Fenech-Soler, Knox Hamilton

Margin Walker Presents

Fenech-Soler

Knox Hamilton

Siberian Traps

Wed, May 10, 2017

Doors: 7:00 pm / Show: 8:00 pm

Club Dada

Dallas, TX

$14 Tickets Available at Doors

This event is all ages

Fenech-Soler
Fenech-Soler
Towards the end of their biggest headline show at Shepherd’s Bush Empire, Fenech-Soler’s Ben Duffy took a moment to appreciate where he was and what the band had achieved. With the second of two critically-acclaimed albums in the shape of 2013’s Rituals having just come out, he realized the band had already surpassed his early goals. His contentment was tinged with the knowledge that what came next had to be bigger and better than what had gone before. Following a short hiatus and the departure of two members, Fenech-Soler, aka Ben and brother Ross, are back with Zilla, a lighter, bolder and more eclectic album of shimmering pop that feels like their defining statement. Lead by the glorious sunburst of first single Kaleidoscope, Zilla – named after a close friend – is chock full of positive and upbeat pop songs, a soothing balm in a chaotic world. “We’ve always set out to write pop songs but this time it’s been about simplicity,” says Ross. “It feels like we’ve refined our sound and finally achieved what we’ve been looking for”.
The seeds for Zilla’s creation were first sewn at the end of a US tour in support of Rituals (which featured the singles All I Know and Magnetic), the follow-up to 2010’s self-titled debut, which collected together early tracks such as Lies and Stop And Stare. Having landed a Q Awards nomination, toured with everyone from Kelis to Example to Robyn, successfully battled cancer (Ben was diagnosed with testicular cancer in 2011) and played headline shows all over the world, the band needed a break. With the core creative unit of Ben and Ross choosing to stay in LA, however, demos were started immediately with REM and U2 collaborator Jacknife Lee. Early sessions were ripe with experimentation. While those early sessions were fruitful, there was a nagging sense that the catalyst for the album’s creation hadn’t been discovered. “It was a time of collecting sounds and ideas and being inspired.” says Ben. “In some ways it was frustrating because I knew we couldn’t finish it there. We needed some familiarity so we went back to the village we grew up in and began working from a makeshift studio.”
Swapping the heady extremes of Los Angeles for a small farming village near Northamptonshire may seem like madness, but for Ben and Ross it made perfect sense. “We found the first keyboard we ever owned, the kind of keyboard you learn on when you’re a kid and for some reason it had every sound we needed. It was simple began defining the sound we were after. The floodgates opened and we did 70% of the album in 6 weeks”. Inspired by disco, old soul vocal harmony groups and an unwavering love of pop music, the pair steadily built up a collection of their most vibrant songs yet. While previous albums have seen them collaborate with the likes of Style Of Eye, Starsmith and Tim Goldsworthy, Zilla was a much more organic album, with most of it self-produced (with additional production from former drummer Andrew Lindsay, whose departure alongside Daniel Soler was part of an amicable decision among the band).
The fruits of their labour can be heard in the textured mesh of Grace, an oddly undulating near-instrumental that’s awash with slowly expanding synths. As with most of the album, it’s both instant and strangely experimental. The key track on the album however is Kaleidoscope, the album’s opening song, lead single and title track of the forthcoming four-track EP (“the most concentrated form of the album that we wanted to put out there first,” says Ross). Recalling the streamlined indie-pop of Phoenix, it’s a buoyant ode to the pure joy of love. It also proved to be the album’s long-sought-after catalyst, kickstarting the album as a whole. “We had the verse of Kaleidoscopic for a while as a scratchy phone recording until we could figure out a chorus,” remembers Ross. “Once that song fell into place the record followed suit”. Around that same time they also stumbled on the album’s title, with the name’s meaning – ‘colourful, bright, grand’ – becoming an all-encompassing motif for the album itself. “It turned into its own genre for us in a way,” says Ross. “It was something we decided on quite quickly and that’s been a theme on this album,” adds Ben. “Our second album was tough to make, with a lot of people involved. Everything had a lot of thought, so with this record we decided early on that if we liked something we went with it quickly”.
That sense of trusting your creative instincts can be heard on the synth-lead banger, On Top (“That’s probably the most positive track on the record” says Ben) and the atmospheric soul shimmer of Night Time TV. “That’s about that still moment from midnight to 3am,” explains Ben. “It’s an insomnia song about time being all messed up.” That idea of time and disjointed timezones also filters through in other songs too. “My girlfriend is American so there’s definitely an element of us living at opposite ends of the world,” continues Ben. “There’s a sense of wanting to be in another place both geographically and where you are in life.” While the first half of the album focuses on a lighter mood, the album’s latter songs shift in tone slightly. Perhaps one of its best moments is the ballad Be Someone, a song that borrows from those blustery 80s soundtrack ballads and creates something deliciously modern. Or there’s the epic glide of the album’s closing song, From Afar, which steadily builds to an orchestral crescendo.
Zilla is the sound of a band confidently coming to terms with their sound while steadily refining it. Loaded with personality and pockets of experimentation, it’s also a glorious, unashamed pop album that will sound incredible in a live scenario. It’s an album that takes Fenech-Soler to another level.
Knox Hamilton
Knox Hamilton
Fueled by the similar staples within their collective musical taste, the members of Knox Hamilton blend laid back guitar riffs and catchy bass lines with rhythmic drum beats and soaring vocals to produce a sound that’s as likely to make you want to visit the beach as it is to move your feet. The Great Hall EP is a culmination of the bands eclectic musical sensibilities, as individuals, and their combined infatuation with indie pop rock, as a band. The EP could easily be trimmed to simple, commercial-length soundbites, but it could also accompany you on a cross-country road trip.
Siberian Traps
I was standing in Live Oak Music Hall once with Mr. Seth Reeves - on the night Siberian Traps released Blackfoot and played a show so transcendent the crowd checked to see if they were floating above the stage - when a fine young man with a handle bar mustache asked me about these boys late of Nashville and lately of Fort Worth. What did they sound like, he asked me, what was their style, who were their influences? (Such was the anticipation that the uninitiated started groping for answers.) I deferred to Mr. Reeves, standing at my left – who should have known better than anyone, as their chief songwriter, vocalist and guitarist. He thought about it briefly and said, "We sound like a cowboy riding into the desert on a mescaline trip." The man and I both stood silent for a moment, and then I started laughing, clapping my hands.

I was certainly delighted at the time, but I'll be damned if that isn't the perfect description of Siberian Traps. This is an Ennio Morricone soundtrack played by R.E.M., produced by Neil Young, in praise of the universe: a whole new genre I'd call Spirit Rock. It is music both spirited and of the spirit. You stomp your feet and you hum along; but if your self-same soul isn't swinging along, too, then you're not paying close enough attention. (Mr. Reeves is capable of crafting lyrics that mean something the first time, something else the tenth time, and something entirely new the ten thousandth.) This is sincere music, removed of any scene, brave enough to say what it means in a culture that's afraid to mean anything.

Seth Reeves has been playing music in and around Fort Worth for a number of years, but his pilgrimage to Nashville in 2009 – and his meeting of drummer Peter Wierenga and guitarist Parker Donaldson – brought a whole new vision to the music. They returned to Texas with songs pastoral and psychological, lusty and spiritual: a union of opposites, sonic and otherwise, that represents a kind of transcendence. With the addition of Mike Best on bass in 2013, the band now brings a live sound that is one of the finest barnstorming rock and roll shows in this land. Their two releases to date, A Strange Loop EP and Blackfoot, are equally at home blasting from one's car stereo or through your earphones, while your eyes are closed, as the pulsating landscape of an America that both is and isn't rises up in the imagination.

So go ahead: take the trip, man, climb up on your horse and ride out into the desert, put the cactus hearts in the iron pot over your campfire, and listen to some Traps.

- Wade Lipham
Venue Information:
Club Dada
2720 Elm St.
Dallas, TX, 75226
http://dadadallas.com/