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Under The Gun Review interviews City Tribe’s Duncan Nielsen about the band’s forthcoming LP, Undertow (out July 29), and offers a first listen to new track “Green Eyes.”

City Tribe are a fantastic band when the listener’s end goal is to be sent into a blissful wave of melodic trust. The band paints a picture through the music with soothing delivery, whilst not being so mundane that the noise is lost amongst mediocre competitors. Today, Under The Gun brings you “Green Eyes,” a number off of the band’s debut full-length record, Undertow, which is due out July 29. The song is a passive, clairvoyant track, that gives the listener just a mere taste of what is to be expected from this band’s full-length effort. LISTEN HERE…

City Tribe

Bio

The new record from San Francisco band City Tribe rolls in triumphant, as if a cresting wave—the open hi-hat the sound of the surf, the vibrant harmonies classic California beach music transported instantaneously to the indie-pop now, re-imagined, resplendent. Pounding toms give way to a hypnotic yet eager bassline and blasts of spring-reverb Stratocaster, unfolding iconic visions of the Bay-spanning Golden Gate Bridge and, alternately, the raw and wild beauty of the Northern California coast. There’s something opulent yet primal about the way the voices of co-lead vocalists Duncan Nielsen and Jacob Jones coil around each other, as if each a sparkling strand of DNA. Their melodies seem excavated from some long-lost Paul Simon classic. In more contemporary terms, they’re a Vampire Weekend for the West Coast.

On the band’s debut LP, Undertow (out July 29), there’s a striking balance between two moods; a pensive, fog-shrouded turn for every blissful hit of Sunshine pop. And through it all, the band submits willingly to the vibe, being carried by the current of the music spilling out of them. “Undertow really reflects being pulled under by a force you can’t see or control,” explains Nielsen. “To me, it’s about being overtaken by something.”

For Jones, the album’s title references a very specific memory from an evening the band spent at Butterfly Beach while on tour in Santa Barbara. “It was getting dark,” he says, “and there was this swell coming in—this powerful undertow. It was so strong it was bouncing these big boulders along, and there was this tense feeling being in the water there. I related the physical experience to a mental state—uncertainty. Having rocky times, being unsure what’s going to happen, and feeling that same tension and pull in your life. But I’m not just talking about a depressed feeling—there was this hectic thing going on in the water, but at the same time it was so beautiful on the beach.”

City Tribe formed in 2010, though its roots go back a few years earlier to 2007, when Nielsen and Jones were a couple of young musicians kicking around Santa Barbara. They cut their teeth playing riff rock in a post-hardcore band, with Jones—who hadn’t really learned to play guitar yet—on lead vocals, and Nielsen—who hadn’t really learned to sing yet—on guitar. But the group was short-lived. By the end of the year, both went their separate ways, Jones to San Francisco and Nielsen to Berkeley, losing touch in the process. After a few years, though, Nielsen, who’d always wanted to live in the city, ended up in San Francisco, too. And as it turns out, his new apartment was just four blocks from Jones’.

So the two former bandmates started playing together again, this time stripping down to acoustic guitar and vocals. Both had come a long way, musically, and found they had a particular knack for locking in on vocal harmonies. Once they’d written some songs, they got a gig hosting a monthly show at John Colins, the downtown bar where Jones worked, and City Tribe was born. The night—curated by Nielsen and Jones—was billed as Dig Music, and fast became a showcase for top local talent. Before long, they added electric guitars, and expanded from a duo to a quartet, recruiting their old Santa Barbara friend Eric Wallace on bass as well as drummer Scott Tarango, and in 2012 recorded a self-titled EP.

“Playing those big music nights at John Colins really gave us a jumpstart,” Nielsen says. “It got people excited about the band, motivated us to write new songs, gave us time to get tight, and allowed us to connect with just about every good band in town.”

When City Tribe finally broke beyond the bar scene, they began playing with respected artists such as Rachael Yamagata, and getting booked at legendary venues like San Francisco’s Great American Music Hall.

In late 2012, the band underwent a personnel change when Tarango departed and was replaced by current drummer Cody Rhodes, whose meticulous, inventive playing is rooted in marching-band fundamentals and jazz improvisation. “Cody is always innovating,” Nielsen says, “always tirelessly looking for fresh ideas. He’s probably the most talented musician in the band.”

Rhodes fell in seamlessly with the fluid, tasteful bass playing of punker-turned-jazzhead Wallace, providing a simpatico rhythm section for guitarist and melodic mastermind Jones and lead player/principal songwriter Nielsen.

The lineup once again solidified, City Tribe began sessions for their forthcoming debut LP, Undertow, in May 2013. The album was recorded by Andy Freeman at Faultline Studios and historic San Francisco jazz studio Coast Recorders, as well as Freeman’s home studio. The band cut everything almost entirely live, standing in the same room together, and the album’s nine tracks showcase City Tribe’s penchant for spontaneity and their prowess as a live band.

The result is pure Highway 1 music. A soundtrack for Romantic California. Which is only natural, considering every member of City Tribe was born and raised in the Golden State, save for Jones who—while originally from landlocked Phoenix—says he often spent childhood vacations at Southern California beaches and bolted for the Coast as soon as he turned 18. He and Nielsen love to surf, and Wallace is a skimboarder.

“We’re watermen—we love being out on the ocean,” Jones says. “If I could live on a boat, I’d do it. If I had enough money to buy a sailboat and sail down to South America and surf all the way down, I’d be there in a heartbeat. And so would the rest of the band.” For now, City Tribe will have to settle for the fact that, with Undertow, they’ve created the sonic equivalent.

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by Baby Robot Media

Paste premieres City Tribe’s new song, “Wildflower” off of their debut LP Undertow

San Francisco band City Tribe has been together since 2010, but lead vocalists Duncan Nielsen and Jacob Jones first played music together in 2007, testing out sounds with a post-hardcore band. When this project fizzled out and the two went their separate ways, serendipitous circumstances found the pair living a few blocks away from one another years later, and the two tried again: this time, though, scaling back to just vocals and acoustic guitar. LISTEN HERE…

by Baby Robot Media

Absolute Punk says Pillage & Plunder’s “Keep Dreaming (It’s Not Gonna Happen)” from their new LP The Show Must Go Wrong has a “rockabilly-jazz-punk vibe that is pretty damn fun”

Pillage & Plunder are one of the those bands I think you should just hit the replies and push play to fully experience. It’s got this rockabilly-jazz-punk vibe that I think is pretty damn fun. The track comes from the band’s upcoming album, The Show Must Go Wrong, which is due out August 5th. LISTEN HERE…

Pillage & Plunder

To set up an interview with Pillage & Plunder, or get your hands on press passes, advance music, hi-res photos, album art or videos, contact stevealbertson@babyrobotmedia.com

Bio

Atlanta’s Pillage & Plunder was birthed from the twisted minds of unnamable gods, and weaned on the teat of comic books, video games, jazz, mathematics, punk and prog. Years of awkward relationships with women, friends (and sometimes the beach) have inspired the lyrical content of their controlled chaos, as they’ve navigated the dreams of gently slumbering giants like Frank Zappa and King Crimson. Pillage & Plunder reign in the mysterious formulae of syncopation and eclectic instrumentation, while their pop sensibilities carry listeners from song to song. It is this wide range of musicality that allows them to play for such diverse audiences as the music aficionados of SXSW and the geek-centric gamers of Gen Con; and to share the stage with groups as disparate as The Protomen and Paper Route.

Pillage & Plunder’s debut LP, The Show Must Go Wrong (out Aug 5) plays like the clockwork construct of musical mad scientists. Gokul Parasuram (guitar, bass, vocals), Hsiang-Ming Wen (bass, guitar, vocals) and Noah Kess (drums, vibes) recorded each song’s foundation almost entirely live as a three-piece before overdubbing horns, vibes and backing vocals, and carefully building the towering sonic cathedrals that comprise this record. Parasuram and Wen each brought in songs, their sounds an homage to the most desirable facets of ’50s martini-lounge, ’70s psych-prog and early ’90s pop punk.

Kess shares producer honors on the new record with Cody Sciara (Wale, The Bar-Kays, Curren$y), the pair tirelessly working toward the complex range of sounds demanded by Pillage & Plunder’s staggered jagged edges and transcendental use of both space and clutter. “We have a real love for hip-hop,” Parasuram says. “We wanted to work with someone who could bring that booty-shaking vibe through the filter of rock and jazz. Of course, what we ended up with is its own thing altogether.”

“It was important to us that we record a very clean-sounding album,” Kess says. “Right now, there’s an overwhelming trend toward trashy lo-fi garage rock. So we wanted to push against that, which is why the album ended up with its ’70s crispness.”

“We didn’t want the subtleties of our arrangements lost in the grit of a down-and-dirty recording,” Parasuram adds. “This is how we felt it was best to present the songs.”

The Show Must Go Wrong is a madcap auditory adventure that always leaves one guessing what will come next. Opening track “Beetlejuice” begins with a clear funk-jazz guitar riff and immediately takes on a life of its own with varied instruments and voices all gunning for the spotlight, while somehow interlocking like jigsaw-puzzle pieces. The tune twists and turns, allowing each sonic texture a turn at the forefront, though never at the expense of the song.

“The color purple is a running theme in The Show Must Go Wrong,” says Wen, who creates all of the band’s artwork. “‘Beetlejuice’ in particular. It has a real Tim Burton vibe to it.”

The rest of album continues down this vivid path, a grandiose kaleidoscope for the mind’s eye. “Moocow” was conceived through Parasuram playing King Crimson’s “Neal and Jack and Me” backward. He quickly spun this exercise into his own creation—shaping it from primordial disorder to an upbeat, dancey, hand-clapping banger with a 4/4 pulse. “How Did it Come to This” is a jumpy ballad of regret, “Summer Days” uses its driving bass line to fuel its ’50s pop feel, while Wen comes to terms with growing up to be the person he is now.

As for the where its sound is headed, the band points to “I Will Drink the Ocean When I Go There.” Of all the songs on the record, it’s the only one that was recorded piecemeal (as opposed to the core instruments being cut live), relying on spontaneous experimentation and studio trickery. The song shifts from jazzy swing flourishes to tendrils of circus-rock guitar that ultimately drag the listener into a whirlpool of vibes.

Pillage & Plunder was forged back in 2004, the creature of a brutal Spiderman vs. Batman high-school rivalry between Parasuram and Wen, tempered—thankfully—by a shared love of anime, video games and music. The band was named in the heyday of pirate pop culture, with Johnny Depp swashbuckling his way through the Caribbean, not to mention the anime One Piece, which had a profound impact on the future members of Pillage & Plunder.

“One Piece is like a metaphor for being in a band,” Parasuram quips, “always searching for your next great song so you can ultimately become the king of your genre.”

“It’s a bad joke that stuck,” Wen laughs.

P&P released their debut single in 2009, and their first EP, Look Inside for the Prize, in 2011. The band’s close friend and original drummer, Ian Vinson, departed just before the recording of Look Inside, with Kess stepping in to record the album, and solidifying his place as permanent third member. The resulting EP was a success at home in Atlanta, making year-end best-of lists at several key local outlets. In 2012, Pillage & Plunder kept up their streak, releasing a set of singles (“Summer Days” and “Hit & Run”) that once again jazzed the ATL critics. And last year they dropped Goodnight Jack, an acoustic EP delivered as a reward to loyal Kickstarter supporters who helped the band acquire a new tour van, only to have it broken into at SXSW with all of the band’s equipment stolen. But even that didn’t stop them—they shook it off, borrowed some gear, and went straight into the studio to record their aptly titled latest, The Show Must Go Wrong.

Links

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by Baby Robot Media

Under the Gun Review interviews Lily and the Tigers & calls their new video “remarkable” and “full of complexities”

Lily and the Tigers are not complacent folk music. It is not a band comprised of mere sensationalistic tendencies; the type of folk that listeners hear in mainstream radio play — it is delivered unvexed and outstandingly. The latest release from Lily and the Tigers, The Hand You Deal Yourself, is a remarkable record full of complexities not often found in the genre, while still being able to please the easiest of folk lovers. Under The Gun Review is excited to team up with Lily and the Tigers to bring you the brand new music video for the record’s title track, “The Hand You Deal Yourself.” The video takes the viewer on a trip through a sardonic universe that parallels such a unique track.

Read the full interview HERE…