Hey Marseilles – Lines We Trace What the Press Has Been Saying, So Far

Total Page：16

File Type：pdf, Size：1020Kb

Hey Marseilles – Lines We Trace What the press has been saying, so far... “Charm and sincerity are the outstanding traits of the Seattle six-piece Hey Marseilles, who fuse traditional pop and classical instrumentation to make what they call ‘folkestra.’” – The New Yorker “The melodies and arrangements are flowing and dynamic without as much as a wasted note, nods to Chopin and Mozart discernable but not overbearing.” - American Songwriter “Lead vocalist Matt Bishop delivers their music with effortless tonality; lyrics seem to float over the sound of instruments, resulting in an aching, lingering tenderness.” – Interview Magazine "Seattle-based Hey Marseilles blends horns, strings, guitars and vocals with electronic instruments to make rich, ethereal music that defies category." - Mix Magazine “....Hey Marseilles is a contender if you’re looking for a local rock band to break out in a significant way in 2013.” – Seattle Times "Their songs build off the fashionably warm and immediate sound of chamber pop, replete with heart-tugging lyrics and a well-informed indie rock attitude. With a formula as wholesome as this, Hey Marseilles are nothing short of captivating." - Aquarian Weekly "The Decemberists-shaped hole in our collective heart is about to be filled, kind of, by Hey Marseilles' second LP, ‘Lines We Trace’." – Portland Mercury "Piano, horns, guitars, and electronic instruments create richness and complexity in this music, which is somehow earthy and ethereal at once." - Electronic Musician “It’s hard enough to set yourself apart during a week dedicated to finding needles in endless haystacks, but with their wit, charm, and talent, Hey Marseilles somehow pulled it off with strikingly professional ease.” - Popmatters (on SXSW show) "Hey Marseilles delivers an enveloping set of orchestral pop on’ Lines We Trace’." - Lincoln Star Journal “...Hey Marseilles create interpersonal music reminiscent of the consolation one finds in reflecting upon an unexpected encounter with a long-forgotten friend.” - The Owl "Hey Marseilles, a seven-piece band from Seattle, write catchy folk tunes that fall somewhere between Noah & The Whale’s sunny stomp and Arcade Fire’s big-band bombast." - The Harvard Crimson “With 11 tracks full-to-burst with youthful energy, ‘Lines We Trace’ is a record that is remarkably easy to like.” – Minneapolis City Pages "Hey Marseilles has successfully trumped other bands in its ability to seamlessly fuse classical instrumentation with modern folk and pop." - Atlanta Music Guide “...a grand, often theatrical melding of folk, chamber pop and artful modern cabaret leanings.” - Direct Current ". Hey Marseilles use rich layers of cello, accordion, sweeping piano, guitar, huge drums that clap and thunder, trumpet and viola to achieve an orchestral variety show of music with shadings of jazz, classical piano numbers and chamber folk with intricately woven hooks." - Music Connection .

Copy Link

Recommended publications

Recent Critical Praise for My Brightest Diamond's This Is My Hand
Recent critical praise for My Brightest Diamond’s This Is My Hand Favorite Songs of 2014 “‘Pressure’: This baroque pop gem opens with drum corps and woodwinds, tacks on a tribal rhythm breakdown and just goes for it. All the way.” “…one of the most powerful and dramatic voices of the past decade.” “…an ability to cultivate intimacy through flawless, complex production with a beating heart.” “As a musician, Worden (who performs as My Brightest Diamond) builds her songs deliberately and impeccably…words are painted, sounds are sculpted, and the nature of Worden’s voice itself adds dimension—more than a single vocalist usually can. Her wholly enveloping, finely tuned alto sounds by turns forceful, vulnerable, cooing, playful, and endlessly emotive.” “…has a feeling for both the grandeur and the grain, building every sweeping gesture in her music out of a swarm of small details.” The Best of 2014 “…added to her smart, savvy chamber pop the influence of funk and marching bands. Her flawless voice pecks, jabs and floats above a world of rhythm that gives the new music its motion and undeniable heartbeat.” “At times, This Is My Hand all but commands listeners to dance.” “On her new album, This Is My Hand, she continues to reach far and wide with great success, adding marching-band rhythms and funky horns to her mix.” “…sounds like a modern-day Nina Simone…” “…This is My Hand works on a visceral level, conjuring Worden’s intended image of tribal, fireside collaboration through a rich diversity of texture, detail, and tone.” “…successful exercise in percussive, jagged art-pop that explores themes of self-acceptance, sensuality, and community.” “...unique and oddly beautiful.” “…presents an invigorating progression of Worden’s sonic palette…” #3: MBE Producer Ariana Morgenstern’s Top Albums of 2014 “…gorgeous new album…” “This Is My Hand is an album I would recommend to anyone—for exactly all the reasons that it’s hard to write about.
[Show full text]
BAM Announces Its Bamcafe Live November Music Programming Featuring Jazz, Middle Eastern, Chamber Pop, Baroque Cabaret, and Hip-Hop
Brooklyn 30 Lafayette Avenue Communications Department Academy Brooklyn NY 11217-1486 Sandy Sawotka of Telephone: 718.636.4111 Fatima Kafele Music Fax: 718.857.2021 Jennifer Lam 718.636.4129 [email protected] News Release BAM Announces its BAMcafe Live November Music Programming Featuring Jazz, Middle Eastern, Chamber Pop, Baroque Cabaret, and Hip-Hop Highlights include the NextNext music series showcase, modern jazz arrangements of Bjork's music, the Middle Eastern musical hybrid of Shusmo, chamber pop with Greta Gertler, the jazz fusion of Fred Ho and the Afro Asian Music Ensemble, pop-cabaret with Daniel Isengart, the ukulele/viola sounds of Songs from a Random House, and a Thanksgiving holiday weekend hip-hop extravaganza with Akim Funk Buddha No cover! $10 food/drink minimum, Friday-Saturday BROOKLYN, October 4, 2005-As part of BAM's 2005 Next Wave Festival, BAMcafe Live, the performance series curated by Limor Tomer, presents an eclectic mix of jazz, spoken word, rock, pop, and world beat Friday and Saturday nights. BAMcafe Live events have no cover charge ($1 0 food/drink minimum). For information and updates, call 718.636.4139 or visit www.bam.org. (For press reservations and photos, contact Fatima Kafele at 718.636.4129 x4 or [email protected]). BAMcafe kicks off a month of great music with Travis Sullivan's Bjorkestra (November 4), a group that crafts modem jazz arrangements of Bjork's visionary techno pop. The next night (November 5), Shusmo concludes the NextNext series of talented musicians in their 20s, with an eclectic, Middle Eastern blend of jazz and Latin Rhythms.
[Show full text]
Introduction from Paul Whiteman, to Barry White, Man
Introduction From Paul Whiteman, to Barry White, Man This monograph explores a long- standing tradition of merging pop- ular music idioms with lush string orchestrations, big- band instrumentation, traditional symphonic instruments, and other markers of musical sophistica- tion, glamour, spectacle, theatricality, and epic or “cinematic” qualities. I call such deluxe—or “luxe”—pop arrangements and performance events “con- spicuous symphonization.” This phrasing underscores entertainment par- allels to Thorstein Veblen’s notion of “conspicuous consumption,” wherein luxury goods and services are employed for displays of social status, wealth, or cultural sophistication. A colloquialism with a similar social meaning is “bling,” a hip- hop slang term referring to displays of an ostentatious life- style of lavish and excessive spending. Conspicuous consumption and bling display are both tied to the purpose of inspiring envy. However, with bling, there is an aversion to melting- pot uniformity in that bling displays involve ironic stylistic tensions through juxtapositions of “low” vernacular/pop cul- ture and the high- status symbols of social power, whether real or perceived. Similar qualities permeate the US “luxe pop” repertories and events explored in this book. This music further reflects important changes in the character and aesthetic discourses of American culture and entertainment. Across the twentieth century, the United States experienced unprece- dented economic prosperity, resulting in middle- class expansion, particularly following
[Show full text]
Sooloos Collections: Advanced Guide
Sooloos Collections: Advanced Guide Sooloos Collectiions: Advanced Guide Contents Introduction ...........................................................................................................................................................3 Organising and Using a Sooloos Collection ...........................................................................................................4 Working with Sets ..................................................................................................................................................5 Organising through Naming ..................................................................................................................................7 Album Detail ....................................................................................................................................................... 11 Finding Content .................................................................................................................................................. 12 Explore ............................................................................................................................................................ 12 Search ............................................................................................................................................................. 14 Focus ..............................................................................................................................................................
[Show full text]
Dissertation Committee for Michael James Schmidt Certifies That This Is the Approved Version of the Following Dissertation
Copyright by Michael James Schmidt 2014 The Dissertation Committee for Michael James Schmidt certifies that this is the approved version of the following dissertation: The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany Committee: David F. Crew, Supervisor Judith Coffin Sabine Hake Tracie Matysik Karl H. Miller The Multi-Sensory Object: Jazz, the Modern Media, and the History of the Senses in Germany by Michael James Schmidt, B.A. Dissertation Presented to the Faculty of the Graduate School of The University of Texas at Austin In Partial Fulfillment Of the Requirements for the Degree of Doctor of Philosophy The University of Texas at Austin August 2014 To my family: Mom, Dad, Paul, and Lindsey Acknowledgements I would like to thank, above all, my advisor David Crew for his intellectual guidance, his encouragement, and his personal support throughout the long, rewarding process that culminated in this dissertation. It has been an immense privilege to study under David and his thoughtful, open, and rigorous approach has fundamentally shaped the way I think about history. I would also like to Judith Coffin, who has been patiently mentored me since I was a hapless undergraduate. Judy’s ideas and suggestions have constantly opened up new ways of thinking for me and her elegance as a writer will be something to which I will always aspire. I would like to express my appreciation to Karl Hagstrom Miller, who has poignantly altered the way I listen to and encounter music since the first time he shared the recordings of Ellington’s Blanton-Webster band with me when I was 20 years old.
[Show full text]
Td Vancouver International Jazz Festival
Music is where we all belong. TD is a proud sponsor of over 90 music festivals and 100 community programs from coast to coast. #MusicMatters The TD logo and other trade-marks are the property of The Toronto-Dominion Bank. TDCT-0396_FestivalPrograms_Vancouver_5.25x8_v1.indd 1 2018-03-06 11:27 AM CHAN CENTRE PRESENTS SERIES SEP 22 Aida Cuevas: Totalmente Juan Gabriel SEP 30 I’m With Her OCT 21 Goran Bregović and His Wedding and Funeral Band NOV 13 Joshua Redman: Still Dreaming FEB 17 Bobby McFerrin: Circlesongs MAR 2 Ladysmith Black Mambazo with Habib Koité and Bassekou Kouyate APR 11 Cristina Pato Quartet APR 27 Anoushka Shankar BEYOND WORDS SERIES OCT 3 Kealoha FEB 24 No Blue Memories: The Life of Gwendolyn Brooks SUBSCRIPTIONS ON SALE NOW! Cristina Pato Joshua Redman I’m With Her Bobby McFerrin chancentre.com Welcome to the 33rd Annual TD Vancouver International Jazz Festival As a committed and long-standing supporter of Canadian music and artists, TD is thrilled to support the 2018 TD Vancouver International Jazz Festival, a world- class event celebrating the diversity of music across Canada and beyond. For 10 straight days the festival will erupt with the best jazz, blues and world music and has become a passport to a music-loving community where one can feel truly connected. From up-and-coming talent to acclaimed headliners, join us at the many events taking place around the city as we celebrate the love of music. At TD, we see music as a conversation-starter, something that has the power to bring communities together and give us all somewhere to belong.
[Show full text]
Nine Constructions of the Crossover Between Western Art and Popular Musics (1995-2005)
Subject to Change: Nine constructions of the crossover between Western art and popular musics (1995-2005) Aliese Millington Thesis submitted to fulfil the requirements for the degree of Doctor of Philosophy ~ Elder Conservatorium of Music Faculty of Humanities and Social Sciences The University of Adelaide October 2007 Contents List of Tables…..…………………………………………………………....iii List of Plates…………………………………………………………….......iv Abstract……………………………………………………………………...v Declaration………………………………………………………………….vi Acknowledgements………………………………………………………...vii Chapter One Introduction…………………………………..…..1 Chapter Two Crossover as a marketing strategy…………....…43 Chapter Three Crossover: constructing individuality?.................69 Chapter Four Shortcuts and signposts: crossover and media themes..…………………...90 Chapter Five Evoking associations: crossover, prestige and credibility………….….110 Chapter Six Attracting audiences: alternate constructions of crossover……..……..135 Chapter Seven Death and homogenization: crossover and two musical debates……..……...160 Chapter Eight Conclusions…………………..………………...180 Appendices Appendix A The historical context of crossover ….………...186 Appendix B Biographies of the four primary artists..…….....198 References …...……...………………………………………………...…..223 ii List of Tables Table 1 Nine constructions of crossover…………………………...16-17 iii List of Plates 1 Promotional photograph of bond reproduced from (Shine 2002)……………………………………….19 2 Promotional photograph of FourPlay String Quartet reproduced from (FourPlay 2007g)………………………………….20 3 Promotional
[Show full text]
Read Book Zenith 2016 : Did Something Begin in the Year 2012
ZENITH 2016 : DID SOMETHING BEGIN IN THE YEAR 2012 THAT WILL REACH ITS APEX IN 2016? PDF, EPUB, EBOOK Thomas Horn | 451 pages | 01 Aug 2013 | Defender Publishing | 9780984825653 | English | Crane, MO, United States Zenith 2016 : Did Something Begin in the Year 2012 That Will Reach Its Apex in 2016? PDF Book They are child molesters just as the Catholics are, and yes I mean men abusing boys. In the provisions of the Act reproduced above, there was none that said anything on the solvency of a company sought to be wound up. I gave this book a rating of 3 because it had only one chapter to answer the question of and prophesied events. Indeed, if a company is solvent, the question that arises is why it cannot pay its debt. The Fallen Angels and the Heroes of Mythology:. My experience is the opposite. What the world has never heard about the End of the Mayan Calendar. In addition to past articles at NewsWithViews. Mnet irrevocably shook up the K-pop industry with Produce -- and Wanna One became the central showpiece of the entire series. Her goal is to lure a lover, and she lays out specific steps in the most procedural of manners as producer Primary follows her lead. Written in 15 minutes , the labyrinthine composition shapeshifts every few seconds into a completely new genre. Is this what is meant in Psalms and Acts chapter 4 where Jesus is the capstone the builders refused? To deny the debt iii. Submit Story. We are to occupy until Jesus comes.
[Show full text]
Midwest Music Fest 2015 Listener's Guide
Organizers Board of Directors Trina Barrett, Sam Brown, Charlie Brown, Sean Burke, Julie Fassbender, Jacob Grippen, Zach Krage,Jim Trouten, Doug Westerman Managing Director Parker Forsell MWMF Assistant Director Dave Casey Booking Manager 168 E. 3rd St. Isaac Sammis Winona, MN 55987 Merchandise Annika Gunderson, On Three Printing GET TICKETS AND MORE Volunteer Coordinator INFO HERE Rebecca Richter Ticketing Coordinator www.midwestmusicfest.org Nicole Kirchner Music Committee Megan Hanson, Brianna Haupt, Stage Design Tim Fair, Doug Harden, Sean Brianna Truax - Modern Design Concepts Burke, Matt Marek, Alex Stevens Production Education Committee Ben Assef - Northern Sun Productions Jacob Grippen, Kelly Blau, Mike Graphic Design Costello, Brianna Haupt, Isaac Danielle Barck Sammis, Nick Novotny, Nick Elstad Fundraising Committee Printed by Sean Burke, Julie Fassbender, Cherie Harkenrider Listener’s Guide Adam Wiltgen, Jonathon Roberts, Brian Voerding, Chris Rodgers, Jim Many thanks Schmidt to the volunteers, Photography artists and sponsors Shannon Porter, Sidney Swanson, - you truly make this Ben Steinquist festival the place Hub Window Design “where music and Sarah Johnson community meet”. 3 Winona Film Society 4 5 North Light Songwriters’ Showcase Friday, April 24 • Winona Arts Center • 6pm - 10pm Frankie Lee • Nicole Rae (The Traveling Suitcase) Eddie Danger • Lydia Liza (Bomba de Luz) Mike Munson • Rachel Kilgour • J.E. Sunde Christopher the Conquered • Jaybone Bell • A gathering of nine accomplished songwriters from Minnesota, Wisconsin,
[Show full text]
Analyzing Genre in Post-Millennial Popular Music
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2018 Analyzing Genre in Post-Millennial Popular Music Thomas Johnson The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/2884 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] ANALYZING GENRE IN POST-MILLENNIAL POPULAR MUSIC by THOMAS JOHNSON A dissertation submitted to the Graduate Faculty in Music in partial Fulfillment of the requirements for the degree of Doctor of Philosophy, The City University of New York 2018 © 2018 THOMAS JOHNSON All rights reserved ii Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson This manuscript has been read and accepted for the Graduate Faculty in music in satisfaction of the dissertation requirement for the degree of Doctor of Philosophy. ___________________ ____________________________________ Date Eliot Bates Chair of Examining Committee ___________________ ____________________________________ Date Norman Carey Executive Officer Supervisory Committee: Mark Spicer, advisor Chadwick Jenkins, first reader Eliot Bates Eric Drott THE CITY UNIVERSITY OF NEW YORK iii Abstract Analyzing Genre in Post-Millennial Popular Music by Thomas Johnson Advisor: Mark Spicer This dissertation approaches the broad concept of musical classification by asking a simple if ill-defined question: “what is genre in post-millennial popular music?” Alternatively covert or conspicuous, the issue of genre infects music, writings, and discussions of many stripes, and has become especially relevant with the rise of ubiquitous access to a huge range of musics since the fin du millénaire.
[Show full text]
Countercultures and Popular Music
COUNTERCULTURES AND POPULAR MUSIC A translated and edited edition of a special issue of Volume! The French Journal of Popular Music Studies (Éditions Mélanie Seteun). Additional articles published in both ‘countercultures’ issues of Volume! can be found at: http://www.cairn.info/revue-volume.htm and http://volume.revues.org. Volume! is the only French peer-reviewed popular music studies journal. Created in 2002 by Marie-Pierre Bonniol, Samuel Étienne and Gérôme Guibert, it is published independently by the Éditions Mélanie Seteun, a publishing association specialising since 1998 in the cultural sociology of popular music. Biannual special issues deal with various topics in popular music studies, in a multidisciplinary perspective. It is also included on the online international academic portals Cairn.info and Revues.org. Volume! is classified by the French AERES and abstracted/indexed on the International Index to Music Periodicals, the Répertoire International de Littérature Musicale and the Music Index. This page has been left blank intentionally Countercultures and Popular Music Edited by SHEILA WHITELEY University of Salford, UK JEDEDIAH SKLOWER Université Sorbonne Nouvelle, Paris 3, France © Sheila Whiteley and Jedediah Sklower and the contributors 2014 All rights reserved. No part of this publication may be reproduced, stored in a retrieval system or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise without the prior permission of the publisher. Sheila Whiteley and Jedediah Sklower have asserted their rights under the Copyright, Designs and Patents Act, 1988, to be identified as the editors of this work. Published by Ashgate Publishing Limited Ashgate Publishing Company Wey Court East 110 Cherry Street Union Road Suite 3-1 Farnham Burlington, VT 05401-3818 Surrey, GU9 7PT USA England www.ashgate.com British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library.
[Show full text]
RNCM Autumn 2018 Brochure.Pdf
original What makes something original? Does originality actually exist or do we ԥ O UܼGݤܼQޖܥԥ O UܼGݤܼQޖԥ all simply build from what we have seen adjective and heard? adjective: original 1. What enables us to dare to be different not dependent on other people's ideas; inventive or novel. from others or independent of the context "a subtle and original thinker" in which we are working? What does the future of music look like? www.rncm.ac.uk/soundsoriginal 2 3 Thu 06 Sep // Doors 7pm Sat 15 Sep // Doors 8pm Mon 24 Sep // 7.30pm // RNCM Concert Hall // RNCM Concert Hall Sun 16 Sep // Doors 7.30pm // RNCM Concert Hall MANCHESTER LEE ANN WOMACK NOW WAVE CHAMBER CONCERTS + SUPPORT: CHARLIE WORSHAM PRESENTS SOCIETY Lee Ann Womack showcases her album DORIC STRING QUARTET CHILLY GONZALES CHILLY The Lonely, The Lonesome and the Gone, GRUFF RHYS a breath-taking hybrid of country, soul, + PICCADILLY SYMPHONY ORCHESTRA Béla Bartók String Quartet No 5 gospel and blues. Joseph Haydn String Quartet in B minor Tickets £24.50 advance This Autumn, Manchester-based promoters Op 33 No 1 No concessions Now Wave will be ten years old. To Franz Schubert String Quartet in G major Promoted by C2C & SJM Concerts celebrate, they’re going to announce D 887 ten very special shows. The RNCM is home Tickets £25, platform seats £12.50 to the ﬁrst, when long time Now Wave Promoted by Manchester Chamber Concerts Society favourite and all-round gent Gruff Rhys Tue 11 Sep // 8pm // RNCM Concert Hall joins the Piccadilly Symphony Orchestra to perform tracks from his orchestral pop masterpiece, Babelsberg.
[Show full text]