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MP3 Vera Lena - The Hot Country

A cinematic musical montage of electronic, rock and indie aesthetic filtered through an orchestra of voyeurism.

12 MP3 Songs
ELECTRONIC: Trip Hop, ROCK: Modern Rock



Details:
Listening to Vera is talking to an insomniac- speaking with the other that exists in the innermost sectors, approached only at night, exclusively with a voice that gives into temptation and desire at its most frightening moment. Vera’s debut Lp went public in May 2005 received widely as one of the best local records of 2005. As it was worded in Artvoice, the local Buffalo entertainment publication, “Vera quickly made an indelible buzz on the local scene with an uncompromising sound.” “The Hot Country” superimposes the moving textures one associates with cinematic sensibility, with the pleasure one gets from capturing on tape what one was told not even to seek. If the Vera of “The Hot Country” can be understood as such, the new Vera has come to investigate the darkest secrets of the night; an instinctual voice that refuses to give into the mediocrity of typical experience. Without being dramatic, the music tends to give in to the sins we wish to be committing. Within the context of Vera’s sound one finds elements encapsulated in the forbodeing seductive qualities of Portishead, the popular discontent of Interpol and perhaps the drunken stupor of the Afghan Whigs. While this trio of comparisons sums up the sound of “The Hot Country” the new songs fuse electronic beats with classic singer/songwriter sensibility akin to Gorillaz, while paying homage and maintaining the lyrical intensities akin to Radiohead.
While the band coalesces around, on one hand, the point where the visual and sonic blur, on the other Vera’s sound rises from a deeply rooted desires not unlike those of the addict whose drive is caught up in the destruction of physical existence, as pleasure in an attempt to satiate the erotic drive. As one song echoes, “you’re a sadist in love,” the voice begs to be made into the masochist. Vera is the combined efforts of Jason Mazzariello, (guitar, vocals, synths), formally a part of The Dollar Cannon, a seminal force in the Buffalo indie-rock scene, self releasing two albums, charting CMJ, and sharing bills with the likes of Rainer Maria, Guided by Voices, Piebold and Mirah; Ryan Besch (bass), took part in the noise-cor tour-de-force of Kid Gorgeous realizing two records on the California based Uprising records, extensively touring the U.S several times over and independent video publisher Michael Sobieraj (drums). Exploiting the capabilities of self-production the band self-recorded and programmed the album over the course of 2004 at Jason’s Dive Bar studio. However, “The Hot Country” has benefited from the vocal additions compliments of Kristin Gilmet and the resources that have come from the budding Buffalo scene; including the additional production and recording work of Mark Nosowicz (The Old Sweethearts) at Harvest Sum studio and the programming and mixing services of Anthony Armstrong (The Dollar Cannon) at the New Tubes.
The much anticipated new album is currently underway, evolving from the embryonic thematics of “The Hot Country,” the new sound strikes one as seductive and subtly pornographic; it penetrates- granting our deepest desires. An experience that should be had by every music fan whom indulges in the juncture of utter pain and guilty pleasure, Vera’s new album promises to please- in an undeniably satisfying way. Currently, Vera is steadily building a strong fan base reaching into neighboring states with rave reviews and bloggers buzzing all over the internet. Continuing their relationship with Harvest Sum studio and fellow label mates in the Buffalo scene, Vera will soon satiate our hunger with yet another deeply thought provoking, yet beat infused album sometime next year. The vocal textures will vary at times while Jason’s haunting voice will be juxtaposed with the smoothly evocative voice of Kristin Gilmet. One would describe the anticipation to hear Vera similar to the anticipation implicit in a goodbye, voiced instead as “till then,” always awaiting a gratified moment, somehow always prolonged.

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