Posts Tagged ‘orange twin’

Great Lakes at Magnet

Great Lakes hail from Brooklyn and have just released new record Wild Vision. MAGNET’s got you covered if you’re a newbie to Great Lakes, since today we’re offering a free download and stream of “Bird Flying.” A dark and spinning rock tune, “Bird Flying” is the perfect introduction to the band’s intimate-yet-psychedelic style. Check it out below.


Great Lakes at Independent Clauses

Growing up, my mother always made me listen to her music: Bad Company, The Eagles, The Police, etc. Often, I petitioned for listening to “cooler” music, but now I take those words back. I find myself regularly in the mood for some classic rock, and I now understand that you honestly can’t get any cooler than such true examples of rock & roll. The band Great Lakes echoes ‘70s and ‘80s rock & roll while making a sound all their own.Great Lakes’ 5th album release Wild Vision combines the true essence of rock & roll with country instrumentation and a bent towards nature.

“Bird Flying” and “Wild Again” are great reflections of the classic rock & roll vibe with a twist. “Bird Flying” begins with an electric guitar opener that oozes sex appeal. The electric guitar pops back in midway through the song and again at the end. Although the solos are not quite as long as The Eagles’ “Hotel California” solo, Great Lakes’ use of the electric guitar is just as seductive. “Wild Again” uses drums, bass, electric guitar, pedal steel, synthesizer, and even cello to create a very full rock & roll sound with moments of dissonance. The entire song builds to a climax at the end following the last chorus. Picture it: the lyrics “I want to be Wild again/ wild again/ wild again” repeat as the instruments go wild into this magnificent, all-instruments on-deck-outro (with space sounds, to boot)!

“Beauties of the Way,” “Blood on my Tooth,” and “Shot at and Missed” are unique rock & roll experiences. “Beauties of the Way” begins with a drums/guitar beat that instantly reminds me of ‘90s hit “The Way” by Fastball. As the song continues, more guitars and a pedal steel are added. By the end of the track, the initial ‘90s beat is long forgotten and the electric guitar leads the way to another far-out ending. “Blood on my Tooth” has more of a toned-down sound with minimal percussion and a great acoustic guitar rhythm. Then out of nowhere comes this funky, Doors-esque bass line. The lyrics in “Blood on my Tooth” are also very rock & roll: “You shouldn’t have asked if you did not want to get hurt.” “Shot at and Missed” throws you yet again into their funky rock & roll world and includes fun lyrics like, “To the wild/I Go”.

“Kin to the Mountain,” “Nature is Always True” and “I Stay, You Go” have more of a country rock feel, similar to the The Eagles, established through their instrumentation. These songs feature the acoustic guitar and pedal steel more than the other tracks. Great Lakes still maintained their rock sound in these tracks, they just toned it down a bit and featured more acoustic instruments. By softening up their instrumentation, listeners are also enabled to take more notice to the harmonic male/female vocal combination and poetic lyrics.

The lyrics and titles of Wild Vision’s tracks expose Great Lakes’ bent towards nature. I mean, with a name like Great Lakes and an album like Wild Visions, the focus on nature is already pretty evident. “Swim the River,” “Bird Flying,” “Kin to the Mountain,” “Wild Again,” and “Nature is Always True” are the titles of the first five songs–all related to nature. “Kin to the Mountain” contains some of the best nature-focused lyrics on the album, opening with the chorus: “I am kin to the mountain/ kin to the sea/ my name is lightning/ wild vision I’ve seen.” That is a lyric to chew on.

Great Lakes blew me away with Wild Vision. The male/female vocal pairing is harmonic and genuine, but the instrumentation is really what shines in this album. Wild Vision is nothing but true rock & roll. —Krisann Janowitz


Great Lakes at AllMusic

Less than a minute into 2016’s Wild Vision, the fifth full-length album from Great Lakes, group leaderBen Crum and bandmate Suzanne Nienaber join their voices and sing, “I say fare thee well/To all of trouble, to all of care/Let’s breathe the purer air/All the old sadness won’t be there.” However, it’s not hard to get the feeling they’re fibbing a bit; Wild Vision doesn’t wallow in despondency from beginning to end, but it hardly sounds cheerful either, with most of the songs drifting by in a solemn midtempo as drummer Kevin Shea stirs the soup at a deliberate pace. It’s been a long time since Crum has been involved with the Elephant 6 collective, and it makes sense that Wild Vision has little to do with his previous off-kilter pop; in 2016, his music has everything to do with moody but melodic visions with a country undertow brought to the surface by judicious use of acoustic guitars, mandolins, and pedal steel. Lyrically, disappointment seems to be a common thread in these songs, though Crum‘s approach is often impressionistic enough that literal meanings take a back seat to tone, and the tone of this material hardly sounds like Crum‘s characters are doing well in life. (And the gloomy, murmuring singsong of his voice, recalling Seth Tiven of Dumptruck on a sad day, does nothing to enliven the tunes.) From a musical standpoint, Wild Vision feels like a fine rainy-day listen, full of dour but subtly satisfying melodies performed with a gentle touch by Crum and his accompanists, and it’s a shame that the leader’s lyrics and vocals aren’t as consistently pleasing as the rest of this set, though since six years separated Wild Vision and Great Lakes‘ previous album, Ways of Escape, fans are most likely happy that Crum is still delivering new music at all.


Great Lakes at The Vinyl District

Having emerged in Athens, GA roughly two decades ago, Great Lakes’ formative period was the byproduct of three individuals and a load of Southeastern psych-pop support. However, since 2008 the outfit’s increasingly mature country and folk inflected shots have been called from the home base of Brooklyn by founding singer-songwriter-guitarist Ben Crum. Now after a gap of five years Great Lakes are back with Wild Vision; it’s out January 22 on the band’s own Loose Trucks label.

Formed in 1996 when the songwriting tandem of Ben Crum and Dan Donahue hooked up with James Huggins, Great Lakes was initially part of the labyrinthine circuitry comprising the Elephant 6 Collective, mainly through a live lineup featuring many of the scene’s participants including utility bass player Derek Almstead and members of Elf Power, Of Montreal (indeed Kevin Barnes), Essex Green, Ladybug Transistor, and Neutral Milk Hotel.

Furthermore, their second and fourth albums were released on the Elephant 6-associated Orange Twin label as The Apples in Stereo’s honcho Robert Schneider mixed their self-titled 2000 debut for Kindercore. It was an effort defined by sunny neo ‘60s psych-pop, flashes of bold guitar, and occasional distinguishing wrinkles like the AOR-ish keyboard of “Become the Ship.”

While a pleasant affair, Great Lakes is largely of interest to fans of the more forthrightly psych-pop, twee-leaning chapters of the Elephant 6 saga. The record’s 2002 follow-up The Distance Between traveled a similar path, a nifty cover of The Zombies’ “This Will Be Our Year” amongst its selections, but it also stretched out a bit, particularly on the lengthy rocking closer “Conquistadors.”

In 2002 Crum and Donahue moved to Brooklyn as Higgins’ role diminished; 2006’s Diamond Times for Empyrean Records offered a significant stylistic progression. Drifting away from the psychedelic milieu, the template throughout was fortified by the aforementioned country and folk leanings, with “Farther” reminiscent of Wilco’s more straight-ahead moments.

“Hot Cosmos” augmented the Tweedy-esque angle with a ‘70s Buck/Nicks-era Fleetwood Mac bent and horns recalling early Steely Dan, but more importantly “Night Hearts” and the title track exuded resemblances to the less tongue in cheek work of Camper Van Beethoven and David Lowery’s subsequent work in Cracker.

Click through for the rest!


Great Lakes at Here Comes the Flood

Brooklyn based folk band Great Lakes have a new LP, Wild Vision. HCTF is premiering Wild Again, one of the tracks form the new album. Main man Ben Crum provided a little background:

“Wild Again” is a song about longing for a life more connected to the natural world, but settling for some form of metaphorical wildness within. It’s about living in New York City and feeling a pull towards open spaces and a simpler, slower paced existence. Over the years I’ve had many friends who had this same feeling, like a magnetic pull to move upstate, back down south, to California (or wherever) or to find a simpler, more basic kind of life, and to get away from the often hectic experience of life in big, crazy city. When we play this song live people tend to assume it’s a song about wanting to be young, wild and free of responsibilities. While I wouldn’t discount anyone’s take, that wasn’t what I intended when I wrote it.

Click through to stream a track.


Great Lakes at Mad Mackerel

Great Lakes formed back in 1996 in Athens, Georgia and has been based in Brooklyn, NY since 2002. The band has released four albums. A fifth record called Wild Vision will come out this month on the band’s own label, Loose Trucks.

While their early records traded in a whimsical, light-hearted psychedelia, the band have gradually gravitated toward more personal songs, with a darker tone. That pattern continues with Wild Vision.

Have a listen to Swim The River.


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


Mind Brains at Rock Decibels

On pourrait qualifier Mind Brains de supergroupe dans la mesure où le line-up de ce combo d’Athens, Géorgie, comprend des membres d’autres groupes : Olivia Tremor Control, Marshmallow Coast, of Montreal, the Music Tapes, et plus…

Malgré ce pedigree impressionnant la musique de cet « debut album » éponyme n’aura rien d’ampoulé ou de déclamatoire. Le son, au contraire, nait sous forme de vague hallucinogènes, d’harrminies vocales qui se courbent et se distendent, d’éclairs de synthés en distorsion et de percussions vacillantes qui semblent venir d’une séquence onirique issue d’une peinture d’un Dalí nourri aux stupéfiants.

Autres images venant en tête, Queen alimenté par Quaaludes, les Beatles, période la plus acide, en mirage distant ; le tout formant une fête pour des sens qui seraient emplis de béatitude et de joie.

Mind Brains, comme se doit d’être tout effort psychédélique, est un travail collaboratif où se fait jour sa manière évidente une esthétique basée sur l’expérimentation et l’exploration soniques façon The Flaming Lips, mais aussi des bribes de tribalisme krautrock et de new wave à la Gary Numan.

Les freakouts seront charmants par moments (« Body Horror »), plus sinistres à d’autres (« Strange Remember »), liés tous ensemble par des interludes chargés d’effets sonores comme des bruits d’amplis ou des collages de guitares souvent à la limite du pastiche.

C’est une psychedelia faite de nappes et de textures, d’idées cérébrales et éthérées, flottantes et sans véritable suite logique en matière de direction. « Happy Stomp » créera un climat mystique en réitérant, tel un mantra, un seul accord et, bien qu’il soit le titre d’ouverture, il ne pourvoit aucune introduction à un disque fait de compositions lâches faites entre amis. C’est de cette manière qu’il a été conçu, c’est ainsi qu’il doit, par conséquent, être écouté.


Mind Brains at Babysue

An exercise in pure creativity. Notable musicians in Athens, Georgia team up for an offbeat side project…and the resulting music is puzzling, curious, and mentally stimulating. Mind Brains is comprised of Hannah Jones, Kris Deason, Emily Waldron, and Eric Harris along with contributions from Heather Macintosh, John Fernandes, Andy Gonzales, Jim Willingham, Mary Beth Justus, and Molly Waldron (whew!). All of these musicians are involved with other projects as well. These tracks were seemingly recorded without any regard for sales or commercial appeal. You won’t hear catchy choruses and familiar passages. These tracks flow by like some sort of strange stream-of-consciousness. This music reminds us of some of the more adventurous underground recording artists in the 1980s before everyone became so focused on digital perfection. Lots of experimentation going on here. Odd cuts include “Happy Stomp,” “Strange Remember,” “Whistle Tips,” and “Bouncy Clock.” Interestingly, only the odd numbered tracks have names (!). We sure respect these folks for having the guts to create and distribute something this peculiar… Truly…NEAT.


Mind Brains at Tuning Into the Obscure

This disc came to me sandwiched between two pieces of bread in a Ziploc bag. While that was certainly the most original press kit I’ve seen, the music was by far the most gripping thing in the box.  Described as a band with heavy psyche roots (many of the band members have been in psyche and pop rock bands) and a group that loves to break old electronic instruments and rebuild them to create something new, Mind Brains certainly stands as a group that lovers of psyche music should be listening to.  Even after just two tracks, I feel like they’re influenced by the likes of Conny Plank, early Kraftwerk, the Flaming Lips, Eno, the more psyche side of the Beatles, and the psyche side of Athens, GA.  Synth heavy grooves, vocal harmonies and off the wall arrangements of the two with a plethora of sounds, clips, texturing styles, and far out lyrics make this one hell of a ride.  It’s one of the most experimental nodern psyche albums I’ve heard from the US.  The world needs to take notice of this.  Awesome (4.9 out of 5)