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Heart Caves CD
On Heart Caves Rob Kieswetter (AKA BOBBY BIRDMAN) trades in his nylon string for a G4 laptop, and his "lo-fi" wall of sound productions for clean-as-a-whistle hi-tech robotic sheen. But the ice-y production is wonderfully corrupted by the undeniable warmth of his smooth tenor. Heart Caves is a one-night stand: tender, desperate, awkwardly intimate, hott, eerily objective, disconnected and ultimately kind of melancholy. But in a good way. Its sublime - and we are still all having fun, right?!?! OK Then. Let's get it on.
On Heart Caves, we learn of Bobby's inner struggle between the slow-burn beauty of so-cal surf and the vacant neon come-on of a shiny new fling. This is the sunset strip late night seen through the eyes of a surfer-boy more accustomed to beach canyon sing-alongs than steely discotheques. Which brings us to the heart of the funk: surfer boy in vans + jeans (with a voice to make any girl swoon) entering the uneasy world of glitz and glam and producing something vital, new and challenging for both the artist and the listener.
Bobby Birdman was not content to stay in the same circles of influence that would be expected of him due to his past releases and the musical scene he was brought up in (Little Wings, Will Oldham, The Microphones). He's finding new inspiration in performing rap covers, wearing goofy clothes, writing graffiti, losing light and finding glow in the synthetic sexiness of the club. These are the Heart Caves Bobby Birdman explores. It's the result of a veteran avant-folk performer realizing it's okay to want some beats with his melodies and some crunk with his sincerity.
States Rights Records, the new leader of the self-proclaimed "RIL Music" movement (think glitch meets avant-folk, think 2017, think Bobby Birdman, [[[[VVRSSNN]]]], Lucky Dragons, Y.A.C.H.T., The Badger King, Yume Bitsu, etc.) is excited to drop this first lesson in New-Genre/No-genre RIL MUSIC. It's the first in what is sure to become a prolific and groundbreaking line of releases emphasizing and exploring the new territory where computerized music processing meets a generation of musicians raised on house-shows, floor-tom folk, after-hours IDM, cell-phones, fake beards and file sharing networks.