Wednesday 30 Jul
 
 

Power Pyramid - The God Drums

Power Pyramid doesn’t have much patience for nonsense. That appears to be the takeaway from the Oklahoma City quintet’s last 10 months, which brought The God Drums in September, the Insomnia EP in January and its latest, self-titled effort in July.

07/29/2014 | Comments 0

TJ Mayes - "When Love Comes Down"

’50s era rock ’n’ roll had been long overdue for a rebirth. Thankfully, the stockpile of capable luminaries has not been in short supply over the past few years. 

07/23/2014 | Comments 0

Boare - "playdatshit"

The world is in the midst of an electronic music renaissance, and you find most of this boon of producers laying claim to the club-friendly, bass-dropping variety, holing up in the the free-flowing world of hip-hop beatmaking or pitching their tent on the out-there, boundary-pushing EDM camp.
07/23/2014 | Comments 0

Broncho - "Class Historian"

Broncho has never been hurting in the hook department. The success of the trio’s 2011 debut, Can’t Get Past the Lips, was predicated mostly on its ability to marry melodies with kinetic guitar riffs and anarchic energy. Yet we’ve heard nothing to the degree of pure pop catchiness on display in “Class Historian,” the new single from Broncho’s upcoming sophomore album, Just Enough Hip to Be Woman.
07/23/2014 | Comments 0

Manmade Objects - Monuments

No one wants to be forgotten; everyone wants some sort of legacy, a mark they leave behind as they exit this life for whatever lies beyond.

And for as long as there has been death, there have been monuments — whether austere or understated, abstract or concrete, prominent or tucked away in private — erected by the ones they loved to assure that remembrance, at least for a time.
07/15/2014 | Comments 0
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Music
 

Time to fly


Country-flavored folksinger Jonathan Byrd lets his varied influences take wing.

Chris Parker December 7th, 2011

Jonathan Byrd
8 p.m. Thursday
The Bottle Cap barn
3600 Rogers Drive, Edmond

Jonathan Byrd describes himself as a North Carolina picker and a Texas songwriter. It’s as apt a description as any, as his music unites the narrative influence of Texas country artists like Guy Clark and Townes Van Zandt with flat-picked country gone decaf, the slower pace allowing folky melodicism to waft forth.

He’s tipped his hat to those two principal inspirations on his last two albums, including last year’s “Cackalack.”

“I have a short attention span, but I like for all of them to sound like an album, so it’s good for me to pick themes like that,” said Byrd.

About a decade ago, he realized all his short-order jobs weren’t enabling music so much as standing in his way, so he took the plunge with his solo debut, “Wildflowers,” and started touring like a gypsy. “Not being able to really do anything else helps,” he said. “But in the end, it’s also spiritual. It’s a belief that the universe it wouldn’t allow me to fail at something I’m really good at, if I just apply myself. ... I can’t not do it. There’s nothing else that will satisfy me like this.”

In some ways, his recent discs were an exercise to tease out the essential elements of his fiddle-stomp style, which includes a dusty, windblown pallor; a downbeat manner; Bakersfield swing; and pure hill music. But he’s also aided other artists, like Nashville singer/songwriter Diana Jones, country-soul act Radio Soul and worldmusic duo Dromedary.

This whole idea of collaborating has seized Byrd, particularly in the quick, down-and-dirty method as he did with Jones. Indeed, during a four-month tour this spring, he recorded two separate albums in Canada and Texas when he had an open day.

“If you look at the careers of, say, James Brown, wherever they were on tour, they would hook up with a studio from time to time and just go record a bunch of stuff,” he said. “The people that play on the record really define the sound of the record. The artist is only one instrument. If I like their sound, there’s no way I can go somewhere else and reconstruct the sound they make, so I make the record there with them.

“It didn’t start this way for me, but the first time I ever did it, I thought, ‘That was incredible, because what we captured was real performances by humans. It’s got all this blood in it. It’s got all this heat.’ And I’ve done it that way ever since.”

 
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