The Rotaries: Before Leaving

    Obviously a lot of good music comes out of New York City. The Rotaries could hopefully be added to that list. I am optimistic after hearing their debut album, Before Leaving, which came out in August of 2012. The previously released The Rotaries (EP) in August of 2010. So, if we're on schedule, look for a new album around August of 2014?  I guess I can wait that long, but I wish I didn't have to. There is one single that was just released in December, "Rust", so that's perhaps a good sign.

    The Rotaries are a trio comprised of James Rapp (vocals/guitar), Bernard Casserly (bass) and Danny Nosonowitz (drums). A simple old school combination to be sure, but effective in how full sounding and creative they come off. It also helps, I assume, that the latter two members sing backup vocals. Anyway, Rapp and Nosonowitz grew up together in Westchester, NY, went away to college in Boston, began playing music together, and when they returned to NYC added Casserly.

    How shall I describe their sound, other than immediately recognizing that they could cover The Strokes perfectly? Another blog, 12 Questions, wrote: "With freewheeling vocals, catchy hooks, and ringing guitars, overlaid with a dizzy layer of fuzz, the record radiates a youthful but refined energy." I think this is a perfect description, minus a few things. They lazily pull off laid back slower songs, with a kind of Young Buffalo feel. Also, I've seen them compared to, in addition to The Strokes, The Walkmen, Dawes, The Velvet Underground and The Beatles. I don't fully agree with The Beatles, The Rotaries are too post-punk rather than classic rock. And, I haven't (I probably shouldn't tell you this) heard of The Walkmen, Dawes or listened to The Velvet Underground. There goes any credibility I may have had, going to do my homework now.
    The Rotaries have one of the best songs of the year imo, "So to Speak". You can check it out over under the 'Monthly Sample Tracks', or continue straight on to their Bandcamp site, here, where you can enjoy the entire album, including a b-side track and other discography. Lay back and enjoy, these guys are a pleasure to listen to!

Woodpigeon: Thumbtacks + Glue

    I've been scraping the bottom of the barrel time wise lately. This is why I haven't made a post in more than a couple of weeks. It is not my intention to let this project go, it just won't get the attention I'd like to give to it. Sorry. I don't know why it seems I always have to give an explanation for my absence, but I'm sure you get why and find it as useless as I do too.
    Anyway, the band I chose I've had stored up for a while: Woodpigeon. Nothing too glamorous or earth shattering here, just nice songwriting. Semi-folk, semi alternative, with layered voices and Scottish/Canadian sensibilities. Besides a mountain of EP's, this is their 4th full album, Thumbtacks + Glue (February 2013),--behind Songbook (2006), Treasury Library Canada (2008) and Die Stadt Muzikanten (2010)--and is a mostly gentle mix between folk and that alternative grungy sounding guitar where you can hear all the strings being strung. It also reminds me of some of the bands it has toured with or has been described as similar to: Grizzly Bear, Simon & Garfunkel and Sufjan Stevens. The main frontman of Woodpigeon, is Mark Andrew Hamilton. Of the indie rock collective's name (Woodpigeon), made up of several friends, Mark said: "I've always been in love with the word Woodpigeon for as long as I can remember. When you write it in cursive, it looks like a rollercoaster". Hamilton is originally from Edinburgh, Scotland. He had a band there called Woodpigeon Divided By Antelope Equals Squirrel, but it was shortened after he moved to Calgary. His former act consisted mainly of street performances and little vocals as he was afraid to sing. I find his voice doesn't exude strength or confidence, but it is not unpleasant to listen to. It is soothing at least, if not quit on par with the likes of Andrew Bird or Sufjan Stevens.
    Thumbtacks + Glue has a number of really nice songs. I particularly like "Children Should be Seen and Not Heard", maybe more because it references Arrested Development? But really, it has an interesting drum beat yet repetitive nature, though evolves nicely. The synth underneath is what really makes it for me. You'll hear it at the very end of the song more distinctly as well. That is followed up by a very soft and dream-like song, with female vocals that are whispy and simplistic. I also like the second to last song, "Hermit", because as a brass player I enjoy most any use of the noblest of all instruments, the french horn. The final, and title song, is also a nice warm down, with a slew of interesting sounds thrown in, like pizzicato strings. It's like psychedelic sleep music.
    I have linked the song, "Children Must be Heard and Not Seen" over under the 'Monthly Sample Tracks', because it is what really drew me into Woodpigeon, beyond just the first few songs which didn't quite capture me fully yet. Make your own decision, check out their Bandcamp site, here. Behind every good indie band there is a Bandcamp! Hope you enjoy!

Albert Hammond, Jr.: AHJ (EP)

   

    If you listen to this and hear The Strokes written all over it, that's because Albert Hammond, Jr. is himself a guitar/keyboard playing member of The Strokes. Fancy that! And, continuing with the coincidences, it was released Oct. 8th on Julian Casablanca's (front man for The Strokes) Cult Records label. You can see AHJ on that site here, there's an official video for one of the tracks, "St. Justice". So, checked this out today, got an e-mail from The Strokes informing me that they are currently working on a 2014 release. Apparently, this is Albert's first solo work since 2008, it was produced by Gus Oberg (who also produces for The Strokes) and recorded in Manhattan and Upstate New York, Broome St. and One Way Studios, respectively. His two previous works are both full records, ¿Cómo Te Llama? (2008) and Yours to Keep (2006). They're both on Spotify. Interesting note, Albert's father was also an singer/artist who hit is stride in the 70's. See here about Albert Hammond Sr..
    Head over to his website, here, for more info. And check out the full five track EP for yourself! For now, over under 'Monthly Sample Tracks' is "Rude Customer" for your listening enjoyment. P.S. Spotify has the album streaming minus the middle track, "Carnal Cruise".

Kishi Bashi: Philosophize in it! Chemicalize With it!

    The latest from Kishi Bashi, touring violin player from Of Montreal, is a two track [single?] called Philosophize in it! Chemicalize with it!, out September 10, 2013. There's a little monogram at the bottom of the cover that reveals it was released on Joyful Noise Records, check their site out here. Apparently, the first track is an early version of what may appear on his second full studio effort. The "b-side" is a rare Japanese release only track, now available on this 7" vinyl (limited to 1,000 hand numbered copies--check out the record art itself at the above link!). Anyway, I'll keep this post short because (1) I have been lacking in keeping to my weekly post allowance, and (2) it's only two tracks to talk about so there really isn't much to write about anyway!
    I love the cover, let's start with that, it's flowery and colorful. The music is like that too, with Kishi Bashi's typical upbeat and gleeful style. There's plenty of violin multiple ways: pizzicato, looped, arco (full bow), and full orchestral sounding string sections. In fact, violin, aside from drums and some tambourine, play most of the music altogether. Kishi Bashi definitely fits that one man band kind of tag, multi-instrumentalist technically.
    You can check out both songs: "Philosophize in it! Chemicalize with it!" and "Song for the Sold" at his Bandcamp site, here, the whole album is on sale for $2. Or just listen to one track and see if you desire more, with "Song for the Sold" over under the 'Monthly Sample Tracks'. Enjoy!

Mice Parade: Candela

    This one slipped through the cracks in the midst of my busy winter/spring, releasing on January 29, 2013 was Mice Parade's ninth album, Candela. I love Mice Parade's eclectic mix of flamenco, post-rock and laptronica (no, that isn't just laptop produced electronica, it's the use of laptop in a live setting as a multi-instrumental electroacoustic instrument...go read more here). Throw in some afrobeat, shoe-gaze, ambience and synth pop and you've gotten only a little closer to what Mice Parade is all about. Brooklyn group led by Mice Parade anagram Adam Pierce is intricate and enjoyable to listen to. The male (Adam Pierce?) and female (Caroline Lufkin, who has been around for this and the previous album, What it Means to be Left Handed) vocals are mellow and understated against the busier drums, vibraphone and strumming guitars.
    Candela starts off with a definite intro song, with somewhat distant, ambient, but noisy tremolo chords (constantly strummed), that shift back and forth. That transitions into a more electronic sounding song that is quickly interrupted by busily pounded drums and a distorted guitar. Juxtapose Caroline's voice against all this and you've got the nature of the second track, "Currents". The entire album is expansive and continues that trend of distant sounding ambient backgrounds, while the drums often seem the center piece, without covering the lighter vocals. The flamenco traits that Adam Pierce's songs often possess is much more understated than previous albums. It would be the equivalent to post-flamenco-rock if there was such a genre. Some of the tracks that is more overtly flamenco would be "Pretending" and "Candela", the latter of which brings back the vibraphone that is more often absent than not on this album. Mice Parade travels further than South America in Candela, bringing in influences from the orient in the song "The Chill House", which has a traditional sounding Chinese instrument plucking slow arpeggiated chords using a pentatonic scale (five note scales). It's almost like listening to a combination of Mice Parade and Gold Panda. And it could not be more chill. The song is a gem. Another foray into new territory is "Look See Dream Me", which contains an old school hip hop style and makes me think of Samurai Shamploo or Cowboy Bebop because of how it mixes genres and does it well. The next track, "Las Gentes Interesantes", has a fun Latino section at the end of the song, with trumpet blaring and piano rocking out. Eclecticism is the order of the day. Continuing on, "Contessa" has flairs of fusion jazz and the jazz organ sound is welcome. Candela finishes off with "Warm Hand in Narnia", which goes back and forth between very mellow and noise-rocked out garage band.
    The whole listening experience is a journey, I hope you take time to listen to at least "The Chill House", which I have over under the 'Monthly Sample Tracks'. Or check out the entire studio effort on Spotify. Enjoy!

Just in...The Dodos: Carrier

    Hey, I'm back! Finally. Lot's of stuff going on this summer, got married and moved and went camping and all that fun stuff. So, hopefully my hiatus will not be extended any further (and hopefully I get some more readers who like to comment....but we'll focus on one achievement at a time). The Dodos have made one appearance on this blog before, with their preview album, No Color, but they do go back further than that, with two preview albums: Time to Die (2009) and Visiter (2008). It appears as if they've hit that period in their career where releasing music once a year isn't as important as touring and stuff, so they've been working the two year gap between albums for the last two. Hey, two years is hardly time to complain, as most bands these days are running three or more years in between releases. It's a shame, because the music is what's important here, not making money or anything like that... Anyway, kudos to The Dodos for keeping the music coming at a relatively steady pace. August 27th sees the release of Carrier, their fourth studio effort, this on the Polyvinyl Record Co.

    The Dodos have a really unique blend of music, semi-post punk semi-folk, African drumming-esque, part distorted lo-fi or alternative guitar and smooth melodies over top of all the oft driving layers of sound that result. Well, I must admit, this is what I know from No Color, and I haven't listened to their back albums. It appears I didn't even realize they existed when I last wrote up The Dodos, that or I didn't get in the habit yet of giving lots of information about the artist. Regardless, what I've heard from Carrier shakes things up a bit, the melodies are spot on similar, but the music is slower at times with more straight up folk sensibilities. It also sounds like they traded the distorted guitar sound for an acoustic one more than not. Speaking of guitars, their Calgary native guitarist and touring member, Christopher Reimer, died in his sleep on February 21st of 2012 due to heart complications. He was a member of the band, Women, and they released a 9 track album of his solo work, called The Chad Tape (called so because it was done up by Chad van Gaalen, which can be heard over on Bandcamp, here. You can also go to a memorial website where donations are being taken to raise money for a scholarship in his name, here. The memorial site, a.k.a. blog, that is under "Who is Chris Reimer" has postings about music and other items related to Chris Reimer.

    As a whole, Carrier isn't The Dodos best, but it is a solid addition to their rep and warrants a listen, it just feels a little too low key at times (like how the older material by The Strokes lacked energy or something). My favorite song from Carrier is probably "Confidence", because it starts slow, but finishes off with a brilliant and driving section with excellent guitar riffs. I've put that up under the 'Monthly Sample Tracks' for your listening enjoyment, but you can also hear the entire album streaming on Spotify. Yes, I've gone to the dark side, but MySpace just doesn't work well for me much anymore and it's increasingly harder to find full streams these days. That latest trend is to post a stream through Pitchfork, which is what they did, a week in advance, or First Listen, or even iTunes now. Enjoy!

The National: Trouble Will Find Me

    It's only been nine days since the release of The National's newest album, Trouble Will Find Me (May 17, 2013). Already it reveals a complex underbelly of warm and thoughtful, though sombre and similar to their last studio effort, High Violet (2010). But, here is one example of where a band has not compromised their values or sold out to the latest fads! Congrats to The National, they continued to do what they love and what makes them unique. I still remember how when I first listened to High Violet I was not sold on the vocals, with their deep and brooding timbre (with occasional higher, almost falsetto singing). Now, I have come to fully appreciate and love the unique baritone sound of singer Matt Berninger. Not only is The National at the top of its game again, they've been around since 1999, when they finally came together as The National--after the bands they originally derived from split up. One precursory band was called Nancy, formed by Matt Berninger and Scott Devendorf and three other friends from the University of Cincinnati. That led to one album, Ruther 3429; while another was made up of the other three then soon to be members of The National, Aaron and Bryce Dressner and Dave Devendorf--who were involved in Project Nim. Interestingly enough, they have kept the name of their website americanmary.com up to now, though it was the name of their first song on their first self-titled album back in 2001. They followed The National with Sad Songs for Dirty Lovers (2003), Alligator (2005), and Boxer (2007) before High Violet.
    The National has been signed to 4AD Records since High Violet and was on Beggars Banquet prior to that, which I believe is the parent company to 4AD along with Matador, Rough Trade and XL Recordings. There's a wonderful write up on the 4AD website about the album, just a bit about the process of writing this time around and the thoughts behind some of the songs as well as themes and critique of Trouble Will Find Me. Check it out here. The most telling quote, I've seen thrown around numerous times on several websites already is what Aaron Dressner said: "...our ideas would immediately click with each other. It’s free-wheeling again. The songs on one level are our most complex, and on another they’re our most simple and human. It just feels like we’ve embraced the chemistry we have.” What I appreciate is a band that is just enjoying making music and not feeling the pressure to produce or create something new and interesting to please themselves or their fans. We already love what you do, why change it?
    Some of the highlights of the 13-track Trouble Will Find Me are:
(1) "I Should Live in Salt", the opener, which is like a herald to the rest of the album, just leads in like a slow march beautifully.
(4) "Fireproof", wow, I just wish it was longer or I could just put it on repeat over and over. It has such great acoustic guitar playing that is smooth and melodious. It's just a simple tune with elegance and beauty that is perhaps unsurpassed by anything else on the album.
(6) "Heavenfaced", has such an interesting beat, it kind of keeps you off kilter for a while, before it normalizes the second half of the song. The chords have a great tension to them, creating a really nice atmosphere.
(8) "Graceless", is an up-paced song with alternative sensibilities that hums along. I just like how it builds even though the melody is a bit repetitive.
(10) "I Need My Girl", is probably my second favorite song. The solo acoustic guitar with the high pitch that keeps appearing is a tender touch. I love the drumming underneath that is so tasteful.
(11) "Humiliation", such a great song, with almost this really long ostinato or pedal tone type feeling to it (though neither are technically used), just so much tension and great use of suspension and dissonance in the chords and vocals.
(12) "Pink Rabbits", also a great song, expansive with the deep expanding synth as well as the off kilter drums and higher almost falsetto vocals. Great contrast.
(13) "Hard to Find", just a pleasing ending song that ties things up nicely.
    I guess I tend to gravitate towards the slower and more melodic songs, but I just think that is their strength, while they contrast nicely with the faster or more upbeat songs throughout the album to keep things interesting. I do miss the brass on this album, but I'm not super disappointed--they just added great touches to High Violet. In saying that I probably would keep High Violet higher up on the list than this, but it could grow on me as much as that album has to where it's now one of my all-time favorites. Check out the song "Don't Swallow the Cap", the only one I could find streaming to link here, over under the 'Monthly Sample Tracks'. It's itself a great song too. They did have the whole album streaming on iTunes prior to the release. Sorry, too late! Also, check out the 4AD link, it has the song "Demons" on the main page, here. Enjoy!

Just in...Daft Punk: Random Access Memories

  One electronic duo that I undeniably love is Daft Punk, or Guy-Manuel de Homem-Christo and Thomas Bangalter. Every time I listen, I find myself wanting to groove to their music, like perhaps no other band I know. If anyone could get me to dance without inhibitions on the dance floor, it would be Daft Punk. This their fourth studio release, behind such greats as Homework (1997), Discovery (2001) and Human After All (2005).  Yes, it has been eight years (with the Tron: Legacy, 2010, soundtrack in there as well; which is almost as good as an album in itself) since Daft Punk decided to release something new for us to groove to! They should be arrested for such injustice and forced to write music as their punishment. Just kidding! But seriously, musicians should be writing music and it I think probably what keeps them from doing so it all the live concerts and tours they put on. And that's part of the experience of course, but I don't really go to live concerts much, and would prefer just more music! Rant over.
    There's so much to learn about this album, namely what the title Random Access Memories is all about. It sort of has a dual meaning, the implicit form of computer data storage as well as the more appropriate to Daft Punk's individual approach to the album--the human side of how memories created and stored. Looking back to the 60's and 70's a lot for this album's inspiration, they drew from classic albums like Pink Floyd's Dark Side of the Moon, Rumours, by Fleetwood Mac; as well as artists like Steely Dan, The Doobie Brothers, The Eagles, The Cars and Michael Jackson. Sadly, ironically, I've only ever listened to Steely Dan intentionally, while avoiding others like Michael Jackson is somewhat impossible. Another facet of Random Access Memories is that initially most of the material Daft Punk started with was all from synthesizers, which they ended up deciding against, opting to use live musicians in the recording studio instead. They realized and wanted to pay homage to all the time and talent it used to take "back in the day" to create all the samples that come so easily and are used [flippantly] nowadays without thought for where they came from. A fantastic quote that gives better articulation to this idea, from Bangalter: "The idea was really having this desire for live drums, as well as questioning, really, why and what is the magic in samples? [...] It occurred to us it’s probably a collection of so many different parameters; of amazing performances, the studio, the place it was recorded, the performers, the craft, the hardware, recording engineers, mixing engineers, the whole production process of these records that took a lot of effort and time to make back then."
    There's an excellent wealth of information about each track on the Wikipedia page for Random Access Memories, here, look under 'Structure'. But, I can at least give you an impression of the album to get you started. First, there's a lot of featured acts, including Julian Casablancas of The Strokes; Pharrell Williams, from the soul hip-hop R&B group The Neptunes; Paul Williams, responsible for writing the Muppets song, "Rainbow Connection"; Todd Edwards, garage house producer; Italian producer, Giorgio Moroder; guitarist Nile Rogers, best known for his involvement in Sesame Street; and Noah Lennox (a.k.a. Panda Bear), one of the members of ever experimental Animal Collective. All this to name a few, there's a few others who had limited roles and aren't necessarily featured but aided in the production, music and/or writing of various songs.
    Overall, some of the criticism for Random Access Memories could be true (some positive, some negative): Negative first. As one critic described, "there's a creeping notion that every musical idea that's ever been so much as thought up is on this album."; and another, "though everything about RAM, from the session musicians to the guests to the means of production, is meant to sound more 'human,' the album at points sounds more sterile, almost too perfect."; finally, "At over 70 minutes, the album feels rather bloated. Quite a few of the songs are too long, or too empty of ideas, or too willing to repeat themselves, or too willing to play to type". The positive: "...a headphones album in the age of radio singles..."; Rolling Stone said, "this is Daft Punk conjuring the musical era that first inspired them, when disco conquered the world with handcrafted grooves and prog-rock excess magnified emotions in black-lit bedrooms"; another, "...Random Access Memories is also Daft Punk's most personal work, and richly rewarding for listeners willing to spend time with it." Can't say I don't miss their electrified previous album sounds at least a little. But, a few of the songs are good enough fill, while the others are interesting and original and an earful to keep most all listeners well occupied.
    Decide for yourself! It has been streaming on iTunes all week, here. Probably gone now. No other full streams at this time. Check out a the song "Get Lucky" over under the 'Monthly Sample Tracks'. Enjoy!

Upcoming...Vampire Weekend: Modern Vampires of the City

    Vampire Weekend has made a fairly concerted effort to distance themselves from their previous two albums, in terms of sound, with this their third studio release, Modern Vampires of the City, which delayed its release from May 6th to May 14, 2013 through XL Recordings. True Vampire Weekend die-hards shouldn't be too disappointed, however, after listening through once to get my initial impressions--while continuing to listen as I write. They are definitely trying some new things, and lean towards a minimal amount of noise, sparseness, on some of the tracks, while others are quite busy. That is what we've come to expect from Vampire Weekend, though, no matter what their sound is; they create a good balance between the upbeat and the laid back chill songs.
    Since their last release, Contra (2010), the members of Vampire Weekend have indeed been busy with other projects and took their time producing and recording when they did finally come back together to complete work on Modern Vampires of the City. Lead singer/guitarist, Ezra Keonig, moved to L.A. (from Brooklyn) for four months to try out the Hollywood atmosphere and collaborated with DJ electronica group, Major Lazer. Backup singer/guitarist, Rostam Batmanglij, did a little solo work and produced for hip-hop arists Das Racist. Already you can see how eclectic this group is. Dummer/percussionist, Chris Tomson, seems the only band member who didn't pursue anything in particular; while their bassist, Chris Baio, did some DJ-ing and scored the film Somebody Up There Likes Me. Modern Vampires of the City saw its inception while on the Contra tours, during sound checks. Eventually, after everyone took their respective breaks, the group came back together and spent time in a variety of recording studios (including Martha's Vineyard?), hiring an outside producer for the first time, former lead singer of the ska-punk band The Hippos, Ariel Rechtshaid (who is known for producing for Usher, Charlie XCX, The Plain White T's and their #1 Platinum selling, grammy nominated single "Hey There Delilah"; and others).
    Any material that Vampire Weekend felt sounded too much like their previous albums was thrown out and they would start fresh--apparently they didn't like the criticism and following that comes from two certified Gold albums, along with their Grammy Award winning Contra, for best Alternative Music Album. They also felt a lot of backlash against their Columbia University snobbishly wealthy rise in the ranks of the indie music scene (to paraphrase, not quote), along with allegations that they are at the forefront of creating a new music scene in Brooklyn along with bands like Yeasayers and Animal Collective (two bands I would fain compare to Vampire Weekend, sorry you're both overrated and second rate!). Instead, Vampire Weekend wanted to remind everyone how diverse they are and that they don't fit into any social norms. But, hey isn't that also what everyone always tries to do and by doing so end up fitting into some sort of social norm? It is honestly almost completely inescapable these days. But, I think this is also what the album cover and title is about: Modern Vampires of the City. The photo was take by Neal Boenzi in 1966 on the smoggiest day in New York history, on which 169 confirmed cases of smog related death were recorded. Basically, our efforts to fit in or be cutting edge are not always as grand and worthwile as the critics [or ourselves] make them out to be.
    Vampire Weekend experimented a lot on this album, with filters and pitch shifting and plugging their guitars into different amps and whatever. A lot of techincal stuff I don't pretend to understand, though I acknowledge it is cool and makes a complete difference in the sound they've come out with here. I just love Baroque Pop and wish they would stick mainly to that, but the days of bands not altering their sound completely and painstakingly record to record may be gone completely--at least after a debut and sophomore, then everyone it seems tries to conform to something.
   Well, I'll leave you with this, I hope you take time to listen to the whole album, I believe there is a stream on iTunes, here. I'm continually behind the ball these days with actual work and wedding preperations as opposed to part-time work that barely consumes my time and left me with lots of free time to write my blog. My favorite song, so far, is "Worship You", it has fun upbeat drumming and almost something like yodeling, but not really. I also like the next song, "Ya Hey", which is more Afro-Beat and has a nice piano countermelody. Over under the 'Monthly Sample Tracks', take time to at least enjoy the single, "Diane Young", linked from the BIRP! April 2013 playlist.

Upcoming...Phoenix: Bankrupt!

NOTE: don't miss out on the other post I just did today: Junip: Junip.

    I'm a little miffed at Phoenix for joining the throngs of bands these days who are migrating toward a more "unique" sound, namely that of new wave or synth pop. Oh wait, everyone is doing it, so it's not really unique! Thankfully, they have done so in the name of what they call experimentation, so what they've created is really just a brasher sound and not as clean as we are used to from the Versailles, France indie pop/rock group. Arriving for real on April 23rd on Glassnote Records, Bankrupt! is Phoenix's fifth studio album, and it is really interesting to see where they have come from in terms of sound since their first album, United (2000), though one cannot help but wonder if they are really trying to cater their sound to themselves or the populous at large.
    Many blog posts I've read claim that Bankrupt! isn't much different in sound and format than their previous  two albums, It's Never Been Like That (2006) and Wolfgang Amadeus Phoenix (2009), while I beg to differ. They have clearly slowed down their tempos, introduced a lot of Asian inspired sounds and scales (pentatonic, or five note scales, namely), while not actually using Asian instruments--mainly synths, and bolstered up the obnoxious nature for which percussion is obviously capable. One example of this is the single, "Entertainment" (check out the very beginning), and another track, "Drakkar Noir", which does have some interesting meter/tempo changes. Admittedly, I do still hear that typical harpsichord timbre they are famous for, but it isn't used in so much a baroque pop style this time around. It is flourish and background. One song it is used a lot on is the slow build up, "Love Like a Sunset" and "North", type song, "Bankrupt!"--the title track on the album.
    Maybe I'm just suffering from four years of hype leading up to Bankrupt!, but I feel like the result has left my ears bankrupt. Most of this album is a wash of synths and loud percussion. I almost didn't want to write it up at all. If you enjoy it more than me, or it grows on me, do let me know and I'll let you know also. For now, my favorite track on the album would probably be "Burgeois" or "Bankrupt!" just because they are not as brash. They have even an epic-ness to them. Overall, Phoenix lost their energy trying to do something different or artistic, just like The Strokes have been known to do here and there.
    You'll have to listen to this one yourself, don't take my word for it, I am opposedly a cynic when it comes to new wave and all I hear on the radio lately is synth pop. I'm just tired of it and need bands to be themselves, truly. So, listen to the entire album on iTunes, here. You might need to open your own iTunes application to find it if this link doesn't work for you. Or just take a glance into Bankrupt! by listening to the only track I could find streaming from their SoundCloud, "Entertainment", over under the 'Monthly Sample Tracks'. Hope you enjoy more than I did!

Upcoming...Junip: Junip

    Swedish indie rock band, Junip has returned with their 2nd full studio album, self-titled, having announced their intention to do so in December of 2012. Led by solo songwriter/guitarist/vocalist José González, along with drummer/percussionist Elias Araya and Tobias Winterkorn on keyboards, Junip is set to release in the states on April 23rd on the Mute record label. What has seemed like a slow start to their band is perhaps finally coming to fruition. Junip first released an EP's in 2005, Black Refuge (EP), after having formed up originally in 1998, and then disappeared on hiatus for five years before dropping their Rope and Summit (EP, 2010) and their debut LP, Fields (2010). They followed that up with an extension of Fields, their In Every Direction (EP, 2011). Now, only three years (we say that like it's not actually a long time nowadays at least when 3-5 years between releases for a band is pretty normal) after their debut, Junip has made the statement that maybe they intend to stay around this time. They're even making some waves, as their first single, "Line of Fire", was used in the CBS show Elementary, season 1, episode 18, in the background of the final scene.
    There is no band in the world that plays chill music like Junip. And no band in the world that gets into a sweet groove and just goes with it and doesn't even need to change to make me enjoy what I'm hearing. It's like throw down the convertible top and drive through the hot summer evening kind of music. It has influences of jazz and latin/south america perhaps (think Mice Parade), acoustic guitar and tasteful percussion driven rhythmic music with smooth melodies and almost lo-fi deep voiced vocals. Junip is also like a train at times too. It has that driving rhythmic feeling that is chugging along and sits in that feel good groove. A perfect example of this is the first song, "Line of Fire". It has the percussion and the guitar going and going with a repeated rhythmic pattern, while the vocals are complimented by strings and the keyboard. I must say, Junip uses some really well chosen sounds for its keyboards. They're deep, almost string like, like a cross between a guitar and a cello or double bass or something. The second track is another kind of train, maybe lighter, but in the lyrics it says "keep on rolling rolling rolling". Ironic? The very last track on the album, "Said and Done" is probably my favorite, but they're all excellent and this album is one I will truly listen to many times over the course of the year. Look for it in the best of 2013 for sure.
    I must admit, Junip did exactly with this album what I was hoping they would: produce more great music that we already love them for. I feel like tearing the new Phoenix album apart in a separate post because they followed the crowd and just sound all New Wave and Synth Pop-ish. Junip, however, sounds like Junip and has not made any efforts to join the throngs of bands throwing away their unique sound. José had this to say on their website bio about the naming and process of recording Junip: “All the ups and downs were very ‘Junip,’” he adds, “so titling it with our name seemed appropriately iconic. It’s truly a band album.”
    I've linked the track "Line of Fire" under the 'Monthly Sample Tracks', but you probably want to hear it all; so, go to Pitchfork Advanced, here, to listen to Junip in it's entirety before they take down the free stream! Check out their bio, which is proving to be a fantastic insight into the band and Junip on their website, here. I can't write up a whole post with more information than what they're giving there, so definitely do yourself a favor if you're interested in really knowing what is going on. Also, on Mute's website, here, there is a video of "Line of Fire" by Swedish film director Mikel Cee Karlsson, including an explanation of the song/video in deeper detail. Enjoy!

Upcoming...The Strokes: Comedown Machine

    In just two days, The Strokes will release their upcoming album, Comedown Machine, this their fifth studio record. One of the most well-known indie rock bands of the 21st century American culture, The Strokes have had their ups and downs, with critics and fans alike loving their debut album, Is This It (2001), while their follow efforts (i.e. Room on Fire, 2003, and First Impressions of Earth, 2006) left listeners desiring more. Either in the way of more diversity in their sound, as Room on Fire was so criticized, or just by receiving lackluster reviews as did First Impressions of Earth. 
    Thankfully, The Strokes rekindled a lot with the release of Angles in 2011 after a two year hiatus. The main force behind The Strokes is writer/singer Julian Casablancas, and during the studio recording of Angles he purposefully isolated himself from the rest of the band, in order to force them to be more involved in the creative process. Apparently he was dominating the process not because he was a control freak, but rather no one else was putting in their own two cents. The whole length of time between albums was subsequently difficult as one member was dealing with drug problems and another stated that he would never record an album again if everyone was going to be in separate places and not working together. So, Comedown Machine saw Julian return to the recording studio, Electric Lady Studios, in Greenich Village, NY, NY.
    For my part, I am not crazy about The Strokes songs prior to Angles, which was the album that first drew them into my sphere of awareness. I like some of their older songs, but generally I find a lot of their early material dull and lifeless. I'm sure that extremely laid back sound was what they were going for, and they did it remarkably well, but too well. They lack spark, except for songs like "Reptilia" and "Red Light", to name but a couple. Going back that's probably not as true as when I originally listened, but the thought has kept me from intentionally doing so. That and Angles had so much energy, even in the more minimalist arrangements--plus every song had the catchiest hooks or choruses. Their creativity in the sense of making something energetic out of what might be low key really is what makes The Strokes work so well.
    Comedown Machine is somewhat of an extension of Angles, as it includes some left over material. This probably means songs like "Tap Out" or "One Way Trigger" (a single, and one of my favorite tracks with its baroque pop harpsichord reminiscent synths), while the other tracks are diverse and unique to The Strokes. They tend to be more on the new wave side, without crossing the line into disastrous, and show off some new ideas. One song, "80's Comedown Machine" has a really interesting arpeggiated or even Alberti-base style harmony in the synth organ. The previous track, "Welcome to Japan" reminds me of Phoenix a lot, with the funk inspired French pop sound. "50 50" is somewhat of a punk inspired upbeat beach tune with distorted vocals as if sung over a megaphone. "Partners in Crime", two songs later, is similar, but has interesting contrasting major/minor harmonic sections. The next song, "Chances" is quite synth pop inspired, with slight undertones of electro house music as well (reminds me a bit of Daft Punk or Röyksopp in the busy harmonic structure's sound). I do love the timbres The Strokes uses for its guitars, like in the second to last song, "Happy Ending". The album ends somewhat strangely, with a throw back retro kind of old radio sounding piece, "Call It Fate, Call It Karma". All this just a nibble.
    Listen to the entire album by going to The Strokes website, here. The link will take you to Pitchfork Advanced, I guess its a new digital media website Pitchfork is using now. Or just continue taking small bites and listen to "One Way Trigger" over under the 'Monthly Sample Tracks'. Enjoy!

NEØV: Orange Morning

    If you have been a faithful reader of The Music Binge, you might remember a band called Neufvoin, whose two EP's Robokop and Fake Musket I wrote up, back in June of 2011 actually. Well, too bad that band is no more, because they showed so much promise and they were among my first foray's into the Scandinavian pop world--Rubik being another. But, what has been on my radar for a long time coming is the result of a few members leaving Neufvoin: NEØV. Orange Morning is NEØV's debut album and I've been impatiently waiting its arrival for some time now. The album arrived February 8th on the Fullsteam Record label, while it was produced by Artturi Taira and Sampsa Väätäinen, who are members of Rubik. I definitely hear more similarities between the bands because of that connection, which is a good thing indeed! Neufvoin has toured with Rubik, who is also on Fullsteam, so that must be how the arrangement came about. NEØV is the product of brothers Anssi and Samuli Neuvonen, who originally founded Neufvoin and eventually NEØV too. They hail from the town of Kuopio, which is a city, according to their website bio: "surrounded by lakes, with several parts of the town built on small islands. The influence of their surroundings can be heard in the band’s music: it’s expansive but quiet, grandiose but intimate." The brothers are joined by Ari Autio, Jonas Ursin and Antti Hevosmaa. The band's page on Fullsteam is here.
    Anssi Neuvonen does most of the writing and what I hear in Orange Morning is a great sense of direction and ability to produce a myriad of interesting sounds that are not too eclectic to be considered untamed or juvenile. The band clearly has some experience in creating music and it shows in their understanding of the Scandinavian affinity for post-rock and more reposeful musical styles in general. Sigur Ròs being the masters of the post-rock genre, many other Scandinavian rock/pop (pop because really what we'd consider indie rock, to my knowledge, is their pop music. American pop music is totally not cool at all in comparison!) bands turn to something similar, utilizing a lot of instrumental additions. You will hear brass often, especially trumpet, in Orange Morning, and what sets that apart from American uses of instruments is they have a stronger role melodically. There's also a lot of ambient and dreamy synths and a heavier (or more striking I guess you could say) guitar sound, without always being distorted. Orange Morning borders on the edge of dream pop, but just not in the same sense as the silly twee pop bands often fall into dream pop categories, this is much more serious music. The drums are often more fanfarish and the songs are generally more through composed, not just verse, chorus, verse, chorus refrain (or whatever). In some ways they could be considered Shoe-gaze too, but more subtly.
    I cannot over emphasize that NEØV and Scandinavian pop music is so much more about melody than their American counterparts. That's why in listening I am drawn to Orange Morning. It is a full listening experience, you have to sit down and enjoy it, not in passing, and you likely won't find many of their songs on the radio, even indie stations--maybe "Windvane" or "Morning Fire", which is one of the best songs on the album in my opinion. The album just reaches a chord (pun intended) at that point, five tracks in with "Morning Fire", where it really feels like it has settled quite nicely.
    Orange Morning starts clean, a word I am using a lot these days [to describe food] with "Faces Against Orange Rain", which just sets the tone and paints a picture of what to expect. "Daydream City" continues with something a little more popish, less post-rock, which opens up the way for the middle section of the album, I'd suggest. Track three, "Windvane", is somewhat of an idea, not straying too far within the framework of the song. I especially like the next song "A Fall Through the Roofs", which begins with a thoughtful use of rhythmic drumming juxtaposed against the quiet "ooh" of singing, excellent bass playing and simple chords on an electric piano. Midway through, the song takes off and evolves into a grooving track before quieting down slowly again before a final push to the finish. Cannot emphasize the bass in this one too much, it is good to hear such a melodic part being used with that much effectiveness on bass. "Morning Fire" is more like something Rubik would create, with fanfarish brass moments and elements of glee brought to you by orchestral bells and march-like drums. "Mellow" is another decent track, with probably the heaviest dream pop elements of any track on Orange Morning. It is pretty similar throughout the song, but ends by drilling sound into the listener, with chords that just come at you and a loud drum hit that keeps reoccurring. "1999" is a really nice at most times quieter track with gorgeous bells and a pleasant melody, while the other "slow" track is a 3/4 time waltz, "Otherworld" with nice brass and bass parts, and distorted guitar. The final song, "Whale Hymn" is somewhat epic in nature.
    NEØV's website is here. Check out the entire album streaming on Spotify, the only place I could find it, sadly, as I finally join the ranks of listeners who have submitted to Spotify's control on humanity (I will never use it for radio though, that's just not my thing listening to the same songs over and over and songs that don't belong in the same category). Also, a free download of "Windvane", here, on Fullstream's SoundCloud page. If you navigate to Fullsteam's main SoundCloud page, you'll find "Mellow", "Morning Fire" and "Windvane (Koralleven remix)". I've linked the song, "Morning Fire" over under the 'Monthly Sample Tracks'. Enjoy!

Just in...Atoms for Peace: Amok

    It's always high time for a Radiohead/Thom Yorke release, and this time it comes under the name of Thom Yorke's new supergroup (if you will), Atoms for Peace. The name comes from a few different references, one being a song off his debut solo album, Eraser (2006); the next from a 1953 speech given by former President Dwight D. Eisenhower. Also interesting is that on their website is the Cornish (a Celtic language of the house of Cornwall that thrived up until its gradual decline starting in the late 18th century) text "Nerth Nuclerek? Na Vynnav", which is a translation of the Smiling Sun logo, "Nuclear Power? No Thanks". Cornish is having a modern day revival and is slowly growing in interest and use again, and is recognized as a minority language in the United Kingdom. The Smiling Sun is the symbol of the global anti-nuclear movement, and was created in 1975 by Danish activist Anne Lund.

    Atoms for Peace was a work in progress for a while, meaning the group existed and was working on material, even playing Thom Yorke's music as his solo act, but it wasn't until 2010 that they decided to actually name themselves Atoms for Peace. The group includes: Thom Yorke, magnanimous head man to Radiohead; Flea, bassists for the Red Hot Chilly Peppers; producer extraordinaire, Nigel Goodrich, who also produced and composed and performed with his own side project Ultraísta recently; Mauro Refosco, a Brazilian percussionist who plays with Red Hot Chilly Peppers on tour and with a neo-traditional Brazilian band called Forro in the Dark; and Joey Waronker who plays drums with Ultraísta and does a lot of studio work for films. Apparently, the members share a love of Afrobeat and came together originally to "get wasted and listen to Fela Kuti". Meanwhile, the creation process is fairly organic, after the Eraser tour Yorke and friends spent time jamming and recording music Yorke wrote electronically. He would show it to the group and they would try and recreate it using live instruments. He further writes: "The music I do on my laptop is so angular. When you get people to play like that, it's so peculiar. Most of it, technically speaking, they can play. But there were times when we used the electronic sounds, because it was more brittle, more exciting ... One of the things we were most excited about was ending up with a record where you weren't quite sure where the human starts and the machine ends."

    Taking a close look at Amok, you'll hear a lot of electronic beats, Thom Yorke's typically floating falsetto voice, and some really neat percussion backing up the process. There will also be those sludgy electronic synths the seem to be akin to the early/mid experimental years of Radiohead, Kid A, Amnesiac. I love how Radiohead uses layers and each layer is created to be cohesive with the others, yet they wouldn't quite make sense by themselves, or at least would reconstituted the sound of the song if/when they were alone (i.e. "Kid A", "Packt Like Sardines in a Crushd Tin Box", "Pyramid Song" being good examples). "Default", one of the singles from Amok is a perfect example of a song that could have possibly come out of the Amnesiac era. Even so, it's so hard to pinpoint Radiohead's style to a particular album or year, however, as they have always been Radiohead no matter what they create and their style is so reflective and reflexive at the same time. I guess I just went on a tangent about Radiohead, and as much as Thom Yorke is a part of Radiohead, this album is not something that Radiohead would have put out. Rather, Eraser seems more an extension of Radiohead. Still the comparisons are unavoidable and warranted.

    Some of the highlights of Amok are:

Track #1: "Before Your Very Eyes..." has a catchy Guitar ostinato providing the changes in the harmony, before the electronics take over with that sludgy sound I don't think can be used too much.

Track #2: "Default" is probably the best track on the entire album, it is just mixed meter syncopated excellence and yet has this brooding synth in the background that flows so effortlessly. Then the main synth chords come in and the song builds beautifully with dissonances really accentuating the tensions in the melody.

Track #4: "Dropped" is interesting, with very metallic sounds incorporated, like clinking spoons on crystal or something, and has a nice contrasting section while maintaining the almost hyper upbeat nature of the song.

Track #6: "Stick Together Pieces" has a sort of In Rainbows feel to the melody and use of "ooh" in the background in harmony. I wonder if it was a track that didn't quite make the album (except that there was a CD2 release of In Rainbows already).

Track #7: "Reverse Running" also has that crystal glass clink, but it's main interest to me is the intricate beat pattern. This probably doesn't make it sound complex, but this is one of the many tracks that contain a hip ho type beat or feel in a way. Other examples are "Ingenue" and "Judge, Jury and Executioner". It's not as drastic a nod as say fun. though, don't get the wrong idea.

I also gotta put a plug in for the b-side of their single, "Default", "What the Eyeballs Did". It has a killer bass part and anthemic parts where the synths suddenly announce themselves, it's really cool and would have been a nice addition to the album. But, I'm just an American and we don't really do singles and stuff here like they do in true House/DJ/Electronica/European culture.

    Well, that's all for now, it's too late to check out a free stream on NPR's First Listen, here, my apologies for not getting this out sooner. Check out their website, here. Scroll over to the one of the clock towers and mouse over the clock tower, it's hands will start to move and you can click it to receive a free download of "What the Eyeballs Did". Interesting blurb, here, at SPIN about Atoms for Peace and Nigel Goodrich putting up some unknown songs for people to listen to and then removing them. You can also listen to "Judge, Jury and Executioner" at XL Recordings, here. They may have at one time had a stream, here, too, but it isn't loading for me. Because it was a free download, I've linked "What the Eyeballs Did" over under the 'Monthly Sample Tracks'. Enjoy!

Darwin Deez: Songs for Imaginative People

    (Be forewarned, the first two tracks on this album contain explicit language...) This is a double dose post today to make up for all the time I've missed and the albums I've been dying to write up but just haven't been able to yet, so if you're just showing up to read, check out the previous post as well!
    I've been looking forward to Darwin Deez's sophomore album for a long while, and Songs for Imaginative People does not disappoint, though it might not contain as many memorable songs. Arriving on the scene on February 13, 2013 on the Lucky Number label, Songs for Imaginative People is upbeat and peppy, even more so perhaps than his debut, Darwin Deez (2010--Side note, this is one time I would prefer that an artist just pump out music instead of spending all their time touring! Rant over.). Some fun background information about Deez: he attended Wesleyan University, now a secular school, which was originally named after John Wesley who founded the Methodist church movement; he used to be a rapper; and he played guitar for the Creaky Boards (which is the band that has not so much as accused Coldplay of ripping of their song "Viva la Vida" from "The Songs I Didn't Write"). He currently resides in Ashville, North Carolina, which is indie music central to be sure! Just kidding.
    Darwin Deez is a guitar lover's paradise. His chords are in your face and clean and yet raw at the same time. I think it comes off that way because he doesn't muddle his music with lots of other background sounds. There's no synths or really anything that isn't created by drums, guitars or his own voice--such a unique voice at that, probably one the thing that I really like the most about Darwin Deez. A few songs here and there contain electronically induced noises, but they are tasteful and not overdone. That and his quirky  rhythms and memorably melodies that get stuck in your head, like the songs, "(800) HUMAN" (I like how he sort of incorporates the [structure of the] Lord's prayer into the lyrics) and "Free (The Editorial Me)"--one of his all time best songs! There is a fantastic music video for that song, btw, check it out on YouTube or I believe his website, here. There's also a sort of fake beat feel to some songs, like "All in the Wrist" and one song is definitely 80's inspired, "Moonlit". I just love the juxtaposition between the flowing and lyrical sections of a piece and the alternative grungy guitar. Deez takes more liberty with his guitar this time around too, with little solos instead of relegating it to just rhythm.
    Well, this post is somewhat short, but I have already written up Darwin Deez before, so you may already have an idea of what his music is like, or if not check out my previous entry using the tags at the bottom of this post. And, listen, listen, listen. Check out the full stream of Songs for Imaginative People on his Bandcamp site, here. Or, just want a nibble, hear the song "Free (The Editorial Me)" over under the 'Monthly Sample Tracks. I do hope you enjoy what you hear!

ON AN ON: Give In

    One of my favorite albums of 2011 was by a band called Scattered Trees, Sympathy. Sometime thereafter, Scattered Trees held a Pledge Music, here, to raise funds for their sophomore release. Things don't always go as planned or foreseen, however, as one or two of the members left the band and Scattered Trees changed its name to ON AN ON (can't say I'm a fan of the new name...for one thing it conflicts with other similar names when you search Google or Grooveshark). Still, they did manage to release their latest album, January 29, 2013 on Roll Call Records, AND sent me a copy of their old album along with it, which I actually already own (I'm still figuring out who I want to donate my extra copy to btw!). Apparently, the "new" group only had about three weeks to put something together since they had a studio booked and they were going to be working with Dave Newfeld from Broken Social Scene. Anyway, I've listened to the album cover to cover more than a few times and I have a couple thoughts.
    First, I miss the melancholy, pared down, approach of Scattered Trees; without the reverb chamber or mix of sounds that although are nicely pieced together take away from the melody. Granted, it all works together well, but it just wasn't quite what I was hoping for. Regardless, its good to see they didn't just break up and go their separate ways and I'm always grateful for new music! Second, most every song is sort of busy, full of little sounds here and there that don't necessarily detract from the music, but I sometimes wonder how much they just added things in without much thought specifically why they wanted it. It will make duplicating their studio effort on stage somewhat of a daunting task I feel. Now, I may also be speculating, because maybe they just played it down while recording, but I don't quite get that feeling--especially two members short. I wonder if they will continue to evolve their songs or just hire more people to play alongside on tours. Maybe band auditions are imminent?
    Some of the highlights of the album are "Ghosts", which is most like their original album, Sympathy, and is what they previewed for listeners on their Pledge Music site. I figure, after the fact, that it was the right choice because it made us all hungry for more of Sympathy, without us knowing what not to expect. I also enjoy the really bright soundings synths on "All the Horses" and probably my second favorite song is "Every Song", followed by "American Dream" and "Hunter". Ironically, my favorites go from the first track in order, so maybe if I just keep listening they will all continue to grow on me. One thing I disliked was the redo of "Panic", gotta admit. There are a couple remixes of both "Ghosts" and "The Hunter" that came with the deluxe version of the album too.
    Well, you're in luck if you want to listen first, head to ON AN ON's Bandcamp site, here. There's some cool album artwork to their two singles, "Ghosts" and "The Hunter" you can see there too. Also, check out "Every Song" over under the 'Monthly Sample Tracks' for a taste, enjoy!

Just in...LEAGUES: You Belong Here

    This album is just a week old, and I heard it first on one of the local radio stations here in Rochester, NY, probably 89.7 WITR, The Pulse of Music, since WBER has fallen off the grid in terms of how much I listen to it anymore--just not providing the same great stuff they used to. So, we've got You Belong Here, by Leagues (or LEAGUES as they often write it on their website), out on the Bufalotone Records label January 29th, 2013. Leagues is a Nashville project that started sometime around 2005, as members started to meet each other and collectively grouped together to start playing some music that singer-songwriter (solo act at the time) Thad Cockrell had written, music that did not fit his lonesome self. So, slowly they put stuff together and did their first show in 2010 in Manhattan. The crowd loved their music, was surprised by Thad Cockrell's additional musicians, but just started dancing and loving it, so naturally they did too. Finally, in 2013 this is their debut album together. They did a Pledge Music project for the album, which you can check out here. Apparently there are two pledger-only tracks, "Ribbons" and "She Kissed Me" which you can listen to previews of here.
    You Belong Here is somewhat of a dance album. The music is reminiscent of all sorts of dance steps, but with an obviously more complex beat and that is one of the reasons I kind of like this band, because without that differentiating factor from any other indie rock or regular old rock band they'd fall flat in my opinion. Their melodies are alright, stage-y (or stadium-esque), but not particularly memorable. One notable exception to that is the opening song, "Spotlight", which has definitely been going through my head lately. A lot of their songs have catchy guitar hooks, while others are more synth dominated, but not in the sense of a synth pop group. They are supported often by alternative-esque distortion, and contain harmonized and backup vocals. I do not, however, know if they are just for the album or another member of the group joins in (this is why every band should have a Wikipedia site. Quite often Leagues reminds me of MUTEMATH's last album Odd Soul, from the guitar timbres to the blues rock kind of feel. In all, You Belong Here, is a solid mix of different styles that all work well together, find cohesiveness and are probably good for feel good driving or a semi-relaxed party.
    To check out more, find some reading material and other information on their website, as well as a free download of the song "Spotlight", here. Also, MTV Hive has a full stream of the album, which started a week previous to its release, here. It is on Leagues' SoundCloud also, here, but not the complete tracklisting, just four songs. It also doesn't include what I believe is an iTunes exclusive track (#10), "Friendly Fire". Check out the link to the song "Haunted" over under the 'Monthly Sample Tracks'. It is a lighthearted song that is similar to a lot of the jungle or Afro-beat kind of stuff going around these days. Enjoy!

Everything Everything: Arc

    Two weeks ago, Everything Everything dropped their sophomore release on the Sony RCA label, Arc, following up on a three year wait since Man Alive (2010). There are a ton of similarities in style, but a lot of critics are saying that they found more of a groove, in terms of song construction that is not so gimmicky, about half way through the album. I think of Everything Everything as this band with really interesting art rock sensibilities, which then are transformed into a heavier rock kind of feel at the choruses. Check out the song "Torso of the Week" from Arc to hear what I mean. The band itself had this to say about their music (courtesy of Wikipedia): "We think of it as pop primarily but I think it’s a little bit more interesting. We try not to make it sound like a lot of things you’ve heard before, we don’t try but it tends to come out a bit like that. We’re not really interested in copying certain genres or anything, so I guess you’d say it’s unpredictable and sort of surprising." Bassist Jeremy Pritchard has said the band's intention is to "to avoid cliche, or the cliches expected of white men with guitars from Manchester" and sums up their sound as "highly stylised and deracinated – we're influenced by everything except 12-bar blues". Higgs counts Nirvana, Radiohead, the Beatles, Destiny's Child, and R. Kelly as some of their very eclectic influences. That should give you a pretty good idea of what to expect. I completely agree with pop being the basis for their genre as well. But, I'd say they reach into Alternative, Power Pop and the New Wave bandwagon on this album, the latter of which is surely disappointing.
    What I like about Everything Everything is they are utterly creative. The high falsetto vocals, not foreign to pop/rock I know (i.e. Passion Pit), but Jonathan Higg's voice is clearly different. Plus, their composition creates layers and unique sounds with synths and guitars.The melodies are a little sing-songy, like a child just making stuff up, sometimes, but that adds their own flair to the music also. I prefer their quick rhythmic songs to their slower more melancholy, I think they fall a little flat in terms of depth of melody and creativitiy.
    If you want to do some listening, check out their SoundCloud page, here. Their two singles, "Cough Cough" and "Kemosabe", as well as some remixes are available there. I've not found a full legal stream yet, though you can find it on Grooveshark if you know how to search for it. When I do I'll post a link. For now, check out the song "Kemosabe" under the 'Monthly Sample Tracks'. Their newly designed website is here. Enjoy!

The Last Bison: Quill

    Sorry I missed a week (or more)! Life has been busy, I just got a new job over Christmas, and started this January and got engaged too, so I have been putting things into perspective and putting the most important stuff first. That is not to say I'm done with this blog. I love doing it and will continue to do so. Just don't be surprised if I miss a week here and there.
    Anyway, I recently downloaded the Band of the Day app for my new iPod Touch (you heard me bragging about last post) and to my surprise a few days later I'm staring at a band press photo of two people I know from summer music camp. They happen to be the cello and violin players for a band called The Last Bison, formerly, simply, Bison. Well, I listened a bit and find their brand of folk to be much more to my liking than say Mumford and Sons, yes I just said that, so for that reason and just because I feel star struck I'm currently writing about them. Formed in 2010, from Chesapeake, Virginia, The Last Bison has two records to boot: Quill, their debut out in 2011, and Inheritance (EP), which arrived in October of 2012. The latter includes some retouched songs, plus some new material, which will come out on their sophomore album still to come in 2013. The Last Bison is seven members strong and has a number of photos that show them dressed up in old fashioned clothes, or antebellum as one critic on another blog put it.
    Looking into Quill more, the obvious comparisons to Mumford and Sons come because of the lead singer's voice, Ben Hardesty. They've also drawn comparisons to Fleet Foxes and The Decemberists. A full bio can be read on their website, here. Their song creation is quite poetic--and I don't just mean lyrically--at times though, which fits the idea of a story unfolding as written with a quill. They include different sections, of chamber or almost baroque folk. Listen to "Tired Hands" to hear what I mean specifically. Other highlights on the album include: "Switzerland", which is a rousing tune that is upbeat and has a really nice verse melody backed by banjo and bells; "Quill" has really nice a acoustic/string arrangement and an interesting waltz section towards the end too; "River Rhine" has a gentle flowing sort of feeling and lots of sustained chords on an old reed organ or accordion (can't quite tell which all the time); "In Your Room" has some nice rhythmic chords that are repeated throughout and the strings and banjo are used quite nicely throughout; "Dark Am I" just has a great ending song kind of feeling, especially when you listen to it drop in after the previous song, "Tired Hands".
    Well, listen for yourself, and see what you think about the other tracks I didn't mention. They've all got their moments to be sure. Check Quill out on their Bandcamp site, here. And Inheritance (EP) on their SoundCloud, here. I've put the opening song "Switzerland" over under the 'Monthly Sample Tracks'. Enjoy!

Top #: Albums/Songs of 2012

    Perhaps my favorite post of the year, my favorite albums/songs released in the past year! 2012 edition of course, which was loaded with so many good albums that I seriously had to leave out some really good stuff that I listen to all the time. What helped me in this process of building my favorites for the year was that I kept good notes. I listed all albums in a text document as they came out, kept up to date on when albums were releasing and I do not think missed anything. I also found more places to listen to music legally than every before! Just recently I received an iPod Touch 5th generation for Christmas, so that made it even easier for me to take music with me where ever I go and where ever I have WiFi, thank you Bandcamper, SoundCloud apps and Grooveshark mobile! As opposed to last year, however, I did only start writing this today, so if you're worried my opinion changes tomorrow: (1) I guess I don't care so much, or (2) I don't think they will because I kept good notes, and (3) I have at least been thinking about top albums for a while at least, even if not so much songs.
    Regardless, my observations on 2012 you would find slightly similar to when I wrote up my 100th post, see here, so I won't go into so much detail, except that I'm afraid for all the hip hop influence I hear on the indie stations these days! I understand fun. and other bands taking a purposefully hip hop direction for one album or so, without necessarily losing their sound. But, pure hip hop rhythm and rap-esque singing is somewhat unacceptable in my book. I'd prefer popular culture and indie culture not blend so much to be honest. Maybe it is that indie bands are no longer indie unless they are hidden completely from the public view, which is nearly impossible in today's digital media age. Rant over.
    A few notable accolades to begin:
-Most disappointing album: Freelance Whales: Diluvia. Where did the wonderfully simple and beautiful style of Weathervanes go? Runner ups: Muse: The 2nd Law and Two Door Cinema Club: Beacon.
-Best new finds: Andy Shauf: The Bearer of Bad News and Team Me: To the Treetops!
-Most anticipated release: The Mars Volta: Noctourniquet
    Ok, time for the best (my favorite) albums/songs of:

Top 10 Albums:
honorable mention in no particular order:
Shields - Grizzly Bear
The Bearer of Bad News - Andy Shauf
The Royal Concept - The Royal Concept
Young Buffalo (EP) - Young Buffalo
Oversaturated (EP) - Rubblebucket

10 Silent Hour/Golden Mile (EP) - Daniel Rossen
9 Piramida - Efterklang
8 Ultraísta - Ultraísta
7 151a - Kishi Bashi
6 This Is an Adventure - The Lighthouse and the Whaler
5 Happy to You - Miike Snow
4 Ways to Forget - Clock Opera
3 Some Nights - fun.
2 Noctourniquet - The Mars Volta

and the best of 2012 goes to...
1 Valtari - Sigur Rós

There's nothing quite like this release, which is Sigur Rós's first true ambient album in a long time. Listening to a band find their roots again has never been so enjoyable and beautiful!

Top 20 Songs:
honorable mention in no particular order:

"Ekki Mukk" - Sigur Rós

"Hometown Hero" - Andy Shauf
"Animal Life" - Shearwater
"Breaking the Yearlings" - Shearwater
"Run the Banner Down" - Shearwater
“Christmas Unicorn” - Sufjan Stevens
"Carol of St. Benjamin the Bearded One” - Sufjan Stevens
“Madness” - Muse
“Will I Ever Dance Again” - Stepdad
“We Are 1980” - Said the Whale
“Falling” - Digitalism
“Pain From Love” - Rubblebucket
“Remedy” - The Welcome Wagon
“Orpheo Looks Back” - Andrew Bird
“Static Light” - Ultraísta
“Our Song” - Ultraísta
“Bad Insect” - Ultraísta
“Man in the Moon” - Jukebox the Ghost
“Devil’s On Our Side” - Jukebox the Ghost
“What’s Wrong” - Grizzly Bear
“She Don’t Give it Up” - Bend Sinister
“Got You on My Mind” - Bend Sinister
“I’ll Be Alright” - Passion Pit
“Take a Walk” - Passion Pit
“Pioneers” - The Lighthouse and the Whaler
“Nature Boy” - Young Buffalo
“Hold Me Back” - Young Buffalo
“A Piece of String” - Clock Opera
“Hollow Mountain” - Efterklang
“Apples” - Efterklang
“The Ghost” - Efterklang
“Aegis” - The Mars Volta
“Animals” - Muse
“Octopus” - Bloc Party
“Sleeping Ute” - Grizzly Bear
“We Are Young”- fun.
“It Gets Better” - fun.

I know...list gets longer every year right? So, top 20:

20 "Eq Anda" - Sigur Rós

19 “I Am the Antichrist to You” - Kishi Bashi

18 “Chromatic” - The Lighthouse and the Whaler

17 “(Focus) Oversaturated” - Rubblebucket

16 "I'm Not Falling Asleep" - Andy Shauf
15 “Beyond the Valley of the Three White Horses” - Andrew Bird
14 "Return to Form" - Daniel Rossen
13 "Yet Again" - Grizzly Bear
12 "Once and for All" - Clock Opera
11 “Pretender” - Miike Snow
10 “Alouette” - Clock Opera
9 “Devil’s Work” - Miike Snow
8 “Empty Vessels Make the Loudest Sound” - The Mars Volta
7 “Carry On” - fun.
6 “Gimme Twice” - The Royal Concept
5 “This is an Adventure” – The Lighthouse and the Whaler
4 “Dauðalogn” - Sigur Rós
3 “Valtari” - Sigur Rós
2 “Varðeldur” - Sigur Rós

top honors goes to...drum roll please...
1 “Dislexicon” - The Mars Volta

Has an amazing drop into the song, and still one of my all time favorite bands, The Mars Volta knows progressive rock like no one else. I hope the rumors of their hiatus are not true, though I'm intrigued of the possibility of Bosnian Rainbows.
   Happy New Year! I raise my glass to the hopes of another great music year to come in 2013. Keep reading and keep binge-ing. Hope you enjoyed my list, please do let me know your thoughts or top 10 lists too!