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!

Paper Lions: Trophies (EP)

    Today on YouTube I stumbled upon a Canadian four piece band originally from Prince Edward Island, now Charlottetown, called Paper Lions. I liked what I heard alright and decided to look them up. Well, I had the most difficult time finding out accurate information about Paper Lions. Their MySpace has two albums streaming that (to the best of my knowledge) belong to a 2001-2004 hardcore post-punk "Paper Lions" band from Athens, GA--who I am led to believe dissolved when their record label Kindercore came into legal trouble in the early 2000s. So, The Symptom and the Sick and the Split EP are not even theirs, and they are not listed on their Wikipedia page. Furthermore, the third album available to stream on Paper Lions' MySpace is self-titled, which also does not appear in their Wiki discography. Come to find out, however, Paper Lions used to be called The Chucky Danger Band and changed their name in 2008 to Paper Lions (just to confuse us all!) and re-released their self-titled Chucky Danger (2007) as Paper Lions in 2010. Difficult to follow? I thought so too.
    To summarize, Paper Lions as The Chucky Danger Band produced the following: Two Brothers, A Major, and a Minor (2003), an EP I have no information on; 6-Pack EP (2004); their debut LP Colour (2006); and a follow up LP, Chucky Danger (2007). Then, as Paper Lions, they have come out with a Trophies EP (2010), which has also been re-released independently for free as of February 2012, because whichever record label signed them did not give them any of the proceeds. Have not been able to figure out which company that is as Paper Lions respectfully did not name it. So the free download of Trophies is here, where you can also donate via PayPal to the band, for their troubles. And, finally, they are releasing a new acoustic At Long Creek EP June 16th, and will also give that album away free! Feeling especially generous, or maybe their donation [scheme] is working? Just kidding, not trying to mis-speculate.
    Paper Lions was started by two brothers, John (singer) and Rob (bass guitar) MacPhee, Colin Buchanan (guitar) and David Cyrus MacDonald (drums). Their sound varies from a folk-ish influenced pop rock to post-punk to power pop (slightly). The folk comes in when they play softer tunes with more acoustic instruments and  ballade type melodies. And the power pop is more from the harmonized vocals, also something akin to punk. But, overall, they are post-punk, with melodic vocals, punk rhythms and guitar riffs/timbres--the latter even more true of their earlier albums. Trophies consists of six songs: (1) "Hands" - punchy and upbeat with distorted post-punk sensibilities; (2) "Lost the War" - probably the most well known, utilizing that indie folk type chorus where the vocals are slightly lo-fi and sung loudly by everyone over everything else; (3) "Sweat it Out" - power pop influenced for sure, with honky piano and a Broadway-esque melody and lyrics; (4) "Don't Touch that Dial" - the rhythm in the guitar at the start sounds almost exactly like Darwin Deez, upbeat and post-punk written all over it; (5) "Stay Here For a While" - also a little power poppy, with hoppy guitar rhythms and tambourine keeping it lively; (6) "Trouble" - darker and almost hip hop-ish too, with honky piano and a heavier but sparse beat, the guitar timbre sounds like Muse in their Absolution or Origin of Symmetry days.
    Hope you like Paper Lions, a good listen that should at least keep you entertained for a good bit. You can listen to Colour on MySpace here, Paper Lions also MySpace here, At Long Creek on Exclaim.ca prior to its release here, and Trophies on SoundCloud here. All full legal streams. I have linked their song "Don't Touch That Dial'"over under the 'Monthly Sample Tracks'. Enjoy!