Driven Far Off

The latest on the indie, alternative, and rock music scene including news, music, contest, interviews, and more. Best described as your favorite place to find new bands.

The Lonely Forest – LIVE

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The Lonely ForestThe Lonely Forest are about to head out on tour in support of their “big brother” Chris Walla and the rest of Death Cab for Cutie. I had the chance to check out their set and talk with the guys on their last tour through Minneapolis in April and wanted to share my thoughts and overall recommendation of the band with the fine readers of Driven Far Off. Also be sure to check out the full tour dates and ticket links for their roadshow with Death Cab and their album Arrows (read review | buy).

The Lonely Forest kicked off their April 2011 show Minneapolis somewhat quietly with “Turn off This Song and Go Outside.” No, the music was not lacking in decibels; rather, the four-piece simply did not waste a second to chat the crowd up, opting instead to let the music speak for itself. Folding into “(I Am) The Love Addict” with manic dancing and over-sized expressions on singer Jon Van Deusen’s face, the band set an above-average energy level for the set and never turned it down.

Van Deusen never missed a note as he wailed away. Braydn Krueger translated the full drumbeats from the album Arrows into a ravaging show – rivaling Animal from the Muppets on “Tunnels” – but also found time to sweetly provide high vocal harmonies. Bassist Eric Sturgeon briefly scaled the drum-set to swing from the ceiling, and guitarist Tony Ruland (somewhat painfully, it turns out) collapsed into the drum kit to end the set.

Rise to Prominence

The band’s energy level could easily fill a longer set and a bigger stage, but for now, the foursome say they’re comfortable with their slow rise after playing together for five years. While they joke about being “the tortoise” in the race towards prominence, the guys say they plan to continue doing what they know best. The plan? Make decisions focused on longevity and steadfastly avoid compromising gimmicks.

Not surprisingly, they’re down to earth and thankful for their success thus far. It’s a great feeling to be the first (and still only) band on Trans, Chris Walla of Death Cab for Cutie’s label, the boys say. “It’s like a science experiment… but definitely one with lots of good ingredients,” remarks Sturgeon.

And while Walla patiently waits for the right second signing to come along, The Lonely Forest are enjoying the spoils of being an only child on Trans. Though they may be guinea pigs, the guys feel that they’re in good hands, noting that Chris is not only easy to work with, but also “like a long-lost big brother who has shown up in your life and is awesome and takes you to the arcade.”

Music and Messages

That nature crops up repeatedly is not because of any agenda, says Ruland. Rather, he attributes the many references to nature to nurture: the boys grew up in Anacortes, Washington, with the Pacific in their backyards and evergreen forests in their front. Impressive natural environments are simply ever-present in their lives and therefore perhaps more present in their songs than in those of other contemporary rock bands, he adds.

The ability to produce songs about more than just heartbreak makes the band seem quite mature, and so it can be quite surprising to find out that lead singer Jon is just 23 years old. With all the energy and talent they’ve got, we can only hope* that the road ahead of the band stretches far into the distance and that The Lonely Forest may keep on singing in time together for a long time.

* (beyond buying an album or hitting up a show to support these guys, of course).

The Lonely Forest – Arrows

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Artist: The Lonely Forest
Album: Arrows
Label: Trans (Atlantic)
Release Date: March 22nd, 2011
Purchase: [itunes link=”http://itunes.apple.com/us/album/i-dont-want-to-live-there/id424480278?uo=4″ title=”The Lonely Forest – Arrows” text=”iTunes”]

Overall: 9
Music: 8.5
Lyrics: 9
Production: 9

The Lonely Forest’s Arrows is a powerful major debut for the band from Washington state and for Death Cab For Cutie frontman Chris Walla’s new label, Trans. The album kicks off with “Be Everything”, which although a successfully heartfelt song, starts things off on a note that is just a touch too whiny. But keep listening. Or “Turn off This Song and Go Outside” as you’ll be told on the second track in its catchy chorus. No, but seriously, keep listening. This is an enjoyable album through and through.

John Van Deusen’s minor vocals are reminiscent of R.E.M.’s Michael Stipe at times with a sort of lazy quality. However, Van Deusen doesn’t quite hit the whiny peaks of Stipe. Throw in a little taste of the Counting Crows’ Adam Duritz and update it to 2011 with Vampire Weekend style “oohs” and “ahhs” and you’ve got the Lonely Forest’s vocal sound. The band supplies catchy riff and choruses one after another, but perhaps the most attention-grabbing attribute after the vocals is the relentless drum beats, fast and full-bodied, which power every song.

Already with “Turn off This Song and Go Outside”, the guys set a motif for the rest of the album: the Lonely Forest, as its name might imply, pumps out sad songs about fallen love, but also pulls nature into the mix quite a bit. This refreshing quality, moving beyond the well-covered songwriting territory of joys and sorrows of the heart, is best displayed in the album’s second single, “We Sing in Time”, which pulls in a political message without being too overtly preachy. The more big-picture philosophical questioning in “End It Now!” is also a treat for a mind seeking stimulation to think of something other than love.

Overall, I’m happy these bites are spinning on my hard drives and echoing in my head.

Tegan and Sara – Sainthood

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Tegan and Sara - Sainthood

Artist: Tegan and Sara
Album: Sainthood
Label: Sire Records
Purchase: iTunes
Release Date: October 23rd, 2009

Overall: 8.0
Music: 8.0
Lyrics: 8.0
Production: 7.5

Tegan and Sara are not a band with a signature sound. Ok, their somewhat monotone dueling female vocals shouting out lyrics dripping with emotion about past loves are pretty signature. But, musically, the two have developed a wide-range of songs, particularly if you look at musical styles album to album. Early releases at the turn of the century had a definite folk-pop flair. In the early 2000s, we saw a progression towards emo overtones on If It Was You and So Jealous. Then, bam!, The Con hit us with a more tender take on the 2000 style, while maintaining characteristic emotion-charged introspection and reflection.

Love songs full of dark emotion remain emblematic on Tegan & Sara’s latest, Sainthood. But the duo’s sound has definitely matured and taken another step down the not-so-seldom-trodden path from emo towards synthy pop rock. As a big fan of Tegan and Sara’s discography from 2002’s If It Was You to 2008’s iTunes Live Session, my first impression of Sainthood was that it was less accessible than their last few releases.

While arguably more pop-laden than the Con, T&S’s venture into synth-land on Sainthood brought about some strange layering of unconventional riffs and melodies. “Paperback Head” is my best argument for this statement, and almost made me dismiss this album completely. But after tens of listens, I realize now that it is primarily the vocals that get me squirming uncomfortably in my seat. This is the only track on the album, the only T&S song, in fact, co-written by Tegan and Sara. I’ll make the bold statement of blaming the collaboration for this debut’s vocal fiasco. “Red Belt”, on the other hand, is a good example of execution on the synthier sound and signature sappiness. It seems T&S need that very personal story and emotion behind their lyrics to bring their A-game. This is actually a clear strength in my book that should be underscored.

Sainthood’s sound is something new from Tegan and Sara, while still recognizably a creation of the famous twin Canadian pop act. If you’re a T&S virgin, I suggest starting with So Jealous or the Con, depending on whether you’re more into the upbeat rock sound or the deliberate emotion-filled tunes backed with acoustic guitar and piano. For fans of T&S’s earlier work who are having a hard time getting into Sainthood, I suggest giving it a few more listens, dedicating a careful ear to the lyrics and honing in on the last three tracks.

Reel Big Fish – Monkeys for Nothin’ and the Chimps for Free

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Reel Big Fish

Artist: Reel Big Fish
Album: Monkeys for Nothin’ and the Chimps for Free
Label: Rock Ridge Music
Purchase: Smart Punk
Release Date: July 10, 2007

Overall: 7.5
Music: 8.0
Lyrics: 7.0
Production: 7.5

Reel Big Fish delivered their first studio full-length since leaving Mojo/Jive Records in July. They’ve still got their spunky pop-rock ska style, but the boys, having shed the chains of a major label, have opted for some angrier and edgier lyrics, such as in their “Another F.U. Song.” The anger is perhaps most directed at their old label: “So try to hold me if you want, try to control me if you want, but you won’t keep down, I’m not your clown, I’ve got to find my own way now” sings Aaron in “Live Your Dream” which is coupled with less-rock-infused a ska riff in the instrumental sections of the song. This more traditional ska style, also found in songs like “Slow Down” and “Will the Revolution Come,” is rumored to have been discouraged by Jive in order to increase the likelihood of mainstream radio play of RBF’s earlier albums.

Obviously if you’re a big Reel Big Fish fan, you’ll already have this album in your collection. If you’re not familiar with the band, I’d still recommend Cheer Up! over this album because popping it into your CD player is like popping open a bottle of fun. Monkeys for Nothin’ and the Chimps for Free, on the other hand, is a more eclectic mix of styles given their new freedom to explore different sounds. So if variety is your gig, have a listen and enjoy punkier songs like “Why Do All Girls Think They’re Fat?” to poppier songs like “Til I Hit the Ground” along with the more traditional ska beats mentioned above. In the end, though, the best thing about RBF (and generally ska in general) is how playful it can be: “Everybody’s Drunk” and “Please Don’t Tell Her I Have a Girlfriend” display this trait beautifully with their to-the-point, hilarious lyrics.

Track Listing (a lot for your money/monkey!):
1. Party Down
2. Another F.U. Song
3. Live Your Dream
4. My Imaginary Friend
5. Slow Down
6. The New Version Of You
7. Will The Revolution Come
8. Another Day In Paradise
9. Everybody’s Drunk
10. Please Don”t Tell Her I Have A Girlfriend
11. Way Back
12. Hate You
13. Call You
14. Why Do All Girls Think They’re Fat
15. I’m Her Man
16. Til I Hit The Ground
17. Cannibal

Sunday Recs… on Monday

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Hey it’s already Monday, but I have a recommendationg for you!

of Montreal’s live show. Every band member is full of energy, costumed, and having a great time.

Foreverinmotion – The Beautiful Unknown

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Foreverinmotion

Artist: Foreverinmotion
Album: The Beautiful Unknown
Label: One Eleven Records
Purchase: Smart Punk
Release Date: May 8, 2007

Overall: 9.0
Music: 9.0
Lyrics: 9.0
Production: 8.0

Behind the graceful Foreverinmotion tunes streaming out of my speakers is just one man, Brendon Thomas. Somewhere in the vicinity of three years ago, I was captivated by Foreverinmotion’s self-titled full-length; I wrote of it, “The music is slow yet powerful, ordered yet emotional, peaceful yet full of energy. Lyrically, each song brings more amazement. This is the kind of stuff that you sit down and wish you could write. Chock full of beautiful metaphors, Brendon uses the English language in a way that brings words to life.”

Three-some years later, I’ve experienced a great deal in life and my music tastes have changed substantially. Brendon’s music, however, still strikes a chord with me. Why? The songs on The Beautiful Unknown somehow capture this beauty of the unknown through masterfully pieced together guitar (acoustic and to a lesser extent electric), vocals, piano, and various other recordings. The quoted materials from Hurricane Katrina at the start of “Avalanche,” for instance, set me up perfectly to shiver every time I listen to the song. After set-up is of course the action: Brendon’s music and voice suddenly and powerfully take control of the song and also of my mind and body. Stylistically, Brendon’s varied rock, folk, and of course, singer-songwriter influences are noticeable in the refreshing mixture of songs on the album.

The album displays its lyrical greatness on so many levels: significance, proximity, intelligence, playfulness. When I heard “Flight 268” I was moved to a state of teary-eyedness because I felt like the song was written specifically for and directly to me as I’ve been struggling with the issue in question for some time now, namely opening up to people despite living such a transient life. “And the King Would Say,” on the other hand, is clearly speaking of a much more prominent figure, delivering a political statement. Foreverinmotion exemplifies the possibilities of what is categorized as “emo(tional) music” — that is to say, the album is a musical delight, plain and simple.

Tracklisting:
1. Magic
2. Hot Air Balloon
3. Goodnight
4. The Clothes We Walk In
5. Flight 268
6. The Rain
7. Open Eyes and the Boundless Sky
8. And The King Would Say
9. Avalanche
10. Turn and Chase the Wind
11. Talu
12. Lonely

P.S. I took a listen to the 2004 album, and while good, I must say firstly that I can really tell my musical taste has changed and secondly that The Beautiful Unknown is leaps and bounds better.

Waking Ashland – The Well

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Waking Ashland - the Well

Artist: Waking Ashland
Album: The Well
Label: Immortal Records
Purchase: Smart Punk
Release Date: April 17, 2007

Overall: 7.0
Music: 7.0
Lyrics: 7.0
Production: 7.0

Waking Ashland have had a flurry of releases in the past few years, with their debut EP I Am for You in 2004, their first full-length Composure in 2005, Telescopes EP in 2006, and now their sophomore LP the Well in 2007. I was a big fan of their brand of powerpop on I Am for You, and while there was a clear shift to a mellower musical style by the time Telescopes was released, the band still delivered songs that glistened with pop spirit. The Well provides more variety of sound than any of the band’s previous releases. On the whole, the Well is less reminiscent of Ben Folds than Telescopes, signifying the band has taken a step in the right creative direction, because, let’s face it, it ain’t easy to live up to comparisons drawn to one of the fathers of the piano pop-rock sub-genre. Honing a unique sound is always a step in the right creative direction.

Of course, the vocal similarities between Folds and Waking Ashland singer Jonathan Jones make it hard to avoid all comparisons, particularly on such numbers as “Mark Like Mine.” The Ben Folds-esque song is one of the highlights of the album, which I suppose is saying the band has some heavy lifting ahead of them yet in establishing their own flavor of piano rock. On the other hand, the unexpected guitar outro on Foldsy album-opener “Salt Like Jam” underscores the band’s creativity. Of note is the band’s experimentation with more minor tonalities; surprisingly and pleasingly, the band maintains its signature pop energy through these darker tunes. Unfortunately, despite the nice mixture of songs, they are for the most part flat and unmemorable with no lyrics nor melodies sticking with the listener, thereby failing to be a “good” pop album.

Tracklisting:
1. “Salt Lake Jam” — 4:50
2. “Handful of Names” — 3:39
3. “Your Intentions” — 2:58
4. “Diamonds In the Hillside” — 3:55
5. “Change” — 3:11
6. “Sinking Is Swimming” — 2:33
7. “Mark Like Mine” — 4:08
8. “Let It Ring” — 3:30
9. “Looking Alive” — 3:47
10. “Drought of 2001″ — 3:52
11. “Money” — 4:02
12. “Take Me With You” — 2:52

Inspector Owl – Life Finds a Way

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Inspector Owl - Life Finds a Way

Artist: Inspector Owl
Album: Life Finds a Way
Label: Third World Industries
Purchase: Inspector Owl Store
Release Date: March 27, 2007

Overall: 8.0
Music: 8.5
Lyrics: 6.5
Production: 8.0

What do you expect from new music — that is, a first listen to a band recommended to you by a friend or acquaintance? I expect it to be good, certainly, but I also want it to be new. If they sound just like the six Cure albums I’ve got, I’ll probably enjoy it, but won’t listen to it much in the future because, hey, I’ve already got my beloved Cure. When I get my hands on something different and refreshing I’m far more excited. Inspector Owl is just that; it was recommended to me as a “dancey indie-rock band” playing an eclectic style of music with the styles of the Faint, Polyphonic Spree, and They Might Be Giants thrown in the mix.

Sounded good to me, and after listening to the EP Life Finds a Way a few times through, it still sounds good. The opener right away caught my attention with the String Quartet (famous for their cover albums) style violin – that is, cleanly played traditional-rock parts (transposed from parts) on the violin. The band’s signature dance synth is foregrounded on “Save Me” while the darker “Sharks That Feed on Dreams” is matched by more charged lyrics. The Modest Mousey popping guitar rhythms which kick off “The Gentleman’s Duel” are coupled nicely with some intro horns, but not as well with the belted, Thom-Yorke-esque vocals. Heavy synth beats and a cute little riff set the potential for “Clever Girl” from the get-go, but again, the vocals flop what could have been a massive pop hit. The band slows it down with “Fisticuffs,” which unfortunately despite some soothing “ooh’s” and a interesting bridge, is not the most memorable closer. Overall, I’m quite pleased to have learned of this band and will continue to listen to them in the future. I will most likely remain disappointed, however, in the weak lyrics and vocals.

Reel Big Fish and Zolof the Rock & Roll Destroyer – Duet All Night Long

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duet.jpg

Artist: Reel Big Fish and Zolof the Rock & Roll Destroyer
Album: Duet All Night Long
Label: Reignition Records
Purchase: Smart Punk
Release Date: February 20, 2007

Overall: 9.0
Music: 9.5
Lyrics: 8.5
Production: 9.5

Duet All Night Long is one of the most interesting releases so far this year. Itâ┚¬Ã¢”ž¢s part split, part collaboration, part cover. The bands switch care of the covers at the end of each song, meaning there is a nice mix of Reel Big Fishâ┚¬Ã¢”ž¢s standard-setting ska and Zolof the Rock & Roll Destroyerâ┚¬Ã¢”ž¢s fun-loving, synth-driven pop rock. Both bandsâ┚¬Ã¢”ž¢ sounds are upbeat with some silliness, giving way to a perfect feel-good album. Adding to the fun is the collaboration on vocals on each track; Rachel Minton of Zolof lends her talent to all of Reel Big Fishâ┚¬Ã¢”ž¢s tracks and Aaron Barrett and Scott Klopfenstein mix up Zolof songs with some more masculine vocals. As for the songs covered, these 80s hits were mostly before my time, so I was only a little familiar with half of the songs. However, the album was still immensely enjoyable given both bandâ┚¬Ã¢”ž¢s happy-go-lucky interpretations of the melodies along with the great vocal duets.

Tracklisting:

  1. “Ask” (originally by The Smiths) – Reel Big Fish (03:20)
  2. “Dress You Up” (originally by Madonna) – Zolof the Rock & Roll Destroyer (03:24)
  3. “Lyin’ Ass Bitch” (originally by Fishbone) – Reel Big Fish (04:17)
  4. “Don’t You Want Me” (originally by The Human League) – Zolof the Rock & Roll Destroyer (03:08)
  5. “It’s Not Easy” (originally from the Walt Disney animated film Pete’s Dragon) – Reel Big Fish (02:46)
  6. “Say Say Say” (originally by Michael Jackson and Paul McCartney) – Zolof the Rock & Roll Destroyer (03:23)

Dear and the Headlights – Small Steps, Heavy Hooves

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dear.jpg

Artist: Dear and the Headlights
Album: Small Steps, Heavy Hooves
Label: Equal Vision Records
Purchase: Smart Punk
Release Date: February 6, 2007

Overall: 7.5
Music: 8.0
Lyrics: 7.0
Production: 7.0

I was interested in Dear and the Headlights after hearing a song or two on their Myspace, but when I got their album I felt like would be unable to review it because it was quite difficult for me to pinpoint their sound. Their sound shifts from song to song, sometimes soft-spoken and soothing “but with synth instead of piano “like Copeland (e.g. “Oh No”), sometimes more like the peppy indie rock of Rooney (e.g. “Sweet Talk”), sometimes reminiscent of alternative bands like Coldplay or British pop-rockers Travis (“Happy in Love”), and sometimes ringing in my head like Straylight Run (“I’m Bored, You’re Amorous”) or even at times like Dashboard Confessional (“Run in the Front”) “mostly due to vocal inflections common in the sub-genre.

Musically this album can be filed neither under emo, despite aforementioned vocal stylings calling various emo bands to mind, nor indie rock. While pop-punk influences are clear, for the most part, guitar riffs are strong and varied making the entire album an interesting listen. Before putting the band’s variation to words, I was disappointed by the unreliability in style. However after a few listens and an attempt to describe the sound on Small Steps, Heavy Hooves, I’ve found that Dear and the Headlights essentially deliver a well-rounded, mainstream album.

Tracklisting:

  1. “Oh No!” (4:14)
  2. “Sweet Talk” (2:56)
  3. “Hallelujah” (4:09)
  4. “Happy In Love” (3:45)
  5. “I’m Bored, You’re Amorous” (4:00)
  6. “Grace” (4:05)
  7. “It’s Gettin’ Easy” (3:32)
  8. “Paper Bag” (3:53)
  9. “Skinned Knees and Gapped Teeth” (3:35)
  10. “Run in the Front” (4:22)
  11. “Mother Make Me Golden” (4:12)
  12. “I Just Do” (3:43)
  13. “Midwestern Dirt” (6:46)