Music Sessions

September 26, 2016 9:59 am

At  the Mondo NYC music conference earlier this month, every conversation began the same way: “Sucks about CMJ, doesn’t it?” “Yeah, what do you think of this Mondo thing?”


To be honest, I went into Mondo disappointed for various reasons; one, because it was not a rebirth of my favorite dance party, and two, because I was very much looking forward to (the currently defunct) CMJ. Though Mondo was created by Bobby Haber and Joanne Abbot Green, the pair sold the conference in 2012. Could Mondo hold a candle to CMJ, my favorite local music conference? And could it ever grow to compete with the behemoth that is SXSW?

ATYPICAL SOUNDS was lucky to grab a few minutes with Austin natives Kelly Barnes and Brian Cole of the band Darkbird (who put on an absolutely incredible Saturday-night show at Pianos), and get their opinion on Mondo vs potential-future-competitor SXSW:

Kelly: My feelings about SXSW from years ago were great, because it was aimed at getting newer artists like ourselves up and running, getting seen by people that can actually take bands to the next level, and now it’s Kanye West performing or Bruce Springsteen. And there’s thousands and thousands of people coming to see that.

It’s just becoming this huge shit show, [which] is probably the best way to put it. And it’s just over-saturated. So it kind of lost its focus. I think if Mondo were to grow into what SXSW was…[SXSW] did have a time, and it peaked, and it was something really great and useful.

Brian: SXSW has turned into a monster that can barely contain itself. It’s having issues keeping itself together because it’s so big now. There’s lots of corporations involved now, like it’s “Lady Gaga on the Doritos stage”, and it’s not really about getting bands exposure, getting them in contact. It’s about the industry and the bands, giving them a place to meet, and that’s what I would like to see Mondo do. And I think they’re starting on the right foot. I went to a couple panels yesterday, and it was inspiring.


Kelly: The business has changed so much. It’s not like someone sees your show and is like, “Come on, baby. Let’s make you a star!” Everyone’s kind of throwing their hands up in the air like “How does this work?”.

When [music] is something you do to try to make a living, it’s really frustrating – you’ve got the talent, you have all these things you want to do. But how do you do it? How do you get there? How do you get your music in the right hands? How do you get someone to listen to it? And maybe these conferences give you some tools and ideas that maybe you haven’t thought about. And you feel like you’re learning something very valuable. There’s so many question marks about how to do it anymore. It’s frustrating.

Brian: One aspect that I like about Mondo is they’re bringing in new technology, as well. The music industry is changing because of new technologies. Nobody buys CDs anymore. Nobody has the attention span to listen to a full album.

Kelly: Record deals from big labels aren’t worth anything anymore. Now it’s independent labels, or people are DIY-ing everything. But it’s possible that way. Here, you’re learning about how to utilize technology.


The utilization of technology was an important topic throughout panel discussions at Mondo, which included talks called Why Can’t Music Apps Get Funding? and Digital Entertainment and Content. The honesty of many of the panelists was refreshing and informative. However, it was jarring to watch these presenters, some of whom with 20+ years of experience in the music industry, insinuating they don’t really know what’s going to happen with the music industry since file sharing essentially wiped them out. Then again, no one should have had to pay $20 for a CD in the first place, so they kind of had it coming. And there seems to be a lot of freedom right now to figure out what the “next big thing” in the music industry will be, so that’s at least one positive to come out of the Wild West the industry has become.

Mondo featured 3 days of panel talks, with 5 days of music showcases happening at venues throughout Manhattan and Brooklyn. The showcases were not all day and night (as in CMJ), but happened only at night after the panel talks. While conferences like CMJ and SXSW thrive on their ability to offer band exposure from constant showcases throughout, Mondo limited this time by keeping the showcases nightly. Spreading the showcases out between Manhattan and Brooklyn also limited the number of showcases that could be seen in one night, with attendees being forced to choose one borough over another.

Ultimately, for their first year, Mondo made a pretty decent go of things. Having corresponded with the organizers, it’s clear they’re looking to grow and improve, and are doing so through open communication with attendees. Because of their willingness to “give the people what they want”, Mondo could grow into a strong contender in music conferences in the coming years. I’m looking forward to seeing that happen.


July 6, 2016 11:44 am

Cover songs can be both a wonderful and cringe-worthy affair. They allow contemporary artists to dust off forgotten gems and repackage them for a new generation. Occasionally, a cover will manage to even improve on the original, though often they fall short. The Carpenters or Sonic Youth; Otis Redding or The Rolling Stones or Devo; The Postal Service or The Shins? Al Green or Talking Heads?—this go-to conversation fodder can quickly escalate into heated debates.  Youtuber Anthony Vincent gives covers to you 20 different ways in one dizzying burst.

Ten Second Songs doesn’t particularly befit a YouTube channel dedicated to the Jim Carey of pop music impersonators—for whatever reason, the title automatically reminded me of this classic AskReddit thread instead. Nonetheless, Anthony Vincent’s goofball concoctions are a total gas. If you you’re in need of a quick and hardy laugh, he’s got you covered.

Vincent’s main attraction is the 20 Style Cover Series, in which he sings through a selected track—often voted for anonymously by his loyal subscribers—and redubs the song in the style of a random interchanging array of musical guises, from Frank Sinatra to Nirvana and RunDMC to Daddy Yankee. Sure, it’s a touch on the gimmicky side, but that’s totally the point–the pure belly-laugh value is undeniable as Vincent mashes up some often hysterical combinations. Make sure to check out his HUGE variety of covers here. This is one of our favorites, enjoy!

May 20, 2016 12:09 pm

There’s no reason for me to feign objectivism right now. This recap is mostly meant to be a piece for all of us at #ATYPICALSOUNDS to brag about the awesome show we just put on. This article will most likely read like Kanye’s ‘can I talk my shit again’ part off “We Major.” So if you were expecting some hard hitting analysis on Idgy Dean’s performance at Splash headquarters, then you’re kinda dumb.

Regardless of all the aforementioned bias, I am being so sincere when I say that Dean melted a bunch of faces, ark of the covenant style. Why would I say anything other than this? I love all of her music. Buy her album, you dunce, it’s good.

She came in charged up, commanding the crowd from start to finish. She went shoeless the entire time. This barefoot assassin put on a great show while also risking a possible staph infection out there. We love Splash, but we don’t know what germs are lingering on those hardwood floors waiting to pounce on an exposed foot.

I’m sure she’s fine. I hope she’s fine. It would be really underwhelming for a rock virtuoso like Dean to die from something as icky as a foot infection. Also, I do not know what type of liability we would have under those circumstances.


Thankfully, Dean’s performance went off without a hitch and she got everyone to rock out while lobbing a bunch of balloons back and forth throughout the crowd. No matter the age, balloons always tend to entertain. People spend millions of dollars producing highbrow television dramas while the same amount of stimulation can be accomplished from a room full of inflated rubbers.

Okay, so you’re reading this recap and so far you’re pretty impressed. You’re thinking, “wow, these guys had live music, an up-and-coming tech company hosting the whole thing, AND a whole mess of balloons??? How could they possibly top this?” I’ll answer that question with one word: booze. Thanks to Dos Equis and Widow Jane Distillery, we had it flowing all night. They helped make the night super fun and left people drunk enough to not notice that the Splash office was eventually overwhelmed by the smell of sauerkraut.

Regardless, no amount of sauerkraut would be able thwart Idgy Dean on this night. The maximalist showmanship put forth in her live performance simply inspires the hell out of us. Whenever she goes on a drumming spree and puts the guitar around her back, she is a knight preparing for combat. We couldn’t have asked for a better performance or a performer to encapsulate the Atypical Beasts aesthetic.

For more photos and videos check out ATYPICAL SOUNDS on Facebook and Instagram!







January 28, 2016 2:53 am

If you’ve never heard Primus, or their singer Les Claypool’s bass lines, then you’re in luck.  Not only does “Cricket And The Genie” contain one of the better bass lines I’ve heard this year, but it also contains Sean Lennon as a part of the mega two-piece called The Claypool Lennon Delirium.

Lennon surely takes after his father in this collaboration, without a doubt.  The eight minute song starts out with a very eerie bass intro and a vocals that sound like the Beatles have returned.  The bass style is driven with such a delicious tone and complex structure through out the song that you get lost in it.  Lennon’s vocals have their own soft but playful taste to them, summoning his father’s ghost with a throat singing style, similar to Elliott Smith in his harsher elements of delivery.  The keys in this song form an interesting mix of melancholy and downright creepy, creating the stage for a Muselike overall darkness but with the DNA of two of the worlds greatest musicians.  The song obviously features a little bit of a cricket song as well.

This song throws you for a loop. There is a break down around the 3:55 minute mark, almost halfway through the song, that kind of blows my mind. In a Rolling Stone article Claypool stated about Lennon, “His DNA definitely shines through, though it isn’t just his father’s musical sensibilities that he reflects but also his mother’s abstract perspective, which to me, makes for a glorious freak stew.”

Freak stew is probably the best description i’ve heard so far.  Only its the right kind of freak stew, the kind you want to gorge on for weeks on end. For whatever reason the raw and not quite abrasive quality of the song drags you right in with the acquired taste that they sell and they sell it flawlessly.  I heard this song multiple times and I’ve had the swimming melodies and punchy driving bass lines ingrained in my mind for about a week.

Lennon states,

“The Claypool Lennon Delirium will (gently) melt your face with heart-pounding low-frequency oscillations and interdimensional guitar squeals. We look forward to seeing you very soon.”

He is absolutely not lying.  The Beasts here suggest that you get your first, second and third helpings of this freak stew before both members get busy with any other mega projects they might also be involved in. The last lyrics in this song are; “you ought to try it you really ought to try it” and we can assure you we agree. Try the song and make sure to catch them in July at Bonnaroo!


December 10, 2015 2:23 pm

Live albums are a bit of a lost art these days. There was a time everybody did them, and some live versions were more popular than their studio counter parts (I’m willing to bet many of you have never heard the studio version of “I Want You to Want Me”). While the advent of video live sessions and things like the Spotify Sessions have worked to fill that void, new recordings of bands playing in packed theaters to raucous cheers are few and far between.

Courtney Barnett’s Live at Electric Lady Studios in New York is not quite that but it’s damn close.

courtney-barnett-21-6cfe32152b15be0798da15d1011bdd80fd8b6f91-s1000-c85There are a couple things to consider with any live recording. The most important question is also the reason live recordings are much less popular today – Can the band play? With music production being what it is, there are many acts that simply can’t reproduce what they have on their album. What you get instead is a rhythm section playing along with a computer. In some cases this means the only significant difference between a live recording and the record would be a singer without auto-tune.

This is not something you have to worry about with Courtney. First of all she doesn’t really even sing in the traditional sense. Instead she slurs out her lyrics in a Bob Dylan/Craig Finn talk-singing voice. While this might be off-putting to some, in reality it’s dope as fuck, and in the context of a live recording, it basically means she can’t sing the parts wrong. They weren’t ever quite “right” to begin with.

Taking a step back, you hear the band behind the voice: Courtney on guitar, Andrew “Bones” Sloane on bass, and Dave Mudie on drums. And they can play. Their arrangements are strong and the parts are played right. And coming off the recording is the reason live albums became so popular to begin with: Energy. It sounds like a band playing in a room together, feeding off each other. You can feel it.

Unfortunately this energy can be at odds with the other big “live record question”: How does it sound? Generally speaking, what you gain in energy you lose in fidelity. While Courtney Barnett was never known for her produced sound (rather she is known for her performing sound) there is a noticeable difference between the studio versions and live ones. Sometimes that’s a good thing. Listen to her guitar tones on “Avant Gardener.” They are simply massive. The band sounds like so much more than a trio at times, and she really gets some awesome noise out of her axe. That effect could never come across the same way on a studio track, as you would never know if it is coming from the performance or the production. Here, you know.

But, alas, the sword is double edged, and there are other things that Barnett can never do with a trio. The best example of this comes out in “History Eraser.” It’s a balls-to-the-wall punk love song that revolves around a chanted refrain “In my brain I rearrange the letters on the page to spell your name,” (Fuck yea, right?). The studio version snaps between furious guitar-charged verses and this refrain, chanted over one sustained guitar chord and a tambourine. This has a massive effect. The transition is jarring, and the return to thrashing verse is awesome every time. On top of this, the refrain line sounds like its being chanted by an occult chorus. While the music drops out, the vocal part switches from one voice to many.

The live version can’t do that. The verses are so packed with lyrics that Courtney needs the chorus to catch her breath. That leaves only Bones and Dave to sing the refrain, which the whole song is built around. In this version, it seems the band tried to combat this by keeping the instrumental parts going through the refrain. What is meant to keep the energy up actually stagnates the song. The studio version has the effect of the floor dropping out from under you. The live version is more just a stroll down a hallway. This would not be a two paragraph issue if that weren’t her most popular song.

“History Eraser” gripes aside, this a killer live album. It brings the impressive power of Courtney Barnett’s trio into your living room. The few moments of in-between-the-songs chatting are endearing. The song selection is strong, but as this was recorded years ago, all the songs are off of The Double EP: A Sea of Split Peas. Fans of Sometimes I Sit and Think, And Sometimes I Just Sit, might be a bit disappointed. Instead they can keep their fingers crossed and hope that this is not the last live recording to come out of this Aussie badass.

November 19, 2015 2:58 pm

Wednesday night. 6:30 p.m. A crowd begins to fill up Irving Plaza to see Lights, Phases and The Mowgli’s. Time quickly fades to 7 p.m and a woman walks across the stage before the curtain has fully raised. All you can see are shiny golden shorts, longs legs and black velvet boots. Her hips begin to sway back and forth with a Jessica Rabbit type finesse, making everyone drool while simultaneously making them want to dance before the music has even begun.

The curtain raises even more revealing a stunning Elizabeth Berg (Z-Berg) backed by her incredibly talented and handsome band. It felt like a 70s disco that I couldn’t get enough of. They performed hits such as “I’m In Love With My Life,” “Betty Blue” and ended their set with their hit “Cooler” to which Z-Berg jumped off the stage to dance with the crowd and kiss an over-joyed fan on the head. There is no question that Phases set the tone for the night.

Following Phases was The Mowglis. Everyone raved and applauded as they casually walked onto the stage and unexpectedly went right into singing “Say It, Say It.” They surged all their music and vibes into the crowd performing hits like “I’m Good and “San Francisco.” I had never really heard the Mowgli’s before but after seeing them perform I wanted to learn everything about them while downloading all the music they’ve ever made.

Time strikes 9 p.m and the crowd gets wild as they realize that LIGHTS is about to come on. A purple glow envelops the stage, illuminating the silhouettes of each band member. Valerie Poxleitner (lead singer) walks out emanating everything a rock star should be emanating. Her tank, baggy, cut-up boy friend jeans and Calvin’s were just the tip of the bad-ass ice berg. Playing the synth while executing insane dance moves, she goes right into singing “Muscle Memory.” She shouts, “Feel free to dance and vibe!” This is exactly what happened.

A few songs and many dance moves later, a stool and some acoustic guitars were brought onstage and I was shocked. I had only seen this band do pop-electric videos with synth and pop ballads galore. This was my favorite part of the show. Valerie’s voice collided with the acoustic vibrations in the room and I became an eternal fan then and there. No questions asked. As a few pieces of loose confetti drifted through the air and onto an entranced crowd, I realized that we were all a part of a giant meditation. Everyone, in that moment, became blissfully aware of the raw talent exuding from the stage. No synth. No catchy tunes. Just a divine voice and sound that we all had the privilege of experiencing.

Lights finished off the show with insane electric guitar solos, immortal vocals resembling a musical lovechild of Ellie Goulding, Paramore, and Jewel, insane dance moves, crazy beats, stage jumping and all around electric frequencies at every second. Not to mention a cellphone getting thrown center stage to which Valerie responded by picking it up, and recording herself yelling, “Fuck yeah New York!!!”before throwing it back to the owner. Irving shook with excited applause and an envy towards the owner of that phone.

Lights, Phases and The Mowgli’s presented a show that was so special and endearing. It was full of light, love, hope and positivity; things that are desperately needed in this world right now. The line of the night was from LIGHTS when she said, “Sometimes you just gotta say fuck the madness and enjoy the moment. When we’re kids we don’t recognize the madness as much. And now that we’re older we just got to take moments like this and let them live.”

November 6, 2015 3:39 pm

Wowzers. Great Scott. Holy Guacamole. All of these interjections could describe the show at Webster Hall Wednesday night, yet they barely would scratch the surface of the magnitude of awesomeness that Brothertiger and Jr Jr provided. The enormous ballroom was hazy with incense from the start (although they must’ve had a smoke machine too), and as ghostly stagelights pierced the fog above the crowd, Brothertiger took the stage.

IMG_91601Much of the crowd was unprepared for Brothertiger’s entrance, still busy ordering drinks or leaning against the far wall, but his hypnotic rhythms and angelic vocals quickly got their attention. The Brooklyn based solo artist seemed at ease in Manhattan, deftly engaging the growing crowd at his feet. While his original songs were sublime, the highlight of the set was a spellbinding rendition of Talking Heads’ “This Must Be The Place.” With most of the crowd familiar with the song, it was a truly magical moment for everyone.

And then Jr Jr took the stage and blew everybody’s minds. From the moment stagehands unveiled the giant “JR JR” light up set-piece behind the stage, it was clear that the performance would be epic. They did not disappoint. Passionate energy filled the cavernous hall, as upbeat indie/electronic pop saturated the room. The Detroit foursome had the audience at hello, and continued their captivation throughout the night. Singer/multi-instrumentalist Daniel Zott’s insane hairdo contrasted nicely with other singer/multi-instrumentalist Joshua Epstein’s more subdued personality, although both of their energies were electric and contagious.

IMG_9172One recurring characteristic of their music is the use of some sort of vocal layering machine. Their song “James Dean” is a great example of the technique, but many of their songs made use of the technology, leading to a very thick, satisfying upper register. Contrast that with their well executed rhythm and bass sections (at one point Zott was going ham on a drum pad–it was awesome) and you’ve got yourself something special. You could even call it magical, if you were so inclined.

Jr Jr ended their set with a generous four song encore. The band came back out wearing these unbelievable matching jackets that glowed neon under overhead blacklights. As a pair of bubble machine pumped their little bubbly hearts out, the group went absolutely wild dancing in front of the enormous flashing JR JR lights behind them, much to the excitement of the audience. Jr Jr continues their tour this week, ending in Chicago on Saturday, and if you have the chance to see them you really should take it. They are magical.





November 3, 2015 11:35 am

Canadian DJ Ryan Hemsworth gained popularity over the last few years with his reserved, groovy electronic creations. Known initially for his remixes and production work, Hemsworth’s solo career started taking off after his 2013 release Guilt Trips. Trippy and spacey, but still quite danceable, Guilt Trips cemented Hemsworth’s style: with almost exclusively halftime beats, sparse harmonic frameworks set the stage for manipulated samples and heavily layered beats to drive the action of the song.

One of Hemsworth’s latest projects is his website Secret Songs. Secret Songs releases free downloads twice a week for “friends only” (read: anyone hip enough to know who Ryan Hemsworth is [just google him]). One of the most successful songs to come from this experiment was “Keep U Warm” by the Seattle producer Lucas. Lucas wowed with his unique ear, using the sounds of crickets, running water, and plenty of other synthesized pops, splashes, and fuzzes. These bizarre sounds actually work to give his electronic music a more natural feel, anchoring the listener with the familiar essence.

Hemsworth too was drawn in by Lucas’s talent, and the two worked together to produce the 6 song, 20 minute EP Taking Flight. The two minimalist producers attempted to blend their styles for this release, and while those styles are not exactly disparate, there was a bit of tension there. At the best of times, Lucas’s creative samples and synth noises lend the character while Hemsworth uses his Powers of Ultimate Smoothness to provide a codeine haze, like in “Long Time.”


At other times though, it seems like the two step on each other’s toes. Lucas’s unique sounds work best when they are left to take the lead. The real draw of “Keep U Warm” are the sounds. Hemsworth is more partial to the groove of the song taking the lead. Songs like “From Grace” show promise, and then slowly creep into the world of “a little too much going on.” Hemsworth’s focus on groove detracts from the super interesting sounds of Lucas, and Lucas’s noises essentially pull the listener out of the velvet coma that Hemsworth is so adept at providing.

Taking Flight has a few issues, but it is a strong first effort from a duo with a lot of potential. These are clearly two incredibly talented people with good ears. What is most encouraging is Hemsworth’s decision to work with Lucas. In a genre that is constantly walking a fence between overproduced and boring, Hemsworth brought in someone that focuses on the sounds being made, not just hooks and beats. Lucas’s clear dedication to making visceral and interesting electronic music is encouraging to say the least.

October 28, 2015 12:14 pm

If you were lucky enough to be a part of CMJ this year, you may have caught a set by Melbourne quartet The Harpoons. Comprised of brothers Henry and Jack Madin, Martin King, and singer Bec Rigby, the band swiftly demands attention in live performances from Rigby’s powerful vocals and unique sound.

Ready For Your Love, the band’s newest single, features a melody that could only be inspired by a vacation in the Australian bush. Pair that with a music video recapping their recent Japanese tour, and you’ve got something special.

We spoke with Bec about her performing at CMJ 2015, discovering new music, and performing across the world.

 I saw your CMJ performance at Pianos and was blown away. Bec, how long have you been singing for? How did you and the band work out the unique sound you’ve all developed?

BR: Thanks a lot! We’ve all been singing pretty much our whole lives because we all come from musical families! We’ve been besties (and two of us are brothers!) for many years. We just kind of created this weird thing together from talking and playing and loving the same types of music.

There were a significant number of bands from Australia at this year’s CMJ. Were you able to catch any of their performances, or meet up with friends in bands who also traveled to New York from Australia for CMJ?

BR: Yes! Lots of our favourite bands played actually, so happy to see them all there. Friendships are one of our mega fave duo of legends – although Mish from Friendships fell off a roof really early in the week and broke her arm! She’s doing well now and her bandmate Nick did a KILLER job, he played his heart out, played for two. We also loved seeing Sui Zhen, who wears glorious shiny turtlenecks and sings about emotions and losing her internet connection. </3

Sadly we didn’t get to see many others – CMJ is a busy time!

Harpoons_2How did your CMJ go? Did anything stand out to you about your 4 performances?

BR: New York is amazing. They were all great. What stood out was how friendly pretty much everyone who came to see us was! We had super nice crowds.

How did you prepare for CMJ? Was it intimidating that you were booked for a series of dates at a music marathon on the other side of the world?

BR: For sure! We prepared by getting pretty stressed about it and practicing a lot, trying to make sure we were covered for the intense types of shows we’d be playing – 10 minute change over, 25 minute set – it can get pretty tight!

Who were your favorite bands from this year’s CMJ? Did you discover anyone new?

 BR: Yes! We saw this incredible trio of singers 90’s-style power pop singers with perfect synchronised dance moves at Pianos one night after we’d played, they were called Romance. If you ever get the chance, SEE THEM. Also blown away by GEORGIA at Rough Trade. She is so musical, watching her slam her songs on the drum kit and whip her hair around and say “WHOO” was mesmerising. Plus there was free packets of Pocky!

You performed in London immediately before coming to New York for CMJ. Do the crowds in the two cities differ at all?

 BR: We’ve played in Japan, UK and now USA and what was really cool for me is that we could see that people had the same connection to the music everywhere we went! It’s pretty inspiring playing a room full of people who haven’t seen you before and they seem to get where the music’s coming from, and get the emotions it’s trying to convey!

Were you able to try the pizza while in New York? How did it compare to the pizza in Australia?

 BR: I basically lived off $1 slices for a while there, and may I say the $1 slice is HIGHLY variable in quality. I had some best and some blurst ones. But the sheer joy of getting a slice bigger than your head for one measly dollar pretty much beats the disappointment of a bad one every time for me. NY pizza has stolen my heart.

I know you have a few more live performances scheduled for when you get back to Australia. Is there anything else fans can expect to be seeing from you in the future?

 BR: We have a lot of new music in the works actually, so fans can look forward to that coming out over the next year or so!

October 27, 2015 5:33 pm

It took me a moment but once I heard a couple songs I realized that I had heard Moon Taxi before.  This band from Nashville who started in 2006 will blow your mind with the musical vastness they accomplish. They’ve had their music featured in numerous commercials, late night shows and festivals. The band released two previous records before their latest and greatest Daybreaker.  They have all the elements of a light indie pop/alternative rock group, with a  darker tinge of garage rock injected into the mix.

Daybreaker was just released October 2nd, just a few weeks ago and has everyone falling head over heals. Most of the songs on the album sound like a mix of Interpol with droning guitar riffs and sound similar to Kings of Leon vocally.  It’s reminiscent of something Danger Mouse might produce save for the grunge here and there throughout the record.  It was actually a pleasant surprise to hear the different sounds they are capable of making as I’m not generally a fan of more fluid indie rock.  But I was thoroughly impressed with how they produced this album and all of its dynamic.

You can really feel their performance, and how every single part of each song melts together in the perfect sequence while appropriately placed. This is the type of band you want to see live because you know they have it down to a science.  All of the songs, including the single “Year Zero” have a slight Vampire Weekend sound with milder vocals and more full sounding instrumentals.  I’d highly advise you to check out their album Daybreaker! If you’re ever in the mood to dance this album will be your best friend.  Check out the Jazzy tune “Make your mind up”  from the new album right here and watch these bad asses focused and rocking live at Lollapalooza.  The Beasts approve and beyond!