I Set My Body on Fire Today

Stillwater, Oklahoma, home to the Oklahoma State University Cowboys, isn't exactly the place one would expect to find a thriving music scene (the godawful "Red Dirt" sound notwithstanding), but this Oklahoma college town has been home to many amazing artists over the past couple of years. Colourmusic, Other Lives, Sherree Chamberlain and Mayola, all fantastic artists in their own right, have called this place home at one point or another. Ladies and Germs, it's time to add Deerpeople to that already impressive list.


Deerpeople - New Dance (Find the Naughty Word, Kids!)

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This debut self-titled EP is a healthy mix of indie rock and folk that you can dance to. It's seriously catchy and at times, melodramatic. Some of the instrumental arrangements bring to mind The Arcade Fire's good album (if you have to ask, please don't) and the lyrical content at times resembles John Roderick's (of The Long Winters) blunt and deadpan snarkiness. As far as I'm concerned, this is a winning combination and those who I've shared this record with so far seem to agree wholeheartedly. Live, they're a little rough around the edges in the best way possible, minimizing down time by filling empty space with all sorts of wonderful noise between songs. In short, they bring the MF'n ruckus. If you want to know what I'm talking about firsthand, you can catch them at The Conservatory this Saturday, June 5th. I know I will.


Deerpeople - Canada (There's Another One Here!)

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It doesn't look like there's a physical release floating around as of yet, but you can acquire this fantastic 5 song EP here and pay what you want. I paid $5 because I'm a nice guy and felt that $0.05 over the iTunes price is more than fair for a record this good. If you want to prove that you're nicer than I am, I would encourage you to pay more. Of course, they won't hold it against you if you pay nothing for it as far as I know. Either way, you can get it in high quality 320K mp3s or FLAC or both if you're feeling ambitious. Get it, familiarize yourself with it and hit up their show on Saturday if you know what's good for you.

A cannonball waiting on a fuse

 I'm not saying that writing this review is one of the main motivating factors for having started this blog in the first place, but I'm not NOT saying that either. Either way, I've been putting it off for far too long, so here we go...


Sherree Chamberlain is the most phenomenal artist you've never heard of.



Ok, that's actually not fair. She's phenomenal whether you've heard of her or not, but you get my point. This lady is based out of Oklahoma City (MY TEAM!!!) and has released what is easily one of the best records of 2009 and probably of the last decade, "The Wasp in the Room."


I have my friend and Oklahoma City music guress (that's a female guru and yes, I made it up) Tommie to thank for introducing me to Ms. Chamberlain's music, and thank her I do. Often. While appearing on her college radio program devoted to local music with my band, she threw one of Sherree's songs into the mix. It wasn't the sort of thing that clubs you over the head and makes you pay attention to it, but it was definitely more than enough to pique my interest.



Once I finally tracked down a copy of "The Wasp..." at Guestroom Records, I put it on my computer right away, but it was a couple of weeks before I finally sat down and listened to it start to finish. At the outset, I was captivated. By the end, I was destroyed. The record starts off with an arresting, verbose tale of an old bird in the twilight of his life (PROTIP: It's not actually about the bird), the arrangement of which only serves to enhance the already intense melodrama. The album ends with Sherree singing unaccompanied, unfurling a stark rumination on the sacrifices she feels she must make as an artist, though at times, it's hard to tell which parts are sincere or sarcastic (or maybe it's all just very sarcastically sincere).



Perhaps one of the things that makes this record work so well is that Chamberlain's voice has a very disarming charm about it which allows her already effective, well-crafted folk-pop songs to penetrate to your core. Case in point, "Circus, Dear," an extended metaphor built around the narrator's first terrifying experience under the Big Top, seems filled with a sense of genuine dread when put through the filter of Sherree's unmistakable voice. The character seems inconsolable as she beseeches "Pray for me." Equally effective is "If You Don't Love Me" which essentially ends the first side of the album (Sherree, if you happen to stumble across this: HINT HINT!!!), where she sings from the perspective of a hopelessly heartbroken man (I think) whose plight is only made all the more gut-wrenching by her flawlessly fractured delivery; a song that I can sympathize with so completely that I'm almost ashamed to admit it.



I'm not asking you, I'm telling you to go to Guestroom in either Norman or OKC and pick up a copy of this record. Like, now. And if you're regionally impaired, there's always iTunes and Amazon.


*edit* Author's Note: This post originally contained streaming audio examples which have been subsequently removed. That's what happens when Mark Zuckerberg feels the site that hosts your files is more valuable to him than to you. YouTube still has plenty of her music up though, so you can always listen there for further clarification.

You've got disaster on your mind

Yet another post prompted by a fantastic concert. Friday night I got to see The Besnard Lakes for the second glorious time, and it was everything I could have hoped for.


The Besnard Lakes - Devastation

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My friend Mr. Scotty B introduced me to this band with the track above. While this show focused mostly on material from their most recent album, "The Besnard Lakes Are the Roaring Night," they still played all of my favorite cuts from "...Are the Dark Horse" with nearly flawless execution, including "Disaster" and "You Lied To Me."


The Besnard Lakes - Like the Ocean, Like the Innocent Pt. 2 - The Innocent

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"...Roaring Night" is mostly in the same vein as "...Dark Horse" but the Lakes let the songs breathe a bit more this time around. The crescendos last a bit longer, the dynamic contrasts are a little wider and all in all, the record is more epic in scope. Songs like "Land of Living Skies" and "Light Up the Night" start almost imperceptibly and build to enormous finishes, taking you on a journey that gets more and more exciting as it nears its end. Jace Lasek's urging "Run and ask her to stay / As she's walking away" in the penultimate track becomes a fitting analogue to the feeling one gets at the end of the record. You don't want it to end.


The Besnard Lakes - Light Up the Night

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Thankfully, one of my favorite things about this band, their vocal harmonies, have only improved with time, having grown more lush and powerful since the last go-around. Even live, all four members get into the act, conjuring up gorgeous block harmonies that would likely make Brian Wilson proud and Fleet Foxes maybe a little bit nervous. If you can catch them on their current tour, do so. In any regard, do something nice for yourself and pick up "The Besnard Lakes Are the Roaring Night" when you get the chance.

Don't Look Back, Press On

I don't know which sucks more: finding out that a band I love broke up months ago (I'm looking at you, Harlem Shakes), or finding out that a band I love is breaking up in the near future, are currently on their last tour ever and are coming nowhere near me. Neither is some cataclysmic event, but both are kind of crappy.


Isis - Backlit

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Isis (the latter case above) is calling it quits after over a decade of making great music. For those of you who don't know, Isis in my mind has sort of become the rightful heir to Tool's throne. They've come to play a breed of heavy, dense not-quite-metal that's expansive and a little psychedelic that has been branded by some as "post-metal." Metal loving elitists will tell you that the last good album these guys made was "Oceanic" but disregarding the impressive body of work that came after is doing oneself a disservice. Yeah, Aaron Turner's singing isn't very impressive, but the band's sense for space and textures take them above and beyond most other bands operating in the same mode.


Isis - In Fiction

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I guess my first exposure to Isis came from my friend Alex. We listened to "Panopticon" on the way back from a trip to Tulsa and I was immediately hooked. The unique rhythmic drive coupled with the crushing heaviness of the guitars and Turner's tortured bellowing grabbed me right away. I loved the way they created dense, distorted textures, yet still managed to sound open and harmonious and were able to turn on a dime between this sound and shimmering clean or ambient passages.


Isis - Wrists of Kings

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I was fortunate enough to be able to see them at The Conservatory when they were touring behind "In Absence of Truth" which is still my favorite of theirs to date. Jesu was supposed to open for them but they were unable to get their visas in time to join them on the first leg of the tour. After almost being literally deafened by Torche, Isis brought their perfect sense of dynamic contrast to this small club and the show had to be experienced to be believed. Easily one of the best shows The Conservatory has ever put on.


Isis - Over Root and Thorn

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I'm certainly going to miss these guys, but hopefully the members' other projects (mainly Red Sparrowes) will continue to release quality material as time rolls on. I mean, it's not like anybody died or anything.

Quick odds and ends

The Ears Made Ready faithful will recall my post just over a week ago about Useless Keys. Well, it turns out that after lamenting about how there wasn't a physical release of their debut EP, they have made the CD available for purchase on their blog. $7 and they'll ship it to you anywhere. It's set up through PayPal, so get on it already!


Also, in the interest of expanding your reading horizons, my friend Grace has a blog where she talks primarily about fashion. Now, I'm not much of a fashionista, but you'll recall that her blog helped prompt my Lady Gaga post. And she's posted some other great things too. So, for those of you interested in reading a unique voice on fashion, art & etc., check her out. Full disclosure: She's linking me too, so if you like what you see, feel free to let her know who sent you.


Now, this wouldn't be an Ears Made Ready post without something to listen to, so here's a new SUNBEARS! track from their split 7" with MRENC (each band gets 2!). You know how much I love SUNBEARS!.


SUNBEARS! - His Little Head

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There are entirely too many links in this post.

Untitled #1

I try to keep things accessible around here. With little exception, I think most of the music I've posted about so far has been pretty tame. But every once in a while I run across something that I personally find to be extraordinary for one reason or another that I know isn't going to appeal to most people. This record is one of those things.


Fennesz & Ryuichi Sakamoto - Haru

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I tend to find things by accident. Such was the case with both artists who collaborated on this album, "Cendre." I first became aware of Ryuichi Sakamoto when I was perusing the Classical section at Barnes & Noble. I bought "Discord" after listening to samples, having taken an initial interest in it simply because the packaging was shiny (no, I'm not too proud to admit it). Sakamoto's music runs the gamut from cheesy electronic pop to film scores and serious "classical" compositions, "Discord" falling into the latter category and being one of my favorite 20th century compositions.


Fennesz & Ryuichi Sakamoto - Mono

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Christian Fennesz, on the other hand, was forced upon me by the kind folks over at Guestroom Records who were playing his album "Black Sea" in the store one day, prompting me to purchase it immediately. He operates primarily in ambient, electronic and noise styles, falling somewhere between Brian Eno and Merzbow or Lustmord (for the love of all that is Holy, DO NOT, under any circumstances, take this as a positive endorsement of Merzbow), though the sounds he creates tend more toward gorgeous soundscapes than jarring walls of noise.


Fennesz & Ryuichi Sakamoto - Kokoro

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So we get what they each do individually, but what does that mean for "Cendre?" Well, it means we get something very understated, special and beautiful. If I were to translate the sounds into images, I'd say it sounds like Frédéric Chopin floating with a piano on a very large piece of driftwood in a completely digital sea. The pieces are all fairly short, flowing from one into another without much fanfare, and it's all over before you even know what's happened.


Fennesz & Ryuichi Sakamoto - Abyss

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This isn't music for every occasion, mind you, but it is something unique and wonderful; something you can put on without distractions and lose yourself in. Sometimes the harmonic language is a little bit jarring, but it's mostly pleasant, drawing heavily on impressionist schools of composition with regard to the Sakamoto's piano, though much more sparse and sparing than many impressionist works. Fennesz' soundscapes rarely overtake the piano and the electronic elements become a perfect compliment to an already enjoyable set plaintive piano pieces. Highly recommended.

If you got the inclination, I got the dancing shoes

I was treated to a very nice surprise last night at The Conservatory (starting to see a pattern here yet?). I went out to see my friends, Radio Deception, who were outstanding. I've mentioned them once before, but didn't really elaborate. Basically, if you're a fan of stuff in the vein of Explosions in the Sky and Godspeed You! Black Emperor, but like the idea of them playing shorter songs, you'll dig these cats. I'll try to keep you posted on their future activities.


But alas, this post is not about them. This is about These United States. Being that RD was playing with The Gentle Art of Floating (also very impressive), I expected some more instrumental greatness. What I got instead was a delightful mix of extremely well written alternative country and indie rock. They remind of Ryan Adams' more upbeat stuff mixed with early Counting Crows (am I showing my age with that one?) and the tiniest possible hint of Modest Mouse. But that's just one man's opinion. You're free to make up your own mind...

These United States - Good Bones

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The two tracks here are off of their most recent effort, "Everything Touches Everything." I'm sure Jim and Dustin over at Size Records have secured some copies, and if not, there's always the easy way out...


These United States - I'm Gonna Assemble a City

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This is another record that falls into the category of "Really Awesome Stuff that Came Out Last Year that I Didn't Hear Until This Year." I'll probably have to make some sort of mega-post with a nice long list of all of those... eventually. Either way, if you enjoyed the tracks embedded here, you're really going to enjoy this record.

The Writing's on Your Bedroom Wall

If you live in the Oklahoma City area and have somehow missed the fact that 105.3 The Spy is back on the air, then get with the program. They've clued me in to some really great tunes over the past couple of months and I suspect that it could do the same for you.

One such song that caught my attention recently was "Is the Painting Changing," the titular track from the first and, so far only EP by Useless Keys. These guys hail from California and play a grungy brand of space rock, similar in some ways to Failure (if you don't know them, for the love of God, grab a copy of "Fantastic Planet" as soon as you can), but also drawing similarities in my mind to everything from Sonic Youth-type noise and indie rock to Battle of Mice-like, bludgeoning doom metal (though, admittedly more doom and much less metal).

Useless Keys - White Noise

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The only place you can reasonably get this right now is on digital music retailers like iTunes and Amazon's MP3 store. Their blog mentions a physical CD release limited to 1000 copies, so you may be able to sweet-talk them into mailing you a copy. I plan to do so because I really like this record.

Useless Keys - Is the Painting Changing (Explicit [he says the "f-word"])

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Dig on these tracks and just try to resist the urge to buy this. You will probably fail and, truthfully, that's for the best.

Getting Way Behind

I'm not quoting anyone here. Seriously, I've been neglecting my blogular duties. Yes, I'm aware that "blogular" is not actually a word.


I have several write-ups planned on several different wonderful artists, but in the meantime, here's a list of upcoming concerts in the Oklahoma City metro and surrounding areas which I recommend attending (listed because SOMEONE complained that they need more notice about these sorts of things). I'll be at most of them.


Sunday, May 9th, 8pm
The Conservatory in OKC
Cost ???
These United States, The Gentle Art of Floating, Radio Deception


Friday, May 14th, 9pm
The Opolis in Norman
All Ages, $10 (add $2 if under 21)
The Non, Student Film, Mayola and Native Lights (Members of Unwed Sailor, Ester Drang & Callupsie, all excellent groups whose members are making something else which is also excellent)


Friday, May 21st, 8pm (doors @ 7)
Cain's Ballroom in Tulsa (did someone say "short road trip?")
The Besnard Lakes w/ Stardeath and White Dwarfs


Saturday, May 29th, 9pm
The Opolis in Norman
All Ages $7 (add $2 if under 21)
Samantha Crain CD Release Show!!! w/ Student Film, Zeb Dewar & the Fed and Brine Webb
(Deftones are playing the same night at the Diamond though...)


Thursday, June 17th, 6pm Doors
Diamond Ballroom in OKC
Cost is irrelevant
mewithoutYou, David Bazan and Rubik


Monday, June 21st, 6:30 Doors
The Conservatory in OKC
Cost ?
Lovedrug w/ All the Day Holiday and 2 local bands (one of which may be mine if I play my cards right)


And, for good(?) measure


Wednesday, June 21st, 8pm Doors
The Conservatory in OKC
Anal Cunt (apparently, Seth Putnam hasn't killed off all of his brain cells yet)


There you go. See you at the show(s)!

An Accident Waiting to Happen

It's taken me a while to get this one written; partly because I have a great respect and admiration for this artist and partly because I wanted to get the artist's clearance (an Ears Made Ready first!) to do this post at all. Well, it appears I won't be stepping on anybody's toes with this one, so away we go.


Those of you who have been reading this blog or know me personally know that I'm somewhat of a Longwave fanatic. "The Strangest Things" rocked my little musical world when it was released seven years ago and I've been obsessively tracking down physical copies of their entire recorded output ever since (I believe I only lack a Big Star tribute album which they appeared on with Nada Surf around the time "Endsongs" came out). So, it should come to you as no surprise that when word was out that lead singer and principle songwriter Steve Schiltz was going to release what was essentially a solo project on the heels of the spectacular "Secrets Are Sinister," I nearly jumped out of my skin with excitement.


Hurricane Bells - This Year

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The story goes as follows. Schiltz had several song ideas that he had been kicking around off and on for some time that didn't quite fit with the rest of his band's material. The plan was to record it all, cobble together an album and release it independently without much fanfare. Along comes his manager, asking if he has anything that could be used "exclusively." A few edits and months later, he finds out that his little ditty "Monsters" is going to be used during a big moment in the movie for "New Moon," the second installment of the Twilight saga. Suddenly, Schiltz finds himself with what is to become a pretty successful song and no proper band with which to back it up, quite literally by accident. He put the finishing touches on the album, did a little web surfing to find a suitable band name and thus, Hurricane Bells was born.


Hurricane Bells - The Darkness Is So Deep

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What we get is a record that sounds anything but cobbled together. Armed with little more than his MacBook and a Pro Tools Mbox recording interface, he has created what is one of the most criminally overlooked albums to come out last year and what may be the most varied album of Schiltz' career. The album opens with the understated eruption of "This Year," similar in some ways to his previous, guitar driven work, but still something fresh and unique. Throughout, we get hints of the post-punk shoegaze sound he has made his own over the years, but this record relies more heavily on acoustic guitars, scaled back atmospherics and the undeniable strength of Schiltz' songwriting, which has been honed and improved upon greatly over the past decade. Bits of "Tonight I'm Going to Be Like a Shooting Star" harken back to some of the best moments from "Endsongs" and we even get little tastes of alt-country and folk mixed into this deliciously intoxicating indie-pop cocktail, especially on "Freezing Rain" and "The Cold Has Killed Us."


Hurricane Bells - The Cold Has Killed Us

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Honestly, this post should have come much sooner. This is the perfect record for a snowed in weekend, which probably would have been much more useful information had I posted this back in November when it was released digitally. Regardless, this is a fantastic album. Having been fortunate enough to attend a Hurricane Bells show in Tulsa this past week and finally shake the hand of the man whose music has impacted me on a personal level more than nearly any other contemporary artist with few exceptions, I am glad to say that it couldn't have been made by a nicer guy. I wish Steve the best in this new endeavor, no matter what that may or may not mean to future Longwave release schedules. 


Physical copies of the record haven't yet been delivered to record retailers, so the only place to purchase the album is online or at an upcoming show. I'll leave you with the video for the song that got this snowball rolling. Fortunately, there's not a vampire to be found. Special thanks to Steve for green-lighting the use of his music in this post.



Hurricane Bells - "Monsters" Music Video from Hurricane Bells on Vimeo.