Kolars

KOLARS

Rob Kolar sings and strums his rollicking guitar, Lauren Brown uses her whole body as a percussive instrument.  

THE BOTTOM LINE:  "The dynamic duo is eclectic in every sense of the word. Kolar, who can only be described as a cosmic Elvis, sang with gusto while his counterpart provided the raw power that kept their steam engine sound chugging along. And with a musical style ranging from what they term 'Desert Disco' to 'Space Blues' (which is just as entertaining as it sounds), there was never a dull moment on stage."

CONSEQUENCE OF SOUND:  "Crafted like a grooving ’70s country song carved out of the gleaming vibrations of modern rock, the track pulsates right into your chest. It takes your heart by the hand and leads you to the dance floor, daring you to not feel motivated to dance, shimmy, just escape the mundane."

BUZZBANDS:  "Is it normal to imagine that all husband and wife bands rehearse naked? Or maybe it’s just that this particular sexy duo share the kind of on-stage chemistry that comes from knowing each other so well, musically and biblically, which sets the imagination a’sizzling. Kolar, with his rocker swagger, and Brown, licking her lips as she uses her whole body to tap and smack out the beats."

FEST FIFTY:  "With gumption and undeniably well-written songs, KOLARS has burrowed through the consciousness of their hometown and beyond, paving a road of lullaby disco anthems wriggling their way across the Mason Dixon. An iconic moment and further proof that the band is so great at what they do was especially apparent during their performance at Tractor Tavern in Seattle."

BANDSINTOWN:  "KOLARS is a highly experimental duo committed to creating a new sound that will thrill audiences all over the world. Singer and guitarist Rob Kolar is the mastermind behind their production, writing and mixing the material himself. Drummer Lauren Brown has created her own style of percussion where she dances out rhythms on a bass drum with her feet.  They’ve successfully created an infectious, innovative sound that combines both folk and dance music."

KOLARS has created a sonic world that straddles self-described genres such as Desert Disco, R&Beyond, Space Blues, and Glam-a-billy . Rob produces, mixes, and writes the material.  His studio experimentation is incorporated into the live show. Lauren has invented her own drumming style. She tap dances rhythms with her feet atop a bass drum while simultaneously playing a stand-up kit. She uses this dance to transform beats into natural extensions of her movement. The two perform with energy, sweat, and excitement, thrilling audiences with their unabashed exuberance.  

As members of glam-folk band He's My Brother She's My Sister, Rob and Lauren toured the U.S. and Europe extensively and sold out venues in every major city across the states, playing Bonnaroo, Summerfest, Voodoo, Firefly, Secret Garden Party, and Austin City Limits, and performed on late night television (Craig Ferguson). 

The band has taken their influences and experiences into a new futuristic realm with KOLARS.

GABRIELLA COHEN

Talking about Gabriella Cohen requires a new adjective: when she tells you about a guitar tone she likes, an organ sound she’s looking for, or the opening bars of The Velvet Underground’s ‘I Found a Reason’, she might tell you these things sound ‘pink’. She’s not describing a synesthetic or aesthetic connection with the colour — instead, it’s an adjective she’s coined. Luckily, after a spin through Cohen’s debut album Full Closure and No Details, we’ll all know what ‘pink’ sounds like: it sounds like this. It sounds like heartbreak and reckless abandon, like quiet reflection and raucous teamwork.

Cohen’s first solo full-length is the product of ten days and two microphones. Co-produced alongside close friend, bandmate, and engineer Kate ‘Babyshakes’ Dillon, the record is the result of what Cohen describes as the “ceremony” of reflecting on a relationship. The album’s raw, personal side could be traced back to its place of birth at Dillon’s parents’ place in the country, or to the Brisbane streets the songs were composed in. The songs are soaked in the kind of aching nostalgia that is tinged with equal measures of sadness and triumph. On “I Don’t Feel So Alive”, Cohen warns: “This could be the last time we get together”, and on one hand it’s melancholy, but it’s in the spirit of endings that are also beginnings. After finishing the record, Cohen and Dillon hit the road down Australia’s East Coast, from Brisbane to Melbourne, a truck full of instruments and gear following in their wake.

There are two sides to Cohen’s coin though — for every moment of raw, cutting emotion, there’s one of otherworldly ethereality. It’s what makes the record feel timeless, which doesn’t mean old-fashioned — it means that the vocoder on “Feelin’ Fine” and the fuzzy, frenzied drums of “Alien Anthem” don’t feel at odds with the dreamy, ambling melodies and old-school ethos at the heart of Cohen’s songwriting.

Full Closure is a definitional labour of love: when Cohen talks about her collaborators she sounds like she’s talking about her family — her bass player and backing singers, ring-ins that recorded after Cohen and Dillon finished up in the country, are “dear friends”; and Dillon is her “sister”. The songs were written on Cohen’s grandpa’s nylon string guitar, and “Piano Song” was recorded on Dillon’s parents’ old, out-of-tune upright, the same piano she learned on as a child.

Although the songs were recorded initially by two people, a sense of shared experience and en-masse emotion is at the forefront of Full Disclosure. Known to turn up to live shows with a choir in tow, Cohen talks about her desire to use music to reach a “heightened state of feeling”, one that it seems can only be achieved through the true sharing of emotions. The album’s title is a mirror held up to both the relationship it details, and to the songs themselves: they feel confessional while remaining opaque, full of story-telling but never detail-heavy. Instead, the songs exist in a kind of vacuum, personal to every listener, like a dream that’s hard to recall after waking.

Cohen and Dillon recall their ten days recording the album with a kind of laissez-faire that seemingly belies the intensity that the endeavour required. They mention lengthy discussions about themes and structure, then add “we were like, crying as we said all this.” Dillon recalls the characters, complete with physical descriptions and complex backstories, that Cohen would ascribe her as she recorded backing vocals: “You’re French! You’re a French Wench in the war!” While these characters helped Cohen to shape Dillon’s singing to match her vision, Cohen remained herself — “I wasn’t a character. It was just me.”