The Brothers Landau

Sympathischer Besuch aus L.A

meb. Der letzte Sommerliederabend in
der Wandelbar versprach viel und hielt
alles. Nachdem die Musiker der letzten
beiden Ausgaben der Sommer Lieder
Abende aus der Region, beziehungsweise aus Zürich angereist waren, hatten
die musikalischen Gäste am letzten
Freitag eine deutlich weitere Anreise zu
bewältigen. The Brothers Landau reisten aus dem sonnigen Kalifornien nach
Laufen, um genau zu sein aus der Stadt
der Engel, Los Angeles. Hier trafen sie
zwar nicht minder sonniges Wetter an,
allerdings war es wohl etwas kühler. Just
an diesem Abend fiel das Thermometer
nämlich zum ersten Mal seit langem
wieder deutlich unter die Zwanziggradmarke. Warme Decken waren im Innenhof des Kulturzentrum Alts Schlachthuus darum begehrte Ware.
The Brothers Landau heissen nicht
nur so, sondern sind auch neben der
Bühne Brüder. Serviert bekommt das
Publikum amerikanische Folkmusik
vom Feinsten. Daniel Landau spielt Gitarre und begeisterte mit seiner warmen,
weichen Stimme. Mit beeindruckender
Range liess er das Laufner Publikum abtauchen in die wunderbaren Eigenkompositionen. David Landau begleitete mit
Gesang und Cello.
Es muss wohl der Verwandtschaft geschuldet sein, dass die Stimmen einerseits perfekt harmonierten und auf der
anderen Seite doch so unterschiedlich
klangen. David Landau strich, streichelte, zupfte und klopfte auf seinem Cello
und erzeugte damit Klänge, die den Melodien noch mehr Leben einhauchten.
Zum Ende durfte sich das Laufner Publikum Songs bekannter Künstlerinnen
und Künstler wünschen, die von The
Brothers Landau auch ganz oder zumindest typähnlich erfüllt wurden.
Nach dem Konzert mischten sich die
überaus sympathischen Brüder unter
das Publikum um, unter anderem über
ihre Musik und kommende Projekte zu
plaudern.
Wer The Brothers Landau letzten
Freitagabend verpasst hat, muss sich
nicht ärgern. Das Duo spielt nämlich ein
zweites Mal in Laufen. Am Open Air Kino Laufen, welches heute Abend beginnt, haben die Musiker einen zweiten
Auftritt. Sie bestreiten das Rahmenprogramm von morgen Freitagabend, vor
dem Film «Early Man – Steinzeit bereit»
ab halb acht Uhr abends.
Mit ihren drei Sommer Lieder Abenden hat das Wandelbar-Team auch dieses Jahr ins Schwarze getroffen, man
darf also auf nächstes Jahr gespannt
sein.

LAUFEN, Switzerland - Wochenblatt

If you liked Smithfield Bargain when we had them on a few weeks back, you’ll definitely like this week’s featured band. How can I be sure? Because, The Brothers Landau comprise 2/3rds of that particular band and are just as pleasing to your precious ear holes.

While tending toward older, jazzier fare with Smithfield Bargain, here, brothers David and Daniel create their own unique brand of ultra-cool modern folk that just begs to be listened to while chilling out on the patio with your friends, kicking back a few glasses of wine. And as luck would have it, their album “Parallax” just came out last week... so pick up a copy, a bottle or three of Merlot and get to it already.

Here’s what David and Daniel had to say about their penchant for bridges, favorite brotherly attack methods and much more:

GORILLACOUSTIC: What does the world need to know about The Brothers Landau

DAVID: We are two real brothers who combine familiar styles to make something entirely new. Watch. More importantly, listen!

DANIEL: We have been working on our recently released album for right around two years, and it is now ready for your ears. We've gone through considerable effort to bring it to you fresh, so we hope you enjoy what we've had brewing for you for some time.

GA: Did you guys always write music together growing up, or is this a more recent thing?

DAVID: Daniel was always more overtly musical, whereas I took a break after elementary to pursue being lame. I resumed 'cello after high school and after I graduated I accrued enough cool points to write music with Daniel.

DANIEL: We didn't start writing until about 4 years ago, when we decided to compose together in this arrangement and I got the confidence to write lyrics to songs. From then on it's been pretty great, since we can get on each others' case about things in a sibling sort of way and still be OK with it.

GA: How do you approach writing for yourselves vs. Smithfield?

DAVID: It takes a bit more time. We like to get every single phrase the way we want it, and that is actually much harder with two siblings than with two siblings and an objective contributor.

DANIEL: Ditto, plus writing with Sri is a different experience, for she brings an extra-familial perspective to the writing, and she's really great to write with. Lookout for the more tracks from both of our projects soon!

GA: You played on the Shakespeare Bridge with Smithfield, and now here you are again on yet another bridge. What's up with that?

DAVID: We wanted a more rustic look. Get it? Har. Bridges are metaphorical. Think about why.

DANIEL: Bridges are an important part of infrastructure. Bridges are also really long weekends in spanish. But this time, we're using a pedestrian bridge, not an auto bridge. Pedestrians are the way of the future.

GA: Best brotherly form of attack: the noogie, the titty twister, or the Indian burn?

DAVID: I prefer the push down, sit on, and tickle. Much more fun.

DANIEL: Wait a minute, why are we promoting violence here, Mike? Though I frown on violence, Judo Chops are effective.

GA: If you had to tattoo one word on your forehead, what would it be?

DAVID: “What?”

DANIEL: The Constitution of the United States of America.

Pick up their brand new album “Parallax” here!. At just $5.99, you’d be crazy not to.

STANDOUT TRACKS: “Intercontinental” & “The Price” - Gorilla Acoustic

The Brothers Landau * Parallax* IN A WORLD of ceaseless audio overkill, when so much of music seems bloodlessly artificial and relentlessly robotic, hearing this new record by The Brothers Landau is a revelation and a joy. Here comes something authentic, something delightfully organic. Viscerally lyrical songs sung and performed by two brothers in perfect musical synch, this is a warmly dimensional collection of discovery.

The heart of their music is acoustic: two human voices, a cello and an acoustic guitar. And really good songs. They do it all together, the brothers, the playing, the singing, and the album doesn’t even designate who does what, including writing the songs. But that seems to be the point, that it doesn’t matter – this is a package, and a God-given one. Like other famous musical sibling groups, such as The Everlys, McGarrigles and Roches – there’s a wonderful intimacy achieved when these voices blend, a soulful closeness that adds a graceful gravity to the sound. The greatness of some of the most famous vocal combinations – such as Simon & Garfunkel and Lennon & McCartney – was achieved because the singers grew up together almost like brothers, and had been matching their voices together since they were kids. The Landaus do it naturally and knowingly, and the effect is that of two souls merged, which empowers the spirit of each song.

That telepathic effect is also present in their playing, and in the inventively organic ways they combine cello and guitar. On the lovely “Penny Parade” when the cello segues instantly from a chordal support part to an achingly melodic solo, and then rests as the guitar takes over, you hear it. It’s an intimate and empathetic interchange, the sound of two musicians who have played together their whole lives. Their musical foundation is sparsely simple, two instruments and two voices, yet in these limits they’ve discovered limitless possibilities. There’s a lot of inherent resonance to the combination of acoustic guitar and cello, as both are instruments with vast tonal and emotional range, and the brothers take full advantage of the potential of combining their two instruments in every way imaginable. Never, though, does it seem contrived or created merely for effect; the shifts in attack and support are fluidly organic, and always in service of the song. A keenly orchestral dynamic flows organically through the entire album, as successive counterpoints of bass, rhythm, chords and melody intertwine.

Self-produced, it’s a collection of often complex songs – shifting grooves, tapestry guitar and cello parts abound – so they wisely didn’t overwhelm in the production what is already a heady brew. There are other instrumental colors besides the cello and guitar, such as piano, cymbal crashes and accordion – but all are acquiescent within the guitar-cello matrix.

And they don’t shy away from letting the cello be a cello – and calling on the ghosts of Stravinsky and Zappa in wonderfully dissonant parts, as in “Watch What You Say.” An acoustic Yes-like suite which veers into unexpected dissonance, this is progressive folk, but better than that sounds. Essential and alive, this revels in the full-bodied tone of the cello with passages of unbridled fury and hushed melodicism. This is cello created not by an arranger at a piano, but by a cellist, and one who is happy to veer from the usual conventions. It might dissuade some listeners who don’t want to venture too far from familiar turf, but for those who delight in music of discovery, this will be a enjoyable journey.

“The Price” is maybe my favorite track on the record, a confident and beautifully winding dirge-like melody lovingly accented by sparse percussion and touches of piano, accordion, and cymbal. It’s a song about how much can be achieved when we let go of that which reins us in. It’s about music, it’s about life, it’s about love. The progression from verse to chorus is seamless, and the lyrics flow with a conversational flair, lovingly underscored by the high harmony.

“What Does It Take” has a dash of Todd Rundgren-like tunefulness that matches ideally the longing of the lyric. “Start Dancing” starts with on a complex but appealing descending guitar riff around which the entire track is built, and a solid groove is built with only shaker and the interplay of rhythmic cello and guitar. “All We Know” is an alluring rhythm tune, somewhat reminiscent of Dave Matthews’ chordal and melodic playfulness, simple and complex at the same time, culminating in a wonderfully inventive counterpoint of vocals.

It all ends with the instrumental “Good Things,” a happy place to end this journey, as the cello sings a timelessly charming tune against an upbeat Brazilian-inflected guitar rhythm and changes. It’s a promise of more good things like this to come, and with as much taste, grace and panache as the Landaus exhibit on this outing, it’s bound to be good. Let’s hope the Landaus are one brother team that stick it out, and continue to explore their twin journey of harmony. – PZ - Blue Railroad