Tag Archives: longwave

Stream: Nothing – “Guilty of Everything”

Add another band to the list of “ungoogle-able bands.” They’re in good company though. I mean, Women is one of my favorite bands of all time and they are tricky/impossible to do a google search on.

So many thoughts and memories came rushing to mind as soon as I started listening to this Nothing album. Shoegaze is, to start off generally, one of the first and most noticeable characteristics of Nothing’s sound.  But it’s not all just a My Bloody Valentine cloud of distortion. Inside that wall is a concentrated core that contains so many recognizable elements.

Hum, The Smashing Pumpkins, Longwave, all of these emerge from Nothing (the more I mention the band by name the more it sounds like I am making some lofty philosophical statement: “they all emerge from Nothing.” Or maybe it would be better to say “they all emerge from the sound of Nothing.”)

The hushed vocals, thick power chords, persistent focus on one long drawn out harmony like the band is carving a path through a thick, dense fog, all coming out of the shoegaze tradition. But, this isn’t a bad thing. No bands are out there really doing the same thing. I suppose We Were Promised Jetpacks is going for an approximation of the same aesthetic, but really the details are quite different. Nothing re-presents shoegaze in much the same way that Yuck re-presented grunge with their first album.

“Guilty of Everything” is dark in tone, which is unavoidable given the parameters. There is something slightly sinister, or at least ominous about that combination of relaxed, whispered vocals and a barrage of loud guitars. One can’t help but have a visceral reaction. You get pulled into the music listening intently to the vocal, which in turn results in getting lost inside the sound of that barrage of guitars.

And the quieter moments shouldn’t be overlooked. I’m reminded of some of the more introspective moments on “Siamese Dream” like “Mayonnaise”  or the end of “Hummer,” throughout the titular track of this album. Moments that work to just pull the listener in with ringing open strings that cut through the wall of guitars; feedback that squeals uncontrollably for a few seconds in the background–it’s all here. Another distinct connection comes in the form of “You’d Prefer an Astronaut” era Hum that comes out loud and clear on “Dig” (listen to “Little Dipper” below to compare).

“Guilty of Everything” is certainly an entrancing debut that will resonate strongly with listeners who grew up listening The Smashing Pumpkins and My Bloody Valentine, but I’m sure it will also manage to draw a new crowd that may have missed the chance to experience those bands when they were first around (and not a shell of their former selves like they are today). Nothing still has a few shows coming up in March, while their debut album is set for release on March 4th through Relapse Records. Check the links below to pre-order the album and to connect with the band all over the internet.

Bandcamp//Twitter//Facebook//Web//

Upcoming shows:

Mar 12 Austin, TX Relapse SXSW Showcase @ Dirty Dog

Mar 16 Dallas, TX Spillover Music Fest @ Club Dada & Three Links w/ Ty Segal

New release: Hurricane Bells – "Tides and Tales"

Hurricane Bells - "Tides and Tales"
Hurricane Bells - "Tides and Tales"

Things just keep getting better over at the Hurricane Bells camp, and that’s saying something considering their first major appearance was on a platinum selling album.

Hot off of a successful Pledge Music fund raising project, Steve Schiltz, lone permanent member of Hurricane Bells, is up and running with his Invisible Brigades imprint, a freshly designed website, new merch and (my personal favorite of all of it) vinyl. I’d like to think that he pressed the vinyl specifically because I begged him to do so, but I know that had nothing to do with it, but I’m not complaining and I’m willing to take the credit. Your welcome.

The albums official release was actually a few weeks ago, on October 25, so there’s no time like the present to head on over to the Hurricane Bells bandcamp site and grab the new tracks digitally, on CD or limited edition vinyl.

Equally as important, or maybe more important, see them live! There are several shows lined up for December in California and back on the East coast in Pennsylvania, Virginia and New York. I’m going to miss being able to catch the shows at the Mohawk Place in Buffalo, but that doesn’t mean you should! Now get out there and see them live and grab some tunes.

[audio:http://quartertonality.com/wp-content/uploads/2011/11/Hurricane-Bells-Before-I_m-Gone.mp3|titles=Before I’m Gone]

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Of course you can listen to the new tracks at the Hurricane Bells bandcamp site, where you can also purchase the music in any format except 8-track and wax cylinder

And check their site for tour dates, new merch, videos and everything else you could want.

Don’t forget twitter and Facebook

 

New Hurricane Bells video and EP

Hurricane Bells is the latest project from Steve Schiltz, of Longwave fame. After releasing their album “Secrets are Sinister” in 2008 Schiltz began working on some songs by himself at his home with nothing but a Macbook and an M-box. The result was Hurricane Bells‘ first full length album “Tonight is the Ghost”.

Hurricane Bells
Steve Schiltz of Hurricane Bells

Monsters“, with it’s crunchy guitar sound and classic rock feel was taken for use in the Twilight: New Moon soundtrack, which catapulted Steve and his Hurricane Bells moniker into the spotlight. He has the platinum record to prove it. Anyway, a tour of India followed, a tour of the U.S. followed that (with a show in Canada as well), and now he is back with a new EP, “Down Comes the Rain”. Not only is the new EP available for pre-order right now from the Hurricane Bells site, but it’s appearing on a new label that Steve started called Invisible Brigades.

Very exciting news indeed.

There are also a few shows coming up in NYC and DC and sure to be more on the way. For now though you can watch the latest video for “The Waiting Song”, directed by Bill Moldt. Also check out the video that Moldt did for “Tonight is the Ghost” opener “This Year“. It’s a truly amazing and emotional video that works perfect with the song.

“Down Comes the Rain” is set for official release on September 28 and will come with a bonus re-mix EP. Head over to the Hurricane Bells site to pre-order it now.

Longwave – Mohawk Place (May 8, 2009)

I haven’t had the chance to see Longwave at all in the past 5 years or so. I used to look forward to seeing them at least one time per semester. Those were the good old days, when they were signed to RCA and they toured a lot, and I think they had some money, but RCA never promoted them so they played smallish shows, similar to the ones that they do today, at least around these parts.

Times have certainly changed for these guys. They are no longer on RCA, and the lineup has been consistently changing since the drummer and bass player left before recording started on their 3rd full-length release (the 2nd for RCA) “There’s a Fire”. “There’s a Fire” was a departure for Longwave, who had worked with Dave Fridmann on their first major label release “The Strangest Things” which was decidedly epic, and grand, garnering them compliments from the music press around the world. It is always good to keep changing from album to album, but I feel as though “There’s a Fire” was quite a leap of faith on Longwave’s part. They were still searching for their fan base, leeching off of fans of The Strokes and other like minded NYC indie bands. “There’s a Fire” did away with the soaring echoplex effects and the Radiohead type grandiosity in favor of a very clean sound that was, in a way, stripped down. There was also the use of a recurring motive throughout (I believe lead singer/guitarist/songwriter Steve Schiltz referred to it as the “sea monster”) that apparently not too many picked up on.

More lineup changes followed after the tour for “There’s a Fire” came to an end and it was a while before work on their new album would begin, though it was hinted at on their Youtube page for about a year before the actual release. When the release date came you’d better believe that I preordered it and waited by my mailbox until it came.

The latest release “Secrets are Sinister” puts Longwave back on top, doing what they do best: catchy melodies, sweeping guitars that overtake everything in their path, interesting new guitar sounds and great rhythmic intensity stemming from drum parts that are slightly less conventional than your average 4-on-the-floor rock beats. Add to this a harder edge than before. It seems as though Steve and Company are trying harder than ever before to put themselves out there, by pure force. This album is louder than any of their other efforts, yet quieter and more contemplative in spots. Everything is amplified and stretched from one extreme to the other. Also Steve’s voice seems a little bit strained, but out front and open for everyone to notice. There is a new found honesty in his singing that was missing or covered up by extraneous effects on previous albums. It’s a great effort, regardless of what Pitchfork says (and I wouldn’t listen to a thing they say because they still can’t spell Steve’s last name correctly).

Left to Right: Jason Molina, Shannon Ferguson, Steve Schiltz, Morgan King
Left to Right: Jason Molina, Shannon Ferguson, Steve Schiltz, Morgan King

This show at the Mohawk Place, in Buffalo, New York was a make-up show for one that they had to cancel in December. I don’t blame them for canceling in December, as they were on their way to a show on their hometurf of New York City, which is much more important for them, or anyone, than Buffalo. It was great to see them in May though. The weather was beautiful and it happened to be on the last day of classes for me, which means that I could proudly say to Steve when I saw him that I had just earned my Masters degree (2 of them). He was so proud of this that after the show he introduced me to people that were asking for his autograph by stating, “This is Adam, I gave him his first guitar lessons and he just finished his Masters degree in Guitar Performance.” Needless to say, Steve and I have known each other for several years, and yes, he did give me some of my first guitar lessons back in 1998.

The venue is total shit. It’s a crappy biker-ish type of maybe blues bar in not-quite downtown Buffalo. Downtown Buffalo is not an exciting city. There isn’t much of a music scene. Anyone that tells you there is, quite frankly, is full of shit. All that exists in Buffalo are the usual mixture of uninspired bar-bands and hard-core/metal bands that will never amount to anything outside of Buffalo. This particular evening was quite lousy. There was hardly any crowd. The people at the bar were complaining about the noise before Longwave took the stage (there was some instrumental post-rock band that never mentioned what their name was on prior to Longwave).

When they did finally take the stage there was a total of about 50 people in the place, maybe a few more. I have been there to see Longwave on several ocassions. I remember the place being quite a bit more packed, but unfortunately they have been away from Buffalo for quite a long time. This doesn’t depress me as I know for a fact when they play Chicago and NYC they play in much larger venues to much more appreciative audiences. The set was tight. It featured mostly songs off of “Secrets are Sinister” and “The Strangest Things” with a few brand new ones tossed in there. I was able to make a few requests before they started, and they played all of them for me except for “Fall on Every Whim” because guitarist Shannon was not at the show because he was back at home with his newborn baby. Keith was filling Shannons shoes for the evening and he did an admirable job, and even gained some fans in the audience that began to chant his name at one point after Steve introduced him.

The new rhythm section is great and I truly hope that it doesn’t change anymore after this tour. The bassist has his own style and sound that works really well with the guitars and adds another layer of contrapuntal complexity to the songs that comes across very well in a live setting.

I will always enjoy seeing Longwave play. I have never seen them play a bad show and I have been seeing them as regularly as I can since about 1999 after their self-produced LunaSea records release “Endsongs” came out. It has been great to watch them grow and change and make music that I truly like regardless of whether or not I have been friends with them for several years. Longwave is the best band that you haven’t heard.

Here are my videos from this show. Please enjoy.

Monthly Muxtape Madness Vol. 1

So I decided that I am going to lend my time to yet another page on teh interwebs. Muxtape.com allows users to create a mix tape of up to 12 songs. Who doesn’t remember creating mixes for your friends and family to listen to? I definitely created tons when I was a kid.

Now it is popular with the hipster set as not only a form of nostalgia (hipsters love nostalgia, seeing as how they never want to grow up) but as a way to show everyone how eclectic, strange and indie their taste in music is. That being said, I’m going to start making my own mix and update it, change the tracks periodically (hopefully monthly or so). I’ll blog up little descriptions of each track here and give you a link to the tape. Big surprise, it is http://quartertonality.muxtape.com. Just click on the track you want to start with (

Here is Volume 1:

“Wake Me When It’s Over” is off of Longwave’s 2nd full length album and is quite a change from their first, though it definitely extrapolates off of the influences that they clearly feel strongly about (Television, U2, Radiohead, The Strokes etc…) This is the opening track off of that album and I thought it would make a good opening track here. This song kind of feels like a sunrise anyway, with orange light bouncing off of dust as it flies through the air. Lots of delayed effect on the guitars and atmospherics. Great song

“Get a Shot of the Refrigerator” is typical Stereolab. Sometimes instrumental, sometimes not. Sometimes the lyrics are in French, sometimes English, sometimes both. This is a truly unique band with a very devoted, indie “insider” following. Somewhere between rock and dance music lies Stereolab with their groovy jams and tight ensemble work. “The groop”, as their fans call them are unlike anything you have heard before.

“Love and Death” is off of The Stills’ first album. This Canadian band made quite a splash with their first album, only to completely lose me with their second. This album feels nostalgic to me for some reason. It is great in all the right spots. This song has not only a great chorus but a great verse as well. The whole thing fits together very well. I like the interplay and counterpoint between both of the guitars and the way the verses really work towards the choruses to create a seamless texture, similar to the Longwave but a little more overproduced.

“Range Life” is off of the now defunct California outfit Pavement’s absolutely amazing album entitled “Crooked Rain, Crooked Rain” and features a very loose ensemble with barely tuned guitars creating a song that feels like it is in slow motion. Lead singer Stephen Malkmus’s voice is shaky and somewhere between falsetto and full voiced belting, but it seems like he is trying to keep it quiet. Sarcastic lyrics with a lazy delivery and all genius.

“First Day” is off of Sunderland England’s own The Futureheads first blistering album full of jangly, angular punk songs. The guitars are all over the place in this one darting in and out of the way of each other with the entire gang joining in to sing the chorus. The band builds up faster and faster until it seems like they are going to completely fall apart, the trick is that is when they are at their best, right before everything falls apart.

“My Mathematical Mind” is from Austin, Texas’ own Spoon’s album “Gimme Fiction”. Though that album did not quite do it for me as much as their most recent effort (“Ga ga ga ga ga” from 2007) it still has a few decent tracks on it. This is one of them. The lyrics are almost too brainy and self-absorbed, but they never quite cross the line. The bouncy, hemiola inflected piano line helps give the opening a good swing and the throbbing, present bass propels the song forward while the guitar struggles for air just below Britt Daniel’s soaring vocal.

“Stereo Sanctity” is from Sonic Youth’s album Sister. The group experiments with altered tunings, noise and chaos as part of its aesthetic flawlessly combining the ideals of the post-punk crowd and the downtown music composition scene of Eliot Sharp, Glen Branca and free jazzers like Sun Ra. This song has always been one of my favorites of theirs, very energetic, very noisy. Just plain great.

“Freak Out” by Liars, originally from Australia, then moved to NYC and now based out of Berlin Liars have experimented with each of their albums. This is off of their most recent offering simply called “Liars” which features a whole series of really tight rock songs that are similar in vane to early Sonic Youth, but a little more percussion driven. This album combines elements of all their past efforts and shows them finally focusing in and going out on one clear path. This song brings forward the jangle of a reverb soaked, out of tune guitar and the chant-like approach to singing.

“Your Hand in Mine” by Explosions in the Sky is one of the only examples of music in a rock band format that is truly orchestral in scope. This band, again from Texas, creates grand sonic soundscapes on each of their albums that are usually full of lengthy, developmental structures. This song is one of the most beautiful rock songs I have ever heard. Simple, in E major, utilizing the open strings on the guitar to create a truly moving sound. You can tell that each line was painstakingly put together. The structure of this song is almost mathematical and it is even divided into sections, but they work so well together it is scary.

“Goodbye Ukulele” by Peterborough, Ontario’s The Burning Hell is depressing, yes. It is also a great way to close an album. Singer Matthias Kom bids adieu to each of the instruments in the band one by one and they disappear until he is completely alone with his ukulele. This is one of the only really slow songs that I have ever really liked this much.

I hope I haven’t rambled on too long. I hope you enjoy this mix.