The Plymouth indie folk-rock singer-songwriter credits the late Queen frontman with inspiring his new single, “Youth & Danger,” which blows past the traditional 3.5-minute mark.
“I recently watched the ‘Bohemian Rhapsody’ movie, and they were telling Freddie Mercury how the song, ‘Bohemian Rhapsody,’ was way too long to be a single,” said Matt Sauter, aka Adventures with Vultures. “He’s like, ‘Fuck you, if I want a 15-minute single, then I’m going to put a 15-minute single out.’ Then, I was thinking about ‘Youth & Danger,’ and I said I’m just going to make it one long song.”
Adventures with Vultures’ latest single, the alt rock, indie folk-tinged “Youth & Danger,” clocks in at 7.5 minutes and originally started as two separate songs. During live shows, Sauter and his bandmates brother Dan Sauter (bass), Jon Staten (drums) and Jimmy Showers (guitar) would merge both songs since they’re in the same key.
“The first part of the song, ‘Youth,’ is about my grandma. I wrote that song about a week after she passed away, and it was one of those songs that took me not even 30 minutes to write,” Sauter said. “I also decided to write a song, ‘Danger,’ about how I was growing up with drinking, smoking, partying and girls. My brother is in the band, and he was like, ‘Blend the two together, man,’ and the name stuck.”
A gorgeous track, “Youth & Danger” opens with a quiet acoustic guitar solo while a slide guitar echoes in the background. This complementary guitar work sets the stage for a quiet, reflective tune as Sauter sings in a raspy voice, “Well, heaven’s gates won’t let me in/When I die I’ll guarantee they’ll sing so they can come down.”
A set of quiet, delicate cymbals crash in response to Sauter’s solemn tone – “They married young and they raised their kin/They had two young daughters and my mother Kim/And a son named Joseph/But oh I cry every time I sing this song.”
With deep synths, quirky lyrics and funky basslines, Tauri hits an indie pop bullseye on her latest single, “Time 2 Kill.”
The 3.5-minute single eloquently weaves accessible elements of indie pop and R&B with avant-garde electronic rock to forge a growing experimental sound emanating from the West Coast.
It’s akin to combining the mainstream appeal of Lorde with the progressive, industrial sounds of Muse and Nine Inch Nails. Throughout “Time to 2 Kill,” Tauri creates a forward-thinking track devoid of pretense.
“We weren’t afraid to get really weird with this one, and a lot of people are responding really well to it,” said Nicole Orlowski, aka Tauri, who co-wrote the track with Alex Monasterio and Liz Gavillet. “This only encourages us to be super weird.”
Weirdness does run rampant on “Time 2 Kill,” but in a refreshingly lyrical way. The track opens with catchy lyrics – “Pen names/Switch blades/Turn real fast/But you’re driving in the slow lane” – and even references an “Easy Bake Oven.”
“It was kind of nightmare to put together actually because we were trying to put it out a lot faster than it ended up happening. We all sat down and spitballed it, and it came from this loose concept of a love story about a trust fund kid,” Monasterio said. “The idea behind the ‘Easy Bake Oven’ lyric relates to somebody trying to get something without actually doing the proper grownup work for it.”
“Time 2 Kill” also features vocals inspired by Bikini Kill and a heavy industrial synth section, which cleverly anchors the two indie pop sections on both sides.
“For such a period of time, we thought the song wasn’t going to function based on how our previous singles had done,” Monasterio said. “They have their moments definitely, but they’re much more contained. They have their tangents, but they don’t necessarily say ‘fuck it’ quite as much.”
Throwaway knows how to easily extract the spirit of “Evil Cooper.”
The Detroit art rock/no wave vocalist-guitarist musically summons the demonic alter ego of Dale Cooper from “Twin Peaks” in “Julep,” a brilliant six-minute track filled with raw guitars, deep distortions and dark feedback.
“I’ve always had this affinity for it because it has a very dramatic arc itself, and it’s oblique, enigmatic and strange. The affinity for that particular recording came out because I wanted to bring some guitar feedback to the end of the track, and we were recording it right in the middle of ‘Twin Peaks: The Return,’” said Kirsten Carey, aka Throwaway.
“You know those scenes where it’s just Evil Cooper driving in the car, the camera is focused on his face and you hear all these uncomfortable bumpy drones? When I was recording that feedback, I thought, ‘Oh my God, it sounds like Evil Coop.’”
In a sense, Evil Coop is the artistic and musical spirit animal of Throwaway, Carey’s alter ego who dons a paper bag. “Julep” is one of eight standout experimental rock tracks featured on Throwaway’s debut album “WHAT?” out tomorrow.
The National knows how to make an indelible first impression in Tree Town.
The indie rock quintet enthralled a crowd of nearly 3,500 fans during their first headlining show June 25 at Ann Arbor’s Hill Auditorium with Courtney Barnett.
It was their first appearance in Tree Town while supporting their latest and eighth studio release, “I Am Easy to Find,” which features memorable collaborations with notable female artists and musicians.
Bathed in brightly colored lights and flanked by two large screens displaying Impressionist-inspired artwork, The National opened their nearly two-hour set with “You Had Your Soul with You” and featured Dianne Berkun Menaker, founder and director of the Brooklyn Youth Choir, as a brilliant guest vocalist.
Lead vocalist Matt Berninger sipped a beverage from a red plastic Solo cup and joked with the audience throughout their set as twin brothers Aaron Dessner (guitar, bass piano) and Bryce Dessner (guitar, piano) cued up the band before each song.
The band performed several introspective masterpieces from their latest album, including “Quiet Light,” “The Pull of You,” “Hey Rosey,” “Oblivions,” “Light Years,” “I Am Easy to Find” and “Rylan,” while Berkun Menaker provided lush harmonies and background vocals that meshed beautifully with Berninger’s.
About halfway through their set, Berninger and drummer Bryan Devendorf engaged in friendly onstage banter. The introverted Devendorf spoke fondly about spending time in Ann Arbor before the band’s show. In response, Berninger joked with his quiet bandmate about finally speaking to the crowd.
“Are you going to say something, Bryan?” Berninger asked laughingly. “Let me give you my microphone … Bryan barely speaks, you guys.”
Devendorf proudly responded, “I visited a pool today called the Fuller Park Pool, it was fantastic, and right across the street is U-M hospital, am I correct? I was born there in 1975, so I’ve come full circle.”
The National also came full circle musically while performing past fan favorites ranging from “Bloodbuzz Ohio” to “Graceless” to “Fake Empire.” No National live show is complete without at least one or two timeless tracks from “High Violet” and “Boxer.”
The band closed the show with a four-song encore and featured Berninger jumping into the crowd and interacting with fans during “Mr. November.” It’s a highly anticipated moment from any longtime fan of The National.
A fan also presented Berninger with his own U-M baseball cap to wear toward the end of the night.
“Thank you for making this for me. I will wear this forever,” Berninger said. “You want me to sign it? I’m not giving this back to you.”
Hopefully, Berninger’s new cap will make it easy for fans to find The National in Ann Arbor again soon.
The Detroit hard rock quintet draws inspiration from Kurt Cobain’s gritty guitars, Dave Grohl’s pounding drums and Layne Staley’s signature vocals on their new 3.5-minute fist-pumping ode to ‘90s grunge.
Together, they breathe new Motor City life into the original underground Seattle sound inspired by Nirvana, Alice in Chains, Soundgarden and Pearl Jam.
“I wrote that song a long time ago when I went to Ferris State University for a year. I had moved up there by myself, and I didn’t know anybody,” said Angelo Coppola, frontman for The Lows. “I got inspired to write that song based off the media, social media and people in general, and it felt like there was a loss of love in the world.”
“Love Xtinction” is The Lows’ first new single since releasing their self-titled debut EP in 2017 and the first recording to feature the entire band lineup, including Nick Behnan (guitar, vocals), Brandon McNall (guitar), Johnny “Wolf” Abel (bass) and Duane Hewins (drums).
“For ‘Love Extinction,’ we picked it up and transformed each part of it into being even better, while the original EP was pretty much me just playing every instrument,” Coppola said. “We’re also going to release another single, ‘Love Will Find a Way,’ later this month or in early August. It’s the opposite viewpoint to ‘Love Xtinction.’”
Both singles will be featured on a new two-song EP called “The Love Sessions,” which will be sold at the band’s upcoming shows. In addition to their new singles, The Lows have played an impressive roster of live shows with several iconic ‘90s bands, such as Stone Temple Pilots and Candlebox.
They’ll also play several shows this month, including the Uncle Sam Jam with Sugar Ray in Woodhaven on July 13, the Pig & Whiskey festival in Ferndale with Verve Pipe on July 19 and Tommystock in Lake Orion on July 26.
“We’re going to be playing a lot of shows with Sponge because we’re part of the same management team,” Coppola said. “We’re also getting on the bill for a couple of out of town shows in Ohio and Pennsylvania in August.”
Before playing with iconic ‘90s artists, Coppola formed The Lows, a wordplay on his first name, while attending the Detroit Institute of Music Education (DIME) as a music business student in 2017.
Initially a solo project, he wrote and recorded the band’s first track, “Purple,” an homage to Prince, for the DIME Sessions (Vol. 3) compilation album. With the success of “Purple,” Coppola teamed up with Chuck Alkazian to produce and record The Lows’ debut EP at Canton’s Pearl Sound Studios.
While growing up in Macomb, Coppola developed an ear for rock music thanks to his father, who’s also a musician. He started playing drums at age three and won a contest at age seven while playing KISS songs on the former “America’s Most Talented Kid” TV show.
By high school, Coppola developed an obsession with Nirvana, Soundgarden, Alice in Chains, Pearl Jam and The Smashing Pumpkins, taught himself guitar and learned how to write songs. He also played drums in a band called Shockwave and studied music business at Ferris State University before transferring to DIME and forming The Lows.
Two years later, Coppola and The Lows have played several metro Detroit music festivals and performed at Saint Andrew’s Hall and The Fillmore. Next up, they’re going to record more singles and possibly revisit their debut EP.
“I have 30 completed songs, and I have a home studio where I demo them out there first,” Coppola said. “We going to go single by single for the moment until we compile enough. We may even remix the first EP and put it together with a bunch of new singles that we have.”
The National will be easy to find Tuesday night at Ann Arbor’s Hill Auditorium.
The indie rock quintet will perform their first headlining show at the University of Michigan’s 106-year-old, 3,500-seat auditorium in support of their latest and eighth studio release, “I Am Easy to Find.”
Presented by AEG and The Ark, it’s the latest stop on The National’s current 20-date North American tour with special guest Australian indie rock singer-songwriter and multi-instrumentalist Courtney Barnett. The band last performed in Michigan at Detroit’s Mo Pop Festival in July 2018.
The National’s Matt Berninger (vocals) along with twin brothers Aaron Dessner (guitar, bass, piano) and Bryce Dessner (guitar, piano) and brothers Scott Devendorf (bass) and Bryan Devendorf (drums) will showcase new introspective songs tinged with dark, melancholy lyrics from their critically-acclaimed 16-track album, which dropped May 17 on 4AD.
The follow-up to 2017’s GRAMMY-award winning release, “Sleep Well Beast,” “I Am Easy to Find” features The National’s latest singles, “You Had Your Soul with You,” “Light Years” and “Hairpin Turns,” and harnesses their signature indie rock sound filled with driving guitars, eloquent pianos and pulsating bass and drum lines.
Interestingly, the album includes a short companion film with the same name and music by The National. Inspired by “I Am Easy to Find,” the film was directed by Academy Award-nominated director Mike Mills (“20th Century Women,” “Beginners”) and stars Academy Award Winner Alicia Vikander, who’s also featured on the album’s cover.
Along with the band, Mills co-produced “I Am Easy to Find,” which was mostly recorded at Long Pond, Aaron Dessner’s residential studio in upstate New York along with additional sessions in Paris, Berlin, Cincinnati, Austin, Dublin, Brooklyn and other far-flung locations.
The album also features beautiful collaborations with several notable female vocalists, including Sharon Van Etten, Lisa Hannigan, Gail Ann Dorsey, Mina Tindle and Kate Stables.
Both individually and collectively, The National’s members have been involved in countless artistic, charitable and socio-political pursuits. The group released “A Lot of Sorrow” documenting their collaboration with installation artists Ragnar Kjartansson that took place at MOMA’s PS1 and saw the band play their song “Sorrow” for six hours in front of a live audience.
The National are also behind the Red Hot benefit albums, “Dark Was The Night” and “Day Of The Dead,” and the compilation boxed set titled “7-Inches for Planned Parenthood.”
In 2013, the band saw the theatrical release of their documentary, “Mistaken for Strangers,” set to the backdrop of their 2010 release, “High Violet.” During their 16-year career, The National has sold more than 2 million albums in the U.S. alone.
As for The National’s special guest, Barnett will make her first Ann Arbor appearance in support of her second album, 2018’s “Tell Me How You Really Feel,” which “takes your vulnerabilities and everything that scares you and twists them until they fit into someone else’s hands.”
For her latest album and follow-up to 2015’s “Sometimes I Sit and Think, and Sometimes I Just Sit,” Barnett’s writing is focused on the internal. She’s turned her gaze inward to study how the world and people in it are affecting her.
Listening to “Tell Me How You Really Feel,” it’s easy to imagine Barnett figuring out, song by song, how to orient herself and remain steady in a place that’s rapidly shifting around her.
Last month, Barnett released a new single and video for “Everybody Here Hates You.” Recorded in late 2018 during a break in her “Tell Me How You Really Feel” world tour, “Everybody Here Hates You” is the closest Barnett has ever come to capturing the extraordinary weight and swagger of her live performance on a recording. The track is a blues-tinged behemoth with squalling guitars, organs and tambourines.
Following the release of her latest album, Barnett went on to play sold-out rooms and packed festivals worldwide. Over the course of just a few years, Barnett has become internationally renowned for her witty, ironic and distinctive song lyrics.
She’s won the Australian Music Prize, J Award for Album of the Year, APRA’s Songwriter of the Year and four ARIA Awards. Barnett has worked on music with Jack White, The Breeders and Jen Cloher as well as releasing the 2017 masterful collaboration, “Lotta Sea Lice,” with indie rock singer-songwriter Kurt Vile.
As part of the inaugural festival’s lineup featuring Sista Sarah & Pocket of Bones and nearly a dozen other artists, Banker will celebrate the musical legacy of Sorrels at Julius M. Kleiner Memorial Park in Meridian, Idaho.
A beloved folk singer-songwriter who passed away in 2017, Sorrels has inspired Banker and a growing generation of folk, country and roots artists with her iconic music, storytelling and social activism. During her nearly half-century career, Sorrels recorded more than 20 albums, including the 2005 Grammy-nominated “My Last Go ‘Round.”
“I saw a post that her son Kevin had put on Facebook about how they were going to have a festival, and he was thinking of having it around his mother’s birthday, which was June 24,” Banker said. “She’s one of my heroes, so I thought, ‘How could it hurt? I’ll message him the link to my music, and I said if you’re opening it up for people to play, I’d love to play.’ At midnight or one in the morning that night, I got a ding on my phone, and he said, ‘Yes.’”
Flabbergasted, Banker immediately joined the lineup to support Kevin Sorrels and his family in honoring his mother’s memory and music. During the festival, Banker will perform a Saturday night closing set and cover several Rosalie Sorrels favorites, including “Baby Rocking Medley,” “If I Could Be the Rain” and “Traveling Lady.”
“I feel just this debt of gratitude and closing the show that night will be a real tribute to her. It just feels like I’m going to Mecca,” said Banker, who originally met Sorrels after one of her performances at The Ark more than 30 years ago. “I also would really love for Kevin to play guitar on one of her songs during my set.”