Indie Shuffle » Jen Verzosa

Agent Ribbons – Chateau Crone

Jen Verzosa — Wed, 03 Nov 2010 20:22:23 +0000

Sounds like: Social Studies, LoveLikeFire

Song: Agent Ribbons - I'm Alright [download here]

What's so good?

Hailing from Austin, TX by way of Sacramento, Agent Ribbons is a sassy all-girl band notorious for their minimalist approach to garage pop. As a two-piece, Natalie Gordon (vocals/guitar) and Lauren Hess (drums/accordion) had mastered arranging gooey-sweet yet tongue-in-cheek lyrics against raw guitar on 2006’s Upon Time Travel and Romance. While they have retained their Sleater-Kinney attitude and Peggy Lee-esque vocals, Agent Ribbons have broadened their repertoire to encompass Baroque rock with the addition of violinist/cellist Natalie Cherie on their sophomore album, Chateau Crone (Antenna Farm Records).

From the sexually liberated to the coquettish and demur, Chateau Crone is a retrospective look at romance from the perspectives of different types of women. In “I’m Alright,” Agent Ribbons lay down the law with a scrappy guitar riff and steady, uncompromising handclaps, but Gordon’s alto is languid. She isn’t alright; she’s bored.

With its pop ballad sensibility, “Born to Sing Sad Love Songs” is the best song on the LP; it’s the hopeless romantic’s anthem, a song just screaming out to be in a Broadway musical.

The burlesque “I’ll Let You Be My Baby,” begins with a sleazy, come-hither accordion that leads to an unabashedly sexual chorus, “You’re good in bed / Enough said.” But while in “My Hands, Your Hands” Cherie’s frenzied violin does add texture, the sonic shift at the hook is unnecessary. In fact, removing the entire hook (“I miss / Your kiss / But I’m happy like this”) would provide the track with a flow that it is presently lacking.

Since the release of Chateau Crone, Cherie has left Agent Ribbons. While her bandmates grieve the loss, nothing has been lost sonically. In truth, Cherie’s violin or cello parts were superfluous and added little –- if any -– depth to the music. Alas, Agent Ribbons is back to being a duo. Sometimes, less is more.

------------------------ With countless sub-genres

1. Original post: Agent Ribbons – Chateau Crone

2. Posted in: indie pop, female vocalist, garage, freak folk, agent ribbons

3. Find more music on Indie Shuffle's Indie Music Blog.

Live in San Francisco: Blood Red Shoes – Fire Like This

Jen Verzosa — Tue, 19 Oct 2010 17:14:29 +0000

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Sounds like: The Subways, The Kills, Klaxons

Song: Blood Red Shoes - Light It Up [download here]

What's so good?

Only a day or two before the show date, it was announced on the Rickshaw Stop’s website that due to visa issues, Sky Larkin, one of the supporting acts, had to cancel. Perhaps this was an omen of what was to come at the Blood Red Shoes show.

Although the doors opened at 8:30pm-ish, it was rumored that My First Earthquake was going to go on at 10pm. The anticipation for the show to start was palatable but, once several people pointed out that their keyboard stand was actually an ironing board, the audience laughed in unison – making the wait more tolerable.

When Rebecca Bortman, lead vocalist of My First Earthquake, got up on stage, she began to shimmy sideways in her pale gold cowboy boots. From that moment on, it was evident Bortman was going to be entertaining, in the same vein as Karen O. Before “Vow to Vowels,” a song about word puzzles, Bortman gave the audience some words of wisdom in regard to the New York Times crossword: “Don’t get discouraged. Start on Monday, not Saturday.” And, after an energetic Bortman did the robot and advised the audience to pick “books over boys,” My First Earthquake bought “it” — making them an extremely difficult act to one-up (on a side, My First Earthquake are running a Kickstarter funding drive until October 23).

Forty-five minutes later, Blood Red Shoes’ Laura-Mary Carter (vocals/guitar) and Steven Ansell (vocals/drums) emerged from behind the backstage curtain. Ansell’s drum kit was situated perpendicular to the audience, which was odd — it made the Feng Shui of the stage off.

As Carter sang “Don’t Ask,” her mouth moved but there was no sound – her amp was off – in spite of the 30 minutes the venue staff spent setting up their equipment.

During their hit single, “Light It Up,” members of the audience joined in the chorus and the atmosphere shifted into that of a grunge show circa 1993. Carter, dressed in jean shorts with solid, black tights underneath and a band t-shirt with an open sheer polka dot blouse over it, definitely looked the part of grunge goddess. However, while she gently head-banged while plucking her guitar, she appeared as though she just was roaring through the set to get it over with.

Soon after the song was over, Ansell divulged to the audience (and venue staff) that Carter had the flu and had vomited “out of necessity” all over the dressing room. Carter abashedly replied in her thick British accent, “I’ve been waiting since I was 13 to come to San Francisco. And I’ve got the flu. This is rubbish.”

Despite Carter having the flu, Blood Red Shoes delivered a memorable show with a 90s grunge flair. Because their music compensates for the night’s compromised stage performance, this duo has been called “the best new-ish band from the UK” — and, deservedly so.

------------------------ With countless sub-genres

1. Original post: Live in San Francisco: Blood Red Shoes – Fire Like This

2. Posted in: indie rock, female vocalist, garage, british, live in san francisco

3. Find more music on Indie Shuffle's Indie Music Blog.

Interview: John Vanderslice – Green Grow The Rushes

Jen Verzosa — Tue, 12 Oct 2010 19:23:53 +0000

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Sounds like: The Mountain Goats, Destroyer, Matt Pond PA

Song: John Vanderslice - Thule Fog [download here]

What's so good?

From member of the experimental group MK Ultra to indie solo artist and manager/owner of Tiny Telephone (The Dodos, Death Cab For Cutie), a recording studio in San Francisco, John Vanderslice’s epic career in the music industry continues to evolve. The synergism of synthpop, classical, and pop-folk elements in his newest EP, Green Grow The Rushes, is evidence of this phenomenon.

Vanderslice released the entire EP as a free digital download on his website. Presumably unencumbered from the pressures of making anyone any money, he had the sonic license to manipulate the calculus of genres.

On the EP, he takes ballsy risks stylistically with his juxtaposition laser beam sounds and violin plucking as a background to dense vocals (“Thule Fog”) — but the track somehow retains its pop sensibility. However, in “Pony Express,” Vanderslice pays reverence to pieces further back in his catalog because the song, apart from its crisp mastering, is the least dissimilar.

For Vanderslice purists a la Cellar Door, it might be one of those albums that needs to be played on repeat several times before a genuine appreciation for it develops. For more open-minded Vanderslice fans, this EP will be warmly accepted as a reflection of his growth as an artist. In Green Grow The Rushes, Vanderslice masterfully demonstrates that he has beautifully evolved beyond the indie genre into contemporary music.

Special thanks to Vanderslice for taking time out of his busy schedule to chit-chat with Indie Shuffle:

Can you tell me about your newest release?
I put the EP called Green Grow The Rushes out a couple of weeks ago. I didn’t tell anyone I was doing it — I just posted it. The people that knew was my wife and a couple of my friends — my label didn’t know. The Internet is so fast and the old-school way of putting out records is so slow. It’s, like, shit let’s get this party rolling. You kind of want to tour. You’ve kind of done your work.

What are you working on now?
There’s a new full-length record that’s going to come out in January, and it’s going to be all orchestra. I really had nothing to do with the music of the new record — I just basically wrote songs and then Minna Choi, a total genius who heads Magik Magik* Orchestra arranged the record. The album is going to be called White Wilderness. One of my idols is David Bowie — he reinvented himself every year. It’s really difficult to do that. It’s like turning a huge ship around, it’s difficult for me to make changes, but that’s my goal.

Your musical influences have been cited as diverse – from Neutral Milk Hotel to Public Enemy. Who has influenced you on either Green Grows the Rushes or the upcoming LP?
That’s a good question. I mean, Joanna Newsom. I’ve met her a few times. I would love for her to record with me in the studio. You know, there are these bands that you’d die [to work with].

Are there any specific artists you’d like to collaborate with?
There are thousands. I like would like to make a record with Nigel Rogers who has been working with Radiohead forever. He’s one of my idols of all time – for engineering and just like an intellectual idol. [He's] unbelievably interesting.

What’s a normal day in the life of John Vanderslice?
I volunteer 2 days a week. I’m married. I have 2 cats that are incredibly awesome and needy. I’m super domestic — my goal is to be at home all the time. I never like to go out at night; I just kind of want to hang out with my wife. I’m really into hiking and California outdoorsy stuff, but I’m also at the studio every day. And the goal this year has been to not tour as much as possible, but I’m going to CMJ soon to do some shows with Extra Lens who’s in Mountain Goats. That’ll be great.

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1. Original post: Interview: John Vanderslice – Green Grow The Rushes

2. Posted in: indie rock, indie, folk-rock, john vanderslice, tiny telephone

3. Find more music on Indie Shuffle's Indie Music Blog.

Sufjan Stevens – All Delighted People EP

Jen Verzosa — Fri, 01 Oct 2010 23:42:09 +0000

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Sounds like: Devandra Banhart, Vetiver

Song: Sufjan Stevens - All Delighted People (Original Version) [download here]

What's so good?

Out of left field, Asthmatic Kitty Records announced the release of All Delighted People, a 60+ minute EP by the ever-so-prolific Sufjan Stevens, in a seemingly innocuous e-mail listserv newsletter. To the dismay of some, All Delighted People is not a follow-up to Illinois (2005), his second installment in his epic song cycle series about each of the 50 states.

With torment and desperation in his freak-folk falsetto, Stevens sings “I tried my best I tried in vain/I do love you a lot/Do you love me from the top of your heart?” against the cherubic harmonies of his accompanying choir in “All Delighted People (Original Version).”

Unfortunately, the three crescendos of strident instrumental cacophonies that are timely and lyrically relevant make this otherwise impeccably glorious track difficult to listen to. “Enchanting Ghost” is reminiscent of vintage Stevens a la Seven Swans. On this EP as well is “All Delighted People (Classic Rock Version),” that at 8:07 minutes is redundant – if not, overkill – because the original version is 11:38 minutes. AK Records describes the rest of the album as: “ …the 17-minute guitar jam-for-single-mothers ‘Djohariah,’ and the gothic piano ballad ‘The Owl and the Tanager,’ a live-show mainstay.”

In an interview with The Guardian conducted less than a year ago, Sufjan laughed when asked about the Fifty States Project: “I have no qualms about admitting it was a promotional gimmick.”

However, as a standalone entity from it, All Delighted People will surely be a delight to your ears as everything else Stevens has released has. He is as consistent as he is prolific.

------------------------ With countless sub-genres

1. Original post: Sufjan Stevens – All Delighted People EP

2. Posted in: folk, folk-rock, acoustic, freak folk, sufjan stevens

3. Find more music on Indie Shuffle's Indie Music Blog.

Volunteer Pioneer – EP

Jen Verzosa — Wed, 25 Aug 2010 14:57:22 +0000

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Sounds like: Fiery Furnances, The Walkmen

Song: Volunteer Pioneer - Fear of Cholera [download here]

What's so good?

Stabbings, diarrhea, and zombies. These are the makings of a lyrically bizarre yet beautifully melodic 22-minute EP by Volunteer Pioneer. By way of the Golden Gate Bridge, Volunteer Pioneer is a folk-pop trio made up of Kyle Williams (guitar/vocals), Jason Byers (drums) and Sabrina Duim (vocals/harp). Volunteer Pioneer is like an awesome hybrid of an acoustic Wolf Parade off psych meds and a harp-plucking, freak-folk pixie Joanna Newsom that shut-up. (No offense, Joanna.) In “Fear of Cholera,” the juxtaposition of Kyle’s screeching-to-the-point-of-breaking vocals and Sabrina’s “wailing” on her delicate harp is oddly brilliant – as is the entire EP.

Sadly, with the sudden and tragic death of Sabrina in 2007, Volunteer Pioneer is no more. In 2008, the Volunteer Pioneer EP was released on Gold Robot Records to share Sabrina’s talent with the world. Kyle and Jason have since formed Lady Genius that features Ashley Brewer, Brian Caraway and Matt Stromberg.

------------------------ With countless sub-genres

1. Original post: Volunteer Pioneer – EP

2. Posted in: folk, acoustic, folktronica, freak folk, volunteer pioneer

3. Find more music on Indie Shuffle's Indie Music Blog.

Ra Ra Riot – The Orchard

Jen Verzosa — Thu, 19 Aug 2010 23:27:05 +0000

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Sounds like: Vampire Weekend, Ted Leo and the Pharmacists

Song: Ra Ra Riot - Boy [download here]

What's so good?

With its twee pop appeal and baroque rock sensibility, Ra Ra Riot will release its sophomore effort The Orchard on Barsuk Records on August 24. While nine out of the ten tracks were mixed by Death Cab for Cutie’s Chris Walla and one was mixed by Vampire Weekend’s Rostam Batmanglij, The Orchard is the band’s first full length completely written without the lyrical mastery of John Ryan Pike, their original drummer and primary songwriter, who had died from drowning in 2007.

The delicate trot of a somber cello begins the dirge-like title track. In “The Orchard,” Wes Miles’ indie boy falsetto is braided with a beautifully sparse violin and cello accompaniment. In “Boy” and “Too Dramatic,” the two following tracks, Wes’ vocals are a smidge nasally, making the lyrics somewhat unintelligible. These are excusable flaws, however, as the words are not of very much consequence anyway.

The immateriality of the lyrics is self-evident in the chorus of “Too Dramatic:” You’re too dramatic / I don’t understand it / Out of the static / You’re too dramatic. Another shortcoming of “Too Dramatic” is its own lack of theatricality to parallel its lyrical content. However, with the spunky guitar riff of “Boy” and relatable subject matter of “Too Dramatic,” both are satisfying indie pop songs to the ears of undiscerning listeners.

As for “Massachusetts,” George Lang, Assistant Entertainment Editor of the Oklahoman, perfectly encapsulated it when he said: “. . . [it] sounded like a rejected Vampire Weekend track.” Next is “You and I.” Alexandra Lawn’s (cello) smoky yet clean vocals are a welcome respite from Wes’ sometimes smudged renderings. And, with a simple melody and muted organ playing, “Keep It Quiet” is a refreshingly gorgeous conclusion to The Orchard save for its percussive elements that, at times, overwhelm the delicateness of the song. “Keep It Quiet (Bear)” on their Boy EP, because of its simplicity, is more refined.

In The Orchard, an album of transition, Ra Ra Riot continues to create beauty of its chamber pop soundscapes but the band appears to be in lyrical limbo when compared to its previous LP, The Rhumb Line – and understandably so. Nonetheless, as the Ra Ra Riot continues on, what has been, its sharp rise in popularity, a lyrically cohesive album of consequence is without a doubt on the horizon.

This post was originally published on GreenShoelace.com

------------------------ With countless sub-genres

1. Original post: Ra Ra Riot – The Orchard

2. Posted in: indie rock, indie pop, alternative, ra ra riot

3. Find more music on Indie Shuffle's Indie Music Blog.