Snow Day By matt pond PA

Matt Pond PA (usually written with lowercase letters: matt pond PA) is an indie band formed in Philadelphia, Pennsylvania in 1998 by singer/songwriter Matt Pond, along with guitarist/bassist Josh Kramer, violinist Rosie McNamara-Jones, cellist Jim Hostetter, and drummer Sean Byrne (previously of Lenola and The Twin Atlas). Matt Pond is the only remaining original member because the band had to reform when Pond moved to New York City. Their debut Deer Apartments gained them recognition in CDNow’s Unheard? competition for unsigned artists that same year.

Matt Pond PA has performed with Ted Leo and The Pharmacists, Nickel Creek, Youth Group, Mae, Keane, Guster, dios Malos, Neko Case, Straylight Run, and Liz Phair.

As of late 2007, the lineup consists of Matt Pond on vocals and guitar, Dan Crowell on drums, Steve Jewett on guitar, Matthew Daniel Siskin on bass, and Chris Hansen on keyboards, guitar, and vocals.

 

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Just For Tonight By Grove Armada

       Groove Armada is an electronic music duo comprising Andy Cato and Tom Findlay from England. They are now primarily based in London, and continue to produce and record music as well as hosting semi-regular club nights in London and an annual London festival under the Lovebox banner.

     The group has collaborated with a diverse array of artists including Neneh Cherry, DJ Gram’Ma Funk, Sophie Barker, Nappy Roots, Fudge Dog, Sunshine Anderson, Mutya Buena, Jeru The Damaja, Richie Havens and Will Young. Tom Findlay has described working with Prince as his dream collaboration, although there are no plans for such at the moment. They have also recently played with Bryan Ferry in a song called "Shameless" from the album Black Light.

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White Blank Page By Mumford & Sons

Mumford & Sons are a folk/bluegrass group formed in London in September 2008. The band consists of Marcus Mumford (lead vocals, guitar, bass drum), Country Winston (banjo, slide guitar, vocals), Ted Dwayne (double bass, drums, vocals), and Ben Lovett (keyboards, vocals).

Having received critical acclaim from The Guardian on their “Band of the Day” online forum, and resounding praise from nearly everyone who has witnessed them supporting The Maccabees and Laura Marling,

Mumford & Sons continue to turn heads in London’s growing folk scene.

Their debut EP, Lend Me Your Eyes, features four tracks, including lead single “Roll away Your Stone”. Chess Club released their second EP, “Love Your Ground”, on the 3rd November 2009 on 10inch vinyl. The third EP, “The Cave and the Open Sea” (which was limited to 500 vinyls) is available as a download from their official rawrip page. Their debut album Sigh No More was released on Gentlemen of the Road/Island Records on the 5th October 2009, and the first single “Little Lion Man” came out a week earlier.

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Two Sisters In Love By The Dig

In Westchester County – just a stone’s throw from New York City, where they now call home – singer/guitarist David Baldwin and singer/bassist Emile Mosseri first met in sixth grade, becoming fast friends and playing in bands. Baldwin and Mosseri met keyboardist/guitarist Erick Eiser at a summer music program in high school, and the three reunited in college in Boston. In 2007, all three relocated to New York City and began writing songs in Baldwin’s basement as The Dig. The relentless, hard-working young band dug their foundation the old-fashioned way: they embraced an indefatigable DIY ethic, playing all over the city regularly and hitting the streets with an endless stream of posters, flyers, and free music. The band released their debut EP Good Luck and Games  late that year, catching the attention of Popmatters, who wrote in a review, “This is the catchiest, most intriguing power pop band to emerge out of the no-name pile in some time…”

The Dig’s self-booked shows and self-promotion began to pay off by late spring 2008, when the band was booked for three, month-long residencies through the summer at Piano’s in the Lower East Side of Manhattan. With a strong and ever-growing fanbase, late that year esteemed local venues like the Bowery Ballroom and the Music Hall of Williamsburg began to call upon the band consistently to open for national touring bands such as Mission of Burma, The Soft Pack, The Rakes, Longwave, and Rural Alberta Advantage, shows that earned The Dig praise from local blogs such as Music Snobbery: “I have no witty observations or creative writing pull quotes to give you. They are just a damn good band.”

The Dig’s continual touring and dynamic live show caught the attention of noted booking agent Kevin French at the Paradigm Agency, who quickly signed the band in June 2009. Around the same time, the band headed into Brooklyn’s Trout Recording with returning co-producer Goggin to record their full-length debut, Electric Toys. With the album, The Dig has crafted 12 rock songs of various shapes, sizes, and moods, linked by the band’s indelible hooks. Written and arranged by all four members, the songs often tell a story: darkish tales with twisted circumstances and desperate people driven to do bad things. Alternately, there are classical references to girls, love, and the many points in-between. Mosseri and Baldwin alternate lead vocals throughout the album; Mosseri’s soaring, roguish tenor takes lead on the poppier tracks, while Baldwin’s raspy, weathered croon holds court on the guitar-heavy, wall-rattling anthems. Differing in sound, their voices retain a stylistic similarity won by playing, singing, and writing together for the past 14 years.

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Oh Lately It's So Quiet By OK Go

OK Go is an American rock band which formed in Chicago, Illinois, United States in 1998. The band consists of Damian Kulash (guitar, vocals), Tim Nordwind (bass), Andy Ross (guitar, keyboards), and Dan Konopka (drums). The band is best known for their singles “Get Over It”, “A Million Ways”, “Here It Goes Again” and “This Too Shall Pass” and for their high concept, low budget, one-shot music videos.

They play rock music, with influences such as Cheap Trick, T Rex and Queen. They share management with They Might Be Giants, with whom they toured before signing to Capitol Records. They served as the house band to the public radio program This American Life on the show’s fifth anniversary tour. Ira Glass, the show’s host, wrote their first official bio, calling them “living catnip” and describing their songs as “part indie rock, part stadium rock, part straight up pop with the occasional whiff of The Pixies or The Cars or Elliott Smith.”
 

The band contributed a cover of “This Will Be Our Year,” the Zombies classic, as the lead track of Future Soundtrack for America, a political benefit album put out by Barsuk Records in the fall of 2004. Lead singer Damian Kulash also became somewhat politically active during that election cycle, writing a heavily downloaded how-to-guide entitled “How Your Band Can Fire Bush” for bands hoping to help unseat President George W. Bush, which garnered him an avalanche of hate mail.

 
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 The Giant of Illinois By Andrew Bird

       The Giant of Illinois," originally recorded by husband and wife duo Handsome Family, sounds like it could be an Andrew Bird original--a whimsical, yet tragic, character must deal with crushing loneliness and not having enough money for food and shoes.
         In keeping with the sound of the original, Bird keeps the proceedings rather minimal, sawing on his violin occasionally while a solemn guitar figure provides most of the musical action.

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 South Of Ohio By  The Ravenna Colt

      In 1902, University of Pennsylvania professor Dennis Magner wrote The Art of Taming and Educating the Horse. In it, Magner describes an interesting case of The Ravenna Colt, a virtually untamable, yet not necessarily barbarous animal.

      The Ravenna Colt, in today’s incarnation, is Johnny Quaid finally realizing and returning to his troubadour roots. He first conceptualized the group’s approach to alternative country more than a decade ago. Quaid was well immersed in music, from his own songwriting and performing, to his work as a recording engineer at Above the Cadillac Studios — chops that would serve the young songwriter well.
       In 1998 Johnny joined Jim James, a.k.a. Yim Yames, on a project that would change their lives — My Morning Jacket. The group worked feverishly touring and recording and has not slowed down since. Quaid lends his guitar licks and engineering style on the first three albums, The Tennessee Fire, At Dawn, It Still Moves, as well as a barrage of EPs and singles.
       Quaid departed from the group amicably at the start of 2004. He left his native Kentucky, headed west to California and worked as a carpenter while keeping a writer’s pen at hand.
        He addresses this immediately on “South Of Ohio,” singing “I lost my drawl in California.” It was upon moving back east that Johnny not only picked up where he left off with Above the Cadillac, but also felt it was time to get The Colt running free.
      You hear a myriad of influences in The Ravenna Colt’s debut album ‘Slight Spell’ available on Removador Recordings And Solutions / Karate Body. “According to the Matador” combines The Flying Burrito Brothers’ dark, spacious twang with a traditional folk in the vein of Townes Van Zandt and Bob Dylan.

 

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Green Eyed Girl By Ted Hawkins

Ted Hawkins was an American singer-songwriter. He was born in Biloxi, Mississippi on 28 October 1936 and died on 1 January 1995, aged 58.

         Hawkins was an enigmatic figure through most of his career; he split his time between his adopted hometown of Venice Beach, California where he was a mostly anonymous street performer, and Europe, where he and his songs were better known and well received in clubs and small concert halls.

        Born into a poor family in Mississippi, Hawkins lived a difficult early life, ending up at a reform school by age 12, and drifting, hitching, and stealing his way across the country for the next dozen years, earning several stays in prison including a 3-year stint for stealing a leather jacket as a teenager. Along the way, he picked up a love of music and a talent for the guitar.  After reform school, he ended up in the state penitentiary and was released at 19. "Then I heard a singer whose name was Sam Cooke. His voice did something to me."   In the middle of the mid 1960s folk music boom Hawkins set out for California to try for a professional singing career. He recorded several tunes without commercial success, worked at odd jobs, and took up busking along the piers and storefronts of Venice Beach as a way to supplement his income. Hawkins made ends meet by developing a small following of locals and tourists who would come to hear this southern black man, sitting on an overturned milk-crate, play blues and folk standards as well as a few original tunes in his signature open guitar tuning and raspy vocal style (Hawkins claimed the rasp in his voice came from the damage done by years of singing in the sand and spray of the boardwalk).

           A series of record producers and promoters would "discover" Hawkins over the years, only to be thwarted by circumstance and Hawkins' unconventional approach to life.     Andy Kershaw encouraged Hawkins to come to the UK, and he moved to Bridlington in 1986 and enjoyed his first taste of real musical success, touring Europe and Asia as a well-known performer even while he remained anonymous in his home country.

         During this period Hawkins stayed largely out of trouble and refined his unique musical style: a mixture of folk, country, deep southern spirituals, and soul music. Hawkins' music was informed by but did not resemble blues music (Hawkins himself claimed he could not play the blues because his damaged fretting hand—he wore a leather glove to protect his fingers—would not allow him to bend notes).

         Despite his recognition and fame in Europe, Hawkins was restless and moved back to California in the early 1990s and again took on the role of a street performer. Several musicians and promoters encouraged Hawkins to record, but he did so only on occasion and without much enthusiasm, until he agreed to record a full album for Geffen Records and producer Tony Berg.  Berg added crack session musicians to Hawkins' typical solo guitar-and-vocal arrangements for the first time and brought national attention and respectable sales to Hawkins (though Hawkins, in typically contrary fashion, claimed to dislike the result, preferring his unaccompanied versions). Hawkins began to tour on the basis of this success, commenting that he had finally reached an age where he was glad to be able to sing indoors, out of the weather, and for an appreciative crowd. Hawkins, however, died of a stroke at the age of only 58 just a few months after the release of his breakthrough recording.

  

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 Who Will By Will Stratton

       With its quiet confidence and sleeper status, Will Stratton‘s 2007 debut, What the Night Said, was one of those records a listener feels downright blessed to come across, the humble but unmistakable announcement of a singular talent arriving. At nineteen, Stratton already appeared a mastermind, pairing a powerful command of lyricism with potent songwriting and a producer’s sense of how to best animate his compositions with depth and deft. Now twenty-two and nearing the end of his collegiate studies at Bennington, Stratton is prepared to release what will undoubtedly be another critically lauded effort, the pensive yet pleasant No Wonder. While the November 3rd release on Stunning Models on Display is guaranteed to sweep listeners off their feet, here’s hoping it reaches more ears than its predecessor.

          It would be ridiculous to ask for a better opening to No Wonder than the gorgeous “Who Will,” which simultaneously brings back the Nick Drake comparisons reviewers of his debut were so fond of drawing while showcasing Stratton as a songwriter whose ideas and execution easily debunk any facile analogizing.

As “Who Will” progresses, the instrumentation becomes increasingly complex. Heavenly female background vocals form a fringing glow around Stratton’s. Trumpets and strings buoy the arrangement, rippling through and lending a greater emotional heft to the proceedings. It is about as ambitious–and successful–as a musician or producer could ever hope to be within the three minute pop song structure, and Stratton makes it all feel as effortless as a wonderful dream. “Who Will” feels as light as it is substantial, and makes it clear for anyone who will listen (yet again), that Stratton is a gifted talent who has the tenacity to deliver on the grand scope of his vision.

 

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Brittle Bones By Richard Walters

On July 6th, Kartel will release the debut LP from Oxford, England’s Richard Walters, with critics and listeners alike bound to take notice. The Animal was written over a three year span, encompassing all of the emotional peaks and valleys one traverses over such an extended span. Walters’ fragile vocals are exceptionally well paired with the airy, delicate instrumentation throughout; in conjunction, they conjure up the raw, nostalgic verve of The Clientele’s early releases and the nimble mellifluousness of The Middle East‘s restrained compositions.

“Brittle Bones” is the first of The Animal’s twelve tracks, launching the album with a stately, even gorgeous air. An acoustic guitar performs a sweet, slow, gliding dance around which Walters (whose voice also bears a Yorke-ish flair) hangs evanescent curtains of vocal harmonies and piano notes.

There is also an adroit build up to “Brittle Bones,” which intensifies inconspicuously, occasionally releasing flushes of unexpected power. Taken as a whole, all of the elements conspire to create a song which is emotional without being wimpy, fragile without being flimsy, and beautiful while packing substance. “Brittle Bones” and the album whence it comes are clear markers of the arrival of a singular musical talent–here’s hoping Walters receives the attention his work merits.

 

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