Lapland - Lapland (2013)

My introduction to Brooklyn singer/songwriter Josh Mease aka Lapland happened rather unsurprising from his likewise monikered Mike Savino aka Tall Tall Trees. Lapland's self titled debut is quite literally days old celebrating its release but a few short days ago at Mercury Lounge. Tall Tall Trees' first show in New York since embarking on a full US tour as Kishi Bashi's touring band, that alone was enough to draw my attention much less the praise Mease was receiving from other artists I dug. That was extra.

Lapland's music, specifically at first listen, is rather unlike what you'd expect from a singer/songwriter. Lyrics cast afloat upon billowing seas of dreamy textures, it seems hard to believe that everything you're hearing is almost solely the work of Mease and yet with the exception of the drums that's exactly what's happening. And while tracks like "Unwise","Memory", or "Soldier" could very well be the soundtrack of your actual dreams, Lapland benefits from a very real, human touch. Inspired by Mease' self-imposed isolation as well the kind of introspection required by most singer/songwriter to reach those interesting depths, it's Mease's silky, emotive vocals that push the songs forward; grappling them to earth when they might otherwise float away. 

While at times it sounds a bit like Patrick Watson ("Aeroplane" and "Metal Lungs" in particular), for the most part, and even in the Watson-esque songs, Mease's sound is his own. Subtly shifting genres in a way that doesn't earn eyebrow raises or set the album on a far less cohesive course than it's released on. Amid Mease's dreamy folk stylings there's colorings of jazz despite Lapland's occasional electronic hum. Unsurprising considering that like Mike Savino, Mease is a jazz musician. But the more impressive feat is how all of Mease's various loves and influences are alchemized in not only an intriguing personal style but also one that manages to be remarkably understated. That's what makes Lapland an album worth mentioning, it's travels are bump-free and svelte; it's machinations as quietly life-affirming as Mease's whisper. 

Watch: Landshapes - "In Limbo"

It's taken Landshapes (formerly Lulu & The Lampshades) about five years of just existing, of playing shows in their native London to get to this moment: the release of their debut full length. On "In Limbo", the first single from their Bella Union debut, all vestiges of the cute folk pop responsible for "Feet to the Sky" or perhaps more famously "Cups (You're Gonna Miss Me)" has been burned off. In it's wake is a technically precise rock band with explosive vocal talents. The vocal chops are certainly nothing new but stripped from the rather quaint folky confines they certain do seem far more impressive. Soaring over the tumultuous, heaving guitar lines. Even sans the instrumental clamor, the vocals are distinctive; memorable.

And almost as delightfully surprising as their apparently sudden change in sound (if you live abroad and/or haven't seen them live) is the video for "In Limbo". Shot by Ian Pons Jewell in La Paz, Bolivia, follows the life of a female wrestler. It provides a vibrant glimpse into the indigenous culture while also focusing on the duality of the two female. After the woman takes her time delicately sprucing just to walk the streets and arrive to at wrestling while the others are more modestly dressed and dedicate their efforts toward fighting the other wrestlers. The female wrestlers' one moment of fashion-consciousness is short-lived as they get dressed up to enter the ring but after which they discards the costume that would no doubt encumber them.



So while it may have taken them awhile to get to this point, transforming in a lot of ways until to wholly new band, if "In Limbo" is any indication, it was labor well expelled. Landshapes has turned sleek and powerful, strong but dexterous and their debut album Rambutan promises to be something special. The full length is out May 17th on Bella Union. No world yet on a US date but here's to hoping.

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.

Listen: Young Man - "Unfair"

I'm sure we've all at sometime in our youth regarded something as being unfair only to be chided by our adult overseer (parents, teacher, babysitter, et. al) that life isn't fair. That's sort of what's happening in this new track by Chicago based singer/songwriter Colin Caulfield aka Young Man. Rather instead of the external force needing to give the reality check, Caulfield is wholly capable of doing it himself and does so.

Featuring the same production team as Vol. 1, Beyond Was All Around Me - the final chapter in Caulfield's adolescent ruminations, seems a whole lot less introspective. Sure, the songs are still borne out of Caulfield's inward looking but the arrangements, at least that from what we've seen on "In A Sense" and now "Unfair" seem to be a lot more outwardly poppy than we've glimpsed thus far. Caulfield still comments on his thoughts and inner workings but the music around them doesn't attempt to force you to do the same. It's a balance reached rather precisely on "Unfair". The truly important lyrics like Caulfield's "Where am I supposed to go? Because I've always done what I'm told" percolate to the surface among the myriad of instrumental parts - the laid-back drums, the grooving bass, the weaving summery guitar that surround it. 

Young Man's Beyond Was All Around Me is out April 9th on Frenchkiss.

(via Stereogum)

Watch: Brooklyn Rider - "A Walking Fire"

Your eyes aren't deceiving you. This is in fact a new track from New York based string quartet Brooklyn Rider. Right off the release of last year's Seven Steps, they're offering another sampling of their own brilliant take on tunes both of their own creation and from some of their friends/collaborators.

And that's what you get here. The title track of their upcoming album A Walking Fire, due out April 30th on Mercury Classics, is another piece by Brooklyn Rider's Colin Jacobsen. From his Three Miniatures for String Quartet, the first movement mixes the clear, simple melodies of Komitas Vartapet (whose Armenian Folk Songs were featured on 2008's Passport) along with a far more virtuosic displays in the short gypsy-recalling rhapsody. Not at all surprising considering draws from the influence of Iranian composer/kemancheh player Kayhan Kalhor.

Short but oh so very sweet, it's a rather attention-grabbing though not offensively showy piece. It's enough not only to get you properly excited for the other two movements of Jacobsen's Miniatures but also A Walking Fire in general. Luckily its release date is so closely on the horizon. Until then just keep hitting replay on this live video of Brooklyn Rider playing "A Walking Fire".

       

Listen: Salt Cathedral - "Dirty Me"

This weekend, Salt Cathedral are getting the chance to once again flex their brilliant live chops opening up for   Hundred Waters and in celebration they've released another new track. "Dirty Me" with it's shuffling percussive intensity is another peak at their far more inticate, laser precise direction. With their Il Abanico days getting farther behind them, the Crossing Colors EP seems like a distant memory - especially when compared to the far more ambling complexity of the new tracks. With each new song, Salt Cathedral get closer to capturing their electrifying live energy and putting that out to be consumed over and over. It's not quite the same as viewing their incendiary performance yet but it's a far more realistic portrayal of what you're in for if you do see them live. So if "Dirty Me" or their "Take Me to the Sea" sound like you're kind of thing, make sure you see them live as soon as you are able like this Saturday at Glasslands Gallery, perhaps.



In case you missed it, here's Salt Cathedral's first single "Take Me to the Sea" under the new moniker.

Listen: Bowerbirds - "February"/"March"

If there's one thing I love more than my favorite bands/artists putting out more music per year it's them challenging themselves. Like other artists before them, Bowerbirds have decided for a song a month type challenge with their focus being on writing shorter songs. While one of my favorite things about Bowerbirds is their penchant for crafting absolutely gorgeous musical moments that don't really adhere to time lengths, it'll be a nice change to get some shorter tracks from the North Carolina duo. It's nice to know that they're still writing music while a tinkering away at their cabin-studio supported by their Kickstarter campaign and maybe all these flowing creative juices with give birth to the new Bowerbirds album they promised.




"February" begins with their trademark pastoral imagery and soft, plaintive guitar before breaking out into a feathery synth instrumental that's no doubt been inspired by Phil Moore's more electronic-leading side project Island Dweller and the Bowerbirds continuing evolution away from your standard folk band. It somehow manages to straddle the line between beguiling simplicity and ethereal lushness - a trait Bowerbirds seems to be masters of which they tone down a bit for these newer tracks.



While a clear line of outside inspiration can be gleamed in "February", in "March", the inspiration appears to be much more internal. Peppered with the sort of complex, tribal pulse that underscored The Clearing, it's not as much of a clean obvious break between ideas as "February". That's by no means a bad thing. "March" could fit right along with The Clearing's tracks and its brevity comes as much more of a shock. It rolls on with purpose and could easily be expanded with lovely instrumentals and harmonies. Where "February" feels truly and completely done, "March" makes you want to hear more. I know the objective of the exercise is to write shorter songs but here's hoping Bowerbirds revisit this track as it's simply too excellent to be a throwaway.

I'm thoroughly excited to see what the rest of the year brings from the Bowerbirds and their short-form experiments.