I first heard of Horse Feathers when they opened for Blitzen Trapper at Schubas last fall. The music was stunning and the crowd shut up and listened quietly to the entire set. Fast forward a few months to a sunny Friday morning at SXSW, and I’m sitting with the HearYa crew in gravel at Homeslice Pizza watching Horse Feathers kick off our day. Again, the crowd quickly shut up and listened. Fast forward a few more months and I found Horse Feathers at Schubas for the first of two sold out shows with Joe Pug. Once again, the show was exceptional and the crowd took notice. After a few too many beers and a couple of shots, I decided to head home because Horse Feathers was coming into my studio at 11am the following morning.
I showed up to the studio with a headache, reminding myself I am no longer in my 20’s. Justin, Nathan, Catherine, and Sam rolled ina few minutes later, coffee in hand an ready to go. We positioned the mics and cameras and got rolling. Their music is awesome and seeing them pull it off in an intimate setting like this was something to behold. Justin’s voice is smooth as silk and the band delivers an incredible dynamic behind him. Every time I looked up from the control room, somebody was picking up a new instrument to add to a part, mid-song. Nathan’s performance on the saw during “Heathen’s Kiss” gives such a dark and haunting texture, while Sam throws the kitchen sink at the music from banjo, mandolin and violin to percussion and glockenspiel.
I had my hands full for this session, covering both audio and camera-switcher duties, so it took me a song to get things under control. I missed a few things in the process. You’ll notice Justin’s floor tambourine is a bit cutting and loud, especially on “Working Poor.” Like hi-hats in a drum kit, a little goes a long way and this tambourine went ALL the way. These are live sessions though and you can’t control all the variables. Sometimes you just gotta deal with it. I was tempted to say something after the first take, but instead I thought twice and did what everyone should do when seeing Horse Feathers. I just shut up and listened.
I have had the privilege of seeing many phenomenal acts roll through the HearYa studio for some intimate personal concerts. I don’t think there has been a session yet that has moved me like this one, featuring Stillwater, Oklahoma band Other Lives. Their arrangements are simply amazing and they have a unique ability to sound like they’ve spent years deliberating over every note while still coming off as natural and spontaneous.
As they were getting ready to start up the Leonard Cohen cover of “The Partisan,” I asked Shirk if he thought the band would mind if I lied down in the middle of the studio while they played. Different music elicits different reactions, but with the Other Lives, I just want the music to wash over me. I am still getting goosebumps listening to this batch of songs and I’m 10 listens deep.
From a more personal standpoint, I don’t have enough good things to say about Jesse, Jenny, Colby, Jonathon and Josh. Shirk and I ended up hanging out with them after their set at Schubas to take in the Elvis Perkins in Dearland set. They were an absolute pleasure to hear in the studio and all around good people to spend time with. We wish them the best on the rest of their tour and look forward to seeing them back in Chicago at Lollapalooza.
Whelp, we finished our 50th live session and have a bit of a backlog due to a hard drive crashing – yeah, that one that contains video from Ha Ha Tonka, Horse Feathers and Other Lives. We’ll have it restored asap, but this feels like a great time to thank Beer Nuts for sponsoring our live sessions and Steve Shirk for working so hard to make them sound and look great. Also thanks to videographer, Mark Smirl, for volunteering his time to bring the sessions to life.
We’re continuing to book some great bands this summer, so I’ll be sure to update y’all as they get locked in.
Eulogies gave away a free EP called Homespun Sessions not too long ago and that was my first introduction to the band. The album consists of acoustic versions of their recent release Here Anonymous and it’s amazing. From the first few lines uttered by lead singer Peter Walker on “Bad Connection,” I was locked in and captivated. That feeling continued through the rest of the EP and I anxiously awaited the full length.
Here Anonymous includes electric versions of the same songs on the EP featuring Drew Phillips on guitar, Chris Reynolds on drums and incredible bass lines, courtesy of Tim Hutton. Those same melancholy coffee-shop friendly songs from the acoustic EP were brought to life and became uplifting pop songs, tailor made for alt-radio and big concert halls.
I’m now familiar with Peter Walker and Eulogies and it was great to have the band in the studio for a live session to showcase a few tracks I’ve fallen in love with like “Day To Day,” “This Fine Progression” and “Bad Connection.” While many bands in the indie world are experimenting with new sounds and instrumentation, the Eulogies’ delivery is simple, straightforward and refreshing. When you write great songs the lyrics deserve to be front and center while the band envelopes them in sound. That’s how Eulogies package their music.
They’ve offered us fans an album for free and now a live session. If you dig them (like all bands kind enough to spend time with us), please repay the favor and buy the album or check them out in person. Maybe buy a tee shirt. For now, enjoy the tracks.
I’ve loved music as far back as I can remember. Can’t play a lick of anything, but my absence of talent is balanced by my passion as a fan. Over the course of the last two years, I have learned more about music than in the past 25+ years due to hanging out with our esteemed producer, Steve Shirk. Steve always talks about the importance of a good rhythm section and how it forms the foundation of a band’s sound. That was at the forefront of my mind while watching Blind Pilot perform in studio.
I had seen Blind Pilot twice already in April and experiencing them live only enhanced my love for their amazing debut, Three Rounds and A Sound. It’s easy to get caught up in Isreal Nebeker’s amazing lyrics, silky vocals and the wistful feeling of Blind Pilot’s music. Their sound is so effortless that it’s easy to lose sight of the spectacular work of rhythm section, led by Ryan Dombrowski. Watching them live in the studio really made me take notice and Ryan doesn’t miss a beat – nothing fancy but not a note missed. Add Luke on the stand up bass and they become the backbone of the band, allowing the band to strut their stuff.
Much like their HearYa Live Session predecessors, The Love Language, we were aided by a touch of Maker’s Mark that smoothed out a bump along the way. That might end up becoming our trademark. For Blind Pilot fans out there, you’ll be pleased to find some fresh sounds in these familiar tracks with the addition of an added banjo and trumpet. I hope you enjoy this session as much as I do.
The Love Language = my new favorite band. It’s been on my mind since I saw them play at SXSW, but after hearing these tracks from our recent live session, it’s now confirmed.
Stuart McLamb played every instrument and recorded the self-titled debut album between his parents’ house and a rented storage unit – all on a $300 recording device. The result was a brilliant body of work with a gritty, lo-fi sound. After hearing his voice on this session backed by a seven-piece band, I’m beginning to think that the lo-fi recording is doing him a huge disservice. In fact, I’d like to request that The Love Language record an alternate version of the album, recorded as a band in a proper recording studio.
The bottom line is that McLamb’s voice is silly good and his raw emotion and lyrical prowess take The Love Language’s music to another level. At SXSW, their manager told us that he wrote and recorded their debut album after a bad break-up and some time in jail. That might inject some emotion into the songwriting.
The tracks from the session are a great accompaniment to the album; each a different flavor of the original. The band struggled on their first two takes of the unreleased song, “Blue Angel,” but after a couple rounds of Maker’s Mark shots, they were properly lubed up to kill the third take. It’s great to see the passion, smiles and fist pumps in the video. In fact, I challenge you to not smile while you watch it. My other favorites from the session are “Providence” and “Manteo.”
The Rural Alberta Advantage self-released their debut album, the appropriately-titled Hometowns, in 2008, which registered as one of the pleasant surprises of last year. RAA are a three-member group based out of Toronto, although their lead vocalist, Nils Edenloff, and many of the storylines behind their music actually hail from the cold, windswept Canadian province of Alberta. In fact, geography plays a prominent role in these contemplative songs about growing up in a rural area. The music is part folklore and part small town anthem.
We’ve closely traced their progression, recently culminating with a live session and a show at Schuba’s. The live session was a light 45-minute set consisting of three tracks off the terrific Hometowns and punctuated by a new song that promises more good music to follow. The band’s recipe features a blend of earnest lead vocals, up-tempo acoustic guitar, driving rhythm from Paul Banwatt and keyboards/backing vocals of Amy Cole. These songs are generally quick hitting, straightforward arrangements, a little melancholy in mood, but often memorable for the hooks.
The band has begun to garner some attention as evidenced by a moderate-sized, but fully amped crowd at Schubas for the band’s Chicago debut. When it comes to good music, word gets around but it was truly uplifting to see the genuine looks of surprise on the faces of the band as the crowd sang along and shouted requests off of Hometowns. Eventually, smiles gave way to a pulsating set of honest, melodic and somewhat sentimental folk rock. True, the band is just beginning to develop a stage presence, but that should come with time and experience. We hope you enjoy the following tracks from the 44th chapter of our Live Sessions.
Hacienda, the foursome from San Antonio, recently rolled into the studio sporting some serious Auerbachs. For those wondering, an Auerbach is a long bushy beard similar to the one worn by Black Keys lead singer, Dan Auerbach (patent pending). Hacienda’s 2008 release,Loud Is The Night(produced by Auerbach) has been a staple in my rotation since its release and I was anxious to hear the songs performed in a live setting.
The boys had family in town for their show later that night andthese pictures were graciously provided by Dante’s mom, Olinda. Hacienda worked through five tunes as a nice warm-up for their show at the Metro and, let me tell you, that show was unreal. With their family in attendance, Hacienda brought their 60’s garage rock style with 3 and 4 piece harmonies to a sold out Metro crowd. After their set, there was no rest because they were right back on stage backing Auerbach for a scintillating 90 minute set. Having seen them a couple of weeks later at SxSW, I am confident that this is only the beginning for Hacienda.
About a year ago we got an email about Alberta Cross and soon thereafter Oz and I had become enamored with their EP, The Theif & The Heartbreaker. We thought they were going to be a huge breakout band and the toast of the blog community. But then things went mostly silent. Oz and I were left completely befuddled.
After chatting with lead singer, Petter, the mystery was revealed. Apparently their old label, Geffen Records, wasn’t offering any sort of support and they were left in no-man’s land. They’ve since added three new members (including Alec from HearYa favorites The Morning Pages), have permanently set up shop in Brooklyn and just finished their first LP with Mike McCarthy in Austin. The tunes below are all off their upcoming LP that will be released on ATO Records, which is boasting an amazing stable of bands like The Whigs, White Rabbits, Other Lives, and a couple bands called My Morning Jacket and Radiohead
Their new sound is much heavier than the previous EP, but they still have a dash of that warm, 70’s hippie jam vibe. As Shirk was recording Alberta Cross, he was reminded of the Dead Confederate session. Both bands have a big, emotional, power rock sound that could fill an arena. During their set at Schubas that night, I couldn’t help but feel like I was watching a band with many similarities to My Morning Jacket. Petter has a truly unique voice, a la Jim James, and is backed by a jamming band. These guys are absolutely going places and, while Oz and I might have been sitting alone at the party for 18 months, we’ve got plenty of seats reserved. Please join us.
I’m not saying that the rest of the band is insignificant. They are great, but damn Erika can sing and play. I’m from Ohio and went to college near Dayton and Cincinnati, where Heartless Bastards originated, and its safe to say that the band is an anomaly coming out of the Southern Ohio music scene. Like Dan Auerbach of The Black Keys from the northern reaches of the Buckeye State, Erika seems to channel the Delta Blues ghosts with vocals that you wouldn’t expect coming out of a white girl from the Midwest.
Heartless Bastards are buzzing all over the internet, just had their first network television appearance on Letterman and are a must-see act in Austin for SxSW due mostly to their phenomenal release The Mountain. If you can’t catch them in Austin or when they pass through town, enjoy some live studio tracks and a nice video, courtesy of Steve Shirk who continues to outdo himself.
PS: I’m now daydreaming of an Erika Wennerstrom/Dan Auerbach love child. If you guys read this, just give it some thought. I’ll pre-order the album right now. I’m just saying.
