Tag Archive: “Fat Possum Records”

Bloomington, Indiana’s own Hoops are about to head out to one of their first extensive tours in a matter of days, running through the US and United Kingdom. Before they embark on their voyage across the United States in support of their latest Routines (via Fat Possum Records), I was curious on how morale was with the troupe. Hoops member Keagan Beresford informed during our phone conversation that everyone is taking everything in stride. “It’s pretty relaxed,” he reveals. “We’re playing a lot of songs from the album, but we have learned a few ones we haven’t got the chance to get tour tight. We got some new equipment that we feel pretty good about and all of us are excited.”

Being a band that’s been loosely defined since its inception a few years ago, Hoops consist of Beresford, Drew Auscherman, and Kevin Krauter. Friends for a period of time, Hoops have released cassettes and a self-titled EP, which has earned them praise and accolades from several outlets. Hyper-melodic songs that are constructed around powerful pop chords, complex drum patterns, Hoops painfully work to make each song sound unique and distinctive. For the band’s full-length debut Routines, Hoops stayed true to themselves while growing as a stronger unit. “We have gotten used to the unpredictability of this lifestyle,” Beresford says. “I feel like that’s a lot of the dramatic material within (Routines). We have been playing in this band for a couple of years now. Now it’s whole different animal. It’s daunting, but we also take everything with a grain of salt. We are taking care of good care of ourselves and each other. There’s an element of pressure for sure, but we are doing it one day at a time; keeping our heads on straight.”

The band has definitely had some excitement building around it as of late, especially with all of the press.

Yeah…all that was pretty alien for us, because we have never done anything like that before. We have been playing together forever, so that’s been the easy part.

I saw that you were trying to keep a low profile for a while. What made the band change that approach?

We did at first just because we didn’t want to be that kind of group that tried to sell themselves super hard. We actually got on (Fat Possum) and if they were going to help support us by promoting us, there was going to be a little give and take to it. We became less sheepish about publicity and social media stuff. We are getting more used to it.

Exactly how long has everyone been together?

Drew, Kevin, and I have known each other since high school; I’ve known Kevin since sixth grade. Drew and I used to be an improv doom metal band together, which is kinda of an odd way to start our musical relationship (laughs). Kevin and I met at church and we were in a Christian rock band for a while together. The way the Hoops thing started was Drew started ambient music on his own and released a few recordings. It became a surf pop thing after that; Kevin, Drew, and our friend James that used to play drums with us. Then we started college and there was a break for a year. Drew write an album’s worth of full band-type songs and recruited us to play it; all of us started writing, releasing recordings. That’s how it’s got to where it is today.

Was everyone close to proximity with one another during college?

Kinda. Kevin and I both went to Ball State University; Drew was there for a year and went to Indiana. Kevin and I would spend most of our weekends there (in Bloomington). We would finish our classes on Friday, pack up, drive all the way to Bloomington, record all day and night or play a show in there somewhere, and drive back to school on Sunday night. It wasn’t good for my grades (laughs). It became how we spent most of our spare time. It was fun. House shows have their own special kind of energy then. It’s all we cut our teeth, playing a lot.

I read somewhere that they weren’t the best shows.

Yeah-depends on the show. There are all kinds of stories that come out of those. One time we were playing in a place and something got messed up. I think we were playing with Deeper, which is a Chicago band. The cops showed up at this house part and all of the underage kids scrammed so there was, like, ten people left. We played at two in the morning and I honestly don’t remember playing (laughs). The ten remaining people all just got really high and said that it was the best set that they have ever seen (laughs).

How big is the DIY scene around Bloomington?

It’s pretty strong. There’s a lot of house shows going on every weekend and everyone is pretty interconnected. Everybody is pretty supportive of each other’s bands and always is a good turnout. A really diverse spread of music happening. Not too many bands that sound like each other, but they are pretty much buds. Nobody is trying to do the same thing.

Speaking more about DIY, did Hoops wanted to continue to record Routines the same way as previous efforts?

All of the early recordings we did were done a four-track tape machine. When we did our EP, we did it all ourselves still. We didn’t enlist any outside help, but we did digitally on a computer. The trick with that was using the right tools at your disposal; we wanted to retain that lo-fi tape sound, but use the capabilities that computers have. We just are trying the find balance, I guess, because we aren’t interested in doing super high-fi albums. Our former drummer James Harrison – who is big on recording engineering – refers to it as “medium-fi”, which I think is a good label.

ong>Hoops recorded Routines at Rear House Recording in Brooklyn. You mentioned that ended up doing everything yourselves. What was the reasoning behind that?

It was an insane recording studio with every bit of analog equipment that you could want in one place. The thing that made it not so good for us was that we didn’t know what we wanted to sound like. All we had to go off with was the demo that we made that were done on four tracks. We shoot for something vaguely close to that and we wind up with a high quality, stripped down song. It wasn’t really happening. We got back from that and we were like, ‘Let’s fine tune this thing’. We mixed the whole thing ourselves, which was the hardest part.

It wasn’t a bad experience. We were just unexperienced. Jarvis (Taveniere) was really good with that. He would hear something and say, ‘Alright, this is the kind of direction that you want to take recording at. I’m going to mic the drums this way, use this amplifier, etc. He was definitely our guide in that sense.

Does that mean that the band is totally turned off with recording in a studio going forward?

Not really. I wouldn’t have anything against it. We did it all in really compressed time; a week here and a week there. A lot of time we wound up recording and mixing up literally up until the day we left for tour. We finished mixing our EP in the back of the van (laughs). We are trying to avoid that, just for the sake of professionalism and keeping our heads on straight. It will make the workflow a lot easier, because we are going to be working on the next album gradually during our time off.

The band worked hard to figure out where collectively you wanted to go. Did you feel that you find with Routines?

The term that we tend to use is “vibe finding”. There’s a lot of vibe finding to be done. As for our future sound goes, we all are listening to different stuff all the time. Usually we try to find common ground that we are all into. Lately, we are going through 80s FM radio hits, top forty hits/songs that we really love. For example, we like the way drums sound on a certain Tear for Fears song so we are going to employ that somehow.

Routines sounds as if the band already starting incorporating a 80s-influenced feel to it.

Yeah, I say so. We got really into synthesizers, which is such a big 80s signature thing. Prefab Sprout is probably our collective our favorite band that is a big influence on how we record and write. Also the tape machines that we were using to originally make the songs; they had a 80s sound to them. There are a lot of contemporary bands that we love and they play into what comes out. We are huge Radio Department fans. Making Routines, that was our standard of operation. We would mix something and say, ‘Oh that sounds like Radio Department-that’s good’ (laughs).

Hoops latest Routines is available now via Fat Possum Records.

(For more Hoops:
FACEBOOK: https://www.facebook.com/hoopsband/
BANDCAMP: https://hoops.bandcamp.com/
TWITTER: https://twitter.com/hoopsband?lang=en)

 

The One Where Luke is a Nasty Woman

On this episode of Best Song Ever: the Dear LaBenne cousins kick things off with their first ever bonus track, DJ Khaled visits the Doom Tomb to give us a labelmate alert, Brian calls Luke a nasty woman several times, finally another episode of Thor Talk premiers with a special new surprise, and much much more!

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne bring you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.

ITUNES LINK


Songs Played on The One Where Luke is a Nasty Woman

Animal Collective – Kinda Bonkers from Painters EP out this Friday February 17 on Domino

Delicate Steve – Cartoon Rock from This is Steve out now on Anti-

Los Angeles Police Department – Plane 2 from an upcoming album due later this year on Anti-

Fancey – Baby Sunshine from Love Mirage out now on fanceymusic.com

Paul White featuring Danny Brown from Accelerator EP out now on R&S

Temples – Strange or Be Forgotten from Volcano out March 3rd on Fat Possum Records

Middle Children – Fish from Earth Angel out March 3rd on Let’s Pretend

Happyness – Falling Down from Write It Out out April 14th on Moshi Moshi Records

Jesca Hoop – Memories Are Now from Memories Are Now out now on Sub Pop Records

The One About Hollywood Power Couples

On this episode of Best Song Ever, recorded live from the Broom Tomb, Luke talks about Hollywood Power couples, while Brian tenderly confesses his love for Britt Daniel.  The Dear Dear LaBenne cousins also talk about not conforming to other people’s expectations and the importance of just being yourself.  Plus, Brian gets some things off his chest, which helps bring his beef broth down to room temperature.  It’s a weird and wild ride with an absolutely fantastic soundtrack.

Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne bring you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.

ITUNES LINK


Songs Played on The One About Hollywood Power Couples

IDLES – “Well Done” from Brutalism out March 10th on Balley Records

Spoon – “Hot Thoughts” from Hot Thoughts out March 17th on Matador

Paperhead – “Dama de Lavanda” from Chew out February 17th on Trouble in Mind Records

Dryjacket – “Misused Adrenaline” from For Posterity out now on Hopeless Records

Moon Duo – “Cold Fear” from Occult Architecture Vol. 1 out February 3rd on Sacred Bones

Imaginary Tricks – “Bird” from their debut album Skommel out March 24th on Friendship Forever

Ne-Hi – “Offers” from Offers out February 24th on Grand Jury

Gold Connection – “New Religion” from their self-titled EP out March 31st on Fat Possum Records

Since the year 2000, Ghettoblaster has been putting out a quarterly print magazine.  For Ghettoblast from the Past, we look back at the bands and artists that were showcased within these pages.

From Issue 23, Fat Possum Records Beaten Awake.  Words by Sean Cannon.

Also from Issue 23, Lab’oratoire Records Wax Tailor.  Words by Blake Garris.

beaten-awake

To subscribe to Ghettoblaster Magazine or to pick up this issue, head over to our In Print page.

The One With Luke’s New Catchphrase

Welcome back to Ghettoblaster Magazine’s Best Song Ever podcast!  Every week Ghettoblaster feature writers (and dear cousins!) Brian LaBenne and Luke LaBenne will be bringing you fresh new songs with the hopes of introducing you to some that you may consider to be the best song ever.  Both Brian and Luke have no idea what songs the other has picked, so what you are hearing is their genuine reaction to listening to the songs together.  Also, if you enjoy this episode, head to ITunes to subscribe and rate our podcast with the highest rating available to you.  Thanks for checking this out, we hope you enjoy the show!


Songs Played on “The One With Luke’s New Catchphrase”

Red Pill- “90s Money” from Day Drunk EP out now on Mello Music Group

Mannequin Pussy – “Denial” from Romantic out now on Tiny Engines

Tallisker – “Salanfe” from the upcoming Heliotrop EP out on November 11

Kadhja Boney- “Honeycomb” from The Visitor out now on Fat Possum Records

Pale Honey – “Real Thing” single from Bolero Recordings

Cakes Da Killa – “Gon Blow (feat. Rye Rye)” from Hedonism out now on Ruffians

John K. Samson – “Fellow Traveller” from Winter Wheat out now on Anti-

The Men – “Crime” from the upcoming album Devil Music out on November 11th on We Are the Men

Special thanks to the band Congress for allowing us to use their song “Pond Fight” from their debut album Ugly Eye for our opening song!

Youth Lagoon – aka Idaho-native Trevor Powers – has confirmed his third album, Savage Hills Ballroom, out September 25 via Fat Possum Records. Often perceived as a recluse (his first LP is called The Year of Hibernation, after all), on Savage Hills Ballroom Powers has fully opened himself to the world for the first time ever. The 10-track collection is his most ambitious, unguarded work to date, recorded in Bristol, UK and co-produced/mixed/engineered by Ali Chant (PJ Harvey, Gravenhurst). First single “The Knower” is streaming now via NPR: http://n.pr/1O0zgXp

Savage Hills Ballroom is available for pre-order now: smarturl.it/YLSHB

Youth Lagoon will tour extensively behind Savage Hills Ballroom, initial dates below, more to be announced in the coming weeks.

9/10: Filling Station – Bozeman, MT

9/11: Top Hat – Missoula, MT

9/12: Egyptian Theatre – Boise, ID

9/21: Rough Trade – Brooklyn, NY

9/24: XOYO – London, UK

9/26: Cafe De La Danse – Paris, France

9/28: Rotonde, Botanique – Brussels, Belgium

9/30: Bitterzoet – Amsterdam, Netherlands

10/2: Magnet Club – Berlin, Germany

10/4: Jazzhouse – Copenhagen, Denmark

Fat Possum Records announced the release of Jack Ladder & The Dreamlanders’ upcoming album Playmates, due February 24, 2015. The first taste of the record “Come On Back This Way” showcases newfound lightness for Ladder, weaving a glistening synth melody with a chorus duet and wordless backing from Sharon Van Etten. Its video, which was directed by Alex Smith (Coldplay, Peaches & Iggy Pop), is available now for streaming and embed HERE.

It’s been almost twenty years to the day since Self released their hit cult record Subliminal Plastic Motives. The record’s dense and eclectic take on ‘90s rock still resonates with fans two decades later, and will soon be discovered by a new generation of indie rock lovers as Fat Possum Records prepares to release SPM on vinyl later this year.

The recent signing of founding and principal member of Self, Matt Mahaffey, by Fat Possum Records allows fans to take in SPM on vinyl for the first time and will open the door to long awaited new material from the band.

Since the original release of Subliminal, Mahaffey has become a legend in his home state of Tennessee. An accomplished producer and composer, Matt has produced hit records for HelloGoodbye, Parachute, The Sounds, Forever the Sickest Kids and many others while also composing music for hit TV shows and feature films such as Shrek.

With the original lineup in tow, Self now prepares to hit the stage for their first show in nearly a decade, playing at the Gramercy Theatre in NYC on January 10.

Caveman’s tour with Rogue Wave is underway (dates below).  The band is touring in support of their self-titled album, which is out via Fat Possum Records – listen on SoundCloud HERE

* w/ Rogue Wave
# co-headline w/ Night Beds

6/18 – Charlotte, VA @ The Southern #
6/19 – Washington, DC @ Black Cat *
6/20 – Cambridge, MA @ the Sinclair *
6/21 – Brooklyn, NY @ Music Hall Of Williamsburg *
6/22 – New York, NY @ Bowery Ballroom *
6/23 – Millvale, PA @ Mr. Small’s Theatre *
6/25 – Toronto, ON @ the Mod Club *
6/26 – Detroit, MI @ Majestic Theatre *
6/27 – Chicago, IL @ Lincoln Hall *
6/28 – Chicago, IL @ Lincoln Hall *
6/29 – Minneapolis, MN @ Fine Line Music Cafe *
7/01 – Madison, WI @ High Noon Saloon
7/02 – Grand Rapids, MI @ Pyramid Scheme
9/27 – Cincinnati, OH @ Midpoint Music Festival
9/28 – Champaign, IL @ Pygmalion Music Festival

Fat Possum Records announced that The Walkmen are touring in January with Father John Misty. The Walkmen kick off the tour on January 11 in Philadelphia at Union Transfer, and will be joined by Father John Misty beginning at the following show on January 15 at Corona Theater in Montreal. The tour wraps up at Commodore Ballroom on January 28 in Vancouver. In conjunction with the announcement, The Walkmen are debuting two videos from their release show for their latest full-length Heaven, a uniquely intimate show live-streamed by Spotify and filmed by La Blogotheque. “Heartbreaker” is available HERE, and “Heaven” is available HERE.

The Walkmen are releasing a limited edition 7″, featuring the previously unreleased tracks “Dance With Your Partner” and “Vermeer ’65.” The release is limited to 1,000 copies and will be available on Tuesday, November 6. CMJ premiered the tracks, which are available for stream HERE. Pre-order is now available at Insound and Fat Possum.

The Walkmen Tour Dates:

Fri, 1/11 – Union Transfer – Philadelphia, PA

Tue, 1/15 – Corona Theater – Montreal, QB #

Wed, 1/16 – Danforth Theatre – Toronto, ON #

Thu, 1/17 – Newport Music Hall – Columbus, OH #

Fri, 1/18 – Vic Theatre – Chicago, IL #

Sat, 1/19 – Capitol Theatre – Madison, WI #

Mon, 1/21 – Ogden Theatre – Denver, CO #

Thu, 1/24 – Fillmore – San Francisco, CA #

Sat, 1/26 – Roseland Theartre – Portland, OR #

Sun, 1/27 – Neptune Theater – Seattle, WA #

Mon, 1/28 – Commodore Ballroom – Vancouver, BC #

# – w/ Father John Misty