Interviews with Bay Area up-and-coming bands
Interview with Tied to Branches, Ventid and Angel Island
September 22, 2011 8:00pm
Tied to Branches
http://music.tiedtothebranches.com/
Straight out of the dense fog of the Bay Area, Marc Manning, Brad DerManouelian and Justin Wasterlain are Tied to the Branches. Committed to stirring every speck of dust into their swirling caldron of sound, Tied to the Branches create fuzz, reverb, echo heavy, feedback laden, psych rock / shoe gaze anthems. Ghostly and hushed vocals blend in with howling feedback, ominous bass and chilly delay soaked electronic drums describing a world of spirits, monsters, and ghosts.
Ventid
http://ventid.bandcamp.com/
Ventid in no way endorses moving to San Francisco from 3 different corners of the U.S. (New England, Southeast, & SoCal) and forming a band via an anonymous Craigslist posting in 2009. Nor does Ventid condone the natural union of 4 music vets with past projects as divergent as math rock, film music, traditional Arabic music, indie folk, post rock, bluegrass, surf, classical, metal, punk, and R&B. Ventid cannot, with a clear conscience, recommend music alternating from intricate to sparse, melodic to raw, organic to experimental, with a penchant for finding the natural groove in a tune that switches between 7 & 8 each bar. Ventid does not support naming a band after an acronym for oxygen toxicity.
Angel Island
http://www.angelislandband.com/
Piling layers upon layers of imagery, Justin Goldman creates a lyrical world not unlike a Dylan-esque acid trip (if Bobby wrote more songs about girls, anyway). Goldman fronts the San Francisco-based band Angel Island, laying bare his emotions with painfully autobiographical lyrics one moment before building up walls of psychedelic metaphor to hide behind next. Joined by guitarist and multi-instrumentalist Pascal Garneau and Robert Jakubs on drums, Angel Island has a sound that echoes with 20th century rock and pop as if filtered through each decade, picking up strange bedfellows along the way. A 6/8 dancehall ballad suddenly shifts into nineties shoe-gazer territory and finishes with a Moog synthesizer solo that would make Linda McCartney blush—all in one song lasting under three minutes.
http://music.tiedtothebranches.com/
Straight out of the dense fog of the Bay Area, Marc Manning, Brad DerManouelian and Justin Wasterlain are Tied to the Branches. Committed to stirring every speck of dust into their swirling caldron of sound, Tied to the Branches create fuzz, reverb, echo heavy, feedback laden, psych rock / shoe gaze anthems. Ghostly and hushed vocals blend in with howling feedback, ominous bass and chilly delay soaked electronic drums describing a world of spirits, monsters, and ghosts.
Ventid
http://ventid.bandcamp.com/
Ventid in no way endorses moving to San Francisco from 3 different corners of the U.S. (New England, Southeast, & SoCal) and forming a band via an anonymous Craigslist posting in 2009. Nor does Ventid condone the natural union of 4 music vets with past projects as divergent as math rock, film music, traditional Arabic music, indie folk, post rock, bluegrass, surf, classical, metal, punk, and R&B. Ventid cannot, with a clear conscience, recommend music alternating from intricate to sparse, melodic to raw, organic to experimental, with a penchant for finding the natural groove in a tune that switches between 7 & 8 each bar. Ventid does not support naming a band after an acronym for oxygen toxicity.
Angel Island
http://www.angelislandband.com/
Piling layers upon layers of imagery, Justin Goldman creates a lyrical world not unlike a Dylan-esque acid trip (if Bobby wrote more songs about girls, anyway). Goldman fronts the San Francisco-based band Angel Island, laying bare his emotions with painfully autobiographical lyrics one moment before building up walls of psychedelic metaphor to hide behind next. Joined by guitarist and multi-instrumentalist Pascal Garneau and Robert Jakubs on drums, Angel Island has a sound that echoes with 20th century rock and pop as if filtered through each decade, picking up strange bedfellows along the way. A 6/8 dancehall ballad suddenly shifts into nineties shoe-gazer territory and finishes with a Moog synthesizer solo that would make Linda McCartney blush—all in one song lasting under three minutes.
