Lincoln Hall sits squarely in the center of a bustling college campus and feels like a refuge from those who frat hard in Lincoln Park. It’s a dimly-lit, reasonably intimate venue where the best seat in the house is at the foot of the stage. Monday night, just after 8 p.m., Brooklyn trio Young Magic unassumingly took the stage and went on to illuminate the space with moody, powerful vocals, vibrant, bounding percussion and a screen flush with elaborate, engaging images, including a particularly riveting sequence featuring whirling dervishes.

Lead vocalist Melati Malay possessed an enviable sophistication, with a look akin to a grown up Lydia from Beetlejuice, in the hippest way possible. Similar to the myriad textiles seen draped over set pieces, the multi-layering of samples from global influences and recordings, combined with a soaring, yet calm and controlled vocal style made for a hip, gorgeously curated concert experience. Their particular brand of simply styled, creative sophistication set the perfect stage for Yeasayer’s expedition into the wild and weird.

The tone for Yeasayer’s entrance was set by their stage decoration, an elaboration on the album art from their latest release, Amen & Goodbye. Images of various sizes, ranging from about three, six or seven feet tall stood scattered across the stage, perhaps most notably, a baby with a pineapple atop its darling little head, with a semi-hollow hole in the middle. Each of the images, including that of a 6-armed-woman with a speaker where her face should be and a mustachioed man with a menacing stare, all looked slightly vandalized, the purpose of which would become clear as the show progressed.

The Brooklyn art/psychadelic rockers, walked on to perform and looked as if they stepped out of a time machine from a 1950’s B-Movie. The whole performance assumed that aesthetic and vibe; equal parts wholesome (the melodious harmonizing of Chris Keating, Ira Wolf Tuton and Anand Wilder) and otherworldly, with an undercurrent of something slightly sinister at work. As the band churned out tunes old and new, including fan-favorites like “Madder Red” and “2080” and rousing new additions like “I Am Chemistry”, their fervent energy and flashing lights gave the performance a momentous, well-paced energy. It took a few songs until frontman Chris Keating turned his attention from the keyboards and out to the audience, an interesting shift from introversion to extroversion which shifted the mood in the room as well. It was as if to say, “Don’t you worry. It’s on.

The “vandalized” set pieces were part of a bizarre, entertaining light show, at times all lighting up at once, pulsing; at other times, moving from left to right in a flurry. With looks ranging from down-and-out mechanic, 70’s corduroy chic and acid washed Freddie Mercury, their impassioned, eyes-closed delivery kept the mood buoyant as the set continued. Chris Keating killed it center stage with his furtive gesturing and commitment, which was complemented by the laid-back presence of Anand Wilder and the slightly intense posturing of Ira Wolf Tuton. In fabulous fashion, the set concluded with a no-holds-barred dance party to “Ambling Alp” and, to the express joy of the entire crowd, “O.N.E”. Yeasayer brought its fans, old and new, close to their creative world with a stunningly strange, boldly impassioned performance.

The post A slightly psychadelic evening with Yeasayer and Young Magic appeared first on Quip Magazine.

The blissed-out techno-pop of Montreal’s Milk & Bone seemed like it was made for the space at Constellation, where the duo of Laurence Lafond-Beaulne and Camille Poliquin performed on Friday, April 7. The space is a contradiction, a haven of quiet, mellow cool abutting a busy street leading to the highway. Lately, the stretch of Western Avenue that it sits along feels crowded and taken over by construction, but the venue is spacious, intimate and imbued by hazy red lighting in the entrance that sets the tone for concerts taking place.

Local musician Jessica Risker (also known as Deadbeat) kicked off the show in a simple, beautiful way. The seated crowd surrounded her on three sides. She began her set by strumming and singing blissful melodies accompanied by imagery projected on a screen, harkening back to an earlier place and time. It reminded me a good deal of the background projections at an Arcade Fire show, slightly odd, very captivating; movement in a way that looked like an optical illusion.

Risker finished up her set with one of the most unique performances I’ve ever witnessed. She played 20 lullabies she composed for her family’s newest addition, rolling them through the music box apparatus playing the notes before they floated quietly to the floor, a pile gathering beside her. It was a hypnotizing display that set a mood of pristine, melodic calm before Milk & Bone took the stage.

Camille and Laurence entered the performance area just as Risker wrapped up her calming, inventive set with an air of sophistication that spoke to their Montreal provenance. Laurence in a messy bun and Camille draped in all black, they set up their gear and played their first notes and as the crowd returned from the bar and settled in their seats. A sparse set up – two keyboards, two sound mixers, and two drum kits – was all the girls needed to create a spectacle befitting their mellow music. “Coconut Water” kicked off the set, with its sweet synth beats and lyrics filled with longing. Milk & Bone’s songs spin tales of romantic daydreams, the perfect accompaniment for a cold Chicago evening. Their performance let the vocals take center stage, Laurence’s voice showcasing a soaring sweetness and Camille’s a dazzling, jazzy quality.

Singer Camille announced early in the performance that this was her first show in 10 days, after overcoming an illness that put her on vocal rest for days. The haunting, harmonious vocals filled the space, especially in the performances of songs like their latest single “Poison”, the upbeat “Daydream” and the final number, “New York”. The aching anguish of losing a romance to the big city, and further shutting the door by moving was on translated beautifully as Laurence, with her agile voice, swooned wistfully over the song’s lingering notes.

A truly endearing moment of the performance is the joy that clearly registered on the faces of the women when members of the audience started to dance on stage to their songs. Camille cried out, “Nobody does this!” when the group started swirling closer still as they grooved along with “Shore” and “Watch”. The final number was made even more special when Milk & Bone invited the audience to sit on the floor of the stage with them, the participants no more than 5 feet away from the performers.

The duo recently performed at SXSW in Austin and create music that feels personal, yet relatable to that legion of us who work through heartbreak by listening to that particular song or album that strikes a chord. Be on the lookout for these two.

The post Embracing the chill with Milk & Bone appeared first on Quip Magazine.

Chicago-based trio Autograf are attempting to transform the landscape (quite literally) of traditional house music. The group’s chill vibes converge with installation art pieces on display during their performances, making for a stage spectacle that’s inventive and captivating.

They are also pretty intent on starting a movement for fans to #leaveyourautograf – encouraging listeners to create their own art and narratives using their music as an inspiration and jumping-off point. The band made an impact with “Metaphysical” (featuring Chicago-burb native and Lollapalooza 2015 act Janelle Kroll), hot on the heels of their SoundCloud success found in remixing tracks from artists like Stevie Wonder, Lorde and Pharrell.

The band, former art students themselves, are releasing their new EP Future Soup on March 11, 2016. The cover art is an obvious nod to Warhol transforming art into music. The new EP arguably picks up where “Metaphysical” kicked off with the first track, but the rest of the EP is less focused on vocals and more on establishing the scene with tropically-inflected instrumentals. There’s a fair amount of marimba throughout, contrasting softer piano with a distinct “island” vibe, inspired specifically by Brazil.

“Future Soup” opens the EP and with it the listener can easily get into the subtle grooves and how they fold into the vocal overlay. The vocals also give the track more shape; this is the hardest-driving song of the set, which isn’t to say too hard, but it still stands out as the club jam of the group.  “Heartbeat” stands up as the standard club jam, their latest single release off of the EP. For a band centered on delivering plenty of love and vibes, this track delivers. Next track, “Slow Burn,” is a bit of a departure from the first two, more of a slow groove, more ambient, still pulses – house music for a more grown-up set, a little soft piano never hurt anyone, rounded out smooth jazzy saxophone that’s welcome on the stereo of a party that’s settling in for the evening. 

Taking the chill notes further “Horizons” is inflected with a minimal trance beat. It is minimal, yet still really pleasing, with a dash of synth, it creates a relaxed vibe with a smooth build toward the end. The record comes to a close with “Ocean Glass”, a tune with a slow start accompanied by soft piano, the sort of music you want to have on person when gazing out across a panoramic vista. As it moves forward, more marimba is played in, further decorating the plush soundscape with the delicate tropical touches.

Overall, Future Soup is simple enough house-inspired music with tropical hints, but what the band is setting out to do with its integrated take on art and performance mixed with the house genre makes it a doubly intriguing listen. Autograf takes what can be a heady, less approachable concept and smooths it out with mellow sounds that amount to more in the actions of the listener.

The post Autograf’s “Future Soup” is open to interoperation appeared first on Quip Magazine.

The fest proved to be a dizzying cocktail of running from stage to stage and dancing to the beat of beloved artists, trying to stay hydrated, resulting in a very unique experience: The Lollapalooza Hangover. Reliving the highlights and lowlights of the fest in the post-Lolla glow is making us feel tired. And old. But what a fantastic time it was.

Highlights:

Mix & Match Headliners: Clearly, the Lollapalooza folks know what they’re doing. Each year, the fest is curated to please a mass audience. If you don’t feel like going to Skrillex or Krewella (and we certainly didn’t), there’s a wide mix of tastes when it comes to the evening’s closing shows. Eminem pulled out the stops and brought Rihanna on stage, which was pretty damn cool. He’s 42 years old and maintains the same performance demeanor and energy from when he came on the scene at the end of the ‘90s. Personally, we were delighted by the offbeat indie choice of Cut/Copy at the Grove stage. The mesmerising light show paired with hazy dance tunes was a heavenly combination. Kings of Leon killed it and Arctic Monkeys played a strong set as well.

Fantastic Accents & Indie Power Pop: One of the highlights of Lollapalooza is the international talent it attracts. Acts from near and far who made a big splash over the past year find their way onto the lineup. Very adorable accents added to Lorde and CHVRCHES‘ upbeat, enjoyable sets. Hearing lead singer Lauren Mayberry discuss her tambourine purchase in her plucky Glasgow lilt was truly entertaining. Brit Pop’s presence loomed large at the festival, with acts like the Kooks, the 1975 and headliner Arctic Monkeys showcasing positively charming swagger in addition to musical performance chops.

Being an outdoor festival, Lolla is the perfect venue for high-energy acts. For example, we love Sigur Ros (Lolla 2012 performers), however, the space did not suit their style. That said, indie power-pop acts stole the show at this year’s festival. Fitz and the Tantrum’s midday set blew the lid off the place (metaphorically speaking). The set sparkled with personality — it didn’t hurt that the lead singer continually thanked Chicagoans for kick-starting their career. Other favorite sets included Spoon and Young the Giant.

Great Food & Festival Flair: Chicago…not the best winter city. While concerts and festivals abound all over the Chi in summertime, winter activities consist of pretty much one thing: eating at new restaurants. We’ve got to stay warm somehow. Lollapalooza’s Chow Town brings together great bites from all over town for everyone to enjoy, local or otherwise. Didn’t get a chance to try that new restaurant in the four degree weather in January? Pick up a quick bite while you are waiting to see your favorite band. With an insane variety of options at fair-ish prices by festival standards, the Lolla food is definitely a highlight.

We are very, totally over flower crowns and frat jerseys. Sorry festival chicks and bros, let’s go for a more original look next year. What did surprise and delight us were the variety of fun festival “identifiers” people took to carrying around; to help them stand out in the crowd, to find friends, to express their own personal ridiculousness. Our personal favorites? A cardboard cutout of Kevin Malone from The Office, and Gary Busey’s floating head — people were crazy creative.

The Lowlights

Too-Packed Shows: Going to Lollapalooza, expecting huge crowds at shows is normal. However, the Iggy Azalea show seemed on the verge of too packed. As we tried our best to inch toward Iggy-Iz herself at Perry’s Stage, the atmosphere felt sour. Tear-stained faces were spotted around the perimeter. Teenage girls had panic attacks due to the massive size of the crowd and elbowing. It’s probably due to the fact that she hadn’t yet exploded at the time of her booking last year. Still, it took a few deep breaths to fully recover. Iggy herself? A beast. A flurry of energy ripping across the stage.

Please. Please. Be Careful: We saw far too many people being carried off on stretchers — falling, or hurting themselves. The festival itself does a great job of making medical help readily available to all concert goers. Have fun, please! But if you cannot keep hydrated, keep your wits about you, or cannot keep yourself out of harm’s way, really think hard about drinking or ingesting anything before you throw yourself into a crowd of thousands in the summer heat. Please. Also — a note to very intoxicated people — please attempt a semblance of concert etiquette. If you’re smoking a cigarette in a huge crowd of people, you might burn someone. Be cool, seriously.

So that’s a wrap! Here’s to Lolla 2015; hope to see you there.

The post Mix and match headliners at Lollapalooza 2014: from Eminem to Kings of Leon appeared first on Quip Magazine.

The first band, Airiel, graced the stage at 10. Even so, as the crowd grew, this small venue retained its quaint, slightly grimy, underground quality. The sheer size of the stage – I would equate it to the size of a raised platform of a high school theater, maybe even smaller – added to the overall intimate, easygoing feeling of the concert.

Each band set up its own gear, a true testament to the indie venue. Airiel opened the evening’s shows, with loud, moody guitars and plenty of reverb. The vocals were strong and the jeans were skinny. The band is local and received a nice welcome from the crowd. The music bridged an interesting gap between a loud, at times screechy, emo-ish sound and beautiful, layered melodies everyone could groove a bit to. The lead singer’s foppish, Flock of Seagulls-inspired hairdo only added to their appeal.

Next up was Saint Pepsi, aka Ryan DeRobertis. Attired in a Painted Palms merch tee, he unassumingly took the stage and let loose a ridiculously engaging and fun EDM set. He played around with pop and disco tracks in imaginative ways that got the indie/hipster crowd breaking out in their best dance moves. He capped off his gleeful set (he smiled brightly and mouthed lyrics the whole time, in the most endearing way) with a dramatic, “let the bass drop” edit of “Call Me Maybe.” The highlight of the set was standing behind a group of five or six frat-tastic bros who just let it go on the dance floor the entire 45 minute set. When one of them tied his flannel shirt around his shirt for maximum dancing ability, I knew he meant business.

Painted Palms took the stage as the clock neared midnight. Band members (and cousins) Christopher Prudhomme and Reese Donohue quietly took the stage and launched into their groovy, melodious set. The boys and their drummer exuded a definite look: a little ’80s, complete with acid jeans and a jacket any Miami Vice fan would covet. Another interesting comparison came to mind as the girl next to me bellowed, “He looks like weird Al!” referring to Donohue. The band’s very specific look carried over into the general vibe of the concert. Decidedly hip and surprisingly upbeat, the show featured the sound that sets Painted Palms apart: funky pop tracks, flecked with beachy-keen influences, catchy choruses and hippy-dippy flourishes. A serious, yet sincere look possessed Prudhomme and he sang out his hauntingly cool tunes. A set favorite was “Forever,” one of the band’s newer singles.

Painted Palm’s San Francisco background shined through – the collection of psychedelic, sun-soaked melodies proved hypnotic in the context of pint-sized venue. Their energized and passionate demeanor remained even as songs drifted out into meandering interludes at the end of their tunes. With Donohue continually bouncing back and forth to the beat on his keyboard, Prudhomme singing sweetly and a drummer from Chicago rocking out, this offbeat show brimmed with groovy charm. Also, the Empty Bottle is an unpretentious indie dance hall that’s more than worth the trip.

The post Painted Palms and friends at the Empty Bottle appeared first on Quip Magazine.

Weird Little Birthday, the full length release from Happyness, is out this Monday, June 16th. It’s simultaneously a very fun, melancholic, chill, moody and upbeat offering. The description may suggest that it’s all over the place, but it’s just the opposite. The combination of the varied  tones and textures of the music and vocals mesh in such a way that it creates a cohesive, flowing listen. It is a quasi-concept album that keeps the listener on their toes. Our narrator, thoroughly pissed off to share a birthday with Jesus, slowly starts to unravel as the album progresses.

The opener “Baby, Jesus (Jelly Boy)”, is a slow-moving lament, but works as an introduction to the overarching Happyness vibe – a little slow, but engaging in that sly way. Lyrics like, “Don’t steal my thunder, baby Jesus”, display a semi-meditation on growing up, of teenage and young adult angst. Statements like those are presented in a tongue in cheek way, quietly side-stepping anything that can be construed as too offensive.

Quip spoke with Ashley, Benji and Jonny (aka the men of Happyness) earlier this year. Their personalities truly shine through on the full-length album. They are really funny, pretty charming, slightly laddish, but generally easy-going and a hoot to chat with. Same goes for listening to Weird Little Birthday, by and large.

“Naked Patients” shows shades of Wilco influences – this song is reminiscent of the Chicago band’s “Kamera” in the best way. The guitars gently push it along; it’s both very rhythmic and subtle. The odd first line creates a quirky interest (“Something so funny about a sick body and the things that it does that it shouldn’t do”) and the rest of the tune doesn’t disappoint.

The next song, “Great Minds Think Alike, All Brains Taste The Same”, is a somewhat man-childish take on a relationship, brimming with thoughts like, “I’m a sucker for this domestic shit” and “the more I talk to you, the more I like my dog”. It’s followed by “Orange Luz”, a track featured on the band’s EP. The tone and feel of the song lines up nicely with the opening track.  The swell of guitars toward the end of the track sets it apart.

The next song signals a shift in the sound Happyness puts forth thus far in the record. To start, “Refrigerate Her” is a fairly startling name for a song. It definitely has a punky feel, with analog-ish vocals and garage-band guitars. It’s a short burst of raw energy in the middle of ambient to mid-tempo indie pop. It’s cool (pun intended? Sure). The album returns to neutral with “Pumpkin Noir”, featuring vocals from Ed Harcourt. It captures a similar feeling that “Orange Luz” does – both sound a little desolate, a little lonely. It also has echoes of that slight country twang. The lyrics declare that our raconteur is, “a 21st century hand grenade” – and with a line like that, it’s clear to see that the our Birthday Boy, born on Christmas, is starting to lose it.

“Anything I Do Is All Right”, on the other hand, picks up the pace and is a little dark. One can definitely hear some minor chords in there as the boys riff and drum away. The track comes complete with a dark, sweet little hook. Contrasted with the slower tracks, it really rounds out the band’s sound and displays their agile versatility.

The standout track is “Weird Little Birthday Girl”, signalling a return to the birthday theme on this concept album that is but isn’t. It’s a really lovely little instrumental – dare I say sweet and endearing. It’s pretty and plucky. It feels almost shy compared to some of Weird Little Birthday’s other songs. It still contains their signature quirky, at times biting, lyrics, but they fade a bit to the background of the soundscape of this track. “Weird Little Birthday Girl” is yet another iteration of the Happyness “love song” – funny, a little sharp lyrically, and really easy on the ears. It’s trailed by “It’s On You”, a stellar song from the EP. This is the most poppy, hooky track in the Happyness repertoire. It showcases them at (arguably) their best – rambly lyrics, great steady beat, bright guitars and clear, distinctive vocals.

The album wraps up with a few quieter, yet still distinctive tracks. “Regan’s Lost Weekend” is soft and lilting. The addition of the piano is really nice, it adds a unique layer in comparison to other tracks on the album. The soft, almost indiscernible vocals of “Lofts” adds to the ambience. The mood feels a little bit more worn down and sullen at the end of the album; there’s a hint of resignation. A sullen vibe. Weird Little Birthday comes to an end with “Monkey In The City”, yet another slower, twinkly tune.

Overall, Happyness presents a record crackling with personality. Stylistically, it covers a fair amount of ground, markedly with its mixture of varied tempos. It’s an indie record that shines with moments of sheer pop sensibility, hints of veering into some alt-country territory, with a touch of moody garage rock brought in. It’s a mature record with some less than mature themes, (getting dramatically upset about sharing Jesus’ birthday) but that irreverence makes it all the more interesting. These kids from South London are really on to something.

The post Celebrating “One Weird Little Birthday” with Happyness appeared first on Quip Magazine.

New Yorkers Adam and Zoe make up the “Noir & B” duo, ASTR. Stemming from varied and kitschy influences, their sound encompasses elements of ’90s R&B diva mixed with moments of house, pop and dance. Appropriately enough, I caught up with the duo just after Zoe finished a morning yoga class (that’s where they first met). Adam is laid-back and Zoe bursts with energy and has a really giddy, personable sense of humor. It was easy to pick up on how they balance one another.

Ashley Kolpak: So, you and Adam met at a yoga studio, that must be an interesting story…

Zoe: I don’t even remember the first time we met, honestly. How we met is through a mutual friend at a yoga studio. One time we talked for more than 5 minutes in the cafeteria of that yoga studio in Union Square and it clicked. Normally, you’re meeting a writer through your publisher. You don’t know if they are legit or whatever, outside of that environment. It was organic, over time we got into a groove which over time became ASTR!

AK: Can you talk about how the Varsity EP came together, some highlights and challenges of the process?

Adam: You know, like Zoe was saying, when we hooked up to try to make music, we didn’t have any sort of game plan. So when we thought, “Let’s put out a record”, it took us a while. We were working on music that we thought was really interesting, and it took us a long time to get to that point. On the EP, some of the songs were newer and some were older. The whole process was very natural. We didn’t have any deadline. That’s pretty cool and the music sort of speaks for itself. The Varsity record encapsulates a first chapter of our experiences together.

AK: You recently toured some universities – what is the college crowd like, any different from urban shows? 

Z: You’d be surprised! Some of these colleges are big spaces and it’s actually a lot of fun. It really depends on what college you go to. A lot of these cooler schools, Duke and Syracuse, have such dope fan bases. Syracuse has the bad ass student community! They really get it. That age group has a huge influence on culture.

A: If you think about it, they want you to be there, they are searching you out and booking you for their school.There was that one time…oh, it was so bad, we were playing at a college at the same time as a basketball game and no one was watching us. So, don’t play at the same time as a basketball game.

AK:  Love that “Blue Hawaii” has a sample of Black Box’s “Everybody Everybody”… it’s a totally fun throwback. How do other 90s sounds influence your style? 

Z: Have you heard of Jock Jams? [AK: Yes, yes I have]. We are Jock Jams babies, we grew up on that stuff! That influenced us, and all that fun, cheerleader- dance, upbeat ’90s stuff that is already re-circuiting into the house music that’s coming out to today.

A: I mean, I still love that Crystal Waters jam…and CeCe Peniston! CeCe Peniston! [both start to giggle a bit in their fit of ’90s disco-soul singer nostalgia]

AK: Do you see your sound changing with the next album?

Z: I feel like the next album will be a complete package of the sound that we’re working on tight now. It will change over time… everything builds to this evolution, to find whatever’s inspiring .That’s why working on records can be so hard, you have this sound, this style that becomes so formulated like a machine with no soul. We want to keep it alive, keep it feeling good, so who knows what we will sound like on the next record!

AK: What can we expect from ASTR next?

Z: Expect some really fun glow-in-the-dark merch, a bad-ass tour with The Knocks on full length album in the next year.

AK: OK, a few quickies. Dream stage and artist to play on?

Z: I think Phil Collins. Bring him on tour!

A: Robyn

AK: Favorite song right now that’s not yours?

A: I really like Chris Brown’s “Loyal” [Laughs, still supports his choice]

Z: James Young, “Moondust”

AK: Favorite song on your album?

Z: “Blue Hawaii“. It’s just fun, it’s never not fun. We’re putting out a music video for that soon, and that’s going to be extra fun also.

A: It’s a toss up between “Blue Hawaii” and “Operate” – “Operate” because that’s the one our fans love.

AK: Anything else you’d like to tell your fans?

Z: I hope they’re excited about the tour! We’re taking a look at the “Blue Hawaii” visuals today. I want to have a “Blue Hawaii” screening party in NYC, going to work on that today!

The post Workin’ it out with ASTR appeared first on Quip Magazine.

Hanne Kolstø’s fourth studio album, Stillness and Panic, exudes that distinct feeling of warmth sought from the cold; the solace of sitting inside as snow drifts through empty city streets. Listening to her soft, adept vocals brings to mind the Danish cultural trademark, hygge – a culture and a country not too distant from Kolstø’s native Norway. So what’s hygge? It’s all about feeling comfortable and cozy, surrounded by friends and neighbors, everyone happy by the warm glow of candlelight. That’s the overall impression Stillness and Panic leaves with its listener – it is a record that is easy to listen to, filled with catchy tunes to keep one’s mind off of the harsh winter cold while waiting for spring.

The vocals on “One plus one makes one out of two” are reminiscent of another Norwegian songstress, Suzanne Sundfør, on her M83 collaboration, “Oblivion”. Both songs incorporate similar searching, expansive vocals and a catchy quality that stays in your head for quite a while. Hanne’s ability to evoke a chilly landscape while her style remains warm and engaging feels distinctly, ahem, Norwegian. Listening to this album is as absorbing as reading a novel about distant places…the lyrics and instruments create an evocative, faraway feeling.

There are certain tunes with a very “pop” flair, and “Swiftswitch” is one of them. It’s sweet and fun, yet there is something a little more variant than your run-of-the mill track, like subtle minor chords in the song’s hook.

“Someone else” is a notable track, complete with endearing cliches. Hanne informs her intended that, “You know nothing about me, I know everything about you…”, in a way that is far more relatable than saccharine. The song culminates in a mesmerising instrumental interlude, tinged with notes of an organ at the end. It’s an upbeat, smiley tour-de-force that displays the album’s strengths perfectly: delightful pop mixed with a transportive musical arrangement. It feels otherworldly.

Other stand-out songs include nothing “Nothing out loud”, a moody and quiet interlude in the midst of the album. The title track, “Stillness and panic”, starts off with Hanne’s spin on a gregorian chant, soft and quiet, an ethereal aura floating around the lyrics – “I see you now…”. It’s a more somber moment of the album. Something about it feels very distant, out to sea, especially when she sings, “Some say you are the true part of the lie…”. The change of Kolstø’s vocal delivery helps to add a bit of variety.

This is a record to enjoy with a warm cup of coffee or tea. Its hooks plus bright, swirling, variant and dynamic production will encourage future listens. In comparison to earlier efforts, this album feels lighter, with less of a rock influence and more effort on sweet vocals and varying sounds. Hanne’s bright vocal style shares similarities with other Norwegian chanteuses and she still manages to add a whimsy all her own. Stillness and Panic is part catchy pop record and part backdrop for a fanciful Norwegian fairy tale. The songwriting is mature, appealing and artful. She speaks of love and connection with an earned ease.

The post Hanne Kolstø “Stillness and Panic” appeared first on Quip Magazine.

I recently caught up with Caleb Nott, half of the brother-sister duo BROODS. The Auckland, New Zealand, pop group is making waves with their single, “Bridges“, and a US tour this spring. Nott shared his thoughts on the BROODS EP, touring with HAIM, sharing a producer with Lorde and more.

Ashley Kolpak: You come from a musical family, is that what kick-started your relationship with music?

Caleb Nott: Of course it did! We were always playing instruments, we always had access to guitars and pianos and when all that stuff is around and your parents listen to music all the time, it’s natural.

AK: With the EP released at the beginning of February and the full release due in August, how are you feeling during these in-between months?

CN: Feeling really good! We just finished the album, we’ve been writing for the past four or five weeks. It’s been a long process getting it down, it’s exciting to see where it goes. To be able to write a full album has been a fun experience. We haven’t been able to do that yet.

AK: You’re signed to both Polydor in the UK and Capitol in the US – how does that work? 

CN: We were approached first by Polydor. Both labels have really cool people and that’s why we ended up going up with both. Having two specialized teams in two completely different markets is really good and really helpful. The UK industry works completely different than the US industry. London is a lot quicker. Singles go through radio and charts, you wouldn’t see your song at the top of the charts for more than two or three weeks, unlike ten weeks at the top in the US. In London, people rotate music a lot quicker. Also, it’s harder work to build music in the US.

AK: You briefly toured with another family band, the HAIM sisters. Your styles are markedly different, how did the show come together? 

CN: Touring with them is awesome! They’re such cool girls. It’s so funny, I have the same relationship with Georgia and it’s cool seeing someone else doing music like that. Their life is so fucking cool – they go so hard. Their show is so much rockier in person, it’s so good to watch. I guess you pick up tips always when you play alongside another band. While our music has similar production values, the two live shows are so different. It was interesting to see the crowd react. We’re happy with how it went and grateful for the opportunity.

AK: Your cover of Empire of the Sun’s “Walking on a Dream” is haunting and really beautiful. What made you choose that song to cover? 

CN: Empire of the Sun are a huge favorite of mine personally. I love their production. I listened to their first album [Walking on a Dream] on repeat for a very long time. I love their attitude, I love their presentation. They present themselves like they’re a giant product or something. Their live show, it’s like watching aliens come to Earth. It’s amazing, it’s these extravagant outfits, these ripping guitar solids, it’s just…wow. I don’t know how they manage to come up with that stuff. They’re just geniuses and I really appreciate their work.

AK: Being from Auckland, what bands from NZ and Australia are you listening to right now?

CN: I lived in Melbourne for a while and I listened to a lot of Crowd Control and The Rubens; I was in a big indie rock phase then. Right now, I’m really into Sheep, Dog & Wolf. Another artist I’m into is HIGH HØØPS, a good friend of mine who recently did a remix for us. He does some really cool pop music.

AK: You’re label mates and share a producer with fellow New Zealander, Lorde. You’ve often been spoken of in the same breath, BUT your unique sound sets the band apart, at this point in the game, who do you feel influenced by? 

CN: It’s hard to not sound like an artist you share a producer with, but that doesn’t bother us at all. We’re such big fans, personally, of hers. You become more influenced by new artists when you start working in the industry. You pay more attention to new music than you did before. We’re discovering more music and we have a wider appreciation and range of influences.

AK: What’s the best and worst thing (be kind) about being in a band with your sister? Go.

CN: The best – you get to take someone from your family around the world. Having your sister, your best friend, travel around the world with you, that’s pretty sweet. The worst? I can’t think of anything! It’s really, really great.

AK: You’re setting out on your first US tour. Thoughts, feelings, any new cities you are looking forward to visiting? 

CN: We’re looking forward to places like Chicago, Detroit, Portland, Seattle, places with such strong music cultures. We’re looking forward to being in the places where so many bands got started. Every place we’re going to I’m excited about! Every place you go in America has its own style and feel.

 AK: Where do you see BROODS going?

When we started this project, we had no idea what to expect! We’re excited to see where it’s going to end up, but honestly, for now it’s about releasing the album, touring for a while, seeing what the reaction is and building from there.

The post Interview with New Zealand’s BROODS appeared first on Quip Magazine.

Ashley Kolpak: How did you get started?

Benji Compston: We’ve been playing in bands for a while and have known each other for some time too. Around a year ago it got to a point where we were all writing similar music. At first, we were very do-it-ourselves. Around this time last year, we had 20 to 25 songs that sounded great, but at the same time we were a little bit industry shy. We were enjoying being a band, our friends and family thought we spent a lot of time doing nothing, pretending to be in a band just to get laid or doing something bleary-eyed.

AK: How does London shape or inspire your music?

BC: Musicians like Ed Harcourt, he’s a big inspiration. Talk Talk… lots of musicians influence us.

Jonny Allan: Whether it’s intentional or not, it’s influenced our writing. It’s not necessarily the positive aspects. Feeling disillusioned with the city, it’s easy to get a little bit lost there. It’s the same in Chicago. We’re tiny. When you’re a small band there is a lot of high-profile stuff going on. We spend so much time doing it on our own. There’s such a musical heritage here. Also, we’re inspired by a lot of American bands with different sounds.

AK: Speaking of American bands, your EP has definite Wilco and Yo La Tengo subtleties. What draws you to these alt-country/pop bands?

AC: We watched [the Wilco documentary]“I am Trying to Break Your Heart.” It’s a very intimidating thing to watch when you are trying to make an album. It feels so effortless. The story of making an album, they get dropped, but they’re confident in what they’re doing to not worry what anyone else is thinking.

JA & BC: It makes a really big impact, the kind of way they go about things. It’s just reassured us that what we’re doing is cool and worth the time.

AK: Share with us some highlights from your recent tour and shows

AC: It was so brilliant! At one venue, we were something very, very different than the crowd was used to, which was more hard rocking.  At one of our shows, there was slow dancing in the crowd! It’s a shame, the culture of slow dancing has gone out quite a bit. We should bring it back!

JA: It was really exciting to play live again.  We all play different instruments when we’re playing live. There’s only the three of us, trying to figure out what’s going to sound best and who’s playing what. It all seems to come together.

AK: Now perhaps the obvious question… Happyness with a “y”?

BC: [replies in a slightly surly manner, accompanied by a cocked eyebrow] ’Cause happiness with an “I” was already taken?

AK: I deserve that. Who knows? It could be anything.

BC: We didn’t have a band name for a while and while we were recording, we never found one we were happy with. One night we were reading and the word happiness came up.

AC: We came up with a lot of names based on that, mostly through Googling it. (Natch).

AK: Big plans for the EP release?

AC: We’re going to Dublin for it! We’re playing a show that night. And then the next night we have to wear suits. The show is basically honoring John DeLorean!

AK: Any plans for the States/North America sometime soon?

JA: We’d love to come to the States! We’ve worked with Adam Lasus, we’re really inspired by him. We’ll coincide. We’re planning to have him mix some of our stuff.

Here’s to hoping the boys will bring slow dancing to North America one day, but in the meanwhile there’s Happyness’ self titled EP.

The post Interview with UK’s Happyness appeared first on Quip Magazine.

The band takes after influences Wilco and Yo La Tengo with their keen ability to play around with tempo and energy, alternating pop tunes and less structured tracks. The record opens with “It’s On You”, a strong showcase of biting lyrical skills (“Remember when we broke into the park/ and you got laid and I watched”), a jangly, catchy hook and a vocal style infused with cool charm.

Following “It’s On You” are two tracks that have a desolate, vaguely “western” feel, another subtle nod to Yo La Tengo. It’s the music made for long afternoons; subtle and nonchalant, good for a long drive or two. “Orange Luz” and “Lascascadas” are mellow soundscapes flecked with hushed lyrics. The EP recalls a late ’90s-era Pacific Northwestern sensibility, yet still feels modern. Everything old is new again at some point, right? It’s strange to think that the ’90s-era rock is sliding into vintage territory, but this EP is a clever, creative reinvention.

The closing track, “Montreal Rock Band Somewhere” begins like a ’90s grunge tune; mellow and disconnected. The slow, driving drumbeat is paired with a hushed vocal style. When the track asks, “What do you do when you hate all your friends”, it adds to the lonely, aloof atmosphere of the entire EP. While at times the Happyness EP feels moody, it’s mostly a nonchalant record brimming with simple style. There are bursts of energy amidst a generally low-key EP that are endearing. All songs are inviting in their own way; each track adopts a slightly different style for a welcome variety. Overall, the theme and concept of the Happyness EP is clear and cohesive. It’s understated alt-pop made dripping with slight country influences.

The EP is available on January 6, 2014

The post EP review: Happyness, self-titled appeared first on Quip Magazine.