Obscure Sound - Indie Music Blog

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Editor’s Note: Since there are many worthwhile artists who have yet to tour outside of their native countries due to financial restraints, I decided to implement an occasional feature that highlights such musicians at work in a live atmosphere, provided by skilled writers who were actively in attendance. I will participate myself once I move to the more bustling location of DC in September, but for now while I am still stuck in Jersey, it will be aided by the participation of guest writers who will enlighten both readers and myself as to who and what to look out for in locations that you may not vacate often; I find that articles about live performances in varying geographical locations can be fascinating if done properly. The first feature in this particular vein comes from the town of Dartford in England:

Gary Ptaszek and Crack Silence at Bar Mondo, Dartford, England (06/23/08)

By D.R.J Gaymer

The lights cast out a red glow illuminating the room and the indie kids who were stumbling around, spilling cider over their plaid shirts whilst trying their hardest not to, disturb a small contingent of metal-heads. There is a light show of sorts, but if truth be told, there are more people in the alley outside the bar (as is so frequently the way with small town gigs); there are excited vibrations in the air simply because something is going on.

Live music!

No S-Club 7 records!

The possibility of actually meeting real-life people who might be into the same bands as you! It really does not matter who is playing, what matters is that someone is playing; that in itself makes the event. If the music is good then that is an added bonus and, tonight, the music is well above par. Gary Ptaszek (pronounced Per-Tash-Eck) is perched calmly on the end of a bar stall, clutching his acoustic guitar and sipping from a glass of water. He is dressed in all black, the only white being the graphics on his “Dartford Dealth Kult” t-shirt and his socks, which give vague recollections of Michael Jackson circa 1982 to those who were paying attention. Placing the glass of water on the floor, Ptaszek engages the crowd in conversation (strictly no shoe gazing) and then launches into another powerful acoustic number. The vocals drift between high floating melodies and low growls, creating a dynamic that fits over his strummed rhythms that include an eclectic range of chords and sparse riffs. When compared to other contemporary unsigned acoustic acts, this is a more mature set, transcending the banality of covers such as Oasis’s “Wonderwall” and instead drawing on British post rock groups like Biffy Cylro, Reuben, and stateside groups such as Silverchair. For the most part, the influences are covert and mixed in to create a more individualized sound, although there is the occasional exception such as a Coheed and Cambria cover where - for a brief instant - influences are outwardly stated. Nevertheless, Ptaszek concluded with his own composition, “Start”, a perfect example of his own brand of Dartford power pop.

From here on out, things started to decline as Crack Silence took to the stage. After a ten minute long sound check they finally got into a set of rather generic metal riffs, embellished with requests for the crowd to throw the horns with them (yet nobody yelled “FRRRREEEEEEEEE BIRD!!!”). Yet, for some unexplainable reason, screams inheriting such memorable quotes such as,“I’m going to fucking rape you! Rape you!” and “You’re a motherfucker!” were prevalent. After all, contrived controversy bored the cat. Fundamentally, they were just too loose for the polished and hard sound that they were evidently tying to pull off. All the ingredients were there, they just needed to tighten it all up and drop some of the clichés. Still, the audience were not particularly concerned. As far as they were concerned the important thing was that the bar was still open, booze was still being sold and music still being played, without a tracksuit in sight.

MySpace: Gary Ptaszek; Crack Silence

Stoney Clove Lane

Mike Mineo — Tue, 01 Jul 2008 10:18:18 +0000

Whether it was sparked by sheer curiosity or one of the several documentaries bearing its name, many of us have asked our parents at one point about their possible participation in the Woodstock Music and Art Fair of 1969. Perhaps it is the image of our straight-laced parents passing around a joint to the sounds of the greatest artists of the ’60s that entertains our minds so much, or maybe it is the thought of a 3+ day-long festival where “peace and love” were central themes instead of “parking and concessions”. Regardless, the event is considered one of the most important in the history of American music and most people under the age of 50 are reliant on fuzzy videotape and photographs to provide an idea of how influential it really was. For any actual residents of Woodstock, New York, I imagine that the history is inescapable. Considering that Woodstock is generally synonymous with quality music, I always wondered myself how thriving the music scene in that area of upstate New York actually was. As it turns out, the current music fans appear to be as passionate as their forefathers; check out any of the artists on the local record label, Woodstock MusicWorks, to see for yourself. Stoney Clove Lane is one of the handful of local artists on the label that has really impressed me and, though the members do not look quite old enough to have been participants in the legendary festival themselves, they clearly would have fit right at home on stage in their hometown 39 years ago.

While Stoney Clove Lane has been reputable in Woodstock since the release of their debut album, Bernstein & The Kid, in 2003, it appears as if they are about to receive some well-deserved widespread recognition due to the release of their third and newest album, Stay With Me. Named conventionally after the road bearing a similar name, Stoney Clove Lane is guided by two main members, Jeremy Bernstein and Adam Widoff. As the guitarist and lead vocalist, Bernstein writes the lyrics while the multi-instrumentalist Widoff writes the music and plays everything else, ranging from organs and drums to bass and slide guitar. The two are hardly modest when describing their most recent release, calling it the “strongest collection of tunes” they have put out. After listening to it for the past few days, I have to agree wholeheartedly. Though the catchy folk-rock appeal of Bernstein & The Kid and the poignant fusion of country and pop of their second album, Down Rent War, provided for plenty of enjoyment, Stay With Me sees the band at a creative peak in which their structural and melodic tone never suffers from being overly repetitive or predictable. From sweeping ballads like “Tonight” and “Gone” to brisk interpretations of traditional rock in the vein of “Castles Fall” and “Chasing Rainbows”, the 14 tracks keep the listener constantly amused, even if several styles sound remarkably familiar.

Apart from Stoney Clove Lane’s classic-rock repertoire fitting in very well with their geographical standing, the talented duo are able to produce a sound that should draw comparisons to the likes of Neil Young, The Byrds, and The Band without lacking in their own version of ingenuity. By blending elements of blues, folk, country, and purely initiated rock ‘n’ roll, they utilize genres that tread within a frame of familiarity. However, as a track as capable as “Castles Fall” could tell you, Stoney Clove Lane excel in even the simplest of circumstances. Bernstein’s vocals are comparable to Neil Young on tracks like “Lonesome Road” and “Ontario” throughout the album, but “Castles Fall” sees him revert to a haunting delivery that is more reminiscent of Richard Manuel during his prime in the late ’60s. The track is initially guided by an extremely basic guitar progression as Bernstein ruminates about how all things must come to an end, all in suave melodic elegance. The verse chugs along in traditional form but the chorus is where “Castles Fall” becomes irresistible. Upon its emergence, Widoff throws a stark organ under a more intricate guitar progression, contrasting well with Bernstein’s quivering vocals to establish a somewhat cinematic feel. “But you’re not here at all to watch my castle fall and turn to dust,” he sings during the second chorus, shortly followed by a concise bluesy guitar solo that summarizes the aforementioned touch of romanticized pain in immensely enjoyable form.

After listening to a bustling track in the vein of “Castles Fall”, giving a track like “Tonight” a spin should prove indicative of Stoney Clove Lane’s stylistic diversity, especially for an artist of their naturalized stylistic preference. This one has more of a country edge to it, backed by the gentle strumming of an acoustic guitar over the sound of crickets chirping in the distance. Along with the concluding “Gone”, it is the most prevalent ballad on an album full of varying tempos and tonal guidelines. “No more blue skies, the well has run dry, I’m all alone,” Bernstein sings, capitalizing on the melancholic atmosphere to a commendable extent. The chorus complements the bare verses extremely well, featuring a variety of sparkling keys that supplement the acoustical melody to an ardently invigorating effect. “Chasing Rainbows” may serve as an ideal single choice, drawing immediate comparisons to The Allman Brothers with a twangy mix of expressive country and folk-rock. As a whole though, Stay With Me is a brisk collection of accessible tracks that should appeal to fans of classic rock. Considering that a large demographic is still drawn to the allure of such a style, the quality presented on Stay With Me should open Stoney Clove Lane to new horizons of success.

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Stoney Clove Lane - Castles Fall

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Stoney Clove Lane - Chasing Rainbows

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Stoney Clove Lane - Tonight

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Queen Victoria Wanders The Endless Night

Mike Mineo — Mon, 30 Jun 2008 10:21:03 +0000

Monday; it is looked upon as the day farthest from the weekend and the day in which all responsibilities are resumed. Yes, it can certainly be devastating to anyone who despises their occupation or growing list of dutiful tasks, but let us revert to optimistic thoughts if possible. It is inarguable that some music can hit enjoyably hard on the day of anti-rest, especially if the audible content emits emotions and melodies that are reflective of the somber circumstances at hand. I have been intending to mention Queen Victoria for the past few weeks, but sitting here on a Monday morning with an overcast sky above me discharging raindrops at a tranquil pace, the New Jersey native’s debut album sounds better than ever. Now, I am not recommending waiting until a rainy to listen to this lo-fi spectacle, but if these are your current conditions as well, you should seize the opportunity. Like heavily prevalent influences in the vein of Leonard Cohen and notorious recluse Jandek, the poignantly touching musings of Queen Victoria are complemented by gentle arrangements featuring the primary use of acoustic and electric guitar, keys, and percussion. The instrumental arsenal is not the most expansive, but within the style of minimalist folk, Queen Victoria’s The Endless Night discovers captivating success based on the strong songwriting and stylistic preciseness of the one man who leads it all.

The force behind Queen Victoria is Nick Malkin, a 22-year-old who recorded The Endless Night across a variety of bedrooms in Pittsburgh and his native New Jersey. Like some of us (including myself), Malkin’s level of productivity appears to peak during the exceedingly late hours of night. Using little more than a 4-track and a couple of instruments, all of the recording and songwriting was done during such late hours after his housemates had gone to sleep. About half of the tracks were written in New Jersey but Malkin claims that everything “definitive” took place in Pittsburgh, all while he was living in an unfinished basement. “[It] was oppressively dark and damp,” he explains of the living quarters. “That climate certainly affected the record to some degree.” Listening to the album, it certainly sounds like it was recorded in a dark basement late at night too, and I mean that in the most complementary way possible. As far as the intended style goes, Malkin pulls it off with ease, treating listeners to a subdued listening environment whose barrenness coincides exceedingly well with Malkin’s deeply soothing voice and the melancholic lyrical overtones he conveys. And while the style is done remarkably well, the aspect that has drawn me most toward the success of The Endless Night traces back to Malkin’s songwriting. It is not by any means an intricate affair, but he makes exceptional use of his instruments at hand. Considering that he was using nothing more than a 4-track, a few instruments, and two hands, the individualistic variety in the songwriting on The Endless Night is considerably impressive.

The self-titled track on The Endless Night plays as one of Malkin’s more interesting efforts. “The cries of insomnia let me out onto the street to take up my place in the chain of a midnight defeat,” he murmurs to begin the song, referencing his own artistic tendencies as much as the habitual inclinations of human nature. The introductory progression sports little more than a repeating acoustical progression that is complemented by the single note of eerie keys at the conclusion of each measure, but the track eventually expands into something that proves highly demonstrative of Malkin’s abilities as a songwriter. At the conclusion of each verse, Malkin adds some form of melodic variation to complement the preceding melody; at first it is in the simple gesture of percussion, but when the actual bridge occurs around the two minute mark, the style that concludes around the final minute makes the preceding use of minimalism that much better. He nearly transcends into a version of free-jazz with shuffling percussion and the exotic sprinkle of keys, remaining in a key of unruffled melancholy despite transitioning to a style that contradicts the initial repeated progression. Like several tracks on the album, it is an immensely enjoyable effort that becomes increasingly memorable upon each listen.

While the tone of The Endless Night is consistently solemn upon preliminary analysis, the latter stages of the album reveal a sense of optimism that first arrives on the transitioning “Up on the Rooftop”. Just before the two-minute mark hits, the expectedly brooding combination of keys and guitars transforms from a state of melancholic reflection to an effervescent burst of hope that is most evident by the increased usage of keys and vigorous strumming of the guitar. It is comparable to “The Endless Night” in that a stark transition arrives around the mid-point, though “Up on the Rooftop” sees an additional shift in both style and emotional tone. Also, though under two minutes in length, another track that caught my attention immediately was “Apology I”, the first of two concise instrumentals bearing the same name. The progression is simplistic enough but Malkin’s implementation of keys are both graceful and eerily invigorating, consequently crafting a breezy melody that ranks as one of the best on the album despite its apparent simplicity. Upon further examination though, The Endless Night is an effort where quality is not defined by intricacy or wholesomeness, but rather through the genuine emotions that Malkin delivers through some legitimately satisfying songwriting and a style that fits his voice to an extremely agreeable extent.

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Queen Victoria - The Endless Night

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Queen Victoria - Apology I

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Queen Victoria - Up on the Rooftop

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The Black and White Years - Evil Ape

The Black and White Years

Mike Mineo — Fri, 27 Jun 2008 10:17:43 +0000

For a band that has just recently broken out of the local eye, drawing comparisons to an artist who they idolize is often flattering. While no artist wishes to be forever grouped with a particular influence, a feeling of widespread recognition in that listeners are able to audibly grasp the forms of music that molded them as songwriters and performers is certainly a step forward in becoming the “next big thing”. After all, this is a career stage that has occurred for nearly every single budding artist in the modern age; critics make it easier for fans by comparing an unheard-of band to an artist who is recognized and revered by many, consequently drawing in a variety of new fans who embrace the respective comparison in obsessive form. That being said, when a member of the actual group you are being compared to shows up to your first big-time gig based on the press comparisons alone, you know immediately that you must be doing something right. And when that guy in attendance was one of the founding members of a group as undoubtedly important as the Talking Heads, well, I am not sure how the beginning of a music career could get much better. That is, of course, unless your influence goes a step further and actually helps produce your debut album…

The Black and White Years have lived this experience with Jerry Harrison, the keyboardist and guitarist for one of the best new-wave groups of all-time, Talking Heads. I have known many veteran songwriters to dismiss contemporary idolizers as nothing more than individuals with no innovation of their own, entirely void of original content. This can occasionally prove to be an ignorant stance, though it can also be startlingly accurate in many cases. When Harrison heard about the comparisons being made to his former band, a streak of curiosity caused him to check out the four-piece from Austin, Texas during SXSW (conveniently taking place in Austin). Considering that The Black and White Years were the first of five bands to feature at a rather hidden showcase (it was in a parking lot), Harrison was one of seven people in attendance. Though the atmosphere could have been more exciting, Harrison enjoyed the set so much that he became very friendly with the band, eventually inviting them to his studio in San Francisco to record their self-titled debut album five weeks later. Though we all like to tell ourselves that this type of philanthropy happens often, it is rare for someone of Harrison’s status to help out a local group with no credibility to speak of. He had little incentive to do so, but it is simply an example of someone whose love for music appears to only get stronger with age.

Listening to The Black and White Years myself, it is quite evident why Harrison was so impressed. The four-piece is clearly infatuated with the power-pop and new-wave schematics of the past, but only to a certain agreeable extent. Their additional grasp of electronic pop allows them to simultaneously mix and mash genres, resulting in a force that manages to be eclectic on a track-by-track basis while maintaining the accessibility that brought them such commendable comparisons in the first place. The songs are tightly executed and directly infectious, led by an expert rhythm section consisting of bassist John Aldridge and veteran drummer Steve Ferrone, the latter of Tom Petty and the Heartbreakers fame. The Black and White Years originally used drum loops as their only source of percussion during live shows but, with the help of Harrison and engineer Eric Thorngren, they brought in Ferrone to add a dynamic feel to the final recordings. As for the constant comparisons to Talking Heads, it is more prevalent in delivery than the actual stylistic substance. Vocalist Scott Butler sings with the occasional stutter and high level of embellishment, causing the David Byrne influence to be there regardless of how you look at it. While it is more prevalent on some tracks (”You Are a Dragon”) than others (”Everyone”), it never manages to sound too intentional or manipulative.

It is ironic that comparisons were one of the primary reasons The Black and White Years found success, mainly because it is impossible to singularly classify them. Their self-titled debut is filled with a variety of genres, with new-wave, electro-pop, and ska being the three most noticeable forces at work. They occasionally integrate into one another, though the majority of the album sees a track focus on one or two of the styles while remaining consistent with the steady rhythm section. “Power to Change” is one of the few that utilizes all three, being a thorough success in the process. The guitar progression immediately resembles the use of tremolo in the genre of ska, with the glistening of backing synths energizing the primary melodic display over Butler’s demonstrative vocal delivery. It serves as the album’s second track, a wise decision considering that it allows listeners to ease themselves into the varying styles about to be presented during the album’s remaining duration. The downright catchy “Evil Ape” is the best example of the group’s ability to produce fantastic new-wave that echoes, yes, Talking Heads. “It is an ugly world,” Butler sings, stuttering in Byrne fashion before the track reverts to an enjoyably diversified guitar riff backed by the entry of eerie keys. “Everyone” is a track that has plenty of attitude, adding a bit to brass to the group’s impressive formula to even provide glimpses of a spaghetti western with its slick melodic alternations. I have to say I’m with Jerry Harrison on this one: The Black and White Years are definitely a band to look out for.

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The Black and White Years - Power to Change

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The Black and White Years - Everyone

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Ex Reverie Enters The Door into Summer

Mike Mineo — Thu, 26 Jun 2008 10:20:26 +0000

On some independent record labels, you can simply expect innovation from every artist in the catalog. Most major labels have the tendency to capitalize on profitable circumstances caused by music that may be accessible and radio-friendly but generally uninteresting, leaving the “little engine that could” mentality to smaller labels who focus solely and commendably on the music. Artists who embrace ambition and innovation as something inherent in their sound should take pride in sitting comfortably on a label in which neighboring artists encompass a similar ideology, as the fans they will consequently reach are individuals who comprehend the actual artistic intentions of such an approach. This is no knock on artists who have achieved a lifelong dream by singing with Song BMG or EMI, as a handful of them are deservedly raking in profit due to some great songwriting in their own right, but I have found that many people prematurely assume that there is not much worth looking for on indie labels due to a corporate-based separation that appears startlingly over-exaggerated. They also likely find the large number of smaller labels to be somewhat intimidating, making the search for an artist that fits one’s own personal tastes that much more difficult. However, when you actually stumble upon a label who offers something fresh and enjoyable each time around, it proves well worth the time.

I have yet to find a label in which I enjoy literally every single singed artist, but when I find one that at least offers a handful of enjoyable artists, I make an effort to remember it. In the case of the Philadelphia-based label Language of Stone, there have been a few artists in their catalog who have caught my eye over the past several months. The experimental psych-rock of Silver Summit was one example of something wildly unique and refreshing, with the rhythmically led prog-rock from Heavy Hands bringing a similar form of enjoyment. However, the artist on Language of Stone that has impressed me most so far has been Ex Reverie, the project of husband-wife duo David and Gillian Chadwick; both were previously involved in an avant-folk group by the name of Golden Ball. Gillian has also spent time with Woodwose, a duo consisting of her alongside one of Language of Stone’s founders, Jessica Weeks. Ex Reverie, though, is undoubtedly their most impressive venture yet. Fans familiar with their past projects should find comfort in the Chadwicks’ continuance of experimental folk, with Ex Reverie seeing the duo more comfortable with aspects involving folk-rock and psychedelia. They are backed by an impressive array of players with connections to Language of Stone, incluidng guitarist Greg Weeks, flutist Jessica Weeks, and cellist Margie Wienk (of Fern Knight).

While the instrumentation - a grandiose display of intricate acoustical arrangements, captivating orchestral elements, and creative rhythmic propulsions - is originally impressive, the aspect that stands out most for me on Ex Reverie’s striking debut album, The Door into Summer, is the duo’s lyrical prowess. Gillian Chadwick has a voice that whispers, quivers, and yelps in accordance to the coinciding lyrical and instrumental tone at the time, with the prevalent usage of metaphorical imagery providing an array of impressive moments that thoroughly highlights the duo’s poetic ability. Topics concerning relationships, fate, and transcendentalism are consistent throughout the release, but the melodic and structural variability carry enough emotional leverage in themselves to make the listening experience enjoyable for even those who choose not to focus on the impressive lyrical content (which is shameful on an album like The Door into Summer). With half of the tracks on The Door into Summer being over 5 minutes long, the duo took special care to provide a boastful amount of diversity. Actual repetition is nearly nonexistent and, as demonstrated in the excellent opener “Second Son”, the songs usually build up using several layers of strings, guitars, and percussion to lead into a captivating finale. Over it all is Chadwick’s voice, a feature that can shift from an angelic tone to one of brooding revenge in a heartbeat; if her music career fails (which it will most certainly not), she probably has a career in storytelling awaiting her.

My favorite track on the album, “The Crowning”, contains all of the elements that makes Ex Reverie’s style such an individualistically stimulating listening experience. The use of percussion is controlled by both the steady beat of a snare drum and the brooding gesture of strings, with the snare slowly emerging after Chadwick’s voice makes its haunting entry. “Sometimes I am allowed sight of a secret door,” she sings over the heightening string accompaniment. “Other times it’s just a wall, a door 300 years gone.” The clashing between imagination and a longing for the past appears subjectively and Chadwick’s intensifying emotions throughout the track are highly reflective of the ideology. Like her vocals, the instrumental dexterity is augmented dramatically as David Chadwick and Greg Weeks introduce a series of fluid guitar lines. The strings and percussive beat evolve into one consuming rhythm section in itself, sounding remarkably memorable over the varying guitar progressions. This is a track that must be listened to from the beginning, as the listener’s perception of the string-snare combination shifts enjoyably as the final two minutes of “The Crowning” provides a form of role reversal that delights. In somewhat of a contrast, “Cedar, Pt. 2″ is a closing track that non-chronologically follows up on the 8+ minute epic of a similar name. Its soft, acoustic nature bids the listener farewell in delicate form, closing off an album with no major missteps to speak of. The Door into Summer is now available and I wholeheartedly recommend it to anyone who has a respect for artists who mutually involve lyrical and melodic content to create a uniquely notable sound.

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Ex Reverie - The Crowning

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Ex Reverie - Second Son

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Ex Reverie - Cedar, Pt. 2

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