Oso Oso is a project from Jade Lilitri, formerly of State Lines. I listened to Oso’s debut EP a good amount in 2014 following seeing Lilitri on tour with The Hotelier. The sound quality of the EP was a little rough, but the songs were there. I was excited for me.
Real Stories Of True People, Who Kind Of Looked Like Monsters…, the debut album from Oso Oso, will come out on June 9th via Soft Speak Records.It’s everything I hoped for, and I think you’re going to like what you hear. I’m stoked to be debuting a new song from the album today called “Where You’ve Been Hiding.” Pre-order the album here and listen to the song below.
Contented Kitty by miketodack
Relaxed and enjoying the warmth of home and family.
bella,cat,comfortable,content,cozy,family,fluffy,friend,furry,kitty,lazy,love,loveable,princess,snuggle,do not bother me,persian,warm
What if your cell service was blocked when you walked into a venue? Hannibal Buress is doing it, and we talk about that, the idea of bands ditching the album format in 2015 (i.e., Brand New?), and more on a new episode of Off The Record.
Please take a listen if you’re interested and make sure to check out the Off The Record website for show notes on the episode and for more information on how to keep up to date with us. The new episode can be heard below!
I was talking to joolu and he shared some of his homestuck parodies with me. It got me thinking if I could ever sing one… somehow I ended up doing this. This is just me dicking around, but I did at least do some minor mixing.
Devinyl Splits No. 2 with Kevin Devine and Meredith Graves came out a few days ago via Bad Timing and Devinyl Records. In conjunction with each release in the series, Senior Editor Jesse Richman will be taking part in a conversation with Devine and his split partner. If you couldn’t tell by years of reading POZ, I’m a massive fan of Kevin, and it’s an honor to not only release his music, but also to be able to share more about it on this website. This is my disclaimer. Go read the interview!- Zack Zarrillo
MG: I’m strongly considering taking a break from writing for a short period of time, maybe a couple of months, to work on my solo record. I’m not prioritizing it enough, because I live in New York City now. Money is a hateful thing and I’ve been writing a lot to pay the bills. I’m tired of not playing guitar every day. I might go hungry for a little while to write this record, and I’m coming to terms with that. This last week has been really hard for me, because I’m thinking a lot about what I’m going to have to do. Like, what would I have to do in order to write this record? And the fact of the matter is, I’m asking the wrong question, because I have to write this record or else I’m going to go insane.
So I’m planning how I’m going to afford groceries the next few months while I sit and write this record that I’ve wanted to write for a year now, that I haven’t had time to write because Perfect Pussy has been on tour. And I’m running my record label Honor Press: our first release comes out the same week as this 7”, and I’m developing my roster for the rest of the year. I’ve got some 7”s and some full-lengths planned with some bands that matter very much to me that I can’t announce quite yet. I’m writing for the New York Times a little bit now, and I’m also writing for Jezebel a little bit now. I’m still freelancing but going to be cutting back substantially in order to write this solo record that I’ve been talking about for a long time without actually starting it.
Is there more Perfect Pussy on the horizon, or is the solo record the priority now?
MG: Oh, they have to be equal priority, I can’t have one without the other. They’re equally important to me. The solo record is just next. Perfect Pussy needs a break – my voice is destroyed, I can barely sing after a night out, I lose my voice completely and you hear it on the recording. I used to have a four-and-a-half octave range and now I can barely hit notes. I’ve destroyed a voice that was once my meal ticket.
You’ve gone from Mariah Carey to… Mariah Carey.
MG: I’ve gone from Mariah Carey to Harry Caray! [Laughs.]
Do you think the track on the split is an indication of where the solo record might be headed?
MG: Not necessarily. I think this track on this 7” is indicative of what I wanted to do with Kevin at the time. I can say that.
And then Kevin, what’s coming up for you right now?
KD: This year, there will not be a new album of mine. I think we’re going to do these singles, and reissue two older releases and maybe a third. I don’t think I can say all of it yet. That will be summer and fall. There’s going to be a handful of shows through the end of the year. I kind of think I have to go away for a little bit. I’ve also been kicking around the idea of potentially starting another band for some of the stuff I’ve been writing, but I don’t know yet. This kind of feels like another pivot. Every few years, it feels like another culture change is happening in my little world. It’s nice. It’s welcome. It keeps things interesting.
MG: That makes me feel so much better. Because this is, like, my second year, and I’m so scared that any minute it’s going to be over, but I think I need to see it like you’re talking about it. I didn’t mean to interrupt you, but honestly, I’ve been so sad this week and you’re making me feel better.
Hi-ya, Elpeeps! We’re now just hours away from Lanox and I’m psyched!
Hope you’ve been playing your way up the ranks, because to get to this new
place, you’ll need to be able to get past Sander. Surviving the desert will
actually help you prepare for the new red-hot environment. Once the patch kicks
in tomorrow, oh-ho it’s on!
Who is this guy? I suppose it depends on when you’re asking. If you’re asking in 1974, well, Jon Landau, writing for The Real Paper, summed it up most famously: “I saw rock and roll future and its name is Bruce Springsteen.” This was after Springsteen had already (relatively quietly) released both a debut album and a sophomore effort in 1973: Greetings from Asbury Park, N.J. and The Wild, the Innocent & the E Street Shuffle, respectively.
If you’re asking the question roughly a decade later, Bruce Springsteen is the biggest rock and roll artist on the planet. Born in the U.S.A., released in 1984, is Springsteen’s most epic commercial success. The album spawned a record-tying seven Top 10 singles, and its album art became an iconic image in the lore of not just rock and roll, but global pop culture. The Boss was able to transition from ’70s rock to ’80s pop without missing much of a beat.
Finally, if you’re asking the question today, Springsteen is a living rock legend. Now 18 albums deep into one of the most accomplished careers by any artist in any genre, Springsteen has maintained popularity and success in the eyes of both the general American public and an extremely loyal and devoted fanbase. His style is diverse. When with his band, The E Street Band, Springsteen plays songs that range all over the rock and roll landscape, regularly incorporating no less than three guitars, bass, drums, saxophone, piano, organ, brass instruments, violin and anything else that you might think makes sense. But he’s also released mostly-acoustic efforts that have become equally respected, from 1982’s dark, moody, brilliant Nebraska to 2005’s slightly more spirited Devils & Dust.
In other words: There’s a hell of a lot to dig through here.
Where to start? You shouldn’t be discouraged by the weighty size of Springsteen’s catalog. In addition to the 18 studio albums, there are many more songs from odds-and-ends releases and even more tracks that only exist in live formats, but we can get through it. Above all: there isn’t a real need to listen to every single album. Depending on what kind of music you like, I can almost guarantee that there’s a Springsteen album for you. The early part of his career is best appreciated in one chunk, but there’s nothing wrong with picking and choosing what you try out first.
The quintessential starting point for Springsteen is your dad’s favorite album, Born to Run. In his early days, Springsteen was very much a “DIY” type of artist – he and his band would play in and around New Jersey, go on small tours and generally jam a lot. Remember, this was the ’70s, and there was no true rapid-fire success to be found. Columbia Records signed Springsteen to an album deal in the hopes that it was signing the next Bob Dylan. But while Springsteen is majorly influenced by Dylan, he has never been content to restrict his art to just himself and an acoustic guitar. He began making a name for himself by building up an early legacy of brilliant live performances (his live show is still top-notch). And with his third album, 1975’s Born to Run, he found breakout success.
Born to Run takes the best parts of Springsteen’s two earlier records – the poetic, Shakespearean lyricism and the dynamic musicianship (with the help of the E Street Band) which provides countless layers to digest – and blends them with a perfectly timed onslaught of rock and roll. The record’s title track is considered one of the greatest rock and roll songs ever written: it took Springsteen months to write “Born to Run” – wanting to get it perfect – during a time when he was known for taking less time than that to do entire albums. The record’s opening track, “Thunder Road,” is one of the best examples of pure storytelling I’ve ever found in music, and it’s my favorite song of all time. “Backstreets” and “She’s The One” are other notable highlights, and Born to Run’s closer, “Jungleland,” is an epic, 9-minute exclamation mark that ends the album on yet another storytelling high.
Born to Run was the album that proved Springsteen was capable of doing nearly anything, and it’s the one you should listen to first. If you’ve never heard any of these songs, I highly recommend listening for the first time at night, when you’ve already shut yourself down for the day, so that you can focus on the lyrics and the nuance of the musicianship. Listen to it on the best pair of speakers you can find. If it’s not your thing, try Born in the U.S.A. – it’s got Springsteen’s biggest hits and it’s probably his easiest record to pick up out of the blue.
The individual components of Where The Sidewalk Ends’
music might be simple – the bouncing rhythms, the driving guitars, the vocals
that embody the feeling of being up at 4:30 am trying to sort out your romantic
feelings – but when combined, they make something truly powerful. WTSE will be
performing at 924 Gilman Street with Forever Came Calling on 7/19 for those in
the area. Stream their latest EP Blame
The West Coast below and check out the rest of their music on Bandcamp.
For Fans Of: Have Mercy, The
Hotelier, Major League
Please list all of
your band members and their roles in the band. Sean – Bass/ Backing Vocals Ray - Guitar Justin - Guitar/ Vocals Greg - Drums
hometown (or what are your hometowns)? We’re from Walnut Creek, CA.
How did the band
come together? How long has it been? We all went to the same high school, so we knew each
other. Graduation rolled around and we went our separate ways, but soon
returned to the bay area. Justin and Ray ran into each other one day and
started talking about starting a band. Greg came to play drums and he
brought Sean along with him to play bass. We’ve been playing music together now
for about two years.
How have you grown
since you started? We’ve definitely learned to play off of each other better,
and we’re much tighter musically than we were at the beginning. We have all
expanded our musical interests and some of that has bled through to our music,
which you can hear in our latest EP, Blame
The West Coast. We just try jam as often as we can and keep things
What sets you apart
from other bands? We try to write the best songs we can. We spend weeks
writing a song and are constantly trying to make them better. We also believe playing
them as tight as we can, we don’t want to be a band that doesn’t sound anything
like their records. Hopefully that is what’s noticed, and what sets us apart.
What’s the best
part about being in your band? The best part of being in a band in general is just how
absolutely crazy it is to think that we get to take different aspects and
emotions from all of our lives and build them into these 3 minute songs, that
mean so much to us. Then we book shows and people show up to listen to us play.
That’s one of the coolest and most insane things to think about. I can’t tell
you all how much we appreciate it.
More times than
not, influences tend to bleed through. What bands are currently inspiring the
music that you’re making? There are so many, because we all listen to so much music.
I know recently Greg has been into Into it. Over it. for the last few weeks.
Sean’s recently been listening to a lot of jazz. Ray is super into Milk Teeth
and Jimmy Eat World. I’ve actually been listing to a lot of Green Day again
recently, The Menzingers, The Weakerthans, The Counting Crows, and a ton of
other stuff I’m forgetting to name.