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Tuesday, Aug 30, 2011
Following the release of one of the most acclaimed alt-punk albums this year, the Wonder Years are enjoying the rest of the Warped Tour doing what any hard-working rock band should do: start up the BBQ ...

Anyone who says that there’s no longer a punk presence on Warped Tour needs to look no further than Lansdale, PA act the Wonder Years.  The pop punk quintet began catching ears last year with its upbeat and snappy album The Upsides before unleashing one of the most talked about pop-punk albums in recent memory with this summer’s Suburbia, I’ve Given You All and Now I’m Nothing.  This darker, more aggressive collection of tracks has gained the band even further notoriety and landed it a full run on this year’s Warped Tour.


Fronted by outspoken vocalist Dan “Soupy” Campbell, the Wonder Years are quickly becoming one of the most intriguing bands in the scene with a killer live performance and a penchant for speaking its mind.  Suburbia is a journey through a difficult 12-month period for the group following the release of The Upsides and takes a critical and thoughtful look at the ideas and values instilled by suburban America.  PopMatters recently caught up with bassist Josh Martin to talk about the band’s new record and the pains and joys experienced during its current summer-long trek.


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Wednesday, Aug 24, 2011
With a new release getting airplay, fans are eagerly appearing along the tour route.

Coming from Tacoma, Washington seems to give a special something to bands these days.  Recent successes by Fleet Foxes and Telekinesis, among others, have cast a golden glow over the new self-titled debut by Motopony.  The wide range of styles found on the release gives an image of a group that is comfortable with more than a few genres, from the rollicking “Seer” and the jazzy “King of Diamonds” to the wistful tune of “Wait for Me”. Singer/songwriter Daniel Blue has a name ready for a rock star plus the vision and vocals to pull it off.  He now lives in Seattle but treasures his time in Tacoma as a formative period for musical development.  His band is on a national tour in an opening slot that has audiences arriving early to venues and singing along to their songs.  Blue spoke to PopMatters about these latest developments as he sat in a park overlooking Seattle while the band was loading up to drive to Boise, Idaho.  It was just a moment in the sun for a guy in the spotlight . . .


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The songs on your debut release are so varied in style—is this a reflection of your taste or the entire band’s interest as a group?


The songs were written over a long period of time. Being our first release, we had quite a bit of time to gather them together.  I wrote most of the lyrics and melodies for everything, and then Buddy Ross did all the production and instrumentation on everything. Then we went and hired musicians to get what we wanted.  Most everything you’re hearing is a product of him and me.  It kind of came out of our minds and what we wanted to express in the moment.


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Tuesday, Aug 16, 2011
The Norwegian folk singer has been dodging Nick Drake comparisons all his life, but now, with his first-ever US release (despite a ton of albums to his name), Thomas Dybdahl feels like he's breaking through for the first time ...

You can be forgiven if the name Thomas Dybdahl doesn’t ring any bells. 


Thanks to a lack of distribution, the singer-songwriter has eluded attention on the North American continent for years, though he has been steadily churning out albums for nearly a decade in his native Norway.  Dybdahl may have the misfortune of being labeled a troubadour—a title sure to provoke some unwarranted judgment.  But the Norwegian, in fact, shares a greater musical kinship with space-oddity Annette Peacock than he does with Nick Drake (of whom he is often touted as Norway’s answer to).  While firmly rooted in folk, the singer takes a jazzier approach in his playing, strumming locomotive circles on a creaky, rustic guitar while exploring the more heavenly reaches of pop, cutting swaths through the spacey textures of moody keyboard swells and shuffling percussion.  Over the 14 tracks of his proper North American debut, Songs (an album that samples from his five previous European releases), Dybdahl works some impressive magic alone with his sensuously wine-soaked voice, which occupies a slim musical space that is at once eerie as it is sexy.


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Tuesday, Jul 19, 2011
On the verge of breaking through, Times New Viking sits down with PopMatters to talk about its new record, Dada art, and what it's like having played over 700 shows.

Ohio’s native sons in Times New Viking have had an eventful career that seems to be arcing forever upward.  The trio formed after meeting in art school in 2004, recording albums like Dig Yourself (2005) and Present the Paisley Reich (2007).  These early albums—the band’s first four—were released by prestigious labels, first by Siltbreeze and then Matador.  Now, Times New Viking has signed with Merge Records for its fifth and most recent release, Dancer Equired.  On the new record, the band continues its tour de force with songs like “Fuck Her Tears”, which made Pitchfork‘s March 16 Playlist. Here, drummer and vocalist Adam Elliott talks to PopMatters about the new record, Dada art, and what it’s like having played over 700 shows.


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Tuesday, Jul 12, 2011
The Felice Brothers venture out of the norm by trying to do Americana music with synths and keyboards, and as they tell us, the results proved rather interesting . . .

The Felice Brothers have been at the game for quite a while, and in the most classic fashion: they are a family band, one which got its start busking for change in the NYC Subway system.


That makes the brothers Felice—Ian and James, along with a crew of co-musicians—more salt of the earth than the brothers Gallagher, able to claim more street cred than the brothers Gibb, and just more than those bros in Kings of Leon. James Felice (vocals and anything with keys) speaks with the warmth and confidence of a musician doing what he loves most. On his band’s newest record, Celebration, Florida, he and the group push past their Americana roots and into new territory. This exploration didn’t come purely by chance. As James puts it, “With this record, we came to the table with the intention to make the record that we did . . . previous records were a little more haphazard, just trying things out. We knew almost exactly how we wanted the record to sound, how we wanted the record to feel.”


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