Monday, February 27, 2006
Hailing from Las Vegas, NV, Panic! at the Disco brings together everything you hate to love about punk pop, emo, and funk. Crawling under your skin and into your brain where it sits and plays over and over and over and over. Panic! at the Disco's debut album "A Fever You Can't Sweat Out" (Decaydance/Fueled by Ramen) is the most infectious release of this young year.

Combining Fall Out Boy-esque tenor vocals and Taking Back Sunday-ish lyrical wit with the best modified jazz piano and synch hooks since the 80’s; it's a musical journey from the future to the past in style and tone.

The first half of the album is driven by drum machines and MOOGs, achieving the desired "years from now" vibe. The second side starts with a transitional intermission and then kicks things up and back with riffing string arrangements and dancing ivories. This one’s for all the boys that see grey clouds ahead and lay their heads down to dreams of fedoras and wing tips.

Panic! is currently on tour with The Academy Is…, and hellogoodbye. Later this spring they’ll be bouncing around on the Decaydance tour with Fall Out Boy, The Academy Is…, Gym Class Heroes, and the Hush Sound, and this summer they’ll be hitting up select dates on the Warped Tour.


[mp3] The Only Difference...
[buy] Amazon.com

Stephen Mayer
Contributing Writer

 
Sunday, February 19, 2006
As I write this, I'm coming down from the thrill of experiencing one of the best shows I've seen in quite a while. Featuring The Explorers Club, Stephanies Id, and A Fir Ju Well, The Garage became the focal point of musical bliss for over three joyful hours. The popcorn munching music junkies at The Garage were treated to a barrage of sound; first the retro guitar attack of The Explorers Club, then the keyboards and amazing vocals of Stephanies Id, and finally the Flaming Lips-esque climax of A Fir Ju Well.



The Explorers Club brought the stage alive with their vintage personality, evoking the spirit of the Beatles and the Beach Boys. As I watched them perform, I felt like I'd gone back in time, and I was at a Beatles era show. The group was incredible to watch, the fun they seemed to have on stage overwhelmingly infectious.

[web] The Explorer's Club








The moment I saw the xylaphone and vibraphone brought on stage, I knew Stephanies Id was going
to be unique - if nothing else. I was not disappointed; Stephanie Morgan's voice was exhilirating as she displayed her incredible vocal range, soaring over a background of darkly jazzy keys and drums. The group reminded me of a poppier Portishead, and indeed, they played a cover of the Portishead song Glory Box. The sultry jazziness of songs like Lusciously were enough to make me melt.

[web] Stephanie Id











The psychedelic rock of A Fir Ju Well was simply mesmerizing. At this point, I was suffering from extreme lack of sleep, but nothing could take my attention off this group. I found myself gently floating away on A Fir Ju Well's assault of jangly guitars. The breadth of musical talent in the group was unbelievable; the group repeatedly switched instruments, each competent at everything.


[web] A Fir Ju Well

All in all, a night bursting with musical goodness. I'll sleep sonically satisfied tonight.


Zachary Todd
Contributing Writer

 
Friday, February 17, 2006
If you haven’t, you should be. With his Simon and Garfunkal aesthetics, Rocky Votolato’s third solo album, Makers(released January 26th), is laced with stories of despondency and fleeting redemption. The Makers album is a warm follow-up to his previous record Suicide Medicine. With songs like White Daisy Passing, Votolato’s harmonizing voice and magical lyrics make this album a great listen. Votolato gets his influences from bands like Fugazi and his brother Cody (founding member of the Blood Brothers). Rocky is now touring the US and the tour dates, as well as other information, can be found here.

[mp3] white daisy passing
[mp3] portland is leaving
[mp3] the city is calling
[mp3] the light and the sound



Kelley Bennett
Contributing Writer
 
Monday, February 13, 2006

Ok, nothing - I mean nothing - beats blowing off work to go to a local show... Other than blowing off work to go to a Schroder Show. Hunched by the stage at Somewhere Else Tavern just to be able to hear the beauty that is Schroder.

Its like a musical blessing that is passed down by the gods of beautiful melodies and harmonization. Before I felt this way, Schroder was just another band I had never heard of until one of my best friends Jay tells me I HAVE to go to this show because this band will melt my face off.

So I find myself debating whether I should call into work or not call into work. Which do you think I chose?

I went to the show waiting to have to pick up the melted remains that would soon become my face. I got to The Tavern and it was the normal array of groupie wannabes and bands wanting to make their break followed by the underage girls who are just trying to get attention and after a couple hours of mediocre bands with horrible lyrics, overplayed covers and too many set times run over, Schroder starts to set up.

No sooner than they touched the stage, it was an all out rat race to get to the front. Somehow, Jay and I managed to get up front. The room got quiet and the air became thick and Schroder broke out in the only way possible - beautiful guitar riffs and band synchronization set Schroder apart from all previous bands. Playing like they only had one instrument and they were all playing it together.

The thing that really set Schroder apart was the fact that they had no vocalist. Schroder explained why, "the songs being as complex as they are might be strong enough by themselves not to need vocals behind them." Ever since they have had a complete specialization in "mind blowing" instrumentals. And trust me MIND BLOWING is an understatement! The way Schroder rocked was... mind-blowingly-face-meltingish-makes-my-pants-fall-down-and-my-brain-do backflips-while-my-ears-are-eating-the-best-breakfast-they-have-ever-gotten kinda rocking.

There was just something about how these four guys, who were phenomenal musicians, could have found such a way to please everyone even without a microphone. Even though most bands are carried by one good instrumentalist or one good vocalist, Schroder was four GREAT musicians doing what seemed to come naturally to them.

I encourage everyone to give them a taste. They are a Greensboro, NC band and play shows constantly in the Greensboro area and continue to melt faces wherever they go. Check out show dates at Myspace or sample a few of the mindblowing instrumentals here on collective music one of the songs being a live version of my favorite schroder song. I have committed myself to see at least one schroder show a month and to help them, in their words, "continue to be the fighting force against the pre-fabricated pop/punk/emo that seems to have taken over,leaving the true musicians in the shadows." Woo D Woo Schroder keep rocking and showing us the true meaning of musical talent. Trust me if you go to a show you wont be disappointed.

[mp3] candlelight opera
[mp3] foreign inertia
[mp3] wedding dance
[myspace]

Chris Babcock
Contributing Writer

 
Friday, February 10, 2006
Tis’ the season for tour announcements. There are so many that have got me all excited, I nearly… nevermind. Anyway, back to tours, Merge Records announced tonight new tour dates with a few stops in North Carolina! (Thanks Cats Cradle and Local 506!!!) Which makes me really happy.

Camera Obscura
Mar 18th Austin, TX @ Antone's
Mar 20th Chapel Hill, NC @ Local 506
Mar 22nd New York, NY @ Knitting Factory

Destroyer
Mar 22nd Minneapolis, MN @ 400 Bar
Mar 23rd Chicago , IL @ Abbey Pub
Mar 24th Ann Arbor, MI @ Blind Pig
Mar 25th Toronto @ Lee's Palace
Mar 26th Montreal, QC @ El Salon
Mar 27th Cambridge, MA @ Middle East Underground
Mar 28th New York, NY @ Avalon Nightclub
Mar 29th Washington, DC @ Black Cat
Mar 30th Carrboro, NC @ Cat's Cradle
Mar 31st Atlanta, GA @ Variety Playhouse
Apr 12th Vancouver @ Richard's on Richards
Apr 14th Victoria, BC @ Lucky Bar
May 21st Camber Sands United Kingdom @ All Tomorrow's Parties

Annie Hayden
Mar 3rd Hoboken, NJ @ Maxwell's
Mar 17th Austin, TX @ Antone's

Robert Pollard
Feb 10 Columbus, OH @ Little Brothers
Feb 11th Newport, KY @ Southgate House
Feb 24th Los Angeles, CA @ The Knitting Factory
Feb 25th San Francisco, CA @ The Independent
Feb 27th Portland , OR @ Doug Fir Lounge
Feb 28th Seattle, WA @ Crocodile Cafe
Mar 17th Austin, TX @ Antone's
Mar 30th Minneapolis, MN @ First Avenue
Mar 31st Chicago , IL @ Metro
Apr 1st Detroit, MI @ St. Andrews
Apr 20th New York, NY @ Irving Plaza
Apr 21st Boston, MA @ Paradise
Apr 22nd Philadelphia, PA @ Theatre of Living Arts

While on the subject of tours I’m excited about… Casey Dienel, one of my favorite voices of today announced a few shows recently. None are near me, which makes me really sad. They need to bring that beauty down south for a while and let her taste some sweet tea.

Feb 19 Toronto, ON @ Holy Joe's at Big Bop
Feb 20 Rochester, NY @ A | V art sound space
Feb 21, Montreal, QC @ TBA
Feb 22 Jamaica Plain, MA @ House Show @ 135 Paul Gore St. Apt. .3
Feb 23 Cambridge, MA @ The Zeitgeist Gallery
Feb 24 Bennington, VT @ Bennington College


There is rumor you may now pre-order Hope for a Golden Summer’s highly anticipated (for me at least) album. I have also heard that if ordered now will include a compilation of other unreleased songs!

mp3's
Here are a bunch of bonus mp3’s I have been spinning over the past week or so. Some are from all over, so I can’t take credit for them on the whole!

[mp3] johanna kunin - blueberry
[mp3] johanna kunin - phantom
[mp3] johanna kunin - bowline
[mp3] johanna kunin - bound to fall
[mp3] johanna kunin - waves

I been spinning Amestory. It is currently on repeat. =] SixEyes taught me about this sweet little indie-rock-emo-melodic-pop-and-chamber musicish band.
[mp3] - constants
[mp3] - north
[mp3] - perfect blocks
[mp3] - in the back
[mp3] - They're telling you you have been alive
[mp3] - seuldans lair
[mp3] - 06 (same goes for this one too)

I have to thank YANP for tuning me into Bishop Allen and their song Corazon. I have been spinning this SOOOO much! Their songs have been pumping out of my tiny little iPod buds since I downloaded the mp3. I bet I have heard Corazon nearly 200 times. That’s like…16 hours!!

Their music is sooooo awesome! In case you don’t know the deal with Bishop Allen, they are doing an EP for every month of the year. Their first, January is pretty good for the ears. Might want to check it out!

[mp3] corazon (Highly recommended!)
[mp3] things are what you make of them
[mp3] busted heart
[mp3] eve of destruction

That's all for tonight!
-Matt
 
Thursday, February 09, 2006
A new contributor for Collective Music, Paul Seiler. Paul is from Rowlett, and is studying broadcasting at the University of North Carolina at Greensboro. He is a freshman.
Welcome Paul!


We Are The Fury
Many of you reading this may already know about this band but in case you haven't I introduce to you, We Are The Fury.


A mix between Panic! At The Disco and My Chemical Romance ... could there be a more fun mixture of musical outbursting sounds? I don't think so. With super infusing, dance-like, Jazzy up-beat verses and fun sing-s-long choruses like in 'Nation, Forgive Us' it's no wonder We Are The Fury is currently touring with already known Head Automatica and about to start touring with (a should be, household name) Matchbook Romance. With a powerpop, dancey, and all around fun feeling about them, We Are The Furyis what's up and you should DEFINITELY make it out to a show since. After all, they're on their way to your neighborhood with a band who's already got your ears begging for more.

[purevolume] We Are The Fury
[myspace] We Are The Fury

Terminal
Unfortunately by the time the larger population started to find out about this diamond in the rough, they had already split up and started going their seperate ways. With a record JUST released on Tooth And Nail Records in Late June of 2005, this band brings together a terrific mixture of a very mature vocal presence and in your face, near orchestrated choruses, break downs, and build ups. Yet, they are able to keep up with the beautiful piano and acoustic stylings, keeping all the girls happy.

This band is going in my top favorite bands even if they are no longer with us. Pick up their cd 'How The Lonely Keep' and just reminisce in what was so short lived.

[purevolume] Terminal

(Editor's Note: Sorry for not having mp3's today, neither of these bands offered any up. Songs are on both thier PureVolume sites though, so go and stream em'.)

Paul Seiler
Contributing Writer
 
Tuesday, February 07, 2006
When I speak to people about Modest Mouse being my favorite band, they probably think Good News for People Who Like Bad News. This is unfortunate.

Perhaps too many bands are known best by their sell-out albums. Modest Mouse is certainly one of those bands. I do love the sell-out album, but more because I hear through the strong beat to the meta-lyrics explaining why they have sold out. This review isn't about that though. I'm reviewing one of their first albums, Sad Sappy Sucker.

Sad Sappy Sucker is a short 24-track album. Many of the songs are only 30 seconds long and were recorded on answering machines. This is a young, idealistic, happy, silly and wonderful Modest Mouse. Strange sounds and singing styles surround Sad Sappy Sucker songs. About half the album is melodic songs with lyrics for which you might have to develop a taste and most of that half is near the beginning because the songs towards the end could scare off new listeners. For example, track 20 ("Sucker Bet") is mostly a kazoo sound and then scratchy noises that remind me of a when my guitar patch cord has an open tear. You might skip that track every time for awhile, but you can grow to love it. I can sing along with the static.

The album starts with a contagious guitar riff and nice drums on "Birds Vs Worms." The lyrics explain the metaphor and it ends much how it began. Track 3 ("Wagon Ride Return") introduces the listener to the short and simple songs they'll hear towards the end of the album. It's 48 seconds are filled with a 4 note guitar riff and 22 words of lyrics. Track 4 ("Classy Plastic Lumber") is a great model for the album as it includes a little of both types of songs. Some other favorites of mine are "Mice Eat Cheese", "5-4-3-2-1 Lisp Off" and "Swy."

I'd highly recommend getting your hands on all the songs in the album. I'd also recommend going to www.knerd.com/~bwillen to check out the lyrics of the songs.Damn that one's gonna suck.to check out the lyrics of the songs.

"Damn that one's gonna suck."

[mp3] Classy Plastic Lumber

Jon Anderson
Contributing Writer

 
Monday, February 06, 2006

Across the Elementary, according to his MySpace, is a romantic depiction of home. Across the Elementary (also known as ATE) is also the guise of 11th grade Chapel Hill student Reed Benjamin. Benjamin has appeared in a number of bands in both his home state of Massachusetts as well as his current home in North Carolina, one I had the pleasure to be a part of called Paris:Guilty! Reed Benjamin continues his progression as a musician and more notably as a writer/producer with his latest release The Fall EP under the name Across the Elementary.

Don’t let Benjamin’s young age fool you into thinking his music is somehow immature and self-indulgent, as the music of high school musicians often can be. Benjamin’s recordings weave complex tapestries of sound, combining orchestral instruments, choirs, and a foundation of guitars, bass, and drums, all of which he performs and records himself.

Cleverly, Reed Benjamin has embarked on a journey to write and record EPs for his unique experience in each of the seasons. Remarkably, Across the Elementary has already put out an EP—one for the season collection (The Fall EP) and a full length that began the era of Across the Elementary, titled Everything I Never Told You.

Benjamin’s sound is reminiscent of a young Mike Kinsella (Owen, the Owls, American Football) especially in the layered, breathy vocals as well as the multiple twinkly guitar tracks in his music. In between these layers of guitars and voice, Benjamin intertwines electronic samples, which often accentuate the tone of the song and might I add, are very professionally recorded. Benjamin will modestly shrug off comparisons to famous indie titans, like the bands Kinsella appeared in, but these comparisons are not wholly undeserving. These sorts of comparisons may still be in the making musically and lyrically, but Benjamin has mastered the honesty that is necessary to remain creative and hold credibility in today’s music world. To make an impact in the Chapel Hill music scene as a junior in high school is no small feat.

Reed Benjamin is a quiet yet outgoing guy. In a room of crowded people you probably wouldn’t particularly notice him, but that isn’t to say he wouldn’t notice you. There is something to be said for the observations he makes in his music and in his own life that you can somehow relate to your own.

In the tradition of music that finds its strength in its honesty and personality, I decided to sit down with my friend Reed so that you all could see just how truthful his songs are to his personality:

naveed: so what is "the purpose" of a.t.e?is there any mission behind it?

reed: i mean to be honest its the the driving force behind. it is my childhood and growing up

naveed: awesome. yea, that's definitely a theme in the songs

reed: most of the songs are written about the past. like its mainly about where i used to live, but also its going in the direction of new friends and where i am now

naveed: does the childhood theme bear any significance in the name across the elementary?

reed: well sort of yes, but its also just kind of coincidence. it came from this one song that i wrote a long time ago

reed: the piano part from the first song on "Everything I Never Told You" was going to be used for something else, but i just messed around and fit it in to be the sort of intro for the cd

reed: that original song was instrumental, and whenever i listened to it i just got this picture in my head looking down from a hill over this field and trees that were at my elementary school—essentially across from it. i dont know why i pictured that but it just always stuck in my head

naveed: yea. that's a damn good intro.

reed: haha thanks man

reed: the original name was at first going to be "Trees Across The Elementary" just for that one song, but then i decided i liked the name, and cut it to Across The Elementary for a "band name" i guess, but the name ATE has grown to be so much more than that one picture in my head—its totally representative of what i write about, the whole childhood thing, and all my old friends, and home. elementary to me gives the vibe of the feeling of being young and stuff, so it just fits i think.

naveed: do you ever think your age is restricting? we both know how snobby chapel hill can be as an indie music "scene"

reed: Yeah as far age restrictions, i mean its just hard in one sense because of having to got to school everyday and i work on the weekends, among other many things from week to week, so its first off just hard to find time since i have so many other obligations at this age, and cant just focus on my projects as if it were my job or something
but also as far being so young in this town and stuff i mean i guess it can be restricting, as where it would be anywhere else, but im most of all just thankful for the oppurtunity there is here, there is so much talent in this area its kind of ridiculous, like most of the time i go home from a show realizing that i suck and become kinda embarassed by my songs

reed: but also there is the flip side where you bring your cd to the record stores down town and someone there will listen to it and tell you that they liked your cd, even if they are just being nice and bullshiting, its a little boost of confidence from some of the people you really respect and value their opinion the most

reed: but most of all my friends are my support system, and its just kind of hilarious to hear them throw out a line from one of my songs in conversation, and just kinda joke around with it, cause i think its actually funny to hear that someone actually knows the lyrics even at all and pays that much attention

reed: as far as age goes though, it can be restricting in some ways, but i wouldnt want it any other way, to be an older writing songs about god knows what, i definitely enjoy writing the songs of my youth while its still happening, because i feel like maybe when im older i wont be able to recall certain things as well

reed: hope that makes sense haha

naveed: yea yea thats fine. so what bands that you've been in/listened to have most influenced what we know as ATE

reed: well, its really weird. i think i go through phases of listening to certain bands a lot when i am writing new stuff, like focusing on writing a certain record. for instince, for Everything I Never Told You, i definitely listened to a lot of Bright Eyes and Death Cab For Cutie in rotation, and then definitely influenced a lot

reed: and for the Fall EP, as you can definitely tell, i was pretty much just listenin to Owen and American Football and i wanted a more acoustic, natural, earthy sound for the it

naveed: what do you want to say to everyone reading this who hasn't heard ATE. what should they expect or what do you want them to know?

reed: for those who dont know much about ATE, just know that ATE is all about friends and family, that is the only thing i write about, whether they are from the past or present, even the songs that ive heard a lot of people think are about like old girlfriends and stuff....welll...sorry to say they arent....they're still all about my friends and family, those are the number one things i value in my life, and besides i cant write songs about girlfriends and stuff....i just cant write that kinda stuff....and besides i dont really ever have any girlfriends haha

naveed: haha, well this article will change all that

reed: expect a Winter EP-which will be more ambient, electronic(much different from past/and probably ATE sounds), a Spring EP-think sunshine and flowers, and more natural sounds, and a Summer EP-which will be just one rockin/good times record. also this summer, as i am writing/recording the Summer EP, i plan on writing and recording my next full length

naveed: awesome. we all are looking forward to the recordings.

reed: thanks naveed!

naveed: yea dude of course, thanks for taking the time for this.

[mp3] When Autumn
[mp3] Everything I Never Told You
[myspace] acrosstheelementary

Naveed Hassan
Contributing Writer
 
Sunday, February 05, 2006
Deliciously eccentric and irresistably catchy, Matt & Kim were a duo I was fortunate enough to see live at the Werehouse in Winston. Opening for Parts and Labor, I found myself wishing that Matt & Kim had more time to play. The combination of Kim's relentless drums and Matt's clockwork keyboard playing make footstomping and head bobbing inevitable. I was completely absorbed by Matt's unique voice, timed perfectly in sync with the drums and keyboard.

The quick, crunchy rhythms of Matt & Kim have an uplifting quality that is endlessly charming and inviting. I found myself lost at times, enchanted with the sound; to have that effect on a listener is a true mark of success. Matt & Kim are also entertaining inbetween songs, bringing a great deal of personality to the stage. If you'd like to experience an all around fun show, if a little quirky, be sure to catch Matt & Kim live.


[mp3] Silver Tiles

[mp3] 205k
[mp3] Verbs Before Nouns
[web]www.mattandkimmusic.com
[myspace] http://www.myspace.com/mattandkim

Zach Todd
Contributor
 
Hoax Funeral

The simple yet intricate rhythm of From a New York Coffee Shop is quintessential to the mesmerizing voice of Anjy Hall as the story of a lover’s unreturned love unfolds. The use of the steel guitar (among what sounds to be some other string-like instrument with which I am much less familiar) in Prophecy Fulfilled gives the song a very relative sound. It is perfect for relaxing on the sofa by the fire reading your favorite novel.

Anjy is originally from Southern America, beginning her reign in music with bluegrass. Her southern drawl can sometimes be heard, but more than ever in their cover of Hank Williams' “I’m so lonesome I could cry” which is lead by Allister Jordan on the bouzouki. It makes for an interesting sound.

Hoax Funeral’s four members only banded in early 2005 but I don’t foresee a break anytime soon. Their almighty entwinement of uncommon instruments with the common and the soothing voice of Anjy makes me anticipate what is to come out of their recording time which is planned for the coming months. They already have a few new tracks that aren’t on their EP, which was recorded in October.


[mp3] From a New York Coffee Shop
[mp3] I’m so lonesome I could cry
[mp3] Déjà vu All Over Again
[mp3] Sleeping With Your Ghost
[web] www.hoaxfuneral.com
[myspace] http://www.myspace.com/hoaxfuneral
 
Thursday, February 02, 2006
Fumbling around in a tangled mess of cords he sets up what is his audio journal—a large collection of dated Casiotone model keyboards and synthesizers. Owen Ashworth is Conor Oberst with old, Casio keyboards replacing Oberst's acoustic. His voice is low and distant to hear, but also comforting as he examines the “crowd” of no more than 15 Duke Coffeehouse goers. Ashworth starts his first synthesized beat: a simple bass-snare pattern, which might seem dull to those unaware of what is to come.



Chances are, Ashworth’s alter ego, Casiotone For the Painfully Alone has visited your town, or an area near you at a party or coffee shop. Casiotone For the Painfully Alone (more commonly cftpa) is your favorite summer night, your worst humiliation in front of the opposite sex, and your bitter coming to terms with the lack of an American Dream.

Despite his anonymity, Ashworth has recorded three full-length albums that have been released on Tomlab Records (Patrick Wolf, Xiu Xiu, Final Fantasy, etc.), with one on the way for March of 2006. One of his most intriguing collections, Answering Machine Music (Tomlab) is the epitome of lo-fi indie recording. This collection was recorded in its original state and then rerecorded through answering machines before it’s final mix, which gives the album a personal relationship with the songs—the listener is made to feel that Ashworth is leaving messages on their own answering machine.



The beat is complemented by a soothing, deep chord progression and Ashworth’s unique storytelling. Cftpa’s songs are not mind numbing because of Ashworth’s keyboard chops or because of his stage presence (or lack thereof)—they are so powerful simply because his work is above all, believable. Listeners relate with Ashworth’s Holden Caulfield-esque encounter with a cute girl at a grocery store—instantly falling in love with her, only to watch her walk away in Answering Machine Music’s “Rice Dream Girl.”

Despite my greatest attempt to convey the beauty and honesty in the music of Casiotone For the Painfully Alone, a mere blog entry cannot encompass the subtlety of Ashworth’s knack for crafting songs. A visit to his new website is necessary for any indie fan. Cftpa will be playing a show at the Nightlight in Chapel Hill, NC on March 16, 2006. For other tour dates, check his website.


We have some exclusive video too (way better than a stinkin mp3), but technical difficulties prevented us from posting it. When we work out that problem it will be up. I promise.

Naveed Hassan