Gracie - Work It Out EP (2013)

Considering electro-pop producer Gracie is responsible for not one but two of my favorite tracks of the year (spoiler alert?), when I heard news that Gracie was out in Los Angeles recording a new EP, I was elated that we'd be getting more music so soon. I mean Gracie's Bleeder EP did just come out less than a year ago. And yet here we are, with a brand spanking EP in our laps.

It's a little unfair perhaps to expect Gracie to trot out something with the all-attention consuming prowess of "Creature Pleaser" on every release. Especially considering he's no one trick pony and has essentially gone out of his way not to be so. And yet, that's unfortunately what I was hoping for out and found lacking the Work It Out EP's three song jaunt. That's not to say that there's nothing worthwhile on the Work It Out EP - there's a lot happening and a lot to hear on it.

Album starter "Make Me Glad" is a veritable bounty of varying sounds and influences in and of itself. The closest I hope Gracie comes to the recent indie R&B resurgence, it's all chill beats and laid back top-down driving music vibes. Combine that with slow jazz-y sax runs and loosely shredworthy guitar riffs and it's really hard to classify "Make Me Glad" as anything but a Gracie track. And not even a standard or trademark one at that.

"Photo Type" is probably the most straight forward of the EP's track with its smooth grooves and breezy melodies and under-reliance on beats for momentum. It's a track that pretty much coasts (albeit with quite a bit of pep in its quick-step) towards it's pseudo-experimental breakdown finish. "Wait 4 It" closes the album on an emotive note in a similar way to the Bleeder EP's "Habits". It's emotion-stirring but not at the risk of sacrificing Gracie's sleek pop stylishness.

Considerably shorter than the Bleeder EP, Gracie has considerably less time to grab your attention and extrapolate on his musical ideas. It sounds daunting but on the Work It Out EP, Gracie does so with deft and grace. Each song an enjoyable slice of electro-pop goodness in its own right but ultimately fitting together just so. There may not be an absolutely infectious song in this fresh batch of new tracks but there doesn't really need to be. The Work It Out EP's tracks aren't of an overbearing and all-consuming poppy nature but could easily fit into the soundtrack of your life and isn't that essentially the job of a good record? Yes. The answer is yes.

Listen to Gracie's three song Work It Out EP:

Pitstop: Night Panther

                                                         (photo by Kelly Kurteson)
                                               
Considering how many times I've wandered into a Night Panther set in the past year, it's seemed kind of a given that Night Panther were worthy of my affections - from first charming me with their sassy head bops and high falsetto wails at I Guess I'm Floating's CMJ Floating Fest in 2012 to now, after the release of their debut self-titled full length, it completely escaped my notice that I've yet to feature them. A terrible mistake on my part, for sure.



Without beating around the bush, Pennsylvania's Night Panther are modern day glam rock; clearly influenced by Queen but not letting it define them. Night Panther are dazzlingly flamboyant and sexy in a far more classic sense than we get nowadays harkening back to the days of subtlety and romance instead of hot pants and twerking and stop just short of Prince-level babymaking prowess.



Their melodies are winsome and inescapable, their electronic elements a formidable backbone but employed with a smart and methodically deft hand. Take "Fire", part of what makes the track so instantly accessible lies in its pristine vocals and clear cut delivery. Sure, it spirals into a delightful climax and a varied outro but you're hooked long before the crescendoing synths make themselves truly known.  That embrace of proper songcraft first/textures later is what makes Night Panther consummate pop professionals.  Their songs don't really on fancy bells and whistles to leave a lasting impression but pop and sizzle on the band's talents. One listen to Night Panther and you're sure to be humming those infectious driveby melodies for days.



Night Panther's self-titled full length debut is out digitally now but for the physical collector there's a limited edition gold 7" featuring "Delta" and "Fire" out on Small Plates Records here.

Gracie - Bleeder EP (2013)

Last year when I heard "Creature Pleaser", the first single from Gracie's Bleeder EP, it was really all I wanted to listen to. I played it countless time for countless days and the announcement of the actual release of the Bleeder EP was met more with a hope that the other songs on the record would turn out to be somewhere in the same infectiously good musical realm of "Creature Pleaser" than anything else.

Rather unsurprisingly, Bleeder is more than just a collection of songs providing a cushion for its standout track. Don't get me wrong "Creature Pleaser" still is and probably will be the greatest song Gracie has released but the rest of the tracks on the EP have their merits. Whether it's album opener "Witnessed" which is the perhaps the closest spiritually to "Creature Pleaser" on the record, sultry "Pillow" with its rather Unknown Mortal Orchestra recalling vocals, or really any of the record's tracks really, Bleeder is a record that tries and succeeds to cover a wide variety of sounds and moods while staying true to a similar cohesiveness.

Tracks like "ItsSppookkyy" and "Habits" provide Bleeder with an emotionally resonant core alongside it's dance-y rabblerousers. Gracie's Andrew Balasia might be gifted at creating toe-tapping, body-moving electro-pop but it's on those two tracks that his musical talents are allowed to shine - able to appropriately pair forward moving beats with pure heartfelt feeling.

So I may have come for "Creature Pleaser" but I stayed for the rest of Bleeder - a thoroughly enjoyable 7 song EP which covers a rather impressive ground in produced music. It's varying beats are interesting but not the only noteworthy thing about the songs. There's a multitude of layers to Bleeder and an astonishing amount of well-roundedness to the whole affair. It makes you wonder that if Gracie consider this to be just an appetizer, what will we get for the main course? It's thrilling to think about and here's hoping it's not too late before we're treated to just that.



Gracie's Bleeder EP is out now on Small Plates Records.

Listen: Hundred Waters - "Visitor"/"Caverns" (Stadium Red Session)

You might remember some time ago, experimental musical mages Hundred Waters' announced a collaboration with Yours Truly, Small Plates Records, and their own OWSLA in which they'd put out a gorgeous red 7" vinyl with two new versions of tracks from their self-titled debut. In honor of the 7" finally making its way out into the world (I got mine mere days ago), how about we listen to them shall we?



If you've seen Hundred Waters any time within the past couple months, they've incorporated (as best they can) these new versions into their set and the results are as beautiful as the finished product. The new version of "Visitor" is an acoustic version featuring several brassy additions, namely clarinet, saxophone, and trombone. Hundred Waters enlist the aid for some extra hands for this version and the results are extraordinary - providing a comfy blanket of sounds for Miglis' vocals to billow over. It's also a unique opportunity to actually truly give the lyrics a listen if you haven't already as the textural layers are stripped back.



Despite "Visitor" being one of my favorite album cuts, there's no denying that the new version of "Caverns" featuring a solo Nicole Miglis on piano and vocals isn't the absolute star of the 7". Cut loose from the rest of the band, Miglis reshapes the track into an unimaginably beautiful version of the album's quiet stunner. Miglis gets to display her incredible piano chops and the results are jaw-dropping.

While Hundred Waters' evershifting textural palette is worthy of all the praise and attention it gets, it's nice to hear the fivesome treading newer, simpler territory and offering up something truly special. If you haven't already, you might want to think about purchasing this limited edition gem here.

Pitstop: Day Joy

Clearly there's something in the water down there in Florida. That's possible the only way to explain the sudden outpouring of new bands making invigoratingly creative new music like folky Orlando band Day Joy. While last year we were introduced to the masterful song craftsmanship of Hundred Waters and Levek, this year thanks to those fine folks over at Small Plates Records, we've been gifted with Day Joy and their debut full length Go To Sleep, Mess.



Similarly to other Florida bands who are suddenly making themselves known, Day Joy's greatest feat in taking something familiar and transforming it into something new and altogether unique without diminishing its relatability. Featuring the songwriting chops of Michael Serrin and Peter Michael Perceval III, Day Joy's songs are coated in lush textural atmospheric that elevate their melancholic folk into something more.  And while the lyrics are certainly in no need of face-lifts, steeping them in differing textures gives them a sort of freshness and distinctive impact regardless of how many times you hear them.



While Day Joy's debut album is most assuredly an absolutely breath of fresh air, what's more incredible is their live set. I had the opportunity to see them not once but twice in a row and each show managed to be different but filled with a similar and electrifying energy. When Day Joy took to the stage at Secret Mountains' record release show, they played with a vivaciousness that belied the lethargy of their song's themes and moods intending quite clearly to outdo their already endearingly good show the night before. A intent they no doubt achieved. Unhampered by technical issues and filled with a well-deserved air of confidence, I can say with 100% certainty that everyone who saw them that night left a fan. As well they should.



After seeing them live, the record, while amazing, doesn't do the band enough justice. Live, their sleepy songs invoke a strange sort of excitement as you watch the layers coalesce in real time. Cello, multiple guitars, synths, banjo - it was a musical smorgasbord where each timbre was utilized effectively to create just the right kind of coloring that made your heart ache, pang, and leap especially when paired with Serrin's unexpected, emotive and strangely fitting punky shouts. Live versus on record, Day Joy are almost like two different beasts yet enjoyable all the same. If you have the opportunity to see the Florida band live, I'd most certainly recommend it but a couple dozen spins of their album is worthy of the same rigging endorsement. Check out Day Joy, you'll be glad you did.





You can purchase the debut record Go To Sleep, Mess from Small Plates Records.

All Around Sound Is Turning Three! - Day 3: Small Plates Records

With the large pool of music out there to consume it sometimes to have a stable, reliable source to tap for good picks. Better yet if they're actually the ones releasing the music. It's kind of inevitable (at least if you do it right) that you fall into the caring embrace of a label whose rosters is filled with great bands. Dead Oceans, Frenchkiss, Sub Pop, the choices seems pretty much endless but every once in awhile a small label pops up that has exactly what you want without you being at all aware of it. Enter Small Plates Records.

Despite knowing several of their fellas behind the scenes, my knowledge of the label actually came, as it should, from the bands they've worked with. Many of my obsessions over the past year or so have either worked with them or spoke highly off them. Before Guards released their debut full length this year, they had a three song 7" with Small Plates. High Highs, Hands, and Gracie all released EPs. Even signed bands like Hundred Waters found a way to work with the Small Plates Records crew - releasing a two song 7" full of special alternative versions of arguably two of the best tracks off their self-titled debut.

To say I regard the work the small label is doing with nothing but the deepest admiration and respect would be an understatement. So it only seemed fitting to ask a label responsible for not only some of my favorite releases of the past year but also some of my most anticipated releases of this year (I'm looking at you Bleeder EP and Stadium Red Sessions) to contribute in this little celebration of others who've had a definite influence over All Around Sound. Hope you enjoy.

Eamon at Small Plates Records' contribution:

Almost all the tracks were ripped from really filthy vinyl 45s- mainly mid to late 90s dancehall versions on labels from Kingston. Two of the tracks are on the Rhythm and Sound label out of Germany that was doing great digital dub singles in the early 00s.

1. King Asha - Crank Angle Part 2
2. Power Man - Nuff Respect (Virgin Island Jazzwad Version)
3. Lady Saw & Merciless - Long Til It Bend (Version)
4. Beenie Man - Yaw Yaw (Version)
5. Rhythm & Sound w/ Paul St. Hilaire - Jah Rule (Jah Version)
6. Deenie Ranks - Slam and Go Talk (Version)
7.Merciless ft. Diana - Have A Nice Weekend (Version)
8. Rocker-T - A New Revelation (Version)
9. Rhythm & Sound w/ Shalom - We Been Troddin (Troddin Version)
10. Lloyd Brown - You Got It Goin On (Version)
11. Aaron Silk - Black Power (Jazz-Wad Version)
12. Scare Dem II - Real Thing ($Casino$ Jazzwad Version)

Listen: Gracie - "Habits"

Yesterday, everyone and their mom sought fit to release a brand new single while I was unable to immediately devour it. One of these such people was Philly-to-New York transplant Gracie with his brand new track "Habits". Did you ever wonder what Gracie, who's responsible for one of my absolute favorites track of 2012 "Creature Pleaser" would sound like if he tackled a ballad? No? Well, it went and happened anyway.

"Habits" is more than your standard ballad coursing with sumptuous beats that trot alongside Andrew Balasia's rough-hewn vocals and simple piano accompaniment until allowed to take center stage at the song's end. The pairing of beats with the emotion-laden vocals doesn't distract however, instead giving the track a much appreciated pulse and a rather sweet, distinctive spin to a standard songwriting trope.

"Habits" proves that Gracie is just as good at crafting heartfelt electro-pop ballads as he is infectious dance-inducing jams. A necessary skill for a diverse and well rounded album. Gracie's Bleeder EP is out March 12th on Small Plates Records. And you can now pre-order a physical 7" single featuring "Creature Pleaser" and "Habits". Do it. You know you want to.

Watch: Hundred Waters - Caverns (Live for Yours Truly)

Fun fact about Hundred Waters: Nicole Miglis, the collective's enchanting lead vocalist is a gifted classically trained pianist. This wouldn't really be important information except that on their first ever tour through New York the band sat down and created two alternative takes of two of their self titled debut's most beautiful tracks. One of them is Miglis' solo on piano and vocals on "Caverns" while the other is arrangement of "Visitor" involving 8 musicians (think brass, etc.).

While the upcoming 7" to be released on Small Plates Records will be all that is necessary for me to lose my god damn mind, in this one moment of non Hundred Waters induced hermitage I wanted to share this live video shot by Yours Truly of the alternative "Caverns" version. It's beyond gorgeous. Miglis playing contains little jazzy flourishes that elevate the already mesmerizing new take to Hundred Waters standard levels of unbelievable unpredictableness, differentness, and breathtaking beauty.

I have no idea when the 7" is set to come out but I want it. I want it so hard. Please, somebody make it so.

Watch Nicole Miglis breathe new life into "Caverns":
Hundred Waters "Caverns" from Yours Truly on Vimeo.

Listen: Gracie - Creature Pleaser

For those of you regular blog readers, you might be thinking "Didn't this song come out MONTHS ago?" and the answer to that would be an empathetic yes. But sometimes in the constant search for new tunes or even just new things to be excited about (that aren't particular new to anyone but myself), I lose sight of something I really meant to check out ages ago. That's more or less the story with Gracie's "Creature Pleaser".

Earlier this year when I discovered Small Plates Records, Gracie's Treehouse EP was on an positively absurd amount of repeats. And for some odd reason I neglected to check out the latest single for a hopefully soon forthcoming debut full length from now Brooklyn based pop-crafter Gracie. The best thing about not discovering "Creature Pleaser" until now is that it happened when there's relatively less albums for me to be going crazy about meaning the wide majority of my time could go toward cramming more and more of Gracie's latest jam in my ear-holes.

What makes "Creature Pleaser" so great? Well for starters it's a positively guilt-free jam from it's lively out-of-the-gate jaunt. It's an almost impossibly upbeat romp which pairs a simplistic but no less enjoyable or less layered delivery with an obvious finely crafted construction. Its melody is all-consuming, grabbing hold on you from the start. There's also the little break-down that happens midway through where everything stops and gets built back up and it's a completely modest and utterly endearing gambit for an electronic artist to employ. Exposing just how the ear-catching onslaught was created. But rather than shatter the illusion, the break helps to just pump you up even for more.

Get on your dancing shoes, Ladies and Gents. Gracie's going to make you NEED to dance.

Pitstop: High Highs

My introduction to High Highs happened almost a year ago as my first taste of Rawkblog's Mercury Music Digital Record Club. Since then the Brooklyn trio by way of Australia have put out their self titled four song EP via Small Plates Records and have been winning the hearts of plenty with their brand of immersive, quiet folk pop.

What sets High Highs apart from the myriad of other folk pop troubadours is perhaps their subtle pairing of acoustic with electronic elements to achieve dreamy soundscapes not unlike dreampop champions Beach House. Each song on the EP is stunningly arresting and artfully engaging to the point of near confusion: when the last song ends it's like being jerked out of a sound sleep of the most pleasant variety.





Despite the trio's pervasive sense of soft, melodic quiet however there is an awe-inspiring lushness. Full and rich, and delicately arranged as to keep it from ever becoming overwhelming. High Highs draw from an impressive sonic palette that manages to engross all the senses and engages more in four songs than some bands manage to do in years of music-making.



And as can be heard in High Highs latest single "Once Around the House", their musical competency is more than just a four song fluke. High Highs are here to stay with their dazzling brand of subtle, captivating folktronic pop and I for one couldn't be more pleased.



You can grab High Highs self-titled EP from Small Plates Records here.

Hands - Massive Context EP (2012)

It was a case of continuous mistaken identity that brought Los Angeles band Hands to my attention. Jess over at exfm would ask me if was going to see Hands every time I would see her and was usually enroute to an ARMS show. Followed by Jess realizing her error and noting that another one of her friends over at Small Plates Records was really into them. After so many times of that happening it only made clear and logical sense to check them out.

Hands are a foursome from Los Angeles - not any of the other bands with an apparent claim to the name abroad. Their most recent EP, Massive Context, was released on Small Plates Records and simply put: it's a thing of beauty. Short but by no means stunted, Massive Context is a thoroughly engaging set of 6 songs that blossom and flourish with intricate instrumentals, catchy, memorable melodies, and Geoffrey Halliday's pleasant, skyward-reaching tenor. Though not rapid-fire paced, Hands plays with an undeniably vivacious energy as they weave immersive sonic tapestries with a forward-moving pop slant. All the while their tunes take a much appreciated time to establish themselves, they never rush out of the gate to capture your attention, instead they plod away at their own pace building intensity and explosive potential which often realizes itself through Halliday's expressive vocals.

The result is an absolute triumph of an EP, Massive Context is a record that can stand the test of nearly endless repeated play - each listen revealing some new piece of Hands' puzzled compositional stitchwork and inextinguishable talent and charm. A record you can't merely put on and forget about but catches your total attention and focus.

You can order Hands' Massive Context EP on CD and vinyl over at Small Plates Records, as well as purchase digitally from Amazon or iTunes. The album's also available for streaming on Soundcloud and Spotify.