Introducing - Ali Young

Hi there!

Been a while, huh? Well, enjoy it while you can as this post is probably the first of the final three or four blogs you'll see on 78s Don't Wobble. It's going to be a fond farewell to the site come the end of the year as I can't really devote much time to it anymore, as you can see from one post in the last six months. It was fun while it lasted though, eh?

Anyway, it's been even longer since I posted any kind of original content on here, so as part of the closing down ceremonies I've taken the opportunity to introduce you to someone new.....Ali Young.

Ali's an Los Angeles-based singer songwriter who reminds me at times of Juliana Hatfield (circa Only Everything)and plies a fine, still developing, blend of power pop and you can find her EP Love Animal here:

http://www.aliyoungmusic.com/

After mentioning on Twitter that I'd never interviewed anyone that was a bastard, Ali kindly offered to take that role...what follows is not the "bastard" interview - although she did supply that version - but a little Q&A just to get to know more about her and her music....

So, are you a Los Angeles native, or were you lured there by stories of Laurel Canyon and/or the Viper Room?

I’ve lived in LA for over 5 years now, so I’m starting to “go native.” I was lured by my husband. He’s an actor [Kevin Sussman, best known for his recurring role on Big Bang Theory]. We moved here from Brooklyn, New York. My life’s transit also includes: Chicago, IL and Santa Fe, NM. 

You will rarely find me West of La Brea, which is the side of town with Laurel Canyon and the Viper Room. Silverlake, where I live, is considered by most to be the heart of the LA music “scene.” I don’t think there’s any empirical data on that... But in my opinion, the best venues for indie artists are on this side of town:  the Bootleg Theater, the Satellite, the Echo. It’s all skinny jeans and tattoos around here. Oh!  That’s a good way to distinguish me as a non-Angeleno. I am “blank” - no tattoos. 

Have you always made music on your own, or have you played in bands?

I have always done my own thing. I released an EP as Real George in 2009, which you can find on iTunes. It’s kinda Cowboy Junkies-esque. It was my first recording project. I was trying to come up with an artist name like Bat for Lashes or Cat Power... I failed miserably at creating an alias moniker. People would be like “Real whaaat?” “Why?

I do try to keep a steady roster of players. But people go on tour or they get into motorcycle accidents... I always play with accomplished musicians. I am lucky to live in a community of supportive artists. It’s definitely an upside of LA.

When did you start playing music, did you come from a musical household?

I grew up under a baby Baldwin watching my mother’s feet working the pedals and showered in Chopin. I fucking love dynamics. I played piano when I was young; then was classically trained on Flute; sang in Chorale; took classes at the Old Town School of Folk Music... When I was 13, I was in a prestigious music competition and was accompanied by a renowned concert pianist.  Mid-performance I totally forgot the notes, had a breakdown and never really recovered. After that, I had such performance anxiety that I just quit being a serious musician. The only reason why I was able to try performing in public again is because seven years ago a friend told me about beta blockers - a prescription drug. They kept me from sweating and trembling- until last week... I just did my first show without a pill! I didn’t tremble - or die. The fear is that I will actually die on stage - and shit my pants on the way down. Wait - did you ask me if I came from a musical or a neurotic household?

If we can steal the Pitchfork 5-10-15-20 idea, what was the music you listened to as a child (the music parents/siblings listened to, the music you discovered yourself at a young age), as a high school kid and then beyond – college, moving out on your own etc?

At 5, I was all about Magical Mystery Tour. I was really into the illustrated-booklet-insert-thingy. I mean, deeply and oddly into it. I , of course, didn’t know what acid was. But I was so stimulated by the music and the images that I licked the pages. I got into so much trouble for ruining my mom’s album. 12 years later I discovered acid and... it wasn’t great like Magical Mystery...

At 10, I was a massively morose dork. I loved Jacques Brel Alive and Well in Paris. My favorite songs were “Timid Frieda,” “Ne Me Quitte Pas,” and “My Death.” I think a parent today would probably put their child on pills if they came home and found their child jumping from the sofa, throwing themselves on the floor and belting “My death! Angel or devil! I don’t care!” Dear lord...

I had a fake ID when I was 14 and kinda “ran wild” with older kids. So, as a young teen, I was on the Chicago “scene”: stage diving at Fishbone concerts; moshing in nightclubs to Nitzer Ebb; and sneaking out in the middle of the night to frat parties at the Northwestern University campus where DJs played everything from Depeche Mode to Chicago Deep House music. Weekends I’d go to Wax Trax and mull around the store so I could listen to what they were spinning. It was stuff you couldn’t hear on the radio. I will never forget when this punker-tool who worked behind the counter, shamed me with an eye roll when I asked if they had a particular Prince import.  I was young and insecure so I back pedaled: “Uhm... I mean... Front 242.”  I have since realized that a deep abiding love for Prince is nothing to be ashamed of.

My college years were bleak. I joined a sorority. Got into 70’s disco, Parliament / Funkadelic (not so bad) and the Grateful Dead (WTF). Still, good music did not escape me completely: Hum, Wilco, the Sea and Cake, Slint, Janes Addiction, The Pixies - those are a few favorites that have stuck with me.  This still doesn’t make up for the embarrassment of admitting that I went to a lot of Dead shows.

In my 20’s I discovered Yo La Tengo, Cat Power, Massive Attack, Sun Ra, Erik Satie and the Velvet Underground. Yo La Tengo is the single most defining band for me. I have listened to the song “You Can Have It All” an inordinate number of times - probably as much as any single Beatles song. I adore the sentiment of the lyric - complete selflessness and abandon. (Sure. It’s a cover...) Plus it’s boppy without a shred of cheesiness. I appreciate that YLT is just three people and they get such a big, lush and textured sound. Ira Kaplan is genius with his guitar tones.

Who do you admire, who/what inspires you as a singer/writer? And that doesn’t have to be restricted to music...

I admire the usual suspects - Leonard Cohen chief among them. And it’s helpful to remember that this man wrote both “Hallelujah” and “Don’t Go Home with Your Hard-on.”  I want to get as close as I can get to the level of artistic expression that is realized in the song “Hallelujah.” But so far I’ve written a bunch of “Don’t Go Home with Your Hard-on” songs. Except I’m not a lothario. I’m a woman that got her heart broken a few too many times. So my songs are more like “He’s Got a Hard-On for Someone Else.”

If you could take one (maybe two) records to a desert island, what would it be?

Yo La Tengo - I Can Hear the Heart Beating as One

Django Reinhart & Stephane Grappelli - Souvenirs

Christoph Poppen - Morimur

And I would get all three recorded on one record / disc so that nobody could accuse me of breaking the one-record-on-a-desert-island rule.

So, the Love Animal EP...without wanting to delve too deep into personal matters, it sounds like it was inspired by a difficult period, or unsuccessful (or maybe volatile) relationships, would that be accurate?

These are certainly songs about difficult relationships - and mature relationships -  but not necessarily mine. There is a part of songwriting where you are recounting observations and imagining experiences. But there is also a part where it’s just what words fit into this meter? And what is the mood that has been set up by the chords and the tempo.  Sometimes the music vibes the lyrics. For example: 'Make Believe' - I was just playing around with that bouncy brush rhythm and was making a joke about how you could scat triplets to it. From the idea of “scat” came the line “Scatter around the ashes.” Then it was just a matter of ‘what comes next’? The ground will soak them up! Then it was a matter of shoe-horning a theme into it. Death of a relationship was the obvious thing.

.......................But, look, I know that I write a fuck-ton of break-up songs that tend to be hopeless - mostly it’s because I am dramatic (remember Jacques Brel) by nature.

Not that I’m saying it’s without its positivity, as ‘Drift’ seems to have an urge to move on...do you try to find the positives in any situation, or is that an impossibility sometimes?

So... Here’s the thing. There is a dichotomy between me and my songs. For the most part, I am a joyous and whimsical person. Though I do get depressed. In fact, I have been told to cut my stage banter because I’m funny and then I start playing my brand of “Winter Kills.” (YAZ reference - the most gothy sad song I can think of...).  Maybe I am exorcising the gloom out of me through song? To answer your question: Yes. I do try to find the positives and sometimes that is impossible. Just gotta keep trying...

BTW - I have refocused on writing more hopeful and lovely songs that are not about love-gone-wrong. Or, at least, songs that are appropriate for car commercials - cuz momma needs a new pair of shoes!

Do you currently make a living through music? Are you part of a community of musicians in LA – do you have “sounding boards” that you’re able to try new ideas out on?

I currently don’t make a living through music. It’s my avocation. And if I ever do, I’m not so much into being an artist, myself.  I’d love to write songs for singers with big voices - in any genre. I have done some instrumental music that was placed in indie films - very sparse, Thurston-Moore-type guitar noodles. And a song from the “Real George” project got a placement in a film. It would be great if I could get gigs like that on the regular - but it’s difficult because even Thurston Moore is looking for those types of gigs since nobody is making money in music these days.

I know many musicians. But I actually haven’t really used them as “sounding boards” - that’s a fantastic idea. A whole bunch of people are gonna have some rough demos in their inboxes tonight.

Are you working on new material at the moment? Are you planning on touring outside of LA?

I am always writing new songs.  I’m thinking of releasing home demos on Soundcloud - super lo-fi recordings. Hopefully they will be charming enough so that the seed of the song is appealing despite...

I will be in NYC later this month playing at the CMJ music festival.  That will be interesting because it’s just me, my guitar, a looper and some beats tracks.  All of the songs have been re-envisioned for this set-up and have become (if you can believe it) much darker. The pop sheen is totally gone.

I would love to play the UK in the spring and there is a high likelihood that that will happen since my husband and I have to be there for a convention.  I think it’s the Bristol Convention...

If you missed Ali at CMJ, then I'm sure you can catch her in LA sometime soon, should you be in the area...

As a treat, here's a couple of answers with Ali being a bastard:

So, are you a Los Angeles native, or were you lured there by stories of Laurel Canyon and/or the Viper Room?

I'm not limited, or defined, by a city or a region - or even the the earth. I'm fucking intergalactic.

When did you start playing music, did you come from a musical household?

I have been a musician my whole life and all of my past lives. Baby, I was resurrected this way.  The music in my soul is too big for one lifetime. And if you missed my Lady Gaga reference just a moment ago, I feel sorry for you.

A charming insight into what Ali might turn out like should success ever go to her head.....

A great big roundup of stuff

Alright. How've you been? Me, I've been grand. Busy, but grand.

There's been a month of radio silence at 78sDW Towers (not so much if you follow me on Twitter) and that's due to paid work overtaking this silly wee folly of mine. Still, I'm back now you lucky people and you can find out what's been happening by reading on....

I've started writing for the mighty fine The 405, doing the usual reviews stuff, and you can read the first fruits of this venture by taking a squizz at my reviews for S.Carey's Hoyas EP and the debut album from Soren Andreasen, Barefoot Memories.


Back over at my first and true love The Line of Best Fit it's been the usual busy time with an email interview with Canadian surf-poppers Hooded Fang first up, closely followed by a cup of tea and a chat with one of my musical heroes and Teenage Fanclub member Gerard Love about his new Lightships project.

Over in the reviews department, I've taken a close look at the mighty fine Glitter by Dead Mellotron, the promising-if-derivative debut from Citizens! titled Here We Are and the beautiful new album from Marissa Nadler, The Sister.


And if that's not enough for you, then coming up are reviews from The Mynabirds, Visions of Trees, Guided By Voices, Blues Control, Sonny and the Sunsets and Mission of Burma.... and interviews with Dinowalrus and O Children.

Phew. See you all real soon.

Interview : Sweet Lights

Sometimes, it's just a real pleasure to do this sort of thing. The amount of great music I get to listen to, and the great people I get to speak to is really fantastic. To that list I can now add Philadelphia's Sweet Lights.


Formed by Shai Halperin, formerly of The Capitol Years who was also a band member with Kurt Vile in an early lineup of Adam Granduciel's The War On Drugs, this band trade in sweet and melodic soft pop, influenced by The Beatles and Daniel Johnston, and their self-titled new record is a thing of quiet beauty.

I interviewed Shai recently for The Line of Best Fit, and you can read the fruits of that by following this link.

EP Review : Paul Thomas Saunders

Here, this new Blogger's a bit pish isn't it?

Anyway, here we are again. How've you been? I'm returning with a review for The Line of Best Fit of the new EP by young Leeds native Paul Thomas Saunders. Descartes Highlands is the latest EP from him, and it's four lovely tracks of expansive yet brooding music that showcases not only Saunders' great voice but also his band's knack for a thrilling and tear-jerking outtro.

As usual, you can read more by making the jump here!

EP Review : CYMBALS

Hmmm, how unfortunate.

Listen to this:

http://soundcloud.com/cymbals/jane

then listen to this:

http://soundcloud.com/tough-love/cymbals-no-bad-decisions-1

CYMBALS decided to make an album, then an EP, mostly in the style of the second track, and I think that was the wrong decision. Just my opinion, which I express in a bit more detail for The Line of Best Fit.

It's all just a bit....disappointing. I don't think they're a bad band at all, I guess I wanted a bunch of tracks that sounded a bit like 'Jane'. At least it's not Metronomy, eh? Anyway, read on after the jump!

Interview : Thieves Like Us

Surly sods.

That's how, if I was being vindictive, I'd describe Thieves Like Us following my interview with the band for The Line of Best Fit. But I won't do that, simply because the multi-national glam-pop collective make shiny, danceable music with excellent visuals, and I'm easily swayed by such things.

I caught up with them to chat about their new album Bleed Bleed Bleed, their new and glamorous band members, and Fassbinder. To read more, just follow the link.....

Album Review : Bear In Heaven

Bear In Heaven's 2009 album Beast Rest Forth Mouth was so good that I ended up including it in my albums of the year for 2010; a record that melded pop, electro, prog and art-rock together so brilliantly and seamlessly it seemed like a defining statement never to be topped. But the band has persevered, and this time I'm keeping up with what's going down by reviewing new album I Love You, It's Cool for The Line of Best Fit.

Not quite scaling the heights of the last record, it's still a great listen; a layered and textured piece that bears repeated listens and a little bit of patience. You can read a bit more, plus watch a mockumentary put together by the band, at this link right here.

Interview : Remember Remember

Despite living in Glasgow, I don't often write about music from the city so when the opportunity comes around I'd prefer it to be from the Mogwai end of the scale rather than plumbing the depths of Kassidy territory. So, it was a great pleasure recently to catch up with Graeme Ronald of Remember Remember in a local hostelry (I had a tea) to talk about his new remix record, The Mixening for, The Line of Best Fit.

As a fan of the band it was interesting to talk about the remixes, some of which have been done by Scotland's brightest names: The Twilight Sad, Errors and The Phantom Band to name but three. We also chatted about the Glasgow music scene, touring and minimalism, and you can read all about it by clicking this here link.

Album Review : AU

I've reviewed a few The Line of Best Fit recommended records in the past year or so, but very few would have a first track that's as explosive, euphoric and downright brilliant as the first track on AU's new album Both Lights.

Starring the elemental saxophone work of Colin Stetson, 'Epic' sets the tone for a wild ride across psych/folk/punk/metal/choral music in the space of the album's 11 tracks. I've always liked AU since I heard their Verbs record, but nothing prepared me for near-perfect construction of this album. It really is quite something.

You can read more by making the jump here, and I'd thoroughly encourage you to do just that.

Album Review : A-Sun Amissa

With a name that makes absolutely no sense to me, A-Sun Amissa probably belong in the realms of experimental music. And that, of course, is where they reside. New album Desperate In Her Heavy Sleep is an instrumental epic: bleak, forbidding and the sound of the end of the world. Lucky me to get to review it for The Line of Best Fit.

To be honest, Godspeed You! Black Emperor got there first and do the whole gloomy thing a lot better, and for the moments where you focus in on the strings, Rachel's do that with a lot more beauty, style and gravitas.

Still, there are some not bad moments to be found, and you can read more by lifting your skinny fists and clicking here.

EP Review : Young Liar

More? You want MOOOOORRRE?

Alright then, here's another review I've done for The Line of Best Fit in March, it's been a rather busy month all told, and I'm off to do an interview later today as well. The fun never stops round here....

So, EP2 is the latest release by a bunch of young Geordies by the name of Young Liar. It's a short instrumental EP, heavy on guitars and the post-rock vibe, but with some small surprises: you might be able to have a wee dance to a couple of the tracks. File alongside Explosions In The Sky, (Neu!), Mogwai et al in the quiet/loud section of your record collection, but it remains to be seen if Young Liar's career is a brief one - they could go on to release more fine records, or they could disappear like a slew of similar bands before them.

To read more, head on over to TLOBF.

Album Review : The British Expeditionary Force

Alright then? It's been a busy old month so far here at 78s Don't Wobble, and it's not letting up with at least two more reviews due in the coming weeks after this here one. Still, always nice to get the work, and who knows, you might eventually see an original post from me rather than a link to The Line of Best Fit.

But not today! This time, you can read my review of the new album by The British Expeditionary Force, Chapter Two: Konstellation Neu over at TLOBF. For fans of post rock, electronica and shoegaze, the album is not too bad, and you can read more by making the jump.

I'll be back real soon, with more post-rockin' nonsense to come next week. Pip pip!

Album Review : White Rabbits

I saw White Rabbits live in King Tuts in Glasgow one Valentine's Night, supporting the wonderful Spoon, and was blown away. The band were excellent, thriving on rattling percussion from two, sometimes three, drummers and there was plenty of the same to be found on second album It's Frightening. Well, the boys from Brooklyn are back a couple of years down the line with new album, Milk Famous.

Over at The Line of Best Fit you can read about the studio trickery learned at the knee of Spoon's Britt Daniel that's resulted in a record with a different sound to the previous rattling White Rabbits experience. It's still pretty good, and you can read more in my review, available right here!

EP Review : Daniel Rossen

I bloody love Grizzly Bear. What a band they are. Yellow House and Veckatimest are two of the best albums in recent memory, wonderfully layered excursions into chamber pop and just a sheer joy to listen to.

So, when one band member releases a solo record I've really got to take an interest. To be honest, we already know how good Daniel Rossen is away from GB through his work with Department of Eagles, so it's hardly a surprise that his new EP Silent Hour/Golden Mile is really rather brilliant.

I've written about it over at The Line of Best Fit, it might be the finest 20minute passage of music you'll hear this year outside of a full-length album so it really could be worth clicking here to read more.....

Interview : Peter Broderick

I recently spoke to the wonderful Peter Broderick for The Line of Best Fit to discuss his new record http://www.itstartshear.com/ and the concept of an album title that's not just a website address, but acts as hub for everything you need to listen to the album: the music is on there, plus liner notes, stories behind the songs, and further video and audio clips.

It's quite an achievement, an original concept that marries together Peter's constant experimentalism and his still extremely accessible music. This might be my favourite article so far: not for my words as such, but just for the answers Broderick gave to my questions.

So, to read more please click here, or visit the features section at the top of TLOBF....

Live Review: Gotye, Glasgow O2 ABC, 4/3/12

It's been a while since one of these appeared on the pages of 78s Don't Wobble, but last night I got the opportunity to go see Gotye, the UK's current number one no less, and write about it for The Line of Best Fit.

Wally (who you'll remember I interviewed here last November) and the band put on a fine show for the people of Glasgow, and I've got to say it was quite a sight to see him restlessly switch between drums, synths and electronic percussion for over an hour. There were some cracking songs on display, and you can read all about it here.

Apologies to Reverieme: I only caught your last song thanks to a useless box office at the ABC, but if I'd seen more I'd have some words for you in the review.

Album Review : Kevin Tihista's Red Terror

You may not know this, but Kevin Tihista's Red Terror released a wonderful record in 2001 by the name of Don't Breathe A Word. Since then, very little indeed. Until, that it, this month when we find Kevin back with his new album On This Dark Street.

Back in 2001, his work was classed as soft pop and the influences of The Beatles, America, Bread, Bob Dylan etc etc were obvious, but without boring mimicry. This time, he's toned down the electrics but his darkly comic wit is still intact.

You can read more over at The Line of Best Fit or make the jump direct to my review by clicking here!

Album Review : Team Me

Most of the time I find myself drawn to downbeat and depressing music, I can't really say why, but sometimes I do come across a record that's sunny and upbeat and it doesn't want to make me run to the hills. The Flaming Lips are one of my favourite bands, and I'll always have time for the likes of Teenage Fanclub and anything that sounds a bit like The Beach Boys. So, it was with great delight that I realised after listening to the opening two tracks of Team Me's debut full-length To the Treetops! I had another band to add to the happy list - maybe one day it'll balance out....

The band are from Norway (which means we automatically love them over at The Line of Best Fit) and won an award for the best pop album at the country's version of the Grammys, but the important thing is that they make multi-layered,multi-instrument music that has hook upon hook upon hook across its running time.

If you like the sound of that (and you should, it's TLOBF recommended) then click here to read more.....

Album Review : Masaki Batoh

So, to cut a long story short, Masaki Batoh's solo record Brain Pulse Music is music made from brain waves, via a specially commissioned piece of equipment called the BPM. Fuck yeah!

It's a requiem for those affected by 2011's tsunami and earthquake in Japan, and the Ghost frontman adds traditional Japanese instrumentation to the BPM to make a truly unique record, which I've reviewed over at The Line of Best Fit.

So to read more about the construction of the record and how it actually sounds, click along here.

Album Review : Earth

Ah, Earth. I'm always happy when Dylan Carlson's band release a new record. It makes the year complete already. From the skull-crushing drone of Earth 2 to the gospel of The Bees Made Honey in the Lion's Skull, they just don't make bad records. And now they've only gone and dropped a new one on us.

Angels of Darkness, Demons of Light II, is the second album in twelve months and furthers Earth's desert-noir sound by adding some English folk into the mix (subtly, mind you, it's not Fairport Convention) and it's bloody marvellous. So I wrote about it for The Line of Best Fit.

The band might have lost some of their more metal following over the years, but to read about why I think they're more interesting than ever, make the jump!