artist review

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!

Jetlagged With Milosh
October 6, 2015 1:31 am

Milosh is an elegant marriage between original electronic music and an intense personal experience. I am very familiar with making music with your significant other and both the joys and hardships that can come of it. I appreciate the fact that this artist was able to contain and create such a personal experience and add their everyday life to recording. This was present especially in their song “Do you want what I need” where in the band biography on facebook he stated he mic’d himself  “drumming on my wife’s tummy, brushing her skin; edit, cut up and reversed her laughs as we joked over the pure hilarity of it all.”

Often times I cannot relate to electronic music, but then you listen to the sheer personality of the track, and that mentality dwindles quickly. There’s a hint of Animal Collective‘s creativity and obscure recording techniques present.  Just as Avey Tare and his wife used to work together, Jet Lag seems like a long lost psychedelic brother of Avey Tare’s album with Kria Brekkan Pullhair Rubeye but in reverse.

It is very apparent that this artist feels every aspect of the music he is playing and it has been noticed by others as stated by Helene Achanzar in an interview with Rhye that Milosh is a conductor of sorts in his live element.  He is also well known for his band Rhye, who are undeniably emotional as well as felt in the video for their song called “The Fall.”  Every song he puts out cries loving tears and is very thoughtful and diverse. Not a single song sounds like another, which is rare for many bands these days.  Do not get me started on his amazing voice; it is extremely distinctive and surprisingly, he is able to hit notes that would make Mariah herself blink.

In The Ambient Abyss With Mariage Blanc
September 27, 2015 11:39 pm

The first day of fall was the perfect day to put the album No Autobiography by Mariage Blanc on repeat.  The band, from Pittsburgh, P.A. (who is now split between Pennsylvania and Sacramento, California) is the perfect soundtrack for a long drive on a slow Sunday afternoon.

While listening to their song “Silent Nations” I can feel the melancholy overtones pulling me into an abyss of sadness.  The vocals have the similarity of singer-song writer Elliott Smith’s paper thin vocals and guitar picking, with a little more calm in the deliverance reminiscent of Indie pop band Silversun pickups vocal style.


It’s no wonder Craig Ismaili included the album in his top 10 for 2015.  The band’s main attributes seem to be nostalgia and melancholy in the rawest form.  Recorded at Tree Lady Studios, the ambient white noise in the background of the track “Nowhere Town” to the finger picking and sliding sounds of the acoustic guitars in “Stay With Me” ultimately reminds me of a Figure 8 (Elliott Smith) and Bon Iver self titled love child.

Eventually when you’re able to pay attention to the lyrics, they melt your heart as well.  Mariage Blanc is easy to listen to and to fall in love with. They feel like a reincarnation of Simon and Garfunkel’s clever and perfectly placed chorus and lyrics that draw you in on the first listen. Who could even renounce the pain felt when you heard “did your heart break down in June?”  I can tell you that it tore straight through my soul and I can only imagine the energy they put into their live show, so if they decide to come to your town, you best be there. You know the beasts will!

Peter Broderick – London Concert Review
August 26, 2015 9:00 am

On the evening of August 13th a little oasis was created right in the busy heart of London’s West End.

Inside St. Giles in the Fields Church, the noise of all the cars, commuters, and party-goers are inaudible to the crowd of around 150 people all huddled together as they wait for Peter Broderick to make his appearance. Laid out on the stage were a guitar, a bass, a violin, a piano, four mics, and about half a dozen loop stations. So Peter’s touring with a band? No, he entered the stage alone. Initially he acts as his own roadie: testing the microphones and tuning his violin. Seated right at the front, I’m not sure if I’m allowed to stare at him or whether I’m supposed to pretend he isn’t there at all. At 9:15 sharp, right on schedule, Broderick approached one of the microphones. “I’m sorry to start when so many of you are still in the queue for the toilet but don’t worry. These first few songs are for you as well.” He’s considerate, to say the least.


His first song wasn’t one of his own. It’s a cover, but it has Peter Broderick’s style written all over it. He starts on the violin, looping different melodies every four bars. He does the same with his guitar, and within no time the church was echoing with sound. No band needed. The same goes for his own subsequent songs, “Not At Home” and “Colours of the Night.”

Broderick’s whole performance hung in this balance between melancholy and humorous. The songs have a predominantly sad tint to them, yet he didn’t seem to take himself too seriously. He took the liberty to address the audience in various amusing ways, often while he plays. “I had the most ridiculous thought when I was playing that song just now. I think it’s my only song that could be classified as sexy, but it’s impossible to look sexy playing this casio keyboard.” Oh, Peter.


There were a few minor technical malfunctions during the show too, but he easily shrugged them off with ease. “Chris has been doing the sound here tonight everybody, and he’s doing a great job.” We all applaud. “But seriously dude, turn the fucking microphone on.” We all laugh. Everything feels so spontaneous. Broderick seemed to possess a peculiar talent of being in the zone and out of it at the same time.

On the whole, the concert had an intimacy I rarely experience. Broderick’s connection with the audience felt very genuine. One of the songs he dedicated to a man named Xavier, who has apparently been present at every one of his shows in London ever since he began touring. He also let the audience choose which song they would like to hear for his encore.

For my own sake as a fan (and perhaps his sake as an artist), I hope he will always retain this level of fame. I would hate to see his performances loose that level of intimacy, and only with a crowd this size in a space like St Giles Church can it be made possible. Don’t get me wrong, I enjoy big spectacles and massive music festivals as much as the next person. Still, in this age of social media, paparazzi, and humongous televised talent contests in which one-hit wonders are hyped up beyond belief and then dropped without a moment’s notice, such a tangible and intimate performance felt like a breath of fresh air.

Peter Broderick’s performance flew by, and I can only hope that the time between this concert and the next will fly too.