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!