The Van Allen Belt

The THE VAN ALLEN BELT still a very special shape for this blog. After some shocking videos and personal recordings of their founder BK Ferris , now have their own company which is called the Non Stop Everything Records and the first release is a 7" to 500 copies with three songs. The Songs 7" does not escape the music aesthetics schimatos. Einai more refined somehow.
A very special and strangely attractive view of pop and psychedelia surrounded by exceptional lyrics, the always attractive voice Tamar Kamin and lo-fi production that gives the final position of the group. Great music for the "pain"; of the modern world of musicians that still do not 'the' lost contain"...
I sent some questions to BKFerris , on the disc and general shape.

Since "Superpowerfragilis" the Group was away from releasing new Material, Although some Videos / State of the Art Came out and some Live Videos TOO. What kept you so Long from releasing new Material ;

BKFerris : A lot of factors, really. We've been travelling a lot more, playing shows across the US Video has become a major element of our show. We change up our live set often, so a lot of rehearsals are necessary. With all the preparation for the live shows and then the travelling it can be challenging to find the time to record, but we manage slowly but surely.
We've been Recording All the while, it can just be a lengthy Process and to finalize a product release .

- Tell us. About These Three new shared tracks. What inspired you, if there's a central etc.

BKFerris : There Is not A theme of much. Just a short collection of songs, as advertised. Two are Exclusive to this 7" for now and the Other is An alternate version of A Song That Will Appear on the next Full Length album, HEAVEN ON A BRANCH .



"Humanist Hymn" is pretty Self-EXPLANATORY. I've always found the reward system of religion to be funny. Why do people need to receive an eternal afterlife or good karma as an incentive to do good things? I think it is human nature to want other humans to like you. Unless you were raised by wolves.



"Taste" was inspired by A Chef I once worked with. He was always very drunk on the job and would just get these silly catch phrases that he would riff on the entire shift. One day he wrote on his sign out sheet, "There is nothing left to taste" I could relate.



" Songs "Came to Me When A Friend of Mine wrote A Song for His ex-Girlfriend with Results unsuccessful. I laughed and Said, " Ha, That Never really Works! "
Songwriters often think they can solve anything with the power of a song. But if she thought you were a jerk before the song, she'll probably still think you're a jerk after the song.
Few songs have actually had earth-shaking results in the history of mankind.
Most people don't really care what the writer is saying in the unlikely event that they are even saying anything at all. And then some years go by and the world has forgotten it entirely.

- It's maybe obvious but what pushed you to create a label of your own and what are you planning to do with it?
Sign new artists, re-releasing the whole Van Allen Belt universe?

BKFerris: It seemed the Logical Way to go. For now it will only encompass projects we're involved with and, at the moment, that is only our band and my solo stuff.
More of the latter coming soon as well. I am friends with some tremendously talented acts and it would nice if some day we could help promote and release them, too.

- What are the band's next Moves;

BKFerris: A Full-Length album is on the Way. We plan to play a lot of shows around our country and are working on crossing the Atlantic. In the immediate future, we're also making more music videos.

- And Finally: What keeps the "Dream" of THE VAN ALLEN BELT Spinning; What motivates you to go on in this unfair sometimes show business?

BK Ferris: Though we Are not Very well Known in the Scheme of Things, the fans do we have are Incredibly enthusiastic and supportive. Also, many of them are, in their own right, brilliant musicians.
I like how I've gotten to meet so many of my living music heroes and to find the respect goes both ways. It's also very nice to hear that I've influenced others.
One of my favorite fan letters was from a kid who was from a very conservative Christian house. He said he found my music when he was going through a transition of beliefs and the music helped him come to terms with his doubt in the existence of God.
That's pretty powerful.
- Tospitimetaparaxena Blogspot

Fluctuating between psychedelic arias, grandiose cinematic scores, off-kilter jazz and swirling breakbeats, The Van Allen Belt successfully sweep through and cram a myriad of styles and ideas into just one song, where others may use a whole album, without producing, it must be said, a directionless mess.

Originally borne from the filmmaker enthused mind of songwriter, producer and multi-instrumentalist Benjamin K. Ferris, in 2007, the group is led vocally by the lyrically dexterous operatic and melting soulful jazz intonations of Tamar Kamin; complemented when on tour and playing live by both electronic musician, percussionist and video artist Scott Taylor and guitar/bassist Tom Altes.

The latest three-track single, Songs, is the first release in three-years from Pittsburgh’s omnivorous collective; a continuation you could say, despite the break, of their last metatextual soundtrack imbued halcyon LP, Superpowerfragilis. Amorphous and often left untethered from a definitive melody or chorus, their free rolling approach is extremely difficult – in a positive way -to pin down.

Contextualised loops and fragrance surreal pop curveballs bring in the eponymous opening suite as Tamar swoons and hops between the enchanted awkwardness of Os Mutants and The Dirty Projectors. Progressive and quite ethereal in atmosphere, ‘Songs’ plays around with what we may recall as familiar sounds, collected from the last fifty or more years, to unfurl a quite challenging sensibility. So the west coast psychedelic scene of the late 60s, the production of Spector, the Fifth Dimension, trip hop, Moloko, Bjork, Parenthetical Girls and Debbie Harry can all make redolent appearances at some point during the performance.

Keeping those polygenesis references to a minimum, ‘Humanist Hymn’ is a more sedately romantic affair. Skipping sampled beats, a gilded piano and flighty but lamentably 70s balladeer vocals once again dreamily reimagine contemporary values and love pained expression “through the monitor of 1960’s production.”

I’m not entirely sure where the African vibraphone jaunt turn industrial electro, watery vocal effects, ‘Taste’, sits in the whole scheme of things, but it’s once again another example of the Van Allen’s illimitable capability to absorb all manner of strange and exotic influences into their ambitious, movie styled, panoramas. - Monolith Cocktail

Fluctuating between psychedelic arias, grandiose cinematic scores, off-kilter jazz and swirling breakbeats, The Van Allen Belt successfully sweep through and cram a myriad of styles and ideas into just one song, where others may use a whole album, without producing, it must be said, a directionless mess.

Originally borne from the filmmaker enthused mind of songwriter, producer and multi-instrumentalist Benjamin K. Ferris, in 2007, the group is led vocally by the lyrically dexterous operatic and melting soulful jazz intonations of Tamar Kamin; complemented when on tour and playing live by both electronic musician, percussionist and video artist Scott Taylor and guitar/bassist Tom Altes.

The latest three-track single, Songs, is the first release in three-years from Pittsburgh’s omnivorous collective; a continuation you could say, despite the break, of their last metatextual soundtrack imbued halcyon LP, Superpowerfragilis. Amorphous and often left untethered from a definitive melody or chorus, their free rolling approach is extremely difficult – in a positive way -to pin down.

Contextualised loops and fragrance surreal pop curveballs bring in the eponymous opening suite as Tamar swoons and hops between the enchanted awkwardness of Os Mutants and The Dirty Projectors. Progressive and quite ethereal in atmosphere, ‘Songs’ plays around with what we may recall as familiar sounds, collected from the last fifty or more years, to unfurl a quite challenging sensibility. So the west coast psychedelic scene of the late 60s, the production of Spector, the Fifth Dimension, trip hop, Moloko, Bjork, Parenthetical Girls and Debbie Harry can all make redolent appearances at some point during the performance.

Keeping those polygenesis references to a minimum, ‘Humanist Hymn’ is a more sedately romantic affair. Skipping sampled beats, a gilded piano and flighty but lamentably 70s balladeer vocals once again dreamily reimagine contemporary values and love pained expression “through the monitor of 1960’s production.”

I’m not entirely sure where the African vibraphone jaunt turn industrial electro, watery vocal effects, ‘Taste’, sits in the whole scheme of things, but it’s once again another example of the Van Allen’s illimitable capability to absorb all manner of strange and exotic influences into their ambitious, movie styled, panoramas. - Monolith Cocktail

On albums such as 2007’s Meal Ticket to Purgatory and 2010’s Superpowerfragilis: Or How I Learned to Stop Caring and Love the Drug, Pittsburgh four-piece the Van Allen Belt has created engaging psychedelic pop rooted in 1960s melodies and harmonies, albeit with an edge reminiscent of the Fiery Furnaces. Led by singer Tamar Kamin’s dreamy vocals and multi-instrumentalist B. K. Ferris, the band continually offers up surprising diversions, throwing in a touch of Las Vegas lounge here, some progressive rock there, with even a little military march for good measure. The band has a very simple reason for being: “We stand for the advancement of human civilization. You can try to stop us, but you will fail.” The Van Allen Belt is coming to New York this summer for a series of shows beginning June 21 at Goodbye Blue Monday and June 22 at Lit Lounge, then will be back July 8 at Pianos and July 9 at Cameo Gallery. “I know it’s been a while / Since I showed my mug around these parts,” Kamin sings on “Lovely in Akron,” continuing, “I think I’m gonna smile / And that’s like a good start / So tragic is this city / But I wouldn’t know / When I’m in it with you.” You can be in it with them in this none-too-tragic city on a tour that should highlight songs from their upcoming album, Heaven on a Branch, along with original animations and paintings by Peter Luckner. - This Week In New York

Unusual Pittsburgh pop quartet whose music runs an insanely wide path, recalling everything from Blondie to the first White Noise album at various times. Quite a nice way to remake/remodel things by shifting them around right before our ears. - Byron Coley - The Wire - September 2013

I love waking up to an inbox filled with new music. What's better than waking up to an inbox filled with new music is when you actually like the music that's been sent. Introducing The Van Allen Belt, hailing from Pittsburgh, this 4 piece band are making people look up with their sound and visuals.
The band, Tamar Kamin on vocals, Benjamin K. Ferris on keys/singer songwriter and Tom Altes on Bass also include a full time sound designer and videographer Scott Taylor.

I have fallen hard for Songs. You know when there is part of a melody in a song that just gets to you, I had this moment for pretty much the entire 4minutes 58seconds. This song has such a lovely vibe to it, so very special and light I was reminded of days of love and being free.
I get a sense from listening to this band, that they make music because they love music, for no other reason other than to create something new, and that's exciting and refreshing to see. It's a modern spin on very old sounds and I am officially captivated by their ambitiousness. Each song is well made, each piece of sound carefully trimmed to sound beautiful. So excited to hear more from The Van Allen Belt. - Room Of Reviews

I was going to start this review with ‘Pialidocious baby!!’ and now look what’s happened… I bloody well have! Boy, this take on all things that rattled the sixties, has been given a modern finish that is pure burnished gold. Brought up to date so that it is totally now - it’s pure genius.

This music ventures from the edge of 60’s psyche band territory (although they sound nothing like them, think Jefferson Airplane at their most playful), through soundtracks that defined ‘hip’ (think Bacharach meets Schifrin meets Barry), and on to the pure pop of luminaries like The Beach Boys, The Association, and the Mamas and Papas. Put all of those together (yes, I know, it is unfeasible, but…), add some of today’s technology, a great (I mean GREAT) pop sensibility, and you get an album like this: impossible to categorise, luscious to listen to.

The production on the album, a perfect vinyl length of 45 minutes, is a colossal strength. One minute there is orchestration, the next handclaps by the hundred, followed by far-out but delicate band explosions - where drums meet keyboards meet guitars meet harmony vocals. This is personified beautifully on “Lovely In Akron”, but, on consideration, I could have picked any of these 11 madly wonderful tracks. And all of this band work / special effects wraps around the gifted voice of Tamar Kamin, whose virtuosity has no limits in this field; she is totally spectacular, with a rise and fall in her voice that is an airfield in width, rather than a field furrow, and yet can snake down narrow lanes of sound between mountainous hedges of instrumentation, and reach her destination intact.

The Van Allen radiation belt is a torus of energetic charged particles – and that is the Van Allen Belt right here, right now, too!
www.myspace.com/thevabelt.com
Kev A. - Rob Forbes - Leicester Bangs

The lollipop purple vinyl of this 7? matches the upbeat nature of these songs, sung in a woman’s rich voice (sometimes in layers), set atop synth and other instrumentation. There’s a gentle, mellow, folksy pop feel to this, epitomized by the following lyric on A1: “I only do right ’cause it feels good.” You will feel good after listening to this. - Humana, KFJC 89.7 FM

Four friends meet at the University of Pittsburgh, start a band, and wind up next to the likes of Toro Y Moi and Fleet Foxes in Under the Radar Magazine. Yes, The Van Allen Belt's rising success sounds like a movie script -- though with less drama than "Almost Famous" -- but the Pittsburgh band has continued to build upon its previous work with the release of the 7-inch "Songs," a precursor to a new album due this fall.

The band -- which takes its name from the Van Allen radiation belt that surrounds the Earth -- has garnered a growing circle of fans by offering listeners something new. Along with Tamar Kamin (vocals), Benjamin K. Ferris (keys/singer-songwriter) and Tom Altes (bass), the group also includes a full-time sound designer/videographer, Scott Taylor, who adds an extra element to their live shows.

"Years ago, I had envisioned the idea of the mixing board being an instrument live," said Mr. Ferris. "DJs have used it for years to a degree, but the idea of rock bands using the mixing board as an instrument in and of itself, on stage, has been a goal of mine for a while."

"A turning point was when he was spinning records and he put on Michael Jackson's 'Don't Stop Til You Get Enough.' I was playing the keyboard and every note that I was playing was changing his voice and the instrumentation behind it," he said, referencing a technique the band now uses often, including on "Songs," which displays a well-calculated balance between a myriad electronic quips and impressive vocals from Ms. Kamin.

The Van Allen Belt's genre-defying style is also accompanied by Peter Luckner, a contributing painter and digital artist who provides original animations, album art and live video for the group.

The eclectic mix of sounds -- including a focus on Pittsburgh's roots in jazz -- is as abstract as Animal Collective with the airy, Zoey Deschanel-like vocals of Ms. Kamin floating along throughout. "We pride ourselves on being a melting pot of music. I like to think of it as music for people that love music," said Mr. Ferris.

"I would say we have two different kinds of songs ... the universal songs and the personal songs," he added. "The universal songs, particularly our last album 'Superpowerfragilis: Or How I Learned to Stop Caring and Love the Drug,' which was released four years ago, had more of a universal political message to it where our current songs are more about people, almost like letters to particular people."

With the pressure to perform intensified by the success of "Superpowerfragilis," The Van Allen Belt has taken a new approach to making music.

"The change in our pace is a big factor in what we're doing," said Ms. Kamin. "Last year we played over 75 shows touring nationally and we developed the performance into an audio-visual experience." - Pittsburgh Post Gazette - Andrew Gretchko

Four friends meet at the University of Pittsburgh, start a band, and wind up next to the likes of Toro Y Moi and Fleet Foxes in Under the Radar Magazine. Yes, The Van Allen Belt's rising success sounds like a movie script -- though with less drama than "Almost Famous" -- but the Pittsburgh band has continued to build upon its previous work with the release of the 7-inch "Songs," a precursor to a new album due this fall.

The band -- which takes its name from the Van Allen radiation belt that surrounds the Earth -- has garnered a growing circle of fans by offering listeners something new. Along with Tamar Kamin (vocals), Benjamin K. Ferris (keys/singer-songwriter) and Tom Altes (bass), the group also includes a full-time sound designer/videographer, Scott Taylor, who adds an extra element to their live shows.

"Years ago, I had envisioned the idea of the mixing board being an instrument live," said Mr. Ferris. "DJs have used it for years to a degree, but the idea of rock bands using the mixing board as an instrument in and of itself, on stage, has been a goal of mine for a while."

"A turning point was when he was spinning records and he put on Michael Jackson's 'Don't Stop Til You Get Enough.' I was playing the keyboard and every note that I was playing was changing his voice and the instrumentation behind it," he said, referencing a technique the band now uses often, including on "Songs," which displays a well-calculated balance between a myriad electronic quips and impressive vocals from Ms. Kamin.

The Van Allen Belt's genre-defying style is also accompanied by Peter Luckner, a contributing painter and digital artist who provides original animations, album art and live video for the group.

The eclectic mix of sounds -- including a focus on Pittsburgh's roots in jazz -- is as abstract as Animal Collective with the airy, Zoey Deschanel-like vocals of Ms. Kamin floating along throughout. "We pride ourselves on being a melting pot of music. I like to think of it as music for people that love music," said Mr. Ferris.

"I would say we have two different kinds of songs ... the universal songs and the personal songs," he added. "The universal songs, particularly our last album 'Superpowerfragilis: Or How I Learned to Stop Caring and Love the Drug,' which was released four years ago, had more of a universal political message to it where our current songs are more about people, almost like letters to particular people."

With the pressure to perform intensified by the success of "Superpowerfragilis," The Van Allen Belt has taken a new approach to making music.

"The change in our pace is a big factor in what we're doing," said Ms. Kamin. "Last year we played over 75 shows touring nationally and we developed the performance into an audio-visual experience." - Pittsburgh Post Gazette - Andrew Gretchko

The Van Allen Belt has, in the six years since its first release, grown into a Pittsburgh band with an out-of-Pittsburgh reputation, a band that's toured the West Coast and plays as much out of town as it does in. But it started out as a pretty cerebral project — a filmmaker's quest to make music while applying techniques from film.

"While I was in film school, I started recording a lot of music," says primary songwriter Ben Ferris. "I recorded solo albums, and I started doing soundtrack work. I was really into Guy Maddin's movies, and I wanted to make music that was the audio equivalent of that. I was also really into White Noise's An Electric Storm, and saw that splicing samples could be used in a way that's far more creative than how they're generally used.

"Reconceptualizing samples — I'd say that's still really the basis of our band."

Tamar Kamin, a classically trained vocalist, began working with Ferris on his soundtrack work, and it was as a duo that they released their first album as The Van Allen Belt, 2007's Meal Ticket to Purgatory. Ferris's film-school friend Scott Taylor would join as a sound engineer and drummer. ("He graduated; I'm a film-school dropout," Ferris says with a laugh.) Bassist Tom Altes rounds out the band's lineup.

Meal Ticket is a psychedelic sound-collage anchored by Kamin's friendly vocals; the simple, almost childlike melodies and the innocence of Kamin's delivery are offset by the unsettling samples and discordant notes in a way that simultaneously recalls Olivia Tremor Control, Stereolab and Brazilian psych-rock.

On the tails of Meal Ticket, the band did a bit of touring, including some dates opening for Stereolab and Atlas Sound. In 2010, the follow-up full-length Superfragilis appeared — in some ways more traditional in its sound, but still full of topsy-turvy samples and synths. It also more directly showcases Kamin's jazz vocals.

The Van Allen Belt's latest is a 7-inch vinyl release called "Songs," named for the eponymous B-side tune. It's a collection of three songs from the same sessions that gave rise to the band's forthcoming full-length, to be issued later this year.

While Ferris started his writing for The Van Allen Belt with sampling and editing as his M.O., the songs are crafted first in a pretty classic manner.

"I write everything on piano and guitar," Ferris explains. "Everything starts out in a pretty traditional way; the sampling is used to fill in the space. They're not complete until they're recorded; they're planned in how they'll play out, but the arrangement is always a surprise. It never comes out sounding how it did in your head. Which I enjoy."

That makes studio work more complicated than it is for many bands.

"A lot of bands just show up to a studio, play the song a few times and take a couple of takes," says Ferris. "This is more like making a movie: You're editing — scene by scene, frame by frame, measure by measure."

"We also got to a point," says bassist Taylor, "where the gear caught up with the concept. Originally, I had hardware samplers and drum machines; eventually we got to the point where we have multi-track recording equipment."

Even what would seem the most organic parts of the songs — the vocals — are put together through editing. Kamin records parts, which Ferris then loops and layers to fit.

The A-side to the "Songs" 7-inch features two tunes: "Humanist Hymns" and "Taste." The former is a piano tune with string and percussion samples and increasingly complex layering of Kamin's vocals in harmony; it's reminiscent of contemporary psych-pop outfits like Secret Cities. "Taste" is more Stereolab-style, with lots of synths and dreamy, wavering vocals.

The title track, clocking in at just under five minutes, is a sprawling beauty. The pace, key and general melody remain the same throughout, but change comes often in the form of new samples and shifts in the instrumentation. One moment, it's bassy synthetic drumbeats; the next, it's nothing but piano. Kamin's vocals here are matter-of-fact, barely singing as much as precise, tuneful talk.

The new material also represents something of a shift in the band's execution. While Ferris insists he still thinks of The Van Allen Belt as by and large a studio band, the band's approach is changing.

"This is the first album where we've performed the songs live before we released them," Ferris says. "The songs on the 7-inch and on the full-length that's coming, we've been playing some of them out for a year."

"Some songs can be more difficult to approach than others," Kamin says. "And when we play live, it's a whole different level. The s - Pittsburgh City Paper - Andy Mulkerin

The Van Allen Belt has, in the six years since its first release, grown into a Pittsburgh band with an out-of-Pittsburgh reputation, a band that's toured the West Coast and plays as much out of town as it does in. But it started out as a pretty cerebral project — a filmmaker's quest to make music while applying techniques from film.

"While I was in film school, I started recording a lot of music," says primary songwriter Ben Ferris. "I recorded solo albums, and I started doing soundtrack work. I was really into Guy Maddin's movies, and I wanted to make music that was the audio equivalent of that. I was also really into White Noise's An Electric Storm, and saw that splicing samples could be used in a way that's far more creative than how they're generally used.

"Reconceptualizing samples — I'd say that's still really the basis of our band."

Tamar Kamin, a classically trained vocalist, began working with Ferris on his soundtrack work, and it was as a duo that they released their first album as The Van Allen Belt, 2007's Meal Ticket to Purgatory. Ferris's film-school friend Scott Taylor would join as a sound engineer and drummer. ("He graduated; I'm a film-school dropout," Ferris says with a laugh.) Bassist Tom Altes rounds out the band's lineup.

Meal Ticket is a psychedelic sound-collage anchored by Kamin's friendly vocals; the simple, almost childlike melodies and the innocence of Kamin's delivery are offset by the unsettling samples and discordant notes in a way that simultaneously recalls Olivia Tremor Control, Stereolab and Brazilian psych-rock.

On the tails of Meal Ticket, the band did a bit of touring, including some dates opening for Stereolab and Atlas Sound. In 2010, the follow-up full-length Superfragilis appeared — in some ways more traditional in its sound, but still full of topsy-turvy samples and synths. It also more directly showcases Kamin's jazz vocals.

The Van Allen Belt's latest is a 7-inch vinyl release called "Songs," named for the eponymous B-side tune. It's a collection of three songs from the same sessions that gave rise to the band's forthcoming full-length, to be issued later this year.

While Ferris started his writing for The Van Allen Belt with sampling and editing as his M.O., the songs are crafted first in a pretty classic manner.

"I write everything on piano and guitar," Ferris explains. "Everything starts out in a pretty traditional way; the sampling is used to fill in the space. They're not complete until they're recorded; they're planned in how they'll play out, but the arrangement is always a surprise. It never comes out sounding how it did in your head. Which I enjoy."

That makes studio work more complicated than it is for many bands.

"A lot of bands just show up to a studio, play the song a few times and take a couple of takes," says Ferris. "This is more like making a movie: You're editing — scene by scene, frame by frame, measure by measure."

"We also got to a point," says bassist Taylor, "where the gear caught up with the concept. Originally, I had hardware samplers and drum machines; eventually we got to the point where we have multi-track recording equipment."

Even what would seem the most organic parts of the songs — the vocals — are put together through editing. Kamin records parts, which Ferris then loops and layers to fit.

The A-side to the "Songs" 7-inch features two tunes: "Humanist Hymns" and "Taste." The former is a piano tune with string and percussion samples and increasingly complex layering of Kamin's vocals in harmony; it's reminiscent of contemporary psych-pop outfits like Secret Cities. "Taste" is more Stereolab-style, with lots of synths and dreamy, wavering vocals.

The title track, clocking in at just under five minutes, is a sprawling beauty. The pace, key and general melody remain the same throughout, but change comes often in the form of new samples and shifts in the instrumentation. One moment, it's bassy synthetic drumbeats; the next, it's nothing but piano. Kamin's vocals here are matter-of-fact, barely singing as much as precise, tuneful talk.

The new material also represents something of a shift in the band's execution. While Ferris insists he still thinks of The Van Allen Belt as by and large a studio band, the band's approach is changing.

"This is the first album where we've performed the songs live before we released them," Ferris says. "The songs on the 7-inch and on the full-length that's coming, we've been playing some of them out for a year."

"Some songs can be more difficult to approach than others," Kamin says. "And when we play live, it's a whole different level. The s - Pittsburgh City Paper - Andy Mulkerin

OK, so there’s a ton of hype surrounding Daft Punk right now, as well as no end of
clamor about the superstars out there touring, but what about all those cool bands
over the years who nobody has heard of? Those poor souls have to rely on word of
mouth instead of multi-million dollar advertising budgets. Not only that, but what
about those poor millionaires who may well enjoy massive success, but for some
reason have never received proper recognition for their writing? There are probably
some ultra-famous folks you don’t even realize wrote their own monster hits. Or not,
as the case may be…Let’s take a stroll past five of the most underrated rock stars
who really should be wealthier, famouser or at least better respected for their
brains, and hope they don’t call us nasty names as we walk by.

1. Wax

Maryland rapper Wax is an under-appreciated white kid who weaves super-rapid tales
of woe and addiction set in a world of fact-meets-fiction. Wax, a Cuban/Irish
hybrid, real name Michael Jones, has enjoyed a deserved meteoric rise to the heights
of underground adulation. With hip-hop genius oozing from every pore, Wax is one of
those rare specimens; the actual YouTube success story. He made it on talent alone
by uploading YouTube vids of himself rapping and playing music. Not only is Wax a
sublime wordsmith, he is an *actual* musician. Howza bout that?

2. The Van Allen Belt

One of my favorite bands of the moment, but sadly under-exposed, the Van Allen Belt
are sensational. A vivid splash of semi-underground psych-pop of the “not quite
1966, but not quite 1965 either” variety, AKA the best, is evident in much of their
work. Female vocalist Tamar Kamin brings a big sound to the table, and this is more
than met halfway by the collective musical efforts of B.K. Ferris, Tom Altes and
Scott Taylor, the other three in the band. Check
out their “Meal Ticket to Purgatory” album here, and listen live!

3. The Rolling Stones

Bear with me on this. Yeah, I know, they have the tagline “The Greatest Rock ‘n’
Roll Band in The World” and are as famous as the Beatles, but one thing people
overlook about the Stones, and especially Jagger and Richards, is that they wrote a
lot of freakin’ classic choonz! Without getting all Kanye on y’all, it seems
everyone wants to talk about how awesome Lennon-McCartney were, but Mick and Keith
came up with some of the best songs of all time! It seems people forget that gems
such as “Satisfaction”, “Jumping Jack Flash”, “Sympathy for the Devil” and “Get Off
My Cloud”, plus many, many more. Their clownishness and general lunacy make it very
easy to forget that those guys were songwriters. But they were. So next time you
hear the cynical genius of “Mother’s Little Helper” remember – it was written by
Mick Jagger and Keith Richards. You can find Rolling
Stones 50 and Counting tickets and info at Ticket Liquidator now.

4. David Byrne and Talking Heads

David Byrne and his merry band were one of the greatest artsy indie bands of all
time, but most people only remember two of their hit songs (“Once in a Lifetime” and
“Road to Nowhere”). Talking Heads recorded eight studio and two live albums between
1977 and 1988, each of which contained numerous modern classics. David Byrne, Chris
Frantz, Tina Weymouth and Jerry Harrison represent one of pop music’s most diverse
musical sounds, with their jagged blend of psych-funk, new wave, electronica and
world music. The release of the live video from which Stop Making Sense came
was probably their crowning achievement. In the film, David Byrne wears a
ridiculously oversized suit, and he and the band rip through an energetic set while
dancing nonstop in front of a lively audience. There aren’t many bands around who
could have pulled it off. Talking Heads remain one of the artsiest yet robust bands
ever to come out of the USA. No question about that.

5. Social Distortion

Social Distortion are one of the true driving guitar bands of modern rock. Why they
aren’t 50 times more famous than Green Day I’ll never know. The California quartet’s
blend of Stooges, Stones and Sex Pistols combines a message, a method and a madness.
Songs like “Don’t Drag Me Down” from their 1996 album White Light, White Heat,
White Trash superbly demonstrate guitarist Dennis Danell’s blinding grasp of
real rock ‘n’ roll. Sadly, that album was to be Danell’s last for the band; he died
aged 38, taking a significant fraction of the band’s talent and appeal with him. The
follow-up album to White Light, White Heat, White Trash was 2004's Sex,
Love and Rock ‘n’ Roll, with guitar replacement Jonny Wickersham doing an
admiral job filling the shoes of the mercurial Danell. Social Distortion’s habit of
taking long breaks between albums meant their next album Hard Times and Nursery
Rhymes wasn’t released until 2011. Hard Times was awash with feelings and
concepts, and the same forceful storytelling prevailed throughout. Th - Celebrity Lists

The Van Allen Belt will make its way back to downtown Youngstown amid a kaleidoscopic prism of lights and video images for a third performance at the Lemon Grove on Friday.
Group members are celebrating their first vinyl recording, “Songs,” from their label, Nonstop Everything Records. Together, the four performed 75 shows in 2012, sharing the stage with Stereolab and Atlas Sound.
“We love Youngstown. The community at the Lemon Grove is so supportive, and every time we come back, it feels great,” drummer Scott Taylor said. “It’s a rare moment to find such great people, and we’re collectors of strange artifacts.”
Lead vocalist Tamar Kamin said the band came together “like a pinball machine,” citing the chain reaction that brought the musicians together.
While living in a seven-person house on the University of Pittsburgh’s campus, Kamin and Taylor met Tom Altes and Benjamin Ferris.
“Tom [Altes] worked at a corner store on campus that we visited almost every day. We threw the best parties on campus, and with so many people living in the same place together, the place was quite the hub,” Kamin said.
Altes and Kamin began performing together with a blues band and as a duo. In 2001, Ferris paid a visit to Kamin and Altes’ place, where he asked Kamin to begin recording with him.
“I said ‘yes.’ After the cops got called, we decided to continue recording at his house,” Kamin said.
The two began recording together, resulting in the Van Allen Belt’s debut album, “Meal Ticket to Purgatory.” The band’s members shifted several times before arriving at its present lineup.
Group members decided to name the band after the three radiation belts surrounding Earth.
Kamin said she loves every show the band plays, but admitted that leading the Van Allen Belt’s performances can be a tall order.
The members of the four-piece band wear many different hats. The final product results in otherworldly sets with live visuals, beats and, of course, instruments.
Ferris said the band’s textured pop sound is “very eclectic, yet fairly consistent” and can be appreciated after multiple listenings.
“It’s a melting pot of sorts. Everything we listen to ends up in the music at some point,” Ferris said.
Ferris acts as the primary songwriter, keyboardist and producer. Ferris collaborates with Taylor, who controls the electronic elements, beats, visual and
sound effects.
Altes slaps both the guitar and bass.
“He makes those sandwiches,” Taylor said. “Kamin creates harmonies and works closely with Ferris in shaping the lyrical structure, and, actually, I think she makes the sandwiches.”
Kamin said improvising away from her course hasn’t always gone too well, but added that the only way to find yourself as a performer “is to stick it out, suck it up and continue to improve, unless you’ve got famous parents, of course.”
“Our songs require me to be very strong, consistent and reliable. Those qualities are very important as a group member, I think,” Kamin said. “For me, I love all the shows we play where people are into what we do. That’s what performing live is all about.”
The band’s long-term goal is to take talents across the Atlantic to see friends and perform in Europe.
The Van Allen Belt’s album is available for presale at Bandcamp.com. The album will ship beginning on Thursday.

Justin Carrissimo, News Editor - The Jambar - Youngstown State University

There are times when this album sounds like a deranged operetta. There are times when it sounds like experimental lounge pop. There are times when it sounds like a straightforward twisted indie. It crashes about all over the place, is riddled with imperfections when the melody doesn’t quite catch, when a couple of songs get lost in one another and so forth, but in general this is pure mental brilliance.

It does feel incredibly familiar – it’s reminiscent of a great many recent bands, but rarely of the exact same ones for all that long. The Revolution Will be Merchandised is an example of a pure pop song: Broadway choruses, sharp lyrics and jaunty brass. There are plenty of these moments in this album, which is a very good thing, because this kind of easy enjoyment anchors the more bizarre moments – it just keeps the record from becoming disorientating, which would certainly be possible.

It’s a fucking smart album as well. Songs called Baby Boomer Backstroke will tell you about the sense of humour of this band, although the wit of the lyrics can be somewhat obscured by their obliqueness and the swirl of the music around them. I agree with Kevin, head* of their excellent label Indiecater, that this really is a album for multiple listens. Great stuff. - Mathew Song By Toad

At this stage I have completely run out of superlatives to describe the wonderfulness of Pittsburgh’s the Van Allen Belt so from this sentence forth effusiveness will be in short supply. Oh fuck it who am I kidding, how can I muzzle a deep rooted belief that this group are one of the greatest living embodiments of musical endeavour on the planet. And their new single release ‘New Songs’ (on vinyl no less) does nothing to disprove the theory as it segues between genres in a wildly inventive manner. Tamar Kamin arrives in pristine condition via her time capsule from the 60's while Ben Ferris tries to subdue a mind that is forever on the verge of spilling an overcrowded cargo of zany subplots. Of course they don’t sound like anything else, which probably explains why the vast majority of the populace run right back into the arms of something that is altogether greyer by comparison. Their time will come. KD
- MP3Hugger

Pittsburgh, PA’s The Van Allen Belt is an endless swirl of musical influences from dream pop, classical, and Brazilian psychedelia. The band’s discography includes Meal Ticket To Purgatory (2007), Vancouver And All The Reasons Why EP (2010) and Superpowerfragilis: Or How I learned to Stop Caring and Love The Drug (2010).

I must say that the band’s past few performances at the Lemon Grove Café mesmerized me and I was indeed in my bliss. The Van Allen Belt is currently working on their new album, Heaven On A Branch ,as well as crafting ideas for a new EP. The Van Allen Belt’s creativity continues to grow. The Van Allen Belt songwriter, author, producer and keyboardist, Benjamin K. Ferris, agrees that the attitudes and the technologies within the band’s music have matured.


“The first couple of albums, I was in a different place in life than now. I’ve matured as a person, so the songs will likely reflect that in my music. The live band set up has certainly been refined over the years and we are happy with it these days. The new album, Heaven On A Branch, that we are working on, is an extension of the concept of our debut album,2007’s Meal Ticket To Purgatory,” Ferris said.

The Van Allen Belt includes, Tamar Kamin, on vocals, Benjamin K. Ferris, on keys, Scott Taylor, on effects, mixing and projections and Tom Altes, on bass.

Ferris has released a number of experimental solo efforts including 5 O’ Clock Follies (2003), No Lamb No Trout (2007), Smokestacks (2007), MANIA (2008) The Liberty In Obscurity (2009), Dangerous Day For Walls (2010), Shinedown (2011), and Bokonon (2011).

“I’m a music lover and have listened to so many works. As a youngster, I liked Mike Patton, Trey Spruance and Frank Zappa. They were all giants to me,” Ferris said.

The Frank Zappa influence is quite evident in Ferris’ 2003 release, 5 O’ Clock Follies. This influence is prevalent on the track, “Southwestern Suite Part 1: The First Week of The New Year.” Ferris said he has been also influenced by the likes of numerous 60’s greats such as The Velvet Underground, the Beatles to the 90’s lo-fi noise of Pavement. He said his first few previous bands embodied this sound.

“When I was in my late teens I got into CAN, which led to an appreciation of minimalism and ambient music. Then came Canadian post-rock, Romantic Composers, 20th Century Russian Composers, be-bop, modern jazz, John Coltrane, Thelonius Monk, and Charlie Mingus. I love a lot of film scores and Italian composers, like Rota and Morricone,” Ferris said

Perhaps it was White Noise’s influential 1969 effort, An Electrical Storm, which influenced Ferris when he was writing and recording, 2007’s Meal Ticket To Purgatory. I remember talking to Ferris at the Lemon Grove Café about the album Meal Ticket To Purgatory. I remember him saying that when creating this masterpiece, he was trying to create the ideal ‘60’s album.

“Influences like Os Mutantes, and Scott Walker played a role as well. On the production end, I always admired Jeff Lynn (Electric Light Orchestra), Bob Crewe, Tony Visconte, and Dave Fridman. Ben Allen and Noah Georgeson are doing some great things lately, too,” Ferris said.

Vocalist, Tamar Kamin said the band has known each other since 2000, performing in various casual, as well as professional musical projects and arrangements. The seeds of the Van Allen Belt began in an experimental project, called Bedtorch.

“Songwriter and producer, Benjamin K. Ferris’ prelude to what would become The Van Allen Belt, was an experimental album recorded in 2005 with Martin Mancini, Scott Taylor and myself, in a band called Bedtorch,” Kamin said

During the mid 2000’s around 2006 to 2007, The Van Allen Belt recorded their debut, Meal Ticket To Purgatory, which was released in June of 2007.

“It was ready before we’d played a single live show together, so at that time we put a band together adding Tom Altes on bass to the line up. Every show was quite unique at that time, because we were trying to capture the essence of the recordings and also to establish a flow between each other as live multi-instrumental musicians. A few different members came and went and the set up was never the same. We started touring nationally in 2008, because we got great invitations and we played shows as The Van Allen Belt together, while at the same time 2 of our members were touring full time with a different band entirely,” Kamin said.

After the majestic opus of Meal Ticket To Purgatory, Kamin said that the band embarked on recording their, “albumette,” Vancouver And All Reasons Why , followed by Superpowerfragilis or How I Learned To Stop Caring and Love The Drug. The album art featured on these releases was done by artist Pete Luckner .

“We released the albums under the name ‘The Van Allen Belt’ simultaneously in January of 2010. This definitely took time to refine and we still haven’t added guitar, horns , strings, or gyrating - Youngstown Rock.com

I have fallen in love with the voice of a woman I’ve never met or even seen. This won’t end well; I have a wife and kids to think about, but I can’t help myself. The voice in question belongs to The Van Allen Belt’s Tamar Kamin who, along with B.K. Ferris, Tom Altes and Scott Taylor form one of the most talented bands out there today. These guys manage to conjur all manner of ideas with the power of their personalities and the combined unusualness of their musical path. I recently listened to their Meal Ticket to Purgatory album, and it’s hard to do justice to this thick slab of high quality choonz, but I’ll try. I’ll also try not to creep out Ms. Kamin by repeatedly referring to how great her voice is. Or not. We’ll see.

The first track was a hazy chant, designed to test the listener, I reckon. It eventually turned into “The Hills are Alive” which was like stepping into another world. Much of this song sounds like a lost Beatles hit, unearthed from an archaeological treasure trough in John Lennon’s back garden…with some Zappa and Residents thrown in for good measure. This is eclectic stuff, executed with as much confidence and ability as anything I’ve ever listened to. They’ve inspired a new word in me: Optimational, a kind of direct antithesis of a live Morrissey concert. Even stranger, I just checked their Twitter page and they only have 124 followers! Perhaps I should handle their social media efforts…

After “Hills” the next track is “The River Hive”. This one left me speechless. It hits you like an external belt of energy that literally envelopes and infuses star-borne particles that cause flowers to bloom in your heart, flowers that are absorbed into the bloodstream and supply a new kind of motion to the brain. I’m serious; this is amazing. The vocals carry warmth that is so utterly convincing I’m suspicious these guys are remote viewers or at least seasoned emotional manipulators. Don Draper’s famous “Carousel” description should have had this tune as a soundtrack. The tune switches to a musical roiling rhythm for the last minute or so that sounds like the Thirteenth Elevators and Sky Sunlight Saxon’s Masters of Psychedelia fused together in some superhuman genetic physics experiment. It worked. “The River Hive” explodes on the mind’s taste-buds like a picnic in a faraway sunsplashed hippie utopia. The mystery girl swears frequently, providing a realism to temper the dreamy quality of her powerful voice. I really need to find her number. Has anyone got it?

“So It Goes” comes next, like Dusty Springfield skipping along a busy 60s city sidewalk on some unknown designer drug that keeps swaying way out into the far spiral arms of what is possible with our monkey minds. The same optimism of “The River Hive” is present. There’s a sense of being on a journey. On foot. Feet, sorry.

“Way Up” bears the now familiar expert-sounding cohesion of all that flowed before it. Folksy and whimsical, again reminiscent of a top 60s diva, it sounds like Springfield reached her destination where she apparently works as a waitress (at least I hope she’s a waitress and not something filthier). One who says things like “I hide from you, and hope you die…” while sounding like the most wholesome girl in the tri-State area, especially when she signs off with “…I just…hope…you’re in time for dinner!”. Tasty stuff.

“Alaska Dreamin’” comes next. For some reason I see this song as a Van Allen Belt anthem in the same way that “I’m Not Like Everybody Else” is a Kinks anthem. The song bears reference to finding a job was “just a practical joke” and entails driving all night and sleeping all day. Ironically, the tune reminded me more of the daytime, a frenetic retro city, where Mad Men and secretaries thronged archaic sidewalks and slipped into incongruous revolving doors of pale green glass. But that’s just me. Ben Ferris from The Van Allen Belt puts it like this:


“People often ask “How did you make Meal Ticket…?” The answer: by borrowing money from friends and sponging off well intentioned people. And then eventually, I had to deliver pizzas again. When I was working, I kept the radio off. It was on the road that I wrote many of the lyrics. When we recorded ‘Alaska Dreamin’’ I really was a pizza guy.”


Driving all night, indeed. There’s a satire here, and everywhere else, that is not unlike that of cult 80s British band “Deaf School”. The same glittery smile that masks a million guffaws. The same nod to eras past as a way to avoid eye contact with today’s vaccuous vipers who live to insult via the Web.

“Alaska” starts with a trademark ‘period piece’ effect. It feels like morning. Clonging (is that a word?), a rapid belltower peals out over a weird mid-60s “Winchester Cathedral” type quasi-English landscape, where everyone dresses in purple velvet with lacy ruffles at their necks. This song has a morphology of its own; Beatles a la “Yellow Submarine” cartoon, complete with elongated legs that terminate in com - Indiecater Records

Here’s a toast to bands that dig through the past and actually come up with something magically new, bands like Pittsburgh’s glorious The Van Allen Belt.

As collected on 2010 album “Superpowerfragilis: Or How I Learned To Stop Caring And Love The Drug,” the group’s fresh take on psychedelia conjures sprightly choral anthems from black and white movie musicals and plops them in the middle of Avalanches-inspired acid trip hip-hop.

The juxtaposition of “old” and “new” sounds can feel so forced, but this is as far from that problem as possible. Nothing sounds like this.

Forest & the Evergreens, who are stalking everyone in Columbus, join The Van Allen Belt at Till this Friday, as does goLab.

-Chris Deville - Columbusalive.com

List and Words by Patrick Bowman
Obviously, Pittsburgh has a vibrant music scene (this site wouldn’t exist if it didn’t), and while I don’t want to pat myself on the back, it was a herculean task narrowing down the Top Ten Steel City Tracks of 2010. I had about 100 favorite tracks not two weeks ago, now only ten remain. For any of those Pittsburgh bands releasing music between now and the end of the year, I apologize for your exclusion, this is my favorite list to make every year and I couldn’t wait any longer. Regardless, I hope you all think this is a pretty good representation of the Pittsburgh music scene in 2010. Enjoy!

10. Meeting of Important People / Jesus Song
With their latest EP Quit Music, Meeting of Important People embraced a distinctly English sound, recalling the classic pop of British Invasion acts like The Troggs, The Zombies, and of course, The Kinks. On “Jesus Song,” lead singer/songwriter Josh Verbanets combines the personal storytelling chops and hook ready happiness of Ray Davies with a galloping guitar line and drum beat to produce arguably MOIP’s catchiest song yet.
Meeting of Important People / Jesus Song

9. The New Shouts / Answers on a Postcard
Cory Allen and Derek White’s (formerly of Pgh’s Takeover UK) latest retro-pop project The New Shouts continues where their group Gems and solo work left off with yet another foray into the blue-eyed soul revivalism. “Answers on a Postcard” is a sugary shotgun blast of AM radio power pop bliss, stuffed with Wall of Sound harmonies, vintage organs, and Allen’s classic croon. It’s impressive to see what White, Allen, and Co. can accomplish with a full band and studio at their disposal; I can’t what to hear what this 60’s pop vibe sounds like stretched out over an entire album.
The New Shouts / Answers On a Postcard

8. Librarians/ Hard to Unwind
Yes, even though Librarians are from Morgantown, WV, I can’t help but think of them as residents of Pittsburgh (the tons of shows they’ve played here are a testament to their locality), if only to include “Hard to Unwind” on this list. The standout from their 2010 release Present Passed, “Hard to Unwind” is the Rust Belt’s “Summertime Clothes,” a churning, tribal piece of synth pop that is equal parts gorgeous and massive, a track that shines brighter and brighter with each listen. Ryan Hizer’s almost-baritone vocals play perfectly off the twinkly synths, swaths of droning reverb and double time percussion, producing what is most certainly Pittsburgh’s, and West Virginia’s, finest headphone symphony of the year.
Librarians / Hard to Unwind

7. Run, Forever / A Sequence of Sad Events
Along with rough and tumble Springsteen/rockabilly stalwarts Gaslight Anthem, Titus Andronicus, and The Hold Steady, Pittsburgh’s Run, Forever nail the inherent spirituality of rock and roll religion without even trying. “A Sequence of Sad Events” from their 2010 release The Devil, and Death, and Me, is a searing and literate rocker; a song that preys on those tried and true notions of fleeting youth and wasted time, where it’s horrifying to realize life could be “a sequence of sad events/I keep repeating,” as lead singer Anthony Heubel wails in the chorus. Regardless of all that dread, “Sequence” is still a hell of a party, and Run, Forever play it with just enough hardcore edge to pummel the cynics, exalt the saints and pay tribute at the altar of rock and roll.
Run, Forever / A Sequence of Sad Events

6. Mother Sun / Wonderful Feeling
Now, for the record, I don’t want to call Mother Sun a “drug band,” but a track like “Wonderful Feeling” with its glitchy, synth orgy of electronic happiness kind of makes it hard for me not to. I could attribute all that positive energy to your standard “good vibrations-”style excitement, but, where’s the fun in that? “Wonderful Feeling” is literally a song about searching for that moment of euphoria when the world suddenly pops into Technicolor and nothing else seems to matter. It also doesn’t hurt that the track seems hell bent on hypnotizing the listener with wave after wave of synth drenched melody, but that’s the point. “Wonderful Feeling” is a sensory overload, a five minute endorphin rush that takes 30 to come down from. Enjoy it while it lasts.
Mother Sun / Wonderful Feeling

5. Lohio / Family Tree
“Family Tree” marks yet another significant step in Lohio’s evolution, with the group slowly moving away from the alt country of History, the Destroyer and their self-titled 2009 EP and producing arguably their prettiest, most cared for composition to date. Shimmering xylophones, a sturdy drum pattern, faint melodic “ooh’s” and lead singer/song writer Greg Dutton’s rubbery guitar provide the song’s central harmony and soul, allowing chorus and verse to repeatedly dissolve beautifully into the wistful cloud it creates. Dutton’s songwriting has never been stronger as he paints an elegant picture of quiet, familial desperation in the chorus, “You got a job, found - Draw Us Lines

The Van Allen Belt from Pittsburgh are a singular outfit and one we hold dear to our hearts. They even let us release their debut on indiecater last year and we know that some day it will be heralded for the genius piece of bonkers that it is. A knowing bonkers it must be said however because even if the shapeshifting drama knocks you off your feet the home truths in the lyrics will apply the requisite damp cloth to your sweaty forehead. And now and then the words are as hilarious as they are destined to hit the truth bullseye. ‘Superpowerfragilis’, the follow up to ‘Meal Ticket To Purgatory’ is no less dramatic than its predecessor and if anything is even more cinematic in its vision. Daytime radio this is not but it could quite easily fill the dark hours with an unparalleled soundtrack. Destiny is on their side and success will be theirs, so join up before it gets too crowded. Don’t believe me? Well then let the following piece open your mindsear. KD - mp3Hugger

I guess they’re too wacky, too cerebral, too funny or too damn talented to have wide appeal but it constantly hurts my head when I think what might be for Pittsburgh’s the Van Allen Belt. They are quite unlike anything else, a smorgasbord of electric ideas swilling around lavish arrangements and a singer who has the personality and looks to steal the show all on her own. We’ve dallied with their releases via Indiecater but there is lots more to take in, namely their latest opus ‘Superpowerfragilis’ which takes off from where ‘Meal Ticket To Purgatory’ left off. Namely an hallucinogenic take on Motown with words that hilariously poke the eye out of this ridiculous world we live in. ‘The Way You Look’ is just ravishing, a tour de force of invention. Take them to your bosom, breastfeed if the mood takes you. KD - mp3Hugger

I guess they’re too wacky, too cerebral, too funny or too damn talented to have wide appeal but it constantly hurts my head when I think what might be for Pittsburgh’s the Van Allen Belt. They are quite unlike anything else, a smorgasbord of electric ideas swilling around lavish arrangements and a singer who has the personality and looks to steal the show all on her own. We’ve dallied with their releases via Indiecater but there is lots more to take in, namely their latest opus ‘Superpowerfragilis’ which takes off from where ‘Meal Ticket To Purgatory’ left off. Namely an hallucinogenic take on Motown with words that hilariously poke the eye out of this ridiculous world we live in. ‘The Way You Look’ is just ravishing, a tour de force of invention. Take them to your bosom, breastfeed if the mood takes you. KD - mp3Hugger

The Van Allen Belt has been steadily gaining popularity in the local scene over the past few years due to a unique sound and solid live performance. After a string of tours, a stint at SXSW, two albums and a few EPs, The Van Allen Belt have shown they’re not going anywhere. They’ve played shows alongside the likes of Stereolab, Atlas Sound, Ela Orleans, Alice Cohen, Givers, Friends, The Night Beats, Louis Logic, Skyzoo, Winter Gloves, and Young Galaxy – an impressive list for such an emerging band. Read our chat below with two of the members, Tamar and Ben, and get to know a bit more about this talented group.

Kymbo Slice: How have you changed/grown as a band since your beginnings in 2007?
Tamar: I’m the only girl now. There’s no drum kit now and there’s no guitar. We added a computer and bass. Many pieces of hardware have come and gone. The members have been the dedicated four since 2008, with a few fun experiments and the occasional schedule conflict. I think we’ve become something pretty amazing to see. We’ve certainly become confident as a group. Our band is a constantly moving process now.


KS: Do you release albums from other bands on your DIY label or is it just for your music?
Ben: As of now, it’s only been our band and my solo works.
Tamar: We digitally released a Christmas song last year under the name Rapping Papers. We’re also working on releasing a new single by Victoria Plume called “Pittsburgh Steelers Half-time Stand”.

KS: You’ve played with an impressive list of bands in the past few years. Any memorable gigs?
Ben: I think the Fillmore show in New York a few years ago will always stand out. It was our first time playing in New York and it was a pretty crazy way to start off.
Tamar: I’m proud to say that there isn’t one I don’t remember.


KS: How’s your new LP Heaven On A Branch coming along?
Ben: So far, so good. We try new approaches every time we record, yet there are consistent elements to all of our albums. This one will sound different from the rest, but stay true to our style. There will be poppier tunes and moments of strange experimentation. It all tells a story.

KS: Your Facebook describes your genre as “Patch Rock” and goes on to say that your music is a non-genre-specific melting pot. How would you describe your music to someone who has never heard it before?
Ben: I used to say things like “experimental psychedelic pop” but no one ever knows what to make of that as it could mean so many things. I might say we sound like fun.
Tamar: I think our music best describes itself.

KS: What inspired the song “Lovely In Akron”? Why didn’t you shoot the actual video in Akron?
Ben: It was actually written for someone in Pittsburgh. I had the line, “So tragic is this city, but I wouldn’t know when I’m in it with you.” I suppose any city has tragic qualities, but I didn’t want to slam my own city as being unlovely. I actually think Pittsburgh to be very beautiful. So I picked on Akron where my father lives. I guess it’s kind of a back-handed shout out.
Tamar: A funny thing about films is that a location in a script is not always filmed on that location, in this case, the location we chose had to do with the logistics of production rather than an aesthetic decision. The production team for Lovely In Akron was an arrangement of filmmaker friends who started working together in Ohio mostly. When Scott and I wrote the storyboard, we focused on elements we would set up rather than on the look of the location. We had hoped to film mostly at night, in which case the look of the background wouldn’t matter, but Ben had to work that night so we ended up with more daytime shots where you can see the lovely Fayette County PA, it’s a beautiful location where many good times have been had.

KS: Who are some of your current influences?
Ben: My family and friends are number one for this album. I wouldn’t say that was as much the case with the past albums. I enjoy many kinds of music and incorporat - Nak You Out

It shouldn’t come as a surprise that a band named The Van Allen Belt has created its own complex universe of music and sounds.

For those folks who aren’t astrophysicists, the actual Van Allen Belt is basically made up of radiation belts featuring high-energy particles held captive by the magnetic influence of the Earth.

As convoluted as that definition may sound, here’s what Van Allen Belt singer Tamar Kamin has to say about her band’s musical intentions on its latest studio effort, “Superpowerfragilis: Or How I Learned To Stop Caring And Love The Drug”:

“The last album was pseudo-politically oriented and psychedelic nostalgic pop,” Kamin said. “We still pretty much keep with that, but the next album, ‘Heaven on a Branch,’ is a little more down to earth and feeling a little more realistic and less politically charged.”

Among the new songs The Van Allen Belt is playing are the spacey “Busy Bee” and the theatrical “Clouds.” Both of which could get stage time when the outfit makes its Youngstown debut Saturday at the Lemon Grove.


So far, the chameleonic band has garnered a wide range of comparisons from composer John Barry to Welsh singer Shirley Bassey.

Within the rock world, Kamin’s vocals stray into a Grace Slick’s Jefferson Airplane vibe. She said one critic even had the audacity to say The Van Allen Belt was “like The Mamas and the Papas joined Crass in Wu Tang’s yard.” The former stems from the group’s 1920s or 1930s lounge-singer sound, while the latter involves its modern psychedelic samples.

“Actually, I feel like people are more accepting because we’re so different,” Kamin said. “We’ve been picked for metal, acoustic and blues bills. People pretty much like us more than if we were a very described genre. People will put us anywhere. It’s really nice they’re willing to do that.”

What’s interesting about The Van Allen Belt live is they’ve accomplished all of these sounds without the use of guitar.

“We’re not able to pull it off yet,” Kamin said. “I feel like when we have more time and we can sit on a stage for a while and spread out even more, then we’ll be able to get the guitar in there, but we’re not quite ready yet.”

Therein lies the enigmatic Van Allen Belt, which took roughly a decade to evolve from local band to regional act. Now Kamin said the outfit, with a wide array of sounds held together by its gravitational pull of psychedelic music, is ready to spread its wings and venture out into the universe in search of its destiny. That may sound a bit grandiose, but this group isn’t your run-of-the-mill local band, or at least not in their own minds.

“Before, we didn’t really feel like we were ready to do a full-on tour, but we’ve got the live shows to a point where we’re really proud with it and satisfied by it,” Kamin said. “We feel like the rest of the world should be too, so we’re ready to go.” - John Benson, Vindy.com

Why does this song attract me so? There seems a magnetic pull here. And there was me just a few weeks ago talking about how no one knows what to do with rock’n'roll instrumentals. This one is an entirely different animal than the Dirty Three song, arriving all cheery and off-kilter, semi-angelic and extraterrestrial (or at least Star Trekky), churning through the ether with its chimey, upturning melody. And yes, it’s not strictly speaking an instrumental in that there are vocals here, but they are wordless and choir-like. And so, to me, an instrumental. (Typically, the band does employ vocals with lyrics, via singer/multi-instrumentalist Tamar Kamin.)

The time signature—the ear-grabbing yet awkward 5/4—is central to its appeal. When the rare someone comes along who can harness 5/4's freakishness into a flowing piece of music, we pay attention. And “Solar Crosses” does it without relying on any kind of swing or in-between beats that 5/4 and 7/4 songs often employ to sound agreeable. What we get instead is a straightforward five count and an open-ended chord progression that gives the melody an Escher-like sense of climbing ever upward. There is no time to catch one’s breath, the music just keeps piling on itself, with bonus flourishes and fluctuations along the way. I like the four-second, two-chord guitar burst at 1:37 and the factory-like drumbeat that takes over at 1:50, to name two.

The Van Allen Belt is a four-person experimental ensemble from Pittsburgh featuring music written and produced by Benjamin K. Ferris. Ferris began writing avant-garde material in the late ’90s and the band coalesced through the ’00s into its current lineup. Everything about the outfit’s background and music is too complicated to sum up succinctly; even their discography (two full-lengths and one EP to date) is muddled by the fact that the EP and their most recent album were released on the same day in January 2010. Their titles are generally too long to mention. “Solar Crosses” has a similarly involved back story, being a song featured on one of four seasonal compilations released in 2008 on the Vancouver label Peppermill Records. Bands participating had seven days to record a song, the title of which had to be taken from a headline in the news that week. (There’s more to it than that but I’m running out of space.) How it came to my attention here in 2012 is yet more complication, plus a dollop of serendipity. Let’s just be happy it did. Thanks to the band for the MP3. - Jeremy Schlosberg - Fingertips Free and Legal Music

3) The Van Allen Belt are from Pittsburgh, but I'm posting their "Out to Lunch" video anyway (I'm a sucker for the line "I enjoy your blog", regardless of the sincerity). To be honest, I"m a little confused as to what is going on visually in the video -- it vaguely reminds me of those posters on the walls of the hallways in my middle school where you'd stand and stare at it for 5 minutes, trying to unfocus your eyes in order to see the 3-D image, instead of going to class. But it isn't exactly that either. There's something kaleidescopic going on, but again, the effects are more complicated than that. Just watch it, and email me or comment if you have a theory. The VAB played a big show at Occupy Pittsburgh on October 15, and they may be coming to a Rust Belt city near you! J/K I love Pittsburgh...Primanti Bros. sandwiches no. 1! Whoo hoo! Pittsburgh is on the move! - Radio Free Silver Lake

The Van Allen Belt
http://www.sonicbids.com/TheVanAllenBelt

Skope: Were you excited about being an A2W artist for October?
The Van Allen Belt: Yes, Yes, Yes, Yes (There are 4 of us)

Skope: What are you currently promoting the most via an album, tour, single etc?
The Van Allen Belt: We’ll be promoting 2 new videos shortly. We’re also in the process of recording a new full length sequel album to our first release and adding to and further developing our live performance.

Skope: Do you have any big shows lined up for this month?
The Van Allen Belt: We’re looking forward to a live radio performance at The University of Pittsburgh’s radio station WPTS on November 16th, as well as some other gigs at that time. This month we’ll be taking over some live stages to experiment on our live set. Those shows will most likely be on the fly.

Skope: DO you plan on putting out any music with a Halloween theme?
The Van Allen Belt: Maybe a Thanksgiving theme song for November… No hints though.

Skope: Do you listen to the local radio where you live?
The Van Allen Belt: Yes, we only listen to the local radio when we listen to the radio. All of our local stations are great. Clearchannel just doesn’t make any sense. Admittedly, we do hand select most of our listenables however. We’ve spent a lot of time in our local libraries and record stores. We all have very diverse musical tastes, as should be evidenced in the style of our group.

Skope: Would you agree that the independent scene is stronger than ever?
The Van Allen Belt: Yes? Hard to concretely answer that one. “Independents” have gotten a lot of Major exposure over the last decade. It’s kind of a subjective question depending on the definition of “Independent” though.

Skope: What is coming up for you & where you at online?
The Van Allen Belt: Recording the new album and adding new elements to our live performance are the main areas of focus right now. Promotion is a tricky thing. It’s good to make oneself available but too much exposure can seem abusive to people, especially online where there are too many competitive portals to access. A viral status seems to be a coveted status on the web, however we find our money more well spent on developing ourselves as artists and creating innovative products with desirable identity. Our true goal is to achieve long term influence and respect form our peers, not to succeed like a flash in the pan and deplete as is the fate of so many in the industry. - Skope Magazine

The Van Allen Belt
http://www.sonicbids.com/TheVanAllenBelt

Skope: Were you excited about being an A2W artist for October?
The Van Allen Belt: Yes, Yes, Yes, Yes (There are 4 of us)

Skope: What are you currently promoting the most via an album, tour, single etc?
The Van Allen Belt: We’ll be promoting 2 new videos shortly. We’re also in the process of recording a new full length sequel album to our first release and adding to and further developing our live performance.

Skope: Do you have any big shows lined up for this month?
The Van Allen Belt: We’re looking forward to a live radio performance at The University of Pittsburgh’s radio station WPTS on November 16th, as well as some other gigs at that time. This month we’ll be taking over some live stages to experiment on our live set. Those shows will most likely be on the fly.

Skope: DO you plan on putting out any music with a Halloween theme?
The Van Allen Belt: Maybe a Thanksgiving theme song for November… No hints though.

Skope: Do you listen to the local radio where you live?
The Van Allen Belt: Yes, we only listen to the local radio when we listen to the radio. All of our local stations are great. Clearchannel just doesn’t make any sense. Admittedly, we do hand select most of our listenables however. We’ve spent a lot of time in our local libraries and record stores. We all have very diverse musical tastes, as should be evidenced in the style of our group.

Skope: Would you agree that the independent scene is stronger than ever?
The Van Allen Belt: Yes? Hard to concretely answer that one. “Independents” have gotten a lot of Major exposure over the last decade. It’s kind of a subjective question depending on the definition of “Independent” though.

Skope: What is coming up for you & where you at online?
The Van Allen Belt: Recording the new album and adding new elements to our live performance are the main areas of focus right now. Promotion is a tricky thing. It’s good to make oneself available but too much exposure can seem abusive to people, especially online where there are too many competitive portals to access. A viral status seems to be a coveted status on the web, however we find our money more well spent on developing ourselves as artists and creating innovative products with desirable identity. Our true goal is to achieve long term influence and respect form our peers, not to succeed like a flash in the pan and deplete as is the fate of so many in the industry. - Skope Magazine

Imagine if the trippy Rock bands and protest prone folk artists and ti0.e-dyed Pop groups of the ‘60s were tossed into a studio and injected with a formula that instantly filled them with outrage over the state of every contemporary ill. That’s The Van Allen Belt in a fist shaking nutshell, from the roll call of social/climate issues in “Alaska Dreamin’” to the Soul Coughingesque a-Pop-alyptic vision of “The Revolution Will Be Merchandised”, to the Zappa girl group Pop of “Baby Boomer Backstroke”. Sonically fascinating, topically immediate, politically/culturally horrified, The Van Allen Belt is the social conscience of America wrapped in brilliantly experimental indie pop.

DIG: The Waitresses tap Tom Morello to write pop songs for the burning millennium. (BB)
- The City Beat - Brian Baker

Having been given the nod from Julian Cope, who endorsed their orchestral weirdness, the Van Allen Belt only hint at what kind of music they make by calling their second album Superpowerfragilis. Subtitle How I Learned to Stop Caring and Love the Drug is a little clearer. Yet this isn't your typical trippy, psychedelic music ? this is unique. Their trick is to combine John Barry-esque cinematic scores with the sweet vocals of Tamar Kamin (who has more than a touch of Shirley Bassey about her) in a way that initially sounds very conventional. But upon closer inspection, the lyrics are incredibly bizarre and surreal, completely at odds with the music. And then that music begins to veer off on strange tangents and do unexpected things before inevitably reaching a pleasing cacophony. This is epic in every sense of the word, and rather splendid.
(Independent) - Exclaim.ca; written by Michael Edwards

Please Visit Link. - The Artist's Forum / AF Magazine

The release of "Superpowerfragilis", second album of this distinctive shape from Pittsburgh, is now a fact. The show had reserved the house last June and listening to it again there is nothing more to add, from what I had written , in addition to sound even better on the official album than in the promo.
It is an excellent album of beauty and truth even in the midst of hot press releases HOT CHIP (Combo), VAMPIRE WEEKEND (I was glad that he went to No1, no matter if I do not like as much as the first), etc., stands out like milk straight flies.
Simultaneously move and the ep "Vancouver And All The Reasons Why", with unreleased and alternative recordings, recorded between the two album ....
You may wish to invest, if you good give and take wide web by going here . Because it is so hot name for the status quo and alternative music album will have the reputation and vindication he deserves, to be discovered in the future as a lost masterpiece of early '10, it would not pass it up because it was overtaken by The Pitchfork or nme or etc. ... - Christos M.

I figure that if you're reading a blog about music, you are probably also interested in keeping ahead of the curve to impress all of your friends with the "next" band ahead of the indie curve. So, to make your life that much easier, there's a new regular feature round these parts - first there was "Songs of the Week", now there's the "Band of the Week".??Enjoy, check back next Friday, and Happy Halloween!
***
band of the week #1: the van allen belt (myspace ) ??If you have a MySpace profile, and ever venture to explore the "Music" section of the massive social networking blackhole, then you've doubtlessly experienced the joy of random friend adds from obscure bands that you've never heard of. And, of course, 99% of the time they're bands that you never want to have heard of. Let's face it, most of the music out there is utter crap. The other day, a little group called The Van Allen Belt gave me one of these adds, and for some strange reason, I decided to actually listen to the music on their profile - and am I glad that I did!??Sporting sultry vocals, jangly instrumentation, and an overall lounge-y atmosphere to boot, the Van Allen Belt is certainly more than a torus of energetically charged particles held in place by the Earth's magnetic field. This Pittsburgh outfit is nothing short of a throwback to a lost age, singing about our bleak future in the most upbeat manner imaginable. Think the Beach Boys , but less optimistic and with a girl singing. Fuck it, I don't even know, I really can't do them justice with words. You'll just have to hear for yourself.??Check out their MySpace, I implore you. It'll be the most fun you've had all week!
- The Lost Art Of Found Sound

Eerie vibe, quiet, listen, the ear draws in close. Trembling piano begins to resound in the room, soon joined by layers of strings and hymnal voices. A white light bursts! A strong female voice is so clear, so concise. This graceful woman with a long silk gown resting over her body takes center stage. She gently curls her fingers around the boxy shape of a glistening old-fashioned mic, standing strong, yet with elegance. Vocals spring from the microphone like gold satin ribbon, curling weightlessly through the air. Tables, chairs, walls around her begin to erupt in slow motion, deteriorating piece by atomic piece, crumbling into dust. Each word is a knife, aimed at the elite class; the fools, herself.

Partaking in a little Pittsburgh-based Van Allen Belt tends to send my fingers to my laptop. From there they begin to rapidly scan over the keyboard, hunting for proof and clarification of the band's lyrics. Eyes frantically attempt to absorb the political and social issues belonging to VAB's new album, Superpowerfragilis: Or How I Learned to Stop Caring and Love the Drug. Subtle statements are thrown into the wastebasket when it comes to this group of musicians. Their tune is one of constant satire, co-mingled with despair, anger, and hopelessness.

Van Allen Belt may be a somewhat advanced and strange listen in the beginning, but those folks truly focused in discovering the darker image of America will no doubt be interested in using VAB as a means of guidance. Every lyric, name, and idea is carefully thought out and holds a deeper meaning only discovered by critical thinking. If education is the means to providing change during our current (and constant) pre-planned economic instability, then consider Van Allen Belt just another adviser. They may confuse, they may offend, they may seem to be a little over the top and extreme in their message. That being said, dig a little deeper into these lyrics if you dare...
- The Indie Peddler

The Van Allen Belt are quite unlike any other band you’ll hear this year (or any year for that matter) and your first impression could well be quite different from the one you harbour after several listens. When I bask in their lavish productions I always think of Motown (a peculiarly indie brand it must be said). Now my knowledge of that particular genre isn’t exactly stellar but there ain’t no mountain high enough to dispel those thoughts. The other thing that’ll strike you about the Pittsburgh collective is their lyrics which are soaked in a most cerebral brand of satire (reminise about that soundtrack to ‘The Life of Brian’). So while you style your beehive you’ll chuckle at the gloriously lobbed potshots emanating from your stereo. ‘Meal Ticket To Purgatory’ is a hugely ambitious work and one you may struggle to digest in one sitting but there are modern classics peppered throughout. The album was originally released in 2007 but we believe it deserves a second airing and a much wider audience. The Van Allen Belt are currently putting the finishing touches to their sophomore so this should keep you entertained until it arrives. The download bundle comes complete with the music, artwork and lyrics.



Here is Ben from the band and his version of events that lead to the recording of this album.

‘I began working on PURGATORY shortly after I was fired from the bar I had worked at. After performing for a couple years in avant-garde acts that seemed to change names every show, I wanted to do something more accessible. Perhaps, something I could live off of. So I recruited 3 musicians I’d worked with the previous year on an awful experimental album and set off to make something “listenable”. Tamar Kamin had worked with me a few times before on soundtracks, but never anything with lyrics. Scott Taylor was a longtime friend and film school classmate. And Martine Mancini had also been a friend for a while and, of all things, the former roommate of the girl who never moved to Vancouver with me.

The first cut we finished was ‘So It Goes’. When we recorded it I was actually living paycheck to paycheck, and unemployment checks at that. I was also working as a lousy freelance videographer and the payments always seemed delayed. People often ask “How did you make Meal Ticket…?” The answer: by borrowing money from friends and sponging off well intentioned people. And then eventually, I had to deliver pizzas again. When I was working, I kept the radio off. It was on the road that I wrote many of the lyrics. When we recorded ‘Alaska Dreamin’’ I really was a pizza guy.

The first mix of ‘So It Goes’ was a little rough, and it became a multiple draft process. In the meantime, we recorded the next two, ‘Charity Sex’ and ‘Way Up’. A moment I will never be able to relive, was the first time I played back ‘Way Up’ and the beat kicked in. It was when I knew we were doing something special.’
- Indiecater Records

Given the amount of technology currently available to budding artists, will there ever be a chance to invent a new style of music altogether? Well, Pittsburgh’s The Van Allen Belt truly belong in the genre called “unclassifiable” even if they helpfully categorise themselves as “other/psychedelia” on their MySpace site. No matter, their first album could become an obscure classic.

On the one hand there are Tamar Kamin’s vocals and the big Motown production. Then there’s Scott Taylor and his mad skills on the turntables. If you can imagine Phil Spector ever decided to make a soundtrack for a political satire and enlisted The Avalanches to help out, ‘Meal Ticket To Purgatory’ might have been the result. The lyrics are an even more surreal experience. ‘Charity Sex’ seems like a swish swinging Sixties song until you really start to listen to lines like “She already ditched you for another man but I’d stay with you ‘til my final breath. For I’d sooner move to Afghanistan where girls like me get stoned to death”. Clearly something has gone awry in Pittsburgh at some point in time.

It’s a theory borne out several times. The most twisted take on gospel music can be heard on ‘Dr. Layman’s Terms’. ‘So It Goes’ starts off as the kind of devoted, soulful ballad which Dusty Springfield would have been proud to sing, although she may have objected to the raging guitars and maddening rhythms accompanying her. In fact, each song seems to give out contradictory messages; ‘The Revolution Will Be Merchandised’ is delivered with passion and conviction rather than the sarcasm you’d expect and the lush ‘I Can’t Believe You Murdered Me’ evokes TV themes from the 1960’s like Stingray and even adds a cracking percussive break for good measure. I’m afraid I have no clue what ‘The River Hive’ is about but it’s a fabulously epic pop song nevertheless.

Without a doubt, The Van Allen Belt have made the kind of music which is likely to make people sit up and listen as soon as they hear it. Yet the real achievement of ‘Meal Ticket To Purgatory’ is that it can still cause a thrill even after a few listens; a testament to the durability of these wonderfully odd songs.

There is surely no band quite like Pittsburgh’s The Van Allen Belt. After being introduced to their startling music via the Irish digital label Indiecater, that idea still holds for the follow-up. The group’s chief skills is to create authentically ambitious soundtrack music that wouldn’t sound out of place in Hollywood films from the 1950's-1970's, were it not for the bizarre lyrical matter.

‘Out Of Lunch’ is the kind of twisted take on musicals that the act have specialised in and sets the scene for equal parts brilliance and madness. The arrangements on ‘The Way You Look’ is worthy of Bacharach with only the earthy lyrics bringing the listener back down to this planet. However inventive the production is though, Tamar Kamin is just as important to the Van Allen Belt sound, showing great versatility with her powerful vocals; particularly impressive in her sassy soul siren guise for ’1997' and downright scary for the unhinged ‘The Status Quo (A Line Dance)’.

‘Superpowerfragilis’ didn’t excite me quite as much as their debut but that’s partly because I knew what to expect. Nevertheless, they are a band who are still in a rather wonderful world of their own and their power to subvert popular music genres shows no signs of running out. - The Weblog of Leonard's Lair

It's rare for an album to leave me feeling perplexed or baffled. Annoyed, irritated, disappointed, exhilarated, depressed, angry, bored, happy, emotional, frustrated, tense, entertained, relieved, cheated.... all of these are fairly common responses. I can generally get a sense of where an artist's coming from, or what an album is aiming to achieve, even if its creators aren't working within the confines of any specific genre, or are stridently attacking all parameters of classification. Based on these premises, I then - intentionally or otherwise - form an opinion on the degree of success the album represents, and whether or not I like it.

This album is poppy, but it's also completely crazy. Not in a wide-eyed, zany sort of a way, but there's something very odd about TVAB's approach. From the swelling cinematic prog soundscape of opener 'Out To Lunch' - which contrasts with the controlled and slightly detached-sounding vocals, and works to strange and perhaps unexpected success - this is an album of curious juxtapositions. Jono Podmore of CAN, who produced their previous album described the work as 'a complex and stylish psychedelic journey through pop history. Like the mamas and the papas joined Crass in the Wu Tang's yard.' This pretty much sums up the incongruous hybridity of their style to a tee: they're every bit as far out of this world as the band's name suggests.

'The Way You Look' is classic sixties pop, down to a Phil Spector-like production, but the lyrics that swipe at religious hypocrisy with lines like 'yes you have bullets that will change our fucking water to wine' and 'you think there's only room in this world for one god / so you keep sex out of your precious little princess' class / and virgins everywhere are ending up with cocks in their ass' strike a rather obtuse angle against the grain of the music.

'1997' has a shrillness that could give Florence Welch a run for her money, but it's saved by the sweeping orchestral arrangement that gives the track a vintage pop feel (apart from in the middle eight when it goes a bit crazy). There are numerous moments of sweep crafted chamber pop, and the innovative and crafted arrangements mean that there's never a dull moment. Unexpected moments and unusual flourishes abound, and stylistic experimentation is something they're clearly not afraid of ('Camp Newton' almost defies genre-based description, but Psychedelic Post-Rock Pop might give you an idea, while West-end Showtunes and Cabaret seem to be as much the inspiration for 'The Status Quo (A Line Dance)' as anything more overtly country in origin), but everything is so perfectly balanced that it works.

The final track, 'Dinner Inside' takes a step further into the realms of strangeness, a sort of interpretative soundtrack to the subject of the title, using elements of semi-operatic pop and Latina filtered through a refractive lens of psychedelic avant-gardism. And then they waltz off into another dimension, leaving me perplexed and baffled. It's a strange, but not altogether unpleasant feeling. - Christopher Nosnibor

goes all soft centred and release a song that could yet be soundtracking the next Bond movie. Anyone who has heard their debut album ‘Meal Ticket To Purgatory’ (it’s on indiecater folks so no excuses!) will know what a colossal proposition they are. But ‘Lovely In Akron’ seems somehow restrained, it still has randomness poking out at obtuse angles but the intense experimentation has been tempered a tad. Not that it dilutes the shock and awe though, nope ‘Lovely In Akron’ still stands head and shoulders above most other music being recorded today. Tamar Kamin's vocals are as immense and welcoming as ever and the swirl of instrumentation is tailored with a master’s eye (you know who you are). The song will be one of several on the Van Allen Belt’s forthcoming sophomore ‘Superpowerfragilis’ and we gotta give thanks to Ben from the band for allowing us to share it with you. KD
- MP3 Hugger

The Van Allen Belt claim to stand for "the advancement of human civilization". If Psychadelic pop tinged with John Barry orchestral flourishes is the music of our next evolution then 'Superpowerfragilis' is a compelling manifesto. With the gusto of Jefferson Airplane and all the histrionics of a Shirely Bassey Bond theme, Van Allen Belt are audacious in the best possible way.

The opening track recalls the sort of high camp drama of Mansun’s 'Attack of the Grey Lantern' before giving way to something altogether more hallucinogenic. Electronic samples, the swell of strings, a distant whiff of brass rolling over thumping drums and all the way through the intoxicating vocals of Tamar Kamin, a vocalist of some prodigious talent and bravery who seems equally at home with delicate lilting tuneful numbers as with insane experimentation. What is perhaps most remarkable is that music of this level of ambition is now being produced entirely on home recording software by the band – the music industry might be arguing that illegal downloading is their biggest threat, 'Superpowerfragilis' is evidence that perhaps the bigger problem is that bands (and their fans) no longer need big studio support to make and distribute music of this calibre.

'Superpowerfragilis' isn’t just a technical accomplishment. It’s musical influences might be obvious, but the satire is relentless and sometimes deliciously brutal ("You think there’s only room in this world for one God / So you keep sex out of your precious little princesses class / And virgins everywhere are ending up with cocks in their ass"). Occasionally the band's vitriol is a little careless. 'Slanted to the Left' might be the most interesting song on the album with its seventies theme-tune feel and delirious lyrics. The only downside is an ill-advised move into Biblical allegory - comparing the "unprogressive Hebrew" to backward thinkers and accusing them of murdering Jesus who is here allied with scientists and videos in being "slanted to the left" – it is certainly not meant to be anti-Semitism, but it leaves a strange aftertaste with a final refrain of "Jesus was murdered by your kind!"

As a listening experience, The Van Allen Belt will keep you constantly off balance. Each song seems to establish its own rules, then break them, then establish some more with such confidence you would think you were listening to Muse. 'Superpowerfragilis' is progressive and completely clichéd, pretentious and hugely silly, in fact it can probably take just about any paradox you want to throw at it. Nice one.


- David Harry, Americana UK

Next, I’d like to draw your attention to the mighty orchestral Ragnarok of SUPERPOWERFRAGILIS by Pittsburg’s Van Allen Belt, whose soaringly epiphanic and euphoric Post-everything meditations on 21st Century Amerika succeed mostly by deploying umpteen orchestral themes sampled from that country’s glorious postwar Golden Age. Yup, by sampling TripHop-stylee those most hoary and Establishment P. Spector and B. Bacharach sounds of the sixties and seventies, then re-triggering those suckers back into the ether re-jigged and re-written from the post-Dubya perspective of No Future, the Van Allen Belt sugars, nay, saccharines its bitter cultural pill AND has us fingerpopping simultaneously. Non-stop orchestral wipe-out? Yes please! Doris Day rides the sybian? U-Betcha! Released by Nonstop Everything Records, this work inhabits a truly bizarre niche something like Cornelius’ early ensemble Flipper’s Guitar as fronted by Dorothy Moskvitch, chanteuse with Joseph Byrd’s flawed-but-high-reaching ensemble the United States of America. Unfortunately for the lyrics’ political comments, the music herein is often just so colossal and seamless that certain pertinent rages are wiped out by the co-lateral sonic damage. Fortunately for us, however, the Van Allen Belt is confidently and vigorously fronted by the Tamar Kamin, clearly the Barbara Strident of the New Age –– and one who seems determined to discover at all times new ways of singing: “Amerika, It’s over, Wake Up and Smell the Roses”. Check out this band at myspace.com/thevabelt, and tell’em to turn the vocals up! - Julian Cope of Head Heritage UK

Pittsburgh psych-poppers The Van Allen Belt really enjoy keeping the start value for difficulty high; between the mesmerizing, serpentine melodies of lead singer Tamar Kamin’s otherworldly croon and the group’s everything-but-the-kitchen-sink performance style, ”Lovely in Akron,” off the group’s 2010 full-length release Superpowerfragilis, is anything but simple. The track easily encapsulates influences from forty years of pop music, evoking anything from the Euro indie-pop bombast of Jens Lekman to the symphonic swells of The Ronnettes, and doing it multiple times in less than three minutes. The linchpin of the entire operation remains Kamin’s voice, a sultry expansion of Zooey Dechanel’s detached song: insouciant but playful, opulent yet controlled.

The Van Allen Belt – “Lovely in Akron”

- Patrick Bowman of Speed Of The Pittsburgh Sound

The Van Allen Belt is a torus of energy-charged particles held in place around the planet by Earth's magnetic field. If you have no idea what that means, don't sweat it. Neither do we.

The only Van Allen Belt you need pay attention to is the local experimental/psychedelic band fronted by vocalist Tamar Kamin -- conveniently, the same Van Allen Belt featured in this week's MP3 Monday! Their song "Lovely in Akron," from their most recent album, Superpowerfragilis, is a super-cool, ethereal blend that kind of sounds like a mix between a WWII-era radio commercial and a contemporary electro-pop DJ.

For more music from The Van Allen Belt, and upcoming live dates, visit the band's MySpace page. - Kelsey Shea of The Pittsburgh City Paper

Opening with the jaw-dropping vocal chorale, "Dr. Layman's Terms," you know you're in for it with The Van Allen Belt's 20-track monster, Meal Ticket to Purgatory. Apparently, that meal ticket is redeemable for a feast of bite-sized psych-pop nuggets, all fanciful appetizers with nary an entrée in sight. And forget filling up on bread.

The album's main sonic ingredients are the dual, multi-tracked vocals of Tamar Kamin and Martine Mancini, simmered with Ben Ferris' guitar and keys and Scott Taylor's rattletrap drums into a reverberating soup, a low-fi version of Phil Spector's "wall of sound." Songs range from Motown girl-group pop to gauzy, synth-laden ballads, from playful to soulful, from nostalgic to sharp-tongued.

Beneath the music's outer-space candy coating, there's a barbed lyrical sensibility emerging on songs like "Alaska Dreamin.'" Here, the narrator offers a sketch of Pittsburgh from the point of view of a pizza deliveryperson: "I'm light years away from wealth / And misery loves companies that don't insure your health / Got me a job with my Chevrolet / Now I drive all night and sleep all day / Shitty like the road design on 'Sliberty / But I'm broke as the Pittsburgh City Treasury."

In all, The Van Allen Belt is a pleasant, freak-out surprise, and Meal Ticket to Purgatory assembles many, many tasty moments. - Aaron Jentzen-Pittsburgh City Paper

The Van Allen Belt
Meal Ticket to Purgatory
SELF-RELEASED

Opening with the jaw-dropping vocal chorale, "Dr. Layman's Terms," you know you're in for it with The Van Allen Belt's 20-track monster, Meal Ticket to Purgatory. Apparently, that meal ticket is redeemable for a feast of bite-sized psych-pop nuggets, all fanciful appetizers with nary an entrée in sight. And forget filling up on bread.

The album's main sonic ingredients are the dual, multi-tracked vocals of Tamar Kamin and Martine Mancini, simmered with Ben Ferris' guitar and keys and Scott Taylor's rattletrap drums into a reverberating soup, a low-fi version of Phil Spector's "wall of sound." Songs range from Motown girl-group pop to gauzy, synth-laden ballads, from playful to soulful, from nostalgic to sharp-tongued.

Beneath the music's outer-space candy coating, there's a barbed lyrical sensibility emerging on songs like "Alaska Dreamin.'" Here, the narrator offers a sketch of Pittsburgh from the point of view of a pizza deliveryperson: "I'm light years away from wealth / And misery loves companies that don't insure your health / Got me a job with my Chevrolet / Now I drive all night and sleep all day / Shitty like the road design on 'Sliberty / But I'm broke as the Pittsburgh City Treasury."

In all, The Van Allen Belt is a pleasant, freak-out surprise on the local scene, and Meal Ticket to Purgatory assembles many, many tasty moments. My only criticism is there's just too much here; sometimes having fewer choices on the menu is more satisfying - Aaron Jentzen of The Pittsburgh City Paper

At the eye of a magical, celestial maelstrom of cinematic majesty and omnivorous referenced whirlwind, The Van Allen Belt‘s vocal vessel, Tamer Kamin ethereal swoons and coos remain an undiscovered treat for the unsuspecting. The group’s amorphous mix of Lee Hazelwood, celluloid and trip hop is an overwhelming tour de force; shifting and progressing in a state of constant flux. Heaven On A Branch doesn’t really sound like anything else at present (Debbie Harry singing psychedelic arias over a mash up of Galaxie 500 and Moloko is close but still wide of the mark), and if there was any justice this album would be in every top list this year. Instead it’s up to the little men and women, on the pit face of music, to shout the clarion call. Justly so, Ayfer Simms wrote one of the most beautifully descriptive reviews ever for this LP. - Monolith Cocktail

Look up! Past the stratosphere, there is a psychedelic wavelength trapping a ghostly clamor, a cool jazzy voice, traces of an older era of sounds, perfectly paired, bred with something new, a feel, a new genre perhaps that has no label as yet. It is possible to name the instruments one by one, even describe the vocalist’s suave confident voice that echoes above our heads, yet put all together this become a breathless orchestra, upbeat and melodious that forbids any sorts of appellations: “don’t give her any, she don’t need none, she don’t need none”. Indeed, we want to apply this for the Van Allen Belt as they pull us in a trance like mood for a minute before throwing us in a befuddled happiness the next. The tracks are like a roller coaster, sounds from the past swirling above our world while carrying the darkest of us with it.

With the Van Allen Belt we are inside the firework, the instruments are crackling brightly high in the sky, mingling with the radio waves flying off from earth. These are echoes, chants, icicles from caves, tales from the stars, and despite the buoyant inflection, a cry of humanity stripped of its lamenting attitude. If you look closer, the themes of the songs are encroached under the skin; there is something rotten in the kingdom of the disco pop, hard, like hideous harsh things hidden on the dark side of the moon, ashes of corps?



Songs like ‘Bubble Gum’ depict a man about to die after the lethal injection, facing humanity with a great yet uneasy sense of humor, ‘Southside Story’ stippled with drug addiction references “married to the needle still, climbing back with aderol”, ‘Slopes’ with prostitution and misery, ‘Clouds’ a tale of mental deformation “Santa Sangre plays on the screen” (the story of a traumatized clown who saw his suicidal father cut off his mother’s hands before killing himself) and the name of the Russian compulsive obsessed musician Shostakovich is thrown in almost as an insult, or a prayer to the real face of humankind, not to mention the text itself versed as if from the diary of a deranged poet. The first track ‘Rain’ is an existentially charged plead: “Let go of burden, one thing is certain, rain from your eyes”. While the sound is upbeat and ardent, the lyrics portray a murky world with a bleak outcome, arranged in an elegiac spirit.



The 1960’s atmosphere is well present, the vocals, the instruments like trumpets and the echoing melodies as well as some references to that époque’s mythical pop disco are magnetic to say the least. “I wish I could see you all the time”; close your eyes now, and feel the breeze, the vintage air from the gleaming and sizzling sounds, the one millions little details, the tunnel of sounds, “you make my heart beat so fast”, this is a new kind of gospel, a busy music box where the sound bursts as soon as released. Who can tame the trumpets, the guitars and the drums?

The name of the band taken from the radiation strip around the earth is exquisitely chosen and perfectly fits the stance of the band: What are we but invisible energetic charged particles? - Monolith Cocktail

When was the last time you discovered something new? Not new in the universal sense, like spawning a brand new species in some sparkling white laboratory somewhere, but something new to you? Discoveries are made melancholy; I feel, by the knowledge that they've usually existed around you the entire time, little to your knowledge. Imagine how James Van Allen must have felt when he discovered a ring of energized particles in Earth's magnetic field. What does it mean? No clue. But he actually discovered something that had actually been surrounding all of us for quite some time.

Discovering new sounds is the Sisyphean pursuit of music-lovers in general, let alone those poor, unfortunate souls that write about music for a living. Years of sifting through different bands tends to lead to tiny fractions of differences that stand as a reasonably suitable metric of telling one similar band from another. Genuine surprise is a coveted commodity. What remains, save for the tantalizingly rare presence of a truly genius and original artist, is the most creative way of stripping down and rebuilding what we've come to know of popular music. In recent times, Tune-Yards and St. Vincent have been superlative practitioners of this sort of genre experimentation.

Named after that aforementioned scientific discovery, The Van Allen Belt are doing their part to tear down and rebuild. Their recent LP, Heaven on a Branch, is a sly study in mixing and matching. The ways they play with sounds and expectations is sometimes so subtle that you find yourself waking from a trance at a song's end and wondering what route you took to get your head where it's arrived. A big part of the band's success comes down to lead singer Tamar Kamin's effortlessly soulful voice, which handily weathers the storm of mastermind Benjamin Ferris' gently forceful experimentation.

"We started recording in 2006 as an untitled project," says Ferris. "Originally, the idea was to make a modern spin on the Phil Spector girl groups. Since then, we've evolved into something entirely different. We were all friends long before we made music together. Both Scott Taylor and I are transplants to Pittsburgh from Ohio. Very early on, we met each other in film school. Tamar was actually squatting at a friend's place while she was still in high school. ... The first album was a lot of samples of old recordings, along with live instrumentation. Scott played drums, I played keyboard and bass, and we processed those sounds to match the samples. Now, we have a greatly electronic setup. Scott's a MIDI wizard, so a lot of it is MIDI manipulation. The new album, for instance, has a lot of manipulated turntable channels that are chopped up and reconstructed to conform to the chord structures."

With the addition of Tom Altes on bass and guitar, The Van Allen Belt was underway. Soon, the girl group flourishes of the early days were replaced with choral arrangements and instrumentation that bounces from '60s lounge grooves to beat-heavy grooves to almost Suicide-esque electro slow-burns, all with the assured lead of Kamin's smoky, relaxed vocals. Even a cover of Neutral Milk Hotel's unimpeachable "Holland, 1945" is approached in a roundabout way that practically dares hipsters to throw a fit. In a live setting, all of this is accompanied by vibrant visuals that trade off in pastoral serenity and brain-melting awe.

It's not surprising that the band has opened for the likes of Stereolab and Atlas Sound, with their dedication to globetrotting experimentation and airtight grooves. New sounds are hard to come by, but The Van Allen Belt shows that there are people out there still searching. What they find can still surprise. - Northwest Military

The Van Allen Belt, the night’s only touring act, brought with them a captivating live set that incorporated live sequencing and sampling as well as vivid projections. I keep picking up strange traces of dub and R&B amidst quirky pop arrangements. They’re the kind of band that needs to be seen again in order to demystify. With any lucky, their travels will bring them back through town without too much delay. Due to some confusion with the start time, we sadly missed Francine Thirteen, but cannot wait to catch a future show after hearing unanimously - Pop Press International