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Icarus Himself- Review: "Mexico" - Rocksposure

Before the release party for Icarus Himself's excellent new EP, "Mexico," I thought you could put Led Zeppelin behind singer/songwriter Nick Whetro and his songs would still shrink from any pretense of grandeur. "All my life I've been digging holes ... Sometimes I say terrible things that I know," Whetro sings on EP opener "Digging Holes," which is a pretty good metaphor for how Whetro works musically. He's a burrower, not an excavator, not a builder of castles in the sky. Show him a picture of a happy family, he'll eyeball the faded scar on the little girl's knee and scratch at it until a subcutaneous 2-minute dirge wafts out.

Whetro's scope doesn't expand much on "Mexico." The EP is 10 minutes shorter than Icarus Himself's "full-length" 2009 debut, "Coffins," and even though there's more going on around Whetro -- horns, cabana beats, guitars plugged-in more often than not -- he's still painting acute miniatures from some dark isolated place. On record you can hide from a drum machine in a box of vocal distortion. That's trickier to pull off on-stage at Madison's sold-out Frequency, especially when you're on a round-robin twin bill with manic pranksters Sleeping in the Aviary. The two bands were slated to play rotating mini-sets "until one band dies." As much as I like both "Mexico" and "Coffins," I was more concerned that the energy in the room might dip every time SITA ceded the spotlight than I was for the musicians' safety.

Luckily for everyone packed into the Frequency, I'm an idiot. The new two-man band that rounds out Whetro's (former?) solo project, multi-instrumentalist Karl Christenson and drummer Brad Kolberg, took these songs out back and knocked all the computer bells and whistles right off them.

Instead I heard fuzz, glorious, menacing, broken-hearted guitar wails reverberating like bad memories. On "Mexico," Whetro sings "Digging Holes" through a locked door, the music and the listener on the other side jiggling the handle while Whetro crawls under the bed. And it works. But live, Icarus Himself just kicked down the door. "Cadaver Love Song" sounded more urgent, more tortured, its pipe dream trumpet solo more hopelessly wanting. "January (Tennessee)" built from a guilty post-coital whisper to a howl of anguished fidelity. The messier guitars on "35 to Life" revealed a grungy slouch to the song I'd missed on "Coffins." Whetro even put his trademark minimalism to good use, pairing down the intense "Flatwoods, WV" with south of the border beats and phrasing. Less will always be more to Icarus Himself, and that was certainly true on Friday. Drums, guitars, and a compelling voice. What more do you really need?

Label mates Sleeping in the Aviary multiply that formula by three -- lead singer-songwriter Elliott Kozel, bassist Phil Mahlstadt, and drummer Michael Sienkowski are all compelling performers in their own right. Friday each was at his best, along with instrumentalist Celeste Heule, the ever-reliable straight man to her boys' shenanigans. Kozel spent most of the night out front in a Vegas Elvis suit, shocking jaded hipsters with the portents of child abuse on "Gas Mask Blues" ("That's the punchline!" quipped Kozel, pun probably intended), gargling beer to Method-act drowning lovers, and scaling the on-stage equipment like a kid on a jungle gym. Near the end of the night Mahlstadt, wearing a bath robe and sailor hat, took center stage to play songs from his superb side-project, inBOIL, and damn if I can't read my own writing in my Moleskine to tell you what they were.

Confession: by 1:30, the 2-liter boot of dark Spaten I left empty (not) earlier (enough) at the Essen Haus had tracked me down, and it wasn't alone. Video evidence confirms that, yes, SITA really did tear through ELO's "Don't Bring Me Down" as the Frequency lights inexplicably came up early, which means you can probably trust my memory of Sienkowski taking lead on a frantic cover of "Hey Ya!" too. For this reporter, it's probably best bar time came early: there was enough talent in the Frequency to really fuck up the rest of my weekend.

"Mexico" EP and more Icarus Himself and Sleeping in the Aviary records available from Science of Sound.

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Icarus Himself - Tough Customer

Icarus Himself is a two piece from the lake filled land of Madison, WI. Their new EP Mexico comes out today on Science of Sound. It's a ghostly sounding record, pockmarked with empty spaces. Stray drum machines and keyboards wonder through big washes of reverb-heavy guitar chords. I may be projecting, but it sounds like a band absentmindedly playing music while they think back on the defining moments of their lives. It could be the sound of heartbreak in a small town or a silent prayer for something as beautiful as it was in a memory. It could be the soundtrack to a dream or it could just be the sound of a thousand thoughts jammed into five songs.

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Mexico EP - The Onion A.V. Club

Upon listening to Mexico - the latest EP from Madison folk-popsters Icarus Himself - it’s apparent that mastermind Nick Whetro has really learned to let his songs breathe. The old cliche of “no, no, it’s the notes he’s not playing” is a tired one, but it really holds its ground here. What’s even weirder is that Whetro has basically added a full band to what was once a solo endeavor, and the results still sound way more minimal. When pushed up against 2009’s more singer-songwriter oriented Coffins, Whetro’s haunting vocal delivery sounds a bit more soulful and less forced this time around as he sparsely colors in the tiny arrangements of watery guitar, lo-fi keyboards, and low-key rhythms of tunes like “Digging Holes” and “Half Ton Load.” In fact, on some tunes, Whetro only sings on every other measure, allowing his lyrics to be a vehicle for the progression rather than the other way around.

Jentri Colello - another Madison singer-songwriter - joins forces with Whetro over the Casio-disco pulse of “Half Ton Load,” the EP’s most infectious cut. Collelo’s ethereal voice and feathery choruses give his tortured howling a soft place to land. Also, multi-instrumentalist Karl Christenson (who played with Whetro in the late National Beekeepers Society) brings his own subtle wizardry to the table, foregoing bass and opting to rumble out some baritone guitar instead. The volcanic closer “Seen It Coming (Mexico)”is a quiet killer, erupting from its delicate finger-picked chorus into an explosion of crashing drums and rippling guitar as Whetro cries out, “You’re my Mexico!” Sure, Mexico tumbles into darker dives than its predecessor, but it may be Whetro’s penchant for the morose and his leaning toward incorporating lo-fi electronics that help split him off of his over-orchestrated neo-folk peers.

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Pre-Show Review: Icarus Himself - Examiner

Icarus Himself jokingly refer to themselves as "Wisconsinwave///midwest-fi" on their MySpace page, but nowadays that's probably pretty accurate. The solo outlet of National Beekeeper's Society's Nick Whetro, the duo's squawky vocals prod along their electronic pulse, synthesizing constant static in an atmospheric storm that pierces your chest. Icarus Himself are in many ways the come-down to National Beekeeper's Society's violent highs. Equal parts soothing and self deprecating, Icarus Himself lull listeners to about as much of a daze as a lightning bolt to the chest will allow.

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MadTracks: 'Digging Holes' Icarus Himself - MadTracks (Isthmus)

People used to refer to Icarus Himself as the solo side project of National Beekeepers Society singer Nick Whetro. Those days are long gone: Whetro's turned his project into a talented trio and built it an identity unique from that of the slackeriffic garage band.

"Digging Holes," a song off of the band's new EP, Mexico, is just one example of how far Icarus Himself has come over the past couple of years. Plus, fans of its live shows will recognize the tune as the one they've been itching to take home.

"We've been playing it live for quite a while, and people always approach us after the show and ask if the song is on the CD we're selling [2009's Coffins]," says Karl Christenson, the National Beekeepers Society guitarist who's morphed into Icarus' loop nerd and baritone guitar guy. "It was funny because we always had to tell them no. This happened almost every night on our last tour."

On "Digging Holes," Christenson also plays the Omnichord, an electronic instrument from the 1980s that resembles one of the staples of grade-school music class: the autoharp. Its sound resembles an electronic music box or the wafting tones of distant church bells, giving the beginning of the tune an otherwordly vibe.

A few seconds later, that sound's twisting around offbeat-syncopated organ notes that ever-so-slightly recall a reggae tune, and bits of guitar lend a little bit of alt-country flavor. At one point, the Omnichord even parties as a Beirut-style Balkan brass band. But "Digging Holes" doesn't belong in any of these genres, really: It's electric -- and somewhat electronic -- pop, plain and simple.

"It was written around that bouncy [electric] organ part that runs through the whole song," Whetro explains. "Once I had that, the song practically wrote itself."

What's more, the song's eclectic, electric layers help Whetro's vocals about buried ghosts emanate, ever so spookily, from the ether. These ghosts aren't as supernatural as they are psychological, according to Whetro.

"It's mostly about my ability to screw things up with my wife (at the time the song was written, we were dating) by opening my mouth and saying stupid things that I didn't really mean," he says.

It's a theme plenty of folks can relate to, whether they've been the giver or the receiver of mean and malformed thoughts. And, thanks to some brilliant instrumentation, this song will make them ponder the topic again and again.

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Icarus Himself - Mexico EP - Delusions of Adequacy

Lofty hopes and high aspirations are the combination for anyone that wants to succeed in anything, even remotely. Even the most laid-back of people want to be noticed and praised for great works, no matter how lackadaisical in appearance they may act. And yes, that even includes Icarus Himself's Nick Whetro and his modestly humble music. Always calm and, more importantly, looking and sounding cool, Whetro's style was the kind that could flourish and eventually, develop. It's an M.O. that has lead to a reputation as one of indie's budding stars, just waiting to blossom.

His newest recording, a five-song set of spectacular music, the Mexico EP is everything anyone could have asked for and more. Sounds of folk, disguised as electro-pop, disguised as psych rock, disguised as indie rock propel the release into a strength that's never foreboding. No, instead, Whetro and his two bandmates, new drummer Brad Kolberg and baritone guitar specialist Karl Christenson, spin off as many fantastically drastic twists and modifications to thrill every sense.

There's a hint of a smooth, beach-inspired, conga/bossa nova vibe on a song like "Girl>Boy" but upon closer inspection it's nothing more than a drum loop, falsetto vocals and a humming whir in the background that make up the colors of this palette. And this is where Whetro's coolness comes into play – because he is most definitely getting into "outstanding mode" with these songs – his swagger oozes off everything and allows it to be that much stronger. Yes, the girl is always going to be on top, but maybe we can jam out and try out new sounds at the same time – it all comes off as nothing more than an exercise in futility – but at least we had fun while it lasted.

This is also the strangely older brother to the EP that preceded it, Icarus Himself. Where that release prompted a strong call for Coffins to find its proper re-release, Mexico looks to act as that same kind of tool. Only the exception lies in how marvelous all of these diverse sounds create such stunning songs. Opening with a Beirut-type of accordion riff and a booming bass that is supposed to be the substantial tuba, "Digging Holes" is the enigmatic Icarus Himself, the one that breaks out at the end to give way for the roaring trumpets, and "Seen it Coming (Mexico)" is the album's heart-stomping closer: a stone-cold burner that destroys everything in its path.

Looking back, Coffins was unfairly overlooked when it was a genuinely catchy indie rock album, a la Spoon style. Mexico affirms that there is loads of talent here and tons of skill floating about; Kolberg only adds to everything because he provides a rock steady support that is essential.

So even for all the slackers and all the poseurs out at various posts, Whetro's stuff is exceptionally serious and remarkably superb. Mexico is a bold step forward in every possible manner: it's composed, it's creative, and it's excellent. Not only does it position the next proper album on a scale of extremely great expectations (those hopes and aspirations again?) but regardless of whether he wants to admit it or not, Whetro will nail it; hopefully he can enjoy this one a bit now, it's well-earned.

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neue tone: Icarus Himself - Das Klienicum (in German)

science of sound ist so ein label, das du nicht in eine schublade stecken kannst. hier gibt es neben dem reinrassigen folkrock auch den punk. und wenn eine neue veröffentlichung ansteht, kannst du mit allem rechnen. in der vergangenheit haben wir über sleeping in the aviary oder pale young gentlemen berichtet, wenn nicht sogar eine labelschau anstand. auch nicht ganz neu in der runde sind icarus himself. schöner name auch. immer etwas zu nah an der sonne kann man auch die musik der mittlerweile zu einem dreier angeschwollenen band nennen. buchstabieren wir das kurz durch. zunächst haben wir da nick whetro. als er sich in 2004 wieder madison, seiner heimat zuwand, begann er zugleich auch mit dem lieder schreiben und formierte alsbald die erste band. mit national beekeepers society brachte er es immerhin auf zwei alben. die raffinierten verzerrungen aus dem bandsound kombinierte whetro mit seiner minimalen songwriterkunst und brachte schließlich in 2008 das erste werk unter dem moniker icarus himself heraus, "coffins". die science of sound menschen halfen enorm bei den aufnahmen und entschieden sich schließlich ein halbes jahr später zu einem rerelease auf dem eigenen label. beteiligt waren übrigens auch mitglieder von sleeping in the aviary. mit karl christenson stand whetro bereits von anfang an ein ex- mitglied von national beekeepers society zur seite. in 2010 ergänzte man die truppe um brad kolberg, einen drummer. gemeinsam nahm man die "mexico" bezifferte ep auf und brachte sie via sos am 25. mai dieses jahres heraus. einige neue elemente lassen sich auf "mexico" entdecken. vor allem die hinwendung zu mehr elektronischen bausteinen wird deutlich. dennoch, im vordergrund steht nach wie vor der wie am leben geriebene sound, immer etwas krisselig, wie alter, rauer käse. das ist weniger originell denn scharf machend. aus allen ritzen wuchern ideen. sei es der geil grinsende akkordeon move, die fuzzy frohlockende gitarre, das breite trompetenaufspiel, die textliche gewandheit und überhaupt der großmut, neues und bewegendes auf den plan zu bringen. die band hat sich entwickelt. vom lückenbehafteten arrangement zu deutlich mehr ausgewogenheit und expressivität. die macher nennen ihre mixtur selbst electro-psych-folk. wir pflichten bei und würden uns sehr freuen, wenn ihr in dieser talentebude vorbeischaut.et denn auch das karibische feeling dieses tonträgers dürfte manchem über diese grauen tage hinweghelfen.

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Icarus Himself Track Review: Girl > Boy - CokeMachineGlow

The perfect tonic for those on a combat high fromRed Dead Redemption, Icarus Himself's new EPMexico gives you everything the Old West couldn't: comfort, reliable weaponry, and a guaranteed payout in nuggets. Then with its other hand it delivers electronics, baritone guitars and some lines about overweight babysitters—double kill! Still, this is all to be expected when a one-man-band recruits crazies to horse up and ride with him. Since releasing Coffins last year, Nick Whetro has gone from solitary guitar adventures to a trio made of Karl Christenson on loops/keyboard and drummer Brad Kolberg, both of whom conspire to lead Icarus into the plastic age. And, believe me, plastics sound good when moulded correctly, especially when Whetro's hallucinatory caterwauling is allowed to be twisted with old Depeche Mode sounds. In fact, the only people who should be complaining are Depeche Mode themselves, who—ironically—are probably too old to notice. Either that or too busy touring the world and biding their time for the knighthood.

"Girl>Boy" is Mexico's centerpiece, though not just because it contains the most crossover potential: the bass line shadows the Jesus & Mary Chain until it's funked by a fat Casio beat, the result producing tropical delights. No, it's also Whetro's own wailed delivery that reaches its peak here, shining as he masters his custom half-howl while standing four foot back from the microphone. "I know what you're thinking / They only want what's between your legs / I lost myself today," he screeches in his best Jarvis Cocker, implying the things between his legs that everyone wants have long been painfully disconnected. In terms of bodyshock horror that's all that links "Girl>Boy" to its Aphex Twin namesake, but that shouldn't taint your enjoyment of the hip-swinging hula vibe and and cut short four minutes of fun with Icarus Himself. They've made a tongue-in-cheek, hands-down-your-trousers ode to virginity that balloons after three minutes and fades. Now that's what I call staying power. -George Bass

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Icarus Himself : Mexico - The Isthmus

Icarus Himself made one of my favorite Madison albums of 2009. Coffins was a collection of emotional indie rock that proved songwriter Nick Whetro's ability to blend storytelling and dreamy acoustic guitar.

Mexico is a startling demonstration of how much Whetro's skills have advanced since then. All five of these songs are more complex in mood and construction than his last set of tracks.

"Digging Holes" is instrumentally sparse, building on a subdued guitar riff that's punctuated by the delicate staccato of an organ chord. Whetro's vocals burst in, laden with regret about saying "horrible things, terrible things." A trumpet repeats the guitar riff, reinforcing the moment's forlorn resignation.

"Girl > Boy" is a slow march bounded by the deep tones of baritone guitar and stuttering percussion. The conflicting lines "I know what you're thinking," and "I don't know your reasons" find the song ruefully navigating what's certain and uncertain about love.

Icarus Himself is increasingly garnering attention in indie rock e-zines with national influence. Mexico is sure to push the local trio's star a lot higher. -Rich Albertoni

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