Tag: Beirut

Kishi Bashi – 151a

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Of all the awesome debut albums that have come out this year, most people would choose offerings from either Mercury Award winners Alt-J or Django Django (other mentions should also be considered but we’ll save that for another day). I’d have to think about it properly another time but Kishi Bashi’s 151a makes a glaring case for itself. I don’t know if it’s the same for everyone else but new music hasn’t quite enchanted me with goosebumps since my adolescence. 151a might not have given me goosebumps but it might just have stolen my heart – is it even possible to fall in love with a sound?

Kishi Bashi is the pseudonym of singer, multi-instrumentalist, and songwriter Kaoru Ishibashi. He studied classical music and became a renowned violinist. With his trusty fiddle, he is a touring member of renowned bands Of Montreal, Regina Spektor and Sondre Lerche. He is also the founding member and singer of Jupiter One and with such a rich background in music, it’s not surprise that he wanted to embark on his own solo adventure. Music fans around the world are delighted he had done so! Kaoru managed to find the holy grail of music – producing something that is inherently new yet strangely familiar.

Ishibashi’s classical background is wonderfully illuminated in the opener. It builds and bellows before slowing down so you can soak in all the vibrant layers and then you realise, “this is gonna be good”. I was going to write about King Charles earlier in the year and I’m glad I didn’t because Kishi Bashi’s brand of indie-flecked orch-pop is more diverse, dynamic and expertly composed. It’s an example of pop that refuses to grow stale.

Anyone who listened to his EP Room For Dream would be familiar with the following two tracks ‘Manchester’ and ‘Bright Whites’; both are as infectious as each other whilst occupying different spectrums of Ishibashi’s compositional range. With a looping violin in the background, ‘Manchester’ builds with the kind of patience that mainstream artists and their labels simply don’t have time for.  You have almost the entire track to realise Kaoru’s vocal range as he asks “Will you be mine?” before the layers of violins intensify.

My favourite is ‘Bright Whites’ though. Music is rarely this joyous without sounding sappy – unsurprisingly, Kishi Bashi is signed to Joyful Noise Records. Many people have an armoury of tunes which they know they can turn to during rainy days – you can add this one to it. Ishibashi sums it up in the first English verse: “You and me at the edge of the world/ With a pretty little smile for me to see”.

The rest of the album basically follows suit. The blend of electronic textures, orchestral swirls, chamber-pop vocals are splashed with psychedelic tinges and folky flourishes. Each track entices you with vibrancy that is difficult to deny. But Kaoru can mix it up too with something altogether darker and more serious in tracks like ‘Atticus, In The Desert’ and ‘I Am The Antichrist To You’. It leaves you wondering where the deadwood is going to come from. Then when the album ends you realise it never came. That is the mark of truly excellent album, one that leaves you shunning ‘skip’ button and fearing the final notes.

Bright Moments – Native

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Bright Moments is the work of highly-regarded multi-instrumentalist, Kelly Pratt, who has worked with the likes of Beirut, LCD Soundsystem, The Coldplay, The Maccabees and Arcade Fire. For most of his career, artists have called upon his talents and ask him to tour with them usually playing an array of brass instruments. So after years of being a musical mercenary, Kelly decided to pursue his own ambitions where he wasn’t restricted by tour schedules and other commitments. Step forward Natives.

Being a brass player who is comfortable with the flugelhorn – a sound that is synonymous with Beirut – and having worked with Zach Condon for several years, it is not surprise that the sound of Bright Moments immediately evokes the same tones and textures that emanate from Beirut. Even the vocals have the same qualities that Zach produces.

However, this isn’t some Beirut replica. It’s obvious Kelly appreciates the worldly sound of Beirut, but the nature of multi-instrumentalists means he enjoys a variety of noises. He displays his electronical desires in ‘Behind the Gun’ which has a funky, synth-driven beat that the 80s would be more familiar with.

‘Travelling Light’ seems him bring the organic and digital together with a sound that combines worldly-folk, satisfying-pop and appealing warped bleeps. If Kelly is still finding his songwriting-feet, ‘Travelling Light’ is definitely the direction he should take.

Field Day 2012

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As with any British festival excursion, the weather is fervently scrutinised right up to the hour you leave. So with dull clouds smothering the sky and forecasts of rain in the evening, Field Day looked set to be backlit by a typical summer’s day in London. Fortunately, this was not your typical festival line-up – even for Field Day. With a mix of new artists for hipsters, pumping bass for ravers and big acts for the masses, day-trippers will be treated to variety and quality in excess.

With weary heads lazily lolling about, the speakers began their day’s work just after midday. The early afternoon was an apt time to see up-and-coming bands who had either just released their debut LP or are just about to. Much of it involved bouncy indie-pop that would have had you reminisce of the careless teenage years. As Last Dinosaurs began their set, a couple of blatantly underage-girls – fearing that they couldn’t get served at the festival – were completely plastered and stumbling all over the place trying to woo some guys dressed as dinosaurs. I hoped their day went well; it may not be the endurance test that weekend festivals offer, but this isn’t a sprint either.

As the next generation of indie anthems get pumped out, it was always going to be tough to pick who the best new band of the day was. New sounds always have that honeymoon feel to them, but it’s definitely between Friends and Crocodiles. It really depends what you’re in the mood for: hipster-flecked indie-funk or hazy indie rock that helps you forget where you are. Both deserved longer sets but Friends just about edge it, I think. Friends will certainly appeal more to the mainstream public anyway.

Until now, you could pretty much bumble about seeing anyone your ears took a keen liking too but by mid-afternoon, it was time for one of the most awkward clashes of the day; Rustie versus Django Django. If everything went to plan, you could catch Rustie’s set and only miss about fifteen minutes of Django. But since when are artists ever on time? Rustie was at least forty-five minutes late so if you wanted to hear some floor-pounding prog-house, you were also going to miss some psychedelic art-rock. On balance, seeing Django was the right choice. Not only do they suit the live stage but they excel on it. Plus, I love it when bands share instruments as two of them surrounded Dave Maclean’s drums at one point.

Despite the massive rise in popularity for the British quartet, Grimes won the award for maxing out the Village Mentality stage’s capacity like broth bubbling over the ages of a saucepan. But that was only a minor inconvenience compared to the sound issues that blighted the performance. The usually haunting bassline in ‘Oblivion’ just wasn’t intimidating enough. Spirits remained high though as one guy even provided his own lyrics singing “meow meow meow meow meow” over Claire boucher’s “la la la la la”.

As the day darkens into dusk, it was time for the big names – and slight drizzle too.  All were excellent, as you’d expect: Metronomy with their quirky, synth-based indie; SBTRKT with bass so raucous it triggered a power cut and Beirut’s delightful Balkan-folk enchanted a portion of the crowd into dancing together like it was the 19th century.  Artist of the Field Day goes to Gold Panda though as he fires out a plethora of samples through his Akai. Despite Beirut’s massive following, Schlecker still managed to attract enough people to fill the tent (the same tent Grimes and Django Django occupied). And why shouldn’t he? Not many people can throw together and loads of old sounds into a beat that lures and swerves in equal measure.

And finally, we end with Mazzy Star winding down the day with the rain beginning to fall more heavily now. Despite being around for over two decades now, they have yet a build a fan-base that reflects their years in the industry. But don’t mistake this for a lack of talent. As one charming chap correctly says as he takes shelter from weather: “Oh, thank fuck. All the arseholes are at Franz Ferdinand.” Their serene dream-pop was backed videos of idyllic coastlines; the kind of music that’s perfect for reflecting on the day. And what a day too! With over ten hours of music pumping through the veins of Victoria Park, what’s not to enjoy. Not even the rain, which had become incessant, could spoil it.

Pictures

Field Day 2012 – Preview

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Having just purchased my tickets for Field Day this Saturday, I thought it’d be appropriate to show you some of the acts I’m most looking for to, besides the big names such as Beirut, Rustie, The Vaccines, Metronomy, SBTRKT and Sleigh Bells.

Citizens!

Yes, that’s with an exclamation mark! The five-piece from London have already been tipped to be become big hits within the next year! And the festival season is sure to help them! The echoes of Bowie are almost unavoidable but they’ve twisted it in a manner that makes it more infectious! With Alex Kapranos of Franz Ferdinand producing for them, let’s hope they don’t fall into the mediocrity that is so synonymous with indie-pop! But until then (if it ever happens), let’s just bop and bounce our way to 1972!

Crocodiles

With their third album, Endless Flowers, due out just three days after the festival, you have to wonder why they haven’t developed a bigger following in the UK. Their summer-tinged melodies are made for lazy days in the British sun while the feedback and dissonant noise do enough to keep those who want a more angst-laden sound interested. Field Day might just be the festival that gets them noticed in the UK, or failing that, at least it should boost the album sales a little.

Errors

Although they’ve been around for four years now and having just released a third full-length album, Errors is another band that haven’t quite garnered the support they deserve even though Mogwai were impressed enough to sign them on their label Rock Action Records. Comparisons have even been drawn with Battles but their complex, progressive sound hasn’t quite captured the ears of the world. They don’t play live as often as they’d like due to other commitments so Field Day is another opportunity to show us how to get those dopamine levels rising.

Friends

You really couldn’t choose a more generic name. Everyone knows that if you try to google “Friends” you’re just going to get results of that annoying sitcom that dominated our TVs for far too long. But what they lack in the name, they more than make up for with their ethereal sound centred around Samantha Urbani’s vocals. With their debut album out on June 4, I’d get familiar with Friends now before the hipsters cry out.

Grimes

If you haven’t heard the sound that Vancouver-based Claire Boucher is producing, you will now. It is instantly addictive, provocative yet delicate all at the same time. Just listen to ‘Oblivion’: the haunting bassline leads you into what you might will be a heavy gothic sound until the adolescent vocals kick in. It shouldn’t work but it’s so acutely produced that it does. Not sure what people are calling this brand of gothic-electronic sound, ‘witch house’ and ‘grave wave’ have been bandied around a bit.

Here We Go Magic

There’s nothing better than a bit of cheery folk to wind you down from a hard week in the city and that’s what Here We Go Magic will be trying to do this weekend. Centred around singer/songwriter Luke Temple, their blend of baroque tones and hazy textures is sure to help you get over the week just gone and forget the week to come. And if the weather permits it, you might find yourself getting lost in this swirl of psychedelic delights.

Theme Park

With only a few tracks out at the moment, any impression of Theme Park is only a brief first impression – like when you receive an email from a stranger. Yet, they have already created an indie anthem in ‘Milk’ that has been making regular appearances on radio. These guys have so little released material that any ears that prick at the sound of Theme Park will be dying to see what else they have to offer. That’s where Field Day and various other festivals come in.

To Kill A King

Another newly formed band with barely enough material to fill a floppy disk but what do we know so far. Well, they like to mix melodic folky tones with emotional charged lyrics but they are equally as effective at creating an alt-rock sound that’s more Arcade Fire than Mumford and Sons. They’ve also managed to get airtime on Zane Lowe’s Radio 1 show, they just need to make more tunes so we don’t have to hit repeat every twenty minutes.

Zulu Winter

With their debut album recently released, the five-piece indie band from London probably can’t wait to get on with the festival season. They’re already being talked about as the new Vaccines but I disagree. Sure, they might get as big but the sound is a completely different brand of indie. Zulu Winter are more like Wild Beasts – even ‘Silver Tongue’ has sexual connotations that the Beasts loved alluding to. But will they make it to the big stage festivals like The Vaccines or furrow in the undercurrents of indie landscapes like Wild Beasts?

Edit:

Oh, I feel really bad when I miss out some awesome artists so special mentions (that means you should be listening to these guys too) go to: Last Dinosaurs, Kassem Mosse, Kidkanevil, Django Django, Spector, Fennesz, and Koreless.