#sarah pedinotti

[nofatclips-home]

After All by Lip Talk

[dustedmagazine]

Jackie West — Close to the Mystery (Ruination)

Gossamer song textures, reinforced with steel, that’s what Brooklyn songwriter Jackie West brings on Close to the Mystery, her first full-length album. West has been quite rightly compared to Julee Cruise, the narcotic chanteuse who barely breathed the Twin Peaks theme in the 1990s, and indeed, her airy soprano floats weightlessly over songs “End of the World” and “Dreamscape.” For the first half of this very strong album, West wafts melodies through the gentlest of arrangements, the backing flavored with 1960s baroque pop, bossa nova and lounge music but never overweening. Still, the songs become more memorable as they pick up weight and density, and that doesn’t happen until past the midway point.

Listen, for instance, to the way West’s cool, unruffled tone soothes the blues roughness of “Sunroom,” a film of ice clinging to bubbling, sulphuric hot springs. By the track’s end, she warbles a country vibrato over thick, violent guitar notes and corrosive solos, a juxtaposition of poise and angst that recalls the late, great Mr. Airplane Man. “Ruins,” too, cuts the sweetness of her delivery with grit, the drums and guitar mussing up ethereal clouds of voice and synthesizer.  And “Moose” ends by lighting up a fairly incendiary rock guitar finale under West’s careening dream pop; it comes in through static, like an anthem you hear on AM radio.

West has assembled a really good band here, starting with producer and percussionist/keyboard player Sarah Pedinotti a.k.a. LIP TALK and a sometime participant in Okkervil River, Cuddle Magic and The Secret Machines. Shahzad Ismaily contributes guitar, piano and synths, while Nico Osborne plays bass, and Adam Brisbin adds another guitar. They’re all very able musicians, with active careers and good ideas, but their best trick here is their restraint. Whether they are playing loud or soft, quick or narcotically slow, the instruments throw the songs into the best possible light. They don’t draw unnecessary attention away from the melodies.

As a result, Close to the Mystery is a very lovely album, which you can appreciate the first time through, but you won’t get to the bottom of it for a while. There are layers and layers underneath these dreamy tunes, and if they don’t push themselves forward that doesn’t mean they’re not important.

Jennifer Kelly

[nofatclips]

Family Song by Okkervil River from the compilation album Silence Is Not An Option (turn this up) by ATO Records

100% of net proceeds from this digital playlist will be donated to causes supporting the Black Lives Matter global human rights movement: Black Lives Matter Greater NY, Color of Change, and Innocence Project

[powerofsongs-powerofgirls]

Hayley Williams - Simmer

[jungleindierock]

Okkervil River - Don't Move Back To LA

Don't Move Back To LA is taken from the new album, In The Rainbow Rain, which is set for release on 27th April 2018. This video was directed by Will Sheff.

Okkervil River are an American rock band led by singer-songwriter Will Sheff. Formed in Austin, Texas in 1998, the band takes its name from a short story by Russian author Tatyana Tolstaya set on the river in St Petersburg. The band are Will Sheff,  Will Graefe, Cully Symington, Benjamin Lazar Davis and Sarah Pedinotti.

[musicalhitchhiker]

Okkervil River & Lip Talk – Pulled Up The Ribbon

Amerikalı indie/folk rock grubu, 2016’ya ait Away albümünün ardından 27 Nisanda In the Rainbow Rain isimli yeni bir albüm paylaşacak. Okkervil River’ın Lip Talk olarak bilinen Sarah K. Pedinotti ile birlikte kaydettiği Pulled Up The Ribbon’a ait video yayınlandı.

[tomorrowhittoday]

Lip Talk, guarda il video di “All This Light” Lip Talk è il progetto solista di Sarah Pedinotti dei Okkervill River e Secret Machines. Il suo album di debutto "D A Y S" sarà pubblicato da Northern Spy Records il 25 Gennaio 2019. In anteprima possiamo vedere il videoclip di "All This Light":

[diamonddeposits]

LIP TALK-MORE

Brooklyn experimental psych pop artist Lip Talk  (avatar of singer songwriter Sarah K. Pedinotti) shares surreal (angelic/demonic) visuals for her latest bop titled More--a capitalist call out for the restless hunger for the things in existence that you crave and want). Watch the treatment above!

[sonyclasica]

SAN FERMIN

THE CORMORANT I & II

El proyecto de dos partes The Cormorant de San Fermin saldrá a la venta el 27 de marzo. Hoy disponible el single y “Little Star”.

Reserva el álbum aquí.

Escucha/descarga/mira “Little Star”.

Tras el lanzamiento aclamado por la crítica de The Cormorant I este otoño, el proyecto de art-pop con sede en Brooklyn SAN FERMIN anuncia hoy el lanzamiento el 27 de marzo de The Cormorant I & II, con la segunda y última entrega de su álbum de dos partes más reciente. Tras presentar el proyecto con el lanzamiento en octubre de The Cormorant I y obtener la aclamación crítica de NPR, Consequence of Sound, Paste, TIME y UPROXX, San Fermin ahora regresa con ocho nuevas pistas que abarcan la historia completa de The Cormorant. La colección resultante de 16 canciones completa la narrativa marcada por The Cormorant I, ampliando las preguntas de identidad y crecimiento del líder de la banda Ellis Ludwig-Leone, y las variaciones en cambio constante. Resérvalo ahora.  

San Fermin presenta la última mitad de The Cormorant I & II con el lanzamiento de su nuevo single y vídeo: "Little Star".Escucha la canción aquí.  "Little Star", una excelente introducción del álbum, encuentra a Ludwig-Leone lidiando con las inseguridades de lo que significa envejecer, una baja autoestima inherente al ritmo frenético de las canciones y una mezcla de samples aparentemente dispares. San Fermin acompaña la nueva canción con un impresionante vídeo filmado en Islandia y dirigido por Ludwig-Leone. Míralo aquí. El vídeo marca el debut como director del líder de la banda, del cual dice:

“Escribí estas canciones en la ciudad de Ísafjörður, en el noroeste de Islandia, en 2018. Una tarde, di un paseo en bicicleta por el fiordo con un amigo, y pensé que sería un concepto genial para un vídeo musical. Un año más tarde, lo presenté al sello y se mostraron interesados en la idea, entonces sugirieron que lo dirigiera yo, algo que no había hecho nunca. La canción habla sobre perseguir una versión ideal de ti mismo que nunca puedes alcanzar, así que hicimos que nuestra actriz (Kristbjörg Lára Gunnarsdóttir) interpretara a ambos personajes. Descubrí que una vez que las cámaras comenzaron a rodar, en realidad era muy similar a estar en el estudio de grabación. Tienes una idea de cómo deberían ser las cosas, y luego trabajas con lo que tienes. Hay una huella en la canción y un ritmo en las tomas, y siempre que lo tenga en cuenta y tengas un buen equipo a su alrededor, estará en buenas manos".

Después de cerrar 2019 con una gira de tres meses de gira por Norteamérica, San Fermin volverá a salir a la carretera para ofrecer una serie de fechas a partir del 11 de mayo en Los Ángeles. Con el título de "Voices Tour", San Fermin llevará The Cormorant I & II a los fans en una serie de actuaciones de ambiente intimista con un nuevo directo que muestra las extraordinarias interpretaciones vocales que presenta el álbum. Del nuevo show en directo, Ludwig-Leone explica:

"Una gran parte de The Cormorant I & II es la exuberante textura vocal de nuestros cantantes Allen Tate, Claire Wellin y Karlie Bruce, así como los artistas invitados Samia, Eliza Bagg (Lisel) y Sarah Pedinotti (Lip Talk). Al planificar esta gira, pensé que sería genial resaltar este aspecto de la música, quitando los arreglos instrumentales y permitiendo que los cantantes tomaran el centro del escenario. Verás un lado diferente y más tranquilo de San Fermin, más vulnerable e íntimo".

"Little Star" es una muestra de la narrativa plenamente desarrollada de The Cormorant I & II, que avanza con una intensidad de sueño febril, deslizándose sin cesar entre la memoria borrosa y la reflexión en tiempo real. The Cormorant I & II, que tiene lugar en los espacios comunes pero encantados de la infancia, se centra en la tensión entre crecer y anhelar la inocencia. El álbum, con la grandeza típica de un libro de cuentos que entrelaza lo real y lo mítico, invita a los oyentes a un viaje de ilusión deliberada, descrito por Ludwig-Leone como, "la creación de ficciones de tu vida como una forma de lidiar con una realidad más complicada".

"The Cormorant I comienza con una visita de un pájaro extraño, un augur de la muerte, que persigue a dos personajes a lo largo de sus vidas", señala sobre el homónimo del álbum. “La lista de canciones es cronológica: las primeras canciones son sobre la infancia, mientras que las canciones posteriores siguen a los personajes en sus vidas adultas más complicadas. Finalmente, la última canción imagina el regreso del pájaro y sus eventuales muertes".

Después de escribir la mayor parte de la música en Ísafjörður, Islandia, Ludwig-Leone regresó a Brooklyn y esculpió el rico paisaje sonoro del disco con la ayuda de sus compañeros de banda: el vocalista Allen Tate, la vocalista/violinista Claire Wellin, el trompetista John Brandon, el saxofonista Stephen Chen, el percusionista Michael Hanf y los guitarristas Tyler McDiarmid y Aki Ishiguro, así como un elenco de nuevos colaboradores, incluidos Attacca Quartet y la arpista Lavinia Meijer. En ese proceso, San Fermin soñó un álbum en dos partes de movimiento cinético y fascinante, haciendo girar una narración deliberadamente rebelde que sigue a sus dos personajes principales desde sus primeros años, en la que Tate retrata al protagonista masculino mientras que la perspectiva femenina del álbum está a cargo de un reparto rotativo de vocalistas, incluidas Wellin, Karlie Bruce (una nueva incorporación al grupo de gira), Sarah Pedinotti (de Lip Talk) y Samia Finnerty (de Samia).

"La segunda parte es como el sueño febril, la respuesta al revés a la Parte I", explica Ludwig-Leone sobre el lanzamiento del álbum doble. “Los saltos entre el pasado y el presente son más irregulares, y los recuerdos están sujetos a un ojo más crítico. Mientras escribía, pensaba mucho en cómo cambian los recuerdos con el tiempo: las historias que se cuentan y los eventos reales no siempre están sincronizados".

Hecho con una conciencia llena de picardía y sentido del humor sobre lo que Ludwig-Leone llama "la autocomplacencia de la narrativa personal", The Cormorant I & II reconoce el riesgo de mirar demasiado hacia adentro y, en última instancia, llama a la reflexión. "Tu forma de pensar sobre lo que es tu vida cambia mucho con el tiempo", dice Ludwig-Leone. “En cierto modo, este disco es un argumento para permitirse comprometerse con cosas como la familia y el amor, sin sentir que eso es ser indulgente. Me gustaría que la gente escuche y sienta esa oportunidad de introspección en sus propias vidas, porque creo que para todos es importante”.

[allbrooklynveganposts]

Sarah K. Pedinotti has been making music as Lip Talk for a while now and will release her full-length debut album under that banner, ’D A Y S,’ on January 25 via Northern Spy...

Continue reading…

[nofatclips]

New Blood by Okkervil River from the New Blood / Skiptracer single

[ricardosousalemos]

Cuddle Magic: Ashes/Axis

Individual members of the chamber pop group Cuddle Magic have worked with the likes of Beyoncé, Amanda Palmer, and Okkervil River. But for better or worse Cuddle Magic have never come across as pop-music natives. Their conservatory training always show through, and their combination of complex structures, bright harmonies, and snappy humor that has defined their sound. Ashes/Axis marks a major turning point. The proper follow-up to 2012’s Info Nympho (following a 2014 full-length collaboration with toy pianist Phyllis Chen and pianist Ran Blake), Ashes/Axis captures Cuddle Magic diving into the “pop” side of “chamber pop” with more fluency and confidence than they’ve ever shown in the past. Right off the bat, the smooth, spit-shined mix by Bryce Goggin (Pavement, Atony and the Johnsons) contrasts dramatically with the dusty immediacy of the band's previous records. From the fat, synthetic groove of leadoff track “Slow Rider” onward, they've traded the primarily acoustic instrumentation of past work for gurgling, bottom-heavy synths and electronic drumbeats.

On Let It Be You, last year’s collaboration between Cuddle Magic bandleader Benjamin Lazar Davis and Joan As Policewoman, Lazar Davis went for the commercial jugular with an audacious turn at arena-ready bubblegum R&B. In some ways, Ashes/Axis behaves as a companion piece to that album. Like Let It Be You, several of the songs have a basis in intertwined Ghanaian rhythmic patterns. And it’s obvious that Let It Be You's bassy thump was still in Lazar Davis’ ear when he sat with Goggin to run the original studio tracks for Ashes/Axis through post-production effects.

But Lazar Davis’ bandmates bring such strong presence to the table that they offset the exaggerated, sweaty-handkerchief affectations that nearly turned Let It Be You into a caricature. Though Lazar Davis remains the principal songwriter, Cuddle Magic’s fellow multi-instrumentalists Christopher McDonald and Alec Spiegelman also contributed songs, as did guest co-writers like Bridget Kearney of Lake Street Dive and Lip Talk’s Sarah K. Pedinotti. With all those hands on deck, it's no surprise that Ashes/Axis contains more layers, both musically and thematically. Kristin Slipp’s vocals, whether she sings lead or backup, serve as a kind of backbone that holds the album together.

Where Joan Wasser opted to keep pace with Lazar Davis’ playful melodramatics on Let It Be You, Slipp’s more reserved style conveys an infinitely wider range of emotions. If you go back to the Info Nympho track “Hoarders,” she invests the line “Shit/that/fills/our/homes/is/too/hea-/-vy/to/move/and/so/we/leave/it” (a veiled reference to feeling trapped in a relationship) with a lingering resentment that belies the tune’s quirkiness. On Ashes/Axis, Slipp approaches her vocal parts like an actress with a healthy aversion to overstatement. Once again, she laces the music with faint traces of woe, bringing a sense of everyday believability to the songs even when the lyrics aren’t explicitly clear.  

When Slipp harmonizes with McDonald on the line "give me the keys / to your condo" on the new tune "Getaway," her voice supplies an extra touch of mournfulness to an already melancholy mood. Easily the most haunting and atmosphere-heavy Cuddle Magic song to date, the song percolates with detail. Throughout the whole album, Lazar Davis and Goggin find creative ways to vary the balance between natural sounds and effects. On "Getaway," they filter a helium-pitched Slipp vocal (that's not actually pitched-up) to mimic violin strumming. And when they turn McDonald and Slipp's vocals into spectral blurs of reverb at the beginning and end of the tune, the music causes goosebumps, scaling breathtaking heights the band has never attempted before.

Strangely enough, Cuddle Magic’s move to a chillier, more digitized palette actually adds dimension to the songs. By reaching outside their comfort zone, they bring the content of the songs to the foreground. Which is not to say the band has lost its organic flavor. On the contrary: at the end of the quasi-title track, “The First Hippie on the Moon, Pt. I,” for example, the music unravels as all of the instruments simply collapse into chaos. At that moment, Cuddle Magic land surprisingly close to a rock band, closing its set out in a heap of smoldering noise. By that point, though, the band’s transformation into a formidable pop act is already complete.

[ninawestervelt-blog]

Sarah Pedinotti of Liptalk for Billy Reid

[shemakesmusic-uk]

Kalbells share dreamy new single ‘Diagram Of Me Sleeping’

Kalbells—the collaborative synth/art-pop project of Kalmia Traver, Angelica Bess, Sarah Pedinotti, and Zoë Brecher—have shared their dreamy new single, ‘Diagram of Me Sleeping’, from the upcoming full-length, Max Heart, releasing March 26 via NNA Tapes. Each track from Max Heart excavates love and creativity from a new and surprising ventricle of life—and ‘Diagram’ fits right in as a lofty ode to sleep, brought to reality with jazzy bedroom-pop melodies, swoony sax, and playfully surreal lyricism.

Traver explains how the song came to fruition:  “I woke up one morning and my legs felt relaxed and pillowy like two lovers tangled together in mindless warmth and it was pleasant beyond the sensical and I wrote this song. I've come to crave sleep almost like love itself.  Sleep is where so much of our creativity happens, in dreams & in the spaces between them. I love thinking of my body as a landscape, and sleep is the time I get to roam it freely."

Photo credit: Ereka Imani Duncan

[aypblog]

Railbird at Muchmore's

[nofatclips]

Love Somebody by Okkervil River from the album In the Rainbow Rain - Directed by Juliana Giraffe and Nicky Giraffe