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!