Paper Tongues on RM64 blog

Tongues, Trees & Twilight
No, this isn’t your latest teen vampire update, it’s the new headlining tour from A&M/Octone’s Paper Tongues. The band is joined by Neon Trees (Mercury) and Civil Twilight (Wind-Up) for a North American run that kicked-off last week in North Carolina and will conclude on July 28th at the Glass House in Pomona. The band is also scheduled to play this year’s Bonnaroo Festival on June 12th. Head HERE for a full list of tour dates… And if you haven’t heard the story of how Randy Jackson met the band, watch this video, dog!

http://rm64.com/

On The Tip Of Their Tongues

The Paper Tongues began organically, coalescing from within the Charlotte, NC music scene in 2007, eventually releasing their debut album on March 30th, 2010. The future members of the Paper Tongues drifted into the orbit of Uptown Charlotte, where those who had something to play and wanted to be heard go. It has been misquoted at times that the Paper Tongues created something called The Improv Music Experience. It was nothing so formal as one might infer from the misquote. It was more in line with a jam session with different musicians joining the fray at will. Yet, it did serve an important function as it introduced and nurtured those who would eventually forma the Paper Tongues.

It is a rare thing for a band to meet, meld and mature in such a short span of time. Going from performing impromptu jam sessions, then laying down demo tracks and promoting them on MySpace, which gained them an immediate moderate notoriety and jump started their journey through the world of the club circuit. Fast forward a short time later and we see the group as polished performers, introducing the masses to their music through their self titled debut album, which ran up to #110 in the Billboard charts. The spotlight began to shine more intensely on this seven member group and they began touring with the likes of Flyleaf, Everclear and Switchfoot and, at various times, sharing the stage with Anberlin, 30 Seconds To Mars, Rise Against and Muse. They have just recently been booked to appear at the Bonnaroo Festival on June 12th. Quite a huge leap for such a newly formed band, but judging from their sound and performances, it is an honor that is well deserved.




Describing the band’s sound is impossible. They have, in other interviews, described it as “club rock,” but that is an oversimplification. While their music does possess the incessant hooks and danceability that is a requirement of the club scene, but there is more depth to their lyrics and more of a layered texture to their rhythms and melodies. All seven members of the band bring various influences to the sound of the whole and almost every conceivable musical genre becomes can be found lurking within the band’s tracks. From the pop-hop, maniacally insistent song Ride To California to Trinity, with its roughly apocalyptic R&B vocals set against a backdrop of electronic elements and a symphonic wall of guitars.

Aswan North possesses a beatific face framed with spiraled curls and a voice that runs the gamut from harsh hip hop to intensely burning R&B. He possesses a shamnistic stage presence, like a hip hop Jim Morrison, his body becoming another facet of his voice, interpreting the lyrics with an animistic wave of emotive motion. The other members of the band are a constant surge of movement and sound with Cody Blackler working the keys of his Fender Rhodes, Devin Forbes and Joey Signa laying down the guitar tracks while Daniel Santell wields his bass guitar, creating a running rhythm on each song. Jordan Hardee keeps the beat behind his drum kit, producing a percussive drive behind the band while Clayton Simon utilizes his synthesizers for flourishes and persistent rhythms, holding together and expanding the sound of the band.

I was recently able to correspond with one of the guitarists from the Paper Tongues, Devin Forbes, prior to the announcement of their upcoming Bonnaroo appearance.

J.T.: This is kind of a multi-tiered question: With bands like Switchfoot, Flyleaf, Muse and yourselves, there is a vastly shifting terrain within the music industry. It seems like the whole industry is changing and your group is on the forefront of this change in terms of marketing, performances, venues, etc. Do you see this change as bringing the fans and the group closer together as opposed to the “supergroup” days when fans filed into an arena, the band played their set list and then everyone went home?

Devin: I really hope so. Not that we don’t want to reach as many people as possible…we would love to play arena’s if we got the opportunity…but the band/crowd interaction is so important to us. The first thing Aswan does at the beginning of every show is jump out in the audience to shake as many hands as possible. We love hanging out after the show to meet people and actually make some kind of connection beyond the performance. As far as things changing from the “supergroup” days, I really don’t know what it’s going to look like a year from now or 5 years from now. We’re just taking life as it comes and trying to be as prepared as possible for changes that are inevitable.

J.T.: Have these changes affected the way your music is created, possibly giving you more freedom to write and create works that reflect the really, real world?
Devin: I think that there has been so much music in the past however many years that is extremely fun to listen to, but doesn’t really have a message. People are ready to hear something positive that actually hits on deeper issues. Granted, I listen to just about anything and there is obviously a time and a place for every kind of music, be it hip-hop, rock, dance, club, funk, folk, or jazz. We write about what means the most to us and hope that it touches somebody in a real way.




J.T.: Your music is such a fusion of so many different influences, from hot hip hop beats and hooks to crushingly heavy riffs; does this endless well of energy make it difficult to create a signature sound or does the sound kind of create itself?
Devin: It has been somewhat been creating itself. When you put 7 musicians from completely different backgrounds in a room and tell them to write a song, the outcome is a complete mystery. There are so many influences floating around our group and showing up in songs where we’d least expect it. There really is a piece of everybody in our music which gives it a sound we’re not sure what to call. It’s hard to define, but it hasn’t been hard to create our sound; it’s just a combo of all of us. Of course we are still trying to figure out what exactly our sound is. I think it will always be a collage of different styles.

J.T.: You can feel a lot of the essence of each member of the band’s personality and essence and contributions in each of the songs Paper Tongues has performed. Does that ever leave any of the members of the group feeling emotionally drained or vulnerable?
Devin: Of course! Performing in front of people is the most naked and vulnerable you could ever be. When we write these songs, we’re in a room to ourselves and we have the freedom to explore anything we want with music without being judged. When you play in front of people, it’s taking something you have written, an expression of you innermost being, and putting it up for judgment. The audience has every right to simply say, “Eh, this really isn’t that good”, but you just spent a month working on wording it just right. It’s hard to put that much personal emotion on the line every day.

J.T.: With seven members, does it become a logistical nightmare to tour incessantly as you do?
Devin: Yeah, it’s insane trying to get 7 people on the same page every single day. Being on time for sound checks, interviews, radio performances, shows, signings, etc, is a nightmare in itself. We do our best and truly love what we do. We love being busy and touring all the time. This is our passion and we do it with zeal. It’s hard, but worth every minute.

J.T.: What are the big things coming up for Paper Tongues in the near future?
Devin: We’re playing Bonnarroo here in a couple weeks! I can’t wait for that. The roster is absolutely incredible this year as always. We’re touring with Civil Twilight and Neon Trees this summer, so make sure you find a show close by and come see us. We’re playing “Lopez Tonight” on the 24th this month. Other than that, we’re just going to be touring our butts off for as long as we can.

erratic news here

Microtia – Spacemaker review

Microtia – Spacemaker

According to description, Microtia was inspired by the likes of Bjork, Cave In, Silver Pickups and Shiner. Well, I don’t hear a whole lot of Bjork or SP on their debut.

Instead, music on “Spacemaker” reminds of Cave In / Isis – very powerful and crushing, with little room for anything but blasts of distortion and feedback (with an occasional quiet moment here and there). Wailing vocals, however, don’t fit music very well and they tend to destroy a good impression that the rest of the band creates.

http://ihrtn.com/2010/04/27/review-vault-microtia-paper-canyons-teeph/

BONEDOME / Thinktankubator

BONEDOME / Thinktankubator (Summer Break Records - merci à/thanks to
XO Publicity)



La voix du chanteur Allan Hayslip rappelle beaucoup celle de Peter
Murphy. C’est la première chose que vous remarquerez à l’écoute de
Bonedome. Ce n’est pas une mauvaise chose, loin de là, mais c’est
notable. Pour le reste, Thinktankubator propose une bonne brochette de
chansons inspirée par le rock alternatif intelligent des années 80
(Murphy époque Holy Smoke, XTC, Love and Rockets), vu à travers le
prisme du indie rock d’aujourd’hui. On me l’a présenté comme de
l’indie-prog, ce que je rejette: les chansons sont courtes, simples,
sans développements instrumentaux. Cela dit, elle sont intelligemment
arrangées, bien mûries, et elles ont de l’ambition. Les fans de Murphy
y trouveront quelque chose, j’en suis sûr. “Girl One” est
particulièrement réussie.

The voice of singer Allan Hayslip is strongly reminiscent of Peter
Murphy. It’s the first thing you’ll notice when listening to Bonedome.
It’s not a bad thing, of course, but it leaps at you. That aside,
Thinktankubator offers a good selection of songs inspired by the
intelligent alternative rock of the ‘80s (Holy Smoke-era Peter Murphy,
XTC, Love and Rockets), seen through the prism of today’s indie rock.
The album was introduced to me as “indie-prog” but that’s just wrong:
the songs are short, simple, without instrumental developments. That
said, they are intelligently arranged, matured, and they show
ambition. Fans of Murphy will find something to like in here, as did
I. “Girl One” is a particularly good song.



http://blog.monsieurdelire.com/search/label/Bonedome

Singer/songwriter Jessie Torrisi is equal parts sexy swagger and sincere soul

Singer/songwriter Jessie Torrisi is equal parts sexy swagger and sincere soul

Posted using ShareThis

Bonedome "Thinktakubator"

http://damnationdanceparty.blogspot.com/2010/04/bonedome-thinktakubator-summer-break.html

Damnation Dance Party

Friday, April 23, 2010
Bonedome "Thinktakubator" (Summer Break)



Charged and deliriously ebullient lead-on "sandman" bursts in fully technicolor and cleverly collated spectacle. It rockets stratosphere-ward, only to shower/bombard reeling listeners with neon tonal sparks. Shards of felt hues jut from surrounding sod. Moods, paces, and inclinations whirl past like scattershot kaleidoscopic emissaries from plateaus uncharted yet universal. Progression with steely ambition, gold pot.

Recommended "Sandman," "Steven"



-- DC Larson

Birmingham Magazine covering THE VERY FOUNDATION

Jessie Torrisi and the Please, Please Me: Country, indie pop

Jessie Torrisi and the Please, Please Me: Country, indie pop

http://whatsup-magazine.com/2010/03/21/jessie-torrisi-and-the-please-please-me-country-indie-pop/

Posted by Brent Cole

With unbridled enthusiasm, Jessie Torrisi has worked tirelessly to bring her stylized alt-country/indie pop sounds to a growing audience. Different elements of her music have been compared to Ryan Adams, Cat Power and even Chrissie Hynde all with a passion that’s as engaging as her sound.

Jessie’s history is as honest and interesting as she is. Originally hailing from Philadelphia where she picked up drums as a teenager, she spent 10 years in New York City, part of which time she spent playing drums for several bands. After one of the bands temporarily moved to New Orleans, where they subsequently fell apart, she realized it was time for a change that she’d spent all of her time relying on others to help her fulfill her dreams. “For me there was the moment when everything changed,” she stated. “It was a revelation that I had been trusting everybody else but myself.”

It was then that she began her career as a songwriter. Epiphany aside, Jessie was still in the process of getting comfortable being up front, singing her songs. “I was doing it in a closet – one foot in and one foot out way for probably a year and a half before I put out the record.”

She was also in the process of mentally leaving New York and getting ready for a new adventure. Before leaving, though, she decided to amass all of her connections and record Br ler Br ler. “I made the record just to kind of do it,” she said with a laugh, adding, “Then I thought, the record was kind of good. And I thought, maybe I should go do music.”

The album was released in October of 2008 and she moved to Austin at the end of the following winter. The perpetually driven Jessie had a short time frame to start making things happen. “I gave myself about three months from touch down to starting performing.”

From there, Jessie has become a wrecking crew of sorts, doing whatever it takes to get booked and have people see her perform, knowing that if people hear her, they’ll like what she has to offer. “It’s the only thing you can really count on when you’re in a room and you’ve got a guitar or mic in your hand and you say something or do something that’s going to move them,” she said.

While she works tirelessly to be heard, the task of eventually making music a career is daunting. “I love it,” she said, “but the financial aspect is terrifying.” She added, “It’s definitely a leap of faith, there’s no question. I try and just be as educated as I can. Rock ‘n roll can be my Jesus thing something to believe in blindly.”

The hard work has paid off with increasing recognition not only in her adopted hometown of Austin, but across the U.S. where positive press from her CD and live shows continues to pile up. Fans and music critics alike get caught up in her beautiful soulful voice laid over subtle songwriting opting to move away from the normal acoustic guitar, “it’s just not me,” towards electric. To classify her sound as alt-country would be to minimize its impact the sounds and textures move beyond simple categorization towards the simple description of “damn good.” “I do feel super inspired by all the great feedback I’ve gotten,” she said.

Building on the success of her album, Jessie has begun touring with some regularity with her band Please, Please Me, getting her music out to the masses. “Going on tour is like breaking your cherry no matter when you come home, you feel like a musician.”

www.jessitorrisi.com

Judge Jackson’s 5th full length ‘Drive’

Judge Jackson’s 5th full length ‘Drive’ is blend of 70’s and 80’s stadium rock ala Journey and Whitesnake with bluesy guitar riffs, romantic rock dudes, smoky bars and wistfulness from the south.

With classic rock bands of our time there’s always the discussion about creative relativity and the hey-days long gone, yet this LA 4-piece skillfully execute their old-time love with a soundtrack that reminds of a great, cheesy 80s road-trip movie for college graduates.

The 10 chapters on ‘Drive’ welcome you to the ultimate male high-life with a top-down convertible heading down the sunset to an adventure of movie character lives. From beer, bar fights, strippers, football, love, heartbreak and the inevitable cliché ending, this record has it all. Furthermore, the thriving positive energy (a joie de vivre if you will) reminds of the old wisdom, that it’s all about the journey, not the destination.

Grooving guitars, a vibrant rhythm section and a frontman that sings like he’s seen it all make up a truly authentic and tight band with sound that made me hum for the wayward son. Judge Jackson can easily be put on one stage with the big 70s bands, yet where the stage might be located in 2010 is a completely different beer.



http://audiotier.com/2010/04/22/judge-jackson-drive/

Microtia: Spacemaker Review

Microtia: Spacemaker Review
http://www.targetaudiencemagazine.com/uploads/microtia.php



Within the first few seconds of Microtia’s sophomore effort it becomes pretty obvious where their influences lie. But that’s not a bad thing. The deluge of digital dissonance and progressive digressions combine the spacey prog-rock of groups like Muse with the frantic post-punk of At the Drive-In. That may sound a little messy, but they make it work through sheer force of will. These Portland natives demonstrate a massive amount of energy and passion that carry this CD a long way.



There’s no doubt that these guys love what they do, so much so that you can’t help but love it too. The level of craftsmanship involved in the songwriting embraces the sort of indie/DIY spirit that reaches all the way to the album case, which was made from the band’s recycled beer, pizza and cigarette cartons.

Most of the songs on the album have a gloomy veneer full of minor keys, but there’s a definite playfulness just below the surface. “That’s the Problem With Owning Half the State of California”, for example, continues a sustained three minutes of melancholy sad-sackery before inexplicably dropping into some light Led Zeppelin jamming.

However, amid all of the wildly dynamic music, Eric Leskovar’s vocals often prove to be a drag on the songs. The drawing out of notes and the repeating phrases like mantras seems to be aimed at creating the sluggish trance-like effects of stoner-rock. And on tracks like “1000 % Sure” that singing style brings a cool Mastodon-esque vibe, but it just doesn’t work well for most of the album. With many songs ranging between five-to-seven minutes, the vocals wear out their welcome long before the track ends. It feels like Leskovar keeps stomping on the brakes while drummer Tim Steiner is trying to drag everyone forward.

Microtia is definitely working toward something amazing on Spacemaker, they just haven’t quite made it yet.

Review by David Feltman
myspace page here

Bonedome: Thinktankubator

http://www.cosmosgaming.com/articles.php?id=2631&articletype=review


Music: Bonedome: Thinktankubator
Our Take

Bonedome is one of those bands whose music contains a little bit of
everything rock related. On their debut effort, the group has elements of
classic rock, progressive rock, and alternative rock (among others) all
mixed into one cohesive sound. While this may sound as though it is going to
result in a very disjointed effort, the band’s debut effort Thinktankubator
is actually a very layered effort that will have listeners analyzing every
single song just to find out what influences it pulls from. And although
there are some slightly weaker tracks, the overall album is very strong and
should keep people interested.

Despite the fact that almost every song on Thinktankubator has a slightly
different sound from the last all of the tracks fit in with one another and
nothing is ever thrown at the listener that seems unnatural or out of place.
Bonedome clearly is interested in always offering something new, as one
minute they might be playing old school progressive rock while the next they
are playing more modern alternative rock. There’s certainly a lot to like,
as the instrumentalists put a lot of emphasis on creating catchy melodic
riffs that make all of their different styles to stick with listeners.
Admittedly there is a song or two where the sounds just kind of fade into
the background and don’t grab your attention, but as a whole this album does
stand out.

Vocalist Allan Hayslip sounds as though he was ripped out of the halls of
classic rock as his singing is very reminiscent of a number of rock
vocalists from the late 60’s and early 70’s. Hayslip is backed up by some of
the other musicians and this is often used to create some very cool
harmonies. What is even more impressive is how he is able to adapt his style
to fit all of the different instrumental arrangements without sounding
awkward. Despite the fact that his voice gives Bonedome a slight retro vibe,
this doesn’t make the group sound dated at all and actually helps them out.

Thinktankubator is a very interesting release that manages to mix retro and
modern rock together to create material that should attract listeners both
young and old. There is still some room for the band to grow and continue to
expand on all of their various instrumental styles but as of right now they’re
still memorable. Look for Bonedome to be in a lot more places in the next
few years as they have lots of potential.

http://www.myspace.com/bonedomemusic

Chris Dahlberg
April 20, 2010

Fort Worth's The Burning Hotels debut LP!

THE BURNING HOTELS
NOVELS (Miss Press)

There can never be enough catchy pop-punk songs about relationships sung by
guys in tight pants. Or so goes the assumption made by Fort Worth's The
Burning Hotels on their debut full-length, Novels.


http://www.dallasobserver.com/2010-04-15/music/the-burning-hotels/

Turns out the band might be right, too, even if the songs on this release
sound similar to the band's predecessors, chiefly The Strokes and Franz
Ferdinand, and, locally, Black Tie Dynasty. There are some minor
differences, of course: The Burning Hotels appear the first to coin the
phrase "sex punk" when describing their own music, and, actually, that term
fits quite nicely. If nothing else, it sure is an onslaught; Marley
Whistler's thumping bass lines couple with Wyatt Adams' furiously rhythmic
drumming to round out quite an attack on the senses.

But at its core, the sound is quite simple: '80s new wave meets today's
catchy indie-pop rock. And though The Burning Hotels don't stray too far
from the pop-song formula, there's not much need to when you're this good at
it. The good, no doubt, comes in the form of Novels' hook-driven harmonies
from vocalists/guitarists Chance Morgan and Matt Mooty, who formed the band
while in their teens.

Unfortunately, the band's rather strict formula leads to some repetition.
And while that translates just fine at a live show, it can be a bit
frustrating when listening to the album.

Still, as singles go, Novels boasts its share: "Austin's Birthday" and "Boy
or Girl" are the obvious treats thanks to their earworm appeal, but the
whirling "Time" might be the most sonically interesting track out of all of
them.

In the end, it's all about a simple enjoyment here: Only one of Novels'
songs checks in at over four minutes long, so just try not to think too hard
about them.

Microtia returns with Spacemaker

Microtia – Spacemaker –

Another sophomore follow-up, Microtia returns with Spacemaker, a well put together mix of deftly paced rock energy, infused with sparse bits of electronic pop. The album’s title refers not to the celestial realm, but the composition of its casing – the band created the album cover by recycling pizza and beer boxes. A cool endeavor, to be sure, and such environmental awareness translates into an active consciousness as related to their music, especially in more ambitious songs like “Tone Mountain vs. The Body of Rifffage,” which preludes into the album’s loudest track, but the lyrics are never screamed or overplayed for effect. The amount of restraint in their most furious moment solidifies the authenticity of Microtia’s rock. The only complaint would be the album’s resemblance to its peers, failing to completely transcend the “solid genre effort” categorization. It definitely is that, though, and reason enough to check this out and anticipate future efforts.




http://www.carolinianonline.com/new-music-review-1.1309440

The Burning Hotels on Dryvetme Onlyne

The Burning Hotels
Novels
Self-Released; 2010



Travel with me back to the halcyon days of 2004, back when it seemed like
the entire world was enjoying the sounds of Hot Fuss from The Killers. Big
'80s pop textures were the order of the day, as it appeared that it was
finally kosher to mix together New Order and Duran Duran for a big radio hit
(as it most certainly was NOT in 1984). Yes, the haters claimed that Brandon
Flowers and his chums were mostly copycat artists, and yes, there were times
when I hid this record from my joyless rock snob friends, but I enjoyed
being pandered to musically (as did the 3 million-plus other folks who
bought the album). Unfortunately, it seems that the haters were correct - I
found the band's two subsequent releases to be bland and tasteless - but I
still have no problem bouncing around to tunes like "Somebody Told Me" and
"All These Things That I've Done."
Continue reading "The Burning Hotels - Novels"


http://www.dryvetymeonlyne.com/

The Burning Hotels INTERVIEW!

Sunday, April 11, 2010
THE BURNING HOTELS

PHOTOGRAPHY BY DINAH GORDY
WEBSITE: www.myspace.com/theburninghotels
COUNTRY: United States STYLE: Indie Rock / Post Punk


WERE YOU GUYS ALWAYS MAKING MUSIC LONG BEFORE THE THE BURNING HOTELS GOT
TOGETHER AND DO YOU FIND THAT YOU GUYS ARE JUST AS EXCITED ABOUT BEING IN A
BAND NOW AS YOU WERE BEFORE THIS ALL HAPPENED?

Everyone in the band has been making music is some form for a long time.
Matt and I have been writing music together almost 10 years. I feel like the
excitement has transferred from being in a band to performing and creating
as a collective. Starting a band is exciting. Playing your first show is
exciting. I think it's more of an accomplishment now and honestly, I think
we are just happy to still be performing for new people that really want to
hear our music.

GUESS YOU GUYS DON'T LIKE HOTELS THAT MUCH (SORRY HAD TO SAY THAT); BUT
SERIOUSLY, WHAT ARE THE BEST AND WORST CONDITIONS YOU'VE HAD TO SPEND A
NIGHT ON TOUR?

We usually don't get comedians interviewing us... So thanks for the change
of pace. I think the worst was in Chapel Hill or Charlotte. We had met a
couple of different people and bands with places to crash and we were trying
to weight our options without being rude, but also trying to find a decent
floor. We ended up staying with a band that reminded me of a Frat guy band
trying to cover Vampire Weekend.

I slept/passed out in the van that night, so I have no idea how bad it was,
but early the next morning, I was heavily reprimanded by Marley (our bass
player). He said, "The next time we have to stay in a place like that, I am
waking your ass up and you're staying inside with the rest of us." That
said, we are from Texas, so there are a lot of transplants across the
country, so we can usually always stay with a friend.

IS IT ALWAYS GREAT TO MEET THE PEOPLE WHO LISTEN TO YOUR MUSIC WHILE OUT ON
THE ROAD AND DO THEIR OPINIONS HAVE AN IMPACT ON THE WAY THE BAND WRITES
SONGS AT THE END OF THE DAY?

It is a really great feeling to show up in a new city and discover that
someone is actually singing the lyrics to a song that we wrote a thousand
miles away, but I wouldn't necessarily say that fans have impacted our
writing. That said, I do I think that seeing new cities, meeting new friends
and getting to experience these things from a local's point of view does
change your future perspective. Thank you, Omaha!

TELL US MORE ABOUT YOUR DEBUT FULL-LENGTH ALBUM TITLED "NOVELS" WHICH WILL
BE RELEASED TOWARDS THE END OF THE MONTH. WHAT CAN PEOPLE EXPECT FROM YOU
GUYS COMPARED TO PREVIOUS EFFORTS?

The record is a representation of growing up. When we recorded the Eighty
Five Mirrors EP, it was the first time we worked in a real studio, and there
was little production involved. The way we wrote and performed the original
songs was the way it was recorded sans a few bells and whistles from our
producer, Will Hunt. We went into the studio three years later as better
players and songwriters, so hopefully that is evident.

Novels was recorded and produced by Hunt and co-produced by Chad Copelin.
They helped us get the sounds and spent the time to help us craft these
songs, sonically into what you hear. We are all really proud of the record.
And we look forward to showing it off to old and new friends alike.

NOVELS WAS MIXED BY MARK NEEDHAM (THE KILLERS, BLOC PARTY), HOW COOL IS
THAT; AND WILL THE REST OF THE YEAR BE DEDICATED TO CREATING AS MUCH BUZZ
AROUND THE ALBUM AS POSSIBLE?

Mark is a genius at what he does. We were very lucky to have him mix our
record; we actually met face to face at SXSW. Very cool guy. First, we are
going to be doing a Midwest and East Coast tour to support Novels in late
May and early June. The rest of the year will be predominately touring and
getting our music out to as many people who care to listen.

ARE YOUR SONGS ALL ABOUT LOVE AND THE "NICE" THINGS IN LIFE OR DO YOU GUYS
LIKE TO GET A BIT MORE "SERIOUS" MUSICALLY FROM TIME TO TIME?

We tend to write about love and death. I think the majority of our songs
come from normal life experience, but there are some fictional characters
that sneak in from time to time. There is a lot of love, but usually gone
awry.

DO YOU JUST FOLLOW YOUR GUT WHEN WRITING AND HOPE THAT THE SONG YOU ARE
WORKING ON WILL BE A POTENTIAL HIT WITH FANS OR IS THE "NOT KNOWING" PART OF
HOW PEOPLE WILL INTERPRET YOUR MUSIC WHAT MAKES IT ALL MORE FUN?

We have never thought about what anyone else will think when writing a song,
but I think performing a song for the first time can be nerve racking. Song
writing is a creative outlet, so worrying about your critics would probably
dilute the process or ruin it all together.

EVER HEARD A SONG THAT MADE YOU WANT TO CRY AND MADE YOU THINK, "I WANT TO
WRITE A SONG LIKE THAT"?

I have never cried because I have wanted to write a song, but I have freaked
out because it was so good. The first time I heard "Damaged Goods" by Gang
of Four, I remember going, that's a fucking song.

THERE IS ALSO A COOL "ELECTRONIC / 80'S" VIBE IN SOME OF YOUR SONGS AND YOU
USE SOME DELAY AND OTHER EFFECTS AS WELL. DO YOU ALWAYS LIKE TO TRY OUT NEW
GEAR TO SEE WHAT SOUNDS YOU CAN COME UP WITH?

We are pretty minimalistic when it comes to pedals, effects, and extras.
Both producers are very talented multi-instrumentalists, so when we made the
record, I think their talents helped fill out our sound. We have been
experimenting with keyboards and different sounds lately, so we'll see where
that takes us.

ONE CAN HEAR MANY OF YOUR INFLUENCES IN YOUR SONGS BUT I COULD NOT HELP TO
WONDER HOW YOU GUYS ARE PLANNING TO STAND OUT FROM THE "HUGE CROWD" OF INDIE
BANDS ONE HEARS ON THE RADIO AND ONLINE ON A DAILY BASIS?

What?

I really can't tell you one band that isn't a derivative of a band or a
style of music, so I think the best thing we can do as The Burning Hotels,
is play fast and keep it simple. I feel like nowadays it seems like every
band is trying to be purposely artsy and/or lo-fi just to get noticed for
being different. And it's getting a little redundant.

ANY OTHER COMMENTS OR ANYTHING ELSE FANS SHOULD LOOK OUT FOR?

It's never too early to plant the seed for a quick to market follow-up to
Novels this Fall with something brand new. Stay tuned.

read here

THE BURNING HOTELS review!!!!

FORT WORTH — Of all the brooding, post-punk rock to surface in recent years, The Burning Hotels are a Texas force to be reckoned with. They released their first EP Eighty Five Mirrors in 2007, which not surprisingly garnered them Fort Worth Weekly’s Album of the Year. Now, three years later they’ll be releasing their new full-length album, Novels – and for their fans, it will be worth the wait.

If you loved the fast-as-lightening rhythms and circular, droning riffs they’re known for, you’ll be happy to know Novels is riddled with it, as is Matt Mooty and Chance Morgan’s cool, polished crooning that would even make Julian Casablancas blush.

the album is a slam-dunk for the Fort Worth quartet. Every song is anchored with indie-radio ready hooks awash in articulated love-lorn haikus. “Austin’s Birthday,” their first single, is a gem and perfect pick to premier what is The Burning Hotels’ quintessential mark on the DFW scene. Morgan’s slick vocal prowess floats through a determined guitar musings and a splash of New Wave synth akin to British mood-rockers like Editors and White Lies.

“Hey” is another master craft with a punchy Mooty/Morgan duet and oi-inspired shouts. “Where’s My Girl” and “To Whom It May Concern” are also album highlights. However, if there is one drawback to the collection, it’s that there are exactly zero songs of the 11 offered that break from the up-tempo fury. “Silhouette” may pass as a gentler intermission-like tune that lets the ears rest for a second (and drummer Wyatt Adams’ arms, we’re sure), but this album is not a slow burn. It's a candle burning hard and fast at both ends.




The Burning Hotels take their name very seriously.Lyrically, the songs are personal and mysterious. It’s like a party you missed, and the only details offered are frustratingly vague Facebook updates full of inside references. You want the whole story of whatever heartbreak or life lesson prompted the four-minute ode, but all you get are snippets. But that’s not necessarily a bad thing, since it leaves you hitting the repeat button for context clues.

For example, in “To Whom It May Concern,” Morgan wails, Smoke and pills is what I did, where’d you go my sweet old friends / Making time to make me right, just waiting for someone who’s nice / Alone together is how we lay, forever in love is how we stay / I am wise beyond my years, you are not so please stay clear / We’re better off without you, we’re bold enough to pull through.

So, what happened? I want the whole story this time.

http://www.pegasusnews.com/news/2010/apr/05/cd-review-burning-hotels-novels/

SMALL TAKEOVER on transient songs!

Transient songs - Cave Syndrome
http://smalltakeover.blogspot.com/2010/04/transient-songs-cave-syndrome.html

(Indian Casino Records)


Transient Songs is the odd name of John Frum's project and "Cave Syndrome" is the album's title. The songs on the album are very reminiscent of The Church. This comparison is mainly because Frum's vocals are hauntingly close to those of Steve Kilbey. A number of the songs reminded me of Kilbey's singing when teamed up with Grant Mclennan on their Jack Frost side-project. The guitar sound adds a dreamy alternative pop feel that will cause underwear dampening to fans of The Church and The Go-Betweens. The whistling on "Greenwood Backyards", which features Frum playing all the instruments, takes the listener by surprise whilst adding to the song. " There's cat-like screaming in the otherwise sparse "Wide Open Skies" before the cello gently slides the song along for a peacefully slow ride allowing the passenger the time to take the entire view in. The thick laidback guitar lend an ambient Pink Floyd eerieness to "Lungs and Livers". Background vocals and guitar are appropriately buried although guitar feedback pops its head out to survey the surroundings in "The Burrow Patch". While originality doesn't really shine through here as The Church similarities scream out to me louder than they really should, "Cave Syndrome" is an enjoyable album and one that fans of any of the previously mentioned bands should give a listen to. 3/5

http://www.myspace.com/transientsongs

POP ROCKET covers transient songs

TRANSIENT SONGS
Cave Syndrome
Indian Casino Records

John Frum spent his punk years in Texas before migrating to Seattle and discovering the delights of 70s psychedelic rock. Hooking up with multiinstrumentalist
Andy Gassaway, he’s fleshed out Transient Songs with cellist Ruth Davidson and violinist Amanda Lempreicht for your full symphonic enjoyment. A lush guitarscape evokes David Gilmore’s earlier work with Pink Floyd before Roger Waters steered the band in a more populist direction on The Wall. The free flowing, dreamy vibe makes you want to hike out into the woods on a warm summer evening and watch the moon slowly work its way across the night sky. Recreational accessories may enhance the experience or could prove to be entirely superfluous. If you’re in need of a chill pill to get back in your groove, Cave Syndrome is the right diagnosis for what ails you.

http://www.poprocketpress.com/index.php?option=com_wrapper&Itemid=28

its in current issue on PAGE 10

Music seen: Spoon, The Burning Hotel, Eric Davenport

http://flagpole.com/Weekly/Homedrone/SXSWUpdateChristopherBenton-18Mar10

Wednesday March 17, 2010

Music seen: Spoon, The Burning Hotel, Eric Davenport

I arrived in Austin late. Very late. I saw Spoon, which was underwhelming. I
saw The Burning Hotels. The pitch: gnarly garage-pop quartet with a fast as
fuck post-punk drummer, angular sometimes-mathy guitar, and a very earnest
singer. Wrapping up the night I checked out a house DJ showcase and saw LA
ass-to-the-floor basstro Eric Davenport--he's talented.

Overall I rate them epic! on the AWESO-meter scale!

http://djdangergurl.blogspot.com/2010/03/burning-hotels-epic.html

The Burning Hotels- epic

(link to myspace in title)

The Burning Hotels are an ahmazing alternative/indie rock band with a great
style and even better sound! You can see a little bit of their flare in the
movie Bandslam-if you just want a taste. If you want the full, more AWESOME
experience that IS The Burning Hotels, buy their music on iTunes or go find
their most recent CD Eighty Five Mirrors or their newest single Austin's
Birthday(my fav of their songs)


Overall I rate them epic! on the AWESO-meter scale!

The Burning Hotels - "French Heart Attack"

http://www.flyhighduluth.com/2010/03/sys68-death-by-misadventure.html

16. The Burning Hotels - "French Heart Attack"
Like Sub Pop's Happy Birthday and Mad Decent's Rusko, this is another
worthwhile indie group and/or individual featured on my Song of the Week
series (it was the explosive "Austin's Birthday," in case you missed it).
Anyway, if you're a big fan of the Strokes, it's pretty safe to say you'll
soon be purchasing a couple-sizes-too-small Burning Hotels T from Hot Topic
any day now.

Review – Transient Songs – Cave Syndrome (Indian Casino, 2010)

Review – Transient Songs – Cave Syndrome (Indian Casino, 2010)
http://ihrtn.com/2010/03/17/review-transient-songs-cave-syndrome-indian-casino-2010/
Posted on March 17, 2010 by admin


Official Site

Indian Casino Records

“Cave Syndrom” is a debut by Seattle band Transient Songs, led by John Frum (ex-Hasslehorse). Its a record full of contradictions – for one, it desperately tries to sound depressingly and gloomy, but fails. Instead, it feels like most of songs on the album sound laid back and have a certain psychedelic/hazy vibe to them (despite not so happy lyrics).

Second point is that its a pop / rock album where “pop” side of the equation clearly pushes “rock” side into the corner, so to speak. That’s not to say that its not energetic, its just that emphasis mostly seems to be on catchy hooks and melodies, with a smattering of feedback/loud volume/distortion here and there.

Whether its deceivingly light opener “In This Darkness The Light Seeps Through” or charmingly titled “The Cancer In Our Bloodlines”, it all seems be done very well, whether from production or performance point. Yet, the feeling is that the album is best taken in small doses, lest the listener will lose patience and turn it off halfway through the record.

For what it is, it’s a good record, but probably not something that I would play every day, as it doesn’t seem to be terribly different from similar records.

Transient Songs on NOCTURAL CULT

http://www.nocturnalcult.com/newcontents.htm



Transient Songs

Cave Syndrome

Indian Casino Records 2010

An immediate reference to the laid back and thoughtful style of The Church can be heard on Cave Syndrome's opening track, In This Darkness Light Seeps Through. The sweet, whimsical notes that float to the surface also call to mind Belly at their most soulful moments. And so begins the journey that Transient Song take us along during the 10 tracks of their debut album Cave Syndrome. Heavy in self reflection and calm moments that give the listener room to breath and relax. A warbling western feel slowly shifts like desert sands on Smoking Slows the Healing as acoustic guitars and John's airy vocals paint a stark, dry night under the stars. A feeling of the sorrow and joy of homecoming after a long hard road is created by the piano on the opening passage of Greenwood Backyards before the second half develops in to more The Church leanings. Wide Open Skies with its echoing vocals and stumbling pacing creates a barren soundscape that drifts like white cloudy puffs on the horizon. Astoria is almost scary with its deep vocal tracts and disturbing shimmering guitars, like being in an underwater desert, gurgling tumblweeds ambling by with the current. The title track brings the journey to a close with moments of lighthearted-joy, a somewhat old school feel to it that brings a sort of a mix of 90s alternative with an undercurrent of CCR. If you love the expansive alternative sounds of The Church then Transient Songs will nestle into a warm spot in your heart. Though somewhat more diverse, Transient Songs delivers easy yet emotional songs that drift into a mellow dreaminess.

Transient Songs - Cave Syndrome

Transient Songs - Cave Syndrome
2010, Indian Casino Recording Company

Seattle’s Transient Songs is the muse of former Texan John Frum, who with Andy Gassaway abd a coalition of musical friends recorded Transient Songs’ second album, Cave Syndrome in late 2008 and early 2009. Written primarily while Frum was recovering from a shattered humerus bone, Cave Syndrome reflects that dark, somewhat lonely time spent recovering in Frum’s apartment with spacious, feedback-riven works.

Cave Syndrome opens with the ethereal Americana gloom of "In The Darkness Light Seeps Through". Steeped in melancholy, the song has a benign, detached feel that makes it difficult to connect with. "Smoking Slows The Healing" is mired in a plaintive sense of harmonic duality. The arrangement pays little mind to how various instruments match up for pitch, creating a disturbing musical tableaux. "The Cancer In Our Bloodlines" has lyrics that should have more impact than they do in the end. The arrangement offered here is much too passive for the subject matter; a disconnect that can work at times but fails to here. There are elements of beauty in the song, particularly in the strings, but they are buried in too much interference.

"Wide Open Skies" presents decay as a allegory for personal angst, pointing to the sky above as a glimmer of the possibilities that exist. The approach here is again highly passive, interwoven with dark understanding of the ultimate end but uses a temporary pleasure to make it alright ("someday the earth will be above us, but for tonight wide open skies"). "Golden Gardens (Lungs & Livers)" is a maudlin paean to the terminality of human existence and some of the weak points that befall us. The point doesn't seem to be so much loss but the loneliness of the experience of dying. "Astoria" and "Burrow Patch" maintain this emotional descent, with Transient Songs expressing a blend of self-pity and loss throughout. Cave Syndrome closes with the title track, a more upbeat turn that looks back on the dark valley that the album commemorates. "Cave Syndrome" is brief and offers uncertain resolution to the album; it's impossible to tell whether the end result is true healing or simply candid acceptance. The sudden end to the song speaks ill, perhaps, and the album as a process leaves you hanging with questions unanswered.

Cave Syndrome is the sort of album that will make you angry, tired, frustrated and even thoughtful. You'll want to turn it off several times throughout and often find yourself unable to. Like an auto accident, there's a curious quality to the pain that runs throughout the album, and Transient Songs buffer the experience with musical arrangements that are both fitting and disturbing in equal measure. Cave Syndrome is not a pleasant listen, but it's one you may find yourself drawn back to again and again.

Rating: 3 Stars (Out of 5)

http://wildysworld.blogspot.com/2010/03/review-transient-songs-cave-syndrome.html