Any recounting or assessment of Further seems as though it should be at least loosely structured around the order of the tracks, due to the impressive and consistent continuity of the album. There are almost no pauses or breaks in or between songs, and layers of beats often overlap until it becomes inconsequential which track you’re listening to and easier to classify each segment by it’s unique incorporation of the various electronics used by the Brothers.

In “Snow,” measured and almost angelic whispers of “your love keeps lifting me, lifting me higher, lifting me higher” initiate the sparse incorporation of lyrics or vocals into the album. Introduced with sporadic beeps and pulses the song eventually levels off into understated swells & releases that play off the varying tone and intention of the vocals of Rowland and Simmons. This creates a parallel, yet distorted, intertwinement that bleeds through the typical second-long break in-between tracks and does not diminish completely until a good minute into the next song, “Escape Velocity.” The momentum in this twelve minute long track builds periodically, taking a few minutes to rev-up in what I can only imagine as being a continuous inhale until the Brothers are satisfied with the amount of impetus and exhale into sound explosions. But what tickles my fancy most about this track is the words that it goes out with; “wow, that was some experience. Now just let me adjust the spacial controls and we’ll move to another observation point.” With that, they move onto “Another World.”

Though the album plays fluidly, with little to concretely distinguish the songs, “Horse Power” is perhaps the most distinctly independent track. Using samples of real horse neighing and carried by a hurried back beat, this is definitely a more deliberate execution of what was clearly a premeditated song nugget and less of an impromptu creation.

The abrupt appearance of drums and an assortment of percussion instruments on “K+D+B” contributes an entirely different dimension to the album. What starts out as a funk-inspired sound morphs into an electric ambience that is carried into the closing track, “Wonders of the Deep.” The amount of energy generated from the music propels the end of the sound-experiment into a cascading, synthesized harmony complete with climaxing percussions. After reaching these transcendent eruptions, the drums stop and the sound fades, leaving the listener with only a lingering sense of wonderment and the urge to press repeat.

By Lacey Smalldon

For those looking to get out of the Midwest for a slice of their summer music plans, what could be a better destination than Camp Bisco 9? With what isundoubtedly it’s most diverse line-up yet, and music going on all day and night, the festival is set to have it’s best turnout yet. Headlining acts such as Ween,

Thievery Corporation, and Wu Massacre provide reason for fans of all music, not just The Disco Biscuits, to make the trek to beautiful upstate New York for the weekend. New features this year include surround sound in the new late-night tent location, an additional stage in the main concert field and a sunrise silent disco.

In keeping with tradition, the core of the festival is electronic music. Camp Bisco 9 boasts one of the most impressive yet eclectic electronic lineups of any music festival this summer.  With a mix of big names and up-and-coming local acts, everyone in attendance is sure to be exposed to new performances blended in with a mix of their favorites. Starting at 1am on Friday and Saturday night attendees can wander into the silent disco, where guests wear headphones and have the option to listen to one of two DJs spinning simultaneously until the sun comes up. Electronic acts featured at Camp Bisco 9 will include Pretty Lights, The New Deal, Bassnectar, Break Science ft Talib Kweli, Aeroplane, Big Gigantic, Mimosa and many, many more. (view the entire line-up here )

Ben Silver- Orchard Lounge - Camp Bisco 2009

Of course the main reason to go to Camp Bisco is and always be the Disco Biscuits. No matter how many great performers, or how diverse a line-up, there will always be a good percentage of fans who could not care less about anything other than their Biscuits. Guitarist Jon Gutwillig has returned to full form after wrist surgery, and CB9 will be the first Bisco Shows since Bonnaroo. The anticipation will be high for the three nights of music, and the supporting line-up has never been better.  Don’t miss out on Camp Bisco 9, it is sure to be the best yet.

By Jason Woodside

Photography done by Matt Speck (Matt’s Concert Photos) & Tim Hara (www.tharaphoto.com)

Xavier’s latest album is Koonyum Sun. It is different from those prior in that he has fully incorporated the musical styling of South African bassist Tio Moloantoa and drummer Andile Nqubezelo, hence this album being released under the band name of Xavier Rudd & Inzintaba. This addition of “Inzintaba” has really added a degree of vocal dynamism in the album that wasn’t as present on Xavier’s earlier material. Also, the addition of the other two band members has given the trio an energy and a deft ability to seamlessly move-through & incorporate different genres, a talent which none of them would have been able to accomplish at the same level solo.

Koonyum Sun really shines when it uses “funk’ified reggae” beats and then layers upon that other genres. There are other songs that employ western pop/rock with subtle African/Carribean undertones, and others that take on a skipping-blues feel or even subtle psychedelia. On this album Xavier’s voice, like the music overall, is akin to Paul Simon’s (specifically from his Graceland album) in the vocal pace can pleasantly fall somewhere between talking and all out singing. It is also similar to Graceland in that it has created a timeless feel through combining worldly genres, and in doing so truly offers something for everyone. Koonyum Sun is a term that refers to the ascending sun in New South Wales, a symbol of rebirth and revival. And due to its mastery, it should only serve to reinvigorate the Xavier Rudd following, and rightfully so.

Take a look below as well to check out Xavier Rudd’s Fall tour dates.

8/13/2010 – Redmond (Seattle), WA – Marymoor Amphitheatre (Rodrigo y Gabriela)
8/14/2010 – Troutdale (Portland), OR – Edgefield (Rodrigo y Gabriela)
8/16/2010 – Santa Cruz, CA – The Catalyst
8/17/2010 – San Diego, CA – Belly Up
8/18/2010 – Los Angeles, CA – The Greek Theatre (Rodrigo y Gabriela)
8/20/2010 – Morrison, CO (Denver) – Red Rocks (Rodrigo y Gabriela)
8/21/2010 – Berkeley, CA – Greek Theatre (Rodrigo y Gabriela)
8/24/2010 – Vienna, VA (D.C.) – Wolf Trap (Rodrigo y Gabriela)
8/25/2010 – New York, NY – Irving Plaza
8/26/2010 – Philadelphia, PA – Theater of the Living Arts
8/27/2010 – Cleveland, OH – House of Blues
8/28/2010 – Detroit, MI - Royal Oak
8/30/2010 – Nashville, TN – Exit In
8/31/2010 – Atlanta, GA – Variety
9/01/2010 – Charleston, SC – Windjammer
9/03/2010 – Orlando, FL – House of Blues
9/04/2010 – Ft. Lauderdale, FL – Culture Room
9/05/2010 – St. Petersburg, FL – State Theatre
9/07/2010 – Asheville, NC – Orange Peel
9/08/2010 – Louisville, KY – Headliners
9/09/2010 – Madison, WI – Barrymore
9/10/2010 – Minneapolis, MN – Harvest Fest
9/11/2010 – Chicago, IL – Vic Theatre
9/13/2010 – Burlington, VT – Higher Ground
9/14/2010 – Boston, MA – Wilbur Theatre

Ha Ha Tonka is a 4 piece band that plays a stouthearted amalgam of blues-rock, southern-rock, bluegrass and western with an indie flair. Their music is swanky, twangy, with midwestern soul and Nashville’ian energy. Lead singer Brian Roberts has an rousing and determined voice that can he uses with projected gusto, or with glassy sedateness, but either way its discernible and he wants you to hear what they have to say. This is roots rock for the new generation, and like their predecessors, Ha Ha Tonka addresses the good and bad aspects of American life with equal respect in their lyrics. The are a latter-day embodiment of Southern vitality, put to rock music.

Written By:
Sean Brna
sean.brna@ourvinyl.com

Reservoir

They kick off the album with one of their best, the song Waiting. Here we encounter that energetic funky-blues-rock. The emotive guitar says Chicago, the voice says Nashville, and the rhythm section/horn interaction says New Orleans. And it works. For Fleetwood, another album highlight, we find an upbeat number that transitions from funky R & B to subdued soul and back again, before a great reggae breakdown replete with witty and fun brass involvement. It is clear that song progression is a focus, and a talent, of this band. The average song length is close to 5 minutes, but usually they don’t ever sound the same throughout as they rely on distinct and clear progression/alteration to keep things fresh.

Another song off Reservoir that showcases their talents, and actually counters their usual use of song progression, is Rainy Bethea Blues. This one is more of a straight through Chicago blues number with a fantastic dancing piano and walking rhythm line. On this song we can really hear the lead-singer, Teddy, show off his pipes. They don’t try to re-invent the wheel with this song, its nothing new – just damn good blues music.

Teddy’s voice fits his band’s sound well. It sounds, at times, like a younger and thinner John Popper. It is clean sounding naturally, but he has the ability to get highly emotive and raspy – without sounding too trained or strained.

But what really makes the album even more-so, is the way in which they use their varied instruments. The brass and guitars are the emotional expressers, sometimes in call-and-response, sometimes in tandem, or in contrast. But they are always supplementing each other positively and improving the musical communication of the songs – letting Teddy tell the story (which is what a good blues vocalist does). What also adds positively to the sound is their attention to detail, specifically in always separating their two guitarists – one of whom usually played more yowling sounds while the other kept it more straightforward and “solo-like” – always keeping one completely in the left channel and the other in the right channel.

Giving each instrument a place in the stereo field gave the resulting music a wonderfully uncluttered feeling, even with 7 musicians. This actually is a good description for the album in general; even though there is blending of many genres, with numerous musicians, the result is a nuanced – yet somehow relatively minimal and crisp – collection of roots music songs (let’s just hope the next time they delve into more reggae, as this author really enjoyed the reggae switch-ups in both Fleetwood and in Waters Roll In). Nevertheless, if you are into roots-music, soul, rock or the blues then consider adding Great Divide’s Reservoir to your musical repertoire.

Written by:
Sean Brna
sean.brna@ourvinyl.com

The concert took place at the Newport and when I arrived there were hardly any people there…and I arrived an hour or so late. I went into the pit to watch Sing It Loud and there was an abundance of empty space between me and the other people around me. This was the first time I had ever seen Sing It Loud but not the first time I’ve heard of them. While some members of the band didn’t radiate an excited aura, their bassist and lead guitarist really stepped it up and showed the crowd that they were there to have fun and do what they love. They were a pleasure to watch and I wish more people would have been there to experience it.

When A Rocket To The Moon took the stage, the crowd became slightly larger but there was still free room for me to sway around without hitting someone if I so pleased. I had seen A Rocket To The Moon in concert two times previous and loved every second of their sets. Tonight, though, there was something off. I don’t think they played with as much energy or enthusiasm as I was used to. The music was impeccable but they were not attention-grabbing and I feel as though they could have been more personable. Everyone has their bad days though, right?

I then left the pit after their performance and walked out to the main area as Fun. was setting up their equipment. When I walked back in they had started their first song and the crowd had now tripled in size. Lead singer Nate Ruess and guitarist Mike Schey were previously in The Format before they announced hiatus in February 2008. Many people were greatly anticipating their set and for good reason. I can honestly tell you after watching them play live they are one of my top favorite bands. They had such an energy and quirkiness to them that you couldn’t help but be completely enthralled into the music.

Finally, it was time for the headlining band to make their way to the stage. The crowd had nearly doubled from the size that it was for Fun. and the pit was packed so there was absolutely no elbow room. I opted to move to the railing beside the pit so I had a good view of the stage. Lead singer Justin Pierre came out followed by the rest of his band and you could tell by the look on his face that they were ready to give the audience the best show of their lives. Without any introductions they went straight into their first song. By the end of it the room was hot and steamy from the masses of people completely letting go to the music. At the end of the night I was sure of one thing. Motion City Soundtrack had the most flawless set list that I have ever heard. Some songs they played included L.G. Fuad, The Future Freaks Me Out, Pulp Fiction, Even If It Kills Me and for the encore, Everything Is Alright.

Since I was in middle school I had always wondered what going to a rock show would be like. In the fall of 2009 I started going to concerts and started experiencing for myself what I had been anticipating for so many years. I thought I had a good idea of what a successful show was but I was proven wrong. Motion City Soundtrack’s performance was something that I could have never anticipated or have prepared myself for.

All in all, the show was something that I never expected it would be. My expectations were blown through the roof as I stood and witnessed one of the most spectacular performances that I have ever seen. Even as time has passed, Motion City Soundtrack has been able to retain their talents and personality that has gotten them to where they are today.

Written by:
Becca White

Twenty years into the business and five years since releasing an album, the Sinatras’ influence from The Smith’s is noticeable in their lead single “People,” the first song on the album. With synthesizers and Stevie Mulhearn on the keyboard, Reader’s measured pitch and seemingly lazy jaw produce vocals that mirror those of The Smith’s lead singer, Morrissey. Another immediately prominent track is “I Wish You’d Meet Her,” a wistful number described by ALT Sounds as having “gently rolling guitars and honeyed melodies knit together.”

The surprising addition of Carly Simon’s back-up vocals in the song “Should I Pray?” verges on corny, though is saved by the song’s authentic and reflective lyrics contemplating the validity of prayer (“Is it safe? Put my faith in rewards somewhere a lifetime away?”) The seemingly random pairing of the pop singer-songwriter who rose to pop-fame in the 70’s (though is still actively recording music) and the Sinatras on this number was sparked by Simon, the neighbor of Chase. After hearing the initial mix she wanted in, adding her vocals at the Martha’s Vineyard recording sessions.

Another notable track is “Oranges and Apples,” a homage to the late Syd Barrett – though speculated to have schizophrenia and an array of other psychological disorders, he was the creative genius behind the success of Pink Floyd. The title of this number is taken from “Apples and Oranges,” the last single Barrett wrote. The somewhat elegiac number mirrors the Sinatras admiration for the musician, ending the song with “And all the things that you went through/and now everything is enhanced by you/ [...] All made for you.”

The eight bonus tracks almost sounds studio recorded, save cheers from the audience and the slightly more organic sound from Reader on the song “Earlies,” originally off their album Fez. These eight songs are generally more subdued than the first ten, and dragged down by the overly simplistic and annoyingly repetitive song “Hayfever.” Despite this weaker tune, the jaunty guitars and passionate vocals in “Easy Read,” “The Safecracker,” and “Send For Henry,” compliment the more muted nature of these bonus tracks. Frank Readers vocal projection and John Douglas’s and Paul Livingston’s acoustic pop-riffs matched with a tambourine in the background, makes “Weightlifted” the strongest live performance on the album.

About recording In The Music, Livingston (lead guitarist) insists that it was “the most fun and easiest experience [they]’ve had as a band and [he] think[s] that definitely comes across when you hear it.” There is no doubt that the Sinatras are not only having a good time playing their music, but are invested in expressing their optimistic ideals and are engaged in their performance. The jangling guitars and earnest lyrics succeed in making this album something that guitarist John Douglas hopes will “make hips sway, toes tap, heads nod, and hearts open.”

Written By:
Lacey Smalldon

First off, tell us all your names and what your role is in the band.

Adam Markin (AM) – I’m Adam and I sing.
Eric Markin (EM) – I’m Eric and I play drums.
Tommy Parrill (TP) – I’m Tommy and I play bass.
Aren Carman (AC) – I’m Aren and I play guitar.

How did you decide on Dear Christie to be the name of the band? Is there any significant meaning behind it?

AM – Eric and I had been toying around with names for the band for a few weeks. The name Dear Christie came to us one afternoon when we were writing a birthday card to our sister, Christie, who we are very close to.
AC – After that, Adam and Eric called me asked me I thought of the name, and I knew instantly that Dear Christie was perfect.

If you all were to sum up your experiences as a band thus far in one word, which word would you choose and why?

AM – Hilarious. We’re all insane and there is lots of mayhem when we all get together.
EM – Adventurous. I learn something new from my band mates every day. This band is a giant adventure!
TP – Surprising. When I first met Adam, Eric, and Aren, I never expected I would end up in a band with them.
AC – Crazy… it’s pretty self-explanatory.

For being together for a little amount of time, how successful would you say the band is right now? What are some goals you all have for the future?

AM - Dear Christie is still in the beginning stages, so it’s difficult to say how successful we are right now. Given that we are young and that we’ve only been a band a short while (roughly 5 months), I think we’ve done pretty well so far. As for the future, our biggest goal is to pursue music as a band full-time.

On your MySpace, it says you will be “tailing the 2010 Vans Warped Tour.” What will you be doing and how do you think it will help the band?

AC – We will be making new friends and promoting like crazy! Our goal this summer is to meet as many people as possible in order to expand our fan base.

Now onto the music. How would you guys describe your sound to someone who has never heard it before?

TP – Our sound is dope! It’s just all around fun, catchy, and creative music. Our goal is to maintain a pop/rock sound that is uniquely our own.

What’s your approach in writing your music? Do you tend to figure out the music or lyrics first?

AC – Typically, we write the chorus or intro to a song first, then build around what we’ve got. Sometimes lyrics come to us first and other times the music.

Most bands have a message that they are trying to convey to their listeners and fans. What would you say Dear Christie’s message is?

EM – Dear Christie Is really all about having fun. Our primary message is live life to the fullest and don’t forget to have a good time.

How did you guys get in touch with Nick Ingram in order to produce your new EP?

EM – I’ve known Nick for a few years and the quality of his work is excellent. When it came time to decide on a producer, we knew he was the right choice.

When and where can fans expect to see you touring in the future?

AM – Right now we are working on booking a series of Midwest and East coast dates.

Any final words?

TP – We would like to say thank you to our fans, family, and friends for all the support they have showed us thus far. Keep an eye on our MySpace for news about the release of our new EP.

I wanted to thank the guys of Dear Christie for taking the time to do that! Be sure to look out for them tagging along this summer on Warped Tour. Check out their music on Myspace.

Written by: Becca White

For our third interview we were lucky to have the opportunity to sit down with John Nolan.  With over 10 years of experience in the music industry John has played and performed with some of the biggest acts in the indie music scene.  At an early age in his music career, John saw a tremendous amount of success as the lead guitarist of Taking Back Sunday. TBS’s album Tell All Your Friends hit big with punk audiences in 2002.  The single “Cute Without The E” helped catapult the group to somewhat mainstream success.  In 2003 John left Taking Back Sunday to start Straylight Run. Accompanied by his sister Michelle and Will Noon the group formed a piano driven sound complemented by Nolan’s lyrics and songwriting.

The release of Existentialism on Prom Night received some support and airplay from MTV2 and alternative radio. The group has opened for bands including Hot Rod Circut, Rooney, Say Anything, Northstar, Minus The Bear and Blink 182.

In his free time away from Straylight Run, John began writing and recording some of his own, more personal music.  While maintaining a strong devotion to the writing process, Nolan kept an open mind.  John announced “The Fan Collaboration” project and invited his own fans to join him in the writing process.  Hundreds of fans sent clips of their own acoustic and electronic arrangements to aid influencing John’s next song.  One clear success, Not To Let Go, has received over 7,000 hits on John’s Myspace and may be featured on the new album.

Mike Reuther
mike.reuther@ourvinyl.com

It was not easy for us to catch up with Aaron as he currently plays in variety of bands and his weeks are full of gigs on a variety of stages. He described his background in music and mentioned he first began playing piano at the early age of 5 years old. He nurtured his passion for music by experimenting with a number of instruments such as the guitar, bass, mandolin, drums, and the harmonica. Personally, the harmonica is what caught our attention. 

The Chandler Wright Story itself began as a bit of an excuse for experimenting with an original sound on Tuesday nights. Aaron founded the band in 1999 and decided his middle name, Chandler had a better ring to it than The Aaron Wright Story. Aaron recruited Bob Murnahan, John Zuck and his drum instructor Joel Steward to form The Chandler Wright Story. The group released 2 albums “Chapter 1″ in 2001 and “A Tuesday Night On A Thursday” in 2004. They quickly grew a following throughout the Midwest and toured regionally for 7 seven years.  The group now gets together a few times a year when lead guitarist, Bob Murnahan is back in town.  Aaron is currently working on another album which may or may not be released as a self titled album.  Check out www.aaronwrightmusic.com for more information on the group and on the in-the-works solo album.

On a personal somewhat funny note:  On our way to meet up with Aaron for the third time we sort of bombarded his brother’s wife with film and audio equipment.  He forgot to mention to her that we were stopping by but, I can only imagine what she thought when she looked out her window and saw our over eager camera man hanging out of the sun roof gathering footage.  

Mike Reuther
mike.reuther@ourvinyl.com