The NBTMusicRadio’s Top Singles/Tracks of 2014

and now the singles:

 

So here we go:

 

in 2014 we found that The PopSong is alive and well and in good hands from True Innovators rising up from all genres and musical tribes

singles 2014

 

Oh and the intricate AlbumTrack is in fine health too!

180 Plus-Minus – Young Once
179 Ramona Lisa – Dominic
178 Warpaint – Disco/Very
177 Just Shelley – Sweet Boy
176 Bohicas – XXX
175 Amine – Tawaraq
174 Afrikan Sciences – Need Want Have
173 Shilpa Ray – Lessons From Lorena
172 Sam Harrison Music– Ketamine Kim
171 Sky Ferreira & Ariel Pink – My Molly
170 Goldstar– Yesterday
169 Scott Krokoff– The Vow
168 Rival Boys – I’ll Believe In Anything
167 Anjali Ray– So Long
166 Cloud Nothings – Psychic Trauma
165 Reverted – Die My Saint
164 ROMAC– Robots
163 Lili Haydn– Tyrant
162 Kick Inside– Odessa Rose
161 Lacrosse – 50 percent Of Your Love

160 Aviators– Where I Belong (APO Remix)
159 Aubergine MACHINE– Call it Fate, Call it Karma
158 Mercy House – The Door
157 Banks – Brain
156 Andrew Cloninger – Discipline
155 Paul Bailey – You
154 TASITA D’MOUR– Change My Heart
153 Lucius – Nothing Ordinary
152 Vladimir Vorobyov – Gliding Over The Waves
151 John Zipperer & Friends– The Ballad Of Micah McDowde
150 The Crookes – Marcy
149 J’Rose– Cell Phone Heart
148 Sia – Chandelier
147 Abby Feferman Music– Mark My Words
146 Sir. O– Glimmer Of Hope
145 The New Pornographers – Brill Bruisers
144 Marga Lane– Aftershocks
143 KAT and the CANARIES – Close The Blinds
142 Neneh Cherry – Out Of The Black (ft Robyn)
141 Isrra – Indubstrial

 

140 208 Talks Of Angels– Blooming At Night
139 EMA – Satellites
138 Nikki Lerner– Curious
137 Guarded Jungle – So Unusual
136 Aaron English – X-Wing Drummer
135 Ify Jaegc– Who God Don Bless
134 Kendrick Lamar, “i”
133 Soulwinna – Work It
132 T. Gam – Do Only
131 Priests – Doctor
130 Alex Banks ft. Elizabeth Bernholz – A Matter Of Time
129 Swampcandy– 1000 Miles
128 Stefan Mørk – Why Angels Fly
127 Skriket– Black Magic & Vodoo Women
126 The Plastic Pals– Travelling
125 Magic Mountain– Drive
124 Marielle Ishkhanian – Cutting Board
123 Karen O – Rapt
122 Sylvan Esso – Play It Right
121 Ararur– Ela

120 Delta Moon– Nightclubbing
119 Just Walden– Romie Knows
118 Deers – Trippy Gum
117 Liesa Norman– Breathe
116 The Feel Bad Hit – Lend A Hand
115 Young fathers – Low
114 Sarantos solo music artist– Back and Forth
113 Royal Blood – Figure It Out
112 Seren Skies– Obscurity
111 Panophonic– I’m Disarmed ft Suzy Blu
110 EMA – 100 YEARS
109 Lyla Foy – Feather Tongue
108 Honeyblood – Super Rat
107 Nathalie– Play Reverse
106 Atonomic– 1000 Days Of Mystery
105 Neurotic Wreck– Without You
104 Alpha over India– One Last Chance
103 Sky Ferreira – Boys
102 Tideland– Edinburgh
101 Foreknown– The Truth About Flight, Love, and BB Guns feat. Catalina Bellizz

 

 

100 Origin-X– A Dream
99 JazzElle Music– Hourglass
98 Tennis – Timothy
97 Owls of the Swamp– Garden
96 Tea that burns – One stop away
95 Jana Pochop – Deepest Fear
94 Sabina – Toujours
93 Hudson Arc– Leave It Buried
92 Liz Johnson – Stay
91 Autumn Blaze – I Killed A Man
90 Amatus– Punk
89 Afterthem – Hidden Cameras
88 Jeffrey Dallet Music– Bye Bye Middle Class Blues
87 Late Cambrian– Golden Time
86 Easy Bear– Run Virginia Run
85 Pete Gioconda – The Time of Great Waste
84 Summer Day Rescue– Memory
83 Angel Olsen – Hi Five
82 Visual Poetics Music– Happy Mother’s Day
81 Micropixie– Testosteronica

80 Abel Moreno – Dark Experience
79 Dalibor Luptak – Beech Tree
78 Anda Volley– Laura Inside the Ghost Machine
77 Gumshen – Bait & Switch
76 Blee– Feeling Like A King
75 Tallulah Rendall– Shine On
74 Chuck Eaton – Private Sky
73 Carlos Wilde – Rok Ma Wurld
72 T.O – Smart Phoney
71 Happy Otherwise– Love Like Lightning
70 Justine Electra – This Could Be The Most Beautiful Noise
69 Nix ExploderaMeravs Acoustic Mirror – Breaking Waves
68 Marvelous Southstar– The Wait Is Over
67 Kate Tempest – The Beigeness
66 Yellerwood –Embraced by Remote Calls
65 Mint Royale – Ring (feat. Willem Dafoe)
64 Radio Drive– Footsteps
63 Damon Albarn – Heavy Seas Of Love
62 The Barcode Bandits– Bury Me
61 Evi Vine– My Hands Are Tied

60 The Stray Natives– CNN
59 Prozaktly SA’s Lekka
58 Sid Griffin– Elvis Presley Calls His Mother After The Ed Sullivan Show
57 The Cheek of Her– Another Guy I Buried in the Woods
56 JULIE DIANO– Why
55 AstroAttack– Searchlights
54 Gary Herselman and Die Lemme – Maak Haarself Mooi (with Valiant Swart and Paul Riekert
53 Birdeatsbaby– My Arms Will Open Wide
52 Trinity Ward– Evaporator
51 Dandan– Travelling Soul
50 Anna Calvi – Lady Grinning Soul
49 Kat Boelskov– Movies
48 CHARL– THE PLAYER
47 Mika Kobayashi– Boku no Osoushiki
46 TripleX2000– Just A Lil Bit
45 TV On The Radio – Happy Idiot
44 bell’s roar– StepUp StepBack
43 Zeerox– Devil’s Elbow
42 Piqued Jacks– Upturned Perspectives
41 Jeff Hedeen – Let’s Face It

40 Juleah– The Sixth And Seventh Moon
39 Andrew Kay – Lay Down Your Arms
38 I AM NOIZE x DESTRUKTO – OBEY
37 Static People– Stars Fall
36 Strange Fiction– Josephine
35 Sisyphus – Alcohol
34 Midget Submarine– Soylent Green
33 Bianca Alana– Distance
32 Kill Kasper– Gossip, Lies and Promises
31 Amberland– Swan Song
30 Anne-Simone – Fire Rainbow
29 Ceo – Wonderland
28 Suzy Blu– Blu
27 The Galleons– One Enormous Thread
26 Agenda Plex– Innerself
25 Kras and Bijvoet – Olivia Newton John
24 Gary Herselman and Die Lemme – Namakwaland (with Francois van Coke and the Kalahari Surfers
23 Alvvays – Archie, Marry Me
22 Evi Vine– Porcelain
21 Norman Salant– The Civil War

20 Gemstones In The Wreckage – Absent
19 Rubber Clown Car – She’s So High
18 REVEL 9– The Good Fight
17 Odd Cardinal– Isolate
16 Jeffrey Dallet Music– Dear Dayton OH
15 Die Heiterkeit – Kapitän
14 Kate Tempest – A Hammer
13 Genna Marabese– Masquerade
12 Radioactive X Girlfriend ( RxGF ) – Belladonna Dream
11 Snowday– Prickerbush
10 Polar Dust– Drown in you
9 Ages and Ages – Divisionary (Do The Right Thing)
8 Young Fathers –Get Up
7 Alt J – Hunger of the Pine
6 Betting on one– Sunrise Keeps Me Awake
5 Charlee Remitz– Flash Flash
4 FKA Twigs – Two Weeks
3 JULIE DIANO– Hit By The Bang
2 Warpaint – Love Is To Die
1 Dilated Academy– Black Soul

 

 

 

 

 

 

 

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The NBTMusicRadio ”Essence Of The Song”

NBTMusicRadio once again presents the finest new independent creators of that strange difficult sweet thing we call the SONG. From the First thought birth, to the final note laid down in the studio, we asked a selection of artists about their craft.

Once again Featured Artists brought to you by the wonderful folks at Hemifran An independent A&R, promotion and marketing company, based in the heart of Sweden,The Artists they represent range from the USA’s finest Americana/Country/Rock outfits, to Europe’s most talented singer/songwriters, and EVERYTHING in between.

All these artists and the songs they talk about can be heard every day on the NBTMusicRadio: 9 AM AND 10 PM New York Time

3 PM and 4 AM Berlin Time 2 PM and 3 AM UK Time (Australia/New Zealand plus 6 or 9 Hours on Berlin Time)

http://nbtmusicradio.playtheradio.com/
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And now without any further Chatter here are the Artists.

My Darling Clementine

www.facebook.com/mydarlingclementine.music

NBTMusicRadio: On your website, you mention how Elvis Costello’s ‘Almost Blue’ Provided a gateway into understanding, and perhaps more importantly, starting to love country music. It had the same effect on me, I realised that there was more to this music than the syrup soaked clichés, AOR stereotypes that the normal indie kid would run miles to avoid. Do you hope that the music you make as My Darling Clementine will do the same thing for a new generation, or is 2012 a very different time, what with music mags and websites constantly championing Country and Alt/Country as the saviours of modern indie pop? ( I notice that, also on the website; you stress that this is not a ‘parody’ record, which would indicate that you feel Country is STILL not being taken seriously)

MDC: It would be nice if it did, and i would be delighted, but i think these days more younger fans are aware of more genres of music and younger kids often look back in time for inspiration. Maybe in our day it was about the ‚‘moment‘ what was happening ‚‘‘now‘‘ as it was all so exciting.

When I first started down this country road, the likes of Uncut and Mojo were not even aware of the alt country thing, Uncle Tupelo, The Jayhawks had just come out, and it was still a genre waiting for a title. These days those magazines champion Americana, and so you get someone like Ryan Adams with an audience of guys ranging from 20 year olds to guys in their 50s and 60s.

The Parody comment was really aimed at the UK, where Country Music maybe still has a bad rep amongst those who only just see the surface. Lou and I are deadly serious about these songs and how we went about trying to re-create the sound and feel of those great country duet albums from the late 60s/early 70s. That said we are having a bit of fun with the look and the imagery, enjoying wearing the polyester!

NBTMusicRadio: You describe ‘ How Do You Plead’ as a collection of songs about ‘love, separation, bitterness and acrimony.’ In country music, the duet, specially the male/female duet has always been the perfect setting to create these themes. Why do you think this is?

MDC:  I guess it appeals to the voyeur in us all, the part of us that turns the TV down when we  gear a row going on nextdoorm so that we can eavesdrop on what they are shouting about.

Also a man and a woman singing to eachother is a very powerful emotional thing, more so, I think, than just singing out to an audience. Ot is a musical conversation, and as we all know, conversations can be polite, loving or often even angry and bitter, or just down right rude! Lou and I are perfecting the latter all the time.

Victor Camozzi

http://www.myspace.com/victorcamozzi

NBTMusicRadio: The title track of your new album ”Roadside Paradise” seems almost to be a lament for a not very polished past, can you tell us how this song came to be written

Victor: It’s a lament. It’s also a love letter. You stumble around for enough years and you start to realize it’s your warts that make you what you are, not your so called “strengths.” Somewhere along the line I figured out that imperfection is far more interesting to me than perfection. That’s true in a lot of ways. Take the people I talk to in bars wherever I go (Christ, I’m a veritable addict of barstool conversation)—my philosophy is that the dude with perfect teeth and a perfect job and the right brand of shirt can go fuck himself. I’d much rather meet the three time divorcee staring down another busted romance and wondering where it all went wrong. There is something honestly human in that. Beautiful in it’s falability. As for the origins of the song “Roadside Paradise”, I can’t tell you where it all came from, but I can tell you where it began. There is an old 24 hour diner not so far from my house in Austin. Once upon a time, it used to be a truckstop. But the town has grown up around it. Still, in the wee hours, when I’m there far more often than I should be, it attracts that uniquely American cast of drifters and underground highway ramblers, the cast offs and coulda beens, and it was there sitting in one of those old vinyl booths…thinking about the countless joints just like it that have always felt like home to me….that the first words began to tumble out on my napkin (penned in left over crayon if I recall). There’s something about a joint that can serve you chicken fried steak, scrambled eggs and gravy at 4:15am that just moves me in ways both idiotic and divine.

 NBTMusicRadio: The album has a big bar room band sound with more than a touch of bravado and sadness mixed with a hint of devil may care humour, yet its just the two musicians driving the tracks,what prompted you to use just yourself and Matt Downs, and what differences arise when recording like this as opposed to a full band.

Victor: Matt and I go way back. Waaaaaaay back. Back before I ever even got the balls to perform my songs in front of anyone other than my cat Picasso (RIP). Matt and I were buddies. Buddies who shared a similar vibe and a similar taste in music. Aside from being a damn musical genius, he was just a close friend. So early on he was the guy I played my songs for when I was starting out. For my first album, that evolved into us laying down some basic tracks, which I then took to Bill Small and Walt Wilkins and produced into “3 Peso Cigar” with a full band. But for the second album–“Roadside Paradise”–Matt and I got to messing around with some early tracks, and at some point he just looked at me after a couple whiskeys and said “Y’know…I think I might like to see this one through.” And that was enough for me. Matt gets what I’m going for…sonically and cosmically. It doesn’t take a lot of words. A couple hand gestures, a belch and a fart, and he’s nodding his head, good to go. I could add more musicians…and for the next album we may bring in a couple folks here in there…but adding too many cooks just creates more people I have to explain to. I’m just lazy enough (and smart enough) to lean on the musical telepathy Matt and I share and not question the good thing that I’ve found.

I See Hawks In La

http://www.iseehawks.com/

NBTMusicRadio: Dear Flash was inspired by a novel, ‘Divine Right’s Trip’ by Gurney Norman, How did that come about ? and how hard is it to install the essence of a novel into a four minute song?

ISHILA( Paul Lacques): The Whole Earth Catalog was a big part of my life when I was 17 years old, back in the1970s. The hippie movement in the U.S. had fled for the countryside, lots of small farmsand communes starting up in every state, and I wanted to be a part of that. The Catalogwas a compendium of farming/survivalist knowledge, everything from home birthing to geodesic dome making to hunting and composting. We recently found a copy of the 1974 Last Whole EarthCatalog, and Rob and I got immersed in Gurney Norman’s serialized novel “Divine Right’s Trip,” which appeared every few pages throughout the catalog. Gurney’s a fine writer, captures some very dark contradictions deep in the hippie/gypsy lifestyle, and we are pleased to have contacted him and made his acquaintance. He likes our music, which is quite a thrill for us.

“Dear Flash” is an imagined letter 40 years later, from protagonist Divine Right (DR), a kindof everyman hippie, to the cooler and more together Anaheim Flash, whom we imagine as having some idyllic mountain farm. DR has lived all the conflicts of the 60s onward, and wants to rest and grow a garden.

NBTMusicRadio: the cover of the album is either sunset or sunrise, though the underlying mood on a lot of the songs is a end of day weariness, acceptance, lament, very similar in mood to Springsteen’s Nebraska, (emotionally of course if not musically), there are exceptions, but what was it in the writing and conception that made this album in particular such a ”sunset/sunrise” record?

ISHILA( Paul Lacques): You’re right on all counts! We got lucky with the lighting, did the photo at sunset underbrooding skies, and it poured rain on us as soon as we were done. A beautiful afternoon.

The mood of the album is definitely one of battered souls accepting life as it is, a bit stripped of our activist/political stance of past recordings. It’s just where we’re at today, writing what’s on our minds, like all of our albums. Our previous songs were very influenced, willingly or not, by the darkness of the Bush administration and our urge to fight,however hopeless that fight might be.

“New Kind Of Lonely” is certainly the sunset to that era, with the irony that the Obama administration is a carbon copy of Bush, with perhaps an added layer of deceit and false promises.

So in a way we’ve thrown up our hands, given up on the American people and the fate of America, and are trying to live our lives as peacefully (and low carbon) as we can.

The preaching era is over for us, at least for the moment. The songs are far more personal,are actually about our own lives in some intimate detail, and that’s a big change for us.It is a sunrise of sorts. I’m not sure what the new day is, but it feels different. We feel great personal hope, but our apocalyptic views of the future are unfortunately intact.

Tom Rodwell

http://www.tomrodwell.com/

NBTMusicRadio: The album is recorded with no effects, edits or overdubs, would you call yourself a musical ‘purist’ or would you be absolutely horrified by that description?

Tom: Well on one hand, no I’m not a purist, since I like to blend and change my source material and influences, and I consciously experiment and improvise with the structure of the songs I work with. It all melts together into my own language of sorts – so it’s more like a raw and personal “style” than a collection of tunes.

But that in itself is quite a purist idea really. I’m a fan of the blues players who were a law unto themselves – like Skip James, Albert Collins and Fred McDowell. Each had their own unique characters, even if their songs could at first glance be drawn from the same well as another musician’s. Which goes to show that really blues is communal music that no-one owns, where inflection and interpretation – art – matters more than ‘skill’ or braggadocio. Look at Lightnin‘ Hopkins or John Lee Hooker – on the surface quite similar players, but with utterly different temperaments and ways of seeing, and utterly different lives. I only hope to be purist in the sense of trying to continue developing my own musical language, and follow my nose and be honest with myself. That’s all you can hope for.

 NBTMusicRadio: On the website you speak about the Blues as a dance form, does this come naturally from the traditional lyrics’ rhythm or does it only become obvious once the guitar and percussion is attached, and how does this affect how you approach the creation of a song?

Tom: The music comes first mostly; I typically start a song from a brief, blunt musical accent, and then think of what to sing on top of it. But sometimes the lyrics do suggest a phrasing, and it’s fun to experiment with it all. What happens if you take a lyric that conventionally works in a shuffle atmosphere, but lay it over a reggae-dancehall rhythm instead?

Tempo is important too – and because my right foot taps out the rhythm to all my songs, it has to start from there. So the feet lead the head! I’m always trying to get people to move to this music – surely that is what it is for, this feeling of warmth leading you out of the darkness. Plus if women dance, then men dance, then people buy beer and then musicians get paid.

 HungryTown

http://hungrytown.net/

 NBTMusicRadio: A few of the songs on the album are triggered by events within the world at large, A volcano’s Eruption, Moving into an old house and so on, but then the themes are pointed inward, become an exposure of the ‘internal’ as it were (The Title track could be about the inactivity of depression for example) and this mix is rather wonderful, so my question (‘at last!’ I hear you sigh) how do you create these personal miniatures, is it a long process of introspection, or does this balance come without thought.

HungryTown: Every song requires a slightly different approach, and I often experiment to find the one that works best. Over the years, I’ve discovered that I like to tell stories from the first person perspective. My characters tend to be fictional, but I use my own experience and perceptions in a way that might make those characters and stories more believable

Our songs usually begin with an idea—a tale we’d like to tell, or an event that we want to relate. Ken often comes up with these ideas.

 After that, I try to find the right perspective. This can sometimes happen quickly, but it may take months. I’ve always been intrigued by the year 1816—a volcanic eruption the year before created a thin layer of ash that encircled the globe. Enough light was blocked so that the temperature in some northern regions experienced winter conditions the following summer. At first, I envisioned a narrative poem set to music.

 I tried writing in the third person, but the result felt detached and academic. I couldn’t imagine myself singing such a song. At some point, I decided to turn away from delivering a history lecture, and instead made 1816 a setting for a fable. I told a story from the viewpoint of a pregnant young girl, who is promised marriage by her lover in a spring that never arrives. Once I got this idea, “Year Without A Summer” seemed to write itself, and the resulting lyrics were more fluid and much more natural to sing.

The process was similar with the song, “Any Forgotten Thing.” Ken came up with the title, and the idea of using an old house as a metaphor for loneliness. I really liked this idea, but couldn’t get a grasp on how to make it into a song, especially one to which others could relate. To this end, I tried to be loose with the metaphor, to leave plenty of room for listener interpretation. I waited a while, hoping for the right images to appear.

Eventually I began to picture a person’s hands becoming unreliable–maybe because they shake, or they’re arthritic, or whatever. I liked the idea of the body breaking down, like any old machine. So that was the first verse. For the second, it seemed important to incorporate time and solitude. For the person in the song, there’s no point trying to keep up with the clock, so why bother winding it?

 My favorite part of this song to write was the subject thinking about replacing the doorbell, if only to hear it ring once again. This image seemed to fit, and to show–hopefully in a subtle way–how much time has passed since this person has had a visitor. For the last verse, I wanted to deal with the issue of regret, because it seems as though that might be connected with loneliness. And I got the image of someone examining their memories or themselves the way one might rummage through old items tossed into an attic, trying separate the treasures from the trash. Finally, I wanted to suggest the possibility that this period of loneliness is only temporary–an in-between time that allows for self-reflection.

 NBTMusicRadio: I believe Ken worked on the Rebecca ‘solo’ recordings as well, so to both of you; what is the fundamental difference between those and Hungrytown?
HungryTown: The fundamental difference between the Rebecca Hall and Hungrytown recordings is basically the passage of time–performing and recording as a duo is something that happenedgradually for us. When we met in NYC many years ago, Ken was a rock drummer in about seven different bands and I was singing torch songs in Soho bars. I was not writing songs at all at that time, just learning to perform and do my own interpretation of standards.

Then, inspired by the 1997 re-issue of the Harry Smith Folk Anthology, I picked up a guitar for the first time and began to write songs based on traditional ballads.
My first album, Rebecca Hall Sings!, was recorded very simply on a Tascam 4-track. The songs were coming so quickly for me at that time, and I was just trying to get them down.Ken helped me with some basic arrangements, and wrote all the harmony parts. We were very casual about this recording; it was something we just did for ourselves, so we were surprised when a local radio station, WFMU, got hold of a copy and started playing it
regularly. That was really encouraging, and we started work on my second solo album,Sunday Afternoon, very shortly afterwards.

This time, Ken was even more involved, he wasresponsible for all the arrangements and production, and we co-wrote a few of those songs.By that time, I was performing regularly with various New York City musician friends–my lineup was basically whoever could get to the gig that week. And Ken would come up on
stage and play harmonica sometimes, and would sing harmonies with me. Once we had a gig booked, but all my usual band members were out of town, so Ken and I just decided to dothe gig by ourselves.

We realized that we really liked this new, stripped-down approach.We began performing as a duo, traveling to gigs all around New England. We both still had day jobs at that point, but we were so unhappy at work, and so contented when we were playing music, that we just decided to see if we could make a living by touring. So in late 2003 we quit NYC, and moved to the hills of Vermont–a great place to write and record, and much more affordable than Manhattan!

We were still performing under the rather ungainly name “Rebecca Hall and Ken Anderson,” and realized that we needed a band name for ourselves. At around that point, we had just finished writing a song called Hungrytown Road–a country waltz inspired by a real road in the Blue Ridge mountains of Virginia–that seemed to be popular at our shows. One day Kensaid, “why don’t we just call ourselves Hungrytown?” and the name just stuck. Very soon
afterwards we began work on our eponymously titled debut album. Hungrytown took about three years to record, and featured several guest musicians–excellent bluegrass pickers The Virginia Ramblers, as well as our friends Mike Merenda and Ruth Ungar from The Mammals. We had so much fun making that album, and the mobile recording method really reflected our travels during that time. It was recorded at various locations along the
east coast–a double-wide trailer in Virginia, a home studio in the Catskills and a traditional New England meeting house.

A few years of almost non-stop touring went by, and we wrote many songs while we were on the road. Finally, in 2010 we realized we were ready to make a new album. We took a two-month break from performing, and this time around decided to do the whole thing byourselves, in our home studio. We co-wrote many of the songs for Any Forgotten Thing, and Ken wrote all the arrangements and played multiple instruments on these recordings. We
brought in our talented neighbor, Laura Molinelli, to sing backing vocals on a few tracks, but otherwise, it’s just us. We wanted this album, more than any other, to reflect our sound as a duo, and were very pleased with the result.

Oh My Darling

http://www.ohmydarling.ca/

NBTMusicRadio: Although your album is titled ‘’Sweet Nostalgia’’ and the music you make is steeped in tradition, the listener never feels that your album is a museum piece, there is something reassuringly modern in the feel.  Could you explain how this ‘’essence’ of 2012 onwards slips into your music, and what modern acts thrill the ladies of OMD

Oh My Darling : We all have a true love for traditional sounds and songs, whether they are Old-Time Appalachian, Franco-Canadian Métis, Bluegrass, Irish traditional or classic country, we find our common ground in the love of the traditional sounds. But we all are very inspired by what is going on in the music scene on the current stage as well. We find ourselves inspired by amazing groups like The Punch Brothers, Joy Kills Sorrow, Andrew Bird, The Goat Rodeo Sessions and modern songwriting styles, anything that is pushing the boundaries within this genre. We are inspired by the traditional sounds and put elements of that into our sound but we love to create new rhythms, chord progressions, lyrical and melodic styles that may be unorthodox to the hardcore traditionalists, we like the blend of something old and something new

NBTMusicRadio: While the music is indeed sweet, the lyrics hint at darker themes at times, illicit affairs, love and betrayal, escaping the city and so on, was this something that only cropped up in this album or is the balance tween dark and light a very necessary thing for a perfect album.

Oh My Darling: When we were looking at the collection of songs that we had for Sweet Nostalgia, there was an underlying theme of nostalgia that ran through all of the songs. Nostalgia can hold many sentiments, love, loss, hope, despair, sadness, joy… We weren’t looking to write songs that had particularly dark or light sentiments, we just wrote. As the songs came together the feeling of nostalgia pulled all the songs together. The presence and balance of dark and light belong to us within the songs and on the album but also the feelings of sweetness and beauty of reflecting on the past

Marty Rivers

http://www.martyrivers.com/

NBTMusicRadio: The album was recorded in Nashville; do you think it’s important to go to the ‘source’ as it were when recording a country music album or could just as fine album be created in Malta for instance?

Marty: Although I believe that a fine album can be produced almost anywhere but to bring together in one place such a wonderful group of top ‘country music’ session musicians together with such a producer like Gary Carter is very hard unless I’ll bring them all over to Malta; even still, Nashville itself is a source of inspiration to any musician or songwriter so even though it will be interesting to records my next project here on the island but Nashville surely is The Place.

NBTMusicRadio: In the Song Run Angel Run are you writing about any city in particular when you call it ‘this damn Babylon’?

Marty: Well, the City in mind was ‘L.A.’; many young people’s dreams are being shattered there; They go to Babylon with just a dream and so many of them end up living in the street; but in reality Babylon can be New York, London or any other big city or even Nashville; it’s great to see so many people living their dream but sometimes it’s also painful to see where so many of them can end up when they trust the wrong people

Nico Wayne Toussaint

http://www.wix.com/nicowaynetoussaint/lonelynumber

NBTMusicRadio: There is an unhurried languid feel about the songs on the album, were the recording sessions as calm and comfortable as this suggests?

Nico: The recording sessions were done in Montreal, Canada. The sound engineer / producer / drummer Nicky Estor is a long time friend, such as the guitar player. That session was like old friends getting back together. So it was efficient but without the pressure. Another element for your answer is that Nicky Estor comes from a New Orleans musical background, as well as blues. He loves music like Keb Mo’ or G Love and the Special Sauce. That kind of influences show also in his way to handle the mix and the overall approach of the production

NBTMusicRadio: Guy Davis contributes a stunning bluesy vocal on ‘How Long To Heal’ can you tell us how this recording came about?

Nico: My encounter with Guy happened in my home town, Bayonne, France, were Guy came to do a show, 5 days before i was flying to Montreal to cut my album. We played together that evening and his manager mentioned that it would be a great idea to have Guy on the album, since we were going to be so close one and the other, Guy lives in NY. I had only one song I wanted to play acoustic on the CD and that was ‘’How Long To Heal’’. It couldn’t be a better song for Guy and me to meet.

Brock Zeman

http://www.brockzeman.com/

NBTMusicRadio: The track, ‘Light in the Attic’ from a lyrical point of view has a cool and interesting structure, in that although it’s about the ‘traditional’ song theme of Break UP, it focuses rather on observing life AROUND it rather. How did the creation of this song come about?

Brock: That song was written all in one shot on my porch. I just picked everything out of the air as it fell into place. I like to put a lot of my surroundings and experiences into my songs. If you’re honest about what you do, what you do will always sound new.

NBTMusicRadio: How do you balance running a label and the fine focus that a new album insists on, and will you get some Mud Records artists to us to play on NBTMusicRadio ?

Brock: I like being in the studio as much as possible. Having a label gives me the chance to do that. People have given all of our releases some great praise, so we just keep doing what we do. I tend to lean on the side of music I’m getting the most response from. Sometimes it’s playing live, sometimes it’s writing and recording. I bounce back and forth and it somehow works.
Love to send you all the releases! Robert Larisey, Brothers Through The Hill & Tom House!

Elisabeth Carlisle

http://www.glacierrecords.com/

NBTMusicRadio: Songs like 6000 Miles have a lovely widescreen, cinematic feel to the way they flow, yet feel unforced and not over dramatic. How do you as a songwriter maintain that balance tween, a personal theme, and being detached enough to craft a tune that all of us can relate to?

Elisabeth:If you listen to my first 2 CDs you’ll discover that I primarily write from experiences, whether they’re my own or someone else’s. I can get pretty detailed in those descriptions, as I did in 6000 Miles. I think every songwriter that has spent a fair amount of time touring has a song about “coming home” or being away from those we love. I actually have a song called “Coming Home” on my Roll With the Flow CD! When it came to production the verses seemed to be more reflective and in thought, with the chorus popping out in more desperation. I love the band Train and feel that my production history is very similar to theirs. It must be that we’re both from the Bay Area and have grown up on the same style of music such as Journey, Jefferson Airplane, Janis Joplin, etc. So I think that the emotional energy that Bay Area bands have always produced comes out in me on a song like 6000 Miles.

NBTMusicRadio: for the EP, two songs were recorded in Sweden and two in California, to YOU when you have the finished songs what is the major difference in how the songs sound? (For example with the Swedish productions I found that delightful POP sensibility sneaking its way into the tracks)

Elisabeth: It’s not uncommon to have different producers on a CD. The trick is trying to keep a thread of consistency throughout the songs so they flow well together. For me that has always been my voice and keeping the keyboard prominent, which is my main instrument other than my voice. My first CD had 3 producers, with me as co-producer and had a “live” band feel throughout. For my second CD I wanted to have one producer with me and focus on a coherent style for each song. I also felt I was dangerously teetering on becoming too “Folk Rock” with my Northern California roots. I had been working in Sweden as a pianist and loved the “Pop” sound that many Swedish artists have. I thought that if I could combine those two elements of Folk Rock and Pop I’d have a true representation of me as an artist. My friend led me to Amir Aly at Yla (pronounced oo-la) Studios in Malmo where I ended up recording Roll With The Flow. I had moved back to California when writing for the EP, so time and distance only allotted for the two songs to be recorded in Malmo with Amir and my original band from Sweden. For me, it just doesn’t get better than that.

 Kenny Schick produced the last two songs and did a great job. He’s also from the Bay Area so they definitely swing more towards that original “Folk Rock” I was talking about. The major difference is that Amir does a lot more layering and looping, which brings a fullness and energy to the songs. I actually wanted Call Me A Mystery to be full on electronica, but my drummer Mattias wouldn’t have it. That’s where working with excellent musicians can help keep the balance. Of course, he was right in the end and the songs came out exactly as they should be.

 Kyle Carey

http://www.kyleannecarey.com/

NBTMusicRadio: from a lyrical point of view how difficult is the creation of a song, do the words just slip in themselves like old friends, or do they have to be coaxed into the structure of the tune?

Kyle: Lyrically every song is different, and the writing process is something I never try to push too hard. Some songs come very quickly, for example I wrote ‘Orange Blossom’ during my sophomore year of college. I remember I’d just returned home from a party where I’d felt very out of place and alone. I figured I might as well do something with the emotions charging through me so I sat down and ‘Orange Blossom’ came to me in a span of about ten minutes. On the other hand, ‘Adenine’ took about a week to write, and most of my other songs at least a couple days. I’m working on a song at the moment I think could take up to a month. When I’m writing I try to take breaks, and if I’m struggling for the right word or rhyme, I just let the idea sit for a while, and like clockwork, it eventually comes.

NBTMusicRadio: You describe your music as ‘’Gaelic Americana’’ when  the songs are still in demo form, do they veer to one aspect of this over another, or are the nuances of both those styles added subtly in the studio?

Kyle: Most of my originals are stylistically Americana in terms of their subject matter. The Gaelic/Celtic side of what I do comes from a background of having studied Scottish Gaelic and having lived in places like Cape Breton, Ireland and Scotland. The more Celtic influences found in my album are due to the fact that it was recorded in Ireland and produced by Donogh Hennessy, with mostly Celtic artists in the collaboration. So while the music started off as almost straight Americana, the other influences were added primarily in-studio.

I think Donogh and I balanced each other well during the creation process, for example ‘Gaol ise Gaol i’ the one Gaelic track on the album, is where his Celtic expertise really shines, and he was certainly at the forefront for the vision of the song’s arrangement. However, when the song was nearly complete, I worried that it lacked the Americana influence that it the main theme of the album, so I suggested we throw in a banjo part, and surprisingly, it fit great!

Tom Kell

http://www.tomkell.com/

NBTMusicRadio: ‘This Desert City’ marks a return to the studio after a lengthy absence , How easy was it to slip back into the ‘habit’ as it were, and what was the same and what was different  compared to past sessions, technically and personally?

Tom: Recording has really never been a “rare” occurrence for me.
While “This Desert City” does indeed mark my return to the radio, I’ve always been recording something it seems. I did a few “Gospel” records over the past few years and am constantly doing “publishing” demos of my songs. I write almost every day, so there’s always something to record.
The beauty of the “This Desert City” sessions was that I once again got to record with some amazing musician friends I’ve made over the years in LA. There just is no better band for my kind of songwriting. Every player and singer on that record was a perfect choice. They happened to be friends of mine too, which made the experience all the better. This project also marked the return of my collaboration with producer Jeffery Cox.

NBTMusicRadio: The track, ‘’The Way Of The World’’ is a gentle bitter sweet take on fame that twists half way through to become a much darker thing, can you tell us more about the writing and creation on this song?

Tom: “The Way of The World” is really just a compilation of the many stories I’ve read about or seen happen while living in Los Angeles for all these years. The next “big” thing is celebrated then discarded day after day, time after time. “She was a French girl, she came to LA for the heat” is the opening line. The rest was easy. It’s a story of fame, lust and envy, with the darkest of endings. I’m pretty sure I must’ve read about the shooting in The LA Times but don’t recall for sure.

West Of Eden

http://www.westofeden.com/

NBTMusicRadio:  the creative and recording process of this fine album is fascinating! Did these periods of isolation (the ‘Plura’ and recording at a remote coastal location, PLUS the tragic subject matter), affect the musicians mood in any negative way, after all on the surface of it; this is all rather dark stuff!

West Of Eden: Of course it had an impact on us. This is after all rather serious and tragic tales, but I wouldn’t say that it affected us personally in a negative way. I think that it made us work harder than ever before to create an ambience in the songwriting and recording that would suit the subject of each song.

NBTMusicRadio: on Songs like ‘Coffin Ship’ i was intrigued by the fact that there was a country/Americana feel to the music, how did this come about?

West Of Eden: I would say that the Celtic music and the Americana / country-music have a strong connection. In our part of the world (Scandinavia) we hear more of American music such as Emmylou Harris, Alison Krauss, Gillian Welch, Ryan Adams than Celtic music on the radio, so it‘s no wonder that there could be some influences in our music. That said, I think a song like Coffin Ship also has a strong connection to the music of The Waterboys which was a heavy influence on us when we started West of Eden 15 year ago

Katrin

http://www.katrinmusic.com/

NBTMusicRadio:“Blame” is very Gospel in feel, a soulful requiem of sorts, did that sound spring from the subject matter, or was that something that happened in the studio?

Katrin: I wrote and previously recorded “Blame” in a more acoustic, stripped down way. The melody and lyrics have always been the foundation of the song. With the opportunity to revisit the song, and the atmosphere we had to record in ( a renovated church called Dreamland) That MUST have been an influence to the gospel comparison you speak of, but also, the musicians especially Daniel Weiss on organ made for a whole new vibe on this recording. Then there is the way that I have evolved as a singer, and there has been a deepening and a passage that I have experienced. I guess can attribute that to time, perseverance, and life kicking me in the ass. I keep coming back stronger

NBTMusicRadio: Songs like ‘ Far Away’ are pretty layered lyrically, both emotional and story driven, how long do you ‘live’ with a piece, before you take it to the next level of Musicians and the studio, and once there do you sometimes find that the process takes them into completely new directions or do they stay as close to your original concept as possible?

Katrin: All the musicians helped me take this song and make it into more. They rocked it where it called for it, and brought the intimacy in the lyrically vulnerable moments. Jerry Marotta produced this song and it was one of the first tracks we started with in the studio. I wrote part of “Far Away” a long time ago and decided to put it in the junk yard and scrap it for parts. It was either that or put it in the song cemetery. (A Scary place!)

That is when the chorus came to me “Got a minivan, parked right outside. Got a full tank, I could take a ride” and I thought about the person I was when I began writing the original tune. Stuck, and torn in a relationship I needed to leave.

It wasn’t long after the new chorus came, that the song was fully arranged and ready for musician’s input and some pre-production rehearsals.

There are so many ways songs journey to their fruition. This one was particularly long, but that’s what it needed I guess. It was worth the wait and to have the courage to allow the evolution to happen.

Don’t Forget

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SXSW Diary

We here at NBTMusic are extremly honoured to have Tokyo Rosenthal write about the great SXSW Festival for us:

 

Sometimes it’s easier to play the gig then to get to the gig. This was the situation as I tried to get to Austin for my first show at SXSW. I originally had booked a flight on Friday March 16th not yet knowing I was going to be asked to play the prestigious Music Fog live feed from the world famous music venue, Threadgills. So now I had a flite that arrived at 4pm and a 7pm gig at Threadgills. Could it be done. I had connecting flights so one little delay and the coveted showcase was out the window. Of course I tried to change the flight but change fees made it economically impossible.

 

I arrived at Raleigh airport to find my first flight was delayed 20 minute. Instead of thinking about my set list I was thinking of how I would explain to the Music Fog Execs why I wasn’t there to play. But rather then drag this out I’ll tell you all that I made it, played the show along with Charlie Chamberlain on mandolin, and the results were what I consider to be one of the best live videos I’ve ever done, especially the quality of the shoot. Oh, and the place was packed but listening intently.

 

The folks running Music Fog at Threadgills could not have been more cordial. That’s the case all over Austin during SXSW. It’s not some drunken spring break scene. Instead it’s thousand of dedicated music lovers moving peacefully and enthusiastically from venue to venue. Very few of the folks I ever meet actually are enrolled in the official event. there’s really no need for that. There’s quality and well known musicians everywhere you look, playing venue after venue with no admission charge.

 

I’d be remiss if I didn’t say again how well the Threadgills gig went. Full house, great sound, and exceptional video. And the room had all the ghosts of the past that have played there,Gram Parsons included. You could feel the vibes all over, and they were good ones. Here’s the link to the show we did:

http://www.livestream.com/musicfog/video?clipId=pla_9b2d191d-88e7-4359-adc5-ecfb26f6c66f

 

After sleeping in forever on Saturday morning and hitting Denny’s for breakfast I slowly made my way to South Ausitn to meet up with my friend from the UK, Mike Green. Mike had accompanied two young female singers from the Northwest of England who were going to make there U.S. debut at a singer/songwriter stage. It was a restaurant with an outdoor stage called Waterloo Ice House. Well these two enthusiastic young ladies reminded me what it’s all about.. Their enthusiasm was infectious and Mike beamed with pride as the girls, 16 and 19, performed with no fear, never knowing if they’d ever make it back to the States. But it didn’t matter, they had a story that would last a lifetime.

 

I had to rush back to change into “Tokyo” and play my show at The G&S Lounge that night. I was scheduled to play the Midnight show but wanted to get there at 9pm to catch Grant Peeple’s set, followed by a good player named Mike, and a young songwriter named John Fullbright. .

The place was packed and I enjoyed all of their shows. The only bummer was John’s show ran over and I didn’t play until about 12:20, losing half the house by the time I took the stage and eventually bumping Mare Wakefield from playing her 1AM show. This made me a little aggravated and took me half a set to calm down but we played it and ended the gig at about 1:10AM. After selling a few CDs I headed back to the hotel. Charlie, his wife, and mother in-law were staying outside of town so I found myself alone in the hotel with post gig energy which is always the case no matter how late you play. Your body is tired but your mind is wide awake. Fortunately my wife was wide awake as well back in Chapel Hill so we spoke for about an hour. Then the ultimate crash came and I was out, thinking about the following night’s show as the sandman entered.

 

Sunday morning came with me finding a way to post the Threadgill’s video and allow those that missed it to give it a view. Also the lumpy mattress was taking its toll on my back. Time for Ibuprofen!!! Breakfast again at Denny’s, they know me there now. Have my own booth, LOL. Came back and never left the room as I nursed my back. But I had to have the great Mexican food at Guerro’s so I hit there for a quick burrito before heading back over the G&S Lounge where I’ve been pegged to close the NOT SXSW marathon of music.

Charlie and I hit the stage at about 10:45pm and played a solid 45 minutes before saying “Goodnight Carrie I’m Coming Home”. I treated myself to a strawberry shake on the way back to the hotel and ready to head for home tomorrow afternoon. Charlie and I won’t play again together until I we go on the 3 week Northeast Tour in May. In the meantime I continue to promote and market my new single, “What Did I Used To Be?”, which got a response in Austin.

 

There you have it. Seeya in Austin next year or wherever I land in between.

Peace,

Toke

you can hear music from Tokyo’s latest Album and many of the bands that featured at this years festival spread all over the 24 hour stream that is the NBTMusicRadio

 

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The NBT Flagship Podcast : Caught You Looking

(to download right click on this red text link below and ‘save as’ or simply stream by hitting the arrow ‘play’ button on the cassette above!)

4th July 2011 NBT A

Or Click on the Picture Below to get to the NBT Player/Channel !

Four VERY different acts

with one thing in common

they are all brilliant independent artists!

Tara Nevins

Peter Brynglesson

Oh My Darling

Radio Drive

The 24hr streaming NBT Radio
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The NBT Review 122

Send Me Home – Jaspar Lepak (Independent Release)

This Review by Helge Janssen

The voice opens and draws you in, it soars and takes you with it, it dips and saddens, lilts and widens…..and you suddenly find yourself on the Jaspar Lepak flight:
an inspirational wing across a world landscape as broad as it is deep, as beautiful as it is dark, as light as it is sorrowful. It twists and turns, swings and rhythms, rocks you shakes you….but the beauty never leaves you: a mesmerising combination of the utterly
angelic with the tender pique of hard earned experience. This integration gives a weight to her being, to her presence, with a gravitas that is yet born with ease and is deceptively uncomplicated.
Jaspar is thus immediately accessible to a wide range of listeners, and while her genre is firmly rooted in ‘country and western’
there are elements of folk, rock and blues.

And her words paint fluid pictures –

send me home:

“…I lost my
light, I lost my light
don’t know when I let it go dim
my spirit cries out
my spirit cries loud
I’m sadder in any church
I feel better in any crowd….”

clouds:

“…and you carry your dreams on a million pots of coffee
and your hands can’t find nothing more to hold….”

to pieces:

“…every night we prayed to Jesus
while we told each other lies..”

america the beautiful: this is Jaspar’s foray into a view of her country that looks through the veil of the american dream extremely
poignantly and, in my view, most accurately yet with compassion – and it appropriately takes the form of a lullaby –

“Is their dark inside your spirit?
Are you far down in the well?
Don’t you worry little darling
Love will come and break the spell…
But love won’t come on a white horse
little darling love will come
not just for you but for the masses
who have faces everyone…”

Every track holds a memory in a sacred place and is indelible.

In sum “Send Me Home” while originating/germinating within everyday experience, crosses into the metaphorical – searching, discovering, and claiming the inner journey towards ‘self’. In this sense Jaspar carries the cresset of an established musical tradition that bears the flame of wakefulness. Thus it is that new discoveries of meaning await with each replaying.

And replay it I do!

The production of this album is excellent. The harmonies within the backing vocals (Andy Thompson, Rachel Van Scoy, Kale Lepak, Mother Banjo and Kim Bahmer on specific tracks) are always inventive with an intuitive spontaneity that lends an immediacy that never fades no matter how many times you hear them. The wonderful use of the accordion (Kale Lepak) and the array of backing instruments (Andy Thompson) lends subtlety and distinction.

“Send Me Home” has been expertly produced, recorded and mixed by Andy Thompson at his home in Minneapolis. The track “Minneapolis’ was recorded by Jaspar at her Durban home!

“Send me home” is an exceptional album. Get it. Listen to it. Be amazed.
You can buy the album from Jaspar herself as she performs in and around Durban at regular intervals. Avail yourself of this opportunity to hear her live before she returns to Minneapolis. And be amazed.

http://www.myspace.com/jasparlepak

You will be able to hear trax from this album within next weeks Podcast and spread around the NBTMusic Radio as well !

http://nbtmusicradio.playtheradio.com/

The NBT Podcast Archives 1

due to the fact that the NBT Flagship Podcast has left its old home and made a place for itself right here on WordPress a gentle archive movement has begun. Downloads only for the time being. Starting with the last show hosted by Libsyn and the 2010 Wonderful Ones Broadcast.

The NBT Wonderful Ones 201o

(right click and save as)

NBT_Wonderful_Ones_2010

rare live recordings, cool covers, acoustic takes, specially recorded songs for the show

starring

Richard Kapp  Bill Price Dark Lily, Sarathan/Two Loons for Tea, Danika Holmes Tokyo Rosenthal,

Richie Lawrence 88 Kilos Of Sunshine, Marco Mahler Frequency Theatre, Pollyanna  Aaron English  Small City Calling

Ripple Music Mach Fox Tori Sparks Ruth Minnikin Peter Doran Adventure Spirit

Rebecca Turner Bird Eats Baby Merry Ellen Kirk Carta Marina Elika

Legendary Ten Seconds iCON Orange One Count To Fire.

Read about the artists HERE

SONGS LIKE THESE

(right click and save as)

11th_May_2011_NBT

featuring:

Small City Calling

Brian Lee

IAM:YOURHERO

Chainsaw Murphy

Tokyo Rosenthal

Pete Sinjin

Giula Millanta

HuDost

The NBT Review 121

Darling  – Ladytown (Independent Release )

 A songwriter deals(mostly) with the darkness that dwells just inside the edge of life, they are there to document the blur, to transcribe in slow motion the daily stories that most of us would take for granted.

 So to open this short set with a ‘simple’ love song/thank you, a tune that says ‘the battle is done and because of your existence  I can carry on this fight.’ This is most welcome, it offers up that rich redemption and hallowed hope straight away and in these troubled times that is a gift indeed.

 Having given this gift, the singer can explore the darkness a little now, the melancholy that most love, even the best love, often comes wrapped in. She  watches as a writer writes, knowing that her thoughts and requests may be ignored by the one person she
desperately needs to read what she puts down into words.

 In ‘Bombs’ she makes the observation that at times, not doing anything maybe the most pure form of escape after all, a kinda whisper into your ear, that the ‘giving up’ is the only way to keep on. This song is drug like in it’s shading and temptations, a song that seems to say, just for today stop fighting, all the fighting all the pushing in the world will not stop the bomb from falling,

 And yet (and this is the beauty here) this song never feels like a song of defeat. Rather a touching song of acceptance.

Just when we think that this will be a testament to the Internal , a set of lullabies if you will, Ladytown throws a few country rocking tunes full of wit and vigour worthy of a Neko Case or an even more rootsy Jenny Lewis. Showcasing the way the band slips into her songs like forever friends. There is musical telepathy at work here and its wonderful.

In the most touching song here,’Coins’, the fierce glow of an affair is watched as it fades into the passage of time, the finely sketched characters choosing either that escape spoken about earlier, or the heartbreak of not quite letting go.

And then you realise just how well these songs fit together as a whole, that this set has to be listened to and savoured in one setting

Find out for yourself

http://www.ladytownmusic.com

Hear Plenty of tracks from this collection on the NBTMusic Radio

http://nbtmusicradio.playtheradio.com/