Category Archives: Review

May 28, 2014 · 2:47 pm

Review – Shaky Knees Festival 2014

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Shaky Knees, an Atlanta music festival in its sophomore year, was by most accounts a success on a grand scale. The festival relocated to a single Atlantic Station location this year from its bifurcated presence last year in Fourth Ward Park and Masquerade Music Park. While there was initially some noise regarding the somewhat less central location of the festival, the new site proved to be a boon, allowing for improved transportation to and parking at the festival. While festival organizers strongly urged ticket holders to use public transportation, there was ample parking and a discount agreement with Uber for the weekend.

The Good

It’s not often that the entrance to a festival is located within a large strip mall, but the unused, paved lot behind the Atlantic Station live-work-play development proved a worthy space for a burgeoning event. While the festival was not long on real estate, the available space was well utilized and easy to navigate. Two stages on each end of the lot ran on impressively precise schedules- when one band finished its set, the band on the neighboring stage picked up within seconds, keeping the energy of the crowds high.

Edward Sharpe and the Magnetic Zeros were as unpredictable as they were talented. Alex Ebert, the lead singer, was down from the stage and in the crowd within the first three minutes of their set. The Sunday show took place on his birthday, and he was in no way shy about celebrating with the audience. Ebert included plenty of audience participation in the show, and the band’s popular single “Home” was kicked off by a fan proposing to his girlfriend onstage. Ebert took time to showcase songs from several members of the ten-member band; however the female vocalist of the band, Jade Castrinos, was conspicuously absent. At times songs seemed on the verge of falling apart, such as their closer “Om Nashi Me”, only to burst into climactic and perfectly timed reprises.

Portugal. The Man played an impressive set on Saturday afternoon. Having heard about the previous day’s deluge, John Gourley performed the entire show wearing a hooded raincoat and sunglasses. The band focused heavily on their latest album, 2013’s Evil Friends, both opening and closing with “Purple, Yellow, Red and Blue.” While the band played all of the favorites, one of the most notable songs of the set was a cover of Pink Floyd’s “Another Brick in the Wall Part 2,” which reminded the audience just how rock ‘n’ roll Portugal. The Man is at its core.

Tokyo Police Club proved once again that they thrive at an outdoor festival. Opening with the nearly nine minute long suite “Argentina (Parts I, II, III)” from the brand new album Forcefield, the band showed that they’ve grown up quite a bit since the release of Champ in 2010. That said, the setlist neatly combined the two albums, delighting already-fans and winning over those unfamiliar with the band’s indie-pop sound. TPC closed with the first track of their first album, “Cheer It On,” bringing the show full circle and reminding fans exactly who they were.

Closing the festival with her performance Sunday night, Britney Howard of Alabama Shakes continually told the audience between songs that she wasn’t an eloquent speaker. However her raw and melodious songs spoke for themselves. The band played “Hold On”, the hit single from their album Girls and Boys, with the same energy as if they were playing it for the first time. The Alabama Shakes also debuted a new song “Miss You”, which combined tender verses reminiscent of a Motown classic, with a chorus that was unapologetically Rock ‘n’ Roll. They split their show with the interlude “Gemini I and II”, an eleven minute song involving voice effects and a slower pace, which was the only part of their show that dragged or lacked energy. The band’s performance at Shaky Knees was their last stop before returning home to Alabama to begin recording their second album.

The Bad

Though the addition of local food trucks to the festival sounded kitschy and even appealing, the execution was off here. The front of the park had only three options to contend with roughly half of the crowd. While the back had more options, they were arranged in a tight U-shape where people hopped in lines for anything (or nothing) and never seemed to make much progress. I’ve never wanted a hot dog so badly in my life.

As mentioned earlier, this festival took place on an asphalt lot. On the upside, it wasn’t a giant mud pit by the end of day two. On the downside, there wasn’t much around to absorb sound, and it certainly bounced resulting in a somewhat fuzzy sound quality from the audience. There were also instances of sound competing from opposite sides of the park. Jenny Lewis fought to be heard as she was blasted by The Replacements set playing at the same time.

The Ugly

As some other Atlanta natives have famously said, “you can plan a pretty picnic, but you can’t predict the weather.” Such was the case for Shaky Knees. In fact, wash outs seem to be par for the course for this festival, making back-to-back appearances in 2013 and 2014.

That said, there were very few ugly parts of this largely successful new festival. It seems that in time Shaky Knees could easily develop into one of the more popular festivals in the Southeast.

Story and photos contributed by – Emily Yerke and William Ruff

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May 16, 2014 · 2:08 pm

Album Review – Future Islands’ “Singles”

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For a while, it appeared that the recent resurgence of ’80s-inspired synth-pop had fallen short, as if just having missed the dramatic mark that once tickled the edge of Broadway and blurred gender lines.

For those who grew up in the decade of neon-layered legwarmers, “Labyrinth” and Madonna’s negligées, this observation rang true — that is until Future Islands released its fourth album, “Singles,” in March. Throughout the 10-track album, Future Islands successfully delivers that theatrical element that had been missing this whole time.

While the band’s image does not necessarily match that of the ’80s, the attitude, sound and energy certainly does. With grandiose lyrical moves atop tight new wave beats, Future Islands proves to be a kinetic machine with enough stored energy to explode on the scene and cause havoc overnight—and that is exactly what the band did.

This explosion came in the form of a debut performance on “Late Night with David Letterman,” during which frontman Samuel T. Herring oscillated between deep squat air-humps and what appeared to be a gorilla mating dance that rivaled the moves of a young McDreamy in the 80s classic, “Can’t Buy Me Love.” After that performance, the world knew about Future Islands, and there was no turning back.

This now Baltimore-based trio got its humble start while studying art at East Carolina University, and quickly built a loyal following through relentless touring and one-of-a-kind live performances. Herring, along with William Cashion (guitar, bass) and Gerrit Welmers (keys, programming) have always approached their art with a take-it-or-leave-it attitude. Their hope was that listeners would decide to stick around and be moved to join the crazy carnival ride they created.

If not familiar with Future Islands’ sound, “Singles” may initially translate as a bit off-the-wall, but do not despair. After a few listens, the band’s charm and character start to sink in and penetrate the soul. Pair this with a few YouTube searches and it will all begin to make sense.

The album opener, “Seasons (Waiting On You),” is a modern day “Breakfast Club” theme—a beautiful anthem for lost misfits on the quest for love. “Spirit” follows with bouncy keys and punchy drums that lead into Herring’s Bowie-esque dramaturgical vocals.

Throughout “Singles,” the listener is presented with tracks that strike a balance between light and dark, hope and despair, old and new. Dripping with synth-crescendos and heavenly vocals, “Sun In The Morning” perfectly depicts the emotional tug of war that accompanies a lover’s early departure, while “Like The Moon” takes listeners on a more subdued dreamlike journey into a midnight fantasy.

Musically, “Doves” feels upbeat and happy, but with lyrics like, “Baby don’t hurt no more,” listeners are forced to search for deeper meaning despite the springy dance beats. The unassuming bass line and drum beat of “Back In The Tall Grass” beg for a simpler time — a time of childhood wonderment and play. As the song outros with echoing swamp sounds, “A Song For Our Grandfathers” fades in with a menagerie of audio as Herring pontificates about the changes upon him and taps into the wisdom of ancestors passed.

The melancholy rock ballad “Fall From Grace” leads in with cavernous xylophone tones, high-hat taps and bass drops before Herring emerges with deep, throaty vocals interrupted by guttural primal screams. Here, Herring’s vocal and lyrical range shines bright despite the darkness that blankets the track.

The album’s closer, “A Dream Of You And Me,” is an uplifting message-in-a-bottle delivered on a wave of hope and washed over with beautiful seashore imagery. Herring sings out the song with the lyrics, “I asked myself for peace and found a piece of me, staring at the sea,” as if sharing his daily mantra and life philosophy with listeners — a perfect way to end the album.

Overall, “Singles” offers a glimpse into the past while carving out its own place in time. This quality will appeal to a wide audience and continue to catapult the band to new heights. With Herring’s vocal front and center, undulating effortlessly between gravel and grace, the album is a refreshing departure from the norm. In the end, “Singles” soars with more performance arts flair than auto-tuned studio gloss, giving listeners a raw, emotional sill on which to perch and ponder life.

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April 11, 2014 · 11:59 am

Album Review: Time Sawyer’s “Disguise the Limits”

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The Charlotte-based folk-rock quartet Time Sawyer ups the ante with its fifth LP, “Disguise the Limits.”

Made up of Clay Stirewalt (drums), Houston Norris (banjo), Kurt Layell (lead guitar, backing vocals) and Sam Tayloe (guitar, vocals), Time Sawyer crafts music that takes an honest look at life and builds on the rustic musical traditions of western N.C.

Though still in its infancy, the band has released five albums in four years. Based on the quality of “Disguise the Limits” it appears that Tayloe and Layell’s songwriting well is far from drying up. This album offers a fresh take on the familiar themes of life on the road and love and heartbreak, while bringing a little more grit and gravel than previous installments like “Headed Home” and “Come On In.” The folk has been dialed down, the rock turned up and, thankfully, the banjo remains on cruise-control, carrying the album through its 12 tracks with the punchy grace of an instrument that can do no wrong.

The album opens with “Better Off,” an upbeat break-up tune that sets the tone for the rest that follows. “Appalachian Bound” is the perfect rock-blues getaway anthem — chock full of moonshine barrels, brushes with the law and the wide- open road. On “A Little Bluer,” Time Sawyer hangs up its spurs and succumbs to that moment when love trumps all and future dreams grow straight from the heart. “How It’s Gonna Be” strikes a sweet balance between acoustic and electric, with a distant rolling banjo, muted organ and finely placed guitar riffs.

“Best Be Going” demands attention with its no regrets catchy chorus reminiscent of Paul Simon’s “50 Ways to Leave Your Lover.” It is appropriately followed by “A Far Away Farewell from Rose,” perhaps the decades-later follow-up to that fateful day depicted in “Best Be Going.” This jump from youthful defiance to aged reflection stays true to the band’s moniker, and keeps the theme of time at the forefront.

The album pumps the breaks with its closing tracks. “Working Construction” returns to the band’s folk tendencies without feeling recycled or redundant. “West From the Farm” is a heart-wrenching ballad where Tayloe’s vocals drip with authenticity and harmonies, and horns lift lyrics to a weighty place that reveals the pain and remorse tied to lost love. “Tired of this Tired” soars with delicate finger-picking and relevant lyrics that speak to the daily tedium that can drain the heart’s passion and unravel the mind.

The true shining moment on “Disguise the Limits” comes on “210,” where lyrics tell the story of a scorned lover driven to murder. The Mexico-bound outlaw tale is perfectly accompanied by the distant haunted whine of the pedal steel and take-to-the-road banjo runs. “210” is followed and further elevated by “It’s Over (210 Outro),” which fades into a “Hotel California”-esque instrumental that beckons images of a dusty drive into the sunset. Taken together, these two tracks reveal Time Sawyer’s growing ability to create vivid imagery through songwriting and arrangement.

Collectively, “Disguise the Limits” succeeds by combing the fugitive attitude of “Roadhouse” and “Smokey and the Bandit” with the heartbreaking infidelity and reality of “Honeysuckle Rose.” Runaway, tender, playful and pensive moments are strewn strategically throughout the album, creating a cohesive storyline that undulates like the plot of a favorite desperado movie. The album shows a definite progression and maturation despite the band’s short timeline, and is sure to gain momentum as one of the better albums released by a rising North Carolinian band this year.

In addition to the release of “Disguise the Limits,” 2014 will continue to be a huge year for Time Sawyer as the band makes its debut at MerleFest in Wilkesboro, N.C. on Sunday, April 27. Visit www.timesawyer.com to learn more.

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April 1, 2014 · 11:59 am

Show Review – Hurray For the Riff Raff w/Shovels & Rope @ Cat’s Cradle 3-5-2014

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Every now and then an artist emerges on the music scene who creates buzz and provokes conversation. Bronx-native Alynda Lee Segarra is that artist. From her vagabond train-hopping days with Dead Man Street Orchestra to her breakout performance at last year’s Newport Folk Festival, the world is finally taking notice of this gifted folk singer-songwriter.

After traveling and performing across the nation, Segarra found her musical center in New Orleans amid the aftermath of Hurricane Katrina. Where she never quite felt at home in NYC, the Lower Ninth Ward community took in her rambling soul and Segarra found inspiration to stay and make music.

Segarra soon found a group of musicians who shared a similar passion for writing and performing songs that spoke to social injustice, challenged political power, and revealed modern day issues that had been swept under the rug. They called themselves the “riff raff,” which eventually led to the formation of Hurray for the Riff Raff, of which Segarra stands at the helm.

Last month, Hurray for the Riff Raff took to the stage at Cat’s Cradle in Carrboro as the supporting act to South Carolina’s sweetheart duo Shovels & Rope. While most in attendance were there to see the rowdy lovestruck pair, many left with a new appreciation for Segarra and her band of riff raff.

With Gibson in hand, Segarra took the stage. Petite in stature and draped in a black lace dress, the soulful songstress started the set solo by performing “The New SF Bay Blues.” The curious crowd listened intently to her timeless voice and simple finger picking. They quickly realized they were witnessing something that softly demanded attention.

Segarra then welcomed her four-piece band to the stage, and they treated the audience to tracks from their new album, “Small Town Heroes,” including the toe-tapping “Blue Ridge Mountain,” homesick homage “Crash on the Highway,” fun-loving bayou jam “End of the Line,” and gender-flipped murder ballad, “The Body Electric.” Segarra was candid and chatty with the crowd, telling stories and setting up each song — a quality that all concert goers appreciate and yearn for to feel more connected to the artist and songs.

As Segarra bridged the gaps between her songs, the venue felt less and less like a black box and more like a backyard hootenanny. It was with little to no effort that Segarra transformed the stage into her front porch and exposed listeners to the magic of her songwriting. The set closed with fan-favorite “Little Black Star,” where the band called upon the audience to join in with synchronized claps and snaps, further drawing the sold-out crowd into the riff raff fold.

After a sweat-drenched, energized set by Shovels & Rope, Segarra returned to the stage to join Cary Ann Hearst and Michael Trent for their encore performance of J. Roddy Walston and the Business’ song “Boys Can Never Tell.” With Hearst on the drums, Trent on guitar and Segarra at the center mic, the trio closed out a special evening of music with a genuine mutual admiration that was evident all the way to Franklin Street.

As Hurray for the Riff Raff carry on its U.S. tour, Segarra will continue to grow into a modern day folk icon, whether she likes it or not. Her essence dates back to the days when Greenwich Village was alive with folk music and people toted around acoustic guitars on their backs. Those were the days of Pete Seeger and Bob Dylan, where music was powerful enough to rally people and create change. With Seeger’s recent passing, Segarra steps into the spotlight as someone to carry the torch and keep the movement going well into the future.

For those who may have missed the Cat’s Cradle show, Hurray for the Riff Raff will return to North Carolina on April 10 to play at Local 506 in Chapel Hill. This will sell out, so plan accordingly. All riff raff is welcome.

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March 26, 2014 · 8:08 pm

2014 Summer Featured Artists

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Each summer, new and seasoned artists step into the sunny spotlight and seem to shine just a little bit brighter than before.  This coming summer is no exception to the rule.  With festival lineups set, music lovers have a chance to catch these artists on multiple outdoor stages across the US.

Evolution of a Fan has chosen to feature a handful of these artists as their momentum builds. Stay tuned for features on the following artists through the end of summer:

The Milk Carton Kids

Willie Watson

Hurray for the Riff Raff

Thao & The Get Down Stay Down

Charles Bradley

 

 

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March 1, 2014 · 12:04 pm

Album Review – Beyoncé’s “Beyoncé”

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Dreams and fantasies creep into the mind, often cloaked by the darkness of night and with little warning. Such is also true for Beyoncé’s fifth solo album, “Beyoncé,” which was secretly released through iTunes on a random Thursday night in December without any promotion.

While albums are typically released on Tuesdays and hyped-up for months beforehand, Mrs. Carter decided to forego industry standards and make her own rules. She wanted to be the one to deliver this 14-track, 17-video “visual album” directly to her fans, and that is exactly what she did.

It was a risky endeavor, but in a world where tweets and Instagram photos spread within seconds, Beyoncé’s risk reaped major rewards. The singer’s most erotic album to date now sits high on its throne as the fastest selling album ever on iTunes.

Collectively, “Beyoncé” is a brilliant portrayal of one woman’s flawed but honest journey into womanhood. What makes it brilliant is that as Beyoncé shares her most intimate thoughts, she speaks to and for so many others. Despite the fact that Beyoncé is worth an estimated $53 million, the album reveals that at 32 years of age she still struggles with very common emotional battles.

In line with Madonna’s 1992 album “Erotica” — also her fifth album which features alter-ego Mistress Dita —“Beyoncé” delivers a heavy dose of sexuality, so much so that Freud would seriously have a field day analyzing it. Not only do listeners get a boatload of not-so-subtle innuendos, but Beyoncé also ties childhood sound bytes into the story and introduces yet another alter-ego—smack-talking ferocious Yoncé—to her fans. It doesn’t get much more Freudian than that.

After watching the rise and fall of MTV, Beyoncé is doing her part to bring back the art of the music video. While the accompanying videos leave little to the imagination, they are playful, poignant and cinematic, all while providing a vivid vision to back the lyrics. Tracks like “Blow,” “Partition,” “Drunk in Love” and “Rocket” are matched with in-your-face images across the spectrum of attraction that breathe life and love into her closest relationship.

In particular, Beyoncé — along with Miguel and Justin Timberlake — find that sweet spot with “Rocket,” which is unmistakably the female version of D’Angelo’s “Untitled (How Does it Feel).” Thirteen years after D’Angelo’s iconic song hit the airwaves, “Rocket” explodes with Prince-esque boudoir beats and rich R&B runs. This type of between-the-sheets plea to husband Jay Z effectively permeates the album without making fans feel like uninvited peepers. Rather, Beyoncé’s transparency translates as a newly found freedom from expectations that have previously been placed upon her.

While the erotic nature of the album demands attention, there are other important themes that develop through the tracks. One of the most powerful tracks, “***Flawless,” features the powerful words of Nigerian poet Chimamanda Ngozi Adichie and reminds women of all ages to fight for gender equality.

Another standout fan-favorite is “XO,” a call-and-response percussive carpe diem love jam that celebrates living every moment like it is the last. “Pretty Hurts” speaks to the pressures of sacrificing the soul for superficial beauty, while “Blue” celebrates the triumphs and joys of motherhood. Beyoncé also gives a glimpse into the ups and downs of marriage on tracks like “Jealous” and “Mine,” tapping into some of the not-so-sexy emotions that can threaten even one of the most influential couples in the music business.

Stylistically, Beyoncé experiments with a more electro-pop sound, often jagged and jolting in its delivery, similar to methods found on Frank Ocean’s “Chanel Orange.” It is no surprise that Ocean joins Beyoncé on “Superpower,” an apocalyptic anthem that could be construed as a call-to-arms to her fans, or perhaps just a love letter to Mr. Carter.

Interestingly, across the album’s tracks and videos there exists a drastic trade-off between the harder and softer sides of Beyoncé, along with a fierce loyalty to her family and hometown, Houston. As with almost everything she has ever created, there is an air of modern-day feminism and empowerment that prevails on this album.

However, this empowerment has never quite felt as authentic as it does on “Beyoncé,” because Beyoncé is finally showing the world that she is confident and comfortable being her true self. It is in her honesty that she is liberated as a woman, mother and wife, and this in turn spreads naturally to her listeners. While this girl-power quality may imply that “Beyoncé” is strictly for the female listeners, think again. With open minds, men can get a detailed glimpse into the female psyche after taking in this visual album, and if he were alive today, Freud would certainly agree.

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January 15, 2014 · 12:13 pm

Album Review – Rebekah Todd’s “Roots Bury Deep”

Photo by: Kristen Abigail

Photo by: Kristen Abigail

Deep beneath the muddied surface of the Tar River and the sifted soil of tobacco fields lays the history of our state. Layered stories from past generations have formed the foundation upon which all other stories are told.

This month, local songstress Rebekah Todd adds her own stories to the thick NC bedrock with her first LP, “Roots Bury Deep.” Funded through a successful Kickstarter campaign, this 9-track album proves to be a soulful folk gem with shades of jazz and funk that paints across the canvas of genres, all while maintaining a cohesiveness that keeps the listener engaged.

With this album, Todd enlisted some of the best that Greenville has to offer. Local musicians Demetrice Everett (drums), Chris Knuckles (saxophone), Evan Roberson (trombone), William Seymour (bass), and Brandon Shamar (keys) lend their talents and create a more textured auditory landscape that enhances Todd’s traditional folk sound. The final product takes listeners on a journey from the deep, dark corners of loss and despair to the wide-open, bright spaces of love and hope.

The album opens with “Devil’s Gonna Buy,” a ghostly, Bourbon Street bender flushed out with whiney trombone and eerie background vocals fit for the dark, gritty alleyways of New Orleans. This track jumps right into “Closer To Dead,” which shines with gospel undertones as the organ and saxophone emerge in line with the supernatural opener.

The catchy radio hit “On The Run” features a punchy cadence and baseline reminiscent of Paul Simon’s “Graceland.” While the title may imply runaway-bride-syndrome, this track is all about empowerment and drive — an important message for anyone who may need a nudge in life. The stripped-down acoustic “Thinking About You” takes a softer, day-dreamy glimpse into Todd’s past, where she opens up about the gripping realization that life is quite incompatible without love.

On “Tornado,” Todd channels her heartaches into powerhouse vocals and tempts the heavens, while reminding listeners that the only way to trump adversity is to face it head-on. “Your Smiling Face” is a toe-tap-clapper with a steam engine drum line fitted with enough spunk to become a crowd favorite.

Todd’s songwriting truly gleams on “Old Days,” a track that traces Todd back through time where she bears the pain of loss, but finds comfort in reliving memories and relishing in the little signs from above. The title track “Roots Bury Deep” follows, and proves once again this songstress’ lyrical prowess as she belts “Let me take you back to the rhythm/Back to the time when you felt only love in my arms/Let me take you back to the country where your roots bury deep/And the soil is rich for all.”

The album closes with “Wishing Well,” an eight-minute magical woodland wonder that captures Todd at a vulnerable crossroad, gazing into her reflection and foreshadowing her path. The horns on this track fade in gently to compliment Todd’s vocal tones and ride the song out as an instrumental. Roberson and Knuckles trade off leads, as if improvising a conversation between Todd’s yesterdays and tomorrows. This track is a beautiful tribute to the fragile nature of life and all of the events and decisions that guide its course.

Throughout “Roots Bury Deep,” Todd’s superb songwriting ties itself closely to the earth — the soil, the roots, the elements. In a world bogged down by technology and the next new trend, Todd keeps things clean, simple and organic, focusing on the most primal of emotions.

Todd’s poignant and powerful vocals reign supreme on each track, with the force to puncture even the toughest of exteriors. However, it is clear to any listener that the backing band elevates Todd’s signature sound to an entirely new level. The horns and organ pull out a speakeasy soul from Todd’s voice that was not yet fully developed on her 2011 EP “Forget Me Not.”

Overall, “Roots Bury Deep” translates as a potent collection of Todd’s most intimate stories. The album reveals that Todd has matured not only as a songwriter, but also as a performer as she displays a renewed confidence in her music. As with any artist, it is important to evolve and grow, and with this album Todd shows that she is capable and comfortable in her own skin, all while staying grounded by her roots.

“Roots Bury Deep” will be released officially February 18, 2014, and will be available on iTunes, Bandcamp, Amazon and more. For more information about her Greenville and Raleigh album release parties, be sure to keep up with Todd on Facebook, Twitter and Instagram or at www.rebekahtodd.com.

Enjoy the title track here!

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December 23, 2013 · 5:29 pm

2013…The Year of the Fan!

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With 2013 coming to a close, it’s time to reflect on another spectacular year of music.  Live music pulled me to many different corners of our beautiful United States.  From Rhode Island’s Newport Harbor to Colorado’s Red Rocks and everywhere in between, I’ve been lifted up by the music and the many friends and fans I’ve met along the way.

I know 2014 will bring many new musical experiences–already have 5 concerts on the books so far–however, I’d like to take this opportunity to share my 2013 Top 10 EOAF Moments:

10. Watching Jay-Z and JT somehow get a sold-out Fenway Park to sing along to “Empire State of Mind” with little to no resistance, might I add.  Perhaps all it takes is these two powerhouse performers to dissolve decades of hatred between Bostonians and New Yorkers.  Not too sure New Yorkers would have done the same if roles were reversed!

9. Filling our home with the imperfect but impeccable sounds of vinyl, and the constant chase to find my next favorite record at the thrift shop…oh and my first Record Store Day, too!

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8. Being one of 200 people at MerleFest who got to listen to Wayne Henderson tell the story about the first guitar he ever made.  That sweet, humble man seriously blew my mind.

7. Experiencing my first live Bob Dylan performance.  Even though I could barely understand him, I knew I was in the presence of folk greatness!

6. Being a part of this wonderful “Thank You” project…

5. Stumbling upon the surprise songwriters session at Newport Folk Festival and spending the morning listening to Langhorne Slim and Scott and Seth Avett play and answer questions from a small audience (capped off by a Jim James eyes closed staring contest).

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4. Experiencing The Avett Brothers’ performance of “Complainte D’Un Matelot Mourant” at Red Rocks Night 1 — to try to describe the ghostly wind that blew down through the rock amphitheater to the stage would be impossible.  Even the video doesn’t do it justice.

3. Being one day late from experiencing The Milk Carton Kids at Newport Folk Festival, but falling in love with them through the NPR podcast anyway.  They are by far the best musical discovery of the year!

2. Experiencing Neutral Milk Hotel live at The National in Richmond, VA.  The musical saw performance alone was worth the trip.

1. Being involved in the recording process from start to finish, and then hearing the absolutely amazing final product.  Thanks to Rebekah Todd for having me along for the ride! (“Roots Bury Deep” out in early 2014)

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Thank you all for coming back time and time again to pay EOAF a visit.  Next year we hope to bring you more exciting music news, reviews, guest bloggers, and more.  Merry music cheers and happy ears in 2014!

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December 17, 2013 · 10:32 am

Album Review – Mipso’s “Dark Holler Pop”

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On a beautiful day in May, band mates Wood Robinson, Jacob Sharp, and Joseph Terrell tossed their mortarboards up into the Carolina blue sky and rejoiced in the finality of their collegiate journeys. With degrees in hand, this Chapel Hill-based trio known as Mipso, threw all thoughts of conventional careers out the window and collectively vowed to make the band their top priority. It was time to put the music first and bring the sound of Mipso to the people of North Carolina and beyond. Their first stop—the recording studio.

On the band’s second LP, “Dark Holler Pop,” Robinson (double bass), Sharp (mandolin) and Terrell (guitar), adopted a more collaborative approach to songwriting. With producer Andrew Marlin, of Mandolin Orange fame, behind the soundboard, the band was able to sit back, learn, and let the songs evolve organically in the studio. The album’s folk-bluegrass sound was further rounded out by industry greats like Marlin, Emily Frantz, Phil Cook, Chandler Holt, John Teer, Bobby Britt, and Chris Roszell.

Released last month, the 11-track album debuted at #8 on Billboard’s Bluegrass Albums chart. Collectively, “Dark Holler Pop” is North Carolina through and through, featuring Mipso’s blended interpretation of Appalachian music with strong three-part harmonies and traditional instrumentation. While banjo rolls and a punchy mandolin lend the album a fuller bluegrass sound, the sweet whine of the fiddle really shines as it meanders seamlessly from track to track.

The album opens with “A Couple Acres Greener,” a rousing steam-engine paced tune filled with tales of right and wrong turns on life’s path. Terrell sings of jumping the church pews and celebrating his sins, all while wondering how he will leave the world behind when he’s gone. The fiddle intro and harmonies on “Tried Too Hard” lift the self-doubting lyrics, “Maybe I tried too hard/Maybe I was born to fail/Maybe all I’ve done is pave the path to hell.”

“Louise” stands out as one of the best tracks on the album. Lyrics tell a love story through car metaphors, an authentic approach by this group of young men. What better way to describe the bumpy road of love than by comparing it to an old beat up car? Another gem is “When I’m Gone,” a beautiful hymnal ballad laced with delicate guitar picking and a church-worthy chorus.

Mipso slows things down with “Rocking Chair Blues,” evoking images of an old man pondering his life on the front porch of a creek-side cabin. Songs like this reveal the old soul that is at the epicenter of Mipso. These musicians have somehow gained the perspective of a seasoned sage somewhere along the paths of their relatively short lives. Thus, it is not surprising that themes of mortality and decades of hardship find their way onto many of the album’s tracks.

Throughout “Dark Holler Pop” musical influences emerge, without feeling forged. On “Red Eye to Raleigh” hints of Paul Simon’s reveal themselves as Terrell sings of love lost, while “Border Tonight” feels almost like a trip down to Jimmy Buffet’s Margaritaville in Key West. The album’s first single, “Carolina Calling,” feels like an updated, upbeat version of James Taylor’s “Carolina on my Mind.”

The album closes with “Do You Want Me,” which is the first to feature a flirty piano arrangement. Supported by their trademark tight harmonies, Mipso sings of love’s most brutal insecurities, as the song transitions from a polished studio sound to what sounds like a raw live recording.

Overall, “Dark Holler Pop” further solidifies Mipso’s place in modern folk and bluegrass genres.  Their decision to work with Marlin and elevate their songwriting makes this album a big success and one that will certainly get ample radio play.  With lyrics heavily weighted towards the trials of love and life, it will be interesting to see how touring and life on the road will shape Mipso’s songwriting for their next installment.  Until then, “Dark Holler Pop” will keep on spinning.

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November 5, 2013 · 12:55 pm

Album Review – Lorde’s “Pure Heroine”

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For over a decade, New Zealand has been best known as the picturesque backdrop for native Peter Jackson’s “Lord of the Rings” film trilogy. That was until this past summer when Jackson, Frodo Baggins and the rest of the hobbits got abdicated from their thrones. A new “Lorde” now sits pretty at the top, effortlessly monopolizing US airwaves with an unabashed take on her so-called teenage life.

Lorde, born Ella Maria Lani Yelich-O’Connor, is a 16 year-old singer-songwriter who became an overnight alt-pop sensation with her fireball hit “Royals,” a synth-driven track that mocks the gluttony of a lavish lifestyle. First released as a track on her debut EP “The Love Club,” “Royals” quickly rose to the top of the Billboard Alternative Songs chart in the US, and currently holds the record for longest reign by a female on this chart. “Royals” also found its way to the top of the Billboard Hot 100, making her the youngest artist to ascend to this spot.

So what makes Lorde so different from all of the other under-21 pop stars who have come and gone? Mainly, she stands out for her ethereal voice and thoughtful songwriting. While her songs focus on adolescent themes, Lorde still shines in her mature and smart approach to making music.

Master producer Joel Little paired up with Lorde to put together a follow-up LP that could continue to ride the success of “Royals.” At the end of September, the duo released “Pure Heroine,” and Lorde’s momentum has since shown no signs of slowing down.

Overall, “Pure Heroine” features a streamlined electro-pop sound that centers on Lorde’s unique voice and catchy tempo. Layered reverb and a barrage of computer-generated drum beats provide an unobtrusive scaffold for all of the tracks. While Little’s soundboard techniques find overall success, the uniformity of sound offers listeners very little variety from song to song. With attention spans at a minimum these days, even 37 minutes of monotony can cause listeners to drift.

The album opens with the lyrics “Don’t you think it’s boring how people talk” on “Tennis Court,” an empowering varsity anthem fitted with enough “yeahs” to put Usher on the bench. “400 Lux” chronicles a typical teenage joyride as Lorde sings, “We’re hollow like the bottles that we drink…We might be hollow but we’re brave.” What teenager can’t relate to that?

“Royals” shows up in the third spot, and shines like the diamonds and Cadillacs Lorde sings about with such disdain.  It will be interesting to see if Lorde maintains her outlook on luxury with all of the royalties quickly filling her bank account. “Ribs” is rich with reverb and club beats worthy of valiant fist pumps, while “Buzzcut Season” is a xylophonic summertime masterpiece. “Buzzcut Season” shines in its out-of-this-world dreaminess with lyrics like, “I live in a hologram with you.”

The “Team” intro borrows from Gorillaz’s “Clint Eastwood,” transitioning then into an upbeat stomp-clamp homage to clique-culture, minus the exclusive air. “Glory and Gore” doesn’t back down from a challenge, with strong lyrics like, “You can try to take us, but victory’s contagious,” evoking images of an anarchic, shirtless Christian Slater in the 90s cult classic “Pump up the Volume.”  Look it up.

When the album reaches “Still Sane,” the background cavernous dip echoes begin to bore, though Lorde is still all business and hustle. This 16 year-old is on a crash course to losing her mind, but she seems just fine with that. “White Teeth Teens” soars with a militant snare drum/tambourine combo and faraway layered background vocals.

On the album closer, “A World Alone,” Lorde echoes the teenage mantra that life is a lonely journey, amidst the catty chatter that fills the song’s empty space. As if to come full circle from the album’s beginning, Lorde deadens the noise and ends it all with, “Let ‘em talk.”

“Pure Heroine” is almost pure pop genius. The authenticity found in Lorde’s songwriting proves that she is very close to these words. She’s writing from her own experience, and in brutal honesty she continues to reach listeners who feel the same. As a whole, the album can start to feel repetitive, but when the tracks are taken separately, they are golden.

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