Posts Tagged ‘innocent words’

Eureka California at Innocent Words

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Witching Waves at Innocent Words

The winners want us to believe the world is beautiful, but Witching Waves has seen the world and knows this is a lie—that everything is lost and nothing is to be trusted. We (HHBTM Records) saw them open for Eureka California in the UK in late 2014 and couldn’t get the songs out of our head so we’ve jumped on the second album.

Emma Wigham, Mark Jasper, and Ed Shellard are Witching Waves, and they sound like exiles in their own country. And like all exiles, they know the only safety is in numbers, and the only comfort is in friends. Witching Waves come from a world of DIY and co-operation. Mark Jasper works at Sound Savers recording studio, a love of labor turned into a labor of love in one of the rapidly vanishing not-so-nice parts of London.

Every window is filled with witnesses. We watch the world go by, each of us observing and observed. You can hear them switching instruments, trying out roles.

Watching the world fall apart all around them, Witching Waves knows that being right is pointless—the television tells a hundred lies in the time it takes you to speak a single truth, and for every book you read, your neighbor reads none—but the only alternative is to participate in the slow silent psychic death that is mainstream 21st century life.

When ‘Seeing Double’ breaks down towards the end and Jasper starts screaming: See them on the street you ask them why / See them in the car you ask them why / See them on the stairs you say to them / What are you doing here why won’t you leave me alone? You know he’s not going to get any answers, but he isn’t there for answers he’s there for the screaming.

Because this music is rooted in UK DIY and the only alternative to the clean smiles of 21st century surface life is dirty frowns, you might hear the fuzz, the flattened shouts, and think you’ve heard it before, but then you notice the guitars at the end of ‘Red Light,’ how they swell & buzz like an attack of locusts, and the oceanic rise & fall of album closer ‘Flowers’ and you realize that in their endless explorations of black & white, WW has created a universe of infinite textures and shade.

Drowned In Sound calls WW’s sound ‘the satisfying juxtaposition of pop sensibility and tumult,’ but we like their sound because it leaves us pissed off, and unsatisfied—not with their music but with the world.

Witching Waves are locked in a london basement and hyperventilating, with nothing to keep them warm except their anger and their love. Listen close enough and you can hear the mildew grow. Listen even closer and you can hear it start to speak. It sounds a lot like you.

 

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Eureka California at Innocent Words

Click through to stream a track!

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Halfsour at Innocent Words

Although their band name is abysmal, not to mention perplexing, Halfsour’s music is charming, straightforward indie pop.

There isn’t a lot on the internet about Halfsour – good luck finding a website. However, they do have a sparse Bandcamp page, and their Facebook page is just as pathetic. No member information, no bio, hell, even the band description is “mara-wyner-gustafson overdrive.” Whatever the hell that means. Is this the care and dedication the current generation gives to their art? Fuck, I hope not.

I know I sound like a bitter old music scribe, and I know we are not here to review websites or social media. So let’s get to the music.

Kicking off ‘Tuesday Night Live,’ which is not a live record by the way, is the quick and punchy indie rocker “What You’re Waiting.” In fact, all 13 tracks barely touch the three-minute mark, let alone going over three minutes. But it keeps things upbeat and fun with bratty boy/girl lead vocals, crisp clean guitar playing, and one hell of a drummer.

Sure, it’s raw – “Chartreuse Rec Room” for example – but it holds your attention, and I like that. There is nothing new on the table here from this Boston trio, but they’ve studied their past very well. Remember those ’90s indie pop darlings the Spinanes, Busytoby, the Like Young? Or if you are thinking more mainstream Weezer and Ben Folds? Then you get the idea of what Halfsour is all about.

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Eureka California at Innocent Words

Eureka California from Athens, GA announce the release of their new album “Versus” on HHBTM Records on March 25th, 2016. Endlessly self-referential and endlessly self-destructive, stuck on an endless treadmill of tension & release, of megalomania & doubt. Agoraphobic fight songs for the masses. The wit of a young Elvis Costello, the heart and reckless abandon of the Replacements at their most genuine, and the energy of Superchunk.

‘Summer’s here and the time is right for getting blackout drunk in the street.’

Eureka California’s going way too fast, and if they don’t slow down they’re gonna crash. Like peak Elvis Costello, they think if they keep the wisecracks and the puns coming fast enough they can avoid facing the truth—that death comes for everyone and nothing dies faster than dreams.

Versus, their 3rd album in 3 years, is the first one recorded in a studio (by MJ from Hookworms at Suburban Home Studios Leeds, UK) and it gives EC a power they’ve never had before. It’s incredible that two people can make such a big sound, but Jake Ward and Marie A. Uhler have developed a near-telepathic ability after years of playing together, and while they’ve always been good, Versus is their first stab at greatness, soaked in television & gin & the kind of language you hear everyday but you never heard quite like this.

Endlessly self-referential and endlessly self-destructive, stuck on an endless treadmill of tension & release, of megalomania & doubt. Versus is agoraphobic fight songs, songs about loving television more than people because people always let you down and the static from the set makes more sense than the static coming out of their mouths. EC songs exist in a world where ordering a pizza is fraught with anxiety and you have to laugh to keep from dying.

‘I Will Write Mine Over Potomac’ is all loneliness and fraying nerves. ‘Fear and Loathing in the Classic City’ synthesizes Damon Albarn and Jonathan Richman. And those aren’t even the singles.

If Performer called last year’s Crunch ‘Album Of The Month, what are they going to call this one? The Big Takeover said ‘One can’t help but wonder where Eureka California will be in another year. Miles ahead of now, no doubt. That should be quite the album.’

It is.

Some of our favorite records are the ones where the band sounds like they need a vacation only they’re moving too fast to stop and so everything comes out wired & exhausted all at once—think Aladdin Sane, Get Happy, Strangeways Here We Come. And Versus fits that mold, a white-knuckle ride through a tattered psyche and a brain that just won’t shut up. It’s too smart for self-pity and too drunk to think clearly.

Eureka California sound like they’re running out of time, just like you and just like me. Only EC’s End Times sound so much glorious than ours, as we twitch and whimper at the incoming waves of radiated foam.

The label has 5 exclusive videos for debut, 4 exclusive track streams, playlists, mixtapes, an exclusive album stream up for debut, and the band is available for interviews. Also shipping physical LP copies in the next week. Just reach out and get in touch.

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Half Sour at Innocent Words

As the legend goes, Halfsour started out as a Guided By Voices cover band. Well, you can sort of hear it if you squint your ears. But this coed trio from Boston actually reminds one a lot of the harder-edged indie pop bands of the late ’90s/early ’00s, specifically New Grenada (of whom they are a dead-ringer) and Wolfie (and its many off-shoots, such as the Like Young and National Splits). Halfsour songs are generally short and punchy – only a few times do they pass the three-minute mark, blasting you with catchy guitar melodies and bratty boy/girl vocals.

Following up a short-run demo tape and a split 12″ EP with Reports on Ride The Snake Records, ‘Tuesday Night Live’ (Jigsaw Records) is Halfsour’s debut album, and it certainly shows a lot of promise – definitely a band to watch out for!

The Story Behind “Sensitive Rugby”

“So there was this one time that Ian (drummer) and his girlfriend Chrissy had to kill a bunch of time in Somerville, so they went to some weird Irish bar. It was completely empty when they got there, but then filled up pretty much immediately with what ended up being the Irish Hurling champion team (who Ian remembers as being from Cork). They all watched the match at the bar and then at the end of the game there was an announcer with a microphone who called each player up one at a time to congratulate them. The rest of the bar made a tunnel that they had to run down in order to get to the announcer in some weird surreal football-esque format. That is where the song “Sensitive Rugby” came from.

“Sensitive Rugby” was the first song Halfsour wrote with Ian on vocals. Ian wrote the lyrics five minutes before recording them after having played the song for months without any. The vocals were recorded 30 minutes after Ian ate maybe 15 latkes and about a week before Ian moved to California for four months.”

Check out these first single and album lead in track “Sensitive Rugby” exclusivley

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Great Lakes at Innocent Words

“It is as close to a personal love song as anything I’ve put out as Great Lakes so far. It’s a song about learning from and being inspired by another person. I wrote it after a period of several years where I toured a lot with Great Lakes, Essex Green and Ladybug Transistor. I was single for a long time, and very much just floating through life without many serious attachments. Though that was fun for a while, I found myself longing for a more meaningful connection. When
I met the woman that I would go on to marry I wrote this song for her, and for myself,for us, really.”
~~ singer/songwriter/guitarist Ben Crum

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Witching Waves at Innocent Words

The winners want us to believe the world is beautiful, but Witching Waves has seen the world and knows this is a lie—that everything is lost and nothing is to be trusted. We (HHBTM Records) saw them open for Eureka California in the UK in late 2014 and couldn’t get the songs out of our head so we’ve jumped on the second album.

Emma Wigham, Mark Jasper, and Ed Shellard are Witching Waves, and they sound like exiles in their own country. And like all exiles, they know the only safety is in numbers, and the only comfort is in friends. Witching Waves come from a world of DIY and co-operation. Mark Jasper works at Sound Savers recording studio, a love of labor turned into a labor of love in one of the rapidly vanishing not-so-nice parts of London.

Every window is filled with witnesses. We watch the world go by, each of us observing and observed. You can hear them switching instruments, trying out roles.

Watching the world fall apart all around them, Witching Waves knows that being right is pointless—the television tells a hundred lies in the time it takes you to speak a single truth, and for every book you read, your neighbor reads none—but the only alternative is to participate in the slow silent psychic death that is mainstream 21st century life.

When ‘Seeing Double’ breaks down towards the end and Jasper starts screaming: See them on the street you ask them why / See them in the car you ask them why / See them on the stairs you say to them / What are you doing here why won’t you leave me alone? You know he’s not going to get any answers, but he isn’t there for answers he’s there for the screaming.

Because this music is rooted in UK DIY and the only alternative to the clean smiles of 21st century surface life is dirty frowns, you might hear the fuzz, the flattened shouts, and think you’ve heard it before, but then you notice the guitars at the end of ‘Red Light,’ how they swell & buzz like an attack of locusts, and the oceanic rise & fall of album closer ‘Flowers’ and you realize that in their endless explorations of black & white, WW has created a universe of infinite textures and shade.

Drowned In Sound calls WW’s sound ‘the satisfying juxtaposition of pop sensibility and tumult,’ but we like their sound because it leaves us pissed off, and unsatisfied—not with their music but with the world.

Witching Waves are locked in a london basement and hyperventilating, with nothing to keep them warm except their anger and their love. Listen close enough and you can hear the mildew grow. Listen even closer and you can hear it start to speak. It sounds a lot like you.

[Link]

Antlered Auntlord at Innocent Words

TEN: For the past two years, each Friday, Innocent Words has put the spotlight on up and coming artists/bands with 10 questions we like to call IW10. The tradition continues…

Hometown:
Athens, Georgia via Huddleston, Virginia

Members and instruments:
Hands: picks and sticks
Feet: boots and flats,
Fingers: rings and fingernails
Head: ponder box

Short bio (in your own words):
You’ve come upon an abandoned house in the woods. In the frigid winter wind you hear the strains of music coming from the house. Parts of a song you swear you have heard before, maybe a little too loud, definitely out of tune. Though all the doors are locked you find a broken window you can just slip in without cutting yourself on the broken glass. The house is empty, except for
Whatever nature has let in, debris, leaves, mice. The sounds get louder as you approach the entrance of an upstairs room. You open the door.

What is your favorite hometown spot (restaurant, bar, coffee house, etc.) that you visit when you return home from tour?
Our basement, Wintry records, bizarro wuxtry

What is Your Funniest or Worst Tour Story?
Tour Story 4: Coming Out of Their Shells


What THREE things are a must have when you go on tour or play a show?

A vehicle, cash, booked shows (though this can be optional as needed)

What is your most cherished album by another artist?
Divine – 12″ collection

If you had to record an EP of covers, which FIVE songs/artist would make the cut?
Nancy Sinatra “These boots are made for walking”
Kylie Minogue “Can’t get you out of my head”
Liz Phair “Never said”
Breeders “Saints”
Cyndi Lauper – that song from “The Goonies”

What Are Your Future plans?
First Act: More music, more albums, tours, inevitable backlash. Second Act: Decent into drugs and alcohol. Third Act: Unexpected comeback, elder statesmanship, gardening, gardening, gardening, and then death.

Where Can We Hear Your Music?
At shows, Soundcloud, Youtube, and my house.
https://soundcloud.com/antlered-aunt-lord
https://www.facebook.com/AntleredAuntLord/?fref=ts

 

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Postal Blue at Innocent Words

‘Of Love and Other Affections’ (Jigsaw Records) is the second album from Brazil’s Postal Blue, who have been around (though not very actively) for nearly 18 years now with previous releases on Drive-In, Shelflife and Cloudberry Records. One listen and anyone could easily be convinced that this was a lost Sarah Records release, with its songs echoing the Orchids and Field Mice (in both their exuberant and melancholic moments) at some times, a less fragile Blueboy at others, and even Secret Shine at their dreamiest. The production is crystal clear and shimmers brightly throughout the entire 35 minutes of ‘Of Love and Other Affections,’ making it easy to see how it took so long to complete (you just can’t rush perfection!). Overall, this is a very beautiful batch of songs that will make you wistful for the indiepop days of old and elated that the torch is still being carried on…

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