MUTEMATH
Armistice
Three years on from the birth of their self-titled full-length debut, Mutemath’s second album, “Armistice”had some heady heights to live up to upon its recent release. “Mutemath” was a modern classic of alternative rock, liberally sprinkled with inspirational melodies, effervescent experimentation, and, in “Typical” a song hooky enough to captain a pirate ship.
So, where from there? Well, it seems, in to a time of struggle and band tension, as an original batch of songs for a follow up record were scrapped, and producer Dennis Herring was brought in to oversee troubled sessions. So, should there be a fear that “Armistice” fails to build upon the strengths of its’ predecessor?
Far from it. Every inch of “Armistice” feels just right. The songs are sleeker, more concise, but within there lie layer upon layer of nuance, be it in a vocal inflexion, a synth glitch, or an effect-laden guitar part. From opener, “The Nerve”, you know you’re in for a satisfying listen. All the elements which make Mutemath such an astonishing band are firmly in place: Greg Hill’s inventive, angular guitar work (see the title track, “Spotlight” and “Burden” as key examples), the elastic bass of Roy Mitchell-Cardenas, Paul Meany’s textured keyboard and Rhodes work, his (much more confident and strident sounding this time round) silky tenor and, to these ears at least, the thing that sets the band apart: Darren King’s exceptional drumming. King uses the drums not just as a rhythmic instrument, but as a melodic counterpoint to the rest of the band, alternately driving a song like “Goodbye” with it’s insistent groove, and powering through on “Electrify” as he vies to be the centre of attention. And that’s without mentioning the astounding closer, “Burden” which has more twists and turns than most bands manage in a whole album.
This is the sound of a band growing comfortable in its own skin, and realising the potential contained within. At the same time it is a glorious example of focused creativity. While, lyrically, Christian themes are subtle rather than front and centre, it is undeniable that this is one of the most exciting albums made by a bunch of Christian guys you’ll hear in many a long year.
Review by Haydon Spencely
LTTM Rating 5 out of 5 Stars
Wednesday, 26 August 2009
Monday, 24 August 2009
Ted Barnes Interview
Ted Barnes
Interview
Wednesday 9th of July 2008
By Haydon SGreetings to you Ted, how are you this fine day?
All is well today, thank you! Looking after my 15 month old son at the moment while his mum who is an artist is working.
You've had quite a musical past (some would say the past is being surpassed by your present) can you give a run-down of how your career's gone so far?
It's been a varied old thing so far and one that I stumbled into quite late on. I always have played but never expected it to become a career. When I was a teenager I was heavily into Irish traditional music so I bought myself a bouzouki and used to play in sessions and the like. When I was 24 I decided to move to London and study instrument making and it was only then that I started to play more regularly. I formed a band called 'Junction' which played Irish music fused with a whole load of influences. On the whole we were dodgy but we did have some fine moments!
It was then that I met my long-term writing partner Ali Friend who was the double bass player in Red Snapper. Through him I met Beth Orton. She really liked the way I played and we forged a writing/ playing relationship that lasted over 10 years, 3 albums and plenty of air miles! From there I formed Clayhill with Ali and a singer I had long admired called Gavin Clark who was in Sunhouse. We dragged him out of early retirement to write 3 albums and an EP together and we are presently writing our fourth.
While working with Beth I began writing my own material and have released 3 albums including Portal Nou. There have been highs and lows but overall it's been a joy that I was not expecting, it's tough surviving in the music business and somehow as each year goes by I chalk up another one! Highly expecting the carpet to be pulled from under my feet at some stage. I still feel I have lots more material to write so I hope I can keep on this path.
So you've got a new record out soon, Portal Nou. How does it feel to be standing on the edge of the new release?
It's always odd with any release unless you have major backing. In particular with my solo albums, as they have always come out on independents [labels] and this is on my own label, you sometimes have to remind yourself it's happening. All I know is as an artist it is essential to make statements of a time and place in your life and so I find it hard to move on creatively unless that release happens. I have been very lucky that this has always happened, but with Portal Nou its release got really dragged out due to label stuff until eventually I thought I would just do it myself. I am excited about this as the extra time meant I met Sebastian Rogers while touring with Catherine Feeney and he remixed the whole record which added a whole new life to it.
Its always interesting to see how your work is received although I have been very lucky with my first 2 albums which received very favourable press! Pity that does not equate in to sales!
How was the process of making the record?
It was quite painless this time! Sometimes an album will have a tricky phase but this one was quite pleasant throughout. I wanted it to be honest. I was just trying to come into a happier emotional place in my life and part of that was finding less strained ways of working, trying to be more spontaneous and living with first takes etc instead of losing the plot in perfectionism. I have struggled with this in the past and I am now constantly working on myself to achieve this. You realise this when you notice that you are always trying to achieve that freedom you had in a demo.
One thing that stands out for me about Portal Nou is how intricate it is, but simultaneously how immediate it is. This, to me, seems quite unusual, especially in an album which is largely instrumental. What motivates the sounds you've gone for on this record?
It's the usual really, I am a hoarders of instruments and junk and pretend to play a lot of them. I wanted it too be more fresh, as I explained above, so I went for first takes etc. I wanted it to be more rhythmic, driving. I wanted it to be short and more song based, even the instrumentals taking on that structure. And sound wise even though they are quite layered I wanted to be able to justify every sound and part.
Can you give us some of your musical influences?
There are many, but my main ones, I have to confess, are the people I work with, Ali Friend in particular. All the musicians that you click with must all be hung on to, they are worth their weight in gold! But on a non-sentimental note I had a dodgy youth into prog rock, then discovered Irish Traditional, then in to songwriters and for quite a few years I seem to be getting in to more and more obscure instrumental music. Band-wise it's Tin Hat Trio, Rickie Lee Jones, French 30s stuff, Max De Warderner, Fourtet, Yann Tiersen, Sparklehorse etc.
Portal Nou has quite a selection of guests, particularly guest vocalists. How did these collaborations come about?
Kathryn, Beth and Gavin I have worked with previously so it felt natural.
Dan had become a friend and Francoiz I searched out having loved her solo albums. Basically when I write a song I can hear a particular voice singing it and so I will seek that out. I have been very lucky to bring all this together. For me it was about it still being cohesive. I used to love the fact in the dance world they would do this on an album and I could never work out why in other areas its not encouraged.
You're putting the album out on your own label, Mornington Records. As The Mag is a website for unsigned/independent artists, do you have any advice for anyone considering a similar endeavour?
Go for it and do it. I do think it is only worth doing if you have 2 possible scenarios going on a) your gigging loads and so you can sell at gigs or if you don't have that b) make sure that you have a great press office and distributor involved. The latter was my option because I cannot afford to take a seven piece band on the road and so it was essential to fill out all the forms and do the release properly. If I was young and gigging I would probably side step the bureaucracy and go for full financial results!
You've been a member of the rather splendid Clayhill for a few years now. Can you give any clues as to if/when we might see more material and/or a tour or three from you guys?
There are no clues I am afraid. Last year was hard for us, even though we started an album. This was left in limbo since Gavin has been working with Unkle, and then we both went on to record his solo album. We have started again [on the Clayhill record] and the songs are written and sounding great but I'm afraid it's still no clearer as to when they will see light of day.
Gavin's solo will be out later in the year.
Are there any new bands/artists you think our readers owe it to themselves to check out?
I have to confess I've fallen for the media hype and love Bon Iver at the moment. Taken By Trees. Rachael Unthank and the Winterset, The Pascales and Amuna have all been played a lot.
Do you have any career highlights you'd like to share?
Many. My last solo gig at The Luminaire in London was a beautiful thing!
Main stage Glastonbury with Beth, supporting Kathryn Williams with Clayhill, touring Australia with Beth and doing a West Coast of Ireland pub tour with her. There are also too many friend/ band mate moments that are so special too mention.
Any particular lowlights?
Many. The last Clayhill tour was really hard. But probably my favourite was playing to an audience of a plastic guide dog for the blind statue with my band Junction and being told to turn down as the dogs couldn't hear their owner's whistle. All the gigs where you're talked over, and one where I got punched by a squadie!
What does the rest of 2008 hold for Ted Barnes?
Releasing this album at last. Debuting it on the SouthBank on September 27th, which is very exciting and a bit of a dream come true. Releasing Gavin's solo album and touring it. Hoping that Shane [Meadows]'s new film which it is the soundtrack for does well. Starting a new solo album. Trying to earn some money. Share looking after my son with my partner and remain in a better place!!
Any final thoughts?
Not really!! Only to thank you for this interview and hope I survive in this business to do another one with the next release!!
http://www.the-mag.me.uk/Music/Articles/Item/Ted-Barnes-Interview-20080709/
Luke Leighfield Interview
Luke Leighfield
Interview
Tuesday 17th of June 2008
By Haydon SGreetings Mr Leighfield, please introduce yourself.
Hi, I'm Luke, I'm twenty-years-old and I originally come from the lovely town of Upton upon Severn in Worcestershire.
Am I right in thinking that you can often be found in Southampton at the moment? Any favourite haunts?
Yep, I'm at uni there at the moment. I don't really get to go out much because I'm either playing a gig or I'm at someone else's, but I can sometimes be found in the library or my bedroom. I also missed out the obvious one which is The Joiners, probably my favourite small venue in the UK.
You're currently on your second album, Fan the Flames. Can you tell us a bit about the recording process for that record?
Basically I spent three weeks in my drummer's music room laying it down, whilst playing gigs most of those nights. It was pretty gruelling and by the time I came to do vocals I was very tired, which maybe shows, but I didn't have the money to do anything more fancy, and I didn't have the time to spend longer on it. We recorded the piano at my old school in Gloucester 'cause there was a nice grand piano there, and we went to London to do the brass with a few friends I have down there. Friends and associates played all the stuff that I couldn't, like guitar, strings, wind instruments etc.
The last thing to go on was gang vocals which I did with Sam Isaac and Stephen and Peter from Tellison. It was wicked, like we were in a pop punk band or something! Dan, my drummer, mixed it all and then we got it mastered elsewhere. Job done.
Your new single, 'If You Haven't Got Anything to Say' is out soon. What inspired that song?
That song was inspired by all the cover stories for the latest 'hot band' where the article would just talk about how they used to practice in their garage (how punk rock) or about their singer's drug habit. It's all so tired and boring, and it was never about the music, 'cause when you strip away their stale image there's nothing left. It also takes a dig at bands with rich kids in who try to succeed by buying the best equipment, which still can't mask any discrepancies in the music. The song was basically me telling myself to persevere through all this crap that's going on, because if I keep working hard then my time will come too, and hopefully I'll have more of a story to tell than all those generic indie bands.
Tell us about the Radio 1 love you've been getting recently.
Um, Huw Stephens played me a few times and let me do a live session. He's the only one to play me as far as I know! He's a lovely lovely man.
You have a label too, right? Get Got Need. What led you to setting that up?
How have you found the process of working for yourself in the crowded UK marketplace?
Well I wanted to release all of Sam Isaac's old demos, which we did with Eighteen Nine : Early Recordings. Obviously it then provided a platform for me to do my own stuff too. It now means I can help out other bands I like too, like Tim and Sam. The marketplace isn't really that crowded, people always need new music!
Are you on the lookout for new bands to sign, and if so, how can people get in contact?
Yep, always. www.myspace.com/gotgotneedrecords
What motivates you to write songs?
The main things I've written about in the past are love (aw) and things like thinking positively and working hard. I basically write about my life, so the first album was concerned with a break-up I went through, whereas the second one was written in the middle of touring where I needed motivation to persevere with what I was doing.
Which bands/artists have been influential in your development as a musician?
Something Corporate and Ben Folds are the reason I write on piano. At the moment my biggest influence is The Rocket Summer, an American guy who writes really happy pop rock with a funk edge. He's amazing. I listen to loads of different kinds of music and try to put it all together in a fresh way that hasn't been heard before. I don't consciously try and emulate a certain artist.
Are there any new bands/artists our readers should look out for?
Yep, reppin' some UK! Sam Isaac, Tellison, Tim and Sam's Tim and the Sam Band with Tim and Sam, Tanaou. I think all of those guys are going to break into the mainstream soon. I also love Dave House, Kid Cosmic, and basically all the bands in my top friends on Myspace. They're all good people, working hard and making great music.
Any career highlights or lowlights so far?
The Radio 1 session was cool. I've had so many good gigs and bad gigs that it's impossible to choose specific ones! I love playing full band though. My two favourite full bands shows were probably at The Spitz in London with Sam and Tellison in September '07, and also this March at The Borderline in London with Sam Isaac.
What does the rest of 2008 hold for Luke Leighfield?
I'm going to demo another album which I'm dead excited about. This one is going to feature some gospel elements! Apart from that, lots more gigging and that's about it. I'm also going to finish my bloody degree!
Any last thoughts?
It's time for breakfast.
http://www.the-mag.me.uk/Music/Articles/Item/Luke-Leighfield-Interview-20080617/
Last Action Hero Interview
Last Action Hero
Interview
Wednesday 11th of June 2008
By Haydon SSo, you're Last Action Hero huh? What does that entail?
Well, at the moment, it's just me... making music that I love to listen to... and trying to get it out there for other people to hear it too. Maybe one day it will get to involve a full orchestra and an array of other musicians, but for now, It's just me and my cobbled together selection of synths and samplers with a few other bits too.
Your new album, Glitter Hotel, is out now for free download from www.glitterhotel.com - what led to you deciding to put it out for free?
I played with loads of ideas when deciding how to release the album, but in the end I went with the free MP3 option. It felt like the most natural.
There seems to be a lot of pressure these days for bands to have their music on iTunes, or to have CD's and T-shirts and Shoe Laces and piles of other crap to sell after gigs. And it all comes down to trying to make money - but since when was it all about making money?!
I guess I'm trying to approach it from the other angle. I love the music I'm making and I want it to be heard by as many people as possible. So if that means giving it away free, then I will. You sure as hell won't catch me seeing t-shirts after a gig either. Giving away stickers, sure! but selling self-branded crap?! no way. Having said that... if you see me after a gig and feel compelled to buy something, make mine a Sailor Jerry's and cola - that'll do nicely.
How would you describe your music?
It's pop music. I simply love pop music and I'm so glad that we're living in times where pop is no longer a dirty word. There's a lot of brilliant artists out there making some really amazing pop music again and it's exciting. When it comes to what I'm making, there's plenty of electro in the mix too.
What sort of artists and bands have influenced what you're doing?
Loads. If you're talking about my early music life, I remember becoming obsessed with wanting to hear 'Don't You Want Me Baby?' by the Human League on the radio all the time. I remember I'd heard it once, and it was all I wanted them to play. Then the first album I brought was Different Class by Pulp on tape from Woolworths. The first single I brought was 'Love Me For A Reason' by Boyzone. Quite how I arrived at that combination, I've no idea!
My parents were big John Denver, Simon and Garfunkel and Black Sabbath fans - a slightly odd mix!
I was introduced to Ryan Adams a few years ago and have been obsessed ever since. I was listening to Joni Mitchell and Janis Joplin quite a bit when I wrote parts of the album too. There are some pretty obvious influences in what Ed Banger Records are putting out at the moment as well. Plus some less obvious influences too... the Yeah Yeah Yeahs, Bloc Party, The Subways... I listen to so much music and all of it informs what I do in different ways.
Highlights so far?
There have been some pretty hectic gigs, they certainly top the list of my favourite experiences. I've just found out I'm going to be played on BBC 6 Music sometime soon too, that's pretty cool.
Your live show is creating a bit of a buzz. Describe the LAH live experience for us.
For me, a live show is about creating something exciting, not just with music, but in the whole aesthetic and the performance too. I like to make a bit of effort with the staging and costumes. For my first few shows I had a sequined High School Musical Top that I'd brought from the Disney Store (largest girls size they sold) and had cut the sleeves off just to get in to it.
Generally, it tends to get a bit messy on stage. I have a bit of a habit for breaking things and sending stuff flying across the stage. For some reason, last Saturday night, I decided it was a great idea to have candles on stage.
Apparently, watching a guy nearly set fire to himself repeatedly is quite engrossing.
What's with this 'Sex Me Here' malarkey then?
Yeah, that! I've got in to a bit of trouble with that. Basically, the song and the stickers came about at the same time and it was just a way to promote myself. But it got a bit out of hand when my friend came back from a trip abroad with pictures of stickers on a variety of foreign police cars, airports and religious sanctuaries. I think my next stickers will say "Don't be a twat" on them - then if people put them in stupid places I can't get in trouble over it... 'cause the sticker told them not to.
Any new bands or artists our readers should check out?
YES! Loads. where do I start?! I saw Crystal Castles live the other week, and together with their album, they are just phenomenal. Johnny Foreigner are pretty trendy to be bumming at the moment too, but they're actually pretty marvellous also. They supported The Subways when I saw them last and it was very good. Late of the Pier are making some immense noise at the moment too. Tokyo Police Club are awesome. I don't know if she really count as a new artist anymore, but Laura Marling's album is immense, and if people don't have it... Well... there really is no excuse! and Noah and the Whale. and the Presets. and Frankmusik. and Midnight Juggernauts. and Pin Me Down.
I cold go on... but I won't...
Any last thoughts?
If you want it, just get it. If you don't like it, just put it back. It's a motto for life.
Lotte Kestner Interview
Lotte Kestner
Interview
Friday 6th of June 2008
By Haydon SLotte Kestner is most likely a new name to our readers (and I know it's not your name either!). Tell us about yourself.
Most people never got my real name right anyway (Anna-Lynne). It feels curiously natural having people address me as Lotte on Myspace. Lotte Kestner is a borrowed name, she is a real woman from the 1700's who inspired a character in The Sorrows of Young Werther. I was reading that book at a memorable time in my life, when I was touring France. And I came upon the name again when I was just starting this solo project. It's usually hard for me to commit to names of albums and songs, but pretty much all of the names associated with this project were effortless and felt right. Even songs like 'Temperature', where the word doesn't appear in the song anywhere...
While this is a solo record, you've been in Trespassers William for a fair few years now. Can you tell us about what led you to make a solo record alongside your work with TW?
Yeah I've been playing with Trespassers since I was just out of high school.
I've brought everything decent I've written to the band, and those songs have been elaborated and transformed. Different Stars in particular was a rather simple, organic album, so at that point I don't think it would've crossed my mind to release a solo album, it wouldn't have been a very different statement. But our sound has become more complex, losing the acoustic guitars and pianos and incorporating a lot more percussion and synths and effects. Especially on the new material we've been performing for the last 2 years.
In the meantime, I'd also been getting really into the Naturalismo artists (Devendra Benhart etc) and experimental vocal layering (CocoRosie etc). But I was the only one in the band who was enchanted by traditional folk type melodies, and their major keys and simple structures. So I found that I was writing all these songs that weren't working with the band and sounded quite nice without anything on them. I put up the first couple on Myspace and people seemed to like them, so I started writing particularly for the solo project.
I think in a way it's a bigger challenge for me to try to write something that is rather traditional sounding and still engaging. And beyond that, to leave the work bare, without the accompaniment of expensive instruments, and for the most part to not even use any reverb.
On a pragmatic note, this is the first time in a long while that we haven't been on a label, so it made sense to take advantage of the fact that no one had any deadlines for me, and I was free to own and promote my own music.
How was the writing/recording process for the album?
Originally I figured I'd go through my old song books and bring a few back to life for this project. But in the end, all of the songs were written specifically for this project. I wrote and recorded all of the songs in my bedroom over a period of about 9 months. I would sit on the bed with an acoustic guitar and come up with the melodies, then labour over the lyrics a bit if they didn't come right away. Then scoot over a few feet to the floor where the recording gear was set up and try to record it while it was really fresh. A lot of the songs are first takes. For a few, I was even too impatient to set up a click track, and just recorded the acoustic guitar and vocals live in one take. Then I would add about 10 tracks of other sounds... bells, vocals sung through plastic toys, harp, whatever sounded good.
All of them were written that way, except for 'Fineline', which I came up with in the parking lot of Trader Joe's and sang into my cell phone and then went home and recorded it with a keyboard.
I had a few friends add parts to the albums, Ross and Jeff recorded their own parts at home. And I took my little set-up over to Toby's house to record her violins for 'Temperature'.
Do you have a favourite song on the album? If so, what about it is special to you?
'Crush the Bird' is my favourite. It was also the last one written and recorded, so it has a slight advantage from being newest. And so it comes first on the album. I was the most heartbroken when I wrote that one, and I think it sounds the most honest. And it's the only one I recorded when I was a little bit drunk. It's one of the ones where the vocal and guitar were recorded live together, and they were both running into a guitar reverb pedal on one of the more extreme room settings. So there's a strong sense of place, even thought it's not really a real place.
What motivates/inspires you to write songs? Who are some of your influences?
I only write when I am really creatively driven to. I never assign myself time to work on music. There'll just be a melody all of a sudden, or a sentence I can't wait to sing. Often it's after I've heard an amazing song by someone else, or realized something about my life. Often movies put me in the mood to play music. Most of the songs are fictionally autobiographical.
About my relationships, or my fear of getting old, or my wariness of being on a stage and judged too much.
I probably spend more time reading than consuming other kinds of art, so Proust and Fowles and Maugham have been big influences over the last decade.
Lisa Germano and Kate Bush are two songwriters who I have loved since I first started writing music. Kings of Convenience, Will Oldham, Mark Kozelek...
I know that as well as your musical work, you have an anthology of poetry available. Do you see yourself as a poet first or a musician, or is the delineation not as straightforward as that?
I started off with poetry. I wrote it all day long, at school, at work... But when I started to learn some guitar chords when I was 16, music eclipsed everything else I was doing. By the time I graduated from college, I'd pretty much given up writing the poetry and stories that I had been so into, which is a real shame to me now.
I was intoxicated by the fact that songs could accomplish so much in a few minutes, that rhyming made everything so easy to write, and that I could play those songs that same weekend at a coffee house and people would listen. Music seemed to achieve the sort of communication I was going for, that poetry had not done.
From your past touring in the UK with TW with acts like Damien Rice, and having your records out on Bella Union, you have quite a following here. Is there any chance that we'll be seeing Lotte Kestner on the live circuit here?
That would be ideal. Particularly for Trespassers William, we know that the majority of people who listen to us live in Europe. And even from the solo record sales (since I sell them from home myself) I can see that more than half of the fans are in France, the UK or Scandinavia. Touring in Europe feels very exotic compared to the US, I wish I had the means to travel there often (for music or even just to be there) but I'm my own label at the moment...
Do you think that there will be a solo follow-up to China Mountain? What are your hopes for the record?
Really the whole goal was just to write and record something on my own, and make it available to people. So that part is done. I don't tend to play many instruments in Trespassers (most of my guitar parts are just for the sake of writing the song, and then we take them out of the recordings), so it was an exciting exercise to be left on my own. Ideally, some beautiful indie film would use one of the songs. That would be perfect.
I am uncertain about another solo album. I feel like I want to collaborate with someone next time around. One of the things I've been doing lately is singing some harmonies for a friend's band here in Seattle at her shows, and there's a third singer as well, and having three girls singing together is so much fun after being the lone singer for over ten years. I think I am more than ready to take a step back and not be singing all the time. It's fun listening on stage, too.
I gather that TW is close to finishing up on a new record also. When do you think we'll be likely to be able to wrap our ears around that one?
I feel comfortable saying some time this year. That one was started as soon as Having was completed, even before it came out. It's a really elaborate record, and many of the songs have been re-written several times. We mixed the album quickly in a studio last year, but we have decided to take more time with it at home to get it the way we really want it. One of the songs, 'Catch not Break', is up on our Myspace page, but that might not be the ultimate mix that makes the album. That's one of my favourites from the upcoming album.
Are there any new bands/artists you've been digging on recently that you think our readers should check out?
My favourite new artist is Bon Iver. What a beautiful record. It's the first thing I've heard in a while that I want to listen to over and over.
What does the rest of 2008 hold for Lotte Kestner?
I haven't figured out if Lotte is something I can make work live yet. If I do figure it out, then some shows around the West coast would be nice. In the months ahead, I'm planning to collaborate with John Grant (from The Czars) and I believe I'll be on the upcoming Minotaur Shock album. I have three or four new songs waiting to be recorded, but I have to decide which project they would work best for.
Any final thoughts?
Just thanks to the people who have been really responsive to the music over the last year and a half. If it were not for Myspace and being able to make all of the songs available as I recorded them, and hear from real people what they thought of them, I probably would've kept it all to myself and not completed a whole album's worth. I'm pretty happy about the internet right now.
http://www.the-mag.me.uk/Music/Articles/Item/Lotte-Kestner-Interview-20080606/
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