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Ten Kens – Namesake






“Excellently skewed, arty rock, like Sonic Youth and Liars colliding.” — NME

Ten Kens, the Toronto based ethereal artrock group, is streaming their entire forthcoming album, Namesake, a week early via the massive Canadian entertainment conglomerate, Exclaim!  This is also in conjunction with their recently released video from Namesame for the song “Gently Used“, which is presented by Tiny Mix Tapes and available above. Finally, to give you a probably way over the necessary dose, the video for “When A Door Opens” also premiered via Consequence of Sound. which, you guessed it, is also available above.

Released after two years of nerve racking tranquility and a sophomore album glow, the aptly titled Namesake moves the band away from their signature genre-bending dither into a more darkened psychedelic day trip experience. The result of an intense yearlong recording period and masterfully engineered/produced by Ten Kens own Brett Paulin and Dan Workman, the band jumped from one recording facility to the next in order to find each individual sound which makes this whole. Apparently, the band enjoys disappearing “into complete isolation to keep their vision focused and devoid of any outside influence” which may come across from just the first 2 mins of “Gently Used“.

It is this insidious exploration, though, coupled with an almost ambient prog rock, that makes Namesake such an experience as for as an album. An abstract art-piece constructed from the remains of decaying genres, Ten Kens’  Namesake is an unapologetic trance of post-rock meets prog rock with a whole lot thrown in between. Basically, it’s beautiful. Grab a download or don’t be stingy and grab the vinyl (Release Date: May 21, 2013, if it’s a great album, it’s a worthwhile buy and yes, Namesake is a great album). Here’s to hoping a tour is in the works.

Cliff.DI

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Native – New Album & Tour w/ Caspa

In case ya didn’t know, yeah: I am a massive Native fan. We Delete; Erase was simply a masterpiece which gorgeously combined a midwestern noodle rock sound with a grundgy, emo-rock flare that often lost the listeners in bursts of post-rock glory. While We Delete; Erase is still my favorite of Native’s, Wrestling Moves, the sophomore release, did not disappoint. All of this brings me to the more exciting news: Northwest Indiana’s Native is announcing a whole hell of North American live dates starting next month, most of which will be alongside post-rock instrumentalists Caspian. A full list of the schedule is available below.

In addition to this glorious news, however, it is also a delight to hear that Native has just recently finished recording their second full length album with Greg Norman (Russian Circles, Pelican) in Chicago, a release which will be provided by your friendly label folks over at Sargent House this summer. To start building up enthusiasm  or if you are not familiar with Native, I would highly recommend checking out a video of the band playing one of their new songs,”Kissing Bridge” live in Paris (top of article). Furthermore, of course, I included a stream of Wrestling Moves for a quick preview.

As for now, well, be patient and stay tuned. Based just off the live video, I’d say we got a triumphant return in store for us. Till then.

Feb 25 – Oklahoma City, OK @ The Conservatory
Feb 26 – Albuquerque, NM @ The Gas Works
Feb 27 – Tempe, AZ @ Tempe Women’s Club

CASPIAN & NATIVE 2013

Mar 01 – Los Angeles, CA @ Echoplex also w/ Junius
Mar 02 – San Diego, CA @ Soda Bar And Lounge
Mar 03 – San Francisco, CA @ The Bottom of the Hill
Mar 05 – Seattle, WA @ Barboza
Mar 06 – Portland, OR @ Doug Fir Lounge
Mar 07 – Boise, ID @ The Red Room
Mar 08 – Salt Lake City, UT @ Kilby Court
Mar 09 – Denver, CO @ Larimer Lounge
Mar 10 – Omaha, NE @ The West Wing (no Caspian)
Mar 11 – Lawrence, KS @ Jackpot Music Hall
Mar 12 – Minneapolis, MN @ First Avenue 7th Street Entry
Mar 13 – Madison, WI @ High Noon Saloon
Mar 14 – Chicago, IL @ Subterranean
Mar 15 – St Louis, MO @ The Firebird
Mar 16 – Nashville, TN @ Exit/In
Mar 18 – Toronto, ON @ The Garrison
Mar 19 – Lansing, MI @ Mac’s Bar
Mar 20 – Newport, KY @ Southgate House
Mar 21 – Cleveland Heights, OH @ Grog Shop
Mar 22 – Pittsburgh, PA @ Smiling Moose
Mar 23 – Buffalo, NY @ Big Orbit Soundlab
Mar 24 – Burlington, VT @ Signal Kitchen

NATIVE ONLY

Mar 25 – Montreal, QC @ L’escogriffe Cafe Bar
Mar 26 – Kitchener, ON @ Jesse’s Rehearsal
Mar 27 – Toledo, OH @ Mickey Finn’s

Native – Sargent House

- Cliff

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Vintage Kicks/Scooba – COPYCATS

Bloomsbury Coalition is, well, “a badass collective of musicians and artists from the Delaware Valley.” Vintage Kicks and Scooba are, well, “surf-giants”. So what the hell is “COPYCATS“? COPYCATS is the first split by the two groups  for Bloomsbury Coalition, featuring a newly written track by each. In addition, and what makes this a particularly memorable EP, is the fact that each group also performs and reinterprets an older track from the other group. Released on November 30, 2012, and recorded/mixed by Vintage Kicks Chris Penny, COPYCATS stands out as a release which not only highlights two amazing groups from the Delaware Valley, but also their unique perspectives when handed foreign material.

The album opens with Vintage Kicks, performing their brand new single, “Cherry“. A deceitfully innocent tab followed by a ride through late 80′s garage-pop makes the track easy to love and, well, dance to (if I were not at work, I would probably start skanking in my tiny corner). Furthermore, the vocals bear the loveable sound of the new era of emo-rock meets post-hardcore, an always welcoming sign in my mind. “I Wish I Was Owen Wilson” follows, playing out as a, “cheeky letter to Owen Wilson about his career path but ends in total appreciation of the man.” Written by Scooba and reinterpreted by Vintage Kicks, “I Wish I Was Owen Wilson” actually does a damn good job. A recounting saga of success and failure, the hard hitting rhythm with the casually strolling percussion leads elegantly into a chorus of shouting, including a mid monologue which all but encompasses the message.

Scooba is up next with their new single, “Serious Lunch“. With a far heavier sound along with darker tinges, Scooba plays with “Serious Lunch” with a sound reminiscent to prog rock meeting post-hardcore. Odd, for sure, but certainly a frankly badass experience for any 90′s child to listen to. This message is best presented with their interpretation of Vintage KicksIron Fist“. With a “dark swirling atmosphere, reminiscent of Deerhunter or Joy Division” according to Bloomsbury Coalition, “Iron Fist” does play well off of a sound that is both hauntingly simple with a sense of minimalism yet intensive echo/distortion to fill through the nooks.

Point being, not only is the concept of the EP a brilliant idea, but each artist is able to add a significant dose of themselves to make the release a remarkable representation of both groups. This kind of task is far easier said than done so, to get a full appreciation, I would suggest attending the fundraiser, to assist a friend with leukemia, over at Studio Luloo in Oaklyn, NJ this Friday, December 21. So do yourself a favor: take a listen, hell grab a download (it’s name your own price anyways), but for sure catch them live this Friday to learn a little more. It’s a time worth having.

Vintage Kicks/Scooba – COPYCATS

Vintage Kicks

Scooba

- Cliff

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Die Eternias – Sould Out

Vienna’s Die Eternias’ second album is on it’s way (11/23/2012). Produced by Wolfgang Möstl (Killed by 9V Batteries, Mile Me Deaf) and recorded live in studio in Vienna and Graz in three days, Sould Out embodies a soul of rock ‘n’ roll with its seeming negligence of genres, often jumping through dashes of swing, cabaret, pop, and even reggae. Described as a “collection of tragic yet (gallows-)humorous short-stories, a day in the life of society’s outcasts, and an ode to Vienna’s most beautiful murderess”, Sould Out gives an amazing introduction for any new comers to Die Eternias, as well as providing a solid sophomore album for those devoted.

Singer and guitarist Voodoo Jürgensclaim claimed to originate from He-Man’s home planet Eternia in his childhood daydreams. By 2004, it appeared as though that claim may hold truth as Die Eternias was formed. Jump starting from a band-contest at Viennese club Flex, they released their first album on said club’s own label Flexschallplatten (released digitally on Seayou Records). Another 7” EP on Seayou shortly followed. While Die Eternias’ setup is conventional: guitar, bass, drums, an organ at live shows, the music is certainly not. Influences range from reggae to Kurt Weill, the songs are about the “repressed facets of Western society, the peripheral and marginalised individuals, the petty criminals, and the prostitutes.” Yikes, kind of heavy. Yet, as far as a sound, its pretty damn enlightening and outright fun, encouraging a break out dance session once in awhile.

In conclusion, yes, I do enjoy the album a bunch. Yet what seems to connect me to this album even more is the seeming relevance it holds, even when the artists originated hundreds, if not thousands, of miles away. Sometimes, smirking at the encompassing destruction is all we can do. Sould Out, on the other hand, it not the kind of destruction we should fear: rather it is the creative destruction that we desperately need. So thank you and please, as you were.

Die Eternias Facebook

Die Eternias – Sould Out (Bandcamp)

- Cliff

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