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Tag: Spin

ICYMI: MD Woods / Gregory Pepper / Tyto Alba


MD Woods‘ Young and Vain, Vol. 2 may describe the lifestyles of characters with the titular qualities, but it approaches the studies from a world-weary perspective instead of an impetuous one. The alt-country band, led by the whiskey-soaked voice of Nicholas Moore, comes off desperate and ragged in its moods, like Damien Rice on the alt-country frontier. It should be noted that these are strictly compliments: tunes like “Vomit” make being emotionally wracked seem like a noble idea, if not a desirable one. The melodies are compelling, the lyrics are tight, and the song styles are varied–there’s definitely a lot going on despite the general timbre of the lyrics.

The arrangements compliment the emotional damage by being surprisingly tight: from background vocals to swooping strings to rock-steady drums, the band provides a framework for Moore to get unhinged in. The bright, clear recording and engineering make the final product more accessible, providing a clean window to see the band through. The results are compelling mix of major key and minor key tunes that you can sing along to and enjoy in a Frightened Rabbit sort of way.


It’s easy to put Gregory Pepper‘s Chorus! Chorus! Chorus! in the ICYMI category, because if you blink you’ll miss it: Pepper blitzes through 10 songs in under 14 minutes. This uncommonly aggressive approach to the “hit it and quit it” songwriting mentality creates an album of perfect melodies that appear once or twice, lodge in your brain forever, and then disappear into the next tune. The post-Weezer pop-rock that blazes its way through your eardrums is undeniably, irresistibly pristine: “Crush On You” and “Smart Phones for Stupid People” are fuzzed-out midtempo glory; “There In The Meadow (Was I Not a Flower At All​?​)” is a pseudo-metal pop-rock stomper; “Come By It Honestly” is an “Only in Dreams”-esque slow jam and the longest tune on the record, tipping the scales at 1:40.

But it’s not all Weezer-esque crunchy guitars. Pepper has an idiosyncratic vocal and melodic sensibility that delivers highly sarcastic and ironic lyrics in an earnest pop-rock style reminiscent of It’s a King Thing, only without the breathy sweetness. Pepper is singing straightforward melodies that still manage to bend my mind, as the endlessly fascinating, gymnastic opener “Welcome to the Dullhouse” shows. But it’s not enough to just create wild melodies, clever tunes and ironic lyrics: occasionally all the sarcasm drops and reveals pretty raw honesty as an extra layer to the tune (“I Wonder Whose Dick You Had to Suck?,” “There In The Meadow (Was I Not a Flower At All​?​)”). It’s a lot to ride on songs that barely (or don’t) break 60 seconds, but Pepper masterfully handles the incredible amount of things going on. It’s not easy to edit yourself down to the bare bones and still deliver a multi-layered experience that’s both fun and deep, but Chorus! Chorus! Chorus! is that rarest of albums that pulls it off. If you’re into indie-pop-rock, you need this one in your life.


I try to keep up with what’s cool in indie rock so that I’m not constantly namechecking the Hives and Death Cab for Cutie, but keeping up with what’s going on in alt-rock is way harder for me. As I was casually reading through Spin’s (biased, subjective, etc.) list of 50 best rock bands right now, I was pleasantly surprised to see Paramore up at number 9. I thought they had been lumped in with Flyleaf as lame, but I was wrong! (Is Flyleaf cool?) Which is great, because I feel totally guiltless comparing Tyto Alba’s Oh Tame One EP to a more mood-heavy Paramore. Melanie Steinway’s vocals soar and roar in front of an alt-rock backdrop that isn’t as gritty as everyone’s favorite indie grunge band Silversun Pickups (check the arpeggiated guitar on “Passenger”) but isn’t as post-rock-flavored as bands like Athletics.

Instead, they prefer to mix artsy rhythms and nuanced guitarscapes with rock song structures: “Deer” mixes a carefully patterned rhythm guitar line with a moseying lead guitar line that echoes back to The Photo Album-era Death Cab before exploding into guitar theatrics for the chorus (of sorts). The careful picking of the lead guitar line in “Divide” juxtaposes with groove-heavy bass and drums (but not as dance-tastic as in standout “New Apathy,” which is simply impressive) before building into the most memorable chorus on the EP, driven by multiple vocal melodies interacting. It’s the sort of work Tyto Alba excels at: twisting your expectations of what a rock song should do without totally overhauling the model. If you’re into thoughtfully distorted guitars with some groove-heavy elements, Oh Tame One will fit nicely in your collection.

DIY Ditty: Some things you need to know about PR and management


PR and management are two aspects of a professional career that can be non-obvious to a band first venturing into those territories. They can seem mysterious, nonsensical, towering, or even inaccessible to a band looking for representation. To clear up some of the confusion about the two related but separate functions of the music business, Brian McKinney of Crooked Houses PR + Management gave Independent Clauses a helpful interview. Below are some of the big themes that McKinney outlined.

Three things to know about PR

1. You need to get a PR person three months before your release date.

“A lot of bands don’t understand that publicity needs to happen before the album release. Lead time is involved. It takes magazines three months to look at it, decide if they’re going to review it, write it, edit it, publish it, and send it out to newsstand. If you’re working with Pitchfork or even Independent Clauses, it can be a month to six weeks. Having these conversations while you’re demoing the album is good. I’ve turned down some releases from great bands and great albums because I can’t [promote] it after it’s released. I just can’t get it to work.”

2. Results are not guaranteed with PR blasts.

“No matter how much you spend, even if you spend thousands of dollars on publicity, the results you get aren’t always the results you expect. I’ve worked with bands that are working with very little and got them some pretty good stuff–and they weren’t satisfied. The number one misconception is once you hire someone, your album will be on Pitchfork or reviewed in Spin. There’s so many other bands, so many other labels with marketing budgets, and there’s only so many places to get reviews.”

3. PR takes up a lot of time on the PR person’s part.

“There’s a lot of writing involved, that’s part of it. There’s a lot of thought that goes into who you’re going to contact and follow-up e-mails. If you’re doing physical mailing, there’s hours on hours printing pages, stuffing envelopes, printing address stickers, and affixing stickers.”

Three things to know about managers

1. You need a manager when the business becomes big enough that you’re running out of time to make art.

“[Managers] need to keep an eye on a whole bunch of different aspects of the band. Really it’s about freeing up the artists to perform art. If a band has enough time to send e-mails to every blogger and magazine and label, then I don’t think they’re practicing enough. I think they’ve got too much time on your hands. You can’t be good enough, there’s so many other bands that are going to be better than you. Focus on your live show, focus on your music.”

2. Management is about making business connections; PR is about making press connections.

“The job of the publicist is to get media attention, and the job of the manager is to get industry attention. That means label, A&R, and booking agents for setting up tours. That is one reason I don’t do PR for the bands I manage, because I like to spend as much time as possible working those connections. Otherwise I’m just being a free publicist for a band, which isn’t helpful to anyone. When [bands I manage] have an album coming out, I make sure that they budget to hire a publicist.”

3. It is expensive, but it’s valuable for those trying to make a career.

“It’s expensive, don’t get me wrong. It’s a hard sell. Bands don’t understand how much work is involved [in management], and how necessary it is to have someone represent you. That’s why I’m trying to keep things as upfront as possible on my website.”