John Fullbright: Folk-rock straight outta Okemah
This publish has been updated. See specifics at bottom.
NORMAN, Okla. — It’s difficult to assume of any city on the face of the planet that casts a bigger shadow above the occupation of an aspiring folk-rooted singer-songwriter than Okemah, Okla., the town where 24-year-old musician John Fullbright was born and raised, and which — one hundred many years ago come July 14 — was the birthplace of a single Woody Guthrie.
“When I get asked what it is like to develop up in Woody’s hometown, I say it is sort of like living up coming door to a neighbor you don’t know something about,” Fullbright stated in his folksy eastern Oklahoma drawl. “I’m just now starting up to figure him out. I’m a bigger fan of his writing than his music. I like his books and the stuff he wrote for the paper. But it is kinda hard to listen to him sing.”
On a current spring day, he’d accepted the invitation of University of Oklahoma English professor Susan Kates to talk about how his Oklahoma roots figure into his songwriting. Kates said she loved the literary quality of his music. In between inquiries from students, Fullbright served up a handful of his songs, many of them from his preternaturally self-assured debut studio album, “From the Ground Up,” due Could 8.
He’s supporting the album with a tour of about two dozen shows, such as a Could 10 quit at the Hotel Café in Hollywood, in which he shares the bill with Gurf Morlix, and a mid-July appearance back property for the yearly Woodyfest salute to Okemah’s favored son, which runs July 11-14 this yr. In March, he also played several showcases at the South by Southwest music festival in Austin, Texas.
Progress Report: Frank Black
Name: Grand Duchy
Progress Report: Frank Black chats about the new Grand Duchy album, Let the Men and women Converse.
Allow the People Communicate is the 2nd full-length album from the husband/wife duo of Pixies frontman Frank Black and his wife, musician Violet Clark. The album is an electronica-tinged collection of pop songs in which Clark will take the leading function. Released earlier this month, the album has proven divisive among critics and enthusiasts, prompting a surprising online response from Black himself. (“It looks to be a sticking point for some reviewers, that Grand Duchy is not the Pixies … We could have told you that.”) It is correct, Grand Duchy is not the Pixies (for better or worse, it is up for you to make a decision), but they ARE a band in their very own proper, and Allow The Men and women Converse is more evidence that the duo would seem to be having a great time making songs and art and, it would appear, not trying to take themselves as well seriously. I spoke with Frank Black about how the new record came to be and why often it is not needed to be in the driver’s seat.
STEREOGUM: It’s been a small more than three many years given that the final Grand Duchy record. Sort of a long time.
FRANK BLACK: Yeah, I guess so. Some days it does not seem to be that extended. Some days if feels a lot longer.
STEREOGUM: How did this record come with each other? Did you perform in fits and commences in among pursuing other projects? How do the two of you usually operate?
FRANK BLACK: I do not know if we have a usual way of functioning. But, the way we were working ahead of on Grand Duchy was … properly, we had youngsters type of coming out of the womb at the time. So, we had to juggle all that variety of stuff. But, I feel that the initial record we did was that we just sort of set up to have enjoyable. The far more we did it, I think frankly, if I can say so, I think Violet grew to become a lot more ambitious. It didn’t turn into just like possessing fun at the one particular-off or a thing or just an occasional factor. When we were finished with the first record, it was like, Okay, so let’s do this following record. Come on, Charles! Regrettably, I was active with the Pixies on tour all of the time. She was variety of going coo-coo, waiting on me to get home from tour. Then, at some point, 1 of us figured out, properly — Why do not you just begin doing work on the record? I don’t have to be there. I assume at some point I stated to her, “You know what? You have got a lot of opinions about things. And I’m gone a great deal appropriate now. Why don’t you just produce the record? And just manhandle it to the end?” At that point, I assume it became of wonderful relief to her since she could in fact genuinely express herself without having bouncing it off of me or no matter what. And it became a fantastic relief for me … since I wasn’t the “co-chair person” so a lot, and I could just be the in deferential individual -– and just let her have the vision. Ya know, I’ve been at the helm for several a record, so It was nice to not be the captain.
Progress Report: The Twilight Sad
[EDITOR'S NOTE: The Twilight Sad's most recent LP has been out since February this Progress Report has been on a crashed hard drive since just before that. Now that Cole's harddrive is back in commission, we thought we'd run this ProgRep due to the fact the Twilight Unhappy deserve it. Let's go!]
Name: The Twilight Sad
Progress Report: Long-lost interview with The Twilight Unhappy about this year’s exceptional No One Can Ever Know.
Earlier this year I had the likelihood to talk with the guys from The Twilight Sad about their (then) forthcoming third album, No A single Can Ever Know. Following a couple of failed attempts, I was sooner or later capable to conduct a pretty 3-way Skype conversation (me in NYC, vocalist James Graham and guitarist Andy MacFarlane every in various parts of Scotland). I was pleased to speak to the band due to the fact I believe they are superb and they have constantly appeared like extremely sweet guys (despite the ever-present gloom that hangs above most of their music). However, my interview with the band was seemingly lost forever a number of days later on when my trusty difficult drive died a sudden and very unceremonious death. Now, thanks to the kind individuals at Tekserve, the interview has abruptly been resurrected from electronic death. Even although the record has now been out for a couple of months we’re running the interview because A) the record is truly very good and may have slipped below some people’s radar and B) it is not the band’s fault that my tough drive decided to give up the ghost. The band played a string of SXSW dates last month and is at present generating their way across Europe, but here’s hoping they make it back to the states sometime in the fall. In the meantime, go acquire their record. It is excellent.
STEREOGUM: Exactly where are you guys?
ANDY: I’m in the nation right now, exactly where are you James?
Revocation Talk Latest Album ‘Chaos of Forms,’ Their Music Idols + More
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Revocation are one of the most exciting metals bands on the planet right now. Showcasing a blend of thrash, death and top-shelf musicianship, the band have been able to go from playing local halls in their home town of Boston, to touring with Children of Bodom.
We recently spoke with frontman Dave Davidson, bassist Anthony Buda and drummer Phil Dubois-Coyne about topics such as their new and critically acclaimed album ‘Chaos of Forms,’ their experimental jazz-fusion bridge in ‘The Watchers,’ the musicians who inspire them the most and much more.
Check out Loudwire’s exclusive interview with the face-melters of Revocation:
What was the recording process like on ‘Chaos of Forms’ compared to the last albums?
Dave Davidson: It was a little bit different because we recorded in between tours ‘cause we were so busy. It was just tour after tour on the road so when it came time to do ‘Chaos of Forms,’ we had a bunch of other tours lined up. So it was like we recorded the drums, left for tour, came back, recorded some guitar and bass, left for tour, came back and finished it off. It was kind of a unique process, we got to step back from it each time and really listen to the performances and spend more time with the record, so that was definitely a different thing. Other than that it was recorded with Pete Rutcho from Damage Studios, so that was a familiar aspect of the record.
Progress Report: Dirty Three
Name: Dirty Three
Progress Report: Warren Ellis — one third of iconic trio Dirty Three — discusses the making of the bands most recent record, Toward the Low Sun.
Dirty Three have been making records for nearly 20 years, which is certainly no small feat for any band. That they have managed to make records while following such an unconventional path makes their longevity all the more interesting. Over the years Dirty Three’s instrumental music has continuously evolved, becoming increasingly more refined over the course of nine albums. A sanguine mix of guitar, violin, and drums that draws on elements of classical, folk, and the blues, they have an aesthetic that is instantly recognizable as explicitly their own. Earlier this year the band released Toward the Low Sun, a beautiful addition to what is already an iconic body of work. I recently had the chance to speak with violinist Warren Ellis, who explained the complications involved with being in a band made up of busy musicians who all happen to live in different time zones.
STEREOGUM: What is the creative process like for Dirty Three? How do you write songs?
ELLIS: Well we have an obvious geographical problem in that we all live in a different city on different continents. That’s kind of been the case since the late-nineties, so we’ve just found a way to adapt and work with that. I don’t live in the same city with anyone I play with, actually. The closest person I have is probably Nick Cave who’s a couple of hours over the pond from me. Yeah, I don’t live near anybody. I don’t know what that says about me. But every band — Dirty Three, The Bad Seeds and Grinderman — we all live in different places. A lot of bands work like that too, you just find a way to work around that. Dirty Three were never a kind of band that — even when we lived in the same city we didn’t get together and rehearse. Jim and I, we used to meet up and play pinball machines a lot, religiously, you know nightly we’d play till all hours of the morning, but we never rehearsed ever. We were never a band that rehearsed once a week and then decided to go out and play a trade because we were ready. We had one get-together in my kitchen, got together five songs, and we played them that night and made them really long because we had to play for three hours. The next rehearsal we had we recorded it and it became Sad and Dangerous. We were never the greatest at sitting down and practicing. We discovered our sound playing live and then we developed that playing live. From the start we were always playing at least once a week and that quickly became twice a week and then we were suddenly touring eleven months a year seven nights a week. That’s where we were doing all the rehearsing and getting paid for it. It was the time, you know, and the position that we were in. So I guess even if we all lived together in the same city, we wouldn’t even know what to do. The only frustrating thing about this is that when — for instance making this album — we tried twice to make it since we put out the other album. It just didn’t work and we kind of got spooked. We went and did a few days and the ideas didn’t really seem to go anywhere. They didn’t feel like they’d moved on from anywhere else, and re-organizing that can be kind of problematic and it can take a couple of years to eventually get back — not just to the same place but to be in the position to do it. Jim’s been busy playing with a bunch of people, with Cat Power and he was playing with Bill Callahan a while and Will, he’s been doing different stuff and I’ve been doing different things since the last album came out, whether it was Bad Seeds or Soundtracks or Grinderman. And we all have lives, so. I guess we just take the moment when we get it. We’ve always been like that. Just seize the moment and see what happens. We’ve always written stuff as a group. Some people will come in with ideas and then we kind of sit down and work out what to do with them and the Dirty Three has always been about the way that we play together. It sort of determines how the music ends up.
STEREOGUM: I’ve always wondered how much of it comes out of pure improvisation.
ELLIS: Well there’s an aspect of that — certainly there’s improvisation going on and when we play live and everything — if you know our songs you should be able to whistle along or at least tap your toe. It’s not like we do such abstract versions that they’re unrecognizable. We don’t really have anything in common with the free-form improvising outfit that just close their eyes and play whatever they want. We come from a kind of punk rock or rock and roll background and there’s always a basic structure. We also like the kind of freedom that improvising lends itself to, and when we started out being an instrumental band by default because nobody could sing, and having those instruments because that’s what we had, the one thing we all realized from the first practice was that we really liked the space we all had to play with him. We had this very different place to work in, and it was fantastic because everyone could just play as much as they wanted. In a lot of bands, the music doesn’t really get a moment to develop because nobody was like “Hey, the lyrics come in now.” In a lot of bands, the music doesn’t really get a moment to develop because there’s a lyric going on and that’s what lyric-based music is about. It’s quite often an accompaniment. And we love that idea of not being an accompaniment to anything. It was so attractive to take that out into the general public back in the day, in the nineties when we started out it was just so great, liberating and very unifying for the three of us. It was like we had gone to war or something, it was great. You’d kind of go out there and you’d kind of just get people head on, and it kind of worked out really quickly where they either embraced you or they through things at you.
‘American Idol’ alum Haley Reinhart releases video for ‘Free,’ talks about her upcoming album
Last week, American Idol alum Haley Reinhart, the bluesy 21-year-old Chicago native who came in third place in Season 10, released her debut single “Free,” a hopeful breakup anthem set to a jazzy, thumping piano.
Now she’s got a snazzy new video to go along with it. Reinhart, who stopped by the EW offices earlier this week to chat about her new single and upcoming album, worked with director Christopher Sims to achieve a look that was both “very retro and modern.” Sims set the video in a vintage 1950s diner and “kind of put his spin — literally — on things,” Reinhart jokes.
The clip features our favorite growler in an array of throwback outfits pleading with her man, “I want to be free!”
Well, sorry girl, but he just really likes you (and those legs) — this breakup may take a while. Check it out below:
If you’re a fan — and if you like acts like Duffy and Fitz and the Tantrums — you should be excited for Reinhart’s new album Listen Up, due on May 22. She previewed a few of the new tracks for EW staffers: a brassy B.O.B. collaboration called “Oh My,” a tender ballad, “Undone,” and a smooth neo-Motown ditty, “Wonderland.”
We asked Reinhart about “Free,” her upcoming album, Idol, and a whole lot more. Here are some highlights from our chat:
Demi Lovato Reveals She Cut Herself Since Leaving Treatment + More on ‘Stay Strong’
Mark Davis, Getty Images
Demi Lovato‘s poignant ‘Stay Strong’ documentary aired tonight (March six), and if you were expecting feel very good fluff, then you thought incorrect. This unique was not a optimistic puff piece about how Lovato’s lifestyle is roses and unicorns because leaving treatment method. In simple fact, the doc hones in on how recovery is a continued, every day battle for the teen queen as she struggles to keep on the appropriate track. There are no days off or finish lines in recovery.
The teen admits that she’ll be in recovery for the rest of her daily life, saying, “I can not tell you that I haven’t cut myself considering that remedy.” It is nearly also revealing, but this is Demi Lovato we’re talking about here. Her publish-remedy PR campaign, in which she mentioned her problems, embraced her new part as the voice of a generation and owned her problems, was not a publicity approach to save her image. It was Lovato in survival mode, feeling responsible for others dealing with the exact same troubles.
Lovato says that her day-to-day battles are two-fold: attempting to remain in recovery and making an attempt to remain fit. She hated getting christened a part model when she first burst onto the Disney scene, when she was self-medicated, miserable and couldn’t understand why any individual would want to emulate her. She made the decision to take her guilt and shame out on herself through cutting. Her voice cracked when she revealed that and a lump formed in our throat.
Aside for speaking about songs (“If you took away music, I wouldn’t have a purpose to reside. Correct story … it runs in my veins”) and her ambitions whilst being attended to by stylists, Lovato reveals how her breakneck schedule of “tour, Tv present, film, album, repeat” was some thing that she loved, but it was also what sent her off the rails. “This is when it went, perhaps, probably out of control,” she mused. “We kept placing Band-Aids more than it. It actually ended up driving me insane.”
See what we mean about this specific getting raw?
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