Posts Tagged ‘innocent words’

Throwing Muses at Innocent Words

Here’s some praise from the arbiters of culture:

‘Hersh transmits a visionary quality to her songs.’ —Mojo, 4 stars

‘Purgatory/Paradise is unlike anything I’ve heard all year.’ —Pitchfork, 8.0

Every part of Purgatory/Paradise has meaning for the band and its listeners, making it a satisfying artifact in a time when music is becoming increasingly disposable. May they ever go against the grain. —AllMusic, 4 stars

UK TOUR DATES

September
17th – Glasgow @ Oran Mor
18th – Leeds @ Irish Centre
19th – Manchester @ Manchester Academy
20th – Holmfirth @ Picturedome
21st – Norwich @ Waterfront
23rd – Bristol @ Trinity Centre *
24th – Brighton @ Concorde 2 *
25th – London @ Islington Assembly Hall *
26th – London @ Islington Assembly Hall *
* w/ Tanya Donelly

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Cosines at Innocent Words

This two-song 7-inch from London’s synth-heavy five-piece is a perfect calling card for those who have never heard the band. Side A’s “Commuter Love” is a feedback drenched, garage pop number, with a nod to bands like The Black Keys, while the flip side, “Disclosed Stories,” is a bright, bouncy ditty, complete with trumpet, that sounds like it could have easily been pilfered from an old Depeche Mode or Yaz record (though the music on “Disclosed Stories” is a nice cover for the slightly darker lyrics here).

The opposing sounds of the songs here do a great service showcasing the band’s depth. With just two songs, the band offers up a long look at their motley influences.

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Eureka California at Innocent Words

For a duo, Eureka California make a hell of a lot of noise. The Athens indie rockers, comprised of drummer Marie Uhler and singer/guitarist Jake Ward, have just turned in their second full-length in 18 months, and far from sounding like a rushed out also ran, ‘Crunch’ is a remarkably satisfying slice of unpretentious college rock.

Tracks like “I Bet You Like Julian Cope” and “Sneaky Robby” combine the lyrical wit of someone like Jonathan Richman, but the music itself is equal parts Mudhoney and The Jam.
Much like their debut, this one is another whirlwind of short, frantic, but well-crafted power pop ditties that slams to an abrupt halt not long after you drop the needle – their longest song is there-and-a-half minutes long, but most hover around the two minute mark, so the duo are in and out like a band of indie rock ninjas.

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Luxembourg Signal at Innocent Words

This two-song release from The Luxembourg Signal – “Distant Drive” and “Wishing Pool” – is a spacey blend of mature indie pop. Comprised of members of Aberdeen, this debut is curious, but not exactly revolutionary.

The A-Side, “Distant Drive” is the more compelling of the two tracks, but both feature jangly guitars, strong synthesizers and dreamy vocals, courtesy of Beth Arzy. While it is likely not enough to win over those who aren’t already fans of twee pop, this side project is bound to find plenty of love from Aberdeen’s regular crowd.

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Tunabunny at Innocent Words

Having turned in three albums in just as many years, it should surprise few that year four has brought the Tunabunny’s fourth album. And what a beauty this one is.

The 14 songs that make up ‘Kingdom Technology’ are a little more pop than some of their earlier efforts, but still crammed with plenty of experimentation making this arguably their most accessible album to date.

The Athens, Georgia-based foursome were kind enough to take some questions from Innocent Words recently. Brigette Adair Herron handled the responses, but assured us that the whole band gathered around the keyboard to answer the queries as a collective.

Innocent Words: It’s been almost a year since your last record. Are you going through a particularly creative spell, or were some of these songs written for the last record?

Brigette Adair Herron: Since we started making records, our going rate has been about a record per year. We’ve had four records so far (including a few singles and tracks for compilations interspersed during this time), and each one has taken about a year to complete as a finished “album.” I guess that’s sort of the rate at which we work. Although it never feels like work, because we genuinely love making records and music together. We always have a surplus of songs that don’t make it onto albums, so look out for our unreleased tracks album in 2016.

IW: This new record sounds pretty different than ‘Genius Fatigue.’ Was that a conscious decision?


Herron:
 Creativity sometimes works best when you give equal time to both your conscious and subconscious impulses. All of our records sound different. We never actively try to sound different or the same, but we are always conscious of the fact that we like the way it sounds. That’s the only requirement. Themes are important, but that should really be left up the listener. Sometimes I hate to hear an artist’s interpretation of their own work. I think it’s better to hand that power over to the listener or music critic. What’s there is already there, now it’s your turn! Though the work may be finite, we welcome an infinity of opinions.

IW: How does the band usually write music? Do you all write together in one place, or do you bring in songs pretty much mapped out to the rest of the group?

Herron: How does the band write music? With absolute freedom. Creating this ‘Kingdom Technology’ was more like creating a sculpture than sitting down to paint a landscape. We threw some clay on the ground and everybody got a knife.

IW: What’s next for the band?

Herron: What’s next? I wish I knew! Our most immediate plans are to continue on as we always have – getting together to play and record music and having fun. If it’s economically feasible and people want us to come play where they live, we will consider doing that too.

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Muuy Biien at Innocent Words

Apparently a lot can happen in one year. If ‘This Is What Your Mind Imagines’ – the solid 2013 debut from Georgia-based punks Muuy Biien – was Black Flag and Fugazi, ‘D.Y.I. (Do Yourself In)’ is more Joy Division and Pissed Jeans.

The band clearly discovered hooks over the past 12 months and learned to raise the vocals up a bit more in the final mix. That’s not to say you’re going to hear anyone from American Idol crooning along to a song like “Virus Evolves” or “Dust” next season, but the band has morphed into stronger musicians with much more focused songs.

The anger that drew so many into their debut is still there, it’s just a little more controlled this time around. As a result, the record is that much more impressive. Songs like “She Bursts (Reprise)” and the expansive tracks “Cyclothymia II” and “Cyclothymia III,” both of which sound nothing like the songs off of the debut, perfectly capture a young band shedding some of the baby fat.

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