Here’s the scoop on the latest album releases from your favorite Gainesville bands. Did your band release an album within the last six months? How about your friend? Your girlfriend? Your mom? We’d love to hear them all. Email us at firstname.lastname@example.org with a link to some of your tracks. Put “For the Record” in the subject line.
HUNGRY HEARTS CLUB: Get Your Cadence On
Released / January 2014
Recorded at / Yancey’s home
Sounds like / Dreamy, rhythmic soundscapes
Inspiration / Sigur Ros, bicycle rides, Alaska
Where to get it / http://hungryheartsclub.bandcamp.com/
Upcoming shows / None booked
Keyboards, guitar, Dr. Sampler SP 202, trash cans, Fisher Price toddler keyboard / Fletcher Yancey
Hungry Hearts Club, “Get Your Cadence On!”
The instructions are simple but firm.
In order to hear Hungry Hearts Club’s album, “Get Your Cadence On!” properly, you must listen in headphones while riding your bike, running or skating.
Basically, pick a direction and get moving.
Hungry Hearts Club is Fletcher Yancey, who also plays with local groups Pseudo Kids and Heartburglars. He said this album is meant to provide listeners with a soundtrack to color the sights they’ll find on their journeys. It’s divided into two parts, titled “Exploration” and “Rumination” respectively.
The album features several samples, which Yancey converted from his Doctor Beats sampler into a four-track cassette recorder to create a warm analog sound. The first track opens with a sample from Buddy Holly’s “Everyday.” Other samples include vocal clips from Henry Miller; a representative for Raleigh Bikes from 1940; and Dr. Timothy Leary, from his album “Turn On, Tune In, Drop Out.”
The other sounds on “Get Your Cadence On” come from keyboards and sparse guitar. One track features frantic, jangly guitar riffs reminiscent of Pseudo Kids’ repertoire, while a couple of others can only be described as jams.
All of the tracks combine to form a dreamy sound collage that allows the mind to wander to both things currently in view and to those things which have remained hidden for some time. Yancey purposely left these tracks airy and without a narrative, so that listeners can fill in the spaces with their own ideas.
“The songs are a little sentimental,” he said. “People will be able to reflect, and that’s when the good stuff happens.”
He contributes no vocals to these tracks except for one line, which is distorted and reversed to become unintelligible. Still its message remains: “We can do this together.” He said he wanted these tracks to provide an underlying sense of encouragement. Don’t turn homeward just yet, they say. Keep exploring.
“I want people to feel courageous,” he said. “They’ll reach a certain point where they realize they’re so far from home, and this album is the soundtrack to guide them along. ‘Get Your Cadence On’ is my goofy equivalent to ‘find your center.’ It means find your rhythm. Find your balance. Get your breathing right. Get your cadence on.”
By Tyler Francischine
CARPADIUM: Title TBA
Note: The album art used is the cover of Carpadium’s most recent single from the album.
Released / March 19
Recorded at / Ryan Bell’s Living Room
Sounds like / a demented arcade
Inspiration / Tera Melos, Joan of Arc, Melvins, Battles
Key tracks / “Premium Bananas,” “Fletcher’s Dance”
Where to get it / carpadium.bandcamp.com or at shows
Upcoming shows / none booked
Bass / Jonathan Ward
Drums / Andrew Mankin
Guitar / Ryan Bell
“Books,” the opening track off Carpadium’s currently untitled sophomore effort, begins with feedback and the familiar sound of a buzzsaw guitar. But the last thing this band wants is for the listener to feel comfortable.
The making of its second album reflects a group very much at ease with each other’s musical instincts. The entire record was laid down in two 5-hour bursts over two days in guitarist Ryan Bell’s living room.
“We had to get it done by the time my parents got home from work,” Bell said.
Recording the material at all was a spur-of-the-moment decision without any major pre-planning, according to Bell. In fact, during production the band made two choices that added up to major sonic alterations: They abandoned all vocals, which, according to bassist Jonathan Ward, “sounded like an afterthought” on the first album; and they recorded the entire thing live.
In contrast, their debut album, “Belief in Question,” was recorded over the span of two years.
“We were ultra-perfectionist about it — lots of overdubbing and making sure everything was perfect,” Bell said. “At this point, we kind of realized that was stupid.”
Their approach for the coming album is much more lean by design, giving the record a freewheeling feel. But the group fleshes out its lean approach with increasingly rigid song structures. It allows drummer Andrew Mankin the breathing room necessary to play with time signatures and keep his bandmates on their toes.
“It’s something we learned from the Melvins,” Ward said. “For example, on the last song [‘High School Love Story’] we play one chord for two and a half minutes.”
“Premium Bananas” is one of the highlights of the record. It begins with a keyboard/guitar riff that evokes a level of an 8-bit video game, and, true to form, the song ends up taking you on a condensed trip.
Mankin’s drumming is exceptional, providing rhythm that bounces with the guitars and a constant wave of cymbal crashes that adds texture to the music. The tune has a carnival vibe that draws to a droning crawl, reminding me of the coda from KISS’ “Black Diamond.”
Unpredictability is central to Carpadium’s music, even for the musicians composing it.
“In the end, it never really sounds like what we were going for, and that’s good,” Bell said. “But we know what we mean.”
By Andrew Baldizon
HABITS: Habits EP
The members of Habits. Photo by Ciera Battleson
Released / March
Recorded at / Black Bear Studios
Sounds like / WU LYF, daydreams
Inspiration / Manchester Orchestra, Brand New, Pixies
Key Tracks / “Piano Song”
Where to get it / habitshabitshabits.bandcamp.com
Upcoming shows / None while they’re on a recording/writing hiatus
Bass / Josh Thompson
Drums / Jeff Butler
Guitar, Vocals/ Obadiah Grener
Keyboards/ Page Slone
A little over a year ago, Obadiah Grener was writing songs for a solo acoustic project when he suddenly felt the desire to shift directions.
“I just decided, ‘Man, I don’t want to do this,’” Grener said. “‘I want a full band.’ It felt more appropriate.”
One of the first people he got together with was Page Slone, who Grener had known and played with in different groups for seven years. Together, they conceived a sound that would move beyond being guitar heavy and instead feature prominent keyboard and synthesizer.
“I noticed that there were a lot of guitar-oriented projects in Gainesville, whether it was hardcore, post-hardcore, whatever,” Grener said. “I thought it would be nice to have a keyboardist instead of a lead guitarist, or a keyboardist along with a lead guitarist.”
And with the conscious decision to incorporate heavy keyboards, Habits was born. Their second release, the self-titled “Habits” EP, is a three-song set recorded live at Black Bear Studios. Habits have spent most of the last year writing follow-up material after the release of their first EP, “Setting Suns, Parting Seas.”
The new project is markedly different than the first, according to Slone.
“The quality of the songwriting improved,” Slone said. “We definitely found ourselves and our instruments and what works.”
Grener said he also aimed for the lyrics on this release to be more accessible.
“Some of it in ‘Setting Suns’ is ambiguous,” Grener said. “I’m trying to get out of that and be a little more specific, a little more relatable.”
“Piano Song” is the most fully realized expression of Habits’ matured songwriting on the new release. The opening keys of the track give it a spacious and tender feeling, which are then sliced by Grener’s desperate, wailing vocals. The details are what make this tune. Drummer Jeff Butler’s double bass drum work adds complexity to the rhythms and provides a rumbling foundation. The middle section, two minutes into the track, features Josh Thompson’s roaming bassline, soft piano accents from Slone and shuffling snare drum rolls. All this combines to tease out a contemplative mood.
“When I listen to our music, I feel so much emotion from everyone playing their instrument,” Slone said. “You feel a bit of angst, sadness, a little bit of optimism and a little bit of, ‘Hey, I want to drink.’”
By Andrew Baldizon