This is the third and final installment in a series of articles about the TC Electropunk Vol. 5 compilation released at the tail-end of 2009. Within these articles, I have done a bit of genre deconstruction, and musically placed different songs into three particular genre categories that, admittedly, may make more sense to me than to anyone else. Dissecting TCEP5 Part 1 and TCEP5 Part 2 dealt with “Electropunk as New Wave Punk” and “Electropunk as ElectroPop” respectively. In this final article I present a final genre – one that is perhaps both the most obvious and most accessible to modern memory.

Electropunk as Industrial

How many people out there could raise their hand if asked “were you introduced to industrial music through Trent Reznor and Nine Inch Nails”? I could. In fact, I remember the first time I heard some Nine Inch Nails in junior high at a friend’s house. Reznor had been doing his thing for at least a few years, but the early nineties had come, and along with it, a new national scene loosely organized around a genre called “alternative,” a sort of catch-all category where previously unpopular kinds of music could be tossed into and hence made – popular? (Hmm… this strangely sounds a lot like a modern movement in rock that people bandy about. Can you name it? Here’s a hint – it starts with a big, fat “I”.) Indeed, it was industria’ls time to emerge from the underground, or industrial metal’s time at least, and it wasn’t long before my friends and I were dipping into Ministry and Helmet; and later on, Filter and Stabbing Westward. You know, the mainstream metal stuff, not the hipper contemporaneous submergent stuff. We weren’t cool enough or aware of enough for that. Cut us some slack, we were 12!

The reason I mention this short story about industrial music’s popularization is because the collection of songs found on TCEP5 seem to blossom directly from that short 6-7 year period in the 90’s where industrial metal bands were packing stadiums and clubs. If you grew up listening to Nine Inch Nails, performing impromptu self-body piercings, and testing the strength of your bedroom drywall with your fist, then you seriously need to check out these tunes.

The TCEP5 compilation begins upbeat with songs by Avenpitch, Thosquanta, and Pop Inc, but track 5, “Rampage When You Die” by OBCT, is where the ten-pound sledge falls. It actually took me a bit by surprise the first time I listened through the record. Sneaky, sneaky stuff; but for those of us who’ve stepped away from industrial metal for several years now, the thickly overdriven guitars produce a familiar beckoning call. The aggressive bellows of OBCT’s vocalists, now singularly and now in tandem, push the music over the edge and into a dark crevice of emotion.

“Control Freak” by MSRP follows on track six with rolling toms and screeching background synth. MSRP recalls fond memories I have of popping in my first Filter album, but this band mixes it up more on “Control Freak” than your typical 4-chord Filter jam. I love you Filter, but MSRP has something special going on.

Synching music in television and film has been going on for quite some time, but now more than ever synching has become a crucial tool in getting music out there in front of the masses. Were I producing a new Crow movie, I think I’d just synch a bunch of TCEP bands. When the Crow needs to Kill! Kill! Kill! I’d play One Two Three Dead’s “My First Communion,” a song with all the necessary edge and aggression called for. Is it time to roll in the tricked out black Cadillac yet? Then let’s play “Dr. Night” by Mach Fox and let the smooth times roll. Oh, and we also mustn’t forget the obligatory prepare and march to the final showdown scene, which could easily be driven by The Eighth’s “Wasted Heartbeats,” and as for the showdown scene itself? I think I’d toss in the maniacal sounding “Tickle Me Panzer” by Gabber Nullification Project.

The only loose string left, as I see it, would be a little tune to play while the movie credits run and folks file out of the theater. It’s a good thing Circa A.M. submitted “The Up Aboves,” because the gradual flow and thumping percussion of this song moves at just the right speed to pace a walk up the isle and out the back doors. What a way to end a flick!

OBCT

“Rampage When You Die” by: OBCT (download free at tcelectropunk.com)

MSRP

“Control Freak” by: MSRP

One Two Three Dead

“My First Communion” by: One Two Three Dead (download free at tcelectropunk.com)

Mach Fox

“Dr. Night” by: Mach Fox (download free at tcelectropunk.com)

The Eighth

“Wasted Heartbeats” by: The Eighth (download free at tcelectropunk.com)

Gabber Nullification Project

“Tickle Me Panzer” by: Gabber Nullification Project (download free at tcelectropunk.com)

Dissecting TC Electropunk Vol. 5 – Part 3

Circa A.M.

“The Up Aboves” by: Circa A.M. (download free at tcelectropunk.com)

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posted February 23rd, 2010 at 9:29 am Download, MN Rock, Reviews Circa A.M., Gabber Nullification Project, Mach Fox, MSRP, OBCT, One Two Three Dead, The Eighth

Editor’s Note: Lindsay Hutton is a freelance writer who has been involved with the Twin Cities music scene since 2004. She first met Motion City Soundtrack in 2007 and was also present during some of the recording process for their latest album My Dinosaur Life. We’re glad to offer her personal perspective on the new album in the following guest article, and you may contact her at lindsay.m.r.hutton [at] gmail [dot] com for any inquiries.

Motion City Soundtrack is a band with solid roots in the midwest music scene since 2003. Since then they have steadily headed toward the industry’s standard of success, yet in many ways they have also re-imagined the concept of triumph. With roughly ten years of rigorous touring even without steady radio play, this Minnesota-based band has earned the distinction of putting on some of the most solid rock shows and has developed one of the most dedicated and positive fanbases worldwide.

Attend a MCS show, and you cannot help but get swept away with the chorus-chanting, head-bobbing, fist-pumping crowd. Having earned such a well-established fanbase through their previous independent label (Epitaph) and their exceptional personal reputations gained by always staying to talk with the very last fan at their shows, they have taken the natural step for the future growth of their music by signing to Columbia Records. And on January 19th, they are releasing their new album My Dinosaur Life.

Read more…

posted January 18th, 2010 at 10:27 am MN Rock, Reviews Lindsay Hutton, Motion City Soundtrack

Solid Gold
Synchronize EP
(self-released under Solid Gold Music – Jan. 2010)

This audio odyssey immediately entrenched me in one of the best short-form albums (not to mention mixing jobs) I’ve heard in ages.  Doves meets La Roux and the Abandoned Pools in a deserted Paris arcade on a trans-Atlantic vision quest.  Opening track “One In A Million” soars effortlessly over French as well as English waters, while the EP’s title song “Synchronize” bridges the musical gap between London and New York.  “Danger Zone” unexpectedly leads the listener to Alhambra, California- home to Kenny Loggins (the original composer).  The instrumental “Sharpshooter” finds Solid Gold back on the Minneapolis-St. Paul range, contemplating their journey in an ambient answer to the adventures of their TC Electropunk cousins.  “Synchronize” surfaces again at the end of the album in new form (White Sea Remix), signifying a full-circle sojourn for the band.

“Synchronize (White Sea Remix)” by: Solid Gold

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FATHER TIME
Father Time
(Independent – June 2009)

Just when I thought Mpls Funk (minus Mambo’s Combo and stalwart soul-jahs Mint Condition) had gone into hibernation for good, a curious red, black and white disc materialized on my desk this morning.  After seventeen soulfully “stanky” tracks, complete with cameos from Heatbox as well as Muju Messiah, I was thrilled to learn otherwise.  This long-play album stirs P-Funk, Hip Hop, Soul and a dash of Classical into one giant stew that includes: “Not Ashamed Of The Funk,” “Can’t Be Nice To People,” “What’s Your Mission?,” “Favorite Things.”  The Paula Abdul ref on “I Read Your Email” (a “Dear John” ballad for the 21st-Century) was choice.  The Opera, historical re-cap and blatant honesty of “Survival” hit hard. Who is this guy?

“Not Ashamed of the Funk” by: Father Time

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THE SOVIET MACHINES
WMD EP
(Independent – 2008)

I’ve been consistently impressed with this disc, starting with the crunchy opening riffs on the EP’s lead off cut, “Citizen Zero.”  Even with Kevin Bowe, Pete Reminger and other veterans “minding the boards”, it’s hard to believe that half the band are in high school.  Songwriting and melody are dead-on; choruses are hooky without feeling contrived; high energy performances with shout-along appeal irresistible.  While remaining original, The Soviet Machines channel 70’s Suicide Commandos, 90’s-era Ataris and Billie Joe Armstrong.  Stand out tracks: “Citizen Zero,” “A Million Things,” “What’s Going On.”  We must also add that TSM front man Jack Swagger has assembled a brand new outfit called Machine 22, who we salute in advance.

(Editor’s note: The Soviet Machines have been disbanded now for almost a year, yet we think this band still deserves post-mortem attention.  Jack Swagger and Machine 22 are one of the best bang-for-your-buck bands in the cities, and you should check them out Jan. 29 at the 400 bar.)

“Citizen Zero” by: The Soviet Machines

posted January 16th, 2010 at 10:26 am Reviews Father Time, Solid Gold, The Soviet Machines

I’m still jamming out on the TC Electropunk Vol. 5 album over here at the Borang house.  It’s not everyday that I receive something in the mail that causes my thoughts to stir this much, and instead of writing a simple review of the Twin Cities compilation, I decided to do a little break down.  Earlier this week I introduced the first of three articles describing my approach to understanding the album and the nature of our electropunk scene.  You can read that article HERE for a bit of background, and what follows is my take on the second of three categories of my parsed handling of TCEP Vol. 5.  Enjoy the music to come!

Electropunk as ElectroPOP

Six songs on TCEP Vol. 5 fall into my ElectroPOP category, a special place for songs that sound as if they might have been written as tributes to the likes of Orchestral Maneuvers in the Dark, A-ha, or even The Cars!  On the whole this collection of songs represents the brighter, happier side of the Electropunk album, although one song in particular does flirt with the darker topic of what is presumably disillusioned love.

That song is “Disenchanted” by Pop Inc, a seductively sung tune featuring opposing male/female vocals reminiscent of the The Human League’s “Don’t You Want Me.”  While the message of the song is different, it nonetheless imparts a similar frustration that many feel within or without their relationships, and moreover, it’s smooth!  While many Transmission dancers enjoy the peppy bounce of “Don’t You Want Me,” “Disenchanted” offers a chance to get your best goth induced groove on.  Next time Ladytron comes to town, they should seriously contact Pop Inc for an opener!

By contrast, St. Anthony Falls’ “Nihali’s Song” is the lighter side of ElectroPOP, and among all songs on TCEP Vol. 5 is probably the most straight up pop song from a classic Beatlesque perspective.  The song is fit for sunny, laid-back Minnesota days, and allusions to the Stone Arch Bridge, the Mississippi, and that traditional Swedish  “Oh ya” expression will make you feel right at home.  (Unless, of course, you live somewhere else!)

Other ElectroPOP songs that stand out on the record include milkbar’s “Echo” and The Trapezoids’ “BASIC 20 Goto 10.”  “Echo” is a fuzzy, synth driven tune that meanders forward in a fashion different from other songs on the album.  Instead of encouraging one to enter the dancefloor, it might be better taken in with one’s feet up, a glass of wine in hand, and head resting back in audio euphoria.  “BASIC 20 Goto 10” is accented by punctual, metered lines about video game consoles and other paraphernalia very near and dear to many an electropunk’s heart.  I couldn’t help but be reminded of some early B-52’s.

ikki’s “We Can Fly” consorts with all the cheese we loved in the 80’s, and thank heaven for that!  Without this small slice, I might have had to dismiss TCEP Vol. 5 as, uh, not electro at all – at least not in the influential, seminal sense.  The disco beats and atmospheric vocals could make a Buckingham guard shake it.  And a final kudos must be given to Rabidine’s “Shamblestown,” the indisputable recipient of “the coolest song to ‘roll to’ with your shades on and windows down” award.  An excellent and modest song to send TCEP Vol. 5 into the sunset.

Pop Inc

“Disenchanted” by: Pop Inc

St. Anthony Falls

“Nihali’s Song” by: St. Anthony Falls (download free at tcelectropunk.com)

milkbar

“Echo” by: milkbar (download free at tcelectropunk.com)

The Trapezoids

“BASIC 20 Goto 10″ by: The Trapezoids (download free at tcelectropunk.com)

ikki

“We Can Fly” by: ikki (download free at tcelectropunk.com)

Rabidine

“Shamblestown” by: Rabidine (download free at tcelectropunk.com)

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posted January 11th, 2010 at 10:01 pm MN Rock, Reviews ikki, milkbar, Pop Inc., Rabidine, St. Anthony Falls, The Trapezoids

The Twin Cities music scene is a mosaic of smaller niche and cranny scenes only capable of being loosely discussed by folks who write about music in Minnesota.  With so many bands and artists playing out in our clubs every week, it would truly be a gargantuan task for any individual (or organization for that matter) to wrap it all together in one tight bundle.  Yet despite this, there are pockets of artists in this town that have taken matters into their own hands, striving to formulate a single, cohesive, musical assault on the masses.  Perhaps foremost among these are the many bands that comprise the TC Electropunk scene.

Every year for the last five years TC Electropunk has released a compilation album showcasing many of the best electronic bands in Minnesota.  Just out of their fifth year, TC Electropunk Vol. 5 dropped at the tail end of 2009.

As someone who grew up on his own healthy dose of seminal punk rock, now seems as good a time as any to dispel a possible myth about TC Electropunk.  It’s not punk music sensu The Dead Kennedys or Black Flag, but the scene itself embodies the punk rock ethos as strongly as any has.  Some might cry “foul” when listening to TC Electropunk bands, not hearing the power-chord driven, deep anti-establishment lyrics of punk lore.  But these days, few bands seem to rage against the political machines, and TC Electropunk bands seem to choose to rage against the machine of industry and technology instead, while embracing that same technology with a blazing irony.  From the same working man’s, do-it-yourself roots from which punk was initially drawn comes Electropunk, and the particular way it has reared its mechanical head might best be explained by the words taken directly from the TC Electropunk website:

It’s simply what happens when you take a generation of bored teens and twentysomethings – raised on hardcore punk, British techno, Nintendo, and Doritos – and place cheap digital recording technology within their grasp.

Though TC Electropunk bands have found a collective identity, Volume 5 remains a matter of genre splicing.  Electropunk is more punk in practice than sound, so it should come as little surprise that many of the songs on TC Electropunk Vol. 5 sound as if they originated from slightly different musical influences.  The following is the first of three articles where I attempt to parse out the album in a way that, admittedly, may make more sense to me than anyone else.  While some bands may feel uncomfortable with my categorizations they may rest assured: their music rocks, and in spite of my personal designations, it’s really all still rock ‘n roll to me. 

Electropunk as New Wave Punk

Three songs off TC Electropunk Vol. 5 could have been plucked directly from the second overseas invasion of the late 70’s and early 80’s.  Avenpitch’s “Soon Enough” kicks the album off with tremendous drive.  Its ear popping synth is fit for the discotheque as well as the backdoor club, and were it not for the more modern, tongue lashing delivery of the vocals, pinning it as 21st century could prove difficult.  Thosquanta’s “Alstas” is a song that seems most reminiscent of a seminal punk sound that die-hards might submit to.  The dual male/female vocals of “Alstas’” chorus could cause one to rise tall with an “Oi! Oi! Oi”!  And if these don’t impress the sense of New Wave upon you, then Thought Thieves “All I Pretend” will certainly do so.  After listening I found myself scrambling for some Joy Division and New Order.  Really, really good.

The New Wave Punk influence on TC Electropunk Vol. 5 is the smallest of three categories, but the diversity in these three songs is the gel that brings the rest of the album together as elements of other tunes might be found within each of the three.  Is it any coincidence that “Soon Enough” and “Alstas” lead the record off?  I think they’re fine ways to begin turning over the soil!

Avenpitch

“Soon Enough” by: Avenpitch

Thosquanta

“Alstas” by: Thosquanta (download free at tcelectropunk.com)

Thought Thieves

“All I Pretend” by: Thought Thieves (download free at tcelectropunk.com)

Read more…

posted January 5th, 2010 at 3:43 pm Download, MN Rock, Reviews Avenpitch, TC Electropunk, Thosquanta, Thought Thieves

As I prepared to host a New Year’s Eve party this year at my house, it occurred to me that I should put together a playlist of songs that moved me in 2009 so that one and all might reflect on this past year in rock music. With a little encouragement I threw together a mix tape, and for 72 minutes before midnight everyone rocked the final hour of 2009 away.

This was never meant to hit cyberspace, but after so many inquiries into artist and song names that evening, it became evident that these tunes weren’t nearly as well known as I first suspected. So, in the same spirit of sharing as that shown on NYE, I here publish and offer for stream that same playlist. These are in no particular order, and they shouldn’t be interpreted as a “best of” list either. I used a few different criteria when compiling this list of personal favorites.

1. The song had to rock.
2. The song had to hook. (Rock ‘n roll makes me fall in love with music, but hooks and melodies make me fall in love with songs)
3. There needed to be a personal fond memory attached to the song, and in lieu of tiring everyone’s eyes with individual recollections, I’ll just let the songs do some talking on their own.

Perhaps if I had run a Top 40 radio station in 2009, these would all have been in regular rotation, but we would still be left with 22 other songs undetermined. What songs would you add to this list? You know you want to comment!

Read more…

posted January 3rd, 2010 at 3:37 pm Download, Reviews Anderson, Eels, Free Energy, Glasvegas, Gossip, Metric, MGMT, Passion Pit, Phoenix, Red Pens, Solid Gold, The Invincible Kids, The Pains of Being Pure at Heart, The Sounds, The Temper Trap, Two Harbors, White Lies, Yeah Yeah Yeahs

With so many local bands and artists in Minnesota, it can be difficult for a blogger (not to mention everyone else!) to keep up with everything coming around and past the bend.  Throughout 2009 our digital music libraries have swelled with submissions from artists around world, and we owe a debt of gratitude to each for sharing their art with us.  For many of these folks, we shared their music with Borangutan readers in the same fashion they shared it with us.  Yet for others, we regrettably lost track of time and couldn’t get around to sharing theirs, and to these, we’ll renew efforts to push some things through in 2010.

But somewhere amongst the tumult of bulging email boxes, swelling computer folders, and overwhelming varieties of digital stimuli are the traditional, nicely packaged compact discs that, although they are a dying breed in an increasingly digitized music world, stand as a reminder that even today there is value found in the tangible.  Below we’ve selected a number of albums that were presented to us in hard copy form either by people at shows or through our mailing address.  By recognizing the work of these artists and bands we keep true to the age old saying – better late than never.

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John Snell the Tenth – Ignition To On Position

John Snell has been creating music and releasing albums for well over a decade, but until a chance encounter at the end of summer 2009 he had flown entirely under our radar.   Ignition To On Position cultivates deep psychedelic roots and folk mentalities, influences that Snell is all but secretive about.  Even his webpage proudly proclaims that “Great psychedelic music is still being written today, it was just hard to find until now.”   We couldn’t agree more!  A listen to Ignition To On Position will not only introduce you to Snell’s personal brand of psychedelia for the 21st century, but also his quirky approach to modern day subject matter.  Songs like “What’s On Snellevision?” showcase Snell’s comfort in flirting with the absurd, while contrasting tunes like “Song On Global Climate Change” display no reservations about delving into a deep dialogue with a listener.

“Song On Global Climate Change” by: John Snell the Tenth

Links

John Snell the Tenth – Website / Myspace / iTunes
Read more…

posted December 29th, 2009 at 1:43 pm MN Rock, Reviews Ada Jane, Falcon Arrow, John Snell the Tenth, Kill to Kill, Zombie Season

One afternoon at a quaint Minneapolis cafe, Cizzy visited with Halloween, Alaska’s James Diers, who expounded upon the band’s latest album, recent successes, and easy listening.

Cizzy: What are some of most significant milestones in your musical career?

James Diers:  The two proper bands that I have played with are the Love Cars (with David King, Halloween, Alaska’s drummer) and then Halloween, Alaska.  I have been doing some DJ’ing on the side, but those are the only two bands that I have ever played with.  I have also been working on many re-mixing projects.  The Twin Cities is a very collaborative community so I am able to work on a lot of different projects, putting on tribute shows and remixing stuff.  And of course, an important milestone for us was having a great show at First Avenue.  It was very satisfying to perform what we recently recorded as well as to have the album completed.

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“In Order” (The Remote Age Remix) by: Halloween, Alaska

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posted December 1st, 2009 at 4:03 pm Interviews, MN Rock, Reviews Halloween Alaska

THE BRUTES - Self Titled EP

The Brutes self titled EP is a frantic foray into Rock-Pop ala The Killers, Blur and Costello.  Stand out singer as well as guitarist Gregg Garvey balances poetic, brooding lines with playful hooks and crunchy, catchy riffs.  Bass, drums and guitars: 3.89 out of 5 stars. The EP sounds like what Pop Rocks feel like in your mouth- edgy and fizzy. College radio programmers: add #1 to your play list or I’ll show up to your office and sock you in the face.

Stand Out Tracks: #1 (The Science Works For Us); #6 (Attention To Me).

Upcoming Live Dates and Info: Friday, October 2nd on Drinking With Ian in the First Avenue Main Room; www.myspace.com/thebrutesband

“This Science Works For Us” by: The Brutes

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SAMWELL ROWAN – The Closing Procedure

Lush atmospherics swirl and materialize as cinematic soundtracks on this instrumental record where Rowan reminds us bass isn’t just one of four items used to create run-of-the-mill Rock-N-Roll.  Shades of Sylvian, The Cocteau Twins and Eric Serra swirl in the late afternoon sun of this highly imaginative album.  Only criticism: more vocals- even if only ambient- on the next one please?  In the meantime, move to Hollywood and help score Diablo Cody films because she desperately needs your help!

Stand Out Tracks: #3 (You Got Stepped On); #11 (By The Money Tree), #13 (The Closing Procedure).

Upcoming Live Dates and Info: The Turf Club (October 27th) or Memory Lanes (November 7th); www.myspace.com/samwellrowan

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MARK MALLMAN – Invincible Criminal

I’m sure Mallman’s heard this a million times, but if 1970’s Billy Joel and Paul McCartney jumped through SG-1 to find themselves in early 21st Century New York as late 20-somethings, you’d have Invincible Criminal.  Mike Geronsin- who played bass and various guitars on this album- should be resoundingly proud of his work, which is some of his most stellar to date.  Producer Brad Cassetto is at his best as well.

Stand Out Tracks: #2 (You’re Never Alone in New York); #7 (Light The Dynamite And Run); #11 (If We Only Kept Getting Young).

Upcoming Live Dates and Info: www.myspace.com/markmallman

NEW BANDS NOTE: if you would like your album reviewed swiftly, enclose a Coty or L’Oreal lipstick in British Red. Better yet, send a giftcard of some sort. Bribery works wonders, but doesn’t guarantee that I won’t rip you to shreds if you suck.

posted September 25th, 2009 at 2:18 pm MN Rock, Reviews Mark Mallman, Samwell Rowan, The Brutes

Lynhurst’s debut album, Field Day, compels pop listeners to recall what it is to move through the confusing web of young adulthood.  Its songs wave through a series of coming-of-age emotion and discovery.  This spirited mix of poetry and sass reflects upon the perspective that is lost, gained, and changed.

“Valentine” by: Lynhurst

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Nika: What compelled you to make the name change from The Abdomen to Lynhurst?

Jake Abdo: The Abdomen started a long time ago when Matt and I were preteens, we had a retro garage rock style. So that was the Abdomen, it was Jake and Matt Abdo and we thought we were men, a big family name pun.  The name lasted through the evolution of the band, then Mari started joined the group about six years ago and started writing and singing pretty heavily about five years ago.  So the name Abdomen didn’t really fit anymore, (and) playing in L.A. to crowds that didn’t know the family name made us realize that we needed a name that represented the new direction that Mari’s influence was taking us.  The Abdomen was a great name that had run its course.

Mari Abdo: We have lived within a mile of Lynhurst park our whole lives and we were advised to pick something close to home not just some random name.  Lynhurst represents a lot to us; our childhoods growing up in South Minneapolis, and we feel really connected to the neighborhood and to the park.  It fits our sound very well.

Nika: Why the transition from garage rock to pop?

Matt Abdo: We have always tried to play to our strengths, and Mari’s voice added a friendly, female influence that is better represented in a pop style.

Nika: Your new album, Field Day is complete.  What are some of your fondest memories from that recording process?

Mari: We spent a lot of this past year writing and recording in Los Angeles, CA.  There are a lot of memorable moments in that time.  However, one of the first songs on the album, “Exactly,” came out of a trip back here in January/February, the coldest part of the winter.  The song reflects high school relationships, and the different personalities you come across in that period in life.

Jake: I remember working in Venice Beach, CA. with a great composer and producer by the name of Tom Pile, a Minnesota native.  We were working into the long hours of the night… I noticed that it was a very different world at night than the trendy, vibe day environment.  So many homeless people gathered there at nights that were not visible in the day time.

Nika: How would you describe the feeling and sound of this album?

Mari: It’s very organic and natural.  Our sound isn’t particularly processed although we do like pop melodies.  Like Matt said, the approach in recording was very band-centric.

Jake: It’s very sweet and sarcastic.  A lot of the songs come from Mari’s point of view.  It’s fun to (be) the brothers (and) to facilitate while her imagination is allowed to run wild.  There is a sort of whimsical, youthful, female feel to the songs.  Playing a lot of all age shows, it’s fun to see a lot of young girls really latching onto Mari’s poetry.

Matt: Making a record always seems to take longer then you would like.  We started making the record here in Minneapolis (with) Jeff Irondale before going to work on it in L.A.  We tried to figure out how the record was going to feel and how it was to be presented.  We try to make things sound as good as they can and put a lot of attention to the things you wouldn’t normally think are that important.  Although we have been outside of the state, everything from how we approach the recordings, the name, to where we started the record is very grounded in Minneapolis.  We try to be honest in what we’re doing.

Nika: What does “organic” music mean to you?

Matt: There are so many computer programs that can make music for you.  Our definition of organic would be a recording of real people playing the music, rather than everyone recording separately.  Listeners have developed high expectations, i.e. constant perfect pitch, which makes it hard to completely eliminate all technology from the recording process.  We use only what is necessary by minimizing the use of a click track, and the like.

Jake: We don’t approach music in a mathematical format, rather, we trust the direction that the feel of a particular song will lead us to.

Nika: When I heard you perform your song “Valentine”, I was transported to a feeling of intoxicated adoration, “It’s love that shuts my eyes blind…but you’ll never be mine”.  I believe that most of us can relate to that hypnotic fog and uncertainty.  What inspired those emotionally arousing lyrics?

Mari: It’s a song about two different people.  The verses describe a relationship that has run its course, while the chorus is from the perspective of another anguishing unrequited love that will never flourish.  In the end, both have a sense of where they stand.

Nika: Was it different collaborating with people that were not your immediate band members?

Mari: Learning how to co write with people is dramatically different from writing with someone you know.  It was valuable to learn how to write with people that were not your band members.  Everyone has emotions to express, but co-writing teaches you to pen those emotions in a manner that will be understood by everyone.  Even Matt and I have played with word association.  He will say something and I will try to get down to the meaning of it all by attaching all these details, when all he was doing was making a simple statement or observation.  Oh well.

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The completion of the album is the beginning of more work.  Lynhurst will be playing the east coast, TBA.  Lynhurst stated that being in a studio is just the beginning; it’s playing and connecting with people that they will be enjoying in the near future.

The Fine Line Music Café will be welcoming Lynhurst on Saturday, September 5th. Music starts at 9 p.m., cover at the door is $5 for 21+ and $8 for 18+.

Your copy of Field Day can be purchased at iTunes today.

Links

Lynhurst – Website / Myspace

posted August 31st, 2009 at 4:43 pm Interviews, MN Rock, Reviews Lynhurst