Archive for the ‘Dead Oceans’ Category

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These Are Powers Explode Rhythmic Opulence in Sauna-Like Heat

August 14, 2009

These Are Powers

These Are Powers
Secret Project Robot
August 1st 2009

The arts pace known as Secret Project Robot, by the water off Metropolitan in Williamsburg, welcomed their guests with a baby pool full of taurine laced energy drinks. While this was on its face a seemingly dubious display of corporate sponsorship, their presence was entirely appropriate. Energy was requisite. The music space exuded a “do it yourself” aesthetic in everything from the door-lady drawing hearts on the hands of patron who shelled out the $8, to the cheap vodka and whiskey or the large bucket of iced two liter mixers behind a small slab of a bar manned by a particularly festive cross-dresser and another barkeep, who I am sure would have been worth describing had his look not been so overshadowed by the slutty red lipstick and stuffed brazier. So too it went with the bands who performed; all had promise, all had songs worth listening to, all were experimental and dynamic, but all were outshone by the final clamorous fashion of These Are Powers.

In yet another sticky scenario, Secret Project Robot’s stagnant heat was oppressive, but they had sprinklers spouting off in plastic tubs so at least we knew they were thinking about us. Bill Salas stood behind his drum kit with a console of electronic rhythm pads, infusing the natural resonance of an open snare with manufactured blips and bops. Pat Noecker, ex-bassist for The Liars, wielded his instrument with genius pomp. His bass had been modified to produce an array of shrieks and moans; his contribution at times imitated the demolition of a 40 story building, other times it shot through the room like an auditory emanation of a laser cannon. And then there was Anna Barie. Part bean-shìdh, part international world-music pop star, Anna chanted smooth and cool, bobbling a rhythmic voice through wicker work of the drums and bass. She would volley steamy sighs down on an already moist mass of dancing limbs and then pull back with a low pitched croon.

The energy of These Are Powers is simply incredible. They have released a couple of records; their latest All Aboard Future, was released on Dead Oceans in February of 2008. The alchemy of these three musicians produces a refined and potent power from seemingly disconnected parts. As a group, These Are Powers function together with a rare sense of theater, fashion, and ragged opulence. For any avid show-seeker, These Are Powers are a must. Apparently the Chinese love them too…

9/9

-FF


http://www.myspace.com/thesearepowers


http://thesearepowers.blogspot.com/

Music
Terrific Seasons- 2007
Taro Tarot- 2008
Cockles (Split) with The Creeping Nobodies-2008
All Aboard Future- 2008

Tour
August 22nd 8PM Littlefield NYC Brooklyn, New York
August 27th 6PM Brooklyn Bowl  Brooklyn, New York#
October 17th 8PM The Independent San Francisco, CA*
October 18th 8PM Doug Fir Lounge  Portland, Oregon*
October 19th 8PM Crocodile Cafe  Seattle, Washington*
October 20th 8PM Biltmore Cabaret Vancouver, BC*

# with Cymbals Eat Guitars
*with A Place to Bury Strangers

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Phosphorescent- Pride

July 17, 2008

Phosphorescent
Pride
October 23rd 2007
Dead Oceans Records

Matthew Houck’s performance as Phosphorescent is remarkable. His representation on record is near perfect. Houck’s rustic folk songs have a magic to them; they’ll enchant you with animistic melodies and fill your gut with a deep and anonymous sadness. His voice croons like a lone rancher singing to the stars while some small smoking fire dries the boggy mud on his boots. Pride goes beyond most Americana in defining with startling clarity, even if for a moment, the ambiguous and protean qualities that make American rural culture unique.

Houck’s music descends as much from Welsh and Irish ballads as it does African American hymns and the rhythm of the Lakota Sundance. We have created a mythology about this country and its people; this mythology uses crop fields, prairies, mesas, and deserts as contexts in which our imaginations root the fundamental meaning of the American genesis. Phosphorescent has given us a record that celebrates this known but unspoken communion.

Intended or not, he along and Sam Beam are the standard bearers when it comes to Southern Gothic music. It is a tradition that gives us what history cannot. Animals become metaphors that speak as much of human tragedy as any factual testimonial. Two tracks in particular deserve words of great admiration. A Picture of Our Torn Up Praise opens the record with a sweet and haunting melody. With the pound of each bass drum, the listener becomes more entrenched in the humbling beauty of Phosphorescent’s music. Wolves is perhaps most exhibitive of Houck’s ability to assemble melody, lyrics, and spirit. These two songs alone justify every kind word he receives. Pride is a short yet stunning record. Had I only heard it sooner…

-FF

8/9


http://www.myspace.com/phosphorescent

Other Music
The Weight of Flight- 2004
Aw Come, Aw Wry- 2005

Here is a beautiful video for A Picture of Our Torn Up Praise by Zach Sluser:

more about "Phosphorescent "A Picture of Our Torn…", posted with vodpod

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White Hinterland- Phylactery Factory

April 24, 2008

White Hinterland

White Hinterland
Phylactery Factory
March 4th 2008
Dead Oceans Records

To succeed in getting their names on the lips of people who give a fuck about music, singer/songwriters of the piano sort, or any sort for that matter, have their work cut out for them. With the reemergence of Beth Orton as a name to drop here and there, or the certainty of Cat Power’s legacy in the annuls of indie music, artists like White Hinterland, aka Casey Dienel, are getting a second look; sometimes a second look they deserve, sometimes not. Every label wants their Chan Marshall, right Dead Oceans?

I found Phylactery Factory in the used music section at Sound Fix. Being that that record came out only a few weeks prior, I was curious as to why it had been returned to the shelf so quickly. Giving the CD a second lease on life, I picked it up and was happily surprised. The piano is often up beat and structured with standard melodies, and songs are given flesh with strings and bass, producing a light euphoric rhythm that provokes a tap of the foot, but requires nothing more.

Casey Dienel’s voice is nice and croonish, belonging to one of the more common styles, reflecting a kinship with Beth Gibbons, Beth Orton, Chan Marshall, and Björk. Phylactery Factory was worth the second look, but even as it is easy going and light in spirit, it suffers as a blatant middle-of-the road record, whose highs and lows are barely perceivable and typical when apparent. There is nothing particularly special about the music other than I like it. I suppose that is as much as any singer/songwriter can ask.

-FF

6/9


http://www.whitehinterland.com


http://www.caseydienel.com


http://www.myspace.com/caseydienel

Other Music
Wind-Up Canary (As Casey Dienel)- 2006

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