Motion City Soundtrack: "Everything Is Alright" Video
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Motion City Soundtrack: "Hold Me Down"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct." Last year, by way of the unrelenting schedule they kept behind I Am The Movie, the band was asked to join Blink-182 on a tour of Europe and, then, Japan. Somewhere backstage and in between, bassist Mark Hoppus modestly mentioned to the group that he was interested in pursuing production work once Blink took a necessary pause later in the year. Though he didn't know it at the time, Hoppus had just found his first client. "We thought of it almost as a joke,'" Cain recalls. "But on our last day of tour I asked him, point blank, 'Do you want to produce our record?' When he said, "Fuck yeah" I was like, 'Okay... can I get your phone number then?'" Stretching out in Los Angeles later that fall and occasionally propped up by some of their other famous friends, Commit This To Memory finds Motion City the sort of definitive record usually reserved for much later or---to really bring this full circle---slightly earlier in a band's career. "Everything Is Alright," the album's first single (with Fall Out Boy's Patrick Stumph and Limbeck's Rob MacLean and Patrick Carrie there in the background), isn't about writing off their past as much as it is putting a fine point to it. With Hoppus' encouragement, Pierre, alongside Cain, bassist Matthew Taylor, moogist Jesse Johnson and drummer Tony Thaxton have begun stepping back from---and outside of---their roles when necessary. "Any time we wanted to take a chance with Mark he would go for it," Cain recalls. "He was so supportive. He would always say, 'Your name is going to be a lot bigger on the front of the record than mine will be on the back.'" The relationship that they developed with Hoppus may have helped hone Motion City's uniquely and cinematic sound of sound but, more importantly, it encouraged them to open the windows and allow themselves room to breathe. The space inevitably allowed Pierre's charismatic personality the room it has long since needed. A former film school student who has always likened himself to a director first, a musician second, and now some fascinating form of the two, is projecting his own life here. Songs like the plaintive, near-ballad "Hold Me Down" and the incredibly candid "Resolution" are among the most personal that he has ever written. "I think I tried to be as honest as possible on this record," he stresses. "I was less inhibited on this one from hiding. In the last two years this was what was going on." While it's true that Commit This To Memory can trace itself incredibly close to Pierre's personal life, with repeated listens it's clearly more the work of five musicians, finding themselves and turning to one another. "We've learned the reality of what we were doing," Cain says humbly. "When we left [I Am The Movie producer] Ed Rose, we left with a record that was better than our band. So we went home and had to become that good." Which is otherwise what they've done. But really, it's also where all these rules about second records and inhuman expectations begin to reverse and turn in on themselves. Motion City should have been trying to outdo themselves this whole time with Commit This To Memory. They found themselves instead. "I really think we've achieved everything we can as human beings playing music," Pierre says with a slight hint of laughter. "Really, we just played in our own city, selling out a show at [First Avenue], which is where we saw all our favorite shows. And that was something that I've wanted to do since I was 14." In a way, Commit This To Memory recalls the lost indie heroes Cain and Pierre spent those formative years in Minneapolis poring over, but there's also a slight irony in the fact that this is the one record that seems destined to lead to their own version of this. "I would love to say that I don't care what people think," Pierre stresses. "But you know, I am like most people. I do hope people like it." Whatever you make of the second Motion City Soundtrack album is now left up to the songs you're currently holding onto. As for us? We couldn't possibly be any prouder.
Motion City Soundtrack: "Hold Me Down"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct."
Motion City Soundtrack: "My Favorite Accident"
The way it works, everyone likes the first record better. You're a music fan, presumably, so you probably understand the idea here that, when placed in historical context, a band's initial statement to the world is often seen as its most lasting. Motion City Soundtrack began in Minneapolis in 1999. Two years ago, they released their first album, I Am The Movie, crawled inside a van for seemingly the end of eternity and shot a video with their friends back home for "The Future Freaks Me Out," a loud and instantly enjoyable anthem that has become such an undeniable apex at the band's live shows that it is no longer sung by singer/guitarist Justin Pierre as much as it is sung back at him. But as ubiquitous as it became, the song perfectly captured Motion City's allure. Irresistible and unhinged, "The Future Freaks Me Out" was a reference point for what was to come with Commit This To Memory, ironic considering they wrote the song in mere hours and it almost didn't even make it onto their debut. "Two weeks before we went in, [guitarist Joshua Cain] played the part and I sang those words and that's what came out," Pierre says now in amazement. "It was completely random. But that's how we work. It's funny when there's talk about how this record could 'make or break us.'" He laughs. "This band has always gone on its gut instinct."
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.
The Rapture: "Woo Alright, Yeah Uh-Hu"
"Pieces of the People We Love is a fiercely honed album of impassioned wailing; sharp, needling guitars; and herky-jerky beats-the sound of an accomplished band perfecting their craft and engadging their detractors by ignoring them." - New York Magazine "The Rapture have a time-tested prescription for making the white boys dance: jagged guitar, stealth sax, and bass lines so heavy they aid digestion." Details "You can effin? dance to The Rapture. But you can also dig their whole album front-to-back, which is the best reason for highest praises." URB
Of Montreal: "Wraith Pinned to the Mist and Other Games"
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: "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.
Emcee's "Seeing Red" can be found on the motion picture soundtrack for the film "Lucid."
Abrasive Wheels: "Find Your Heart"
Abrasive Wheels, one of the original and most successful 80's Punk bands released two top selling albums, "When the Punks go Marching in" and the classic "Black Leather Girl." During the early eighties the British band, based in Leeds, were seldom out of the top five of the Indie Chart with blistering anthems such as "The Army Song," "Vicious Circle," "Burn em Down," "Jailhouse Rock," "Banner of Hope," and "The Prisoner." The Band reformed with the original lineup plus new guitarist Steve Popplewell and did their first gig in Bradford, England in February 2003.
