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
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Music
 

Sunday school


Whether the band is ready or not, Scottish synth-pop trio Chvrches is primed for indie-pop stardom.

Joshua Boydston May 28th, 2014

Chvrches with Summer Cannibals 

7 p.m. Sunday

Cain’s Ballroom

423 N. Main St., Tulsa

cainsballroom.com

918-584-2306

$23-$38

Photo: Eliot Hazel

Not many bands are ever able to assemble the devout following Chvrches already has, especially not at the rapid rate the Scottish electronic pop trio has converted its congregation.

Singer Lauren Mayberry and synth disciples Iain Cook and Martin Doherty worked in secret for seven months, crafting what would become the group’s hit debut, The Bones of What You Believe, starting in 2011. They wrote and recorded in short pockets between obligations to jobs and duties in their other respective bands (The Twilight Sad, Aereogramme and Blue Sky Archives).

But as they leaked the early songs, their friends and press interest turned evangelical, assuring that the project wasn’t going to remain under wraps much longer.

“The initial reaction of people online was a lot stronger than what we anticipated,” Doherty said. “After that, we realized we could be on to something.”

Fast-forward to this year, and the band is headlining big rooms — like Sunday’s show at Cain’s Ballroom — and performing for seas of tens of thousands at festivals internationally.

“We’re kind of in uncharted territory,” Doherty said. “Coachella was the first time we were able to step back and really become aware of how far we’ve come in the past year and a half.”

Who’s to say why Chvrches is one of just a few chosen ones out of the hundreds of glossy, dance-hook-laden synth-pop bands buzzing about? It probably has a lot to do with the urgency Doherty and Cook bring to the songs and the laser-precise but emotionally vulnerable delivery of frontwoman Lauren Mayberry.

“It’s a concise statement, in terms of what we are about,” Doherty said of the debut. “It’s not 12 deliberate, trying-tobe-pop anthems, you know? We aren’t that kind of band, and it was important that people began to understand that. We come from an indie world, and it still feels that way as we write; we just don’t use traditional instruments to play them.”

Touring runs through the fall, but the windows between gigs are starting to fill up with brainstorming for the band’s second LP. Chvrches is expressing little to no hesitation or nerves concerning the prospect of a follow-up, either.

“I don’t stop thinking about it,” Doherty said. “For someone like me who gets bored easily, I start working on ideas again the second I get over the jet lag. You just have to follow your own nose and please yourself.”

Early indications point to new material with the same message as before, or at least constructing similarly soaring songs but with a different set of building blocks. Regardless, the trio knows it is just preaching to the choir at this point, anyway.

“One goal for us is to do more with less elements — a leaner record. That doesn’t mean we are going to go softer; arguably, I want to go harder and heavier, but with less fat,” Doherty said. “I know that beyond everything, the focus for us is songwriting, not how the music is dressed. It’s the relationship between melody and rhythm before anything else.”

 
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