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The Polyphonic Spree: The Fragile Army
The Polyphonic Spree
The Fragile Army
2007 | TVT
I
decided I can take the Polyphonic Spree much more seriously since they
stopped donning the robes. I mean, I understand their original concept
for having them, but now I don’t feel slightly off saying that Yes,
indeed I do listen to them, and enjoy them. The Polyphonic Spree is all
about happy music, and if they succeed in making me smile a bit, then
they’ve succeeded with their album. The Fragile Army marks their third release, and also a third label change.
The
amalgamation of instruments and voices is so well structured here that
that alone I find is a very accomplished feat. They almost hold your
hand so that it’s impossible to get lost in the music, making it
approachable and not so “cluttered” as other bands with a lot going on
tend to be. Overall Fragile Army is a more solid effort than their 2004
release Together We’re Heavy. It’s a bit harsher, but I think
that just adds to a more developed style. That harshness takes on a
darker side in such songs as “Light to Follow” where there is an equal
balance moodiness and angelic chorus. “Younger Yesterday” takes on
their natural anthem quality in a Beatle-esque a la Hey Jude closing
that really shows their potential. “Get Up and Go” is almost goofy with
percussion akin to banging on pipes, and guitar and singing work that
for some reason remind me of the Cars. Occasionally I find some of the
songs similar in a few respects, repeated chords, melodies, etc. But
that could also be the newness of the album and my not completely
settled into it yet. It does diverge off in new places and that for me
is the draw.
-Elana Rintala
Thu Jun 29 2006 · Posted in Reviews on littleradio.com
Interview: Serena-Maneesh
Interview: Serena-Manees
LR: First of all, congratulations on Serena Maneesh winning “Best album in Norway” in Dagbladet Newspaper. Were you surprised?
Emil: Thank you. Well most people outside of Norway probably don' t know who or what Dagbladet is, so… Well, of course, it is nice that those folks liked it and some more people got introduced to it. Anyway it is some time ago and you gotta move on.
LR: What a crazy year it’s been since your record came out. How have American audiences, and the rest of the world, been responding to Serena Maneesh during the tour?
Emil: We've been witnessing quite a few spectacular scenarios along the way, and you know we were thrown into the pit even when we still trying out different setups and all. We've made some crazy mistakes yet huge progressions in telling our story since the start.
LR: Who does all the recordings and writing for your album? Do you record with your live band?
Emil: I believe in discipline yet certain influence of each individual contributing. So look at Sun Ra. Little bit of idea. I write the songs and mostly arrange them. But the coloring and touch each individual character add to the sound kingdom. In the studio it has been a little different. I record a lot myself and bring in characters who have an interesting touch, but we'll see about next time. There are always new mistakes to be made and new things to be learnt.
LR: Going into the studio, what did you want to do differently on your latest album that you might not have achieved on 2002’s Fixxations?
Emil: New chapters, new sounds. On Fixxations we had limited recording resources. Anyway, I kinda wanted to check how much you could stuff into more of a conventional pop-rock formula of songwriting. Also, if not already done, check 'Oxygen, Please' from the B-side of the vinyl. Works on both 33 and 45rpm. It is probably my favorite from that area.
LR: You have such a big guitar sound on the record but it still maintains a great rock ‘n roll feel, who would you say are some of your most important influences?
Emil: Growing up you drag a long story more or less subsconsciously having an impact on what eventually spits out. I think it is important to acknowlegde your roots, your mothers & fathers. But move on from there… I grew up listening and playing a lof of basic blues and even more acdc. Then I got obsessed with Jobim. Then into really heavy metal stuff. I heard 'heroin' by the velvets at 13 and I got so scared but came to start to bring a change in me…our local rock club had some real enthusiastic people working it, so they brought in a lot of those amphetamine reptile bands like chokebore, guzzard and hammerhead and I got extremely curious. All along I had been exposed to a lot of folk, some medieval and even more classical music. Those things occasionally really brought to a different planet. Even though in my 20s I've been gasping on so much more i think it still speaks about the past leading into some kind of hazy, gutteral rock-n-roll symphony.
LR: You’ve recently signed to PlayLouder Recordings, what are their plans for you this year and the future? Do you get quit your day jobs yet?
Emil: Well, the record just got released in the States, coming here in June…so we' ll see. I think the sounds.. they need to be really listened to. And it might take some time…The first track on the record, 'Drain Cosmetics' will be released as a single June 12th I think…as 12'', 7'', cd maxi and digital.. Remixes by Oktopus (Dälek), Odd Nosdam (Anticon) as well one of our own.. and more to come.. hehe I have lived the least normal life for a long time now and you always wonder how you are gonna pay your bills.. but the rest of the guys. Hmm it is all a mystery how the eventually get paid.. worst case you just get thrown out and you have to stay with a generous friend for sometime.
LR: What’s the music scene like in Norway? Did you have to play a ton of gigs over the years before getting some serious attention?
Emil: Well the center circle is quite small, so if you wanna make your name branded through the myriadsof business and band people it is pretty simple in norway if your stuff is good. At least most music nerds eventually pick it up. To play a lot around in the districts really 'helps' a lot in the districts to certain bands who appeal to more of a general crowd here at home. But I mean, 'serious attention', our country is a pretty small one and we are happy about those people who really dig into it, I think most of these people eventually will get it.
LR: What’s your favorite guitar of choice? It seems like you are an avid guitar/effects collector with lots of options on stage.
Emil: Ha…well with tunings, character in sound and all, then it is pretty obvious…I have my dear jazzmaster and some nice mosrites. The classic 335' s from the 60s and 70s are wonderful for lots of purposes. Øystein (guitarist) loves his silvertone. He sits around with it every night, polishing and hugging it. A little too far to my taste. All my guitars a broken at the moment so I hope to have them sown together for the next performance. I tend to look at them as nice pieces of art but then in the middle of inspired crossfire I always tend to loose any concept.
LR: What’s your lasting impression of the United States? Any people, cities, or stories that really made your tour memorable?
Emil: Well I can' t really compare San Fran to New York, or Portland to Texas. Those places were all stunning in their own behavior, of course. Interesting looking venues (you guys have such much more interesting caves of venues than we have here in our stiff little minimalist country), absolutely spaced-out hippies along the way! So many inspiring people. Even those gigs with few people ended up becoming our favorites.. incredible people at the Grog Shop in Cleveland, great time after logistics madness at NYC' s Bowery Ballroom.. Bottom Of The Hill, San Fran, yankees at the Spaceland in La (wow you know who you are), then there was SXSW, friends in Portland, 7th st entry in Minneapolis lovelee's, you madmen at the Empty Bottle in Chicago… Not to forget a stopover we had in Billings, Montana, where we went into an absolute 'redneck' bar with bull's scull and railroad tracks on the outside. An incredible night all because of some people who went out of their way to make some very strange strangers feel comfortable…Argh I have to stop, what a journey!
-Scott McDonald
Mon Jun 5 2006 · Posted in Interviews on littleradio.com
The National: Boxer
The National
Boxer
2007 | Beggars
The National is a band that you know you heard before but are not
always sure if you can place a song, or album for that matter. Since
2000, this Brooklyn based band has been slowly creeping their way into
music collections, while creating a mummer among music critics. Well,
that mummer, as of their 2005 album, Alligator, has finally turned into a buzz.
Boxer starts off with a soft piano and Matt Berninger’s deep voice, slowly
beginning a story that will only grow to much greater heights as both
the song, and the album progress. I could make some boxing metaphor,
but everyone else across the internet has jumped on that conga-line, so
I’ll keep this simple. Besides the droning, Nick Cave-ish vocals, the
most prominent instrument on here is the drums. I don’t know if it was
a choice on the band’s part to keep those an overpowering aspect or
not, however it adds a very dramatic punch to most songs. Coupled with
the piano, on such tracks as “Mistaken for Strangers” and “Squalor
Victoria”, there is an intricate back-and-forth banter between the two
instruments that only comes from really knowing what you are doing.
If
there is such a thing as “approachable moodiness” then the National
have learned how to excel at it. Dark, late night sentimentality
commingles with light, airy melodies. The National have grown leaps and
bounds, and finally people are starting to pick up on that. I recommend
“Mistaken for Strangers”, “Apartment Story” and “Guest Room”.
-Elana Rintala