In the future when I am asked about music and bands that defined my high school days, I am sure that Margot and the Nuclear So and So’s will make that list. I still remember where I was the first time I ever heard Broadripple is Burning (sitting at my desk, it was a Tuesday, and I was supposed to be doing my chemistry homework). I have distinct memories walking from BHS to Cumberland Farms on cold winter days during Saturday musical rehearsals for Titanic (it was 2017), headphones in, and A Light on a Hill soundtracking the trek through the snow.
So, when I noticed that Margot and the Nuclear So-and-So’s had released a new album on November 9th, I was stoked. The band has essentially dissolved at this point and has not had a release under the (shortened) name Margot Nuclear since 2014’s “Tell Me More About Evil”, but their frontman Richard Edwards has had several solo releases, which featured a few past band members.
I was even more stoked when I learned that the album release, “Vulgar in the Chapel”, was actually a collection of demo recordings to commemorate the ten-year anniversary of the releases of their 2008 albums, “Not Animal!” and “Animal”.
Some background on those: following a disagreement over what to feature on the album, two albums were subsequently released. “Not Animal!” is a collection of songs that their record label preferred, while “Animal” is a collection of songs that the band preferred, and they were released on the same day.
I’ve always been a big fan of hearing demos/more intimate performances such as NPR Tiny Desk, which features musicians playing stripped-down versions of their music, because they provide insight into the band that often can’t be reached by a cleanly polished record. And, given the uniqueness of Margot Nuclear’s sound, this collection of demos is made even more interesting.
The sound on this album is obviously quite stripped back. It trades the unique combination of harmonicas and accordions common on “Not Animal!” and “Animal” for Edwards and his acoustic guitar, nothing else.
Having done some demo recording myself, I can hear the beautiful roughness in the record – it’s not perfect, and it’s certainly not supposed to be. This album is composed of songs in their working phase. They are being polished for an album release, they are a work in progress.
The artistic process of the musician is quite apparent here, as when comparing “Vulgar in the Chapel” to the album version of these tracks, the small refinements made are evident. It’s beautiful to hear the songs performed as they were originally written, just a man and his guitar.
In the “Not Animal” version, As Tall As Cliffs features trumpets, accordions, a mandolin, a picked electric guitar, vocal harmonies, and some pounding drums. It moves quite differently from the “Vulgar in the Chapel” version. The “Vulgar in the Chapel” version is slightly slower, more laid back, and seemingly more emotional. It feels as though the song is being sung directly to you. There is the perfect amount of reverb added to the track that it echoes like it is being performed in a small space where the music can be experienced powerfully.
Even though As Tall As Cliffs on “Vulgar in the Chapel” is the same chord progression and lyrics as the version on “Not Animal!”, it feels completely fresh and new. This release brings out how I felt the first time I listened to all of these tracks, as the release itself is versions that I have not yet heard.
I highly recommend giving this album a deep listen, and of course checking out “Not Animal!” and “Animal”. They are endlessly fascinating and always entertaining.
My favorite tracks on “Vulgar in the Chapel” are As Tall As Cliffs, Holy Cow! and, of course, Broadripple is Burning. While you’re at it, check out A Light on a Hill and Flying Saucer Blues, on “The Dust of Retreat” and “Slingshot to Heaven”, respectively. And, if you’ve got a second, Jen is Bringing the Drugs on “The Dust of Retreat”. I’m really spiraling now. Just check this band out. They’re awesome. Nostalgia is a powerful thing.
By Andrew DeBenedictisIn the future when I am asked about music and bands that defined my high school days, I am sure that Margot and the Nuclear So and So’s will make that list. I still remember where I was the first time I ever heard Broadripple is Burning (sitting at my desk, it was a Tuesday, and I was supposed to be doing my chemistry homework). I have distinct memories walking from BHS to Cumberland Farms on cold winter days during Saturday musical rehearsals for Titanic (it was 2017), headphones in, and A Light on a Hill soundtracking the trek through the snow.
So, when I noticed that Margot and the Nuclear So-and-So’s had released a new album on November 9th, I was stoked. The band has essentially dissolved at this point and has not had a release under the (shortened) name Margot Nuclear since 2014’s “Tell Me More About Evil”, but their frontman Richard Edwards has had several solo releases, which featured a few past band members.
I was even more stoked when I learned that the album release, “Vulgar in the Chapel”, was actually a collection of demo recordings to commemorate the ten-year anniversary of the releases of their 2008 albums, “Not Animal!” and “Animal”.
Some background on those: following a disagreement over what to feature on the album, two albums were subsequently released. “Not Animal!” is a collection of songs that their record label preferred, while “Animal” is a collection of songs that the band preferred, and they were released on the same day.
I’ve always been a big fan of hearing demos/more intimate performances such as NPR Tiny Desk, which features musicians playing stripped-down versions of their music, because they provide insight into the band that often can’t be reached by a cleanly polished record. And, given the uniqueness of Margot Nuclear’s sound, this collection of demos is made even more interesting.
The sound on this album is obviously quite stripped back. It trades the unique combination of harmonicas and accordions common on “Not Animal!” and “Animal” for Edwards and his acoustic guitar, nothing else.
Having done some demo recording myself, I can hear the beautiful roughness in the record – it’s not perfect, and it’s certainly not supposed to be. This album is composed of songs in their working phase. They are being polished for an album release, they are a work in progress.
The artistic process of the musician is quite apparent here, as when comparing “Vulgar in the Chapel” to the album version of these tracks, the small refinements made are evident. It’s beautiful to hear the songs performed as they were originally written, just a man and his guitar.
In the “Not Animal” version, As Tall As Cliffs features trumpets, accordions, a mandolin, a picked electric guitar, vocal harmonies, and some pounding drums. It moves quite differently from the “Vulgar in the Chapel” version. The “Vulgar in the Chapel” version is slightly slower, more laid back, and seemingly more emotional. It feels as though the song is being sung directly to you. There is the perfect amount of reverb added to the track that it echoes like it is being performed in a small space where the music can be experienced powerfully.
Even though As Tall As Cliffs on “Vulgar in the Chapel” is the same chord progression and lyrics as the version on “Not Animal!”, it feels completely fresh and new. This release brings out how I felt the first time I listened to all of these tracks, as the release itself is versions that I have not yet heard.
I highly recommend giving this album a deep listen, and of course checking out “Not Animal!” and “Animal”. They are endlessly fascinating and always entertaining.
My favorite tracks on “Vulgar in the Chapel” are As Tall As Cliffs, Holy Cow! and, of course, Broadripple is Burning. While you’re at it, check out A Light on a Hill and Flying Saucer Blues, on “The Dust of Retreat” and “Slingshot to Heaven”, respectively. And, if you’ve got a second, Jen is Bringing the Drugs on “The Dust of Retreat”. I’m really spiraling now. Just check this band out. They’re awesome. Nostalgia is a powerful thing.
In the future when I am asked about music and bands that defined my high school days, I am sure that Margot and the Nuclear So and So’s will make that list. I still remember where I was the first time I ever heard Broadripple is Burning (sitting at my desk, it was a Tuesday, and I was supposed to be doing my chemistry homework). I have distinct memories walking from BHS to Cumberland Farms on cold winter days during Saturday musical rehearsals for Titanic (it was 2017), headphones in, and A Light on a Hill soundtracking the trek through the snow.
So, when I noticed that Margot and the Nuclear So-and-So’s had released a new album on November 9th, I was stoked. The band has essentially dissolved at this point and has not had a release under the (shortened) name Margot Nuclear since 2014’s “Tell Me More About Evil”, but their frontman Richard Edwards has had several solo releases, which featured a few past band members.
I was even more stoked when I learned that the album release, “Vulgar in the Chapel”, was actually a collection of demo recordings to commemorate the ten-year anniversary of the releases of their 2008 albums, “Not Animal!” and “Animal”.
Some background on those: following a disagreement over what to feature on the album, two albums were subsequently released. “Not Animal!” is a collection of songs that their record label preferred, while “Animal” is a collection of songs that the band preferred, and they were released on the same day.
I’ve always been a big fan of hearing demos/more intimate performances such as NPR Tiny Desk, which features musicians playing stripped-down versions of their music, because they provide insight into the band that often can’t be reached by a cleanly polished record. And, given the uniqueness of Margot Nuclear’s sound, this collection of demos is made even more interesting.
The sound on this album is obviously quite stripped back. It trades the unique combination of harmonicas and accordions common on “Not Animal!” and “Animal” for Edwards and his acoustic guitar, nothing else.
Having done some demo recording myself, I can hear the beautiful roughness in the record – it’s not perfect, and it’s certainly not supposed to be. This album is composed of songs in their working phase. They are being polished for an album release, they are a work in progress.
The artistic process of the musician is quite apparent here, as when comparing “Vulgar in the Chapel” to the album version of these tracks, the small refinements made are evident. It’s beautiful to hear the songs performed as they were originally written, just a man and his guitar.
In the “Not Animal” version, As Tall As Cliffs features trumpets, accordions, a mandolin, a picked electric guitar, vocal harmonies, and some pounding drums. It moves quite differently from the “Vulgar in the Chapel” version. The “Vulgar in the Chapel” version is slightly slower, more laid back, and seemingly more emotional. It feels as though the song is being sung directly to you. There is the perfect amount of reverb added to the track that it echoes like it is being performed in a small space where the music can be experienced powerfully.
Even though As Tall As Cliffs on “Vulgar in the Chapel” is the same chord progression and lyrics as the version on “Not Animal!”, it feels completely fresh and new. This release brings out how I felt the first time I listened to all of these tracks, as the release itself is versions that I have not yet heard.
I highly recommend giving this album a deep listen, and of course checking out “Not Animal!” and “Animal”. They are endlessly fascinating and always entertaining.
My favorite tracks on “Vulgar in the Chapel” are As Tall As Cliffs, Holy Cow! and, of course, Broadripple is Burning. While you’re at it, check out A Light on a Hill and Flying Saucer Blues, on “The Dust of Retreat” and “Slingshot to Heaven”, respectively. And, if you’ve got a second, Jen is Bringing the Drugs on “The Dust of Retreat”. I’m really spiraling now. Just check this band out. They’re awesome. Nostalgia is a powerful thing.
