Vanderslice, John / Dagger Beach
Album: | Dagger Beach | Collection: | General | |
Artist: | Vanderslice, John | Added: | Jul 2013 | |
Label: | Self-Release |
A-File Activity
Add Date: | 2013-07-08 | Pull Date: | 2013-09-08 |
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Week Ending: | Sep 8 | Sep 1 | Aug 25 | Aug 18 | Aug 11 | Jul 28 | Jul 14 |
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Airplays: | 3 | 2 | 1 | 1 | 1 | 1 | 3 |
Recent Airplay
1. | Nov 01, 2014: | Music Casserole
Gaslight |
4. | Sep 04, 2013: | Meow After Midnight
Gaslight |
|
2. | Apr 23, 2014: | A Family Affair
Sleep It Off |
5. | Sep 01, 2013: | Tragical History Tour
Interlude #1 |
|
3. | Sep 07, 2013: | Fried Egg
Gaslight |
6. | Aug 31, 2013: | Music Casserole
North Coast Rep |
Album Review
Eme O
Reviewed 2013-07-08
Reviewed 2013-07-08
John Vanderslice - Dagger Beach - Indie/shoegaze - Vox, guitar, drums,
Kickstarter-financed self-released ninth album from local musician, producer, recording engineer. Per wikipedia, the “owner and founder of Tiny Telephone, a San Francisco Mission District analog recording studio.” Slowish, gentle/dreamy/chill, upbeat in a way that’s not cheerful or sunny. No straight-ahead ‘guy with a guitar’-ness here; this fellow likes his post-production. No FCCs detected. ~eme o.
1. Raw Wood (3:17) Ruminating on the self that exists beneath the veneer (or varnish, if you will). Guitar, drums, piano punctuations
2. Harlequin Press (3:27) Starts of with a whirl of sound fronted by a washboard. Changes nature after the briefest of drum solos ~0:18. Somewhat tribal drum. Squeebly birdsong, gentle flute add brightness to the mix.
3. Song for Dana Lok (2:21) Bright guitar picking, almost folksy (or Shins-y). Pure-sounding, yet still with inorganic elements.
4. How the West Was Won (3:47) Starts out sounding almost like electronica. Locked drums, twinkly stars, toy xylophone?
5. Interlude #1 (2:11) Ambient soundscape. A bit like floatnig through a space with set obstacles and then the occasional comet zooming by. Metronome-like cymbal.
* 6. Song for David Berman (4:54) Sensitive guitar. Restful tone. If not a love song, then an expression of deep appreciation.
7. Damage Control (4:21) Starts off rather Talking Heads-y. Simple Minds crashes the party ~1:08, then goes home ~1:28. Oh, wait, they just went around the corner and came back ~2:39.
* 8. Songs for the Landlords of Tiny Telephone (1:32) Jazz-style noodling on guitar, bass. (The only song here John Vanderslice did not write.)
* 9. Gaslight (2:45) Lurching rhythm between drum and guitar sections, vocals out of time also. Unsettling (perhaps unsurprisingly, considering the song title). Hint of South Africa in the electric guitar. Rhythm changes ~2:00, becoming more standard.
10. Sleep it off (2:43) Soundtrack for a relationship status change. “It’s complicated.”
11. Sonogram (2:24) Ticking clock, that vaguely South African guitar (which I now recognize as shades of Vampire Weekend), lots of background whooshes.
12. North Coast Rep (4:05) Electronic squiggles in background, vox at the forefront, harmonizing voice on chorus (maybe female, maybe male falsetto).
13. Interlude #2 (0:47) A brief ambient outro
Kickstarter-financed self-released ninth album from local musician, producer, recording engineer. Per wikipedia, the “owner and founder of Tiny Telephone, a San Francisco Mission District analog recording studio.” Slowish, gentle/dreamy/chill, upbeat in a way that’s not cheerful or sunny. No straight-ahead ‘guy with a guitar’-ness here; this fellow likes his post-production. No FCCs detected. ~eme o.
1. Raw Wood (3:17) Ruminating on the self that exists beneath the veneer (or varnish, if you will). Guitar, drums, piano punctuations
2. Harlequin Press (3:27) Starts of with a whirl of sound fronted by a washboard. Changes nature after the briefest of drum solos ~0:18. Somewhat tribal drum. Squeebly birdsong, gentle flute add brightness to the mix.
3. Song for Dana Lok (2:21) Bright guitar picking, almost folksy (or Shins-y). Pure-sounding, yet still with inorganic elements.
4. How the West Was Won (3:47) Starts out sounding almost like electronica. Locked drums, twinkly stars, toy xylophone?
5. Interlude #1 (2:11) Ambient soundscape. A bit like floatnig through a space with set obstacles and then the occasional comet zooming by. Metronome-like cymbal.
* 6. Song for David Berman (4:54) Sensitive guitar. Restful tone. If not a love song, then an expression of deep appreciation.
7. Damage Control (4:21) Starts off rather Talking Heads-y. Simple Minds crashes the party ~1:08, then goes home ~1:28. Oh, wait, they just went around the corner and came back ~2:39.
* 8. Songs for the Landlords of Tiny Telephone (1:32) Jazz-style noodling on guitar, bass. (The only song here John Vanderslice did not write.)
* 9. Gaslight (2:45) Lurching rhythm between drum and guitar sections, vocals out of time also. Unsettling (perhaps unsurprisingly, considering the song title). Hint of South Africa in the electric guitar. Rhythm changes ~2:00, becoming more standard.
10. Sleep it off (2:43) Soundtrack for a relationship status change. “It’s complicated.”
11. Sonogram (2:24) Ticking clock, that vaguely South African guitar (which I now recognize as shades of Vampire Weekend), lots of background whooshes.
12. North Coast Rep (4:05) Electronic squiggles in background, vox at the forefront, harmonizing voice on chorus (maybe female, maybe male falsetto).
13. Interlude #2 (0:47) A brief ambient outro
Track Listing
1. | Raw Wood | 7. | Damage Control | |||
2. | Harlequin Press | 8. | Song For The Landlords Of Tiny Telephone | |||
3. | Song For Dana Lok | 9. | Gaslight | |||
4. | How The West Was Won | 10. | Sleep It Off | |||
5. | Interlude #1 | 11. | Sonogram | |||
6. | Song For David Berman | 12. | North Coast Rep | |||
13. | Interlude #2 |