skip to main |
skip to sidebar
Having left more than a bit of myself in Boston, the music scene there is of keen interest to me. I look into who is making waves weekly, who is playing where, what the new sounds of the city are. A few months ago, I started seeing ‘You Can Be a Wesley’s” name springing up everywhere in the local press, in the venues and showcases, and on the Boston indie music blogs I tend to favor. After one listen, and learning a bit more about them, I devoured them.
Their promotional style and personalities are audaciously delicious. They’re confident, in-your-face, and fearless (there’s a promo shot of them covering their bits with nothing but their hands.) They’re funny as all hell, and can laugh at themselves with confidence, they are brutally honest, they don’t pull punches and there is an amazing sense of adventure that surrounds them “off the court.”
“On the court,” however, it’s a different story. There isn’t anything fancy about them, in the sense of pushing the barriers that they do with their promotion. But what people get in return is a captivating onslaught of sonic pleasure. It’s moody without being melodramatic. It’s simple without being over-simplified. They play their guitars, keys, bass, and percussion somewhere between a lullaby and rock-n-roll. Or is it somewhere between dream pop and shoegaze.
Whatever the case may be, it’s catchy as all hell. I can’t tell you how many times I’ve personally played “Feed the Moon, Starve the Sun,” a track that introduces itself as a fantasy with delicate picks of layered guitar, but somewhere (I get so lost in it that I can’t pinpoint where) builds itself into crescendo of riffs, a perfect see-saw to Saara’s voice, which would bring most men to their knees, then subtly backs off before building again, causing this listener to hit repeat again, and again, and again. Winston, Nick and Dan pluck, strum, pound and tinker away in perfect harmony, never taking away from Saara’s siren-esque voice, or Winston’s backing vocals, but are never downplayed. This Boston Univesity quartet is a class act, and I’ve wanted to get to know them, and introduce you to them for a while now. And Saara has been more than accommodating with her time, considering they are releasing their first full-length album, “Heard Like Us,” is available now on Amazon.com.
OAN: I’ve read several stories, tales, recollections about the origin of the name from the straight-forward to the fantastic. Would you care to share how the name “You Can Be a Wesley” came to be, and how the four of you came together?
Saara: It’s funny we get asked this name question almost every interview. I guess with an obscure name we have to come to accept that. We started playing together freshman year of college (spring of 2006). I met Nick through a mutual friend and we both were playing guitar. Nick knew Dan and he came over for a jam with a micro-korg. I met Winston with Nick and Dan at the Islands show in Cambridge and we all started talking about playing. Winston played guitar and Dan played drums and we figured we didn’t need 3 guitars so we told Nick he should play bass. He borrowed his friends bass the next time we jammed and started writing songs.
The name came about when we were in the market for a band name after writing a few songs. We would text each other ideas, most of them bad, and most of them getting a simple response of “No.” One night we were all sitting around the dining hall with some friends and one of our friends told Nick “You can be a Wesley” referencing both the Princess Bride and Nick’s look and the name. We all liked it so we used it.
OAN: The album has been awhile coming, and you’ve run into some roadblocks and hit a few bumps in the road, one of them being that nasty little thing called ‘education.’ Can you shed some light on some of the others, now that they are a thing of the past and the album (praise [insert deity here]) has been completed.
Saara: The album was fully recorded and ready to be mixed by the middle of August 2008, but Winston was going to Ecuador for a semester and Nick and I were going to Sydney (poor Dan was left in Boston) so there was a four month hiatus where we were all spread across the world and our reels of tape were sitting in Jeremy from Pretty & Nice’s basement. Once we got back the issue was more about money considering we spent most of our savings abroad. Finances have definitely been the biggest road block and the reason it has taken a little longer than we first thought. It’s hard when you don’t have someone financially supporting you and putting the album out for you but it’s also nice to have free reign over what we do and how we want to do it.
OAN: So let’s talk about the upcoming LP “Heard Like Us.’ From a music perspective, what differences should people expect from the EP “Feed the Moon, Starve the Sun?” Is this LP a true labor of love in the sense of getting it made? Did the material come together fairly easy from the four of you?
Saara: It’s a completely different piece of work than “Feed the Moon” (although one song carries over, “Rearrange The Sea” is a different version on Heard Like Us than on FTMSTS). For one we had been playing some of the songs on Heard Like Us for a while so we knew how we wanted them to sound and what we wanted to do with them. However, there are also songs from HLU that we finished in the middle of recording. But overall, we had a better idea sonically of how we wanted the record to sound. It also helped having J Mendicino of P&N behind the controls because he is a musical genius. For real. Most of the time our material comes together pretty organically I think. It definitely grows and changes the more we play it, taking out parts we don’t like, things that are unnecessary and adding bits and pieces to make it more interesting. If there is a song we are fully stuck on we usually leave it for a while and work on something else or we just trash it and forget about it. A lot of love went into this album in basements and practice spaces and late night bedroom sessions.
OAN: Speaking of creating material, how do you all do it? What’s your process as far as writing lyrics and music? Does everyone contribute or is YCBAW more a brainchild of one or two of you?
Saara: As far as the music goes its really a collaborative work. We get together to “jam” and see what we come up with. Whether it’s a bass line first or guitar riff we work best when we build and mold the song together as a group. Other times one person will come in with a specific idea and we try to fit pieces into what they have and build on that Then I usually come up with a melody of nonsensical sounds and I go home with that and write lyrics on my own. I like to think a lot about what I want the song to be about and what I want to say while simultaneously making it interesting and aurally pleasing.
OAN: I mentioned your marketing in the intro to the interview because you do take bold, refreshing steps. There’s so much personality behind how and what you do and I am going to assume that you do most if not all of it yourself. Do you just go with your gut feelings? Do you think it’s helped contribute to your exponentially growing fan base?
Saara: Most of our art direction is the brain-child of graphic designer and close friend Nick Zegel (zeegisbreathing.com). He’s the one that does our art work and web design and recently directed and edited our music video for “Creatures”. We owe a lot to him and pretty much consider him part of the band. He is just a super talented, inspiring person to be around and it gets us going. We also want YCBW to not just be music but a community, or a collective of inspiring individuals who Do Things. Makers and Do’ers. We came out with a couple of ‘zines (homemade mini magazines) with contributions from friends, colleagues, acquaintances and family that we give out at shows. On tour last summer we made stuffed animal “Wesley’s” that we hand sewed with button eyes to sell on the road. It’s nice to do things a little differently than the norm and people appreciate it and get psyched on it so that makes us want to do it even more. And it’s just fun.
OAN: Which leads me to this: your fan base is growing rapidly, but it all started in Boston. Talk about the music-scape of Boston today, if it influenced you, encouraged you, and / or supported you. Is it a tight-knit group of musicians? I guess I want to give readers a feel of what a great music town Boston is, from both a musician standpoint and how the fans respond.
Saara: There is so much good music coming out of Boston right now and it’s refressing because there is no specific “Boston sound” like there is in New York or Portland. There are so many different types of music and people seem to really support the local music that comes out of Boston. We are totally inspired by bands we play with around town and there is a nice tight-knit of really talented bands we have become friends with through the scene i.e. Magic Magic, Mean Creek, Hooray For Earth, Ketman, and so many more. It’s nice to go to pretty much any show in Boston and see people from other bands that you know out there supporting other local acts. I felt like for a while that I knew every band in Boston but the reality of it is there is so much music coming out of this town I don’t even know 1/3 of it. I guess once you get into a scene and keep seeing the same faces it just feels smaller. And that’s a nice feeling.
OAN: I mentioned an off-the-court personality because you definitely like to have fun and seem to be quite the daredevil. Take us through some of your favorite extracurricular activities. And, are there other creative outlets that you explore to balance how much time you put into the music?
Saara: Music is an enormous part of my life. It’s my passion and my escape and there are few other things in this world that do that for me but I do have a few. Snowboarding and surfing are my drugs next to music. I get the same kind of escape from those sports and I do music and they have been in my life almost as long ( music for a bit longer). I started surfing when I was 11 and started snowboarding around the same time. It’s just a way for me to be able to turn off my brain and only focus on exactly what I am doing at that moment and nothing else. There’s a rush involved too, a natural “high” that happens. That moment when you get the chills; I’m hooked on it. I find surfing and snowboarding to be highly creative. You have to be able to see something that isn’t there and make it happen that way you want to and the way that only you can.
All of us enjoy making things and I think that is what keeps our music inspired. Winston builds bikes, Nick writes, and Dan works with computer programming and designing. There’s a great satisfaction in creating something that didn’t exist before you got your hands on it.
OAN: Have you gone through any “be careful what you wish for?” Or are you exactly where you want to be as far as the venues you’re playing, the material you’re creating, etc. And what can we expect in the future from YCBAW?
Saara: There haven’t been any careful what you wish for moments yet. Maybe we’re just being careful with our wishes. It’s awesome to be in a band of best friends. We all love each other like family and see each other all the time. We are actually moving in together next year along with two other friends in a big house in Brighton, so that should make for some late night song writing and good times and probably a few careful what you wish for moments. I think we are in a good place as of now.
We would all like to do bigger tours, a national gig, play with some national and international acts that we look up to, etc. As far as the material we’re creating now, we are all really excited we are trying some new things but keeping the old formula that seems to be working for us. We all feel like it keeps getting better so hopefully listeners will too. In the future expect a bunch more albums, a bunch more shows, tours, videos, zines, dancing, smiling and fun!
OAN: OK, Saara, this is an open question. Say whatever comes to mind, pimp, promote, BS, joke, tell a funny story about a gig or the band. Whatever you’d like.
Saara: Our album release show is July 20th at Middle East Upstairs so come check that out! Add us on Facebook, follow us on Twitter, get on that social networking game and find us! [OAN note: I added the links to make it easy to find them.]
If you want to contribute anything for a zine, send your pictures, drawings, stories, comics, dreams, poems, and anything else you can think of to our email!
OAN: Get on it, kids! And Saara, thanks you so very much for taking the time out of your busy schedule with all all you have going on. I very much look forward to a gig or two down here in New York. Maybe I’ll sneak up to Boston as well.
Songs from Heard Like Us, the full-length debut from "You Can Be a Wesley:"
Listen: Creatures
Listen: Stuck in a Battle
Listen: Wildlife
What's Playing on Saara's iPod:
Listen: Andrew Bird - Masterswarm
Listen: A.C. Newman - The Palace at 4 A.M.
Listen: Metric - Combat Baby
Listen: School of Seven Bells - Half Asleep
Listen: Yo La Tengo - Sugarcube
Listen: M83 - Kim & Jessie
Listen: Deerhunter - Little Kids
Listen: XTC - 1000 Umbrellas
Listen: The Wrens - Boys You Won't Remember
Listen: Ogre You Asshole
Links:
Purchase Heard Like Us from Amazon
MySpace
Peter Silberman, Darby Cicci and Michael Lerner have had quite a few months as of late; a signing with Frenchkiss, a national tour with Au Revoir Simone, a second leg up the east coast, and their schedule is only getting tighter. They have an upcoming 5-show stint with Frightened Rabbit that takes them to play at Pitchfork Festival, then continuing the tour through the country and on to the Monolith Festival at Red Rocks. So if you take nothing else away from this, know that Peter Silberman is one of the kindest, most genuine people you'll meet. And his taking the time to do this little interview with everything else he had going on, well, that should demonstrate how giving of his time he is.
If you know me at all, you know what a fan of The Antlers I am. “Hospice” came into my life at the exact right time and I struggle to think of an album I can relate to as much as Peter Silberman's latest release. Anytime I write about what he has created, I become a little more fired up, a little more impassioned, a little more introspective. Which actually made this interview a little more difficult to construct.
I'm a lucky person to have the relationships I do with the people I do, and tucking away all the passion I have for what they create isn't always the easiest thing for me when I write about them in a journalistic manner. So let’s get that out of the way before we get to the man who created it. If any of you read you read my review of 'Hospice,' then you know how I feel about it. It’s a fluid symphony of sound and words, one song delicately bounding into the next, bravely leading the listener through a tumultuous time in one man’s life. If you haven't, now's your chance before we get to the questions.
Time's up.
OAN: Peter thanks for taking time out of your obscenely busy schedule. And it’s certainly been an interesting and exciting few months for you. The response to “Hospice” has been, to put it plainly, overwhelmingly fantastic. That said, you didn’t create the album for ratings or reviews, you created it for yourself, friends and family. You’re a humble guy, so how are you doing with all praise and attention? I suppose the better, more suitable question would be, talk about the release and everything that has happened since.
Peter: It's been sort of insane, but in a really amazing way. There's been a much bigger response than I ever could have hoped for, and a very personal response. People have been reaching out and writing letters about the way the record's affected them. That's sort of an unbelievable feeling, that kind of connection. But to be honest, it's been completely fucking terrifying having this many people listen to this record. I haven't quite adjusted yet to private becoming public.
OAN: Can we discuss that time when you were crafting "Hospice?" The album certainly explains everything that led up to its creation, but what about the time during. Would you like to talk about the experience of making the album?
Peter: It was strange. It was both isolated and social. I was bouncing back and forth between those two modes of living, and those two modes of recording. Sometimes I would stay up all night working on bits of detail exhaustively, other times Darby or Michael would come over and we'd set up instruments and see what happened. There were huge roadblocks, and months here and there where absolutely nothing got done. I didn't think the record was going to make sense, lyrically or sonically, until the day it was done. Vocals were recorded last, within a weekend upstate in an empty house, and while recording them, I remember feeling like everything was sounding terrible.
OAN: You crafted every sound and word from a very personal time in your life , then took it into studio with talent like Michael Lerner, Darby Cicci and Justin Stivers (who has since gone on to pick back up on Pet Ghost Project.) Talk about your relationship with these guys and what it’s been like to play surrounded people just as passionate about the work as you are.
Peter: The band was a very different animal while the record was being recording than it is now. We were still getting used to one another, trying to figure out our roles and what we wanted out of this. The record was started while The Antlers was just me, and expanded as the recording went on. Immediately after the record was finished, it became Darby, Michael & me. Since then, it's felt like a more stable entity, like a real band and not some strange collective-type thing. At this point, Darby, Michael & I have a weird, intuitive way of playing with one another. We don't really have to say much as far as guiding one another, we just sort of know how we want things to sound. It's kind of an unspoken thing.
OAN: How about the tour? You’ve had an unbelievable response from New York and you’ve played SxSW and a nice lounge session with the good people at WOXY, but this is your first big national tour, correct? The Antlers hype has been building for some time now, so talk about getting out there and playing before your ever-expanding fan base. And how did you end up with Au Revoir Simone?
Annie: Hi there! This is Annie from Au Revoir Simone. We dragged Peter in the van with us for a little bit of our tour driving from El Paso to Tucson and we were both doing interview questions so we decided to trade interviews for a little bit so I thought I could take over this part of his. We found out about the Antlers because their booking agent emailed us and asked us to consider bringing then on tour as support. We fell in love with their music and then they made an appearance at our Brooklyn Vegan showcase at South By Southwest and were so sweet and nice that we wanted to have them around. And their live concerts have been amazing! Every night they have a lush, beautiful set that always sounds spectacular, despite the fact we always take so long for sound check that they barely get enough time to do any sound checking at all. But it always sounds good. So if any of you reading this have a chance to see them live, you definitely should!
OAN: With “Hospice,” you toyed around with signing with someone, then ultimately decided to self-produce and release. What are the biggest advantages and disadvantages to having total creative control that you’ve experienced?
Peter: Well, I think we're all feeling that we like being control-freaks and want to continue producing and recording our own records. I won't say we'll NEVER go in a studio or use a producer, but it's not what we want right now. Recording is as much a creative thing as writing, and either way, we refuse to be on a clock or subject to someone else's will. As far as releasing records, it was an amazing learning experience to release the record ourselves. I'm glad we did it that way and have done it that way for a couple years. But the time came to hand that job over to someone more experienced, and Frenchkiss has been wonderful to work with.
OAN: This is an awful question, because I know you are just getting settled into everything, kicking off the tour, and trying to enjoy the moment, but what are the next steps for the Antlers? Do you think you may do another concept album? Have you started writing anything new?
Peter: It's all hush-hush right now... but we're writing something new.
OAN: Something I like to ask, because I always find the answers fascinating, what are your favorite extracurricular activities, because, surely, there is more to Peter Silberman than just music. Other creative outlets, perhaps?
Peter: Since I came home from the Au Revoir Simone tour, I've started writing, but not songs (I'm writing songs too, but that's not what I'm talking about). Short stories, sort of. Non-fiction. I haven't done that in a long time, if ever, but I'm really into it right now. I've been reading more as well, and getting back into photography. I always love really long walks. That sounds sort of lame, but I do. I walk a lot.
OAN: Say something you never thought you’d say in an interview.
Peter: I recently discovered that my favorite movie might be The Endless Summer.
OAN: Peter, thank you so much for your time. I know you’re swimming in the busy right now. It was great to see you out west with ARS, and I'm sure I'll see you soon. Annie, don't be surprised if I come knocking on your door for one of these.
The Antlers will be having a "Hospice" re-release party at Mercury Lounge on 8/21.
Music courtesy of "The Antlers"
Listen: "Kettering," from Hospice
Listen: "Sylvia," from Hospice
Listen: Tears are in Your Eyes (Yo La Tengo Cover), from New York Hospitals
What's playing on Peter’s iPod:
Listen: Godspeed You! Black Emperor - Storm
Listen: Massive Attack - Risingson
Listen: Yo La Tengo - Damage
Listen: Talk Talk - New Grass
Listen: Smog - Teenage Spaceship
Listen: Okkervil River - So Come Back, I Am Waiting
Links:
MySpace
Facebook
Frenchkiss
Purchase Music from 'The Antlers'
This is Memorial Day Weekend in the U.S. It's a long, holiday weekend set aside to honor the men and women who have fought for our freedoms and protected us from harm. And so, this is a bit of a tribute to thousands in our armed forces, police, fire brigades, and emergency rescue that watch over us, keep us safe, and, all too often, are taken for granted.
Happy listening, all.
MP3: Army Navy - SaintsMP3: The Magnetic Fields - Heroes (David Bowie cover)MP3: Faces on Film - I'll Sleep to Protect YouMP3: The Morning Benders - Worth the Fight (Daytrotter Session)MP3: Betablokka - Scared (The Difference Between)MP3: ...And You Will Know Us By The Trail of Dead - Worlds ApartMP3: Adorable - I'll Be Your SaintMP3: Swimming in Speakers - Serve Them Well
About two years ago at this time, I was given three tracks from a self-released album off home-grown label “Hits the Fan” by a band quirkily named “Frightened Rabbit.” It took one listen for me to run to anyone who would listen proclaiming “you gotta hear this.” I was not the only one who took notice. Fat Cat Records quickly reeled in the talented Scott Hutchinson and brother grant to polish the not-quite-demo, not-quite-studio first full-length LP for release in Autumn 2007, which I quickly devoured and again put into the ears of anyone who would listen. A most unique holiday track was released a few months later. Then, Frightened Rabbit went into the studio and recorded one of the most inspiring, gut-wrenching collection of songs these ears have heard, “The Midnight Organ Fight.” It’s an album that thrust them into the limelight of music rags, new adoring fans, and won over critics the world over, none of whom could get enough of Frightened Rabbit. And they were happy to oblige, putting out a live track-for-track show of “Midnight.”
OAN: Scott, you, Grant and Billy are playing like mad and very busy, so I can’t thank you enough for taking the time to sit down and chat. Let’s start with Midnight: we seem to be coming into an age of a rebirth of the concept album, an album that tells a complete story. Do you consider Midnight to be one, as it seems to tell a very personal story from a moment of time in your life.
Scott: It wasn't conceived as a concept album, but when we put the tracks together, it became quite plain that there was a story there. I am a fan of albums that take you somewhere, start to finish, and feel like a slice of someone's (or a group's) life. There is definitely that aspect to the MOF. When I grab on to a subject, I often become rather obsessive, and explore it to its bitter end. That's really all that happened there.
OAN: You write with a unique mix of poetry blended with plain language. How do you conjure the words and combine it with a truly uncommon instrumentation? Which comes first, your endearing Scottish croon, or the twangy, catchy melodies?
Scott: Melody is always first. If you don't have that to hang the words on, then I don't think you have a song. One of my favourite responses to our music is when people say they have been singing along to our tunes for days or weeks before they realise what they are singing. The content kind of creeps up on them, because before they were simply enjoying the melody and the beat. This may sound weird, but when I listen to other bands, I'm not really a lyrics person. Its always something else that draws my ear in first, so that 'other' draw will always be a high priority.
OAN: Let’s talk about your relationship with Fat Cat and how influential they were in promoting your work, putting that much time into Sing the Greys and carefully marketing your assault on the music world. Your relationship with them seems to be completely symbiotic. But clearly, they were a big propellant for your current success.
Scott: They have been incredibly supportive from way before anyone else (perhaps even our families!) knew that Frightened Rabbit existed. Our relationship spans back about 4 years now, from the day they put our Tascam demos up on their website, then we began emailing, then they put us on a FatCat showcase at The Great Escape in Brighton, even though we didn't sign to the label until about 18 months after... They're the only external force that has always been there, and that is a really wonderful thing.
OAN: Something a bit different now: I’ve seen you perform four times. And your on-stage persona is, well, quite a bit different from the material you sing and play. On stage you are this warm, joking guy who has been known to crack a chuckle while playing some of the most woeful material out there. Is it a mind-set you have to prepare for? The contradicting personas you have within writing his songs and performing them?
Scott: I feel really at ease in front of a group of people. There's an element of control when you perform for an audience, which i really love. Its another, very seperate skill to presenting a live show that many bands seem to ignore. I quickly found that, even if we sounded like shit, a few wry observations would set the show on the right track. Its a fucking life-saver some nights.
OAN: The live album really shows if off. Why did you decide to record a live version, track-by-track, of Midnight. And though I haven’t been a personal witness to it, why did you decide to occasionally cover “Fake Empire” as a prelude to “Backwards Walk?”
Scott: The label were keen for us to perform the whole record, as a kind of bookend. Lots of people really took to that record in a rather intense way. It was important that we recognised that by playing the show in our hometown. The disc is essentially a souvenir of that for ourselves and those who were there, if nobody else. As for Fake Empire, I fell in love with that song and with that band, and played it for that reason really. Plus they are both in the key of C, I think.
OAN: Album art has to be discussed. I know quite a few people impressed with your diverse artistic talents. Is illustrating something you’ve always had an interest in? And what else do you do to stimulate that creative charge?
Scott: Illustration is the only thing I'm actually qualified to do. I studied for 4 years at the Art School in Glasgow, got my degree and then didn't draw for around 2 years. I'm drawing more regularly now for the sleeves etc, but its always interested me to give new things a go, things that I have no training in, to see if I'm any good at them. Might give astrophysics a bash after this record...
OAN: Too funny, Scott Hawking. Are you working on any new material or are you just enjoying playing live for right now? What are some of the most memorable shows you’ve done (I ask because you play some very intimate venues and have a lot of personal interaction with the audience. Surely, there has to be a great story or two in there.)
Scott: The new album is pretty much written, and I've demo-ed it up with the exception of the drums. I prefer this aspect of the band to the live stuff. The touring can feel a bit mechanical and draining. That said, some of our shows have been the most memorable times of my life. I'm not much good at anecdotes... The ones that stick out for me at this point were our recent London show at the Scala, and our shows in Chicago and Ann Arbor during the last US tour. Specific stories escape me now. I'm not very funny when I'm not on stage. Sorry!
OAN: You're too humble. I hear a bevy of sounds that emanate from your guitar and keyboards, not to mention your brother’s percussion. What are some of your biggest influences, either genres or bands or songs. I hear everything from twangy American southern soul to flat out rock-n-roll. But it all has that Frightened Rabbit twist, no pun intended.
Scott: Its all in there. Our influences are pretty wide, which hopefully keeps it fresh. I don't care for sounding like just one band, but as far as the next record goes, I think there's a fair bit of The National, TV on the Radio, disco, Jens Lekman, Death Cab, LCD, King Creosote and the usual dose of country and Dylan nad The Band (mine and Grant's greatest obsession). I'm a total thief when it comes to carving out a sound, but hopefully the pieces I've taken and put together originated far enough away from one another that it doesn't come through too obviously in the final song.
OAN: Anything else you want to tell the fans?
Scott: Eat three pieces of fish a week.
OAN: Heading out for sushi now. Scott, again, thank you for your time. I look forward to your next trip over to the States and whenever you release shiny new material. I owe you a beer or three when you come to New York City next. Cheers!
Mp3: Square 9 - Sing the Greys
MP3: Old, Old Fashioned - Midnight Organ Fight
MP3: Fast Blood - Liver! Lung! FR!
MP3: Be Less Rude - Live Acoustic Session
Scott's Mix-Tape
MP3: The National - Fake Empire
MP3: TV on the Radio - Wolf Like Me
MP3: Death Cab for Cutie - Your Heart is an Empty Room
MP3: Bob Dylan - Lay Lady Lay
MP3: The Trammps - Disco Inferno
MP3: LCD Soundsystem - All My Friends
MP3: King Creosote - No Way She Exists
MP3: Jens Lekman - I'm Leaving You Because I Don't Love You
MP3: The Band - Up On Cripple Creek
Links:
Official Frightened Rabbit Site
Frightened Rabbit on MySpace
Fat Cat Records
Buy Frightened Rabbit on iTunes
Having left more than a bit of myself in Boston, the music scene there is of keen interest to me. I look into who is making waves weekly, who is playing where, what the new sounds of the city are. A few months ago, I started seeing ‘You Can Be a Wesley’s” name springing up everywhere in the local press, in the venues and showcases, and on the Boston indie music blogs I tend to favor. After one listen, and learning a bit more about them, I devoured them.
OAN: So let’s talk about the upcoming LP “Heard Like Us.’ From a music perspective, what differences should people expect from the EP “Feed the Moon, Starve the Sun?” Is this LP a true labor of love in the sense of getting it made? Did the material come together fairly easy from the four of you?
