Imagine if the teenagers in Footloose would have been fighting for their right to party whilst blasting a shit-ton of glam and bliss-metal. David Vandervelde would have ruled prom and then thrown the most righteous kegger ever. DV is on an absolute tear right now, churning out these rollicking nuggets of summers future. And what are we to do but serve as the slingshots for to launch them through the windows of Old Man Winter's house. We're taking our sun back. Let's party.
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Just as there are albums that artists were born to make, there are albums that labels were born to release. Waiting For The Sunrise is one of those albums for both David Vandervelde and Secretly Canadian. Upon first laying the needle down, the listener is greeted by a warm wash of sounds that seems to breeze in from decades back. Vandervelde's singular voice emerges from the drums and keys with "When the morning comes, I will be fine, I will be fine, I will be fine" and you're pretty damn sure he will be. The tones may be familiar, but his voice as an artist is his own, new and wholly contemporary, and you feel lucky to be here to watch the emergence. Critics marveled at Vandervelde's songwriting on his debut Moonstation House Band, the mini-album which had the aesthetic wherewithal to hold its own side-for-side with the classics as a late night jam record. Spin magazine remarked that "at a pipsqueakish 22 years old, David Vandervelde is already generating the kind of indie-net whispering that musicians twice his age pine for." And on songs such as "California Breezes", "Someone Like You" and "Lyin' In Bed", it's clear that the material on this first long-player from Vandervelde is of a higher order — lyrically more personal and stripped down. Waiting For The Sunrise is the beautiful result of having extended himself both musically and emotionally.
David Vandervelde's debut full-length The Moonstation House Band (released on January 23, 2007) has been praised by critics, hailed as a stunning debut and a "glamorous, ambitious studio work" (CMJ). Mojo rejoiced in "the arrival of an eccentric talent whose head is firmly inclined toward the past" while NME claimed his work recalls "the best of T. Rex, ELO or early Bee Gees." Now, only six months after introducing David Vandervelde to the world with his debut 45 "Jacket", Secretly Canadian is presenting the album's lead-off track "Nothin’ No" as the second single from The Moonstation House Band. A paean to young lust and getting high, "Nothin’ No" is a modern rock classic that recalls the spirit of glam rock's most earnest & timeless teen anthems. Written & recorded almost three years ago when Vandervelde was 19 years old, it was put to tape in just one night at Jay Bennett's Pieholden Studio in Chicago. Vandervelde played all the instruments in an inspired frenzy that belied his age, displaying the maturity and swagger of a man much longer in the tooth.
Also included on this extended CD single are an alternate version of "Feet of a Liar" (recorded for Vandervelde's Daytrotter session at the end of 2006), a visceral new song called "Cute Pretender" and a beautiful Jimmy Page-esque instrumental called "Dancing Sea Gulls Instrumental".
David Vandervelde appeared before us one hot summer day like a dynamo. The sound we heard coming through in stereo was that of our coming-of-age years screaming back at us - a faithful reminder that our beauteous days of bowing before pin-up rock stars and carving iconographic logos on desktops and in famous treetrunks have not passed us by. No, David Vandervelde is here to remind us that the truest, most primal and addictive properties of rock n' roll are ageless. Indeed, this Chicagoan (by way of the dunes of West Michigan) started recording this debut full-length at age 19 yet he shows the maturity and swagger of a man much longer in the tooth. Bearing an immediate resemblance to Marc Bolan and David Bowie, deeper listening rewards the listener with a much broader musical universe.
The Moonstation House Band album captures the highlights from his two-year immersion in Jay Bennett's Clubhouse - as Vandervelde refers to the studio in Chicago - where he isolated himself to record this record virtually on his own, using the former Wilco multi-instrumentalist's studio as a big toy instrument, enjoying access to much of the same gear as used on Yankee Hotel Foxtrot and Being There. Self-taught on guitar, drums, bass, piano, synth, and other studio tools, the listener can hear that Vandervelde is an adventurous artist, who embraces classic rock songwriting and whose spirit is just banging at the door to get unleashed.
David Vandervelde appeared before us one hot summer day like a dynamo. The sound we heard coming through in stereo was that of our coming-of-age years screaming back at us - a faithful reminder that our beauteous days of bowing before pin-up rock stars and carving iconographic logos on desktops and in famous treetrunks have not passed us by. No, David Vandervelde is here to remind us that the truest, most primal and addictive properties of rock n' roll are ageless. Indeed, this Chicagoan (by way of the dunes of West Michigan) recorded the A-side to his debut single a few years ago at age 19, yet he shows the maturity and swagger of a man much longer in the tooth. Bearing a resemblance to Marc Bolan and David Bowie on these two songs, we're eagerly anticipating his upcoming debut full-length, which will open the door into a much broader musical universe. Secretly Canadian is very proud to welcome David Vandervelde to the family.