Interview, RPM, Singer-Songwriter

Moroccan Ballroom – A Chat with Katie Toupin

Katie Toupin grew up in Indiana and became part of the band Houndmouth. After taking a few years off, Katie took her chances at writing her own music and moved to LA. The result of this is her self released EP: Moroccan Ballroom, coming out March 2nd. I was fortunate enough to speak with Toupin on air about her new music, Midwestern upbringing, and her dog, Cheeto.

AE: Your EP is called Moroccan Ballroom. Can you tell what listeners can expect from the new sound?

KT: Moroccan Ballroom is named after the room in which we recorded in… I just spent 6 hours recording. And then when it was done we were looking back and thought this sounds great. This is exactly who I am, exactly where I’m at. These songs are all tracked live and they sound really great to me. There are five tracks on the EP and they all sound different. There’s an upbeat thing, there’s a very flow full key thing, there’s a duet, and a little darker rock, so there are different songs but they’re all me in my own voice.katie2

AE: The album cover is aesthetically pleasing, I love the colors. Can you tell us a little about the album cover? Was it shot in an actual moroccan ballroom?

KT: Thank you! No, the album cover is actually a subway station in Hollywood. My boyfriend is a photographer so he had taken it. Right when I saw that particular photo I said “Oh that’s gotta be the album cover”. No doubt in my mind. We’re actually shooting a music video for ‘Shake Baby’ which will be the new single we release. We walk through that subway station in the music video so you get to see a little bit more.

AE: You recently moved to LA. Do you think that’s influenced your sound at all?

KT: It’s hard to say. I took two years away from music after leaving [Houndmouth]. I was writing the whole time and it was a two year process of trial and error. Trying to find who I am because it was basically my entire adult life I spent in that band and the people in that band. I moved to LA about a year ago. And it’s really the first time I’ve had my own place and wasn’t travelling all the time and had got to have a normal routine… It’s the first time I feel confident in who I am. It took settling down for a second to find that and feel grounded. When I first moved I was like, do I wanna make pop music? Do I wanna make electronic music? What do I wanna do? I was all over the map. I think being in LA sorta helped me own what I have, which is a midwestern upbringing and a midwestern mixture of sound.

AE: I think whenever a person has a transition period it gives them time to define who they are and what kind of person they want to be. I think it’s important to know who you are… it’s good to have a sense of identity.

KT: Change is hard and a lot of the songs are about that change… I tapped in that as I went along and hopefully captured [that change] for the music part.  

AE: Is there a set date for Boston?

KT: I don’t have a set date for boston I literally in the last few days locked in some booking agents and was getting it all sorted. Because this is an entirely self released EP, there’s no label behind it. Im very happy about that. In a lot of ways this connected to the fans… I listen and can make things happen and decide in the direction in which I want things to go. [my listener’s] opinion very much matters to me. So I hope to get to Boston…  I’ll get there very soon.

AE: Are you listening to anyone in particular right now?

KT: Not anything new. I’m not great at finding new music. I find stuff I like and listen to it over and over. Recently, I’ve been on this pretty strong Strokes kick.

AE: Lastly… Your social media is always filled with beautiful pictures of your dog, Cheeto…

KT: He’s actually sitting right next to me right now, in a sweater with ears on the hood. I think I want to tour with him… I want to figure out how to bring him along. He’s like my best buddy. I thought I should maybe have a social media page entirely for my dog but I’m not sure I want to be entirely one of those people. Do I want to commit there? I’m not sure.

26866119_166006157353217_8345909926224199680_n(1)

Toupin’s dog, Cheeto. Taken from her instagram: @katietoupin

Pre-order: Moroccan Ballroom

Katie Toupin’s Official Website

Standard
Dream Pop, Hip Hop, Indie Pop, Interview, Jazz, RPM, Singer-Songwriter

We Carry Us: A Conversation With Bell’s Roar

When the world at large polices your expression, limits your resources, and overlooks your creative efforts simply for being yourself, carving out new and unconventional avenues to success becomes imperative.

Bell’s Roar, the solo project of Sean Desiree, personifies this struggle. The Albany, NY-based musician released We Carry Us last month, a collection of ten gorgeous tracks about trans community, perseverance, rectitude and self-love. Across the record, Desiree meticulously cultivates the most tender and worrisome of feelings around a glut of sounds: it’s alternative soul, jubilant synth-pop, and oceanic dream-jazz from one moment to the next– a viscous, mystifying bedlam.

On the outset of their Art Funds Art Tour, a wonderful funding initiative for marginalized artists, we invited Bell’s Roar to our studios to chat about their newest record, independent musicianship, activism, table-making and more!

This interview was conducted by Hayden Fisher on February 2nd, 2018.

All bed music by Bell’s Roar.

The Art Funds Art Tour:

Bandcamp

Facebook

Donate to the Art Funds Art Tour

http://bellsroarmusic.com/

South End Pallet Works

Standard
Hip Hop, Jazz, Review, RPM

Album Review: King Krule – The Ooz

Archy Marshall is royalty, but you might not know it if you haven’t heard his music. The 23 year old London based singer, rapper, and multi-instrumentalist extraordinaire is back with The Ooz, his second full length album under the moniker King Krule. He gets his performing name from a Donkey Kong character, but more than that it’s a great descriptor of his music. Marshall’s harsh, gritty vocals create an interesting juxtaposition with the smoother beats that accompany most tracks on the album. The record fuses elements of punk, jazz, indie, and hip-hop to create an end product that sounds like a mellowed out version of John Zorn’s Naked City.

Musically, the album is extremely consistent. Most tracks feature very tight, suppressed drums, reminiscent of J Dilla or Young Marble Giants. Marshall uses catchy guitar riffs, such as those on “The Ooz” and “Slush Puppy” in unison with spacey and subdued keyboard synths (present on most every track), building tension to create beautiful, sprawling harmonies.  The last, most important ingredient to every track is his vocals, where he ranges from soft and somber to loud and aggressive depending on the lyrical content of the song.

“The Locomotive” is an introspective slow burner where Marshall describes himself waiting at a train station, plagued by his own thoughts. On “Logos” he describes a lost relationship with a woman: “We were soup together, but now it’s cold / We were glue together, but it weren’t to hold”. On these tracks, Marshall sounds more like an orator or a poet than a singer. He deals with themes of depression and isolation in a way that’s brutally honest. The accompanying instrumentals are slower and more toned down to put more of an emphasis on his vocals.

Some of the more fast paced songs include “Dum Surfer” and “Half Man Half Shark”. Marshall’s use of native jargon and his thick, clumsy accent create a clear vision of life as a punk in London. In “Dum Surfer“, he finds himself disoriented and intoxicated in a club where he scams a “dumb surfer” out of some cash. He pukes on the pavement and takes a cab home with a girl from the club, paranoid the whole trip home that the gods are out to punish him for his misdeeds. These songs feature somewhat cynical, more snarky lyrics as opposed to the introspective lyrics of most other tracks. Contrasting the more somber tone of most others on the album, these tracks serve as great changes of pace to keep the listener on their toes.

Archy Marshall presents an album that should leave any fan of alternative music excited for the future of the genre. The project marks a maturity and precision in his lyrics and showcases deep, catchy and well produced music. True as his name suggests, Archy is the new King of jazz-rap-punk fusion, if there even was one before.  

SCORE: Ooz/10

BEST TRACKS: The Locomotive, Slush Puppy, Czech One, The Ooz, Lonely Blue

Standard
Review, RPM

Track Review: Porches Share New Song, Music Video: “Country”

Aaron Maine’s first offering since 2016 finds Porches relying on a fresh, glowing road map.

Manhattanite Aaron Maine, known professionally as Porches, has returned with new music following 2016’s Pool, an album of moody funk and washy club-rock; both danceable and wistful. Set to be on Porches’ upcoming album, Country is accompanied by a brief, stark video shot in upstate New York, far from the crooner’s noisy digs. The song itself is a beautiful reflection of the concept, populated by plucky, synthetic strings with quick decay. Maine’s trembling words are dry and without resonance, encircled by waves of sticky organ surging peacefully beneath the spaciousness of the song. The new track also features background vocals from Devonte Hynes (Blood Orange), a frequent collaborator and Domino label-mate. This sound seemingly marks a departure from the sanitized and spooky electronics Pool- instead, Country serves as a tender, blissed-out reintroduction to the quiet insistence and sensual metaphor of Porches. Maine is no stranger to changing up his style, though- Country is just another stepping stone across a river of genres that have spanned his seven-year career, beginning at dusty, gruff, and bombastic indie-cana and ending at whatever mysterious album Maine has in store for us.  

Porches gave a performance at last year’s WMUA Spring Concert and Pool was included in WMUA’s best records of 2016.

Listen/watch the video for Country below:

Standard