[Feature] RIVVRS Washes Away the Westside Shiver

By Austin T. Murphy

Brandon Zahursky, better known as RIVVRS

Hailing from San Francisco, the artist known formally as RIVVRS (pronounced “rivers”) is a long way from home, but his stage presence and vitality prove that he is a brave soul dead-set on establishing his niche in the music world. 

After spending time in Napa working in the wine industry and living out of his car for brief spells, he jump-started his music career with a courageous decision to focus solely on his dream and keep moving forwards. This decision has resulted in RIVVRS spending the last nine months working exclusively on music full-time.

“I felt like I was living a double life for a minute, so I chose to take a dive and just go for it,” says RIVVRS. “I’ve always wanted to do this.”

His blind faith has paid off, as RIVVRS has already released a four-song EP, Hold On, and is scheduled to release his debut, full-length album Unfamiliar Skin on March 25th. RIVVRS is currently on tour to promote his upcoming album, heading back up the California coast next week after a show in Los Angeles.

In terms of style, he excels at performing solo with just a guitar to accompany his voice, but RIVVRS had no trouble playing along with opening acts the Brambles and Distant Cousins during the end of the latter’s set Thursday night at Blind Tiger in Santa Barbara. His raspy voice is far stronger than you would expect it to be, sustaining itself during moments when you think he’s about to break.

The most impressive part of his live performance, in addition to his voice, is RIVVRS’ ability to occupy a large space with sparse arrangement. And his selective use of covers, like the Jackson 5’s “I Want You Back” and Tommy James and the Shondells’ “Crimson and Clover,” show off his versatility in rearranging classic hits to suit his style.

His most recent single, “I Will Follow You,” exemplifies his career decision perfectly, as RIVVRS sings about following his love -- be it music or an actual person -- no matter how far or how many obstacles pop up along the way. The song’s mood and structure, though reminiscent of The Lumineers’ “Ho Hey,” allow it to stand on its own with a simple melody that lends itself to audience involvement.

During his performance at Blind Tiger, the definitive highlight was when he brought opening act Distant Cousins back onstage to perform “Can’t Get It Right.” The track was written collectively by all three artists and showed a sense of solidarity among musicians as RIVVRS had previously joined the “cousins” onstage to fill in for their ailing third member.

Although most of his songs work well with just a singer and a guitar, “Can’t Get It Right” certainly sounded complete with a full band. The chorus, “I went down to the river -- washed away that westside shiver,” encapsulates RIVVRS’ decision to pursue his musical career without the fear of failure.

Thus far, he is comfortable and excited about being a full-time, touring musician. Like anyone committing fully to a new career, RIVVRS has had to make sacrifices to keep his dream alive, but he says it pays off now that he knows one bad show isn’t going to be his ruin. Having successfully ‘washed away the westside shiver’, he is focused now on forging his own path without worrying about external perception or comparisons.

“Once you start comparing yourself to others, you lose your sense of self,” says the young artist. “Pretty much everything in music has been done before, so when you have a song that’s in [the key of] C, you have to know you’re not trying to be the next Mozart.”

Regardless of whom other musicians are trying to emulate, his attitude and confidence make it clear that RIVVRS simply wants to be the best version of himself. 

Listen to his debut EP Hold On below:

[Track Review] Birdy Covers Bon Iver's "Skinny Love"

By Austin T. Murphy

It comes as a welcome surprise when I find myself falling for a song that's already almost ten years old. Such was the case this morning when I first heard Birdy's cover of "Skinny Love," originally released by Bon Iver in 2008.

 Birdy's cover breaks the track down to its bare bones, with only piano accompaniment -- and the occasional creak of a piano bench -- to assist her powerful voice. As her debut single in 2011, "Skinny Love" peaked at number 1 in Australia.

As for her current projects, Birdy released her latest single "Keeping Your Head Up" back in January and is planning to release her third studio album Beautiful Lies next month. Check out the music video for "Skinny Love" below:

[Track Review] Seafret Debuts with Tell Me It's Real

By Austin T. Murphy

British indie duo Seafret arrived on the scene early this year with their debut album Tell Me It's Real. One specific track that caught my attention was "Wildfire."

Even though it's trite to repeatedly refer to love as "burning" or to compare it to fire, Seafret's arrangement and captivating melodic ability make the track worthy of anyone recovering from a rough patch in a relationship.

Check out the music video for "Wildfire" over at YouTube, and keep an eye out for concert dates -- the only scheduled show on their website is next month in London.

[Album Review] Claudio Sanchez Unmasked in New Coheed & Cambria Album

By Austin T. Murphy

After seven albums documenting his original sci-fi story The Amory Wars, Coheed & Cambria’s frontman Claudio Sanchez has emerged from behind the curtain with the release of 2015’s The Color Before the Sun. For the first time, Claudio isn’t just the “Writing Writer,” and he’s allowing his own life to play the role of subject without masking it with a complex story. The album is sonically sound and follows all the rules of modern music with uplifting themes and pleasant chord progressions, although the transparency and topical shift make this record a must-listen for loyal followers and rock ‘n’ roll fans alike.  

© Austin T. Murphy 2016

[Interview] Zach Cooper of Coheed & Cambria

By Austin T. Murphy

In 2015 I had the great pleasure of seeing my favorite band (Coheed & Cambria) live twice in SoCal and interviewed their bassist Zach Cooper over the phone after they released their newest album The Color Before the Sun. Here's the transcript from said interview:

*Also, Neverender refers to the band playing a specific album in its entirety during a show.*

[AM] Is the band planning to continue creating music separate from the story/concept or will you revisit The Amory Wars?

[ZC] I couldn't imagine abandoning The Amory Wars at all. It's possible that we'll do more music like [The Color Before the Sun], but it's also conceivable that we'll continue [the story].

[AM] On Reddit, the band confirmed there will be a Good Apollo Neverender, could you expand on the current timeline of touring the new album and when we could
expect more Neverender news?

[ZC] I dont even think there is a timeline right now. Everything is promoting and touring [the new album] so it's probably gonna be awhile but that's definitely gonna happen. We just don't know when.

[AM] How do you feel like the band has changed/evolved since you joined in 2012?

[ZC] Just like any band we spent a couple years playing together so there's a connection there. You spend so much time on the road you become better friends so the dynamic has definitely changed.

[AM] How does your bass style differ from Mic Todd's?

[ZC] I am probably not as busy of a player as he is. I have a tendency to play less, for sure. And I know that's kind of a point of contention -- that I'm boring. (laughs) I'm pretty aware of that kind of stuff, I get it. It makes sense. What drew me to the band was Mic's playing and I was a big fan and loved his approach. But I also know that I'm not him so I'm gonna approach things differently. He also did a lot of slappy stuff, and I don't do that at all.

[AM] What is it like being a new addition to an already established band like Coheed?

[ZC] Oh dude, absolutely it was crazy on a bunch of different levels. I've toured in the past like band, trailer, playing in front of a bar kind of stuff. Being on the road and adjusting to that life of press and pushing a record. And it was also being scrutinized, finding out how much people do or don't like you. Like no matter what, if I'm in the band for another ten years I'm still gonna be the new guy, it's just what it is. (laughs) So, I like to think that I have had a positive effect on the sound of the band.

[AM] Which of the older songs (pre-2007) do you enjoy playing the most?

[ZC] "The Crowing," "Al the Killer," "Devil in Jersey City," "Junesong Provision," "Welcome Home," "Ten Speed of God's Blood and Burial"

[AM] How has the experience of being a part of C&C compared to your expectations before joining?

[ZC] It's surpassed my expectations tenfold. It's been incredible just getting to play this music and being a part of the new direction of the band, the traveling, getting to see areas of the world I would never otherwise go. There's still new adventures all the time, and I'm extremely grateful to these guys for taking me along.

[AC] From what you've seen, has Claudio changed at all since Atlas was born?

[ZC] Absolutely, that's something that is inevitable. Fatherhood brings on so many new emotions/feelings and changes your outlook on the world. It's had a profound effect on him.

[AM] I thought "Peace to the Mountain" was one of the more unique tracks on the new album, could you talk a little bit about how that song came to be?

[ZC] We were working on the music and Claudio had the idea, while we were running through stuff in his basement we joked about making it "Beatles-esqe." (laughs) So in the studio we had string and horn players come in, and Claudio directed them. The whole thing came together amazingly, we recorded live in this old church just standing around banging stuff, clanking things against the wall. It was a really fun track, and it's also my daughter's favorite song on the album.

[AM] By any chance, do you know what mountain Claudio is referring to?

[ZC] Just like a generic mountain. It goes back to the "Island" and the feeling of claustrophobia. "Peace to the Mountain" is like I'm going out to find more open space.

[AM] How did the band decide who would play which role in the "You've Got Spirit, Kid" video?

[ZC] It was the director and the guys who came up with the concept for the video. We had a loose idea of who would be doing what. Josh was really excited about being naked in the video. He was like "I'll be naked the whole time. I'll be the naked guy." (laughs) I was like, "I'll be the nerd that gets picked on, I can relate to that."

[AM] When I saw you at The Observatory, you played certain album pairs in reverse order ("Everything Evil," "Devil In Jersey City"), what's up with that?

[ZC] When we put a set together it's about how the songs flow individually in the context of the whole set, so we'll mix up orders of songs and if it feels good we'll go for it. Sometimes it has to do with the song that's happening before, like "Al the Killer" is kind of more uptempo and driving so if we went right into "Devil in Jersey City" it maintains that kind of energy. Whereas "Everything Evil" dips a little so it adds more dynamics to the set.

[AM] This is a question I like to ask in all of my interviews: what do you envision for the future of music with improved technology and easier collaboration?

[ZC] Oh man, it's already happening. The future is now, it's crazy. Collaboration is so easy with home recording setups and sending files to other people, it's really wild. I can see that growing and getting easier with more compact recording rigs and more avenues to send bigger files. I honestly don't know for sure but I'm excited to see where that technology goes.

© Austin T. Murphy 2016

[Track Review] Basketball-Minded Subzylla Debuts with "Oracle"

By Austin T. Murphy

 

In 2015, L.A.-based producer Devin Lopez, aka Subzylla, released his debut track “Oracle.” Named for the arena in which his beloved Golden State Warriors play basketball, his instrumental piece makes excellent use of sparse and subtle elements, not to mention the ever-present driving beat that makes it a staple of my workout mix. 

The track’s title is appropriate as new musicians often need guidance and direction to find their niche in a growing and evolving industry. What’s more, newcomers usually have to overcome obstacles to realize their ultimate goal of having their music heard -- like gladiators.

And so, in this track Subzylla is the warrior -- and he derives inspiration from his championship-winning basketball team.

Facebook: https://www.facebook.com/subzylla/?fref=ts
Twitter: https://twitter.com/Subzylla
SoundCloud: https://soundcloud.com/subzylla/

Instagram: https://www.instagram.com/subzylla/

© Austin T. Murphy 2016

[Feature] This Night...and Tomorrow

By Austin Murphy

 

I spent four years studying Music Theory at UCSB, but it wasn’t until last night that I finally put my skills to use by analyzing my first piece since 2014 -- “This Night” by Billy Joel.

Best prepare yourself for a lot of musical jargon.

           
Originally released on his 1983 album An Innocent Man, the song borrows a chord progression from the second movement of Beethoven’s “Pathetique.” We analyzed this specific progression during my freshman year, but only now do I see Joel’s brilliance on display in bringing the Romantic era into the 20th century.

The lyrics are quite obviously about the singer’s trepidation and hesitation to trust a specific person and fall in love again, constantly reminding himself that he “fell” into a similar trap before. In the chorus the two characters eventually conquer their fear and spend “this night” together, and they end the song unconcerned about what tomorrow will bring because it is so far away.

While the lyrics are sweet and romantic, they are only half of the whole story -- fitting, because lovers are so often halves of a whole. The rest of the story is told within the music, but you have to parse it out to truly understand.

Let’s picture the two characters as being key signatures: the man (singer) is A-major, and the lady is F-major. A-major is written as having three sharps and, when pictured on a staff, slightly resembles the shape of a heart. F-major, contrastingly, only uses one accidental -- a single flat, subliminally implying that the two characters are not on the same page (rather, that they are on opposite ends of the earth, city, or perhaps even the same room).

Further, it is my interpretation that despite being “friends” both parties view each other with their contradicting key signatures as being uninterested in each other. They like one another, but each views the other as being standoffish simply because they are too lost in their own worlds or “songs,” -- but this is about to change.

As the verse (the man’s solo) progresses, he talks about “breaking his promises” -- promises he made to himself not to fall again, that he and the lady would remain friends. But after he starts dancing with her, ironic because the “dance” begins with a “D”-major chord -- not to mention that D-major is the only chord the two opposing keys share despite collectively occupying all 12 notes on the staff.

In other words, the man and lady found a common ground, a shared passion.

And so they danced, “though it was only a slow dance.” But the man is quickly forgetting his past and doesn’t remember the “rules” anymore -- not to fall for friends.

The dance is the chorus, when the man “falls” into her key of F-major -- literally falling downwards from the note “A” to “F.” Though they dance, he is still adamant about being the “man” and claiming the night as his territory -- despite the fact that dancing is a two-person act. And thus, he scares away the lady when he is too “aggressive” the first time they meet.

And so we return to the verse in A-major. The man is lonely and misses the feeling of being half of a whole -- even though he still remembers the last time he was hurt. And eventually it all becomes too much, and he “falls” into the chorus, again.

This time, he is wiser. He dances much longer with the lady -- remaining in F-major (ironically as friends with a capital ‘F’) for the second chorus -- and he allows himself to stay close to her when the saxophone “solo” ends -- in a nearby key.

But being in the key of F-major during the chorus is even more significant because at that point the characters almost share all three notes of the chord. “A” is part of both chords, and the characters are only a half-tone apart with “C” and “C-sharp.” Now we just need to know what happens to the discordant, “warring” notes of “E” and “F,” which are also only a half-tone apart and look very similar as letters.

This is where Joel’s brilliance is on display, because you can literally picture the modulations and keys as characters on paper moving closer to each other. While they were in F-major, the letter “F” was missing the bottom “rung” which would turn it into the letter “E,” and the “C-sharp” has an extra ‘#’ sign that the “C” note doesn’t need -- but maybe if the man gave the girl that last sharp (letter) he was holding onto, she could fill in that missing piece.

In the nearby key, B-flat major, the man is showing the lady that he cares about her by shedding his “standoffish” sharps and “attracting” her with two flats of his own. The lady sees something in him she can relate to (the flat), and she comes closer -- but there is still one thing remaining...

The resolution.

In music, a perfect resolution occurs when a dominant chord “resolves” into the tonic (e.g. a “G” chord followed by a more sonically-stable “C” chord). But as we know, there is no such thing as a “perfect” story, and so the characters both need to make a sacrifice to prove themselves to each other.

The man and lady resolve their differences when they finally express their true feelings with a verbal resolution in the form of a new key: E-flat major, a key that is written as having three flats. The pair dances together in the last chorus in what we assume to be the “nearby” key of B-flat major, but what they are actually doing is lingering on the doorstep with a dominant chord (B-flat).

The man and lady are already together -- and they both know it and confirm it when the song ends on an E-flat major chord, the new tonic. They let go of their own selfishness and allow themselves to fall in love again despite previous heartbreaks.

And the most touching part of what actually turns out to be a “perfect resolution” -- in disguise because the penultimate chord was drawn out and “hidden” as an entire key -- is the final key. With three flats, E-flat is written on the staff in almost mirror image of A-major: in the shape of a heart.

The man isn’t asking the girl to change entirely for him. He just needs her to shift down to the letter “E,” -- “fall” from being friends -- and he gives her a flat (his mended heart) so she can be her own person but also be closer to him.

So we finally know what happened at the very beginning to cause a rift between the two parties. The man came on too strong and scared his lady away by saying three specific words too early in their relationship. She wasn’t ready because she only had “one-third” of her heart ready to commit.

But at the very end, the man and lady come together again to tell each other the three words they’ve been meaning to say during the entire song...

...

And I’m not even going to type them, because you already know what those three words are.

© Austin T. Murphy 2016  

[Interview] Ritchie Young of Loch Lomond

By Austin T. Murphy

Ritchie Young, frontman for Loch Lomond

Seven Bar and Kitchen will be playing host to a familiar sight on Tuesday, September 22nd when Portland-based chamber-pop band Loch Lomond returns to Santa Barbara for the first time since 2011. As confirmed by frontman Ritchie Young, the performance will feature several songs from the band’s forthcoming 2016 album Pens from Spain, their sixth full-length release.

For a band like Loch Lomond that relies heavily on eschewing the prototypical manner of writing and producing new music, these few years in between central coast appearances have allowed them to further develop their sound for the new album.

“There are a few songs that remind me of our last couple records, but it’s a little more diverse,” says Young. “I’m not trying to reinvent the wheel, and I don’t think that I’d be the person to do that.”

If they aren’t innovative, the band is at the very least original in the way they approach writing new music. Young, working without any classical training, writes all the lyrics and outlines for songs before the rest of the nine-person band comes in to shape the end result. The seasoned frontman elaborated on the upcoming 2016 album by comparing it to their first studio release, When We Were Mountains, from 2004.

“It reminds me of the first record we did, because it was a full studio record. We never had a band practice, it was fully written in the studio. [Pens from Spain] is a little more electronic, and I think they kind of want us to go back to that a little bit.”

During their time away from the west coast, Loch Lomond spent two years touring Europe, an experience that helped drive forth the motivation for the new album.

“We were sitting around drinking tea and whiskey and recording for four or five days in a row,” says Young, “and I was just thinking about how weird life is. As the son of a mechanic and beautician, to be touring with people from all over the world, I just felt so lucky.”

Although the band has been performing regularly for over a decade, there has been regular turnover between members. As the sole founder, Young has been the ever-steady constant since he first started Loch Lomond as a solo recording project in 2003.

“We have people cycle in and out, but the core group is a large group,” says Young. “Every tour is wildly different, though, because we have a rotating cast of band members.”

Remarking on the time since their last Santa Barbara performance, the almost-40-year-old says there aren’t as many gray hairs as he expected, but he’s more optimistic and fully recharged since their 2011 show at the Mercury Lounge.

© Austin T. Murphy 2016