Joining The Orbit To Leslie

A chat with Chris Wood is a whirl wind tour of his musical career; first, his gig as drummer for Downtown Harvest; then, the spacey trip-hop side project Grimace Federation; finally, to his main focus right now Orbit To Leslie. Taking on a new role as frontman Wood has high expectations for Orbit, as well he should. The five piece first began a few years ago when Wood returned to Philly after a stint in LA and wanted a few fresh faces for some jam sessions. He called on a childhood friend, some other well respected local players slapped on a phrase he once saw on an organ effect button and Orbit To Leslie was born. What has come of those jam sessions and a grip of well received gigs is a well rounded and worldly dream rock group. Defined by intriguing percussions and steady vocals the band just released The World Was Saved With Chocolate Cake. The album, initially intended to be an EP, is a direct reflection of the fella's assorted styles. Dipping into a few different pools of influence from afro-pop to echoey garage rock it plays well as a whole with some weaker spots but tracks like Chocolate Cake shine bright enough to pull the weight. The further refinement of their sound that is sure to come from supporting this record will only push Orbit To Leslie closer to their full potential.

The Man To Win It

Chocolate Cake

J Tillman Speaks For Himself

TWIAPC:In your solo work it is just you and the myriad instrumental lines you've created. How does performing to support this album differ from your other group effort?

J Tillman: We get much louder.

TWIAPC: You clearly have a knack and a comfort level with a wide variety of instruments. Are there any in particular that feel more natural or, conversely, more unusual?

J Tillman: The hammered dulcimer was definitely mysterious territory. Most of the time I really like what happens on an instrument you're not particularly proficient on. It's a very honest sound.

TWIAPC: There is a rather ruminative tone threaded throughout Year In The Kingdom.  Was there any one thing or event tumbling around your mind while writing or, do the songs reflect singular moments or ideas?

J Tillman: I spent a lot of time trying to create my own mythology; trying to reclaim certain words and imagery as my own.

TWIAPC: Where did you draw your earliest musical inspiration?

J Tillman: I wrote a lot of poetry as a kid.  I had a teacher nominate me for this national children's poetry thing, but I was always in trouble so the school administrators accused me of plagiarism.  I think that's when I knew I was on the right track.

TWIAPC: Both your solo work and that you do with Fleet Foxes falls safely in the chamberish folk portion of the genre spectrum. Are there any other "sounds" you've been curious to dabble in?

J Tillman: I can't say I really know what the term "chamber folk" means.  I do what I can to confound people who categorize music in that way.

TWIAPC: Coming from Seattle do you identify much with the larger Pacific Northwest community of music makers? How much does that influence your choice of projects?

J Tillman: I can't say I identify with the PNW music community, if that even exists.  I have friends that make music, some of it I like and some I don't.  I wouldn't say it influences my decision making process.

Earthly Bodies

A Quick Vaycay Q&A With Holiday Shores

Holiday Shores are one of the most enjoyable new acts I've come across this fall. Not only is their album Columbus'd The Whim one you can't help but grin and groove to while its playing but they're also a lot of fun live. They come from the beaches of Florida and their laid back attitude is undeniable in their music and in their general outlook...

 

TWIAPC: You're sound is very much tied to your Florida/beach roots but did you always aspire to capture a new take on the Beach Boys-ish sonic aesthetic? 

Holiday Shores: We love Beach Boys. I think we've all been listening to them since we were very young. So, in a way, we grew up with them and our appreciation for that massive turn in pop music has only grown as well. Influence is a hard thing to trace, but when you've listened to an album like Pet Sounds, or even just a song like Surf's Up, a million times, it will probably make it's way into your own output, even in very small ways.  I think for us, much of the Sixties music we heard as children became our roots music; we didn't know anything else for awhile. So, to hear any comparisons with our music to that music is such an honor. The sound that Brian Wilson created is unparalleled and always will be, but it is also uniquely inspirational and I think we'll always draw from that.

TWIAPC:How has the group evolved during the recording and touring process?

HS: The group has gone through a good amount of changes in the last year. Just before the recording began last winter the line-up began to change and dwindle when responsibilities with school increased. Many times, whole parts of songs would be completed solely by Nathan in his bedroom, or just a couple of us in the living room.  However, a song like Edge of our Lives might be the best example of a group effort, as it was worked out during practices for some shows we played around that time. This summer the line-up changed again with the addition of PJ on bass and Clayton on drums, neither of whom played on the record. At home, we tried to play as many as we could with two drummers, but for touring we actually had to split up the duties because neither drummer could be out for the entire 5 weeks. Our CMJ run was carried out with Clayton, and our Evangelicals tour has been held down so solidly by Ryan, who flew to Phoenix to meet up.
Due to the nature of the recording process, the songs take on varying new colors when performed live, and I think this is something people would probably have to just see us, to see.

TWIAPC:I understand vintage equipment was a rather integral part of the recording process. What did that list include and what are some of their finer contributions on Columbus'd The Whim?

HS: Well, we've all been fortunate enough to come across some awesome, affordable, older gear. Nathan swears by his early 80's Juno-60 and hopes for the best with old Farfisa organs found for cheap. A song like Days Drag really benefits from the amazing patches on the Juno, and the shimmering wash a Farfisa can provide. Coupled with a few pieces of old drum sets, we were able to use a great amount of vintage equipment on the record, from a nice old Sunn bass head to a beat up 60's Fender Jaguar. If you can't have much good recording gear, you might as well get the sweetest sounding musical equipment you can find.

TWIAPC:What prompted the change from Continental Divide to Holiday Shores?

HS: We had been thinking for awhile that Continental Divide didn't mean much to us personally (we had never seen the Continental Divide until yesterday) and on top of that, there is a Bluegrass Group called Continental Divide who had the name long before we did, and probably use it to greater effect.  Right before the record was going off to get mastered, we were all racking our brains for a better, more meaningful name. So, one night, as we were signing rent checks one of us looked at Nathan's street address on the check and said, "Holiday Shores...we should just call it Holiday Shores." Naturally, the name rang deep within Nathan's psyche as it was the street he lived on for much of his adolescent life. But for the rest of us it had no street-name connotations, but rather more restful, new beginning, feelings. "Holiday" is a great word that simply means, a day to remember, a day of celebration, a day of rest. There are a bunch of little communities around the country called Holiday Shores, and most of them are on lakes. I think for us, the name signals a cause for celebration, like an explorer finally reaching a place they can settle down in.

TWIAPC: I've seen you twice now and there is such a chill vibe, which is reflected on the album as well, and you seem to let your instruments and vocals wander within the parameter of your lyrics and arrangements. Is it a matter of well rehearsed or planned chill-ness or genuine looseness?

HS: Hey, thanks a lot. I think this may come from a comfortable feeling we all have playing with each other, and playing live in general. Honestly, its a vibe that comes to us when the music feels good, and that's really great to hear that it's evident. The songs have always felt malleable to us, and in that sense we are able to work within parts and make changes while we move through a song, if the spirit leads...haha.

Holiday Shores are playing Kung Fu Necktie next week (Nov 17th). Don't miss it.

--Phones Don't Feud--

At The Hop With White Rabbits

TWIAPC: I wasn't surprised to read that your work is influenced by classic ska bands like The Specials, there is strong evidence on that in your sound (in particular in your syncopation). Where else do you draw your inspiration from?

Mostly life. But, musically we are all over the place. We definitely don't want to be a rock band that just regurgitates rock music. There's no challenge in that...but a lot more money. We try to mix things up enough so you don't really know where it came from and you can just listen to the music, or at least listen. That is always the goal. But, you know how people are.

TWIAPC: The Physicality of your live show is astounding. Did that come about organically or did you develop the groups stage presence intentionally?

Thank you. There is nothing premeditated about our show. That is how we paly music and if you go to enough shows you can see that. But, on a personal level, I can't stand bands that just stand there and expect that to be enough. Or have [when they] have costumes and no songs.  

TWIAPC: Considering White Rabbits first formed in Missouri how do you feel about being classified as a "Brooklyn Band?"

If it makes people sleep better than I'm fine with it. I really don't care where a band is from as long as they're good. Especially since we spend so much time on the road [we] rarely have time to see local bands or identify with being just a "Brooklyn Band."

TWIAPC: I've heard you guys do some pretty impressive covers. Are there any groups or albums you'd like to tackle that you haven't already?

We have just started covering "Sheila" by Atlas Sound. We learned it right before the tour and have been playing is almost every night. We all think Bradford Cox is a really great songwriter and Logos is a really great album.

TWIAPC: It seems you've been all ove promoting It's Frightening, have there been any surprising audience or favorite new venues?

The Bottletree in Birmingham, AL is top notch. As far as audiences Denver is never short of Energy and we love them for it. 

TWIAPC: Have you already started formulating a plan for the next album or, is it time for the ubiquitous side project/break? 

Not quite; but, we're always working all the time so you never know. 

--
The White Rabbits are on the road and as a three show veteran I simply insist you hunt for the opportunity to see them.


Percussion Gun

What's Going On With The Dodos

The Dodos are about to embark on a full US and European tour to support their freshly released album Time To Die. Before they do though, I got the chance to pick their musical brains

TWIAPC: Did your experiences touring for Visiter influence the songs that made in on to Time To Die?

For sure, Fables is a good example. Not only is it one of the only TTD songs we were playing live last year but the lyrics pertain directly to the madness that touring off of Visiter generated.

TWIAPC: As you've built up your sound and audience are there any opportunities to experiment/collaborate/perform you'd like to see happen?

Our songs, by the time we take 'em to the stage, are usually pretty locked into a structure. This limits a lot of experimentation but there is something coming up on the horizon that I don't know if I can reveal yet. It involves a large ensemble interpreting our songs with us live and I'm pretty excited about it.

TWIAPC: What was the biggest difference in recording this time around?

As the drummer, playing to a click. It was quite difficult at times but by the end of the process it really showed me a lot of my ingrained habits, broke them down and made me a more sensitive player. I think it's a lesson I needed to learn but maybe not something I want to do as much of in the future.

TWIAPC:I understand you were a cook for a while. What kind of things do you listen to in the kitchen?

I don't think he (Meric) was allowed to listen to music in the kitchen as it was adjacent to the dining room, but he often told me he would spend his shifts singing maniacally and annoying the hell out of his coworkers.

TWIAPC:You guys are facing quite a humdinger of a tour what kind of rituals or habits do you guys resort to when on the road for lengthy bits of time?

As I'm finally getting over the fear of hurting my hands on tour I'm gonna bring my skateboard on the next American trek. So the daily ritual will probably include a cruise around the parking lot and then on with the usual stretch/tigerbalm/find a towel/drink a beer/play show thing.

The Dodos will be skating the streets of Philly October 12th then playing a show at The Church. Get out and catch their fantastic live show, vibraphone and all!

Here's a capcha from their Daytrotter session - Paint The Rust

And here is a great video from The Shoot Music Don't They with the fellas on the streets of Berlin.

Checking In With Drink Up Buttercup

While I was up in Brooklyn this weekend for After The Jump Fest I had the pleasure to chat with Philly's own Drink Up Buttercup. These four gents have come quite a way in the last few months, amassing their energy, talent, passion and dollah dollah bills to make a running leap into the wider world of indie music. Beyond increasing their number of shows this has mainly meant going into the studio to record their first album. According to Ben [bass, general chaos] there wasn't one way they went about trying to capture their unmistakable live sound, there were many ways. Depending on the song they adapted their recording style. At times parsing each member's contribution and laying them down separately at others all four of them piling into the studio together. Not surprisingly, James [guitar, vocals, ring leader] admitted, the exactness of the click track didn't really mesh with DUB's heavily improve nature. So, more often than not, they ended up scraping convention and tearing it up in the studio. Those tracks are now in the finishing stages before the public gets a little taste of what is to come with the release of their first single this fall.

Catching their gig this weekend the was, once again, a noticeable improvement of their delivery. For those of you who are unfamiliar with DUB's raucous shows, they make their music with garbage cans, tool boxes and an assortment of other odds and ends, as well as, the usual suspects (bass, guitar, drums). When there is that much involved there is a fairly good chance that what will come out is unformed, aimless noise. Not in the hands of these fellas though. Their outrageous energy is tamed by a clear vision of where they are taking their audience and shaped by adept musical skill across the board. Watching them over the last few months I have seen them become much more comfortable on stage which has served to fully round out their sound. Taking this show on the road will, no doubt, build up Drink Up Buttercup's following. Rippling out from their tight Philly base to claim members in each stop along the way.

Despite the growing momentum, and crazy tour schedule staring them down, they all remain relatively unphased by what is to come. They're winding down their day jobs, planning the video games arsenal to be packed and spending a little quality time with their Philly crew in preparation for the road. And, in a few weeks they will throw their garbage cans, beat up tool box, toys and the rest of their instruments into a van and head out for an indefinite tour of the east coast. And, while I'm sure they'll miss all that home has to offer and have to partake in some shmoozing that is counter to their antisocial ways it is clear the minor impediments are no threat to need they have to make their music.

Be sure to get yourself out to see them now while their playing the small venues that truly complement their offerings. It will be a night to remember.

Gods & Gentlemen