Nate Daly, Author at ALARM

Chrome Hoof: Disco-Space-Metal Collective Creates Futuristic, Silver-Studded Spectacles

Draped in glittery silver cloaks and masked in dense fog, London-based collective Chrome Hoof puts on inimitable, over-the-top performances to enhance the indefinable quality of its music.

Moon & Moon: Musical Theater Meets “Hyper-Art”

With the help of talented musical friends, William Lemon III uses his Moon & Moon project to simulate musical theater while analyzing spirituality and offering self-reflection in his lyrics.

Q&A: Young Widows

Young Widows: In and Out of Youth and Lightness (Temporary Residence, 4/12/11)

Young Widows: “Future Heart”

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Though not a strict departure from previous material, the new album by post-hardcore outfit Young Widows displays a different phase of the band’s career. Calling it a “progression” might apply regressive traits to its first two albums, but In and Out of Youth and Lightness turns down the Cro-Magnon wallop and continues the band’s history of accomplished noise rock.

Its last album, Old Wounds, was a mostly live recording by Kurt Ballou (Converge, Coliseum, Pygmy Lush). In contrast, the new album was produced by the band and Kevin Ratterman (My Morning Jacket) at The Funeral Home in its hometown of Louisville, Kentucky. Guitarist and vocalist Evan Patterson joined us to answer a few questions about the band’s songwriting process and what bands people should check out.

How do you describe your music?

I don’t, but if you were a clerk at a gas station, I would tell you that we are a rock band. That’s as far as I can go.

On the new album, there’s a bit of a weird blues influence — less Jesus Lizard pummel and more of a Liars atmospheric vibe. What did you want to do new or different? What did you want to keep the same?

Music has to progress. There are no specific influences. The goal with this album was to find my voice, and that was wholeheartedly achieved. Lyrically, [they’re] the heaviest and most affective songs that I’ve created. Old blues has that same effect on me. It speaks to me. The bridge between modern rock music and blues is a short one, and it’s inevitable that those characteristics will be riding in the same vehicle to achieve certain goals.

Q&A: Seven That Spells

Seven That Spells: Future Retro Spasm (Beta-Lactam Ring, 5/20/10)

Seven That Spells: “Olympos”

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Croatian space-rock outfit Seven That Spells deals in extended psychedelic guitar freak-outs in the vein of Magma, Circle, Zappa, Trans Am, or Hawkwind. Perhaps its biggest musical influence, however, is Kawabata Makoto, who appears on the 2007 album Men From Dystopia. Founder and guitarist Niko Potočnjak modeled his collective after Makoto’s Acid Mothers Temple; lineups are transient, albums sound raw and live, and though recorded material is certainly released, the band lives for the performance.

The following Q&A was conducted with Potočnjak. He is extremely passionate about the music that his band creates, preferring danger and experimentation over consistency. The most telling quote from his dialogue demonstrates a singular philosophy that eschews genre: “We play music.”

How do you describe your music?

Psychedelic rock for the 23rd Century. New old religion of super loud! Polymetrics and occasional Viking funeral rites.

Can you give us a history of the band?

STS was formed in 2003. The main purpose was to have fun and play rock. Eight years, 60 people, and nine albums later, the purpose remains the same. We believe in the power and sincerity of rock music. I say “we” because STS is a collective — I just happen to be a guy with good organizational skills and a strong vision.