Hör Eyes On

October 31, 2010 § Leave a comment

Like the train on the tracks, days go by with ease and despite maybe the odd delay, they’re always going to end up with the fulfillment of peace and quiet, however much I’m looking back out the window.

I’m knocking off the tracks from a mixtape that got itself wedged into my right atrium and after being spat out on to the floor with a blind eye, is slowly moving back down my throat with a gleeful smugness that does nothing but hurt.

Train and train and plane and plane; a blur forever fading out before my eyes while I stand still for a moment, mesmerised. And with a breath, my legs turn slowly and walk away with a purposeless ponder, every so often scanning the horizon behind me. At least I can imagine the clouds having great green eyes that cry the whitest tears in the winter and hibernate peacefully in the summer… At least I have my imagination.

Doug Burr narrates this ambiguously painted picture to me often through the medium of Graniteville. I sometimes listen to this song particularly when my sentences get too long for comprehension and my words get so dreadfully vague, not even my greatest friend could understand. Burr has a good voice and a good interaction with the instrument he plays and usually, most creations come down to the interaction they contain, however indirect or direct it is.

Doug Burr – Graniteville

Burr is still alive and kicking.

Yesterday, APFOS hit 100,000 views. Thanks awfully for your contribution since we started back on January 1st, 2010.

George

Reglitch

October 28, 2010 § 1 Comment

The Glitch Mob – Drive It like you Stole It  (King Fantastic remix) [download]

So I have posted the original here before but right now we have it with some very suitable hippedy hoppedy wrappage over the top. Still my secret weapon, my alarm call and my late PM ginseng. Played loud, this can fill any room. Furniture and people reverberate full on as if they’re playing along with the speakers. The lyrics are a bit ridiculous (“I pout ‘cos I’m a G”) but so is the quality beat/break/bass.

I’m having a bit of an electro party these days, Germany Germany just put 2 new records out, I’m hooked on this tune as per usual, Fenech Soler are coming to town in a few days and I just splashed on a pair of decks with a couple of housemates.

Life is good, essays will wait. Youth, no substitute.

marcus

Germany Germany

October 28, 2010 § 3 Comments

Germany Germany – Last Summer [download]

Reminds me of Lali Puna and maybe Slow Club. Listening to Last Summer feels like standing on a massive pendulum which has just finished one massive swing and has just got to the top of this swing where it pauses. pauses for 4 minutes exactly. There’s been this sensation of terminal velocity as the world and it’s people rush by, but now things are still.

You can take a break from the world and it’s people and do what you need to in order to get yourself ready for the next hurtle.  Think about the parts of the world you are going to swing through again, and where they are going to be. Then hurtle, you must never forget to hurtle.

Germany Germany – River [buy]


Give it 27 seconds and you’ll be a bit hooked. Things are a bit heavier and more intensely instrumented on this one but the feel of the song is pretty extraordinary.  The gasping synthy intro starts to catch breath and with the help of strengthening guitars and snap drumloops the gasping breaths become fuller and deeper until the whole thing just gets up and starts walking.

A lot of the music from Germany Germany has an almost signature organisation to it, everything is bang on time and nicely sketched out. But still full of thoughts and flakey strands. Really gorgeous.
Straight up good music, only so many words can be said about this really, but I like this guy.

Germany Germany released TWO albums yesterday: (Radiowave) on THaF records and another (Last Summer) for free on his own label (Distorted Disco)


Some New Songs

October 26, 2010 § Leave a comment

I’m picking up the pips from the puddles and trying to make a picture. Otherwise this post just looks like a happy englishman’s formulation on things that have got nothing do with the earth on which he walks.

I have just returned from a gallavant in the capital.

I was walking over that Millennium bridge and staring content into the stern-faced Themes. You see so many faces when you’re in London; looking back on a trip thereto seems like one gigantic mesh of buzzing busy faces to millions of lives of which you have but no clue. It’s pleasant despite it’s fleeting hurried nature. When you’re surrounded by huge screens blaring out advertisements, when your hair whistles back with the colossal breeze that ensues the terrifying underground train,  Garrett by Newman Wolf is a song that does nothing to me other than stir a great chord within my body and it helps me vibrate past the fleeting faces and the stunning city-bustle. This track is so well crafted; the stutter has developed into a glitch, the swaying head has grown into a sweeping note that manoeuvres within the bass and the snare replica. There’s nothing more to it than a positive reaction and that’s why Newman has me so excited.

Newman Wolf – Garrett

[dnwlooad]

He is of course nothing but a name brought to me by King Will Wiesenfeld, a guy who, as well as making his way into my fantasy land of happy affectionate beings, has recently feeded a new creation (which I in no way feel obliged to post here). I post purely to praise something I like. This Pop Song is a perfect noise to my sitting on a scabby train back home from Liverpool St. with Nathan, watching the shimmering factory lights past me by. It’s only after so many songs made by the same person play out as the backdrop to your most secretive moments, that you lodge yourself an inexplicable affection for the voice behind it all; it happened with Ben Gibbard, Ben Cooper, Conor Oberst, Ezra Kroenig, Rebecca Taylor/Charles Watson and now it’s happened with Will (i.e. Baths).

Baths – Pop Song

[dlwaonod]



Another friend of mine drunkenly interviewing an EXCELLENT band

October 25, 2010 § Leave a comment

Having read and heard all about Sparrow And The Workshop on Song, By Toad, I was super keen to catch their show at The Cavern but had already booked my ticket to Leeds to see Maps & Atlases.
So I entrusted Dan with a pen and paper. Smart move indeed.
Sparrow and The Workshop – Blame It On Me
A little over a week ago I had no knowledge whatsoever of Sparrow and the Workshop. Usually, this is less than beneficial when conducting an interview. An hour before our scheduled chat, I had not broadened my spectrum of interesting facts beyond their intriguing name and an enjoyment of their music. I had never done an interview before. I saw the only way rectify the situation was an evening with our age old friend alcohol.

Surprisingly this worked a charm, we covered many many things noteably the lead singer’s stone-skimming ability and The Mercury Music Prize. Their favourite band to support was Brian Jonestown Massacre and they tip Fists as a band for the future. They were less complimentary of Mumford and Sons which I found quite easy to understand. They were friendly and even didn’t dislike my most ill fated comparison of ‘Bringing It all Back Home-esque’ Dylan. Upon reflection, they are darker, more brooding and the dramatic vocals are much more reminiscent of Grace Slick of Jefferson Airplane.

Lead singer Jill O’Sullivan invokes maturity, fragility, atmosphere and pagan imagery skipping like a record from a haunting siren to a boudica-esque battle cry. It’s folk/rock at it’s most thought provoking, the clatter and crash of the drums from Gregor Donaldson provides depth and a stirring rhythm to what feels a medieval barndance upon occasion, aided somewhat by The Cavern and its lighting, or lack of it. Gregor’s backing vocals were also excellent and matched the character of O’Sullivan. Nick Parker on bass is certainly worthy of mention, all number of words are used to describe the bass guitar these days, it’s quite excessive. With Parker the bass growled angrily but I appreciated more how well the basslines were fit for purpose and tailored perfectly to the guitar whether it snarled, howled or whispered, it was a most willing adversary to the pulsing rhythm section.

Great gig, great people (they even gave me a free copy of their LP!), I wonder if all interviews run so smoothly? Gratitude offered towards the support of George and Alex who filled in the blanks when I slurred as opposed to interviewed.

Dan.

Keenan is King // Come And See The Lights

October 24, 2010 § Leave a comment

Alaska. Going somewhere and seeing nothing but nothing. Expanse. Everywhere. I’ve lost my eyes and heart in an Alaskan travel book – I’m finding it hard to get them back. It seems like the utopian dreams and journeys of a 60 year old irishman have indented themselves on my tiny fragile system of thought where small ideas become towering fantasies. I went to go see Brian Keenan (i.e. that guy who got kidnapped and wrote the book about it) at St. Joseph’s College and I never returned; I’m still there, sitting, mouth agawp. And then that led to my own personal discovery of Jack London (i.e. that guy who wrote about the dogs). Never in all my imagination have I ever been so rigidly set on a scene and a scenario, in which all humans are but little things that can see the lights and stroke their pets, but not much else.

Flashguns – Come And See The Lights

I read these books on my bus and I often listen to the same songs, they are efficient at helping my imagination perform to its best ability. They’re like the rabbit ‘fore the hounds that never crosses the finish line; merely hides until it is found again.

As well as the ominous and slightly vague message of this post, I find it hard to think that I could ever articulate my exact reaction to what these authors create. But the Flashguns song is a freakin’ tune; great lyrics that wail so well over the run-away-holding-hands rhythm. It’s a new song by an amazing band that deserve more recognition.

George

Maps and Atlases Interview

October 23, 2010 § 2 Comments

BOOM, very late but worth the wait.

So a week or few ago, I myself went up to Leeds to catch a chat with Maps and Atlases on the second date on their headline UK tour, ably supported by Tall Ships and Loose Talk Costs Lives

Have a listen to this.

Maps & Atlases – Living Decorations (Breton Remix) [have it]

 

APFOS: So it’s coming up to the 6th anniversary of Maps & Atlases, have you figured your sound and your attitude to your music out or are you still experimenting and trying new stuff out?

M&A: It’s important for any band to grow and continue to develop with time and experience, definitely. For us it has been good to spend plenty of time, especially since getting out of full-time school, focussing on us as a band and understanding how we want us to sound etc. There are plenty of bands that go for it all the way as soon as they initially form, but it’s worked out better for us to take our time.

How does being on tour affect your writing output as a band?

The writing of songs happens when it happens i guess, we could be jamming in between sound checks or whatever. We probably write less on tour just because there is so much less time to mess about and play, it tends to annoy people at venues if you just jam on stage for a long time!

And how do your songs tend to come about? Do certain members contribute certain elements?

It’s pretty all over the place in terms of the individual contribution to each song. A lot of the overall sound comes from jamming and layering especially on the early stuff. Since then it’s more a case of taking a structure for a song and then, working with the relationsbhips we’ve developed in the band, we can make things sound as interesting as possible but at the same time having that initial structure allows us to be as concise and focussed as possible so we can get the best of both worlds.

What records were you listening to when the latest record, Perch Patchwork, was written?

There were plenty of records we were listeing to at the time but we wanted to to try and detach as much rather than seek out influences. There are specific artists that were inspiratonal on certain tracks. The Charm for example came about after listening to a lot of Roy Orbison, I really appreciate the song Its Over and wanted to try doing our version of a song as emotionally cathartic as that, which we’ve never really done before.

Favourite new music?

Glasser – Rain   [This is an excellent record and absolutely worth your time on Spotify or Myspace or aything]

 

Perch Patchwork has been out in the UK on Fat Cat records for about 2 weeks now, have look for yourself here. it’s fantastic.

 

 

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