Tuesday 22 Jul

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

Admirals - Amidst the Blue

Sometimes it helps to not be very good.

Some of the best albums and artists were born out of happy accidents owed to varying degrees of early suckage — the perfect note or chord for a song found by missing the one you are aiming for, failed mimicry of an idol bearing something entirely new and great instead.

07/09/2014 | Comments 0

Kierston White - Don't Write Love Songs

The Tequila Songbirds have become just as beloved as about any group around these parts. And how could they not?

Featuring a revolving cast of the Sooner State’s most badass female performers, it’s a power hour of some of the best songwriting coming out of central Oklahoma. Sure, they might not technically be family, but they are clearly a band of sisters all the same, bonded by the same brand of whiskey running through their veins.

07/01/2014 | Comments 0

Depth & Current - Dysrhythmia

"Overproduced" is a term thrown around all too indiscreetly nowadays, usually applied when the thing that sticks out about a song or album is how it sounds rather than how it is constructed. Yet some of the most compelling albums ever crafted embodied a certain aesthetic that was just as skillfully and meticulously put together as any Bob Dylan or Miles Davis record — which is to say production is as crucial to our enjoyment of music as much as anything else; it's also the most overlooked.
06/24/2014 | Comments 0

Weak Knees - “IceBevo”

Indie rock has been in a good place as of late. Not caring about being cool is the new cool, and a couple of dudes on guitar, bass and drums can make catchy, earworm songs without being armed to the gills with computer software and vintage synthesizers.
06/17/2014 | Comments 0
Home · Articles · Music · Music · You hear?

You hear?

Taking risks in rock, mewithoutYou hopes you will join them.

Joshua Boydston May 23rd, 2012

mewithoutYou with Buried Beds and Imaginary Cities
6 p.m. Thursday
ACM@UCO Performance Lab
323 E. Sheridan

Credit: The Ely Brothers

Being an experimental rock act, mewithoutYou is no stranger to risk. When writing and recording its fourth album, 2009’s It’s All Crazy! It’s All False! It’s All A Dream! It’s Alright, the band chose to ditch its signature heavy riffs for something that more closely resembled Modest Mouse or Bright Eyes than the post-hardcore bands that had originally informed its sound.

“We’re getting older, and you do go through changes over the years,” guitarist Michael Weiss said. “We’re more inspired by softer music and things that rely on more instrumentation and less electric guitar turned up to 11. I think you need to allow yourself to grow and have a hope that you can do more with music than just one thing. We’ve had that shift happen.”

The disc caught fans off guard, but they can rest easy, knowing that mewithoutYou’s brand-new disc, Ten Stories, harkens back to those earlier days, even titling the lead track “February 1878” as a nod to the group’s breakout single, “January 1979,” from 2004’s Catch for Us the Foxes. Although that softer indie approach lingers, Ten Stories has found a good middle ground between the band’s new and old selves.

“I think part of the growth was in realizing what our strengths were and feeling good about those strengths, using them to our advantage, rather than continuously trying to reinvent the wheel,” Weiss said. “The last album we did was a bit of an experiment. I think we learned and grew from that, knowing that we could hang onto those concepts while not being afraid to hang with our roots a little bit. We can feel comfortable in the skin we’ve grown for ourselves.”

The record shies away from the spiritual, lyrical themes that marked all prior releases, building from a narrative of a traveling circus that suffered a train crash in 19th-century Montana. The crew is as proud of this record as it has been in a long time and cannot wait to share it with fans Thursday night at the ACM@UCO Performance Lab.

“I have a good feeling about the album as a whole. It feels like we made a record that represents the culmination of all the years we’ve spent together as a band. It doesn’t feel forced,” Weiss said. “It’s like having a new outfit, and I can’t wait to wear it out in public.”

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