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Allan Kingdom - Soundset 2014

Allan Kingdom – Soundset 2014

Soundset 2014 brought an opportunity to speak with the Twin Cities own Allan Kingdom.  Allan’s been working on breaking into the local scene for a few years now and is starting to see snowballing success.  In addition to his first performance at Soundset (three years after he attended as a fan then swore he wouldn’t go back until he was a performer), the real life Allan Kyariga was named to First Avenue’s Best New Bands of 2013, got a cover story with local indie newspaper The City Pages, created an official remix of Poliça’s “Chain My Name”, and is in the process of readying two new releases.  Allan and I chatted about achieving childhood goals before even being old enough to drink legally, getting inspiration from the world around us, and what it means to be ‘The Northern Gentleman.’

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31

Mar

2014

Interview: Life in 24 Frames

By Craig McManus. Posted in Indie, Interviews, Rock | 1 Comment »

Bitter End

Life in 24 Frames is a Sacramento, California based band founded in 2008 by guitarist/lead vocalist Kris Adams.  Over the years the band has evolved into a 6 piece (Adams, Richie Smith – Guitar/Backing vocals, Andrew Bernhardt – Keyboard/Backing vocals,  Malory Wheeler – Organ/Backing vocals,  Jason Brown – Bass/Backing vocals, and Joe Strouth – Drums) and built a large local following via their brand of folk based indie rock.  Following the release their second full length album, Bitter End, on March 25, 2014, I chatted with Kris Adams via e-mail about storytelling through music, the difficulty of the label based music business, and Sacramento as a music town.

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Fury Things

In a music scene as crowded as the Twin Cities’, it can be difficult to stand out.  This can be particularly the case when you are a gimmick free, rock trio playing loud, fuzzed out rock that would have fit in perfectly in late ’80s to early ’90s Massachusetts.  Nonetheless, Fury Things is quickly finding their way to the top of the local heap and setting their sights beyond the Land of 10,000 Lakes.  I recently chatted with the band about honest music, the Twin Cities music scene, and the future for Fury Things.  After checking out the interview, make sure to head over to Bandcamp and pick up their 2 EPs for the price you want to pay.

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This is the second and concluding part of an interview with Jayne Amara Ross and Frédéric D. Oberland of the Parisian band FareWell Poetry. Read the first part here.

Jayne, are there any moments in the album where the shape the music has taken added something to your sense of the poetry you had written?

Yes definitely, we try to create pieces where each individual element (the poetry, the music, the films) stand alone but work as a whole also. When we have done a good, thorough job every element should enrich the other. It is only when all the mediums align behind the same very precise objective that you get that feeling of something whole, and enveloping. I wouldn’t, however, rely on the music to give meaning to the poetry or the films. Music is able to sublimate and carry meaning but not to impose it. At its best, it can be the wondrous, intoxicating glue that holds everything together. In all my films, including those that I have made outside FareWell Poetry, music is a really important part and I have always shared a privileged dialogue with the musicians that I have worked with. You can also go really wrong when you add music to film, you can easily trip yourself up by making the wrong choices. Having a close relationship with the composer, and learning to communicate in their ‘language’ can help prevent this.

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In the closing months of 2011, a new band from Paris called FareWell Poetry leapt from obscurity to a prominent place on various best-of-2011 lists, thanks to their arresting debut album Hoping for the Invisible to Ignite. (Read a review and stream the music here). Weaving together spoken word, a literary narrative backdrop, film, and compelling, slow-burning instrumental soundscapes, the album combined a high-art conceptual seriousness with an accessible musical appeal. It evidenced a capacity to delight and move and fascinate while appealing to the intellect as well as the gut, allowing the listener to be carried away by the guitar crescendos or ponder the poetic allusions or both at once.  Jayne Amara Ross composed and performed the poetry and directed the accompanying film. Frédéric D. Oberland (whose recent collaboration with Richard Knox, The Rustle of the Stars, is also excellent), contributes guitar, fender rhodes, piano, harmonium, soundscapes. Stéphane Pigneul on bass, Eat Gas on guitar, Stanislas Grimbert on drums, and Colin JohnCo providing analog electronics complete the line-up. Jayne and Frédéric kindly agreed to talk to us about how the debut album came about, about the band’s creative process, and about plans for the next release.

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