Kelli Schaefer has been on my radar for a while now, thanks to Lukas Williams. However, like most things, I have to be reminded many times to finally get around to checking out new music. After seeing Schaefer pop-up on NPR, I decided it was finally time to pay attention and listen to more than the brief appearance of Sister K in the Columbia City Theatre advertisements.
From the start of Ghost of the Beast, percussive flourishes steal your attention, forcing you into the songs. They can be a bit discomforting, as they create scenes. In the title track, you feel dragged through the song. Being forced to be an active listener. You become the protagonist. Schaefer’s ability to cause the listener to feel this connection is unique, and something that should be (and is being) paid attention.
The production on this album is so consistent, and the songs have a beautiful flow from one to the other. This is an album. Something that I fear is becoming a lost art. I’m becoming worn out by collections of singles, and find myself so refreshed by a carefully constructed record. It is an art that not many can execute with such seeming ease. With this record it is found by way of atmospherics (i.e. the aforementioned percussion) that tie a thread. This is then amplified by impressively restrained musicianship. There is never a point where it feels that any element is superfluous, and the statements made by each instrument are that much stronger for it.
And, yet, I still haven’t even mentioned Kelli’s voice. There is a rare talent here. The ability to sound so vulnerable at times, to sound as if she’s on the verge of breaking; only to follow with an intensity that shows just how strong of a vocalist we’re dealing with. Few singers have this kind of talent. Even fewer can demand your attention this consistently regardless the tone of the song.
I had the pleasure of seeing Kelli Schaefer play the Noise for the Needy show at Conor Byrne this past Friday. It was one of those shows where you feel like you’re witnessing something. I cannot recommend enough that you take the time to listen to her. And, if you’re lucky enough, see her live.
Bellow are links to her music as well as her facebook page:
www.kellischaefer.bandcamp.com
http://www.facebook.com/iamkellischaefer
Sunday, June 12, 2011
Tuesday, June 7, 2011
The Shining Skulls - Demos
The Shining Skulls are preparing the release of their first full-length album. Today, they’ve released some demo’s of said release.
Here is a link to some tracks, once I have access to the full album, expect a write up.
Initially, I feared the record would come off with the feel of a mix-tape after seeing their live shows because of the multiple front man approach. However, if these demos are any indication, there is a well developed sense of atmosphere that make these tracks massive and play well with one another.
Ben, I raise my glass to you, buddy. I look forward to the day we get to work together.
Here is a link to some tracks, once I have access to the full album, expect a write up.
Initially, I feared the record would come off with the feel of a mix-tape after seeing their live shows because of the multiple front man approach. However, if these demos are any indication, there is a well developed sense of atmosphere that make these tracks massive and play well with one another.
Ben, I raise my glass to you, buddy. I look forward to the day we get to work together.
Wednesday, June 1, 2011
Youth Rescue Mission
To be upfront and honest, I am friends with the members of Youth Rescue Mission. Because of this, I was a bit hesitant to write about their record. I was struggling with the idea of how to avoid faint praise or needless jabs to avoid sounding biased. I also know that it can be difficult to separate friendship and fandom. In order to combat these potential pratfalls in this regard, I’ve decided that the best way to provide an overview of this album is to use analogous writing. So, I’ll do my best to try and make my summation of the album relatable via this tact.
I think the best way to think about Youth Rescue Missions self-titled debut is to think about a shirt you’ve owned for a prolonged period of time. Not just any shirt, but one that gets frequent wearings.
With this album, the first thing many will be drawn to are the beautifully executed harmonies. Think of this as the graphic of the previously mentioned shirt. The instant aesthetic gratification of perfectly executed harmonization is enough to draw you in. It provides a comfort through warmth, but also something pretty to show off. You want to tell all your friends about it, wear it out in public, and bask in the complements of your new find. However, like all things initially pleasing in an aesthetic sense, it runs the risk of fading- losing appeal through repeated wear.
Thankfully, Youth Rescue Mission is able to ward off the risk of becoming fodder of a fad. There is enough nuance in these songs that will make themselves apparent through further listens. Little ticks such as a brief banjo line. Or a twinkling of keys that don’t repeat. A movement by the vocals low in the mix, something you hear, but isn’t forced on you.
One of the ways this is also addressed is by way of track listing. The album begins with an introduction track, which is a nice way of drawing in initial interest, but not giving away much, if anything, about what you’re about to experience. Then Problem Solver starts in. The track is jaunty and a bit nervous. After this, the album mellows out from Floorplan through Very Nice Things, then we get another blast of uptempo nerves with Stumblin’ Man.
On first listen, I felt that these tracks felt disjointed and fractured with the rest of the album. I was struggling to see how they belonged with the smooth, vocal driven tracks. I enjoyed Daniel’s songs on their own, but was having difficulty with understanding their place within the context of the album.
I started to go back to the analogy of an old shirt. Thinking of Daniel’s songs as an odd seam on the cuff of a sleeve. Something that inspector 33 failed to notice. But after repeated wearings, it develops charm. It becomes an identifying factor. Something that keeps things interesting because of the break from the norm.
I’ve spent a lot of time with this record at this point, and much like a shirt that makes it’s way into frequent wardrobe rotation, it is a source of comfort. It’s found a way to stick around even after the initial draw has become less of a focus. Everything has it’s place, each song belong to the others.
www.youthrescuemission.com
http://www.facebook.com/youthrescuemission
I think the best way to think about Youth Rescue Missions self-titled debut is to think about a shirt you’ve owned for a prolonged period of time. Not just any shirt, but one that gets frequent wearings.
With this album, the first thing many will be drawn to are the beautifully executed harmonies. Think of this as the graphic of the previously mentioned shirt. The instant aesthetic gratification of perfectly executed harmonization is enough to draw you in. It provides a comfort through warmth, but also something pretty to show off. You want to tell all your friends about it, wear it out in public, and bask in the complements of your new find. However, like all things initially pleasing in an aesthetic sense, it runs the risk of fading- losing appeal through repeated wear.
Thankfully, Youth Rescue Mission is able to ward off the risk of becoming fodder of a fad. There is enough nuance in these songs that will make themselves apparent through further listens. Little ticks such as a brief banjo line. Or a twinkling of keys that don’t repeat. A movement by the vocals low in the mix, something you hear, but isn’t forced on you.
One of the ways this is also addressed is by way of track listing. The album begins with an introduction track, which is a nice way of drawing in initial interest, but not giving away much, if anything, about what you’re about to experience. Then Problem Solver starts in. The track is jaunty and a bit nervous. After this, the album mellows out from Floorplan through Very Nice Things, then we get another blast of uptempo nerves with Stumblin’ Man.
On first listen, I felt that these tracks felt disjointed and fractured with the rest of the album. I was struggling to see how they belonged with the smooth, vocal driven tracks. I enjoyed Daniel’s songs on their own, but was having difficulty with understanding their place within the context of the album.
I started to go back to the analogy of an old shirt. Thinking of Daniel’s songs as an odd seam on the cuff of a sleeve. Something that inspector 33 failed to notice. But after repeated wearings, it develops charm. It becomes an identifying factor. Something that keeps things interesting because of the break from the norm.
I’ve spent a lot of time with this record at this point, and much like a shirt that makes it’s way into frequent wardrobe rotation, it is a source of comfort. It’s found a way to stick around even after the initial draw has become less of a focus. Everything has it’s place, each song belong to the others.
www.youthrescuemission.com
http://www.facebook.com/youthrescuemission
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