Mother Nature's Son
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Mother Nature's Son

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"Mother Nature's Son (Album Review)"

Welcome ladies and gentlemen, to the brand new conspiracy theory of underground rock n’ roll. Though not fact driven, and a very loose hypothesis at that, Mother Nature’s Son has created an album that will test your own ideas of what good indie rock really consists of with their self titled debut. This dynamic duo is the terrific group you hear playing in your neighbor’s garage on starry Thursday nights as you smoke your Camel straights and ponder humanity. They really make you feel good, and small.

For your quick and interpretive Dylan like successions, look no further than the likes of a track like “Seagull Won’t You Crash” or “I Should Have Known”. The guitar plucking is constant. The vocals are perfectly off key. All the aspects you could fathom for obscurity. But, the gain your full experience of Mother Nature’s Son, you must know “I Met A Clown”. This is the track that brings the drunken driver to the center line in a well equipped frenzy.

Mother Nature’s Son is a group that pulls directly upon the right puppet strings to be a great late night drive thru acoustic pop phenomenon. These guys play every day personally and responsibly on the challenging table of music whether it be piano solos or lyrics filled with crisp obscurities. They bring forth the wonderful musical dramedy anyone can enjoy.

by: Ron Trembath - Fense Post


"Mother Nature's Son"

Besides playing in a band that formed and broke up within half a year, Noah Kain spent the majority of his music career performing and recording on his own under the name The Solo Years. It was easier to coordinate band rehearsals that way, and besides, he was going for minimalistic experimentations, so a one-man setting was ideal, various instruments abound.
But last year, he began gravitating toward duos, while trying to produce a fuller sound without the use of looping. His first outfit, Mother Nature's Son, was acoustic, with him on guitar and lead vocals and Alex Phillips, a former bandmate, on cello. Kain wrote most of their material, and the two of them recorded an album in April. But after Phillips spent the summer teaching English in Peru, he had a change of heart.

That's not to say Kain lost his vision.

Instead, he picked up another former bandmate (from the same, short-lived band), Dan Kolevatov -- who plays drumset. Kain switched to electric guitar (so he could be heard) and found that the songs translated well, and the collaboration in general was a good fit. This band, retaining the name Mother Nature's Son, is, in a sense, The Solo Years turned up a notch -- amplified, literally and figuratively.

"Songs got a little louder and dirtied up," Kain said, sitting in jeans and a flannel shirt at his parents' house in downtown Emmitsburg recently.

Amid recording equipment in the home studio, Kain, 22, was quick to smile as he told about his transitions through bands and material over the past handful of years. He grew up in the small town and learned music early on from his father, a lifelong pianist, though Kain has since moved to Baltimore and currently attends Stevenson University.

Some version of Mother Nature's Son has played Charm City Arts Space, Recher Theatre, Joe Squared, 2640 Space and venues in Philadelphia and New York. Next Thursday, they will play the Ottobar in Baltimore, and they'll be at Asylum in Washington, D.C., on April 8.

"People definitely shy away from music without any drums," Kain admitted, reminiscing about his days performing with Phillips on cello.

Still, when the band was acoustic, they found their niche within the Baltimore folk scene, and there was a good support network for getting shows, whereas now, "there's not really a scene we fit into," he said.

Although Kain and Kolevatov are plugged in, and their songs cross styles and genres, there is an undeniably folkie feel to their collaboration.

"Dan has this ability to sound like he's two drummers," Kain said. "And he has a really good musical knowledge."

Their song "Calm Your Soul" has a heavy sound with deep, trudging drums, bringing to mind a cross between The Doors' "My Wild Love" chant and Floyd's darker "Set the Controls for the Heart of the Sun" -- musically, anyway, with a few lighter breaks.

They share harmonies on "Hold On," a somber, droning take on a girl. "Long ago, she was a dreamer," he sings, and then they fade into the chorus: "Hold on, hold on, hold on, hold on."

In the revved up "Famous Hats," they dubbed an acoustic guitar over the electric, resulting in a country feel. Kain's voice is a little bit Dylan in the song, inspired by the phrase "theater of war," read in a magazine at Barnes & Noble, where he works. I can't stand to look at the theater of war, he sings.

"The song is all about these false hopes and promises that were fed while all this play of bombing was going on.

His songs aren't all political, but, like "Famous Hats," most of the lyrics are derived from various lines and words that catch Kain's attention.

"I have this list on my computer of phrases and sentences that I'll put together," he said. "Or I make up words to songs sometimes throughout the day. I just stuff my pockets with it."

Kain released his first Mother Nature's Son self-titled album last year with Phillips and will release his first with Kolevatov this spring. Two of the songs on the new release are revamped from their former acoustic states to fit the new lineup. The rest are new. Songs are written and sung by Kain except "Baby Girl," an acoustic blues tune with Kolevatov leading.

The material may start with Kain, but Kolevatov, who lives in Westminster, brings a whole new dimension to what would otherwise be a continuation of The Solo Years.

"Dan is more proficient on drums," Kain said and laughed. "And live, I'd use harmonica to try to add another aspect, but unless you're really ridiculous, like Bob Brozman, who plays drums by beating on his guitar -- I can't really do that.

"And I like collaborating. It expands the creative pool," he continued. "Me and Dan are always very much on the same page," Kain said. "If we get a bassist, we have to find a person who can add something but not disrupt that."

They've considered adding a third musician -- preferably a bassist -- but they're going to be choosy, willing to wait it out for the right person.

One thing (person?) at a time.

"There's still that minimalistic quality," Kain said. "What can we do with just two people? It's kind of an interesting thing to explore."

-- -- --

www.myspace.com/mothernaturesXson - Frederick News Post


"Top 37 & 1/2 Albums of 2009"

http://tartproductions.blogspot.com/2009/12/top-37-12-albums-of-2009.html - Tart Productions


Discography

Mother Nature's Son- Mother Nature's Son (CD 10 tracks 40 min RK Records (self-release))

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Bio

Besides playing in a band that formed and broke up within half a year, Noah Kain spent the majority of his music career performing and recording on his own under the name The Solo Years. It was easier to coordinate band rehearsals that way, and besides, he was going for minimalistic experimentations, so a one-man setting was ideal, various instruments abound.
But last year, he began gravitating toward duos, while trying to produce a fuller sound without the use of looping. His first outfit, Mother Nature's Son, was acoustic, with him on guitar and lead vocals and Alex Phillips, a former bandmate, on cello. Kain wrote most of their material, and the two of them recorded an album in April. But after Phillips spent the summer teaching English in Peru, he had a change of heart.

That's not to say Kain lost his vision.

Instead, he picked up another former bandmate (from the same, short-lived band), Dan Kolevatov -- who plays drumset. Kain switched to electric guitar (so he could be heard) and found that the songs translated well, and the collaboration in general was a good fit. This band, retaining the name Mother Nature's Son, is, in a sense, The Solo Years turned up a notch -- amplified, literally and figuratively.

"Songs got a little louder and dirtied up," Kain said, sitting in jeans and a flannel shirt at his parents' house in downtown Emmitsburg recently.

Amid recording equipment in the home studio, Kain, 22, was quick to smile as he told about his transitions through bands and material over the past handful of years. He grew up in the small town and learned music early on from his father, a lifelong pianist, though Kain has since moved to Baltimore and currently attends Stevenson University.

Some version of Mother Nature's Son has played Charm City Arts Space, Recher Theatre, Joe Squared, 2640 Space and venues in Philadelphia and New York. Next Thursday, they will play the Ottobar in Baltimore, and they'll be at Asylum in Washington, D.C., on April 8.

"People definitely shy away from music without any drums," Kain admitted, reminiscing about his days performing with Phillips on cello.

Still, when the band was acoustic, they found their niche within the Baltimore folk scene, and there was a good support network for getting shows, whereas now, "there's not really a scene we fit into," he said.

Although Kain and Kolevatov are plugged in, and their songs cross styles and genres, there is an undeniably folkie feel to their collaboration.

"Dan has this ability to sound like he's two drummers," Kain said. "And he has a really good musical knowledge."

Their song "Calm Your Soul" has a heavy sound with deep, trudging drums, bringing to mind a cross between The Doors' "My Wild Love" chant and Floyd's darker "Set the Controls for the Heart of the Sun" -- musically, anyway, with a few lighter breaks.

They share harmonies on "Hold On," a somber, droning take on a girl. "Long ago, she was a dreamer," he sings, and then they fade into the chorus: "Hold on, hold on, hold on, hold on."

In the revved up "Famous Hats," they dubbed an acoustic guitar over the electric, resulting in a country feel. Kain's voice is a little bit Dylan in the song, inspired by the phrase "theater of war," read in a magazine at Barnes & Noble, where he works. I can't stand to look at the theater of war, he sings.

"The song is all about these false hopes and promises that were fed while all this play of bombing was going on.

His songs aren't all political, but, like "Famous Hats," most of the lyrics are derived from various lines and words that catch Kain's attention.

"I have this list on my computer of phrases and sentences that I'll put together," he said. "Or I make up words to songs sometimes throughout the day. I just stuff my pockets with it."

Kain released his first Mother Nature's Son self-titled album last year with Phillips and will release his first with Kolevatov this spring. Two of the songs on the new release are revamped from their former acoustic states to fit the new lineup. The rest are new. Songs are written and sung by Kain except "Baby Girl," an acoustic blues tune with Kolevatov leading.

The material may start with Kain, but Kolevatov, who lives in Westminster, brings a whole new dimension to what would otherwise be a continuation of The Solo Years.

"Dan is more proficient on drums," Kain said and laughed. "And live, I'd use harmonica to try to add another aspect, but unless you're really ridiculous, like Bob Brozman, who plays drums by beating on his guitar -- I can't really do that.

"And I like collaborating. It expands the creative pool," he continued. "Me and Dan are always very much on the same page," Kain said. "If we get a bassist, we have to find a person who can add something but not disrupt that."

They've considered adding a third musician -- preferably a bassist -- but they're going to be choosy, willing to wait it out for the right person.

One