BuzzChips
Show Preview: Mystery Skulls
August 20, 2015
The list of things that can break me out of my Netflix-induced coma in the middle of a polar vortex is very, very short. On one particularly brutal night in January, a friend & I were questioning our life decisions as we headed down the long demonic wind tunnel to Terminal 5, determined to see Mystery Skulls play to a sold out crowd.
But every soul crushing gust of wind and inconsolably long wait at a red light was rendered immediately worth it as soon as the one-man powerhouse took the stage—there wasn't a single person in the house standing still by the end of Mystery Skulls’ first song. Paired with a light show by 10print, the set induced a dance attack that was so manic, so fevered, it could only be described as otherworldly. We danced so hard and so unabashedly that it would not have surprised me to wake up the next day to find a video of us taking the internet by storm. We danced so hard and we were stone cold sober. We danced so hard that I may or may not have injured myself.
This weekend marks your very own chance to dance your heart out, sans polar vortex, as Mystery Skulls will be performing Friday night at Baby's All Right, and the late set on Saturday at Mercury Lounge. See you there.
Live: Craft Spells at Brooklyn Night Bazaar
March 25, 2015
For those who have never been, Brooklyn Night Bazaar is the venue you always dreamed of in high school. Every weekend they host a range of artists from big to small, and while making your way back to the stage you can browse vintage clothing from assorted sellers, stop for a quick arcade game battle, and grab a taco from your (my) favorite snackerie, Oaxaca Taqueria. The Bazaar can be a bit overwhelming to both newcomer and veteran alike, all the activity and options an overload on the senses. And on a night like last Saturday where the entry line wrapped around the block, there was no way of denying it would be an intense welcome for Seattle's Craft Spells, returning to New York for the first time in three years after a long dormant period following 2012's EP, Gallery. (Shortly after its release, frontman Justin Vallesteros moved to San Francisco and struggled to find his footing in its music scene, eventually returning to his home town and learning piano while experiencing the physical nausea which would drive Craft Spells' second full length LP, 2014's Nausea.)
As the band quietly took the stage, Justin sat for a moment on an amp as if to take it all in. The immense space, the frenetic crowd, the smell of sizzling taco. But as soon as the intro beats to Idle Labor's "From the Morning Heat" are dropped, he's in it, and by the time the song is done, the entire crowd is there with him. With business-like focus, tracks from Nausea unfold before a softly swaying crowd flashing analog cameras and snapping polaroids as various scenes of rising fog and men in monster masks loop in the background. When the first few pings of Idle Labor's "Party Talk" are laid out, I suddenly find myself standing in the middle of a dance party so intense and unexpected that even Justin can't help but stop singing for a moment to let out a laugh. With that, the energy for the rest of the night is set, and what follows is a gradual escalation into full blown pit status, soundtracked by songs from of Gallery, Idle Labor, and Nausea represented equally.
When a broken string reveals itself 3 chords into the final song of their set, Nausea's first single, "Breaking the Angle Against the Tide," guitarist Javier Suarez simply leans across and places his hand on the neck of Justin's guitar stopping everything, grabs himself a new guitar, and just like that they all pick up from the beginning as groups of college students thrash around. They're barely off the stage before the decision is made to play one more song, crowd favorite "Scandinavian Crush." An appropriate ending to our short lived engagement, its lyrics asking us "If not tomorrow when will it be? When can I see you, please?"
Sooner than 3 years, I hope.
BuzzChips Interviews Madi Diaz
November 21, 2014
It was hard not to be in good spirits last Saturday at Bowery Ballroom. The line up of Madi Diaz, Mini Mansions, and Dale Earnhardt Jr. Jr. practically guaranteed good times were to come. On top of that, it was such a gorgeous evening, albeit one that marked the first winter-coat appearance of the season, which meant the inevitable: It was time to get reacquainted with the coat check. It was hardly a difficult decision to make, there was dancing to be done and any excess bulk would only slow me down, so I stripped down and stomped up the stairs just in time for Madi Diaz to take the stage.
The set began with "The Other Side," a darker, hushed, 'tell-tale'-feeling song that builds and builds until finally exploding into a release perfectly primed to warm up the night's sold out crowd. This energy continued into pop-done-right number "Tomorrow," where keyboards and vocals carry you through tales of emotional turmoil and resolve. Madi’s Nashville roots began to show toward the middle of the set with "Mess," a classic upbeat take on a lying cheat. The determined but moderate tempo made an appropriate segue for when Madi invited Josh Epstein of Dale Earnhardt Jr. Jr, to join her in performing "the saddest song ever,” also known as "Lovin's For Fools" by Sarah Siskind. Their chemistry made it hard to feel morose; the way they exchanged playful glances was genuinely heart warming, and it's clear these are dear friends thrilled to be sharing a stage.
By the end of her set, every eye in the Ballroom was on Madi. She'd taken us on a well curated emotional roller coaster laced with Tennessee grit and L.A. vibes and ended it on a high note with "Stay Together," the kind of pop anthem that makes it impossible to keep your feet still beneath you.
I'm still new to the land of music journalism, but Madi was such a good sport when I cornered her downstairs to ask her a few questions after her set.
How would you describe your song writing process?
It's different every time, it can happen anywhere. Once I wrote a song in a helmet while riding a Vespa across a bridge back in Nashville. I was going over the bumps, convinced I was going to kill myself, and that I was crazy ‘cause I was talking to myself, and it just came to me. I started singing it right there in the helmet on a bridge with my hands grasping the handles so tightly.
What drives your evolution?
Lately I’ve been listening to a lot of Garbage and Interpol. I'm really influenced by strong singers and songwriters that can write a song capable of standing on its own two legs and exist inside of and apart from the album, where you can hear it and recognize the artist. That’s why I love bands like [Dale Earnhardt] Jr. Jr. and Mini Mansions ‘cause they’ve got these strong melodies and individual songs. They’re not looking to anything else, they're not echoing anything else. It pushes me.
What's next for you?
Going back to LA! I have an album release party on the 8th at the Troubador, even though Phantom dropped in late September. I’ve just been touring so much and bouncing back and forth between this and my side project, RiotHorse, with Emily Greene, another singer-songwriter. It’s new, we’re babies, it's super DIY… It’ll be good to be back.
What’s your biggest challenge as a musician?
Definitely getting over yourself and putting your best foot forward. When you've been touring a lot you're just in it… It’s repetitive and being present and engaged is really hard. You’ve got to be challenged by your tourmates, they break you out of it.
What's the most important thing you'd want listeners to know about you?
It's all true. All of it.
Any good stories?
None that I could actually tell you.
CMJ 2014: Bear’s Den at Mercury Lounge
November 4, 2014
There is just something about a banjo that will forever make me weak in the knees. So when the opportunity arises to see UK-born-and-bred Bear's Den, who have recently taken up the habit of selling out tours across Europe, in a setting as intimate as Mercury Lounge, what's a folk loving anglophile to do? (Go, of course!)
There were two sets of lines outside Mercury Lounge by the time I got back from my excursion to the BuzzChips show in Brooklyn Friday night. That kind of jumbled, organized chaos always baffles me; how are these door guys doing it? The venue was, naturally, at capacity and they weren't letting anyone else in. I had been warned–they told me this may happen when I left earlier. But here's the thing about being a short pale girl with a pixie: you blend. And no one will notice when you slip through the door with a returning band and quickly place yourself as close to the stage and far from the door as possible. (Please don't ban me, Bowery Presents! I love you!)
Bear's Den took to the stage promptly at 11, a rare feat for CMJ, but that's how Mercury Lounge rolls. (Respect!) Opening with "Agape," they managed to instantly catch the attention of every member of the crowd, most now on day 4 of sleepless nights and endless sets, and hold it up until the end. Playing a mix of songs from their 2013 EP and their full-length "Islands" released the day before, they took the audience along for a ride on an emotional roller coaster adorned with acoustic electric blends, trumpeted accents, my beloved banjo's twang, and Andrew Davie's buttered vocals. As they serenaded us, we danced, we swayed, we laughed, we sighed, and we questioned our relationships with our parents ("Isaac"), our friends ("Magdalene"), and ourselves ("Above the Clouds of Pompeii").
Closing out the set in their traditional manner, the band unplugged and stepped out into the center of the crowd for an extremely intimate rendition of "Bad Blood." A broken string interrupted their start, and a brief intermission followed. A voice from the crowd asks "Have you got any jokes?" To which Davie responded, "No, just depressing songs."
Depressing, maybe. But certainly worth it.
CMJ 2014: BuzzChips Interviews Jeremy and The Harlequins
November 01, 2014
If you’re in the New York area and find yourself craving a shameless dancing fit, you're going to want to take a peek at Jeremy and The Harlequins. Composed of members whose backgrounds include Head Automatica (Craig Bonich) and We Are The Fury (Jeremy & Stephan Fury), it may be hard to imagine their evolution into what you see today. Classic rock & roll riffs are combined with doo-wop stylings to create a sound that is both nostalgic and contemporary, and very much unlike anything else out there right now. The energy this band brings to the stage will find the audience incapable of standing still for long.
How would you describe your sound?
If David Lynch collaborated with John Waters to make a sequel to The Buddy Holly Story.
You and Craig have been in bands together in the past with very different looks and feels. How can you describe your evolution into what we see and hear today?
It was a natural evolution for us. It seems the more produced and electronic pop music gets, the more we are inspired to make music raw, stripped, and bare bones. I think we both also have a fondness for nostalgic things, when it seemed things weren't so temporary and “flash in the pan.”
What inspires your songwriting? What's your process like?
Lyrically, I like to say everyday things in a new way. I'm really into simple concepts, so most of our songs are about life, love, etc. I think the difference is that I try to modernize the lyrics so that it relates to now. It might be another love song, but it's said in a way that hasn't been said before. As far as the melodies go, we are kind of a musical backlash to where pop music is at right now. We listen to mainly old vinyl from the 50’s, 60's and 70's and we don't use samples. Usually, I'll write a song on guitar with the vocals and lyrics and the band adds our sound to it. We don't overthink it, so assuming all goes well, everything remains as simple as possible while still getting the point across.
What has been your biggest challenge as a band?
As digital technology gets more advanced, it's making it harder and harder to reach people. Fifteen years ago you had to hear about a new band from the radio or Rolling Stone. Five years ago, you heard about a band from one of a few popular blogs. Now, who knows? People might find out about you from a TV show, a blog, a tweet, a friend's Facebook feed, a Pandora station – there are so many options. With so many options, we've begun to adopt the mindset that if it's good and we put it out, someone will connect to it. Our main goal now is to record music, make videos, and share them with people. Hopefully, they find us in whatever way works for them.
Jeremy and The Harlequins isn't like much that's currently out there. Has the response varied across the coasts? How?
When people get it, they GET IT. I've never been interested in jumping on a bandwagon. My favorite reaction from a crowd at a show is an expression of 'What the hell is this?' at the beginning and by the end seeing them dance with smiles on their faces. Doing what everyone else is doing just isn't that interesting to me.
Do you have any great stories to tell?
Our first show we ever played was at a dive bar in Maumee, Ohio. We had never played together before that and within thirty seconds of meeting each other we were up on stage. We played two songs that night and afterward, people asked us what were called and how long we had been a band. We told them that it was our first show and we just met each other before going on stage. Well, everyone thought we were smart asses and didn't believe us. We ended up pissing the people at the bar off because they all thought we were liars.
What's next?
We just co-hosted a Halloween Party at The Bowery Electric that Fred Armisen and Captain Sensible of The Damned played at. That was fun. Our full length will be available early next year along with videos for two new tunes, “You're My Halo” and “Some Days.” Also, we'll be playing shows. Lots of shows.
CMJ 2014: BuzzChips Interviews The Ugly Club
October 30, 2014
CMJ at its heart of hearts is about discovery. Endearingly referred to as the Hunger Games by my circle of friends, it is the New York music scene’s equivalent of an Open House. Every minute of those five days is so packed with talent that one must make the difficult decision between choosing to nourish the body or the soul.
Stumbling upon The Ugly Club last Thursday night at The Westway was, to me, what CMJ is all about. I was so taken with their set that I made a note to look them up, only to find that had I taken the time to pay attention to the local scene during times other than mid-October I could have spared myself from being embarrassingly late to the party – these guys have been on the scene for the past five years, evolving, adapting, and never disappointing.
Catchy keyboard synth, layered vocals, and infectious bass lines make up their more recent material, while still holding onto the depth and weight of their previous catalog. The majority of their CMJ set is currently unreleased – with the exception of “Passengers,” and “Under the Great Wave” – making their live performances a cruel teaser for what’s to come and a nostalgic take on why one mustn’t miss their set. Luckily for New York, they have several dates coming up.
Taylor Mandel loses himself completely in his keys: body swaying with the catchy synth notes his hands dutifully crank out, his head back, mouthing the words along with Ryan Egan, who commands the front of the stage with the same fervent collected calm confidence as bassist Rick Sue-Poi and drummer Ryan McNulty. (You would have to see them to understand how that phrase could possibly make sense, but it is definitely a compliment.) One cannot help but get the impression that this is a group of men who passionately believe in what they are doing, and that kind of enthusiasm is wildly contagious.
It's pretty great to hear you get up on stage and say, "we're The Ugly Club," but where does the name come from?
The name comes from our earliest days of writing as a group, we originally planned to make it a collective with interchanging members, hence club, but naturally grew into a more structured thing.
What inspires your songwriting? What's your process like?
Inspiration for my writing is more or less linked to every day emotions and relationships, as would be most peoples’ inspiration when writing music or poetry or anything. 95% of the time I bring the songs to the table with guitar/vocals and we then arrange and write the rest of the parts together. Sometimes though like with our latest single, a song just comes out of thin air while we're just messing around. That's a different magic.
In one form or another, T.U.C. been around for quite some time, how can you describe your evolution into what we see today?
We have gone through two lineup changes over the course of five years so that has been a big part of the evolution. More than anything we've just remained open to stylistic changes as we progress as writers and musicians and haven't trapped ourselves aiming to evolve some previously achieved sound.
What has been your biggest challenge as a band?
I think as with the majority of artistic projects, the biggest challenges are financial. We all make sacrifices to keep this band moving being that we have to pay bills and what not. We are just always open and looking out for creative angles to fund the project, whether it be recording or touring, but it's a SLOW process.
How has CMJ been for you this year? Would you say the response to you was different this time around than in the past?
Every year has been good, I would say there was something a little special about this year though being that we knew what we wanted out of it and didn't waste time doing anything else. We had 2 shows and played to super receptive, great crowds of new people, and that is all you could ask for.
What's next for you all?
We hope to keep busy live while getting back to the studio to cut a new single for this winter!
Your next opportunity to see The Ugly Club is next Tuesday, November 4th at Glasslands with Gospels, followed by four more shows in New York and New Jersey before the end of the year.