Decibully: "Penny Look Down" Video
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This hard-driving tune from Ivy makes the crawlies in the forest go crazy. The New York-based pop group, Ivy, came together in 1994 when multi-instrumentalist Andy Chase placed an ad in the Village Voice in an attempt to start a band. Musician/songwriter Adam Schlesinger answered Chase, for the two had mutual musical tastes - both liked Prefab Sprout and The Go-Betweens.
Promise Ring: "Emergency! Emergency!"
The year was 1995, and there was a battle of the bands brewing somewhere between the Wisconsin and Illinois state lines. In the middle of it all was Davey vonBohlen - forced to choose between his guitar stint for future punk heroes Cap'n Jazz and his status as the frontman for a burgeoning, though wholly unestablished The Promise Ring. As history would have it, the answer was obvious: The Promise Ring were toast. Of course, final hurrahs were sometimes meant to be, and since The Promise Ring had yet to see theirs, Davey agreed to a final nine-day trek across the country with his dearly departed side project. When the band landed back home in Milwaukee, vonBohlen unpacked his gear and expressed a deep sigh of relief. And then he quit Cap'n Jazz. Such is the inception of a band who have outlived almost all of their peers, while surviving horrid van wrecks, personal medical emergencies, and the rise and fall of a genre they somehow managed to inspire without ever really figuring out what it was in the first place. After signing with Jade Tree in 1996, The Promise Ring went on to release a slew of EPs and full-length albums that have seen accolades everywhere from the well-respected pages of The New York Times to the uber-groovy Teen People. But don't let that fool you: The real acclaim is in the captured hearts of a fanbase that have kept this Milwaukee unit up-and-running for the more-than-six-years after that fateful "final" tour. After many happy years together and 8 releases, The Promise Ring departed Jade Tree for the Anti- label, a division of Epitaph, in October 2001.
Hurra Torpedo: "Total Eclipse of the Heart"
Hurra Torpedo, a band that uses kitchen appliences for percussion, does their tribute to Bonnie Tyler's 1983 hit song.
Ryan Shupe & the RubberBand: "Dream Big"
A fiddle player since the age of 5, Ryan Shupe first worked as part of a group at 10 years old when his dad brought together a bunch of talented kids to play in a band. He joined various types of musical groups in his teens and in college, only to be disappointed to see them break up just as they seemed to be in a groove. He decided to start his own band that would not break up and called it the RubberBand, because it was meant to be elastic. He brought in the players he needed but only when he needed them. (There might be just one other musician sharing the stage with him or there might be four others.) The lineup changed constantly until, without even trying to make it happen, the membership jelled. As of 2005, the members included Roger Archibald (guitar, vocals), Colin Botts (bass, vocals), Craig Miner (banjo, bouzouki, guitar, mandolin and vocals), Bart Olson (drums) and Shupe (lead vocals, fiddle, mandolin and guitar). The band's influences include such diverse performers as Willie Nelson, Johnny Cash, Bob Marley, the Police, AC/DC and Bela Fleck. Most have dabbled with a number of different instruments, and all have been playing since they were kids. Shupe is the group's principal songwriter.
The Rapture: "Get Myself Into It"
The Rapture was formed in early 1998 by drummer Vito Roccoforte and guitarist/vocalist Luke Jenner. The whimsical indie group had extensive touring behind them by the time they recorded 1999's Mirror for Gravity. More touring ensued -- with the likes of Sunny Day Real Estate and Nuzzle -- and the band eventually relocated to New York City. They lost their original bassist and found a new one in Matt Safer, who had recently moved from Washington, D.C. After some more touring, the band recorded the six-song Out of the Races and Onto the Tracks EP and had it released by Sub Pop in 2001. Thanks to their sloppy brand of scratchy post-post-punk, the Rapture was hailed as a forerunner of the post-punk revival that was taking place in the early 2000s. Their profile increased significantly with 2002's "House of Jealous Lovers" 12"; that same year, they added multi-instrumentalist Gabriel Andruzzi to the fold. The full-length Echoes followed for Gary Gersh's Strummer label in late 2003. The follow-up, Pieces of the People We Love, was released three years later by Mercury.
Chicago-based multi-instrumentalist and lyricist Andrew Bird picked up his first violin at the age of 4. Actually, it was a Cracker Jack box with a ruler taped to it, and the first of his many Suzuki music lessons involved simply bowing to the teacher and going home. He spent his formative years soaking up classical repertoire completely by ear so when it came time for a restless teen-ager to make the jump to Hungarian Gypsy music, early jazz, country blues, south Indian etc., it wasn't such a giant leap. It's fitting that now, though classically trained, he has instead opted to play his violin in a most unconventional manner, accompanying himself on glockenspiel and guitar, adding singing and whistling to the equation, and becoming a pop songwriter in the process.
The Constantines: "Nightime/Anytime, It's Alright"
When the Constantines headlined the Sub Pop showcase at the 2004 SXSW Festival in Austin, Texas; the band's show concluded with them standing on the speaker stacks clapping and keeping time for the audience as the room sang the band's recent set closer (Lou Reed's "Temporary Thing") back at them. This scene lasted a full five minutes, five minutes of finale without the band playing a single note and thus the increasingly impatient promoters, fearful of running over their strict Texan curfew, couldn't even unplug the band to get them off the stage. But then the purpose of the stage is constantly called into question at Constantines shows. Bryan and Steve will regularly move their mic stands into the crowd and Doug frequently hands out percussion to the faithful gathered together near the band. The greatest rock and roll is always transformative, a concept that the Constantines grasped from their inception and one which was so readily on display at this show. The boundary between band and crowd is blurred; inhibitions are lost, along with voices, and ultimately you feel more alive than you did before the band took the stage, before you stopped noticing the stage.
Longtime musical collaborators Kyle Fischer (guitar, vocals) and William Kuehn (drums) began writing a new batch of songs in the late summer of 1995, thinking they lacked only a bassist. When they found Caithlin De Marrais (vocals, bass), they knew they had found a uniquely captivating voice to front the band as well. Fischer and Kuehn had met at all-ages shows in Madison, Wisconsin, where Kuehn was cajoled into replacing Fischer on the drums in Ezra Pound (with Matt Tennessen of Pele). Fischer switched to guitar, and the two departed together a year later in search of broader sonic horizons. Meanwhile, Fischer had met De Marrais in a University of Wisconsin poetry workshop where the two had organized extra evening sessions of the class and soon found they were the only ones attending. Here they wrote the poems that would later become songs on the band's first album. Rainer Maria's various releases began mapping their trajectory. The original demo cassette, a run of 350 now long out of print, documents the excited initial efforts of a band just 6 weeks old. Their debut self-titled EP appeared on Polyvinyl as a result of the experience of early tours, playing house shows or all ages "spaces" from Austin TX to Kent OH, even a double-wide house trailer in rural Mississippi packed with 100 melting kids. With the "New York, 1955" single, the band began experimenting with what happened when they turned the volume down. Past Worn Searching signaled the beginning of Rainer Maria as a full-time band. Recorded at the sweltering hot, now defunct Ghetto Love studios in Chicago during Summer 1997, Past Worn Searching and its stripped-down production ushered the full arrival of dueling vocals, sonic excess, and youthful exuberance. That fall, Rainer Maria toured the entire continental U.S. for the first time--more than 50 shows booked by Kuehn himself, including a west coast tour with Braid. The band?s second LP, Look Now Look Again, was released in April 1999 to the open arms of fans and critics alike. Look Now Look Again climbed to 19 on CMJ?s top 200 and spent 16 weeks on the charts. Stellar reviews and write-ups appeared in The New York Times, Alternative Press, Magnet, CMJ, and The Village Voice to name a few. Rainer Maria appeared in Spin three times in the latter half of 1999 and Look Now Look Again was named one of the magazine?s 20 best records of the year. The band would go on that year to record and release Atlantic, a three-song CDEP recorded at Pachyderm Studios (P.J. Harvey, In Utero) in August. Just days later, they band relocated to the East Coast. Rainer Maria then spent the better part of a year holed up in a converted cow barn, the previous home of Pepperidge Farm Bakery?s original dairy farmer. There, they wrote their third and most ambitious album, A Better Version of Me, which was released in January 2001. The album hit the #1 spot on CMJ and was supported by a relentless tour schedule of over 200 shows. Fall 2002 the band again returned the studio to record Long Knives Drawn, their fourth album. As a teaser, the Ears Ring EP appeared early November 2002 and was the band's first new material in over a year-and-a-half. Two months later Long Knives Drawn was released and the band embarked on a two month tour with Mates of State followed by a mini-tour in Canada, and then a tour with Denali. Next up for Rainer Maria is a three week tour with Coheed and Cambria in support of their newest release, Anyone in Love with You (Already Knows) , a DVD of their 3/11/03 Cat's Cradle show filmed by members of Bifocal Media (Braid Killing a Camera, Michigan Fest 2002) which includes a bonus audio CD featuring selected various live tracks the band has been accumulating over the years. Anyone in Love with You (Already Knows) will be released on March 9, 2004.
Helio Sequence: "Everyone Knows Everyone"
Sometimes, the most important revelations come to us when intent is thrown to the wayside. The practice of deliberately rejecting pure deliberation is The Helio Sequence?s newest modus operandi, but it hasn?t always been. 1999?s Accelerated Slow Motion Cinema EP and 2000?s Com Plex (the former self-released and the latter on Portland?s illustrious Cavity Search label) found Helio Sequence in hot pursuit of a very specific kind of sonic perfection?one steeped in amorphous, often ambient sensibilities and punctuated with ethereal, mechanical bursts of energy. The resulting linear compositions, intricately rendered from sonic threads affected by psychedelic and early ?80s wall-of-sound groups, pointed towards what Helio Sequence would accomplish in 2001?s stellar Young Effectuals (also on Cavity Search). Primal in energy and futuristic in tone, the record was, at that point, the band?s neo-psych-dream swan song. ?It was the pinnacle of what we were trying to achieve at that point,? explains calm-voiced vocalist/guitarist Brandon Summers matter-of-factly. After three years, several tours (keyboardist/drummer Benjamin Weikel also lends his percussive skills to Modest Mouse, doubling the tour time), extensive hours of experimentation and afternoons spent ?listening to a lot of pop, Dylan and Can,? the duo has reached a totally different plane of consciousness. Love and Distance is bright, free, and organic?a collection of refreshingly melodious songs that stand in stark contrast to the ?univibe? that Summers asserts their past compositions often possessed. Summers and Weikel had been used to setting up a makeshift studio at the music store they started working at in tenth grade?one room was for tracking, one for mixing. When both parties quit their jobs to tour extensively in 2002, the recording, mixing and production operation moved to Weikel?s parents? bonus room and basement, various rooms in Summers? apartment, and Issac Brock?s garage. ?So many of the takes weren?t meant to stick,? Brandon chuckles. In the familiar, comfortable setting of family and friends? homes, however, something happened?Helio Sequence gained an elevated level of ease that allowed them to throw caution to the wind, expanding on the complex, deep sounds they?d so masterfully crafted years earlier. Their latest album?s strength lies not only in the soft tension created by its disparate elements?the traditional folksy twang of harmonica on ?Harmonica Song?, the fresh, tropical infusions of electronica on ?Looks Good (But You Looked Away)?, the passionate, precise collision of electric and organic percussion throughout?but in its natural flow. Each progression, each track, is part of a gorgeous, hooky whole. Armed with a surprising new instrumentation palette and buoyed by swift pop undercurrents, Helio Sequence finally felt able to construct their voluminous grooves using laissez-faire techniques that weren?t previously a part of their creative process. The result is a band more confident, inspired and inventive than ever before.
The Helio Sequence: "Don't Look Away"
Sometimes, the most important revelations come to us when intent is thrown to the wayside. The practice of deliberately rejecting pure deliberation is The Helio Sequence's newest modus operandi, but it hasn't always been. 1999's Accelerated Slow Motion Cinema EP and 2000's Com Plex (the former self-released and the latter on Portland's illustrious Cavity Search label) found Helio Sequence in hot pursuit of a very specific kind of sonic perfection, one steeped in amorphous, often ambient sensibilities and punctuated with ethereal, mechanical bursts of energy. The resulting linear compositions, intricately rendered from sonic threads affected by psychedelic and early 80s wall-of-sound groups, pointed towards what Helio Sequence would accomplish in 2001's stellar Young Effectuals (also on Cavity Search). Primal in energy and futuristic in tone, the record was, at that point, the band's neo-psych-dream swan song. "It was the pinnacle of what we were trying to achieve at that point," explains calm-voiced vocalist/guitarist Brandon Summers matter-of-factly. After three years, several tours (keyboardist/drummer Benjamin Weikel also lends his percussive skills to Modest Mouse, doubling the tour time), extensive hours of experimentation and afternoons spent listening to a lot of pop, Dylan and Can, the duo has reached a totally different plane of consciousness. "Love and Distance" is bright, free, and organic, a collection of refreshingly melodious songs that stand in stark contrast to the "univibe" that Summers asserts their past compositions often possessed. Summers and Weikel had been used to setting up a makeshift studio at the music store they started working at in tenth grade - one room was for tracking, one for mixing. When both parties quit their jobs to tour extensively in 2002, the recording, mixing and production operation moved to Weikel's parents' bonus room and basement, various rooms in Summers' apartment, and Issac Brock's garage. "So many of the takes weren't meant to stick," Brandon chuckles. In the familiar, comfortable setting of family and friends' homes, however, something happened - Helio Sequence gained an elevated level of ease that allowed them to throw caution to the wind, expanding on the complex, deep sounds they'd so masterfully crafted years earlier. Their latest album's strength lies not only in the soft tension created by its disparate elements, the traditional folksy twang of harmonica on "Harmonica Song", the fresh, tropical infusions of electronica on "Looks Good (But You Looked Away)", the passionate, precise collision of electric and organic percussion throughout, but in its natural flow. Each progression, each track, is part of a gorgeous, hooky whole. Armed with a surprising new instrumentation palette and buoyed by swift pop undercurrents, Helio Sequence finally felt able to construct their voluminous grooves using laissez-faire techniques that weren't previously a part of their creative process. The result is a band more confident, inspired and inventive than ever before.
