Ah man,  I always forget that Canada is the breeding ground for the best music around – from Suuns to Arcade Fire to Broken Social Scene, Wolf Parade, Feist, Godspeed, Death From Above, and not forgetting Joni Mitchell, Neil Young and… well, Anvil.   And Yamantaka Sonic Youth (YT//ST) are another addition to the list.

So YT/ST is Canadian collective, who wrote a ‘Noh-Wave’ Opera under the same title back in 2008 and evolved the collective through a shared love of mixed cultural backgrounds and a love of Asian and indigenous arts. With performances laid out on monochrome paper sets,  they apparently:

“blend the poorly appropriated styles of Noh, Chinese Opera, Chinese, Japanese and First Nations Mythology, Black & White Television, Psychedelia & Rock Operatics into a sensory feast of nigh-monochromatic costuming, unique hand-built musical instruments and their own mangaesque cardboard ‘NEVERFLAT’ style of 2.5D set design.” According to their site/

I mean, get your head around that.

In 2011 they finished their first full-length Opera, which is sometihng I’d like to witness and with it comes their first full length LP that has been on repeat via my computer for well over a week now.  It’s a mix of heavy riffs, with elements of electronic music in places and kitsch but not annoying vocals.   There are threads of grunge in some of the riffs and since I am struggling to make a comparison to any band that I personally know, I’m lumping with describing them as a scary version of Breeders – who are already a little scary.  It moves all over the place from delicate to howling – to chorus to pummelling post rock vibes.  It’s great, so go buy it/listen here.

In the meantime, take a listen here.

They’re only upcoming gig is currently at ATP in March (aka curated by Jeff Mangum).  Please can someone put them on in London? THANKS.

Creeping out from under the radar Laura J Martin has been earmarked as ‘One to Watch’ for quite some time. Delighting crowds with her joyful blend of flute and mandolin, she has a steadily growing fanbase that includes BBC 6 Music’s Marc Riley and DJ/Bestival organiser Rob Da Bank.

Described in her blurb as ‘folkie weirdie beardie (without the beardie)’, and ‘niceness squared’, Laura is sweetly modest and glosses over my foolish mix up between Mark Radcliffe and Marc Riley (a Freudian slip from growing up in the days of Mark and Lard!). “I played on Rob Da Bank’s Campfire Special last year, and most recently, performed a live session on Marc Riley’s show on Radio 6.  Both brought me a lot more recognition and gigs”. She adds: “God bless Marc Riley!”

Encouraged by her producer pals Mike L and Kidkanevil, she started making music, resulting in her lilting flute-laden debut single ‘Doki Doki’, released in 2009. Pushing the boundaries of folk swiftly away from the realms of Laura Marling and Mumford & Sons, her songs have bright, airy feel, infused with her love Japanese culture and folklore. Describing her time there she says, “The lights, the food, the toys and the culture.  I was there for a year and would dearly love to go back.”

Living in Japan for a year in 2006 she got involved with the Toyko ‘Death Jazz’ collective, Soil and Pimp Sessions. Playing an energetic blend of Jazz and Funk they allowed Laura to expand her already eclectic influences. In previous influences she has name checked artists as far flung as Woody Guthrie and the Wu Tang Clan. She attributes the Oriental feel of her music to “a love of kung fu films and admiration of (Argentine composer) Lalo Schifrin”.

Her time in Japan also inspired the charming retelling of the story of female Japanese arsonist Yaoya Oshichi in “Fire Horse”. Yaoya fell in love with a boy following a great fire at her temple. The next year she lit another, hoping she would see him again and was punished, burnt at the stake for her crimes. Laura’s reasons for finding the story are no less dramatic. She says, “There was an actual arson attack on the flat where I lived in Japan. This led me to research arson in Japanese culture and there it was – the story of Yaoya Oshichi”

In live shows Laura plays around with a mixture of loops, flute and mandolin, interweaving sounds in increasingly intricate combinations. Skipping and stomping round the stage she captivates the crowd with her infectious energy. Having played recently alongside Euro’s Child and Norman Blake amalgamation, Jonny, she is also set to support Misty’s Big Adventure, Bonobo and Hannah Peel. She says, “I try to keep my recordings as close to something that I could perform or recreate live, and I hope they still hold energy.  I find the process can be more measured than performing live.  I like the fact I can get other musicians on board when recording, particularly for drums, percussion and bass, which are elements I don’t currently recreate live (being minus a band!)”. She adds, “Piano is one of my main instruments – for practical reasons I haven’t had it in my live set as yet, but one day eh?”

Despite her apparent folk aesthetic Laura has worked widely with hip-hop and dub step producers including The Simonsound and Kidkanevil, featuring on his album, Kranium Rock. She explains, “I think the folk element is largely down to my choice of instruments, vocals and maybe the some of the more narrative lyrics but I also get a kick from making beats”. Adding that she enjoys the ‘intimacy’ and ‘lovely audiences’ of folk venues.

Awaiting the release date of her debut album, she has recorded a single in collaboration with The Simonsound on Battered Ornaments (Finders Keepers) due out at the end of April. It features a remix of single ‘Spy’ and a co-written B-Side ‘Inside Your Bones’.

So far the album is under wraps, but Laura has offered a few sneaky hints, “I loved collaborating with Buck 65 – he performed on my track ‘Kiss Bye Goodnight’. Also the track, ‘Black Caravan’ – which I am thinking of naming the album after…”

Never one to rest on her laurels, Laura already has work in progress with Kidkanevil and recording sessions planned with Euros Child, as well as touring dates with Jonny and The Simonsound over the summer, including performing at Glastonbury. You can also catch her at Soundwave Festival in Croatia, Lounge on The Farm and Toweresey Folk festival in Oxfordshire.

So we end the interview with a few recommendations, with an equal blend of the new, classic and the delightfully odd. Her music selection just about sums Laura J Martin right up. A bright new talent who just keeps getting better, can’t wait to hear what she does next!

“Definitely, Tune-Yards.  I am also going through a dirty rock phase and can’t get enough Heart and Fleetwood Mac and the likes these days.  I do also love Os Mutantes and always have time for Neil Young, David Bowie and Serge Gainsbourg”.

Listen to Laura J Martin HERE!

Kate Parkin



Review: The Babies and The Jesus Loves Heroin Band, Brudenell Social Club, Leeds 18/03/11

Transporting us back to the heyday of 60’s garage and the badlands of rock and roll The Jesus Loves Heroin Band emerge from the gloom. Hiding a Dylanesque drawl under headily distorted guitars it’s a sound that belongs in dive bars and gun toting Tarantino films. Interspersing county tinged psychedelica like ‘Don’t Wait For Me’ with brooding instrumental interludes they slowly captivate the crowd. Jesus Loves… are a band worthy of your affections.

The Jesus Loves…

On stage nearly an hour late The Babies literally just turn up, plug in and play. Made up of Vivian Girls front woman Cassie Ramone and members of fellow Brooklyn bands, Woods and Bossy, they are so free and easy together they look like family. Casually swigging beers proffered by helpful fans they shamble round to the bouncing strains of ‘Breaking The Law’ (sadly not a Judas Priest cover) like a latter day Bonnie and Clyde. Suffering slightly from their lack of sound-check their voices are held momentarily captive under sprawling feedback.

The Babies

Once loosened up though, if you close your eyes during ‘Somebody Else’ it could be an early Pixies strutting on stage. Perfectly capturing a spirit of pure, distilled summer The Babies are one of the stealth hits of the year.

Kate Parkin

Our lass, Kate Parkin meets VoT when they tried to escape North to play some gigs.  Hear this (just not literally):

Visions of Trees are ‘not a Dalston band’, but carry the same industrial urgency that vibrates through locals Factory Floor and Comanechi. Formed in a hurry and taking to the stage even quicker they played their first gig within days of meeting. Now signed to hit-making label Moshi Moshi we take a break before their Leeds gig to step into the weird world of Sara and Joni.

Mixmaster Joni Juden has previously remixed artists ranging from Everything Everything and Memory Tapes to Black Eyed Peas Fergie. Sara Atalar is a classically trained singer who formally worked on the South Bank centre. They met through friends in September 2009 and have never looked back.

Joni says, “It seems like a long time ago now. We did lots of cover stuff, it was more experimental. It’s developed quite naturally, gone more towards soul and bass-line”.

Sara adds “I did a year at the Southbank centre being a backing vocalist and I did every kind of style jazz, classical. After I’d finished that I’d done so much experimenting with different genres I was looking for a different outlet and this was perfect timing”.

Growing up in Finland, Joni lived in relative isolation, Visions of Trees songs seemingly trying to reconcile the natural landscape of his childhood with the harsh urban sprawl around him. Tired and hung-over from last nights partying, Joni laughs nervously and Sara mutters something about ‘psychoanalysis’, so I don’t push it any further.

Joni explains, “I came up with the name for myself. Where I grew up is in the middle of nowhere and surrounded by trees. Living in London, it’s a peaceful thought as well, something calming about it”.

Though unwilling to be drawn on the inspiration for their lyrics their song titles are rooted nature, from the glacial electro of ‘Black River’ to the imposing tribal beats of ‘Cult of Cobras’. Veering from hypnotic trance to 80s hip hop synth slaps it hints quietly at their rap and dance music influences.

Joni says, “I like the idea of mixing a few things but keeping ourselves in there”.

Sara adds quietly “90s Dance, Rave”.

Joni nods, “Yeah, rave, but slow, not super fast rave. The single that just came out was written a couple of months before we met. So the next single we’re releasing is quite different, showing our different sides”.

Built around a dark, ethereal image the surreal and strangely beautiful video for new single ‘Sometimes It Kills’ combines oscillating layers of distortion with beating of a pulsing ‘heart’. Shot from the perspective of the heart as it journeys through the meaner streets of London directors Ben Strebel and Lewis Kyle White were aiming to create a ‘gothic’ vibe. They are also working on creating visual backgrounds for Visions of Trees live shows.

Despite being accomplished in the studio Joni is becoming increasingly at home on the stage, moving the band away from their producer and singer roles.

Joni says, “Yeah, I love playing live. I think it’s going to be a really big part of our existence as a band and hopefully we take it to the next level with proper tour support and we’re going to make it visually more interesting”.

With the banging bass of the sound-check in the background threatening to intrude we turn to Joni’s side project with Drugg’s Tom Hanley, Thanks. Providing an outlet for the darker side of Visions of Trees, they collaborate and remix each-other, with a heavy, grime influenced remix of Drugg’s ‘Crooks’ currently on heavy rotation in the blogosphere.

Joni says “It’s got tape machines and it’s very different. This kind of band (VOT) takes a lot of time”.

Sara adds “Blood, sweat and tears”.

As a band they remain heavily into US Hip Hop, currently listening to up and coming acts like Wacka Flocka Flame and Soulja Boy. Breaking away from their roots, they are often tagged as the ‘darker side to Tropical pop’ for their use of layered, shimmering percussion. Joni explains: “When we started I was a bit obsessed with tin percussion. That sound instantly says ‘Yaay, want to go and have a dance!’”.

Occasionally mistaken for a lady duo, they have also exacted comparisons to Sleigh Bells, with the boy-girl dynamic and the fact that Joni used to play in punk bands.

Joni laughs, “This could get us in trouble! We’ve played with them a couple of times, they can be, I find them kind of karaoke. I saw them in KOKO, London on this massive stage. The guitarist disappears after a couple of songs and it’s just the girl, the massive stage and nothing else”.

He adds, “She tears it up pretty hard though, she got a good stage presence for sure…We should just start talking shit about other bands!

Sara: “We should do it with Teeth!”

Thankfully better live than they are a trash talking, Visions of Trees stealthily draw the crowd in. With momentum building so fast, it’s head-spinning, they are set to be one of the hot tickets of 2011, let’s hope they’re ready.

Kate Parkin

Taking time out from touring with B favourites Beach Fossils, LA band Superhumanoids brandish ethereal indie pop with electronic twinges that you can listen to here!  Mid tour, they stopped to give us some choice cuts to listen to when on the road.

But first their quite attractive faces:

And so, to the music…

1. Cameron: Limit To Your Love by James Blake

There’s a fantastic video for this track that echoes Blake’s aesthetic nicely. I’m a huge fan of his production work and he does an amazing job turning an already beautiful song in to something new and different.

2. Cameron: Would Know by Mount Kimbie

The production is insane, I love how white noise becomes a central element of the song.

3. Max:  Kiddie Hypnogogia by Mini Manisons

The arrangement in this song is crazy. Beautiful harmonies mixed in to the up-tempo track – love the psychedelic moments.

4. Evan: Young at Love and Life by Dominant Legs

Have had my eye on these guys for a while, glad they’re finally getting some much deserved attention. This track is catchy and fun, but there’s a depth to it that calls for repeated listens.

This Scottish 4 piece have peddling away for some time,  starting  as the solo project of the charismatic front man Ross Clark.   With the addition of the 3ther members though is where Ross’ initial sound beginnings to take off. Twangs of guitars that hint at Americana or heavy sessions listening to Neil Young but with the vigorous folk influence that Scottish music has become known for with each song hosting a narrative of life experiences – Think maybe Frightened Rabbit or the Song By Toad label sessions.  It’s good honest rock n roll music.  And fun too.

Their debut single Echo On The Night Train is out now, so take a listen here!

And like all great new bands they’re touring (and you may have just missed them,  soz).

Here you are then:

Scotland

18th Nov – Greenside Hotel, Leslie, Fife

19th  Nov – Old Bridge Inn, Aviemore

20th Nov – Lemon Tree, Aberdeen

21st Nov – Market Bar, Inverness

25th Nov – The Doghouse, Dundee

26th Nov – TWA TAMS, Perth

27th Nov – Sneaky Fest, Sneaky Petes, Edinburgh

England

5th Dec – Communion Christmas Party, Notting Hill Arts Club, London

Netherlands

20th Jan – EKKO (Onder Invloed), Utrecht

21st Jan – Hedon, Zwolle

22nd Jan -Supermarkt, Den Haag

25th Jan – Cafe Camelot Nijemegen

If you scan your way back to probably the first music post on the Ballad site – the last Ballad site even, then you’re 1) impressively dedicated and 2) a conqueror of worlds with the knowledge of how much we love this band Meursault.  A neatly Scottish outfit, they fail from Edinburgh and have their spiritual home with fellow blogger and label coordinator Song, By Toad.  Their album was spectacular and the drag the tradition of folk influence Scottish music in to daring new territories of electronic influences which, horaaay!!, don’t over kill the greatly favoured ambiance and atmosphere that great folk influences create.

So, now they are on tour and we’re mightily excited because here is a rare kind of band that we could honestly watch play every day. We never get bored.

Listen

Their tour is…

27th Oct @ The Harley, Sheffield

28th Oct @ Royal Park Cellars, Leeds

30th Oct @ Luminaire, London

31st Oct @ The Playhouse Bar, Norwich – free show!!

2nd Nov @ Saki Bar, Manchester

3rd Nov@ Stereo, York

4th Nov @ Dexters, Dundee

5th Nov @ Beach Ballroom, Aberdeen

6th Nov @ Stereo, Glasgow

…it’s been rattling about in the back of my mind that I want, sorry, NEED to get this band on to the blog.  So here we are a few words about Magic Kids, who we should all go catch live this week.

hey kids!

The old American music styles have come to the forefront in 2010, with some hit and miss results. One of the best to emerge though are Texan born Magic Kids, a six piece from Memphis who slip the knot of pastiche to make modern music with a light glazing of times gone by in to 3 minute gems.
As the latest group to join the True Panther Sounds and Matador families, their sound appears to have mined the historical music landscape of the US, dropping in blues, rock n roll, and even 60’ s soul. So you’ ll find doo wops with hand claps and ‘ oooos’ that the beach boys would be proud of; bluesy tones that would make Elvis fans swoon; some chorus lines that the Shangri Las could easily have penned and, woah there, elements of early lo fi garage rock and roll that brilliantly stitch it all together.  These past styles are known for doom and gloom stories of trials and loves lost in the dry sandy hot and wild America that once was. Magic Kids make a departure here and don’ t feel the way their predecessors once did by instead bringing out glimmering pockets of glory, fun and even romance; creating a bold collection of old guard drama meets new sunny pop music.

With this in hand the band have caused waves online, reaching the 2nd spot on the Hype Machine chart with song ‘ Summertime’ and number 4 in the blog aggreagtor el.bow chart. Not bad before you’ve released your debut album. This record, aptly names Memphis received bountiful numbers of good reviews in September and is the main cause for their celebrated tour of the UK this October. After tours supporting both acclaimed artists Wavves and Ariel Pink’ s Haunted Graffitti expect high energy, eccentricities and nostalgic summer vibes.

Take a listen here

And playing:

Hare & Hound – Birmingham 26th Oct

Upstairs at the Relentless Garage – London 27th Oct

The Lexington – London 28th Oct

then in the USA american chums!

As we roll into winter and the words ‘fucking’ and ‘baltic’ come to mind, you can find a bit of wintery sanctuary in this lady known as Glasser. Moody, dark synths, accompany exotic percussions – steel drums, xylophones, and then your more pedestrian drumming equipment – with contrasting gentle, almost choral like singing layered up in harmonies, and sometimes entirely exposed.  She also entwines some brilliant call like yelps, making her music pretty unique (a word I generally prefer to steer away from).  It’s a bit like the modern audio equivalent experience of watching Time Bandits (sorry, been thinking about that for some reason) …or something – other worldy, a tiny bit creepy, echoes as though you’re also sat on a beach at the end the world with tiny people and occasionally having a small rave… but all at once brilliantly cool.

Here shes is:

She has a new album out NOW!! Which I have just bought, so I’m totally psyched about.  It’s called Ring and comes from our darling friends at Matador (apologies, that is possibly over familiar).  We also saw her play an instore last week at Rouge Trade East, which a great back up set up of men in overalls (god they must have sweated out in those) and for the fashion conscious among you, I suppose she worn something like a bin liner – but it was super nice and she had a space age bangle – sorry fashion journalism is not my forte, sadly. Playing live she’s sweet and tremendously vulnerable, perhaps nerves and you got a sense of amazement and gratitude that so many folks had turned up to watch.  She braved a song where her vocals were only accompanied by a synth (tangent: it was also a guitar!!) but fully banged out the driving dark meets light pop you can dance to and space out to.

Best songs to help you get in to Glasser are: ‘Apply’ (currently the original is not on her myspace but it is on Spotify) and also her latest single ‘Mirrorage‘.

Fair play, we’re inundated with Wolf related music in 2010.  For Christ ‘s sake. How now though, you can waft away the mist and indulge in the music instead of the heavy bravado of championing music journalism and actually take a listen to the band a decide for yourself if they’re worth excavating the lining of your wallet for.

Download for free Wolf People ‘Tiny Circle’

Of course nothing actually comes for free – so here’s your bit.  This song comes from the forth coming album Steeple which is out on Monday – 11th October.  They will also be furnishing the stages of the follow venues:

That wasn’t too taxing, was it.

Now here are their faces etc:

And here’s our tuppence worth.  Wolf People are a UK act who are a new addition to the Jagjaguwar family alongside B favourites Women, Besnard Lakes and Black Mountain.  They’re old school twang rock n roll, across flutes dragging out that 70′s vibe (dare we say, yeilding a groove) with beautifully lax ethereal vocals.

Find out more here www.wolfpeople.co.uk