Fresh Track: Girls Names “The New Life”
Back in June, I featured Belfast’s Girls Names’ most recent single “A Troubled See” as a track worth your attention. Late last week, the group released another single entitled “The New Life” which officially pushes their next album into my own personal “most anticipated” category. Clocking in at 7:35, the single is a sprawling cacophony of reverb and dreary vocals to go along with a mesmerizing beat. But despite its length and that description, there is plenty of great things going on here that are sure to translate even more into a live set. Hopefully a lengthy tour including stops in the Midwest is in the works after the follow up to 2011’s Dead To Me is officially released. You can preorder the 12” featuring this track and a J D Twitch Optimo remix from Slumberland Records. Cheers and enjoy friends.
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Written by Greg Dahman
EP Review: Bear Hands ‘Songs From Utopia, Vol. 1’
2012 has seen the release of some terrific music. Folk rock found resurgence in the form of Barna Howard, Hip Hatchet and Angel Olsen. J. Tillman invented Father John Misty and offered poignant, tongue-in-cheek criticism of the current musical climate in a release so accessible and laden with guilty pleasures that it proved tough to put down. It took a legend like Bobby Womack to make an argument that there remains room for new strides within classic genres like R&B and soul. It has also been a strong year for experimental synth pop with releases from Purity Ring, Hot Chip and new projects like TEEN and Dusted. Along the way, bands like Tame Impala, Dirty Projectors and Grizzly Bear have left us with work that justifies their consideration among the elite acts of the last five years.
Strangely absent from the mix is a significant contribution to political discourse. Domestically, the political climate is as divided as any in our lifetime. Abroad we’ve witnessed the rise of a suddenly dynamic Middle East, with implications of further change imminent. Financial markets, the world over, continue to roil and gurgle like the belly of a middle-aged man with acid reflux disease. In the midst of it all, musicians – at least within independent rock and pop – have stayed largely silent, content to leave the discourse to the pundits.
There are certainly exceptions to the idea that “musicians aren’t talking politics anymore.” Hip hop remains a steady source of some of the most lucid and overt discussions of current events. Our own John Bugbee has covered several of the genre’s leading voices brilliantly in this space. (See his review of billy woods’ History Will Absolve Me) As expected, Bob Dylan’s Tempest contained flashes of keen political insight. Like most of Dylan’s work though, the stories are as readily applicable to the civil war as any current social issue. Perhaps this relative vacuum of political thought is a reflection of our generation’s apathy toward the process in general. My hope is that this post will be met with a small legion of disgruntled readers, armed with a load of examples disproving my assertion.
One songwriter working in direct contradiction to my theory is Bear Hands’ Dylan Rau. The band released its EP Songs From Utopia, Vol. 1 to little fanfare on July 4. In just three tracks Rau addresses the cultural implications of a rising East, the promise of a burgeoning Africa and the injustice of our inaction regarding a still battered New Orleans. The songs were accompanied by a not-so-subtle video that features mundane shots of Rau gobbling munchies while surfing his Macbook and absentmindedly watching Top Gun, loading the tank of his van with gas and an unidentifiable urban landscape drenched in rain water.
The message is presented rather plainly. While we’re busy loading up on fuel and Top Gun reruns in our “Utopia,” real shit is hitting the fan for countless others across the globe. The insulation of our relative contentment has rendered us unable or unwilling to pay attention. These are not necessarily novel ideas, but ones that nevertheless prove worthy of consideration.
Rau is a quick cat. He met bandmate Ted Feldman while the two were undergrads at Wesleyan University. They promptly landed a touring gig alongside fellow Wesleyan undergrads MGMT on the back of their buzz-worthy 2007 debut Golden EP. Three years elapsed before the band dropped their full length Burning Bush Supper Club, whose blend of addictive hooks, eclectic rhythms and immaculate synth work remains some of my favorite material of the last few years.
Recently, Bear Hands has hit the road as part of one of the fall’s of more interesting touring acts. I would like to shake hands with the booking agent that decided to pair Bear Hands with GZA, Sweet Valley and Killer Mike. The line-up seems odd on the surface, but I’ve long detected an element of Bear Hands’ sound that is reminiscent of Beastie Boys. I now feel justified in this assertion. Also, Killer Mike’s new LP R.A.P. Music is as politically charged as any material of his career. The group has a handful of remaining tour dates before wrapping things up at Boston’s Paradise Rock Club on October 19. Watch and listen to Songs from Utopia, Vol. 1 below. Download the tracks for free via Bear Hands’ website.
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Written by Rob Peoni
Fresh Track: Lost Left “Minerva”
Lost Left’s Levollinen is a 2012 release that has been criminally under-appreciated. Lead singer Ben Pritchard crafts stark, effortless songs whose depth appears to grow and multiply in the cavernous auditory spaces that surround his poetic lyrics. Pritchard writes in lyrical fragments rather than narrative arcs, that signal a mood or theme without spelling it out for the listener. The result is an authentic minimalism, where the essence of Lost Left’s songs are exposed and brought to the forefront of the material.
Needless to say, I was thrilled to learn last week that the band has been recording new material with intentions of a new album sometime next year. The first taste comes in the form of “Minerva”. The track is one of a pair of acoustic recordings laid down in a church in the borough of Hackney in North London. The sincerity of Pritchard’s delivery is one that forces the listener to approach the song with a somber seriousness. “Haunting” is an adjective that I find vague and trite in music criticism, but one that nevertheless comes to mind on “Minerva.” The giggles and shrieks of children at play that emanate from just outside the church provide a comforting contrast to the solemnity at hand.
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Written by Rob Peoni






