In autumn nature is vibrant, storydrug but also gently muffled, dosagethere as it whispers within the trees and slowly looks away from the warmer month’s naivety and brash explosions. These later, brown, red and golden months are melancholic and self defining. The blurriness of the previous heated moments become filed in nostalgia and glorious knitwear is exposed. The perfect music to announce this new phase, both outside your window and inside your stirring consciousness, is sweet, sensitive and yet, triumphant. Determination backing you up like a personal yoga instructor. Sea of Bees is the music you long for. Trust in Californian, Julie Ann Bee, to drift over in her ship and sail you away to a reflective, inspirational paradise.
Sea of Bees is ethereal in her folk sound. Her pitch is high and her instruments hark out in a manner less like ho-down festivity, more like modest little eruptions. There is an element of Decoder Ring, Laura Marling and Joanna Newsom in Julie. This is mixed with a distinct Californian, hippie edge. Despite a voice of sweeties personified (flying saucers), she has more bite than a girly girl, achieving this impression through her guitars, drums and confidence in her flowing notes. She’s that girl you see dancing with her eyes closed, oblivious, absorbed in her own thoughts and allowing her feelings to be shown like the cider in her hand.
Julie Ann Bee.
She must do this because Sea of Bees lyrics are so full of raw emotion, it’s like listening to someone’s heart beating, particularly, It Won’t be Long and Skinnybone. She is wistful, glorious and powerful. Just crack on Marmalade right now, I implore you, (available as a free download right here) and embrace the birth of something marvellous.
The new album Songs for the Ravens is out now on Crossbill Records in the USA and Heavenly Recordings in Europe. Sea of Bees is currently touring in the USA. You can check out her myspace here.
Written by Helen Martin on Tuesday October 19th, 2010 10:37 am
No two festivals are the same. Which is lucky since we would be stringing our genitals up by the linings of our straw hats if they were. Truck Festival, however, seems to hold a beautiful sense of naivety about it, pretty impressive considering its 11 year jog since its first outing in 1998. What seems to set it apart is its strong sense of community spirit. Throughout the weekend many of the acts expressed their respect and admiration towards Truck organisers, Robin and Joe Bennett. And with ice cream supplied by the vicar and food from the snowy members of the local rotary club, you can’t help feeling you’re a part of it.
Following an early morning sprint from the more fresh faced end of the car queue, I managed to make it to the heavily odoured cowshed for Oxford’s pop darlings, Alphabet Backwards. Headed by the eccentric James Hitchman with his merry entourage, from appearances you may be excused for thinking you’re in for another melancholy strangling of your sanity with tales of first loves and heartbreaks. Thankfully not. Alphabet Backwards’s brand of energetic lo-fi poptro found the entire cowshed transfixed as we were taken into the rather alternative musings of Hitchman’s brain box. ‘Disco Classic’ was a particular favourite with its synth heavy, building intro. ’80’s Pop Video’ was one of the most involving tracks of the entire festival with the crowd taking over, to ad lib a bizarrely synchronised clapping solo, halfway through. Looking around found many a laughing face or tapping foot whilst the 5-piece bounced around the stage. In the words of Alphabet Backwards themselves, “pop’s not a dirty word”. Thank god for that.
After aimless wandering, I found myself back in the cowshed for the highly anticipated, Youthmovies. It’s hard to argue that they don’t know what they’re doing but amidst the thrashing guitars, flashing lights and smoke machines, it’s also hard to see much else beyond that. The proclamation that we were watching the best band in the world found me wondering whether the farm fumes had projected me to a mediocre parallel planet. If you’re into turned backs and guitar noise you’ll get on well with it but I couldn’t help feeling it was a bit like watching other people eating food when you’re hungry. Strong cheekboned lead singer, Andrew Mears, who was once involved with ‘math rock’ tyrants, Foals, is clearly a talented soul, confirmed after I later heard him deliver a rather intricate poetry reading possibly to an audience that didn’t understand. But there certainly wasn’t enough water around Youthmovies to go floating any boats. Or trucks for that matter.
These New Puritans, with skinny-framed Jack Barnett emerging in a shimmering gold roman-esque shirt, which seemed rather fitting considering the thumping drums which at times, sounded like a call to arms. As Barnett delivered his rap-esque vocals I couldn’t help think this is what Linkin Park would sound like if they were from the UK and just a bit more cool. Don’t let that put you off though. In fact don’t even use it as a comparison. ‘Numbers’ played on our human desire for repetition, perfectly wrapped up in a stupidly named parcel of electronic nu gaze. Whatever you call it though, I dare you not to be stirred at least a little.
Truck isn’t exactly spacious but preceding Noah and the Whale, it was chlaustrophobic madness. Crowd control had to make a forceful announcement that if people didn’t move, they were out. Fun fun fun indeed. After a 25 minute wait they finally arrived. Following the onslaught of skinny kids with 80’s haircuts, the cutesy summer strawberry pop was hideously refreshing. Exactly what you’d want to listen to before taking off all your clothes and dancing in long grass with a childhood friend. Naturally, ‘5 years time’ was a favourite, sending limbs all over the place although it’s a good idea to not write them off as some kind of one hit wonder hippy outfit. A lot more lies beyond the band than just a youth celebratory summer anthem. Frontman, Charlie Fink, holds faint similarities to the early Johnny Cash with his collected swagger, well groomed hair and waistcoat/tie combination. This mixed with the love heavy vibe and modern mish mash of jazz and folk rock made me wonder why I’d want to be anywhere else.
I was starkly unimpressed by all the bands named as headline acts. Lemonheads were uninspiring and I would of been equally entertained had someone just stuck a CD player containing their album, centrestage and pressed play. After seeing ‘It’s a Shame about Ray’, I had to go and flog a dead horse for a while. Camera Obscura delivered gentle sugary pop melodies to a laxidasically sprawled audience. Coming across as completely inoffensive in the good sense. But it was within the smaller acts that the most exciting, raw and breaking performances came.
Pivot delivered the most lip biting, mind blowing set of the weekend. Not an attack you’d usually experience at 4pm on a Sunday afternoon. Seemingly gentle chaps turned into thrashing electronic noise warriors, pulling at the very bottom of the hairs in my neck before tearing them out. Comparisons could be made to a heavier Metronomy or a more broken Soulwax but it would be a weak attempt at pigeonholing something than shouldn’t be. Richard Pike tribally howled his way through a few sections whilst brother and drummer Laurence pounded at the quaking drum kit with such force that I thought a heart attack was only a matter of time. Definite highlight. Their album ‘O Soundtrack My Heart’ comes out August 20th although it’s hard to portray the passion and power that they play at, through a disc or music file.
Young hearts, Orphan Boy, a 3-piece from Manchester were one of the most exciting and promising of the weekend, only stumbled upon whilst I tried to find the person who had my plastic cup of warm cider, which rapidly paled into insignificance. There were few bands at Truck you could claim had any relationship with progressive post punk, but Orphan Boy more than made up for the lack of it. Thrashing their guitars into their vigorous yet half polished anthemic delights, they had the controlled arrogance of musical greats, creating a sound similar to The Fall if you stuck them in a pan and mixed them with a pinch of Arctic Monkeys. I couldn’t help feeling they weren’t getting the reaction they deserved but the few that were there shared my appreciation.
It was then time to put away my dog eared notebook and effeminate pen and get involved in a good ol’ game of wallet fishing before jumping in a skip, picking up paralytic drum and bass kids and then passing out in someone elses shirt. Holy truck. Ouch.
Written by Jacob Denno on Wednesday July 23rd, 2008 12:19 pm
The violinist comes on stage. He’s very tall and his tailcoat, ask wide tie and long hair and mostasche are how I consider a more genteel England might be attired. He looks considerate and pensive in a poetic sense. The rest of the band come on stage. Then the two female singers who are Smoke Fairies quietly take their places at the front. They appear a little bashful, malady but they have determined stares as they attach their instruments and look out to the audience. Their small frowns and concentrated expressions make them appear like they have been thrust on stage and are finding themselves dazed by the lights. Starstruck by their situation. But also it feels like reassurance; the two, click dressed in black mini dresses, are focused and aware that they behold the potential to have an audience in the palm of their hand. They look out and they know that a mood can be changed by the unison of their voices. They’re not nervous. Because their music is blinding.
The sound starts and the voices are slow. The guitars are played, fingers flickering on the notes, dancing in small circles. The electric strums are perfectly matched with the violin. The drums are hit and the two voices are joined and that’s the moment. This time it came earlier than expected. Charlie and I look at each other. A translation says; ‘this is good, I’m glad we came to this one’. Then following this is a quizzical eyebrow raise from him; ‘do we have their cd?’, before he spins me round, grabs my waist (bit annoying) and moves to the music. We try and get as lost as possible, which hopefully leads to synchronized swaying. Occasionally I look at him with my eyes wide: ‘This is EPIC’ (over use of this word through eyes/speech, noted). Oh how I love the difference between playing something off the old Mac and seeing the scenes played live. Even though it is of course a joy to sit/wallow/cry/smile/dance to tracks at home, some acts are just SO much more incredible in real life form. Like Smoke Fairies.
I’m telling you when they play together live on stage, it feels, well… I will have to use a simile – here follows: You know that advert for Ireland, when the lady is singing in her Enya (is it her?) voice and the camera is sweeping over the ridiculously green fields and coastlines of Ireland? A bit cringe but you get the image, it feels like you are the sweeper – as in you are sweeping/flying over amazing landscapes. Possibly wearing some tweed, definitely a cape with a hood. The music is more The Cranberries than Enya, but the flying sensation fits.
They also have a hefty 90s twang. Reminding me of Alicia’s Attic and The Shakespeare Sisters (you must know Stay?) – a bit grungy but with a little folk and blues twist. Their name; ‘Smoke Fairies’, fits perfectly with their ethereal, rocky and fantastical sound. From interviews past, I read that it alludes to the summer mist that collects in the hedgerows of Sussex’s narrow lanes. Being a childhood Sussex girl myself, I know this mist well. The old railway tracks by my house are dusty aired heavens; the hours spent walking the lanes, their vision, scent, sound and feel make for ‘home’ in a snapshot. Jessica Davies and Katherine Blamire met at school in the fair county of Sussex. And (wisely) rather than 5ive, Wigfield etc. the pair preferred folk, classic rock and blues. So they got together and created their own sounds, moulding their preferences and harmonies. After school, they lived in New Orleans and Vancouver, before returning to go on tour with Brian Ferry in 2007. They have since received high acclaim from artists such as Richard Hawley and Jack White. The former took them on tour and the latter recording a single with the fairies.
Smoke Fairies live highlights for me were; Summer Fades, Gastown, Hotel Room and Strange Moon Rising. As they played their guitars, their concentration and dedication to each note was mesmerizing. Although they seemed a little distant between tracks at times, their music was confident and heavenly. I highly recommend you listen. Their album, Through Low Light and Trees is out now on V2.
Sea of Bees supported Smoke Fairies. As you may already know, I think Julie Ann Bee is superb. You can see from my review of her album, Song for The Ravens, available on Heavenly Recordings. Seeing her live, she was even more endearing than I had hoped. Somewhat of a contrast to Smoke Fairies’ mysterious mood, Julie broadly smiled and chatted between songs. She seemed really happy to be on stage, declaring her love for the South West’s cider and mentioning that since she was a child, she had in fact deeply wanted to be English. I got the impression that she yearned for this through the sugared lens of Mary Poppins, when she mentioned the singing dreampop, in the same way that we all live in castles and are close friends with Prince Harry. Not that England isn’t splendid. Regardless, when she talked of the Isle she sounded genuine and almost childlike. I get the impression that she has a very vivid imagination and a warm heart, perhaps under appreciated, but certainly obvious tonight. And in all her music of course.
Happily Julie’s singing on stage was as sweet as it is on her album, but with the high notes hitting the rooftops. Hearing her explain each song’s meaning was a delight not often had. And seeing her acting out the songs, her face frowning into the mid distance and then smiling… looking to the imaginary stars – made her album’s preconceived character a reality. Her feelings manifesting themselves in her music, she seems almost vulnerable, but utterly lovable.
She talks and sings of dreams and following them, of saying goodbye to past loves and the joy of friends. All that we can relate to, but that we could never articulate with such beautiful sounds as she does. As sugary as a sugar mouse, as heavenly as a glass of Peach Prosecco on a cloud. Song For The Ravens is out now on Heavenly Recordings.
See:
Written by Helen Martin on Friday February 4th, 2011 6:53 pm
Religious to Damn‘s lead singer is Zohra Atash, more about a cool lady with a batwingged 70s style, look a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, approved and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?!
Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, viagra 60mg a cool lady with a batwingged 70s style, viagra a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, physician and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?!
Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, illness a cool lady with a batwingged 70s style, cialis 40mg a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, medications and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?! Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, capsule a cool lady with a batwingged 70s style, a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?! Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, information pills a cool lady with a batwingged 70s style, online a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, mind and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?! Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
Religious to Damn‘s lead singer is Zohra Atash, buy information pills a cool lady with a batwingged 70s style, a voice a bit like Alison Goldfrapp and Natasha;Bat For Lashes, and an excellent (seemingly well behaved) fringe. The Brooklyn band’s album, Glass Prayer, is out now on M’Lady’s Records. I caught up with Afghan-American Zohra, and asked her a few questions.
Hello, could you introduce yourself for us please?
My name is Zohra Atash, I’m a singer/multi-instrumentalist/songwriter. My primary project is Religious to Damn.
Could you describe what your music is like?
I try to make music that’s atmospheric and elegant, thoughtful and melodic. Some people have said that it’s cinematic and evokes a certain sense of expansiveness, which I’d agree with.
Where are you from?
My parents are Afghan, but I was born in Florida and grew up in Virginia. But I’ve been in Brooklyn for quite some time now.
How does London compare to New York? Do you like England?
I’ve been in love with British culture and art for years. I may have had my raising in south, but I lived in a house full of British records – from 60’s British invasion rock, to my sister’s collection of new wave and post-punk. My favorite bands in high school were Lush and Pulp…. I really wanted to move to London and start a band!
Why the name; ‘Religious to Damn’?
I write the music, but I wanted to avoid the stigma that goes with being a singer-songwriter. The name came up in a rather fiery conversation I was having with Josh about people who seem to be attracted to religion primarily so that they can condemn others to hell. We both liked the multiple meanings, (from) Religious to Damn(ation), as in a span, and Religious (in order) to Damn, so it stuck.
Tell us about Glass Prayer?
I wanted to make a record you could really immerse yourself in, something with really grandiose imagery. There are a lot of layers. It’s subtle at times, and heavy on the drama as well. It’s meant to reveal itself after multiple listens. We’re inspired very much by artists that maximized the possibilities of production, but the thing about them was that they didn’t beat you over the head with every last sound and idea. Some things may be out in front, but others are buried, carefully placed, left in soft focus. And that’s why they reward multiple listens, because new nuances emerge gradually, and one day you notice things you may not have noticed before. It’s a gamble to make a record like that these days, given how saturated the world is with new music. But we went for it anyway.
And when will you next be on tour…?
We’re planning to be in the UK/Europe this year, hopefully sooner than later. I’m very excited.
Who would you like to sing with in an ideal world – dead or alive?! Bryan Ferry
How did you all meet?
Josh and I knew each other for years before we started working together. We had a similar aesthetic. Charlie was a classically trained percussionist, but also just an amazing rock drummer. He has an incredibly full range of capabilities to realize the diverse aspects of the music. Allegra played in a band in Portland called Magick Daggers, as well as The Portland Cello Project, and we had mutual friends, so when she moved to New York, she came on board. And Lea was Charlie’s bandmate in a Balkan punk band, and she’s also a classical musician, so she rounded out our current lineup.
How did you get the position you’re in now?
We put a lot of heart and muscle into getting to the place we’re in now. I dedicated my whole life to this. It’s a labor of love…. it’s what I wanted to do my whole life. We’ve certainly put up with our share of obstacles. Sadly no stories that don’t fall into the category of boring rock doc cliché. It’s not an easy business and New York’s not always a kind town. But we got to where we are through perseverance and the belief that we had something worthwhile to offer to the musical landscape.
How do you see your future?
We’re excited to bring our live show to as many people as want to see it. Believe it or not, the next record’s almost written, and we’re planning on recording it later this year. I’d say the future will be at the very least, eventful. I’ve got lots of ideas, and am always eager to write new songs and record new records. I see a future filled with lots of Religious to Damn music!
You may have seen my review of Smoke Fairies, visit web with Sea of Bees supporting, visit this site last month in Bristol. ‘I’m telling you when they play together live on stage, it feels, well… I will have to use a simile – here follows: You know that advert for Ireland, when the lady is singing in her Enya (is it her?) voice and the camera is sweeping over the ridiculously green fields and coastlines of Ireland? A bit cringe but you get the image, it feels like you are the sweeper – as in you are sweeping/flying over amazing landscapes. Possibly wearing some tweed, definitely a cape with a hood. The music is more The Cranberries than Enya, but the flying sensation fits.’ I was lucky enough to get hold of Katherine and Jessica, just as their tour finished. I asked them a whole bunch of questions, on a range of subjects; from Jack White to New Orleans and Sussex.
Could you introduce yourself for us please?
We are Katherine and Jessica from the Smoke Fairies
And what is your music like?
A concoction of harmonies, riffs, blues, folk, long drives, late nights, nostalgia, stories of loss, dark thoughts, changing light, memories.
When and how did you get together?
k.We met at school when we were about 11 and started singing together as a way to make the school years more interesting. It soon became pretty obsessive with us playing at every opportunity.
Do you miss Sussex?
K. Sometimes living in London gets a bit intense and I think deep down we both love getting out to the countryside and back near the sea. I miss the space and the ability to get out on your own. But London has more opportunities and of course we are drawn to all the activity and creativity happening here. It would be equally hard to tear myself away from here now that it has become a home base.
What was Canada and New Orleans like?
K. We lived in New Orleans for a year at quite a pivotal time in our lives and we absorbed a lot of influences from the environment and people. We used to hang out in a coffee shop where we were given gigs and a lot of musicians from across the States would pass through. We felt free to explore our sound. We were affected musically as well as by the heartache that came from leaving it behind. Canada was a less focused and more calamitous year and that came out in the music we were writing at that time, but again the environment was the main influence seeping in. From our apartment we could see the mountains stretching off into the distance as well as the sky line of the city. Those places were important in our development, but nowadays we are just as much influenced by the heavy air of London, as England has really become our home.
Who have you toured with? What was it like?
J: We have toured with a range of artists; Bryan Ferry,The Handsome Family, Richard Hawley and Laura Marling. All have been completely different experiences due to the venues, the audiences and the way we were travelling. For some tours we have driven ourselves which requires a lot of organisation.
And what is touring as the headline band like?
K. It has given us a lot more confidence as performers. It is a completely different feeling to being the support band, there is more of the feeling that you are able to own the stage and that brings a sensation of immense freedom and enjoyment. It’s very satisfying to be able to headline shows now.
What was it like working with Jack White?
K. At first we couldn’t really believe we were there, but it was amazing how relaxed we felt once we got into the studio and we had never had the chance to record with analogue equipment before so that was really interesting.
Who would you like to work with next?
K. I think any musician dreams about working with many of the people they admire.
What’s coming up for you?
J. At the moment we are getting ready for festival season, writing the new album and making plans to release ‘Through Low Light and Trees’ in the US.
How are you enjoying your successes?
J. It is great at the moment but we will always want more. We are pleased with ‘Through Low Light and Trees’ and the way it was received but we are eager to move on to the next album.
What inspires you?
J. Sometimes it will be music but mostly ideas from songs will come from a combination of experience, books, tv, the weather, the seasons…. Sometimes one idea will strangely keep presenting itself in different ways, forcing you to write about it.
Do you write your own music?
K. Yes. We write it all. Except, recently we have been experimenting with some covers. We worked on a cover of Killing Joke’s Requiem and played it a lot on our last tour. We ended up releasing it on the B Side of our special edition tour vinyl of our single Strange Moon Rising. We also recorded a cover of Neil Young‘s Alabama. We are hoping to expand the covers we do into more unexpected genres, so there will hopefully be more on the way. The Killing Joke cover was really inspiring as it was probably a surprising direction for us to take, but it gives you a different perspective on your own songs and how you could think about writing songs in another way.
Where did you learn to play the guitar like that?
K. I think its just taken us a really long time to develop our style. Its a bit like singing I think, it takes a while to find your voice and feel confident. That came mostly from listening to a lot of music and watching folk and blues musicians playing live. Sitting in the front row and watching their fingers. I don’t think our style of playing is particularly conventional or based on a technical background.
Where do you see yourself in ten years?
K. Hopefully still alive and reaching more people with our music, maybe I’ll be able to get a dog, but I’m not sure with all the touring.
Initiating a relationship over the Internet is an age-old tale and I have friends who have successfully trodden this path, viagra dosageno rx but not without some initial trepidation. There’s always the joke about boys being deluded about their height, unhealthy often adding an inch or four to their profiles (or being axe-murderers), and girls uploading old photos when they were a good few pounds lighter (or being bunny boilers). But beyond the aesthetics, how much do you really know about your online confidante? And on the flipside, how far are you willing to stretch the truth to ensure that you are presenting yourself in the best light?
Produced by filmmaker Andrew Jarecki, who directed the brilliant docufilm “Capturing the Friedmans” in 2003, Catfish is the directorial feature film debut of Ariel Schulman and Henry Joost, who explore these themes, human psychology and the modern technological landscape as a medium for communication, closely following a ‘virtual’ relationship as it unfolds over Facebook and phone calls. Made with a budget of only around $30,000, the film was an unlikely hit at the Sundance Film Festival last year, which had audience members and critics alike hyperventilating with excitement.
When I received my invite to the press screening, I was urged to read as little about Catfish as possible to avoid spoiling my experience of the film. As I would urge you to do the same, I can tell you that writing this review is going to prove difficult but here goes…
Filmed using a grainy handheld camera, the story revolves around the film’s protagonist, Nev Schulman, a young, charismatic, sleepy-eyed New-York based photographer who becomes involved, via Facebook, with an eight-year-old art prodigy named Abby in Michigan. Abby approaches Nev to ask for his permission to use a photograph for a painting and a fraternal relationship ensues between Nev and Abby, which becomes increasingly complex as Nev becomes involved with the rest of her family: Abby’s mother, Angela, and Abby’s attractive horse-riding, guitar-playing, party-loving 19-year-old sister, Megan, along with Megan’s intricate network of friends. Needless to say, a less fraternal relationship develops between Nev and Megan and before we know it, they are “sexting”, amalgamating naked photos of themselves and speaking every night via the plethora of the networking tools that we have at our disposal today. Nothing, however, is quite as it seems as the film takes several unexpected twists and turns to reach a not entirely surprising yet poignant conclusion.
One of the film’s key strengths lies in Nev’s engaging hopeless romantic, drawing empathy from his viewers as we are taken on a journey of his evolving feelings for Megan and her family. Throughout the course of the film, we see Nev experience infatuation, doubt, anger, disappointment, betrayal and then sympathy – feelings of which are all doubtless familiar to us, whether in the virtual or real world. The way in which the film is shot, where Nev talks about his thoughts and feelings directly to the camera as if we were talking to a family member or a close friend (fitting really seeing as Schulman is Nev’s brother and Joost is one of his best friends), makes us feel as if we are sharing a very private experience with Nev, helping us to bond and identify with his character.
Where David Fincher and Aaron Sorkin’s “The Social Network” is about the creation of Facebook, Catfish is a film about the consequences of such creations, which may explain why its subject matter has resonated so strongly with audiences, seeing as approximately 5 billion of us across the globe are subscribed to a mobile phone contract and 500 million of us are active users of Facebook (although I exclude myself from the latter).
At the risk of revealing too much, “Catfish” goes far deeper than simply being “another film about Facebook”. It throws up moral questions such as to what extent one can indulge in what superficially appears to be harmless innocent fantasies before we start to infringe on the wellbeing of others. This issue, however, is not strictly confined to the realms of an online environment, although it can be argued that modern technological advances, especially social networking, has made this deception somewhat easier to play out and sustain.
There has been much debate about the authenticity of “Catfish” and I for one am not completely convinced that we are not being taken for a ride, however, regardless of whether the movie is a hoax, Catfish is an absorbing, thought-provoking and affecting indie about hope, crushed dreams and the society that we live in where social media and modern technology provides a platform for our inner-narcissist, potential to deceive or desire to escape reality to a fictional world where life is more kind. In Joost’s own words, “Our profiles are a chance to present ourselves to the world in a way we can completely control – unlike face-to-face interaction”.
Read our exclusive interview with the director of Catfish, Henry Joost, here.
Catfish is currently showing at selected cinemas across the UK and available on DVD from today.
Ariel “Rel” Schulman (left) and Henry Joost (right); illustration courtesy of Matilde Sazio
Born in Frankfurt, Germany, Joost spent most of his childhood travelling the world with his mother, a photographer, and his father, an international banker. He is still an avid traveller and collector of cameras, which he uses to capture both film and still.
To celebrate the release of Catfish, Joost talks exclusively to Amelia’s Magazine about the inspiration behind the film, his views on social networking and the emotional rocky road he shared with the Schulman brothers (Nev, the film’s protagonist and Ariel, co-director), from the moment the cameras started rolling…
How was the initial idea for ‘Catfish’ conceived? What made you start filming Nev in the first place? From my perspective the film began as one of Rel’s pet projects that I became increasingly interested in. When Nev and Abby’s story became like a living soap opera I joined in, filming Nev as well. We have a deal with each other and with our friends that it’s ok to film all the time. We keep a personal record of our lives with these little HD cameras we keep in our pockets. Sometimes it turns into something but more often than not the footage lives on a hard-drive, unwatched.
Did you have any expectations when you started filming? Rel had an instinct that he was shooting what could become a charming short film about two artists meeting on the internet and inspiring each other. Or just another strange episode in his brother’s life. That’s enough for us to go on. It was only after 8 months of filming sporadically in the midst of our busy lives, that we realized that true nature of the story we were telling.
What makes Nev compelling as a protagonist? Why should we care what happens to him? Nev is compelling to me because he’s one of my best friends and plays a huge part in my life. I think he has a natural charisma that people connect with. He wears his heart on his sleeve and he’s not afraid to expose himself, which people respect. In Catfish he’s an everyman. We’re all looking for connections online, hoping to find love, friendship, or inspiration.
How did you find your directorial relationship with Ariel evolve over the course of filming? Were there any debates at any stage in how you wanted to approach things? Rel and I have been working together for about 6 years now, so we have a natural and largely unspoken dynamic. I think our personalities complement each other and we rarely disagree. My role was often to keep the peace between the two brothers.
What was the most challenging thing about filming ‘Catfish’? The most difficult thing for me was balancing making the film with fear for my personal safety, although that fear turned out to be unfounded. There is a moment in the film that was the scariest of my life, but I felt emboldened by the camera and knowing that we were on a quest for truth.
Has Nev’s experience made you more cautious of social networking? I was cautious about social networking to start with, so this has only confirmed my suspicions. Although the contradictory effect of the film is that I’m also much more open to people I meet online now, because those people could turn out to be real friends or collaborators.
Do you think social networking has served to strengthen or weaken the depth of the relationships that we build with people? I don’t think it’s possible to have more than a few close friends with or without Facebook. Social networking has allowed us to maintain more superficial relationships than ever before with incredible speed and ease, but I don’t think it particularly affects our few real relationships.
I don’t have a Facebook account – can you give me one fool-proof reason why I should join? Wouldn’t you like to know what your boyfriend from 8th grade looks like now?
SPOILER ALERT!! READ ON ONLY IF YOU HAVE SEEN THE FILM…
Illustration courtesy of Aysim Genc
Prior to the revelatory moment where Nev discovers that ‘Megan’ has uploaded Suzanna Choffel’s version of Tennessee Stud as her own, did you at any point have any suspicions about Megan and her family? Did anything seem odd to you? We did have suspicions at first. It seemed strange that this artist was giving her valuable paintings away for free. But suspicions about a potential financial scam were assuaged when Angela sent Nev a check for $500 – half of the winnings from an art contest Abby won with a painting of one of Nev’s photos. Suspicions were always addressed in a clever way or buried under a mountain of contradictory evidence.
What were you most surprised about when you first met Angela? I was completely surprised by Angela. We imagined a lot of scenarios, but in my wildest imagination I don’t think I could have ever conjured up Angela in all of her complexity. More surprising still was how well we all got along so well.
What were your own feelings towards Angela initially and did they change as you got to know her better? I expected to meet some kind of villain behind all of this deception, so it was a relief to meet Angela. We found her to be fun, smart, and engaging and were happy that she and Vince really welcomed us into their lives.
Is there a message you’d like viewers to go away with after having seen ‘Catfish’? I think one of the great things about the film is that everyone brings their own experiences into the theater with them, and walks away with a different message. I would hate to color that in any way with my own personal opinion.
Do you think there is an element of Angela in all of us in how we go about presenting ourselves in the ‘virtual world’? I think we all curate our online personae and what Angela did is incredibly relatable. Who among us has not de-tagged a photo, or agonized about our “interests” or “relationship status” on Facebook? Our profiles are a chance to present ourselves to the world in a way we can completely control – unlike face-to-face interaction.
Read our review of Catfish here.
Catfish is out at selected cinemas across the UK now and available on DVD from Monday 10th January.
Best Albums of 2010 by LJG Art & Illustration.
Last year I discovered a whole slew of marvellous new albums. So I thought I would round them up before we got too far into 2011 – some I have already reviewed, approved and some I meant to review but didn’t get around to it, sildenafil thereby giving me the perfect opportunity to do so now. Without further ado here are my picks of 2010.
Trevor Moss and Hannah-Lou – England
Loose Music We’ve been championing this duo in various musical guises over the years… and their current husband and wife incarnation perfectly suits the harmonic beauty of their unique song-writing. England is a beautiful folk album that brings a modern flavour to age old tales of “peas, mash and pie” and “the catch of the day.” They have been working on a new album over the past few months and they start their extensive Tin Tabernacle tour soon, full listing here. Last summer they blew me away when they played an impromptu gig with Danny and the Champions of the World at our Climate Camp stage at Glastonbury. Make sure you catch up with them.
I Like Trains – He Who Saw The Deep
self-released
I first fell in love with the historical tales of iliketrains many years ago when I featured them in the print version of Amelia’s Magazine. Since then they have become I Like Trains (small but crucial difference), parted with their label and lost cornet player Ashley Dean – who has since created a fab video for Our Broken Garden which you can read about here. The crowd funded new album He Who Saw The Deep retains the gravelly baritone voice of lead singer David Martin but ditches the historical references in favour of a stirring elegy to the perils of an uncertain future “as Europe slips into the sea”. They go on tour at the start of February. Full listing info here.
The Golden Filter – Voluspa
Brille Records
This album didn’t register on my radar until I saw The Golden Filter play live at Secret Garden Party in 2010. But here lies a clear case of an impressive live performance translating equally well into a recorded version – thereafter I’ve listened to Voluspa on a regular basis. It is impossible to find any information about The Golden Filter on the internet because they have done their best to maintain an aura of mystery around them akin to the swirling atmosphere that surrounds singer Penelope Trappes during their live performances. Other reviews have not been so kind about the hazy noodlings of the album experience but I love listening to it as a whole.
The Pipettes – Earth Vs The Pipettes
Fortuna Pop
In 2010 The Pipettes staged a come back with a very different flavour to their last studio album, (read our interview with them here). This time the line up features sisters Gwenno and Ani, and they’ve taken a distinctly dancey turn away from their 50′s doo-wap inspired songs… whilst still retaining their deliciously girly harmonies. This should be a good year for this truly independent pop band, starting with their DJing spot for their irresistibly bouncy tunes at my launch party for ACOFI at the end of January. After which they will be guesting on the new Does it Offend You Yeah? album. You wouldn’t find the Sugababes doing that now would you?
Our Broken Garden – Golden Sea
Bella Union
Bella Union rarely puts a foot wrong, and Golden Sea by Our Broken Garden is no exception… an absolutely stunning album that I have listened to over and over and over again. If you get a chance to see Anna Bronsted perform live TAKE IT immediately. Her gig at St. Giles-in-the-Fields was one of the most magical performances I have ever seen. You can read my review here.
6 Day Riot – On This Island
Tantrum
Self released on their own label, 6 Day Riot are a prime example of an uber talented band doing it for themselves. As singer Tamara candidly writes on their blog it’s hard work to get yourself heard when you are up against the promotional purchasing powers of the major labels, a fact which as an independent publisher I know only too well. On This Island is an incredibly rich and rewarding album and 6 Day Riot are just as much fun live. I can’t wait for them to play at my launch party for Amelia’s Compendium of Fashion Illustration.
Motorifik – Secret Things
Moto
Despite a pretty terrible name – calling to mind, perhaps, Jeremy Clarkson loving rockers – Anglo-french twosome Motorifik won me over towards the end of 2010 with their 90s influenced shoegaze crossed with dance beats. Well worth checking out if you like your indie music lushly melodic.
Peggy Sue – Fossils and Other Phantoms
Wichita Recordings
Combining indie, folk, doo-wop and blues, this was my stand out favourite album at the start of 2010. The two girls in this three piece line up take turns on lead vocals, singing of complex love lives with heart rending passion. You can read my review here.
Napoleon IIIrd – Christiania
Brainlove Records
Starting with an intense splash of impassioned vocals yelped against a backdrop of reverberating beats, Christiania means business from the get go. Previous album In Debt To gained Napoleon IIIrd a coveted profile in the printed version of Amelia’s Magazine and this latest release does not disappoint, taking on board influences from genres as diverse as balearic beats, woozy cosmic pop and big bands. It comes out on the Brainlove label, home of all things eclectic and wonderful. Excitingly you can see both Napoleon IIIrd and I Like Trains together when they go on tour this February.
Malachai – Ugly Side of Love
Flying the flag for totally out there psychedelia is Bristol based Malachai. Ugly Side of Love is a wonderful stoner concoction recently given the blessing of Portishead’s Geoff Barrow. Malachai mash up stomping rock riffs, crashing moogs and sampled loops – it’s totally mental and I bloody love it. You can read our review here.
Other albums that I loved probably need no further promoting as they will have done well on more mainstream “best of” lists but I will give them a brief mention here. Following a storming tour of the festival circuit Villagers‘ Becoming a Jackal did incredibly well and was nominated for the Mercury Prize. Read my review here. Perhaps inevitably Laura Marling‘s I Speak Because I Can has also done brilliantly…. because it is brilliant. What can I say? Laura is amazing. And of course you could read about her many years ago in Amelia’s Magazine, which ran one of her first interviews in print. Read our review here. The Irrepressibles finally released their incredible album Mirror Mirror, which I was lucky enough to discover several years ago when I put them in the print issue of the magazine. Read our review here.
Helen Martin has already mentioned Mountain Man, Sea of Bees (tour listing here) and This Is The Kit albums in her excellent round up… and I loved them all too. She has great taste so I’m sure her other nominations are fabulous too, but I must confess that I haven’t heard them all for myself. Which is just as well because it left me space for this little round up.
I do hope you’ll support these incredibly talented musicians by splashing out on one or two of these releases, most of which have come out on tiny labels for the love of music. As for what to look out for in the coming year? I’ll be giving you my low down shortly… watch this space.
Written by Amelia Gregory on Monday January 10th, 2011 4:52 pm
Sea of Bees released her new single Gnomes on Heavenly Recordings yesterday. It’s yet another heart rending slice of Julie Ann Baenziger, treatment so it seems high time that I finally publish the interview I did with her earlier this year, unhealthy just prior to a gig at Bush Hall in Shepherd’s Bush.
Sea of Bees in February 2011. All photography by Amelia Gregory.
Watching Jules live it is hard to believe that she was once a shy church going suburban girl. Since signing to Heavenly Recordings for three albums last year she has become submerged in the intensity of touring, experiencing a very different world to the one she left behind.
Gnomes
Jules was born in Roseville, a suburb of Sacramento. ‘A place where you go to school, have crushes, go to college, go to church and very little else.’ She was brought up a Catholic but from an early age knew she was different. As a shy and awkward 6 year old, she remembers becoming enchanted by ‘this hippy man with curly hair and glasses singing with a wobbly vibrato‘. She instantly knew she wanted to sing but wasn’t sure how to go about it.
Her mum loved Cher, Celine Dion and the Bee Gees (in their bad stage, Jules hastens to add). Her dad thought The Mamas and The Papas were bad because they all slept with each other, and he would say things to scare Jules away from popular music. At church they listened to U2 and Christian music. Apparently U2 made it their goal to reach religious congregations. ‘I don’t mind them,’ she says ‘but I don’t like them in church.’
Never aspiring to do anything more than play in small bands, Jules taught herself to play an out of tune one string bass that she found in the shed when she was 16. She had lots of long hair, and looked like a real girly girl – but she liked girls. ‘There was nothing to do but go to church and school, and I was in love with a girl at my church who had the voice of an angel,‘ says Jules, ‘so I learnt a song that she always sang note by note.’ She had just one goal: to find the right person for love. When the object of her affections told her ‘that’s great Jules‘ it lit a fire beneath her which inspired her to practice hard every day, yet still she felt frustrated because her feelings were not returned. ‘I felt I couldn’t love anybody or play good music.’
Her mother was supportive yet still she remained depressed, haunted by a nagging feeing that she would die young, wanting but unable to have the things just out of her reach. Folks at church told her ‘don’t let your gift overthrow your heart‘ – meaning that she shouldn’t obsess all the time. But everyone in Christian bands seemed to break up and have kids, so eventually Jules left Roseville and the church at 23 years old to live with a 19 year old guy, a producer, that she had met online. They lived in a ramshackle old house in Sacramento where they hosted lots of parties which trashed the place. ‘Every night we played music and some mornings there would be 25-30 people sleeping on the floor… lots of mad hipster kids. I would just get drunk to stay numb.’ They lived together for two years, Jules playing bass for their punk band, Find Me Fighting Them, and working as a coffee barrister in the daytime. It was in the coffee shop that she met her Orange Farben. ‘She had a bowl haircut, green eyes, vintage shorts and a ruffled shirt – and I knew it was right. She was like ‘Do you like boys?’ and I was like ‘Phew, that’s a bold question!’ She freed me, she was the thing that I needed.‘
A year and a half ago she met John Baccigaluppi of Hangar Studios, who encouraged her to use his studio to record some acoustic songs. Straight away he was keen to remix her songs and the first short EP was born. Since then she has been busy gigging all over the US and Europe. ‘I just try to keep moving and enjoy the moment. I know I can rest when I’ve had a good day.’ She credits John with teaching her ‘what’s good in life‘ and aspires to lead a similar lifestyle to Martin Kelly of Heavenly, who is married to Sarah Cracknell of Saint Etienne. ‘His quality of life inspires me.’ Jules dreams of setting up her own studio at home, where she will nurture a calm environment far from the partying demands of being on tour. ‘I like to eat carrots and nuts and salads. Stay put at home and enjoy my friends.’
Jules has songs already recorded for the next album, some of which she wrote whilst on tour with the Smoke Fairies. When I met her she was fairly certain that the next album will be called Orange Farben, after the love that meant so much to her. ‘I want to be a good person and care,’ said Jules, as she prepared to go on stage. ‘Keep doing what you love and good things will come – that’s what I keep telling myself. Of course there’s loneliness but I have to let it go.’
Why the reference to sadness? Her last song at Bush Hall was dedicated to her Orange Farben – a statement which was lost on the majority of the audience, as was much of her slightly garbled interludes, but I had just hugged her backstage as she spilled over into tears, and I knew that her girlfriend of one year had split up with Jules over Skype the evening before. ‘I just want to love somebody and take care of them,’ she had reiterated to me. ‘That’s my goal, that and make music. Right now I have heartbreak but everything is going to be okay.’ Sea of Bees‘ unique talent lies in her ability to share emotion on a visceral level, the melancholy of her music slipping deep inside when you least expect it. Orange Farben may have broken her heart but I have no doubt that the album dedicated to her name will be a therapeutic experience not only for Jules, but also for her ever growing sea of admirers.
Gnomes Tunng remix, free download for a short period only.
Written by Amelia Gregory on Tuesday August 16th, 2011 4:57 pm
In autumn nature is vibrant, storydrug but also gently muffled, dosagethere as it whispers within the trees and slowly looks away from the warmer month’s naivety and brash explosions. These later, brown, red and golden months are melancholic and self defining. The blurriness of the previous heated moments become filed in nostalgia and glorious knitwear is exposed. The perfect music to announce this new phase, both outside your window and inside your stirring consciousness, is sweet, sensitive and yet, triumphant. Determination backing you up like a personal yoga instructor. Sea of Bees is the music you long for. Trust in Californian, Julie Ann Bee, to drift over in her ship and sail you away to a reflective, inspirational paradise.
Sea of Bees is ethereal in her folk sound. Her pitch is high and her instruments hark out in a manner less like ho-down festivity, more like modest little eruptions. There is an element of Decoder Ring, Laura Marling and Joanna Newsom in Julie. This is mixed with a distinct Californian, hippie edge. Despite a voice of sweeties personified (flying saucers), she has more bite than a girly girl, achieving this impression through her guitars, drums and confidence in her flowing notes. She’s that girl you see dancing with her eyes closed, oblivious, absorbed in her own thoughts and allowing her feelings to be shown like the cider in her hand.
Julie Ann Bee.
She must do this because Sea of Bees lyrics are so full of raw emotion, it’s like listening to someone’s heart beating, particularly, It Won’t be Long and Skinnybone. She is wistful, glorious and powerful. Just crack on Marmalade right now, I implore you, (available as a free download right here) and embrace the birth of something marvellous.
The new album Songs for the Ravens is out now on Crossbill Records in the USA and Heavenly Recordings in Europe. Sea of Bees is currently touring in the USA. You can check out her myspace here.
Written by Helen Martin on Tuesday October 19th, 2010 10:37 am
