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Of Montreal: "Wraith Pinned to the Mist and Other Games" Video
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Of Montreal: "So Begins Our Alabee"
The brainchild of singer/guitarist Kevin Barnes, Of Montreal was among the second wave of bands to emerge from the sprawling Elephant 6 collective. A native of Athens, Georgia, Barnes formed the group following a failed romance with a woman from Montreal. After several moves to various cities and states, Barnes again found himself living in Athens. Once back home, he began collaborating with bassist/vocalist Bryan Poole (Elf Power) and drummer/vocalist Derek Almstead (Circulatory System). Together they recorded the band's debut album, Cherry Peel, released by Bar/None in 1997 (and later re-issued in late 1999, remixed and with additions by the later five-piece version of the band). Whereas the majority of the Elephant 6 collective drew their influences from 60's pop icons, Barnes was taking Of Montreal in an altogether different direction. While paying homage to these groups, he also began incorporating vaudevillian elements not only into the band's music but also into their live performances. With Poole having to leave the band because of his involvement with Elf Power, Almstead switched to bass and new members Jamey Huggins and Dottie Alexander were brought on board for drum and keyboard duties, respectively. Andy Gonzales(Marshmallow Coast) guitar/piano/vocals joined shortly thereafter. The band's second album, The Bedside Drama: A Petite Tragedy found Barnes experimenting with his lyrical content. Chord changes impressed upon nearly every word as a host of characters were orchestrated throughout album's sixteen songs. Although Kevin is credited as playing most of the instruments himself, Bryan Poole and Julian Koster (Neutral Milk Hotel, The Music Tapes) made unaccredited appearances. All members were represented on the band's third full-length, The Gay Parade. Hailed by critics and fans alike (including All Music Guide, who went so far as to refer to the album as indie-pop's equivalent to Sgt. Pepper), The Gay Parade was a musical extravaganza bringing over 40 musicians (many of them vocalists in the album's choir) to the table. A concept album in every sense of the word, The Gay Parade created a carnival of absurdist characters living in a Kafkaesque world. Coquelicot Asleep In The Poppies: A Variety Of Whimsical Verse, the band's fourth album was released April 2001. The 22-track CD included a 16-page full-color booklet of artwork by David Barnes as well as a fold-out poster with lyrics. The album signified an even more ambitious undertaking than The Gay Parade right on down to the concept, arrangements, lyrics, and artwork that went into making the album. The band's fifth album Aldhils Arboretum was released the following year. 2003 proved to be an eventful year for the band. Andy left to spend more time on Marshmallow Coast and to go back to school. Kevin got married. In the fall of 2003, they recorded their next album. Kevin's wife, Nina, joined the group. Derek left the band to spend more time with Circulatory System, and, following the demise of their previous label, Of Montreal signed with Polyvinyl January 2004 Four months later, the band's sixth full-length, Satanic Panic In The Attic, was released. With Satanic, the band again reinvented their sound, this time with the inclusion of electronic and Afro beat influences. The album was an instant critical success, tearing through the radio charts, landing a video on MTV, and gathering favorable reviews left and right. Of Montreal returns this Spring with their new album The Sunlandic Twins April 12, 2005. Peppered with beats from the eighties on top of the traditional Of Montreal sound, The Sunlandic Twins will assuredly become an instant Of Montreal classic. In addition to the new album, Of Montreal is preparing to embark on one of their most ambitious national tours ever. As of February 2005, the proposed routing will keep the band on the road for seven months, spanning over a hundred shows and covering countless cities.
Of Montreal: "Disconnect the Dots"
The brainchild of singer/guitarist Kevin Barnes, Of Montreal was among the second wave of bands to emerge from the sprawling Elephant 6 collective. A native of Athens, Georgia, Barnes formed the group following a failed romance with a woman from Montreal. After several moves to various cities and states, Barnes again found himself living in Athens. Once back home, he began collaborating with bassist/vocalist Bryan Poole (Elf Power) and drummer/vocalist Derek Almstead (Circulatory System). Together they recorded the band's debut album, Cherry Peel, released by Bar/None in 1997 (and later re-issued in late 1999, remixed and with additions by the later five-piece version of the band). Whereas the majority of the Elephant 6 collective drew their influences from 60's pop icons, Barnes was taking Of Montreal in an altogether different direction. While paying homage to these groups, he also began incorporating vaudevillian elements not only into the band's music but also into their live performances. With Poole having to leave the band because of his involvement with Elf Power, Almstead switched to bass and new members Jamey Huggins and Dottie Alexander were brought on board for drum and keyboard duties, respectively. Andy Gonzales(Marshmallow Coast) guitar/piano/vocals joined shortly thereafter. The band's second album, The Bedside Drama: A Petite Tragedy found Barnes experimenting with his lyrical content. Chord changes impressed upon nearly every word as a host of characters were orchestrated throughout album's sixteen songs. Although Kevin is credited as playing most of the instruments himself, Bryan Poole and Julian Koster (Neutral Milk Hotel, The Music Tapes) made unaccredited appearances. All members were represented on the band's third full-length, The Gay Parade. Hailed by critics and fans alike (including All Music Guide, who went so far as to refer to the album as indie-pop's equivalent to Sgt. Pepper), The Gay Parade was a musical extravaganza bringing over 40 musicians (many of them vocalists in the album's choir) to the table. A concept album in every sense of the word, The Gay Parade created a carnival of absurdist characters living in a Kafkaesque world. Coquelicot Asleep In The Poppies: A Variety Of Whimsical Verse, the band's fourth album was released April 2001. The 22-track CD included a 16-page full-color booklet of artwork by David Barnes as well as a fold-out poster with lyrics. The album signified an even more ambitious undertaking than The Gay Parade right on down to the concept, arrangements, lyrics, and artwork that went into making the album. The band's fifth album Aldhils Arboretum was released the following year. 2003 proved to be an eventful year for the band. Andy left to spend more time on Marshmallow Coast and to go back to school. Kevin got married. In the fall of 2003, they recorded their next album. Kevin's wife, Nina, joined the group. Derek left the band to spend more time with Circulatory System, and, following the demise of their previous label, Of Montreal signed with Polyvinyl January 2004 Four months later, the band's sixth full-length, Satanic Panic In The Attic, was released. With Satanic, the band again reinvented their sound, this time with the inclusion of electronic and Afro beat influences. The album was an instant critical success, tearing through the radio charts, landing a video on MTV, and gathering favorable reviews left and right. Of Montreal returns this Spring with their new album The Sunlandic Twins April 12, 2005. Peppered with beats from the eighties on top of the traditional Of Montreal sound, The Sunlandic Twins will assuredly become an instant Of Montreal classic. In addition to the new album, Of Montreal is preparing to embark on one of their most ambitious national tours ever. As of February 2005, the proposed routing will keep the band on the road for seven months, spanning over a hundred shows and covering countless cities.
Montreal hard-core metal band Ghoulunatics shot this video on no budget at all.
Flamenco-jazz guitar soloist Andrei Krylov performs live at a concert in Montreal in 2004.
Flamenco-jazz guitar soloist Andrei Krylov performs live at a concert in Montreal in 2004.
Change is unquestionably a constant in life. When Matchbook Romance began in 2001, the idea of playing music for a living felt like a dream, a romantic fantasy that dwelled in each member of the band?s imagination. And, for years, anyway, it seemed like it would remain that way. ?We never thought it was something that could actually come true for us,? says vocalist/guitarist Andrew Jordan who, at the time, was living at home and working as a waiter at a local restaurant. ?We had seen so many other bands try and reach for that place in the world only to fall short. We always thought, ?What are our chances??? Still, people believed in the band?their friends, families and peers?and they encouraged Matchbook Romance?s just-stepping-into-the-world rank and file to drop their impending classes at various community colleges in and around Poughkeepsie, NY that fall, in order to concentrate on the band. Which, they did. Thankfully, for us, they did. Matchbook Romance spent the next six months recording a group of demos that would attract the attention of Epitaph president Brett Gurewitz?a man who would later sign the relatively green band (literally the day before stepping on a plane to finalize contracts with the longstanding punk label, the band?s then-18-year-old drummer Aaron Stern graduated from high school). Gurewitz also produced their first real recording, the West For Wishing EP, in 2003, but it was Matchbook Romance?s debut, Stories And Alibis, that the world would really take to. The album?s list of successes now speaks for itself: following its late 2003 release came the video for ?My Eyes Burn,? a run on the cover of scene bible Alternative Press and a slot headlining the first-ever Epitaph Tour. In between, Stories And Alibis sold over 200,000 copies and the band absolutely lived on the road in support of it. As Matchbook Romance began writing the initial version of what would become their second album, VOICES, they began to take their musical ideas to a variety of new levels. The band was writing constantly. If you were to have walked into the back lounge during one of the many tours behind Stories And Alibis chances are the mirrored walls in their tour bus would have been covered with ideas for lyrics and ideas for new songs. Matchbook Romance knew their next record would have to stand apart and the material they had begun self-recording while out on the road behind Stories And Alibis?all of it decidedly more sparse, moody and meditative?was significantly removed from the sound they honed on their debut. One significant factor, as Jordan puts it poetically, is that they ?declared war on power chords.?
Change is unquestionably a constant in life. When Matchbook Romance began in 2001, the idea of playing music for a living felt like a dream, a romantic fantasy that dwelled in each member of the band?s imagination. And, for years, anyway, it seemed like it would remain that way. ?We never thought it was something that could actually come true for us,? says vocalist/guitarist Andrew Jordan who, at the time, was living at home and working as a waiter at a local restaurant. ?We had seen so many other bands try and reach for that place in the world only to fall short. We always thought, ?What are our chances??? Still, people believed in the band?their friends, families and peers?and they encouraged Matchbook Romance?s just-stepping-into-the-world rank and file to drop their impending classes at various community colleges in and around Poughkeepsie, NY that fall, in order to concentrate on the band. Which, they did. Thankfully, for us, they did. Matchbook Romance spent the next six months recording a group of demos that would attract the attention of Epitaph president Brett Gurewitz?a man who would later sign the relatively green band (literally the day before stepping on a plane to finalize contracts with the longstanding punk label, the band?s then-18-year-old drummer Aaron Stern graduated from high school). Gurewitz also produced their first real recording, the West For Wishing EP, in 2003, but it was Matchbook Romance?s debut, Stories And Alibis, that the world would really take to. The album?s list of successes now speaks for itself: following its late 2003 release came the video for ?My Eyes Burn,? a run on the cover of scene bible Alternative Press and a slot headlining the first-ever Epitaph Tour. In between, Stories And Alibis sold over 200,000 copies and the band absolutely lived on the road in support of it. As Matchbook Romance began writing the initial version of what would become their second album, VOICES, they began to take their musical ideas to a variety of new levels. The band was writing constantly. If you were to have walked into the back lounge during one of the many tours behind Stories And Alibis chances are the mirrored walls in their tour bus would have been covered with ideas for lyrics and ideas for new songs. Matchbook Romance knew their next record would have to stand apart and the material they had begun self-recording while out on the road behind Stories And Alibis?all of it decidedly more sparse, moody and meditative?was significantly removed from the sound they honed on their debut. One significant factor, as Jordan puts it poetically, is that they ?declared war on power chords.?
Matchbook Romance: "My Eyes Burn"
Change is unquestionably a constant in life. When Matchbook Romance began in 2001, the idea of playing music for a living felt like a dream, a romantic fantasy that dwelled in each member of the band?s imagination. And, for years, anyway, it seemed like it would remain that way. ?We never thought it was something that could actually come true for us,? says vocalist/guitarist Andrew Jordan who, at the time, was living at home and working as a waiter at a local restaurant. ?We had seen so many other bands try and reach for that place in the world only to fall short. We always thought, ?What are our chances??? Still, people believed in the band?their friends, families and peers?and they encouraged Matchbook Romance?s just-stepping-into-the-world rank and file to drop their impending classes at various community colleges in and around Poughkeepsie, NY that fall, in order to concentrate on the band. Which, they did. Thankfully, for us, they did. Matchbook Romance spent the next six months recording a group of demos that would attract the attention of Epitaph president Brett Gurewitz?a man who would later sign the relatively green band (literally the day before stepping on a plane to finalize contracts with the longstanding punk label, the band?s then-18-year-old drummer Aaron Stern graduated from high school). Gurewitz also produced their first real recording, the West For Wishing EP, in 2003, but it was Matchbook Romance?s debut, Stories And Alibis, that the world would really take to. The album?s list of successes now speaks for itself: following its late 2003 release came the video for ?My Eyes Burn,? a run on the cover of scene bible Alternative Press and a slot headlining the first-ever Epitaph Tour. In between, Stories And Alibis sold over 200,000 copies and the band absolutely lived on the road in support of it. As Matchbook Romance began writing the initial version of what would become their second album, VOICES, they began to take their musical ideas to a variety of new levels. The band was writing constantly. If you were to have walked into the back lounge during one of the many tours behind Stories And Alibis chances are the mirrored walls in their tour bus would have been covered with ideas for lyrics and ideas for new songs. Matchbook Romance knew their next record would have to stand apart and the material they had begun self-recording while out on the road behind Stories And Alibis?all of it decidedly more sparse, moody and meditative?was significantly removed from the sound they honed on their debut. One significant factor, as Jordan puts it poetically, is that they ?declared war on power chords.?
Raging Speedhorn: "How Much Can a Man Take"
Raging Speedhorn first came to be in August of 1998. The forming of the band was a result of the combination of the bands 'Soulcellar' and 'Box'. Guitarist Gareth Smith, drummer Frank Regan and bassist Darren Smith from 'Soulcellar' met up with guitarist Tony Loughlin, vocalist Jon Loughlin and drummer Gordon Morison from 'Box' to form Raging speedhorn. Frank Regan, formerly a drummer then changed to vocals along with Jon Loughlin to make an outstanding team. As the songs began to flow, Speedhorn recorded demos, and got a few good giggs, getting strong reviews in important magazines like Kerrang! and Metal Hammer.Their first big break came when they supported the legindary 'Ministry' at the London Astoria. From then on they never looked back, and have got stronger and stronger. Speedhorn have now recorded about 20 songs in just over a year together, and they play live regularly, with some great acts. Easily their biggest gig so far was at the Ozzfest UK, along with the likes of the mighty SlipKnoT and Amen.They have also been touring regularly, sponsored by Kerrang! and Metal Hammer. Their first demo song [selling over 800 coppies], Thumper, has since been released on Metal Hammer's December 1999 cover mount CD. Ian Camfield has also given Speedhorn plenty of airplay on his Xfm show. All this has built up to the release of their debut album, entitled 'Raging Speedhorn', which was released in the spring of 2001. After the success of their debut album, Raging Speedhorn kept up the tough schedule and started working towards a new album. Touring the country regularly, as well as trying to maintain part-time jobs meant that time to write was limmited. However, two years on from when we were first greeted by the din of Speedhorn, 'We'll Be Dead by Tomorrow' is set for release in the summer this year. 'The Hate Song' is the first single from this album, and was released on June 24, 2002. Appearing on the main stage at the Reading Festival this summer, as well as having more than one headline tour is sure to give them the publicity they deserve. And so, my friends, the story comes to an end... for now, anyway.
Gnarls Barkley: "Gone Daddy Gone"
So who is Gnarls Barkley? Diligent pen pal to Bangs, soul giant Isaac Hayes, and Violent Femmes ringleader Gordon Gano? Well-kept romantic consort to pop stars Mariah Carey and Janet Jackson English teacher to synth-rock legends Kraftwerk? Croupier at a mysterious annual gathering in the Bay Area that allegedly draws members of the Wu-Tang Clan and Britian's Stuckist art collective? It seems that, in the music world, Gnarls Barkley is always nearby yet impossible to find. The membership rolls of both the Atlanta hip hop collective Dungeon Family and Athens, Georgia's psychedelic enclave Elephant Six list Barkley as an affiliate, but mention him to either group and they'll shoot each other frightened looks and start talking basketball. The rumors fly hard in every direction and remain defiantly unverifiable.
