Louise Aubrie is a New York City based, English musician who crossed over the pond to play her new music in the United States. Aubrie’s authentic post punk pop songs are clearly influenced by The Smiths and The Cure, but are doused with her personal and feminine spin to what is normally an all male emo melancholy fest of hurt feelings and missed opportunities.

Celebrating her album release earlier this month at The Bitter End, Louise Aubrie is working to establish herself in the lower Manhattan music community. Keep and eye out for her music and her lush, sentimental songs.

By: Jordannah Elizabeth

Kanye West.  You either love him or hate him.  As a lyricist.  High end fashion designer.  Taylor Swift’s killjoy.  And now… visual artist.  People are either offended by his brash behavior (which is usually mistaken for ignorance) or envy him for his craft.  Truth be told, Mr. West, Ye, or Yeezy equals ‘Yeezus’.  There, I said it.  The twenty-first century messiah that trumps anyone bold enough to stand in his way.

The creative and musically endowed Australian indie rock band, Monks of Mellonwah have released and intensely orchestral opus with their new three track EP, Sky and Dark Night. This band has successfully generated a fusion of classical music and pop indie rock with competence and strong production value.

Sky and Dark Night is written as a trilogy as the tracks, Breakout, Control and Condition flow into each making a the EP a strategically recorded album that reflects its forethought throughout the sonically dramatic 16 minutes. The first track, Breakout solidifies the band’s impressive attempt at creating a rock opera mini anthology of musical movements that not only climax and fall at the proper moments, but the music also changes dramatically and cycles from the beginning to the end of the EP.

Monks of Mellonwah have composed a very respectful piece of work. Whether or not like indie rock or rock operas, Sky and Dark Night is an undeniably admirable album.

By: Jordannah Elizabeth

It was Sunday and I was hungover. As I stumbled out of my bed to snag a sobering cup of coffee, I snatched my phone and scrolled through my texts to make sure I didn’t send any embarrassing drunk texts. I did, unfortunately. Amidst the sea of awkward I had stirred, however, I found something pretty much amazing. I saw a text from an unknown number that read “Brain Cells – Chance The Rapper.”

After a swig of coffee, I hopped on YouTube and found myself listening and downloading the mixtape, #10day, by the 20 year old, Chicago-born rapper, Chancelor Bennett. Needless to say, that text was up there in the best texts I got that weekend.

Since then, while other rappers are popping molly and sweating, Bennett tripped on acid 60′s style and released his latest mixtape, ‘Acid Rap,’ last Tuesday (April 30th); and it does it’s name justice by actually being a trip. Bennett presents himself as an ambitious, tongue-in-cheek comedian and as a smart, politically-aware lyricist.

Acid Rap kickstarts with ‘Good Ass Intro,’ a track that opens with an inherently true gospel hook via BJ the Chicago Kid that informs the listener that Bennett is “even better than [he] was the last time.” And it’s true. Bennett surges onto this opening track with College Dropout era Kanye West confidence and gusto, accompanied by a beat that makes nods to the genre of acid jazz and Bennett’s recently cited influence, Jamiroquai.

The jazz and groove spill into the first half of the next track, ‘Pusha Man,’ as Bennett plays with the beat in a carefree moxie and a voice reminiscent of Eminem’s Slim Shady LP. What Bennett does exceptionally well here, is that he manages to make an intelligent juxtaposition and a handful of insightful observations about Chicago’s gang violence while crafting catchy, smooth melodies and awesome cadences. The first half of ‘Pusha Man’ is a braggadocios observation of Bennett’s success, explaining how he’s blown up on Twitter and how he’s been seen in the Reader or the Red Eye. Following a short bit of silence, a more self-aware Bennett takes to the track. Bennett calls attention to the issue of gang violence brought to the forefront of the Chicago rap scene last year with another Chicago-based rapper, Chief Keef. Bennett discusses the lack of presence and awareness of gang violence in the media, noting, almost hauntingly, that “they deserted us here [in Chicago]” and continues to ask “Where the fuck is Matt Lauer at?” Bennett isn’t glorifying these issues like he was partying in the former part of the song. Bennett is genuinely concerned, worried, and scared about the climbing rate of violence in Chicago.

Acid Rap continues strong with it’s third track and arguably one of my favorites, ‘Cocoa Butter Kisses.’ The song to me, is an interesting follow-up to “Hey Ma” off of Bennett’s previous release, #10day. Bennett in the former track, spoke about how much he loves and appreciates his mother and how he wants the best for her. In ‘Cocoa Butter Kisses,’ however, he speaks about how his cigarette smoking and his career has made him into a man that his mother isn’t familiar to, and doesn’t give out the cocoa butter kisses that she used to anymore. Bennett, at heart, still misses the embrace from his mother, and more relatable to a lot of people in their twenties, he even misses who he used to be when he was younger. Bennett reminisces about the orange VHS tapes with Nickolodean characters like Timmy Turner, Tommy Pickles, and Chuckie Finster. He continues to review his childhood, as he spent at Chuck E. Cheese’s and praised Jesus against a quick contrast, with the image of Bennett dropping Visine into his eyes to hide his high, just so that his grandmother would hug him. As Bennett makes these coming-of-age observations, the last verse ends strong with Twista boasting a self-aware, triple time syncopated rhythm pattern, wrapping the song up wonderfully.

The album’s grooves continue strong with hints of Andre 3000 and Wyclef Jean in ‘Juice’ all the way to ‘Interlude (That’s Love).’ The 8th track, ‘Favorite Song,’ features actor-writer-comedian-rapper Childish Gambino, who Bennett recently toured with. The beat samples Betty Wright’s 1971 jam ‘Clean Up Woman’ and from the start to the hook to the end, the track lends itself as a feel good song for the summer.

As the mixtape comes to a close, the theme of Bennett growing up stands bold. In ‘Acid Rain,’ he reflects on who he is and who he once was, how he misses the days of Senior year and open mic nights. And in ‘Good Ass Outro,’ Bennett confesses he would’ve been fine with being a small time act, that he would be fine if he never made it to the sort of success he reached. In this outro, the introspection throughout the mixtape comes full circle, as he’s examined both times of his life, the issues that need to be addressed, and that he is going to be moving forward, noting that ‘everything is good.’

Bennett, you did a good ass job. Chance the Rapper’s Acid Rap is a phenomenal release and everything about it is rad.

-Mylo Reyes

 Seeing that it is merely days after Austin Psych Fest, I thought I’d take the time to talk to an APF veteran band, Elephant Stone. Rishi Dhir, the band’s front man and the neo psychedelic scene’s go to sitar player was kind enough to talk about his experiences as a musician. Dhir has played with iconic independent bands like The Brian Jonestown Massacre, The Black Angels and The High Dials and has created a powerful and positive reputation with his musical peers, and loyal fans.

 You’re sought after sitar player in the neo psych scene. How does it feel to be like the Canadian Ravi Shankar of our times?

 RD: I am very flattered with the comparison… however, I am VERY far from reaching the level of influence/artistry/genius that Pt. Ravi Shankar brought to the world. I am just a guy that is functional on sitar and has been blessed to know and befriend so many great musicians and bands that all share common musical tastes.

What makes your psychedelic-hindie-rock music so unique?

 RD: I have a very clear idea of what Elephant Stone is. I guess our ability to psych-pop with droney Indian Classical structures/sounds definitely makes us stand out in the crowd…

 How does your Indian background combined with your western Canadian upbringing influence your music and yourself as an artist?

 RD: My Indo-Canadian upbringing has played a huge role in defining my musical vision. Being from two different cultures you’re always trying to reconcile their differences and see where they both meet. For instance, from a young age I was listening to The Beatles, the who and the doors while at the same time absorbing Bollywood music (Via my parent’s Saturday movie nights)… I guess subconsciously, I would try to see the common ground both music worlds shared. I guess that’s pretty much what I’m doing with Elephant Stone…

While you were studying classical Indian musical when you left The High Dials yet you still found you were doing 60’s stuff like the Kinks and The Beatles, how did you reconcile these two styles in your head and eventually find your current sound?

 RD: I actually picked up my first sitar in 1996 and started taking lessons seriously in 2000. Once I left the High Dials in 2006 I decided I had had enough of rock and roll and just wanted to go down a more “serious”/classical route and focus on the sitar. I had the idea that I would start making more fusion/world music along the lines of Ananda Shankar. However, in the end, I absolutely love pop music (Teenage Fanclub, The Beatles, etc..), so our first record was a balancing act of raga-rock and power pop (or as I call it, Hindi Rock).

Your band name is quite clearly a reference to the song by the Stone Roses and I heard it is also a reference to a literal stone that you own: a statue of the Hindu god of new beginnings, Ganesh? Is that correct? Ganesh does have the head of Elephant in pantheon of Indian gods mythological figures… Would you say the band name is another metaphor for the fusion of your love of Indie music and your Indian roots sitting side by side together?

 RD:  Ganesha is the god of new beginnings and good fortune. For all marriage ceremonies or when beginning any new endeavors (new job etc) you always pray to Ganesha. I wanted to include some of that imagery for this band, so I wanted it to be Elephant something…. Then it wasn’t too far of a stretch to add Stone as a nod to my love of britpop/madchester.

You’re back touring with the The Black Angels again before APF6 and you were at APF5? How would you describe your relationship to the Angels? Common musical vision? Have you got a funny story while being on tour with them?

RD: Yeah, I’ve performed at the last two APFs (solo sitar as well as along with the Black Angels and BJM) . I’ve known the Angels since before they started the band… our roots go deep and we consider each other as family. We definitely share a common musical/philosophical/life vision.

I had a good run with them last year and got to travel to a lot of amazing places…. I guess me getting to play with Beck in Australia was pretty amazing… It was nice to my friends (alex, christian, steph, kyle, brett and myles) cheering me on while I played Loser:)

 You have a new self titled release out from this year? What is your new EP called?  What is your new sound like and what direction musically are you reaching for in it?

 RD:  The album sounds like everything Elephant Stone is.

 Interview by: Jordannah Elizabeth

Heavy, mesmerizing, and almost darkly ethereal, the music of Chicago-hailing band Implodes enthralls the listener in the way only experimental rock can. The band’s droning and psychedelic progressions heighten from simplistic noise all the way into a dripping, processed, and synthesized sound. The second album on Implodes’ resume, Recurring Dream opens with a textured and sinister track entitled “Wendy 2”, which expertly builds and sets the pace for the rest of the album.

Fans of bands like Mogwai, The Jesus and Mary Chain, and maybe even My Bloody Valentine will find a similar niche in Recurring Dream. Imagine driving yourself home at 3am surrounded by mist and fog with Implodes’ album on your stereo. It works. It even makes a lot of sense. This is the kind of music you can get lost in thought while listening to. There are no distracting elements despite all its natural dissonance. Even Implodes’ vocals reflect their intuitive progression and buildup: they subtract nothing from the overall sound. In fact, the atmospheric vocals add yet another layer to an already intricate yet accessible album.

The eighth track entitled “Dream Mirror” presents Recurring Dream’s hallmark buildup in a concise yet appropriate two minutes and 14 seconds, while the next track “Melted Candle” releases this suspense into a dark and murky rush of synth and drone. Implodes’ dreary but polished sound makes them a difficult band to ignore. Psychedelic, foreboding, and infatuating, Recurring Dream presents the music world with something that’s not entirely new and unfounded, but something that is still uniquely meticulous and genuine.

by Danielle Martin

If you were to ask the average person about the underground music scene in Las Vegas, they would probably quote you several of the area’s top rap orR&B artists.  While it is true that Vegas has great acts in those genres, it is also true that the area has a great underground rock culture.  Let’stake a quick look at some of the best underground rock bands in the area as
well as one of the only clubs in the city where you can rock out to underground tunes.

If you are looking for Armageddon-fueled jams similar to those put out by Tool and other groups, then you want to check out Mycrodot.  The hard rock group based in Vegas has a sound that is classified as very foreboding.  Their single “Eternal Youth” is among their best and a great way to become exposed to the group.

Those that like the styles of Prong and Rob Zombie will want to check out Systemec.  Their sound is more along the lines of a heavy industrial sound and one that many describe as being heady.  One of their more popular tracks entitled Skywind uses a somewhat mechanized sound and the lyrics are very clever.

Another hard rock group worth checking out in Vegas is known for their sense of urgency in their songs.  Down The Boulevard has been performing around Vegas for a few years now their 2010 track Alibis is a great example of the near frantic style they use for their music.

Now if you are looking for a spot to check out some of the best underground groups in Vegas, you destination should be Obsession Afterhours.  Just a short drive from the strip on Russel Rd, the penthouse of this venue rocks from Thursday through Saturday.  Even better, the party doesn’t get started until 2 a.m. so you can check out some of the other venues in town before coming here.  DJ Brian Hart is our host and is always spinning the best underground tracks from the area.  Obsession is one of the only clubs that you will find in the city that focuses on the underground scene.

With summer just around the corner, its time to dust off those mixtapes and update the playlists.  And what better way to kick it off than with some free music because who doesn’t enjoy free music?  I’m pretty sure the answer is no one, which means its safe to assume I’m more than ‘pretty sure’ you’ll enjoy this artist…

Hailing from Long Beach, NiceguyxVinny has confirmed his prowess at producing music with consistency.  Taking samples from oldies classics to more contemporary works, his albums always promise an aural pleasure.  After browsing through his work, you’ll quickly pick up on his taste for rhythm and sultry hooks.  This kid is a natural.  Every track seems effortless, ambient or funky–he’s nailed it.  Infusing jazz, hip hop, r&b, and plenty of latin influence; NGxV is a testament to experimental electronic music, eliciting tenets of J Dilla/Slum Village era hip hop before he catapults to today’s favorites, Flying Lotus and Nosaj Thing–building off of jazz arpeggios and using minimalism as his parameter.  I personally believe in this kid and hope for the day he goes touring in my area.

-Hannah Guenther

If the idea of sandy beaches and warm weather sound like an ideal escape, No Stress Express is the train you’ll want to get on.

It seems fair to say that singer-songwriter and guitarist Casey Turner seems a man of many faces. Originally from the East Coast, he formed punk rock band Liquid Image whose significant fan base led to touring, radio play, and TV appearances. His educational pursuits were just as rewarding, thanks to his engineering background that earned him a spot as a NASA scientist. With a relocation to San Diego came a new artistic exploration, the fruits of which culminated in his first album No Stress Express. Featuring the use of acoustic guitar, ukulele, pedal steel, percussion, and drums to his alluring set of pipes, the album diffuses an acoustic rock sound with a laid-back island feel.

The album kicks off with the beach-friendly, ukulele-tinged “Never Want To Go Home,” followed by the acoustic jam “Summertime.” The laid-back “This I Already Know” tackles varying views of relationships, life and love, while the catchy “Pipe Dream” delivers a rockin’ bittersweet outlook on the pursuit of dreams.

“These Old Shoes” is an upbeat invitation to escape, as “More Than Gold” diffuses the quintessential island vibe, tackling love, self-trust, and the need to enjoy life in the here and now. “Back To You” closes off on a relaxing, mellow note, its six-minute duration a fitting parallel to its no-rush feel, as a chorus fades out to the sounds of ocean waves.

With well-crafted and lyrically developed tunes, No Stress Express is inarguably easy on the ears. “If all we have to lose is time, I hope we stay lost forever,” he croons in “Back To You.” In many ways, when living in a fast-paced, often chaotic world, the line resonates all too much.

-Natacha Pavlov

“Grew up overnight and left in broad daylight” sings lead vocalist and keyboardist Greta Morgan of Gold Motel – a statement that aptly epitomizes her band’s musical growth. The Chicago-based indie-pop band originally began as a side project for Morgan after her pop quartet, The Hush Sound (one of the first bands signed to Fall Out Boy’s Pete Wentz Fueled by Ramen Label) went on hiatus in 2009.

Morgan, teamed with guitarist and vocalist Dan Duszynski, guitarist Eric Hehr, bass player Bobby Lord (formerly Matt Minx), and drummer Billy Klein (formerly Adam Coldhouse) managed to create a laid-back, charm-ridden style that deceptively clashes with their melancholy, soul-baring lyrics. Morgan’s sweet, optimistic, and rich vocal tone helps combat somber lyrics in a manner reminiscent of Jenny Lewis from Rilo Kiley.

Summer House, the quintet’s first full-length studio album, set the tone for the band’s smooth and vintage, 60’s style pop sound. “The Cruel One”, an upbeat, optimistic-sounding song demonstrates their bittersweet feel, commenting— It’s quicker than you think/Sadness spreads out like ink on the road and on the sea/On the roof and balcony.

While their first album offers listeners and overall sense of the band’s passion and talent, it’s their sophomore album, self-titled Gold Motel that truly showcases their full abilities. “Brand New Kind of Blue” jumpstarts the album with a catchy guitar melody and upbeat vocals that cleverly juxtapose the lyrics harsher realities. 

“Musicians,” Duszynski’s solo track, continues their lively feel with clashing lyrics based in non-fiction that emphasize the more dismal realities associated with being a musician. Duszynski notes – Most of my friends are musicians in the subway stations/Making amends with a dark and different world/Paying their dues like a faulty underwater mortgage/Taking their cues from a non-existent fantasy girl. The upbeat, bubbly music and vocals are matched fiercely with heavy insights about life in a band.

The album’s instant standout tracks, “Slow Emergency” and “Cold Shoulder”, continue the band’s traditional easy, vibrant sound, while showcasing deft guitar chords and Morgan’s Blondie-esque vocals. Tracks like “In Broad Daylight” and “Your Own Ghost” fully realize Gold Motel’s growth and willingness to take more adventurous risks.

Gold Motel’s musical expansion is perhaps best explained by Morgan herself, who ends the album with “Leave You in Love” explaining – We didn’t move on, we didn’t change/We didn’t move on, we just moved away.

You can find out more about Gold Motel at their website and check out their studio albums on iTunes or Amazon.

By Courtney Johnston