Boxwood

Boxwood (AKA Jose Ferrer) says he almost exists as two separate entities. There's the contemplative songwriter, at home in his warehouse space turned loft/studio, laying down each track of each song and penning thoughtful and often poignant lyrics that probe various aspects of the human condition. An examples is "There a Fire," in which he sings, "And I know these things are going to have to wait/By the time you wake up they'll be gone." And there's the artist you see at his captivating performances, where he constructs songs from scratch; the guy is a one-man band relying on an array of instruments and loop pedals as well as his own ingenuity. He's reluctant to become known for the latter, preferring to focus on his content. But to the outside observer, it's just more evidence of an incredibly creative and inventive songwriter and musician. - Miami New Times

Jose Ferrer performs as Boxwood, an introspective singer-songwriter who crafts profound lyrics and lingering melodies. He plays several instruments and lays tracks in his home recording studio. You can hear hints of several musical genres in Boxwood’s songs, which explore a range of human emotions. During performances around Miami, Boxwood improvises ditties on stage while playing a guitar and manipulating loop pedals. - CBS Miami - Derek Reveron

One of South Florida’s greatest contemporary solo musicians still criminally treading water down at the end of the United States to not enough global recognition is Jose Ferrer, a.k.a. Boxwood. The 34-year-old multi-instrumentalist and singer has just self-released his second EP, “Moon Garage.” We covered the release of his first one (Boxwood, a one-man wall of sound, releases “Sun Garden City” EP today). The man with the celestial obsession was casually introduced to me by another local musician, Alex Diaz, who also has been down in Miami, evolving as an artist for even longer (read my 1997 profile on that guy in the Miami New Times here and check out his soundcloud).

I had no idea what to expect of Ferrer’s music, but he was introduced to me by someone I trust. Though some will detect similarities in sound to The Cure, My Bloody Valentine or Radiohead, no one makes music like Boxwood. Though he performs solo, he layers parts, including percussion, guitars and vocals via loop pedals to create a lush, dynamic brand of music all his own. He does it live both on stage and in Boxwood the recording studio. Over an open air dinner at the Vagabond Hotel in Miami, the slight-of-frame musician says, “A lot of the stuff that I come up with is because of the loop pedal. I’ll come up with a part to a song, and then I’ll kind of isolate the rest of a song, and I’ll let that part ring out.”

The flow of a Boxwood song’s construction comes across as strong as it does because Ferrer prefers to follow the resulting music in its hazy swirl of hooks and melodies and not force some strict construct. It seems counter-intuitive for a solo artist who has complete control over his work, but he says he prefers to follow the music almost subconsciously as if he was a one-man jam band. In fact, he would prefer it if all his songs came out blended together. “I’m always thinking that it will be cool if this song went into something else,” he says. “Like the last part of this song can go off, and I’ll see if I can write something to that, like a medley, and then I end up coming up with another song.”

Whereas collaborative musicians in a band jam with each other to create music, Boxwood feeds off inspiration from the looping parts he creates. It’s a process of exploring music that the musician finds liberating for his creative process. “I’ve also tried to play like just whatever and just loop it and then try to fill in the gaps to see what comes out of it, and that’s interesting,” he explains. “When you listen to some songs and then all of a sudden the drums come in not where you’d expect it, and the guitars are doing something that’s cool, so I try to do that not to throw you off but just for myself, and then songs come out of that, and then I change them around.”

But a favorite he won’t give out for free is “Affected,” featuring pummeled drums affected by echo, an incessant buzz of electrified rhythm guitar and a catchy hook that sounds like it was made by an electric slide guitar. In the middle of the song the hook drops and three guitar parts stack up one by one. One is a simple repetitive plucking and the other two are call and response parts with slightly different shimmering effects. Though he speaks a bit low, Ferrer’s singing voice is something else, especially on this number. It’s bold and compliments the range of effects on his instrumentation. He’s not a neat singer, but it comes from a place of potency you will never find while talking to him over dinner. There are whines, growls and slurs that obscure the lyrics, which are sometimes filled with bitterness: “Good morning, here’s another shit storm coming my way, panicking heads, visual shit, audible waste.”

It’s a little scary, but Ferrer is quite an affable fellow in person. He’s also a new dad, having recently had a child with his longtime girlfriend. It’s apt that he plays his music under an abstract moniker because the man is certainly different from the musician.

His exploration of music began at a perfect time: his early teen years. At 14 years old he learned a few chords from a friend and the rest by ear. “I don’t even know the chords I’m playing,” he admits. “I never learned how to play guitar. I just kind of write. I’m not a player.” In fact he adds, “I wouldn’t call myself a painter or a musician or a carpenter. I like to make things.”

He may not call himself any of that, but he studied art at the School of Visual Arts (SVA) in Manhattan, focusing on illustration. So, like any good artist, he contradicts himself a bit. “I did a little bit of everything but mostly oil painting,” he admits.

Like his last release (see images here), he has made the physical version of his new EP a handmade affair. “It’s a wood casing with burlap seams and a random booklet inside taken from school text books,” he explains. “I work with wood at my job all the time. I have access to a shop and liked the idea of having a wooden CD case, with an organic feel and look. Something that was clearly handmade. And also, like the previous EP, no two cd casings are alike. This is probably also the last chance I’ll get to make a CD since they are quickly becoming more and more obsolete.”

Which leads one to think that maybe a vinyl release might be on the horizon. “I would prefer to buy vinyl, if getting music in the physical form,” admits Ferrer, “but Lord knows I can’t afford to press vinyl at the moment. Unique handmade packaging I think makes up for whatever format the music is in.”

* * *

You can read more of my conversation with Boxwood, including more intimate details on how a quiet guy like Ferrer finds such a powerful voice on stage by jumping through the logo of the Broward New Times Music section below. You can also stream another new song off the EP there. The same story that you’ll find after the jump also appears in print in this week’s “Miami New Times” music section: - Independent Ethos

It may sound a little mystical, but Jose Ferrer, the multi-instrumentalist, looping mastermind behind Boxwood credits his subconscious for inspiring his lyrics. The 34-year-old does not like the idea of confessional lyrics, which he calls "diary writing." He prefers to find his lyrics in the layers of reverb-heavy music he creates with his sticker-laden Martin D15 acoustic, and other various instruments. "It's not there, but I almost hear it because it's there," he says.


Lyrics are always the last piece of the puzzle in Boxwood's songs. Ferrer, who lives in Hollywood, allows the words to come to him through improvisation. "It's not like I wrote the chorus," he explains. "I just by chance said it this one time, and it sounded interesting, and I'll kind of base the song out of that. I just try to listen to whatever it is I was mumbling when I was recording."

Throughout the five songs on his second EP, Moon Garage, Ferrer sings ragged — often anguished — vocals, adding hazy effects to his voice. Sometimes he layers vocals, like in the distant refrains of "The Lost," the third track off Moon Garage

All of Boxwood's songs build on hypnotic loops, but it never becomes tiresome. Ferrer's baroque detailing allows certain parts of his songs to disappear and reemerge. At times it sounds like an alien jazz band caught up in a great groove. With its eerie, distant guitar lines and the hiss of a drum machine, Moon Garage's opening track, "Free Reign," sounds like The Cure at their creepiest.

There are also elements of early Radiohead or My Bloody Valentine in the layers and varied effects of Boxwood's songs. "Solar Rays" features three guitar parts, a glistening rhythm part, a simple hook, and a more low-key, rambling bass. Trying to keep up with every little detail in Boxwood's songs can be maddening.

Ferrer has always been drawn to melody. He says he has been writing his own music since age 14. Though he sounds quite fierce on his songs, he is generally reserved and quiet. He has learned over the years that music is a necessity in his life.

He was a nervous, shy person at school who found comfort on stage. "I used to have social anxiety in high school,” he admits. “It was weird, but for some reason I always liked performing in front of people. When I get in front of people, I kind of loosen up. I liked it, and I noticed that," Ferrer remembers. "When I don't play a lot of shows I get miserable,” he adds with a laugh.

Music is a very essential part of his identity. It's more than a hobby for Ferrer; it's integral to his being. "You're always evolving. You're always finding something else. That's why I'll stick with it. It's not because I'm in college or because it's fun. I hope I'm 60, and I'm still trying to come up with stuff."

Boxwood will play its EP release show this Saturday, March 28, during the FAT Village Art Walk at C&I Studios. The show starts at 10 p.m. and is free. - Broward New Times

... But the evening's best performance came next, from the one-man band known as Boxwood (Jose Ferrer). He is the most inspiring case for music in this city, and that's not an overstatement. He's a multimedia act in the vein of Animal Collective, providing an inspiring romp through looping drum beats, clicks, and beautiful guitar melodies. As Ferrer sang, he looked at his feet, but his voice seemed to stare you straight in the eye, earnestly reaching out and breaking your heart with sincerity. Seriously, get to know him. - Miami New Times - Nelson Hernandez

Jose Ferrer, aka Boxwood, is a bit of a deconstructionist. He showed up at Sweat Records in Miami a couple weeks ago to talk about how he puts together luscious, noisy, catchy, swirling sounds of noise pop as a solo musician using loop pedals, guitar and percussion instruments, with a box of hacked up vinyl records refitted as CD covers for his first EP, “Sun Garden City.” His idea of CD packaging is useless 12-inch dance records. “It’s serving a purpose,” he says of the vinyl records re-purposed as gatefold CD cases, adding that the records he butchered are around six years old and no one would care to use them on the dance floor nowadays. A DJ friend of his gave him a stack to sacrifice to a buzz saw. “We saved the good stuff,” Ferrer says, assuring that he still loves the vinyl format. Here’s an example of the EP folded open, outside and in:
The small, elfin musician is soft-spoken and looks 10 years younger than his 33 years of age. It’s hard to believe this guy has a 10-year history as an acoustic strumming singer-songwriter in New York City before becoming Boxwood, a creature far evolved from acoustic guitar and voice, now residing in the low-key suburbs of Hollywood, Florida. He does his best to answer questions about what lead him to his distinctive sound but often mumbles and stumbles for words. This is clearly a musician who prefers to have the music do the talking for him. “I hate promoting,” he finally admits. “You have to be on top of people. It would be easier if I had some kind of management or something.”

Of course, he is talking about setting up shows and releasing records and then having to deal with their promotion, but he might as well be talking about talking about life when the music stops. He perks up when asked about the experience of being in the music, be it on stage or in the studio. “The music comes first. I like performing … I like the recording process. I compiled a bunch of stuff from the time in New York, when I came here [in 2006]. I printed out a CD full-length of songs from a span of 10 years. It’s a lot of the singer-songwriter stuff. I made 1,000 and still have 980 but I forget to get them [they are sitting in storage somewhere in New York]. I’m gonna have them if someone is curious. It’s still me, but it’s not representative of Boxwood.”
He left behind that singer-songwriter sound a long time ago for something decidedly more original and distinctive featuring a treated acoustic guitar that sounds electric and a variety of percussion instruments recorded and looped through effects pedals. “I’ve been to so many open mics. At least in New York, there’s like a million singer-songwriters,” he says. “You get sick of it. I can’t sit and listen to it. It gets boring. Not that it’s not good. I just can’t do it anymore. I did a lot of it. The thing that draws me now [to music] is really getting a nice sound out of the equipment.”

By “the equipment” he might as well be talking about his voice as well as guitar and percussion, which he often buries and treats with echo, submerging it into the swirl of reverbing sounds looped through pedals. Boxwood’s sound recalls the dream pop of bands like My Bloody Valentine or the heavily affected recordings of Deerhunter. “I used to focus more on my lyrics. I was more of a singer-songwriter prior to getting into the pedals. It was very vocal, lyric-based, but since then I have been trying to get away from that to just make the music more interesting,” he explains.

He performs live using the pedals to create a wall of beats and melodies and captured it on his new EP with minimal, if any, studio tricks. “I wanted the same sound as I have live,” he says. “It’s all recorded from the same loops that I do with all my equipment. Nothing was MIDI. I didn’t add any other instruments. It’s just kind of what I do live.”

Upon hearing “Sun Garden City,” beyond the layers of guitars, the polyrhythmic quality of the beats standout. Being a teen in New York, the rise of hip-hop in pop music did not escape Ferrer. He says he was 12 when he started really noticing the presence of hip-hop artists on MTV back in 1994. “Hip-hop had so much personality back then,” he says. “Rhythmically, I like the sound of the drums, which are samples of old drums of funk and soul.”
The results are smartly constructed pieces of blissed out layers of melody and noise. “Balance” opens “Sun Garden City” with a beat composed of clicks, rattles and thudding booms before a guitar coats the fuzzy rhythms with quavering noise that seems so high in treble it occasionally squeaks. Then Ferrer begins his terse, breathy and occasional growls from what sounds like the depths of a well. It’s all tinny, catchy rhythmic din until the beats halt to highlight the quavering guitars and Ferrer repeats “untie me” over and over, as if on over-lapping loops. An inspired wash of soft, synthesized drone or hum glistens over the final seconds of the track, bringing it to another level. - Independent Ethos - Hans Morgenstern

Sporting percolating sounds that contort, flow freely in unison with emotionally-resounding verses, only to reverberate and fall back on themselves like waves in crashing onto the shore – Hollywood-based, New York-raised singer/songwriter Jose Ferrer, who performs under his moniker of Boxwood, has produced an uncompromisingly singular sound that not only exhibits his introspective preoccupation with the nature of emotions and the human condition; but also with generating soundscapes that can conjure images evocative of wide open space, bathed in the shadow of imminent dusk approaching. The instrumentation that accompanies Ferrer’s music is deceivingly minimalistic, in stark contrast to the lushly-layered, almost orchestral sounds that grace his most recent release, entitled Sun Garden City. Preferring to mold his music solely to his convictions, Ferrer foregoes the conventional dynamic of implementing a full band on his recordings, instead utilizing a loop pedal to recycle sounds he has generated on his guitar, synthesizing backing beats accompany his vocals. The result is songs that resonate hauntingly, affirming their meditative nature in the lyricism and in the imagery they can inexorably conjure in tandem with the ethereal and markedly atmospheric arrangements. On Sun Garden City, Ferrer proves that where others see worldly emotions and thoughts, he sees sound and verses. He renders rhythms that contort and ricochet in an affirmed and equilibrate contrast that leads to his ability to distinguish himself from the heterogeneity and the monotony that oftentimes plagues other artists who produce their music using looping techniques. His prowess as a songwriter, when compounded with his innovative ability to channel emotion into sound makes him one of the preeminent talents producing music in South Florida today. One cannot help but draw parallels between the Boxwood sound and that of mid 90’s space rock stalwart Hum, which in spite of being a full band, and having placed considerable emphasis on heavy guitar shredding, showed the same propensity for producing vivid imagery evocative of empty space, and blanketed with emotionally resonant lyricism. We took the opportunity to sit down with Ferrer in an effort to better understand the methods that underlie his music.

From what we understand, you use a looper pedal to generate the sound of a full band without necessarily having a full band backing you on your tracks, a-la Brian Eno. Can you describe the process of making tracks in this manner?

Jose Ferrer: The writing process is always different. In the past I’d write songs and try out accompaniment with the loop pedal. Lately, anything goes. I’ll loop random noises then build around them till I flesh out a song. Sometimes I’ll loop a drum beat or a riff and start from there. I suppose it’s no different then jamming with a band except you have more patience with yourself. The hard part of using a loop pedal is putting together a song that’s well crafted and doesn’t sound like your a dude with a loop pedal.

When brainstorming to write new material is there any particular source of inspiration either within your life and experiences, or musically, that you find yourself turning to time and time again?

Jose Ferrer: Lyrically, I think I’m always writing the same song with slight variations, not on purpose. It goes something like this: There’s and giant boulder and I need to get it from point A to point B. I can’t seem to get a good grip on it. I can almost lift it. I know I can but if only…
I almost always feel like this in life by default, like i’m almost there. Just a little more. Of course we never really get “there”. It’s usually never enough with most people. I think we all feel this in some way or another.
I try not to write to bitch about anything. I’d rather inspire or put in perspective if possible.

In what ways can Boxwood the performer be distinguished from Boxwood the studio musician? Are there just certai - South Florida Music Obsessed - Jose Martinez

Boxwood's Moon Garage Release Party. With Sigh Kicks. Lose yourself in the "hypnotic loops" of Boxwood's Moon Garage as Jose Ferrer takes over Will Call. Friday, April 3, 10:30 p.m. Will Call, 700 NE 2nd Ave., Miami; 305-577-5900; willcallmiami.com. Admission is free. Ages 21 and up. - Miami New Times

Million Young with Boxwood. Friday, April 19, at Will Call, 700 N.E. 2 Ave., Miami; 305-577-5900; willcallmiami.com. Head by south Florida-native Mike Diaz, this indie fuzzpop duo make the kind of music that brings dreams to life. Emotional, danceable and just plain fun, Millionyoung have been buzzing about the country for the past few years, and they're always stepping up their game. Catch them now before they head out on another nation-wide tour next week! - Miami New Times -By Kat Bein

Contrary to what you may be thinking, Boxwood is not what male boxes wake up with in the morning. Or it may be. But that's not what this post is about. The Boxwood in question is one Jose Ferrer, and the artistic name for the one-man-band came from little more than putting two words together. An incredibly talented and promising musician, Boxwood refuses to admit he's good at anything musical, hinting instead at the music he weaves singlehandedly as a whole greater than the sum of its parts. If you listen to the music or you catch him live, you think he's just being modest. If you've met and shared a few words with the soft-spoken and reserved-bordering-on-shy musician, you know he really doesn't quite get just how good he is. A genre-bending indie blend where silhouettes of influences like Radiohead and Sparklehorse flirt demurely beyond one's immediate perception, Boxwood's sound is best described as haunting. And though he doesn't want to be known for the live technique over the music itself (nor should he be), seeing him building songs on the spot using loop pedals in a live setting is pretty damned nifty. Check him out for yourself at PinkGhost's 3rd Anniversary this Saturday and see just what we're talking about.
Sat., Dec. 12, 2009 - Miami New Times - Arielle Castillo

Doing it yourself may be all the rage on the DIY Network. But it hasn't quite made it mainstream in the music world.

Still, that hasn't stopped certain ingenious musicians from applying a little know how and a hell of a lot of creativity to overcoming problems like the lack of a full-on symphony.

Just check out a live performance by Marc Hennessey of To All My Dear Friends fame and SoFla's own Jose Ferrer, better known as Boxwood, and you'll agree Holmes and his Homes ain't got shit on these dudes.

Boxwood's been doing his thing around town for a bit now. You may recall him as a Best Of Miami winner last year for Best Songwriter. Meanwhile, To All My Dear Friends hails to us from G-Ville, first starting out in 2008 when Hennessey linked up with drummer Greg Stull. Their styles, you'll find, are quite different. But the means by which they approach them are similar, using a loop pedal to layer tracks and create vastly dramatic swells of sound.



You'll have the chance tonight at Sweat Records when both To All My Dear Friends and Boxwood will take the stage, along with Pure Imagination for a one-of-a-kind show. Meanwhile, New Times caught up with both Ferrer and Hennessey for a quick chat.

New Times: This is a really cool show. Give our readers a hint of what they can expect.

Jose Ferrer: Well, it'll definitely be a trip. All three performers are in the nature of absorbing the audience into their world. So instead of staying home and reading a novel or getting lost in a movie, you can come to this cozy little venue and get lost there.

How'd you get started creating music this way?

Marc Hennessey: I had spent many late nights at home working on orchestral compositions. But I didn't have the connections to get any symphony to play one of my piano concertos or string quartets. So when I heard about the existence of a looping pedal, it suddenly clicked. I could finally perform my orchestral music live for people. And I could blend in aspects of rock and jazz with the guitar.

How would you describe it to someone who hasn't seen it firsthand?

Hennessey: It's like Bach meets Talking Heads.

How did you get involved in this show?

Ferrer: I got involved when Marc contacted me about the show. I'm guessing he saw one of my videos, saw that we both work with loops on stage, and thought it would be a good idea to be on the same bill when he came to town. Sounds right.

Hennessey: I'm currently on a three-month tour throughout the Eastern United States. I create and book all the shows myself, independently contacting the other bands and venues. Playing with performers like Boxwood and Pure Imagination at a venue like Sweat Records makes for a magical night that you don't see too often.



There are definitely some stylistic differences. But there's a commonality in your approach. From your own perspective, what are some of the similarities and/or difference in what you each do?

Hennessey: Jose and I both have a comprehensive understanding of the looping process. Neither of us are just looping. We are using the concept of layering sound to create something beautiful. The difference is that I use the electric violin and guitar to do this while Jose uses a variety of rhythmic instruments with his acoustic guitar.

Ferrer: Marc's music stands on its own. His music doesn't get stuck in that linear build up that most loopers fall into. I try to do the same thing. It's challenging to keep a repeating melody from sounding repetitive with a loop pedal. At the same time, being your own accompaniment gives you the freedom to get really creative, which lends to creating a unique sound. So even though Marc and I use the same pedal, it doesn't mean we're doing the same thing.

To All My Dear Friends, Boxwood, and Pure Imagination. Tuesday, April 5. Sweat Records, 5505 NE Second Ave., Miami. The show starts at 9 p.m. Call 786-693-9309 or visit sweatrecordsmiami.com. - Miami New Times - Nelson Hernandez

Hollywood-based singer-songwriter Jose Ferrer, better known as Boxwood, has earned a reputation for his uncommon performance approach, using a loop pedal to singlehandedly layer tracks live. But his second release, the EP Sun Garden City, leaves no doubt, the studio is his playground.

Which isn't to say you should expect frisky, frolicking tracks amongst the six-song recording, where he continues to play every instrument, and writes, produces and mixes each song. It's decidedly moody (not to be confused with dark). But there's also a certain sense of inherent playfulness running like a current through each atmospheric rendering that comprises Sun Garden City.
From the EP's onset with "Balance" to the closing six-minute "Trails," heavy-footed, bass drums and thundering floor toms drive the six-song set along, while reverb reigns and melodies are populated by a seemingly endless arsenal of constantly colliding and rollicking sounds, from fuzzy guitars to electronic effects. And all the while, Boxwood's echo-laden vocals paint haunting vistas before the expansive canvases he lays down.

Trying to describe it, it almost sounds like it should be utter discord--and perhaps it well should. But it isn't. Instead, it's a carefully orchestrated juggling act, wherein Boxwood managed to let his creative curiosities run free, but still show enough restraint to keep everything in perfect balance.

And his creativity didn't end with the content in the album. He put it on the album as well. Right on the CD packaging, each of which is hand-made out of old vinyl records.

Sun Garden City proves a deft effort for sister paper Miami New Times' 2010 Best Of Miami winner for Best Songwriter, and a highly evolved followup to his impressive 2006 debut The Secret Life of Rocks. And the album is available for free download at Pollen Records' website. - Broward/Palm Beach New Times - Christopher Lopez

We know you love New Times' Best Of Miami issue. We know you pine for it each and every year. And that's why we work so hard to bring you the very best Miami has to offer in one spectacular issue, so that your months of gazing longingly at saved past issues doesn't go unrewarded.

In your quite contemplation of your feelings for Best Of Miami, we bet you have, at one time or another, stopped and thought, "What if I could sample a whole cross-section of these Best-of musical picks, all in one place?" (Or not?) Well, either way, now you can. And all you have to do is head to Churchill's, tomorrow night.

That's right, a whole evening chock full of Best Of Miami winners all in one place, in real life, not just our pages. We're calling it the Best of Miami Music Showcase, and the lineup is gonna blow your friggin' mind, with 10 different current and past winners sharing one stage.

Rachel Goodrich, who won Best Solo Album last year for Tinker Toys, will be in the house. As will Raffa and Rainer, our choice this year for Best Acoustic Performers. Conjunto Progreso's definitely gonna be there, providing some Best Latin Band jams. Best Solo Musician Teepee, Best Songwriter Boxwood, Best Latin Alternative Band Kayakman, Best Collaborator Kentsoundz, Best Local Rock Band MadMartigan (who could've also won for Best Willow Reference in a Name, but just barely missed it), Best Band Metamorphosis winners Animal Tropical and Best Caribbean Band Dangerflow will all also definitely be in the hiz.

And you should be too. Because on top of all that, we're raffling a Gibson Guitar signed by The All-American Rejects. Oh! And how could I forget? The good people at Grolsch and Absolut have been kind enough to sponsor, which means OPEN BAR from 9 to 11 p.m.!!!

If you're over 21, you get in free. Being too young to legally imbibe will result in a fine of $10 to enter, and of course, as the Booze Nazi always says, "NO BOOZE FOR YOU!"

New Times Best of Miami Showcase. 9 p.m. Saturday, July 10. Churchill's Pub, 5501 NE 2nd Ave., Miami. Admission is free for those 21 and over, $10 for those age 18 to 20. 305-757-1807; churchillspub.com. - Miami New Times - By Christopher Lopez

This post by Hollywood one-man looper Boxwood is the first installment of South Florida Bands On The Road (working on a better title). The title of the series kind of speaks for itself. Make sure to check out Boxwood’s music before or after reading this post (see link above). If you’re a band from South Florida, and you have adventures to share, drop mig@ftlcollective.com an email.

Heading North

Some while back, I had submitted to play at the One Man Band Festival in Montreal through SonicBids, an online booking and marketing tool for bands. Their electronic press kit is good to have, but it can cost up to $30 to submit to some festivals, which smelled scammy to me. And if I, Boxwood, couldn’t get into a one-man band fest then my suspicions would be confirmed. Not the case here.

“Congratulations, you’ve been selected!” Crap… That’s a long drive.

On Monday, May 20th, my girlfriend packed my musket and some sandwiches, our driver packed all my music gear into the carriage, and we were off to Canada. Three days later, on a wet and stormy Wednesday night, we arrived in the old city of Montreal, a long and uncomfortable ride to say the least. Along the way, one of our horses fell ill. Janette spent a good part of the ride tending to our driver’s arrow wound and we were almost rejected at the Canadian border. Apparently, and this is important, you need a work permit to play at a bar outside the U.S. No, you can’t just go in and take a Canadian’s job. Luckily, a work permit was not necessary because the festival was renting out the bar. A loophole… wow, epic fail averted.

So here we were, the day before the festival, shoes and socks soaked with rain, checking in to a 100 year old converted hotel. I was scheduled to play tomorrow, day one of this four-day festival at a place called Barfly. 10 venues scattered in-and-around Montreal’s St. Laurent district were hosting 50 one-man bands from around the world. Yes, 50 one-man bands from all over had congregated to this city for this bizarre festival, and I was one of them. I could feel them out there in their tiny rooms, calmly settling within the spectacle of this raucous weather. Any anxieties now defused to a mere giddy anticipation. A strange feeling was setting in, one of kindred-ship with the unknown because, really, that’s what we were, the unknown result of a brain left to itself. Different variations of the same species left to evolve on islands miles apart. We were a Darwinian experiment brought together, and soon we were going to display our plumes, our quirky mating dances, a curious posture. I hope my shoes dry by the time I wake up tomorrow.

Day 1 of One Man Band Festival

Barlfy is a dingy little spot that the locals hold in high regard, sort of like a Churchill’s but a third of the size. There were already a few scraggly bar patrons curled over the bar when I arrived at 5pm for my sound check. They appeared to be the loner/territorial kind, but were quick to lend a hand to my driver as he unloaded my heavy amps into the bar. After a quick sound check, I met up with a young French documentarian, Anne-Charlotte Gellez, in the back courtyard. She had flown in with a small crew to shoot some footage and to interview some of the acts in the festival. The documentary they were making was called We Are A One Man Band. A small excerpt of that can be seen here: http://vimeo.com/66933616

I regret drawing a blank on the last question, which was “if you could give a name to this documentary, what would it be?” I figure the answers will be compiled at the end of the film, displaying the varied personalities of each artist. They’ll have a shot of me staring at the wall for a long minute.

And it’s go time. This was one of three shows happening that night, and the turnout is looking pretty good. A mixture of Fest goers, regulars, and fellow OMB’s are trickling in. First up is Devin Friesen, AKA Bitter Fictions, from Calgary. He flew in with a bunch of pedals and rented a guitar and amp at a local music store. He turned on his gear and began layering fuzz, swells, and feedback, the kind of sounds that would float over a Sonic Youth track. Calgary is a few hours drive north of the Montana border. I don’t know anything about it, but it’s probably the exact opposite from South Florida. Through conversation, Devin and I seemed to be cut from the same cloth, and I couldn’t help but think I’d sound more like this if I lived in Calgary. As a result of his set, I imagine the place to be beautiful, vast and haunting. I’ll refuse any more knowledge on this city to retain this picturesque image for now.

Next up is the scene veteran, Evan Symons, an eccentric specimen from, I think, the Vancouver area. This was one of the stops on his seemingly eternal Canadian tour. Both Devin and Evan spoke of the dreaded drive through the barren wasteland that stretches between east and west Canada, usually breaking the few bands that attempt to cross. But Evan di - FTL Collective

As far as cliche's go, none is more applicable to South Florida than the melting pot. And nowhere is that more visible than inside a smoky bar on Clematis Street on a show night. When Respectable Street hosts four tricounty area bands on Saturday, not only will the 561 be treated to a night of self-proclaimed "Amalgamated Youth Christian Scientist" rock by Ribbon Dancer but they're also getting a sampling of "tropical garage" via one-man, many-pedal-act Boxwood, angst-y crooning courtesy of Miami new wavers False Flags, and some hard-rock guitars from Gallimimus. The diversity's intense, like an aural embodiment of the It's a Small World ride (not the song, obvs). But what else would you expect from a place that's been consistently serving up sweet tunes and booze for more than 25 years? - Broward Palm Beach New Times - By Victor Gonzalez

his Saturday, Fort Lauderdale gets spoiled (finally!) with an action-packed double header. Earlier in the day, Radio-Active Records hosts it’s highly anticipated annual Record Store Day event (more on that in the coming days), and later on in the evening is Block X Blog, a behemoth lineup of artists and musicians taking place in downtown’s Revolution Live, Green Room, and America’s Backyard. Needless to say, there’s is a ton of material for us to cover, and we’ve decided to break it up over a series of short-and-sweet posts that showcase the Block X Blog performers and artists. Let’s begin with the bands (in alphabetical order) …

Boxwood

A solo musician who magically produces the sound of a multi-member act by looping his guitar, vocals, and percussion via the use of loop pedas. For fans of: The Atlas Sound, Porcelain Raft, Dirty Projectors, and Hollywood (FL). - FTL Collective - By Miguel Bravo

How great is it when you find yourself at a party or show that you didn't expect, with BYOB policy and good music? Score! This past Saturday, while the hot ticket was Mos Def at the Adrienne Arsht Center, we opted for something different and headed to Hialeah, a whole world away from South Beach and downtown Miami. The occasion was, I was told, a circus-theme party thrown by a band I never heard before.

Now I wasn't sure what I was going to run into at the Annex, this tiny warehouse space in Hialeah. But I was with "the crew", had some cold and properly mixed cocktails in plastic bottles, and my camera ready to capture anything. It had been a while since we had traveled off the grid, and we were feeling adventurous. But what we found was completely unexpected and to be honest, one of the best times I've had in a while. This was a CD release party for Radioboxer, a pretty popular local band and there we were, sipping our drinks and mixing it up with faces I had never seen. I loved it already. My photo galleries are always filled with the "usual suspects" so I was thrilled already. But I few minutes in, I felt total glee, like a pre-teen at a High School Reunion concert.

The band was awesome, but my heart belonged to Jose, a.k.a Boxwood, Radioboxer's opening act. He's a one-man band layering drum beats, a tambourine, and his voice, creating this heartbreaking sound. Anything that reminds me of heartache instantly makes me a fan.

I left Hialeah with a set of great shots, met new people, heard good music, and appointments with the bands to capture them sometime soon. - Miami New Times - By Jipsy Nefarious

As of today, there may be two classes of live Rock fans in Miami-Dade County: those who attended Radioboxer’s final performance at The Annex in Hialeah, and those who will one day falsely and wishfully claim that they did.

In an unmarked rented warehouse space somewhere in the shadow of Hialeah’s particularly hectic stretch of State Road 826 lies what may be the closest thing the surrounding county has to an underground Rock club. It’s here, at The Annex, where the city’s budding “Bi-Polar Power Pop” darlings played their first organized gig some 6 years ago, and it’s here that they fittingly played their farewell nod to a modest, but devoted, crowd of fans who brought with them both a sad affection for the band’s passing into local history, and an appropriately ferocious sense of celebration.

Always the generous hosts, the headliners remanded the warm-up slots for the show to two of their own favorite homegrown musical entities.
One man-Organic/Electronica junta Boxwood warmed up the word-of-mouth invited audience with his singular blend of technological savvy and Singer/Songwriter sensibility. Armed with a single acoustic/electric guitar, a Loop Master, an electronic drum pad, an array of effects pedals for which some thrilled Guitar Center Sales Rep is still probably celebrating his commission, and a voice tinged with the lush artistic anguish of a youthful Robert Smith, the lone Artist, otherwise known as Jose Ferrer, deftly intertwined intricate backbeats, bass riffs and guitar melodies with introspective lyrics into an entrancing homage to the Electronica pioneers of the 1980’s and early 90’s.
Following were the beloved Hialeah forbears to whom Radioboxer founders Jota and Vanne Dazza owe so much of their local success and inspiration, the erstwhile Humbert, whose brutal musicianship and almost psychic tightness as a musical unit has allowed them to dazzle fellow local Artists for years –often despite an admittedly bare minimum of rehearsal and planning. To describe Humbert in genre-specific terms would be difficult at best, but to imagine the combined influences of the Beatles, the Flaming Lips, early David Bowie, and a slight-to-moderate tinge of undiagnosed mental illness might lead one onto the right path.

As for the Radioboxer set itself, it would be difficult for this Writer to describe the pageantry involved without indulging in self-repetition. Suffice it to say, all of the trademark elements were in prominent effect.
The frightening performance energy, the stripping shirtless and subjugation of both male and female audience members as furniture, props, and transportation at the hands of Lead Singer/Force of Nature, Vanne Dazza, the spilling of stage blood, the showering of attendants in beer, the reckless disregard for stained and distended clothing, and of course the violent sacrificing of seemingly innocent musical equipment were not only unrestrained at this final hurrah, but were celebrated, as were the intrepidity and importance of all South Florida Musicians and the current flourishing of the Miami music scene.

At present, the persons responsible for bringing their beloved locale so much joy and inspiration under the name of Radioboxer have not offered details as to their future musical plans –at least not to the loose lipped likes of this Writer- but to assume that we’ve seen the final incarnation of such a creative and boundlessly energetic pair is both unrealistic and too painful to believe.

The smart money is on keeping your eyes open. And, in the meantime:
SUPPORT LOCAL MUSIC!!
-©Robby Robb MMXIII - The Robby Rob Report

Miami-area music writer mentions Boxwood in article related to best albums of 2012. The best albums listed were national acts, but he gave a special mention to local acts such as Boxwood.

Hans Morgenstern writer of this blog

Jazzy cover art designed by Bert Rodriguez. Image courtesy of Spielberger.comFinally, my top 10 albums of 2012 (and I really feared I wasn’t going to be able to come up with one based on all the film reviewing I did this year [that list will be out tomorrow, by the way]. Another note, as you can tell by the contacts above, I am too partial and precious to my local music scene to pick out local artists, for fear of leaving someone out, but let my coverage this year of Holly Hunt, Boxwood and Spielberger stand for itself.):

Swans – The Seer
I declared it a masterpiece to the creator’s face, and I am happy to own up to it here. It’s a difficult one to listen to from start to finish, from it’s near 2-hour runtime to its sweeping range of emotions, and its dynamics between noisy indulgence and soaring symphonic qualities. I doubt most modern musicians have the kind of talent Michael Gira has and know how to use it as well.

Beach House - Bloom cover art. Image courtesy of Sub Pop RecordsBeach House – Bloom
Another album of bold declaration to the songwriter’s face. I told singer Victoria Legrand that no album has grabbed me with such immediacy since the album that topped my 2010 list. I feel obliged to own up to that and place it after the masterpiece of 2012. Though I interviewed several other musicians, as the coverage of Swans and Beach House on this blog shows, I feel genuinely lucky to have been able to talk to the artists behind some of the greatest albums of the year. To hear these two as much as I did and study them as deep as I did and not get tired of them, either, stands as testament to that.

Grizzly Bear – Shields
I wished I could have written as extensively about and talked to the artists behind this album, but no tour down here made it hard. I was skeptical about this release, as Grizzly Bear has only turned further and further away from its brilliant moody, abstract and atmospheric debut, Horn of Plenty with each release. However, Shields, it’s fourth full-length, had so much genuine soul, it swept away all doubts with each song.

Ariel Pink's Haunted Graffiti - Mature ThemesAriel Pink’s Haunted Graffiti – Mature Themes
I had heard this man’s prior work, but was never blown away … until Mature Themes. It jumps genres with a glee I have not seen since I first heard Ween, 20 years ago. It even had progressive rock elements that remind me of very early Brian Eno. Anyone who can do that deserves props.

Lotus Plaza – Spooky Action at a Distance
So, lead singer/guitarist Bradford Cox of Deerhunter often gets all the attention for the work in the brilliantly noisy Deerhunter, but I am partial to the band’s shy guitarist Lockett Pundt. His contributions are the band’s catchiest and most indulgent. It’s all on display here, his second solo album under the moniker of Lotus Plaza.

Spiritualized – Sweet Heart Sweet Light
It’s been a long time since a Spiritualized album took ecstatic turns into blissful, noisy jams. This album has several of these moments.

Faust - 10 handmade artFaust – 10
It may seem hardly fair to include an unreleased album on my list, but Faust is one legendary group, and it is damn sad that legal issues has kept 10 unreleased. A resourceful bootlegger manufactured two runs on vinyl, and I was lucky to have been led to a copy. The works on here are some of the best I have heard featuring founding members Jean Hervé Péron and Werner “Zappi” Diermaier since the original line-up’s masterwork Faust IV.

Diiv – OshinDiiv – Oshin
I was drawn to the wit and atmosphere of the album cover, something that has not happened to me in years. The contents did not disappoint! By tuns Krautrock-inspired droney to as catchy as the Cure, Oshin was one of the best blind-buy album surprises of my life.

Fiona Apple – The Idler Wheel Is Wiser Than the Driver of the Screw and Whipping Cords Will Serve You More Than Ropes Will Ever Do
It’s a sad shame that gossip rags/blogs seem attracted to hounding Apple. She is one of the most talented performers I have ever seen, and a brilliant songwriter, as well. Her raw delivery and energy are an impressive thing to capture on vinyl, and this was definitely one of the year’s highlights. Between her soulful growls and her resonating piano are brilliant, human insights few pop artists know how to tune into.

Just to off-set things, too, number 11 is an obscure honorable mention:

Birthmark - AntibodiesBirthmark – Antibodies
One of the great but little recognized albums I have heard this year comes from Birthmark. This is the on-going side-project of Nate Kinsella, formerly of Joan of Arc and Make Believe. It features the familiar deconstructive, yet still catchy approach of songwriting th - Independent Ethos - by Hans Morgenstern

Right now, Miami is being swarmed by art fairs, galleries, and artists from across the globe. Of course, we're talking about Art Basel Miami Beach.

A side benefit to all this arty international activity is the influx of awesome music to entertain all the jetsetters. And naturally, Crossfade is keeping a running list of all the events. It will be updated often, so keep checking back. And if you feel like we've missed something, don't hesitate in letting us know by emailing music@miaminewtimes.com.

For actual art-related news surrounding Basel, visit our sister blog, Cultist.

November 29


Photo by Ruvan Wijesooriya
Holy Ghost!
?Favela Beach presents Art Basel Kick-Off with Holy Ghost! (DJ set) at WALL

South Florida Music Obsessed presents Art Basel Pre-party Kickoff with Deaf Poets and Space Between Words at Bardot

November 30


Photo by Jason Schmidt
Santigold
?Santigold and Wale at LIV

Art Loves Music at Collins Park (Artist TBA) According to Basel representatives there will be no Art Loves Music concert this year, update soon

Beached Basel Bash at Electric Pickle with ANR, Millionyoung, PLAINS, Little Beard, Nicky Blitz, and Laura of Miami.

Macy Gray with Rich Medina and Martin Luther at Bardot

MOCA (LA) Beach Bash with 2manydjs (DJ set) and Soulwax at the Raleigh (Private event, invite only)


December 1

YACHT
?YACHT and BFGF at Electric Pickle

Neon Indian with MillionYoung and Contra at Bardot

Nightdrive & Stüssy present Art Basel Kick Off at Mamushka's with Geneva Jacuzzi, Pollyn, Selebrities, Jonti, Steve A Clark, Albert Vargas, Brooklyn Dawn, and Mr. Brown.

Francis Harris (aka Adultnapper) TBA

Refinery29 Miami Launch presented by Guess and Motorola with DJs Mike Nouveau and Mia Moretti at Cafeina

James Murphy and Pat Mahoney's Special Disco Version at Grand Central with Black Lips, Midnight Surfer, and a "surprise guest DJ"

Steinway Piano of Miami presents Pop Up Piano Miami at Louis with Jacob Jeffries Band

SCOPE Opening Party at SET hosted by model Lisalla Montenegro with DJ Mick Boogie

Born Under a Bad Sign!!! Premiere (Neckface) at Gusman Center with a special performance by Salem

Spotify's Music Loves Art with Nas, Theophilus London, and Mark Farina (DJ set) at Ricochet Lounge (Private event, invite only)

(((Shake))) presents Sin City Tour with Hatcha, N-Type, and MC Crazy D at the Vagabond

Dirty Dutch Miami with Chuckie and Arno Cost at LIV

Cashmere Kitties presents Aleks Violet, Boxwood, Armando von Feathers, True Steez, Pocket of Lollipops at the Kohn Compound


?Basel Castle 2011 at the Overthrow Castle with Yelawolf, the Rapture (DJ set), Penguin Prison, Tamara Sky, Bastard Lovechild of Rock n' Roll (AKA Blorr), Heroes x Villains, Damaged Goods, and Troy Kurtz

Moby at Mansion

Fuck Art, Let's Dance at Electric Pickle with Miami Horror, DJ Harvey and Krisp

DFA secret show with DJ sets by Juan MacLean and Nancy Whang at Bardot (Pollstar still claims Hot Chip is scheduled to DJ at the venue the same night)

He's My Brother She's My Sister at the Vagabond (Source)

Tom Tom Magazine's Art Basel Showcase at Churchill's Pub with Holly Hunt, Snakehole, The State Of, The New, Bonnie Riot, Cave Rave, Mother Popcorn, Follow That Bird, and Miss Frankie Rose

GZA performing Liquid Swords at the Stage with Lambsbread and DJ Klassic

SCOPE Closing Party at Mokai with Silver Medallion and DJ Equal

Spotify's Music Loves Art with Sharon Jones & The Dap-Kings and Venus X (DJ set) at Ricochet Lounge (Private event, invite only)

Miami New Times presents music performances TBA at Fountain Art Fair

The Art of Dancing with Danny Tenaglia at WALL

Cashmere Kitties presents Jiriki, Datamouth, Chalk, Metro Zu, Jiriki, Pocket of Lollipops, and True Steez at the Kohn Compound

The Green Gallery and 47 Canal present Demono, the Ice Machine, Amy Yao, Richard Richard, Atiba, and Ako at Mamushka's

December 4


Penguin Prison
?Crosstown Rebels present Get Lost Art Basel at Electric Pickle with Clive Henry, Damian Lazarus, Danny Daze, Deniz Kurtel (live), Droog, Eduardo Castillo, Fur Coat, Lee Curtiss, Lee Foss, Muggles, Subb-an (live), and Russ Yallop

Spotify's Music Loves Art with Penguin Prison and special guest at Ricochet Lounge (Private event, invite only)

Lazy Afternoon with Cosmo Baker, LT Smash, Kittybat, DJ Ynot, and more at Mamushka's (from 5 to 8 p.m.)

Lazy Sunday BBQ at the Standard with The Misshapes , Mia Moretti, and Mike Nouveau

Hard 2 Leave x Art Basel with Craze, Heroes X Villians, Tamara Sky, Ninjasonik, Caligula, Spinstyles, Troy Kurtz, and Sofa King at Goldrush - Miami New Times - By Jose D. Duran

Boxwood
On quiet the opposite end of the spectrum, I present to you, Boxwood. Jose Ferrer (aka Boxwood) crafts colorfully layered noises around each other, creating a whole new world of sound. With the help of looping pedals, his guitar, and vocals, when those hypnotic sounds meet your ears, they spin and swirl aimlessly, making the music a very immersing sort of experience. If you’re a fan of Animal Collective, Dan Deacon, or Zammuto, then Boxwood is definitely for you. His often trippy songs have infiltrated the Miami music scene, getting him a spot on CBS’s Best Local Songwriters list of 2012. Speaking of trippy, Boxwood also has a new psychedelic/diy video out, check it here for a taste of sounds you’ll be hearing on stage! - South Florida Music Obsessed - By Rebecca Bulnes

Callout by Independent Ethos on an article on Cold Cave playing the Respectable Street's 26th Anniversary Block Party festival.

"The article was written in advance of Cold Caves’s headlining appearance in West Palm Beach, Florida, at a music festival celebrating 26 years of existence for stalwart venue Respectable Street Cafe. It’s a free event with four stages of music and a total of 26 bands. One of those bands appearing is a local act, and also a singularly-manned project, Boxwood (read my interview with the project’s found here: Boxwood, a one-man wall of sound, releases “Sun Garden City” EP today).

Also high on the bill is another well-known local act making good outside of town, the Band in Heaven (see the group’s new music video as featured in Spin’s website). Finally of note, is probably Miami’s most popular indie-rock act of national renown, the Jacuzzi Boys." - The Indepedent Ethos - By Hans Morgenstern

The musical void between Delray Beach's Dada and Fort Lauderdale's Green Room is being filled by a new indie night at Deerfield Beach's American Rock Bar and Grill. Northern Broward music fans, rest assured. You can now avoid traveling on I-95, at least for one night, and still catch a show with worthy, original local acts.

Aleks Violet Holubowic -- the former promotions director and current DJ on FIU's student-run radio station WRGP Radiate FM (95.3 FM at the Modesto Madique Campus, and 96.9 FM at the Biscayne Bay Campus) -- is heading up the booking for this new event. It's clear, listening to her radio show, Local Radiation, that this dedicated music devotee has a knack for picking out capable bands from South Florida.

For the inaugural Indie Nights at American Rock Bar and Grill, Holubowicz has slated the loop-pedal madness of Boxwood and the overmodulated sludgy blues of West Palm Beach's Casey Hopkins Duo. She thinks the venue has the perfect set-up to hosts bands but just hasn't had the proper know-how to book the right kind of groups. Until now.

She hopes to bring new drinks to the menu that share their names with local bands. American Rock Bar already does so with national acts on its food menu. You can satisfy your hearty musical and physical appetite with staples like the Black Flag, a half-pound Black Angus burger, and the Descendants, a barbecue Black Angus burger. Best part for you hungries out there: A full menu will be available until 2 a.m.

There are also some killer drink specials, as any promising indie-dedicated music night should offer. Two-for-ones, PBR, and shots of Jameson for $6.50 and $1 beers from the "anything goes bucket" lead the way for those who enjoy a little libation with their live music.

Holubowicz says there will be two bands performing every week. Any bands interested in performing can contact her at americanrockbarbooking@gmail.com. - Broward Palm Beach New Times - By Alex Rendon