In this week's paper, Christian Schaeffer reviews the Hibernauts' new album, Velvet Suit.
Suit opens with the slow-grower "Make Me a Son," which unfolds with plaintive piano chords, some George Harrison-inspired slide guitar and a string section. Where the Hibernauts of old couldn't wait to get to the hook or unload a big fat chorus, the song displays twin traits of patience and destruction: After a steady build to the coda, everything -- even those pretty violins -- gets loaded into the shredder. However, the next track, "Intermurals (sic)," takes the band right back to where it started: It's a frenetic, supercharged indie-rock tune with a fixation on the whims and vagaries of college coeds. The style isn't a bad place to call home; the song's stop-start dynamics and an especially pliant bass line make it comfortably catchy. However, it sets the stage for an album which vacillates between new elements (slower tempos, an extended arsenal of sounds) and old ones (Strokes-y rhythms, from-the-hilt vocals).
Read the rest here. The band's CD release show is this Saturday, November 21, at Off Broadway. The Blind Eyes and Gentleman Auction House are also on the bill.
In this week's paper, Christian Schaeffer reviews the Helium Tapes' second CD, Ghost Wave. He has this to say:
Singer and guitarist Sunyatta Marshall throws down the gauntlet every chance she gets -- and although her vocals on the previous record were always sufficient but often indistinct, there's no missing her here. On the opening track "Falling Behind," Marshall rises above the rumbling drums, loping bass line and snaking guitar notes. There's never a lot of menace in her voice, but when coupled with the ominous instrumentation, it sound like she's staring daggers at you through the speakers. It's a spooky, beguiling introduction to an album that uses power-pop smarts to ensnare listeners with songs about burgeoning desires, potent kiss-offs and soaring reveries.
Read the rest here. The band's CD release party is this Saturday night at Off Broadway. Karate Bikini and Bulletpop! are also on the bill.
In this week's paper, Christian Schaeffer reviews HUMDRUM's CD, Individual Man. He had this to say:
If you were to break a certain folksy dictum and judge HUMDRUM's CD by its cover, you'd be right to assume that space is the place for this local quartet. The artwork for Individual Man features a hand-drawn image of an astronaut adrift in the cosmos, and the track list features titles such as "Hide and Seek in the Universe" and "Outerspace [SIC]." But for all the celestial reveries, vocoder freakouts and ambient soundscapes - the band cheekily thanks their delay pedal in the liners -- HUMDRUM's music is solid, two-guitar indie rock. While the band certainly pulls from space-rock heroes (and possible namesake) Hum, other prominent touchstones include Weezer's garage-pop, Spacehog's effervescent rock & roll and even the Foo Fighters' power-chord crunches.
Read the rest here. The band is doing an in-store at Vintage Vinyl on Thursday, November 12, at 8 p.m.
In this week's paper, Christian Schaeffer reviews Strawfoot's How We Prospered. He had this to say:
From the start of Strawfoot's second full-length, How We Prospered, it's clear that the ramped-up bluegrass band has lightened its mood. Where its debut album, Chasing Locusts, was scorched by fire and blackened with brimstone, Prospered finds no small amount of joy in the dark folds of its Gothic Americana-inspired songs. The disc kicks off with the jaunty, banjo-driven "Broken Crown," which careens along with fiddle and guitar solos and a knee-slapping rhythm. Singer Marcus Eder has grown into his high-pitched, occasionally pinched delivery, and he inhabits these songs rather than merely performing them. Gone, too, are many of the Civil War-era string band affectations that saddled parts of Strawfoot's debut record; this time around, the band isn't shy about mixing influences, as on the raw, electric guitar-led "Invisible Man."
Read the rest here. Strawfoot's CD release show is (appropriately) on Halloween at Off Broadway. The Monads and Campfire Club are also on the bill.
In this week's paper, Christian Schaeffer reviews Pretty Little Empire's Sweet Sweet Hands. He had this to say:
Pretty Little Empire trades in sweet acoustic melancholy, a kind of slow-drip dream-folk that skirts the edges of twang and pop. Singer and guitarist Justin Johnson leads the quartet with a tremulous voice that has both a lonesome quaver and an inviting timbre. His singing style is eerily reminiscent of the Rosebuds' Ivan Howard, and both singers use the magnetic force of their voices to draw the listener into sometimes righteous, sometimes heavy-hearted songs. Theodore's Andy Lasher contributes lyrical, intersecting trumpet lines to standout "Good Morning Early Riser" and uses his bowed saw to add Theremin-like ambience elsewhere on the disc. And like Theodore, Pretty Little Empire loves the sound of dusty, creaking spaces, but chooses to leave them barren and let the echoes resolve unadorned.
Read the rest here. Pretty Little Empire's CD release show is this Monday night at the Firebird. The Sham and Blood Pony are also on the bill.
In this week's paper, Christian Schaeffer reviews Abi Robins' Conversations with Myself. He had this to say:
[Abi Robins'] first full-length, Conversations with Myself, won't knock you down with volume or mind-bending musical and lyrical prowess, but will engage by asking a fair amount of tough questions and disclosing a few hard-won life lessons.At first blush her songs are pretty and unassuming, and a slightly bluesy undercurrent accompanies the folksy strums and sweet vocals. Despite the limitations of this girl-and-guitar configuration, Robins and her cohorts fill out her songs without obscuring their heart. The double-tracked vocals on "The Drive" are slightly staggered, lending the tune a fittingly bipolar effect. An electric piano and some quick-wristed drumming give "If the Shoe Fits" a nice bounce, and the punchy backdrop gives Robins a little spring in her step.
Read the rest here. Robins' next show in town is this Saturday night at 7 p.m. at Maplewood coffee shop the Stone Spiral.
In this week's paper, Christian Schaeffer reviews Syna So Pro's make two people happy (i.e. the solo project of Stella Mora bassist/vocalist Syrhea Conaway). He had this to say:
...she takes on a variety of instruments herself -- resulting in classical-inspired violin passages, skyscraping guitar chords and layered harmonies where Conaway is singing with herself. make two people happy is very much an album, meant to be experienced in sequence: These twelve songs are stitched together not with overt messages or recurring themes but with subtle, borderless dynamics, which give the disc a dreamlike quality.As befits someone coming from the swirling, amorphous world of shoegaze, the first few songs have so much gauzy, ambient set-dressing that it's hard to make out Conaway's words. This isn't necessarily a bad thing; the vocals melt into the rest of the instrumentation to create plangent sheets of sound.
In this week's paper, Christian Schaeffer reviewed Steddy P's album Style Like Mind. First, though, a few corrections: DJ Mahf didn't contribute the beats and scratches -- it was Ben Bounce, who we profiled here. And Steddy's last name is Pierce, not Price. (Apologies -- we're fixing it on the web.)
As a rapper, Steddy P is quick, clever and, like most underground MCs, obsessed with establishing himself as an outsider. On "Format," Steddy proudly proclaims to the unnamed masses that he "don't fit in a box, working in their format." Luckily Steddy P has the goods to back up his claims. His rhymes are lightning-quick without seeming forced, giving the album a vibe that's both laid-back and tough to ignore. His Missouri drawl isn't so countrified as, say, Nelly's is on Country Grammar, but his well-rounded R sounds give him a distinct diction only matched by REO Speedwagon's Kevin Cronin.
In this week's paper, Christian Schaeffer reviews Machree's album, Whiteout. He had this to say:
Genre tags are reductive, absurd and generally misleading, so we'll skip trying to pigeonhole Machree. The sextet takes the six-stringed dexterity of metal, the constantly shifting tempos of math-rock and the reverb-laden meandering favored by space-rock/Radiohead acolytes and ties it all together with to-the-hilt vocals. It's not exactly groundbreaking, but the band knows how to play to its strengths with well-constructed songs. While many bands of its ilk try to cram in as many power chords and drum fills as possible, Machree knows the power of white space and leaves room for the songs to expand and contract. "P Crusher" is a fine example of this technique: The song begins with a maelstrom of spidery guitar licks and thunderous crash cymbals, but every so often a shimmering keyboard line or echoing guitar note is allowed to resolve itself and evaporate into the ether.
Read the rest here. Machree's next show in town is Sunday, September 27, opening for the Felix Culpa and the Dear Hunter.
In this week's paper, Christian Schaeffer reviews Sheila Shahpari's album, What Is Real. He had this to say:
What Is Real never settles on one style, a few elements guide most of these songs: forceful acoustic guitars, exploratory piano-playing, intuitive tempo changes and, most of all, Shahpari's strong voice. At its best, it evokes Janis Joplin, Joanna Newsom and Nellie McKay -- and even though her upper-octave wanderings don't always hit the mark, her vocal control is exemplary. She can summon the low-end piano exorcisms of early Fiona Apple on a song like "Stale," which mixes jazzy swing, start-stop cabaret melodrama and urgent rock rhythms with a stream-of-consciousness tour of a grand piano's 88 keys. It's neither an artfully sewn together song-suite nor something carelessly strewn together; it's simply a tour de force that shows the singer's strengths in a four-minute tempest.
Read the rest here. Shahpari's CD release show is Saturday night, September 12, at Off Broadway. It starts at 8 p.m., and she'll be joined by several musicians, including: Clayton Kunstel (So Many Dynamos), Chris Turnbaugh (Groupthink), Phil Ring (The Gorge), Asako Kuboki (S.L.S.O.) and Ranya Iqbal (Serenade Strings). Beth Bombara and Phil Stendek open the show.
In this week's paper, Christian Schaeffer reviews the Bootz Orchestra's album Bony Jars. He had this to say:
From the sweetly sung ukulele reveries of Beirut to the raggle-taggle gypsy-punk of Gogol Bordello, the hybrid of Eastern European folk and Western pop has hollowed out its own niche in indie music over the past few years. The nine-piece Bootz Orchestra works in this genre as well, under the direction of St. Louis-born Kyle Butz. The core band members met at Boston's prestigious Berklee College of Music, and their conservatory training gives no small amount of technical proficiency to this normally rough-hewn style of folk music. Luckily, the Bootz Orchestra isn't interested in a strict re-creation of folk idioms -- instead, the mish-mash of intuitive, rock-based drumming, brass-band harmonies and rootsy accordion lines combines to give a spirited foundation to Butz's high, quavering vocals.
In this week's paper, Christian Schaeffer reviews Bunnygrunt's new LP, Matt Harnish & Other Delights. He had this to say:
Delights shows off what Bunnygrunt does best: black humor (the
horn-aided opener "665 and 1/2 Won't Do"), romantic frustrations ("You
Get What You Get") and off-key, breathless vocals (all ten tracks). But
the band has always taken the boy-meets-girl model of '60s pop and
retrofitted it for a late night on South Grand, as demonstrated by a
few of Delights' standouts. Ried's "Don't Turn Down the High" matches a Phil Spector
drum beat with meandering guitar lines, while the next track, Harnish's
"S. Kingshighway Bubblegum Factory," is as sticky and infectious as its
name. Most of the songs capture the rushed, no-frills feel of the
average Bunnygrunt show, but the final track, "Southtown Famous," takes
advantage of the studio space with stacked vocals and a rat's nest of
guitar lines.
Read the rest here. Bunnygrunt will be joined by locals Sex Robots and touring lovelies Cars Can Be Blue and the Lovely Eggs at CBGBs on Monday night, August 31. It's free (as always), but be prepared to pass the hat for the out-of-towners.
In this week's paper, Christian Schaeffer reviews Phaseone's Thanks But No Thanks. He had this to say:
As a songwriter, Phaseone relies on a few pet sounds: '80s orchestral synths, sharp-edged hi-hats and loads of reverb. His use of samples is tasteful and discreet (you'd have to be a hell of a crate digger to pick them out) and, on a song like "Temp Tags/Starfox," he is able to conjure some subwoofer-punishing Moog bass lines. This tension -- Vangelis' synth rig mixed with Dr. Dre's drum machine, all run through an Echoplex -- guides the entire disc. "Tower Grove Joint" has both the breathy pulse of a sweaty booty jam alongside gossamer synth pads and a steady shower of sampled flutes and blippy analog bits and bytes. The album-closing "Alladat" is the most immediate of the tracks here: The stutter-step beat undercuts a soulful electric-piano lick and heavily reverbed vocal samples. At two-and-a-half minutes, the track ends far too soon -- rapture seems just around the corner.
In this week's paper, Christian Schaeffer reviewed the Northwoods' CD, Morning, Noon & Night. He had this to say:
Since the Northwoods started making waves around town last year, it's been nearly impossible to mention the acoustic duo's name without also hearing the words "Simon" and "Garfunkel." However, while Paul and Artie more or less wrote the blueprint for close-harmony folk rock, the members of the Northwoods are much more interested in sun-dappled, finger-picked pastoral folk than they are S&G's sturm und drang. On Morning, Noon & Night, Elijah Palnik and Jeremy Shanas rely on acoustic guitar, mandolin and light percussion and use the interplay of their voices and warm sonic textures to create breezy, inviting tunes.
Read more here. Check out an MP3 below! The band will be performing Friday night at the Gramophone as part of the Tasty Band series.
In this week's paper, Christian Schaeffer reviews Fattback's Canary. He had this to say:
On Canary, the band's barroom blues and punked-up honky-tonk riffs combine with nonsensical lyrics and hearty, greasy vocals to create a nonstop tour of unhinged rock & roll. Overdriven slide guitar and soulful electric piano lay a solid foundation for the bizarre backwoods odyssey "22 Swamps," which centers on a chance encounter with a zombie moose. (The living undead are clearly a fixation for Fattback; its last album was called Briefly a Zombie.) Elsewhere, the revved-up funk of "Hey Pretty Lady (Take A Look At My Legs)" contains this summer's best pickup line: "Hey pretty lady, take a look at my legs!" Who can resist such bravado, either from a gentleman caller or a rock band?
In this week's paper, Christian Schaeffer reviewed the Funky Butt Brass Band's album, Cut the Body Loose. He had this to say:
The sextet transplants the New Orleans brass-band tradition to St. Louis on Cut the Body Loose, but the group's love for the NOLA-bred music is far from slavish devotion. In fact, it's safe to say that the Funky Butt Brass Band uses the New Orleans brass tradition as a base and then builds off of it. "If You Love Me Like You Say" is a heartfelt soul number in the Stax Records tradition, while the slide guitar gives a country & Western flair to the taxpayer's lament on "Hey Yeah." With only four horn players, the band's sound isn't as thick and boisterous as it could be, but each instrumentalist adds his own flair.
Read the rest here. The FBBB is holding its album-release shindig tomorrow night (July 24) at the Broadway Oyster Bar. It starts at 10 p.m., and expect it to go late. As in, post-2 a.m. late. Check out an MP3 below.
From the good people at Indyground Entertainment comes its first CD of the year: Yeah, That's My Real Name, from Columbia, Missouri, hip-hop artist Dallas. The CD release show is tonight at Llywelyn's in the CWE. Not sure of the time/price, but perhaps someone else who reads can help? Anyway, check out an MP3 below.
In this week's paper, Christian Schaeffer reviewed Exercise's new CD, Grandma's House. He had this to say:
Rising from the ashes of lovable spazz-pop band Berlin Whale, Exercise takes a more spacious, meandering view of the pop song on its full-length debut, Grandma's House. The herky-jerky vibrations of the trio's previous band have been slowed down and drawn out, not unlike a cassette tape that's been left out in the sun. The warped cassette may be an apt analogy; singer Trevor Berkholtz is credited with playing "tapes" alongside guitar and Casiotone, and the brief sound collage that opens "Claustrophobe," as well as the decaying vocals on "Panama," point to a more experimental, slightly musique concrète direction.
Read the rest here. The band's CD release show is 8:30 p.m. tonight at the Firebird, with Netherfriends, Bearkat and Bootz Orchestra as openers. Snag an MP3 below.
In this week's paper, Christian Schaeffer reviews Grace Basement's new album, Gunmetal Gray. He had this to say:
Gray's easygoing pop swings in two directions. Certain songs are saddled with -- but not bogged down by -- a sense of resigned melancholy (the addiction lament/lullaby "Back of the Moon"). Others -- such as the infectious opening track "There He Goes" -- ramp up the group's perky, punchy, pop dynamics. On that sunnier tip, "On Your Side (Soldier's Song)" begins like a Sonic Youth jam and morphs into a horn-aided rocker reminiscent of Being There -era Wilco. Even slower songs such as "Why Would I Wait for Another?" and the stunning album-closer "Land of Endless Change" turn Buckley's blues into something grand and majestic, thanks to their precisely arranged instrumental codas.
Read the rest here. Grace Basement's CD release show is tonight at Off Broadway; Everyday Visuals and Old Lights open. Snag an MP3 below!
In this week's paper, Christian Schaeffer reviews the Radical Sons' debut EP, Throwing Knives. He has this to say:
The Radical Sons' twin-guitar lineup allows for the interplay between lackadaisical strums, inventive leads and the occasional bit of stop-start dynamics. The guitars are mostly played without much adornment, letting the amplifier's natural distortion give a little crunch and bite (as on the tail end of "Planes and Trains"). This leaves plenty of room for Goldstein's boho drawl, which settles in the space between '66 Bob Dylan and '67 Lou Reed. On the title track, however, he drops the detachment and lets the quick, syncopated guitar strokes lift his vocals above the din, showing the group's more playful side.
In this week's paper, Christian Schaeffer reviews B&E's new CD, Chords to Live By. He has this to say:
Chords to Live By is a clever title for B&E's first full-length, but it's a bit misleading: There's only one type of chord this quintet knows, and it's the power chord. The album delivers twelve funny, cynical rock songs full of supercharged guitars and knowing winks; in fact, the Hold Steady's Craig Finn will be pissed that B&E wrote a song called "Killer Riff" before he did. Still, the quintet's HS jones -- evident on the lovably shambling 2007 EP, We Regret Everything -- has turned from '70s classic rock toward '80s pop-metal.
In this week's paper, Christian Schaeffer reviewed Spark1Duh?'s CD, My Life With Dusty Wallets. He had this to say:
Spark1duh? is the hip-hop alter ego of Jason Karr, the rare white
rapper who doesn't waste time apologizing for or making fun of his skin
color. Instead, Karr employs a mish-mash of cultural touchstones --
references to old Nintendo games and Philip Seymour Hoffman (!), smooth
soul samples and curse-laden movie dialogue -- to craft a varied,
entertaining album.
As a rapper, Karr's rhymes are more clever than speedy, and his
confident style is brash, funny and charming. He teams up with producer
Splitface for "Survival of the Illest," and the track's stuttering
low-end piano notes and jazzy guitar flourishes kick off the disc with
depth and sophistication.
Read the rest here. Spark1Duh?'s next show in town is Tuesday, June 23, at Club Viva with Tef Poe, Treez, Corey Black and Bren Suarez.
In this week's paper, Christian Schaeffer reviews Glass Waves' new, digital-only CD,
One Day We'll All Just Float Away. He has this to say:
To call Glass Waves a trio is slightly misleading. While the credits for the download-only One Day We'll All Just Float Away credit singer/guitarist Jordan Heimburger, bassist Micah Johnson and drummer Nate Gregg
for its sounds, the use of multi-tracked, carefully layered guitar
parts are a distinctive and crucial part of the band's identity. (I
haven't seen Glass Waves live yet, but the band had better be handy
with looping pedals or have a Glenn Branca-like
guitarmy on hand to recreate all these threads onstage.) It's to
Heimburger's credit that the album's ten songs incorporate so many
genres -- most notably shoegaze, lo-fi indie rock and power pop -- while
retaining a fluid, shape-shifting amorphousness that keeps things
cohesive.
Read the rest here. Download the album at glasswavesmusic.com and grab a sample MP3 below. The band is having a CD release show on Saturday, May 30, at Lemmons, with Via Dove and Magic CIty.
In this week's paper, Christian Schaeffer reviews Joe Stickley's Blue Print's new CD, Smoke Leaves Town. He has this to say:
Joe Stickley's Blue Print is a folk-rock band -- in that order. The gentle strums of Stickley's acoustic guitar provide the engine for many songs on Smoke Leaves Town, while shuffling drums, quavering fiddle and the reedy wheeze of an accordion add color and depth throughout. There's a bucolic whimsy that breezes through the record; lyrics about big rivers, road trips and mountains ranges plant these songs on the front porch, glass of lemonade in hand. Stickley's high, thin voice doesn't always leave a mark, but on songs such as the opening cut, "Davy," he can make his vocals creak and ache in just the right places.
On Saturday night at Deluxe, the Nevermores will celebrate the release of its new CD, Nevereverafter, with a show alongside TIRC labelmates Left Arm and the 75s. Sez Christian Schaeffer:
For too long Edgar Allan Poe has been the literary specter most associated with the ghostly pallored goth scene. But maybe Poe's dark tales and opium-fueled dreams are better suited for a rawer, more visceral brand of skull-thumping. At least that's the (partial) impetus behind the Nevermores, the local garage-rock band with an equal love of macabre storytelling and fuzz-bombed bass lines. The quartet's new TIRC Records full-length, Nevereverafter, bears songs with familiar titles ("Tell-Tale Heart," "Annabelle Lee") although it's hardly a doom-and-gloom affair for this band of lo-fi lifers: John Ebert's gravel-and-Stag voice pairs well with the two guitarists' Townshend-like flashes of bravado and driving riffs.
In this week's issue, Christian Schaeffer reviews the new album from the Trip Daddys. He had this to say:
The Trip Daddys have become a St. Louis institution as they've evolved into the city's premier rockabilly outfit. However, this iconic status has as much to do with the band's fifteen-year career as it does with singer/guitarist Craig Straubinger's unwavering devotion to slick, twangy and reverb-heavy guitar licks -- in other words, an ageless style that mixes easily with the Daddys' fusion of rock, country and punk. The trio has gone through a slight reboot with Roll On!, as a new rhythm section (Ded Bugs drummer Dennis Williams and Sex Robots bassist Tracey Morrissey) contributes punkish backbeats to its ten tracks. Still, the new guys fit right in, starting with first song "Dressed in Black," whose to-the-floor urgency stems from a shot of low, rumbling drums and Straubinger's self-assured vocals.
Read the rest here. The Trip Daddys are celebrating the release of On! with a show at the Way Out Club on Saturday night, May 16, with the Cripplers and Bob Reuter. Enjoy an MP3 -- a cover of "Breakup Song" by the Greg Kihn Band -- after the jump.
In this week's paper, Christian Schaeffer reviews the May Day Orchestra's May Day, or Songs for Lucy Parsons. He had this to say:
Despite the presence of some of the local rock and folk scenes' most inventive musicians, the arrangements on the vinyl-only May Day, or Songs for Lucy Parsons are mostly spare and stark, moving between low-slung ballads and foot-stomping fightin' songs. The slow-pulsing drone of the eight-minute opener "Cause for Alarm" feels static and overlong, though the pivot-point trumpet and trombone flourishes, along with [Brien] Seyle's twang-laden fiddle, gives the song a much-needed harmonic handhold. The band perfects this formula of concrete-fisted guitar strums and solemn brass-and-string accompaniment on the excellent "Death Letter," which sounds like an experimental castoff from Uncle Tupelo's March 16-20, 1992.
In this week's paper, Christian Schaeffer reviews the Pragmatic's debut EP, Circles. He had this to say:
On its self-released Circles EP, it's hard to miss the influence of the Postal Service, the collaboration between Jimmy Tamborello and Ben Gibbard that opened many ears to the beauty of sculpted synth sounds and clicky drumbeats. The Pragmatic carry this torch mostly because of Karl Kling's nice-guy vocals, which are positively Gibbardian in their breathy inflection and sweet approach.
But the Pragmatic's three keyboardists aren't just versed in laptop pop. Buzzy, low-end synths and drum-machine cymbal crashes lend dark-wave electro menace to "Deathmatch," a song reminiscent of the Faint's early forays into synthesizer deviance, while a host of '70s and '80s sounds -- including airy string pads ("Circles"), brusque, squelchy bass lines ("Academy"), and video-game beeps and blips ("You Blame Me") -- influence other songs.
For Heroes of the Kingdom, patience is a virtue: The quartet is in no hurry to blaze through these songs and instead chooses to let the full-bore guitar chords clash together and resolve in time. Most of these eleven songs sport a slow, sludgy tempo and a respect for the sonic space created by the alternating discord and unison of interwoven guitar lines. But where sludge normally implies the haze of stoner rock or the effect-pedal-colored dreamscapes of shoegaze, much about HOTK is crystal clear: The guitars are not buried under layers of fuzz, and singer Chris Powell (also of Ring, Cicada) has a high, piercing voice that, at times, recalls Rush's Geddy Lee without all those vocal tics.
In this week's paper, Christian Schaeffer reviews Beth Bombara and the Robotic Foundation's self-titled EP. He had this to say:
Last year, singer-songwriter Beth Bombara released Abandon Ship, a tidy EP of mostly acoustic songs that paired understated sonics with her sweet, distinct voice. She returns with another six-song serving, this time recorded with her backing band, Robotic Foundation, which is comprised of Theodore multi-instrumentalist JJ Hamon on bass and his brother Kit on drums. (Let us pause to consider the poetic justice of a drummer named Kit.) With the help of producer Dan Mehrman, the trio emits a well-tempered slurry of electric energy, trigger-happy percussion and echoing atmospherics, which gives Bombara something substantive to push against.
All MP3s are posted for sample purposes only, and always with permission from the artist or label. If you like what you hear, go out and support the band/musician by buying their record!
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