what they were used to. With this natural sound, there is still electronic influences throughout that fuses the two sounds together in a seemingly stunning way.

A step away from their previous album, this new, eclectic sound on Supermodel will give listeners a fresh perspective on what Foster the People are trying to be. This vibrant collection of pop songs will keep listeners coming back for more.

Build Anyway – The Rocketboys

Austin, Texas, the Live Music Capital of the World, home to a broad selection of bands and venues. From a city with a rich musical history, the Rocketboys seem to have the sound straight out of the large Texas sky. Brandon Kinder, singer and guitarist, Justin Wiseman, keyboards, Josh Rodgers on drums and Josh Campbell, bass, make up the Texan band. Their most recent album, Build Away, gives them a distinctive sound that is hard to find. With rich melodies and heartfelt vocals, Build Away proves that the Rocketboys know what they are doing.

The lyrics throughout the album are sincere and Kinder’s alto range helps him soar through Build Anyway. The vocals are smooth which allows everything to blend together without giving too much focus on one specific instrument. The harmonies in this album are strong, especially in the final track, “The Best.” With powerful vocals, the Rocketboys allow themselves to present their lyrics with vigor. Kinder knows his voice and throughout the album, he never tries to be overpowering nor does he try to sing out of his range.

With energetic instrumentals, the Rocketboys have the expansive melodies of Coldplay but the liveliness of Kings of Leon. Layer and depth seems to play a key role in the sound of Build Away as there are enthusiastic piano compositions backed with eager guitar riffs. The drums in the album are persistent and they never try to push the song further than what is best for it and other the musicians.

Considerable competition within the indie rock scene does not stop the Rocketboys from excelling with what they do. Bright vocals and textured melodies gives the Texas band what they need to expand and continuously improve. Currently recording a new EP, Talk, in Los Angeles, the Rocketboys will no doubt bring the positive elements of Build Anyway into their new music and bring their distinctive sound to a new level.

Tears You Apart – Finish Ticket

Over the years, indie rock has grown in massive popularity with bands such as Haim and Modest Mouse. However, as this genre continues to rapidly expand, it is hard for up and coming bands to set themselves apart from other bands. Finish Ticket has the energy and musicianship that is unique to themselves. On May 19, they released their debut album, Tears You Apart and the band seems to have a powerful sound to it that will give the band some momentum. With strong vocals and melodic instrumentations, Finish Ticket shows that they have the ability to grow as musicians as the band progresses in this new album. Member in the band are Brendan Hoye on vocals and the keyboard, Alex DiDonato on guitar and vocals, Michael Hoye on bass, Gabe Stein on drums, and Nick Stein on the keyboard.

The vocals, although delightful, seems to be too reminiscent of Young the Giant’s frontman, Sameer Gadhia. However, that does not mean it isn’t unique, it simply means that both singers share a control in their voices and know how to use it. Throughout the album, the tone in Hoye’s voice remains vibrant and bright. Knowing his ability, Hoye is able to channel it in a way that strong but not overpowering.

The instrumentations on this album, especially the drums and piano, are significant in Tears You Apart and do not hide behind the vocals or focus solely on the guitar. It is hard to put a finger on a standout track off of the album as there was nothing absolutely unique. Yet, two song in particular, “Doctor” and “In the Summer” are memorable, both in its instrumentation and lyrically. The guitar dominants through the songs and leads the rest of the band with a mid-pace tempo. The lyrics in these songs are definitely not cutting edge but they will stay in your head for days after listening to them.

Finish Ticket are currently wrapping up their tour. They will open for Ed Sheeran on June 14 and will play at the festivals Music In the Park (July 17) and Outside Lands (August 9). As they continue to tour and support their album, there is no doubt that Finish Ticket will garner a substantial following with their spirited sound and high energy performances.

Post Tropical – James Vincent McMorrow

Moving away from Early in the Morning and its mostly acoustic indie-folk sound, Post Tropical is a step towards a more soulful James Vincent McMorrow, as he introduces electronic instruments, brass, and strings into his music. This soulful approach in his music has a stillness to it and it seems to give off an imagery of winter. Distant drums and hip-hop beats seems to have a contrast with James Vincent McMorrow’s airy voice and subtle piano notes. Reaching commercial success with Early in the Morning, however, the acoustic guitar isn’t something McMorrow wants to base his career around. With the new R&B sound that McMorrow has released, there is still his distinctive falsetto that seems to set him apart from other musicians.

A musically different album from Early in the Morning, McMorrow’s high falsettos have remained the same in both and will leave his audiences in an awe. Lyrically, Post Tropical is not much different from its predecessor as his songs tend to be about love and heartbreak. With that being said, he does change up his vocals in a stylistically. In Post Tropical, McMorrow seems to pull emotions out of his words rather than have a narrative that is clear. Written, performed, and produced by McMorrow himself, the album itself is cunning. McMorrow creates harmonies that turn his soft vocals into a massive wave of crescendo that is impossible to beat. Much of the vocals in Post Tropical resemble the first album, especially in the song We Don’t Eat. Both show a sort of pain in his voice that makes the songs stronger and more powerful.

The tempos remain slow but there are few times where they gradually get faster as the song progresses, however, they never went above mid pace. The tempo changes seem to have been an indicator for the climax of the song and then slow back down as the instrumentation and vocals reach the bridge.

As a large step away from the folksy Early in the Morning, Post Tropical is an intricate piece of material that shows that James Vincent McMorrow can experiment, and experiment well. With no interest in repeating himself from the first album, this change in sound is more than welcome. Transitioning from one genre to another can make or break an artist but for James Vincent McMorrow, it seems as though this sophomore album will help him leverage himself further into the industry.

The Mowgli’s Live at Club Congress 10/6/14

Joy and love are the messages that the Mowgli’s want to spread to the world, and on their final tour stop in Tucson, they seem to have done just that. Four bands performed at Club Congress, each with their own unique twist.

The night opened with Deceptively Innocent, a Tucson-based band, performing original and new songs such as Future Karma, which is the title track of their upcoming EP. As a young band, Deceptively Innocent has had their fair share of attention from performing every Second Saturday, a Tucson tradition on the second Saturday of every month in the downtown area, appearing on local talk shows, and opening for bands such as the Misfits. The three-piece band, consisting of Brent Burdett, Toby Chivers, and Daniel Blanchard, brings variety their performances by taking turns playing guitar, bass, and drums on different songs.

The second band to perform was The Rocketboys, an Austin Texas based indie band that seems to blend energetic and soaring vocals with melodic guitar riffs in a way that they have a sort of bittersweet sound to them that is hard to find anywhere else. Their powerful stage presence at Club Congress shows that they are no strangers at performing. Singer, Brandon Kinder, during one point in the show, jumped into the crowd and danced with the audience while continuing to perform. The band consists of Justin Wiseman on the keyboards, Brandon Kinder on vocals, Josh Rodgers on drums, Josh Campbell on bass. Lang Freeman joined them for the show on guitar. The stand out song of their performance was Walk Away as you could tell how much of themselves they put into their music in this song.

Finish Ticket was the third band and the one before the Mowgli’s. This energetic indie rock band has a unique sound to them, with a strong vocalist and guitar driven melodies. Finish Ticket started in 2008 when they were in high school, however, when they reached college, only three of the original members stayed in the band while the other pursued their education. Members include Brendan Hoye on vocals and keys, Alex DiDonato on guitar and vocals, Michael Hoye on bass, Gabe Stein on drums, and Nick Stein on the keyboard. Performing original songs, as well as a cover of the Killers, Finish Ticket’s energetic performance and interactiveness with the crowd made their first time in Arizona a memorable experience.

Once the Mowgli’s came on stage, the energy in the room immediately lifted as the band began to play. This was their second time performing in Tucson, once before with Walk the Moon. The band interacted with the crowd throughout their set, whether it was commenting on a girl’s shirt or exchanging “I love you” with various members of the audience. The current members of the band are Dave Appelbaum on keyboards and vocals, Colin Dieden on vocals, guitar and percussion, Katie Earl on vocals and percussion, Josh Hogan on guitar and vocals, Matthew Di Panni on bass guitar and vocals, Spencer Trent  on percussion, guitar, melodica, and vocals, and Andy Warren on drums, percussion, and vocals. The band’s belief is that in order to have their “true voice” as a band, they need to have everyone, including the audience, to sing with them. Near the end of their set, the band asked the audience for any requests and performed  When they reached their final song, their hit, San Francisco, the Rocketboys and Finish Ticket joined the Mowgli’s on the stage and performed with them.

As their Club Congress show was their final one on their tour, the Mowgli’s return to California to begin recording their new album.