Junip: Fields

    I've been hearing a song, "Without You", by Junip for a while on both my local radio stations, 90.5 WBER "The Only Station that Matters" and 98.7 WITR "The Pulse of Music", and because I've liked it I just had to find out what group it was and write about them. Junip, so I've discovered, is a Swedish trio comprised of soloist José González and two of his friends, Elias Araya and Tobias Winterkorn. Their first release was in 2005, Black Fields EP, which included a cover of Bruce Springsteen's "The Ghost of Tom Yoad". José's solo work then became quite substantial and they did not release another album until May 28, 2010, another EP, Rope & Summit. They did, however, follow that free-on-their-website four track release with their first full length LP, Fields, in September of 2010. A deluxe box version has since been released that includes both EPs too. I wish that they had not taken a pretty decent album cover and put the black peeling stamp on it, because it reminds me of a cheap album that has reached the used/discount bin at FYI.
    Fields has been received with a lot of critical acclaim. The NY Daily news made it their #1 album of 2010, Rollings Stone praised it with #41/50 single for "In Every Direction" and #1 album of 2010 for reviewer Will Hermies, and Randall Roberts of LA Times gave it his #9 slot for 2010. It also made NPR's Listener's Top Album's and Vancouver Weekly's Best of 2010.
    Junip's music is very much about finding their groove and sticking with it. Each song has its own ostinato of rhythm guitar, and builds slowly but carefully, with well constructed intention. It is almost like trance music (just not electronic), which may find yourself unconsciously invigorated into tapping along to the music without knowing it. I guess it is sort of numbing after listening to the whole album too. Perhaps that is why they consider this healing & easy listening, though really they are more an indie combination of folk and jam band, or what I call groove (because jam band makes me think of Phish or DMB). Each song seems to possess a particular subtle flavor to it, like a smoother version of a different genre all together. "Off Point" could be almost punk or an upbeat folk, "Don't Let It Pass" is reminiscent of a 60s-70s pop ballade, and others I could picture as 60s-70s rock songs or folk jigs too (Honestly, my pre 2000s listening is less than par, so I may be off on those decades).
    For me, it is not the groove that necessarily attracts me to their music, it is everything that enhances the formula and adds so much atmosphere and life. It is also, I must admit, reaching the height of and basking in the immersive nature of that groove. It is interesting that, and another review noted this as I did as well, that some songs sound almost distorted to the point of sounding like they were recorded with the mic levels too high or something. But, it appears to be purposeful, as it adds a tense almost grungy feeling that coincides with the deep haunting bass sounds. Another side note, I never really noticed this level of distortion until I heard the album on a better sounds system than the car radio, and because I was not used to hearing it so much, it made me question the haze. As I listen more, though, I appreciate the edge it gives the sustained chordal harmony that prevails.
    Check out the media section of Junip's website here, where you can explore their "track by track" series, which delves in to every song on Fields, about their creation process and influences behind. Also, enjoy the track "Always" in the MixPod player or check out more on their MySpace here.

Jukebox the Ghost: Everything Under the Sun

    If you ever listen lately to WIRT, FM 98.7, the RIT radio station called "The Pulse of Music", then you may have heard the track "Schizophrenia" by Jukebox the Ghost. Well, I did, and it made me want to hear more. The story goes that the Jukebox the Ghost members, Ben Thornewill, Tommy Siegel and Jesse Kristin, met at George Washington University, in D.C., and formed a group called Sunday Mail in 2003. That died away after a couple years, but they continued to write new material and came up with a new name identity to start fresh.
    In listening back to their first album, Let Live and Let Ghost (2008), Jukebox the Ghost has come a long way, but still has some to go. Let Live and Let Ghost was under produced/edited and the songs are pretty straight forward happy piano rock songs, but with glimpses of ingenious use of the piano in writing and syncopated rhythm selection. Apparently Ben Thornewill was a classically trained pianist, and it shows in his execution and creativity. Nevertheless, the songs are fun to listen to, and actually remind me slightly of the group fun. with their power pop funkiness and randomness at times.
    Jukebox the Ghost's latest arrival, from September 7, 2010, is no exception. But, their sound is much more refined, and, well, more theirs. They like to employ a particular synth sound, like on "Schizophrenia", along with more distinct vocals--even though Thornewill and Siegel take turns on different tracks (and are also the song writing minds behind the group). Thornewill has a higher voice, somewhat like Passion Pit (but not soooo high via falsetto), while Siegel has more of a lower twangy country sound. The main difference between their former album and Everything Under the Sun is how adventurous they have become. The latter introduces more genres into their repertoire, while not exactly choosing one to stick with; which is why I think they have a ways to go. Obviously, their main style is sort of a power pop piano rock, but this album hints at  folk ("Summer Sun"), a tame progressiveness, dance beats ("The Sun"), sort of post-rock ("So Let Us Create") and even a softer side in "Summer Sun" and "So Let Us Create" (rarely seen otherwise, yet definitely a good addition that will help to create more diversity on future albums). At times, the arpeggiated chords or piano elements make me think of Muse, and many of their songs have been called Beatles/McCartney either-esque. I definitely like how the harmonies go into minor keys sporadically, though briefly. If you would like more detail about each individual song, you can read about them straight from the horse's mouth on their website here.
    Specifically, my opinion, out of 11 tracks, those that interest me the most stylistically are: 1. "Schizophrenia", 2. "Half Crazy", 3. "Empire", 4. "Summer Sun", 6. "The Sun", 7. "So Let Us Create", and 9. "The Sun (Interlude)". The rest, to me, comprise a style that is less unique and distinct, though I like the short piano intros to "Carrying" and "The Popular Thing". The whole album can be heard on their website here, along with a few covers. Or, just check out one of my picking and probably my favorite, "So Let Us Create", in the MixPod player. Enjoy!

Broken Social Scene: Forgiveness Rock Record

    Broken Social Scene is a Canadian supergroup, started by Brendan Canning and Kevin Drew, based in Toronto. It's associations consist, at present, of 16+ other groups (plus=previous members or affiliations), with members from each combining to create Broken Social Scene; it's music, influence and subsequent following. The project originated in 2001 and has continued to grow since, with: four full LPs, a dozen or so EPs, a B-sides release, film soundtrack appearances, and more recently albums produced as "Broken Social Scene presents...". There is even a book, This Book is Broken, by Eye Weekly editor, Stuart Berman, about the band's formation and history. Excerpts can be viewed here online.
    Broken Social Scene's latest arrival was Forgiveness Rock Record, on May 4, 2010, and was released through Toronto based Arts & Crafts Records. A corresponding EP was also released, Lo-Fi for the Dividing Nights, as a free download for pre-orders. Forgiveness Rock Record, not surprisingly, topped the Canadian album chart.
    Categorizing Broken Social Scene, particularly Forgiveness Rock Record, in this case, is difficult. I think it demands that one has a thorough knowledge of the numerous affiliations that make up the supergroup, of which I do not. The importance in such a claim lies in the fact that each member brings their own separate musical influence and it would prove much easier pinpointing what sounds came from where if you could effectively link each song to a particular outside group or member. This is not to say that Broken Social Scene is undefinable, but each song has its own unique flavor in a way, definitely creating the impression that there is not one or two specific writers, but each person contributing as they can. The only constant that remains is the indie rock sound, the grittiness and oft employment of distorted elements (electronic, guitar based or even coming from raucous drums). Most of the songs are up tempo and include chorus vocals, different vocals each track too, and a combination of acoustic, electronic and instrumental (brass, saxophones, strings, piano, etc...) sounds. Furthermore, there are elements of punk, folk, alternative and dream pop, especially. This is one instance where plain old Indie Rock is almost a perfect label.
    As for my own opinion of this album, it is not my favorite, but it is interesting to listen to. I do find that there is perhaps too little differentiation within each song themselves. A particular beat, for example, pervades, or that the same chord structure or musical section remains for a large majority of the song. I guess their unchangingness is more akin to a jam band, minus the psychedelic or improvisation here, than the typical pop/rock ABA (or verse-chorus-verse, etc...) song formation. But, there exists really interesting side thoughts, though often short, that help each song shine in their own way. I fear, although, that the main ideas are not as interesting as those moments, and are consequently out shined. You decide.
   For your listening exploration, I have uploaded the track "Sentimental X's" to the MixPod player. Or, the full album can be listened to on their MySpace page here. As always, I hope you enjoy!

Tron: Legacy (Soundtrack): Daft Punk

    A fairly recent movie, December 17th, 2010, Tron: Legacy, is a sequel to the 1982 cult classic science fiction film, Tron, put out by Disney. The original Tron music was scored by Wendy Carlos, also known for Stanley Kubrick's A Clockwork Orange (1972) and The Shining (1980). Additional songs for the first film were taken from the band Journey (admittedly one of my least favorite bands of all times, not just from the 80s). Tron sparked quite a cult following, with video games, an animated series, theme park rides, and books and comic books.
    For Tron: Legacy, the French electronic dance house group, Daft Punk, was responsible for creating the sound schemes that will continue to represent such a huge cult following. They, in turn, have held a lifelong fascination for the original movie, and, so to speak, were fitted for the role perfectly. The director of Tron: Legacy, when asked why he chose Daft Punk responded as such: "How could you not at least go to these guys?" And so he did.
    The music itself, as you can imagine, retains much of Daft Punk's style, while toned down to perhaps meet the demands of a movie soundtrack. There is less beat oriented dance music than typical, for one, and the orchestral instrumentation is featured as much as the electronic. Sections, in particular, are reminiscent of Hans Zimmer and James Newton Howard, who collectively wrote for Batman Begins and The Dark Knight, while minimalism similar to Phillip Glass film music, is present at times too. The first few tracks, it seems employ the greatest amount of these influences, as the soundtrack and film (I presume, as I have not yet seen the film) are building plot and intensifying to the main plot action. So, going into see Tron: Legacy knowing the soundtrack will be a very different experience for me, but surely one with undoubted merit. I especially agree with one review of this soundtrack, from Clash magazine: "As a stand-alone album, what Guy-Manuel de Homem-Christo and Thomas Bangalter have created won't sate the disco heads screaming for more club material, however as an accomplished score it can only make a legendary film yet more cherished." True, overall the music seems grave and low key--though without lacking intensity. Nevertheless, the particular electronic dance sounds Daft Punk has been known for can be seen floating subtly amidst the textures that exist.
    Interestingly, the movie, Tron: Legacy was cut to the music, instead of vice versa--or the typical process. I think that gives particular clout to Daft Punk and the soundtrack members Thomas Bangalter and Guy-Manuel de Homem-Christo created. They also appeared in the film and there has been an official glow-in-the-dark poster released that captures that cameo of them playing an old arcade game in Flynn's Arcade. An excessive amount of bonus tracks were also produced. I say excessive, because they cannot be retrieved simply one way; instead, they mandate that someone who wanted them all would have to buy a copy of the soundtrack that contains a special edition bonus disc, 2 bonus tracks from iTunes, and one from Amazon and Nokia Ovi (Ovi is the brand name of Nokia's internet services). There is also a Redlight remix of a track "Fragile" last on the soundtrack that is pretty sweet. I believe that Redlight has since changed its name to BetaTraxx; they have a blog/site Our Electric Generation, check out their SoundCloud here (scroll down the 'Remixes' playlist). The soundtrack was recorded at AIR (Associated Independent Recording) Lyndhurst Studios (London), the studio John Burgess and George Martin, producer of the Beatles, both started in 1965.
    I have uploaded the track titled "Tron Legacy (End Titles)" to the MixPod player, which displays a good combined balance of the electronic as well as the orchestral music composed.

Top #: Albums/Songs of 2010

    I am by no means qualified to write about the "best" albums/songs of 2010, but I do have a few observations. Most of the bands whose albums I liked this year did not make popular web lists, such as Rolling Stones, or even popular indie rock web blogs, such as indierockcafe or theobscuresound. Granted they contain a few albums I've been introduced to this year and liked, but largely we do not see eye to eye. Here's why. The large majority of bands that made the lists, of which I've listening to test tracks, contain a few genre specific attributes. They have misty vocals, in a lo-fi or space rock-ish way; are too eclectic (or noisy) often to pinpoint a strong style; or as a whole lo-fi twee pop, or dream pop (i.e. Beach House). In fact, one blog placed Beach House's Teen Dream album as their #2. Anyway, I'm not here to suggest that their opinion is wrong, just that it differs from mine, and the general trend toward lo-fi eclectic dream pop with misty vocals is not my preference.

    So, I will leave you with my top 10 favorite albums of 2010, and hopefully I'll be able to compile a top 15 favorite songs of 2010 too:

Top 10 Favorite Albums:
honorable mention in no particular order...
Rogue Wave - Permalight
Gold Panda - Lucky Shiner

(countdown style)
10  El Trio de Omar Rodriguez-Lopez - Ciencia de los Inutiles
9    Sufjan Stevens - The Age of Adz
8    The Chemical Brothers - Further
7    Massive Attack - Heligoland
6   Sufjan Stevens - All Delighted People
5   The National - High Violet
4   Mice Parade - What It Means to Be Left Handed
3   Tokyo Police Club - Champ
2   Vampire Weekend - Contra
1   Jónsi - Go

*just a note: the album that has grown on me the most this year since I first listened, and did not at that time care much at all for, has been High Violet, by The National. Jónsi's Go is just so gorgeous and I love the melancholy (i.e. use of minor keys) character he was unafraid to develop, while switching beautifully between pain and jubilation.

Top 15 Favorite Songs:
honorable mention in no particular order (yes I got carried away...wouldn't you?)...
"Runaway" -The National
"Anika" - Sufjan Stevens (All Delighted People)
"Good Morning" - Rogue Wave (Permalight)
"Rush Minute" - Massive Attack
"Favorite Food" - Tokyo Police Club
"All Delighted People (classic version)" - Sufjan Stevens (All Delighted People)
"Kolnidur" -Jónsi
"In Between Lines" - Mice Parade
"Lunes" El Trio de Omar Rodriguez-Lopez
"Jueves" - El Trio de Omar Rodriguez-Lopez
"I Want to Be Well" - Sufjan Stevens (The Age of Adz)
"Sorrow" - The National
 "Go Do" - Jónsi
"Big Difference" - Tokyo Police Club
"California English" - Vampire Weekend
"Horchata" - Vampire Weekend
"Holiday" - Vampire Weekend
"Snow" - The Chemical Brothers
"Awkward Flower" -Soft Landing (Soft Landing)

15  "Fall Hard" - Shout Out Louds (Work)
14  "From the Mouth of Gabriel" - Sufjan Stevens (All Delighted People)
13  "Get Real Get Right" - Sufjan Stevens (The Age of Adz)
12  "England" - The National
11  "Flat of the Blade" - Massive Attack
10  "Same Dream China" - Gold Panda (Lucky Shiner)
9    "Another World" - The Chemical Brothers
8    "Hengilás" - Jónsi
7    "Psyche" - Massive Attack
6    "Boy Lilikoi - Jónsi
5    "Favorite Colour" - Tokyo Police Club
4    "Old Hat" - Mice Parade
3    "Futile Devices" - Sufjan Stevens (The Age of Adz)
2    "Cousins" - Vampire Weekend
1    "Tornado" - Jónsi

*admittedly I put as little thought into the top 1 and 2 as I could, because even tomorrow I may feel differently... I should say that "Cousins" has the coolest music video, and I loved that song from the moment I saw it on their website in promotion for the 2010 release. "Tornado" is just awesome because of its ingenious use of hemiola put to brooding but beautiful music.
  
    I hope you find something you like from this list, I have written a best/favorite albums of 2010 list purely because no self-respecting music blog writer should shy away from doing so.