Tuesday 22 Jul
 
 

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0

Kierston White - Don't Write Love Songs

The Tequila Songbirds have become just as beloved as about any group around these parts. And how could they not?

Featuring a revolving cast of the Sooner State’s most badass female performers, it’s a power hour of some of the best songwriting coming out of central Oklahoma. Sure, they might not technically be family, but they are clearly a band of sisters all the same, bonded by the same brand of whiskey running through their veins.

07/01/2014 | Comments 0

Depth & Current - Dysrhythmia

"Overproduced" is a term thrown around all too indiscreetly nowadays, usually applied when the thing that sticks out about a song or album is how it sounds rather than how it is constructed. Yet some of the most compelling albums ever crafted embodied a certain aesthetic that was just as skillfully and meticulously put together as any Bob Dylan or Miles Davis record — which is to say production is as crucial to our enjoyment of music as much as anything else; it's also the most overlooked.
06/24/2014 | Comments 0

Weak Knees - “IceBevo”

Indie rock has been in a good place as of late. Not caring about being cool is the new cool, and a couple of dudes on guitar, bass and drums can make catchy, earworm songs without being armed to the gills with computer software and vintage synthesizers.
06/17/2014 | Comments 0
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Cultish vibes


Airy indie-pop duo Cults has endured its fair share of turbulence, yet its founding members remain as mellow as the California breeze.

Joshua Boydston May 28th, 2014

Cults with Vampire Weekend

7 p.m. Sunday

Diamond Ballroom

8001 S. Eastern Ave.

diamondballroom.net

677-9169

$35-$39

Photo: Olivia Malone

New York duo Cults might call their sophomore album Static, but the dynamic between the band’s two founding members is anything but unchanging.

The indie-pop pair — Madeline Follin and Brian Oblivion — have led a fairly charmed existence as a band since its 2010 formation, finding a quick breakout hit in “Go Outside” — the video that starred Dave Franco and Emma Roberts. Cults’ self-titled debut was released on Columbia Records (MGMT, Haim, Foster the People) just a year later, its sprawling, lovely campfire tales catching the favor of listeners and critics alike.

But the romance that bonded Follin and Oblivion together fell apart over the course of a relentlessly grueling tour schedule in support of the debut. What would be the death knell of most boy-girl outfits instead became a brief awkward stretch turned functional platonic relationship.

“In a way, it’s because we are Californians,” Oblivion said. “It annoys people sometimes for us to be so ‘easy come, easy go,’ but I think it’s the best way to go through life.”

Even still, a breakup and sophomore-slump jitters could have proven deadly, but the prospect of following up such a well-regarded record even under somewhat dour circumstances didn’t even phase the two.

“It’s not daunting; it’s exciting,” Oblivion said. “When you lose track of that excitement, that joy in your process, that’s when you become not only a jaded asshole but stale. As long as you have fun and are happy with your records, it’s hard to lose.”

Static — released last October — is a more grounded record, trading Cults’ airy, cloud-wisp optimism for a frank dose of reality and more concrete set pieces. The duo outlined the album with movie genres in mind, taking stabs at sci-fi, Western and horror-bent tunes — and they might have succeeded most on that final terrain, with lead single “I Can Hardly Make You Mine” soundtracking the credits to the 2013 remake of Stephen King’s Carrie.

“We wanted to make this ‘haunted hits’ kind of thing, and it just kind of made its way from there,” Oblivion said. “At the same time, you don’t want to be too calculated when you make a record. It’s nice to impose some boundaries, but there needs to be some freedom in your expression to mess around and have a happy accident.”

Playing Sunday at Diamond Ballroom in support of Vampire Weekend, Cults are winding down their shows in support of Static and hoping to get back to writing mode to release another album.

So maybe everything is the same after all. Cults sure don’t have the look of a band on its way out.

“I find it so melodramatic when bands break up. It seems so ridiculous,” Oblivion said. “In the modern day, there’s no reason to. Fifteen years from now, if we are both full-time accountants, I know I’ll still want to make the same kind of records we do now ... and we almost certainly will.”

 
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