Celebrating their 10th year as one of independent music¹s most substantive bands, Louisville¹s Coliseum return with their fourth full-length, the stunning Sister Faith, to be released on April 30 on Temporary Residence Ltd. Expanding on the anthemic direction the trio veered toward on 2010¹s highly acclaimed House With a Curse, Sister Faith¹s 13 songs are the most dynamic and immediately captivating of the band¹s career, bristling with galvanizing melodies at the collision point between punk and noise-rock. The first album to be recorded in producer J. Robbins recently relocated Magpie Cage Studios, Sister Faith is also the first Coliseum recording to feature new bassist, Kayhan Vaziri, in addition to contributions from some of the groups closest friends and musical peers: Wata of Boris, J. Robbins (Jawbox, Burning Airlines), and Jason Loewenstein (Sebadoh, The Fiery Furnaces), Jason Farrell (Swiz, Bluetip) all make small but memorable contributions. – Temporary Residence Limited
Coliseum US Tour Dates
5-10 Louisville, KY- Zanzabar *
5-11 Columbus, OH – Double Happiness
5-12 Chicago, IL- Empty Bottle
5-13 Detroit, MI- Magic Stick
5-14 Hamilton, ON – The Casbah
5-15 Toronto, ON- Silver Dollar ^
5-16 Ottawa, ON- Mavericks ^
5-17 Boston, MA- TT and The Bears ^
5-18 Montreal, QC- Drones Club ^
5-19 New Haven, CT- Cafe Nine ^
5-21 Brooklyn, NY- Knitting Factory +
5-22 Philadelphia, PA- Kung Fu Necktie +
5-23 Washington, DC- Black Cat +
5-24 Baltimore, MD- Sidebar Tavern (Maryland Deathfest Afterparty) +
5-25 York, PA – The Depot
5-26 Asheville, NC- Static Age Records #
5-27 Durham, NC- The Pinhook $
5-28 Birmingham, AL- the Forge
5-30 Atlanta, GA- The Earl
5-31 New Orleans, LA- Circle Bar
6-01 Austin, TX- Chaos in Tejas %
6-02 Dallas, TX- Doublewide Bar
6-04 Lawrence, KS -Granada Theatre %
6-05 St, Louis- MO- The Firebird %
6-08 Grand Rapids, MI- Pyramid Scheme %
6-09 Madison, WI- The Majestic Theatre %
6-10 Dubuque, IA – Eronel
6-11 Indianapolis, IN- Deluxe @ Old National Theatre %
6-12 Cincinnati, OH- Taft Ballroom %
6-14 Pittsburgh, PA- Mr. Small’s %
6-15 Huntington, WV- V Club %
= w/ Narrows
* w/ Anwar Sadat, Tropical Trash
^ w/ California X
+ w/ Red Hare
# w/ US Christmas
$ w/ Brokeback
% w/ Baroness
Five piece Envy from Japan have remained one of the most influential hardcore units from their region over the last 15 years, touring the world with some of the most influential bands and releasing record after record of their unique path into the genre. The bands split with Yaphet Kotto and This Machine Kills remains one of our favorite hardcore records and it’s beautiful to see the band fully engaged with the further advancement of their purpose here through music as the years pass. Working with Japanese hardcore and noise label HG Fact since 1996, Envy would sign to Brooklyn’s Temporary Residence Limited in recent years for even further expansions of their craft. Recitation with Temp Res has become a massive statement of energy and melody, released in 2010 to critical acclaim and an LP we listen to a lot. Almost twenty years after their first album release and the group has gone the extra mile for an extensive 14LP Box Set that contains every piece of music the band has ever released. The collection is titled Invariable Will, Recurring Ebbs and Flows and is housed in a lovely packaging from the good people at Temporary Residence Limited. This is a must own item if you love this band and the world of hardcore music.
Order a copy by Clicking Here
From Temporary Residence Limited
Formed in 1992 with an average age of 15 years old, Envy began as a blistering punk quintet, whipping violent riffs into frantic bursts that rarely cracked the two-minute mark. Their inexhaustible exploration of new sounds and ideas would lead them to incorporate strains of a experimental noise, subtle ambience, and triumphant, cinematic rock. Invariable Will, Recurring Ebbs and Flows is a limited-edition super-deluxe box set that collects every song ever recorded by Envy (95 songs in total) across 14 vinyl LPs, all remastered for vinyl in 2013. Each record is housed in its own full-color jacket, featuring all new artwork. Also included is a brand new, previously unreleased 100-minute DVD, a DVD data disk packed with all 95 songs in high-quality MP3 format, and a 100-page coffee table book featuring dozens of exclusive photos, plus lyrics to every Envy song, transcribed in both Japanese and English languages. The entire mind-blowing package is housed in a sturdy custom outer box – printed on a custom reflective metallic foil board. Strictly limited to 1,000 copies, Invariable Will is a monument to one of underground music’s most enigmatic bands, and a celebration of their unfettered brilliance.
Formed in London in 2011, Ultraísta is a multimedia trio founded on a mutual love of Afrobeat, electronic and dance music, visual art, and tequila. Its members are vocalist/artist Laura Bettinson, and multi-instrumentalist producers Nigel Godrich and Joey Waronker (whose collective resumes read like a guide to groundbreaking and culturally influential modern music). Their eponymous debut album is 10 tracks of highly infectious, exquisitely crafted electronic kraut-pop. Favoring mantras over traditional choruses and distilling their compositions to the barest essentials, they possess the kind of masterful control over the pure anatomy of a pop song that only comes from having played a significant role in redefining the pop song in the 21st century. We’ve already said more than they probably wish we had. This album is superb. – TRL
In October of last year, Brooklyn based imprint Temporary Residence Limited released the debut album from the newly formed trio Ultraísta. As a new blend of krautrock, pop, electronica and futuristic shades of fusion, Ultraísta are a wonderful groove based trio that relies heavily on cascading synth layering, lush yet delicate vocals and intricate organically woven electronic beats. The self titled debut from Ultraísta has a sense of duality that pulls from sublime and sleek to pop and mainstream, entering the mind and body in waves. One of the stand out tracks “Gold Dayzz” has superb bass fills and drum chops that give it a deep groove. It’s a song I find myself playing weekly. The small synth punch ins are immaculate and beautiful and builds into a very bright future for electronica. “Party Line” is another track on the album that really sinks its teeth into something surreal, complex and percussively rich. Slower in tempo than “Gold Dayzz”, the elegance is in high form with this tune. The piano lines are strong in minimal designs and serve as a fitting addition to the synthetic tapestry that composes a bulk of the album. The vocals are very subdued, giving a lot of room for the shining of the rhythm and buzzing synth. “Party Line” has a very open and strident sound and allows the album to taking a confident state of rest.
Ultraísta opens with a lot of color and energy on the synth pop heavy piece “Bad Insect”. The percussion loops remain a constant while additional overtones and vocals take the music to another level of the atmosphere. A small passage of what sounds like a synthesizer submerged under water is one of the greatest deviations to the pop sound in the track. Psychedelic pop music bridged into the age of electronica is one of the first things that came to mind as this track blasted into my speakers. The mix prepared for the song is glowing and dreamy by the time the band is fully engaged and is a really well put together track front to back. The subtle shades of experimental layers are perfectly landed into the fast tempo break beat drum work that gives the track a lot of weight. The ending of Ultraísta is just as heavy as the beginning, closing with the vocally stunning track “You’re Out”. The synth lines are just as incredible as the imaginative vocal layering, creating one of the biggest sounding tracks on the set. The synth lines are heavily saturated as well, covering the low end, middle register and higher end all at once. Warm and full of life, the three coalesce together in perfect form on “You’re Out”.
The song on the album that blows me away the most is the bass heavy “Wash It Over”. The vocal work of Laura Bettinson has a very innocent and honest sound while the synth is saturated and pouring into the mix. Drums are shifted into a higher gear while staying in the pocket. That electronic funk break beat style that is a characteristic to a lot of the album is present, rising and falling in dynamic reaction to the sections of the track. Driven heavily on a main synth line and additional layering, the music sounds honest and alive in a way that I don’t envision electronic based music achieving. The ending portion has some of the most astonishing background vocals on the entire album that raise the hairs on the back of my neck when listening with headphones.
Ultraísta is a beautiful record that speaks the language of the 2010′s. The album has been printed on vinyl and CD formats along with the digital download versions. A CD version has been pressed in the UK by I Am Fortified Records. This is an infectious type of sound that is very hard to put down from the honesty and light that pours out of every track. Really subtle yet powerful album, can’t wait to see where this goes in the future.
Louisville, Kentucky’s Coliseum have been a band for ten years now and remain one of the heaviest trio’s around. They are a part of a vast community of like minded musicians and labels, spreading their seed of abrasive sonic tendencies everywhere since 2003′s self titled full length on Level Plane Records. They have since then released music on Relapse, Temporary Residence Limited, Brightskull Records, Destructure Records, Deathwish Inc. and Auxiliary Records.
The band is gearing up to release their second album on the Temporary Residence imprint with Sister Faith, scheduled for released on vinyl, CD and digital formats April 30th. The first music video for this new album by Coliseum comes in the track “Black Magic Punks” and has been directed by Max Moore. Ryan Patterson has been one of our favorite guitar players for years and his energy and dynamics are on full view with this new piece. Check it out below.
Some free MP3 of Coliseum material courtesy of Temporary Residence
San Diego’s Pinback, one of the most original rock bands of this age, are relentless in how far they have taken their legacy, releasing record after record of an avant pop formula that can only be drawn back to their own group in influence and purpose. Temporary Residence Limited has become the new home for the band, giving them another means of representation that goes far into the history of what modern visionary music stands for. Temp Res has released some of the most important recordings of the last two decades, giving a vital home to everything from post-rock, experimental noise, electronica, pop music and so much more under one roof.
Wind up all of this background of both Temp Res and Pinback into a sling shot and the two respective parties catapult into the 21st century with a method of promotion on the album Promotion Retrieved unlike most records these days. This promotion is of course at the heart of this new Pinback video for “Proceed To Memory” and is an over-sized art reproduction of the Information Retrieved cover on the side of a fairly large building. Ingredients: One angle shot in a time lapse mode, lots of talent from the crew making the reproduction, the layering of Pinback’s “Proceed to Memory” and the final executing syndication power of Pitchfork.tv. The Results: Pinback fans are given a snap shot after snap shot of how this project was constructed by this amalgamation of creative minds and outlets and is something I absolutely love to see and am inspired by every time I do.
Also, don’t miss out on the interview we conducted with Pinback’s Rob Crow: LINK
From Pitchfork.tv |
A time lapse of a mural’s creation.
Temporary Residence Limited’s Ultraísta are gearing up for tour dates with the hard working Prefuse 73 this year after releasing the self titled last year to critical acclaim. It’s a very expansive sound and one that fits perfectly with the eclectic and intellectual presence of the label they are on. Prefuse 73 did something very special with this remix, taking a song that appeared on last years debut full length and giving it completely new life. Listen below.
Ultraista Tour Dates:
- January 23- WED – Philadelphia, PA @ Underground Arts
- January 25- FRI – Chicago, IL @ Lincoln Hall
- January 26- SAT – Toronto, ON @ Lee’s Palace
- January 28- MON – Brooklyn, NY @ Music Hall of Williamsburg
- January 29- TUE – Fallon TV show NY
- January 31- THU – Los Angeles, CA @ Hollywood Forever Cemetery
- Feb 3rd SUN – Weekender Festival Tokyo
- All Music: http://www.allmusic.com/album/ultra%C3%ADsta-mw0002410621
- Pitchfork: http://pitchfork.com/reviews/albums/17124-ultraista/
- Stereogum: http://stereogum.com/tag/ultra%C3%ADsta/
- The Guardian: http://www.guardian.co.uk/music/2012/nov/01/ultraista-ultraista-review
- Off The Radar: http://www.offtheradarmusic.com/2013/01/ultraista-small-talk-remix.html
- Dusted: http://www.dustedmagazine.com/reviews/7506
- New York Times: http://www.nytimes.com/2012/10/02/arts/music/the-debut-of-ultraista-and-glad-rag-doll-by-diana-krall.html?_r=0
- NME: http://www.nme.com/blog/index.php?blog=15&title=track_exclusive_ultraista_gold_dayzz_fal&more=1&c=1&tb=1&pb=1
- NPR: http://www.npr.org/2012/10/06/162438609/ultra-sta-radioheads-knob-twister-takes-off
- BBC: http://www.bbc.co.uk/music/reviews/89gw
Rob Crow’s growing legacy is nothing short of amazing considering the amount of projects, releases, tours and other music related endeavors this California native has under his belt. Pinback is the group whose works of Rob Crow’s I have come to identify with and love the most. The band has been restless since the late 90′s with almost 20 full length albums and EP’s released to the public and with their latest album Information Retrieved, there are no signs of the group slowing down. Flirting between math rock, pop forms of harmonies and rhythms, lush singing and some of the most groove laced indie rock, Pinback has always fused some of the best elements in their craft and it’s a body of work I have made sure to keep in my collection.
It’s been a few years since a full length from Pinback has been released and this year the band dropped Information Retrieved, their fifth full length album and put out by the New York based imprint Temporary Residence Limited. Stepping back into the style of music Pinack has been known for with their first four length albums that span the last 12 years, the gentlemen in Pinback really pushed for different dynamics and a greater sense of song writing with this new outing. It’s a level of accomplishment that I feel has given the band a slightly new sense of direction and could easily pull in a lot of new fans. The band has been touring non stop since the release of the album last month and we caught up with Rob Crow via phone for a brief Q&A that we are very proud to present here at Sound Colour Vibration.
Rob Crow Interview
Conducted by Spencer Lee
It’s been roughly five years since the band released their previous full-length effort, Autumn of the Seraphs, and the band seemed to not have missed a step along the way. Their signature sound can still be heard on the new album, albeit with an alternatively seasoned flavor, and according to front man, Rob Crow, the vocals have never been more natural. I talked with Mr. Crow, who was extremely friendly, about the band’s current tour, the ethos of Pinback and the future of the project as a whole.
Sound Colour Vibration: How is the tour going so far?
Rob Crow: It’s been really busy. We haven’t slept too much. We just got some sleep so that was great. But, it’s a wacky one.
SCV: Is this tour different than previous tours in any way?
We have less band members in general so we’re trying to see if we can just take a van. I have some weird ear issue that makes it hard for me to hear my guitar sometimes but that’s just me complaining about something that no one can hear.
SCV: Are there any books or films that you’ve taken with yourself on tour that have helped shape the mood of 2012?
RC: Let’s see. I brought Sam McPheeters’s “The Loom of Ruin” with me but I haven’t had that much time to read it. I’m like a third of the way through it.
SCV: Talk to me about the message, if any, you hope the new album, Information Retrieved, conveys?
RC: Well there’s a story behind it. There’s a whole mythos behind it and a story and it runs throughout the lyrical content and the art (of the album) and the art of the two limited edition seven-inches that came before it and the video. But all of that needs to be left to the observer for a while. That’s something for people to come and talk to me about on their own instead of having it all there like a television show. I did try to make sure that there is something in there to grasp. So when people say, ‘I want to talk about something (regarding the album),’ I can say, ‘It’s definitely about something.’ (Laughs).
SCV: And does the band have an overarching message?
SCV: What do you strive for as a musician? What are your goals?
RC: I think one of them is to not have goals and not be goal oriented; just be natural. I guess if there was a goal it would be to achieve pure “organic-ness.”
SCV: Do you feel you have evolved or grown as a musician since starting the band?
RC: Definitely. I’ve grown a thousand-fold as a singer, that’s for sure. I’ve always loved singing but now I can really pull it off. All that high stuff I never thought I’d be able to do…Now I have all this range that I would only pretend to have before. I don’t mean pretend, I would do it, but now it’s ridiculous. It’s only stuff that I notice for myself so I wouldn’t expect anyone else to notice. It’s like, this is so much easier and I can do so much more (in regards to singing). When I first started doing music I just wanted to be a guitar player. I just became a singer by accident. People seemed like it and I enjoyed it so I was like, ‘Sure, I’ll do it.’
SCV: How would you describe your fan base?
RC: They come from all walks of life, all different kinds of people, which is exactly what we hoped for. We didn’t want to reach out to just one kind of person. We wanted to be inclusive for everyone, which is why we rarely bring politics or anything of that nature into the music. We don’t want to exclude anybody. Even though we do have person politics that we are invested in, it’s a turn-off for so many people who would otherwise be influenced in a positive way.
SCV: What is next for Pinback?
RC: Lots of weird touring. We’re trying to figure all that out too; we don’t know yet (Laughs). The record just came out, we’ve been touring…so we’ve just been wondering where we’re going to eat each day. Yeah, what’s next for the band is finding a place to eat in Kalamazoo.
SCV: Name five essential albums.
RC: That’s easy.
Captain Beefheart – Trout Mask Replica
The Shaggs- Philosophy of the World
This Heat- This Heat
Family Fodder – Savoir Faire
It’s contemporary classical music.
It’s light as a feather and heavy as a whale.
Gorgeous, blissful reverb waves that glisten from the sun and moonlight.
Just as mentioned, it comes in emotional waves of cinematic proportion. Tracks like “Legend” remind me of some sort of Final Fantasy movie set in space. It’s powerful, yet remarkably gentle. It reminds me of a line on J Dilla’s “The Shining” that goes: hardcore gentleness.
It’s five epic tracks with magnificent orchestration revolving around MONO and their hypersensitive abilities towards music. The drums are soft, tribal and minimal but powerful enough to drive the deep-seeded reverberated machines into one’s head.
A highlight is “Nostalgia” that, curiously enough, brought no nostalgia to mind until I read the title. It really just feels comfortable, elegant, peaceful and meditative. But then again with my uneasy mind it would be easy to imagine that nostalgia does exactly the latter for me.
MONO really brought together an interesting gem that sort of sounds like the brighter side of “Godspeed You Black Emperor!” and a Hans Zimmer score. It’s refreshing, full of incredibly well navigated noises that ring a freeness not easily found in recordings.
Although “Legend” did throw me off a bit, “For My Parents” is dream odyssey at its finest waiting to take you under the wing of some massive albatross and glide your mind into a blinding, yellow light.
Welcome to future concerto.
A beautiful release full of vivacious power.
Order the LP, CD or digital version HERE
San Diego’s Sleeping People have woken up from a 3 year hibernation period with the stunning EP NOTRUF on the one and only Temporary Residence Limited. Pressed as a 12″ with each side dedicated to one track each, this is a really beautiful ride into the classic Sleeping People sound. With guitarist Amber Coffman leaving the band to pursue other projects, original guitarist of the group Joileah Thalmann has joined with guitarist Kasey Boekholt, bassist Kenseth Thibideau, and drummer Brandon Relf for this new 12″. Modern progressive music has deviated towards a lot of electronic music, creating a plethora of sub genres that seem endless now. Sleeping People is a refreshing reminder of the power and persona achieved through music with the classic four piece guitars, bass and drum set up. It’s complex and exploratory and demands a lot of attention to break down all of the layering. Both pieces display elongated runs of guitar tandem that flows into every direction possible. Drums and bass are endlessly locked into one another with drummer Brandon Relf diving deep into the endless possibilities of his kit.
“Klinik”, the opener for NOTRUF comes in at a little over seven minutes and leaves little time to get the energy into high gear. Guitar parts are sizzling at every corner, creating a really beautiful sense of dynamics between all four players right out the gates. The music of Sleeping People has always had a lot of transitional dynamics that push the listen into very far regions. Surrounded around the same note configurations, each section speaks a new voice inside of the identity of the song, especially “Klinik”. It’s a really raw approach to instrumental music as the guitars become more entangled by the second. The bass is really present in the mixes for each track and creates a really heavy, muscular feel towards the bottom end of the entire EP NOTRUF. It’s just as raw as the guitar tones and wraps tight grooves deep under the rest of the band. The guitar tandem in “Klinik” is non stop and doesn’t leave any room for falling behind to catch all of the unique lines woven inside. Piano is added into perfect alignment at the very end of this piece with the highly charged progressions under it. The piano addition adds a really elegant counter part to the matrix of guitar, drum and bass sheets the entire song feeds off of.
“Polezi”, the second side to NOTRUF, begins with really smooth palm muted guitars that unfold out of that state it is in bar after bar. The driving bass leaves a dissonant presence as the drums dynamically shift from normal to complete chaos in minutes. There is a subversive sense of drumming after the main section breaks out and the intensity gathers in a stream line explosive type of way. Drummer Brandon Riff does some of the most intricate breaks on his kit and the guitar tandem of Joileah Thalmann and Kasey Boekholt is just as exploratory and mind blowing. The build up around the 2-3 minute mark is euphoric and easily one of the heaviest things I have heard on record all year. It’s some of the most technical music under a presence of groove and repetitious note usage and presents a little something new every time you listen to it. “Polezi” is a really intense vehicle for the band and I can’t even imagine the kind of energy coming off stage with a type of song like this performed. The groove at 4-5 minutes in is astonishing and really adds a feeling of the 70′s era of prog bands. The song is catapulted so many times out of its former state that it left me speechless after countless listens. The drumming, guitars and bass shine with so much vitality and exploration that it becomes endless with what you can extract from this song.
I have been waiting for the Sleeping People sound to come back to the forefront. Sleeping People came out of nowhere with NOTRUF and I couldn’t be happier because of it.
Order the 12″ NOTRUF from Tenporary Residence Limited HERE
Well, we didn’t expect this! After a 3-year hiatus following what we assumed was their swan song — the sprawling double-album, Growing — San Diego’s Sleeping People return with this hypnotic fever-dream of a 12″. Following the departure of guitarist Amber Coffman (who left to pursue her other group, The Dirty Projectors, full-time), Sleeping People’s core group — guitarist Kasey Boekholt, bassist Kenseth Thibideau, and drummer Brandon Relf – reunited with original guitarist, the nimble-fingered Joileah Thalmann. The Sleeping People trademarks are all here: angular, dissonant riffs, mind-bending counterpoint guitar interplay, and grooving, stop/start dynamics. The major evolution here is the hefty amount of patience and primal repetition; each song unfolds over many minutes, revealing something new with repeated listens. In other words, it sounds like what you would expect from a band that draws equal inspiration from Yes, Steve Reich, and Tool. – Temporary Residence Limited
Mono launch pre-sale for the highly anticipated album “For My Parents” + New Music Video + Tour Dates | Music News
Japanese four piece Mono are a band whose presence and legacy gives a lot of strength to the voice of modern music. They are easily in my top 5 list for most breathtaking live shows I have experienced. They are also one of the few bands who captures the commanding sense of dynamics they hone in on stage within their studio records. New York’s long standing imprint Temporarty Residence Limited has been home for Mono and the news of a new full length with pre-ordering information couldn’t have felt any better in this summer of 2012. These prints were announced yesterday for pre-sale and already the units are moving fast. Don’t wait to grab a copy if you love this band.
From Mono | http://www.monoishere.com/
We’re excited to announce that you can now pre-order “For My Parents”! The first 400 vinyl orders receive limited edition white vinyl (LIMIT ONE PER CUSTOMER) and ARE ALMOST SOLD OUT. All pre-orders get an advance download of the song “Dream Odyssey”. Thanks!
CD & Double LP:
From Temporary Residence Limited | http://temporaryresidence.com/
For My Parents is the new album by MONO, the Japanese quartet who — over the course of half a dozen albums in twice as many years — has followed their own muse, and in the process have become “one of the most distinctive bands of the 21st century.” They are an instrumental rock band whose melodies have grown increasingly lyrical, with increasingly transcendent execution. There is no doubting a MONO song when you hear it, and no denying their uncanny ability to feel perfectly at home in both pristine symphony halls and dirty rock clubs. In the way that only MONO can, For My Parents obliterates that divide, showcasing a sensitivity and maturity that simultaneously acknowledges where they came from, and where they’re going. The songwriting is sharper, the dynamics are subtler, and the production is stunning. For the recording, the band once again enlisted The Wordless Music Orchestra for support, and the collaboration has never sounded stronger. The unique combination of soul-stirring melodies, cinematic East-meets-West arrangements, and firm command of elusive emotional intangibles is what makes MONO so…well, so MONO.
OFFICIAL MUSIC VIDEO FOR “LEGEND”
MONO have released a video for the previously unheard album opener “Legend” from their forthcoming album For My Parents. The 12 minute epic is paired with unimaginably gorgeous time-lapse photography of Icelandic landscapes by celebrated nature photographer/filmmaker Henry Juh Wah Sun. – Temporary Residence Limited
9/11 Pittsburgh, PA Mr Smalls
9/12 Toronto, ON Horseshoe
9/13 Montreal, PQ Il Motore
9/14 New York, NY LPR
9/15 Brooklyn, NY Glasslands
9/16 Boston, MA Brighton
9/17 Buffalo, NY Soundlab
9/18 Cleveland, OH Now That’s Class
9/19 Columbus, OH Ace Of Cups
9/20 Bloomington, IN The Bishop
9/21 Chicago, IL Subterranean
9/22 Minneapolis, MN 7th Street Entry
9/23 Iowa City, IA Gabes
9/25 Omaha, NE Waiting Room
9/26 Kansas City, MO Riot Room
9/27 Denver, CO Larimer Lounge
9/28 Salt Lake City, UT Urban Lounge
9/29 Boise, ID Neurolux
10/1 Vancouver, BC The Media Club
10/2 Seattle, WA Crocodile
10/3 Portland, OR Mississippi Studios
10/5 San Francisco, CA Rickshaw
10/6 Los Angeles, CA Bootleg
10/8 San Diego, CA Casbah
10/9 Phoenix, AZ Rhythm Room
10/10 Albuquerque, NM Launchpad
10/11 El Paso, TX Lowbrow Place
10/12 Dallas, TX Sons of Hermann Hall
10/13 Austin, TX Mohawk
10/14 Houston, TX Fitzgeralds
10/15 Baton Rouge, LA Spanish Moon
10/17 Tampa, FL Crowbar
10/18 Orlando, FL Social
10/19 Jacksonville, FL Jack Rabbits
10/20 Birmingham, AL Bottletree
10/21 Atlanta, GA Masquerade (purgatory stage)
10/23 Chapel Hill, NC Local 506
10/25 Washington, DC Rock N Roll Hotel
10/26 Hamden, CT The Space
10/27 Philadelphia, PA Kung Fu Necktie
San Diego’s Three Mile Pilot are a highly influential band from the 90′s whose sound is still finding its way into modern indie and experimental rock music. As a connecting force of musicians who would later go on to capture the worlds attention with bands like Pinback and The Black Heart Procession, Three Mile Pilot broke their 13 year seal of silence with the release of the 2xLP full length The Inevitable Past Is The Future Forgotten. Released in 2010 on Temporary Residence Limited, the same label whose now taken on releases from both Pinback and The Black Heart Procession, The Inevitable Past Is The Future Forgotten was a huge gift for fans of the groups work over the last two decades and has not left our rotation since its release. Two years later and the trio known as Three Mile Pilot is giving the world a new musical treat in the EP Maps. Experimental guitar pop music has been changing its design for over 30 years now and Three Mile pilot flirt with a golden, rich and honest emanation of tight grooves and some of the catchiest melodies in modern experimental rock music.
Five tracks encompass the ride that is Maps and is somewhat too short for how good each track is. Starting with the piece “Long Way Up”, the bass is turned up all the way in the mix, the drums are as crisp as can be and the synth and guitar has a really fun yet sophisticated quality to it. The music is mixed tightly close together, allowing all of the instruments and vocal elements to converge in a slightly cluttered but very beautiful way. I always love recordings where you really hear each tracking piece of the song pushed together as tightly as possible, leaving a very big sense of the band as a whole and not just vocals or one element. The entire track is littered with a lively and abundant feeling of groove that never ends until the track is finished. There is a section in the middle of the piece that allows for the guitar to fully embellish itself and the vocals rise out of this state gloriously. It sounds a lot like the quirky and complicated state of music that Pinback is best known for.
The song that really makes me come back to Maps for more is the song “This Escape”. Glistening and minimally placed guitars, a never ending bass groove and really colorful drumming with piano accompaniment, this has the largest and biggest sound on the entire album and is possibly the greatest song I have heard from the band. I can’t help but think of John Frusciante when I hear this track as the vocals, bass, guitar, piano, vocals and drums create a really special mood. It’s one of those must hear for yourself type of songs.
Three Mile Pilot are what I’d like to call an illustrious group whose Southern, CA foundations can still be heard in their sound among scores of other bands 20 years after their inception. Not many bands in the rock idiom have touring units that stick around this long and Three Mile Pilot looks like they have a lot more to stay before it’s all said and done. Maps is a great record Brooklyn’s Temporary Residence Limited and one that I see a lot of people enjoying. A must hear record that you don’t want to miss checking out.
Southern Vermont’s Zammuto is one of the newest groups with the illustrious Temporary Residence and is a band that has risen out of the ashes of the acclaimed two piece The Books. Headed by Nick Zammuto, this new band of Nick’s is more organic, more harmonically adventurous and down right more beautiful than his previous efforts. The group has expanded a great deal in the last year and because of this expansion, Zammuto will be headed out in June for live shows in the States with Explosions In The Sky. As their second tour with the group, Zammuto’s live sow reputation has grown considerably large, something we love to feel a buzz about in any band, especially after experiencing its power first hand. Zammuto are undoubtedly a live band not to be missed and their self titled debut full length is one of the best of the year.
Friday May 18th, 2012 9:50 AM.
I just made myself breakfast and plowed through my morning cigarette. I am sitting next to the telephone, waiting for it to become 10 am so I can call Nick. I think about what his voice will sound like… Will it sound like he sings? And if that’s the case, maybe he could sing instead of talk because my questions begin to seem stupid. But as the time continues to pass, as my contemplations sink into the backdrop of my mind, I find myself startlingly calm. Maybe it is Nick’s DIY home that’s far away from the city. Maybe it unconsciously brought me peace.
Xavier Vilaplana: I am very exited about your project, it’s totally something on its own.
Nick Zammuto: Thanks, yeah, it’s been a blast to kind of have a real band.
XV: How has it been to work with a four-piece band with heavy rhythmic percussion?
NZ: It’s taken me a while to figure out how it’s going to work out, well, I still don’t know how it works because it’s always changing, but the guys I am working with, like my brother Mikey, obviously I’ve known him my whole life, he’s a great bass player so he was a natural choice. He also toured with The Books, so I know he’s road worthy. Gene Back who also played keyboards and guitar for The Books was really into starting something new. His first instrument is the violin, but he plays keyboards and guitar for [Zammuto's] live section but whenever I need a string arrangement, I send the chord progression down to him and he flushes it out. He makes these beautiful clouds of string sounds just layered over each other and then sends it back to me. Gene actually introduced me to Sean Dixon (drummer). Sean has really opened my eyes to what drumming can be. I think it’s easy to get down on drumming because it’s so ubiquitous, because it’s usually just about keeping that heart beat most of the time, but Sean’s real passion is polyrhythmic playing, sort of African influence which is also my interest. What I like about rhythm is having two tempos going on at once, but not in a confusing way. In a way that makes sense with each other.
XV: The drumming definitely has an African feel; it has this kraut sort of bounce to it with a duality of timing. But it’s strange because it doesn’t seem to end.
NZ: Right exactly, for me it moves backwards and forwards at the same time. That is something I have been interested in for a long time.
XV: All of The Books records to me seem rhythmic. The guitar work with the samples create these sort of polyrhythmic drum patterns I feel are now being applied to an actual drum set with a different motivation.
NZ: Right. I got really lucky in finding Sean because he can take what I give him and he can really expand upon it. And live, he just blows it out of the water; he’s kind of the star of the show.
XV: Are the live shows faithful to the recordings or do you go out a little bit?
NZ: Structurally they are pretty faithful. But since it’s live it’s a lot louder and more visceral. We add a lot of energy to it. And there is a very visual component to what we do. I don’t know if you saw The Books play but the videos were like another member of the band. But with [Zammuto] it’s not to the same extent because we don’t want to wash over the performances. The videos come in hopefully just in the right moments to push the performance over the top.
XV: Do you do all of the videos?
NZ: Yeah, I learned it through the Books. It’s really just a natural extension to sampling, I did audio for a long time but, well man, there’s all these awesome videos to be sampled as well. Especially given that these VHS tapes are outdated and are being landfilled at such a rapid rate. So I started to make a collection of these samples. But I’ve been more interested right now in making my own videos so there is sort of a natural evolution going on there.
XV: When I hear Zammuto it feels like a breath of fresh air, something similar to when I heard The Books. How does that correlate with what you’re doing now. Not the composition or structure, but how one process leads to another.
NZ: It was a really natural progression. You know, the end of The Books was a really sad thing for me, it wasn’t supposed to end. For a while I thought I couldn’t start over at this point and make a livelihood. I’ve got three kids, you know, I can’t afford to follow this dream if it’s not going to produce a livelihood. But my wife kind of forced me- she said, you know you’re not going to be happy unless you make a record right away and get past this point. So I just re-mortgaged my house and went back into the studio and made the record. It’s going really well, I feel like the show we have right now is the centerpiece of the project in a way that it wasn’t for The Books. I always wanted to do that. I’m still trying to figure out how it’s going to work but it’s coming together nicely and feels like it’s going to be all right. But I guess a more spiritual answer to your question is- well, I wrote all of the material over the past ten years. So I went back to see what the inspiration was all of those years ago and it really is no different than the inspiration now. I am just trying to find those moments that really speak for themselves and frame them in a way that people can hear them the way I did.
XV: It seems like organic chemistry has stuck with your musical and thought process in a very interesting way. I feel like it stuck with you a lot more than other things because of the way you express yourself, just like the idea of LCD’s- a liquid with solid properties, so a contradiction in itself. I feel like it plays a large part in what you do, is this true?
NZ: Yeah, totally. I’ve always loved how science and chemistry was the one thing that allowed me to unify the intellectual world with the actual physical world. The science of it is so complicated and interesting. And the applications are so broad. All the lab work depends on the formulas that you know that work, but then again you are trying to always push the boundaries of what’s new and what’s going on. They are real molecules you know, not just dreams. It’s something that is grounded, something real and there is the sense of grittiness in real things. You can find that almost in any recordings, that moment where it just sounds real and genuine. But the only intention is of course to recognize those moments and try to name them.
XV: Exactly. I was talking with a friend the other day. I asked why she does music. She said she did it to give a moment and I tried to have her explain that to me. It had to be captured first before giving it.
NZ: Yeah, because I don’t think you can own them. They are so much bigger than us, it sounds cheesy, but that perfect sample, that perfect sound just explodes and happens on its own. You have to be able to step out of its way. I think I have to agree with you. You know, a lot of great artists just are trying to be genuine and honest, and the idea of giving comes from heart.
XV: The lyrics come off as playfully angry but always something unavoidable. Something that you just had to accept. There are a lot of vocal effects going on and I wonder if you were trying to capture the duality of human beings and the break up of The Books.
NZ: Oh, absolutely. I was and kind of still am in a pretty dark place because of what happened. The record isn’t pointed at anyone in particular but becoming an adult is an extremely frustrating process. And you’re right, it is a dualism, and a lot of timeless music takes advantage of it. If you frame a dark sentiment within a joyful sound it creates this beautiful tension. And acceptance is part of it. It was a great thing while it lasted but it’s not there anymore. But the joy comes in doing it. There is no purpose to it, no end to it. Dualism is a great word. It has become a great concept for me over the years and is something I will write about more when the time comes. But dualisms exist because they have to, but the real world, capital R Real, doesn’t have that. It’s totally outside of anything we can understand.
XV: Isn’t there a human necessity to understand?
NZ: I disagree with that. Some people choose to live in the middle of the island or some live on the shore, but I need that unknown place to create and have the freedom to do what I want to do.
XV: So you don’t search for it, you respect it?
NZ: Yeah, Well, it’s… it’s what gives me the greatest satisfaction, besides my family. I live up here in the mountains and it gets really dark up here. Sometimes you walk out and the sky is totally clear. And the Milky Way is right there and you feel like you are in it. I feel bad for people in the city who don’t have this experience. It’s an extreme thing to understand how vast it all is. Of course, there is an element of fear- oh my god, I’m going to die some day- but the fear really doesn’t compare to the richness of it all.
XV: I agree.
NZ: But I mean, who knows, if we could get outside of this moment we are stuck in, who knows.
XV: When you play music does it feel like you are outside of the moment, like when you say, “inside of the Milky Way”?
NZ: Yeah, yeah, in a sense it’s definitely a microcosm of that feeling, but- for the record I’m just a straight edge and so is my band. So we aren’t trying to escape at all. What interests us the most is the group of people who show up at our shows, they create the show, not us. So it’s really interesting to see that. Music has no purpose, it’s not food, it’s not water, but people don’t choose to live without it.
XV: For me it’s always about connections, not escaping, no matter how long the connection lasts.
NZ: Yeah. Sometimes the connections at shows last beyond the shows and sometimes it can start really interesting relationships.
XV: Does this seem to be happening with Zammuto more just because of its real live presence?
NZ: I hope so; I mean we’re in the early phases now. But I’ve felt much better on stage with this show than with The Books show primarily because we are all playing on time with each other dynamically and there isn’t electronic backtracking.
XV: What’s your relationship with technology and music?
NZ: That’s a good question. It’s absolutely essential. I couldn’t imagine myself just sitting down with an acoustic guitar only. I could make music but it wouldn’t be as interesting. The explosion of technology has produced a lot of new frontiers. For a person like me who wants to go in those new places, technology gives a lot of unexplored territory. Once you have the technology there is no going back, it’s like, once the Genie is out of the bottle, it’s done. I think that’s what The Books were about, an overflow of information that I really disagreed with and put it in a form that I could live with and give back to the world. Taking noise and making it something more resonant and helpful. There is an element in that with the new music, but [Zammuto] is more about being in the moment.
XV: Is what you are doing with Zammuto similar to having a family and raising your children?
NZ: My livelihood at making music is absolutely intimately connected with having a family. I don’t separate the yard work from the studio work. There is a chemical change that happens when you have kids. It’s universal. It’s so deep seeded that I can’t even remember what it’s like to not have kids, it’s a complete transformation. And it’s not about me anymore, it’s about us. We’ve got to protect this thing.
XV: What music do you listen to that is going on now?
NZ: To be honest when I’m working on music I don’t listen to much music because my brain is already full on that regard. But we just went out on tour with Explosions in the Sky and it was really inspiring. Now I listen to their records and it means something totally different to me. I also listen to what my kids like, and they mostly like dance music. My oldest, he’s stiff like me and when he spasms he just spasms in a strange, funny kind of way. But my youngest moves so fluid, like my wife, he just kind of floats through the room. It’s really fun to watch him. He was whipping out these moves, it’s like he was built for it. One of my friends over in London gave me a huge amount of African music and it’s awesome. It’s a beautiful counterpoint to how we look at music over here.
Zammuto will be headed back on tour with Explosions In The Sky, below are the following dates and cities.
06/17 Sun Houston, TX @ Warehouse Live
06/18 Mon Mobile, AL @ Soul Kitchen
06/19 Tue Tampa, FL @ The Ritz Ybor
06/20 Wed Miami, FL @ Grand Central
06/21 Thu Athens, GA @ Georgia Theatre
06/22 Fri Charlottesville, VA @ Jefferson Theater
06/24 Sun Baltimore, MD @ The Ottobar (Headline Show, Full Set!)
06/25 Mon Morgantown, WV @ 123 Pleasant Street
06/26 Tue Chicago, IL @ Chicago Theatre
06/27 Wed Nashville, TN @ Ryman Auditorium
06/29 Fri Hudson, NY @ Club Helsinki (Headline Show, Full Set!)
— Fall shows:
09/07 FRI Raleigh, NC @ Hopscotch Music Festival
11/10 Minneapolis MN @ Walker Art Center (with Eluvium)
More dates SOON!
From Zammuto on this recording:
This is a recording from our first ever show… It was also the first time anyone had heard ‘Shape of Things to Come’ outside of my studio. The performance took place at the Massachusetts Museum of Contemporary Art in North Adams MA, on February 3rd, exactly two months before the record was released. It was recorded as a multitrack from the monitor board, then mixed by yours truly at home. We were all a bit nervous and shakey, since it was our first time on stage together, but it has that ‘New Band’ smell. We’ve grown a lot tighter since.
Thanks to EVERYONE at Mass Moca (our hometown venue) for an amazing night…Can’t thank you all enough for helping us kick off the new band, in the place we love the best.