This video from gives me the chills. Civilian will most definitely be one of my favorite records of 2011 (list coming soon). I’m so mesmerized by the weathered rasp of her voice and gorgeous melody. Having play our SxSW showcase this year was definitely the highlight of the week. This is phenomenal. Watch below!
Listen guys, I know I’m late on the game- but I just started using Instagram. So follow FWBA for music-related photos, but more likely unexplainable happenings in my daily life. Also, it’s snowing today, I’m overcome by how beautiful it is outside, maybe this winter won’t be so bad afterall.
I can’t wait for Dr. Dog‘s new record Be The Void out in February. Here’s a sneak peak of what to expect with their new track “That Old Black Hole”. The lyrics are pretty phenomenal, and there’s something sad and mesmerizing about this video. I just want the little guy to get it, y’know?
has this old punk rock feel to her- her lo-fi grit feels abrasive in the same way that you pop a tape into a cassette player and embrace all the fuzz and scratches. She’s got this really interesting vocal tone too- it’s got some depth to it, like she’s not concerned with sounding pretty. She’s got that similar cynicism and angst as Sharon Van Etten, but a bit less clean. Her melancholy croon suggests she’s lived through it all, but I think it’s a safe bet to assume she’s likely in She’s got a record release show on Nov. 30th at the Wunderbar in Edmonton. Find out more details .
Matt Gilles from the music blog and Peter Willey sent over a project called . Their first track “Mason Jar” has got this lo-fi groove to it, sounds very similar to Bradford Cox/Atlas Sound. The bandcamp also features a 10 minute long remix of Mason Jar called Lou Breeds Psychic Surf Mix- it’s a downtempo version, more of an ambient/instrumental side of the song. Love it! Check it out .
stopped by the AV Club for their Holiday Undercover where they invite 10 bands to perform 10 holiday covers. The guys performed WHAM’s “Last Christmas” which turned out more beautiful than the original (I know you’re thinking, how could that be?) I really appreciate how serious they take it, and special props to Kyle Flater for his stoic backup vocals. He really got into it. Once you watch that- I suggest you re-aquaint yourself with
s music is like a deep reservoir for those who are lonesome and prefer it that way. He himself appears nearly always preoccupied, whether it be satiating wanderlust, finding new ways to rebel against the mediocrity of language when applied to things he stands in awe of: mountains, the night sky, stretches of evergreens; taking what’s left- metaphor and observations and when that doesn’t satisfy, bringing in the swimming ease of violin, cello and keys. When I was sent over a recent collection of songs called Shoulder Seasons I was expecting there would be even more terrain covered, more books read and more insight to share.
If you’re not listening carefully, the music of Joel P. West- whatever shape it takes (with the accompanying Tree Ring or solo) can be heard as any other folk act: acoustic guitar, gliding ballads that pay homage to lakes ‘n trees. It just sounds nice. But when you sit with it for a while, it’s all the more inviting- with horns and strings that sound like Bowerbirds, a melodic croon like Fionn Regan and the elegance of Midlake- but the words are all his. He holds tightly to stories of himself and his loved ones in San Diego. He draws in nearer with a vital curiosity for all the things that won’t last, “and the color of the sky will never be the same,” or what could’ve been, and what is yet to be. He experiences what most pass as mundane, and breathes these moments in, aware of the fact that his own aliveness is connected to the daylight and the biting cold, provided by the “stubborn” yet “gracious” earth.
He delves into the exhaustive nature of himself as an artist, and as a man that tries to catch elusive greatness in his life, singing, “a fear in my core longs for more, to be remembered or respected for”. There’s something brave in that. It’s the very fear that motivates self-preservation that will expose the impermanence of everything. And it’s in this realization that he becomes most wise. This collection of songs are perhaps his most honest yet. There’s a calming color to it; he’s not without doubt, wonder, chaos, or a desire to dig into himself further- but with that, an acceptance for what was and what is, that leaves him well prepared for what’s next, as he sings “we are young, I’m learning we’re not promised clean lines in years to come”. The method sounds familiar: his voice dips and lingers in the same motion, but it’s the stories that have grown a bit older. As I approach my first winter in a few years, I’ll be experiencing the same kind of familiar re-introduction. You can download Shoulder Seasons
As you might’ve noticed, things have changed a bit on the blog. It’s been a gradual transition towards a more minimalist vibe and I really love it! I realize I’m notorious for changing around the look/layout/logo/font- but I’m getting better at embracing it. What do you guys think? There will be a new series added too- I’m hoping to take FWBA into a more editorial direction, featuring new/creative ways to engage in the music community.
I owe the new look all to my friend . Seen in the portrait to the left. You might actually remember him from the , he was the babely looking one in the vertical striped shirt (so typical). I’ve clearly entrusted all my passwords and login to a real solid dude. He’s real cool, so thats why I picked him out of many capable designer friends of mine to carry out the challenge of making FWBA super hip. He succeeded.
I highly suggest you check out his - he’s designed stuff for Delta Spirit, Avi Buffalo, Tape Deck Mountain, and more. There’s something elegant and simple about his designs and fonts- and I wish I could’ve somehow combined every idea he had to use on my blog, but I think what we ended up with is pretty fantastic.
So send your props/love/phone numbers to .
My friend Nathan Finochio plays music under because much like everything he does- it was born out of a romantic notion, a way to emulate a girl he liked- the way you posture yourself on a date to cross your legs on the same side, tilt your head to kiss- it’s all nuanced and charming and that’s what Alexander Fairchild is.
As I was catching up on my friend Brooks’ Reynolds I noticed they’d shot a music video together a while back- I was pretty excited ever since Brooks started shooting videos because his growth is visual- and patterns emerge: all of his work is darker, more cinematic and has some sort of novel narrative developing- typically: young love. This video has all essentially qualities of that- something childlike: french fries, vintage decor, an overall minimal aesthetic and a build to something that might seem more dramatic than his inital spelled out in fries and ketchup. But that’s what we do, right? We dramaticize small things and see them in everything, even late night snacks.
I love the song “Place is You” because it sounds similar to the organ tone in Bazan’s Hard to Be (we share a mutual love). And Nathan’s got this beautiful hollowness to his vocals that allow for textures and layers of himself- it’s almost like J. Tillman, Iron & Wine, or the rusty vinyl quality that melts off of Ted Lucas records. Watch below and find out more
My friend Landon Speers makes music under the name He just sent over two tracks- Success/Ribbons. You know, I really hope someone gives ME a success ribbon one day. Headaches’ sonic exploration never bores- there’s always some new layer being added, whether it sounds sleepy or assaulting, it’s got it’s own personality and sense of direction. Success gradually develops into something more intricate towards the end of the track, is that supposed to be a metaphor or sumfin?