Christmas Special: Sufjan Stevens: Silver & Gold: Songs for Christmas, Vols. 6-10

    It's that time of year again, if not a little more than late unfortunately, I've been much busier than normal this year with going to my girlfriend's family's house for Christmas (strike that. fiancé's family's house!). But, I return to you this Christmas season with another Sufjan Stevens release: Silver & Gold: Songs for Christmas, Vols. 6-10, which just came out in November of 2012. Apparently, we should expect one of these compilation albums every five years or so (this one done between 2006-2010), because each Christmas him and some friends get together and record songs and carols Sufjan style, which becomes one of the EPs that makes up Silver & Gold. The EPs are:

    Highlights include: "Coventry Carol", with very nice classical guitar and banjo with strings and chorus; "Carol of St. Benjamin the Bearded One", which has a beautiful melody with arpeggiated chords in the background and chorus in a call/response/counterpoint/counter melody sort of way; and "Barcarola (You Must Be a Christmas Tree)", one that grows steadily over the entire track and builds nicely at the end.

    The longest of the EPs, highlights include: "Christ the Lord is Lord", which is quite short and I'm not sure if it is the full original score or arranged or what, but it is labeled as music by Czech composer, Leoš Janáček--simply worth noting Sufjan's broad use of musical material, which I applaud!;  "Ah Holy Jesus", just a beautiful chorale by Johann Crüger, sung by a decent choir too--there are two other versions of this tune; "Ding-a-ling-a-ring-a-ling", an inane track of garage band nonsense that is noisy and loud and repetitive, but it sort of grows on you I guess; "Make Haste to See the Baby", worth listening to the first half that contains a gorgeous mellow instrument of unknown origin to me (maybe reed organ?), before the overly boomy and out of tune piano arrives; "Even the Earth Will Perish and the Universe Give Way", which also has the reed organ and twinkling pianos.

    Highlights include: "Angels We Have Heard On High", a recomposed version by Sufjan that is very pleasant and shows off his baroque pop and electronic skills quite eclectically but nicely; "Christmas in the Room", a nice blend of simple electric guitar and electronic synths; all told you should expect to hear lots of electronica in this EP, perhaps he was going through his The Age of Adz phase?

    Highlights include: "Sleigh Ride" Sufjan style, with a surprise horse whinny at the end; and "X-Mas Spirit Catcher", a fun kind of silly tune with lots of beat boxing, yet with moments of luxurious chords in the piano. This EP is mostly slapstick arrangements of typical songs I guess, especially with the picture on the cover causing you to expect light-heartedness, but listen to "Let it Snow! Let it Snow! Let it Snow!" and you'll see what I mean.

    Highlights include: "Have Yourself a Merry Little Christmas", simple and pleasing; "Up on the Housetop", which shows off Sufjan and company trying to be all hip hop R&B; "Justice Delivers its Death", a beautiful flowing song with piano, acoustic stringed instruments and reverb harmonized vocals; "Christmas Unicorn", perhaps the highlight on the entire Silver & Gold.
    I hope you take the two hour (I'm guessing) time it takes to listen through it. But, it is a worthy diversion and I wish I could have brought it to you earlier, but hey Christmas music is good all winter. I hope it brings some cheer to you, and maybe in all its silliness reminds you of the true spirit and meaning of Christmas, the Birth of Christ, and the bringing of hope into a broken world. Listen in its entirety on Sufjan's Bandcamp, here. Also see his website, here, and notes on each song (who wrote, who composed that sort of thing), here on Wikipedia. The song "Christmas Unicorn" over under 'Monthly Sample Tracks'. Enjoy! And happy festivities this last day of 2012!

Digitalism: I Love You Dude

    I enjoy a solid electro house album every now and again, and Digitalism is no exception. These guys are major players in their field. Hailing from Hamburg, Germany, the duo of Jens "Jence" Moelle and İsmail "Isi" Tüfekçi that is Digitalism has been around since 2004, dropping their first full album in 2007, Idealism. At the time, I was a relative newcomer to the genre (I probably hadn't even listened to Daft Punk entirely yet), but I liked a few of their songs, namely "Pogo", which appeared on commercials and on video game soundtracks. I assume most electronica duos collect songs slowly, over time, and once they have enough for an album just compile singles and Ep's they've released, so it wasn't until 2011 that Digitalism put out I Love You Dude, their sophomore release. More recently, April 16, 2012, they compiled a D J-Kicks album, #43 specifically, which is a series dating back to 1995 and includes a long list of notable artists. Most of the album is other artists, chosen by Digitalism as representative of them, but they included a number of their own tracks and remixes as well. You can see their entry here, as well as navigate to others, including Gold Panda's set. An interesting difference between the two sets named above are that Gold Panda blended each track, merging them together as one long session, while Digitalism kept them separate. To my knowledge, each D J-Kicks series is slightly different in some regard, and of course takes into account the strengths and particular style of the DJs involved. Make sure to download the free track, "A New Drug" while you're there.
    Digitalism's style is very in your face (they call it "rough"), pulsating, not quite uptempo, with heavier beats that lean on the dance style spectrum to be sure. The duo uses a lot of sounds that are familiar to French House, citing Daft Punk and Philippe Zdar as influences. Their biggest motivation, however, is the emotional draw of movies and pictures. They are constantly trying, in their words: "to bring back some romance into electronic music. I think our music is a bit romantic as well, a bit melancholic, that's been missing before... there's been so much club music around that’s only functional stuff." I totally agree, in two cases, that there is too much functional techno that has no real vitality and that electro house has more to offer the listener than something to sit back and chill to. I've always preferred the meatier electronica. Read the full interview I took the above quote from at the DCist, here.
    Some of the highlights of I Love You Dude, are the opening track, "Stratosphere", which has a Chemical Brothers or Daft Punk Tron Legacy type of feeling, an epic-ness. I love the synths, the beat and how it draws into itself to the point of no sound before growing again. The next track, "2 Hearts", is really interesting too, because it is a sudden mood change in a way, sound-wise and that it includes vocals. It almost gives the impression of a indie pop track--hopefully that is not an insult. As always, I love a distorted timbre, like Royksöpp uses, and Digitalism does not disappoint, with "Circles", "Forrest Gump" (written by Julian Casablanca of The Strokes), and "Miami Showdown". I should note, another thing you'll hear is "Reeperbahn", which has such a German sound, almost Heavy Metal, but more subdued within the context of electronica; in other words not anywhere near what Pendulum did with their sophomore album, Immersion. Finally, finishing up the album, "Encore" also has a similar vibe to Justice and that's fine with me too. With the iTunes version, there is an extra track, "Harrison Fjord"--a nice play on words, I must admit. And two extra tracks come with the Japanese edition (no offense given or taken, why do the Japanese always get stuff we don't?)
    To listen to the entire album for free, check out Digitalism's MySpace, here. I'd also recommend checking out their SoundCloud, where you can find a few isolated songs (not put together into a set for ease of reference or access unfortunately) from their D J-Kicks album, here. I have linked the song, "Circles" over under the 'Monthly Sample Tracks' for you to get a taste if you're not willing to just jump in full throttle. Enjoy!

Andy Shauf: The Bearer of Bad News

    Canadian folk song-writer Andy Shauf is this weeks extra belated post (if you're actually reading on a regular basis, first thanks!, and sorry for making you wait as I've been super busy lately). Hailing from Saskatchewan  his first releases were two 8-tracks, Love and the Memories of It (2006) and Grandpa Songs (2007). The rest of his discography seems to be all over the place and it has been difficult tracing it as there is not Wikipedia entry (it's amazing how much we've come to rely on that site for information!). This was followed by a full length, Darker Days (2009); an EP, Four Songs (2009); another 8-track, Waiting for the Sun to Leave (2010); which leads us to this year with an EP length Sam Jones Feeds His Demons (March 2012) and a his latest full release, this album, The Bearer of Bad News (Nov. 6, 2012). There may be stuff missing in there I do not know about.
    The Bearer of Bad News is a compilation of sorts, including songs written from 2008-2011. I assume these songs have not been excluded from live sessions, as Andy Shauf appears to have some sort of following in that way. According to his Bandcamp mini bio he is "building a cult following" and puts on an "intimate live show". They do not appear to have been pre-released, yet there is a great sense of cohesion for songs that have been composed over the course of 3 years. Maybe one giveaway is the instrumentation? Some tracks there is this fantastically dark brooding clarinet choir with multiple vocals, presumably himself recorded over himself, while others include strings, different acoustic guitar timbres, and/or more piano. Tempos vary at times too, from slightly upbeat, to really subtle jazz, to even down tempo. One song even has roots more in 60's era rock (i.e. "Jerry Was a Clerk"). Even so, it is difficult to pinpoint and would likely lead to much misguided speculation, as I have already done.
    Andy Shauf reminds me somewhat of Sondre Lerche in The Bearer of Bad News, with quality song creation and yet simple almost pop-ish sensibilities. What I mean is, the songs are effective even though they are not super complex in form or construction. They are not, however, nearly as upbeat as Sondre Lerche, and the comparison does not last long as Andy Shauf seems to be making a name for himself. Indeed, this album could make some waves before the year is out. I, for one, just stumbled across it because of BIRP!'s December playlist, see here (his addition is at the bottom).
    I hope you take time to discover Andy Shauf's music, there are a number of places to listen. Check out his Bandcamp, which contains early and later stuff, here; while his MySpace fills in the middle, here. Also, I've put the song "I'm Not Falling Asleep" from his SoundCloud over under the 'Monthly Sample Tracks'. Enjoy!

The Lighthouse and the Whaler: This Is an Adventure

    It's always exciting to hear a band I suddenly like that I've never heard before (props to WITR 89.7, RIT's radio station--why did you not win best local radio station this year?), especially before they make their meteoric rise to fame. The Lighthouse and the Whaler may just experience that rise, riding on the peaks of the waves on the seas. A band from Cleveland, OH, The Lighthouse and the Whaler started with humble beginnings as a two man group made up of Michael LoPresti and Aaron Smith, who wrote a track called "The Field Song" and received sudden recognition by Paste Magazine, who utilized it on a sampler. Following that up with an EP that included four tracks, A Whisper, a Clamour (EP, 2008), and their debut, The Lighthouse and the Whaler (2009), they hit the road on tour. TV and radio also picked up a few of their songs and they were well on their way. Additionally, three new members joined somewhere along the way, brother Matthew LoPresti, Mark Poro and Steve Diaz. Together, they have released Pioneers (EP, March 2012) and this their sophomore release, This Is an Adventure (September 18, 2012). For some reason, Aaron Smith currently seems to be missing from the band's regular lineup, so I don't know when he left the band; however, Mark Poro claims that is not his real name, so maybe Aaron Smith became Mark Poro? Or maybe that is just gross speculation [and his real name is Mark Porostosky]. Regardless, Michael sings, Matthew is the percussionist, Mark is a multi-instrumentalist (i.e. violin, glockenspiel, mandolin, guitar, piano, et al.) and Steve does the majority of the composing from what I gather. Anyway, there are really interesting bios about all four on their website, here.
    Going back and listening to some of their older material, The Lighthouse and the Whaler was much more mellow and folk inspired, with great use of acoustic guitar, glockenspiel and harmonies of voices to create atmospheres that are chill yet intensely drawing, almost emo. There is also more complicated or creative use of several different instruments, which definitely help give that folk pop feeling. This Is an Adventure, on the other hand, received an electronic and rhythmic boost, with better editing, and a light touch of synth. The vocals are now also pared down to mostly one voice, which plainly is more in tune and is a great alternative to the constant harmonies. The album cover I think speaks volumes about how the songs feel and sound. It is like being carefree and free and off on an adventure on some island, or more plainly through life. Life is an adventure. Some of my favorite lyrics and songs for that matter include "I was set sailing/like a character in a book/i think this is what it's like to be free" from "Chromatic" and "i knew oh i knew you've got green eyes/i feel oh i feel the wind between the trees and open skies" from "This Is an Adventure". The albums has touches of Vampire Weekend, Two Door Cinema Club, the now defunct Scattered Trees (which has become On An On) and the Weathervanes era Freelance Whales, among others that may be harder to pinpoint.
    There's so many places to go. So many things to hear. Check out their Bandcamp, which houses full streams of The Lighthouse and the Whaler and Pioneers (EP), here. Their website has a nice 'Music' page, with discography, links to where you can purchase their CDs (well, it redirects to their store, but from there are more links) and live sets, here. You can also download the song "Venice" there. Another place to find a few download is their SoundCloud, here, which offers the sublime "Of the Heavens and the Earth". NPR's World Cafe did a little bit on This Is an Adventure and offers two live tracks for listening, here. I'd say, as a critic of live performances versus studio, they sound quite good! For full streams of This Is an Adventure, check out Paste Magazine's website, here; and Google play, here, which I believe allows you to listen full once before tragically clipping the tracks to minute samplings; plus their MySpace, here. I've linked the track 'This Is an Adventure" over under the 'Monthly Sample Tracks', just because it is soo pure and clean and drew me in initially, hopefully it will do the same for you. Enjoy!

Andrew Bird...Hands of Glory (EP)

    Not a stranger to this blog, Andrew Bird brings us a new EP titled Hands of Glory (released on Mom + Pop Records on October 30, 2012--maybe just a bit late for 'Just in...' status). One of the foremost indie rock artists of our day, having put out six full albums previous to this, Andrew Bird is a multi-instrumentalist melodist capable of crafting unique compositions that stand the test of time and fulfill the desires of eager fans for new material.  
    Hands of Glory (EP) does not disappoint, though it contains a marked folk (even bluegrass or southern rock) influence beyond many of his previous albums. His use of violin and whistling (the latter of which is strangely absent) in such a manner is not necessarily unfamiliar, but the acoustic presence is much greater, with the use of banjos, ukelele and fiddle. He even refers to 38 Special in the track "Railroad Bill", referring to not only a gun, but a southern rock band. To me, "Railroad Bill" and a lot of other parts of songs sound like something from a Garisson Keillor show. His fiddle playing, however, could probably be scrutinized and/or criticized by traditionalists and purists alike, because it borders at times on a harder rock influence and lacks some focus and/or style. Especially intermingled with his typical pizzicato techniques--it almost sounds a bit forced. Even so, Andrew Bird's intentional use of the fiddle genre to beef up the sound of Hands of Glory (EP) is definitely something he could potentially build on in the future. I just think, as with a lot of other styles/genres that other artists toy with, they would benefit from some real hands on experience. I mean, in this case, going to the back hills and learning by rote from someone who has learned from someone else--all part of a rich history of passing down tunes and style. Can I say whether he has or hasn't done this, no; but, if not my point stands.
    I think the real gem of of the nine-track Hands of Glory (EP) is the last track, "Beyond the Valley of the Three White Horses", which starts with the aforementioned pizzicato, to lovely effect. The violin also soars with Andrew Bird's more usual [than the rest of the album] slides and gracefulness. Midway through, the song morphs into this beautiful free flowing violin section, quickly changing into an electronic echo, so to speak. It's full of slow heavy waves or pulsations of vibrato, while the violin haunts the listener as it floats over top. The whole thing melts into nothing, until the pizzicato peeks back to complete the fade out.
    "Beyond the Valley of the White Horses" is hands down the best song on the album, and you can listen to it over under the 'Monthly Sample Tracks'. Or check it out, along with the rest of the full album stream at Andrew Bird's SoundCloud, here. Enjoy!

Local Natives: Gorilla Manor

    Today I didn't really know who to write up. So, this post, as you'll see, is kind of half explanation of my music binge process at times and plugs for other websites. Anyway, recently I stumbled across Birp.fm, or Birp!, a really cool indie music site. They're doing a pretty cool thing at Birp!, a new playlist of new stuff every month, just so you can listen and discover. You can even download each playlist, which I almost did once, but it was going to take about 7-8 hours. Anyway, the artwork for each month is inventive and they seem to be on the cutting edge of indie music. Doesn't mean that all the stuff is good listening, but you'll hear where things are going at least. And, you can rate each song. You can even contribute to a user-generated community playlist if you are a member of the site, which is free, just takes signing up for their forums. They also have reviews, a new music blog, mixtapes (WARNING: mature content), interviews and video archives of live and studio sessions.
    On Birp!'s November 2012 playlist I listened to the newest single from Local Natives, "Beakers". They have a new album coming out January 29, 2013, Hummingbird. Usually, it takes me all of five seconds to determine whether I like a song or not and want to continue perusing their musical catalog. Well, "Beakers" intrigued me enough to give them a shot, so I went to their SoundCloud, where I could listen to the entire debut, Gorilla Manor (Nov. 2, 2009 on Infectious Records in the U.K.; Feb. 16, 2010 on Frenchkiss Records in the U.S.). The album was named after the house where all five, now four, band members lived in Orange County, which was apparently quite the mess-pad.
    I also found that the Local Natives have done Daytrotter Sessions, and you can check those out here. Daytrotter is definitely a place to find new and cutting edge music. I think Local Natives is also at that point, with their music falling towards the front of the indie pack of hazy, psychedelic, dreamy, folk inspired, upbeat at times and at others chilled out, multi-vocaled harmonies and world/afro beat inspired. Other bands I'd put there are Young Buffalo, Freelance Whales, The Dodos and, well honestly, many others I just don't ever listen to [because they're not that good]. That being said, I'd compare Local Natives a lot more to Young Buffalo than the latter two; but, you'll even hear semblances of Sigur Ròs in one song, "Shape Shifter". I just get the feeling that Local Natives hadn't quite figured out their sound yet with Gorilla Manor, as half way through the album is this shift, sometime after "Shape Shifter", where they just changed styles. The songs are a little cleaner, less psychedelic haze and more pop-ish or beach rock-ish at times. I was just listening along and it just struck me that they sound significantly different and I wondered if I was listening to the same band-- if that is truly the case it is hard to tell going back, contrasting the latter with the first half of the album. Something I do like about the first half is the use of a more heavily distorted guitar/bass, as in songs like "Wide Eyes", "Sun Hands", "Shape Shifter" and "Camera Talk".
    See for yourself. Check out the entire Gorilla Manor on their SoundCloud, here. If you'd prefer MySpace, go here. You can hear their new single, "Beakers" a number of places, including their website, here. I've put the first track from Gorilla Manor, "Wide Eyes", up under the 'Monthly Sample Tracks'. Discover something different and cutting edge and, hopefully, enjoy!

Marble Sounds: Nice Is Good

    I've been sitting on this band, Marble Sounds, for a while, with their 2010 release, Nice Is Good, out on Belgian label, Zeal Records. They are a Belgian post-rock, indie pop group, though to the American ears I think they sound more like indie rock as I think the European idea of pop is very different than ours (lucky them!). If I'm wrong then I'll just choose to live within my delusion because it makes me feel better about the state of American pop music. I also think they're pretty emo, but just in the sense of their melancholic lyrics and atmosphere. A lot of their music is softer and acoustic, while other songs add keyboards (glockenspiel, or bells, and Rhodes piano--read more about that interesting instrument invention here) and other twinkling effects. Strings, flute, banjo and ukulele make an appearance too--all the above typical of a European style of pop music that I think hails mainly from the post-rock tradition that is so strong in Scandinavia and Iceland. They actually remind me a lot of Parachutes in some places.
    To my knowledge, the name of this their first full release was taken from a Jim Carey quote in Eternal Sunshine of the Spotless Mind. It has been years since I've seen that film, so I do not quite remember the context. Their debut four track EP was titled A Painting or a Spill (2007). They have also done some remixing and contributed a song, "Come Here", to a tribute/cover album of the music of Connecticut folk singer Kath Bloom, Loving Takes This Course (2009). "Come Here" actually appears on Nice Is Good as well. Most recently, a new track/single, I'm not sure what is all about, is on their MySpace too, "The Days We Care About", from 2011.
    Marble Sounds is led by Pieter van Dessel, who is also part of the band Plastic Operator. With Marble Sounds, he sings, plays guitar, banjo, ukulele, flute, and keyboard. Other members include: Frederik Bastiaensen (bass), Johan de Coster (drums), Gianni Marzo (guitar, resophonic guitar--another cool invention to check out here--and backing vocals) and Christophe Vande Woude (electronic piano, glockenspiel and backing vocals). The latter two are also involved in the group Isbells, which is a Belgian folk group based around the singing-songwriting of Gaëtan Vande Woude (I assume a relation to Christophe). The famous (though admittedly I have never heard of him) American singer-songwriter from Guided By Voices, Robert Pollard, and Tokyo musician, Miwako Shimizu, who performs under the band name Predawn, both make appearances on Nice Is Good.
    Nice Is Good is very melancholy and peaceful, as previously stated, the kind of music you just want to sit back and enjoy while sitting in a porch swing staring out over the beauty of nature. You can imagine the sounds of such a scene as you listen, the rustling of wind through the leaves and/or twilight crickets, it is evocative of such simplicity. Highlights include the hypnotic "The Time to Sleep"; "Two and Still Counting", which has a fuller instrumentation and is more upbeat; the short but sweet "A New Breeze"; and "Redesign, which has math rock tendencies and a lovely melody.
    So, read a good book, go for a run through a park with the album on your iPod, or cuddle up to someone special and just revel in listening. Check out a full stream of Nice Is Good and other albums on their MySpace, here. Or, on Zeal Records SoundCloud, here. I've also linked the ever too short but gorgeous song "A New Breeze" over under the 'Monthly Sample Tracks' for your enjoyment!

Efterklang: Piramida

    Something new for you: Efterklang, founded in 2001, is a group from Copenhagen, Denmark, signed to the 4AD label (which also houses the likes of The National, tUnE-yArDs, Bon Iver [in Europe] and Blonde Redhead). Until 2009, they were on The Leaf Label, and indie company based in Yorkshire, UK., and they have put out albums on their own label, Rumraket. The trio that makes up Efterklang is Casper Clausen (vocals, instruments), Mads Christian Bauer (electronics, programming, instruments of all sorts) and Rasmus Stolberg (bass). Their drummer/trumpeter, Thomas Husmer, left the band in 2011. Piramida, their 4th studio album, released on September 24th, 2012. Their previous work includes: their debut Springer (EP, 2003), Tripper (2004), Parades (2007) and Magic Chairs (2010); also, two of what they call mini-albums, One-Sided LP (2007) and Under Giant Trees (2007). The former was actually put out on Burnt Toast Vinyl, Philly based, started by a student at Drexler University. I guess if you are interested in checking out record companies and who they represent, the previous paragraph could find you very interested. Otherwise, keep reading. Well, keep reading anyway!
    Efterklang, or "remembrance" or "reverberation" (how does one word mean two entirely different things?) resonates loudly with the spirit of Piramida. In order to create Piramida, apparently the band took a trip to an abandoned (in 1998) Russian mine, where they took sound samples and recorded for nine days. The mine was on the Norwegian island of Spitsbergen, part of the Svalbard archipelago. See image here, click to enlarge and you will see a town called Pyramiden. In that town they discovered an empty concert hall with the worlds northernmost grand piano (so they claim), empty oil tanks and other materials they used to take some 1,000 audio samples. From that experience in 2010, they collaborated on a film, An Island, with Vincent Moon, see here, before compiling the sounds for what would become Piramida. I can't describe how they used all these sounds better than Efterklang does on their website, so you can read an excerpt as follows:
"It was Brauer who made sense of the sounds the three had brought home. Returning to his memories of visiting Piramida, he selected noises and carefully treated them to produce incredibly standalone sounds for use in the album’s songs. What might sound like an organ of some kind on the track ‘Sedna’ is actually a combination of recordings from the aforementioned fuel tank and grand piano – but it’s only at an atomic level that these elements remain, so delicately have they been synthesised into a workable instrument.
And it’s this process, of taking sounds found organically in an alien landscape and using them to power ‘traditional’ progressions of notes, of rhythms and melodies, that forms the framework for so much of Piramida. The hollow tones of ‘Told To Be Fine’ are sourced from ornate glass lamps, given new life long after their original use had become redundant. The very first sounds on the record, on opener ‘Hollow Mountain’, are metal spikes being struck, protruding from a bizarre-looking oil drum the band cheerily named Miss Piggy. The synth sounds of ‘Apples’ are created from a microsecond of a wonky piano note – from the aforementioned grand. Throughout, the album contains sounds that quite simply have never been heard before. What you’re hearing is a very singular kind of sonic alchemy." Read more here.
    I think that all sums up very well what you'd expect to hear, but I'll give you a bit more to listen for anyway. Efterklang, in Piramida, as I cannot yet speak for their previous albums because I haven't heard them before, reminds me of The National, Sufjan Stevens at times (take a listen to the flourishing ripples at the beginning and end of "Sedna"), Rubik, Junip, Elbow and Bon Iver, to name a few [or many] that popped into my head while listening. There's a grand sense of epic vitality within the notes of Piramida, even with its semi-emo sounding vocals and often Downtempo pared down verses. It's very thought out, evocative and almost like slowed down pop tunes. It could almost be called Post-Pop.
    To wrap things up, and allow you to delve into the beautiful, drifting, yet sometimes cold/harsh world of Piramida yourself, there are a number of places you can listen to parts of the album or other Efterkland music: their Bandcamp has a sample song from their previous albums, here (clearly it was used while they still had their 4th member, because the header has a picture with them included); and Efterkland's SoundCloud page has some remixes of other artists work, some remixes of their songs and a few tracks from Piramida. I have put the track "Apples" among the 'Monthly Sample Tracks' as well. Enjoy!

Ultraísta: Ultraísta

    I'm a few weeks behind this October 2nd release--a self-titled album, Ultraísta--by none other than famed Radiohead producer/Atoms for Peace grease man, Nigel Godrich. Well known for his production of every Radiohead album among numerous others (i.e. select albums by U2, Beck, R.E.M., Paul McCartney, and Air), Godrich has also been a member of Thom Yorke's live solo act since 2009, Atoms for Peace, in which he does keyboards, guitar, backing vocals and percussion. His latest act, Ultraísta, is his project. Formed with singer Laura Bettinson and Joey Waronker (Atoms for Peace drummer), Ultraísta is named after a 20th century group of Spanish writers, the Ultraists. The Ultraists--consisting mainly of Guillermo de Torre, Juan Larrea, Gerardo Diego and Jorge Luis Borges--were a reaction to the prevalent Modernismo poetry of the day in Spain. They, according to NPR: First Listen, "favored a surreal variation on minimalism over more opulent, ornamental styles". Bettinson went on record in an interview on iLikemusic.com as describing how Ultraísta fit their music as follows: "she sees Ultraist poetry--by writers such as Guillermo de Torre and Jorge Luis Borges--as cut-up and surreal, [quote]which worked with the way we made the music; add that bit, add that bit, keep the lyrics quite fluid and abstract[endquote]". Apparently, Ultraist art included doubled images, per say, which added to the available meaning. The First Listen article has such a picture, of the members of Ultraísta, see here.

    Ultraísta's formation was pretty cliché or organic, whatever you want to call it; while Laura Bettinson was performing under her stage name of Dimbleby & Capper, Godrich and Waronker showed up at her show one night looking for someone to fit in with some material they wanted to create (which she knew nothing about). They were impressed with her style, using a simple loop station and voice layering, and asked her to join their crew. The rest could be history. Sound wise, the Radiohead/Thom Yorke style comparisons are obvious, but the members of Ultraísta have actually just put together their strengths, their individual two cents each, to compose something that is unique to them. Besides, the comparisons only exist because those groups contain those same two cents.

    Here's some more information and highlights from Ultraísta: 

The first track, "Bad Insect", has a really cool carefree melody that contrasts swirling synths and rhythmically driving drums (I intentionally packed as much alliteration into that sentence as possible, I promise). Synths in fact are in. But, not in that New Wave-y way, rather, electronic goodness with that tiny bit of waver that makes them sound more Space Rock-ish. Also, rhythmically driving beats are the norm and track three, "Static Lights"; track five, "Our Song", have stellar ones at that. Speaking of "Our Song", there are some awesome melodic notes that are dissonant to the rest of the harmonies, really nice composition. The eighth track, "Party Line", has a nice trip hop feel to it, with static piano chords and an almost dry drum set beat (just the tiniest bit of echo, but extremely tight nonetheless). Also, the final real track [ten], "Your Out", is just a solid song, with excellent use of vocal loops and just has that immersive-ness to it that I love in music. Finally, some solid remixes top off the final two tracks, especially including a Four Tet remix of "Smalltalk".

    You were at one point able to listen to the whole album streaming on NPR: First Listen, but that has passed, and as of yet I do not know of a full legal stream anywhere. There are a few songs on Ultraísta's SoundCloud, however, and I have put "Bad Insect" over by the 'Monthly Sample Tracks'. Go to their SoundCloud, here, and listen as well. You can purchase Ultraísta on iTunes, here. And,download a free three track remix EP at Ultraísta's website, here.

Rubblebucket...Oversaturated (EP)

    On the rue-full day of September 11th, 2012, Rubblebucket released a brand new EP, Oversaturated. When I found out about Oversaturated (EP), I was definitely behind the ball on this one, as my brother who is a huge Rubblebucket fan--it has been his influence on me, getting into this band and following them--had already known about this and purchased Rubblebucket's latest offering to their ever increasing crowd of psychedelic funky pop fans. He even took me to a Rubblebucket concert for Christmas or my birthday or something last year! That was pretty sweet, even though they didn't play one of my favorite tunes from Omega La La (2011), "Down in the Yards". Anyway, I've had this post on the docket for a few weeks now, but other new releases have pushed it back. So, finally for your approval: Rubblebucket's Oversaturated (EP), from Sin Duda Records (which I believe is their own label).
    Rubblebucket definitely has this fantastic mix of funk, afro-beat at times, post-raggae, psychedelic and synth pop--oh and tenor saxophone, trombone and trumpet! The latter really makes the group along with the distinct vocals. And Rubblebucket does reverb over the vocals correctly. It is not so much that it is this wave of dreaminess. It is clean and effective. They haven't folded to the overwhelming variety of new wave light bands out there lately that have no distinct or unique sound...or soul. Rubblebucket has plenty of soul and they wear their sound on their sleeve.
    Oversaturated is a short EP, mainly 4 tracks, but there is a reprise of "Pain from Love", which makes a 5th. A closer look at the songs is as follows:
(1) "(focus) Oversaturated" - I love the opening of this, so carefree and with just the right amount of subtle attitude. I find myself singing the first few line "You're barking up the wrong tree" and "You really oversaturated" in my head all the time while I'm out playing disc golf. Music always runs through my head while I play disc golf. Back on subject, the song builds gradually until it explodes in a mosh of piano, drums, winds and whistling! Great opener.
(2) "The Flower Man" - Right off the bat you are greeted with a robotic voice and pentatonic sounds of the Orient. Reminds me of Gold Panda. Song really gets cooking nicely by the end, with some nice syncopation.
(3) "Pain from Love" - Much more light hearted to start, with sort of an upbeat Raggae feeling, which is why I called their music post-raggae. Afro beat too, with sort of a call and response thing going on.
(4) "Ooh Wa" - At first, it so sounds new wavish, with synth and all, but the drumming is so much more sophisticated and it is so Rubblebucket. This track is definitely more dreamy than anything else they've done before, but for some reason I don't mind it.
(5) "Pain from Love Reprise" - Made to sound old, with the vocals as if they are over the radio or something. Lo-fi goodness, but not a real song necessarily, just a snippet. Goes back and forth between two tempos, nice touch.
    There you have it, Rubblebucket's Oversaturated (EP). You can listen to it in full on their MySpace, here. Also, I've linked just the song "(focus) Oversaturated" over under the 'Monthly Sample Tracks'. Purchase the record and all subsequent remixes in one "digital music pack" on their website, here. Enjoy!

Just in...Young Buffalo: Young Buffalo (EP)

    It seems like something good is dropping just about every week since I picked up writing again after the summer lull. Just yesterday, up and coming Oxford, Mississippi, band Young Buffalo released an eponymous EP--one I have been looking forward to for a while. I always think it is weird when anyone releases a self-titled album after they have already released other material (take Sondre Lerche's self-titled album released after 3-4 previous ones as a prime example). They may have their reasons, however. Previous to Young Buffalo (EP) was their debut Young von Prettylips (EP) in July of 2011 on Cantora Records, which I previously wrote up on The Music Binge here. This new album is out on the Votiv label, which to me seems like a pretty new venture, with only a few bands to its name, but I'm definitely interested in checking out what other stuff they are representing.
    Some changes have definitely taken place with Young Buffalo since Young von Prettylips (EP). For one, the third original member (the other two being Ben Yardbrough and Jim Barrett), Alex Hardberger, left the band in October of 2011 for personal reasons. Shortly after, Jim Barrett released a demo of a new song from Young Buffalo, "Baby Demons", which he describes in an interview on BestNewBands.com, entire transcript here, as such: "the lyrics are definitely about how we all have personal/emotional baggage and shit and how our friends closest to us normally know have a better idea as to what we really need to get through it". Maybe telling? Also, on Votiv's website they have this to say about Young Buffalo's name: "To your average Vietnamese citizen, the mention of this noble beast calls to mind the qualities of being hardworking, dedicated and of making the best of every situation that you are faced with". I guess they will be alright, and maybe as a sign of a new beginning they decided to make their newest release eponymous. Finally, Jim Barrett started a side project, ILLLS, which is an ambient noise rock shoegaze venture of sorts. He has a Dark Paradise (EP) out, on London, U.K., indie label The Sounds of Sweet Nothing, since June of 2012 and is available for listening here on Bandcamp or here on SoundCloud. You can for the most part hear similarities to Young Buffalo, but that may be just the laid back style, melodies and vocals. ILLLS is made up of Jim Barrett and Steven Ross, but Ben Yardbrough plays drums in the group. 
    Anyway, we'ere here to talk about Young Buffalo right? So, a closer look at the five song Young Buffalo (EP) is as follows:
(1) "Baby Demons" - kind of a garage rock sort of song, rough cut perhaps, with smooth vocals and nice harmonies throughout. A very nice bridge loaded with synth that is just screaming to be 10x louder and more electric, too. Regardless, just the right kind of tension was employed, and I admire them for holding back.
(2) "Hold Me Back" - Very clean and fresh sounding to start before filling out with some distortion and cymbals. Excellent guitar riffs, sounds very Afrobeat at parts and very Rock-ish at others.
(3) "Upstairs" - Afrobeat throughout, kind of lo-fi, and reverby. Pretty straight forward, not the best song on the album, but not unlikeable.
(4) "Nature Boy" - Love the synths at the beginning, great intro with the vocals and the vibe they establish! Makes you want to dance, afrobeat for sure, with the chorus being more smooth and filled out. Nice differentiation. The whole song is just so laid back and fun.
(5) "Prize" - Has more of that driving guitar drum rhythm, but still maintains its smoothness, doesn't end up being another dance track or evolving into New Wave. Contains some subtle elements of Dream Pop with all the synths.
    So, I hope you found this post informational and interesting. You can listen to the entire Young Buffalo (EP) on MSN Listening Booth (scroll to the bottom), here, or on amazingtunes.com, here. Also, check out Votiv's bio for Young Buffalo, news, other things, here. I've embeded "Nature Boy" up under the 'Monthly Sample Tracks' through their Bandcamp. Enjoy!

Upcoming...Freelance Whales: Diluvia

    Brooklyn based, free spirited stories and dream group, Freelance Whales' sophomore release, Diluvia, is an album I've been looking forward to hearing for quite a few months. Set to come out on Mom + Pop and Frenchkiss Records, two indie label staples, on October 9th, 2012. They earlier, July 18th, had a single put out, "Locked Out". In between their debut, Weathervanes (2009), and this, they also released The Benefit for Japan (EP, May 2011) that included remixes and live Daytrotter Sessions of several tracks from Weathervanes. More info on that can be found on "The Audio Perv", here. All proceeds went to SweetRelief.org, a fund for musicians in need.

    Since Weathervanes, Freelance Whales have apparently made some changes in their sound. Yes, I can still hear their underlying style, with the bells and banjo, and plenty of added electronics; but, Diluvia is definitely more synth heavy, reverb heavy/echo-ey and 80's inspired. I am comfortable calling that New Wave, which to me is simply a rejuvenated 80's influence thrown into a mix of sub-genres of Pop. Yet, with Freelance Whales, it would definitely be more of a subtle influence of New Wave, since their rhythmic structure tends to me more complex (while admittedly repetitive) and hook-filled than that "big beat" synth that so often accompanies 80's music. Just listen to any 80's movie and you'll know what I mean. Overall, however, the song "Dig Into Waves" describes Diluvia fairy accurately, with all their songs lacking that clean sparkle of Weathervanes; rather, they are slower, softer, bubbly without spilling over and generally ethereal. I also notice a difference in the singers' voices often, as it is allowed a certain echo-ey room feel. In general, it just doesn't remind me of the same people at times.

    Taking a closer look at each song from Diluvia:

(1) "Aeolus" - The name is taken from the Greek mythical ruler of the winds. It mostly sounds like an intro, with lots of "ooo's" throughout. It's a good setup song.

(2) "Land Features" - This one is more reminiscent of Weathervanes, with the banjo loud and clear and layered rhythmic structure that is established at the start. The drums actually remind me a lot of the Radiohead song, "Videotape". Classic Freelance Whales, with saxophones and brass instruments thrown in.

(3) "Follow Through" - This is definitely one of the closest fitting New Wave songs, the synths and the drum beat is sooo annoyingly 80's.

(4) "Spitting Image" - Almost Baroque Pop, with the banjo and constant rhythmic notes. Voices in harmony, the female singer leads this one, and plenty of synth--all things you can expect to hear in this very intelligently crafted song. I can see this one getting a lot of radio play.

(5) "Locked Out" - Very electronica, the harmonies behind it all, with Synth and Ratatat inspired duo guitars.

(6) "Dig Into Waves" - Also heavily New Wave inspired, with the Synth and the heavier drum beat during the choruses.

(7) "Red Star" - Space-ish, almost twinkley, with star-like electronics and Synths. The song picks up a bit, but is mostly slower. The middle section clears out a lot and just has plain banjo and brass, which is really cool, before the ethereal-ness starts to return towards the end.

(8) "Winter Seeds" - Probably the most Folktronic of all the tracks, if you just sped up the banjo riff. But, also a New Wave ballad hybrid.

(9) "The Nothing" - Maybe they couldn't come up with a name for this song? Anyway, gentle and understated, in typical Freelance Whales fashion; where you might expect pure cacophony and jubilation it seems to hold back, yet expresses a glimpse of that nonetheless.

(10) "DNA Bank" - Very understated, almost Downtempo Trance (repetitive)or something; merely subtle, almost motifs than actual melodies. Seems like a good fade out song, but it is not the last track.

(11) "Emergency Exit" - Very minimalist, in terms of actual sound that is present, and when this or that is interjected--the drums or the Synths or strings--they are repetitive. A very understated grandstand song to finish. Maybe a little too droopy to make me want to turn around and listen again.

    So, there you have it, Diluvia, by the Freelance Whales. I seem to be cracking down on bands these days, not writing reviews that are as openly accepting or praising of their music. But, then again, if we'd all just get over this New Wave fad, I'd be much happier. And, if the unique and brilliant sound that Weathervanes introduced us all to was not left behind as if it was the juvenile experimentation of a newbie band, while the Freelance Whales "find themselves" or "matures", then I'd also be much happier. Maybe the problem is that there is no such thing as an Indie band anymore, that anyone's influence reaches anywhere and, therefore, bands do not feel like they can rest assured in their own style, that they need to conform too much. It just seems like everyone is trying to make it big, but all we're getting is a lot of the same stuff. Rant over, check out NPR: First Listen, here, for a complete stream of Diluvia. Also, free download of "Locked Out" on their website, here. Lastly, a couple other songs that have been available on their SoundCloud account for a bit as well, here. Enjoy!

Upcoming...Muse: The 2nd Law

    I'm actually sort of surprised that this is the first Muse album to find its way to this blog, but when it has been three stinkin' years since one of the most popular bands in all the world has released a new album, well then it's not really my fault! Anyway, I come to you with good news, not just a rant. Since it is just a week [when I started writing this the 25th] until The 2nd Law releases on Warner Brothers Records, Muse has followed suit with all other well intended bands and provided a free legal stream of their 6th studio album since their formation in 1994. Hailing from Teignmouth, Devon, England, Muse is made up of the trio of Matthew Bellamy (that famous voice and piano), Christopher Wolstenholme (that famous bass) and Dominic Howard (drums). Their previous releases include: Showbiz (1999), Origin of Symmetry (2001), Absolution (2003), Black Holes and Revelations (2006), The Resistance (2009).
    Over the years, Muse has evolved from a mostly hard Progressive Rock with a flair for the dramatic and bombastic to more melodic and electronic influenced to more mainstream influenced, with the latest album including elements of Dubstep and New Wave. Maybe not all evolution is progress (my favorite album is Absolution, but to be fair followed by The Resistance). The 2nd Law turns too much towards the mainstream and just plain Rock, instead of that unique indie touch they used to possess. Regardless, Muse would surely require a 'Tribute to...' post to fully encapsulate their greatness and resulting impact on the music scene as a whole. They were truly one of the first few bands to come out of the dominance that was Radiohead in the late 90's of British Rock--perhaps equaling their more immediate popularity, though without overcoming Radiohead's longevity. One of these reasons is that Muse's music is so fantastic in concert, so I've heard, almost recording-like. That, Matt Bellamy's aptitude for producing quality compositions that contain almost Classical [music] harmonic integrity, and the electricity that their arpeggiated chords and spectacular guitar playing brings is surely a recipe for success. Anyway, too simple an explanation for such a unique ability to produce quality music.
    Taking a closer look at The 2nd Law:
It was named after the 2nd Law of Thermodynamics, which basically proves that over time things decay. The album cover comes from the Human Connectome Project, which reveals the pathways of the human brain using neon colors to represent how information is processed.
(1) "Supremacy" - Pretty straight forward Post-Progressive track, classic Muse.
(2) "Madness" - (Single) Dubstep influenced, kind of interesting--lots of manipulated vocals throughout, multiple voices recorded over and such, like "Knights of Cydonia" except not at such an intense moment, more melodic.
(3) "Panic Station" - Seems to have a pretty obvious New Wave flair to it. Not my favorite, reminds me of all that 80's music I prefer not to listen to.
(4) "Prelude" - A nice symphonic interlude of sorts that takes from Rachmaninoff at least in theory.
(5) "Survival" - One of the singles, premiered at the U.K. Olympics I believe, lots of operatic singing in the background against the heavy guitars and drums--builds throughout to a climactic finish, kind of like a race!
(6) "Follow Me" - Very cool synth arpeggiated chords; almost a dance track when the drums initially come in, but maintains an orchestral smoothness, until the heavy Big Beat half Dubstep part arrives--reminds me a bit of Pendulum.
(7) "Animals" - Perhaps my favorite song on the album, very cool intro that continues to build as solo guitar interjects throughout; very nice chord and color changes--track ends in a cacophony of angry sounding voices.
(8) "Explorers" - This was the song that made me decide to label Muse as Space Rock like they say they are--mostly symphonic in nature, but a ballad with a slightly uptempo Rock beat.
(9) "Big Freeze" - This song kind of reminds me of U2, which I hate to suggest, because I may never listen to it again if I ever fully make that association a reality in my mind.
(10) "Save Me" - A super Space Rocky ethereal opening with rolled reverberated chords that builds slowly.
(11) "Liquid State" - This and the previous track were written and sung by Christopher Wolstenholme, and are about his struggles with alcoholism; this is definitely more Progressive Metal, driving and heavy.
(12) "The 2nd Law: Unsustainable" - Part 1 of The 2nd Law, half Symphonic Rock with sweeping cellos and strings, and half Dubstep.
(13) "The 2nd Law: Isolated System" - Part 2; Starts very minimalist, almost Trance, with layers being added--new radio/tv blips are interspersed at the start too, has a conspiracy theory sort of feeling to it while the song as a whole slowly fades out.
    I hope you find the latest Muse offering not disappointing. There has been a lot of speculation since they announced it would include Dubstep, maybe more of a marketing ploy than anything else as it shows up maybe three times. Anyway, check out a full stream through iTunes, which doesn't allow pausing or scrolling or track selection (gotta listen straight through), here. If you live in the UK, go to The Guardian, here. There are a few videos on Muse's YouTube profile, for "Madness" and "The 2nd Law: Unsustainable". Finally, "Survival" linked on the right hand side of this page under 'Monthly Sample Tracks', not because that is my favorite; rather, that is what available at this time. Enjoy!

Team Me: To the Treetops!

    One of the most promising areas of the world when it comes to Pop music, is the Nordic countries. I'd be remiss, as I just found out on Wikipedia, to refer to them as Scandinavia, which is only used in reference to Norway, Sweden and Denmark; because I want to include Iceland and Finland in this grouping--though more specifically, in this case, Norway. I say all this, obviously subjectively, because their definition of Pop music is far from Britney Spears, Katie Perry and Justin Beiber. Lucky them. Post-Rock is the norm and I should think the likes of Sigur Rós, Jónsi, Björk and Rubik are household names.
    Team Me is a group from Oslo (originally Elverum) that came together perhaps unexpectedly and has gradually risen in notoriety since their debut performance at a "battle of the bands" sort of shindig called Urørtfinalen in 2010. At the time, while chosen to perform, they did not actually exist officially, but Marius Drogsås Hagen, the songwriter and leader quickly gathered a group of friends together and they played the competition. Despite not winning, they immediately received recognition for their songs and radios picked them up. As most music spreads these days through blogs, YouTube, etc...so did Team Me's music and they quickly found themselves becoming popular. They signed to Propeller Recordings, a small Norwegian label, in 2011 and put out an initial self-titled EP, which reached both the UK and the U.S. To the Treetops! (October 14, 2011) won them a coveted Norwegian Spellemannprisen for "Best Pop Group of the Year" in 2011. It's U.S. release was in March of 2012. That same year, Team Me performed at SXSW, following which, British music magazine, NME, named them "one of their 10 new favorite bands".
    Some interesting reads on Team Me include a review of To the Treetops! at "The Line of Best Fit" blog, here. It gives a good idea of what their music is made up of. Also mentioned in the article is how one member, Synne Øverland Knudsen left the band because they were going to be nominated an award by a Norwegian energy company called Statoil. I guess Statoil has had its share of corruption or scandals and environmentalists lobbying against it. Check that out on Statoil's Wikipedia entry, here. An interesting and telling list of Team Me's influences can be found on their MySpace page, if you click "more" under the 'General Info' portion of their profile page, here. Included are (but not limited to): Sufjan Stevens, Radiohead, Arcade Fire, MGMT, Björk and Broken Social Scene--all of which you will hear some of in their music at various times.
    Taking a closer look at their album, To the Treetops!, you'll hear lots of different classical instruments, piano/synth, driving rhythms and chorus vocals with plenty of grandstanding (remember that term I "coined"?). Their underlining rhythmic nature is somewhat repetitive, with heavy drums contributing, but what makes it worthwhile is how it is comprised of woodwinds, piano and other twinkling elements like bells. There are reprises (like a reprise from the storm, not repeats) too at various moments that take the listener away from the busy-ness and are fresh breathes of air. The song "Fool", for example, is gorgeous and simple at the beginning and portions throughout, with acoustic guitar, bells and other instruments. And, "Favorite Ghost" is semi haunting before it grows into a full blown cacophonous spree. There really is a good balance, with the next song, "Looking Through the Eyes of Sir Davis Brewster" (some of the names are really long and intriguing), which is sustained and warm.
    I really hope you find Team Me and To the Treetops! to your liking. Check some of their songs out on their MySpace, here. I've linked the song "Dear Sister" over under the 'Monthly Sample Tracks'. Also, through various SoundCloud links, you can listen to these songs: "Show Me", "Weathervanes and Chemicals" and "With My Hands Covering Both of My Eyes I Am Too Scared To Have a Look At You Now". Yes that is a song title. Enjoy!

Upcoming...Grizzly Bear: Shields

    One of my favorite albums I discovered in the last few years since I've started this blog is Grizzly Bear's Veckatimest (2009). Also, the solo project of Grizzly Bear member, Daniel Rossen, Silent Hour/Golden Mile (EP, 2012), is equally fantastic. So, it's safe to say I'm now truly a Grizzly Bear fan. Their latest album, Shields, releases September 18th in the U.S. on Warp Records and I've been waiting diligently for a stream, now finally made available on NPR's First Listen (link at the bottom if you simply cannot wait, like me, and need to start listening before this post is even finished!). The cover for Shields was painted by Richard Diebenkorn, an American painter and printmaker from California. He lived from 1922-1993, composing over 700 oil paintings and 4,000 drawings, while some of his most famous works are from his 1981 "Clubs and Spades" series. The chosen cover work is an aquatint print called Blue Club. More about Richard Diebenkorn can be found at his posthumous website, here, or just check out a number of his works here (CAUTION: his works include semi-abstract nude drawings).
    If you know Veckatimest, you will likely hear many comparisons throughout Shields. Yet, the latter is more sublime in many ways. Grizzly Bear is definitely known for creating folk inspired psychedelic expansive music, which opens up and reaches moments of greatness. Shields is a little more tame, with some songs the perfect setting for a lounge or club--the smoking kind where every one sits seriously and listens intently, not the dance kind; you know, with plush chairs and couches and mood lighting. OK, not really been to one such club myself, but I can imagine. For sure, Grizzly Bear's music begs a second, third, fourth, listening. It is almost impossible to "get" their music until further listening. It needs time to settle. They are clearly not out to win fame and fortune, even though they likely have quite an indie following by now; they do not sell out their music to what usually has more commercial success.
    Let's take a close look at each track:
(1) "Sleeping Ute" - (May refer to an American Utah Indian?) Great hook in the guitar and subsequent rhythmic mixed meter pattern, which morphs into a really cool classical guitar rolled chord section towards the end as it fades out to the words "and I can't help myself".
(2) "Speak In Rounds" - Very cool drumming on this, with an intro that sort of hides the more driving rhythmic song that "Speak in Rounds" reveals itself as; with that typical Grizzly Bear formula that never grows old, so catchy at the chorus.
(3) "Adelma" - This is actually a brief one minute track of ethereal sounds and space noise, so to speak, which I believe is meant to fade out from "Speak In Rounds".
(4) "Yet Again" - Right back to what Grizzly Bear does best, fantastically original and echo filled baroque pop almost--the guitar I think is meant to sound semi like a harpsichord, and there is an organ-like synth too. The end of the song is reminiscent of The Flaming Lips with their Space Rock.
(5) "The Hunt" - The first of the slower tracks, muffled drums, and an eerie melody, pared down guitar, bass clarinet (adds a great color) and partly out of tune piano.
(6) "A Simple Answer" - Piano and drum driven, upbeat, with almost gleeful elements; sounds sort of idealistic, maybe sarcastically, as if to say the simple answer is not always the right answer.
(7) "What's Wrong" - Another mellow track, mysterious, with strings, bass clarinet and other winds/brass perhaps (later in the song); accordion or synth piano meant to sound like an old organ; and a jazzy lounge feeling. I love the sustains and shapes this song creates.
(8) "gun-shy" - This is sort of an odd song, with almost a funky honky beat, and 80s inspired, new wave-ish, but not brash like most modern new wave is; rather, subtle and thoughtful.
(9) "Half Gate" - Cello intro, before returning to a faster tempo, with lots of echo and moments of cacophony.
(10) "Sun In Your Eyes" - Has some really nice cool jazz elements, while maintaining the psychedelic pop genre, with that expansive moment right towards the end--excellent track start to finish.
    I hope you take time to examine Grizzly Bear's latest, Shields. I may not like it as much (yet?) as I do Veckatimest, but it has stretched my ears in a good way and my expectations as well. In my opinion, Grizzly Bear is becoming one of the great American bands of our time and should not be missed. Do check out NPR's First Listen, where you can hear the entire album streaming, here (EDIT: stream is no longer available). When I find a place to stream songs from, I will post links up over under (...I might have over described that) the 'Monthly Sample Tracks'.  Enjoy!

Just in...Two Door Cinema Club: Beacon

    Back from all my summer affairs--summer camp, visiting my girlfriend, and a trip to Poland--and it is time to resume The Music Binge, kicking it off with a brand new album by Two Door Cinema Club, their sophomore release, Beacon. It releases today on Kitsuné and Glassnote Records. I apologize up front if the nature of their album cover is offensive, I debated whether to use it. Side note, it does kind of remind me of A Christmas Story and the lamp the father buys. Well, just don't stare! 

    Anyway, I really grew to love Two Door Cinema Club's debut, Tourist History (2010). It was super catchy, memorable and upbeat. Unfortunately, I kind of lost that vibe with Beacon. I'm kind of wondering where that happened, and I think that this album's downfall just confirms how much I disdain music producers. Their previous album was produced by: Eliot James, a relative newcomer, who has mostly done indie production but did win MPG Breakthrough Producer of the Year in 2011; and Phillipe Zdar, known for the French house group Cassius, who did production for Wolfgang Amadeus Phoenix. Beacon switched producers completely to Jacknife Lee, who is much more notable, for U2 albums, R.E.M., Snow Patrol, The Cars, Bloc Party--except for the latter, bands I am not in the habit of listening to. Many of the tracks were also orchestrated by Eric Gorfain, violinist in The Section Quartet, a group that does a lot of string arrangements of pop/rock songs. All this known, I wonder why bands continue to hire people to curb their creativity. Debut albums tend to be very original and unique, while it isn't very often that later albums produce the same amount of interest, as the band hits it big they tend to lose their identity and cater to what is going to be better for radio or mainstream music. Those bands whose later albums improve or maintain their uniqueness, they are truly special. Just my opinion, I cannot claim that this is entirely true of Beacon or Two Door Cinema Club. I just think they've overdone the formula on this album, too many songs I find myself not really listening to or glossing over. If you think I'm the only one who has expressed this opinion, check out this somewhat scathing review in The Observer, here.

    Now let's talk about what is good...or at least a little more in depth about the album: 

(1) The opening lick in the guitars, on "Next Year", is sweet.

(2) "Handshake" is a decent song, if not just too fit for a large crowd singing along at an outdoor amphitheater (I could call that grandstand music I guess, it's something I'm not particularly fond of). 

(3) "Wake Up", nothing particularly special about this song, formulaic.

(4) "Sun" has a nice beat to it, and I can get into it, it's a different flavor than the rest of the album, namely it doesn't have that same eternal rock beat going. The brass additions are also a nice touch. 

(5) "Someday" reminds me the most of Tourist History, with the more dance/disco-esque poppy upbeat tempo and catchy guitar hooks. I wonder if this was written closer to that album than some of the other songs? 

(6) The single, "Sleep Alone", is not on my good list. It goes back to that formula, like "Handshake" with the end of the song grandstanding. 

(7) "The World is Watching" (with Valentina), is sort of a different sound, almost tropical or a beach band sound.

(8) "Settle" contains a lot of brass in the background, just adding harmony and texture. While the song itself gets a little over produced at times, I kind of like it.

(9) "Spring" has a bit of that tropical flair, but ultimately it morphs into a formulaic song that grows weary.

(10) "Pyramid" is a definite change of pace on the album, with a lot of picked guitar playing, plucked strings, and has more thoughtful moments. Then at the verses, it erupts into a great melody. Throughout, the percussion is tasteful as well.

(11) The title track, "Beacon", is also a bit better than most of its counterparts. With a slightly slower pace and echoing synths and vocals, it succeeds in not being too formulaic until the choruses, when it suddenly reverts to a completely different style.

    I have linked specifically "Pyramid" over under the 'Monthly Sample Tracks' if you just want a taste. Or, listen to the entire album streamed for free in two places: Two Door Cinema Club's website, probably temporary, here; or on SoundCloud, here. I hope you enjoy and find Beacon more to your liking than I did!

100th! Post: Where My Binge-ing Has Led Me...

    Just as when I began this blog, I will throw out a few names for you to think about my overall experience, favorites (expanded to top 10--rightly so because of my expanded knowledge of the music scene), and perhaps some just on my radar, which you will most likely see/hear more of in the near future.
    First off, I have thoroughly enjoyed finding new music and expanding my horizons. About two or three years ago, I was fairly self-sheltered in terms of what I knew and what I allowed myself to listen to. Call it a fair amount of cynicism or stubbornness I guess--either apply. I mostly listened to Christian rock (i.e. Five Iron Frenzy, DC-Talk, Relient K, P.O.D., Jars of Clay, Supertones, selected Newsboys, and Earthsuit) or a few iconic bands my friend Dan L. or other people in college introduced me to (i.e. Steely Dan, The Mars Volta, Radiohead, Coldplay, and Muse). Not, to downplay the significance of these groups on not only my development as a critical listener, but scrolling through my iTunes now and I had not even heard of 95% of the bands I now more listen to on a regular basis. Furthermore, in college, I did start to lay the groundwork for "Music Binges" (if you don't remember what these are refer back to my original post, here) through mild exploration and referrals from people whose musical tastes I respected, as I in turn started influencing their listening habits by introducing them to the likes of The Mars Volta or MUTEMATH (who I discovered while at my undergrad just in time for their debut EP and album). For instance, I first heard and suddenly felt a light go off, like "woah", when I heard Coldplay for the first time in college. The song "Politik" was immersive and a fantastic listening experience with its balance between heavily pounding chords and softer lyrical sections. "Spies" was one of my absolute favorite songs at the time. Result: I delved heavily into Coldplay's albums A Rush of Blood to the Head and Parachutes. Sigur Rós's ( ) (or Untitled) was also a regular in my Walkman or Boombox (so nostalgic and retro!). Throughout my schooling, I began listening intensely to the likes of Radiohead, MUTEMATH, Muse, and The Mars Volta. Radiohead had obviously been around for a bit and I felt like Coldplay and Muse were the first original offshoots of British Alternative Rock since everyone started trying to sound like Radiohead. So, I was excited not only by the sounds of Radiohead's mixed meters, harmonic genius, electronic enhancements, and experimental song creation; but that there was a classically trained pianist in Muse, whose music was intense, thoughtful and hard enough to please while not reaching that disaster zone of hard rock or metal; plus, Coldplay's lyrical ingenuity and pursuit of perfection in  melodies.
    The last two years, however, have been a drastic change from the limited Binge-ing I experienced in college. It was as if a switch was hit and suddenly one summer day I spent hours downloading new music and just searching (note: I do not download anymore, I gave that up--in today's scene one hardly needs to download as there is almost always a legal stream somewhere). That was when I first discovered bands like Mice Parade, Thom Yorke (and his Spitting Feathers EP), The Autumns, Barcelona, Blonde Redhead, Days Away, Massive Attack and others. Since the early days, I have gone on to not only keep track of when the bands I already know have new material releasing, but have become acquainted with a myriad of new and existing acts. That being said, if you have followed my blog, you pretty much know the rest of the story.
    So, onto my top ten:

Favorites:
1) MUTEMATH -- These guys have taken top honors because of their 2011 album Odd Soul, which also easily vies for my favorite album of all time (thus far). They are ever evolving, but never losing their identity as  that band I originally heard in college and fell in love with. Most bands lose their creativity, this band I can safely say will only get better and better.
2) The Mars Volta -- Adding another great album to the mix, Noctourniquet, TMV is a stable go to for me. I finally owned my first album this year and subsequently bought their four earliest (only missing Octahedron). When I am in the mood for an extended playlist of tunes I can dig my ears into, I just put these guys on from start to finish of their discography. It's like a feast.
3) Radiohead -- Of course Radiohead hits the top three, and even though I do not listen to their older stuff as much because I do not own the albums (i.e. Kid A, Amnesiac, Hail to the Thief, OK Computer) they will forever rank highly in my mind. Plus, in rainbows is one of the greatest albums of all time and The King of Limbs, last years release, did not disappoint--growing even better with age.
4) Phoenix -- It is because of Phoenix that I currently am into French pop the likes of Housse de Racket. Frankly, their last two albums Wolfgang Amadeus Phoenix and It's Never Been Like That are perfect sets.
5) Röyksopp -- Throughout the past two years I have turned to Röyksopp numerous times, listening to Junior mostly, but also The Understanding and Melody A.M. They are energetic but subtle at times, with killer sounds.
6) Sufjan Stevens -- Yes, he is still here, though down a spot because I do not really listen to The Age of Adz much at all, but I frequently go back to his earlier records, Come On Feel The Illinoise! and Greetings From Michigan: The Great Lake State. I also enjoy The BQE and All Delighted People EP.
7) Sigur Rós -- The arrival of Valtari just this year definitely put Sigur Rós back on the map for me. For a while I was more into their more poppy stuff, We Play Endlessly being one of my favorites, along with Jónsi's Go (yes I know that is not actually Sigur Rós, but seriously it just about is!); but having realized through Valtari that I've lost touch with their more ambient work is a mistake.
8) Grizzly Bear -- I must pair this with Daniel Rossen, who just lately put out a solo EP Silent Hour/Golden Mile. It sounds exactly like Grizzy Bear and I believe was songs not used on their upcoming album, which I'm seriously excited about. Veckatimest has become one of my favorites and elevated Grizzly Bear to such a high status on its merits alone as I honestly do not know their earlier work much at all (I do not have listening access to it).
9) Vampire Weekend -- Even though I do not listen to them much anymore, as I do not own their albums, they opened me up to such great music as Hungry Kids of Hungary, Tokyo Police Club, Two Door Cinema Club. Though not necessarily related, the whole upbeat post-punk aspect is similar in my mind--they fill the same niche. Vampire Weekend, however, with its two albums Vampire Weekend and Contra are fantastic all by themselves and need no supporting act.
10) Scattered Trees -- Sympathy was a huge album for me, loved it through and through. They have a new one coming out this summer, which I have already pre-ordered and supported on PledgeMusic.com

    There you have it! I won't be doing a "Recent Finds" as I did in my original post, sorry, but you have hopefully kept up with my blog and therefore already know my recent finds. That being said, I do have a few groups I am looking forward to albums from this year (and I guess I'll throw you a bone): Bend Sinister (July 10), Grizzly Bear (September 18?), The Strokes, Muse (October?), Scattered Trees (August 13?), The Concept (I've heard their single on the radio and it reminds me exactly of Phoenix, so I'm in!), and Thom Yorke's group Atoms for Peace. Enjoy your summer, I'll be back around August/September!

Just in...Jukebox the Ghost: Safe Travels

    Jukebox the Ghost's follow up album to Everything Under the Sun (2010) is not quite as fulfilling as I had hoped it to be. I loved songs from Everything Under the Sun like "Schizophrenia", "Half Crazy", "Empire", and "So Let Us Create"--the first three because of the power pop style, use of mallet percussion, punchy chords and interesting guitar timbres; and the latter for its expansive beauty and phrasing. Yesterday's arrival, Safe Travels, does not have that kind of songwriting so much. Clearly their influences were different or they were trying to go a different direction than their previous effort. That being said, it is quite reminiscent and I have thus far enjoyed listening to it in preparation of this post. It is something to be experienced, not just taken in. Overall, there is a wonderful balance and progression to the album, which makes it feel quite complete. Side note: love the cover art!
    The differences I notice in songwriting is that Jukebox the Ghost has tried, in my opinion, to sound more ethereal, with more reverb and echo effect on their guitars. Also, some songs are very heavy on the effect and not mixed to contain as distinct instrument voices. The piano, for example, is somewhat lost in the blend of sound, while in Everything Under the Sun it was more the front runner of the band's sound. One of the guitars is also more pecky here and there, sort of like a Vampire Weekend picked sound, but not as prominent. I also hear more of a dance beat in the drums, almost disco-ish at times.
    A closer look at the album:
(1) "Somebody" - quite the peppy tune, starts right out with basically the chorus lines pared down to intro material. You'll hear that come back many times though, as this song has gained a lot of popularity for it. I must admit it is catchy and I have found myself singing it to myself.
(2) "Oh, Emily" - almost a continuation of "Somebody" with the intro as it is, but quickly morphs into more of a dance track with a longer sustained lyric sing-a-long chorus. Siegel also sings on this, instead of Thornewill (whose voice I prefer over Siegels, though his is of course a nice change of pace).
(3) "At Last" - very nice piano intro section, works perfectly with the first line "he was a songwriter..", sounds thematic. Like when the tambourine comes in and the piano goes into thirds. The chords get heavier in the piano and strings adorn this track with counterpoint, it all works together nicely. Also a kickin' guitar solo later on in the track.
(4) "Say When" - probably contains the most new wave, especially when the synth comes in two-thirds the way through. More heavy piano chords and Siegel sings. Another anthemic song.
(5) "Don't Let Me Fall Behind" - by this point, I'm almost ready for something slower, but whenever Thornewill sings, he tends to pare down the verses, which I appreciate, so it makes this song better right there as it suits his voice. Gradually layers are added, the drums particularly, and a more up beat tempo ensues with the familiar disco-ish dance beats and emphatic chorus section. Actually like this song more than I may be putting on.
(6) "Dead" - the beginning of this is sort of uninteresting, but I like the latter part, when things kick up a notch and Siegel keeps singing "if you're there God, see to it, God, see to it." It is sort of a plea to feel alive I guess, but just the chorus itself feels poignant enough.
(7) "Adulthood" - this is the first track, perhaps, that feels like the old Jukebox the Ghost--at least at its start. The piano is very rhythmic and syncopated still, as is the pattern of this record, while strings wash over everything throughout.
(8) "Ghosts in Empty Houses" - greeted by another dance beat, this is one of those songs you put in the middle of the record because it is not your best. In the grand scope though, it works fine and fits in with everything else well.
(9) "Devils On Our Side" - Thornewill has the vocal reigns again for this gorgeous song, quiet and somewhat eerie, with skeleton-esque piano in octaves ascending and descending. Stark and yet expansive, with great phrasing from Thornewill. The cello is a great addition too as he sings his "ooh's". Just like "So Let Us Create", I wish this one was longer.
(10) "All For Love" - sounds like a continuation of "Devils On Our Side". The sleigh bells are a great touch, making it sound Christmas-y. A lot of contrast between the sparse repeated staccato piano chord verses and cacophonous chorus sections with full strings and guitars.
(11) "Man In the Moon" - nice acoustic guitar in this, sounds like one of those songs you sing for your sweet heart. But, in this case, he asks at the end, "are you in love with someone new?"
(12) "Everybody Knows" - back to the heavier stuff, piano chords busting this one sounds like it is on a mission.
(13) "The Spiritual" - "ooh" harmonized vocals start nicely, setting the tone for a more gospel style, and clapping enters next, while the song ends up being more of a ballad like something Queen or Billy Joel would sing. There is even an old school drop in from the drums.
    So, a quick summation, to be sure, hopefully I gave you a taste of what Jukebox the Ghost's newest, Safe Travels, is all about. Check out the entire album streaming on A.V. Club, here. Or, just listen to my favorite track--yes I gravitate towards the mellower ones with JtG I admit--"Devils On Our Side", over under the 'Monthly Sample Tracks'. Next week will be my 100th post, so hopefully I will have something special for you before I go on my temporary summer hiatus. Enjoy!