Brainchild of programmer Vivian Moon, who recently relocated from the SF Bay Area to Brooklyn, Pastel Ghost remind us how psychedelia slowly emerged as an important influence in the electronic sound of the ’80s, opening the door to the lush dream pop of Cocteau Twins and to My Bloody Valentine’s shoegazer sound. The band’s electro cover of MBV’s ‘When You Sleep‘ sounds like a declaration of intents: shoegazer music where synths trump guitars. Debut LP ‘Abyss,’ released in early 2015, accomplishes this objective with flair, keeping things interesting with catchy melodies buried in reverb, and showcasing a production that – within a uniform sound – expertly manages sonic variations. If you are heading to SXSW in March, you’ll get a chance to see Pastel Ghost there.
The sensual guitar-based songs of Boston singer/songwriter Hana Kahn compel with their emotional nakedness and elegant musicianship. On the January-released “Venus And Mars” (streaming below), for example, the strong-timbered Kahn boldly details solitude and longing with guitar strums that excitingly add up to what can rightfully be called peaceful sonority. Perhaps like the most moving tracks in the singer/songwriter genre, Kahn’s subtly bold tunes seem personal but, impressively, can speak to many. Hana Kahn plays at Middle East in Cambridge, MA on 2/25.- Zach Weg
Like the Sirens’ temptation of Odysseus, Brooklyn-via-London folk-pop artist Robert Leslie’s new single, “Say it Enough,” successfully courts us into his misery. From the very first organ notes, to the soothing roll of the bass line, the bright and welcoming melodies catch your attention drawing the listener into what is soon discovered to be an undeniably lonesome desolation. Leslie’s voice almost cracks in heartbreak as he sees an old love leaving for destinations unknown, and from which he knows there will be no return. The notion of love slipping through fingertips echoes not only in the pitch of his voice, or the effected tonality of the guitar, but also (and especially) in lyrics like, “or are you only ever dreaming of some other kinda scene, where you’ll always be a stranger and the people talk in code, and no one has to miss you when you go.” The track fades off in dwindling incredulousness and we’re left, like Leslie, unsure of where to go from here. Leslie plays Pete’s Candy Store on February 18th. – JP Basileo
Big Bliss, who recently won the Indie/Post Punk category of our Best of NYC 2015 readers’ poll, is a very new project formed in 2015 by brothers Cory (drums, Party of Helicopters) and Tim Race (guitar, Russenorsk/Narrow & the Brights), after recruiting local songwriter and bass player Wallace May (Young Tides). The trio is working on a full length album to be released later in 2016, and – while doing so – have been putting out tracks that are bound to inspire fans of Interpol, early The Natiopnal and all the music lovers who seek the dark and tense atmospheres inspired to British post-punk bands like Echo and the Bunnymen and Wire. After unveiling two debut songs in September 2015 featuring a confident, suspenceful sound modeled around Wallace’s deadpan vocal delivery (which is one of the most important traits of post-punk music), Big Bliss put out their strongest single to date this past January, entitled "Constants" (streaming below). You can see them live at Cake Shop on March 25, and new Bushwick bar Gold Sounds on March 18.
Many of our readers should be familiar with Deidre Muro and her clean soprano, since she was one half of self defined "fantasy pop" duo Savoir Adore – which is still active, led by the other original member Paul Hammer. Deidre, who left the band in 2014, has just announced that her revival pop project debuted in 2011 under the moniker "Deidre & the Dark" will be releasing a new EP in late 2016, and that the band will also tour with French Horn Rebellion and Mystery Skulls in March. Check out the video for single ‘Classic Girl,’ from 2012, which gives you an idea of the uplifting and theatrical performances this band has been known for. They’ll be playing Music Hall Of Williamsburg on March 10. Deidre also plays in electronic trio Violet Sands (single ‘No Matter What’ also streaming below).
Considering how gostly and dark his music is, it’s quite remarkable that synth-soul singer Kevin Garrett‘s debut EP ‘Mellow Drama’ managed to amass over 12.8 million streams and saw him charting on Spotifyʼs Viral 50 List. The Brooklyn via Pittsburgh artist just released a new single entitled "Where Are Ü Now" that doubles down in his signature souflul eeriness. He has a great live show, don’t miss the next one at Mercury on march 25th.
The Kansas City Jazz Duo Creates a New Spin From Classic Chemistry
Can music based on vintage tastes and ideals create something new? According to Victor & Penny, something as simple as a hook, a dress, or the right recording engineer creates a viable chance. When they planned to bring a specific genre of music into the Kansas City mainstream, they made sure it was based in craft, personality, and style. Against all odds it works and chances are, you’ll love it.
You have most likely seen or heard their brand of ragtime jazz around town at several venues as diverse as recordBar, Hotel Phillips, Kauffman Center, and The Green Lady Lounge. Sometimes they play as a duo, sometimes they incorporate a full outfit known as The Loose Change Orchestra with trombone, upright bass, and clarinet.
Who are Victor & Penny?
In a word, they are “unique.” They create songs out of a time that harbors authentic musicianship and charm, yet the act telegraphs progressive idealism through virtuosity, fashion and playfulness. They find a joyous sound out of some of the darkest musical standards of the classic jazz age, as if blowing soap bubbles through a flophouse opium pipe. But it’s not all fun and games. The duo creates music based in an era of serious songwriting skills. Watching them create tunes on stage prompts you to applaud time and time again before the song comes to a close because it’s something made with love, humor, and blood.
“The way we present ourselves is vital to the way the audience perceives us,” says singer and ukulele player Penny (known locally as Erin McGrane). “We want to show respect for our audience by looking sharp. That also helps to set the stage and mood for our show.”
Victor (known around Kansas City as Jeff Freling) continues the thought. “The music and the presentation go hand-in-hand. As we continue to refine and expand our stage presence, we present a more sophisticated show.”
Sophisticated is a good description for this musical favorite about town. When you walk into a Victor & Penny showcase, the duo ushers you through classic jazz standards with the energy and vigor of a revival-era tent pastor, as they are unabashed converts to the art form. It’s based in an honest love for the intricacies of the style.
“We offer the audience more than just a concert,” McGrane says. “We offer stories and a chance to get to know us as people, which is another way to connect to the audience and enrich the experience.“
Which is true: they’re 100-percent show business, but their connection is real and based in the classic ideals of traveling theater. They parry corny jokes, natural chemistry, and undeniable musicianship out of quick scenarios in clubs, media appearances, and even impromptu videos in their car. Their semi-formal attire contrasts with the easygoing attitude on stage as they sway and jump between old standards and new treasures.
So it begs the question; in a town so focused on indie rock and stylized blues, how would they make an impact by focusing on early jazz standards? It’s all about the lure of the common experience. McGrane says, ”In college, I got into 1930s vocal music from groups like the Boswell Sisters and the Mills Brothers. Jeff was listening to a lot of early guitarists like Django Reinhardt and Charlie Christian when we reconnected, and we found a common pool of tunes that we loved.”
Recording Electricity
Victor & Penny recorded a new album titled Electricity in August of 2015 and the finished product will soon be available here. They made the journey to Nashville’s Sputnik Sound to create it with producer Mitch Dane, who made his cake working up alt-country gold with acts as varied as Woody Pines and Jack White. Even though the producer’s tastes were outside Victor & Penny’s specific genre, the moment they met with Mitch, they knew it was a special match due to his musical taste for the eclectic side of early Americana and his impressive collection of classic recording gear in his inspiring studio.
Did the experience live up to expectations? According to Freling, yes. After speaking with Dane, they immediately hit it off and the day-to-day labors allowed the trio to create something truly special.
“Working in Nashville was a great experience and we had the opportunity to partner with a producer to help us rearrange some older tunes and bring a fresh perspective to our music,” Freling says.
How did Victor & Penny begin?
According to them, it all came together in Chicago.
“Jeff and I met during college years when our rock bands played together in the local KC scene,” says McGrane.
Freling adds, “We reconnected in Chicago a few years ago. Erin was working up there as a commercial actress and I had been playing strings on stage with Blue Man Group for many years. We hadn’t seen each other in almost 15 years.”
Playing the Circuit
This kind of authentic atmosphere means the world to this turn-of-the-century jazz duo because they rely on a certain balance of classic and contemporary to create their singular stage presence. They work hard to create a personable and accessible feel that draws both new and schooled fans of jazz history into their realm.
“The tunes that we’re drawn to are endlessly fun to sing and to improvise over musically,” says McGrane. “For example, the melody on ‘Lazy River’ by Hoagy Carmichael is instantly recognizable and much trickier to sing and play than it sounds. It’s just beautiful. ”
Freling finishes the thought. “We love to do what we call sonic archaeology and dig for lesser-known songs from the early part of the last century. Our original material combines all of our personal influences to create a modern sound with a vintage vibe.”
So yes, it’s true. A partnership born from a shared love of musical history proves something new can come from it all. The unique voice Victor & Penny creates gives music lovers in Kansas City an opportunity to participate in a true love of the artform. Experience their brand of musical joy at the Folk Alliance International Conference from Wednesday through Sunday. Check out their schedule here.
–Andrew Schiller
Andrew Schiller has been playing music and writing features for a couple of decades. To earn gear and beer money, sometimes he wakes up and travels to an office of some sort inhabited by your garden-variety marketing types.
Need plans for Valentine’s Day? DC9 has just the treat for you with an awesome triple feature: The Milestones, The Humble, and YUM. at 8:30 tonight! Opening the night, YUM. is one of DC’s rising indie acts, excelling at creating upbeat, dreamy melodies that hook the listener very quickly. The Humble hails from Philly, but these neighbors from up north are kicking off a northeastern tour to celebrate the release of their new album, Act Accordingly. Check the first single below, which is a mighty fine example of where alternative meets melodic rock. Headlining the night, Baltimore boys The Milestones are back in DC to spread some love via their hypnotically catchy alt jams. Get on your feet, head over to DC9, and dance the night away, date or no date! Doors at 8, $8. -Jonathan Goodwin
Two Inch Astronaut, accompanied by DC’s Hemlines and Laughing Man, kicked off their new album release with an energetic attack on the senses.
Hemlines, DC’s favorite feminist punks, got things going with The Bear, a powerful shout from the recently released All Your Homes. You’re instantly connected when the lyrics register. Guitarist Katie asked the crowd what came to mind when she said “reflection cottage”. While the general response was of something tranquil, she replaces the assumption of peace with a term for juvenile solitary confinement. “This next one’s about those”, says Katie.
Laughing Man took it down a notch with OM-esque string play and flowing, seamless drum rolls. Pictures were painted right away with a story of meeting a man who introduced the Quran, not as some tool to convert, but as a piece of art to express his love and passion. The guitarist led us down winding paths of daydreams that ended with Islamic prayers reverberating through unfamiliar ears.
TIA’s frontman Sam was eternally grateful for the turnout, with his love for Hemlines and Laughing Man nervously expressed. The guys went straight to it with ‘Good Behavior’, a coming of age story of premature nostalgia and regret. Maybe I’m projecting, but this one hit some deeper notes. This was quickly followed by ‘Sexual Prince of the Universe’, which seemed to be the distant observation of that preppy dude you knew in high school. “This one’s about Limp Bizkit”, shouted bassist Andy as they finished with ‘Woodstock ‘99.’
Personal Life is a nervous reminder of growing up. It was fun, but nerve-wracking. TIA’s unique perspective on the subject, surely heightened by Sam’s views, now as a teacher, will have you scrambling for that book you read ten times in high school. You know the one. -Justin Bieggar
Hollow Ran is hi-speed cyberpunk dissonance with an unstable core reactor—a locally-sourced organic alternative for the Tera Melos-starved patrician. They’re the lost ark, the result of Nick Reinhart and Damon Che performing a fusion dance, and like their now-deceased senpai 100 Onces (rip in peace), eschew the power trio and full band. They go hard. They go fast. And they will melt your face faster than a chemical burn.
If you caught their performance last Friday at the Frida Theater—where they played to a collage of anime sequences including FLCL and Cowboy Bebop—or at Top Acid’s Anniversary show, you’ve already fallen in love and you’ll agree the duo should have scored the soundtrack to Tekkonkinkreet. But if not, get acquainted with their 2015 four-way split with Jitters, Dagrons, and MILKIS before running off to see them this month. – Ryan Mo
It was our first night out to Highland Park’s newest music venue The Hi Hat, but we weren’t nervous. We were excited to see the spacious hall from floor to rafter, and the change of scenery was welcome.
Beyond the decor that whispered Bootleg in our ears, there was plenty of room to move, and plenty of room to sit and enjoy the coquetish charm of Family Hahas, whose reverb-bespoke guitars and Hofner thump rang out something familiar in the audience. But Nightgown‘s Laurel Noone, with her elastic expressions and fulltone swagger, gave the half-converted pool hall a fuzzy bear hug, blasting a Marcy Playground cover while residents sipped on disco lemonade. Her performance was topped, only marginally, by the joie de vivre of experimental pop sextet Easy, whose setup gave the sound technician a run for his money. We’d be lying if we said the cookies they passed around didn’t affect our judgment. Regardless, we wrote our number on the napkin and passed it on to the bartender. Check our Instagram for photos from the night @TheDeliLA! – Ryan Mo, photos by Michelle McCausland
As their two releases, ‘Gorgeous’ and ‘Victor,’ from this past January make vividly clear, Boston’s The Heavies intrigue in reflectively freewheeling country-rock. The drum-thudded third song from the former, “The Jailbreak Blues” (streaming below), for example, details a man’s escape from prison with the kind of gruff warmth that Johnny Cash made his own. “Take Me Back” from the latter effort, a keys-backed song that is delightfully honky-tonk, similarly tells of longing for home but in such a way that is more raw than sappy, more real than fake, yet still allows for pure warmth. The Heavies play at Midway Café in Jamaica Plains, Massachussetts on Tuesday (2/16). – Zach Weg
