Pretty Little Empire have seamlessly blended ambient and post punk elements into their tried and true formula to remarkable results on their third, and self titled release, out on Extension Chords Records. The band members only want to make the best music they can. So egos are set aside and allow for multiple people to sing lead and form songs. This isn't always the case with bands. I have been fortunate to have seen PLE play shows (since 2009) for all three albums. I have also got to talking to them at the shows and ask about their growth as a unit. So the maturity on Pretty Little Empire
is not surprising one bit. They are achieving sounds on this album that would be impossible if this were a "one man band".
The post punk punch of "Talking Loud"
features some lyrics we all would like to utter to someone we know, "I don't want to waste another day, contemplating all the shit your saying, you have proven to me once again, that we never were the best of friends..." . The break two thirds of the way through the song add some depth to this song.
The guitar parts on "Master Plan" is like a long lost friend from the late 80's. I've been singing this songs lyric "There's no master plan, for the things we don't understand"
for weeks now. The organ they have on this track is a really effective for the mood of this song.
As a personal patron of waltz timed songs, I wholeheartedly endorse the simple and effective beauty of "Patina".
The Latin accents on "Out Of Control" are a great counter point to the crashing guitars in the song. Best of both world!
Evan sings lead on the country tinged "Nest" and makes you when he will have an album of acoustic originals up on bandcamp?
The guys picked a great album closer with "You are the one", a sprawling song that features a blissful buzz and catchy melody and heartfelt singing by Justin that sums up the band's sound at this time.
I scheduled a family vacation earlier this year to St Louis and our whole family got to see PLE play at the art museum there. Even outside in the hot sun the songs were something to behold live! So I implore you to g to their album release show this Sat Oct 19 at Off Broadway.
Get tix HERE.
The Hemmingbirds set the bar pretty high with their debut, Death Wave , which was on my most listened to year end list, played on pod-casts near and wide as well as downloaded in excess of 50,000 times on Frost Click and saw the band entrench themselves in the Chicago music live scene. Death Wave was a one man tour de force of Yoo Soo Kim playing all, singing and fine production. So it has been interesting to see him add Zach Benkowski on drums, Matt McGuire on bass, and Timothy Cap on guitar (who Yoo Soo knew from their days at University Of Illinois at Champaign together). The guys have graciously had me out at about 8 to 10 of their shows, so I have been able to see this line up solidly and become stronger and stronger as they played songs from Vines Of Age these last few months, in advance of it's release this Fri Sept 21 at Beat Kitchen. PRE- ORDER Vines Of Age.
The sound of The Vines Of Age evolves from hard rock and classic rock influences, and has become study in sound expansion. There is an emphasis on a bigger more expansive sound that is as loud at time as it's predecessor Death Wave, but achieves the big sounds with an indie flavor as on the build up for album opener "My Love, Our Time Is Now".
"Line of Bones" starts with some clapping and quickly descends into a post punk inspired stomper of a song that achieves a glorious big noise where all of the band members contribute. I love seeing them play this song line because of the tempo shifts.
My favorite track, "Vineyards" illustrates the concept of this album, the passage of time and it's effect on us. Yoo Soo sings 'The vines of age, will crowd your brain and bind you to your name.' There are nice guitar echo effects on this song hat make it sound very layered. Yet at the same time there are pauses and stops that really ties everything together. This to me is the quintessential Hemmingbirds songs, featuring sweet vocals, harmonies, and a killer melody back by sounds both big and small. Love that long slow fade at the end.
'The lives that pass through your eyes on the t.v., and how it prints on to your brain, as your dreaming, and as I age you see the resemblance, and you carefully say take your time with the lovers that you make, take your time with the lovers that you make, Yoo Soo sings sweetly on "Oak Tree", a ballad with some beautiful guitar work to match Yoo Soo's insightful writing. This is another tome about time and taking advantage of the time you have and people close to you.
"Toxic Noise" is a mid tempo rocker awash in big ass guitars featuring a killer bottom end that really propels this song. Add to that some sweet keys by Mike Maimone (Mutts).
Ever wonder what you would get if you mike Mike Maimone's sound with Hemmingbirds right down the middle? The answer can be found on "Better Than That" which features Mike on keys. They backbone of the song is a blues stomp that features some very experimental sounds for Hemmingbirds with even a bit of psych rock feel. Mike was the one who originally told me about Hemmingbirds and I have see Mike and You Soo and assorted band members trade playing with one another. They are all comfortable playing with one another and the this song is evidence that those two sounds work wonderfully together.
Holy stereo effect Batman. "Evening Is Rising" is an experimental noise lounge song featuring trumpet by Tricia Scully and trombone by Thom Schwartz. When the noise kicks up to full it's almost impossible to make out what is making some of those sounds. I think every band should have a song like this, that almost gets away from the band. I like the experimental side of Hemmingbirds.
I love the drums on "Through The Aether". Also Yoo Soo's violin and viola parts are really nice. Yet again another big, joyous noise.
This time around there are more nuanced sounds that comes from having a full band who all contribute to the overall sound. There are the dalliances with experimental and psyche rock and sometimes straight up noise that add quite another element to the bands core of hook laden pop songs. I thoroughly enjoyed the sonic ride of listening to this album as a whole. It has been a joy to have heard some of the rough cuts of these songs early on, and then to see these songs transformed when they played them live. Now with this production of the songs the Hemmingbirds have advanced the songs even further. A big congratulations to the guys on an incredible album.
The Juliets are:
Jeremy Freer - Piano, Guitar, Vocals
Sarah Myers - Violin, Vocals
Kaylan Mitchell - Cello
Ashton Hopkins - Bass
Jacklyn Phillips - Drums
After the Juliets self titled debut album landed in my most listened to albums last year, I eagerly awaited the release of their follow up, Perfect Season. I had the good fortune to book them for a show at The Chopin (video below), see them play some of the songs they were working on for Perfect Season, and talk with the band. It was great to talk to Jeremy about his influences (Motown) as well as see that he had a big picture view for the band and knew how he wanted to get the band to that place. As far as their sound goes the Juliets are able to blend elements of rock, soul, indie and baroque that all add up to a sound that can only be claimed by them.
Where their self-titled debut was tight and sounded as if they had made it all at once in one massive great session, Perfect Season has an array sounds on it and finds them experimenting with their instruments, as opposed to incorporating other sounds and instruments. Some nuanced turns of the strings are played incredibly capably by Sarah Myers (violin) and Kaylan Mitchell (cello), as evidenced on the song "A Perfect Season". The way they fill the background from the middle to the end of the song is not something you would describe by proclaiming "yes there are strings in there". But the effect on the listener is a rich sound that is accentuated by Jeremy Freer's swooning vocals, light falsetto, and just the right amount of guitar played by Jeremy as well.
The pop punch of "Heart In Heart" is a rollicking track that easily could have been on their first album, although slightly different with the drumming of Jacklyn Phillips, replete with loose marching snare rolls and nice jazz touches as well. Jacklyn just joined the band (didn't play on their first album), and to see her play live was happily surprising due to the way she mixed more traditional rock and hip hop drumming together. Who would have thought?
"The Lost Memory" is a bit of a change up for the band, and a welcomed one at that with waltz timed instrumentals and contributions from the whole band. Hell, if they put out a whole album of this I would really enjoy it.
"You Found Me Out" finds Jeremy's falsetto and piano interplay being accentuated by Ashton Hopkins bass line almost as a call and response. Add short burst of strings and this is a delicious pop nugget that leads you to bob you head with the rhythm.
With as well as Jeremy can write a pop hook and marry it to his piano playing, the one thing that might not scream out at you is the arrangements of these songs. It goes without saying that all the members of this band contribute and do it well. The Juliets have incorporated the strings so well that they sound seamless amongst the sounds of rock music. Add some hip hop drum flavor and Perfect Season is a singular sounding album that you won't be able to stop listening to. I know my wife and I haven't as we listen to this every few days since it came out. This album will be on my most listened to wrap up in a few weeks. The band has this album as a "name your price 0 minimum download". So help them out with some dough if you are able, but above all share their bandcamp link if you like it like I do.
Here's the video for The Juliets performing "Loon" the opening track of Perfect Season. (Dedicated Ears Showcase at Chopin Theatre Chicago on June 19 2010.
The ever talented singer song-writer Justin Johnson (Pretty Little Empire) is at it again with his new project, Jump Starts. He is joined by Sarah Ross (Paper Dolls) who plays drums, claps and sings. By deductive reasoning this should be a great album. Pretty Little Empire have made my most listened to albums of the last 2 years and Paper Dolls recently released an album I had on repeat, I loved it so much. Well, this album is every bit as good as I would have guessed. Ready, Set Gohearkens back to the 1950's and pays an astute homage to the likes of Buddy Holley and Eddie Cochran. Justin and Sarah add touches of Americana and even a bit of 80's pop sensibility with the way the chorus is repeated as Justin sings the lead over it to make these sparkling pop songs that feature unconventional structures at times.
The vocal mix on "It's Not Over" is stellar and showcases Justin's ease with melody. The 50's influenced "Can You Help Me" call and response vocals with Justin's earnest pleading lends a level of urgency to the boy aching about a girl sentiment. "Come Home Come Home" would probably be the radio lead single from this collection of songs. Just the right vocal mix coupled with the little jazz shuffle of Sarah's on drums.
Sarah's loose sounding percussion is the perfect counterpoint to Justin's precise songwriting and tight melodies. I am fortunate to have heard some of these songs in their original form as i-phone demos Justin made with the phone in the bathroom sink. In this Jump Starts form these songs manage to vary by the song structure as well as an ever changing way that Justin and or Sarah sing the choruses. The production is kept sparse and puts a spotlight on the ridiculously talented melodic ears of Justin. I saw Jump Starts play in St. Louis a few months ago and they were every bit addictive live as on Ready Set Go. Justin and Sarah will have a album release show this Sat June 18th at Jefferson Warehouse (St. Louis) with a really cool band Blood Pony (their last show as a band).
Carouselis a seamless mix of electronic and traditional instruments that is complimented nicely by the post rock styled vocals.Chicago based Save The Clocktower is Greg Newton on drums/ vocals, Sean Paras on guitar/ vocals, and Jimmy Shenk on keyboards. The sound is rooted in electronic and uses traditional instruments as accents.
"Drip" is a nice groove oriented track that pulls more heavily from the electronic elements and is more of a dance track.
The pop wave sounds of "Taped Noise" feature some nice choices on the vocal mix that mimics the shimmery sound of the song.
"Take Me There" is my favorite track on Carouseland hearkens to 80's new wave mashed up with modern electronica which is all anchored by a strong melody.
If you enjoy new wave and post punk like I do, then you enjoy this album. There are some nice touches with where the vocals are put in the mix that make the melodies that much stronger.
Lissie Maurus should be a household name in Illinois off the strength of her enduring ep 'Why You Runnin'. Lissie sings about her vantage point of the Mississippi River near her hometown Rockford, IL. It's refreshing to hear someone sing about the Mississippi in the Northern part of Illinois. You can hear shades of Stevie Nicks, Dusty Springfield, and Hope Sandoval (Mazzy Star) in Lissie's vocals. Her soulful vocalstell the stories of someone much older.
On "Little Lovin' " the vocals have a brassy tone. The end of this song has a nice loose feel and Lissie sings like she is leading a sing-along in a revival tent. The Stevie Nicks comparison is apt for her delivery here.
"Wedding Bells" is a tale told from the ex- girlfriend point of view. 'The wedding bells will never ring for me' she laments after saying she got her ex's wedding invitation. The echo on her wistful vocals is commanding and reminds me of Hope Sandoval (Mazzy Star).
'Oh mighty river, oh Mississippi, oh all the trouble your banks have seen. Carry these stories from north to south but round these parts your westward bound'. This is a slight twist on the classic lament of the Mississippi from folks in the South. "Oh Mississippi" captures the vitality of the great moving body of water as well as the relationship that people have with this living streaming river.
"Everywhere I Go" is in the great blues tradition of wearing your heart on your sleeve. When Lissie hits the powerful notes on this song you feel what she is saying.
Lissie is able to connect with and commit to the feelings that these songs were breathed to life from. There is a country influence here, but I wouldn't necessarily call this country music. One thing for sure, it will be hard for you to stop listening. Lissie is confident in her delivery and her voice is mesmerizing.
This Fat Possum Records release was produced by Lissie's friend Bill Reynolds, the bassist in Band Of Horses. He does a good job of capturing the unique texture of Lissie's voice which is smoky, brassy, delicate and powerful.
You can check out Lissie at Fat Possum, along with quite a few great releases that I personally own (R.L Burnside). I am working on interviewing Lissie when she comes to Chicago on Jan.15 at Metro.
Dedicated Ears Legal Free Album List features musicians from 53 counties and 48 U.S.states. This list grows daily. I am at 1500 posts and more posted every day. Styles featured, indie, pop, folk, Latin, rock, alternative, prog rock, math rock, pop, songwriter, classical, jazz, metal, doom, stoner, gypsy, African, Brazilian and too many more to count! Also a list of net labels and my favorite music sites.
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