“You have to do some soul-searching when given the opportunity to manifest your dream,” McCarthy says. “You’re free to walk the walk you always said you could walk.”
“If you struggle for a period of time to get something, there’s obviously a feeling of pride that comes when you achieve it,” says co-founder/bassist Eric Sanderson. “It’s very freeing, but like with any kind of freedom, it comes with a sense of wonder and confusion.”
Augustines was born upon the ashes of the Brooklyn indie rock band, Pela. That combo called an end to its collective trip in 2009, but founders McCarthy and Sanderson reunited to record a series of deeply personal songs chronicling despair, depression, and the untimely death of a close family member. They dubbed their intimate new endeavor, “Augustines,” which trademark issues required be appended to “We Are Augustines.”
“The name ‘Augustines’ resonates for us in many regards,” Sanderson says. “The minute we gave the project a name is really when it birthed itself. To have that name taken away from us, or even modified in a minor way, was always difficult. Now we’ve come full circle.”
“RISE YE SUNKEN SHIPS” – recorded and mixed by Dave Newfeld (Broken Social Scene, Super Furry Animals) – instantly set Augustines among modern music’s most compelling new bands. Songs like “Juarez” and “Book of James” touched a collective nerve, their dark subject matter refracted and then elevated by Augustines’ affirmative approach. Hailed by iTunes as 2011’s “Best Alternative Album,” “RISE YE SUNKEN SHIPS” was a critical and popular sensation, earning abundant praise and a fervent fan following. McCarthy and Sanderson enlisted the talents of British-born, conservatory-trained drummer Rob Allen and with that, Augustines became a fully-fledged band. The trio traveled the planet, performing innumerable headline shows, support sets, and show-stealing festival dates.
“We went touring together for two and a half years,” Allen says, “ Over two hundred shows…You can imagine the kind of bond you get from going on the road like that. You become a family.”
By the end, Augustines felt akin to Archibald MacNeal Willard’s “The Spirit of ’76,” bloodied but unbowed as they marched home from their long campaign. They paused to heal their dents and dings, with McCarthy embarking on an extended expedition that saw him visit such far-flung locales as Kenya, Turkey, Mexico, and Alaska. He eventually drifted back to the Applegate, California elementary school where he first learned an instrument. There he worked, observed by students and faculty as he put fingers on strings and pen to paper.
“I wanted to go back to the most stripped down form,” he says, “to when and where music first touched me. It was very soothing, having been at this for 12 years, to limp back to this small town grade school.”
Meanwhile, Sanderson and Allen worked on demos of their own, each still abuzz with ideas andexperiences garnered on the infinite tour. In late November 2012, Augustines reconvened for a month of woodshedding at Temperamental Recordings, a converted 19th century country church in Geneseo, New York.
“It was like a music factory,” Allen says. “You could just feel the creativity oozing. We’d been playing basically the same set for two years so it was just like an overflow of ideas, like lava from a volcano.”
Fully armed, Augustines next headed to Bridgeport, Connecticut to record with co-producer Peter Katis at his residential Tarquin Studios. Katis (The National, Frightened Rabbit, Interpol, and – most importantly to Augustines – Jónsi) proved the ideal collaborator, helping focus the band’s driven pace and ample vision.
“We needed to work with somebody that was mature and confident,” Sanderson says. “Peter is very regimented and organized. He’s level-headed and that helped us to be level-headed as well.”
From the start, the sessions evinced a decidedly more optimistic point of view that the one which fired their heartrending debut, with songs like “Nothing To Lose But Your Head” and the buoyant “Kid, You’re On Your Own” lit by positive vibrations and striking confidence.
“This was us moving on together,” Allen says. “It was wonderful to come through the other end and record a new record. It was a huge accomplishment and looks towards a brighter future for us all.”
“The depth and the place the first record came from is not something that is repeatable,” says Sanderson. “It’s not something one would want to repeat. We did everything we could — as artists, as men – to learn from that experience, to become better people and move on.”
Where their first record was created in relative isolation, “AUGUSTINES” was made “with the awareness that we weren’t going to be alone anymore,” says McCarthy. “This is us handing it over to those people that sang our songs back to us all over the world.
“The first record was obviously very personal,” he says. “It was really for us in many ways. There was almost an exchange – we turned from the interior and started considering some of the breathtaking moments that happened to us on the road, in different countries.”
Indeed, tracks like the thundering “Cruel City” and the album-closing “Hold Onto Anything” demonstrate a distinctly outward shift in sonic scope, interpolating the holistic experience of West African music into Augustines’ sweeping, multi-faceted sound.
“It’s not musicians up on a pedestal,” Sanderson – who studied music in Ghana – says. “The audience is singing, the audience is dancing, they’re all making music together..” That’s what we’ve been trying to do our whole lives as musicians, but only recently have we been able to embrace that.”
“It’s all about being inclusive,” McCarthy says. “Interaction is the lifeblood of what we think music is.”
Now based in Seattle, Augustines are eager to bring their brilliant new album to a worldwide audience keen for their return. If “RISE YE SUNKEN SHIPS” provided much needed catharsis, “AUGUSTINES” now takes this very special band to an altogether new plane, transcendent and triumphant.
Billy McCarthy (vocals, guitar)
Eric Sanderson (bass, keyboards, vocals)
Rob Allen (drums, percussion)
A is for Alpine, six friends from Melbourne who make bold, twinkling, sophisticated pop music. Their debut almost-self-titled record is a collection of vibrant songs that shimmer and shine with colourful harmonies and inventive melodies. Featuring the dual vocals of front women Phoebe Baker and Lou James, Christian O’Brien on guitar, Ryan Lamb on bass, Tim Royall on keys and Phil Tucker on drums, Alpine traverse diverse themes, ideas and sounds on the album, always assured, but never quite taking themselves too seriously.
No strangers to the benefits of shared ideas and the collaborative process, Alpine’s own methods for song writing reflect the strong and respectful working relationship they had with Hume. They take their time to write, with input coming from each band member as the process moves in a circular motion.
Since forming, Alpine have toured with the likes of Kimbra, Sia, Cloud Control, The Jezabels, The Naked And Famous and Matt Corby to name but a few, and have graced festivals across the country including Splendour In The Grass, Southbound and Falls Festival. They were invited to perform at SXSW in Austin, Texas in 2012 and surely must be able to claim some kind of record for playing 10 shows in a mere three days.
Phoenix have already started working on their follow-up to 2013’s Bankrupt!, singer Thomas Mars tells Rolling Stone. “The way we tour is pretty unique,” explains the frontman. “We go for two weeks, then we stop for two or three weeks. And when we’re back, we don’t really know how to take vacations, so we usually spend time on the record.”
The new project is still in very early stages, adds Mars. “It’s the beginning of something – the base of the pyramid,” he says. “Right now, it could go anywhere. It’s this moment of pure freedom. The possibilities are endless. It’s very exciting.”
In other Phoenix news, the band will appear on PBS’ series Live From the Artists Den on February 1st. The episode, taped last October, will show the band playing for 500 students in a high school gym in Austin, Texas. “It felt like we were in the ‘Smells Like Teen Spirit’ video,” Mars says. “The whole high school experience in the United States is very exotic for us. We actually thought about doing a whole tour at some point of high school shows, so this was sort of a test to see if it could work.”
Phoenix have a string of shows in the U.K. and France next week, followed by a break until early March, when they hit Australia.
Closing out a festival is no easy task, and Thomas Mars knows it. “Usually on Sunday night people are really tired,” the Phoenix singer told the Lollapalooza crowd last night, kneeling into the front row of a sea of people gathered for the French band’s superb main stage set. “This,” he said to the thousands still hanging on his every word seconds before his band’s ear-candy intro to “1901” kicked in behind him, “is something different.”
By the time Mars and his band took the Bud Light stage around 8:30 p.m., Lollapalooza had oftered up nearly 150 sets over the preceding three days. Phoenix, though, delivered the best performance of the entire weekend. The seeming ease with which the band played their weekend-topping set proved them to be undeniably worthy of the massive stages – and dollars – they now command.
Via Rolling Stone
Brooklyn D.I.Y. leaders mix punk ethics with pop songwriting
The quartet is comprised of two brothers (Alex and Ryan Levine) and their stepbrother (Zach Staggers), who’ve been playing music together since they were kids growing up in Brooklyn’s Bay Ridge neighborhood. The only non-relative, guitarist Matt Elkin, joined the band in 2008 after the brothers persistently sweet-talked him into it mere days before their first national tour. Since then, the So So Glos have formed a full-fledged North Brooklyn scene around themselves while honing their musical chops. Their second full-length, Blowout, was release on April 23rd through their own label, Shea Stadium Records.
D.I.Y. or Die: If you’ve ever been to an all-ages D.I.Y. show in Brooklyn, there’s a high likelihood the members of the So So Glos had something to do with it. First, they co-founded the beloved Bushwick performance space Market Hotel (now shuttered, soon to be reopened), then moved on to Shea Stadium, a bigger, badder venue that runs co-op style with help from all members of the So So Glos. The venues were created out of necessity – the band couldn’t get shows at first, so they created their own opportunities – but now the So So Glos are the ones dishing out advice to the baby bands looking to navigate the house show circuit.
Punk Ethics, Pop Songwriting: They describe themselves as simply rock & roll, and their simplicity is refreshing. Blowout is tight and well-crafted, with the guys name-checking 1960s Brill Building songwriters and Iggy Pop in equal measure. The album’s themes, on the other hand, are decidedly modern, chronicling 21st-century struggles with identity and technology in an earnest way.
New York, I Love You But You’re Bringing Me Down: The band’s perspective lies in its name, which originated as a reaction to the cooler-than-thou New York garage-rock scene of the early 2000s. “The term ‘so so glo’ originally was written into our song ‘Broken Mirror Baby,’ which was a self-critique of a whole generation of narcissists and egotists, inspired by the hip nature of New York City,” singer/bassist Alex Levine tells Rolling Stone. “It’s the apathetic vibe that we encountered when we first started the band, and it became a term that we called each other when we felt like we were being full of ourselves.” His brother Alex adds, “It’s a fight on pretending, but it’s also a self-awareness thing – a fight against your own ego.”