James Moore's Blog, page 118

DJ Trevor Simpson and Kosplay Pay Tribute to “Mad Men” With Dance Track

San Francisco-based DJ/electronic artist DJ Trevor Simpson has teamed up with fellow EDM artist Kosplay to pay tribute to one of the most popular shows ever to air; AMC’s Mad Men. Hats off to the artists for continually building their fanbase and engaging new listeners through networks like Soundcloud. Through a mixture of smart promotion tactics, high quality production, smart topic choices and creativity, the remix is generating legitimate buzz. Known locally as the resident DJ at San Fran’s popular nightclub Ruby Skye, Trevor is also the founder of World Town Inc., and his upcoming debut EP will be released through World Town Records. This is truly the DIY mentality at work.

After teaming up with Ultra Records to mix a compilation in 2006, Trevor’s remixing work became in high demand, and soon he was doing official remixes and tracks for high profile artists like M.I.A, Cobra Starship and Lady GaGa.

With “Mad Men”, DJ Trevor Simpson sounds like he’s having a ball, weaving in hefty doses of ear candy with samples of Mad Men’s instantly recognizable theme and clips of the cast (“He never could handle his liquor”). You can tell the mark of a good electronic dance artist by their sense of dynamics, and that’s definitely apparent here, from the patient buildups to the general sense of tension throughout; all in good fun. “Mad Men” is certain to gain popularity throughout dance communities worldwide, and it’s suitable that an experienced remixer like Simpson is at the helm. The swirling production has a psychedelic feel until it pummels you with it’s mind-bashing house breakdowns. This is club music to be sure.

Download the track below and either load up on mind-altering substances, or just let the music do the altering for you. Keep up with DJ Trevor Simpson at his official website, Facebook or Twitter.

If you’re still looking for more worthwhile dance music, check out “Make Some Noise”, done by Trevor Simpson and The Cataracts. The Cataracs and Trevor Simpson will be launching the Dagger Tour for 3 solid weeks starting May 12th with Afrojack and Krewella in SF, then hitting Sacramento, Lake Tahoe, Las Vegas, Los Angeles, Phoenix, and San Diego.

The cranks and gears of Piqued Jacks’ “Just A Machine”

Just A Machine, the newest EP from Piqued Jacks, opens with the quick crack of a distorted egg. What then dribbles out is the yolk of six fluctuating industrial rock songs that leave the listener scrambled.

The title and opening track starts with a patient riff that falls right off a cliff. When it lands it bursts through with quick shots of modern punk. It rises high and wants you to wake the fuck up. The sound is very similar to Refused or early Mars Volta and the reader should take that as a high compliment and not a descriptive crutch. The energy continues on “Blackie.” Guitarist Pengulnsane keeps the track fuming with jumpy guitar, like John Frusciante on a good day. The instruments of each player are absolutely all over the place while E-King howls, “Don’t turn away, even if you’re afraid.” I am and I won’t. The group has a calibrated control over their own chaos.

Formed in Pistoria, Italy in 2006, Piqued Jacks have been making their way through America using this year’s six-song EP as their launching pad. Each player has their own unique robot-like alias. Andrea “E-King” Lazzerettl sings and plays piano, Francesco “Pengulnsane” Cugla is on guitar and background vocals, “Francesco “Ilttleladle” Blnl takes the bass and Matteo “ThE dOg” Cugla beats the drums. The members are all parts and accessories to a tall-standing machine and it doesn’t run without each gear turning.

When E-King belts he sounds frantic like Cedric Bixler-Zavala, of The Mars Volta; when he cools down he’s closer to the vocalists of the post-grunge era of a few years back. His lyrics hold a heavy surrealism that paints a picture of impending doom. “Nothing remains of the sun / Except cars’ headlights / Guard duty at the huts / Skinny dogs at the feet of empty slides,” he sings on the final track. Throughout Just A Machine there is a suffocating presence that keeps him on the run.

The first single, “Youphoric?!,” finds moments of calm, differing from the first two songs. It could easily find a home on rock radio if radio still mattered. Pengulnsane lights it up with a crushing guitar solo as the tender voice of a female frees the listener from the song’s constraints. On “My Kite” E-King struggles in whispers over a lengthening distance and harrowing piano. It’s the slow-burner of the EP and develops like a tidal wave. “Amusement Park” is built around a guitar arpeggio that sounds extraordinarily similar to the intro to Jeff Buckley’s song, “Grace,” but no harm no foul. The song still kicks.

The closing, “Tourist Of An Apocalypse,” is anchored by the understanding between bass and drum as they walk, linked arm and arm, through the track. The song transforms, twisting, turning and never getting back to where it once was. The final two minutes of the six minute song is an uphill climb as the guitar chops through drum rolls and E-King pleads mightly to, “Just make sure we save the Earth.” It’s a beautiful ending to a collection of songs by a band that shows promise to take up the mantle of progressive rock and roll in 2013 and beyond.

Piqued Jacks have great attention to song structure and never linger too long in one moment. It makes for a very healthy listening experience. They have a sound that rock fans from every generation can latch onto. They can force you to jump out of your chair and lose brain cells, or, take a long reflective walk around the block.

Hear Just A Machine

Blues Rock Duo The Blue News Launches Kickstarter, Needs Your Help

Blues rock duo The Blue News ((Brent Orndorff & Dustin Richardson) have taken the high road with their new Kickstarter campaign, intended to raise funds for their ambitious new full-length album “In Your Dreams”, which fans of the band will briefly preview when watching the campaign video, narrated by Brent (vocals, instrumentation). Quoted from their campaign:

This is the story of a modern day pilgrimage.  The band The Blue News has experienced so much and heard people tell incredible tales of heartbreak and healing, faith and doubt, sacrifice and even miracles. These are stories urging to be shared and what better way than through an album? After all, music allows us to communicate what cannot be expressed with words alone. Music has the power to bring dormant emotions to the surface, it can make us dance and sing, and it can reveal to us a beauty in life that might otherwise be lost. 

The songwriting duo of The Blue News (Brent Orndorff & Dustin Richardson) have undergone so much change in their daily lives over the past year but the passion to create music endures. Their new full-length album, In Your Dreams, will offer a glimpse into their journey and allow them to share their experiences through their unique and soulful blues-rock sound. The Blue News humbly invites you to join in the experience of bringing this album to life. Let them share the many stories and lessons learned along the way and perhaps you’ll find a new perspective on the world around you.

What can I say? The group are really the type that you wish you would see more of, so who better to support? Their music is honest and well-crafted, unafraid of raw emotion. The gifts are among the best I’ve ever seen on an artist’s crowd funding campaign, too, with all of them appearing to far over-deliver (Example: You can get a download of the ‘deluxe’ album with bonus tracks, a vintage label t-shirt, limited edition poster, sticker, mailed physical copy of the new album, live video access, a download of their previous EP, your name on their website AND a handwritten thank you note for $25.) Let that be a lesson to you artists out there! Give freely and make it good.

We wish The Blue News the most success with their campaign! Join their path here!

Juno Reactor’s “The Golden Sun Of The Great East” Is A Genre-Transcending Masterwork

Juno Reactor has been a respected institution in music for over 20 years now. Started as an art project with the sole intention of creating good art that was not commercially motivated, Ben Watkins soon found that there were many music listeners around the world who were looking for his particular type of imagination. And so it grew. From his debut single “Laughing Gas” to “Transmissions” (1993), “Luciana” (1994), “Beyond The Infinite” (1995), my personal gateway drug, 1997′s flawless full-length CD “Bible Of Dreams”, “Shango” (2000), ” Labryinth” (2004), “Gods & Monsters” (2008), a ton of collaborations and soundtrack work (including “The Matrix”), and now, “The Golden Sun Of The Great East”, released April 23rd via Metropolis Records.

“The Golden Sun Of The Great East”, as an album, seems very much like an expansion of Juno Reactor’s signature sound; an expansion in all directions. It’s the sound of an artist whose sound has matured to the point of mastery. Thematically, it was inspired very much from Ben Watkins’ recent time spent in India, a place that seems meant for Juno Reactor. To me, the feel of the album could have very well taken root in the opus “God Is God” from “Bible Of Dreams”, a song that, to me, shows just how far music can go…and then a little nudge beyond that to provide a taste of the unknown.

“Final Frontier” opens the album with what some would describe as a “return to form”. The tight psychedelic trance of 1995′s “Beyond The Infinite” can be heard here, except there’s more ear candy, and everything seems more lush. The fusion of organic and digital instrumentation is incredible. World music, rock and electronic music collide. This song facilitates probably 10 of the more inspired minutes you’re likely to have.

“Invisible” goes heavy on the Eastern instrumentation with pleasurable effect. The beat is relentless, keeping the momentum strong early on. Watkins breaks everything down periodically by removing the instrumentation to reveal a pummeling industrial beat and warped synths. It’s pretty well explosive, and the vocals are dynamic and passionate, supporting the onslaught.

“Guillotine” decides to deliver more of the goods instead of slowing down, bringing more of the dark, ghostly vibrations to counteract the angelic ones, all merged within a hard-hitting rhythm. It’s at once soothing and foreboding, both signs of a dynamic composition. You’ll hear some very noisy metal guitars creep in, too, and why not? It’s all part of the openness and genre-bending freedom that comes with the project.

“Trans Siberian” changes the tempo, still keeping things dance-able, but more importantly, interesting. Operatic vocals and chanting sail over a menacing, hypnotic beat.

“Shine” sounds like a perfect companion to “God Is God”, with it’s feel of spiritual freedom and unbridled joy. It’s a piece of music that transcends it’s genre; one that almost anyone could thoroughly enjoy. The beat is a hand clapper, almost hip hop-esque. An absolute celebration that you’d have to hear to believe. Possibly the best track on the album.

“Tempest” heads back into psytrance/electronic dance music and jungle music territory, embracing another mood that Juno Reactor specializes in; creepiness. Both “Tempest” and “Zombie” play with horror movie vibrations, while still maintaining the inspired, beautiful feel of the album. They fit in perfectly, telling a darker part of the story before returning to the light.

“To Byculla” reminds the listener of artists like Massive Attack and Pink Floyd, with it’s decidedly downtempo vibrations. The spiritual aspects of the album come together over the last few tracks, almost as if to say “Here’s the underlying point”. Let the vocals carry your imagination away somewhere.

“Playing With Fire”, as a closer, is in some ways unassuming. It doesn’t force it’s way to your ears. There are no pounding beats to be found here. Just a flawless composition written with great care. Every aspect is weaved into the mix with attention. When the beat does come in, it’s merely guiding the journey.

Overall, I would give “The Golden Sun Of The Great East” a 10 out of 10. It has that rare masterpiece status, and transcends it’s genre, although that’s quite the norm for Juno Reactor. For anyone who hasn’t heard Juno Reactor, “The Golden Sun Of The Great East” is a wonderful place to start. It’s a perfect fusion of world music, electronic dance music/trance, rock music, and a few kitchen sinks for good measure. It’s almost frustratingly good. Most of all, it’s journeying music seemingly meant to facilitate the imagination. Press play and dream away.

BUY “The Golden Sun Of The Great East” at iTunes and Amazon.

 

Let Off Orbit take you for a quick ride with “City Of Wonders”

Off Orbit may be from Miami, Florida, but their sound comes straight from the Texas desert expanse where plenty of psych-blues bands have called home. Their three-song debut EP, City Of Wonders, is a quick snapshot into their developing sound.

Opener, and first single, “Vice City,” kicks off with a jumpy guitar intro then evolves into a hippy shake. Moises Jimenez leads the four-piece with scratchy rust-coated vocals. It’s fun and loose and would be the perfect first song to play on a long road trip through the country.

In addition to his gruff vocals, Jimenez plays bass and splashes the recordings with keyboards. Marcos Jimenez mans the guitar, erupting with spacey solos at times appropriate and inopportune. The meat of the songs is due to Jonathan Colorado, on drums, and Angel Cerdeiras, who adds popping Mexi-Cali bongos to the background.

Second song, “Pretty Little Things,” comes in with a rollicking bass line and mimics the party-vibe alertness one experiences right as the drugs start to take hold. When the rest of the instruments slide into the mix everything just feels right. The song is stitched together with elongated effects, but they never overtake the song itself. There is a perfect mix of pedals and instrumentation. It’s easy to hear that the players in Off Orbit are true musicians first, who dabble in atmospherics, and not the other around. That formula will take them far.

The EP concludes with “Interlude,” which is just that. It swims along with layers of instruments, builds up, then drops and leaves the listener very interested to know what comes next.

City Of Wonders is a time-traveling trip to a place when hearty rock’n'roll mattered to the world. There is a druggy soul to these songs, each one anchored by a blues stronghold, something like Billy Gibbons joining Spiritualized for an all night jam session.

Hear “City Of Wonders” from Off Orbit

Hot Blood of Yeah Yeah Yeahs is all drained on “Mosquito”

The 3D Toy Story-from-hell cover art for Yeah Yeah Yeahs’ new album, Mosquito, shows a crying nude baby getting pinged by the blood-sucking insect. It’s jarring, uncomfortable and makes one feel itchy all over. Unfortunately that depiction doesn’t quite match the mood of the resulting set of songs on the New York City band’s fourth album.

With TV On The Radio’s Dave Sitek (and James Murphy for one song) working production, there is a much heavier emphasis on atmospherics as they float further from their scorched rock roots. Many of the bands to rocket out of Brooklyn and reach maximum fame in the early 2000s have had difficulty regaining their creative footing. YYYs are no exception.

After the very promising and end-to-end catchiness of Show Your Bones in 2006, the YYYs phoned it in three years later for It’s Blitz. In the years since, the members took an unofficial hiatus working on various projects, soundtracks and other artists’ records. It was almost a surprise that they came back with new material at all. These days it’s better to fade away than burn out, I guess.

The album starts off strong and at first insists on being a classic. “Sacrilege” is a perfect first single and instantly works its way into the listener’s brain. Drummer Brian Chase clamps down on the bell of his ride cymbal while Karen O blurts about forbidden love. It rocks and swivels. It exudes the sound they were destined to arrive at once their punk spirit drifted: full of life, poppy, hypnotic and daring. Ending with the buzz of a soulful choir is the curveball they should be taking by this point in their thirteen-year career and it works to the fullest. Regrettably, the song stands erected at the top of a pyramid and the album only dribbles to the bottom from there; each song less and less inviting than the one before.

Mosquito was recorded in a few new locales for the band, including New Orleans and Texas. Seems they miss their homeland. On “Subway” Karen O loses, then seeks to recover love on a New York City subway car. It’s a slow motion ride through lonely underground tunnels of the Big Apple. It has a late night/early morning sobering effect. The openness of the track is strung together with ghostly train track rhythms and waves of synths slowly crest, then drown Karen O out. “These Paths” is all looping electronics and by the end devolves into a tame Crystal Castles track. The guest rap by Dr. Octagon on “Buried Alive” comes from nowhere while the band fades two levels back into the mix.

A few songs do line up with that authentic YYY’s attitude and no doubt they’ll bash them relentlessly live and hype the crowd. If you can beef up your set list with a few new songs for each touring cycling, that’s all that really matters. They’re still one of most exciting acts to witness today. “Mosquito” is the band’s first attempt on the album to bring themselves back to 2003. Against Chase’s foot-down pound, Karen O shouts about life as the beady-eyed prick bug. For “Under the Earth” Karen O sought a roots reggae sound. “Down, down under the earth goes another lover,” she sings, uncaringly, to a pretty sweet groove that glides along with incoming and outgoing noises, plus the knock of a wood block. This could be the blueprint for a future sound. Guitarist Nick Zinner and Chase work well together on “Slave” as it opens awash in echoed effects then slams into a tough, bombastic romp.

Karen O’s voice still has those same exuberant Billy Corgan-levels, going from soft sympathetic nance, to whiny, misunderstood girl, to a tough beer-soaked bark. She is still one of the best female vocalists of this generation, but she doesn’t bleed and sweat for her main act anymore. The songs lack a lyrical depth. There is no single mood for the album and the bottom-half is bogged down with overly saturated love songs. Most the songs start off promising with a pummeling guitar lick and Karen O erupting in spurts like a banshee, but it seems the band creatively didn’t know where to take the songs and just wound up lathering them up with effects.

In the end, the album just doesn’t hold up. It’s not down on its knees begging the listener to come back for multiple listens. It doesn’t make one want to punch out a plexi-glass window or rip their shirt down the middle. Their earlier records relied on pure energy to make it through the track list. Record now, think later. That is no longer the case.

Yeah Yeah Yeahs appear to be going more for a sonic onslaught of sound these days, possibly to fill in the gaps of their weak songwriting. It’s an obvious path for a band that grew up fast with snotty, punk-spit intentions, and surely it’ll afford them new rabid fans, but, one only wishes they busted out a few more basement burners like Fever To Tell, before moving on. Mosquito could be the album that comes halfheartedly, but then fuels the next definitive output that pulls them from the bog, but only time will tell.

Iggy And The Stooges Release Fun But Mixed Offering With “Ready To Die”

Iggy and the Stooges “Ready to Die” has to be one of the most anticipated rock releases of 2013, and the reuniting of Iggy Pop and guitarist James Williamson has been much talked about. The album is meant to be more of a snapshot for where the group is right now as opposed to any follow up to “Raw Power”, with all the weighted expectations that implies. All of The Stooges’ original albums are considered classics in their own right, while 2007′s “The Weirdness” received generally poor reviews. It makes sense that Iggy would want to say something new in the most potent form possible; with his brothers in arms. Lead single “Burn” showed a lot of promise for the album, providing more than it’s share of menace and danger, although the album doesn’t exactly follow suit.

1) Burn

It’s dissonant, pitchy, messy, and triumphant; everything you want from rock n’ roll. The guitars are front and center, blaring blissfully, while Iggy’s baritone is sobering, capturing the defiant energy of the best Stooges material. “Burn” is probably the closest to a classic that the band can muster in 2013, and it’s a rewarding track.

2) Sex and Money

The “Funhouse” sound mixed with extra pop sensibility and blaring horns for good measure, “Sex and Money” is an enjoyable track, though it marks a lane change from the aggression of album opener “Burn”. Iggy Pop muses over the joys of sex and money without going too deep into the roots of desire.

3) Job

Catchy punk rock that’s not out to prove a point. It would be hard not to get into the feel of this one. “I got a job but it don’t pay shit.”

4) Gun

The guitars are explosive and the groove is solid, with a classic punk croon from Iggy, although what seems to be missing is the element of wildness and unpredictability that is so prevalent in The Stooges’ catalogue. It’s still pointed and hard hitting enough. “Everybody’s talking loud. I can’t stand the fucking sound.”

5) Unfriendly World

Here’s an unexpected change in feel; “Unfriendly World” is a straight up country ballad, and it works. The low raspy vocal warns “Hang onto your girl because this is an unfriendly world”. With some of the strongest social commentary of the album backed up by a sleepy island groove, “Unfriendly World” is a smartly written track that could be appreciated by fans of Tom Waits and Bob Dylan.

6) Ready to Die

The title track “Ready to Die” is possibly the strongest song on the album, containing both the most memorable guitar progressions as well as the most memorable chorus, where Iggy yells “I’m shooting for the sky because I’m ready to die, die, die!” The song drives all the way through and could even sit well on one of the original albums. The writing is classic Stooges. Lyrically, it embraces the end with a sense of celebration, taking the now on as a form of true rebellion.

7) DD’s

Cue the lowering of the intensity and disappointment! “DD’s” finds Iggy Pop tapping into his sexual appetites, although not in the most primal or intriguing ways (“Penetration”, “I Wanna Be Your Dog”). He keeps things on the surface, both lyrically and through his crooning vocal delivery; “I’m on my knees for those double D’s. Why tell a lie? I am crucified.” I’m not sure if this would be a favorite track for too many fans. It’s skip-worthy. It’s very skip-worthy. While part of the whole appeal of punk rock, at times, is it’s shallowness and it’s brazen appetite for the immediate, this song sounds tired, without putting much of an effort in to capture any of the sexual energy and put it in a bottle.

8) Dirty Deal

Horns and aggressive guitars, with Iggy spitting his world philosophy, the song works, recalling some of the energy of classics like “1969″. Although it has trouble lifting off, it’s another solid dose of rock n’ roll.

9) Beat That Guy

A lazy rock track that works as a power ballad.

10) The Departed

Another ballad, and a surprising way to close the album. It sounds more suitable for a Willie Nelson album than a Stooges release, and doesn’t sound like a suitable swan song/album closer. The track meanders along, although it does boast some potent lyrics.

Overall, “Ready To Die”, while a big improvement over 2007′s “The Weirdness”, is a mixed bag. Some tracks are strong, but miss the frenetic yelps and left-field manic vocal approach that Iggy Pop is so known for. It’s one of those albums that you’re happy was released, because it’s great having a legendary group like this back on the scene again. “Burn”, “Ready to Die”, “Job” and “Dirty Deal” rock harder than most groups in their 20′s, and these, along with the perceptive ballad “Unfriendly World”, are definitely reasons to check out the release. If you wanted intensity from “Ready To Die”, you’ll get some of what you came for. Bottom line: it’s a fun album that misses the mark about a third of the time. The forgettable tracks can be forgiven, because the reality we’re in is a much better one than if “Ready To Die” wasn’t released. Rock is better for it, and so is music. Welcome back, Iggy & The Stooges!

Call Out To Underground & DIY Rock Groups Worldwide

Independent Music Promotions is opening it’s doors to quality underground and DIY rock groups worldwide. In my own small way, I want to create change, not for the “music industry”. That doesn’t matter. It’s just an imaginary structure. I simply want to support real music. It’s the reason why I don’t work with mainstream/Idol pop, radio rock, or artists who are only concerned with stardom. While I’m not against those things, the first music I was really inspired by on a deep level was music of the uncompromising variety. Music that is written and performed for the love of itself. Music with “feel”.

I want Independent Music Promotions to be a haven for passionate and original underground rock. When I say rock, I mean it in an all-encompassing way (rock n’ roll, punk, metal, blues, progressive rock, psychedelic, noise, garage, alternative, indie, industrial, electronic rock, art rock, experimental rock, jam rock, instrumental, etc). If you have passion and a love for the music, I’m on your side. With I.M.P’s strong reputation and all the groundwork that myself and Liz have put in, we feel we’re poised right now to be part of a serious rock revival. That’s what inspires us in the morning, anyhow.

For interested rock artists looking for an ally on their path, check out our Promotion Services and Rates sections for full details.

- James Moore

Innovation In Music Series – Animals As Leaders Exclusive Interview

Welcome to my new “Innovation in Music” series, the first guest being an artist who truly deserves the respect they’re receiving worldwide; Animals As Leaders. This series was inspired by what I feel is essential to any truly great art; complete originality. Often I come across artists who want to be coached, artists who try to achieve a certain sound in order to fit into their genre or local scene, and artists who strive to imitate their idols, sounding watered down in the process. So I decided to pick the brains of some artists who I feel are following their hearts and forging their own paths, and as a result creating fascinating music in the process.

Animals As Leaders is one of these artists. When project founder Tosin Abasi set out to create his electronic and jazz-infused virtuoso instrumental progressive metal in 2007, I’m sure many would have predicted a small cult following of guitar students and experimental music listeners. Fast forward to 2013. Tosin’s work, along with his bandmates Javier Reyes and Matt Garstka, have not only propelled Animals As Leaders to the forefront of metal music worldwide, but they’ve also transcended the genre and appealed to music lovers worldwide. When I show Animals As Leaders to friends (something that happens quite often), they stop in their tracks whether they’re a metal fan or not. It’s soul searching music that allows you to paint your own picture to it, and therein lies the power and the beauty.

I’m honored to be speaking with musicians of this caliber, and would also like to extend my gratitude to George from Sumerian Records, who was extremely helpful in making this happen. I’m sure Sumerian Records will have an amazing 2013, and a new full-length from Animals As Leaders is right around the corner (a follow up to 2011′s opus “Weightless”).

I.M.P: One pattern that I often see with new artists is imitation, the over-reliance on musical influences. When inspired by so many musical heroes, it seems nearly impossible, or at least counter-intuitive to most artists to put that in it’s proper place and go their own way. How did you find your own path musically?

It’s been a rather organic progression. A personal life long goal is to create a unique musical and artistic voice; which I feel I’m still working towards. And probably like most, we have definitely had some reliance on musical influences. But what has worked the most for me I think is writing music that I liked. I tried to not worry too much about writing music that fit into a genre. I feel the artist that have always stood out to me are the ones that defined or transcended genres.

I.M.P: In the past, people have had a tough time with genres in the sense that they tend to act like clubs, or sets of rules that artists try to adhere to. Much like within religious or political groups, artists who bring originality to their genre often face criticism. Is all of that changing now or are we generally programmed this way?    

I think there will always be criticism. Generally, we have to maintain some rules or characteristics in order to create music for a specific genre. Yet the ability to change or evolve is something I feel absolutely necessary for any genre to continue to exist. How would progressive music sound if didn’t progress? What if dance music never changed, would everyone still be ok with disco? The critics will always be there. And good music will always prevail.

I.M.P: Through forging an original sound, you have essentially created your own market/demand, one that is yours alone. People often think true creativity is commendable, but it doesn’t pay off. Can you share your views on this?

I think there is a bit of perceivable truth to that statement. It may not always pay off financially but as a sense of pride or achievement, it can really pay off. I think we have certainly achieved our dreams of becoming musicians in a touring band. And thankfully we are able to make a decent living out of doing so. But when you include the auxiliary achievements like signature guitars, magazine covers, and worldwide recognition, the term “pays off” is almost an understatement. I feel blessed to be able to do what I do and be appreciated for it. To have created our own market or demand is something we were not aiming for. But we’ll take it.

I.M.P: Who are some other artists in today’s industry whose music fascinates or inspires you?

Lately I have been listening to UK based artist named James Blake. He’s got a very unique style that combines minimalist electronic beats with soulful, RnB and gospel like melodies. I think he’s probably one of my favorite new finds in the past few years. I also like a Brooklyn based band named Buke and Gase. They have a very unique rhythmic vocabulary that I feel parallels a lot of my own influences.

I.M.P: You must have been more than a little surprised to see the rapid growth and massive worldwide demand for Animals as Leaders. I assume that there were some naysayers or ‘rationalists’ when you began your journey? Perhaps people who told you to follow their plan as opposed to your own?

Well, I think when we first started we weren’t sure of what the metal audience would think of an instrumental metal band that had electronic and jazz influences in it. We were also using 8 string guitars and didn’t have a bass player. We weren’t really expecting much other than completing our first tour, which was opening slot for Between the Buried and Me and Veil of Maya. On that tour Veil of Maya asked us to be direct support for their upcoming headlining tour. Then during the Veil of Maya tour, Dillinger Escape Plan sent us a tour offer, and the more offers kept coming. Before we knew it the band was touring all year round. The response from fans at the shows and online definitely highlighted to us that we were doing something intriguing and unique. It has been quite a dream come true experience considering the attention we have received worldwide and from other musicians and bands.

I.M.P: Unsigned artists often focus on the mountain peak ahead and feel paralyzed, or unsure of how to move. What was your approach? Do you have any advice for today’s artists?

Some advice would be to don’t worry about trends. They come and go. Create music that satisfies your own musical taste. And don’t be afraid to bend the rules.

Check out Animals As Leaders at Sumerian Records, Facebook, Twitter and Last FM.

Support the band and buy their music at Amazon and iTunes.

Dark Horses release debut album in North America

Brighton’s own melancholic collective Dark Horses will release their debut album Black Music in North America this week (4/2) via Last Gang. The new record, which came out in the UK last October, features a handful of slow burning compositions that are equally catchy and rich in emotional variety.

Dark Horses have gained notoriety over the last few years from touring with prolific acts such as Tame Impala and Black Rebel Motorcycle Club, whose bassist Robert Levon Been even shares a vocal track on the band’s single ‘Radio’.

Favourites on Black Music include the submissive ‘Traps’ and the ballad ‘Sanningen Om Dig’ which praises Lisa Elle’s soothing voice on the one Swedish treat of the release. Tracks such as the bubbly ‘Boxing Day’ and atmospheric ‘S.U.N.’ balance out the record with a resonance beaming from all angles, making for an elegant drift away from the monotone clutch of the first few songs. Putting a twist on the Talking Heads, the band excels with ‘Road To Nowhere’ in a credible rendition of the 1985 single.

Fans of darker and slow brooding music like that of Atticus Ross and BRMC will enjoy Dark Horses, as it is a far leap away from the upbeat and recycled indie of today. Black Music proves to be an impressive and well-produced album that showcases the mass amount of talent within the UK once again.

Preview some of the tracks on the album here: https://soundcloud.com/darkhorsesmusic