Tag Archives: lo-fi

Colleen Green: On Challenging Herself to Record Out of Her Comfort Zone

Colleen Green. She’s a woman who proudly marches to the beat of her own drum – literally. With her latest album, Sock It To Me, Green’s exuberant personality comes to life, dripping in this funky punk distortion and of course, a drum machine. Green’s latest masterpiece packs quite the trendy, yet edgy, punch to the throat, with an underlying sexy girl power vibe. (Think more Meg White than Alanis Morissette.)

What’s refreshing about Green is her ability to strip down and be vulnerable, yet somehow she manages to be impressive both through her music and in her life. Green’s the type of musician who’s uniqueness is charming, prompting you to be an immediate fan. And even though she hasn’t uncovered the big mystery to success (has anyone?), we think it’s safe to say that this lanky girl with groovy bangs from New England has enough gumption, charisma and party-all-night-long drumbeats to get her feet marching in the right direction. Or at least a really, really fun one.  Continue reading →

Slutty Hearts live in Portland

WHERE: East End – Portland, OR
WHEN: February 27

HIGHLIGHT: “Lo-fi, dark, vampy garage rock”

If there is a renaissance of ‘60s-style garage rock bands happening in Portland right now, the Slutty Hearts are the sexiest. On stage this Wednesday night, a big heart lit up with pink lights on the bass drum head blinked behind the petite, bleach blonde vocalist, Marisa Laurelle. She is, like their music, both sassy and sweet. The 4-piece opened coolly with “Get You Back,” followed by the more seductive “Killer,” which Marisa introduced by saying, “This next one is about murder.” Their music is gritty and upbeat, danceable and dark. There is a hint of cabaret or strip tease in their lo-fi, organ sound, but with the sweet vocal-style of indie pop.  Continue reading →

Record Review: Museum Mouth

Museum Mouth

Sexy But Not Happy

Southport, NC

“Apocalypse rock for the pure at heart”

The sophomore album, Sexy But Not Happy, by the North Carolina-based trio, Museum Mouth, is a vivacious collective of “to the point” lo-fi rock laments imbued with pop sensibilities, which flatteringly explores themes of isolation, self-deflation and half-hearted benevolence. Armed with gritty reverb, crunching drums and ruthlessly infectious melodies, the album embodies more raw excitement than a high stakes Peruvian cockfight.

Released as the album’s first single, the bombardier rhythms of “Blood Mountain” escort verse vocals of vulnerability and the feeling of falling short as drummer/vocalist Karl Kuehn croons, “It’s not that I don’t think you’re lovely, it’s that I want you to be happy. And I know I can’t make you happy,” but inevitably reaches a point of acceptance as the chorus breaks in, shouting, “Everyone’s not the same, but it’s okay.”

Sexy’s crusade of rowdily sincere songs is coalesced by several underrated “album tracks” that supply a significant balance and cohesion to the record, generating dynamism and well-roundedness. Such elements span from the cavalry-infused verses of “Buzzbrain” to the nostalgically shocking “2005,” and in the tear-jerking relatability of “Kitchen Floor,” as well as the painfully honest “For Mom.”

Sexy But Not Happy’s blend of artistry, emotion and bare-bones basement rock, like a birthday suit or a slice of pie, leaves little to wonder, but a lot to enjoy. (Self-released)

museummouth.bandcamp.com

Record Review: Doug Jerebine

Doug Jerebine

Jesse Harper

Tangowahine, New Zealand

“Long lost classic from a ’60s guitar legend, alive and well”

Doug Jerebine paints a unique portrait of himself as Jesse Harper and his guitar wizardry in this compelling sonic arena of instrumentation captured on disc.

Audiences have been known to get juiced up and dance out of their socks and sneakers to this rave of righteous music. Known for his timeless jams in his native New Zealand in the 1960s, Jerebine (aka Harper) was the eclectic counterpart to the vibe and magic of Jimi Hendrix, only residing in a different hemisphere.

Though Hendrix passed on, Jerebine kept these sounds alive, giving ever more prominence to the cult following he and Hendrix amassed. Truly, this is an exceptional testament to the wonders of the ’60s and ’70s. A soupy delight of fuzz jazz, soulful blues and acid rock psychedelia, the sounds are riveting and stripped naked of artificial baggage, evolving into music that is vulnerable and real.

“Hole In My Hand” expresses predicaments between neighbors during hot summers.

The music urges the listener to hold on to one’s promises.

The “fountain of youth” approach that filters throughout all great music is most vibrantly depicted in the upbeat enthusiasm of Jerebine’s happy-go-lucky sounds, complete with wah pedals, swaying bass, and rapid, free-flowing percussion.

“Ashes and Matches” delivers jangly, reverb-thirsty guitars, and punching beats nicely, meshing with Jerebine’s soulful vocal messages, with occasional poignant harmonies in the choruses.

Most of the tracks carry a fuzzy distorted feel, and the recordings are quite lo-fi as the only available master was an original vinyl copy of the album first pressed in the late 1960s, yet the new CD version is still very listenable and exemplary. The material skips and blends nicely from soft, sullen dream like jives to more robust, edgy, heavier melodies. Overall, the record is a soothing piece of music to kick back and meander through. Kudos to Drag City for uncovering this lost classic. (Drag City)

dragcity.com/artists/doug-jerebine

Vinyl of the Month: Ty Segall

Ty Segall

Singles 2007-2010

San Francisco, CA

“Grungy lo-fi that amps you up”

Ty Segall makes some truly exceptional lo-fi, garage rock; he always has. Singles 2007-2010 is an album that pulls together the best of his prolific library and houses it in one lovely, twenty-five track package. Goner Records has culled some of Segall’s best works to showcase his abundant talent and love for music.

The album contains highlights from the last three years of his career including “Caesar,” “Fuzzy Cat,” “Dating” and “Lovely One.” The scratchy guitar chords and pulsing bass are pulled together by the hard pounding percussion, while Segall’s vocals are typically lost in a haze of reverb and emotion. Whether he is softly singing, or screaming until his voice is hoarse, he never stops delivering a wealth of thoughts and relatable desires. With lyrics like “I don’t wanna go out with you/ I just wanna go out with you” he cleverly portrays the hard-to-read signals of relationships with a flippant attitude.

Segall has been a staple of the indie scene for years. He’s in it simply for the music, the performing, and sharing the rush of it all with fans. He has never ceased to produce work that stands out, and this singles compilation does an excellent job of showcasing that. (Goner Records)

FORMAT: 2 x 12”

COLOR: Black

VINYL MASTERING: Jason Ward at Chicago Mastering

www.ty-segall.com

Record Review: Gross Magic

Gross Magic

Teen Jamz EP

Wherever, USA

“Almost-innocent jams drenched in lo-fi goodness”

Sam McGarrigle knows his way around a song and he shows it by giving sonic nods to some of pop and rock’s best music-makers, past and present. His buoyant, debut EP kicks off with an instantly recognizable sample from Electric Light Orchestra’s optimistic tune “Mr. Blue Sky,” setting the stage for the other animated songs throughout the album.

McGarrigle pours his vocals through the same lo-fi filter as Ariel Pink, giving his naturally high-pitched voice even more of a syrupy texture, whether he’s barely singing above a whisper like in the melancholy lullaby “Dream Gurl,” or unabashedly crooning on the album’s title track, complete with doo-wop background vocals. Not even his guitar is safe from tampering, as it blares an ear-catching riff reminiscent of The Flaming Lips’ “She Don’t Use Jelly” on the track “Sweetest Touch.”

It’s evident upon first listen that this young man has done his musical homework. The collection of songs showcases McGarrigle’s ability to pay homage to some of his influences without simply mimicking them. Although the album seems to end much too quickly, this bite-sized chunk of well-crafted dream-pop offers the perfect twist of eccentricity, personality and melodic mastery. (The Sounds of Sweet Nothing)

www.myspace.com/grossmagic

Record Review: Old New England Weather

Old New England Weather
Knew Myths
Jamaica Plain, MA

“Psychedelic and kettle-whistling Americana”

There’s not a whole lot of info to be found on Old New England Weather, other than it’s a project of a singer/songwriter named Jeff Chasse, and that there is one album to their name, entitled Knew Myths. Though there isn’t a detailed bio or instrumentation list, simply listening to the record reveals graphic Americana imagery and a portrait of the dark poet behind the mystery curtain.

The lo-fi folk in this album borders on psychedelic at times, but it will come back down to reality with its concrete, stream-of-consciousness pictures of desolate city streets, druggies huddled in the darkness, yet illuminated by the moon, rotting civilization, and relationships based on an uneasy predator vs. prey mentality. Songs like “Hot Water Heater” and “Poet Country” induce desires for a Walden-esque, kettle whistling, Americana winters, where people barter for goods and spend mornings watching frost melt off tree branches. Even without the reference to his friend, the seven and half minute long psychedelic track “WWGD” would’ve made the late Hunter S. Thompson grin with its chilling reptilian images: “He wants to be a Ralph Steadman mess / And that’s okay, I guess /But I got no respect for the bee sting tongue / Lizard lunging routine ya did.”

Whatever Jeff Chasse’s or Old New England Weather’s story is, it is certain that Knew Myths is a prodigious introduction and a good companion for the upcoming winter. (Self-released)

Recorded by Joe Stewart at Hummelvision

Mastered by Rob Gonnella and Nick Zampiello at New Alliance East, Cambridge

oldnewenglandweather.bandcamp.com

Record Review: Letters

Letters
All The Adventures To See Them I Will
Olympia, WA

“Atmospheric folk from the Pacific Northwest”

On their website, Letters insists they are not a band, but a musical project that is constantly evolving and changing styles. Hailing from Olympia, Washington, their latest release All The Adventures To See Them I Will, captures that gray, atmospheric folk feel that the Northwest tends to emit. The one minute opener, “Simple Fact,” is a prime example, which then leads into “Hideaway,” which resembles an early Eels track, but with a fresh blend of vocals from Joshua James and Alexis Wolf.

What’s clear and fruitful from this album is the band’s ability to master a variety of arrangements and sounds. The lo-fi folk suits Letters well, but songs like “Holiday” and “Musk of This Ink” share touches of electro-acoustic and gentle experimental noise, bringing out James’ and Wolf’s singing, brewing a storm you get caught in, but can’t help to sway and dance in. Letters are lyrically influenced by poetry: the track “Rachel” is a beautiful, sea shanty song of paralysis and worship. “Rare Beast” closes the record with an electronica beat and muffled lyrics that form a docile ocean of dream-pop ambiance. Like a telegram or that rare personal letter in the mailbox, this band is something to take in, digest and treasure. (Self-released)

Produced by Evan Hashi

Design by Eric Sarai

www.lettersmusic.com

Record Review: Woods

Woods
Sun and Shade
Brooklyn, NY

“Transcendental pop-folk”

The most striking thing about Sun and Shade is its ability to provoke and produce this transcendental pop folk aura that drips from the frolicking guitars, bangs out of the gentle, sparse percussion, and oozes out of lead singer Jeremy Earl’s mouth like raw honey.

The most epic, memorable and talked about tracks are “Out Of The Eye” and “Sol Y Sombra.” These two instrumental numbers provide a dreamy trance, but also heavy insight and lo-fi influences that pay subtle homage to Eastern music, gypsy guitar-picking and freak-folk maestro Devendra Banhart. Although separated, these two songs act like the opening and conclusion of a legendary folk tale. If you found yourself lost in a forest, “Out Of The Eye” would be the psychedelic inaugural theme. “Sol Y Sombra” is when you rise above all the trees into the sky and finally envision what direction you must take.

The only drawback of these tracks is their propensity for drowning out the rest of the album, which features the weirdly catchy tune “Who Do I Think I Am?” about going mental. “What Faces The Sheet” is probably one of the finest pop examples, as it sounds like an act that was originally aired on Ed Sullivan. Apart from the meditative, Middle Eastern-fused tracks, this Woods’ album is neatly cut and decorated with whimsical pop melodies and witty lyrics that would leave Elephant 6 collective members applauding. (Woodsist Records)

Recorded at Buttermilk Falls, Warwick, NY // Additional Mixing and Recording at Rear House in Brooklyn, NY

www.woodsist.com

Record Review: Obits

Obits
Moody, Standard, and Poor
Brooklyn, NY

“A bold and versatile platter”

The premier track “You Gotta Lose” from the band’s self-titled debut, lays out crunchy riffs which course through the listener’s ear canal with surging urgency.  The pessimistic tone dances with a mercurial step, and unfiltered flattering fluidness. Each ballad is solid and swift, leaving a craving for gustier drum currents for an imprinting on the senses. The styles on the album mold and melt with several eras and can be categorized as a combination of pop, rock and punk, with a twist of modern alternative.

The lyrics graze along the melody like a skipping stone, sassily splashing through the music, then again air-born, enveloping the room.  The raspy punk-like nature of the vocals in “Naked To The World” feature an earthy twinge that detonates dancing fingertips, heels and shoulders.  The overall essence of the album embodies a short, sweet, and savage quality that is quite captivating.

The closing track “I Blame Myself” departs with a completely instrumental melody that leaves lingering traces of melancholy, due to the completion of the record.  The record manages to mix raw, attitude-driven lyrics with a savory, funky radiance that bounces brilliantly. (Sub Pop)

-Navarina Wakefield

myspace.com/obitsband