PLAN 9 - OUTSIDE THE HEARD - MARCH 2013

Outside the Heard

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Guards
In Guards We Trust
Black Bell

 
Fresh from his work as guitarist in his sister’s acclaimed indie-pop act Cults, and fronting garage-rock band The Willowz, Richie Follin and Cults / Willowz drummer Loren Humphrey are proud to introduce their new project, Guards. Following months out on the road touring, Follin and Humphrey headed into the studio to shape and mold their own ideas, with the initial view of handing them back over to Cults for the second album. The recordings sounded fresh, exciting and blew out of the speakers, with Follin taking the role of vocalist, so they kept the songs for themselves. With the addition of LA’s Kaylie Church into the band as a dual vocalist, and Guards -- a fizzing new concern were fully born. “Silver Lining” is the first fruits to fall from In Guards We Trust. It’s a hazy, psychedelic stunner of a pop track, and a song that acts as a hearty calling card for this exciting New York band’s work.
 
How To Destroy Angels
Welcome Oblivion
Columbia

 
How To Destroy Angels is a new project featuring Nine Inch Nails mastermind, Trent Reznor, musical partner Atticus Ross (who, along with Reznor, won an Oscar for scoring The Social Network), Mariqueen Maandig (Reznor’s wife and frontwoman of the criminally-underappreciated band West Indian Girl) and Rob Sheridan (who is also the group’s graphic designer). Welcome Oblivion, the group’s full-length debut, brings the spooky salvos of its previous EPs into a grand context. Largely anchored by Maandig’s soaring vocals, How To Destroy Angles create subtle and sophisticated soundworlds out eerie, lingering tones (Matmos seem a good reference point) and gentle, occasionally squelchy synths. While there are no agro assaults in the vein of NIN, How To Destroy Angels intricately use space at atmospherics to conjure up plenty of sexy menace. One might say they took the foundations of what Reznor and Ross did on The Social Network soundtrack and made “pop” songs. As a result, Welcome Oblivion is an intricate and invigorating listen. Highly recommended.
NURU KANE
EXILE
RIVERBOAT
 
Nuru Kane was born in the Senegalese capital of Dakar in the 1970s. He migrated to Paris in the 1990s where his multi-instrumentalism as a guitarist, bass player and singer put him in high demand both as a solo artist and as a guest for other ensembles. After learning the bass and guitar, Nuru played in various bands in Senegal until relocating to Paris in the late 1990s, a trip to Morocco left him captivated by the rhythms of gnawa. Trance music reputed to have healing powers, gnawa originates with the Gnawa people, Moslem brotherhoods comprised of the descendants of Black Africans who were brought across the Sahara to Marrakech. Nuru mastered the central gnawa instrument, the guimbri and formed Bayefall Gnawa -- a group that fuses North and West African influences. A blend of the rhythms and colors of traditional music and Oriental and European sounds that have influenced Kane, Exile is a testament to an extraordinarily gifted and engaging character. On stage, or in the studio, Nuru Kane is alive, a dynamo, liberated and energized, with music in his every fiber.
 
Blackmore’s Night
The Beginning
UDR

 
Every self-respecting hard rock fan should know who Richie Blackmore is… But, should you have not been born into a family of metalheads, Blackmore was a key member of Deep Purple who left that band to follow his own odd passions in Rainbow. After two decades smashing eardrums, Blackmore’s led him to a love of Renaissance Folk. When Rainbow fan and American disc jockey Candace Night came into his life she began to contribute lyrics and harmonies to Blackmore’s folk songs. Thusly, Blackmore’s Night was born. Over a decade has passed since the two began their romantic and musical journey together and, now, Blackmore’s Night celebrates that union with The Beginning – a 2 CD / 2 DVD collection of the band’s first two albums and rare video including their legendary tour of castles. If that wasn’t enough, the entire collection is cased in a purple velvet box… Now that’s a luxury a download simply can’t provide. Get yr folk on!
Nataly Dawn
How I Knew Her
Nonesuch
 
The daughter of missionaries, Nataly Dawn spent much of her childhood in Europe where she attended Lycées Français in France and Belgium before returning to the US to study art and French literature at Stanford University. It was there that she met Jack Conte and formed Pomplamoose, eventually performing, recording, and editing songs and videos entirely on their own in their Northern California home. How I Knew Her, Dawn’s latest solo album features 12 autobiographical, introspective songs written by Dawn and produced by Conte. How I Knew Her was recorded at Prairie Sun Studios in Cotati, CA, where many of Dawn’s favorite Tom Waits albums were recorded. The studio enabled the musicians to play one room as a full band. Oz Fritz engineered the album with Conte; it was then mixed by Mike Mogis (Bright Eyes) and mastered by Bob Ludwig. The recording sessions were filmed and will periodically be released as companion videos.
 
Alcoa
Bone And Marrow
Bridge 9 Records
 
Singer/songwriter Derek Archambault is no stranger to the spotlight. He has spent the last 4 years on tour with progressive hardcore/punk band Defeater, and has had a solo project called Alcoa going for even longer. After countless years of keeping Alcoa on the backburner, new album Bone and Marrow is finally seeing the light of day. In early spring of 2012, Derek started recording the Alcoa full-length in and around Portsmouth, NH. He, along with Aaron Neveu, started laying down these tracks that became Bone and Marrow. "Aaron and I are both big fans of 60’s soul recordings and what the Daptone label has done in the last ten years, so we wanted to give it a shot and have it sound like something between those and Springsteen’s Wild, Innocent… record", he said. Far from a hardcore album, Bone and Marrow features upright bass, banjo, fiddle, pedal steel and piano/organ, with some more surprises thrown in along the way.
Superhuman Happiness
Hands
The Royal Potato Family

 
Superhuman Happiness is a relentlessly creative band, whose sound has been dubbed "physical cinematic dance music." When it came time to make a record the band aimed to capture the magic of their electrifying live performances at Seaside Lounge in Brooklyn. The outcome, Hands, is a collection of songs that runs the gamut from syncopated claps that represent the world’s earliest music to the coronation grandeur of church bells, art-pop dance beats, disco slides, math rock angularity and life-affirming emotions that reflect the band’s moniker. There are also lots of horns. Imagine a cross between Broken Social Scene, !!!, and the Terror Pigeon Dance Revolt, and you’ll grasp the funky idea. Spazzy, fun, and free, Hands is an early blast of summer.
 
The Virginmarys
King Of Conflict
Wind-Up

 
Satellite towns tend to breed big ambitions. Perched on the hills above Manchester, Macclesfield’s principle claim to fame comes in the cult of Ian Curtis. That classic example of the ‘just out of the city’ boy reinforces how big horizons tend to breed big ambitions. The Virginmarys are not part of the Curtis club. Their music blends the dynamics of platinum class ‘grunge’ (basically Nirvana, Mudhoney and Screaming Trees) with the spikiness of punk and the attention to detail and honesty of prime British rock of the early 1970’s, before the wizards and capes overcame the attack and dynamic. Their belief system begins with a devotion to the idea of playing. Live or in rehearsals, the three are at their most comfortable instruments in hand. Whether this is cool or not in a world where we sometimes seem to want our bands to devote themselves to studiously not playing is of no consequence to them. So, the debut album, King Of Conflict, was recorded live in the studio and it’s a rightful document of the band’s brains and brawn. Slash is a fan. You will be too.
As you may (or may not) remember: Some years ago, Radiohead frontman, Thom Yorke, decided he needed an outlet for all of the glitchy IDM that kept pouring forth from his laptop that wasn’t a Radiohead record. With longtime producer, Nigel Godrich, in two, York created The Eraser – a surprisingly (or not) hummable album that was both surprising and familiar in its approach. Regardless, it made room for guitars to reign again for In Rainbows. When it came time to play The Eraser’s songs live, Yorke mostly took to the piano, but eventually he recruited Godrich, Flea, drummer Joey Waronker (Beck, R.E.M.) and multi-instrumentalist Mauro Refosoco to breath new life into his compositions. They had such a good time doing it, that they decided to make a go of it as a proper band with a name: Atoms For Peace. So, at long last, we’re finally treated to Amok, which liberally uses ingredients from The Eraser as well as the more Afropop-leaning elements of Radiohead’s previous long-player, King of Limbs. Though Amok may imply musicians running wild, it’s still a ship largely controlled by Yorke’s beats – but the band is stealthy: And as the album progresses you hear them roam increasingly free. This band is a rare bird – so take your time and enjoy the moment.

ATOMS FOR PEACE -
AMOK

XL
Madeleine Peyroux has proved to be an uncannily insightful interpreter with her consistently impeccable choice of material. Peyroux’s new album, The Blue Room, sees the genre-blending singer reworking some landmark musical gems, in a repeat collaboration with longtime producer Larry Klein (Joni Mitchell, Walter Becker, Tracy Chapman, Herbie Hancock. The Blue Room started life as Klein’s re-examination of Ray Charles’s classic, Modern Sounds In Country And Western Music, but soon moved away from being strictly an homage to that album. So, alongside tunes such as “Bye Bye Love,” “Born To Lose,” “You Don’t Know Me” and the anthemic “I Can’t Stop Loving You” are Randy Newman’s “Guilty,” Warren Zevon’s “Desperadoes Under The Eaves,” John Hartford’s “Gentle On My Mind,” and Leonard Cohen’s “Bird on a Wire.” Much like Charles who in 1962 jelled R & B, Gospel, Country and Jazz, The Blue Room is at a nexus of styles, blending Jazz, Blues, Country and Pop. The sometimes eerie, often sparse arrangements prove the perfect canvas for Peyroux’s musical palette and seem to effortlessly blend with her voice.

Madeleine Peyroux -
The Blue Room

EmArcy
moremusic

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