Review by Ryan Getz

The more I do this the more of an affinity I seem to gain for dreamy, effervescent under the radar artists. The latest musical entity to fit this paradigm is Mazarine Records’ pacificUV, a quartet whom cryptically defines their genre as “electro / dream / post / space” on their Facebook profile. Their music, as evidenced throughout the nine track LP they just released, is the sort of thing that would cater to those bleary-eyed personalities that just have to be on something, yet the tunes aren’t so out of reach that an average indie music enthusiast couldn’t exhibit some appreciation.

It seems that on each track on After the Dream You Are Awake there is one idea they wish to pound into your noggin ad infinitum. The record exhibits an off kilter start with the pair of tracks “24 Frames” and “Christine”, with its breathy male vocals and creepy synthesizer that sounds like it could have been part of a happier X-Files theme song in an alternate universe…somewhere. The former especially dabbles a bit too much in repetition, but all is forgiven once the reverb-laden, club ready “Russians” drops its beats into your lap. “Eyes Without a Face” sheds the eerie mood completely, slowing things down such that a focus on penetrating half-whispers is necessitated. “Wolves Again” takes us onto the edge of new wave territory. “I Think It’s Coming” reeks of the female counterpart to Mount Eerie’s more contemplative tracks on Clear Moon (yes – that record, in spite of its obscurity, was paradigm forming for this reviewer). “Run,” ironically, seems to be pushing the artist to do the opposite of its moniker. Hypnotic ambient notes fade in over a backdrop of conversation to lull the listener into yet another state of mind. It is in this new state of mind that a hook of pure genius is delivered, settling the listener into a content mood. “American Lovers” will get you moving again, while maintaining this state of contentment brought to completion by “Run.” These two tracks are the antithesis to “24 Frames” and “Christine.” “I Wanna Be You” carries us out on the waves of a pensive power ballad (if it can be called that).

After the Dream You Are Awake is recommended. But, be prepared to be taken on a memorable, and at times counterintuitive journey…

Score: 4/5

pacificUV: Official | iTunes

Our contributor Ray Cobra weighs in on what Count Your Lucky Stars Records means to him and concludes with a few mini-reviews:

Every once in a while a record label comes along that changes the scope of music. Right now that label is Count Your Lucky Stars. The tiny label is based in Michigan and is home to some of the best bands in emo/indie/punk right now. The label was found by Keith and Cathy Latinen, who also just happen to be in Empire! Empire! (I Was a Lonely Estate), one of the biggest acts on the label. Count Your Lucky Stars specializes in emo/indie sounding bands. The label has been said to be one of the reasons that emo is making a comeback. The bands on CYLS have been a part of festivals such as Bled Fest, the Fest, Vans Warped tour and others.  Notable bands on the label include Dowsing, Brave Bird, Moving Mountains, Joie De Vivre,  Annebel and Into it Over it.  CYLS just recently put out their 50^th release. To celebrate they put up five pre-orders and put up all their releases up on band camp for pay as you wish/free. Needless to say this writer got a few albums he did not have. One more thing about the label, when you order from them they send you a few starbursts. How cool is that?

Football, Etc. / Plaids 7”

This is a good release that showcases the talents of Football Etc. very well. The vocals are dead on point. The guitar playing is settled yet aggressive at the same time. The song “Down The Field” was a good song to use. It serves as a good holdover until he next Football, Etc. release. Plaids are a band that I hadn’t heard of before. Right away I liked what I heard. The two songs they chose for the split are fast punk rock, the way the genre is supposed to be played. These young lads from England do their forefathers proud. Plaids are a young band that can very well put English Punk Rock back on the map.

Warren Franklin And The Founding Fathers – Every Letter And Souvenir

Warren Franklin has been around the scene for a few years. Also, he has released stuff as a solo artist. This is his first release with a full band.  Right off the bat the first thing that sticks out about this release is the folky sound. This is not the usual for CYLS. But it still finds a way to fit right in with the rest of the roster. The song “some form of irony” has an emo feel to it.  In the song he says, “no one is going to care about the songs you sing.”   It is that kind of self-loathing that works well for this band. This is a name that should not be forgotten.

Perfect Future – Irrational, Malleable, Inevitable

Perfect Future is another band that does not fit the mold that CYLS is building. However much like Warren Franklin and the Founding Fathers they fit right in. This release shows the diversity that the label has. Perfect Future is a three piece band from Maryland/Virginia. This is their 2^nd release for CYLS. They have a number of splits out on their label. Upon listening to them I got the feeling they were a political band. So I did a little research and found out that the goal of this band was to be like Refused and Propagandhi but with a little emo thrown in. Well they did that. On this EP the topics range from animal testing to how nature will continue to grow without humans. This is a thinking man’s album. If you are a fan of La Dispute I would check these guys out.

Texas Instruments – Neither There Nor Thayer

Texas Instruments started out as a two piece in Kansas. Which is awesome, I have come to like two piece bands. They eventually added a bassist and are now a three piece. This is their first release for CYLS. They previously released on their own label.  With an emotional-hardcore sound they might be the hardest band on the roster.  One of the things I like about this album is the length; it is a throwback to the old days when hardcore albums were maybe 20 minutes long. This albums clocks in at around 21 minutes, with ten songs.

Empire! Empire! (I Was A Lonely Estate) – When The Sea Became A Giant

I like to think that most good successful indie labels have a cornerstone band.  Epitaph Records had Bad Religion, Nitro had The Offspring, Hopeless had Thrice, SST had Black Flag and that band for CYLS is Empire! Empire!.  This EP by Empire! Empire! Was one of the first releases by the label. Up until now it has never been pressed on vinyl. It also serves as the labels 50^th release. This is the album that set the tone for the label. If there is such thing as that CYLS sound, you will find it on this release.  However it not only set the tone for this label but for this current emo resurgence we are in. Listen to almost any band on CYLS, topshelf and Run For Cover; I promise you, you will hear traces of this band. One of the things that set them apart is the dual boy/girl vocals.  When listening to this release you can feel what Keith is singing about. And you know that you are not the only one going through whatever it is you are at that time. If you have not heard of this band you should give them a listen. Especially if you miss the days of Braid, Mineral, and any emo band from the Midwest.

[All of the above releases are available for download/purchase at the CYLS bandcamp.]

Review by Corey Leaman

While looking up Wild Party I found they already have a strong following, and after listening to their EP All Nighter, I can understand why. The four-piece pop-rock group from San Antonio are rereleasing their tracks from their Phantom Pop collection after pulling them from iTunes in an attempt to keep control over sound. Now they are back in full swing with four of their highly catchy indie pop rock songs going back up on May 21 (Editor’s note – as of this posting, not up on iTunes yet. We will update accordingly when this changes.).

Each of the four songs on the EP has a different vibe from one another, and yet still all work together, unified by Lincoln Kreifels’ charming voice and straightforward lyrics. All Nighter starts off right away strong with the toe tapping and bopping “When I Get Older” that’s hard not to dance along to. Following that is my personal favorite “Out Right.” It’s faster paced then the previous track with a bit more of an edge. Next, “Take My Advice” is more in the realm of dance pop then the rest of the album with a heavier use of the synthesizer and energetic drum beats, similar to bands like Cobra Starship. And finally All Nighter wraps up with the mellow and chilled out “Walkin.”

Wild Party is a great band for those who are fond of the pop rock scene and don’t mind having songs stuck in their heads for the rest of the day. Because it’s going to happen.

Score: 4/5

Wild Party: Facebook

Credit: ryanpphoto

One trend we at IATU have on our radar is the neoclassical crossover movement. You might recall our interview with the ever-memorable Harp Twins Camille and Kennerly Kitt, our review of folk/classical ensemble Plumes’ debut full length, or our highlighting of the Wheaton College Artist Series which actively  seeks out musicians breaking the traditional barriers of classical music.

Timbre, a harpist/folk singer is another person breaking barriers, and she is poised to do so in a big way – something which she explains in her IndieGoGo campaign to raise funds for the project. She has toured the country and has been a regular at the now defunct Cornerstone Festival in Bushnell, IL. In these excerpts from the IndieGoGo page for her campaign, she explains her mission and exactly why her next project is so momentous:

Art does not exist alone… art creates art.

This is the idea behind my newest project, “Sun and Moon”. This double disc record explores the deep connection between classical music and modern songwriting. One disc, “Sun” will feature songs written with my band, songs about friendship, love, grief, nature, even a song based on a children’s fairy tale (more on that later!). The other disc, “Moon”, will feature a variety of classical music that I’ve written, from a harp and oboe duet, to a piece for full orchestra, choir, harp, and solo soprano (me!).

Both discs will feature many of the same musicians. Themes and ideas will pass back and forth between them, playing with ideas of dark and light, day and night. My desire is to show that classical music and “popular music” are deeply connected, as they have always been. Classical music and popular music each have their depth, their energies, their forms of communication, and together they can speak to us in even deeper and more beautiful ways…

…Over the past 7 years, I have slowly found my way into a new world of popular music, writing songs  with my band and playing with a ridiculously diverse collection of bands, from people like mewithoutYou, the Chariot, Brooke Waggoner, to bluegrass legend Ricky Skaggs and Jack White of the White Stripes. I have found a deep undercurrent of passion and art that connects these worlds, and I want to help my listeners plunge into the depth of those waters with me.

As the editor of IATU, I’m pretty pumped about this. Innovation and huge sounds that envelop you are two things that really catch my attention, so I plan on making a donation and so should you. Read the full explanation of Timbre’s campaign here and leave a donation if you may. Or, you can view a video explaining further below:

Portland, Oregon’s Wooden Indian Burial Ground crushed Rumba Cafe last Friday, May 17^th.

Journeying throughon the Columbus leg of their extensive 3-month tour, WIBG is a fantastically fresh surf-jam band; with their wild noise manipulation and frantic stage presence to their hipster-toppling, mid-song speed increases, the 3 piece laid it down.

WIBG took the stage, utilizing barely any space between the 3 dudes all gathered center stage.  Drummer Dan Galucki sat facing guitarist Justin Fowler with about 3-4 feet in between, where bass player Paul Seely filled the gap.  In front of Prowler was a box with knobs and blinking lights (whatever the hell it was, I’ll refer to it as the “noise-box”) that seemed to be connected to the output of his guitar (and maybe even the bass). 

The set began; the band deploys a style comparable to other west coast groups such as Thee Oh Sees or Ty Segall’s early lo fi projects (the band played a few dates with Segall’s new group, FUZZ in April).  The instrumentation stays true to upbeat garage and surf sounds, while Fowler’s reverb-drenched vocals shudder and quake, especially with every scream or “Woo!”

The second song in the set introduced the strange noise-box, beginning the song with transistor, sequencer-like feedback that stopped and dropped directly into a super fast, scratchy guitar solo. Fowler’s surfy vocals arrived over top of a hectic progression and continued for a few passes until all of the sudden, the whole band exploded into an incredible, giant breakdown (My notes read: “Egyptian breakdown: F*CK YES”). This crazy breakdown would be played and then left for some extensive jams and builds and then returned to 3 more times, with each reprise getting louder and more powerful. Just one of those compositions that couldn’t get old after the billionth time.

More noise manipulation brought about in the following songs.  The beachy riffs and heavy surf leads were backed marvelously by Galucki’s mountainous drumming.  The “mountainous fun” riffing would turn into feedback or solos as the bass and the drum tore through fast rhythms or continuously sped up into a beautiful mess of noise. Some songs would to get so seemingly out of control that the audience would prepare for a dissipation into an end, but Galucki (at one point, drumming his own glasses off of his face) and Seely continued to play out breakneck rhythms.  Meanwhile, Fowler would twist knobs on the noise box –which seemed to have effect on Seely’s bass occasionally– and rip solos.  On a couple occasions, he would go back and forth between guitar and noise-box to make insane sounds escape from his amp.

As the night progressed, WIBG proved over and over again their ability to take simple ideas of songs and turn them into genuinely organic jam sessions that bent the mind and kept everybody dancing (literally). From the unique rhythmic collaboration between Gulacki and Seely and Fowler’s powerful phase-wah, feedback-laden guitar playing to even the tight, physical positioning of each member while they rip and vibe to their songs, Wooden Indian Burial Ground was an outrageous performance.

I highly recommend trying to catch them at these future Ohio dates:

5/29 Happy Dog, Cleveland

5/30 Annabelle’s, Akron

5/31-6/02 Nelsonville Music Festival

http://woodenindianburialground.bandcamp.com/

Review by Jeff Thompson

In the world of electronic dance music, one is very likely to hear heavily synthesized keyboards, pounding four-to-the-floor beats and, in recent years, aggressive, “drops”.  On Daft Punk’s new album “Random Access Memories” listeners will hear absolutely none of these.  In fact, upon first listen, “Random Access Memories” seems to come from a time when electronic music itself was in diapers. Instead of picking up on the trend of modern EDM, Daft Punk chose, as they usually do, to do something entirely their own; and in this case it was channeling 70’s disco and 80’s new wave.

The album sets the scene with the sexy and funky “Give Life Back to Music”.  Following with the melodic and relaxed “The Game of Love”. The pace then picks up channeling both 80s style synths and classical sounding piano and, though it is odd to say, the third track on the album, “Goirgio By Moroder” actually rocks harder than any electronic music ought to (not that this is a bad thing).  “Instant Crush” featuring Julian Casablancas of the Strokes is at once cute, touching, and epic, touching on the emotional strings of the listener.  On “Touch” choral singing makes way for spacey synths and finishes in the sparse vocals of songwriter Paul Williams.  First album single “Get Lucky” which has already been played to death on the radio (not that this writer is complaining) features funky guitars and the smooth and sultry singing of Pharell Williams and, although it channels 70’s disco out the wazoo, it will probably still get young twenty-somethings out on the dancefloor all night trying to get lucky. “Beyond” prominently features Daft Punk’s signature (and now copied in every genre from trance to dubstep) robot voices and, though at a slower tempo, still keeps the listeners head bobbing and hips swaying, channeling something of a trance in the listener as the interlayed synths carried on.  The intro to “Motherboard”, with its soft effects and harp-like chords channels many modern day atmospheric EDM acts including Múm and Boards of Canada, finishing in a truly eerie break and utterly uplifting finish.  Though this track is probably most unlike all of the others on the album, it is this uniqueness that makes it stand out as one of the freshest and most intriguing.  Track “Fragments of Time” seems a bit unnecessary, as at this point in the album, it just seems like a repackaging of what has come earlier, and following a gem such as “Motherboard”, it just seems like a letdown.  “Doin’ it Right” relies on an interesting beat and the singing of Panda Bear of Animal Collective and adds some fun, futuristic diversity to an album thus far dominated by sounds of the past.  Album closer “Contact” hits hardest with a trilled synth part and banging drums right out of a Led Zeppelin track, while coming to a screeching crescendo.

While this album is certainly out of place amongst the throngs of most modern EDM, this is not surprising, as it would not likely please fans of modern EDM.  With a few exceptions (namely “Get Lucky”) this album will hardly be played at dance clubs along with the likes of Swedish House Mafia or Avicii.  And though Daft Punk certainly play tribute to the sounds that first influenced their own electronic dance music, they may have done so at the cost of making their new album danceable.

Daft Punk: iTunes | Official

Review by Ryan Getz

The Lost Revival is without a doubt one of the hidden gems of Columbus underground independent music. TLR plays shows not often enough to be considered a local tour de force, but have existed long enough to be somewhat of a local mainstay. Neither do they play seldom enough to be considered a seldom-seen band. Their current release carries the whimsical yet semi-facetious title The Greatest Scam Ever Pulled. Why semi-facetious? I’m not sure. Its just that with a band that takes its craft so seriously, a facetious tone in such an odd title doesn’t seem to be out of the question.

But, what of TLR’s actual sound? The band has one of the most intriguing sounds to come out of, well, anywhere, in my mind. The consistent vibe is that of a dingy lounge that subtly screams “coolness”, tucked in an alley frequented by the elite and vagrants of city nightlife. Kevin Collins couldn’t have a more perfectly suited voice for the band’s target sound, which seems to have been perfected on this album. Collins’ fiancee Kelly Kefauver is a force to be reckoned behind the huge sax that nearly overshadows her petite frame in stature but not in attitude. I mean, just check out that hook in “We the Devil” and album opener “Here With My Name” – two flagship examples of attitude condensed into a soundbite in this album.

The album’s diversity is shown further in the back to back tracks “Ma Cherie” and “Two Minus One Equals One,” the former which is a frenzied 2-ish minutes kicked off by a furious bass-wail on Collins’ part, and the latter which slowly builds up over nearly 3 minutes before climaxing in a quick, irresistible piano melody and overall tempo change. Some tracks are straight up catchy in a more straightforward way as well, such as “Madness Lies Therein.”

The Lost Revival have crafted a professional, huge album that somehow remains one of the better kept secrets in the DIY scene. This album is one of my favorite discoveries this year.

Score: 4.5/5

The Lost Revival: Facebook | iTunes

Review and Photos by Corey Leaman

A fair amount of people turned out on a warm, but still damp, Thursday night to Kobo for Bad Veins’ return to Columbus on their first stop of the #NewJakeTour2013.

First band up was The Ridges from Athens, Ohio. After having some technical difficulties, the group began in a round off stage, immediately starting off with an intimate feel that did not fade after they took the stage. Featuring a variety of stringed instruments, The Ridges have a beautiful sound that sways from classical ethereal to sight folksy.

Next was In Silent Movies from Columbus who played their melodic dramatic indie rock songs, broken up with funny joke banter. Though, a few songs were a bit long for my taste.

Last but certainly not least was the headliner of the night Bad Veins from Cincinnati. I had never seen or heard them before so I had no idea what to expect. More intrigue was added when they had an old style recording device and telephone on stage, leaving me to wonder how they were going to be used. But the second their set began I was blown away. I don’t even know what to say to describe the experience except that it felt like big scale rock show in such a tiny space. Songs felt more epic and grand with their new light show they were trying out for the first time. Builds and burst exploded with sound and light. And it wasn’t so over used that it got irritating or dull. The set ended on a more personal note without the lights and Benjamin Davis, singer/guitarist, getting up close and personal with the audience.

Overall, it was a really great fun night and I look forward to seeing these bands again.

You can view the complete photo album from the night here.

So, since this festival is already underway this might be more of a retrospective pick thing, but anyway here are some picks from our contributors of standout performers at this year’s Rock on the Range Festival, held at Crew Stadium in Columbus, OH.

Marco Castro:

1. Brian “Head” Welch: Yes, I want to see him play on his own band Love and Death and returning to Korn.
2. Thousand Foot Krutch: From Canada to the world, they put a great live show. Must see.
3. o’brother: Saw them with Thrice a few times… A mix of intensity and chillness.
4. RED: Man… I really like Red. Super intense melodic nu-metal.
5. Skillet: Skillet puts great arena rock show on legit arenas. Fireworks, masks, fire, etc. Something the ROTR crowd loves!

Chris McLafferty:

For me it’s hard to differentiate alot of the newer rock bands because most of these new bands sound the same to me with a real disappointment in the lack of progression. Most rock stations are playing the same songs from when we were in High School. But here’s a few I’d be pumped to see this weekend.

1. The Smashing Pumpkins: One of the pioneers of Rock for my early ages, a melodic band that knows when to put in the roughness and when to scale it back. This is definitely the most talented overall band in this, or probably any, Rock on the Range.
2. Korn: A lot of the things I know about ROTR comes from growing up amd Korn was the biggest, best and early co-founders of the “nu-metal” style that brought Rock back into the mainstream. This show would be a trip down nostalgia lane accompanied by a talented guitar clown for me.
3. In Flames(Official): Unreal! When you’re the beast mode song on Guitar Hero, chances are you know how to thrash. When In Flames takes the stage, they’ll be bringing the best rock guitar duo to the party.
4. A Day To Remember: Warped Tour mainstays harden up to take the ROTR stage. This bands pounds in your favorite Warped Tour type of way. They’ll be bringing the energy, the tunes and the punch-pits, so watch out.
5. Bullet for My Valentine: YES! Bullet can give any of these bands a run for their money, especially on my earlier claim that In Flames brings the best rock guitar duo. Get ready to loose your mind and get crazy. For people who like their Rock all coked up

The Rest:

• Black Veil Brides: There’s something interesting and growing here for me. A performance I wouldn’t want to miss.
• Thousand Foot Krutch: Huge fan back in the day. I keep waiting for them to either grow more or go back to the early stages. Their singles keep being amazing, so if it’s a singles show be prepared to be blown away, but sometimes they get lost in trying.
• Sevendust: Very enjoyable, just never really hit the next level for me. Tons of good songs, few great ones. Still very underappreciated and a HUGE blessing at 1pm.
• Middle Class Rut: From what I’ve heard, I’ve enjoyed. Just haven’t heard enough to be put in my top 5. Should be a nice surprise in the early day.

Review by Ray Cobra

Every so often I come across a band or album, that at first I really can’t get into. The first Deftones album was that way for me back in 1995, as well as Rush, the album Suburbia: I’ve Given You All and Now I’m Nothing by The Wonder Years and  Hot Water Music. Now all four of those mentioned you can find me rocking out to at any given point.  I’m not saying that fifteen years from now that Be Given to the Soil by Over The Ocean will be one of my all –time favorite albums but it will be one of my favorite albums from 2013.

This is an album that grows on you if you are not already a fan of the band. I had never listened to Over the Ocean before a few weeks ago so I wasn’t sure what to expect. All I knew was they were a post-rock band. For me that was good enough. So that was one thing they already had going for them. The first thing that I realized was this is album that you also have to be in the mood to listen to if you are not a fan. It is a good album to listen to if you are just sitting around relaxing pondering life. I promise you that this album will take you through a rollercoaster of emotions.  The track “Arguing Philosophies” does just that. The title alone gets the mind wandering. There is a lyric in the song that says, “I spent my whole life talking about what you’ve said, arguing philosophies trying to give you a name”.

One of my favorite tracks on the record is “Obscene”. This is a song that is over seven minutes long but all seven minutes are outstanding. This is a track that really shows their musical ability. The musicianship of these five guys is uncanny. They all are very skilled at what they do. It starts off with some spoken word while the music behind it is soft and calm then around the five minute mark it gets a little chaotic and hard. It is at this point that the vocalists starts to sing. This could easily have been two separate tracks but the way they did it works. This formula seems to work for them, the track “In This Darkness” has one of the best buildups I have heard in a while.  Once it gets to the peak of the song it explodes like man out of a cannon.

This is an album that will be on a lot of year end lists I see. If you like bands like As Cities Burn, The Appleseed Cast and MeWithoutYou I would recommend picking this album up. You will not be disappointed.

Score: 4/5

Over the Ocean: iTunes | Facebook