Listen: Conveyor - "What a Low Heart"

Brooklyn based experimental pop quartet Conveyor are a lot of things. They're the aforementioned set of descriptors; they're a band that pushes themselves in everything that they do to make music that interests them and as a result are interesting to the listener. They're the rare band able to find and incorporate the humor in the very process of being a band. Conveyor are the kind of band you miss immediately after the record stops or they leave the stage. Thankfully, the foursome are back to release a new batch off tunes they've been playing for the better part of about three years, even while supporting their previous release Prime, an experimental film score to George Lucas' THX 1138.

"What a Low Heart", the first single from their forthcoming album Ready Not Ready, essentially finds the band picking up where they left off on their self-titled full length debut. The band's at home in their kaleidoscopic bursts of technicolor, and yet, it's not quite the same. On their new record the band set out to create a record that they could play with their usual set up of 2 guitars, bass, and drums, and that might very well be the most impressive thing about "What a Low Heart": that the band can pull the sounds they do out of just these four instruments. They've numerous years of playing together and yet that familiarity has bred experimentation even as the band strives to simplify.




Conveyor's new album Ready Not Ready is out July 22nd on Gold Robot Records. You can pre-order the record now.

Listen: Conveyor - "Pushups"

It's hard to imagine that the time has come for more new music from Brooklyn experimental pop rock quartet Conveyor. It seems like only yesterday their debut self-titled full length made it's way into the world and considering that Conveyor wrote/recorded many of the album's songs while setting out to record the album proper, it's more or a marvel that new material has sprung up quite so quickly. And yet here we are: Conveyor has a new single. "Pushups" combines the foursome's playful quirkness a rather noticeable fuzz like they wrapped the track in cellophane. Bits of distortion aside, there's Conveyor's trademark vibrant melodies - brightly burst despite some effort to obscure them. All the while, lyrically, the band probably couldn't be more tongue-in-cheek.

"Haven't seen you lately, have you noticed that I've been doing pushups?", is Masters' initial croon and it really only gets better from there. "Pushups" perfectly encapsulates that feeling of running into someone you haven't seen in some time and trying to convince them that you're doing awesome; albeit in this case through the use of a hilarious exercise conceit. I wouldn't expect anything less from Conveyor. "Pushups" is smile-inducing splendor mixed with sunny melodies that percolate the track's gritty electronic crunchiness. It harkens back to the rugged experimentation of Conveyor's Sun Ray EP without retreading those same poppy deviations.  Where they walked hand in hand previously, "Pushups" pits the experimental/electronic elements directly against the rock/pop elements, drawing in the listener far more deeply than if it had simply resorted to either of those elements. 

Conveyor stay true to their sort of classic rock 'n' roll edge by channeling the old school AM/FM radio fuzz and for their comedically self-conscious lyricism, still continue to offer up a bit off dazzling songcraft - you'll be humming "Pushups" for days. 

You can pre-order Conveyor's upcoming 7" featuring "Pushups" as well as another brand new track "Mammal Food" from Gold Robot Records out December 10th.  

All Around Sound Is Turning Three! - Day 4 Bonus Mix: Conveyor

I discovered Brooklyn experimental pop quartet Conveyor oddly enough in an almost completely non-musical instance. Though they were being pretty regularly pushed by We Listen For You, I wasn't aware of their existence into I ran into two of their members outside of the We Listen For You showcase at CMJ in 2011. They were considerably good sports about my anti-Brooklyn declarations and statements that I'd never see them live if it wasn't in Manhattan. They mentioned their love of ARMS and an attempt to play to show together and my tune more or less changed. I went home and checked them out and fell absolutely in love.

On their Sun Ray EP, Conveyor created a sort of oddly minimalistic sort of pop that I hadn't really encountered before. The lyrics functioned much like another instrument in their band - constant, threading everything together but not assuming total dominance over the intricate layers of instrumentation happening. Their self-titled debut was an astounding aural sunburst - a bright, jubilant, many-textured thing that drew listeners to it like a lantern attracts insects.

Since hearing them, I've always been curious what's been in their ears and going on in their heads. To the point of that being an almost entire basis for the interview I did with them. So when I went about seeking collaborators for this year's blog birthday celebration, Conveyor sprung to mind. It'd be another and perhaps more fluid attempt at understanding the sounds that perhaps shaped their own unique sound. I wasn't disappointed. Conveyor's mix is as cohesive as their music tends to be. Sunny and vibrant while slopping in and out of an accessible kind of quirkiness. It's a mix that fits the spirit of Conveyor to a tee.

TJ from Conveyor's contribution:

I tend to think of mixes as like albums, so usually I end up with 10 or so songs, almost an hour of music, that demonstrate some sort of logical progression.  I also try to stay within a familiar realm and be obtuse at the same time; these are mostly names you know and mostly songs you do not.  This particular mix starts out heavy: faux-'60s psychedelia says what we all think we want to be saying, and David Byrne turns that thought upside down but keeps it danceable.  From agitated white folks to the "real deal," Fela poses as a Londoner before the lost Wilson brother gets typically more lost.  Elvis Costello and Peter Gabriel are there almost like familiar signposts so that I can sneak in an unassuming favorite of mine, XTC.  Still in love but feeling oppressed, the Crystals know what I mean.  Cool it down with post-Pet Sounds Beach Boys, and finally let Talk Talk talk me out of it.  I guess this mix is about being in love??

All Around Sound's Favorite Albums of 2012

As mentioned in my favorite tracks year-end round up, 2012 function more so as the year of the single than anything else and more so this year than any other in recent memory. While one or two tracks were pretty spectacular on their own, throw together with a group of like-minded (or not in some cases) tracks saw them floundering for life, attempting to plug up the holes of sinking ships of hastily recorded follow ups or unmethodical debuts.That said, the year was not without it's fair share of brilliant music moments - albums that not only delivered on the potential of their singles but exceeded them by leaps and bounds. Here are, in no particular order, some of the exemplary records that really took the idea of an full length record to heart. Enjoy!

SoftSpot - Enzo
A relatively recent addition to my list of almost obsessively listened to albums, SoftSpot's premiere full length Enzo gets it's name from the Japanese word for "circle" and delivers as much; the album flowing from track to track with unceasing undulating energy. A listen to Enzo, it's not hard to see why it belongs on here: Sarah Kinlaw's vocals are hypnotic, the band not relegated to merely background players. SoftSpot reach an exceptional balance between balls to the wall frenetic jams and organic unfurling introspectives. There's no clear divide between them either as a track metamorphoses into the other almost without warning but not jarringly so. Everything on Enzo seems natural, seems right with no undue kinetic energy explled as SoftSpot demonstrate their prowess as band of patience willing to ride out the mounting waves of their own composition and benefiting greatly from it.

Bro. Stephen - Baptist Girls
If there's anything I've learned from Mad Men (besides how to drink copious amounts of booze, chainsmoke, and commit adultery like an Olympic champion) it's this: Nostalgia is America's chief good. Case it point: Bro. Stephen's nostalgic reveries are simply too good not to enjoy. It's intimate, heart-felt, and more so about beautifully crafted moments that make your heart bang or flutter than anything else. Scott Kirkpatrick is certainly gifted as a singer and a songwriter, of that there's is no question, but what really makes Baptist Girls is how each individual part of it's construction: from the precious melodies, the subtle creak of wood, to Kirkpatrick's beguiling sincerity, it's how they all congeal together to create these moments similar to yours, similar to anyone's that you can relate to. That are so beautifully simple, they make you nod while maybe you tear up a little. Baptist Girls is more than just a collection of songs, its a series of moments lovingly arranged like a family photo album.

Cold Specks - I Predict A Graceful Expulsion 

While it never really pays to cut down another artist in other to praise another artist, damn if only some of that residual buzz from the Alabama Shakes had fallen on Canada's Cold Specks. Her voice crowning the stormy, weathered soul of her own make. Dark atmospheric pieces with brilliant, triumphant moments I Predict A Graceful Expulsion is a quiet, delicate beauty of an album and entirely deserving of as many eager ears as possible. The fact that it hasn't might be the greatest slight of the year. She doesn't have a big band behind her gospel-inspired take on the singer/songwriter idiom but Al Spx's voice is as sagely, pained, and most important of all sincere as a modern soul singers could be. That's not a dig at anybody, Spx just provides a clean, non-showy alternative to what can sometimes become a flashy, spectacle.  

Jessie Baylin - Little Spark 

Layered with sweet Bacharachian sweeps and Dusty Springfield's classy sensuality, Jessie Baylin's sophomore record is one steeped in past influences but instead of playing like a jukebox album, Baylin utilizes her adoration of  60s/70s pop to convey her own troubles which are not all that different from theirs. At times fun and infectious, others serious and heartfelt, Jessie Baylin's Little Spark is a pop album that thoroughly benefits from knowing its history. The Brill Building lushness and orchestral flourishes provide an insatiable base for Baylin's flavorful additions. It's guilt-free pop you'd wish could set some sort of standard. Not only wearing your influences on your sleeve but using them merely to enhance instead of dominate what you're already skilled in. 

Laura Gibson - La Grande 

With more than a handful of releases underneath her belt, La Grande is Laura Gibson's most accomplished. Seeking solace in a rather old-timey sound, La Grande manages to avoid hokey-ness aided completely by her minimalistic approach to songwriting where she says just enough to have every word resonate with purpose while never quite being contrived about it. Each song belongs, each verse and phrase important. Gibson always been a gifted, poetic lyricist but when aided with the rather creative western-y lo-fi leaning sound on La Grande, the whole takes on a very classic feel. 

Lord Huron - Lonesome Dreams 

A work of unmitigated patience, forethought, and effort, Lord Huron's debut full length Lonesome Dreams could be called a concept album of sorts. While western-tinged instead of the world-inspired sound of their previous EPs, the album fits rather excellently into the Lord Huron canon. Despite the fact that the PR campaign seemed filled with painstakingly thought of detail (a website for the fake author of the novels of which Lonesome Dreams is based on being one of them), Lonesome Dreams is an album that doesn't get bogged down with all that when put into actual practice. The details function more as behind the scenes notes dictating where the story will go without seeing exhaustingly recalled. Lord Huron have a talent for simple-seeming but complexly layered chamber pop and they don't disappoint here. Their sound as full and evenhanded on their sepia-colored opus as any of the more electronic leanings of Ben Schneider's creation, Lonesome Dreams is another stellar example of what a concept album can be: easily to listen to without foreknowledge, enjoyable all around, and tremendously rewarding if you do happen to get it. While I'm sure we've yet to get the full brunt of Lord Huron's innovation, Lonesome Dreams is a particularly wonderful start.  

Daughn Gibson - All Hell 

If you had explained Daughn Gibson to me before playing it for me, I probably would've avoided it like the plague. Electronic/Country hybrid? That sounds relevant to exactly none of my interests. Thankfully no one told me what to expect from Daughn Gibson and I got the pleasant surprise of a wonderful album of unexpected twists and turns and a surprising amount of emotional resonance for such a sample-laden release.    It's rather easy to be dissuaded from an album that feature stories about people appearing on Cops and yet Gibson with his commanding presence, deep booming baritone, and adventurous charm make the album a completely worthwhile endeavor. A rather impressive effort and much appreciate burst of new and interesting in two genres where sameness is commonplace.

Hospitality - Hospitality 

From the angular melodies to the band's tight knit padding for Amber Papini's smart lyrics about city life, post-college, and all sorts of old young people concerns, Hospitality is catchy jangle pop done right. Papini has a real knack for pop hooks that don't quite feel like pop hooks and the band perfectly balances hanging back to give Papini the room her feathery vocals need to alight while making their own presence known and heard. A far different version from the syrupy chamber pop of their EP days, Hospitality provides an excellent base for the band to build upon. An album that proves Hospitality are ones to watch and enjoyable ones at that.

Conveyor - Conveyor
If there was a more vibrant, colorful album released all year, no one certainly told me. Conveyor's self-titled debut is an auditory sunburst, channeling sunny days and unrepressed happiness while building on the group's  minimalistic experimental pop we saw at work on their Sun Ray EP. Quirky but not goofy, Conveyor create exuberant smile-inducing moments of sheer aural bliss while never casting any doubt on their talents as legitimate musicians. Conveyor is a slowly-evolving but always engaging pitch-perfect adventure where every route is the scenic one and every path worth taking. A charming whole filled with tasty, interesting parts.

You Won't - Skeptic Goodbye

Sometimes making truly special folk pop let alone music isn't to try and turn the whole world upside down. It's possible to be creative without necessarily redefining a whole genre of music. Sure, those are what everyone's usually looking for but every once in awhile you stumble upon a record like Skeptic Goodbye from the Massachusetts duo You Won't. It's charming beyond words, fully demonstrative of the twosomes talents, a brilliant collection of songs that works together, but any deviation from pre-established norms is subtle. No look at me attention-grabbing antic here. Josh Arnoudse is a gifted lyricist with the kind of voice that gently commands attention not pleading for it and Raky Sastri is a skilled instrumentalist and well as producer. Their songs are either catchy as all get out or just too good not to want to listen to again and really that's what any good musician to strive for. Skeptic Goodbye is a great smattering of folk pop some with rather anthemic leanings.  

Will Stratton - Post-Empire 

Singer/songwriter Will Stratton is an musician who really gets it. Having great lyrics (which he certainly has in spades) is not all it takes to write a good song. Stratton's approach to songwriting pairs all of his various talents to work to create incredible music moments and excellent mood-changes. In fact, Post-Empire starts with about 2.5 minute orchestral intro before the entrance of the more folk-friendly guitar, a full three before Stratton's first verse is even uttered. This reverence for the actual extra elements of a song is something you'd wish more people cherished, more people employed. Maybe not in such a grand fashion but when an album takes it's time beginning, you know it's going to be a worthwhile listen. In addition to lovely arrangements, Stratton's fingerstyle guitar paired with his rolling, ambling melodies makes for a pretty incredible all-around immersive experience. Post-Empire is the kind of album you can put on and just sit and marvel at the level of musicianship contained within. 

Daniel Rossen - Silent Hour/Golden Mile EP 

Most people refrain from putting EPs on an albums list. I'm not most people. Especially not when you have a record like Daniel Rossen's Silent Hour/Golden Mile EP. On his first true solo outing, Rossen expounds upon the epic arrangements of Department of Eagles and Grizzly Bear with his own solid voice resulting in five songs that are simply spectacular. Astonishingly poetic turns of phrase that stick with you are paired with larger than life instrumentals that seem to grow larger and more layered with each subsequent listen. Topped off with intensely emotive vocals, the EP is a testament to Rossen's own talents and why others are so lucky to have him a collaborating. A beautiful stirring collection of songs that almost weren't. Thank heavens they were.

Efterklang - Piramida
With three fantastic albums under their belt, there was no doubt in anyone's minds as to Danish trio Efterklang's awesomeness or artistic integrity. Then in a move that couldn't possibly be foreseen, the Danes had the wacky idea to go to an abandoned Russian coal-mining settlement in the far north of Norway where they recorded all sorts of sounds that formed the framework for their brilliant, brilliant fourth studio album Piramida. On it, they combine the accessibility of Magic Chairs with the dreamy, atmospheric air of their orchestral-leaning albums. Piramida is a work of incredible artistic ambition proving Efterklang as master craftsmen and truly creatively leaders. Employing women's choirs and orchestras, Efterklang reach a level of collaboration most can only dream of.

Kishi Bashi - 151a 

With a real sense of overarching themes and a cinematic scope, Kishi Bashi's debut is certainly an impressive one. Especially considering the pit of doubters waiting in the wings to compare him to other violin/loop pedal users Andrew Bird and Owen Pallett. While learning from his predecessors, K. manages to offer up a singular, unique voice. Japanese vocalizations are welcome treat from the "oh" and "ah"'s you find in standard pop music while K.'s psychedelic deviations add a distinctive coloring to what would already be an applause-worthy effort to create a debut so strong it has to be heard to be believed. 151a is an amazingly adventurous debut brimming with talent and life.

Lands & Peoples - Pop Guilt 

Though by no means a proper representation of the brilliant new direction the Baltimore lads have taken since losing some of their members, Pop Guilt is a snapshot of the band in their youth and in it you can trace elements for their rugged experimentalism. That said Pop Guilt is a great album in its own right featuring bustling pop choruses, dynamic textural play, and some rather incredible vocal chops in Caleb Moore and Beau Cole. And yet as pleasant and arresting as the vocals can (and are allowed) to be, Lands & Peoples music isn't nor has it ever been a platform for them. Lands & Peoples make great use of textures and layers, using vocals to add more dimension, more depth to their already seemingly fathomless experimental pop ditties.

Port St. Willow - Holiday 

After my discovery of The Antlers' Hospice, I really wasn't looking for a record like that again. A record that would utterly destroy all my emotional barriers and make me absolutely fatigued from just feeling so much but here we are. While not quite as devasting, Holiday certainly falls into the same category of mood music that is simply too beautiful for words. Each and every listen results is a cathartic release and never do you grow numb to Nick Principe's raw, emotion-shredding work. In musical landscape dominated by senseless, vapid music without real meaning, it's a treat to get something this precious, this heartfelt, this real. Principe places himself completely out in the open and the result is an album of absolute elegance and finely crafted pathos.

Levek - Look A Little Closer 

In addition to being a veritable grab-bag of 70s musical styles, Look A Little Closer builds upon the somewhat cartoon-y vibe of Levek's demos with some pretty solid jams. It also happens to function doubly as a sort of emotional catharsis for Levek mastermind David Levesque while avoiding relying too heavily on that to function. In fact, without that little tidbit of information, it's still entirely possible to enjoy Look A Little Closer without feeling like you're missing something; some crucial piece to the puzzle. Instead the album slopes gently into a multitude of jam-laden 70s psychedelic subgenres while not sounding like it's trying too hard to do so. Levek for all intents and purposes casually eludes any notion of genre seeking the far more rewarding option of simple good music.

Young Man - Vol. 1
As under-represented as female songwriters/arts/bands seem to be in the music industry sometimes it seems like they have the most interesting stories to tell. The most clever spins on their tragic love lives, the most affecting vocals. I wasn't actively looking for an exception to that, for someone to describe the trials and tribulations of manhood when I found Colin Caulfield aka Young Man. In a series detailing his rite of passage into manhood, Vol. 1 isn't even the full scope of the Caulfield's experiences. And yet, it does so so articulately, so universally, so accessibly while sounds so personal that Vol. 1 quickly became a favorite. It's a male songwriter singing about something actually important that isn't your standard heartbreak tale or love song. Wrapping up his sagely observations in smart-pop dressings, Vol. 1 isn't just an album that appeals to young men or even older men. It's got a broad appeal while tackling a subject few explore that actually matters.  It's a well-rounded effort equally displaying Colin Caulfield's intelligent songwriting chops while also showcasing the talents of his collaborators and dressing them up nicely in solely beneficial arrangements.

Bowerbirds - The Clearing 

There comes a time in every band's career when they seek to change some form of what they've been doing either for better or worse. For Bowerbirds, they expanded upon their pastoral reveries by reaching a higher level of universal resonance than ever before. Transforming from mild-mannered folk band to high-minded art rock band, The Clearing in a lot of ways shines a light on where Bowerbirds have been and where they are going. Their third album, the album gives little hints about their roots while detailing their lives together in their trademark nature-laden imagery and artful use of metaphor. And while employing far bigger experimentations to their sound, they also apply it at a smaller level giving resident power harmony gal Beth Tacular her lead debuts in "Hush" and "In the Yard", the result is simply amazing. Beth, Phil Moore, and the rest of the talented crew of musicians are in rare form on The Clearing and create an album that both appeals to the long-standing Bowerbirds fan while also shaking things up to keep things interesting and grab some new ears.  Bowerbirds have always been masters of subtle emotion-stirring moments and the certainly don't disappoint as each lyric, each phrase, each musical flourish pulls at the heart-strings, brings a smile to your lips, or just lets you bask in the glory of a truly good band that knows what it's doing.

Hundred Waters - Hundred Waters 

In a musical climate where things sound more than a little similar and overdone, a band like Hundred Waters is a much needed breath of fresh air. One of my favorite things about the band is the utterly unclassifiable nature of their music. Owing equal parts of their composition to electronics and the ethereal sensuality of Nicole Miglis vocals, the band are rather unlike anything I'd heard before in the best way possible. Imaginative, creative, and expansive, Hundred Waters' debut album plays like an absolute dream - consuming you fully from start to finish with it's mesmerizing textural play. Hundred Waters are a band of artists in a completely nonpretentious sense creating enthralling, intriguing multi-layered masterpieces that don't beat you over the head with how art-y they are. Instead Hundred Waters offer up works of beguiling beauty that all fit together spectacularly in the grand scheme of their album. Their album is downright cosmic - raising perceptions about what art music can be while remaining accessibly so. Their palette of sounds are otherworldly and grand - the soundtrack to epic adventures or grandiose happenings while remaining subtle enough to operate on a smaller level. An absolute behemoth of talent and dazzling display of non-grandstanding musicianship.  

Honorable Mentions:
River Whyless - A Stone, A Leaf, An Unfound Door

Lucius - Lucius EP

Black Girls - Hell Dragon

Daniel Hart - The Orientalist (rerelease)

All Around Sound-Off No. 1: Conveyor

 

photo by Sarah Gainer

 

It was an odd twist of fate that brought me in contact with what might very well be my favorite new bands of this year when I met two of the members of Brooklyn via Gainesville experimental pop quartet Conveyor outside of Pianos during We Listen For You's CMJ day party a little less than a year ago way back in October.

As they told me that living in Brooklyn meant they played most of their shows there, I jokingly told them I'd probably never see them, they mentioned a potential show with ARMS and suddenly I was onboard, and the rest is somewhat history. After falling in love with their Sun Ray EP, I knew the first chance I got I was going to have to see them live and that chance came early this year at a dual release show for Conveyor and Illuminator's split "Mukraker"/"Gulf Hymn" 7" coincidentally also at Pianos, a show that was utterly stacked with talent as fellow Floridians Hundred Waters and Levek shared that same bill. Conveyor's set however was an absolute marvel - instantaneously taken with TJ's quirky stage presence, the band's retro seafoam matching guitars, and their all around knack for playing unpredictable but solid rock pop jams, I was hooked. 

It also started this weird habit of running into members of the band outside of their actual shows. Like running into bassist Michael at a Hundred Waters show at Cameo. But it was while attending the final night of Deli Magazine's Best Emerging Artist Fest at Cameo Gallery (for ARMS pretty much exclusively, I should add), I ran into guitarist Alan who nonchalantly revealed an interesting tidbit about their album...

Dante (All Around Sound): So what actually made me realize that I needed to interview you guys was when [Alan] told me that you wrote a lot of the songs while you were recording the album. What made you guys decide to do it like that as opposed to I guess the more standard method of recording an album which is like going in with songs already more or less fully developed? 

Alan: I don't think we really decided - it wasn't really a conscious decision like 'Okay we're going to go into the studio and then write', you know? I think it was we knew our next project was going to be a full album, we had some songs ready, and we sort of filled in the gaps around there with the idea being that we wanted to write this album - make this album a sort of cohesive piece of work. That's sort of how it worked out. I don't think we ever thought of it that way. 

TJ: Yeah. I think that rings pretty true. For me especially it just feels right to start working on something and then let more ideas come from that rather than try to write an amount of songs and then go record each one of them and I think there's something a little more cohesive than some albums which are just song after song after song. For me our record just feels like one big song from start to finish.  

 Michael: The process was kind of... it just came about because we had a couple songs that were ready to be recorded and that we wanted to release as singles so we started recording, we got the singles out, and then we kept recording and we kept writing more songs and there's actually a lot of songs that were written during the production of the album that didn't make it onto the album that we play sometimes but might get recorded in the future. But really it was like an ongoing process of writing and recording and then eventually it all just kind of congealed into the album. 

I figured it wasn't an actual conceptual decision to do that but...well, I've heard the album... it really works. It makes sure you have to stay put for all of it. As opposed to just being like 'Oh I really like this song. Okay and now I'm just gonna pause and go do my laundry.' It's great. Definitely worked out for you guys which is kind of your thing I guess - just like doing things weird. 

Evan: I think one of the first things Michael ever said in this band at our first practice was 'Weirder is better'

Michael: Weirder is always better.

Evan: And we all live by that. 

Did you guys shoot for any sort of stylistic changes between the Sun Ray EP and this album or was it kind of an unconscious thing?

Alan: It was relatively unconscious. I think our music developed pretty organically. I think part of the difference in the sound comes from the way we recorded that you were referring to: Just getting into the studio and collaborating on songs in that space inherently it was much more...there was a piece of each of us more so like some of us jumped on at the last minute it was a much more...

TJ: Collaborative. 

Alan: Yeah. There's a big difference too. Sun Ray we had just started playing together and now a year later just that alone we've been playing together for a year so just naturally things are different. We're slightly different people. 

Evan: *laughs* We're friends now. 

Alan: Yeah. Now we know each other. We weren't like 'We want to sound like this', you know? I think it just very naturally came about that we made the music and we made the sounds that we wanted to make that we thought sounded good.

...You guys weren't friends before you started a band together? I mean, I heard the interview where you guys were like 'Yeah we kind of all just met up in Brooklyn one time at a party.' but I thought you guys were friends and knew each other and we're like let's be in a band.

TJ: Yeah...it's not as cold as it sounds when Alan says it like that. We all knew each other, we all hung out in the same circles in Florida, and that sort of thing. At a party we did decide to get together as a foursome but definitely like playing together and writing together has turned us into... from friends into bandmates, you might say. 

Did you feel like there was any sort of direct influence onto this album? Any bands you were listening to that you were maybe not trying to emulate but had a definite influence? 

Alan: Influences...

TJ: I'll just say for me I spent a lot of the last Fall listening to music from Africa that I was sourcing from Michael and beyond any one artist in particular just that sort of feel. I don't know when I listen to music from that continent it all just sort of feels very happy to me and very vibrant and moving. So I think last Fall when we were writing a lot of the stuff that was a big influence on me. Music that moves and music that feels like happiness. 

We kind of touched on it before but your songwriting process - what's that generally like? Is it just like you normally come into your rehearsal place with ideas or do you kind of just like jam it out? 

Alan: It really depends. Some of the first songs we wrote after Sun Ray were more along the lines of a very small idea that we then play over and over and try to develop into something else. The album though is really sort of all over the board. Sometimes it would be something really small - one little hook-line or one little melody other times there's like pretty fully produced demos that TJ would make and send to us and then talk about it together.  It's different from song to song. And like we were saying, some of the songs we never really got to the point of jamming and like playing together and trying out. We had only recorded it and tried to make it what we wanted it to be in that sense and then we had to go back sort of and learn how to perform it *laughs*.

If you each had to pick a song to cover - like if you were going to play any song during your set - your normally very small set, what would you choose?

Alan: Wow...

Evan: ...Wasn't there a song, today TJ, that I said we should cover?

Alan: Yeah there was. 

TJ: Yeah... Today?

Alan: I guess it wasn't that important to you. 

Evan: We were in the car... *pause* You know, a song that I always wanted to cover...shit. "Heart of Glass" by Blondie. I don't if we should cover it straight up but something about that song. I don't know, I've been wanting to incorporate it into at least a part of one of our songs in particular. I've just always wanted to play that song. I heard the band The Bad Plus, I don't know if you've heard of them...  

I've heard of them, yeah. 

Evan: Well we sound nothing like that band but they do such a badass cover of that song that I want to play it myself. It sounds really fun. So that's what I would love to do. 

Michael: The Beatles' "Tommorow Never Knows"

TJ: Wow!

*Laughter* 

Alan: That's really good.

TJ: Really good!

Michael: Really really drone-y, really catchy but it's the kind of song where it's two or three minutes long on the record but you know live it could be twenty minutes. 

TJ: We should...wow...we should totally do that!

Alan: "Morning Bell" would be a good song. It's great. 

TJ: I always find myself wanting to cover like something really noisy, really just abrasive and loud. I don't know why I keep thinking about Nirvana. We were talking about Nirvana earlier...

*Laughter* 

TJ: I could totally go for a Nirvana song. 

Alan: I've kind of been on a Fleetwood Mac kick recently. So I'd pretty much like to do pretty much anything of theirs. We could incorporate all of the vocal parts and just...I don't know, I love them. Too many good songs. It'd be tough to choose but I feel like that'd be an interesting project to take on. 

Thanks again to Conveyor for sitting down to talk to me about their album and for putting on an absolutely amazing record release show! 

The delightful foursome are currently on tour in support of their incredible self-titled debut full length. Scope out the dates as well as pick up a copy of the record on either cd or vinyl (I'd strongly suggest the vinyl- it's gorgeous!) here.  

Listen to their album before it's July 17th release:

  
*Special thanks to Todd Goldstein of ARMS for naming All Around Sound's new interview series.

Conveyor - "Woolgatherer"

With little less than a month to go until the release of their debut self-titled album to go, it only seems fitting that we'd get another peak of it. After "Mukraker", and "Mane", the gentlemen of Conveyor have decided to start at the very beginning, offer up the first track off the record "Woolgatherer".

In a way that's become oddly fitting, "Woolgatherer is nothing like what you might've heard from the band - at least not outright. Sure it's got those bright sun-kissed melodies that Conveyor have proved adept at since the  release of their Sun Ray EP, those smile-inducing harmonies, and the stamp of distinctive quirk that's rapidly becoming Conveyor's signature but there's something marked different about it this time. Their penchant for experimentation creates an absolutely gorgeous opening with the start-stop cut-copy "Eh's" that form a pretty awesome moment. In each single we've gotten from Conveyor, they've highlighted another strength of the band showing a very obvious growth and "Woolgatherer" is no different. It's positively radiant, multi-layered, complex, and most importantly it's just plain good. Not surprising from the Brooklyn foursome whose rapidly becoming one of my favorite new bands to talk about.



So with their debut album out in a couple weeks it only makes sense that you should grab it. I mean why miss out on what's sure to be one of your favorite releases of the year. You can preorder the gorgeous-looking and incredible sounding album here.  

Also don't miss the chance to see the band absolutely shred at their release show. It's a night you certainly don't want to miss. June 28th at Mercury Lounge. Get your tickets here.

Pitstop: Levek

Well this is totally embarrassing. Several months ago I saw Levek in concert and apparently forgot about how good they were. Which is really just tragic. The concert in question was Illuminator and Conveyor's 7" release show which they played also played with Hundred Waters.

The brainchild of Florida native David Levesque, Levek's ties with Hundred Waters aren't just coincidence; in addition to both being from the sunshine state, several of the members of Hundred Waters were part of Levek's backing band and similar to Hundred Waters, Levek makes music in a genre all his own. The simplest way to explain being: A sort of blissed out tropical-infused occasionally beach-invoking pop. A even that only applies sometimes. Plus there's something super endearing about the fact that when I met David post show, he assured me that what I just witnessed was completely different from any of the music he had out. While that might be a bit disappointing to some, there's something incredible about experiencing something that so few have - while anyone can download his demos at any time, you have to actually make the effort to get the full picture and in that regard I felt rather privileged.



Unfortunately I had forgotten about the man and his mad musical experiments until this week when it was announced that Levek would be releasing his debut album. Whether this will be an effort to distill his magical live set into an actual record or if it will just be more of his markedly different bedroom recordings remains to be seen. But I'm certainly excited for it. You can get a little sample from the upcoming album Look A Little Closer with first single "Black Mold Grow":



(via Beats Per Minute)

Levek's debut record Look A Little Closer with be out September 25th on Lefse Records.

Get yourself properly keyed up for the debut with Levek's demo:

Pitstop: Lucius

"You've never seen Lucius before? You're in for a real treat."

These words, spoken to me by Conveyor guitarist Alan, were my only warning before I was ushered completely uninitiated into the fantastic siren song of the she-beasts of Lucius. Donned in matching black dresses, knee-high boots, and bows in their hair, the synchronized style of Lucius' Jess Wolfe and Holly Laessig is enough to throw you off the trail of their absolutely awe-striking vocals. As I watched them at their most recent gig at Cameo for Deli Magazine's Best Emerging Artists Fest, I was massively unprepared for what I would witness. Elaborately constructed, infectious and highly memorable pop-songs, the girls and their band of three similarly dressed gentlemen were a veritable force of nature. Each and every aspect mindbogglingly amazing - from their onslaught of percussion (almost each member had their own snare drum), their bewildering powerhouse vocals that exploded from the females with an intensity that was nothing sort of overwhelming, and a clearly talented band which helped frame it all. No one part overtook the other and yet, the girls vocals cut clear through all everything straight toward the audience's hearts and ears. Every man and woman at the show no doubt left a little more in love with Lucius than when they arrived.



Recording-wise Lucius are almost a completely different beast. Restrained but no less ear-catching, no less crush-inducing, their recently released self-titled EP is a far quieter taste of the Brooklyn band in a short but sweet set of four tracks. Sparse but not empty arrangements spotlight the gals uncomfortably good vocal chops while hitting a rather diverse palette of ideas and sounds from folk and 60s Spector pop ("Don't Just Sit There") to sassy noise pop a la Treats-era Sleigh Bells with far less actual noise ("Genevieve") with jazzy ornaments  thrown in for good measure, the girls manage to blend all these together to create an undeniably great style that's endearingly hard to explain. And with a more permanent roster of members like guitarist Peter Lalish and Dan Molad on drums, the band's clearly only going to get better and more dynamic in their recordings.



Did you hear that? Lucius have arrived and every band should quake a little in their shoes. Lucius, with their tempting blend of raw talent, insane live energy, and knack for pitch-perfect pop of the best kind, just might steal your fans away.

Get a taste of Lucius with their live version of "Don't Just Sit There" for The Wild Honey Pie:


You can grab Lucius' self-titled EP on iTunes as well as listen to on Spotify.

Conveyor - "Maine"

With the official release of Brooklyn foursome Conveyor's second single coming up next week, I realized I had neglected to actually share "Maine", the b-side from the release. While not the complete opposite of "Mane", it's more subdued and never quite rises to the level of sun-kissed revelry and exuberance that "Mane" does. That's okay.

Here's softer, folkier b-side "Maine":


In case you missed it, here's another chance to hear the lead track off Conveyor's upcoming 7", "Mane":


You can preorder the 7" for a very very low (and arguably so very worth it) price of $5 from Gold Robot records here.

Conveyor - "Mane"

Brooklyn rock quartet Conveyor are rapidly proving themselves as one of my favorite new bands this year - releasing the endlessly delightful "Mukraker" mere months ago and already following it with their brand new single "Mane" today, it's no doubt their eventual debut album is going to be a must listen.

"Mane" is a much-appreciated taste of warmer weather - built upon a balmy beach pop riff which plods on with a sort of easy-breezy casualty that's the very definition of infectious. On "Mane", Conveyor prove that they have an even more impressive set of tunes in them - a revelation that should be shocking considering how great their releases have been so far.

There's no word on the release date on their album yet but if Conveyor keep rolling out tunes like "Mane", I'd be content to wait for as long as they want. Enjoy "Mane":



You can download their brand new single for a pay-what-you-want rate on their Bandcamp as well as pre-order the not free but incredibly worth it 7" which comes with B-side "Maine". It's good stuff. Pre-order is available here.

Pitstop: Hundred Waters

My discovery of Gainesville quintet Hundred Waters is due in part to a stray tweet from I Guess I'm Floating proclaiming how amazing they are as well as their slot on a bill next month featuring two of my favorite bands: Conveyor and Illuminator. When a band tells you to be excited about something, you damn well better be. And that's how I approached Hundred Waters, with expectations of greatness but little else.

There's not much I can tell you about Hundred Waters. Unlike the multitude of bands seeking exposure, the quintet carry around them an air of mystery and lack the heavily-detailed artist bio. What I can tell you is that Hundred Waters is the combination of bands from the Gainesville area into one that is unquestionably amazing. Hundred Waters are one of those rare bands that are my favorite to talk about: those with no discernible genre labeling. Instead to accurately understand what you get when you listen to them, you have to actually listen to them. Their music is a heady rush of textural soundscapes that's hypnotically intoxicating. Nicole Miglis' delicate siren vocals function as the main grasping point - as sparse instrumentation gives way to layer and layer of sonic world building. 

Hundred Waters' music is a breath of fresh air for the more than casual music listener - A great example of what happens to the sum when all of it's individual parts are just plain fantastic. Hundred Waters draws you in rather effortless and lets you coast on wave after undulating wave of dreamy landscapes that just happen to be anything but. If it's so easy to lose yourself in just the three tunes they have available, I can only imagine the damage their full length will do when it comes out in April. It's definitely a must-listen. 

Hear Hundred Waters distinctive genre-defying tunes:

All Around Sound's Most Anticipated of 2012 Playlist (So Far)

2012 began with a number of bands having already promised this would be the year they release follow ups or even debut full lengths in some cases. Since it's only the first month of 2012, a lot of things have yet to be announced but from what has been, it's shaping to be a pretty great year (I mean new Bowerbirds!) for music. Here's a playlist of some of the releases I'm most excited for in order of release date (where possible).

1) First Aid Kit - "The Lion's Roar" 

It's hard to imagine that the Swedish sisters released their debut album almost two years ago but this month they're releasing a follow up that's looking like it might just blow their debut out of the water. The sisters are older and wiser and seem to just be growing in talent. First Aid Kit's sophomore album The Lion's Roar is due out January 24th. 

 First Aid Kit - The Lion's Roar by Wichita Recordings 

2) Hospitality - "Friends of Friends"

This year sees the release of Hospitality's self-titled debut album, their first for new label Merge Records, the follow up to a low-fi folk poppy EP released in 2008 and it's about time. While I've grown to love the tunes of the EP, Hospitality's new sound is a step in the right direction. I've only heard several of the new songs live so I can only imagine how much better they'll be recorded with all the tools they had at their disposal. Hospitality is actually one of my most anticipated album's off the year, if only for the bewilderingly catchy "All Day Today". Hospitality is out January 31st on Merge. Get it, seriously.

Hospitality - Friends of Friends by MergeRecords

3) Sharon Van Etten - "Serpents"

I may have only heard Sharon Van Etten's lead single "Serpents" a couple days ago but that was enough to make me thoroughly intrigued by Sharon Van Etten's new album. Her first on Jagjaguwar, she's in good company alongside the increasingly popular Bon Iver. Hearing new track "Leonard" today also made it practically impossible for Tramp not to be on this list. Sharon Van Etten's Tramp is out February 7th.

 Sharon Van Etten - Serpents by All Around Sound Blog 

4) Fanfarlo - "Deconstruction"

When Fanfarlo first released new track/video "Replicate" back in September, I just about wet myself. The release was completely unheralded following a year-long radio silence which the band spent reacquainting themselves with real life after a year of straight touring and also writing and recording the new tunes. The year long self-imposed exile has certainly done some good. "Deconstruction" is the perfect blending of old and new and the bands claims of a more pop-oriented sound are not unfounded. And while the band could get together and release an album of nursery rhymes and I would still buy it, it helps that the new music is so downright good. Fanfarlo's sophomore album Room Filled With Lights is due out February 28th. 

 Deconstruction - Fanfarlo by Atlantic Records 

5) Plants & Animals - "Lightshow"

I've only heard this single track from Plants & Animals upcoming album and yet that was enough. It burrowed into my brain and stayed there for days exacerbated by my constant repeating of the track. I've lost count with how many times I've played it but it still hasn't lost any of it's edge. And so based off this track alone and a good deal of good faith, I'm much looking forward to Plants & Animals new album. Whether that'll change when they release the next track remains to be seen but I doubt it. I mean if you can write a song as good as "Lightshow", they should all be similarly awesome, right? Right. The End of All That is due out February 28th.

 Plants and Animals - Lightshow by SecretCityRecords 

6) Dry the River - "No Rest"

If there is one thing the Brits seem to know how to do and do well, it's folk. Britain's Dry the River are one of the multitude of bands that are cranking out sincere, well-written, and masterfully performed. I mean the only kicker is that their releases are region so those unfortunate enough to not be natives have to wait a bit before we're allowed to get our hands on their stuff. Like their Weights & Measures EP which they released mid-year in Britain and is only now available in the states. But it's music that well worth the wait. In more way than one. 2012 will see the release of Dry the River's debut album, an album that's bound to be epically enjoyable. Dry the River's Shallow Bed is slated for a March 5th release in the UK but there's no word yet on when the rest of the world will be able to enjoy. 

 Dry the River - "No Rest" by Dry the River 

7) Andrew Bird - "Nyatiti"

You know, when Andrew Bird did his massive auditorium/concert hall tour last year I should've known to expect an album and yet the news of his upcoming surprised and delighted me. Not too much has been revealed about it besides the name, release date, album art and a tracklist but if anything can be gleaned from the 30 second album trailer, the new album might be heavily acoustic. Or as acoustic as you can be when you rely on a loop pedal. Since there's no single released yet, I thought I'd include one of my favorite tracks off of 2010's Useless Creatures. Break It Yourself will be released March 6th.

 Nyatiti by Andrew Bird 

8) Bowerbirds - "Tuck the Darkness In"

If nothing else was released this year but the new Bowerbirds album, I would still be a happy man. Especially considering their last release was way back when in 2009. And while that's not a necessarily long time in music, it is when you see them live and they promise to return again soon with a brand new album and preview two new amazing songs. I fully intend to ravenously consume Bowerbirds third album like a starving wolf. And if our first peek at the new album is any indicator, the pastoral folk the band do so well is back after some much missed time away. Bowerbirds third full length album The Clearing is due out on March 6th. 

 Bowerbirds - Tuck the Darkness In by All Around Sound Blog 

9) Yellow Ostrich - "WHALE"

Considering last year's The Mistress was a re-release, the shock that Yellow Ostrich is so quickly coming out with another album should subside a bit. This year, Yellow Ostrich release their true Barsuk Records debut with Strange Land which also marks the band's first album together. Instead of bandleader Alex Schaaf's solo looping project, the band flush out their sound based off of Schaaf's demos. Sounds good. And while no one's really heard anything from the album yet, I'm assuming that the band's sophomore record is going to be enjoyable because of how insanely catchy their debut is. That's not something you forget how to do. Since there's no previews available yet, enjoy "WHALE" off The Mistress. Strange Land is due out March 6th on Barsuk Records.

 Yellow Ostrich - "WHALE" by Afternoon Records 

10) Lost in the Trees - "Red"
This year will see the release of North Carolina folk pop orchestra Lost in the Trees' latest album. A tribute to Ari Picker's deceased mother, the group don't appear to be taking any steps back away from their emotionally complex brand of sentimentality infused compositions. Instead the group have spent the year trying their best to capture the memory of Picker's mother filtered through a catchy pop sensibility and an orchestral grandeur. The result is sure to be an affecting work of beauty. Lost in the Trees' third album A Church That Fits Our Needs is out on March 20th on ANTI-.
 Lost In The Trees - Red by antirecords

11) Little Tybee - "Boxcar Fair"

Georgia folk pop outfit Little Tybee might very well have the quickest turnaround of all time. Their upcoming release For Distant Viewing is practically right on the heels of sophomore record Humorous to Bees which came out last April all the while the group put together and soundtracked a puppet show by the name of Boxcar Fair. While such a quick release schedule might worry people, new track "Boxcar Fair" should allay all fear. There's still the conscientious equality of each member in it's arrangements, not to mention the song just being all around good.  Little Tybee's For Distant Viewing's release date isn't exact yet but it can be expected sometime in March. 

12) Kishi Bashi - "Manchester" 

While Andrew Bird's album is definitely cause for excitement, up and coming violinist/loop pedal enthusiast/multi-instrumentalist Kishi Bashi's upcoming debut is definitely something to be excited about if not  worthy of occupying the majority of your interest. Since his debut opening for Sondre Lerche last year, Kishi Bashi's been hard at work prepping the follow up to his Room For Dream EP. The results are astounding. Funded about 120% via Kickstarter, Kishi Bashi's debut is on the right track. Those who helped fund the project got a sneak peek of "I Am the Antichrist to You" in addition to the previews featured in his welcome video and the song was absolutely astounding. But until he releases an album track as a single or otherwise, you can still enjoy "Manchester" from his EP.  Kishi Bashi's debut has a loose release date set for somewhere in the spring with a definite date coming soon so stay tuned. 

13) Conveyor - "Mukraker" 

Brooklyn band Conveyor have a lot to look forward to in 2012. Or rather fans do. Earlier this month, the released the digital single "Mukraker" which is part of their split 7" with other noteworthy Brooklyn band Illuminator. Also pretty sure they're working on a full length. No idea when that is but Conveyor's curious blend of slowly unfurling minimalism with explosive flourishes guarantees that I will be all over it when that day comes. In addition to everything else they release and do. Hopefully that'll be soon but you can't rush progress.

14) Secret Mountains - "Weepy Little Fingers"

Baltimore psychedelic rockers Secret Mountains can utterly swallow you with a single song and news is that they're planning on releasing a full length this year. That's as exciting as it is scary. The follow up to 2010's Rejoice EP, the band have been hard at work recording new tunes. And they just won a trip to record with Converse and record a live session so that's more new tunes and more recordings. Secret Mountains is going to have an intensely busy year and their debut full length might just be the cherry on top. No word yet on when their record is going to drop but news of which can't be that far away. Enjoy "Weepy Little Fingers" which the band released as a single last year. 

Secret Mountains - Weepy Little Fingers by friendsrecords

15) Of Monster and Men - "Little Talks"

Despite releasing their debut album in their home of Iceland last September, Icelandic folkies Of Monsters and Men are gearing up for a major North American explosion. After tours and the release of their Into the Woods EP, the band are prepping for the stateside release of their debut My Head is An Animal which will feature a different tracklist than the Iceland release. And considering all their updates are coming from the studio, it's only a matter of time before we learn of the upcoming album's release date. One thing is certain though, even if the album's tracklist is 100% different than the Iceland release and the Into the Woods EP, "Little Talks" is bound to be on it. It's the band's greatest songwriting achievement that deserves to be displayed whenever and wherever it can be.

    Little Talks by Of Monsters and Men 

16) Teletextile - "What If I"

Considering the band had their debut release over in Europe last year, expecting an release this year might be a bit of wishful thinking on my part but the band has stated an interest in doing some recording and releasing something this year so I'm going off of that. Besides who knows maybe the band's debut album Glass will get a stateside release sometime this year? I mean, there's 11 months for that to happen. Despite a 2012 release being mostly speculation on my part, the band's becoming pretty active over here so maybe just maybe we'll see something. If not, 2012 should be the year where everyone at least starts paying attention to Teletextile. 

Considering how early in the year it is, more and more album release news should come spilling out. I'm looking forward to being able to expound upon this list and getting to update several of those unconfirmed dates. Until then, I hope you enjoy.