Monday, September 10, 2012

The Memorials to bring music fusion to Columbus

Courtesy of The Memorials
The Memorials is scheduled to perform Sept. 11 at Skully’s Music-Diner.
Sometimes a band’s sound is so unusual and new that people in the industry have a difficult time placing it into a genre. And for at least one band, it likes it that way.

The Memorials is scheduled to play Tuesday at Skully’s Music-Diner as part of its Water Guns, Bar B.Q., and Hot Chocolate Tour. Doors open at 8:30 p.m.

“It’s a fusion project, juggling up everything, said drummer Thomas Pridgen. “I don’t know if we can name it (the sound) and I don’t know if we really want it named. I think it’s cool that people can’t put their finger on what it is.”

Interlaced in the fusion are genres such as afrobeat, progressive rock, R&B, jazz, soul and hard rock.
The Memorials formed in late 2009 after Pridgen ended a nearly three-year run with the Latin-infused progressive rock band The Mars Volta, which won a Grammy in 2009 for Best Hard Rock Performance for its song “Wax Simulacra.”

The Memorials’ tour name, Water Guns, Bar B.Q., and Hot Chocolate Tour, is a playful tribute to daily occurrences in the lives of the band members and the cities where the band is slated to perform, Pridgen said.
“We were just thinking of all the stuff we like to do, things we would do on tour. I like to drink hot chocolate and we’re going to all these places that have awesome barbecue,” Pridgen said.

Although Pridgen and Viveca Hawkins, the vocals of the outfit, had fun naming the tour, the duo is all business when working.

“When you start a band, you’re starting a business. It’s hard work, it’s expensive, it’s stressful. You’ve got to deal with a lot of people’s emotions and a lot of people’s opinions, and for me it’s about (getting) to tell all those quitters to eat s--- when I go to accept my Grammys,” Hawkins said.

Pridgen, who was endorsed by cymbal manufacturer Zildjian Cymbals at age 10, Hawkins and former guitarist Nick Brewer all attended Berklee College of Music in Boston.

Brewer is no longer with the band, after leaving around the time the tour began, and other members have come and gone working with other projects, Hawkins said.

Pridgen said the band’s songs are open to interpretation and that even he and Hawkins interpret them differently.
“(Brewer and I) would go in and try to write the hardest song, and in my mind I’m singing about hate. And then Viv hears it, and she hears love,” Pridgen said.

Pridgen praised Hawkins’ talent as a vocalist and lyricist.

“She writes what she knows. A lot of it is crazy in itself because she’s writing over stuff that’s not normal to anybody. She’s stylistically creating something that doesn’t exist,” Pridgen said.

John Vishak, production manager and house talent booker at Skully’s, is expecting a well-attended and energetic show.

“It’s a good sound. (The Memorials is) definitely a West Coast band, heavy on the percussion. Thomas is a great drummer, really high energy. One hell of a show,” Vishak said.

Vishak also had trouble verbalizing the sound created by The Memorials.
“I really can’t try to describe them. They’re well-polished. They’re a tight band regardless of what you might think of their music,” he said. “When a band has a good attitude it transfers to the audience.”

Mission Bells and local band Forest & the Evergreens are scheduled to open Tuesday’s show. Skully’s is located at 1151 N. High St., and tickets are $8 at the door for those over 21, and $11 at the door for 18 and up.
http://www.thelantern.com/a-e/the-memorials-to-bring-music-fusion-to-columbus-1.2895850

Thursday, September 6, 2012

The memorials in Peoria!

Cue & A: The Memorials project plans Peoria stop

 

Photos


06_cue_a_memorials.jpg
SUPPLIED PHOTO

Thomas Pridgen and Viveca Hawkins will bring their musical outfit, The Memorials to Peoria on Sept. 14.

Posted Sep 05, 2012 @ 11:08 PM
Last update Sep 05, 2012 @ 11:54 PM




San Francisco drumming prodigy Thomas Pridgen will bring his project The Memorials to Peoria for a showSept. 14 at Shifters Pub, 500 Main St.
Pridgen, who started drumming at age 3, became the youngest student ever to earn a full scholarship to Berklee College of Music in Boston (he was 15).
Pridgen formerly performed with The Mars Volta and formed his own group in December 2009, calling on friend and former Berklee College of Music student Viveca Hawkins to join him. The result is a diverse sound that combines Pridgen's thunderous drumming with Hawkins' versatile voice.
Ahead of the show, Pridgen and Hawkins answered a few questions by email. Here are excerpts of the interview.
- Danielle Hatch
Describe The Memorials sound for someone who might not be familiar with it.
Pridgen: Life as we know it won't exist much longer so I'd describe it as the reboot button on a musically deprived, dumbed-down universe...
Hawkins: I guess my most common answer is psychedelic soul/progressive rock. There are heavy riffs and complicated rhythms that are complimented by thick vocal leads and storytelling for people to actually relate to.
You're on a three-month tour. Where will that tour take you, and what are you most looking forward to?
Hawkins: We have been on the road for a month since we left (California) by way of the south. We have one more to go as we make our way home from the East Coast back down through the Midwest. Then we have a break before we go to Europe for the first time.
Describe an experience when you were completely moved by music. Who was the artist?
Pridgen: It was a dark and gloomy night, Tony Williams was playing and the whole building was shaking...
Hawkins: Last time I cried at a concert we went to see an R&B artist named P.J. Morton at Yoshi's in Oakland. It wasn't so much the music as it was the lyrics... But these dudes called Blackfoot Gypsies in Nashville moved me to change my clothes after they rocked my world as one of our openers.
What can people expect from your show in Peoria?
Pridgen: Some dope (expletive) and a picture. We allow wild animals in our show so come ready to party.
Hawkins: We're coming to do the same thing we do every day... Try to take over the world. Seriously. We play to win every night. Come be a part of the glory.
The Memorials, made up of drummer Thomas Pridgen (The Mars Volta) and vocalist Viveca Hawkins will perform Sept. 14 at Shifters Pub, 500 Main St. Doors open at 10 p.m. Admission is $10; ages 21 and older. For more information, visit Facebook.com/thememorials

Listen: Grizzly Bear Perform New Songs on BBC

Hear "Half Gate" and "Yet Again"

By
Laura Snapes

Listen: Grizzly Bear Perform New Songs on BBC
This morning, Grizzly Bear appeared on Lauren Laverne's BBC 6Music radio show to perform two songs from their forthcoming album Shields, out September 17 in the UK and September 18 in the U.S. via Warp. Click here to listen to the session, which starts around 2:07 with an interview followed by "Yet Again", and picks up at 2:37 with more chat and a performance of "Half Gate" at 2:43.
Check out the video for "Two Weeks" from 2009's Veckatimest below.
And Grizzly Bear will play Pitchfork Music Festival Paris, taking place November 1-3 at Grande Halle de la Villette. Tickets are on sale now.

Wednesday, September 5, 2012

Stream the xx's New Album Coexist

Track the album's path around the world

By
Laura Snapes

\
Stream the xx's New Album Coexist
The xx's second album, Coexist, is out next week via Young Turks. Stream the whole thing below, courtesy of a nifty widget. In collaboration with Microsoft, the band have launched a website where you can track the album's path across the internet as it's shared from user to user.
"Send it to a friend and watch the path continue," the press materials explain. The band started the stream with one of their biggest superfans-- and it's spreading so fast that the site keeps dropping out, so be patient if it's slow to load.
Listen below, and watch a video of the band playing "Night Time" for Pitchfork.tv's "Surveillance". Read our "Update" interview with the band about the making of the album here, and a more in-depth feature interview here.

Thursday, August 23, 2012

Sounding Off On The Sounds You Need : THE HAGUE

The Hague

Black Rabbit

Self-released

ESM Rating: 7/10


Listen if you like: Cursive, Peter Stampfel, Bears, Said The Whale, Drew Stiles, Little Silver, Joshua Radin.

First impressions: Black Rabbit opened on deaf ears with an immediate dislike coming from the group in my living room. A few minutes later, though, all minds were open and mouths were shut, as it was a classic case of a bad opener followed by a majority rules solid album.

The nitty-gritty: The Hague seems to be living on the border of three time periods. The first of these would be the time when punk saw a fierce shift toward melody and elongated vocals in unison. Most notable in my eyes would be a similarity to the sometimes-contradictory sound of Cursive mixing quick runs on the symbols with Tim Kasher’s vocals moving at a snail’s pace. The second foot of The Hague’s Black Rabbit is firmly rooted in a resurgence of classical instruments fused with contemporary composition. The best parts of this album grow from the multitasking singer/guitarist Shawn Stevens' ability to synch his noise with that of violins. It’s a sound easy to associate with the flair of Arcade Fire and the movement that took place around them just a few years ago. The third time period is one when a band knew just how to feed the emotional monsters living within their fans, even if those monsters do not have the best judgment. I believe this period began with the first sounds man made. Despite the ability to step through time periods, The Hague will not please all. Yet this Portland, OR-based group seems content working up a strong stand with a young audience hoping to retrofit their musical stock.

Other recommended tracks: “An Open Book Conversationalist” is the one that will hook you in or throw you out. After this, the tracks hit stride, with standouts “California” and “Passing Cars” possessing the most substance.

East coast tour dates: Philadelphia tonight, Arlington, VA, on August 24th, Kent, OH, on August 25th, and Rockford, IL, on August 26th. Find out more at www.Facebook.com/TheHaguePDX.

By Will Tunstall

http://www.easternsurf.com/index.php?option=com_k2&view=item&id=398:nude-beach-lorelei-juiceboxxx-the-hague-and-thieves&Itemid=138

Saturday, August 18, 2012

Deerhunter's Bradford Cox and Black Lips' Cole Alexander Revive Ghetto Cross Project

Listen to the new track "Still"

By
Jenn Pelly and Amy Phillips

Deerhunter's Bradford Cox and Black Lips' Cole Alexander Revive Ghetto Cross Project
Deerhunter/Atlas Sound's Bradford Cox and Black Lips' Cole Alexander have revived their collaborative Ghetto Cross project, which they began in January 2008 with a new track called "Still". The band now also includes bassist Asha Lakra and drummer Frankie Broyles, formerly of Balkans. (See photo below.)

According to Cox, "Still" "is about the relationship that develops between two young boys, one of whom is autistic and cannot talk, and the other who is an outcast and beaten by his emotionally manipulative father."
Ghetto Cross released one track, "Dog Years", in 2008. Alexander also appeared on the Deerhunter song "Saved by Old Times" from Microcastle. (Cole contributed the spoken bridge via iChat video, as documented by Pitchfork.tv, below). Also, Cox guest Tweets via Black Lips' account.
According to Cox, "We recorded an album of songs around the time of Rainwater Cassette Exchange. We are revisiting them now as a fall project for fun."
The band will make their live debut on Tuesday, August 21, with a free show at Atlanta's Club 529. Both Cox and Alexander will also perform solo sets, as Atlas Sound and Old King Cole Younger, respectively.

Friday, August 17, 2012

2012 New York Film Festival Line-Up Announced, Includes 'Passion,' 'Amour,' 'Frances Ha'

The 2012 New York Film Festival announced its main slate of movies Thursday. The 32 movies draw from a healthy mix of big named directors and indie favorites.

Films From Noah Baumbach ("Frances Ha"), Roger Michell ("Hyde Park on Hudson"), Michael Haneke ("Amour," which won the Palme d'Or at Cannes this year) and Abbas Kiarostami ("Like Someone in Love") were selected.

As previously announced, Ang Lee's "Life of Pi" will open the festival, David Chase's "Not Fade Away" is the Centerpiece Gala Selection and Robert Zemeckis' "Flight," starring Denzel Washington, will close the fortnight.

"Passion," Brian De Palma's widely anticipated film, will also screen at the Venice Film Festival, which runs from Aug. 29 to Sept. 8. A number of NYFF's selections actual make their bow at the Toronto International Film Festival, which begins Sept. 6.

NYFF runs Sept. 28 to Oct. 14. The full main-slate list of films is available below, direct from the press release:
The 50th New York Film Festival main-slate:

Opening Night Gala Selection
LIFE OF PI
Director: Ang Lee


Centerpiece Gala Selection
NOT FADE AWAY
Director: David Chase


Closing Night Gala Selection
FLIGHT
Director: Robert Zemeckis


AMOUR
Director: Michael Haneke


ARAF – SOMEWHERE IN BETWEEN
Director: YeÅŸim UstaoÄŸlu


BARBARA
Director: Christian Petzold


BEYOND THE HILLS (După dealuri)
Director: Cristian Mungiu


BWAKAW
Director: Jun Robles Lana


CAESAR MUST DIE (Cesare deve morire)
Directors: Paolo and Vittorio Taviani


CAMILLE REWINDS (Camille redouble)
Director: Noémie Lvovsky


THE DEAD MAN AND BEING HAPPY (El muerto y ser feliz)
Director: Javier Rebello


FILL THE VOID (Lemale et ha'halal)
Director: Rama Burshtein


FIRST COUSIN ONCE REMOVED
Director: Alan Berliner


FRANCES HA
Director: Noah Baumbach


THE GATEKEEPERS (Shomerei Ha’saf)
Director: Dror Moreh


GINGER AND ROSA
Director: Sally Potter


HERE AND THERE (Aquí y Allá)
Director: Antonio Mendez Esparza


HOLY MOTORS
Director: Leos Carax


HYDE PARK ON HUDSON
Director: Roger Michell


KINSHASA KIDS
Director: Marc-Henri Wajnberg


THE LAST TIME I SAW MACAO (A Última Vez Que Vi Macau)
Director: João Pedro Rodrigues


LEVIATHAN
Directors: Lucien Castaing-Taylor and Véréna Paravel


LIKE SOMEONE IN LOVE
Director: Abbas Kiarostami


LINES OF WELLINGTON (Linhas de Wellington)
Director: Valeria Sarmiento


MEMORIES LOOK AT ME (Ji Yi Wang Zhe Wo)
Director: Song Fang


NIGHT ACROSS THE STREET (La Noche de enfrente)
Director: Raul Ruiz


NO
Director: Pablo Larrain


OUR CHILDREN (À perdre la raison)
Director: Joachim Lafosse


PASSION
Director: Brian De Palma


SOMETHING IN THE AIR (Après Mai)
Director: Olivier Assayas


TABU
Director: Miguel Gomes


YOU AIN’T SEEN NOTHIN’ YET (Vous n'avez encore rien vu)
Director: Alain Resnais

http://www.huffingtonpost.com/2012/08/16/new-york-film-festival-lineup-passion-amour-frances-ha_n_1792151.html

Thursday, August 9, 2012

A piano-rock, indie record with Queen and Muse influence at a glance, but something dark lurks below...



Have you ever known that type of person who is always telling you that you absolutely have to check out this band they found? Well, I feel that to some degree, I’m one of those. I don’t think I’m so bad that all my friends are constantly tired of it. But I’m sure they’ve all heard their fair share of ramblings that probably oversold band after band. So I can tell you, as one of those people, that the thought process behind that behavior is driven from the constant desire to stumble upon the band that lives up to the hype--the one that can’t be oversold. So is this that band? Probably not. But Rags & Ribbons are currently the band I won’t shut up about!

Rags & Ribbons’ first full length album, The Glass Masses, is mature, dynamic, and complex. The first chord on opening track, Even Matter, immediately called to mind The Ornament by dredg, and I feel it’s a fair comparison. Yet unlike many bands sharing their maturity, Rags & Ribbons offer their music in nice, easy to swallow tunes, which average around four minutes long. On the surface, they deliver indie pop-rock, heavy on the piano. But somehow, they are worlds away from bands like Coldplay or Death Cab for Cutie, either of which could be described the same way. The Glass Masses is woven together with rich, classical-influenced piano and complex, flowing vocal harmonies. However, the percussion and guitar parts carry a darker, heavier overtone, partially attributed to producers, Stephan Hawkes and Kris Crummett of Interlace Audio (Closure In Moscow, Tides of Man, Dance Gavin Dance). The production is outstanding; crystal clear and punchy.

The strongest and most unique attribute Rags & Ribbons have to offer, in my opinion, are their vocals, provided equally by Ben Weyerhaeuser (guitar) and Jon Hicks (piano). The vocals are consistent and distinct. The poppy instrumentals on Abacus Kids sound exactly as if they could come from another band I recently reviewed, Abandon Kansas, but the vocals set it apart. Jon provides higher parts, with evident classical training, whereas Ben delivers lower more contemporary parts and they blend very well. Their different styles allow plenty of flexibility in tone and they take advantage of that. Jon does seem to take the lead a bit more and on The Minds he’s at the top of his game. Ben’s strength is in the aggression he provides for Liar and Lady in the Midnight Sun.

Usually, I would describe the instrumentals by breaking down the different parts by what they add. But in this case, that method wouldn’t do them justice. The individual parts are great. Especially the piano parts. But what really makes their music great is the big picture those parts create. Similar to a good movie score, their music effectively creates an atmosphere that sweeps you up in the overall mood and tells a story. They’re not just playing their instruments well, they’re playing good music. And even after listening to the album for a while now, I’m still finding highlights that are really well done, such as the buildups/breakdowns in the bridge to How The West Was Lost and the heavy, driving chorus to Prelude.

Overall, I find it hard to accurately describe The Glass Masses in a nutshell. At first I would’ve described it as indie piano-rock with obvious Queen and Muse influence. But I continue to discover a deeper level which is bigger, heavier, and harder to pin down.

Rags & Ribbons The Glass Masses

 full reviewuser ratings (1) 
-Quincy Scott
Tracklist:
1. Even Matter
2. Liar
3. The Marks You Make
4. Kings
5. Moving On
6. Abacus Kids
7. Lady In The Midnight Sun
8. We Have Been Here Before
9. Push Back
10. The Minds
11. Prelude
12. How the West Was Lost


Release Date: 01/17/2012
user rating
4.5
superb

recommended by reviewer
Kaddisfly Set Sail The Prairie
Abandon Kansas We're All Going Somewhere
dredg Catch Without Arms
Birds Of Tokyo Birds Of Tokyo


  
4.5
superb
Quincy Scott USER (7 Reviews)

August 9th, 2012 | 1 replies | 147 views

Summary: A piano-rock, indie record with Queen and Muse influence at a glance, but something dark lurks below...

Have you ever known that type of person who is always telling you that you absolutely have to check out this band they found? Well, I feel that to some degree, I’m one of those. I don’t think I’m so bad that all my friends are constantly tired of it. But I’m sure they’ve all heard their fair share of ramblings that probably oversold band after band. So I can tell you, as one of those people, that the thought process behind that behavior is driven from the constant desire to stumble upon the band that lives up to the hype--the one that can’t be oversold. So is this that band? Probably not. But Rags & Ribbons are currently the band I won’t shut up about!

Rags & Ribbons’ first full length album, The Glass Masses, is mature, dynamic, and complex. The first chord on opening track, Even Matter, immediately called to mind The Ornament by dredg, and I feel it’s a fair comparison. Yet unlike many bands sharing their maturity, Rags & Ribbons offer their music in nice, easy to swallow tunes, which average around four minutes long. On the surface, they deliver indie pop-rock, heavy on the piano. But somehow, they are worlds away from bands like Coldplay or Death Cab for Cutie, either of which could be described the same way. The Glass Masses is woven together with rich, classical-influenced piano and complex, flowing vocal harmonies. However, the percussion and guitar parts carry a darker, heavier overtone, partially attributed to producers, Stephan Hawkes and Kris Crummett of Interlace Audio (Closure In Moscow, Tides of Man, Dance Gavin Dance). The production is outstanding; crystal clear and punchy.

The strongest and most unique attribute Rags & Ribbons have to offer, in my opinion, are their vocals, provided equally by Ben Weyerhaeuser (guitar) and Jon Hicks (piano). The vocals are consistent and distinct. The poppy instrumentals on Abacus Kids sound exactly as if they could come from another band I recently reviewed, Abandon Kansas, but the vocals set it apart. Jon provides higher parts, with evident classical training, whereas Ben delivers lower more contemporary parts and they blend very well. Their different styles allow plenty of flexibility in tone and they take advantage of that. Jon does seem to take the lead a bit more and on The Minds he’s at the top of his game. Ben’s strength is in the aggression he provides for Liar and Lady in the Midnight Sun.

Usually, I would describe the instrumentals by breaking down the different parts by what they add. But in this case, that method wouldn’t do them justice. The individual parts are great. Especially the piano parts. But what really makes their music great is the big picture those parts create. Similar to a good movie score, their music effectively creates an atmosphere that sweeps you up in the overall mood and tells a story. They’re not just playing their instruments well, they’re playing good music. And even after listening to the album for a while now, I’m still finding highlights that are really well done, such as the buildups/breakdowns in the bridge to How The West Was Lost and the heavy, driving chorus to Prelude.

Overall, I find it hard to accurately describe The Glass Masses in a nutshell. At first I would’ve described it as indie piano-rock with obvious Queen and Muse influence. But I continue to discover a deeper level which is bigger, heavier, and harder to pin down.
Tracklist:
1. Even Matter
2. Liar
3. The Marks You Make
4. Kings
5. Moving On
6. Abacus Kids
7. Lady In The Midnight Sun
8. We Have Been Here Before
9. Push Back
10. The Minds
11. Prelude
12. How the West Was Lost


Release Date: 01/17/2012
user rating
4.5
superb

recommended by reviewer
Kaddisfly Set Sail The Prairie
Abandon Kansas We're All Going Somewhere
dredg Catch Without Arms
Birds Of Tokyo Birds Of Tokyo


  
4.5
superb
Quincy Scott USER (7 Reviews)

August 9th, 2012 | 1 replies | 147 views

Summary: A piano-rock, indie record with Queen and Muse influence at a glance, but something dark lurks below...

Have you ever known that type of person who is always telling you that you absolutely have to check out this band they found? Well, I feel that to some degree, I’m one of those. I don’t think I’m so bad that all my friends are constantly tired of it. But I’m sure they’ve all heard their fair share of ramblings that probably oversold band after band. So I can tell you, as one of those people, that the thought process behind that behavior is driven from the constant desire to stumble upon the band that lives up to the hype--the one that can’t be oversold. So is this that band? Probably not. But Rags & Ribbons are currently the band I won’t shut up about!

Rags & Ribbons’ first full length album, The Glass Masses, is mature, dynamic, and complex. The first chord on opening track, Even Matter, immediately called to mind The Ornament by dredg, and I feel it’s a fair comparison. Yet unlike many bands sharing their maturity, Rags & Ribbons offer their music in nice, easy to swallow tunes, which average around four minutes long. On the surface, they deliver indie pop-rock, heavy on the piano. But somehow, they are worlds away from bands like Coldplay or Death Cab for Cutie, either of which could be described the same way. The Glass Masses is woven together with rich, classical-influenced piano and complex, flowing vocal harmonies. However, the percussion and guitar parts carry a darker, heavier overtone, partially attributed to producers, Stephan Hawkes and Kris Crummett of Interlace Audio (Closure In Moscow, Tides of Man, Dance Gavin Dance). The production is outstanding; crystal clear and punchy.

The strongest and most unique attribute Rags & Ribbons have to offer, in my opinion, are their vocals, provided equally by Ben Weyerhaeuser (guitar) and Jon Hicks (piano). The vocals are consistent and distinct. The poppy instrumentals on Abacus Kids sound exactly as if they could come from another band I recently reviewed, Abandon Kansas, but the vocals set it apart. Jon provides higher parts, with evident classical training, whereas Ben delivers lower more contemporary parts and they blend very well. Their different styles allow plenty of flexibility in tone and they take advantage of that. Jon does seem to take the lead a bit more and on The Minds he’s at the top of his game. Ben’s strength is in the aggression he provides for Liar and Lady in the Midnight Sun.

Usually, I would describe the instrumentals by breaking down the different parts by what they add. But in this case, that method wouldn’t do them justice. The individual parts are great. Especially the piano parts. But what really makes their music great is the big picture those parts create. Similar to a good movie score, their music effectively creates an atmosphere that sweeps you up in the overall mood and tells a story. They’re not just playing their instruments well, they’re playing good music. And even after listening to the album for a while now, I’m still finding highlights that are really well done, such as the buildups/breakdowns in the bridge to How The West Was Lost and the heavy, driving chorus to Prelude.

Overall, I find it hard to accurately describe The Glass Masses in a nutshell. At first I would’ve described it as indie piano-rock with obvious Queen and Muse influence. But I continue to discover a deeper level which is bigger, heavier, and harder to pin down.
Tracklist:
1. Even Matter
2. Liar
3. The Marks You Make
4. Kings
5. Moving On
6. Abacus Kids
7. Lady In The Midnight Sun
8. We Have Been Here Before
9. Push Back
10. The Minds
11. Prelude
12. How the West Was Lost


Release Date: 01/17/2012
user rating
4.5
superb

recommended by reviewer
Kaddisfly Set Sail The Prairie
Abandon Kansas We're All Going Somewhere
dredg Catch Without Arms
Birds Of Tokyo Birds Of Tokyo


  
4.5
superb
Quincy Scott USER (7 Reviews)

August 9th, 2012 | 1 replies | 147 views

Summary: A piano-rock, indie record with Queen and Muse influence at a glance, but something dark lurks below...

Have you ever known that type of person who is always telling you that you absolutely have to check out this band they found? Well, I feel that to some degree, I’m one of those. I don’t think I’m so bad that all my friends are constantly tired of it. But I’m sure they’ve all heard their fair share of ramblings that probably oversold band after band. So I can tell you, as one of those people, that the thought process behind that behavior is driven from the constant desire to stumble upon the band that lives up to the hype--the one that can’t be oversold. So is this that band? Probably not. But Rags & Ribbons are currently the band I won’t shut up about!

Rags & Ribbons’ first full length album, The Glass Masses, is mature, dynamic, and complex. The first chord on opening track, Even Matter, immediately called to mind The Ornament by dredg, and I feel it’s a fair comparison. Yet unlike many bands sharing their maturity, Rags & Ribbons offer their music in nice, easy to swallow tunes, which average around four minutes long. On the surface, they deliver indie pop-rock, heavy on the piano. But somehow, they are worlds away from bands like Coldplay or Death Cab for Cutie, either of which could be described the same way. The Glass Masses is woven together with rich, classical-influenced piano and complex, flowing vocal harmonies. However, the percussion and guitar parts carry a darker, heavier overtone, partially attributed to producers, Stephan Hawkes and Kris Crummett of Interlace Audio (Closure In Moscow, Tides of Man, Dance Gavin Dance). The production is outstanding; crystal clear and punchy.

The strongest and most unique attribute Rags & Ribbons have to offer, in my opinion, are their vocals, provided equally by Ben Weyerhaeuser (guitar) and Jon Hicks (piano). The vocals are consistent and distinct. The poppy instrumentals on Abacus Kids sound exactly as if they could come from another band I recently reviewed, Abandon Kansas, but the vocals set it apart. Jon provides higher parts, with evident classical training, whereas Ben delivers lower more contemporary parts and they blend very well. Their different styles allow plenty of flexibility in tone and they take advantage of that. Jon does seem to take the lead a bit more and on The Minds he’s at the top of his game. Ben’s strength is in the aggression he provides for Liar and Lady in the Midnight Sun.

Usually, I would describe the instrumentals by breaking down the different parts by what they add. But in this case, that method wouldn’t do them justice. The individual parts are great. Especially the piano parts. But what really makes their music great is the big picture those parts create. Similar to a good movie score, their music effectively creates an atmosphere that sweeps you up in the overall mood and tells a story. They’re not just playing their instruments well, they’re playing good music. And even after listening to the album for a while now, I’m still finding highlights that are really well done, such as the buildups/breakdowns in the bridge to How The West Was Lost and the heavy, driving chorus to Prelude.

Overall, I find it hard to accurately describe The Glass Masses in a nutshell. At first I would’ve described it as indie piano-rock with obvious Queen and Muse influence. But I continue to discover a deeper level which is bigger, heavier, and harder to pin down.

Rags & Ribbons The Glass Masses

 full reviewuser ratings (1) 
Tracklist:
1. Even Matter
2. Liar
3. The Marks You Make
4. Kings
5. Moving On
6. Abacus Kids
7. Lady In The Midnight Sun
8. We Have Been Here Before
9. Push Back
10. The Minds
11. Prelude
12. How the West Was Lost


Release Date: 01/17/2012
user rating
4.5
superb

recommended by reviewer
Kaddisfly Set Sail The Prairie
Abandon Kansas We're All Going Somewhere
dredg Catch Without Arms
Birds Of Tokyo Birds Of Tokyo


  
4.5
superb
Quincy Scott USER (7 Reviews)

August 9th, 2012 | 1 replies | 147 views

Summary: A piano-rock, indie record with Queen and Muse influence at a glance, but something dark lurks below...

Have you ever known that type of person who is always telling you that you absolutely have to check out this band they found? Well, I feel that to some degree, I’m one of those. I don’t think I’m so bad that all my friends are constantly tired of it. But I’m sure they’ve all heard their fair share of ramblings that probably oversold band after band. So I can tell you, as one of those people, that the thought process behind that behavior is driven from the constant desire to stumble upon the band that lives up to the hype--the one that can’t be oversold. So is this that band? Probably not. But Rags & Ribbons are currently the band I won’t shut up about!

Rags & Ribbons’ first full length album, The Glass Masses, is mature, dynamic, and complex. The first chord on opening track, Even Matter, immediately called to mind The Ornament by dredg, and I feel it’s a fair comparison. Yet unlike many bands sharing their maturity, Rags & Ribbons offer their music in nice, easy to swallow tunes, which average around four minutes long. On the surface, they deliver indie pop-rock, heavy on the piano. But somehow, they are worlds away from bands like Coldplay or Death Cab for Cutie, either of which could be described the same way. The Glass Masses is woven together with rich, classical-influenced piano and complex, flowing vocal harmonies. However, the percussion and guitar parts carry a darker, heavier overtone, partially attributed to producers, Stephan Hawkes and Kris Crummett of Interlace Audio (Closure In Moscow, Tides of Man, Dance Gavin Dance). The production is outstanding; crystal clear and punchy.

The strongest and most unique attribute Rags & Ribbons have to offer, in my opinion, are their vocals, provided equally by Ben Weyerhaeuser (guitar) and Jon Hicks (piano). The vocals are consistent and distinct. The poppy instrumentals on Abacus Kids sound exactly as if they could come from another band I recently reviewed, Abandon Kansas, but the vocals set it apart. Jon provides higher parts, with evident classical training, whereas Ben delivers lower more contemporary parts and they blend very well. Their different styles allow plenty of flexibility in tone and they take advantage of that. Jon does seem to take the lead a bit more and on The Minds he’s at the top of his game. Ben’s strength is in the aggression he provides for Liar and Lady in the Midnight Sun.

Usually, I would describe the instrumentals by breaking down the different parts by what they add. But in this case, that method wouldn’t do them justice. The individual parts are great. Especially the piano parts. But what really makes their music great is the big picture those parts create. Similar to a good movie score, their music effectively creates an atmosphere that sweeps you up in the overall mood and tells a story. They’re not just playing their instruments well, they’re playing good music. And even after listening to the album for a while now, I’m still finding highlights that are really well done, such as the buildups/breakdowns in the bridge to How The West Was Lost and the heavy, driving chorus to Prelude.

Overall, I find it hard to accurately describe The Glass Masses in a nutshell. At first I would’ve described it as indie piano-rock with obvious Queen and Muse influence. But I continue to discover a deeper level which is bigger, heavier, and harder to pin down.

http://sputnikmusic.com/review/51235/Rags-%26amp%3B-Ribbons-The-Glass-Masses/