Gone [Audego]

audego1 ‘Gone’ by Audego   (Australia)

‘Gone’ from Australian, electronic-soul duo Audego has so much going on. It reminds me that soul music is still around and it is good. In addition to that, it also sounds like a sexy break-up song…like when you dump someone and you still want them to hold you. Anyone? No? Yes? @kammie1217

Plastic Glowing Stars [Sara Cilantro]

a1178522330_10Plastic Glowing Stars by Sara Cilantro   (Bloomington, Indiana)

Plastic Glowing Stars by Sara Cilantro

So, I love acoustic and I love acoustic songs even more when they’re done with gusto and a realness that just, ya know, satisfies that deep need for something that represents an honest feeling that isn’t too abstract… something simple, something you can really understand. Sara Cilantro gets that realness that I’m talking about. Sara Cilantro is a practically unknown singer/songwriter currently living in Bloomington, Indiana but is originally from Syracuse, New York.

Plastic Glowing Stars is a collection of songs of hers that she has written from 2008 up until 2014. The album, in a whole, is chock full of raw emotion that can be found within her lyrics. Her songs are about everything from love to dysfunctional families.  For some odd reason Sara only has 8 likes on her facebook page. Give her some sweet loving and make sure to check her out. @caaarlirose

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Bowmont – Interview + New Live Shows

I recently had the pleasure to speak with Bowmont frontman, singer, lyricist and multi-instrumentalist Emil Bovbjerg.  A native of Denmark who now lives in New York, Emil and I discussed the bands most recent EP release “Hovering.”

Cover Hovering 1.4

 Q: The leadoff track on your latest EP “Hovering” – the song “OK” has a timeless audio quality to it.  As if it could be placed just as easily in the mid 1980’s – and yet has a modern quality to it that wouldn’t be out of place on a current soundtrack or playlist.  There are moments within the song where the vocals remind me a bit of Peter Gabriel’s – the tonal quality and texture.  Is part of this due to how the vocals are processed?   What sort of effects did you place on them?  Even the drums have that 80’s feel to them.  Especially on the fills in the latter parts.  What drum devices did you use?  Any special effects on those?

A:  “It was a natural progression for us.  Attempting to go in a direction that we wanted to go in -  a quest to find our own sound.  We used a bunch of really old drum machines and synths, but then processed them through the tools you use to make music today.  I think that contributed a lot to the sound you hear.”

fabriziodelrincon_02Photo by Fabrizio Del Rincon

Q: The lyric “If I won’t take a bullet for the queen – what does it mean? ” – stands out as a catchy line. Is this a reference to a universal high authority figure?  Or something more specific?

A:  “When I write lyrics there can be multiple meanings.”

Q: “What if I don’t want to be OK”  ultimately becomes the overall thematic statement, however  What are some of the reason that people wouldn’t want to be “ok?”

A:  “It’s referencing having higher ideals.   Not being satisfied with being merely “ok,” but instead striving to be more.”

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Photo by Fabrizio Del Rincon

Q: The next song “Glacier” is more ambient and trippy.  The modulating, pulsating sequence pattern is obviously mechanized, but manages to feel loose and organic.  Other textures that fill the sonic space – ambient drones that place a glowing sheen over it all.  It’s a unique combination of moods.  What motivated or inspired you to fashion the song in this way?

A:  “The song came about in a natural way.  It was raining outside, so I turned the  mic on and recorded the sound of the rain.  It is literally a song about a glacier in Norway that I’ve visited.  Unfortunately we now live in a time where the glaciers are disappearing, so that provided some of the inspiration to create this piece.”


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Photo by Claire Scimeca

Q:  Featured track “Just Cause You’re Right” has a uniquely warped quality to the pulsating synth sequence.  Although the vocals are presented in a way that brings to mind what the band Phoenix have done, the song structure is less predictable.  For instance, I like that the percussion is not static.  Even though it’s keeping time – it starts and stops – there are ride cymbal sounds at points – while other times it gets very minimal.

A  “This song was made with the same tools and in a similar vein as glacier.  The inspiration was very different, however.  I actually do a lot of my own drumming, and that is what you are hearing.  I’ll frequently begin the song on the drums and see if I can stumble upon new beats.   Then I’ll add some guitar and keys and record the bass.  The song is about a relationship.  Inspired by a breakup years ago –  remembering letting go of someone. “

Q:  Title track “Hovering” opens strong with percolating sequential patterns.  I was impressed with (and somewhat surprised by) Shipla Ray’s guest vocals.   How very measured and controlled they are.  Most of her parts are sung in tandem with you, but there is a brief section where each of you take a solo line.  How did this song develop?

A:   “Shipla came into it with a clear idea of what she wanted to do.  I was looking to avoid the clichés associated with duets, and that led to the song structure you hear.  My recording engineer and band member Jeremy was also involved every step of the way.  Not only on this song, but all of them.”

Bowmont LCB

Photo by Livia Coullias-Blanc

Helping Emil to bring the full Bowmont vision to life is founding member and Grammy award-winning engineer & producer Jeremy Loucas.  Guitarist Elias Meister came on board, giving the overall sound additional sonic weight.

The band play next at Baby’s All Right on Thursday 8/28, and then will be headlining at The Knitting Factory on September 6th.

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Presented by Den Entertainment , tickets for that show (which also features Sophie Auster) can be gotten here 

@davecromwell 

A Thank You Letter from our Founder

Photo on 8-23-14 at 12.52 PM

Dear Readers,

Yes, I still have my Christmas tree up, and yes, it’s wearing a Santa hat… at this point I don’t see why I would take it down… Anyway:

This has been a journey. A little over three years ago (I think) I started this music blog with the intention of finding those on Bandcamp and Soundcloud who stood up to the major music sphere (Oliver Ignatius and I used to call it “Bedroom Soul”).

I never thought anyone would read it, I never thought anyone would respect it. But thanks to you, the culturally intent reader, the reader who remains on the cusp of creative integrity, on the freshest cull of media, Dingus has seen great success. We’ve been named the #1 most influential music blog in NYC by the Red Bull Music Academy’s print publication and listed in the top 100 most influential music blogs in the world. We have not achieved this by getting millions of clicks, on the contrary, Dingus remains one of the music industry’s best kept secrets. So, amidst the constant stream of posts, I’d like to take the time to thank you: those who have supported us when we struggled (Freecandy family/Muchmore’s), the major label execs who poach bands from our site, the local show hosts who find their next hot performers here, and the reader at home who knows that Dingus, no matter how big or small, will always bring you meaningful content before any other blog knows what’s up.

Thank you for keeping us humble, for keeping us personal, and for keeping us real. We love this niche online community that you’ve helped us build. Don’t tell your friends.

Be sure to support us on Facebook and Twitter because it helps us feel special. Fuck the system. Which system? Any system.

Sincerely,

Andrew (@Dingusonmusic)

(Here’s a video of my friend’s dog trying to hump my arm)

Juliebe (Mono Anubis Remix) [N.O.N.]

artworks-000085218617-hx6i4l-t500x500‘Juliebe (Mono Anubis Remix)’ by N.O.N.   (Bologna, Italy)

 

IT’S PRETTY CRAZY HOW MUCH CAN BE COMMUNICATED WITH A SIMPLE “1, 2, 3, 4″. THE MONO ANUBIS REMIX OF ‘JULIEBE’ HAS ALL THE RIGHT ARTIFICIAL MOMENTS. WITHOUT GROWING DULL OR REPETITIVE. @DINGUSONMUSIC

 

jk bb [ONWE] (Best New Music)

THE NEW VIDEO FROM ONWE IS A CLASH OF MODERN CULTURE SET TO THE PROMISING NEW TRACK FROM A BAND THAT’S EXPLODED ON THE SCENE IN AN UNCONVENTIONAL FASHION. ‘JK BB’ DOES WHAT SO MANY TRY TO DO, BUT DOES IT WITH A UNIQUE AMBITION THAT STRIVES TO BE SOMETHING GREATER, SOMETHING MORE CREATIVE THAN WHAT CAN BE SEEN UPON FIRST VIEW. REPEAT, REPEAT, REPEAT. “NOTHING CAN CHANGE, LET’S JUST SIT ON THE COUCH, SMOKE WEED, AND DIE” @DINGUSONMUSIC

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Dead Soft [Dead Soft]

a1062982885_10Dead Soft by Dead Soft   (Vancouver, Canada)

OVER THESE YEARS I’VE LISTENED TO MANY BANDCAMP PAGES. SO MANY PEOPLE THINK THAT “THEY ROCK” AND MOST OF THE TIME THEY DO NOT ROCK. BUT THEN, ONCE IN A WHILE, I COME ACROSS A BAND LIKE DEAD SOFT, WHO I KNOW ROCK BEFORE I EVEN LISTEN TO THEM BECAUSE THEIR NAME ROCKS. I’LL CALL THIS APATHETIC APARTHEID ROCK. BUT I’M NOT SURE WHAT IT HAS TO DO WITH SOUTH AFRICA. @DINGUSONMUSIC

 

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My Heart the Brave [My Heart the Brave]

avatars-000091282986-lg46bb-t500x500My Heart the Brave by My Heart the Brave   (Copenhagen, Denmark)

Do you know how overcrowded this genre is? It’s the India of music… (my jokes are awesome) But My Heart the Brave does something that the others don’t (at least the others who I refuse to post up here). They account for a texture that is undefinable in the same way that someone with a great personality is. The music touches on all of those traditional things that makes music “good”. It’s dynamic without being erratic, it’s melodic without being chaotic. Mostly it’s personable without being annoying. It doesn’t have to scream for attention, it just gets it. Blah, blah, blah, music review, blah, blah. Do I even have to write these things anymore or can you just assume that something’s pretty great if I’m taking the time to format some new posts for you greedy kids? @Dingusonmusic

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Boys (I Dated in Highschool) [The Prettiots]

avatars-000058238510-9ii3hh-t500x500‘Boys (I Dated in Highschool)’ by The Prettiots   (New York, new York)

THIS MAKES US DUDES SOUND SO HORRIBLE. WHATEVER GIRLS CAN BE HORRIBLE TOO. THIS IS KIND OF LIKE A “THEY MIGHT BE GIANTS” SONG. AND WHO DOESN’T LOVE THAT KIND OF THING. IT’S SIMPLE AND CHARMING IN THE WAY THAT IT STUTTERS IN ALL SORTS OF OBTUSE  SINGING THAT COMES OF MORE LIKE VENTING. @DINGUSONMUSIC

 

tumblr_inline_mzk5l8CmGH1qa2x1h(photo by Colin Dodgeson)

Good Morning! [Jesse and Forever]

a1358971987_10‘Good Morning!’ by Jesse and Forever   (New York, New York)

The new Jesse and Forever track sticks their signature groove into a song that requires a marching patience as it unrolls and develops into something powerful, as each element compromises with the songs past in deep reflection. It’s a song that when being reviewed would require one to write increasingly long sentences that run on into infinity as the song never strays from the original pattern, though that is not to say that the pattern doesn’t bloom into something new and fruitful as simplicity is compounded into a charge of sound counting off the metronome moments as you approach a finite end. @Dingusonmusic