I write about music. I love pretty much all types, though there are a few genres I avoid. I grew up in the south but I'm no Southern Belle. And I can't go a day without listening to 90s pop, 70s rock, and the Foo Fighters.
Maybe the rough yet melodic rockers of Funeral Party were on to something when they named their band; when you listen to the monotone yet searing vocals of Chad Elliott over the melodic and sometimes dance worthy riffs behind the music, it’s hard to tell whether it’s a funeral or a party. Perhaps these LA natives strive for both, and that’s what makes their music interesting to hear.
It’s easy to tell why they became a cult hit in their local neighborhood, but you have to give them props for catching the ear of Lars Stalfors, a producer who has worked with the likes of The Mars Volta, Juliette Lewis, and Reel Big Fish. Factor in their own decision to get dropped from predominantly pop-punk Fearless Records (they were later signed with Sony), and it’s now up to Funeral Party to not only prove they can hack it mainstream, but also convince us of their sound.
Pseudo-pop and ironic clashes of genres are the next big thing, making Funeral Party pretty damn catchy, despite the lack of melody in Elliott’s vocals. But I’m waiting to see if they can take the energy-driven garage show and put it in a package that will make Sony Music proud.
On a completely unrelated note, their website is probably one of the coolest I’ve ever seen. But what do you think? Would you see them at Warped?
It’s that time of year again boys and girls. Teenagers, PETA warriors, and one journalist-like, music loving blogger will be sweaty and dehydrated for the chance to see a handful of metal-core bands and one or two fairly awesome closers. But wait, don’t hate on Warped Tour just yet. I know it tends to be a biased music production, but with over 90 bands performing there is bound to be something for everyone — a few diamonds in the rough — which is why I’m highlighting some particularly shiny Guilty Pleasures of the Week for the rest of June.
I have to start with gruff, rough-around-the-edges rock group Dead Sara, because I have a weakness for female-fronted bands. And the first moment that I heard the unique vocals of Emily Armstrong part screaming, part singing over the powerful guitar riffs that are an ode to the nu metal style of the 90s, I was in love. Armstrong seems to channel the fiery rasp of Janis Joplin as she pours either pure emotion or raw energy (I can’t tell which one) into the lyrics “So go for the kill/’Cause no one else cares!” from the single “Weatherman”.
But don’t get me wrong, Armstrong is no Joplin. Armstrong is at times missing style and magnetism in her voice, causing some to say Dead Sara’s debut full length album as a whole falls a little flat. Despite the huge growth spurt of the band, it’s probably going to be up to their live performances to convince audiences that they are definitely not a one-trick pony and have more to offer. (Just check out some of the meaningless heavy debate on the YouTube page for this video for more on how unconvinced a few people are.)
But… it is their first album. They are allowed a first album to put themselves out there and grow from here on out. Despite the lack of dynamic, I’m excited to see what they can pull out for their sophomore attempt. But what do you think? Do you think we’ll hear more from this band in the future?
Portuguese pseudo-pop band CSS is kind of a walking contradiction — in the best way possible. Lead singer Lovefoxxx has a witty tenacity for lyrics that play on the whole idea of the pop and dance music genre in general. And with a band name that translates in English to “tired of being sexy”, they’re surprisingly refreshing at times, both with their subject matter and their willingness to walk the thin line of downright bizarre.
Don’t believe me? Try checking out their song about Paris Hilton, which uses the word “bitch” about a million times. (Not an exaggeration…well, sort of an exaggeration.) Their latest single “City Grrrl” plays on the popular view of beauty in world-famous New York City, and gives a really smart insight into American pop culture from the eyes of an outsider. Witty — and you can dance to it. Think about that, or ignore the smart mumbo jumbo and just sing along.
This guy takes “music lover” to a whole new level.
There’s a popular consensus among young people that lately has been spread around by Bieber-obsessed teenagers, Tupac-hologram loving hip-hoppers, and well, hipsters. And that consensus is…you’re a music lover and you “really” know music. Guess what, my friend, you really don’t.
If you’re reading this, you are either the kind of person who calls yourself a bona fide music lover, or you know someone who fits the description above. There are some problems with a select few of people who call themselves music lovers when they don’t really love music. Saying you’re a music lover and then only listening to one thing is like saying you love blacks because you’ve got that one black friend. Obviously it’s not as harsh as this example, but you get the idea. Everyone has different tastes and shows favoritism to those, but that doesn’t mean if we like pizza, we close the door at the sight of anything that isn’t a simple slice of cheese. Even beer enthusiasts will submit themselves to the “dear gods above I just drank piss!” face if it means they get to try a new type of ale.
The problem is there are music crimes happening out there, and they come in the form of close-minded “music lovers”. I don’t completely blame the offenders, however. A one-sided view of music begins at an early age. We all remember that time in our lives, right before we realized we had nothing figured out and right after we thought we knew everything: adolescence. It’s during this time that we forget we already are someone and instead try to focus on being someone else. We identify with a niche market of entertainment and then dress, act, and practically pretend to be our favorite celebrities and musicians. Which is fun when you’re young and naive, or at least can pretend that you’re still young and naive and remotely get away with it.
But you’re not fourteen anymore. Relax, man! It’s no longer “uncool” to admit that classical music at least makes you curious. It’s not embarrassing to say you like that one Kelly Clarkson song. Yet most of us never get there, trapped in that untaught world where we’re either too afraid to try something new, or too stubborn to grow the f up. If you find yourself falling into one of these following categories, yet calling yourself a music lover, perhaps it’s time to dial down the ego and open up your mind, at least just once.
1. Little Monsters. And Beliebers. And Directioners. When people are on the hunt for their identity, they make the grave mistake of labeling themselves. After all, why be you when you could be a “Little Monster”, love child of the ultimate Lady Gaga. Why put your passion into many things, when you can be a Belieber and fuel all of that passion into letting the world know how amazing (I’m using that word out of quote, not out of fact) Justin Beiber is. It’s this group that probably has it the worst. Are you afraid that Lady Gaga will hate you if you skip out on her record to listen to some rock instead? Will you lose your chance at having Justin Beiber’s babies if you choose a punk rock song over him? The truth is, they don’t care what you’re listening to, as long as you’re making them money. So buy the next One Direction album, and then save your mind from stalemating in an ignorant pop cycle and try listening to something else for a change. Plus, grandpa was right — they’re just trying to brainwash you with that crap.
2. Punk Rock Don’t Stop. You’ve got all the piercings, you had your sleeves tatted when you were 12, and everything you own has holes in it. Congratulations, you are a punk rocker, a rebel with a cause, a pure anarchy machine. How about a mainstream song? Before you start ranting about the problems with rock stars who actually make money and can afford to record an album, take a moment to relax just a bit. You can still be a mean, green, punk rocking machine and let a little light into your life in the form of a different genre. Listening to Bach doesn’t make you any less hardcore. In fact, I bet Beethoven would have been a punk rocker if he grew up in our time.
3. “I like anything with a good beat.” This is just code for: if it isn’t played at the club, I don’t like it. If I can’t get drunk and party to it, it’s a no go. If it doesn’t have lyrics about drinking, partying, sex, sex in public places, money, fast cars, more sex or all of the above, it just doesn’t cut it for me. There is a huge lifestyle that is associated with “beat music” — the hip hop and rap and dance of our current generation that’s really just a form of glorified pop. Trust me, there’s nothing wrong with anything that lets me party. But the next time you’re driving in your car, remember that it’s okay to turn the party off for just a moment and enjoy some Nirvana. Or maybe Bob Marley could tickle your club-hopping fancy. Not every situation calls for a song that yells “ass ass ass ass” over and over again. Besides, people have been dancing to other genres of music for years — I know, shocking but true.
4. Hipsters. I don’t even have to say more, but I will. You guys get your own category, especially since music to most hipsters is just another way to show off your “knowledge” of bands that no one has ever heard. The slogan of the hipster, music-loving world seems to be “if it’s bad, it’s good!” Really. Just listen to that for a moment. Trust me, your beard won’t magically disappear if you listen to something that – gasp – hit the top ten on the Billboard charts this year. Maybe your hipster friends will hate you if you admit to owning and enjoying something that will never be released on vinyl, but do you really want friends around who are going to hate you for broadening your music horizons? Didn’t think so.
These are just the major groups of self-deceiving “music lovers” who claim to absolutely love all things related to music and yet can only muster up enough courage to listen to one thing, one genre, or one artist. Music lovers definitely don’t have to love everything. For instance, I am not a big fan of country at all. But yes, I have subjected my ears to three short minutes of an iconic country jam, because what’s so wrong with giving it a chance? I knew that at most, I’d walk away still pretty adamant on hating the fiddle and anything related to it. But most of the time when we open our ears to something new, we find that there’s more than one music genre out there for us. And if you’re a true audiophile, it shouldn’t be a big deal to just simply try it out. Often times, those that parade themselves as “music lovers” are simply infatuated with one individual or one lifestyle that just so happens to be about one type of music. Hey, if you love Lady Gaga, there’s nothing wrong with that. But maybe you should think twice about proclaiming to love music, when really you love crazy, dance-possessed, meat-wearing performers.
And if you honestly do feel you are a music lover but you haven’t been holding true to that, go out there and find more music to love! And hipsters, this is not an invitation to compete over who is the biggest music lover. Sorry.
What do you think? Are there other groups that commit this a capella crime that weren’t mentioned above? Post your very important opinions below! And hipsters, this is not an invitation to compete over who has the most unique opinion. Sorry again.
I could riddle this post with a lot of puns and innuendos about special packages from Invisible Children (I think that’s illegal in … well, all 50 states) or unveiling the naked truth about this organization. But instead, I’m going to ask you to answer a question: What do you really know about Kony 2012?
I’ll be honest, here’s what I know:
I know there’s someone snatching children up in Africa, and it isn’t Peter Pan or Angelina Jolie. I know a lot of people don’t understand the use of film as propaganda, (which is ironic, considering how many products we buy or point of views we change from just watching a film.) I know someone may have had an incident in Pacific Beach…yeah.
I’m not an expert on Invisible Children and what they do, and I’m sure neither are you. Unless you’re a huge philanthropist, then you kind of rock! For the rest of us, however, there’s still room to grow and to give, which means shedding light on these important issues instead of, ahem, shedding clothes. (Okay I promise, that’s the last one!)
One of the best feelings that music can bring is a sense of unity on a subject or topic. They don’t call it a universal language for nothing. With that in mind, when production company Ladies in Boots announced a charity show on April 24th to help bring awareness to Invisible Children, they knew that the event would give the perfect platform to help answer some of those questions that you have. Coupling the folky yet soulful music of Katie Leigh & the Infantry, The Paragraphs and Trouble in the Wind with a full presentation of Kony 2012: Part II should make the night both fun and informational.
But if you’re really not convinced yet, why not hear about the whole situation from someone who has actually been there? Guest speaker Papito has lived through the conflict, and will give an account that is sure to answer any other questions that might be lingering in your mind about what is happening in Uganda.
So, do you want to answer the question I posed earlier? What do you know about Kony 2012? Invisible Children? What kind of finances does Invisible Children acquire? What is really going on in Uganda?
And most importantly, how can you help?
Why not start by checking out a really great show full of really talented musicians on April 24th at the Griffin San Diego. More information can be found on the Facebook page for the event. At the very least, you’ll have a good time. But hopefully, in addition to this, you’ll learn more about Invisible Children and finally answer any of those questions you had about this issue.
I know I have a lot of questions that I want answered. How about you? If there’s anything that you’ve really wanted to ask, now is the time! Let us know your questions, or post them on the Facebook event wall!
Alexis breaks the fourth wall and jumps into the audience.
What’s better than free tickets to see Sleigh Bells live at 4th and B? Getting to canoodle with Alexis and Derek of the band. Oh wait, what’s even better than that? Getting your boob signed by the feisty lead singer. Okay, okay, let me explain the night and subsequent party that was Sleigh Bells.
First of all, the concert gods are on my side. I don’t win anything. I didn’t win the Mega Millions (yes, I bought a ticket.) I don’t even win Bingo. So when I received an email from Sleigh Bells stating that I had won two tickets to their April 3rd show and that my name would be on their guest list, I was fairly convinced that it was some sort of evil April Fool’s Joke.
Just as I started to narrow down the list of people who could have possibly done this and therefore needed to be punished, it dawned on me that yes, this was real. I had actually won something. Everyone gets to win something at least once in their lives, right?
Despite the show being on a Tuesday, I dragged a friend along and headed out to 4th and B, with high hopes and aspirations for how the night would turn out. I’ve seen Sleigh Bells live before, so I had a fairly good idea on what to expect; however, when I saw the band, they were just a freshman in the music world and were opening for a rather large festival. But this night was different, as we all got to share in popping the proverbial cherry on Sleigh Bells’ first ever headlining show in San Diego.
Dubbed a “no-genre” band by some, Sleigh Bells is a mixture of noise-pop riffs over hardcore-influenced drum patterns and booming bass lines that would make any hip-hopper proud (as if to solidify this, they played Biggie Smalls and others while we waited for the band to take the stage.) Their sophomore album Reign of Terror dives more into harmonies and experimental guitar riffs and steps away from some of the bass-heavy dance-ready tones of their debut album, but the songs still scream “get up and move!” Given all of that, and since this wasn’t my first time at the rodeo, I knew that Sleigh Bells can be a bit of a party. If you’re not moving, you’re singing. And if you’re not singing, you’re screaming. And if you’re not screaming, you’re opening a pit in the middle of the crowd. One or all of the above.
The New York based duo has a need to be loud, one that I have experienced and yet it still managed to surprise me on that night. Their stage was simply adorned with about twelve Marshall amps (R.I.P. Jim Marshall), which my friend stated was “a lot of fucking amps.” I noted, “well, they’re obviously for decoration.” Until the first guitar note came booming through the entire venue. Then I had to turn to my friend and yell, “….I think they’re using all the amps!” Despite the intensity of volume, the sound was amazing — though I am biased since I’m kind of deaf. Always bring your earplugs, kiddos. Never the less, Sleigh Bells is a band that likes their music loud, so they’ve definitely managed to perfect the art of getting it that loud and making it sound good at the same time.
There weren’t any pits involved on this Tuesday night (but Alexis did acknowledge the brave souls who attempted to get one going), but there was plenty of movement, including the energetic lead singer working all angles of the stage to make sure even the people in the back were on their feet. I chilled up front stage right, smack dab in front of former Poison the Well guitarist Derek Miller. Wait, did I say chilled? What I really meant was I sang my fangirl lungs out and tried my best not to accidentally trample anyone in the process. Despite being on the opposite side of the stage, Alexis attempted to defy the laws of stage physics and stretch her microphone cord to our side on more than one occasion, prompting a resurgence of energy from virtually everyone directly next to me.
At some point, the energy of the show and the crowd shot upward, due mostly to Alexis’s need to get past the security guys and get into the crowd. After affectionately rubbing her hand on the top of one security member’s bald head — he smiled from ear to ear, in between bobbing his head to the music — Alexis finally made her way to that barrier we all hate at shows, and with a little assistance she jumped it. A crowd surfing Alexis continued to sing into the mic as I’m sure a lot of very happy dudes were placing their hands in spots they never would get to see.
Just as she had made her way back to the stage, a fan from that center crowd handed her a t-shirt, and what does she do with it? Well, she strips off her own shirt in the middle of a song to put the fan’s shirt on, of course. A very brave move, if you ask me; hopefully it was a clean one and not someone’s sweaty seconds. The theme of the night turned to “Let’s dress up Alexis” as me and my friend handed guitarist Derek a San Diego baseball hat. He proudly strutted to center stage and popped it onto their lead singer’s head.
The spontaneity and roll-with-the-punches mood of the band was just as exciting as their music, and the crowd really went crazy for it. Or maybe they were going crazy for Alexis stripping off her shirt. Either way, it was energy that held true after they had left the stage, and a small group of diehards waited patiently to get an encore. Sleigh Bells didn’t play one. Instead, they popped out from backstage to come hang with their fans. Derek walked out and the first thing he did was run up to me and my guest and ask him, “Hey man, did you get your hat back?”
We then proceeded to chat with him, (we even took a pretty embarrassing photo) before I made my way over to Alexis. I kind of skipped past a few of the people lingering near her and walked right up to her, complimented her on a great show, and after talking for a few moments she corralled the group over to the merch booth, wrapping her arms around my shoulder as we walked.
Once there, more photos commenced, and I had to buy a t-shirt (smart sales move, Alexis). Now that I had a shirt, and had tried it on to make sure it fit, the next logical idea was to get a signature. I was ready to hand the shirt over to Alexis when she told me that I didn’t need to remove it, and proceeded to full hand my chest and sign the shirt.
“Yeah, grab her boob!” My friend yelled. Classy.
“You have a nice chest.” Alexis said as she finished up her signature.
Can I die happy now? Not only did I get to witness an amazing, energy-filled show, I got to see just how down to earth the duo behind Sleigh Bells can be. They continued to chit chat with fans as if they were all old buddies, smiling genuinely at each compliment and really making the ending to this night worthwhile. An encore would have been amazing, but hey, getting fondled by Alexis Krauss is just as good, I guess.
Well, sort of. Maybe they haven’t quite been here for years, but there’s definitely something to be said about San Diego based, experimental alt-rockers Privet, and it includes more than the obvious comparisons. From the moment you begin to listen to their 2011 self-titled release, you may hear a few similarities with heavy hitters such as Pinback and Radiohead. But get about 30 seconds into any song, and Privet proves that they’ve taken this really intriguing genre and made it their very own.
Just on the edge of mathy, jazzy, and at most times very exploratory, Privet is a group of guys who either know exactly what they’re doing or they have the rhythm and music theory gods in their corner. Actually, they more or less know exactly what they’re doing. It only took a few moments of chatting with bassist Elliott Winicki to know that he was classically trained as well as ready to rock. Drummer Matt Lynott has the musical expertise that can only come from being a slightly self-professed “band whore” (Which is seriously one of the best kind of whores to be. Seriously!) Add in the well calculated riffs of Sean Walsh on guitar, the gently endearing vocals of Will Hagan, and a various slew of other instruments that the guys have all mastered, and you’ve got what I like to call “melodic chaotic”. Melodic because tunes like “Only A Fool” toy with beautiful folky themes, and chaotic because the asymmetrical dynamics and rhythms are always keeping your ears coming back for more.
Cruising music, relaxing music, music to listen to while you’re thinking or reading or on a road trip. Tunes that elevate your spirit. And that’s the real reason why Privet is compared to musicians like Elliot Smith, Jose Gonzalez, or yes, even Pinback.
The guys are currently in the studio working on another full-length album, and after getting the chance to sample two brand new unreleased tracks, I’m excited to hear what will be released in the upcoming months. Bands like Privet can easily build upon their style and grow even more, making each new release that much more interesting, diverse, and mature. They’ve got a few things in store for their fans, which include not only their familiar attention to detail with complex chords and riffs, but also growth from lead singer Will, that gives his lyrics a mainstream edge that’s just catchy enough to get you singing along, but not too conventional to deter from the artwork that’s happening in the music.
This four piece also operates as a creative duo (appropriately titled Privet Duo), and both projects have shows lined up soon, so check out their official site or Facebook for more details.
I’m pretty sure this counts as a girl crush. I daydream to this woman’s voice. I can’t stop listening to her lyrics! Though I have to admit, her accent is throwing me off and sometimes I have no idea what she’s saying. Who am I talking about? The lovely New Zealand talent Kimbra, that’s who.
Does she seem familiar? Perhaps you are one of the 48 million (and counting) who saw the famous video cover of Gotye’s “Somebody That I Used to Know”, also known as five people playing one guitar. I saw that video. And I didn’t stop there. No, then I had to look up the original video, then I had to Google search the vixen that stole my heart with her cool cropped hair and amazing voice.
And what I found was Kimbra, a twenty something, jazz-inspired, Nina-Simone-possessed sensation who just recently dropped some goods for America in the form of an EP. And I really hope she catches on because her talent is undeniable, her style is a fresh new interpretation of jazz, and her adorable personality is completely contagious.
You’re so welcome. Also, ten points to everyone who spots the Kid Coolout in the video. Ten more points if you actually know who Kid Coolout is.
I took awhile to write this, because there’s an odd pressure that comes from writing an article about one of your friends. But I have to share all of the recent developments from local instrumental geniuses Immovable Objects, and their soon to be completed full length album. It’s not out yet. I totally got to hear it while it’s being completed. Definitely insert giddy music geek exclamations here.
I’ve had the pleasure of getting the chance to spend numerous amounts of time in the studio with Immovable Objects, watching guitarist Matt Gagin work his magic and direct his band mates and friends in what is shaping up to be an incredibly impressive array of both musicianship and creativity. And no, that statement isn’t biased; I’m being serious. There was no detail left unturned, no note left untampered with in the best way possible during the studio process behind these songs, and when all is said and done and the album is completed, you’ll know exactly what I mean.
And Now……….Behind the Studio….kind of an inside joke, sorry about that.
Day One
The guys of Immovable Objects operate like a well-oiled machine one moment, and then slip into a bit of a lever that’s gone just a bit haywire. At any moment, the verbal absurdities are playfully flying, and I’m just making sure I don’t get hit by any of the crossfire (I come out unscathed — no one seems to notice me when they’re too busy thinking of the next interesting burn they can come up with!) It was a fun diversion to watch the guys morph from depending on one another to taking playful jabs; from relying on each other’s musical cues to making fun of each other’s photography styles (which is only bound to happen, with two photographers in the band.) Their friendship is full of dynamic.
Tim & Matt of Immovable Objects. Photo copyright of Ted Donovon.
It is a dynamic that’s really mirrored in all of their music. When it comes to instrumental rock, there are the typical comparisons: Explosions in the Sky, Mogwai. Then there’s the atypical idea of an instrumental rock group that has probably subconsciously painted their personal charismas into their music. Immovable Objects will definitely satisfy the die-hard instrumental fan, but they also deliver a bit of a roller-coaster that some of those fans are not used to receiving. Rather than settle on one riff or one note, the band wants to build upon it, sometimes quickly, before dropping you down the several-feet-tall thrill towards the twists and turns that come next. They want to play around with sound and create not just music, not just emotions, but environment. At one point, sound engineer Mario joked that some of their tunes were great “desert playing” songs, causing the guys to run wild with the idea. Guitarist Paul Balmer joked that each copy of the album comes with “a hit of acid and a hit of ecstasy.” Well, don’t get too excited and quote them on that. Or maybe go ahead, since I did just quote them on that.
I stayed behind the scenes as much as possible and worried about the effect of my photography flash blinding them while they were recording the latest guitar part. And since they were recording some of their instruments on tape, I think the pressure was on. But the guys worked like champs, and might possibly be paparazzi ready since I wasn’t the only one snapping the shots. In between songs, there was no “in between” time. When drummer Ted Donovon and bassist Tim Peacock weren’t hashing out their parts, they were taking turns in a battle royale of photography wits: elaborately snapping photos, talking a little smack, and then admiring the other guy’s work in the end. They were probably still going at it when I had to say goodbye. I was tired and I hadn’t done anything but watch the magic happen!
Day Two
Imagine my surprise when I was invited to come back again. After wrecking one complete roll of black and white film because I haven’t quite mastered the technique of bouncing a flash with a business card — or any other photography technique, for that matter — I felt that redemption would be mine! What I didn’t expect was the transitioning of all of this music to blow me away. While I was concentrating on making sure I had enough film and reminding myself to record some of the hilarious things that the guys said between takes, I had forgotten for just a brief moment what I was really doing, which was attending a studio session.
I mistakenly said that it was nice to see the guys in their element, but honestly, the studio isn’t their real element. Matt had created Immovable Objects after his previous experiences with bands left him hungering for a chance to create, without creative impediment, without personality differences, leaving him simply the chance to write music. So maybe for him, the studio was his element. He is the mastermind behind the instrumental child that is Immovable Objects, so it didn’t surprise me that he was always the most comfortable and on-point guy in the studio.
Not to say that Paul, Ted, and Tim weren’t on their game. But it was evident how much they relied on their band mate to help them through the process. Matt would stand between the window that separated the recording booth and the studio, raising his arms in huge gestures to ensure that Paul knew exactly when to switch a part. It wasn’t that he wasn’t prepared. It was simply that at the end of the day, no matter who wrote the tunes, Immovable Objects worked as a team. When Paul played, he could feel the transitions that came in the music because he was surrounded by his friends. So yes, being in the studio wasn’t really their element, but they still excel at it.
I got the chance to speak with Matt again about the name of the album, I’ll Know to Believe in Sparrows, which ironically Tim replied, “Oh really? That’s the first time I heard that!” The story behind the name involves a bit of coincidence and a dash of belief, as Matt tells me about how his grandmother believes in reincarnation after one has passed away; specifically, she believed that his grandfather was reincarnated as a sparrow. Though Matt is a bit of a skeptic, when faced with the question on what he would do if he found out that this was a fact, he replied, “Well, I’ll know to believe in sparrows.” And thus the perfect turn of phrase was born. And it may be just my personal observation, but it fits the album in more ways than one. There were multiple instances during my studio visits that I was told about an idea, or a song was described in a certain way that almost made it a bit difficult to believe that the recorded version would eventually come out that way. But once I sat down and got the chance to hear these pieces come together and hear these visions unfurl, I too learned to believe in sparrows — or at least, I learned to believe in the talent that can come from a very interesting studio setting.
Eventually Ted shows up, carrying around a really bubbly little girl who easily gives out smiles and even has a knack for the drums. He just wanted to “hang out” for awhile. That’s how interesting the studio was, and I had to agree with him.
It took me awhile to sit down and get this together, and I think the reason why is because I was afraid that my words wouldn’t be able to correctly describe the experience. Sure, I could explain what was going on, and I could dig through the play-by-play of one or two sessions, but at the end of the day I wouldn’t be able to describe the feeling after hearing a song come together, piece by piece. I wouldn’t be able to put into words the amazing epiphany of realizing a fellow musician’s vision has just come to life. This is why we record, ladies and gentleman. Not to create a quickly pressed demo or a hastily composed EP. We record so that we can bring our visions to life.
There’s a day three (and four and five….) within all of this madness, but it has yet to come. Will it include a sample of the new album? Will it share some of the deep dark secrets of the band? Does this sound enough like a murder mystery to you, yet? Well good. Because I truly hope you stay tuned for more on the developments of this studio process. Immovable Objects have continued to invite me into their humble recording abode, and have told me to make myself at home; and it’s not every day that something like that happens.
I’m not going to say anything about this. If you care about Coachella, then you already know the really important stuff, (read: how to sneak in, when to buy passes before they run out, exactly how much liquor to water ratio you need in the middle of the desert.)
So, simply enjoy the lineup and tell me if any of your favorites are in there.
Well, sort of. Maybe they haven’t quite been here for years, but there’s definitely something to be said about San Diego based, experimental alt-rockers Privet, and it includes more than the obvious comparisons. From the moment you begin to listen to their 
The Indie 