Christmas Special...Sufjan Stevens: Songs for Christmas

    I almost wrote up another album (don't worry you'll read that one eventually I'm sure), but I had this interesting idea to do a piece on Sufjan Steven's Christmas album, Songs for Christmas, and I started listening to some of the tracks and it just made sense. If you do not know much about Sufjan yet, check out my previous posts, about his last two releases, Age of Adz (Oct. 2010) and All Delighted People (Aug. 2010), by clicking the 'Sufjan Stevens' tag down below. Sporting a resume of fantastic albums as an indie artist is something not many can boast of, and just being super creative and musical is a side bonus that few can bring to the table as well. In this case, that creativity led to a desire to create an annual Christmas album. So, starting in 2001 and continuing to its release in 2006 (but skipping/missing 2004 because of recording Illinoise), by popular demand, Sufjan gathered his friends together and recorded roughly 7-10 songs a year.
    The result was five separate EPs in Volumes I-V, titled: Noel,

Hark!,

Ding Dong!,

Joy,

and Peace,

respectively--the actual breakdown of the EPs is here on Wikipedia. This unique twists on un-original Christmas songs and a dozen or more original compositions was compiled into the album that is Songs for Christmas. Strictly speaking they would be considered arrangements, but the mood is rightly enhanced and the employment of counter-melody and word painting is inescapably fitting. Lots of banjo, some baroque styled oboes and flutes, and twinkling bell like synths on some of the more traditional carols. It is a fun ride and would be a great addition to any true Christmas music lover's collection. It is available through Asthmattic Kitty Records, Sufjan's own of course, here, and comes complete with stickers, stories, an essay on Christmas, animated music video and comic strip, songbook and Santa Sufjan portrait.

    I implore you to read further, straight from Sufjan's Bandcamp website here, and while you do so just hit play and sit back for a couple hours of listening to bring in the Christmas holiday. I have also linked one of my favorite songs, "Saw Three Ships" under the 'Monthly Sample Tracks' on the right. Enjoy, Merry Christmas!

Owen: Ghost Town

    It's not actually possible to keep track of all the indie releases that take place over the course of a year. I make an effort to check indierockcafe.com once in a while to see who they have under their 'New Releases', and I think this one fell through the cracks. Out November 8, 2011 on Polyvinyl Records, Ghost Town is the sixth full length by solo artist Mike Kinsella, who operates out of Chicago, and seems to be a pretty substantial part of the indie scene in the windy city. Kinsella has been on quite a journey, starting in 1989 with the formation of Cap'N Jazz, a post-hardcore emo outfit started alongside his brother Tim. The group ran until 1995 with good success. Next, Mike started Joan of Arc, which is an emo math rock gig still running--even released its 14th LP in May of 2011. During JOA, Mike formed another project, American Football, a band that ran from 1997-2000 in Chicago, playing more of the same emo math rock (seeing a pattern?) and putting out two albums. Finally, Mike was in Owls with Tim in 2001-2002, when JOA "dissolved". The Owls eventually just became JOA again because its participants basically had not changed (Tim has led that group its entire existence), and Mike continued his solo career as Owen which he began in 2001.
    So, a warning upfront, to my readers that might care, there are explicit lyrics in a few songs, one word here or there basically, nothing like listening to hip hop these days! Anyway, Owen reminds me somewhat of Mice Parade, with the math rock elements in the rhythms, guitar and drums, depending on the song, and his voice a bit too even. Ghost Town, along with his previous work, I'm sure, is not the super intense math rock that you might think of, like Fang Island or This Town Needs Guns, but you can hear where he has come from. There are also very expressive or emotional lyrics that leave the feeling that the writer is searching, or undecided about life. Overall, I think Mike Kinsella's progression from Cap'N Jazz to here has continually shaped his solo music and is melodically and acoustically reacted against the heavier rock he used to create. Just my initial impression.
    The album really is quite beautiful at points, with the non-acoustic elements that are added. The strings are gentle and soothing in "Two Many Moons", with sweet sounding harmonics like Andrew Bird uses, and the layered acoustic guitar is prismatic. A marimba in the next song, "No Place Like Home" is an unlikely but welcomed touch, and the track actually has electric guitar and includes heavier sections that are more math rock influenced. The distortion is not overdone and a great contrast. "O, Evelyn" is sort of a ballad, pulsing and swaying followed by "I believe", a song that fades in and out but not before fluctuating between softer and louder tones. By this point, I'm really struck by how someone who maybe liked Death Cab for Cutie might like Owen. I hear similarities. "The Armoire" utilizes synths that just hover and sit in the background of a piano and broken chord guitar accompaniment. The electric guitar returns at key moments to add a nice edge too.
    Without giving away the whole album, I'll leave the rest for you to discover on your own, I think I have given you enough so you know what to expect, but I can't describe melodies or harmonies or styles completely, and now it's your turn to just sit back, binge, and enjoy! Under 'Monthly Sample Tracks' is the final track "The Armoire", which I think gives the best preview of all you might hear.

White Rabbits: It's Frightening

    Sometimes I still hear a good song on the radio I've never heard before, and actually happen to catch the DJ saying who the track is by. Oh, and sometimes I even manage to remember who it is later when I get home, cause I rarely listen to the radio outside of my car. In the case of the White Rabbits, I did happen to remember their song "Percussion Gun" on WBER 90.5 FM "The Only Station That Matters". Lucky for me, because this has been much busier than normal and I've been too crunched for time to spend it checking all my usual sources and listening to a lot of new music. So far, from what I've heard of the Brooklyn based, Columbia, Missouri originating band, this is not a tremendous find, but have either potential to be really good or have just hit their high point with It's Frightening (2009). Their previous and debut album For Nightly (2007) I guess met them with enough success to be picked up by TBD records (known for distributing in rainbows in the U.S. for Radiohead) for this their sophomore.
    One thing I'd like to hear differently with White Rabbits, is their honky tonk piano sound. For a group that relies heavily on piano throughout, almost to the point of being truly Piano Rock, the twenty years since it's last been tuned grandma's house piano is to me a fad driven let down. A real piano could still have that heaviness that they are looking for, imo. And labeled as Post-Punk revival might be more a generous nod to their prior to White Rabbits bands: Texas Chainsaw Mass Chorus and The Hubcaps, which were punk/hardcore and ska, respectively.You definitely will hear these type of influences in their music, but when I think of Post-Punk, I think of Tokyo Police Club or The Strokes. Fort Nightly might also be closer to such a descriptor, but I perceive a shifting away towards just plain indie rock. For one, their music is more repetitive rhythmically and melodically, without as many quick hooks and changes that punk is known for.
    Well, to talk more directly about the album, It's Frightening starts with it's best foot forward. "Percussion Gun" is a driving, pulsing, yet melodic tune. It took me a while to recall what a particular chord sounded like it came from, and then I realized it is exactly The National from their song "England". Listen to the two side by side and there is an uncanny resemblance. I guess the onus is on The National in this case, since "Percussion Gun" came out first, but wow. The next song "Rudie Falls" is more of the same goodness, but less to the front percussive gunning (or drumming). The melody is also not quite as lyrical, more upbeat and hoppy like the indie pop/rock of Hungry Kids of Hungary or Jukebox the Ghost. "They've Done Wrong / We've Done Wrong" is more Post-Punk, but White Rabbits puts their own sullen twist on it, kind of an emo minor key sound. I'd say this is their sound, what they do best, despite how good "Percussion Gun" is, and if they kept doing more of this I'd keep listening. Generally speaking, from the first three songs progressing towards the end, It's Frightening loses my interest a little, with the last track "Leave It at the Door" sort of a slow disappointing eerie and tuneless song, as if no hope is left or the singer has reached misery. It is just that some bands that have more of an upbeat style end with a great slow song to tie things up and this does not seem to accomplish that or fit in with the rest. I almost need to turn the volume up to hear what is going on even.
    I feel like I just wrote a particularly scathing review or something, but maybe that is just the mood I'm in today or this music just makes me feel emo, you let me know what you think. Regardless, definitely check out "Percussion Gun" under the 'Monthly Sample Tracks' and at least the first three tracks on their MySpace here or Facebook here.. If you like more, keep listening, that is my goal--to introduce you to music you might like. Enjoy!

Just in...The New Empires: The New Empires

    I went to summer camp with Matt Brown, who is the songwriter and lead singer for The New Empires, new to the scene with their debut album, The New Empires, which I learned about through my brother posting them on Facebook. Perhaps "new" has a double meaning here, with the group's formation 6-7 years in the making, violinist Elise Zeigenberg and drummer Steph Hughes started playing with Matt in college in 2004. At the time they played some folk or Americana, what have you, while it seems they had particular interest in Irish folk, and after taking subsequent trips to Ireland, they met their future two additions, David and Ellie Henry. Finally, pianist Jeremy Weber joined as the late arrival in 2010 and the sextet was established. So, the combination of instruments they all brought to the table, with various backgrounds and stylistic intentions is what truly formed this new empire that is The New Empires.
    Having recalled even my brief time with Matt Brown, I knew him to be a gifted guitarist with a knack for harmony and songwriting. He was not interested in creating music that lacked originality or simplicity, loved using unusual chords or mixed meters. I may be describing that as more extreme than it actually was, but I was impressed even then, and that does not come lightly (which you might know if you read my blog!). Now, The New Empires is self-described as "giant-sized pop numbers accompanied by choirs of angels and a gypsy orchestra", which sort of fits, but really seems hyperbolic, and a bit faddish if you ask me; many bands like to make up their own terminology to describe their musical style (this used to be especially true back before MySpace changed it's interface and each band page had a place by their picture where they could put 3 or so words to describe their music--many bands not choosing typical "rock" or "pop" terms). Chamber Pop suits me as a descriptor, but Baroque Pop is close and seems to be more inclusive and the popular term, so I included it in the tags, but it is not Baroque like Vampire Weekend or Sufjan Stevens are; which have more period sounding instrumentation (harpsichord or something sounding ancestral to the oboe).
    The third and fourth tracks may be the best songs on The New Emipres, "Above the Door" and "The Psaltery"; such smooth melodies and nice vocals, especially since I'm not often a fan of falsetto (unless it is British, i.e. Coldplay, Muse or Radiohead). The only [slight] criticism of "Above the Door" is the last chord, which almost seems out of place, even though it has a nice timbre. The pizzicato on "The Psaltery" is really nice and at one point Matt Brown reminds me of the singer from Passion Pit or something. Actually he reminds me of Sondre Lerche and Jukebox the Ghost too, even though their voice qualities are different. "Exiles" has a really catchy chorus and I love the lyrics about L'Arc de Triomphe and all. Overall, I think the band hits their sweet spot in the softer tones instead of the more upbeat group sing-a-long style that some of their other songs are about, "Janitors" for example. I also wonder what religious undertones the lyrics take on, because some of their songs seem to be overtly inspired by Biblical themes (blood on the door from "Above My Door"=Passover, "The Psaltery", etc..) but that could be my bias, it could even be sarcastic in nature. I do not know and I would love to see some lyrics posted on Bandcamp like most bands do.
    I leave you with "Above My Door", over under 'Monthly Sample Tracks', which has a gorgeous violin solo in it (there is one phrase I wish the violin had ended on the 3rd of the chord instead of ascending to the root, but oh well their band their choice). Do check out the entire album on The New Empires Bandcamp website here. Enjoy!

Young Circles: Jungle Habits

    So maybe I have an affinity toward the avante-garde. Young Circles with their album is definitely experimental stuff; some might be immediately turned off, while others who stick around to listen might find some material really interesting and ingenious. And here's a first, they are from Miami. Not the kind of town you'd expect four guys to get together and form a band that could be considered so anti-cultural to Florida. On their Facebook, however, they write this: "Young Circles is a band of evolution, both within their songs and in theory. The American music scene is obsessed with genre identification – a 20th century idea. Young Circles, a product of information bombardment and a prowess to synthesize a wide spectrum of great music, transcends it all with panache. This is new music." Buy it, hate it or love it, I agree with many indie music blogs that say Young Circles are here to stay and are having an effect on listeners and putting their stamp on the music scene. Interestingly, they used to be a garage rock band called Blonde Fuzz and changed their name and musical intent from noisy guitar riffs to more down-tempo experimentalism.
    Just releasing their first EP, self-titled Young Circles, in January of this year, Young Circles is relatively new, but is already engaged and active in the music world. Their debut, Jungle Habits, dropped in August, and they have sort of joined the Occupy Wall-Street movement with a proceeds to the protesters fundraising album, Ninety-Nine Percent, released in October, which has a new song, and two mixes of potentially their best song, "2012" from Jungle Habits. They sound like really intelligent mixers, so I hope to hear more of that kind of work (done either on their own songs or others). Anyway, the eclectic mix of music that has resulted in only a years output is fascinating. There are homages to folk, latin rock (the only apparent tie to Miami), the ever increasingly popular dub and electronic music, dance, fuzz rock, electro rock/pop, and garage rock.
    In Jungle Habits There are really lush moments with instruments added and aura invoking melodies such as towards the end of "Asthmatic" and in different parts of "Dreams". What they do very well is combine acoustic instruments with all the electronic. Some tracks are just downright noisy, such as "Jangala" (which has a cool jam spot), but I do not mean loud noisy or noise rock, necessarily, but that it is hard to determine what kind of whatever produced the resulting sound; yet, it works. It's sort of like tUnE-yArDs, even in the vocals, at times. Then a couple tracks later is "You. Me. Nothing.", which is sort of like listening to a Radiohead mix of a different group's song. Now, I know that doesn't actually happen, but I find it just sort of not admissible to call something Radiohead-esque (guilty!) if Thom Yorke is not singing it. "Devil" is another track that sounds sort of like the above at times.
    Right from the start of the album, with "Triangles", it is as if the listener is put in a warp and then you have this intense listening experience which leaves you a little unsettled, dumbfounded, or perplexed; but I think ultimately better for it. Young Circles--I hope they continue writing and are around to stay, filling me with as much intrigue as this album has and stretching the limits of what is accessible. Enjoy the track "Asthmatic" under the 'Monthly Sample Tracks'. or check out their entire discography here on Bandcamp.

Good Old War: Only Way to Be Alone

    Good Old War is a Philly based folk band that includes members from the now defunct Days Away (1998-2008, as displayed on a commemorative website here). For my part, I initially took a quick listen to Good Old War when I found this out about a year ago, expecting more of the same quality music and was disappointed because Days Away had two great albums in Mapping the Invisible World and Ear Candy for the Headphone Trippers, and this was watered down folk comparatively. Yet, since the disillusion has worn off more I have been able to go back and give Good Old War a second chance, one I think they could really deserve. I feel like I'm writing another pity post, second in two weeks, but actually I'm trying to expand my horizons to like more folk music. I tend to prefer indie folk such as the likes of Sufjan Stevens, Beirut or Freelance Whales, not so much purer folk. It has always seemed too repetitive to me.
    Anyway, Good Old War came to be known as such because of the names of its members, Keith Goodwin (Good), Tim Arnold (Old), and Daniel Schwartz (War). Pretty cool. They are backed by L.A. Record company Sargent House, which hosts names such as Omar Rodríguez-López, Fang Island, RX Bandits, Maps & Atlases, others... Good Old War's third LP is due out in February 2012, no title revealed yet that I could find.
    I am actually writing up Good Old War's debut, Only Way to Be Alone, which dropped in 2008. More recently was a self-titled sophomore follow up, Good Old War (2010). There is also a split EP, Good Old War / Cast Spells (2009, two tracks from each group), and a Purevolume.com Sessions (2009) EP of all acoustic renditions. The reason I went old school, is that I prefer the unique nature of each song, as critic David Driver from Sputnikmusic (full review linked) put it: "Most every song has its own crisp, distinct character, and it’s unlikely that someone will find a bad song on this album because of it." I also have to agree with his estimation of their three part harmonization, it is very tight and well used, surprisingly not overly; prevalent as it is throughout one might expect it to grow tiresome. Another reason I picked Only Way to Be Alone is I felt like Good Old Days lost some of its ingenuity. That is hard to explain, because they did take risks and experiment within the folk genre, maybe I just do not feel like they fully succeeded. There are some fabulous songs, do not get me wrong: "My Own Sinking Ship", "Making My Life" especially and "While I'm Away". My bias also comes into play I guess, because the somewhat atmospheric nature of certain songs on Only Way to Be Alone truly reminds me of Days Away, Mapping an Invisible World, in folk form, while the comparison to vocals and melodic lines is inescapable since Keith Goodwin is the lead in both groups. One example of this in my mind is the second track "Looking For Shelter". Overall, the more I listen the more I recognize ties between structure, harmony and general scope and progression of their compositional style.
    Finally, to use the words of NPR, “As the band alternately brings to mind images of 1960s doo-wop [my insertion--last track "Stay By My Side" definitely], whimsical folk and indie rock, Good Old War deserves for making simply appealing music full of great hooks” (taken from here). Simple. Appealing. Can't go wrong with that. Listen to the full album in a few places, Bandcamp (which contains their entire discography free streaming) or Hellomerch. Or just enjoy the track "Coney Island", the opener, over under 'Monthly Sample Tracks', which though perhaps not the best on the album just feels like an invitation, hopefully inviting you to hear more.

Two Door Cinema Club: Tourist History

    I've for some reason been putting off Two Door Cinema Club, but I love listening to their songs when they pop up on the radio, so now they are receiving the recognition they deserve (and I seem to be sticking with the "club" theme). Tourist History is the 2010 debut album of a group that hails from Northern Ireland, which is pretty cool because I've not ever heard a band from there (that I knew was from there) that I liked. I guess I would expect music from Ireland to be more folk or tavern sounding, to grossly generalize. Not so with Two Door Cinema Club, whose name derived coincidentally in 2007 from the mispronunciation of the local Tudor Cinema, as they blend disco, electro pop, and post-punk into probably what can be safely labeled electro dance punk. Clearly they try and stay relevant to the modern swing of music, and this is confirmed by a quote by their recording mixer, "They are completely crazy about music - there is not one hour when they don't listen or download something from a blog. They remind me of when I was a teenager." Interestingly enough, the reverse can be said of their music, as they quit university to pursue a career because their first drafts, per say, on MySpace were receiving a lot of attention. So they went to record their first five track EP in 2009, Four Words to Stand On, all but two songs eventually making it on to Tourist History. Two Door Cinema Club is on the French label Kitsuné Music.
    Well, Tourist History is packed full of energy and yet is smooth and cool and sublime all at the same time. Their guitar rhythms are always tight and the drums beat away almost like a disco machine, and yet I totally do not mind that surprisingly. Their music just has this brightness to it, just listen to the opening of the first song, "Cigarettes in the Theatre", that is insatiable, and it contrasts so well with the toned down cool pop--just beat and singer, Alex Trimble. I love the ending where all the brass comes in full force and tops off the already kicking track to a stunning finish! The next track, "Come Back Home" is a good balance between a minor key verses and major key chorus theme, kind of reminds me somewhat of The Strokes. Follow that up with "Undercover Martyn", another poppin' dance tune with some melodrama, and the album is already well on its way. I love they way track four, "Do You Want It All?" grows incrementally, and how smooth it feels, makes me want to lie back close my eyes and be immersed by the almost trance like vocal harmonies and electronic fuzz in the background, great climax finally when the music drops and the guitar rips it solo style. "This Is the Life" is a little more standard indie dance rock, while "Something Good Can Work" returns to the sing along feel good style that makes Two Door Cinema Club unique. "I Can Talk" has some beat bopping of sorts as a rhythmic ploy, while the layered vocals are a nice touch and the chorus has nice energy. By "What You Know" it does feel a little like I've heard this before, but I think that is because it is one of the songs that sees a lot of radio play. "Eat That Up, It's Good For You" is a nice contrast, very smooth and love the synths and toned down verses with call and response, nice counter melody in the guitar too. This one explodes at the end, in a cacophony of synth and distortion, before slowing to a sublime finish. I think this should have ended out Tourist History, but instead "You're Not Stubborn" does; back to the dance floor for one last number that is slightly slower for those who have maybe danced a little too much out at the club in one night. But it has been a good night regardless.
    I hope you enjoyed my maybe more creative than normal write up, I guess I was inspired, which speaks highly of Two Door Cinema Club. You can hear their entire discography, minus the EP, but including Tourist History and a remix album Tourist History Remix (February 2011) on their MySpace here. Or just check out "Do You Want It All" over under the 'Monthly Sample Tracks'. Enjoy!

Bombay Bicycle Club: A Different Kind of Fix

    The Bombay Bicycle Club is another, to me, in a growing contribution to the trendy "club" name list. Others would be Tokyo Police Club and Two Door Cinema Club, but maybe they followed the leader a bit more as Bombay Bicycle Club already has this their third full LP released, A Different Kind of Fix (August 26, 2011), since their formation in 2005. Jack Steadman, Jamie MacColl and Suren de Saram were only 15 when they started playing together, as The Canals, until their unit was completed with the addition of a permanent fourth member, guitarist Ed Nash. Hailing from London, they won the "Road to V" competition held by Virgin Mobile in 2006, and released a few EPs in 2007-08 before officially completing their college education. At the time these were self-released under Mmm...Records, but they also had a short stint with the Young and Lost Club label--yet another "club". In 2010 Bombay Bicycle Club was named Best New Band by NME (New Musical Express, an annual music awards in the UK). They are now on the Island Record label.
    Bombay Bicycle Club is a mix of styles album to album, but I think they have hit their stride with A Different Kind of Fix. As with the other "clubs", you might expect a post-punk sound; however, they have really carved out perhaps something more original. A little folk and acoustic, especially with their second album, Flaws (2010) and debut I Had the Blues But I Shook Them Loose (2009), mostly they are straight up indie rock. A typical beat is "bum bum bum chick" or some related variation of more continuous ostinato instead of "boom chick, boom chick" too (hopefully that makes sense), which is actually something I actually really dig. A Different Kind of Fix is more of a sublime electro dream pop, a sensation that everyone grabbed a hold of it seems at least in part in the last two years (you can't miss the reverb effect), but also has song intro notes (to borrow a wine colloquialism...pun intended) of math rock as well as more intimate acoustic moments. OK, loops would probably be a better description than math rock, but the openings of songs just makes me think of bands like Fang Island or This Town Needs Guns; perhaps a better comparison is Animal Collective. I also think that fans of Arcade Fire would appreciate Bombay Bicycle Club, expect the latter is less bombastic/alternative.
    The first single from the album, "Shuffle" is a nice track, very upbeat and syncopated, but much different than most of the rest of the album it almost doesn't make sense. Another nice track is "Fracture", which starts off really dreamy with a folky melody and broken chord guitar all blending together, then the drums come in with the steady "bum bum bum chick"--a nice color change. Finally, the last song, "Still" has that Radiohead-esque acoustic sound, with the out-of-tune grandparents old piano and falsetto vocals. It doesn't quite have the harmonic depth/scope of Radiohead, but it is a nice fix (maybe, pun intended again!).
    The entire album, including their debut, is on MySpace here. The song "Fracture" is over under the 'Monthly Sample Tracks'. I hope you enjoy!

Just in...Justice: Audio, Video, Disco

    Two styles I have had a growing interest in since I started this blog are French house (a la Daft Punk or Justice) and what seems to also be a French style, nu-disco (a la Two Door Cinema Club, Housse de Racket or Justice). Consequently, the electronic duo of Gaspard Augé and Xavier de Rosnay that is Justice, fits the bill perfectly, with their face melting almost 70s electric guitar and disco tendencies. Their debut album † (Cross, stylized, which had a cross on its cover also; plus the group always seems to perform with a giant cross on stage too) met with huge success in 2007 and particularly I loved the song, "One Minute to Midnight" as it was always in my head. † introduced a new sound to me that other electronic duos are not close to replicating. There is so much tension in their choice of sound (take the song "Stress" for example!) which makes listening through a full album more challenging in a good way. I definitely like electro house more than trance. Justice is on produced by Ed Banger Records.
    Though not as funky and memorable as †, with songs like "D.A.N.C.E." and "Tthhee Ppaarrttyy", I think Audio, Video, Disco succeeds in some very important ways. First off, just putting out a new record after loyal fans have waited four years for more music is a victory; second, there is still an electricity to this album that is just different than what † offered, and that is alright; third, there is more vocals in Audio, Video, Disco, or at least it seems like it, which I think will help the record's popularity; and fourth, some of the songs have elements of Daft Punk that will attract listeners. Going through some of the songs I liked or specific moments that shined, we start off the album with "Horsepower", which brings killer metal rock sounding guitars, and is followed by the radio single, "Civilization",  I think a decent song and more memorable than maybe others on the album, but not the best. Track three, "Ohio", has nicely harmonized vocals and almost harpsichord sounding broken chords underneath, with in your face synths popping up half way through that transition the song nicely. The instrumental tracks four and five, "Canon (Primo)" and "Canon" are really nicely done, with the primo leading right into the "Canon"; both are full of almost baroque electro house, with arpeggiated elements and duo synths. Next, "On'n'On" is maybe my favorite song, with a slower mood, but an intensity that is hard to beat on the album, great vocals and melody. I wish the seventh track "Brianvision" was longer, it is an instrumental number as well with duo "guitars"; totally psychedelic. Love the start to "Parade" and "Newlands", tracks eight and nine, the latter feeling like a classic rock hit, which picks up midway through. Ten, "Helix" reminds me of a Daft Punk song the most, with its repetitive breaks and funky rhythms. The intro to the other single, and [final] title track, "Audio, Video, Disco" is also sweet, but it is weird how the album fades off almost into the mist with the track whose title would suggest something more grand.
    I hope that we do not have to wait another four years for Justice to write their junior album! That being said, if you do not know them, check out † and Audio, Video, Disco, because they are unique and fantastic blends of electro house rock electronica (that may be redundant...). Hear the song "On'n'On" under 'Monthly Sample Tracks' and listen to more or watch music videos from this release here on their MySpace. Enjoy!

Upcoming...Coldplay: Mylo Xyloto

    Though a little more mainstream than most of the bands I listen to on a regular basis, Coldplay consistently surprises me with their original sound and composition. Clear props go to Chris Martin, whose voice unmistakably represents Coldplay, as iconic as Thom Yorke is to Radiohead. Released on Parlophone Records, Mylo Xyloto will be Coldplay's fifth studio effort and is set to hit the shelves October 24th. Their previous work includes: Parachutes (2000), A Rush of Blood to the Head (2002), X&Y (2005) and Viva la Vida or Death and All His Friends (2008). Some of my favorite songs go all the way back to their earliest work, with "Spies" from Parachutes; "Politik", "Clocks", "Daylight", "A Whisper" and the title track from A Rush of Blood to the Head; and of course from Vida la Vida or Death and All His Friends, "Cemeteries of London", "42", and "Yes". Obviously, I felt like X&Y was their weakest effort.
    Mylo Xyloto is claimed to be a concept album, following a "love story with a happy ending" about Mylo and Xyloto, two characters that according to Coldplay's Wikipedia: "Mylo and Xyloto, who are living in an oppressive, dystopian urban environment, meet one another through a gang called 'The Lost Boys', and fall in love." As I'm not typically one who pays a lot of attention to lyrics, I cannot say how well they achieve this end, but it does seem like there is a smart progression to the songs. I do, however, dislike how there are these 30-40 second tracks labeled as individual tracks, "Mylo Xyloto", "M.M.I.X." and "A Hopeful Transmission". They give the appearance that there is more music than there actually is, and they should have just been included as part of the next song they lead into. Although, from a stories perspective, perhaps they are warranted.
    Apparently, Coldplay intended to make this release more intimate and acoustic than Viva la Vida, but I do not think what they ended up with after numerous trips to the recording studio actually reflects this goal. Instead, there are a lot of songs that are grandiose in scale, with dance house leanings and full string sections sweeping overtop a throbbing pulse and intense vocals. There is acoustic guitar and piano throughout, but it seems like the band just kept adding layers in the studio until there is a little too much wash sometimes, in my opinion (as if they got caught up in the dream pop that hit so suddenly last year and has come and gone quickly, thankfully). Probably they could have accomplished their original plan very well if they were still in the Parachutes era. Overall, the album is really a splash, much like the cover depicts, which I love along with the graffiti inspired music videos, such as "Every Teardrop is a Waterfall", which you can watch here (I love the guitar riff, one of their best!). And, most if not all of these songs will make for excellent remix material. I expect to hear some remixes that may even be better than the original. The R&B artist Rihanna makes an appearance on "Princess of China", which doesn't really make sense to have a hip hop infused track merged with what should be more oriental in nature by definition. Also, in "Charlie Brown" there is a singer right at the start of the song that sounds like the vocalist from the song "Baptism" by Crystal Castles, but I doubt there is any real connection, just interesting.
    You can see more of their videos on their website here, just click the links and they will take you to YouTube videos. Also check one of the more unknown best songs, "Hurts Like Heaven" with its slight punk influence (there are really no hidden gems as the hits "Paradise", "Every Teardrop is a Waterfall" and "Major Minus", from the Every Teardrop is a Waterfall EP that released June 3, 2011, are going to be well known to everyone in due time if not already), over under the 'Monthly Sample Tracks'. Enjoy!

Just in...MUTEMATH: Odd Soul

    The day has finally arrived! One of my favorite bands ever since I first heard their Reset (EP) back in 2004, yet in fact even before it was released they had tracks streaming online as a preview, MUTEMATH releases this their third full album, Odd Soul. Formed partly from the ashes of a Christian reggae progressive experimental rock band, Earthsuit (which is how I first came to hear about Mutemath), with Paul Meany (lead vocals, keyboards and extraneous instruments), Roy Mitchell-Cárdenas (bass) and Darren King (drums) coming from Earthsuit and  former guitarist Greg Hill coming from the New Orleans area where Mutemath is based. Their current guitarist as of 2010 is Todd Gummerman. Their previous work also includes, Mutemath (Self-titled, 2006), Spotlight (EP, 2009) Armistice (2009), and three live albums.
    Energetic just doesn't describe Mutemath, doesn't do them justice. They are beyond energetic. Every song has electricity, tension and fantastic harmonic and melodic structure. Plus, they experiment with control devices, electronic sounds and real percussion instruments, not something most bands have the expertise for. The distinct voice of Paul Meany, which I recognized well from Earthsuit, is perfect for the style and fresh expression the band exudes in their music, album and promotional art, music videos and for life in New Orleans. Known for being a city of dixieland and jazz, Mutemath fits in well, implementing invigorating sensibilities in comparison to almost any other alternative rock band out there. Their bass player, Roy, for one contributes a lot of his jazz and funk know-how (he went to school for English and played music along the way) and Darren King is a beast on drums, while Paul Meany seems to be the driving force behind most of the creative use of instruments and attention to detail. Not to belittle the other members though; when Armistice was written, it was a complete collaboration in the song making process and developed quite organically after the band hit a dead end while trying to put together a number of songs they had already prepared to record. Instead of almost breaking up, after meeting with a producer, they scrapped everything and started fresh and called the resulting experience (to paraphrase) the quickest and easiest/best writing they had ever done, where everyone had a contributing role.
    Their latest effort, Odd Soul, is definitely a new direction from Armistice, but I don't think that different entirely. It is so Mutemath in its rhythms and colors and melodies, while perhaps the real difference is in a more lo-fi psychedelic guitar funk style. It is almost like New Orleans blues/jazz rock, if that could be a sufficient genre description. The first song, and single, "Odd Soul", definitely starts off this progression throughout the album, with the most blues/funk tune. Video here. Each successive song I'll say a little about:
(2) "Prytania" has a more happy-go-lucky upbeat tambourine/shaker feel, with great fills.
(3) "Blood Pressure" is the other single, and a worthy track, definitely bluesy, but the choruses and bridge are killer, and the video, which you can see here is stellar! It just rocks out and may be my favorite track.
(4) "Tell Your Heart Heads Up" has a nice bass line, kudos to Roy, with lo-fi spoken/sung vocals.
(5) "All or Nothing" is kind of an interlude of sorts to the intense energy filled songs, a steady beat remains, but less cymbals and heavy hitting, with a more melodic reflective tone, and sections that might evoke Radiohead's more electronic days.
(6) "Sun Ray" is a truly down tempo work, almost trip hop-ish, with vibes to perfection providing the chords to start; this is a completely instrumental work, which I'm not sure they have done since "Reset" from their Reset (EP), though much shorter.
(7) "Allies", another killer bass line, doubled, with short tonal modulations that add a lot, funk to the max here.
(8) "Cavalries" is groovy and funky, with chorus vocals, and latin percussion instruments brought into the mix half way in, before returning to the original style.
(9) "Walking Paranoia" starts exactly like a math rock band, and continues similarly, but not so repetitive I guess. There are a lot of hits back and forth and harmonized vocals.
(10) "One More" starts almost like a Radiohead song, and then hits this sweet groove and just hovers for a while before exploding into a punk drumming blues tune.
(11) "Equals" is the most like their original work from Reset (EP) that I have heard in a while, at least the opening. The bass dives and vibes are a nice touch, and claps are back in style from Armistice, though here and there not 8 measures long. Great song.
(12) "Quarantine" is a little less tamed than the rest of the album, per say, with electronic noises you might not expect to hear from Mutemath, almost like a mix of The Flaming Lips or something at times. Indeed, this whole album dips into the psychedelic a lot I think. The song is the longest on the album, has a significantly different middle section and ends with "alarms", I guess to forewarn that the epidemic is here?
(13) "In No Time" is what makes this another great Mutemath release, the expected ballade that soothes and just provides a bit of beauty amidst the riotous but fun energy. The song builds to a finish.
    There are three bonus tracks, "Amendment", "Cold Sparks" and "Sun Ray, Pt. 2" if you pre-ordered. I don't know what that means for us unfortunate souls (pun intended), but I'm sure we'll hear them eventually. I'm going to direct you to their website, here, where you can purchase the album, and watch the videos of their singles, it released on Warner Bros. Records. Also, if you don't want to leave, check out "Blood Pressure" under 'Monthly Sample Tracks' on the right (the MySpace music player will open). Enjoy!

Kishi Bashi: Room for Dream (EP)

    The album I have been listening to the most lately, four songs that comprise Kishi Bashi's self-recorded Room for Dream (EP) on the Aerobic International label. The EP was released in May of 2011, and includes perhaps two of the best songs I've heard this year. Kishi Bashi, or K. Ishibashi, is a touring member of of Montreal, which is how I stumbled upon his work (I heard of Montreal's "Forecast Fascist Future" from their album The Sunlandic Twins (2005) and was intrigued, but most of the rest of their later music is not quite my style). A Seattle native, he also has played violin for Regina Spektor, Katy Perry and Sondre Lerche. Finally, he founded and sings for the New York based band, Jupiter One, whose compositions I've listened to a few times and enjoyed.
    The four track EP is comprised of (1) "Manchester" (2) "Bright Whites" (3) "Conversations at the End of the World" (4) "Evalyn, Summer Has Arrived" (feat. Kevin Barnes). The style fluctuates from more melodic and lyrical with different styles of violin/cello used (pizzicato, harmonics, etc. much in the style of Andrew Bird and Own Pallett) to upbeat folk oriented rhythmic music. "Manchester" swarms with violin flourishes, some sort of synthesizer that sounds like a dulcimer or harpsichord (but I know that is not the right instrument or description) and looped violin with a killer melody that just feels free and optimistic. Midway through is the best part of the song, when the pizzicatos twinkle and the strings sort of sound like an accordion bellows moving in and out. Very cool technique used, and effectively beautiful. Track 2, "Bright Whites" has a folkish dance atmosphere, with synth, lots of guitars, and some of that Japanese influenced 16-bit Nintendo sound almost (but more updated). Some lyrics are in Japanese too, I assume. Next, "Conversations at the End of the World" is beautiful and mellow, but with plenty of arpeggiated figures accompanying underneath and in between verses. The blend of strings is lovely and evocative. Ending with "Evalyn, Summer Has Arrived", Kevin Barnes, headman of of Montreal is featured on vocals. This track is also more upbeat, with a folk quality reminiscent of eastern or Mediterranean Europe perhaps, and has a really cool 80s sounding synth, dance house section mid way through that starts slow and builds nicely along with the strings bringing the song back to the main chorus to finish.
    Check out the song "Manchester" under the 'Monthly Sample Tracks'. Also here is Kishi Bashi's bandcamp where you can hear the entire EP. Enjoy!

Sondre Lerche: Sondre Lerche

    The sixth studio album by Norwegian pop/indie rock songwriter, Sondre Lerche, Sondre Lerche is another solid release. Nearly given away for only $3.99 on Amazon the day of its American release (June 7, 2011), there is a bonus track "Guilty" through Amazon as well. A different bonus track is through his website here, "Wither Street". One of  the best songwriters of our day, in my opinion, Sondre Lerche is talented, original and writes classics that have depth peering back to the beginning of rock and roll to the modern more technological era. I guess I'm trying to say that he has the potential to keep writing the rest of his life, unlike so many musicians, because you can tell that he just loves creating music and is so good at it. People should remember him.
    Clearly someone that knows music theory, the collusion of jazz and rock, not fusion mind you, but the jazzy chords and style is definitely unique to any pop artist I know of today. Norah Jones would be the female equivalent, I guess, but she has more mainstream success (maybe because she has the hookups and a great voice and lives in America). I'm sure Sondre Lerche is just as popular in Norway as Norah Jones is in America (even though her time might be a little past). Or he should be.
    The ends of songs is what struck me immediately with this album. Certain songs right at the end, not to cacophony, reach a climactic breaking point where they sort of pound in your head and end leaving you with thoughts of the song just ingrained in you. "Private Caller" is the best example, with the loud crescendo right at the end which stops abruptly. "Go Right Ahead" is a semi-example, because the moment of intensity is near the end, but not right at the end, with loud repeated chords. "Nevermind the Typos" is another example, because the last few rhythmic figures keep repeating and make you wonder if the track is skipping or something. It then fades into delirium. Continuing on to other notably good songs, "Coliseum Town" is a lovely wilting tune with violin swirls and trills that add a touch of ease and grace to the melody. The pizzicati are a nice touch too. "Domino" has a really nice half-distorted guitar solo at the end and is as close to cacophony as any song gets. "Tied Up to the Tide" would be tied in a close second, along with the opener "Richochet" and the screeching violins, with an accordion adding nicely to the mix.
    Other news of note, Sondre Lerche was part of a cover album called Muppets: The Green Album (August 23, 2011), in which he rendered "Mr. Bassman". Anyway, listen to "Domino" over under the 'Monthly Sample Tracks'. A free stream of the entire album is available through Grooveshark, here (just make sure you get the correct track listing from wikipedia or something; enjoy!

Grizzly Bear: Veckatimest

    So, another week of an "oldie". But, really is 2009 that old yet? And, I'm expecting Octorber to be full of great releases. Plus, I've been listening to this album a lot lately. It has just struck a chord with me, so I want to make sure all you readers out there know about it. Hailed as Johnny Greenwood's (of Radiohead) favorite bands, Grizzly Bear was introduced to me by that comment about a year ago. They are a indie folk, lo-fi, psych-folk rock band from Brooklyn that possesses great layering sensibilities and a knack for creating moments in songs that are, I think, really special and unique. I've never heard another band like it, to be sure, and going back and listening to other albums previous to Vickatimest has been really enjoyable too. Vickatimest is for sure their most refined, and has been described as more accessible poppy music; but, that is only understood in the context of their younger work. Check out some of the album Yellow House (2006) here on their really cool looking website, as well as their EPs and stuff, or go to the MySpace here and listen to Horn of Plenty (2004), their debut, or its remix album from 2005. Their old stuff does dip in to the realm of lo-fi much more, so be prepared in that sense.
    Is the album artwork, by Chicago artist William O'Brien, cool or what? I love how it has pinks (one hot!) and still manages to look rustic and old worldly. I think it agrees with the album very well, it was chosen by the band from a few different pieces O'Brien was working on at the time I guess, and while he didn't understand their choice at first, after listening to the album realized how well it fit. Their use of more pointed, almost steel sounding, guitars, for example, against a back drop of lo-fi or psychedelic vocals; it is just eerie almost. The whole album makes me think of a mystery or film noir. More about Grizzly Bear's style, I love the vocals: background, octaves (in "All We Ask" for ex.), and tri-part harmonizing. And the laid back feeling of every song is relaxing, while intensely engaging, because their music is complex, rhythmically and constructively. Every song has more than just intro, verse, chorus, bridge and coda. They start in one setting sometimes move to another, they have life as they grow and formulate.
    I especially love the songs "Southern Point", which is almost like a jazz song, "Dory", it's just plain gorgeous and has a fantastic ending section, and the next song "Ready, Able", which has moments of waltz and then almost gyspy music with the organ--it is great to hear songs in a 3 meter--and "I Live With You", which just wants to burst the whole song and finally leading to a great climax! So, I will leave you with the links to the various websites you can listen to stuff on, and also my favorite, "Dory", over under the 'Monthly Sample Tracks' if you feel you need to be convinced first. Enjoy!

Andrew Bird: Armchair Apocrypha

    I recently bought Armchair Apocrypha (2007) at a Borders store closing sale event, quite surprised that it was still there among the picked over boxes of CDs (along with Coldplay, Vida la Vida + Prospects March EP; The Chrystal Method, Divided By Night; and Devotchka, 100 Lovers--I'd say I didn't do too bad!), and have come to like it perhaps even more than Noble Beast, his most recent LP (2009). The aforementioned Andrew Bird albums are both on Fat Possum Records, whereas his previous records were self-released using a variety of different monikers. Definitely one of the great indie songwriters of our time, Andrew Bird has the capacity to write a beautiful melody, harmonize without cluttering the simplistic nature of the tune and implement his own multi-instrumentalist skills--violin, whistling (actually really cool!), and of course great vocals. He has a very pleasing voice to listen to.
    Compared to his previous albums, I believe this includes more rock elements, the drums are more present, while the entire album is much less pure folk. Even so, each song is personal and not overclouded, with sort of jazzy elements here and there (like on track five, "Armchairs"). It is hard to categorize the exact genre collision, but its needless to say that Andrew Bird has been saturated with music from an early age, starting violin with Suzuki lessons at age 4 and continuing through a classical training at Northwestern University in Chicago that also included jazz, Hungarian Gyspy music and country blues along the way (perhaps the latter would be the best descriptor). All this according to his website, very professional looking, check it out here. His first band name was Andrew Bird's Bowl of Fire, which was very folksy and led to this expansion into the solo realm and being added to his current record label.
    There are some absolutely fantastic musical elements throughout Armchair Apocrypha, namely track 1 "Fiery Crash", which has this golden hook on the guitar right at the start, so simple but genius progression; track 2 "Imitosis" is like a tango, with pizzicato violin done wonderfully; track 3 "Plasticities" has more great pizzicato and perhaps one of the more beautiful melodies, with the whistling coming in here and there too; track 7 "Simple X" is rhythmic and yet subtle, with the falsetto vocals Andrew Bird is known for, almost reminds me of "Not a Robot, but a Ghost" from Noble Beast; track 8 "The Supine" has a fantastic ethereal walk through a cathedral or something, like listening to a chant, at the beginning before moving into its more country blues style; track 10 "Scythian Empire" has a lo-fi guitar about half way through that is interesting amongst the twittering pizzicato and xylophone and other noises, very cool; and finally but not least track 12 "Yawny at the Apocalyspe" is just plain gorgeous with cello and violin harmonics (lightly putting your finger on the string in the position of another note produces a higher very sweet sounding pitch that is very hard to control), an instrumental track that just breathes in and out and is like listening to a songbird.
    Truly Andrew Bird is a songbird, his discography represents that so well, and I have really enjoyed coming to know his music through friends of mine introducing him to me about 2-3 years ago. You can listen to the entire album on MySpace here. Also I've included "Plasticities" under the 'Monthly Sample Tracks'. Enjoy!

Just in...Housse de Racket: Alesia

    Having just released August 22nd, this qualifies as 'Just in...' and is a welcome addition to the French Electro Pop scene by way of the Kitsuné label--who only boasts six signed artists of mostly the House genre, but now I'd say at least two important contemporaries, Two Door Cinema Club and Housse de Racket. For example, comparisons can be drawn to Tokyo Police Club or Phoenix, respectively. Housse de Racket is comprised of two, Pierre Leroux and Victor Le Masne who grew up à Chaville (between Versailles and Paris) and played hired sessions with local bands Air and Phoenix, and touring with Chilly Gonzales before branching out on their own. Their first album, Forty Love (2008). So, they have a pretty strong connection to bands like Daft Punk even, which is where they get their French Touch style. French Touch is another way of saying French House, which is pretty much what Daft Punk, Étienne de Crécy, and Phillip Zdar of Cassius do, to name a few important artists; so, just think ear astounding electronic sounds often in a disco like style. Phillip Zdar was also their producer for Alesia and was hired just after finishing up a bunch of remixes for Phoenix, of Wolfgang Amadeus Phoenix songs.
    Regardless of all the cool stuff I discovered, I was super happy to receive an e-mail from Kitsuné alerting me to the release of Alesia. I think I probably was on their free newsletter list because of Two Door Cinema Club, I may have signed up for a free download or something. Let's just say up front that I love the synths! Even though, most bands that use them just remind me of New Wave (of which I have previously discussed my dislike for). Here, though, it is like listening to Daft Punk in a way, and that suits me perfectly. I even like the disco steps and upbeat nature of [almost every] song. The beats are hip and varied, with simple and half French/English lyrics and melodies, which is also cool. It is as if Housse de Racket is just trying to not over complicate itself, stick to what it knows, and enjoy creating music. They've also done extensive world touring, so they are trying to really make it big internationally, which is also why they probably signed on to Kitsuné.
    The title of the album, Alesia has some ties at least I'm sure to the siege of Alesia by Julius Caesar in 52 B.C., before he became emperor. It was considered his greatest military successes, in which he defeated the Gallic tribe of Mandubii--Alesia was their capital. It's capture basically ended the resistance of the Gallic tribes and Roman Republic invasion in France.
    Housse de Racket has released two EPs of sorts, 'Roman' and 'Château', with remixes of course, so you can get a pretty good idea of how the album sounds. You can listen to them on their website here along with some videos. You can also listen to those here, on SoundCloud, or check out Forty Love, which I almost like better, if not just as much as Alesia. Finally, listen to one of my favorite songs (along with 'Chorus'), 'Aquarium', here, and under the 'Monthly Sample Tracks', enjoy!

Release the Sunbird: Come Back to Us

    You may have heard of Rogue Wave, and if so, you will probably like Release the Sunbird, the moniker used by Rogue Wave bandleader, Zach Schwartz (a.k.a "Zach Rogue"), in this side project release. Even then, it is not ncessarily a side project, it involves all the members of Rogue Wave who just wanted to do something a little different. Come Back to Us came out July, 26, 2011 and is a folk largely acoustic album with a carefree attitude and simple pleasing melodies. It is on the Bushfire Records label.

    Rogue Wave is a folk inspired band, but really indie rock with some lo-fi thrown in, and perhaps Release the Sunbird contains the music Zach has had in his head all this time and wasn't able to bring out. It seems and is being hailed as his most complete work to date, though I liked a lot of the stuff on Rogue Wave's latest album, Permalight (2010). But, this album just moves effortlessly from one song to the next, and contains a few nuances that firmly point to Rogue Wave's style (the heavier drum beats), but ultimately it steers clear of that style. It just makes me think that Zach would rather have a banjo in his hands than an electric guitar. The vocals recorded over themselves is nice too, adding depth to the harmonic value of this album. But, those might actually be his fellow band mates too at times (or a female voice as can be seen in the videos on this page of their website). Nevertheless, each verse is mostly just Zach and then there always seems to be the swirl of voices in the chorus or wherever the song builds. It is hard to tell the difference, even Zach has one of those voices that is super popular these days--in the same vein as Sufjan, Death Cab, Bon Iver perhaps, Scattered Trees, Freelance Whales, Andrew Bird, Tokyo Police Club (maybe), etc... There are so many that have that slight airy-ness, falsetto-ish, plan but effective voice. I don't know another way to put it. And I may not be entirely correct in my comparisons, what do you think?

    The album starts out in true Rogue Wave fashion, and then goes soft and contemplative pretty much the rest of the album. It's a good entry, but I prefer the later songs more than the first. I love the streams of sounds or counter melodies that creep in and fade out, like the flute-ish sound on "Best Thing for Me" (reminds me of Beirut a bit) or electronic sounds on "Always Like the Son". Check out "Back Strikes Back", which is not one of their quieter tracks, but there are some cool licks, over under the 'Monthly Sample Tracks', or listen to a few tracks on their website here. There is no full album stream available yet, there was for a while on NPR.org.

Upcoming...Beirut: The Rip Tide

    Beirut fans rejoice! The Rip Tide is another solid release from the Balkan folk, Baroque pop, world folk (etc...) artist Beirut. I'm hesitant to say what most people are saying, that their sound is more refined and the song structure is better and that Zach Condon is hitting his stride finally, because there was something especially different about previous releases such as Gulag Orkester (2006), The Flying Club Cup (2007), Elephant Gun EP (2007), March of the Zapotec/Holland EP (2009). Yes, they were, looking at it from the opposite angle, less refined and orchestrated more instrument heavy, but they brought Beirut to this point, where their music has a unique and easily recognizable sound. Now I hear more influences, such as, I'm almost afraid to say, Sufjan Stevens. That may not be a bad thing; however, if there are other influential songwriters out there, as influential as Sufjan, Condon would be there (along with Sondre Lerche at least). Simply put, I do not want Condon to start sounding like Sufjan. I want him to sound like Condon. But, i'll let you decide.
    I think this album would be great running music, or movie music for some off-beat low-key comedy, the kind of which Michael Cera stars in. It just moves at a steady pace, almost like jogging. It has plenty of blocky repeated piano chords that almost sound quirky or off kilter (that perfect balance of tempo, where it feels like it is speeding up, but it is really settled quite nicely), ukulele, accordion and some brass thrown in quite nicely. My main complaint is that most of the songs start off with almost the same harmonically structured piano/accordion [only] chords and then progress quickly into the full ensemble, adding layers as they come. Not a horrible formula, though overused, but the honky tonk piano sound has never been my favorite--so, just personal preference perhaps?
    Overall, there are a number of killer songs: "Santa Fe" (nice harmonic vocals, and [I'll actually admit] use of the new wave-ish electric piano), "Payne's Bay" (has an epic pacing to it and the violin is great added timbre, the melody is super catchy! then the middle section that is like a brass band that builds is fantastic, especially the horn rips!!--deserves ten exclamation points), "Vagabond" (has a cool accordion or harpsichord part, whether it is real I don't know), "Peacock" (beautiful start to the song, very lovely, like Jonsi lovely), and "Port of Call" (excellent use of two against three in the rhythm! and the quick triplets against the waltz in the brass, and ascending lines in the trombones/horns?).
    Well, make sure and catch the entire album streamed on NPR: First Listen here (EDIT: no longer available). I do not have a track for the samples yet, as this album is not yet released. Enjoy there while you can and look back here, maybe after The Rip Tide comes out.

Young Buffalo: Young von Prettylips (EP)

    This is a five track EP from an up and coming band called Young Buffalo, released July 19, 2011. Prior to this release, Young Buffalo has only put out a few tracks, a single or demo here and there starting in 2009. The group is made up of a trio, Jim Barrett, Alex Hardberger and Ben Yarbrough. Young von Prettylips was released on Cantora Records and they hail from Oxford, Massachusetts.
    My immediate impressions almost had me overlooking Young Buffalo, as I listened to the first track, "Only We Can Keep You From Harm". It's not that it's not a decent track, which it definitely is, but it lacked focus and, this may be a good thing, displays a variety of musical directions--slow chant gospel, African/jungle rhythms, some electronic noises, almost punk-like vocals, and the true percussion use of bells towards the end. I just did not know what to expect. So, when I listened to "Catapilah", I was surprised in a way that they were actually more of a full of energy sound, somewhat repetitive but progressive-in-nature enjoyable drum beats and three part harmony (akin to The Beach Boys I suppose, as they cite on their Facebook here). They have also been compared briefly to The Dodos, which I also agree with except that The Dodos are more lo-fi. So, track two, "Speak EZ" is more of a warm-up towards the sound I really prefer from this album, and hope they continue to go in. Meanwhile, track three heats it up, "Full Metal Whacket" is superb, reminiscent of Tokyo Police Club, Vampire Weekend (of course), Hungry Kids of Hungary--all the types of post-punk, high energy groups that are popular nowadays, which is hopefully going to run new wave out for good (yes, I don't like it)! "Catapilah" has a great balance of single voice and triples later on where it really adds a lot, when they yell "ladadadadadalada" (I think...). Overall, on this album, the counterpoint-ish use of vocals is a great touch and gives them one up on many other groups that do not have that capacity for harmony or melody. The last track, "Bury Me" kind of starts off like it is winding up, again in that mid energy range to show they can do more than just high energy. But, it still needs some work and sounds a bit dopey, like most of The Strokes music before they get to the chorus or best hook section in each song (OK, Angles was an anomaly to this formula). There is even a head banging Chinese (you'll get what I mean when you hear it) rock sounding section that doesn't seem to quite fit, but as Young Buffalo is fairly new, they are aloud to experiment and ultimately decide where they want to end up. Let's just hope, like so many other bands, they do not go mainstream and lose their identity. I'd rather ten more albums like this than one that is boring and predictable.
    Their entire discography to my knowledge is on bandcamp, check it out here. I've put the track "Full Metal Whacket" over on the right under 'Monthly Sample Tracks'. Once August is gone, check out their tunes through the bandcamp link, enjoy!

Neufvoin: Robokop EP and Fake Musket EP

    One group, Neufvoin, and two EPs today, Robokop EP (2009) and Fake Musket EP (2010). Neufvoin is a Finnish indie rock group, more or less, formed in 2007, from Kuopio (central Finland on lake Kallavesi, the 10th largest lake out of 187,888 in Finland). Not much information on Neufvoin is out there, since they are up and coming with only these two releases to their name, some videos that are well done and professional looking; but, Neufvoin has five members and news/rumors exist of work being done on a debut album or third EP along side [quote] "Rubik people". I wonder if that means the band Rubik? That would be sweet. Critically, they have been well received in Finland, and their Record label, New Music Community keeps track of that pretty well, as you can see here.
    Musically, they sing in English, contain a little folk and a little pop influence, maybe a little post-punk or post-rock, or alternative because of their edgy guitar distortion at times, too--hard to say or pinpoint their genre. One song, "The Wooden Barrel Band" from Fake Musket EP reminds me of Mice Parade a bit and is their most folk influenced song. Overall, I think they have gone from more alternative to more post-punk from one EP to the next. But, their rhythmic drive is apparent, and solid drumming driving the pulse is the norm on most songs, with some great power chords (I mean they rock out, not that they just use power chords like a punk band) in places to really liven up and give electricity to their sound. New Music Community--or possibly self-described--uses the term variegated guitars, which I think is fitting. Melodically and harmonically, Neufvoin exhibits the quality I would expect from any non-American band, sorry guys we can mostly do better, but is not on the level of other notable Scandinavian bands, such as Sigur Rós or Rubik. Nevertheless, a good listen. And, they implement synthesizers well, which clearly front ends their melodic material.
    Check out some songs on New Music Community, here; some songs on their Facebook, here (EDIT: only "Polar Song"); the full Fake Musket EP on their MySpace, here (EDIT: Neufvoin is no more and has changed their name to NEØV, so they no longer have this album up for listening to) ; and probably my favorite track "Rat Race" from Robokop EP over on the right, under 'Monthly Sample Tracks', or here (EDIT: sorry out of luck, don't think this works anymore...working on finding places you can listen to Neufvoin). Enjoy!

Upcoming...Bon Iver: Bon Iver

    Understated, simple, flowing, subtle, heartfelt. All words that might describe the new take on the folk influenced genre Bon Iver presents in his upcoming sophomore release, self-titled, Bon Iver (June 21, 2011 in the U.S.). Justin Vernon is the front man of Bon Iver, hails from Wisconsin, and formed out of the breakup of Justin's former band DeYarmond Edison. At that point, he went into hiding in the cold of a Wisconsin winter, fought off mononucleosis, and created what would be Bon Iver's first release, For Emma, Forever Ago (2008). His current band mates have joined him along the way at various times and now are permanent members of the band. Bon Iver is on the Jagjaguwar label. The cover art for Bon Iver is by American contemporary artists, Gregory Euclide (see about him here).
    Bon Iver apparently leaked early, after being announced in April, when iTunes temporarily had the album available for sale on May 17th. I have my doubts, however, with how prevalent publicity stunts are these days--all ways for bands to raise hype for their upcoming releases. The ten tracks of Bon Iver are ethereal, an ideal catch word for indie productions lately, folksy and busy without being overbearing. There are always rhythms moving; sometimes horns, bari sax, flutes, steel guitar with its twang and slides; pulsating synths; and multiple vocals in chordal harmonies (an interesting note is that Justin Vernon was concerned that in concert this sort of album technique would not be transferable to live performances, so he hired extra people to sing and even gave out lyrics to audience members so they could sing along and create the desired effect). What Bon Iver really makes me think of is James Blake. It is as if the two of them sat down together and had a jam session, went their separate ways and wrote similar albums with patterns that can be traced between the two; except, James Blake wrote an album that is hip hop and dubstep influenced, while Justin Vernon went the folk route. The deep rumbles and vocal clouds that hover almost chant-like, and detailed intricacies that are so subtle; they point to each other's work. Only possible criticisms I have, so far, is the last track "Beth/Rest" is new wave-ish and yet almost elevator music too. Also, I'm not a huge fan of country music and the steel twang goes there at times and I wish it would not (but, that is simply my preference).
    So, listen for yourself. You can for a time hear the album in it's entirety on NPR's First Listen here (EDIT: no longer available), or listen here at the guardian.co.uk. Or, go to Bon Iver's website here and download a free track, "Calgary" when you join their mailing list. Finally, listen to the waltzy track "Michicant" under the 'Monthly Sample Tracks' or here. Enjoy!

DM Stith: Heavy Ghost

    It is about time that this album is shared. Not only do I know Buffalo native David Stith personally (OK, we don't hang out, but did play board games once at least), but his family too. That being said, you might assume that I am either name dropping, or that DM Stith's music is sub-par, because I am selflessly promoting an acquaintance's music. This is hardly the case, because not only is DM Stith on the Asthmatic Kitty label (yes, Sufjan Steven's own), but he tours with Sufjan, and I must permit that his music speaks for itself.
Initially, about a year ago, I was intrigued by the complexity of the debut album, which is mainly comprised of a compilation of smaller EPs, Heavy Ghost (2009), but did not fully come to appreciate it until more recently. There is a undefinable mystery to DM Stith's music, somewhat cacophany at times, highly rhythmic and complex, full of layers, while melodically Heavy Ghost contains haunting and yet beautiful enumerations. So many instances in this album remind me of Radiohead and Sufjan Stevens to be sure.
    Apparently, David Stith had difficulty coming to terms with his own musicianship, hailing from a bright tradition of music in his family, yet more or less in a classical tradition. Definitely, this influence can be heard in the sensitive harmonic structures and shifts between major and minor tonality that are seemless and subtle. Regardless, he was able to find his voice and overcome the fears of performing and revealing his output, which he speaks so openly about on his website and on Asthmatic Kitty. Thanks also to Shara Worden, of My Brightest Diamond, whom he met in Brooklyn while pursuing graphic art endeavors. Without that connection--Shara introduced him to Asthmatic Kitty and Sufjan--he may have never decided to fully pursue this musical career.
    Indeed, David Stith has a voice of unique quality, utilizing a falsetto often, but with successful balance. He also records over his voice to create intricate harmonies. It should be particularly noted that DM Stith is a one man band, as I do not know that anyone performs with him. I wonder how this detracts from a live performance and whether DM Stith is best left in the studio, on album, where it really shines with all the twinkling and idyllic goodness that machines can produce, of which one man is incapable. Lately, DM Stith has toured extensively with Sufjan Stevens, to Europe and everywhere else it seems. And snippets of info have been released that he is working on a new album, with a few song names spoiled (minus audio). Finally, there is a collection of Heavy Ghost Appendices in 2 CDs and more recently one new song, a Sufjan cover, on the charitable funds raising album, Seven Swans: Revisited (March 2011), listen here.
    Check out the songs "Pigs" and "Pity Dance" under 'Monthly Sample Tracks' or click the songs as links. Enjoy!

tUnE-yArDs: W h o k i l l

    If you like the moniker adopted by tUnE-yArDs, zany enough to be cool, then you may think the same about the music. The brain-child of Merrill Garbus, born and bred in Connecticut, she admitted in a Pitchfork interview (link here) the desire from an early age to become "a rock'n'roll star". Whether you can call tUnE-yArDs rock or not is loosely debatable; more art pop, experimental or afrobeat. Coming off her previous album, BiRd-BrAiNs (2009), W h o k i l l is also much less lo-fi, and a lot of attention is being given to that fact. Apparently, a lot of the lo-fi influence in her previous work actually came from the fact that Garbus was creating music with a laptop, the free version of audio software program Audacity and a Sony ICD-TK digital recorder. A couple songs, however, "Gangsta" and "Riotriot" still have a few lo-fi moments if you're concerned about its disappearance.
    So, I think W h o k i l l is exactly the result of mixing the mind of a girl that grew up in the 90s hating pretty much everything on the radio, a tenacity to become a rock star from a young age and truly experimental methods used to accomplish such a goal. Released by 4AD Records on April 19th, is starting to make some waves and may live up to the cult following prediction given to it. A strong addition to the album, live concerts and perhaps the future of the band is Nate Brenner (bass guitar), whom she met in Oakland I believe, and who helped co-write some songs too. His jazzy influence may be part of the reason the afrobeat is so prevalent and the use of the saxophones definitely can be attributed to Garbus hearing his group. They are underused in this album, I suggest, but there is a fair balance of song styles throughout. There is even a lullaby-ish song, "Wolly Wolly Gong".
    Overall, Garbus writes that "I've been striving for a little bit of a Fela Kuti spirit, a musical experience where people can really lose themselves and lose their self-consciousness". For sure, W h o k i l l will definitely stretch listeners in a good way and Garbus plans to be around for a while, so I expect that trend to continue. I, for one, love the syncopated, hoppy rhythms and how there is a reckless abandon of expression related through the music, kind of like Björk's IDM genre she has created for herself. I almost expect something similar to occur with Garbus. I kept hearing the song "Bizness" on the local indie radio stations, so that is what eventually drew me to write this post. You can hear that here at tUnE-yArDs website.
    Over on the right, until the end of May, you can hear the song "Riotriot", which may be the best variety song with which to show you a little of this and that. Or, just do so here (especially once May has come and gone...). Enjoy!