|I Think U Are Great||The Mistress|| |
|You Are The Stars||Cosmos|| |
|WHALE||The Mistress|| |
|Marathon Runner||Strange Land|| |
|Stay At Home||Strange Land|| |
|Bread||The Mistress|| |
|Daughter||Strange Land|| |
|Elephant King||Strange Land|| |
|Hold On||The Mistress|| |
|Ghost||Ghost EP|| |
Due to Solbi's busy schedule in 2008, she was not able to participate in Typhoon's 3rd album Rendezvous, so therefore another female vocalist replaced her. However, this did not confirm Solbi's departure from the group, she would be able to remain a member and work again when she was able to.
In February 2009, Hana officially left the group after only 2 months. Singer Lee Kyung, who sang for the OST of MBC drama Wise Mothers and Good Wives, officially replaced her on February 6.
Typhoon disbanded in 2010.
In July 2011, Brad Oberhofer signed with Glassnote Records, which released Oberhofer's debut album Time Capsules II on March 27, 2012, in the United States and worldwide on April 16.
Oberhofer's sound is largely described as Surf Pop Revival, joining the ranks of such bands as Best Coast, Bleached, Surfer Blood, Cayucas, Howler, and Dum Dum Girls.
The band has released three official EPs, two full length LPs and toured on the festival circuit in the United States, including SXSW and CMJ, as well as national tours with RX Bandits, These Arms Are Snakes, mewithoutYou, Foals, So Many Dynamos, Ra Ra Riot, Minus the Bear, Princeton, The Fall of Troy, Nurses, Pattern Is Movement, Good Old War, Portugal. The Man, Tera Melos, and more. Their song "Vampires" was featured in NBC's shows "Up All Night" and "Parenthood", and Nintendo featured their song "Daily News" for a Nintendo DS commercial.
The band's unique version of indie rock is strongly influenced by bands of the 1960s, such as The Beatles and The Beach Boys, but they have also touched upon more unrelated genres since their inception. Their earlier recordings show influence of the lo-fi sound and pop sensibilities of indie rock bands of the 1990s, such as Guided by Voices and Pavement, although recent albums have featured more polished production.
But then, that was always the idea for lead singer and songwriter Daniel Blue. “A lot of people run from machines into nature, and a lot of people run from nature into machines. Somewhere in there, there has to be a balance,” explains Blue. The origins of Motopony certainly reflect this duality. The band’s beginnings are intrinsically tied to Blue’s – they both begin at the bottom of a waterfall, then traipse through the southwestern states before sweeping up into the Pacific northwest. It was there that Blue picked up the guitar at age 27, after years of expressing himself through the design label he began years previously, but has since put on hiatus to pursue music. The impetus to pick up the guitar was less a choice than a necessity, and it’s remained that way ever since. “I freaked out. I was alone in my warehouse where I made clothes and had parties. I grabbed this guitar I’d bought ten years earlier, and started playing this song.” Blue’s foray into music happened to be the five-year anniversary of his mother’s death, and the nascent stages of Blue’s songwriting were consumed by this loss -- his grief the lens through which everything refracted.
In the intervening four years, the depth of Blue’s songwriting has deepened and grown, and is only complemented by Ross’s tempered arrangements. Motopony’s debut is steeped in thought and burnished by longing – for another person, a lost time, an unnamed cause. Romantic relationships are the engine of the four-time-engaged (but never married) Blue’s art, but there is a great deal else on the album. Blue’s twang on lead single “King of Diamonds” seamlessly weaves through Ross’ disarming pace, drums chugging and xylophone tones brightly harmonizing with Blue’s voice as he tells the story of searching for something he realizes he already has. The anxiously beautiful picking on “Wake Up” gives way to an honest look at the state of the world and one’s self in it. Despite its darker tone, Blue considers it a “call out of darkness,” not into it. The stark and solemn tone sets the track apart from its warmer counterparts, as Blue’s universally relatable anxieties unfurl across the song. Another stand-out track is "Seer" - a composition that recounts of the mythology of Motopony, a type of theme song that tells the tale of Blue’s origins. Piano lines spike the bridge as Blue’s tunings wind around his voice, which dwells in a register that demands attention. Blue’s vocals deliver both boasts and character flaws with the same swagger, before taking aim at an unknown you. Motopony does quiet and plaintive as well as loud and raucous, as on the hushed acoustics of “Wait for Me,” a heart-rending vision with a fair amount of confession. Eerie, atmospheric sounds echo in the background as a searing string ushers gorgeous female backing vocals that drift in and out throughout the song.
But before Motopony could create their stunning debut, they had to meet. A fateful dinner party in the spring of 2009 would bring together the much-needed other piece of Motopony: multi-instrumentalist and co-producer Buddy Ross. After orbiting each other in the music scene for years, the two were brought together at a songwriter’s dinner in Tacoma, WA. “I had never heard him sing before,” says Ross. “He was a unique character – I didn’t expect him to sound the way he did. I was taken aback by it.” Blue had been impressed with Ross years earlier when they’d intersected while working on someone else’s album. “It was clear he was a genius,” says Blue. A month later, the partnership was formed, and Blue began sending Ross the first set of songs that would eventually comprise the Motopony debut. Blue’s bizarre tunings – three E-strings, spaced out in an odd pattern – were the perfect marriage to Ross’s modern, anchoring cadences. Ross was initially reluctant to form a band, but was ultimately swayed by the strength of the music. “The songs are really captivating – and there’s so much space for me to fill it up with what I do,” explains Ross. With pre-production done at a remove, Blue began trekking to Seattle a few times a week for practice, and ultimately moved there to make the band work.
While the band may count Seattle as their home now, a natural current runs deeply through the band’s music, and Ross and Blue contend they would not sound the way they do were it not for their Pacific Northwest roots. “We’re not place specific, but I do think our music is born out of eight months of rain in a year and the love of nature because it’s so damn green. There are lots of open spaces. I really love our place, and I think that shows up in what I’m trying to do.” When Blue talks about the nature Motopony holds dear, he might as well be talking about his music. “A lot of the harmony I see in nature is that strange juxtaposition of worlds that don’t seem like they should collide, that effortlessly seem to be happening in tandem and you can’t take out one piece. You can’t run from it."