Tobie Milford

1. VIAL OF SOUND

A highlight of any music festival is the massive crowds of people dancing together, in the same way they would dance alone in their bathrooms. At Viva PHX, Vial of Sound is going to be the band that accomplishes that.

The duo uses analog synthesizers exclusively, and the sight of them twisting knobs and pushing buttons on these dated machines would be enough to attract anyone. And as your eyes are staring at the synths, the rest of your body will be moving uncontrollably to the sounds they make. In the meantime, check out this visually psychedelic music video for, “A Lifetime Passed,” to prepare for the dance floor.

2. THE TECHNICOLORS

These guys have the “pretty-boy-rock” thing down to a science. It’s the kind of music that makes adolescent girls swoon. And while that may not be everyone’s cup of tea, The Technicolors make up for it with their meticulous guitar shredding.

Frontman Brennan Smiley attracts a variety of listeners by mixing romantic lines like, “If you hold your breath, then maybe you’ll see I’m right here waiting to breathe,” with the kind of guitar playing that makes you want to curl your lip and pump your fist. I’ve known Brennan since high school, where I once saw him do a one-handed guitar solo while drinking a glass of water. That was an unforgettable experience, and I have a feeling that their set at Viva PHX will be the same.



3. LARRY BAILEY

Many of the local acts at Viva PHX usually perform in the Tempe and Downtown Phoenix rock venues, but Larry Bailey is the exception to that rule. While most bands play at places like The Trunk Space or Crescent Ballroom, Larry is belting out R&B classics at Char’s House of Blues, Desert Ridge, or McCormick Railroad Park. But don’t let that fool you into thinking you can miss his set. Larry Bailey has a voice that will stop in your tracks. Despite the fact that he lacks original songs in his musical repertoire, Larry’s rendition of “Let’s Stay Together” will convince you that you’re actually hearing Al Green live.

4. PLAYBOY MANBABY

Absolutely everything about Playboy Manbaby is chaotic. But that’s part of their charm, and it’s the reason they have become on of the iconic local Phoenix bands. Singer Robbie Pfeffer has no problem yelling at you almost incoherently as he jumps on and off the stage with sweat pouring out of him more than humanly possible. If you go to see this performance, don’t think you’ll get to watch casually in the back. Playboy Manbaby breaks the musical fourth wall, and their dedicated audience is just as involved as any of the musicians. Your shirt may get ripped, but you’ll leave the show feeling like you were part of something great.

5. TOBIE MILFORD

You can’t listen to Tobie Milford without thinking of Andrew Bird. It’s impossible—the way that he croons as he loops the notes he plays on his violin instantly brings Bird to mind. But there’s something indistinguishable about seeing Tobie live. Maybe it’s the fact that he usually performs by himself, or that he closes his eyes when he sings. Whatever it is, you forget about comparing him to others because Tobie’s performances feel intimate, almost as if he’s sharing a secret with you. This is without a doubt going to be the quietest and calmest performance at Viva PHX, but if you end up seeing him, you will be so entranced that you’ll forget you’re standing in a crowd of people. - Valley Hype - Steven Totten

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Tobie Milford is a Phoenix musician of the chamber-pop, avant-pop persuasion. He combines his vocals with looped violin parts as a solo act, and has recently enlisted an assortment of string players from local ensembles Tetra Quartet, Downtown Chamber Series and Flexible Tiger. Get in the loop and see Milford perform at midnight on March 7 at Hotel San Carlos.
Read The Spec‘s Q & A with Tobie Milford…
Very first concert you attended and a memory from it.
Barenaked Ladies on New Year’s Eve. I remember the concert t-shirts which had a picture of the year ticker switching menacingly from 1999 to 2000, and underneath they said “Are you prepared?”. Because, you know…Y2K. And yes, yes we were.
If you could have any musician (dead or alive) as a mentor, who would it be?
Sufjan Stevens. Incredible vision and work ethic. Supposedly he recorded his Michigan album by himself using one microphone. I’m a big admirer.
Very first concert you played and a memory from it.
I’ve been playing in classical concerts since I was a little kid. I can’t remember my first, but I do remember some time around fourth grade we were playing on this outdoor stage and a bunch of dogs had somehow gotten loose and ran up on stage. They were jumping up on us, but we just kept playing.
Artist you would most like to collaborate with or have produce your music?
Shara Worden from My Brightest Diamond for both. Since I’m starting to use small ensembles like she has used for the past few years, I think she’d be a great person to have on the production side. Locally, I’d love to join forces somehow with Dylan Pratt, Wooden Indian, Dry River Yacht Club, and There is Danger someday. Yes, all at the same time.
Not to mention I’ve already begun collaborating with some super high-caliber musicians for my ensemble – Kirk Johnson has his own non-profit music outreach organization called S.O.U.N.D.S., Megyn Neff is in North Brother Island, Tina Estes is a dynamic local R&B/world music songwriter, and Mark Michaud is the most talented drummer/person I think I have ever met.
Personal truth that fans would be surprised to know about you.
I’m a sixth grade math and science teacher.
How do you spend a typical day when you’re not touring or busy recording?
More like: what do I do when I’m not busy grading and lesson planning? Spending time with my beautiful wife Lara. And sometimes, making music!
One artist or album you could never get tired of listening to?
I was already a fan, but once I saw James Blake live it really hit me over the head how many things he’s bringing together at once. His discography so far is already pretty impressive to me, so I’ve been enjoying all of that fairly consistently.
Earliest music-related memory you have?
Getting a violin for Christmas when I was three. I think I held it backwards the first time I picked it up. Needed a couple of lessons, I guess.
Nicest thing a fan has ever said, or given, to you?
A few weeks ago, I got to open for Mutual Benefit, and it was the first show ever with the new ensemble I’ve put together. Once they got on stage, they would not shut up about how much they enjoyed our set…they said we were the best act they’d seen so far on tour! That was really encouraging.
Interesting fact about your newest release.
The forthcoming release will be a proper studio album bringing together what I’ve been doing live for the past year, namely: a string quartet with percussion and keys. At some point in the near future I’ll be having a fundraising show to cover the costs of recording.
Xperience you will never forget.
Performing my material during the Downtown Chamber Series event at the MIM last summer with members of the Phoenix Symphony Orchestra.
- See more at: http://thespecblog.com/miscellaneous/viva-phx-q-tobie-milford/#sthash.58pycez7.dpuf - The Spec

June 11, 2013
Tuesday
7:00 p.m.

Musical Instrument Museum
4725 E. Mayo Blvd.
Phoenix

A special collaboration between MIM and The Downtown Chamber Series. The program will include contemporary works for strings and the local indie chamber pop sensation Tobie Milford.

Musicians:
Leslie Anderegg,
Tobie Milford,
and Robert Simonds, violins
Mark Dix, viola
Peter Lorenzo Anderegg, cello

Program to include:
Bartok String Quartet No. 3
Missy Mazzoli, Dissolve, O my Heart for solo violin
Original works by Tobie Milford, vocals and violin,
with string quartet

Tobie Milford, photo by Kitten Paws Vintage


“The virtually boundless limits of what is possible with four strings on a hollow wooden box”

Tobie Milford has been described as an “ethereal symphony of sound”, using loop pedals to layer multiple violin parts and combine them with his own vocals. In this performance, loop pedals will be replaced with live string quartet, performing original arrangements of Milford's compositions. This culminates in a nuanced and unique sound: ambient, minimalist string textures, sophisticated plucking patterns, and dynamic vocal melodies. His songwriting has led him to become one of Phoenix's most widely lauded solo acts.

Bartok composed his Quartet No.3 in 1927, blending dense counterpoint, Hungarian folk music, and modern string techniques, all of which create a haunting, virtuosic, and gripping experience for the audience and performers. Seldom performed due to their tremendous difficulty, five of the six Bartok quartets have been taken on by DCS musicians in recent years. They consider these works to be a cornerstone of the series.

Missy Mazzoli, born in 1980, is a composer characterized by eclecticism and in particular the use of rock's kinetic rhythm. Dissolve, O my Heart, written in 2011 for solo violin, directly quotes the opening chord of J.S. Bach's Chaconne, but immediately veers in unexpected directions. creating a distinctly modern and beautiful work. - Downtown Chamber Series

I Am AZ Music®: Members of Downtown Chamber Series with Tobie Milford in collaboration with MIM

The Downtown Chamber Series was founded in 2000 by musicians seeking a new approach to live chamber music in Phoenix, Arizona. The concerts are typically held in urban galleries and warehouses amid visual art, exploring a wide diversity of chamber music, with repertoire ranging from string quartets by Beethoven to large percussion works by Steve Reich. The Series has gained wide recognition in the Valley, most recently as recipient of the 2012 Mayor’s Arts Award for Best Performing Arts Organization. The project has a mission to continually broaden the definition of chamber music, engaging in collaborations with folk groups, such as The Low Anthem; singer-songwriter Joe Pug; and local indie chamber-pop sensation Tobie Milford. As part of the collaboration with MIM to feature Arizona musicians, this is the first concert the Series has performed outside of its home in urban Phoenix galleries.

The program will present original contemporary works by Béla Bartók, Missy Mazzoli, and violinist/singer/composer Tobie Milford.

For centuries, the string quartet has been a workshop for composers to distill musical experiments, devices, and theories to their essence. Bartók’s cycle of six quartets, composed between 1909 and 1939, has become a hallmark of the twentieth century. Composed in 1927 and seldom performed due to its tremendous difficulty, Bartok’s String Quartet no. 3 blends dense counterpoint, Hungarian folk music, and modern string techniques, all of which create a haunting, virtuosic, and gripping experience for the audience and performers. These musicians have taken on five of the six Bartók quartets in recent years and consider them to be a cornerstone of the series.
Born in 1980, Missy Mazzoli is a composer characterized by eclecticism, particularly in her use of rock’s kinetic rhythm. “Dissolve, O My Heart,” written in 2011 for solo violin, directly quotes the opening chord of J. S. Bach’s Chaconne but immediately veers in unexpected directions, creating a distinctly modern and beautiful work.
Combined with the talents of Tobie Milford, this diverse program displays the virtually boundless limits of what is possible with four strings on a hollow wooden box.

Tobie Milford
The music of Tobie Milford has been described as an “ethereal symphony of sound,” using loop pedals to layer multiple violin parts and combine them with his own vocals. In this performance, loop pedals will be replaced by the live string quartet from Downtown Chamber Series, performing original arrangements of Milford’s compositions. This culminates in a nuanced and unique sound: ambient, minimalist string textures, quartet-style harmonies, sophisticated plucking patterns, and dynamic vocal melodies. Milford’s songwriting has led him to become one of Phoenix’s most widely lauded solo acts. His diverse fan base has invited him to play everywhere from bars and music venues to museums, art galleries, and a broad array of festivals, including Cincinnati’s Midpoint Music Festival in 2010. His music has been played on PBS programming, US Airways flights, and Internet radio stations, reaching listeners from South Africa to New Zealand.

Click here to join MIM’s concert e-mail list!
- MIM Music Theater

Check out this week's issue of Phoenix New Times for a feature on a guy many call one of the most talented young musicians in the Valley, indie singer/songwriter/violinist Tobie Milford. Milford performs with band The Whisperlights, but when he takes the stage at Scottsdale's The Rogue Bar this Saturday, August 20, he'll be performing solo.

The Rogue is a special place for Milford, who has established a rapport with audiences there before, including the night he and percussionist Henri Benard performed this track, "Tiny Eucatastrophes". The live song was mixed and mastered by Travis Engler, and you can listen to it yourself for a peek of what's to come this weekend after the jump. Milford also explained what inspired his writing of the track, as well as gave fans a peek at the lyrics. Plus, check out some videos from Milford's recent performance at Modified Arts.
Milford says: "A 'eucatastrophe' is an sudden turn of events in which there is a dramatic, unforeseen reversal from hardship, pain, and loss to joy, thanksgiving, and happiness...hence the 'eu,' which means 'good', as in 'euphoria,' 'eulogy,' etc. Oftentimes the very circumstances which produce the hardship create the conditions for the happy outcome. For example, as a Christian, I believe the death and resurrection of Christ is the ultimate eucatastrophe: sudden, surreal joy and victory in the face of profound loss and grief.

What's poignant to me is how this theme has played out in my personal life as I've undergone two huge personal losses in the time since the song was written: the death of my mother and the loss of relationship with a woman I loved quite a lot. In both cases, there were ultimately very positive things that emerged out of those circumstances that couldn't have happened otherwise. In the loss of my mom, there was a lot of reconciliation and closure. In the case of the breakup, we ultimately got back together and had a much stronger relationship as a result of our individual growth during the separation...and now we're engaged. I still can't believe how things worked out.

Lyrically, this song is the one I'm proudest of, because I'm not even quite sure where it all came from and yet it seems somehow coherent. Like my song 'Death!,' it uses imagery instead of straightforward storytelling to convey a sense of narrative and meaning, and I think when you write lyrics that are a little vague and yet still have that story element, it creates an opportunity for the listener to bring to the table specifics from his or her own life, which allows them to claim the story as their own.

I would love to hear what people take away from this song as, again, the lyrics are fairly open and I have no idea how they might be interpreted. The recording itself serves as a showcase for my favorite Phoenix drummer, Dry River Yacht Club's Henri Benard. He not only plays in time with my off-kilter loops but also brings so much kinetic energy to these formerly mellow songs of mine. It's been truly great having him on board for shows this past year. Also I think it's a great example of some of the great engineering talent we have in town; Rogue Bar's Travis Engler recorded and mixed this during a set we played there, and I think it sounds pretty great."

Lyrics

Broken leaves, dead flowers, fill me up inside
You know where I'm going, so I will not try to hide
You've got secrets you've got wisdom I've got some lies
There's beauty in your composition poetic demise

Imagination thinking thoughts while particles collide
One from a dying ember, the other from a bride
She blew a wedding kiss and missed the candle on the cake
The wind the spark met in the dark before the day parade

You have no idea how wonderful you really are
I'd tell you but I get distracted chasing dying stars
I did what you said to do but it didn't work
So I wrote a song for you, so I wrote a song

The fools that you will bear
The fruits that you will bear

If words are tools, it is true I'm a crappy carpenter
I've built houses made of sticks and glue
Through tiny eucatastrophes my subjectivist tendencies are overcome
and I ascend the stair

The fools that you will bear
The fools that you will bear
- Phoenix New Times Magazine

Check out this week's issue of Phoenix New Times for a feature on a guy many call one of the most talented young musicians in the Valley, indie singer/songwriter/violinist Tobie Milford. Milford performs with band The Whisperlights, but when he takes the stage at Scottsdale's The Rogue Bar this Saturday, August 20, he'll be performing solo.

The Rogue is a special place for Milford, who has established a rapport with audiences there before, including the night he and percussionist Henri Benard performed this track, "Tiny Eucatastrophes". The live song was mixed and mastered by Travis Engler, and you can listen to it yourself for a peek of what's to come this weekend after the jump. Milford also explained what inspired his writing of the track, as well as gave fans a peek at the lyrics. Plus, check out some videos from Milford's recent performance at Modified Arts.
Milford says: "A 'eucatastrophe' is an sudden turn of events in which there is a dramatic, unforeseen reversal from hardship, pain, and loss to joy, thanksgiving, and happiness...hence the 'eu,' which means 'good', as in 'euphoria,' 'eulogy,' etc. Oftentimes the very circumstances which produce the hardship create the conditions for the happy outcome. For example, as a Christian, I believe the death and resurrection of Christ is the ultimate eucatastrophe: sudden, surreal joy and victory in the face of profound loss and grief.

What's poignant to me is how this theme has played out in my personal life as I've undergone two huge personal losses in the time since the song was written: the death of my mother and the loss of relationship with a woman I loved quite a lot. In both cases, there were ultimately very positive things that emerged out of those circumstances that couldn't have happened otherwise. In the loss of my mom, there was a lot of reconciliation and closure. In the case of the breakup, we ultimately got back together and had a much stronger relationship as a result of our individual growth during the separation...and now we're engaged. I still can't believe how things worked out.

Lyrically, this song is the one I'm proudest of, because I'm not even quite sure where it all came from and yet it seems somehow coherent. Like my song 'Death!,' it uses imagery instead of straightforward storytelling to convey a sense of narrative and meaning, and I think when you write lyrics that are a little vague and yet still have that story element, it creates an opportunity for the listener to bring to the table specifics from his or her own life, which allows them to claim the story as their own.

I would love to hear what people take away from this song as, again, the lyrics are fairly open and I have no idea how they might be interpreted. The recording itself serves as a showcase for my favorite Phoenix drummer, Dry River Yacht Club's Henri Benard. He not only plays in time with my off-kilter loops but also brings so much kinetic energy to these formerly mellow songs of mine. It's been truly great having him on board for shows this past year. Also I think it's a great example of some of the great engineering talent we have in town; Rogue Bar's Travis Engler recorded and mixed this during a set we played there, and I think it sounds pretty great."

Lyrics

Broken leaves, dead flowers, fill me up inside
You know where I'm going, so I will not try to hide
You've got secrets you've got wisdom I've got some lies
There's beauty in your composition poetic demise

Imagination thinking thoughts while particles collide
One from a dying ember, the other from a bride
She blew a wedding kiss and missed the candle on the cake
The wind the spark met in the dark before the day parade

You have no idea how wonderful you really are
I'd tell you but I get distracted chasing dying stars
I did what you said to do but it didn't work
So I wrote a song for you, so I wrote a song

The fools that you will bear
The fruits that you will bear

If words are tools, it is true I'm a crappy carpenter
I've built houses made of sticks and glue
Through tiny eucatastrophes my subjectivist tendencies are overcome
and I ascend the stair

The fools that you will bear
The fools that you will bear
- Phoenix New Times Magazine

Over the course of its 10-year run as a downtown music venue, Modified Arts has seen its share of emo concerts, indie rock get-downs, and hard-rock shows. In 2009, the venue's focus shifted from "big indie rock shows" to being a full-time visual art gallery. The change promised that the music featured at the space would be quieter, more reflective.

Something like a performance by Tobie Milford.

At a recent Modified gig, the Phoenix singer/songwriter plugs his violin into an amplifier and begins tuning. There are around 50 or so seats facing the small stage. This isn't a strictly classical performance, though — instead of sitting, Milford stands in front of a microphone amid cheers of "Go, Tobie!" from the diverse crowd. There are teenage girls and middle-aged couples in the audience. Milford starts to play, weaving his bow up and down before stepping on a pedal on the floor. His initial notes loop in the background as he adds new layers of sound from his instrument, crafting a gorgeous instrumental song that, while it sounds like it could fit in at a wedding processional, still has a stylistic edge that commands attention.

And then he starts to sing. Milford closes his eyes while he plays, singing lyrics that touch on everything from abandonment and loss to friendship and spirituality. The ghosts of loud rock 'n' roll bands still linger in Modified, but the 26-year-old Milford commands the kind of attention volume alone can't afford.

"I think everyone needs to catch a show and see what he does," says River Jones, president of local label River Jones Music and one of the organizers of the Modified concert. "It's really moving. The first time I saw Tobie live, I had no idea what to expect. The looping of the violin and vocals slowly came to a swell, and I could feel the music. Not just hear it, but feel what he was expressing. It was wonderful."

Milford isn't just a solo artist — he also plays violin and sings in The Whisperlights, and he has popped up as a session player on local records of almost every stripe: He may be the one guy in Phoenix who's recorded with both folk-punks Andrew Jackson Jihad and hippie rockers What Laura Says.

Though Milford teaches at the Phoenix Conservatory of Music, started classical training at age 3, and took music lessons for 15 years, there was a time when Milford put down the violin and didn't consider music a priority.

Before he moving to Arizona, Milford lived in Michigan, where as a high-schooler his musical abilities landed him a spot in the Detroit Civic Orchestra. While he excelled there, he didn't make it into the music schools he applied for and instead opted to come to Arizona State University to pursue a degree in biology and religious studies.

In Tempe, Milford began playing guitar more than violin, performing at open mics around town. It wasn't until his junior year, when a friend introduced him to the work of indie singer/songwriter Andrew Bird, that he decided to give the instrument a go again.

"I was like, gosh, I didn't know you could do that with a violin," Milford says, referencing Bird's style of looping violin parts on top of each other. "When I started messing around with the violin, it was just a lot more satisfying than the guitar."

He traded the open mic gigs for violin solo stints at Tempe's Rúla Búla and played his first official solo show at The Trunk Space in 2008. He played with Porches, a punk rock ensemble, before forming The Whisperlights with members of The Coke Balloons, Reindeer Tiger Team, and Owl Out.

The Whisperlights gained traction with Valley audiences, but with the band taking a yearlong hiatus, Milford is poised to play more solo shows than ever.

With time to focus on his own music, Milford will also be able to write more and finish work on a follow-up to his debut solo EP, Alyosha, released over two years ago. The album was greeted with a warm reception, with Java Magazine going as far as to hail Milford "a musical genius." But while his debut may have brought some hype to his musicianship, Milford is in no rush to create a follow-up, wanting to take the time to craft another record he can be proud of.

If you listen to what his supporters have to say, that shouldn't be difficult. Cary Miller, who runs Surface to Air Records, was so captivated by an on-the-street First Friday art walk performance of Milford's, he started his label just to put out Milford's records.

"To my mind, he's the single most vital songwriter/composer in the Valley," Miller says. "Straight-up, I think he's the voice of a generation."

Or at least the voice commanding stages at rock clubs like Long Wong's and Yucca Tap Room. Milford seems to play anywhere, from rowdy bars to intimate groups at coffeehouses to artistic events such as Ignite Phoenix. Since his music mixes classical with indie rock and pop, he's been successful in cultivating a diverse fan base — so much so that at his EP release at Modified, 50 people w - Phoenix New Times Magazine

Over the course of its 10-year run as a downtown music venue, Modified Arts has seen its share of emo concerts, indie rock get-downs, and hard-rock shows. In 2009, the venue's focus shifted from "big indie rock shows" to being a full-time visual art gallery. The change promised that the music featured at the space would be quieter, more reflective.

Something like a performance by Tobie Milford.

At a recent Modified gig, the Phoenix singer/songwriter plugs his violin into an amplifier and begins tuning. There are around 50 or so seats facing the small stage. This isn't a strictly classical performance, though — instead of sitting, Milford stands in front of a microphone amid cheers of "Go, Tobie!" from the diverse crowd. There are teenage girls and middle-aged couples in the audience. Milford starts to play, weaving his bow up and down before stepping on a pedal on the floor. His initial notes loop in the background as he adds new layers of sound from his instrument, crafting a gorgeous instrumental song that, while it sounds like it could fit in at a wedding processional, still has a stylistic edge that commands attention.

And then he starts to sing. Milford closes his eyes while he plays, singing lyrics that touch on everything from abandonment and loss to friendship and spirituality. The ghosts of loud rock 'n' roll bands still linger in Modified, but the 26-year-old Milford commands the kind of attention volume alone can't afford.

"I think everyone needs to catch a show and see what he does," says River Jones, president of local label River Jones Music and one of the organizers of the Modified concert. "It's really moving. The first time I saw Tobie live, I had no idea what to expect. The looping of the violin and vocals slowly came to a swell, and I could feel the music. Not just hear it, but feel what he was expressing. It was wonderful."

Milford isn't just a solo artist — he also plays violin and sings in The Whisperlights, and he has popped up as a session player on local records of almost every stripe: He may be the one guy in Phoenix who's recorded with both folk-punks Andrew Jackson Jihad and hippie rockers What Laura Says.

Though Milford teaches at the Phoenix Conservatory of Music, started classical training at age 3, and took music lessons for 15 years, there was a time when Milford put down the violin and didn't consider music a priority.

Before he moving to Arizona, Milford lived in Michigan, where as a high-schooler his musical abilities landed him a spot in the Detroit Civic Orchestra. While he excelled there, he didn't make it into the music schools he applied for and instead opted to come to Arizona State University to pursue a degree in biology and religious studies.

In Tempe, Milford began playing guitar more than violin, performing at open mics around town. It wasn't until his junior year, when a friend introduced him to the work of indie singer/songwriter Andrew Bird, that he decided to give the instrument a go again.

"I was like, gosh, I didn't know you could do that with a violin," Milford says, referencing Bird's style of looping violin parts on top of each other. "When I started messing around with the violin, it was just a lot more satisfying than the guitar."

He traded the open mic gigs for violin solo stints at Tempe's Rúla Búla and played his first official solo show at The Trunk Space in 2008. He played with Porches, a punk rock ensemble, before forming The Whisperlights with members of The Coke Balloons, Reindeer Tiger Team, and Owl Out.

The Whisperlights gained traction with Valley audiences, but with the band taking a yearlong hiatus, Milford is poised to play more solo shows than ever.

With time to focus on his own music, Milford will also be able to write more and finish work on a follow-up to his debut solo EP, Alyosha, released over two years ago. The album was greeted with a warm reception, with Java Magazine going as far as to hail Milford "a musical genius." But while his debut may have brought some hype to his musicianship, Milford is in no rush to create a follow-up, wanting to take the time to craft another record he can be proud of.

If you listen to what his supporters have to say, that shouldn't be difficult. Cary Miller, who runs Surface to Air Records, was so captivated by an on-the-street First Friday art walk performance of Milford's, he started his label just to put out Milford's records.

"To my mind, he's the single most vital songwriter/composer in the Valley," Miller says. "Straight-up, I think he's the voice of a generation."

Or at least the voice commanding stages at rock clubs like Long Wong's and Yucca Tap Room. Milford seems to play anywhere, from rowdy bars to intimate groups at coffeehouses to artistic events such as Ignite Phoenix. Since his music mixes classical with indie rock and pop, he's been successful in cultivating a diverse fan base — so much so that at his EP release at Modified, 50 people w - Phoenix New Times Magazine

Alyosha, the debut solo EP from prominent Arizona musician Tobie Milford, is beautiful. And I mean that in every sense of the word. Sounding at once stripped-down and symphonic, Milford’s uses nothing more than a violin and his voice, performing live in a studio over and over again, to produce a staggering musical accomplishment in just over 30 minutes. Alternating between sweeping, orchestral soundscapes and weightless pizzicato, Milford seamlessly weaves his fiddle and his vocals into a single expression of his equally poignant message.

Milford is a religious man, and does not shy away from such themes in his music. However, rather than preach, he chooses to expound upon such universal issues as love and loneliness, friendship and abandonment, and as he himself describes it, “hope in the face of death.” This tension is embodied in the duality between his playful staccato plucking and somber legato bow strokes, and is articulated in his lyrics. The opening track, “Old Friend,” begins with an indictment of a seemingly fickle friend who has abandoned our narrator, but ends with the realization that “I let you down, oh trusted friend.” This lucid introspection continues on “Tiny Eucatastrophes,” with the hopeful proclamation that, “Through tiny eucatastrophes my subjectivist tendencies are overcome, and I ascend the stair.”

Even “Death!”, the title of which belies its hopeful, upbeat mood, is a reminder to live for the moment, to forgive, and to appreciate all the gifts we are given, no matter what deity you believe has bestowed them upon you, because “All your stupid jokes, and all your misplaced notes, and all those ugly feelings, and all of that deceiving, never quite existed, it robbed you of the present.” I will even forgive Milford for going overtly spiritual on us in “The Disconnected Heart and Voicebox,” because it is clear that his faith in his God’s love has given him not only an admirable, enlightened outlook on his fellow man, but also a desire to share it with us through his singular gift of music, and for that we can all be thankful.

– Mike Taintor, host of Transatlantic Waffles, Tuesdays 11am-12pm. - WGTB Radio, Georgetown University

Top 50 Songs of 2010

I already posted my Top Albums of 2010 on my other blog, Multitracking (A Mix Exchange), but as with any good year of music, it's impossible to only showcase the best 10. While I'm more confident than I've ever been in my choices, I also feel like I have a staggering number of other GREAT albums that didn't make the cut, for one reason or another. Many of these albums I like top to bottom, but don't get geeked out about the way I do the ones on my top 10. Some of these songs are the ONLY ones I like on the record. I suppose which is which is best left a mystery.

I was going to control the number/order of these, but they're really in no particular order except the first one. I suggest digging as deep as you'd like into all of them. I added handy links to videos and such to make it even easier to jam.

Although the list is somewhat daunting, I suppose the fact that I felt this many were good enough to post is a sign that good music does indeed still exist.


1) Isaac Russell - "Lighthouse" [from Isaac Russell EP]
http://www.pastemagazine.com/action/paste_station?station_track=track_21289_3670&mode=normal

2) Tobie Milford - "Tiny Eucatastrophes" [from Alyosha]
http://www.vimeo.com/5645436

3) A Lull - "Weapons for War"[from Weapons For War/Spread it All Round EP]
http://www.youtube.com/watch?v=TgxnWHQAkYM

4) Kinch - "Sunken Treasure" [from This is Flying Blanket Vol 2]

5) MGMT- "Congratulations" [from Congratulations]
http://www.youtube.com/watch?v=cB7IAXrCkO8

6) Rocky Votolato- "Lucky Clover Coin" [from True Devotion]
http://www.youtube.com/watch?v=x5UUcW1K3Ac

7) Ray LaMontagne and the Pariah Dogs - "For the Summer" [from God Willin' and the Creek Don't Rise]
http://www.youtube.com/watch?v=Gm_XebMavGk

8) Surfer Blood - "Floating Vibes" [from Astro Coast]
http://www.youtube.com/watch?v=R_RBxVpM_AI

9) Mark Ronson and the Business Intl f/MNDR - "Bang Bang Bang" [from Record Collection]
http://www.youtube.com/watch?v=TM6TCGltfHM

10) Brian Lopez - "I Pray For Rain" [from El Rojo]
http://www.youtube.com/watch?v=X42irhmc_ko

11) S. Carey - "In the Dirt" [from All We Grow]
http://www.youtube.com/watch?v=cBOzTOUcxGw

12) Ted Leo and the Pharmacists- "The Mighty Sparrow" [from The Brutalist Bricks]
http://www.youtube.com/watch?v=MSiDyYT7aIk

13) Coheed and Cambria- "Guns of Summer" [from Year of the Black Rainbow]
http://www.youtube.com/watch?v=6YBJ7QDhhQk

14) Margot and the Nuclear So and Sos "Will You Love Me Forever" [from Buzzard]
http://www.youtube.com/watch?v=4VTwXjOkchw

15) Brandon Boyd "Runaway Train" [from The Wild Trapeze]
http://www.youtube.com/watch?v=BctN5Tt47zw

16) Raining and Ok "Safety Net" [from Living Like a Ghost]
http://www.youtube.com/watch?v=2RvtaGh6vrw

17) Midlake - "Acts of Man" [from The Courage of Others]
http://www.youtube.com/watch?v=Mb0mcSRtzkI

18) Back Ted-N-Ted - "The War is Over" [from The Mirror]
http://www.youtube.com/watch?v=4G971u9aZrM

19) Erick ARC Elliott - "Plane" [from Noir]
http://www.youtube.com/watch?v=ZFldVS_gN4E

20) Snake! Snake! Snakes! - "City At Night" [from Snake Snake Snakes EP]
http://www.youtube.com/watch?v=ex_V8_kSB3c

21) Oh Land - "White Nights" [from Oh Land]
http://www.vimeo.com/12935868

22) Mt. Desolation "Departure" [from Mt. Desolation]
http://www.youtube.com/watch?v=m3arzVatUDw

23) Nada Surf "Love and Anger"(Kate Bush Cover) [from If I Had Hi Fi]
http://www.youtube.com/watch?v=E7UZXiigiH4

24) Motion City Soundtrack - "Her Words Destroyed My Planet" [from My Dinosaur Life]
http://www.youtube.com/watch?v=RC_HwM5nSYU

25) New Politics "Yeah Yeah Yeah"
http://vimeo.com/14257058

26) Skybox "Trout" [from Morning After Cuts]
http://www.youtube.com/watch?v=InsytZRLGFQ
and
"In a Dream" [from Morning After Cuts]
http://www.youtube.com/watch?v=dSqY_En0daY

27) Rogue Wave - "Solitary Gun" [from Permalight]
http://www.youtube.com/watch?v=HYdiUeeSGUU

28) Josh Ritter "Change of Time" [from So Runs the World Away]
http://www.youtube.com/watch?v=xjpo0ySgpdE&feature=related

29) Weezer f/Sara Bareilles - "If You're Wonder if I Want You To" [from Weezer Raditude (Special for Record Store Day 2010)]
http://www.youtube.com/watch?v=dqNvkNhyY0E

30) Young Man - "Five" [from Boy]
http://www.youtube.com/watch?v=u5T_8gxOtkM

31) Two Door Cinema Club - "Do You Want it All?" [from Tourist History]
http://www.youtube.com/watch?v=4ta-kwVFyKE

32) Vampire Weekend - "White Sky" [from Contra]
http://www.youtube.com/watch?v=bQOd-9VQIUA

33) Dinosaur Feathers - "Teenage Whore" [from Fantasy Memorial]
http://www.youtube.com/watch?v=7gaNVVq_oM4

34) Kings of Leon- "The End" [from Come Around Sundown]
http://www.youtube.com/watch?v=Gqtif_AFBvc

35) Arcade Fire - "Empty Room" [from The Suburbs]
http://www.youtube.com/watch?v=RdYyYFymH-Y

36) Jukebox the Ghost - "Empire" [from Everything Under the Sun]
http://www.youtube.com/watch?v=WDZVkI8o - Seven Watt Media

Link to the magazine containing the write up on Tobie Milford's song "Old Friend" off of his debut EP ALYOSHA that was named the EP of 2010 by Yab Yum Music and Art Magazine.

- Java Magazine

Best EP:
Tobie Milford's Alyosha

Beautiful in all regards, Alyosha is one of the best collections of songs to come out of the state. - YabYum Music and Arts, Vol III Issue 1

About a minute or two into Tobie Milford’s affected and affecting debut EP, ALYOSHA, you might get the sense that something’s not quite right.
What is it? You close your eyes while listening, imagining him playing in a large concert hall. His voice, resembling some kind of gypsy in mourning, echoes off the walls. Multiple string musicians pluck, play and prod their instruments, encircling Milford’s words like an ambush. The song stops. No applause. Is the room empty?

“The guy who recorded me wanted to make it sound like an old record,” Milford says, trying to explain the audible j’ne sais quoi. “I don’t know what he did, but I know that’s the way albums were recorded back in the day.”

Recorded live in a studio with nothing but the man and his violin, Milford uses effects pedals to give the listener the sense that he might be playing with multiple musicians.

From the outside looking in, the 25-year-old’s life is a lesson in duality. Classically trained since the age of 3, he has a penchant for minor chords and Baroque stylings while at the same time unraveling more contemporary, inner conflicts through his singing. Raised in the often-frigid climate of Detroit, he now lives in Phoenix. A devout Christian, he also majored in biology while attending Arizona State University. Even his solo music runs perpendicular to his work in his other band, The Whisperlights, who have more of a raucous, psych-pop sound.

Milford doesn’t exactly worry about being pigeonholed into that group of openly religious indie acts like Sufjan Stevens and Pedro the Lion. He hopes that, like those musicians, his material is strong enough that any religious imagery is offset by the strength of the music. After all, you’re not going to fault Stravinsky’s 1929 masterpiece Symphony of Psalms just because he wrote it drunk on Jesus juice.

Tobie Milfordviolin“Man, I’d love to be pigeonholed,” Milford says.

“Sufjan is a role model of mine, and he’s openly faithful. But the stories he’s telling have these narrative layers that I think anyone could love. I wasn’t explicitly making songs about reason versus faith. If there’s any tensions in the album, I think it’s more about hope in the face of death than faith versus reason.”

In fact, much of the inspiration comes not from Deuteronomy, but from Dostoevsky. Milford cites Alyosha, the protagonist from Dostoevsky’s epic novel The Brothers Karamazov, as his muse when he was writing the songs that ended up on the EP. He sees a lot of himself in the character, a spiritual man who gets caught up in the trivialities and temptations of life, a man whose intentions are pure but who doesn’t often have the wherewithal to execute them.

“That main character just really won my heart over,” Milford says. “He is a person of faith, but he’s in the real world. People are drawn to him. They think he’s crazy, but they still love him because they can tell that he has that something.”

It’s easy to hear that “something” on tracks like “Old Friend,” in which Milford recounts a tale of a friend letting him down, only to realize later that he’s just as much to blame. Or take the song “Death!,” which, despite its name, is more about finding hope in the face of hopelessness. The song took on new weight when Milford’s mother died just before he went into the studio to record the tracks for the EP.

“When you’re feeling lost, the world just feels dead,” says Milford, who dedicated the album to his mother. “There’s literal death and there’s spiritual and emotional death, but being able to grab onto something real and full of life in the midst of all that is really important.”

Milford sees future projects reflecting this more hopeful tone. While he wants to keep the ambient approach, he’s currently playing with percussionist Henri Benard in his live shows and wants to add even more players for his soon-to-be-recorded debut full-length.

“I love doing arrangements, and I’m learning composition,” he says. “I’d love for it to still have that minimalist appeal, but I want to do something that I can really pour my heart into.”

Tobie Milford plays with Conscious Summary and Brent Nettles & The Texas Tea Party at Soda Bar on Monday, Nov. 29. www.tobiemilford.com



- San Diego City Beat

The Southwest Arts Conference (SWAC) is a unique opportunity for Arizona artists, arts educators, administrators, policymakers and speakers to come together to explore the knowledge and experiences of one another. In addition to myriad presentations and discussions, there are several performances taking place at the venues hosting SWAC.
The first of SWAC’s performances takes place at the San Marcos Resort on July 29th at 530pm. Woodwind Artist Dan Pinson has performed for thousands in jazz clubs, festivals and schools throughout the United States, Europe and Mexico. Pinson has appeared with or opened for Stevie Wonder, BB King, Kenny Loggins, Jay Leno, The Temptations, Jeffrey Osborne and Latin music star, Selena. He has concertized with the Arizona State University Orchestra and the Scottsdale Symphony Orchestra and appeared on television and radio, including Public Radio International’s, “Whad’Ya Know? with Michael Feldman.” As a Teaching Artist with the Arizona Commission on the Arts, Pinson’s programs have reached over 25,000 elementary, secondary and college-level students throughout Arizona and Mexico since 1992.

On Friday, July 30th, why not start the day with a performance by Tobie Milford at the Chandler Center for the Arts? Milford’s music has been described as an “ethereal symphony of sound.” It is the result of a marriage between ambient, minimalist string textures, sophisticated plucking patterns and dynamic vocals. Milford performs extensively in the Phoenix area, playing everywhere from art galleries to music festivals – both solo and with his band, the Whisperlights. Recent performance highlights include opening for Joe Firstman at Los Angeles’ prestigious Hotel Café and also for ambient indie folk pioneers Sleep Whale, as well as performing at Arcosanti’s EarthDance festival. Milford has contributed to the latest recordings of many Phoenix acts including, What Laura Says Thinks and Feels, Andrew Jackson Jihad and Michelle Blades.

The final performance of the Southwest Arts Conference is being given by Tania Katan at the Chandler Center for the Arts on Friday, July 30th. Tania Katan is the author of My One-Night Stand With Cancer, which was awarded the Judy Grahn Nonfiction Award, the American Library Association’s Stonewall Book Award and was finalist for the Lambda Literary Award. Melissa Etheridge said of Katan’s memoir, “This book rocks! It’s passionate, playful, and downright beautiful.” As a solo performer, Katan has been seen at the Edinburgh Fringe Festival, ACT Seattle, The Painted Bride and Comedy Central’s Sit-n-Spin. Her work has been written about in The New York Times, Bust, Running Times, DIVA, GCN Ireland, The Scotsman and other publications. She is a guest lecturer, topless marathon runner and a good time at a cocktail party.
The opportunities presented at this year’s Southwest Arts Conference are an invaluable resource for anyone with an interest in the future of the Arts in Arizona. The performances play an integral part of realizing the transformative and inspirational potential of the arts.
See you there!
Patrick Fanning
Arizona Commission on the Arts Program Intern
- Arizona Commission on the Arts

College News is now offering a regular music contest powered by Sonicbids.com. The rules are simple: The artists submit their music and we choose three winners to be featured in our magazine and website.

In addition to acknowledging the winners, we’d like to feature all the runners-up who submitted their material. A huge thanks goes out from all of us here at College News Magazine and Collegenews.com, and we encourage you to submit your musical material in our next contest.

Here’s a list of all the runners-up (in no particular order):

Bardo
The Nightmare River Band
Brock Gleeson Band
Todd Morgan & the Emblems
Reckless Place
Ivan Ives
Sixty
Kendra Granville
Sarah Chesler
Tobie Milford
Xavier Toscano
Sinem Saniye
Big Dog 4000000
Lisha Cash
Neon Highwire
Kingstaf
Anti_Theory
Day Dreamer’s Prodigy
Adam 8*1*2
Russ Aimz
Core Zero
Nadia Kay
Mad June
Dario Benitez
Auresia
XDao
KB the Boo Bonic
David Altenor
Free
Twenty7
Pure Dead Brilliant
Mad Planet
Sweet Venom
Chaos Control
Tristan Silverman
Mr. Hunter
Harley Newman
Tommy Hinkley
The Gallery
Young and B.O.S.S
RISE OF SPEEDMAN
Nate Evans
HeveWae’ The Underground Beast
GFG
Reverse Order
Spiro Agnew
Jes Falcon
The Aviation Orange
Phenice Arielle
The Jim Ivens Band
The Life Ballet
deVries
MyLoveInRed
One for Jude
The Northern Skies
Dale Turner
4th Ward Afro Klezmer Orchestra
Argotec
Blonde Summer
Fat Opie
Jake and the Leprechauns
Fifth Way
Red Baron
ADERO
Eye’z
Ariel Aparicio and the Hired Guns
Young Mammals

And finally, the winners are:

J Peter Boles
Myla Smith
Kete Bowers

These winners will be featured in our magazine and in another website article coming soon! Thanks again to all the contestants and good luck with all of your future endeavors. Check out our Sonicbids contest listing if you’re interested in submitting your music in the next cycle.


10/06/10


- CollegeNews.com

The music of Tobie Milford is like dreaming underwater, wondrous and suffocating. Perhaps it should be attached to a warning label: “This music may cause Stendhal Syndrome.” Stendhal Syndrome (as described by Wikipedia) “is a psychosomatic illness that causes rapid heartbeat, dizziness, confusion and even hallucinations when an individual is exposed to art, usually when the art is particularly beautiful”. With a violin and some looping devices, the singer-songwriter creates an ethereal symphony of sound. His voice, reminiscent of Jeff Buckley, only contributes to the music’s otherworldliness.



Tobie alternately drives pandemonium from his violin with a bow then forges melodic currents by plucking the strings. The addition of lyrics and layers of instrumentals completes the sound to create a transcendent noise.



The au fait musician began playing the violin at the age of three. Fifteen years later he laid aside the instrument and opted for a guitar. It was then he introduced the practice of looping in his music. However, it wasn’t until Milford combined his first instrument with this innovative style of performing that he struck on a sound so unique and beautiful as to bring crowds a sense of awe no matter how seedy the bar he might be playing in. Perhaps the juxtaposition of Tobie’s sublime sound in the often disconsolate crowds of bar hoppers is what manifests the music’s strangeness, its seraphic nature.



Not surprisingly the Valley is taking notice. In addition to performing alone, Tobie joins forces a multitude of local musicians including Michelle Blades and the Black River Bandit. He also is a member of the band Whisperlights.



Tobie Milford has yet to release his first solo EP but a pre-EP EP has been floating around and tracks can be heard on his MySpace page. Milford is planning on recording the tracks in a more professional manner with the folks of Surface to Air Studios, a recent addition to the state. Tobie has opted to play each track on the recording as he would live, with looping pedals and single takes, rather than dividing up the pieces and laying separate tracks to be later combined in the studio. He admits that by recording in this fashion he is “going to make mistakes.” But this style choice speaks of something higher often lost on musicians in the modern industry: authenticity. And, at least for me, nothing is more important.



Tobie Milford is an exceptional musician. Take the time to see him perform live for the betterment of your soul.


Comments...



10.30.09

Thank you for taking notice of this fine musician! He is a truly talented human being, creating a completely new indie folk vibe . . . thank you Tobie!




Leave a comment here...


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- Carly Schorman

Excerpt from "By The Time I Get To Phoenix" by Steve Jansen -

There's also the 25-year-old Tobie Milford, whose Alyosha recently came out on Surface to Air Recording. The local indie label documents music in a $150,000 facility, complete with 20-foot vaulted ceilings and oak floors, near McClintock Drive and Rio Salado Parkway in Tempe.


Blades and Andrews have seen national and international success while living in Phoenix.

Brent Cowles moved to Arizona from Colorado for the local pop-folk scene.
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To the label's Cary Miller — who learned his audio skills from Shelly Yakus, the renowned audio mixer who engineered John Lennon's "Imagine" — Milford sounds as though he were plucked straight out of folk music's heyday.

"Musically, he could be a new Jeff Buckley," says the 29-year-old Miller. "Artistically, he can be the next Bob Dylan. I'm really impressed by [Tobie], and I'm not impressed by much."

http://www.phoenixnewtimes.com/2010-04-08/news/by-the-time-i-get-to-phoenix-courtney-marie-andrews-is-the-biggest-star-in-the-valley-s-blooming-pop-folk-scene/3 - Phoenix New Times.Com

Sonicbids Spotlight: Tobie Milford
May 14, 2010
Story by: Kate Gavino

Tobie Milford has made a name for himself with his frenzied violin playing and raw, melodic voice. With those two elements as the backbone for his music, he crafts sonorous and frantic one-man symphonies that have enraptured his hometown of Phoenix. Now he's taking his act on the road, introducing the world to his Beirut-meets-Andrew Bird style of folk. "I would describe my sound as a marriage of ambient, minimalist string textures and plucking patterns, which are balanced out by dynamic vocals," Milford tells CMJ. "Call it indie folk with a minimalist classical bent. It came about when I started playing around with loop pedals using my violin, which I had previously played for 15 years, classically."

Milford's eclectic set of influences, which range from Radiohead and Phillip Glass to Sufjan Stevens and Godspeed You! Black Emperor, are palpable in his music, and his live shows have been steadily gaining him more attention, as his one-man show is a stark deviation from the standard band lineup. "My live sound is, more or less, what you hear when you listen to my recordings, except my vocals are much more up front at shows," he says. "There's also a small amount of improvisation at my shows, in terms of vocal delivery and how the loops are built up, although overall song structures remain intact. Long-term fans seem to enjoy the different variations quite a bit and the variety keeps me on my toes as well." Milford is currently on tour on the West Coast, and his debut album, Alyosha, is available on iTunes.

www.tobiemilford.com



- CMJ.com

Tobie Milford
photo by Joel Ekdahl


by Carly Schorman
looping devices, the singer-songwriter creates an ethereal symphony of sound. His voice, reminiscent of Jeff Buckley, only contributes to the music’s otherworldliness.



Tobie alternately drives pandemonium from his violin with a bow then forges melodic currents by plucking the strings. The addition of lyrics and layers of instrumentals completes the sound to create a transcendent noise.



The au fait musician began playing the violin at the age of three. Fifteen years later he laid aside the instrument and opted for a guitar. It was then he introduced the practice of looping in his music. However, it wasn’t until Milford combined his first instrument with this innovative style of performing that he struck on a sound so unique and beautiful as to bring crowds a sense of awe no matter how seedy the bar he might be playing in. Perhaps the juxtaposition of Tobie’s sublime sound in the often disconsolate crowds of bar hoppers is what manifests the music’s strangeness, its seraphic nature.



Not surprisingly the Valley is taking notice. In addition to performing alone, Tobie joins forces a multitude of local musicians including Michelle Blades and the Black River Bandit. He also is a member of the band Whisperlights.



Tobie Milford has yet to release his first solo EP but a pre-EP EP has been floating around and tracks can be heard on his MySpace page. Milford is planning on recording the tracks in a more professional manner with the folks of Surface to Air Studios, a recent addition to the state. Tobie has opted to play each track on the recording as he would live, with looping pedals and single takes, rather than dividing up the pieces and laying separate tracks to be later combined in the studio. He admits that by recording in this fashion he is “going to make mistakes.” But this style choice speaks of something higher often lost on musicians in the modern industry: authenticity. And, at least for me, nothing is more important.



Tobie Milford is an exceptional musician. Take the time to see him perform live for the betterment of your soul.


Comments...



10.30.09

Thank you for taking notice of this fine musician! He is a truly talented human being, creating a completely new indie folk vibe . . . thank you Tobie!







photo by Mark Anderson
2009 Editor's Choice Award (Carly Schorman):

To see/hear Tobie Milford perform live is a multidimensional experience of sound and awe. Looking around at the crowd of recent performances it becomes vividly apparent that this effect pervades the audience and there’s no reason to be embarrassed because at certain moments everyone forgets to breathe. If you have yet to catch him live, do so quickly. Who knows when the rest of the world will start making demands on our growing local legend. - YabYum Music

It's brave to say that someone is a genius, braver still to proclaim the person is a musical genius. Truth is, Tobie Milford is a musical genius. It may seem an odd description for a 25 year old who just got his master's degree in Biology at ASU, but Milford's ALYOSHA, is a seven song EP that clocks in at just over 30 minutes, will blow your mind and your soul away. Simply ssaid, no one has produced music like this ever, not in Phoenix, not anywhere. ALYOSHA is something completely original and brilliant.

Tobie Milford hasn't come out of nowhere; he's been around the Phoenix music scene for a while. On stage he has played with the Black River Bandit, Michelle Blades, and The Whisperlights; on record, Milford has contributed to the works of What Laura Says, Cardiac Party, Porches, Andrew Jackson Jihad, and most recently Peachcake on a protest song against the Arizona immigration law. ALYOSHA, in case you missed the reference, is named after the main character of Dostoyevsky's final novel, The Brothers Karamazov. A novel that is as concerned with faith, doubt and reason as this album seems to be - a novel tat is as singularly unique as this album presents itself. First and foremost, ALYOSHA was recorded by Cary Miller completely live in studio. "It's all live," Milford says. "We did dozens of takes on each one, trying to get the right feel. Cary is really great at getting more out of you - that's an art right there. His friend Pancho helped out, and it's the first release on their label Surface to Air."

"It's the best record that is going to come out of Arizona this year," Cary Miller says without hesitation. "It has a healing property to it. He's the most talented musician I have ever met, and the record is the greatest thing I have done."

From the very start of this album, "Old Friend" haunts the listener with a sense of melancholy in the D mindor drone that begins it, but soon the violin starts and Milford's voice comes in and it is like watching the sun rise. The layers and textures found in the music are stirring, heartfelt and mesmerizing. It literally draws you into a world different from your own.

"It's about the feeling of investing hope in a friend and being let down," Milford says. "By the end of the song I realize that I am no better. When I do hang out, sometimes I have nothing to offer. The irony is that the person the song is about has become a really great friend in the last couple years since I wrote it."

"Burial at Sea" follows in it's wake. A brief violent instrumental just over a minute long, it serves as a minimalist prelude to the next song, and though it is so short, it's statement is somehow great, with the looping of sound. "A friend of mine said it conjured up imagery from the book of Ezekiel," Milford comments. "So I may do an extended version with that in mind." It does, however, serve as an amazing preface to "Death!" which may well be the most upbeat song with a title like that. Again, the textures return and Milford's vocals serve more as an instrument than a voice, as it works with the loops and the violin, becoming one woven tapestry - one wall of aural mysticism in the listener's ear.

Milford's music creates a sense of weightlessness, as though you are floating in his space somehow. His vocal delivery alone transcends what most performers are even capable of giving. Adding that to the magic of his violin, it becomes very nearly a religious experience. "It's about hope in the face of death. It's inspired from the imagery in the movie The Fountain," Milford says. "The Whisperlights do a very fun, much more epic version of it that is on the www.TobieMilford.com website. The album version is on Myspace."

The themes of abandonment and lonliness continue in "Firefighter Part 1" but, despite the despair, it seems there is always hope in Milford's message - there is always a silver lining in the deepest dark of life and the places we find ourselves. A fire creeping into the backyard, surrounding his house, becomes the metaphor for those empty feelings. "It is in the hopes that a friend will be around, but when the tough time comes . . . there is lonliness," Milford says. The lyrics speak worlds of how friends can let you dpwn: "Actually you said to me, I prolly should'a told you . . . I wasn't planning on staying, I already made plans tonight and I think I'll be leaving soon." Beautiful and heartbreaking at once.

"Disconnected Heart and Voicebox" is the most overtly spiritual tune on the album lyrically. Musically, the entire EP is a transcendent spiritual experience. "The first half is ultimately about believing in something transcendent, while accepting things the way they are and building a life around that," Milford explains. "Being an artist and musician in the context of struggling with faith." There is more to it than that, though. "The second half is about Jesus, having these doubts but with some level of character. You have these inte - Java Magazine Issue 181

photo by Mark Anderson

Editor's Choice Award

2009
November 2009
When I caught up with Tobie he was somewhere in rural Ohio. Where exactly remains unclear but the important factor is direction and his immediate destination lay in the Arizona desert. He was heading home or, at least, to the place he currently calls home
where he has a host of live performances planned for his various incarnations. Additionally, his EP, already available electronically through iTunes, will soon find its own way to record store shelves following its own rigorous journey. The Alyosha EP, named for the quietly sublime yet mortally-invested brother of Karamazov fame, is aptly titled given the character’s struggle to maintain his softness amid the unfolding horrors of the world.



Tobie’s music holds to this same dichotomy: the horror and grace of humanity. But here I contend the two do not exist in binary relation to one another. Rather they exist co-dependently. It is the maintenance of our humanity in suffering that gives us our grace. The sound can be ominous while remaining inviting, optimistic while approaching despair. The song "Death!" on Alyosha opens with the noise of a violin viciously succumbing to a fast-moving bow. This noise, aggressive and elevating, does not yield to the playful plucking pattern added a few seconds later. Instead, the two layers interact. The result is not a tepid mixture like combining hot and cold water but an authentic expression of both simultaneously.



Alyosha was leaked by local listeners to early mixed reviews. I must admit myself to some initial hesitation when I first hit play on Alyosha. The live, one-take approach to recording is certainly an admirable venture, particularly when an established recording artist strips down the shiny, fancy studio style to a raw abilities performance. With Tobie, however, his loyal fan base has been built upon his unique live shows constructed using only his voice, violin, and a few looping pedals to create the dramatic symphonic quality his music manifests. I confess to being part of this fan base, and along with them I continually want more, newer, different things. We ask too much of those we elevate through admiration. Then we immediately begin to resent them when they give in to our demands.



One man who seems to understand this is strange relationship is Cary Miller of Surface to Air Studios. Responsible for the production of Alyosha and Tobie’s guide through the transition from hobbyist to professional, Cary recognizes the value of Tobie’s musicianship particularly in an era when PC-centered recording has made everyone feel capable of making an album. Tobie’s unique talent and deeply-felt delivery should be the highlight of his introductory recording. Too many young artists are pushed to alter their natural course of development by labels. It’s good to know Cary has learned something of pacing from his own experience in the industry.



A poetry professor once explained that the worst mistake his students made was rushing to publish their work. Overly-eager to find acceptance amid the larger artistic community, they try to overstep their own development and deny the needed transitional phases that move us between points in our lives.



Already Tobie’s life has reached a divergent place where both he and his music will contend with the winds of change. The recent loss of his mother, to whom Alyosha is dedicated, has added new dimension to his collections of songs that address intersections of loss, change, and hope. Even in grief we continue to learn and develop.



I can’t wait for Tobie’s first LP. Not only to hear what Tobie can do without the constraints of a live exhibition but to determine if Cary’s abilities as a producer match those as a mentor. If both continue along this wisely chosen, or conveniently selected, path we can expect more spectacular recordings to come. In the meantime, I’ll wait patiently and enjoy Alyosha, proud to be one of the privileged, early listeners who will later be able to say, “Oh, well, I liked him back in the Alyosha days.”


http://www.yabyummusic.com/bands/tobie-milford.html - Yab Yum Music

The Underground Music Showcase Celebrates Its 10th Anniversary by Including More than 300 Local and National Artists in its Lineup
The 10th Annual Underground Music Showcase takes place in Denver July 22nd thru July 25th
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Over 300 artists including: The Beaten Sea, Paper Bird, Lilly Scott, Daces With White Girls, Delta Mirror, and many more!

This really is Denver’s best summer event... Heather Browne, editor of the popular music blog, I Am Fuel, You Are Friends, calls it “the South By Southwest of Denver”, and for good reason. Denver, CO (PRWEB) April 16, 2010

The Underground Music Showcase – now known simply as The UMS – is excited to welcome over 300 local and national bands, singer-songwriters, and comedians to 30 of the best local venues when The UMS takes over 10 blocks of Denver’s South Broadway from July 22nd thru July 25th. The UMS, which has grown to be the largest indie music festival in the Western United States in just 10 short years, started as a one day event featuring five local bands. Now “the little fest that could”, as it is referred by Denver Post Pop Music Critic Ricardo Baca, focuses on both national and local independent artists in its tenth year.

Last year’s event left a mark on the music community in Denver, including Tiffiny Holiday of AmericanIndie.net (now What The Ruckus) when she reviewed the festival she said, “this really is Denver’s best summer event, and I can’t say that there was a time when there wasn’t a show going on that I didn’t want to see…I will be clearing my schedule for next year’s showcase”. Heather Browne, editor of the popular music blog, I Am Fuel, You Are Friends, calls it “the South By Southwest of Denver”, and for good reason. Artists featured at the festival over the past few years have gone on to become quite notable stars, such as Matt Morris who performed at last year’s event leading up to his album release, landing him a number one spot on iTunes.

The four day event will feature food, beverage and retail vendors on-site, offering product samplings, giveaways and other promotions all weekend long. A four-day wristband will only cost you $25, if you buy now – prices increase as the festival nears – and VIP Badges, offering access to three late night parties with hosted food and bar, ability to skip lines at the venues, and other VIP amenities (such as free parking), run you only $60 through June 30th. Tickets and badges are available for purchase at www.theums.com.

This year’s lineup includes the best independent local bands and artists, as well as talent from all over the country. For the complete list of artists, visit the Artist page at the www.theums.com.

Confirmed Denver artists include:
Paper Bird (Denver); Lilly Scott (Denver) of this season’s “American Idol”; Snake Rattle Rattle Snake (Denver); Munly and the Lupercalians (Denver); Houses (Denver); Bad Weather California (Denver); TaunTaun (Denver); The Knew (Denver); Young Coyotes (Denver); Achille Lauro (Denver); Git Some (Denver); Epilogues (Denver); The Hollyfelds (Denver); Ian Cooke (Denver); Natural Selection (Denver); Kingdom of Magic (Denver); Air Dubai (Denver); Andrea Ball (Denver); Dust on the Breakers (Denver); Gangcharger (Denver); Glass Hits (Denver); Hello Kavita (Denver); The Pirate Signal (Denver); The Swayback (Denver); Danielle Ate the Sandwich (Denver); Lion Sized (Denver); Widowers (Denver); The Jim Jims (Denver); Jim McTurnan and the Kids That Killed the Man (Denver); Churchill (Denver); Astrophagus (Denver); D.Biddle (Denver); Hot White (Denver); Joe Sampson (Denver); Mehko and Ocean Birds (Denver); Murder Ranks (Denver); Overcasters (Denver); Pawn Ticket Trio (Denver); Porlolo (Denver); Rob Drabkin (Denver); The Still City (Denver); Ukulele Loki (Denver); Wentworth Kersey (Denver); Wire Faces (Fort Collins); Dovekins (Denver); Fire Drills (Denver); John Common & Blinding Flashes of Light (Denver); Hideous Men (Denver); Accordion Crimes (Denver); Speakeasy Tiger (Denver); Wire Faces (Fort Collins); Overcasters (Denver); Porlolo (Denver); A Mouthful of Thunder (Denver) Feat. Members of Hearts of Palm; A. Tom Collins (Denver); Bad Luck City (Denver); Brothers O'Hair (Denver); Cannons (Denver); Casey James Prestwood and The Burning Angels (Denver); Paean (Fort Collins); Nightshark (Denver); Molly Cherington (Boulder); Cougar Legs (Denver); Fierce Bad Rabbit (Fort Collins)

Confirmed National Artists Include:
The Beaten Sea (Dallas, Texas); The Delta Mirror (Los Angeles, California); Dances With White Girls (Brooklyn, New York); Rumanian Buck (Brooklyn, New York) featuring Giraffes lead singer Aaron Lazar; The Bloodsugars (Brooklyn, New York); Tea Cozies (Seattle, Washington); Follow That Bird! (Austin, Texas); KaiserCartel (Brooklyn, New York); The Black Atlantic (Groningen, Netherlands); Romantica (Minneapolis, Minnesota); Finn Riggins (Boise, Idaho); Smug Brothers (Dayton, Ohio) featuring Guided by Voices/Swea - PR Web

Tobie Milford - "Fear of Music"
For many years, I have considered Tobie Milford to be one of the most talented musicians in Phoenix. This is not only when he has played with Whisperlights and There Is Danger, but especially when he pursues his solo work. It's been five years since he released his solo debut, the masterpiece Aloysha, and now he has readied a new album at long last, this time joined by the Downtown Chamber Series. "Fear of Music" is the opening track from Listen to the Trees Grow, and it's one of his finest moments on an album filled with grandeur. This one gets me every time. It's about facing fear and realizing the joy in artistic creation, the ecstasy of immersing oneself in musical expression. While Milford is best known as a violinist, here he has switched to keys while maintaining the helm for his fascinating vocal gymnastics. He leaves the rich tapestry of strings to the amazingly capable hands of Leslie Frey Anderegg (violin), Megyn Neff (violin), Mark Dix (viola), and Peter Anderegg (cello), and the percussion to Mark Michaud. The dazzling results of this collaboration are clear in this song, while his sense of composition has expanded beyond what half-decade would suggest. My favorite part is the monologue he delivers in the middle, which asks "the problem is, nothing feels better than this and what if there's something to it?" Milford will release Listen to the Trees Grow this weekend with shows this Saturday and Sunday at Legend City Studios. - Phoenix New Times

Tobie Milford is playing an imaginary piano in his living room.

Piercing blue eyes slightly narrowed in concentration, he nods to the beat of the music coming from the incorporeal keyboard, of the strings players surrounding him and of his own clear-toned tenor.

Milford and his band members are doing a last-minute run-through of one of their trickiest songs, “Geppetto.” Despite the fact that it’s already past 8 p.m.—Milford’s opener has begun playing—he is remarkably passive as he helps cellist Wei Guo nail down a demonically difficult rhythm.

“The composer was an asshole,” jokes viola player Kirk Johnson. He’s referring to Milford, who writes all his own arrangements.

“This is why I can’t keep a cellist,” Milford says.

It’s true—there’s a quick turnaround for cellists—but that hasn’t stopped Milford from becoming an important player in the downtown music scene. Nor has it stopped him from releasing his latest album, a years-long effort that is his studio debut, or from playing a show at Crescent Ballroom Friday night (not his first; Milford says he has played at Crescent too many times to remember) with Dry River Yacht Club, There is Danger and Underground Cities.

Milford’s music is hard to describe. Even he can’t do it.

“It’s not folk music, it’s not pop, it’s not classical, it’s not rock,” he said. “I think the label chamber-pop gets thrown around… ‘indie-chamber-pop.’”

Milford first garnered local recognition by developing a specialized skill: “looping” violin, a process whereby small sections of music can be recorded and repeated (in Milford’s case, during a live performance) to provide a backing for the musician. Milford used a foot pedal to layer musical sequences in his earlier performances.

He started out performing at First Fridays, where he was met with growing support from the local community. But he started playing violin much earlier. He first picked up a violin—or something like it—around the age of 3.

“I’m not even sure if it was a real violin, it might have been a cardboard box,” he said. “Apparently I saw the string quartet at my grandparents’ holiday party and I was mesmerized.”

In 2010, Milford released his first album, “Alyosha,” which was a compilation of live recordings. Since then, much has happened in Milford’s life. He got married, for one, to Lara Milford, whom he met while playing at an art walk in Scottsdale. Between 2008 and 2013, Milford was part of The Whisperlights, a well-loved Valley band which Tobie said he thought had “more than one farewell show.”

He’s also now a middle school science teacher at Great Hearts Academies in Phoenix. It’s a way for him to let music be a pastime rather than a full-time job (“I think that frees it from definitely a certain level of angst,” he said), incorporating his pre-med education and his love for children, which he discovered when he started teaching violin. It also gives him some songwriting material.

“If you’re a teacher you’re embedded in the lives of a lot of people, and that definitely keeps your eyes open,” Milford said.

RELATED: Schoolteacher who sings and plays violin to record album with new band, new sound

When he wasn’t teaching, playing video games–he calls himself a “closet” gamer–renovating his 100-year-old new house, or spending time with Lara, Milford was making music.

His latest album, “Listen to the Trees Grow,” which was released in November, is a departure from his earlier style. Instead of using looping, Milford employed local strings players to accompany him.

“There’s a lot more freedom on every level,” he said. “When your composition is based on looping, you’re very limited on what your song can do.”

Lyrically, Milford said the new album shows more about who he is as a person. One song he said particularly resonates is the last track, “Father and Son.” Milford said it takes all of the melodies from the other songs on the album and ties them together.

“It’s about the relationship between the artist and whatever he or she is working on,” he said. “It’s about how I believe God sees us, as far as creatures that are being made more human, more alive.”

Milford is deeply spiritual. He says it would be impossible to completely separate his Christian faith from his music, but he doesn’t seek to preach or be imposing.

“It’s part of my story,” he said. “I would have to consciously filter that out if I thought about it…If it’s something that’s natural, that’s just going to be in my lyrics and in the content of my songs.”

The lyrics of “Father and Son” illustrate Milford’s understated approach to spirituality in his music:

“Sculptor and Father / you’ve seared yourself in my bones / My heart is lame and mind is plain /Only you can bring a life to life a stone.”

Contact the reporter at Faith.Anne.Miller@asu.edu. - Downtown Devil