#Kelsey Kopecky

[stuffaboutminneapolis]

Minneapolis - Kelsey Kopecky

[thewildhoneypie]

Taking a break from her long running band Kopecky, Kelsey Kopecky is breaking out on her own with the exceedingly charming “Minneapolis.” [Read more]

[stephensdesk]

Rinse - The Future of Laundry

Writer / Director: Ryan Patrick (ryanpatrick.us) Producer: Matt Bobbitt DP: Jason Chiu EPs: Martin Rodahl, Neha Schultz Additional Copywriting: Jacob Grandt

Prod. Co: Picture North

Starring: Karen Barazza, Frankie Ray, Joseph Lopez, Michael Sifain, Billy Cruz, Noel Elgrably, Aja Hinds Voiceover: Corey Katona Casting: Michael Beaudry @ Blok M Casting

1AD: Alec Schiff 2AD: Chris Bedell Production Coordinator: Scott Carnahan

Production Designer: Eloise Ayala Art Director: Jessica Ayala Schneider Leadman: Eric Kopecky Set Dressor: Louis Contino

1AC: Alexander Han 2AC: Omar Rojas Cruz

Wardrobe: Sabrina Liu Wardrobe Asst: Richelle Miller MUA: Jacque Piotrowski Studio Teacher: Stella Pacific

1AC: Alexander Han 2AC: Omar Rojas Cruz

DIT: Gavin White Audio Mixer: Emett Casey

Gaffer: Colten Currey Gaffer (B Unit): Mike Collier BBE: Logan Wade Key Grip: Doug Sampson BBG: RJ Saraza Grip: Patrick Stinde

Editor: Talia Pasqua Post Producer: Michael Nowicki Color: David Torcivia Sound Design: Jackie! Zhou at OT Birds Asst Editors: Olivia Rose Curry VFX: Nathan Matsuda

CCO: Ryan Archambault CCA: Ra’Shon Harper Cleaner: Ruth Lopez Truck PA: Celeb Meyers PAs: Hector Aguirre, Julian Tahyar, Tabletha Jackson, Kelsey Denney

[mirceabanu-blog]

RINSE // THE FUTURE OF LAUNDRY from RYAN PATRICK on Vimeo.

Director: Ryan Patrick (ryanpatrick.us) Producer: Matt Bobbitt DP: Jason Chiu EPs: Martin Rodahl, Neha Schultz Prod. Co: Picture North

Starring: Karen Barazza, Frankie Ray, Joseph Lopez, Michael Sifain, Billy Cruz, Noel Elgrably, Aja Hinds Voiceover: Corey Katona Casting: Michael Beaudry @ Blok M Casting

1AD: Alec Schiff 2AD: Chris Bedell Production Coordinator: Scott Carnahan

Production Designer: Eloise Ayala Art Director: Jessica Ayala Schneider Leadman: Eric Kopecky

Set Dressor: Louis Contino

1AC: Alexander Han 2AC: Omar Rojas Cruz

Wardrobe: Sabrina Liu Wardrobe Asst: Richelle Miller MUA: Jacque Piotrowski Studio Teacher: Stella Pacific

1AC: Alexander Han 2AC: Omar Rojas Cruz

DIT: Gavin White Audio Mixer: Emett Casey

Gaffer: Colten Currey Gaffer (B Unit): Mike Collier BBE: Logan Wade Key Grip: Doug Sampson BBG: RJ Saraza Grip: Patrick Stinde

Editor: Talia Pasqua Post Producer: Michael Nowicki Color: David Torcivia Sound Design: Jackie! Zhou at OT Birds Asst Editors: Olivia Rose Curry VFX: Nathan Matsuda

CCO: Ryan Archambault CCA: Ra’Shon Harper Cleaner: Ruth Lopez Truck PA: Celeb Meyers PAs: Hector Aguirre, Julian Tahyar, Tabletha Jackson, Kelsey Denney

[sonicoverlook]

Sonic Overlook -- Episode #108 -- March 17, 2017

SETLIST:

Angel Olsen - Who’s Sorry Now? [Connie Francis cover] - Resistance Radio: The Man In the High Castle Album

--BREAK--

Feist - Pleasure - Pleasure

Spoon - Do I Have To Talk You Into It - Hot Thoughts

Kelsey Kopecky - Love Me - The Babysitter Worktapes EP

Chris Shiflett - Sticks & Stones - West Coast Town

--BREAK--

Laura Gibson - Animals - The Easy Way [Single]

Cailin Russo - September Rose - September Rose [Single]

Tara Jane O’Neil - Blow - Tara Jane O’Neil

Cherry Glazerr - Hot Cheetos & Wine - Our First 100 Days

--BREAK--

Day Wave - Untitled - The Days We Had

Moon Duo - Lost In Light - Occult Architecture Vol. 2

Livingmore - Gone Too Fast - OK To Land

Banditos - Fine Fine Day - Visionland

--BREAK--

Father John Misty - Things It Would Have Been Helpful to Know Before The Revolution - Pure Comedy

Cotton Mather - Better Than A Hit - Wild Kingdom

Delicate Steve - Winners - This Is Steve

***

Check out new episodes of Sonic Overlook every Tuesday & Friday!

[gigforvictory]

Joseph + Kelsey Kopecky / Headrow House, Leeds

Wednesday 28th June, 2017

[wott-nashville]

Volume 87

Download MP3 | Download Chaptered | Subscribe

Another podcast of wonderfully diverse music from the Nashville area. This one hits on some great new songs from Phantom Farmer, Steelism and Kelsey Kopecky while highlighting some previous releases you may have slept on (see Savoy Motel and Clear Plastic Masks).

Hudson McNeese - main menu

Phantom Farmer - Cross Town Kids

Jensen Sportag - Levitation Dream

Penicillin Baby - Who Cares

Steelism - Eno Nothing

Savoy Motel - Western Version Boogie

BRiLeY - Prolly So

Kelsey Kopecky - I Don't Know

Clear Plastic Masks - Take a Little Drag

[robdefina]

Album Review: Kopecky - Drug For the Modern Age

Only recently did ‘Kopecky Family Band’, a small folk-pop quintet from Nashville, become ‘Kopecky’. In this nominal transition, the band went from their hand clapping alternative folk routes to sprouting new modern tones such as synthesizers and heavy percussion. The name change is justified, as the original title was a little awkward and kind of a mouthful. The change in sound however, is not as easy to accept. Their debut, “Kids Raising Kids” was triumphant for its big band take on popular contemporary folk bands of the time like Fleet Foxes and Milo Greene. The record’s catchy singles, such as “Heartbeat”, never gained much traction but were worthy of much praise. 

Earlier this year, when the lead single from Drug, “Quarterback”, was released, the direction seemed promising. Kopecky had cut back on its harmonies and left room for a more electronic soundscape to grow. This single was followed only months later by the even more awesome “Talk to Me” which maintained the hand clapping nature of first album tracks but also brought the band’s clout up enormously - it seemed they were more versatile than they let on. So it was fair to assume that the new music would be heavily geared towards a poppier soundscape, and there were no complaints. 

When you start listening to “Drug For the Modern Age”, you may surprised to find that the first couple of songs don’t really match the singles you heard before the record’s release. The opener, “Die Young”, is a midtempo song that is quite catchy but relies on no hook to immediately capture your attention. Surely it was put at the front of the album to keep up thematically with the rest of the record, but it doesn’t quite deliver the opening punch. “My Love” follows, and it sounds very similar to the first record, with only slight tweaks. The chorus is also catchy here, but it gets a tad repetitive. Both of these songs are great in their own right, but neither contains the energy necessary to kick this off properly.

The album finally comes into its own on track three, “Better Luck Next Time”, which doesn’t call to any gimmicks to draw you in, but is cool, breezy and wonderfully arranged from start to finish. This launches the album in the direction it needs to go, and all the tracks from here on out have a ton of merit in comparison to the album’s openers. The only big stumbles on the album are its slower tracks. “Closed Doors” feels heavily personal but is restrained by an uninviting melody that sounds like a lullaby gone wrong. And while the darker, “Burnin”, has a ton of potential, it goes on in its subtle monotone for far too long to truly make a lasting impression. 

Now, with the negatives done and over with, all that’s left is praise. “Drug for the Modern Age” is a knockout when Kopecky is energized, and they do pop music so well you wonder why they even bothered starting with folk in the first place. Songs like the roaring “Vancouver” and the elevated “Natural Selection” are both knockout hits from start to finish - catchy choruses, well rendered vocals, and collaborative instrumentation that screams to be presented live. Even more doused down pop music like the incessantly catchy “Real Life” is executed with endless finesse. Kelsey Kopecky owns the track with her nagging “Talkin’ like you own the place... Walk a mile at my pace” in a song about finally living together after a long relationship. This is one of the only songs here that features both vocalists in their elements, and manages to capture some heft that this band didn’t achieve the first time around. 

Other notable tracks include the electro-yet-jazzy “Thrill”, whose arrangement calls upon horns and synths to access a darker feeling of wanting what we can’t have. Kelsey Kopecky sings this one solo and she owns it entirely, proving she is the lynchpin of this operation. The track punctuates the record’s theme of attempting to fill the endless voids we all possess. All of this comes to a head in the title track’s closing lines. “Drug For the Modern Age” (the track, not the record) ends up stealing the show, with its 90s pop influenced pre-chorus of “I’m not waiting, I’m not waiting for you no more” and soars into a choral chant of “Oh you’re drug for the modern age! Oh! Ah!”. With this track, Kopecky remind us to fill our voids with the people in our lives we choose to surround ourselves with. Not an extremely eye-opening final realization but the effort is there. And that’s the great thing with this band is that they’re trying and they’re mostly succeeding. 

For the future, it may be best if Kopecky stick to their original guns on slower tracks. The debut’s “Change” still remains one of the greatest slow songs these ears have had the pleasure of hearing. But for their larger successes, they are on the right track. “Drug for the Modern Age” isn’t an all out pop showcase but it might have benefited more from being such. In the end, Kopecky still has some kinks to work out, but their progress is not a struggle by any means. For a sophomore record, they have exceeded expectations and have likely produced some of the best music they will create throughout their careers. So, while the album may have a few skippable moments, it still stands out as one of this year’s achievements, and you would be wise to tune in. 

Track-by-Track:

1. Die Young - opens on a simpler note. The song’s melody is softly sung by Gabe Simon, whose voice is quite prominent on this record. The song is most appreciated after multiple listens and is definitely a ‘grower’. The bridge is its standout moment, when a chant cheers “Oh I believe” over and over. 

2. My Love - “Kids Raising Kids” with a little punch of electronic is the essence of this Cinderella story turned modern. The chorus gets a little too repetitive to stand out, but anyone who was sold on the first record is likely going to find a place in their heart for this catchy tune.

3. Better Luck Next Time - Full fledged electronic percussion carries this track to a higher level of musicianship for Kopecky. The verses are to be commended here, entirely capturing the essence of some late-night wandering thoughts before slowly easing into a simple chorus that holds onto its longing ever so tightly.

4. Quarterback - The album’s first single is a knockout. The chorus explodes on “It was a lieeee, just to get you to call me”, a chant whose power is entirely driven by a flawless guitar line and some free spirited drumming. Its lyrical content isn’t deep, but it’s nice and intricate - the story of a grocery shopping cart kid (professional name for this?) who tells a girl he’s a quarterback to get her number. If you ever paid for a shopping cart you’ll get it.

5. Real Life - This 80s influenced song has enough energy to stand alone as a future single, and I hope it becomes one. The back and forth vocals on the chorus between Kesley Kopecky and Simon are sure to make for a wonderful live performance. The track is fun and playful but also very methodically arranged. 

6. Closed Doors - The first dud on the album only acts as one because of its taunting melody. For the first time it seems Kopecky is shaken by her own abilities. It sounds like a schoolyard “na na na na” slowed down and drowned out. The saving grace here is the build at the end, which sounds much more confident than anything that precedes it. 

7. Talk to Me - The handclaps return on this dance floor anthem. “Talk to Me” is Top 40 worthy stuff with its insistent tempo and wild melody on the chorus where Simon sings “Let’s fall in love I’m working over time, looking for the chance to get away”. This track is a standout for the record and for the band.

8. Thrill - Electronics meets jazz for this dark ballad highlighting desire. Kelsey Kopecky sings her first solo endeavour on this record and it makes one wonder what a solo career would sound like for her. She pulls all the right moves on this song and the melody is on point.

9. Vancouver - This song will likely be your favourite after two listens. From the start, you’ll hear licks of The Black Keys-influenced arrangements. The chorus is unbeatable with its “I keep my fingers crossed when you’re around”. True to its heart, “Vancouver” is a pop song about love that screams radio. 

10. Natural Selection - The darkest of the upbeat tracks is a wild exploration into electronic territory. Simon has never sounded better on the chorus when he practically yells “I feel my soul breakin! You got my knees shakin! It’s just a matter of time!”. Then the bridge goes back into hand clapping territory with the chanted “down, down” leading into its final, passionate chorus.

11. Burnin’ - The better of the slower songs captures Simon in his darkest tones. “From the bottom of the bottle I can see you looking down on me”, he agonizingly calls from beyond the synths. I appreciate this track for its ability to be so depressing in an album where melancholy is nowhere to be found. The chorus’ lyrics are powerful in their own right - “What I love is bad for me” - highlighting the theme of addiction. This song’s largest issue is it goes on for too long in the same manner, but it is worthy of acknowledgement despite this. 

12. Drug For the Modern Age - More like classic for a modern age. The song has a pull similar to “Drops of Jupiter” and would likely be a radio success if it were 10 years ago. That pre-chorus of “I’m not waiting” is especially memorable, and is likely the one ringing sound you hear from this album when you’re through with it. Then the final chorus rises to a soaring string section backed with a choir-like vocal of “Oh you’re the drug for the modern age!” I cannot describe to you how much I love this song. 

“Drug for the Modern Age” is out NOW! 

[wott-nashville]

Kelsey Kopecky “I Don’t Know”

Remember the band Kopecky? Well, the namesake of said group is Kelsey Kopecky and she’s forged out on her own to record a brand new EP entitled Babysitter Worktapes. It’s out on June 16 but you can preview the first bit of “lo-fi dream pop” from the recordings with this Mike Kluge directed video for “I Don’t Know.” 

[alexshahmiri]

Kelsey Kopecky & Gabe Simon

[resonatingqueens-blog-blog]

Kelsey Kopecky of Kopecky Family Band at the O Music Awards

[knoolstervenue]

Kopecky Family Band - Heartbeat

Bandas com mais de 5 membros tem um aspecto interessante. Você tem a real certeza que eles estão nessa pelo amor a música mesmo. Porque dividir o pouco de cachê e espaço na van entre mais de 6 membros só com muita vontade pelo que você faz.

Será que os Kopeckys são parentes? Não, eles são comunhados por todo aquele lero de ideais e circunstâncias da vida. Um negócio meio hippie não, totalmente hippie. Todos atrás da saia da Kelsey Kopecky. Mas esse clima vamos fazer uma banda e deixar as pessoas felizes vem desde Nashville até Austin para ser uma de muitas bandas hype, hipster, knoolster do SXSW.

Divirtam-se que esse música é bem copo de laranja na mão e amigos na piscina jogando uma partida de Biribol.

extra infos

--B

[theowlcitycrew]

Oh Come All Ye Faithful - Feather & Belle