NYC

Best of NYC #98: The Strange Architecture of Psychobuildings

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I’m not sure what kind of architecture you might use to construct a psychobuilding, but the band is definitely a supergroup of local freak talent. Singer/songwriter Peter LaBier has teamed up with Peter Schuette (Silk Flowers) and Juan Pieczanski (Small Black) to create Psychobuildings. These are a trio that blends towering layers of synth and percussion, creating the band’s upbeat-yet-eerily dark electronic dance sound. Songs like ‘Birds of Prey’ and ‘Terror Management’ from their past 12-inch releases, provide an aural document standing in for the manic insanity of their highly choreographed live shows. – Mike Levine

NYC

Meijin’s SXSW day 1: White Denim, Bear Hands, The Strange Boys + More

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The first day of SXSW 2012 started off drowsy and jet-lagged but was invigorated and perked up by the sights and sounds of downtown Austin. Dismounting the R&R Shuttle Bus, I scouted a few parties and giveaways, including the Vintage Clothing Arcade, where Dubstep shook the walls of the room housing threads from the 60s-80s, before heading to the JanSport Party at Mohawk. Kicking off the day, Nashville’s Fly Golden Eagle got the groove going with a seductive mix of R&B, reggae, and pop-rock. Next, Brooklyn’s pride and joy, Bear Hands synthesizer-driven, punky rock brought the venue to capacity, and Austin-based Strange Boys channeled the country side of the city. Closing the afternoon, Austin’s White Denim (pictured) left the audience in awe with seemingly impossible rhythmic shifts, vibrant stage presence, and radiating energy. A quick Tex-Mex break transitioned me into the evening entertainment. I headed to Friends Bar for the annual Oklahoma City showcase for country/punk rockers, Black Canyon, and folksy pop-rock four-piece, Mont Lyons. My consistently noted act and perfect closer, The Pretty Black Chains, who, although have shrunken from a quartet to a trio, have not lose an ounce of power in their heavy retro rock and tight knit sound. A good day of music set the bar high for the rest of the week. –Meijin Bruttomesso

Philadelphia

The Black Magic Family Band Casting Spells at The Troc March 14

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Part of the fun in working with The Deli is being there to witness the evolution and growth of an artist. You sometimes can experience a performer’s first solo show as well as a bands last, and then their next project. Relationships are built, and you might not necessarily know the artists personally. But in a way, you do. I remember catching Mike Bruno years ago at the MilkBoy in Ardmore. Back then, I believe that he was just starting out – another young singer-songwriter making the rounds as a solo act with his acoustic guitar and songs that seemed to blend in with the many other singer-songwriters that were around at the time. I hadn’t heard much from him until recently when I discovered his latest project The Black Magic Family Band. Like the name of the band might hint, Bruno is now conjuring up sounds from a darker place that roams the sonic landscape of the freak folk genre (which is totally working for me). You can check out his latest sacrifice, a 7-inch entitled In the Shade (Marmara Records) HERE, or come on by The Troc tonight where he’ll be performing with ultra-rad weirdo folksters On the Water. The Trocadero, 1003 Arch St., 9pm, $7, 21+ – H.M. Kauffman

NYC

Spanish Prisoners – Brooklyn band with a taste for LA

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Fans of Destroyer now have a songwriter from NYC to call their own. Singing of the sticky situations that lead singer Leo Maymind finds himself in, the record ‘Gold Fools’ is a hypnagogic journey of competing influences, one half vintage synth wilderness, one half driving rock riffs. For their debut record, Spanish Prisoners ratchets their response to these influences up with the torrid journey of ‘Rich Blood,’ and personal favorite ‘Los Angeles Guitar Dream.’ This band’s washy vibe will leave its ‘tremolo-haze symphonies’ (their words…) on that vulnerable sweet spot of yours found right between the headphones. See them when they get back from tour to play Cameo Gallery April 1st.

MP3: Spanish Prisoners – Los Angeles Guitar Dream

This band submitted their music for review digitally here.

Philadelphia

New Track: “Rising Artifacts in a Five-Point Field” – Many Arms

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Many Arms shared a little over 13-minute ball of organized chaos with Impose Magazine earlier this year called “Rising Artifacts in a Five-Point Field,” which you can take a listen to HERE. The jam appears on their forthcoming self-titled album that will be available via John Zorn’s not-for-proft cooperative label Tzadik Records. The band will be celebrating the record’s release on Friday, March 23 at Circle of Hope which will also be the kick off to their 3-week U.S. tour that is followed by a month-long European tour.
 
NYC

Get Carried Away with Friend Roulette

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From the moment the ear buds dock and Friend Roulette’s ‘Sailing Song’ came up; I found I was already climbing mountains and working my way across unfamiliar canyons. There’s a perfectly hummable sentiment somewhere in this song that keeps working its way back to the surface, but only after first progressing through all manner of uneven meter changes, brass fanfare and incidental thematic adventure. At times stepping boldly into a space usually exclusive to the imagination of score composers like Danny Elfman, the group essentially writes Baroque pop pieces for an imagined Brechtian musical, casting its talented singer/songwriters Julia Tepper and Matthew Meade as the show’s unlikely protagonists.

After moving through so much landscape, you might think it reasonable that you’d eventually get a good idea about how this band operates. But the more I listen to Roulette, the less sure I am of where the genre’s fault lines are drawn. And it doesn’t help that the vocals are surrounded by generous portions of airy synth playing and legato violin bowing. So I’ve concluded one should only expect to approach the band’s after-hours sound while sifting through a thick haze of fog and mystery. Like an old Noir film, Friend Roulette never gives away the plot, but the distinct pleasure of discovering their dreamy Cabaret texture is enough to keep your ears duly occupied during the journey. – Mike Levine (@goldnuggets)

This band submitted their music for review digitally here.

New England

Concert Review: “Reykjavic Calling” Presented by 88.9 WERS @ Paradise, Saturday, March 3, 2012

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What do you get when you mix four incredibly talented Boston-based artists, four incredibly talented Icelandic artists and one awesome local college radio station? If you were in attendance at The Paradise Saturday, March 3, you would know the answer to that question. For those of you who were unable to make it and are now relaying on my exquisite story-telling skills, I will now relay back to you all of events of that evening (or the most important ones anyway).

The event, dubbed Reykjavík Calling was organized by Emerson College’s WERS 88.9FM, and showcased up-and-coming talent from the local and Icelandic music scenes. The show opened with Boston musician Amory Sivertson, her producer/fellow musician Mike Moschetto and Icelandic native Lay Low.

Click here to read the rest of Daniel McMahon’s review.

Photo Credit: Erin Abraham

New England

The Field Effect — This EP Will Self-Destruct

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As a self-proclaimed alt-pop aficionado from Jersey, (alt-pop is one of the few instances where being from New Jersey actually gives credibility) I was quite impressed by the five song EP entitled This EP Will Self-Destruct from Boston based The Field Effect. The album had a pull that kept me humming all the hooks all day long. Yet, what is more impressive is that the album is fun, energetic, and heartfelt but done in a manner that is mature, cohesive, and not in your face. The EP breaks down and builds up impeccably, each song meticulously placed with a clear intent.

The album starts off with the band’s single “Kurt Vonnegut.” The song reminds me of one of my favorite bands of the genre, Jimmy Eat World, but more warranting to the listener to get up and dance. Moving on to the next track, “One F” which shows off The Field Effect’s range of creativity within their genre drawing a sound that remains faithful to their alt-rock sound but has elements of contemporary indie-rock with a dreamy and hopeful vibe. Guitarist Nick Greico and singer/guitarist Doug Orey play well off each other allowing for moments of perfect pop song writing allowing for Nick’s tasteful and practical guitar lines to lead the vocal melodies from part to part, throwing in a nifty guitar solo here and there.

Then comes the track Annapolis, a somber heartfelt ballad that marks the middle the EP as the band masterfully brings the energy down, keeping the listener intrigued and allowing for the next track “Til I say When,” to pack an even bigger punch. "Til I Say When" is the type of track that’ll make any listener upset the song is not blasting out of their car driving around town in the middle of spring. The song creates space only to go full force into the chorus making it all the more memorable, which is a theme of the album.

The album ends with the five minute epic song “Sleeping Alone” that takes every element the EP has and twists it into a sad but truthful ending. “What scares me most/is sleeping alone.” Lyrics like these keep impressing all the way until the end as the band rip themselves open and put everything they have on the table with these five songs. This EP is sure to take you on a journey full of enjoyment, sentiment, dance, and thought. Make sure to catch the Field Effect at Great Scott on Saturday, March 17th!–Michael Giordano

NYC

Happy New Year – Walking Her Own Path

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Happy New Year (who made our 2011 Best of NYC list of Emerging Artists) doesn’t worry about making a mess; things will work themselves out eventually. In the opener to her two-track EP ‘Twins,’ singer/songwriter/noise-maker Eleanor Logan allows a deep bed of noise to envelope her airy vocals entirely for a good minute and a half prior to the drums kicking in. But once things get going, her works take on a life all their own. Like in her latest 7-inch, where the artist seems to drown in a warm bed of synths and buzzing guitars before the bass drum reaches out to pull the song forward, and Happy New Year forges a path all on her own. – Mike Levine