Archive for the ‘Ethan Johns’ tag
The Boxer Rebellion, “The Cold Still”
Release date: Out now (Absentee Recordings)
If you were not at the Clayton Center for the Arts on the Maryville College campus last October to see The Boxer Rebellion perform, don’t tell me. Because your absence makes me want to slap you.
Not only did you miss an absolutely amazing show, you probably helped ensure that the band — fronted by singer Nathan Nicholson — won’t be performing in this area for quite a while. I hope that’s not the case, but when you do well to fill 300 seats of a 1,400-person venue … and the audience sits for most of the show even though you’re parting their hair with some amazing rock ‘n’ roll … well, can you blame them?
If they pass up East Tennessee on future tours (and we’re certainly not a stop on the recently announced U.S. jaunt), then that, to put it crudely, sucks hairy testicles. Because this band … right now … is doing something amazing.
They’re not reinventing the wheel here, and the boys will be the first to tell you that. They’re humble, good-natured dudes who just want to play music. What makes “The Cold Still,” the band’s most recent album so bloody brilliant (sorry; their Britishness affected me momentarily) is the context of it. Go back and listen to “Exits,” the band’s first full-length. Linger a little while listening to “Union,” released in 2009. Then, I think, will you full appreciate just how committed these musicians are to growing and evolving and making the next album even better than the last.
The record kicks off with the beautifully haunting “No Harm,” a somber dirge that allows Nicholson’s vocals room to soar. Producer Ethan Johns is the album’s mastermind, and his deft touch turns a good song into something amazing at about the 1:20 mark, when bassist Adam Harrison’s few simple notes rise to the surface with the breathtaking beauty of a dolphin breaching the waves a few yards away. “Step Out of the Car,” the lead-off single/track, is certainly a high point — it’s got the dark energy and the razor-sharp guitar work of Todd Howe and comes as close as anything to replicating the big sounds off of “Union.” (Naturally, it was the choice for the guys to play when they rocked “Late Night with David Letterman” on Feb. 2.)
But the somber mood prevails — sometimes with urgency, as on the song “Locked In the Basement,” and sometimes with a swirling kaleidoscope of vibrating sonic flourishes, as on “Caught By the Light.” Then there’s a track like “Organ Song,” which sounds similar to, and as good as anything on, The National’s 2010 masterpiece “High Violet.” Once again, the band takes something beautiful and elevates it — this time at about the 2:12 mark, when the melody circles back on itself and Nicholson’s repetitive refrain builds into a ballad of urgency and longing.
The album fades on even quieter notes — the hushed, haunting “Doubt,” which features Nicholson’s croon reduced to a near whisper, with other instruments slowly adding to the understated mix. It’s unlike anything long-time fans will expect from The Boxer Rebellion, but in my opinion, that’s a good thing. After all, this band makes Blount County look good, and the boys are so genuine, so spot-on nice that they deserve continued success. If their subsequent efforts add to their catalog the way “The Cold Still” does, they’ll surely have it.
Royal Bangs, “Flux Outside”
Release date: March 29 (Glassnote Records)
Although the three members of Royal Bangs (Sam Stratton, Ryan Schaefer, Chris Rusk) are Southern boys, I do not know if they like gravy. Nor do I have any idea why, upon listening to “Flux Outside,” the forthcoming new album from the Knoxville electro-rockers, would my brain think of gravy, that quintessentially Southern condiment that so often gets poured over biscuits but goes quite well with mashed potatoes, country ham and just about any other food product. Other than making myself hungry, the association is rather pointless and stupid, but that’s what I think of — electronic gravy.
It would be easy to declare that “Flux Otuside” is the album the Bangs have been working so hard to make, but that’s a retarded statement. Of course it’s the album they’ve been working so hard to make, but it’s brilliance (yes, it is brilliant) doesn’t diminish “Let It Beep,” the album the guys put out in 2009 on Audio Eagle. I loved that record and still do; “Poison Control” may be among my Top 20 Most Favorite Songs Ever, because listening to it makes me feel like I’ve been French-kissing a light socket. Everything synapse seems to fire faster and better and with laser-beam focus and intensity.
For the new album, the Bangs have taken everything that was good about “Let It Beep” and smothered it (in electronic gravy) — which is to say that as delectable as the last album was, this one’s even better. All of the white space, the little moments of linear progression that came closest to resembling the verse-chorus-verse structure of traditional songs, has been covered up — augmented, if you will — by skittering sounds both obvious and barely noticeable. The guys have refined their manic energy and amplified it with pops, buzzes, beeps, clicks and all manner of electronic sound effects. The end result is an album that kicks off frantic with “Grass Helmet” and doesn’t allow the trio to come up for air until the sixth track, “Bad News, Strange Luck” — and even that maintains a normal heartrate for about 2 minutes, until the guys plug back into the generator and swing full-tilt toward buzzsaw insanity once agan.
Personally, I lean toward the muscular feel of songs like “Triccs,” which roars from one side of the brain to the other on Rusk’s powerhouse pounding, snarling and growling like a muscle car barely hanging onto coastal road curves but never slowing down. And the guys get almost introspective on the final two tracks, which slow down considerably from the frenetic pace with which the album kicks off.
But wait — there’s more. There’s a shimmering, Toro y Moi-like swirling intro to the song “Fireball” that gives way to a bouncing, sunny groove … a throwback to the rhythmic sounds of the “Let It Beep” lead-off track “War Bells” on “Back Then It Was Different” … some chiming prettiness on “Silver Step” … and just, damn, a whole lot more. Each listen reveals something new, some hidden ingredient bubbling just beneath the surface that slowly bobs up, revealing itself as a seemingly inconsequential detail that, it turns out, elevates the overall serving of “Flux Outside” from something merely delicious to a dish that would move Chef Gordon Ramsay to tears.
What that is, what the Bangs have brought to the table for “Flux,” is the gravy. Because gravy makes everything better.
Senryu, “Half Wild”
Release date: April 1 (independent)
It’s a puzzling album title for anyone who’s seen Knoxville indie-pop band Senryu perform live.
“Half Wild”? Really? Because every time I’ve seen the group, “wild” doesn’t begin to do the live show justice. With evil genius Wil Wright at the helm, Senryu is a band of four Terminators programmed to rock and party, not necessarily in that order: “It can’t be bargained with. It can’t be reasoned with. It doesn’t feel pity, or remorse, or fear. And it absolutely will not stop, ever” … until you collapse from exhaustion because your ear drums feel like someone poured a package of Pop Rocks down your ear canal and topped them with a 2-liter bottle of Dr Pepper.
In fact, that’s always been the challenge for Wright and company — recording an album that does the band justice and comes as close as the impossibility of doing so allows to capturing that live energy in the studio. The genius is that the two animals, while closely related, are two separate vehicles for Senryu’s creative spirit.
In concert, you can usually count on a few things — a skull-crusher like the intense “I Am a Battering Ram” … the crowd-favorite “The Hometown Bounce” … the gorgeous and lush “Inklings,” which became the backdrop for a marriage proposal during Senryu’s show at The Longbranch Saloon last August. Generally speaking — and specifically so, when it comes to “Half Wild” — the studio becomes a playground, a laboratory for soundscapes and musical collages that seem pulled from some garishly vibrant palette of colors so vivid they seem almost edible. (Take, for example, the lead-off single “Great. Expectations.,” which I reviewed when it was first released.)
“Half Wild” kicks off on an almost quaint note with “A Change of Heart,” languid and breezy, tinkling xylophone notes and drumbeats building toward the 1:47 mark, when Wright’s plaintive, soulful singing gives way in a growl to an explosion of force. Here’s the beauty of “Half Wild,” though, and maybe it’s what gives the album it’s title — just when you think it’s going to jump the tracks and turn into something so chaotic and crazy it leaves you pounding your chest to make sure your heart is still pumping blood to vital organs, Wright and co. reel it back in.
That control, that measured pace, is maintained throughout much of “Half Wild.” Take a song like “Thunder Shook the House,” which grows toward a turbulent finish, sounding like something The Doors might have recorded if Jim Morrison’s drug of choice had been cocaine instead of everything else — the band works the listener to the edge of the seat, anticipating something primal, only to put a finger over protesting lips and ask for patience. It’s a scenario that gets repeated on “Halfwild Boys,” a track destined for live performance greatness, and for most of “Take Yourself Apart,” a madcap of melody that gives way to to the 45-second “Hyperventilator.”
That’s the turning point — in less than a minute, Wright channels angst, rage, frustration, desperation and finally lights the “Half Wild” fuse, letting it burn toward the detonation point … only to lick his thumb and forefinger, reach down at the last minute and extinguish that flame. The next song is so dreamy, so hypnotic, that by song’s end you’re not sure what’s going to happen next … whether this is the Senryu you’ve known for so long or something completely different … or whether the plodding coda of “Before It Happens” signals some cosmic shift toward a new field of stars.
“We’re gonna have to leave the rest behind,” Wright wails as the song, and the album, come to a close. Hearing that, and soaking up the complexity that is “Half Wild,” I feel more confident that if nothing else, “Half Wild” is a sign of good things to come — for the band, hopefully, but definitely for fans. God knows, Senryu deserves it, because Wright and his bandmates make sure that the fans always get what they deserve, even if they don’t know what that is until after they hear it.
Here’s the official press released (edited for brevity) by PR company Big Hassle:
Following their most successful year to date, London-based alt-rock quartet The Boxer Rebellion are set to release their third studio album on February 8, 2011. Created in conjunction with legendary producer Ethan Johns (Kings of Leon, Ryan Adams, Ray LaMontagne), The Cold Still is an exercise in master class performances and dark, sophisticated songwriting from a band that embodies the very definition of “independent.”
Their new LP, The Cold Still, is certain to captivate an army of music fans around the world. Epic and intimate in equal measure, it is a breathtaking album, bristling with tense passion, gargantuan riffs, and heartrending lyrics, all with an effortless grace that has become The Boxer Rebellion’s trademark. As a whole, The Cold Still embodies the band’s alluring approach to songwriting as well as their relentless live spirit.
On working with Ethan Johns, guitarist Todd Howe comments: “Ethan had been our dream producer for years, so when we were asked to make a list of people to produce the third album, my list consisted of one name. We didn’t want anyone else and, luckily for us, he was in from the first demo. We were looking for a more natural and evolved sound and we knew Ethan would get it right.”
Singer Nathan Nicholson adds: “Working with Ethan was a magical experience. We essentially produced Union ourselves, so handing over the reins to someone whose work we respect so much was a really big move for us. Ethan started by setting us up in a circle facing each other – we had never played facing each other, ever. We recorded to tape and it was basically just press play and go. He really brought a new way of working to our creative process and it’s helped us make what we feel is our best record yet.”
The Cold Still tracklisting:
01. No Harm
02. Step Out Of The Car
03. Locked In The Basement
04. Cause For Alarm
05. Caught By The Light
06. Organ Song
08. Both Sides Are Even
09. The Runner
Read our recent interview with Howe here, prior to last month’s show at The Clayton Center for the Arts on the Maryville College campus.
It’s no secret that we’re fans of the British-based indie band The Boxer Rebellion. For one thing, lead singer Nathan Nicholson is an East Tennessee boy — a graduate of Maryville High School and a long-time resident of Blount County before relocating to London. We wrote a lengthy feature on the band last October, and in December, the band’s 2009 sophomore release, “Union,” made our year-end, best-of list. (We weren’t the only ones who liked it; iTunes named “Union” Alternative Album of the Year for 2009.)
Although released in physical form in January 2009, “Union” actually dates back longer than that — the year before, it was put out as a self-financed album that was available solely through iTunes. Within 24 hours of its release, “Union” had entered both the U.S. and the British charts, peaking at No. 6 on the iTunes U.S. Albums Chart and No. 2 on the iTunes U.S. Alternative Chart. It was a previously unheard of feat — a band without a label and with no physical product in brick-and-mortar record stores exploding through digital sales alone. Such success garnered The Boxer Rebellion coverage in such illustrious British publications as The Daily Telegraph, The Evening Standard and NME.
Nathan dropped me a line the other day, reporting on the band’s recent appearance at the prestigious South By Southwest music conference, where the band played four gigs before hopping over to Mexico for a show or two, and another item of note:
“Album three recording starts in a month with Ethan Johns, which i’m really looking forward to. We recorded a track with him last week, and I think he’ll be a great fit.”
Here’s a track from “Union” you can download for free: