ISHI

When the Dallas, TX-based act, Ishi formed in 2006, it was initially started as an experiment between friends JD Mudd and Brad Dale. And when they started they had wanted to blend the soulful storytelling and organic instrumentation of folk music with the expanding sonic possibilities of electronic production. The end result was the band’s well-received and award-winning debut album, Through the Trees. Released in 2010, Through the Trees won the band “Best Dance/Electronica Act” and “Best New Artist” nods from The Dallas Observer. And the band opened for New Order – all very impressive for a young band.

Digital Wounds, Ishi’s sophomore effort was released a few weeks back through Internal Records and with a slickly produced, densely layered synth pop sound with big, club-banging beats, infectiously catchy hooks, and seductively cooed vocals, the album is in some way the band’s attempt to build upon their early success and create a much higher, national profile. Sonically, the material begs repeated listens – and with each listen it reveals deeper layers of sound you may not have initially noticed. Check out how the synths echo and float about dreamily off the gigantic, subwoofer rattling beats and the subtle guitar strumming during the hook of “Mother Prism.” “Moon Watcher” has layers upon layers of synth backed by a quick-paced four on the floor beat that reminds me quite a bit of In Ghost Colours-era Cut Copy, complete with gentle bits of psychedelica. “Touch the Future” has a seductive, sinuous synth line which fits with lyrics full of sexual innuendos cooed in a falsetto about vibrations, auras, love and being on the dance floor. At the bridge you’ll hear cowbell and the additional of female vocalists – possibly to add to the sexiness of the song. “Slowly But Surely” with tons of cowbell to the mix sounds like a buzzing throbbing version of the Rapture’s “House of Jealous Lovers” off Echoes. Guitars, along with synth are layered upon layered and it creates a dizzying feeling.

“Disco Queen,” one of my favorite songs off the album is a certified club-banger – and quite a few people have compared the song to Chromeo and others. It’s sweaty, sex-charged song sung in such a way that it sounds as though the vocalist is actively trying to charm you out of your pants – right this very second.

Lyrically, the material is smarter than what you may expect but done so with an ironic, playful campiness expected of disco. “Emotional Hard Drive” talks about a lover who plays with the narrator’s heart and emotions using a computer metaphor. Other songs talk about achieving higher consciousness, reincarnation, metaphysical and spiritual concepts. And yet despite the winking self-awareness, the slick production values and the infectiousness of the material, it is admittedly not terribly original. The album draws comparisons sonically (and at times lyrically) to several acts who have released albums within the past decade or so. On a certain level, that’s not a terrible blueprint to copy – the Rapture’s Echoes, Cut Copy’s In Ghost Colours, Bear in Heaven’s I Love You It’s Cool, Miami Horror’s Illumination are in their own right incredible albums that will get asses moving toward the dance floor. Certainly, Digital Wounds will do the same, and in amiable fashion but in the long run, Ishi will have to do more to establish themselves and their own sound.

- The Joy of Violent Movement

When the Dallas, TX-based act, Ishi formed in 2006, it was initially started as an experiment between friends JD Mudd and Brad Dale. And when they started they had wanted to blend the soulful storytelling and organic instrumentation of folk music with the expanding sonic possibilities of electronic production. The end result was the band’s well-received and award-winning debut album, Through the Trees. Released in 2010, Through the Trees won the band “Best Dance/Electronica Act” and “Best New Artist” nods from The Dallas Observer. And the band opened for New Order – all very impressive for a young band.

Digital Wounds, Ishi’s sophomore effort was released a few weeks back through Internal Records and with a slickly produced, densely layered synth pop sound with big, club-banging beats, infectiously catchy hooks, and seductively cooed vocals, the album is in some way the band’s attempt to build upon their early success and create a much higher, national profile. Sonically, the material begs repeated listens – and with each listen it reveals deeper layers of sound you may not have initially noticed. Check out how the synths echo and float about dreamily off the gigantic, subwoofer rattling beats and the subtle guitar strumming during the hook of “Mother Prism.” “Moon Watcher” has layers upon layers of synth backed by a quick-paced four on the floor beat that reminds me quite a bit of In Ghost Colours-era Cut Copy, complete with gentle bits of psychedelica. “Touch the Future” has a seductive, sinuous synth line which fits with lyrics full of sexual innuendos cooed in a falsetto about vibrations, auras, love and being on the dance floor. At the bridge you’ll hear cowbell and the additional of female vocalists – possibly to add to the sexiness of the song. “Slowly But Surely” with tons of cowbell to the mix sounds like a buzzing throbbing version of the Rapture’s “House of Jealous Lovers” off Echoes. Guitars, along with synth are layered upon layered and it creates a dizzying feeling.

“Disco Queen,” one of my favorite songs off the album is a certified club-banger – and quite a few people have compared the song to Chromeo and others. It’s sweaty, sex-charged song sung in such a way that it sounds as though the vocalist is actively trying to charm you out of your pants – right this very second.

Lyrically, the material is smarter than what you may expect but done so with an ironic, playful campiness expected of disco. “Emotional Hard Drive” talks about a lover who plays with the narrator’s heart and emotions using a computer metaphor. Other songs talk about achieving higher consciousness, reincarnation, metaphysical and spiritual concepts. And yet despite the winking self-awareness, the slick production values and the infectiousness of the material, it is admittedly not terribly original. The album draws comparisons sonically (and at times lyrically) to several acts who have released albums within the past decade or so. On a certain level, that’s not a terrible blueprint to copy – the Rapture’s Echoes, Cut Copy’s In Ghost Colours, Bear in Heaven’s I Love You It’s Cool, Miami Horror’s Illumination are in their own right incredible albums that will get asses moving toward the dance floor. Certainly, Digital Wounds will do the same, and in amiable fashion but in the long run, Ishi will have to do more to establish themselves and their own sound.

- The Joy of Violent Movement

New Order performed for about 90 minutes after an opening set by Dallas’ own folk-electronic ensemble Ishi. The show was akin to a traveling European discotheque. There was a video screen behind the stage projecting images, words and graphics. But the lights were the stars – swathes of yellow, blue and red; criss-crossing white beams; and swirls of color illuminating the platform..? - Dallas News

Ishi pulsates. The Dallas-based electronic band rides a synthetic wave buoyed by dance floor rhythms and modern pop melodies. Ishi members JT Mudd, Rocky Ottley and Jonathan Merla take listeners on a spirit-liberating ride through the confines of a nightclub. Formed in 2006, with the help of collaborating producer Brad Dale, Ishi has sonically morphed through seven years and two albums.

On the first album, 2010's Through the Trees, Ishi coined folktronic to detail the merger of folk lyrics and electronic beats. But on the new Digital Wounds, the band has naturally evolved away from the folktronic sound to embrace a spacious electronic dance music style. Digital Wounds moves airily through a dozen deliciously danceable morsels with evocative titles such as “Mirror Ball Sky,” “Emotional Hard Drive,” “Mother Prism,” “Naked Blur” and “Diamond Door.” And of course we have the irresistible “Disco Queen,” which got the club-ready, EP single remix treatment last year.


Mudd hopped on the computer and typed up answers to questions about the folktronic sound, the Digital Wounds inspiration, the group’s opening stint for New Order last October at Palladium Ballroom and the sonic evolution manifested by the second full-length disc. - Dallas Morning News

Even though these booty shakers and music makers haven’t released an album this year (not counting the band’s Disco Queen album with remixes of the track of the same name), they’ve been working hard writing and debuting new tunes for the past few months. And their fans keep coming out to shake their dandelions, proof that a band can keep fans entertained without a new, full-length release. - Pegasus News

Granada Theater opened its doors promptly at 8 p.m. to about 600 anxious fans and made the announcement that Friendly Fires would not take the stage Wednesday night. And while that certainly pissed some people off, it in no way ruined the show. The show turned out to be free for newcomers, all presale ticket charges were refunded, and local dance-pop group ishi rocked the house with an almost two-hour set that encompassed nearly their whole catalog. - DFdubReport

Ishi, the brainchild of frontman John Mudd and producer Brad Dale, has been a Dallas mainstay for nearly four years at this point. Their records blend indie dance with touches of folk in an interesting way, but it’s their high-energy live set that has made them so popular in their hometown - Dallas Observer

Ishi will bring their high- energy, funky-electro dance party to Austin for two shows this month. They opened for The Bright Light Social Hour at La Zona Rosa Feb. 10, and will play Feb. 15 at The Parish with Boombox. They have also confirmed a few undisclosed unofficial shows lined up during South by Southwest and will tour Texas and Oklahoma until then. - The Accent

The two lead singers were dynamic, playing with the crowd and dancing up a storm on their own. John T. Mudd, one of the founders of Ishi, was obviously the star of the show. He sang the majority of the vocals while engaging and orchestrating the efforts from the rest of the band. Becky Middleton, the second vocalist, slowly warmed up in the performance. She went from being a lovely, if stiff, accessory on the side of the stage to a more central player in the set. Guitarist Rocky Ottely and drummer J.J. Mudd (brother of John T.) round out the stellar line-up. - Ovrld

Picking up where Brown left off and then turning it up to 11, Ishi proved that they are the band in Dallas to get bodies moving on the dance floor. The band’s electronic beats were just the thing to kick the party up a notch, and with lead singer John Mudd’s eccentric dance style and stage presence, it was hard to deny the desire to dance the year away, especially when Mudd put away his cane and donned his signature Indian chief headdress. Continuing a night of retro covers, Ishi’s female vocalist Becky Middleton performed an updated version of The Bangles “Walk Like An Egyptian” which was quite the crowd pleaser. - Pegasus News

4. ”Disco Queen” (single) – Ishi: To call the beats of “Disco Queen” infectious is not enough. The track is downright contagious. You just gotta groove to the ‘70s inspired track. We’ll call it an electronic-infused dance epidemic that gets better with each listen. Play this track when you are ready to get the party started. - Pegasus News

The garden then quickly filled in anticipation of the headlining acts. Ishi fans could be spotted with pastel-painted faces, in tribute to singer Taylor Rea's usual costume. Ishi's vibrant mix of electro beats and calm vocals attract fans like a bug to a light. John T. Mudd and Rea took it to another level: belly dancing, climbing on one another, and walking out into the crowd. The Bangles’ “Walk Like An Egyptian” proved successful with the fawning audience, inciting even more belly dancing from Rea. The crowd seemed to enjoy the sincerity of the fun-loving band. The massively popular single, “Pastel Lights,” ignited more excitement than we thought possible. - Pegasus News

Local electro folk rockers Ishi was just one of the bands that drew out a large crowd to the 2nd annual Homegrown Music and Arts Festival in downtown this past Saturday. The band seemed to put a spell on the audience, creating a sea of shimmying shoulders and hips. The once raven-haired, now purple-tressed singer Taylor Rea also created art on festival-goers' faces (and other things.) - The Feast

Wearing a top hat as usual, John Mudd danced around the stage a microphone in one hand, and pumping the air with a cane in the other hand. Though there were a few technical, computer-related glitches, both Mudd, co-vocalist Taylor Rea and the others in the band were certainly in top form, delivering probably the liveliest, tightest set the band has delivered in some time.

"Hands up! Hands up!" Rea called out to the crowd, as all but the too-cool-for-school willingly obliged. At several times throughout the set, Ishi had the majority of the crowd clapping, head-bobbing and dancing along. - DC9 at Night (Dallas Observer)

Ishi was nominated for Best New Act, Best Electronic/dance band, Best Song, & Best Group and won in the categories of "Best New Act" & 'Best Electronic/dance band" - DC9 at Night (Dallas Observer)

Last Night: Neon Indian, Ishi, Fizzy Dino Pop and Yeahdef at the Granada Theater.
True, the almost at-capacity crowd was primarily there to see the glitter of Alan Palomo and his Neon Indian stage show, but the exposure that Ishi received can't hurt this young band on the rise. Vocalists Taylor Rea and John Mudd combine perfectly as their sultry voices and high energy on stage are the perfect cherry on top of a sound that borrows as much from the swooping basslines of dubstep and drum & bass music as it does from 1980s dance with its synths and robot sounds. "Pastel Lights" served as the band's high-point as the crowd erupted into a dance craze that included one of the first attempts at crowd-surfing seen by this reviewer far too long. And the band also threw in a killer rendition of The Bangles' 1986 No. 1 hit, "Walk Like an Egyptian." - DC9 at Night (Dallas Observer)

Last Night: Neon Indian, Ishi, Fizzy Dino Pop and Yeahdef at the Granada Theater.
True, the almost at-capacity crowd was primarily there to see the glitter of Alan Palomo and his Neon Indian stage show, but the exposure that Ishi received can't hurt this young band on the rise. Vocalists Taylor Rea and John Mudd combine perfectly as their sultry voices and high energy on stage are the perfect cherry on top of a sound that borrows as much from the swooping basslines of dubstep and drum & bass music as it does from 1980s dance with its synths and robot sounds. "Pastel Lights" served as the band's high-point as the crowd erupted into a dance craze that included one of the first attempts at crowd-surfing seen by this reviewer far too long. And the band also threw in a killer rendition of The Bangles' 1986 No. 1 hit, "Walk Like an Egyptian." - DC9 at Night (Dallas Observer)

Ishi and "Pastel Lights" Have Us Falling At No. 14 - DC9 at Night (Dallas Observer)

"Ishi Brings Water To A Futuristic Drought, In A Roundabout Way.Somehow stumbled across this edit of the 1986 film Solarbabies, set to a new track from local electro-pop outfit Ishi called "Pastel Lights"--which, for my money, is the best darn thing the band's released yet. Big thumbs up all around--the track, the video, all of it. Anyway, check it out. " - DC9 at Night (Dallas Observer)

Ishi at Trees for the Dallas Observer Music Awards Showcase Why: It was nuts to butts at Trees -- as packed as the storied Deep Ellum haunt's been since re-opening its doors -- and, though at max capacity, a line of eager showgoers still stretched out past the venue's front door, trying to catch a glimpse of Ishi's performance on this night. It was a perfect storm, really: Between the crowds that had come out for the DOMA showcase, Ishi's impossibly high buzz at that very moment, and Trees' unerring sound system, this show seemed destined to be the highlight of this incredibly fun event that also show displays from bigger names such as The Cool Kids, The Secret Machines, Lucero and Jonathan Tyler & The Northern Lights. And it lived up to its hype, thanks to Ishi's infectious live display. Excerpt from review: "Ishi showed last night that the Dallas music scene is coming back. And, finally, people are actually paying attention.""
- DC9 at Night (Dallas Observer)

Ishi Through the Trees (Make It Records) Ask Ishi what kind of music they make, and they'll gladly claim the title of "folktronic," which is fine if you want to describe the second (and pretty boring) half of the debut release from this set of impressive live performers. There are elements of that "folktronic" sound—acoustic guitar adornments, mainly—in Through the Trees' first half, but they're glossed over, thankfully, with hard-hitting bass, electric guitar riffs and irresistible synth lines. And that first half of the album is fairly undeniable (see: "Pastel Lights"), as co-vocalists John Mudd and Taylor Rea craft a sexual tension ripe for the times." - DC9 at Night (Dallas Observer)