Alex Ebert is a singer/songwriter, film composer, writer, and social activist. He won the Golden Globe for Best Original Score this year and is a Grammy winner. His band Edward Sharpe and the Magnetic Zeros, a platinum-selling band, are going to begin recording their 4th studio album this year. He lives in New Orleans with his girlfriend, Roehm Hepler-Gonzalez, and their daughter. He is also currently completing a book "on the commodification of individualism" entitled Kingdom Cool.
Southern California rock band Bad Suns formed in 2012 and in the short time since inception, have managed to be musically beyond their years. Made up of Christo Bowman (vocals), Gavin Bennett (bass), Miles Morris (drums) and Ray Libby (guitar) the four piece ranges from ages 19-22 yet has a sound reminiscent of rock stalwarts from generations past. “I grew up with a lot of world music playing in the house. When I was 10, I started getting heavily interested in the guitar, and my dad began introducing me to his records from the 70's and the 80's. Initially Elvis Costello, then to The Clash, The Cure, and so on,” notes Christo. “All of these artists and bands had a big impact on me, at a young age, as far as song composition goes. “
The band’s debut EP (January 2014) Transpose was recorded in the studio with producer Eric Palmquist (The Mars Volta, Wavves, Trash Talk) and served as a prelude to the band’s debut full-length (also produced by Palmquist) which hit streets on June 24, 2014. “The writing and recording process is always exciting, because it's constantly changing and unique to each song. Inspiration comes and goes as it pleases, so a night when a song gets written is a very good night,” says Christo. Comprised of eleven tracks, Language & Perspective flows effortlessly from start to finish showcasing the band’s stadium ready anthems and undeniably catchy hooks. “Music has the ability to evoke certain feelings in people, a way that not much else can. The pairing of words and sounds can be an extremely powerful tool, when done right. I think the ultimate goal for this band is to make music that causes people to really feel something.”
2014 proved to be quite busy for Bad Suns, who in a very short time have performed the first single, ‘Cardiac Arrest,’ on Conan and the track hit #13 on Alt Radio Charts, and #11 on AAA charts. They’ve toured with likes of The 1975, Fitz and the Tantrums, Vaccines and Geographer to name a few. “It’s pretty incredible what you can accomplish with time, work, and patience. Playing our songs to receptive audiences, across the country, has been surreal for us; it’s what we’ve always dreamed of. We’re excited for people to hear the album that we’ve made, and then come experience it in a live setting,” says Bowman. “One day I just decided to be a musician, and I never strayed away from that goal. Being in a band is the only thing I could do."
In 2002, in the midst of a year of sleeplessness, and novel-writing, Alex Ebert created two things: A distracted, deformed, and hopelessly romantic messianic character named Edward Sharpe, and a new kind of mathematics called Magnetic Zeros. The novel was never completed and the math's application is yet-to-be determined, but Ebert liked the sound of those two inventions combined, and a band who's members were yet to be met was born. (Note: "Edward Sharpe" is not an alter ego of Ebert's, but rather "a vehicle that delivered me back to myself").
Several years later, disillusioned with just about every aspect of his life, Ebert dropped nearly everything- his relationship, his home, his phone, and even Alcoholics Anonymous, and embarked on the journey of self discovery and liberation that gave birth to the material that would be the first Edward Sharpe and The Magnetic Zeros album, Up From Below. Inspired primarily by the simple, rag-tag, jangly sing-a-longs at his elementary school, Ebert wrote songs designed for a large group to have a childish, unprofessional, and irreverent feel.
With (at the time) odd instrumentation, the songs required upwards of ten musicians to play, and it was during the recording process that the band truly formed. It would be a member-less band no longer.
Ebert's "partner-in-liberation" during his time of transformation, singer Jade Castrinos, helped co-pen the song "Home", and in it the band had a platinum-selling song.
In the time since, the band has released three albums and toured much of the world, but in the process something else happened: "we went from social experiment to accidentally becoming a great band", Ebert says. Indeed, they became known for the power of their live shows.
In light of this revelation, the band feels a new purpose: "to write music especially designed to perform live, and to become the very best band we can possibly be."
They now anticipate releasing their 4th album, recorded almost entirely in one room, in the summer of 2015.
Edward Sharpe and the Magnetic Zeros - LIFE IS HARD (Live Music Video)
Edward Sharpe and the Magnetic Zeros - Country Calling [Official Video]
On a pecan farm half a mile from the Mexican border, ‘Post Tropical’ was born – a collection of sounds and ideas brought to life in rooms where the low frequencies of passing freight trains vibrated in the studio, briefly disturbing the birds in the rafters. And like most new ideas, ‘Post Tropical’ is hard to describe. It requires attention and engagement. It seduces you towards hidden depths.
McMorrow’s acclaimed debut album, ‘Early in the Morning’, reached number 1, went platinum and picked up a Choice Music Prize nomination upon its release in 2010. Along the way, there were shows everywhere from the Royal Festival Hall to Later…with Jools Holland, and a breakout hit in the charity cover of Steve Winwood’s ‘Higher Love’. McMorrow’s first record was the formative sounds of a songwriter who suddenly found people giving a damn. “I’m so proud of that album, but I never longed to be a guy with a guitar. You play these songs live as best you can, and suddenly you’re a Folk musician. But the texture of this record is completely different. This is the kind of stuff I actually listen to.”
Wiping the palate of ‘Early in the Morning’ clean, Post Tropical’ is a stunning piece of work. Its broadened horizons may come as a surprise to everyone but James and the people who know him best. “I found a zip drive recently, which dates back to before I made my first record, and I’d re-recorded every single part of the N.E.R.D album – apart from the vocals – just for the joy of it. I wanted to give this record the feel and movement of the hip-hop records that I love.”
It’s a step forward that is immediately apparent on album opener and first single ‘Cavalier’ – a brooding twist on the Slow-Jam, which builds quietly from hushed keys and hand-claps to soaring brass, drums and McMorrow’s idiosyncratic falsetto. Across the album, new sounds and textures are explored: 808s on the haunting ‘Red Dust’, looped piano on ‘Look Out’, and the waterfall-effect of 12 mandolins on ‘The Lakes’. McMorrow’s sometimes-surreal songwriting holds each element in place, an album on which he wrote, produced, and played virtually every instrument.
The framework of ‘Post Tropical’ was constructed over eight months. Coming home from tour, James had hundreds of sound files, none categorised. Pages and pages of lyrics were crossed out and edited. Nothing was written on guitar, and nothing was linear. Yet the recording itself took place on a pecan farm half a mile from the Mexican border – which the likes of Yeah Yeah Yeahs, Beach House, Animal Collective and At The Drive In have all called home at one point. The constraints of three and a half weeks here offered McMorrow a surprising amount of freedom. Sounds were created and changed and painstakingly poured over. The process was up for grabs, right up to the mixing stage.
What emerged was ‘Post Tropical’ – complete with the paradoxical, ‘wish-you-were-here postcard’ artwork (juxtaposing a palm tree with a polar bear). “It’s so exhausting trying to keep up with styles of music that pop up one week, and disappear the next,” says James. “For me, ‘Post Tropical’ evokes a style of music without you having a clue what it sounds like. It’s warm and familiar, but there’s something there that’s maybe not quite what you think it is. I just wanted to make the most beautiful thing that I could imagine. And that was it.”
Through different music connections and friends in NYC and LA, Julian Casablancas+The Voidz have come together as band over the past four years. They’ve bonded over their love of beat driven, aggressive and avant-garde music with the power of modern harmonies to make it catchy and powerful. A punk band that can play any style of music, they take pride in their versatility...the band consists of Jeramy Gritter (aka Beardo) on guitar—a highly skilled guitarist as well as the self-proclaimed “trailer park hero;” Amir Yaghmai—virtuoso guitarist (grew up playing violin then listening to metal); Alex Carapetis (aka Young Pirate) on drums—bringing a whole new level of rhythm to rock music; Jeff Kite on keyboard—one of the founding members and key songwriters; and Jake Berkovici on Bass—the wise stabilizing anchor (musically and vibe-wise) as well as Stevie Wonder synth-bass wonder-child. With Julian Casablancas of the Strokes on vocals as well as directing the whole thing (much like he did with early days Strokes), the band is very much a collaboration founded on old friendships and musical kinship. The Voidz recorded ’Tyranny' in NYC.
Julian Casablancas+The Voidz - Where No Eagles Fly (Official Video)
London-born Christian Letts returned to his native countryside to record his first LP, Hold Fast, with his friend and collaborator Marcus Mumford who produced the record. Hold Fast will be released on February 17, 2015, on Community Music/Vagrant Records. Other friends from their respective bands (Edward Sharpe and the Magnetic Zeros and Mumford and Sons) joined them at the farm, where, over the course of two consecutive Januaries, they crafted the ten tracks that comprise Hold Fast. The release will coincide with a series of art exhibits of Letts’ paintings and watercolors throughout the United States and Europe.
Letts is a songwriter, singer, painter and sculptor. Across all mediums there is a common theme of overcoming darkness. The sea, the sky, the countryside, the people within and their strengths, weaknesses, successes and failures. Spirits and guardian angels, recurring dreams, the unseen forces that silently sway. He explores himself alongside and within these elements on Hold Fast.
ICES is a celebration of flight, levity, and the conviction that you can leave earth. You take wing in an airplane, you go to real places when you dream, you have out-of-body experiences, you get high, you lose yourself in someone else.
When we started work on these songs, I was beginning a gradual move to California, constantly traveling back and forth from New York. I was experimenting. I was falling in love. Our studio in the Hudson Valley was full of electronics and computers and the sounds of future ships sailing through the vastness of space, and I sometimes forgot where I was. The first songs we wrote were called “flying 1,” then “flying 2,” and so on, which eventually evolved into songs on the album. Flight became a metaphor for the ignition of the imagination. The process created a lightness in me, a freedom and positive energy that I’d never before felt or explored.
This recording session became a two year music and spiritual retreat with my psychic twin brother, Eliot. A private journey during which we abandoned old habits and familiar sounds. We got really geeky and experimented in our studio. We obsessed over sympathetic magic, “Ancient Aliens,” and the NBA. We allowed everything we loved to find its way in: Persian percussion, hip-hop beats, lo-fi, hi-fi, Pakistani pop, Link Wray, Jason Pierce, gospel, dub. We developed new systems; we worked with synthesis, software, and samples; we became producers. The Hudson Valley was home base, but I wanted to keep flying. I wrote songs in California, recorded vocals in Atlanta, and worked with Clams Casino in Brooklyn.
Each song became a collage of times, places, and people. Most of them started in the Hudson Valley, where Eliot and I wrote and recorded vocals, guitars, synths, and beat ideas. We’d send those first incarnations to Clams Casino in New Jersey and then we’d meet up in Brooklyn to arrange the new parts together. We worked in the penthouse of the Wythe Hotel – a floating glass box , a blank slate. We’d set up our computer, mixing speakers, midi keyboards, and all our weird gear, plus thai food and red wine. We’d bring up one of our demos and we’d sit behind the midi keyboard and sift through sounds and ideas and beats and find new things together. After the Wythe Sessions we took different tracks to Woodstock and Los Angeles to layer in live drums and percussion, and I went to Atlanta to record final vocals. For the first time, Lia Ices felt like an inclusive project with its own identity, not just a name.
ICES as a whole is devoted to these certainties. While we have evolved, we are still animals. We respond to planets, patterns, and cycles. We require the sounds of our origins. We live in the future but stay bound to the primitive and primordial. We will always want tribe, we will always want rhythm, we will always need music to guide us into our deepest sense of what it means to be human. So we hear sounds from all over the planet in this album. We devour so much music, and with this album we allowed ourselves to claim bits from all of it.