By: Daniel Mescher
May 14th, 2013
Vampire Weekend deserve a lot of credit. The New York City quartet, formed during the members’ tenure at Columbia University, have been a gateway for thousands of converts into the wonderful world of indie rock (my little sister, and probably countless other little sisters, included). Through two albums’ worth of Afro-infused rock, the band has managed to sound simultaneously sophisticated yet rudimentary, literate yet vulgar. It’s been three years since their last album, Contra, and in the years between the band has made headlines from a lawsuit concerning that album’s cover photo, as well as being asked by President Obama to offer support on his re-election campaign, making a shortlist of artists that also included Jay-Z, the Arcade Fire, and Alicia Keys (the Romney campaign retorted with the Marshall Tucker Band).
Ezra Koenig and company return with their finest album to date, Modern Vampires of the City. Recorded in Los Angeles as opposed to the group’s native Brooklyn, the album finds the band with a variety of new instruments and genres in their repertoire, an impressive feat for a band that has spent two albums exploring styles ranging from baroque pop to hip-hop. First single “Diane Young” is a punk rock track that, given the band’s penchant for wordplay, is probably more about dyin’ young than the eponymous heroine. The song features heavy use of formant-shifting, a studio vocal effect that simulates alteration of the singer’s throat length: this playfulness with Ezra Koenig’s vocal tracks occurs throughout the album, including the Souls of Mischief-influenced “Step”.
Given the vast styles and sounds present, Modern Vampires of the City is a slight misnomer. The studio tricks and 808s give Vampires a futuristic edge, yet tracks like “Worship You” hearken back to classic Irish folk tunes: a good deal more country than City. Centerpiece and standout “Ya Hey”’s subject prefers spinning Desmond Decker and Rolling Stones songs over modern fare, and apparently so does Ezra when his “soul swoon[s]”. Keyboardist/producer Rostam Batmanglij’s Beatles-inspired piano melody “Young Lion” closes out the album with further tribute to 1960s rock. But given these influences from both past and future, Vampires never manages to sound anachronistic, and is as immediate upon its first listen as its fiftieth.
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By: Daniel Mescher
May 2nd, 2013
In the two years between the release of his eponymous debut album and Overgrown, James Blake received some sage advice from his father, the guitarist James Litherland: don’t borrow so much, you want the big moments at your shows to be your moments. True, the highlights of 2011’s James Blake were a cover of Feist’s “Limit to Your Love” and “The Wilhelm Scream”, a track which appropriates heavily from Litherland’s own “Where to Turn”. Yet Blake’s iterations were uniquely his, characterized by stop-and-start piano, squalls of synthesizer recalling his early dubstep work, and above all, his prominent and marvelous vocals.
Blake has taken his father’s words to heart though, producing a sophomore effort comprised entirely of originals. The result is a more cohesive and developed full-length than its predecessor, with the brightest moments belonging solely to Blake. Influenced by an encounter with Joni Mitchell, the title track opens the album with a deeply personal reflection on permanence, with the singer lamenting “Time passes in the constant state”. First single “Retrograde”, possibly his strongest track to date, blends Blake’s signature minimalism with a warm soulful hook, a surefire crowd-pleaser Dad would be proud of. Overgrown also features production work from Brian Eno and a surprising guest spot from the RZA, who recently joined Blake onstage at Coachella to perform “Take a Fall for Me”.
Fans who prefer the British producer’s electronica work over the sparser singer-songwriter material will find much to adore here as well. Dance beats and snappy drum samples feature throughout on songs like “Life Round Here” and standout “Voyeur”, an abridged version of a track released on Blake’s own club-friendly 1-800-Dinosaur label. Blake’s genius here lies in his ability to effortlessly blend his gorgeous soul compositions with his electronic freak-out proclivities, his pop side with his experimental side. The result of his matrimony of genres is a fine sophomore effort and one of the year’s best so far.
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By: Scott Carney
April 10th, 2013
Tim Presley is nothing if not prolific. The former member of Darker My Love and The Strange Boys has been churning out homemade psychedelic gems under the White Fence moniker since 2010. In a mere three years he’s already racked up an impressive catalog, releasing four full-length solo albums, a few cassettes, a handful of singles, and a collaborative LP with his equally productive friend Ty Segall – all recorded in his Los Angeles apartment. With Cyclops Reap, Presley had intended to release some older material from his staggering surplus of unreleased songs (allegedly in the hundreds), but eventually opted to record brand new tracks specifically for the album. It’s a good thing he did, because Cyclops Reap is Presley’s most focused and accessible record to date, capturing the artist at his creative peak.
As much as I love White Fence, his previous albums are almost overwhelming at times, usually containing over 15 tracks that begin to blur together when listening to it in its entirety. Cyclops Reap features an abbreviated track set of eleven songs, allowing his material to breathe and stand apart. While the songs aren’t as muddled as his earlier work, the production still caters towards Presley’s warped lo-fi sensibilities, seen most notably in the fuzzy freak-outs “Beat” and “Pink Gorilla.” Presley also takes time to highlight his mellower side, evidenced by the sweet, poppy “Live on Genevieve” and the jaunty folk of “To the Boy I Jumped in the Hemlock Alley.”
Perhaps the finest outing yet from White Fence, Cyclops Reap never overstays its welcome and will have listeners hitting “repeat” rather than “track advance.” Though Presley’s sound recalls the psychedelic vibes of yesteryear, it never comes across as imitative. Instead, Presley expands on these qualities and truly makes them his own, embracing a genuine rock ‘n’ roll DIY aesthetic. Given this step-up in production, I can only imagine the territory that his next album will cover, which at this rate should only be a matter of months.
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By: Stuart Blake Hayden
Feb 25th, 2013
Dedicated to “the people inside VSPW and all over…” We the Common inspires universal compassion. Herein, Thao and the Get Down Stay Down recognize the inherent loveliness of all people, including, and exemplified by, those incarcerated at Valley State Penitentiary for Women.
From its outset, We the Common makes the case for empathy, personalizing an alternative perspective which begets social understanding. The title track gives voice to the “common” person, Valerie Bolden; “All they wanted was a villain, a villain, and all they had was me. All they wanted was a villain, a villain, so then they just took me.” Such vilification, regardless of legal merit, Thao suggests, tends toward dehumanization; “If by third degree you feel a guilt for me, then I’ve been a villain all my life….There is a concrete stuck between how we breathe and why we die.” Inmate #72963, the “common,” effectively “was just paper being moved.” Instead, Thao and the Get Down Stay Down advocate for the recognition of oneself, of personhood, in another; “That is my city in shame. Those are my friends inside. If I lay still through this, shame if I rest tonight.” Injustice anywhere, in otherwords, equates to injustice everywhere.
Empathy, thereby, begets forgiveness. We the Common acknowledges the potential of any individual to have “Clouds for Brains.” And, although it may “Rain for days…and hurt you some,” “Every Body,” needs “Big Love” to “come eat [them] up.” By recognizing and relating to “human troubles in the modern times,” “The Feeling Kind” of people “Let not the hot blood boil in vain.” The Common person has caught “worried, early death enough.” Via compassion, Thao and the Get Down Stay Down demand “No more of the reasons you’ve got plenty of.” Consequently, compassion spreads throughout humanity whereby the “last one forgave me, so I forgive the next.”
Ultimately, Thao and the Get Down Stay Down advocate for the ability of all individuals, despite transgressions, to recover, to progress, to “wake up,” to “startle and change,” and to get “a brand new way.” We the Common can “Rest and be strong. Wash and be clean. Start a new year whenever you need.”
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By: Scott Carney
Feb 15th, 2013
m b v is an album that I honestly thought would never exist. Like The Beach Boys’ Smile, a follow up to Loveless – one of the most respected and influential albums of the past 25 years – seemed like the stuff of dreams. Since 2007, guitarist Kevin Shields teased about an upcoming album from the Dublin-based group, but as each alleged deadline came and went, the record seemed more and more like one of those tantalizing “what-if” scenarios that music nerds torture themselves with. Even as they announced in December of 2012 that the mastering had been completed, I couldn't help but wonder if this was some sort of cruel joke being played by the band. I imagined that the new “album” would just be a single .mp3 of the band saying, “You REALLY thought we could top Loveless?!?” Those fears were put to rest this past Saturday, when the band casually released their full-length on their website. After a lengthy 22 years, the mythical record had finally come to fruition. To put things into perspective, the amount of time between Loveless and m b v is about as long as I've been alive, so expectations were astronomically high. Thankfully, m b vcaptures the band doing what they do best, and while it may be a bit unfair to compare it to Loveless, My Bloody Valentine confirms the adage that it is truly “better late than never.”
The album starts off with the shimmering “She Found Now,” characterized by MBV’s trademark hushed vocals drenched in layers of reverb and feedback. After setting an appropriate tone, the album segues into “Only Tomorrow,” a gnarled number that revels in Shield’s jangly guitar work. Though these songs hark back to a “classic” My Bloody Valentine vibe, m b v is not without its surprises. “Is This and Yes” is a stripped-down, melodic lullaby that shines due to its minimalist production. This gentle moment contrasts sharply with “Nothing Is” - an exercise heavy, aggressive beats - and the powerful closer “Wonder 2,” which combines drum-and-bass rhythms with the discordant sounds of jet engines.
A testament to the timelessness of My Bloody Valentine, m b v is simultaneously fresh and familiar, as if it were released in 1994 but still sounds years ahead of its time. It would have been easy to coast on the success of Loveless, an album that has deservedly earned a place in music history, yet MBV proves that bands can defy expectations and truly achieve the impossible. If only more bands could follow in their footsteps…Neutral Milk Hotel, Boards of Canada, and The Avalanches, I’m looking in your direction.
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By: Stuart Blake Hayden
Feb 5th, 2013
In its salt-water brine, a remote sandy beach unintentionally preserves the psychedelic-surf-freak-folk ephemera that litter it. The weathered and worn sandy trinkets and curios become a transient beachcomber’s unassuming found object assemblage, revealing an entrancing, albeit addictive romance. For their fifth full-length album, The Growlers ingest a psychedelic love blotter. Hung at Heart explores the perception altering effects of love and the consequences of interpersonal, behavioral, or physical intoxication. As the lyrics testify, such a “cure for loneliness,” subsists in a state of extraordinary consciousness; “It's almost hard to recognize myself. Slowly I've changed, turned into someone else. I find myself doing things I'd never do, dreaming of her the whole day through… Something strange just takes over you.”
Such medication, however, eventually triggers symptoms of addiction. The song “Living in a Memory,” in particular, identifies cravings and compulsion for a past love/lover; “Your face is clogging up my dream, smiling so god damn tenderly. But, I know that your heart is artificially sweet, and still I can’t pull you out of me.” Despite recognizing the urge, the addict struggles to maintain sobriety; “Hell I know this ain’t no good for me. There ain’t no grown man that should be living in a memory. Memories of making love stronger than drugs.” Though transcendently dreamy and sunbaked in distortion, the enchanting sound never drifts too from wholesome American surf-rock. The Growlers simultaneously have their “heads on [their] shoulders,” and yet “still in the clouds.” Akin to a Beach Party film starring Ken Kesey, Hung at Heart elicits “dreams of red, white and blue…and every color too…Not square, not hippy, and not like you, but
American kids with dreams.” If achieving no other national notoriety, the album at least warrants the start of a 60’s style dance craze, a wild and entrancing Watusi in the sand.
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by Scott Carney
January 8th, 2013
Like Tame Impala or Unknown Mortal Orchestra, Foxygen is yet another modern band that proudly wears its psychedelic influences on its sleeve, at once embracing the sounds of yesteryear while creating something new and innovative. The duo, comprised of Jonathan Rado and Sam France, garnered praise in 2012 for the release of their EP Take the Kids Off Broadway, which giddily shifted from psych-rock to doo-wop to funk, sometimes within the course of a single song. The EP was my most-listened to album of 2012, and hopes were high for the release of their first proper full-length, We Are the 21st Century Ambassadors of Peace and Magic, released on Jagjaguwar Records. Thankfully, the duo does not disappoint, and though the production is less manic than on their highly addictive EP, it still makes for a thoroughly engaging and enjoyable listen.
Foxygen constantly keeps listeners on their toes, radically shifting between genres and styles. The album kicks off in a grand fashion with the opening track “In The Darkness,” channeling early Electric Light Orchestra, then shifts into Kinks-esque country with “No Destruction.” The duo dips into AM sunshine pop with their tribute to “San Francisco,” then immediately revels in the sleazy biker blues-rock of “Bowling Trophies.” “Shuggie,” one of the album’s highlights, combines bachelor pad funk with choral pop, while also paying homage to Shuggie Otis (whom the song gets its namesake). The album closes beautifully with “Oh No 2,” a spacey symphonic ode that would make Spacemen 3 proud.
Fast, frenetic, but never dull, Foxygen's debut LP is well worth a listen.Though firmly rooted in the past, Foxygen looks forward, combining familiar musical elements into a unique and utterly listenable whole.
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by Allie Wall
November 29, 2012
Shimmery, psychedelic, glitzy, country, rock and soulful only begin to describe what the Minneapolis trio Night Moves has achieved with their debut album, Colored Emotions. Theirs is a sound that’s deeply distinct and determined, yet spacey and sometimes-twangy. The mellow drawl of lead singer John Pelant’s falsetto is an unyielding presence in every song, the thing that draws you in, and is a staple throughout the album.
The cosmic, rock vibe of the lead track “Headlights” is reminiscent of My Morning Jacket and carries you right into the catchy “Country Queen”, a soulful, psychedelic, mid-tempo tune that is a highlight of the album. “In the Rounds”, “Put Out Your Shoulder” and “Classical Hearts” are all under two minutes but are expertly spaced throughout the album in a manner that supports an effortless yet expansive vibe. “Put Out Your Shoulder” is layered with looming vocals over an instrumentation that is intimate and grand; perfectly setting up the remaining three tracks. “Horses” is a standout; earnest and heavy all at once and as filled with the psych/glam rock sound that Night Moves is best at. “Colored Emotions” encourages head-bopping without being an overtly get-up-and-move tune, a perfect end track to an album that impresses throughout.
Colored Emotions is a methodical production littered with powerful songs that highlight the band’s ability and insight. Well crafted yet simple, Night Moves’ debut is a well-developed introduction to a band that is sure to add to our record collections in years to come.
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by Allie Wall
October 16, 2012
From the very first track off Tame Imapala’s second full-length release, laced with a looped drum-beat, spacey synth sounds and whimsical vocals, it was clear this album was a masterful compilation. Lonerism, the follow up to the Australian ensemble’s 2010 breakout record, is as psychedelic as it is melancholy and lush. A record reminiscent of 60s/70s rock layered with swirling, fresh, mind-bending tunes is what makes Lonerism a standalone piece of art. Frontman and producer Kevin Parker’s vocals are at times eerily similar to those of John Lennon, adding a level of complexity and listenability to tracks that are often so full of synth-heavy, boundary pushing rhythms you are on the brink of getting swept away with.
The lyrics of “Be Above It” give first glimpse to what could be considered a theme, of sorts, trickled throughout the album. In a chant-like manner, the phrase, “gotta be above it” kicks off the track, laying the groundwork for a song so heavy in synth-sound and drum-loop yet full of melancholy yearning you can’t help but get hooked. If album title Lonerism wasn’t enough of a clue, songs entitled “Apocalypse Dreams”, “Why Won’t They Talk to Me?”, “Feels Like We Only Go Backwards” and “Nothing That Has Happened So Far Has Been Anything We Can Control” give a sense that this album is a deeper inquisition of loneliness, isolation and constant reflection. “Backwards” is a kind of dawdling pop tune that brings you in right from the get-go with soulful, echoed vocals, despondent lyrics and a melodic vibe that is enrapturing. “Elephant” is probably the most rock-like track on the album, full of big guitar licks, drums and explorative synth-sounds that give backing to lyrics that convey an air of confidence and indifference that is not often found on Lonerism.
It’s easy to get lost in the haunting sound of the guitar mixed with space-age rock and the sweeping, exuberant sound that is a staple of the album. But the powerful, emotionally-full lyrics are what really make Lonerism a transcendent work of art. More layered than one can pick up on from the initial listen, Lonerism is so much more than a mesh of psychedelic, electronica, pop-rock; it is an album that is grandiose through musical exploration and the story that is weaved through each and every song.
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by Allie Wall
October 8, 2012
Django Django’s self-titled debut album is nothing if not original. The band, an indie rock Scottish sensation, has been making waves in the music scene since the January U.K release of their album. With their album now available in the U.S., Django Django is bringing its art-pop, psychedelic, future rock sound to an entirely new audience. The talent and musicality of this foursome is evident in the synth-heavy, drum-riddled feel of the album; add a little guitar, bass and vocals and you’ve got a masterful compilation.
The first track, rightfully titled “Introduction”, is a perfect lead into the eclectic disc. Lead man and producer David MacLean’s drumming intermixed with an electronic loop and ominous background vocals are a fitting start to what lies ahead. The funky “Hail Bop” starts to give listeners a little insight into just how talented these guys are and what they are capable of musically. This song also sets up the chant-like vocals that pop up throughout the rest of the album. Euphonious and hypnotic, the vocals of this quartet are what give Django Django that captivating quality song after song. “Hand of Man” is so adeptly simplistic with the flowing voices of the band mingling so beautifully; producing the closest thing to an indie-folk tune on the album. From the drum-centric “Love’s Dart” to the appropriately titled “Skies Over Cairo”, Django Django presses the envelope stylistically but still manages to arrange an album with a feeling of coherence and purpose.
What makes these guys stand out is that they don’t shy away from the synth-heavy, sci-fi vibe, yet their harmonious vocals and smart lyrics add a certain quality to keep it from getting too far out. Their songs are authentic and full, futuristic yet controlled; all reasons why anything Django Django puts out is bound to be worth checking out.
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by Stuart Blake Hayden
September 10, 2012
This fifth studio album from Jesse Elliott and friends spreads as far across time and space as the vast network of musicians that appear on it. With musical notables from The Mynabirds, Phosphorescent, Deer Tick, Langhorne Slim, and Jukebox the Ghost joining in, this mystical roadmap to an Appalachian Shangri-La crosses a geographical lifetime to reunite old friends at one sonic location. Here, a heart “scheming on maps” finds death, birth, love, and breakfast alongside Apache Junction, Denver, and the Susquehanna as points of interest.
An apropos accompaniment to an impending journey, These United States speak to the excitement and anxiety of adventure; the grief of loss and leaving; as well as the hope that the good times never end. Inevitably, however, life’s scenery passes so quickly. In “The Angel's Share,” Elliott notes that “trying to interrogate the time escaping quick,” like straining to label a blurred landscape with a definite place name, merely makes following “the curve of the lines” all the more difficult; “the feeling that we might explode before we bend.”
Alas, These United States arrive at a place of resolution. The tracks “Phoenix” and “Never Stop Falling” ground the existential journey in a place suggestive of relative consistency and stability. Physical geography roots the complex political and social landscape of human geography to that of a stronger, more enduring and tangible entity, Earth itself. Ecological themes, including the river, the rock, the sea, the wind, the mountain, the sun, and the soil, guide the wayward human home to the present (time as well as space); to “sense everything around...deeply” and to “melt into the desert.”
From the early eager beats, through sobering homesickness, and “past the jack-knifing moans, coming in to Western Slope ,” These United States “make it from the center of the earth back up” with no fear, no shame, no apologies, and no need for a map to Shangri-La.
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by Allie Wall
August 29, 2012
Take Americana, traditional Mexican folk and beautifully blended harmonies and you’ve got the David Wax Museum’s fourth disc, “Knock Knock Get Up”. At the epicenter of the indie sensation are David Wax and Suz Slezak, backed by multi-instrumentalist Greg Glassman, who come together to create the eclectic, brilliant sound their latest album is comprised of. The musical aptitude and harmonious vocals are evident throughout the entire album, fusing classical Mexican sounds with the electric guitar, autoharp, drums, piano and the occasional clattering of a donkey jawbone, played by Slezak. Combine all that with catchy, earnest lyrics and you’ve got an engaging, upbeat and rhythmically sound album that sets itself apart anything of its kind.
With the occasional accordion thrown in on the track “Vivian”, listeners are treated to a tune so original and full of instrumental spunk you’ll be wondering what else these guys have up their sleeve. Wax and Slezak’s vocals come together in such a smooth, harmonic and electrifying way on “The Rumors Are True”, a great addition to a tune already full and poetic. The use of traditional Mexican instruments like the guitar-shaped jarana jarocha combined with the sweet sound of the organ and classical guitar gives the David Wax Museum a cross-cultural sound that is all its own, in the best way possible. The Mexo-Americana vibe of “Knock Knock Get Up” is rooted in traditional Mexican sounds, layered with an energetic maturity and heartfelt lyrics that is authentic and impressive all at once.
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by Kegan Warner
August 21, 2012
Inspired by 1950's rock and roll, and dressed as a reincarnation of Buddy Holly, Nick Waterhouse pushes a cool stomp style into his danceable debut album Times All Gone.
Nick recreates original 1950's Rock and Roll so well that it's easy to picture him on the stage of American Bandstand right next to a young Dick Clark, but his sound is less structured than the typical style of R&R at the time. His drummer holds down a perfectly accentuated snare backbeat, and his back up singers tauntingly maintain their cool, but the rest of the band occasionally loses control and opens up into a wild frenzy of animals.
The tracks Teardrop Will Follow You and Say I Wanna Know are backed by punching baritone saxophones, gospel inducing Hammond Organs, and haunting back-up vocals, all as Nick carries the mood with gritty stylized guitar riffs. The minimized production brings you back to the 50s, but Nick's natural ability for variation keeps you at the edge of your seat like a 14 year-old-girl-at-a-Buddy-Holly-concert-in-1958.
Check it out.
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by Allie Wall
August 17, 2012
The first line of the title track off singer-songwriter Sean Hayes’ new album, "Before We Turn to Dust” reads, “you may spend all your money before you turn to dust/but you will never spend all your love”, a simple, yet eloquent line that sets the vibe and lyrically-rich tunes that comprise Hayes’ seventh full length album.
The San Francisco-based musician does not fail to impress with simplistic lyrics laced with raw emotion and soulful beats, perfectly enhanced by the occasional horn or piano. Small details, like the horns and back up female vocals, are what make this album not only highly listenable, but convey an intimacy from Hayes to his audience that leaves you wanting more.
From the melodic start to “Before We Turn to Dust” to the upbeat, head swaying feel of the third track, “Bam Bam” and into the soul-filled, sexy, R&B smoothness of “Drop Down”, Hayes has created a musically-loaded, cohesive and tireless album. “To Be Born”, filled with funk and an up-tempo element backed by the horns, adds an undeniable richness to Hayes’ classic songwriting. The beautiful, harmonious female vocals on the last track of the disc, “Innocent Spring”, mixed with Hayes’ own vibrato, perfectly rounds out the album; bringing it full circle with yet another lyrically full tune that impressively conveys the emotion and incontestable work that Hayes has put in.
The seventh album by the American singer-songwriter is one that does not fail in the songwriting aspect that Hayes listeners have come to expect, but the soulful, and at times funky and groove-able tunes that can be found throughout the album will undoubtedly excite new listeners and Hayes followers alike.
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by Kegan Warner
August 8th, 2012
Lawrence Arabia is the clever moniker of New Zealand artist James Milne. His 2006 debut self titled album was met positively by critics. As was his 2009 release Chant Darling.
Now, not long after the announcement of Peter O'Toole's retirement (the actor behind Lawrence's namesake), Milne is back with a new full length release The Sparrow. An album of gorgeous dreamy melodies that culminate its musical influence with Beatlesque swooning vocal harmonies and somber Elliott Smith like inflections and lyrics. The Sparrow seems to navigate decades of pop music while continuing to find its own niche in every song.
He also doesn't shy away from unique song titles. Early Kneecappings, and Dessau Rag are highlights. It's out now on Bella Union records.
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by Kegan Warner
July 17, 2012
Atlanta/Athens Southern Rock band Ponderosa returns with their sophomore release Pool Party. It's, as they put it, "a left hand turn from their last release," Moonlight Revival.
Singer/guitarist Kalen Nash, lead guitarist Kris Sampson, with other members Jon [bass], John [keyboard], and Darren [drums] have shifted from the old Americana revival of their first release to more of a surf-dream-pop sound in the likes of bands Beach House or Best Coast, but lined with a dark, southern presence.
"This record is a band record" says Nash, "We almost wrote the whole thing in the studio." Producer Dave Fridmann (Flaming Lips, Mercury Rev, MGMT) gave the band free reign, and the album has grown from "just a bunch of songs", to a mysterious collection of cathartic, dark, classic rock tunes.
The first single, "Navajo," layers shimmering rhythm guitars, echoey vocals, and fading synth highlights on top of Nash's boasting lyrics. Full of grinding chords and muted arpeggios, it builds to a satisfying climax. It sports some pretty rad cover art too.
Pool Party will be released July 31st on New West Records. You can snag a few free tracks from the album before its release on their website.
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by Kegan Warner
June 21, 2012
Emily Haines is back with fellow producer and guitarist James Shaw for Metric's fifth full-length release, Synthetica. Available June 12th, Synthetica is an impressive arrangement of generously melodic songs, embracing a larger electronic orchestral framework than their previous release, Fantasies.
Metric's departure from Haines’ more refined new wave structure has allowed Synthetica to feel like more of an album, and less like a collection of remix-able singles. There is no one stand-out single, rather the album transitions seamlessly from structured post-punk to dreamy electronic, to the more symphonic, all while Haines explores a fine line between "the real and the synthetic."
The first single, "Youth Without Youth,” came just after the release of Metric's contribution to the latest Twilight movie, Eclipse's soundtrack. Highlighted as the theme of the movie, "All Yours" kept the audience in suspense while Bella made the decision that every Twilight fan must make, Vampire or Werewolf? Aside from the cheesy lyrics and music video, you can really hear Metric's evolution to a larger sound. It could also explain why Haines doubles back to a more self-doubting theme, "What is real?" *Insert longing distant stare and lip bite*
"Speed The Collapse's" opening guitar riff is very reminiscent of Arcade Fire's single “No Cars Go” on their 2007 release Neon Bible, a theme that is fairly consistent throughout Synthetica. The album is highlighted with a few more stylish tracks. "The Void" is more mechanical, carrying heavier synth beats of the likes of Goldfrapp, filling in some needed structure. As a bonus, Hanies brings on the great Lou Reed in "The Wanderlust," for a brief yet subtle collaboration.
Metric gets back to their roots just as Haines reaches the center of her introspective debate. In the chorus of the title track Synthetica Haines belts "Hey I'm not Synthetica, I can think for myself." And yet, though fans of Metric won't be disappointed with this enjoyable release, it's far from original.
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February 9, 2012
Cuyler Mortimore
The wife and husband duo of Alaina Moore (keyboards, vocals) and Patrick Riley (guitar) form two-thirds of the Denver-based group, Tennis. The addition of James Barone providing infectious drum beats rounds out a unique-sounding Denver band. The whole album, Young & Old, out in February, sounds about as close as to pure happiness as you can get.
“It All Feels The Same” opens the album with subdued vocals and guitar, immediately leaping into a joyful sprint through a meadow - metaphorically speaking. The entire album feels blatantly nostalgic with the kind of poppy drumming common to doo-wop bands of the 50s and 60s, and the low distortion but high reverb common to surf rock and rockabilly groups. “Travelling” has an addictive drum beat, with Barone injecting some edge, making the drums themselves sound distorted. “Origins” especially underscores this nostalgic feel with the consistent high pitched piano keys pounding at a steady 4/4 while simultaneously boasting one of the best biting guitar sections of the entire album. It’s nostalgic, but not recklessly so; Tennis is not one to copy.
“Dreaming” jumps right at you, breaking the standard four-beat structure with a waltz. This thematically helps reinforce the idea of a dream, a departure from reality. The album finishes strong with “Never to Part,” a driving drum and organ ballad that gives the album the satisfying sense of riding off into the sunset. The song name itself sends the message that the band isn’t done yet. Given the short wait between their first two albums, I believe it.
The whole album has a refreshing joyful tone that makes sitting still impossible. It rides the line between indie and doo-wop: a short, fast, quality experience. Young & Old is due February 14th, and the band plays the Bluebird just two days later. Check ‘em out.
Hear Tennis' OpenAir Studio Session and interview on OpenAir February 14th, 8:30AM MST.
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by Cuyler Mortimore
Leonard Cohen - a mega talent with a voice that sounds like hot chocolate with a plate of cookies - crunchy cookies. A casual glance at any Cohen bio page shows he’s won more than thirty different awards for his writing and music, including Companion of The Order of Canada, Canada’s highest orders for civilians. Yes, he’s Canadian, but you probably knew that. Even when he’s throwing your world into existential doubt (as well as a lot of heartache), you can’t help but be comforted by his smooth timber.
The opening words of his new album, Old Ideas share, “I love to speak with Leonard.” The song, "Going Home," is a monologue about Leonard from the perspective of an unknown “I.” This third person likes Leonard, despite the fact that he’s a “lazy bastard / Living in a suit.” Is the narrator God? Is it music itself? Or is it the listener saying he likes to listen to Leonard, even if he shouldn’t?
“Darkness,” “Anyhow,” and “Crazy to Love You” form a triptych of love gone wrong, with "Darkness" being that first stage of a breakup, denying she was ever any good for you, but dressed up in a catchy, bluesy, gospel rhythm. “Anyhow” depicts the period you think you’ve lost the best thing that ever happened to you, and now you want to bargain that relationship back. “Crazy to Love You” shares the reluctant acceptance when you simply have to let go. Breakups are hard - “Drinking from your cup / I caught the darkness” ("Darkness") - but that hot chocolate voice can’t help but keep you soothed.
The album closes on a snappy song, “Different Sides,” which has a meaty, thumpy, bassline, as well as some deft piano playing. The song is about a war, or a conflict, drawn between two sides. In a way, it harkens back to the opening of the album with an invisible narrator. This one talks about about finding “ourselves on different sides / Of a line that nobody drew.” Throughout the song is the refrain “Both of us say there are laws to obey.” This cosmic imagery builds to a head, but instead of a battle between heaven and hell, we get “You want to change the way I make love / I want to leave it alone.” Perhaps not all things are as they seem in the world, and maybe the biggest conflicts are akin to our most domestic disputes.
The whole album invites such dissection, and as such you must, must, MUST, pay attention to the lyrics, as with all albums, but especially this one. The music is good, but it’s almost a hollow experience if the emphasis isn’t placed on the words.
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by Cuyler Mortimore
What we have is an album that is almost impossible to dissect, by which I mean it’s impossible to listen to in spurts. You have no choice but to listen to it in one fell 50 minute swoop. The Horrors' 2011 album Skying feels less like an album composed of catchy one liners, and more like one coherent 50 minute statement. It truly needs your time and attention to sit with, to wrestle, and to absorb.
Perhaps the most jarring thing about this album is the move away from the purposefully manic sort of post-punk that put The Horrors on the charts into something that could be described as 80s psychedelia. The band got their start in England doing just such post-punk stuff with their first album, Strange House in 2005. They hit both critical and commercial success garnering a rep for the fast and frantic live shows. Their third album seems to be imitating the punk music curve right into the dreamy disaffected (but irresistibly catchy) electronic pop of the 80s. It’s always deeply satisfying to see artists unafraid to experiment.
Elements of the album, such as the track “You Said,” have a distinct 80s dream pop effect: lots of echo and reverb, heavy emphasis on synthesizer effects and soaring chord structures. Tracks like the first one, “Changing The Rain,” feel like a nod toward modern dream-pop acts like Coldplay. Other tracks feel a more like something that fell out of the 70s psychedelia movement. The final track, “Oceans Burning,” features prominent acoustic work, sounding a bit like a continuation of the same themes explored by long-standing English rock band, King Crimson.
Your ears will thank you for throwing this in your CD player. Each listen yields something you didn’t notice before, and sometimes you get so caught up in the dreaminess that you kind of forget you’re listening to music - in a good way. The album excels at obviously paying homage to older musical art forms, but never feels derivative or stale.
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by C. Schiff
Charlotte Gainsbourg, daughter of French pop musician Serge Gainsbourg, is best known as an indie actress. However, her new album, Stage Whisper shows once again that she can hold her own musically. Stage Whisper is a follow-up album to her well-received 2010 release, IRM.
Stage Whisper is half live performances and half previously unreleased material from her IRMsessions. The live tracks, which come from both 5:55 and IRM don’t sound much different from the studio tracks. In a play, a performer has to say the same lines and do the same movements night after night. Deviation is viewed as unprofessional. It seems that Gainsbourg infuses her live musical performances with this same goal. Since their sound matches so closely to her studio tracks, the live performance element of this album feels superfluous. However, the previously unreleased material on this album is strong enough to stand without the live tracks.
Charlotte Gainsbourg did a great deal of work with Beck during her IRM sessions. He wrote the first four tracks of Stage Whisper and his touch is evident. While Beck’s solo work can sometimes lack focus, Gainsbourg brings a precision to his songs. The first Beck penned track on the album, “Terrible Angels” has an electro-pop feel reminiscent of Goldfrapp. This track is upbeat, danceable, and contrasts with the more reflective songs on the album. “All The Rain,” another Beck track, evokes the same sense of loneliness as the more mellow songs on Beck’sMutations. The smooth instrumentals of this piece lend themselves well to the melancholic lyrics. Gainsbourg also successfully delves into a retro-folk feel on the track “Memoir.” The simple acoustic guitar riffs pair perfectly with Gainsbourg’s understated voice. Like “All The Rain,” this track evokes a sense of sad reflection.
Though this album doesn’t contain any new work, the previously unreleased tracks make it well worth a listen. Stage Whisper is another eclectic and beautiful album from Charlotte Gainsbourg. Hopefully, Gainsbourg’s film career doesn’t take too much attention away from making more music in the future.
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Edmonton's music scene in Canada has been garnering more and more recognition as of late. One of its daughters, Jessica Jalbert, just released her debut album, Brother Loyola. This album was crafted with fellow Edmonton musicians, Liam Trimble, Rene Wilson, and Doug Hoyer.
Like singer songwriter Mirah, Jalbert’s vocals are the backbone of her songs. Though her lyrics are intensely emotional, Jalbert’s voice is always polished and controlled. In a pop-folk style, the tracks on this album use both violin and electric guitar. The instruments are layered with Jalbert’s clear voice to evoke a dream-like quality.
The opening track, “Necromancy” is a day-dream lullaby. The violins on this track follow Jalbert’s smooth voice and add a sense of richness to her vocals. This song has a beautiful meditative feel.
Two tracks on this album utilize a feedback sound. In the first, “Whatever Whoever,” the feedback subtly harmonizes with Jalbert’s vocals. The electric guitar smoothly transitions between chords and feedback. In “O Evening Colors,” the feedback clashes with the rest of the song’s washed out feeling. The vocals, guitar, and percussion gently conjure an image of the fading sun. The use of feedback is somewhat jarring and makes this track the seem out of place compared to the rest of Brother Loyola.
"Lack of a Lake," one of the album's singles has a retro surf feel. The electric guitar has a purposeful feel, which contrasts with the washed out vocals. This track has the most poppy sound of the album. "Casual 3/4" closes out Brother Loyola in a strong way. Its soporific acoustic guitar pairs perfectly with Jalbert's sweet vocals. The horns on the track have a muted feel to them. It seems that this album begins and ends with a daydream.
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Caveman’s Coco Beware: The Best Friend You Haven’t Met Yet
By C. Schiff
The Brooklyn-based band Caveman has achieved buzz the old fashioned way: word of mouth. Caveman released their debut album Coco Beware in November of this year. A bartender friend of the band played the album in his bar every day. The patrons would hear it, love it, and come to Caveman’s shows. Overtime, word of Caveman’s mellow sound and sophisticated harmonies spread. In a world where YouTube can bring an artist from obscurity to stardom in a matter of months, Caveman’s success seems old fashioned. Similarly, their sound evokes a sense of nostalgia. Like My Morning Jacket and Band of Horses, their sound is often guitar driven with a heavy dose of reverb.
On the first listen, the album’s songs have a comforting familiarity. Not only does this sense of familiarity increase with further listens, but the band’s grit becomes more apparent. The immediate accessibility of this album makes its bolder elements all the more appreciable.
Caveman is reminiscent of the Shin’s mellow sound and their perfect vocal harmonies are decidedly beach pop. The percussion on Coco Beware sounds like a drum circle and is organic in its inclusiveness.The tracks on this album bleed together, moving seamlessly.
The stand-out tracks include "My Time," "Vampirer," and "My Room." "My Time" brings similar upbeat guitar progressions to ones found on many Strokes songs. The song manages to feel both mellow and pop at the same time. It showcases this band’s confidence explore different tones. "Vampirer" is the most haunting track on Coco Beware. An eerie instrumental track, it uses carnivalesque sounds and reverb to evoke a sort of sad nostalgia. Caveman’s mellow, gritty sound is best represented on the final track of the album, "My Room." This track’s misanthropic lyrics contrast with silky vocals and primal percussive rhythms. The effect is both soothing and introspective.
Overall, Caveman’s debut album is very promising. Its sense of familiarity makes Coco Beware the best friend you just haven’t met yet.
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Band: Gringo Star
Album: Count Yer Lucky Stars
Release date: October 25, 2011
by Corey H. Jones
The name Gringo Star easily evokes the easy-going, elder Beatle. And while you can’t deny the British Invasion influence on the band’s sound, it turns out the Atlanta quartet simply sought a moniker that incorporated the word “gringo”. (Note the absence of a second “r” in “Star”.) A play on words. And with these guys, the emphasis lies on play.
Gringo Star somewhat dismisses the Fab Four connection, quicker to cite Chuck Berry, Ritchie Valens, and Sam Cooke as influences. Either way, it explains the vintage quality at the forefront of the band’s sophomore release. On “Count Yer Lucky Stars”, Gringo Star utilizes a minimalist approach to songwriting, complete with plenty of catchy melodies fed through a fuzzy garage-rock filter.
“You Want It” and “Make You Mine” call to mind the sounds of early output from the Beatles and the Kinks. But this album offers more. Opener “Shadow”, a standout track, polishes some of band’s edge, replacing it with a distinct groove.
While the foundation is basic, it’s notable that Gringo Star is composed of four multi-instrumentalists. Catch them live and you’ll see the members rotating instruments after almost every song. It’s no gimmick. Rather, it’s just natural, given the assorted talents of each musician. And this allows the band to craft its own identity and allure. The album’s title track contains hints of Spoon. “Got It”, with a fuller sound that incorporates some doo-wop, shows the band’s range, as does “Esmarelda” —the album’s longest cut, at 4:25, by nearly one minute—which holds a certain whimsicality.
These guys rock just to rock. But there’s value in that. After all, what this album lacks in density, it makes up for with focus. They don’t trip over their own feet trying to employ some lofty purpose. This straightforward approach results in a casual lightheartedness. It’s all in the name, really.
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Week of October 31, 2011:
Gauntlet Hair's 2011 self titeld release got a nod from Pitchfork: "Gauntlet Hair's self-titled debut is the most compelling demonstration yet of the band's knack for headphones-friendly fist-pumpers." Read the full review here.
J-Live, thankfully, is still making music. Okayplayer spells out 2011 release, S.P.T.A for you: "For 12 songs, J-Live travels naturally over an eclectic bed of tropical instrumentals, electro-soul compositions and effervescent break beats, taking listeners on a wistful journey through musical yesteryear while observing hip-hop’s pitfalls." There's more where that came from.
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