Shutting Down...

So, as you may have noticed from the complete lack of posts, I'm done posting on Racket Scan. The publications I'm writing for nowadays would not appreciate me reposting articles and reviews here, and I simply do not have the time to post independent material here. Sorry!

For the future, you can find my writing in the ChiTunes section of the Chicago Tribune's RedEye every Thursday, Soundcheck Magazine, 80108's IndieRock and AllAges Chicago channels, and Gapers Block's Transmission music blog.

My contact information is in the "About Me" section and remains the same. Thanks for your ongoing support!

Bury the Sound--Autumn Magnet

God help me, I love swirling guitars. If all music had to somehow be wiped from the face of the Earth, keeping shoegaze with me would be enough to last a lifetime. There’s enough complexity beneath the vibrant sonic waves, hiding new pieces of songs yet unheard, to keep me fixated for years. Such is the case with Bury The Sound. A new face on Hidden Shoals Records, Autumn Magnets is the Australian group’s debut release—featuring three tracks totaling near 25 minutes of cataclysmic instrumental work. From the haunting piano-scorched landscapes of “Gemini Unbound” – where the guitars glimmer and sizzle behind a driving pulse of bass and piano twirls – to the more traditional shoegaze of “Saratoga” – similar to an earlier Explosions in the Sky or Butterfly Explosion – Autumn Magnets is a glorious snapshot at the enormous potential with Bury The Sound. More friendly to the ear than My Bloody Valentine and perhaps quieter than Explosions in the Sky, Bury The Sound achieve a special niche in the instrumental shoegaze spectrum—one that will surely be gobbled up by music fans waiting for just such a conglomerate. “What Would One Become” settles the matter by achieving that sort of multi-emotional musical composition that Explosions in the Sky does so well. The eerie, irrepressible piano soars above a grounded guitar carefully strumming along to create a mural that could be sorrowful or inspirational—or both at once. That feeling, whatever emotional response is garnered from your ears, is built upon slowly but surely through the song’s near 9 minutes, until finally opening the flood gates and letting all hell through in a massive climax. This is instrumental shoegaze at its best, the kind that makes my mouth water. I beg and plead to the good people of Hidden Shoal Records and Bury The Sound—give me more! The first taste was free, and now I’m hooked.

(Published at MusicEmissions.com)

Manic--Floor Boards

These major-label EP releases from up-until-now unknown acts always intrigue me. How good do you have to be to nab a place on a big label, before you even have recorded music out? I would say damn good, which most always sets my ears up for a disappointment. I’m very unfair in this way, and quite prejudice. Would I expect this much out of a self-released, or indie label band? No, but because they’re not entering my CD player with the preconceived notion of better-than-you rockness. Well, Manic is a good case of this as any. Their five-song EP Floor Boards, released on Suretone Records (a part of Interscope) starts off impressively and strong. “Chemicals for Criminals” is a catchy alternative track, with mildly emo themes of shaking off a hang-over planted over razor-edged guitar instrumentals. From there though, it’s mainly downhill. “Café Barcelona” is a uninteresting alt-rock track, and “Leaving Araby” – while it may be the second best track on the release and blisteringly emotional – still produced a yawn. “In A Room On Fire” hardly sounds like there’s a fire raging somewhere, and “Mr Evans” sounds too much like a Thom Yorke track. In fact, most of Floor Boards could be labeled as a Radiohead rip-off…but not in any seriousness. Radiohead sounds much better. Granted, this is Manic’s first EP and debut release, so it is to be expected that they are still finding their feet musically—my only question is why they deserve to be nestled in Interscope Records’ bosom.

(Published at MusicEmissions.com)

The Ladybug Transistor--Can't Wait Another Day

As mellow as it comes. The guitars feel like crashing waves upon a murky beach, the drums a steady yet distant pulse of a heartbeat, the saxophone a vibrant bird of prey claiming its dominancy, and the vocals your own mind chanting away in a glazed manner. This is The Ladybug Transistor, back from their self-titled 2003 release with a few less familiar faces onboard for Can’t Wait Another Day. Sasha Bell (keyboards, vocals, songwriting) has departed since 2003, and Jeff Baron’s (guitar) influence is hardly felt. In lieu of these losses, frontman Gary Olson has brought in vocalists Alicia Vanden Heuvel of the Aislers Set and Frida Eklund of Alma—in addition to Kyle Forester (keyboards) and Ben Crum (guitar), both from Great Lakes. The result is a slight shift from the sonic landscapes of The Ladybug Transistor. Instead, songs off Can’t Wait Another Day feel tight, as if little compact units moving about. Bringing the best of folky indie-pop to the game, Olson has moved closer to his earlier records, especially in tracks “This Old Chase” and “I’m Not Mad Enough.” A strong ‘70s influence is felt throughout every song, whether by the Beach Boys-like melodies in “Always On The Telephone” or vintage organs in “Terry.” Most of all though, Can’t Wait Another Day is jam-packed with well-crafted, mellow, summery indie-pop tracks in the spirit of Fleetwood Mac and Belle & Sebastian. Olson proves once again strong, despite the shifting number of musician support, in The Ladybug Transistor’s sixth studio album.

(Published at ComfortComes.com)

Empire! Empire! (I Was A Lonely Estate)--When The Sea Became A Giant

Formally of The Lonely Estates (and a few dozen previous acts), singer/songwriter Keith Latinen is pretty fed up with people. I can sympathize--people always just get in the way and slow everything down. Such was the case with The Lonely Estates, prompting Latinen to stake it on his own (plus his wife and occasional help from pals) as Empire! Empire! (I Was A Lonely Estate). When The Sea Became A Giant is his first venture out into the terrifying world of solo songwriting. With his extended-solo-inclined guitar and slightly-whiney voice (similar to most bands more than three of your friends liked in high school) alongside, Latinen crafts a lengthy five-track release. Filled with delicious straight-edged indie guitar solos, songs like "Our Love Has Made Us Pariahs" and "K.O. K.O. (The Most of My Worries Are The Least Of Yours)" are pushed beyond their natural limit, both in title and time. Latinen's yearning voice may at first feel out-of-place in such an Explosions-in-the-Sky-minus-the-distortion environment (perhaps being better suited for my-life-sucks mega-selling sob-fest acts), but after a while his soft-spoken vocals feel comfortable amongst their instrumental surroundings. For fans of Mineral, Appleseed Cast, American Football, Explosions in the Sky, Fields, or any sort of soft-spoken noise-pop (if there is such a thing), Empire! Empire! is a gem of a find. Good move Latinen, keep up this sort of quality!

(Published at MusicEmissions.com)

Fields--Everything Last Winter

One of the ultimate goals I’ve set up for myself in life is to find the perfect blend of shoegaze and alternative rock, as exemplified in a single band (which perhaps shows how trivial my life goals are). While few bands have auditioned for this most sacred role – Silversun Pickups, Dirty on Purpose, Butterfly Explosion, and even The Smashing Pumpkins to an extent – all have fallen short of my ever demanding expectations. Enter Fields.

Their debut full-length, Everything Last Winter, is a novella of rich musical works, clearly bearing the marks of a group obsessed with every last second of their art. Each song rounds out to five minutes, each like a mini-drama—carefully crafted to unravel like some proverbial Fruit-By-The-Foot. Only, instead of artificially injected flavors, Fields is an all-natural blend of alternative, indie, folk, and shoegaze roots. May sound like the makings for distasteful sonic gruel, but (for the most part) Everything Last Winter is exquisitely well-blended.

Like a Silversun Pickups injected with the somber emotions of Iron & Wine, or perhaps Belle & Sebastian mixed well with Ride (and a necessary voice-deepening), Fields delivers modest folk melodies on top of dramatic sonic landscapes that a good footwear-staring. “If You Fail We All Fail” and “Song for the Fields” show this off brilliantly…but unfortunately are the only peak-topping climaxes within Everything Last Winter. Other tracks like the wistful “Charming the Flames” and the brutally haunting “The Death” (“Not all men get buried alive / They fall apart before our eyes”) come close, but the remainders of the album do not live up to the expectations set by the scorching My Bloody Valentine guitars in “If You Fail We All Fail.”

Fields relies a little too heavily on their folk sensibilities rather than twirling experimentalism for my tastes—leaving my eternal quest for the perfected shoegaze/alternative band unfulfilled. That said, Everything Last Winter has still consumed my life—and I love it. It will envelope your life as well, just as surely as you too will love being surrounded by the modest folk and blistering shoegaze of Fields. Go. Buy. Now.

(Published at MusicEmissions.com)

The Pigeon Detectives--Wait For Me

Yet another face in the growingly crowded pack of English post-punk, The Pigeon Detectives’ debut full-length effort Wait For Me features the stereotypical Futureheads-esque guitar riffs and playfully brash British vocals. Formed in 2002 and made up of five near-life-long school mates, The Pigeon Detectives started their recorded career in 2005 with their 7” I’m Not Sorry. Wait For Me is their first LP, and comes in the wake of Maximo Park’s Our Earthly Pleasures, Razorlight’s self-titled sophomore effort, and The Futureheads’ News & Tributes. As all of those releases were (generally) well-received, so too will The Pigeon Detectives, who offer minimal variations on the British indie post-punk method. Achieving pop-pleasure along with antagonistic aggression, tracks like “Caught In Your Trap” are enjoyably fast-paced packages of English accents and distorted guitars. Matt Bowmans’ vocals are more easily digested than The Futureheads’ Barry Hyde’s razor-edged singing, which adds to the catchy atmosphere found within Wait For Me. Nowhere is this clearer than in their original single, “I’m Not Sorry.” A damnably catchy melody composed of whirlpool guitars and rhythmically repetitious vocals create an effect similar to that of The Arctic Monkeys, and one that could just as easily be applied to a dance floor. While like any album there are pockets of humdrumity in Wait For Me, the majority of tracks could be featured on any Apple commercial (“Stop And Go” and “You Better Not Look My Way” in particular inspired this thought). A melodious composure of pop, punk, and indie, The Pigeon Detectives’ Wait For Me is an light-hearted collage of the current British indie scene, picking and choosing influences like ingredients to some delicious stew. To any fan of the Arctic Monkeys, Razorlight, Maximo Park, The Futureheads, or even The Sunshine Underground—give The Pigeon Detectives’ Wait For Me a taste. It’s a stew that won’t disappoint.

(Published at ComfortComes.com)

Fireflies

Meet Lisle. He plays music. Good music. In his Portastudio. I fucking adore Lisle and his Portastudio. It’s as simple as that.

Under the moniker Fireflies, Lisle has produced some of the best lo-fi ‘80s inspired indie rock I’ve heard—like Belle and Sebastian on some marvelous ear-drug. This is the sort of wonderful MySpace find that comes along once a year, and I’m letting you in on my one big find. Born and raised in New England, Lisle played classical piano before moving to California where he began to record. Since then, he has moved to Chicago where he remains the premier best-band-you’ve-never-heard.

In every song Fireflies (interchangeable for Lisle himself since he is the lone member) crafts “a tiny snow-globe-sized universe” combined with influence from his classical days. Tracks like “Your Secret Code” are a perfect example, melding ethereal piano instrumentals with classical instruments like flute, all blended into a catchy yet haunting indie melody. I could be overflowing with joyous adjectives over the instrumentals alone, but the real capper is Lisle’s vocals. His graceful, soothing, introspective, whispered singing style could not be better suited to his tracks. These really are tiny snow-globes of sonic landscapes, lazily drifting below your dangling feet as you recklessly sail above the tundra below.

Touching, heart-breaking, and chilling all at the same moment, Fireflies’ lullaby “Les Belles Étoiles” could make you weep, quietly reflect, or simply cry out in joy—a quality most of his songs convey. These are the songs of lovers, deep dreamers, and escapists. Other tracks like the quiet love-story “Cherry Blossom Girl” travel through fascinating sonic landscapes while remaining humbly introspective, as if journeying throughout your own body. Fireflies is thus a very personal experience. Not a choice for dance-floors or get-togethers (unless your get-togethers compile sitting quietly and pondering the mysteries of the universe), this is the soundtrack of lonely nights, when rain and stars patter against your windows.

Beyond the tracks he has posted on his MySpace page, Lisle has a 7” single in the works. He has several previous releases of which he has limited copies, and carefully guards them until you ask nicely. Eternally modest and blisteringly amazing, Lisle and Fireflies will be your next lo-fi dream band. It’s as simple as that.

(Published at Shut Up Magazine)

Re-Smashing the Pumpkins

With all this talk of upcoming Smashing Pumpkins shows, and the new (awesome) track (“Tarantula,” found here), I’ve been breaking out all my old Pumpkins’ CDs (and there are a lot), and re-falling in love with the (arguably) best alternative band of the ‘90s. A play-by-play (or album-by-album) run-through that will maybe get you excited enough to break open your personal collection:

Gish (1991): To truly love this album, you have to understand the context around which it was released. Another (arguably) impressive album was to be released this same year. Nevermind would come out later in 1991, unfortunately shadowing Gish, which had more potential than would come to realization. A mix of grunge-era guitar grime, the buddings of the Pumpkins’ classic guitar stylings, and of course Corgan’s trademark soprano vocals. On the way to what we all think of when we think of the Pumpkins, Gish is an interesting look at what came before they were THE Smashing Pumpkins. Track picks: “Siva,” “Rhinoceros,” “Suffer.”

Siamese Dream (1993): This is THE album that made The Smashing Pumpkins who they are (or were, depending on your thoughts of the reunion). After succumbing to horrible depression, Corgan worked himself out of the hole by basically crafting this album by himself (and drummer Jimmy Chamberlin, so take that all you nay-sayers who don’t think Jimmy and Corgan can make a decent album). Debuting in the Top 10 charts with singles “Disarm” and “Today,” this is the album that let the Pumpkins take the headline-spot at 1994’s Lollapalooza—the tour that put even more pressure on an already dangerously unstable bond between band members. More drama was to come. Track picks: “Cherub Rock,” “Rocket,” “Mayonaise,” and “Geek USA.”

Pisces Iscariot (1994): Released to keep fans hanging on during the agonizingly long recording process that would give birth to Mellon Collie and the Infinite Sadness, this was an album of B-sides and discarded tracks from Siamese Dream. Track picks: “Hello Kitty Kat,” “Landslide.”

Mellon Collie and the Infinite Sadness (1995): Where Siamese Dream secured a spot for the Pumpkins in the current music scene, this blockbuster two-disc album placed them in a spot among the rock greats of all time. 28 tracks cover almost every human emotion possible, from rage/relationship woes (“Tales of a Scorched Earth,” “An Ode To No One (Fuck You),” “x.y.u.”), to youthful nostalgia (“1979”), to stalker-tendencies (“Lily (My One And Only)”), to simple melancholy (“Galapagos,” “Thirty-Three,” “Muzzle,” “Porcelina of the Vast Oceans”). Led by singles “Bullet With Butterfly Wings,” “Zero,” “Tonight, Tonight,” and “1979,” this removed all doubt as to the Smashing Pumpkins’ importance, and made a fan out of me. Track Picks: Everything I’ve mentioned, plus “Cupid de Locke,” “Bodies,” “Love,” and “Here Is No Why.”

Adore (1998): The album missing drummer Jimmy Chamberlin (who was recovering from a nasty drug/alcohol addiction that had taken the life of tour keyboardist Jonathan Melvoin and sent Chamberlin to the hospital), I truly believe Corgan saw this absence as an opportunity to experiment. Thus we have Adore, a soft, electronic-threaded album that was a perfect picture of a band moving on – past its former styles – much to the disappointment of those who wanted more of the Pumpkins on Siamese Dream and Mellon Collie. Adore died on the charts (at least compared to the rousing successes of the two previous studio-albums) and is now viewed with different opinions. To some it is the first step for Corgan on a road to bad music, to others (like myself) it is refreshing. The tracks are wonderful (albeit not as smashing as Mellon Collie) but most importantly it proves that the Pumpkins would never be stagnant. Despite all obstacles they would always be changing and experimenting. Just because Mellon Collie and Siamese Dream were hits didn’t justify playing that sort of music forever. (Keep this in mind when Zeitgeist is released). Track Picks: “Ava Adore,” “Pug,” “Crestfallen,” “The Tale of Dusty & Pistol Pete.”

MACHINA/The Machines of God (2000): What the hell is this album about? It’s a concept album if there ever was one, but Corgan didn’t stick around long enough to explain what the heck he was aiming for. Perhaps its better that way (perhaps). The album art included with this release is gorgeous and thought-provoking, as is the music. Again, not as cataclysmic as their previous chart-toppers, MACHINA/The Machines of God saw the departure of bassist D’Arcy Wretzky and the introduction of her replacement, former Hole bassist Melissa Auf der Maur. With this album Corgan also decided to end the Pumpkins. A good, mysterious album to end with, MACHINA will always sound a bit crazy and it will be interesting to see how they patch up the gap between this 2000 release and the coming 2007 one. Track Picks: “The Everlasting Gaze,” “Heavy Metal Machine,” “Raindrops + Sunshowers,” “I Of The Mourning.”

MACHINA II: The Friends and Enemies of Modern Music (2000): A final screw you to Virgin Records, The Smashing Pumpkins released this online album for bootleg download in September of 2000. Easily found today for download, it is compiled with new songs, reworks of MACHINA/The Machines of God tracks, and a few B-sides. Perhaps even better than MACHINA (perhaps), MACHINA II only adds to the mystique of the Pumpkins’ departure. If this is the first time you’re hearing about this album, you can pick it up here. Track Picks: “Cash Car Star,” “Lucky-13,” “Saturnine,” “Dross,” “Here's to the Atom Bomb (New Wave Version).”

Maybe I’ll get around to recommending some good singles and B-sides later, but this is probably enough to chew on for now. Pass the time between now and July 7th with the old albums you love. And if you’re missing any of these (especially MACHINA II), what are you waiting for?

White Rabbits--Fort Nightly

This reviewer has some competition. No matter what the quality of my writings and combination of words, I have been surpassed. Under the “Press” section of the White Rabbit’s website awaits fifteen reviews, all finely crafted and well-thought out—to an insane degree even. They are by Mrs. Doyle’s 8th grade class. Presented with two tracks from the White Rabbit’s debut album Fort Nightly, the 8th grade students were invited to write a quick review of the tracks. What they consist of is a harsh, fragmented sentence declaring that the tracks have “good rythm” (ah, our wonderful school system) but they “did not like the lyrics.” They are quite harsh, except for the indier-than-thou child arrogantly declaring that he/she has “definitely heard this song before.” Well, the New York group’s eerie take on indie rock may not be made for 8th grade ears, but they were surely made for mine. Not quite achieving the “honky-tonk calypso” style the group alludes to on their MySpace page, their music is none-the-less a deceiving mixture of creeping shadows and shouting ringmasters in a dirty 19th century circus. And you totally get what I’m talking about right? Tracks like “The Plot” are damnably catchy, but send a shiver down the spine. Whether it’s the scratchy yelps of the vocals or the unassuming instrumentals, the White Rabbits never quite let you feel comfortable within their den of rhythm. Like a non-drugged Ad Astra Per Aspera or more perky 20 Minute Loop, the White Rabbits reference some calypso influences in “I Used To Complain Now I Don't.” Their song titles allude to Decemberists (“March of the Camels,” “Navy Wives”) albums, but their music is a clear departure. Off-kilter, seemingly unplanned and always a delicious surprise, the White Rabbits’ debut Fort Nightly is a romp through dirty 19th century streets, elegantly decked-out whore houses, and Mrs. Doyle’s classroom of harsh 8th grade critics. What more could you ask for?

(Published at MusicEmissions.com)

Great Lakes Myth Society--Compass Rose Bouquet

Well known for their folk-rock-that-actually-rocks style, Michigan’s Great Lakes Myth Society has garnered a substantial fan base from their self-titled debut in 2005. Just as their first release delved into Midwest mythology and folklore utilizing a blend of folk, rock, and classic instrumentals, so too does their sophomore release Compass Rose Bouquet waltz through one’s ear. Much like The Elected or Band of Horses, Great Lakes Myth Society carries with them a folk-mentality and country-air influence, while still cranking out songs that lodge themselves inside your brain. Such is the case for “Heydeys” and “Debutante”, both composed by Timothy Monger whose tracks lean more heavily towards ear-pleasing pop. Blended in nicely with these bouncy tunes are James Christopher Monger’s folk tunes (i.e. “Summer Bonfire” and “Days of Apple Pie”) which sound more like a brighter Iron & Wine. By no means is this composure division set in stone, and the line between them is very blurry, yet this blending of styling’s separates Great Lakes Myth Society from other previously mentioned folk-rock indie acts. While their track titles and lyrics remind one of a Decemberists’ album (the folk sea-chantey “The Gales of 1838”, tales of whiskey and woe in “Queen of the Barley Fool”, and a Shins-like melody of love’s awkward beginnings in “Nightfall at Electric Park”), the vocal and instrumental styles are different throughout. Also, like their earlier debut, Compass Rose Bouquet is laced throughout with the presence of Midwestern forests and sleepy lakeshore plains. “Raindrops & Roses” plays with these themes brilliantly, and is a wonderful microcosm of the entire album. Folk vocals sing of “dew drops” and “going down with the rest of the mast”, all layered over instrumentals which blend classical elements of brass and acoustic guitar with electric guitar solos and catchy licks. It’s a delicate dance, but one Great Lakes Myth Society excels at. A fascinating step forward from Michigan’s Great Lakes Myth Society, Compass Rose Bouquet features well-developed songs with mystical lyrics that will certainly take their place as some of the best folk-indie of 2007. A must-have for fans of The Elected, The Decemberists, Band of Horses, Iron & Wine, and British Sea Power.

(Published in Soundcheck Magazine)

The Arctic Monkeys--Favourite Worst Nightmare

It really is hard to believe this is only the Arctic Monkey’s second album. With the monumental heaps of hype thrown upon these South Yorkshire boys, I was thoroughly tired of them before even placing Whatever People Say I Am, That’s What I’m Not in my CD player. However hard NME may push the Arctic Monkeys as some sort of second coming, their music could never live up to the amassed publicity and buzz that preceded it (not to say Whatever People Say I Am was bad, it just fell short of preconceived notions). Now take it one degree further: add in the infamous sophomore-release complex. An unexpected, wildly popular debut is one thing, but backing that up with another fully digestible and well-liked release is tricky work. Did the Arctic Monkeys pull it off?

Yes…with a but, and a warning.

Favourite Worst Nightmare is more explosive than their debut from the word go. “Brainstorm” is a bitterly fast-paced guitar-laced dance-floor hyphen-fest, only pausing to grant Alex Turner and your ears a well-deserved breath before plummeting back into a indie-pop guitar thrashing. Back are tales of dance-floor romances youthful exploits, and (sort-of) farfetched dreams (“The kids all dream of making it / Whatever that means”). Tracks in general feel stronger and more abrasive. “Teddy Picker” has a very definite roller-coaster beat that interlaces much stronger Franz Ferdinand-like dance rhythms into the classic British pop-rock Whatever People Say I Am was riddled with. Yet again too, the songs are loaded to the brim and further with riddling lyrics, overwhelming instrumentals, and a rushing attitude that leaves one out of breath.

After a few introductory tracks, perhaps intending to prove that the Arctic Monkeys have lost none of their pop (of which “D Is For Dangerous” is included, a snappy scathing attack on “Favourite worst nightmares”), the Monkeys move into slower territory with “Fluorescent Adolescent” and the Shins-like “Only One Who Knows.” Just like the increased dance-influence, Favourite Worst Nightmare also includes such allusions to The Shins’ Wincing the Night Away (see “Phantom Limbs) which shows some welcome development in the Arctic Monkeys’ sound. These slower patches are only a bump in the road of guitar-filled thrillers such as “If You Were There, Beware” and “This House Is A Circus,” before ending with the damnably catchy bass of “Old Yellow Bricks.”

Favourite Worst Nightmare sounds enough like Whatever People Say I Am to still be the Arctic Monkeys everyone crooned over, but contains new punches as well—most of which redubs the group as even catchier than before. This could be dangerous, just as their triumphant debut was blasted out of the water with over-hyped praise, so too may this be killed in the minds of many before ever reaching their CD players and iPods. “Brainstorm” and “Old Yellow Bricks” are wonderful tracks to wrap your ears around and hit the dance-floor with—but not if the radio is cranking them 24/7.

The Arctic Monkeys out-do themselves in Favourite Worst Nightmare, will the media?

(Published at ComfortComes.com)

David Karsten Daniels--Sharp Teeth

I have a horrible case of judging books by their covers, or – more specifically – judging music by the artwork on the album case. For weeks I put off popping David Karsten Daniels’ new album Sharp Teeth into my CD player, only because the cover had a naked cartoon cave-man ripping the intestines out of a naked woman and stuffing them like so many sausages into his mouth. So…can you blame me? Well, whatever your opinion of cartoon cannibalism advertising music, this album was not what I was expecting from this particular cover. Soft and moving with an Iron & Wine mentality about it, Sharp Teeth is anything but…well, sharp. Introspective, emotional, contemplative, and modest, David Karsten Daniels’ fourth full-length since his 2000 The Mayflower debut is a soundtrack for quiet evenings. Tracks like “Universe of No Parts” and “American Pastime” are waltz-affairs, slowly sauntering across sonic landscapes with bittersweet instrumentals riding beneath Daniels’ (and a whole assemblage of other vocal talents’) eerily melancholy lyrics. Quirky at times, deeply thoughtful at others, Sharp Teeth feels purely organic and intimate, without layers of studio-work separating the listener from the raw songwriting talent of Daniels. “Jesus and the Devil” is a simply-spun tale with deeper ramifications, hinting towards religious confusion and misdirection—perhaps becoming a commentary on the modern Christian church by the end. Other tracks like “Beast” and “Scripts” have a distinctly southern-taste to them, almost like a simpler Iron & Wine, or slower moving Jose Gonzalez. Impressive instrumental landscapes are crafted by the long list of musical talents credited for aiding Daniels in the production of this album, including instruments from trumpets to mellotran. Most prominently though, is Daniels’ wonderful vocal abilities and songwriting skills. Sharp Teeth is a somber collection of intimate tracks. They burrow into your mind and bring you with, even if at times you feel dragged along by the pace of it all. So overcome the barrier that is the feasting figures on the cover of Sharp Teeth, and sink your own incisors into David Karsten Daniels’ newest work.

(Published at MusicEmissions.com)

Praise the Twilight Sparrow--Praise the Twilight Sparrow EP

Praise the Twilight Sparrow is an act misted in delicious mystery and intrigue. Playing in the strain of “any truth teller” and imitating the sound of “self-made mythologies,” the DIY vibe practically gushes from the band. Made up of a fluctuating number of members from nations as diverse as France, the Netherlands, and the US—the group’s sextet core comes from Europe and most recently ripped out their other-worldly folk at SXSW. The Texas music-fest is no new ground for Praise the Twilight Sparrow either, the Dutch members played there in 2003 under the guise of Templo Diez, and then in CMJ 2006. Indeed, while Praise the Twilight Sparrow is a new name on the indie scene the faces behind the getup are well-worn veterans. That quality can be felt on their first EP, a forerunner to a promised full-length later in the year. The four-track self-titled EP is graced with eerie spoken vocals, pacing about in the backdrop of ghostly acoustic instrumentals. Pascal Hallibert’s calmly seducing vocals are the perfect crown to Praise the Twilight Sparrow’s style, singing in a near-breakdown cantillation. Even the acoustic twangs in the opening track “Get There If You Can” ring with an ethereal smack, spinning about Hallibert’s half-drunken lyrics. The intergalactic quality of the instrumentals remind one of Brightback Morning Light, which share the dreamy, half-dazed effect Praise the Twilight Sparrow use so brilliantly. A lo-fi, Mountain Goats-like recording style is revisited in “The Ghost Tonight,” which opens with an Armageddon spewing preacher before descending into melancholy acoustic rhythms. “South of No North” and “On Our Way” close the EP, the former more straight-edged country/American tracks in which Hallibert sounds more focused, the latter an acid-trip in itself. Deliciously dark – like an acoustic Pink Floyd hiding a body in the closet – Praise the Twilight Sparrow pull the listener in with the grimy mystique of their sound. Polished enough to hold meaning, yet rough enough to entice the DIY-lovers (and allow much room for improvement), this hodge-podge of European and American artists have crafted something dazzlingly beautiful. If Praise the Twilight Sparrow can further evolve upon this sound, their coming full-length will be a must-own of 2007.

(Published in Soundcheck Magazine)

The Domus

Sweden is the location of the new music gold rush. That much is clear from bands like Peter Bjorn and John, 120 Days, The Concretes…the list goes on. Add The Domus to that list. Named after Sweden’s Wal-Mart (Domus), the quintet comes straight out of Eskilstuna, Sweden. Like a downbeat Hellogoodbye or an upbeat 120 Days, The Domus combine electronica grooves with radio-friendly themes and lyrics, much in the same way as The Postal Service or Broken Social Scene. Interestingly, Domus was originally an acoustic backdrop for vocalist Stefan Juhlins’ song-writing capabilities back during their 2003 genesis. Instead, we’re left with an electronica style that – when combined with Juhlins’ pop-friendly vocals – is deliciously digestible. After this pre-life identity crisis, Domus quickly gained a loyal following in their hometown, eventually play 50 shows in 2005 with the likes of Jettie, We Are Scientists and Karl Larsson. Their recently-released debut Fractures, much like Phoenix or Genesis, tout incredibly catchy tracks like “Pull Your Strings” and “The Observer,” both of which contain an irresistible youthful mood. Awkward romances, summer nights, driving nowhere as fast as possible—the sunny days of youth unfold before the blips and beeps of The Domus. Wonderfully mixed stringed instruments are layered in over the electronic effects in songs like “Arkansas.” Working as-if with a chip on their shoulder, The Domus constantly remind their listeners that they have literally stumbled upon this style, and they are by no means pretentious Europeans. Even if they were, I wouldn’t care. Their music is damnably catchy, no matter what kind of personalities lie behind the angsty lyrics and bittersweet melodies. Relentlessly harsh on themselves, Fractures

is an album of perfection—where every second of every song has been meticulously pondered over. The Domus are a band of hard-working professionals just finding their feet. Get on the band-wagon now, before it gets too crowded—because it will soon enough.

(Published in Shut Up! Magazine)

The Lonely Hearts

The oh-so-twangy snap in Will Holland’s voice says it all: The Lonely Hearts are pure Americana. Complete with squeaky sliding acoustic instrumentals and bittersweet-with-a-smile themes, this Nashville four-some are straight-shooting guitar pop. Originally dubbed Holland, the group played a pop-version of emo melodies in their 2003 release Photographs & Tidalwaves. While fans struggled to classify the blended sound (with descriptions as far reaching as Foo Fighters to straight-up nada surf), Holland switched monikers to The Lonely Hearts. Their Lonely Heart debut full-length, Paper Tapes, was released last year filled to the brim with earnest wistful pop melodies delicately complemented by Holland’s stereotypical Southern drawl. Just about everything composing The Lonely Hearts is stereotypical really. The vintage guitar effects, the sunny light lyrical content, not a lick of The Lonely Hearts is unique or brand-new…and frankly with a vast pool of other acts throwing new tricks into every other second of their music, it’s refreshing and relaxing to stumble across a band who stick to what’s tried and true. Paper Tapes is as tried and true as they come, featuring songs like the blistering country-track “Love Comes Quickly” and similarly styled “Good Intentions.” Much like The Wallflowers, Neil Young, or the Gin Blossoms (and Bob Dylan when Holland’s voice hits a particular cracked-twang), The Lonely Hearts play a well-worn version of Americana/country-rock, and come out smelling like daisies. Christian themes found throughout their music have also gained The Lonely Hearts a considerable church-rock following. While their self-comparisons to Neil Young and the Beatles may be farfetched, its clear The Lonely Hearts do deserve some credit for chasing after their influences ruthlessly, and sounding damn good in the process. They may be no Beatles, but the summery melodies and twangy guitar instrumentals make The Lonely Hearts a damn good pick.

(Published in Shut Up! Magazine)

The Killing Moon

Not quite ska, not quite emo, The Killing Moon edge the lines of genres—choosing to dip their toes into a variety of pools instead of committing to a swim in just one. Most obviously post-punk, the quintet from Hampton, Maine also adds in flavors of brass effects such as trombone (supplied by Dan Lafayette) and baritone sax (Chris Michaud). With slices of screamo vocals here and there as well, The Killing Moon clearly dabble with ska within their tracks. However, A Message Through Your Teeth – an EP teaser from Fearless Records released last year – has much more of a classic punk-pop feel. The songs are more accessible, and Ryan Hannan’s vocals keep the screaming to a minimum—preferring saddened angst ridden lines instead. Rousing, smooth, and passionate, The Killing Moon offer a delicious blend of ska and emo threads, with the punk influences dominating their melodies—much like Dynamite Boy, Less Than Jake, or No Doubt. For this, The Killing Moon comes off smelling strongly of mainstream post-punk. If weren’t for their injection of brass instrumentals, their tracks would explore over-trodden territory and come off dull. That said, the brass section tends to be left behind. Too often in songs like “Subject A” and “Postcard from Los Angeles” does the trombone and sax feel like afterthoughts, added in after the rest of the song was completed. Instead, the rousing guitars and Hannan’s despairing vocals take the show. And is that so bad? Well, if you’re looking for a scything ska experience, it is. If not, then The Killing Moon remains a vibrant and melodic experience in the spirit of Senses Fail. A Message Through Your Teeth was released March of 2006, with promises of a full-length later that year. Still no word from the Hampden rockers on that front, but fortunately they’re on the road playing occasional shows across the country. Let’s hope The Killing Moon get some new material out soon—there is a heap of potential within the tracks of A Message Through Your Teeth, and The Killing Moon have a chance to become a major name. (Published in Shut Up! Magazine)

The Brian Jacket Letdown--Eat Your Friends

Budded from a surreal childhood friendship, classical pianist Tom Phillips and puppeteer Will Harper make up The Brian Jacket Letdown—a collection of English, Brazilian, French, and Polish musicians who have developed into a hefty outfit shaking off their genesis and looking to the future. After releasing a debut EP, The Brian Jacket Letdown garnered much attention in the likes of supporting Misty’s Big Adventure, Scritti Politti, and Brian Jonestown Massacre. This year launched with an appearance on BBC2’s “The Culture Show,” and now continues with the band’s sophomore EP Eat Your Friends. “Eat Your Friends” begins with “Russian-style hoohah chanting” and buds into an oddly rhythmic blend of folk and indie rock. The vocals are quick, chaotic, and not meant to be understood. Such is the off-kilter style of The Brian Jacket Letdown. The B-side “Me and My Dog” sounds like an acoustic Ad Astra Per Aspera or, as they put it, “Led Zeppelin doing a cover of Japanese Kabuki theatre music.” Their guitar ability is uncanny, emulating a stumbling, rickety feeling while staying brilliantly rhythmic and fast-paced. The guitar solos on “Me and My Dog” are worth picking up Eat Your Friends alone, if not for exposure to a new take on old styles. Look for more to come from The Brian Jacket Letdown.

(Published at MusicEmissions.com)

Dusty Kid--Signal EP

Dusty Kid – a new project fronted by Paolo Lode – peppers their first EP with four distinct tracks. Of previous Duoteque fame, Lode is a well-known techno song writer with a plethora of tracks under his belt—precisely why choosing just a few was so difficult for this EP. So they threw 4 completely different tracks in, all of which could survive separately on their own singles.

I Love Richie is a non-stop techno hit filled to the brim with bass-beats and tip-of-the-ear vocals. Conga-style drums effects lace the track, adding a vibe of constancy through the ups and downs of the foundation beats. “See the stars come out tonight,” whispers the vocalist, before falling into a raging pit of techno frequencies and conga-drums. Cowboys adds a jazzy twist to the usual flow, adding some more pop-driven drum beats under a modest melodic front. Matrakoma is a house track if there ever was one, complete with a insanely-driving bass beat (and that doesn’t begin to describe it) and freaky vocals. This leads nicely into The Riot, a extremely catchy groove that won’t fail to get your foot moving and your head banging. Vibrant, moving, and complex, The Riot stands out as a clear winner.

Paolo Lode erases all doubt of his solo ability with Dusty Kid’s release. These 4 tracks could easily support their own EPs, but are instead thrown into one—showing the sheer volume of Lode’s creative process. Additionally, each one of these tracks is distinctly different from the last, adding flavors of jazz, house, techno, and pop all into one EP. Dusty Kid looks to be an outfit to watch, and I hope Lode continues releasing work of this quality.

(Published at 365Mag.com)

Torch Remixes

Great Stuff is back for more remixes as artists Namito and Rainer Weichhold put their musical talent to Soft Cell’s Torch release. Soft Cell, made up of Marc Almond and Dave Ball, are best (or worst) known of their release Tainted Love. This – the second of Great Stuff’s Soft Cell remixes – proceeds the 2006 effort that failed to make as big a splash as hoped. But Great Stuff is trying again, this time with Kling Klong’s Namito and Rainer Weichhold. This is Weichhold’s first remix, but never fear as he has Butch alongside to aid in the reinterpretation of this famed release.

Both tracks extensively use vocals in combination with driving bass beats. Weichhold’s version becomes mesmerizing with the repeated word “Come,” an eerie combination with his darker techno melodies. His track falls into silence midway through, only to rise back out of the quiet for a dance-floor climax. Namito’s remix (dubbed Namito’s Torture) too contains a delicately played out climax, while the remainder of the track is pulled back and quieter in comparison to Weichhold.

I prefer Weichhold’s work over Namito, but both are driving dance-floor beats that, while they may not do the original’s justice (and what could?), they are certainly captivating tracks worthy of picking up.

(Published at 365Mag.com)

Butch--Life Is Deadly

Butch’s first release on Craft Work, Life Is Deadly represents Butch’s newest work since his remix work on Wehbba`s Mary`s Army last year. It was this remixing work that brought to light Butch’s enormous DJ and producing talent—talent that yielded deals with Craft Work, Trapez, Great Stuff, and Flash. Life Is Deadly contains two neo-trance tracks by Butch and one remix by Christian Phoenix.

Life is Deadly takes off slowly, but the bass-lines to come are worth the wait. Truly a trance track at just over eight minutes, Butch relentlessly drives the dance beat—adding in minimal melodic effects over the top. But its clear the main focus is the pulse. Christian Phoenix’s remix is darker, pulling back on the bass and leaving it as a slithering techno groove. More submerged and creeping than the original, Phoenix’s version loses none of the original’s punch. The release capper Mushrooms of Happiness is much more colorful, in that more melodic blips and beeps are added. Additional electronic claps and whistles make Mushrooms of Happiness live up to its name, especially in comparison to the earlier Life Is Deadly tracks.

Butch indeed seems to be worthy of his budding fame. With so many record signings, we can certainly hope for more of this quality in the future.

(Published at 365Mag.com)

Ghostland Observatory--Paparazzi Lightning

From the start of “Piano Man” you may put Ghostland Observatory to rest. The barely distinguishable, headache inducing vocals are the final nail in a coffin of disco-styled rhythms and annoying blips. But don’t be so hasty! There are better novelties to be enjoyed here. Sort through the screaming train-wrecks that are “Ghetto Magnet” and “I’ll Be Suzy,” just be patient. There are interesting, bearable tracks among the mess of Paparazzi Lightning, the debut release from Austin’s Ghostland Observatory. “Sad Sad City” is the clear hit, mixing an Ok Go vocal/beat style with electronica instrumentals and disco effects. It may sound disgusting but its damn catchy, and at the very least fascinating like a car-crash and/or Frankenstein. “Vibrate” is straight out of the ‘80s (you can just sense the sequins on the parachute pants) but again forced around a beat that Dracula would use if he were throwing a disco party in his haunted mansion. Interested yet? Like a fully electronic version of The Sunshine Underground or a modern Prince, Ghostland Observatory rocket on through Paparazzi Lightning with one peculiar mix-match of genres after another. “Stranger Lover” is a slower, more morose track, and within “Move With Your Lover” you could swear that Prince actually had a hand in this creation. Odd as they may be, Ghostland Observatory are gaining a lot of buzz out there, and good for them. Their unique songs are a peculiarly fun listen, and the more vibrancy in the music scene the better. I just hope ‘80s-styled disco just doesn’t make a come back.

(Published at MusicEmissions.com)

Kobaya--Shiballizer

Starting his musical career at age 6, Nenad Petrovic has decades of experience under his belt. After dabbling in bass guitar and violin, Petrovic turned his attention to the electronic scene—producing and experimenting until 2004, when his first work “Rosa Salvahe” was released. From then on he has been releasing numerous EPs under the guise Kobaya, the latest being Shiballizer on Valentino Kanzyani’s Jesus Loved You record imprint.

The title track is a pop-dance-floor hit. Introducing the overall themes and melodies early, Petrovic then adds layer upon layer of bass beat, intermixing the general pace with rapturous spin-offs. Overall though, Shiballizer is a trance track that employs the same overall beat throughout its seven minutes. UnTitled is more pulled back and has a greater variety of bells and whistles accompanying the underlying bass beat. While the intricate effects and noise-makers give UnTitled a more interesting and dynamic feel than Shiballizer, the song never quite goes anywhere. Yes there are climaxes and shifts in the driving bass beat, but these happen too late and too infrequently for my liking, leaving the listener with minutes of the same beat.

Finally, Here Something This That (which is only available on the digital release of Shiballizer) drives faster than UnTitled. Together with an effect that sounds very similar to a barking dog, Petrovic switches up the general flow of the pounding beat so that it remains unique on the release, but still has trouble adding variety within the track. Shiballizer is the clear winner on the release that bears its name. While all three are trance-like electronic grooves, only Shiballizer really adds enough variety to justify its seven minute length. Still, Petrovic puts out some great grooves and more should be looked for from him, especially on the Jesus Loved You label.

(Published at 365Mag.com)

Snowden--Anti-Anti

The debut LP from Snowden, a quartet from Atlanta, Anti-Anti is a mish-mash of indie rock, dance-floor beats, and shoegaze ethereality. Right from the get-go in “Like Bullets” Snowden dabbles in alternating drum and bass beats that ride the narrow edge of collapse with perpendicular vocals. It should all rightfully fall apart, the bass should fall off-beat or the vocals should become muddled, but instead Snowden craft a track with so many driving pulses your feet won’t know quite what to do. The album’s namesake “Anti-Anti” follows a similar pattern, layering in different guitar riffs with the vocals and bass and drums in a confounded mess that somehow shapes out into a damnably catchy tune. Snowden achieves clear pop hits in “Between the Rent and Me” and “Black Eyes,” both being very accessible and nearly ready for the dance floor. Shoegaze influences ring through as well, peppering the songs with heavily-effected guitar riffs crafting towering sonic landscapes, like My Bloody Valentine pumped through with way too much bass. Indeed, these tracks are very similar to Radiohead (even Thom Yorke’s The Eraser) or The Arcade Fire (again, with more bass added). Some tracks like “Filler Is Wasted” tend to pound away at the ears, and may cause some headaches, but the majority of the album is explosive bass-driven ethereal pulsations that are just as much indie rock as they are dance mixes.

(Published at ComfortComes.com)

Midnight Movies--Lion the Girl

With bright indie guitars crashing, Midnight Movies opens their sophomore album Lion the Girl with more of gloomy late-night themes that graced their self-titled debut in 2004. “Souvenirs” features Gena Olivier's melancholy voice, repeating the ominous line “Like children…” over winding detached instrumentals. Lion the Girl continues in the same way from there, dotting autumnal landscapes with classic guitar solos, scathing vocals, and creepy effects that wouldn’t feel amiss in a bone yard. Much like Belle & Sebastian, but lacking their brightness, or a modestly downcast TV on the Radio, Midnight Movies throws out some wonderful melodies (such as “Hide Away” and “Coral Den”) and snippets of guitar solos worth salivating over (“Patient Eye”). “Ribbons” and “Bell Tower” are quieter songs, brooding over old wounds that finally explode into a guitar-riff mess in “Lion Song.” Olivier’s vocals are a perfect match for this melancholy mood, adding the delicacy of female vocals with strength and resilience as well (think an indie, non-annoying Lacuna Coil). The album closes as the flowery introspective instrumentals of “Dawn” give way to the shredding shoegaze guitars of “Two Years,” dishing out one last catchy melody before descending into silence. Midnight Movies come off strong yet again, putting together an album that should truly be played at midnight. A release perfect for the brooding introspection that comes with late-nights, Lion the Girl also hides brilliant indie melodies, wonderful edge-of-shoegaze instrumentals, and of course Olivier’s own wonderfully creepy vocals.

(Published at ComfortComes.com)

120 Days--120 Days

There’s just something about Norwegian electronica-blended indie rock that makes me salivate. And that something is 120 Days. Like a Radiohead translated into a Nordic-environment and then back again, 120 Days is the development of a long friendship between friends Jonas Dahl, Arne Kvalvik, Kjetil Ovesen, and Ådne Meisfjord. After releasing Sedated Times, their highly-acclaimed debut EP, 120 Days finished their self-titled album—and have been riding the wave of popularity that has followed. 120 Days present moving dynamic electronic-themes that are still very clearly indie rock, together with damnably catchy rhythms and vocals. From the opening riffs of “Come out, Come Down, Fade out, Be Gone” you know you’re in the hands of brilliant composers, throwing just enough pop into a slushy dance-floor mix to keep your ear interested. Tracks “Get Away” and “Lazy Eyes” are strong winners off the album, and the U2-meets-Radiohead stylings in “Sleepwalking” will refuse to leave your head for days. What’s best about 120 Days though is their incredible dynamic. The fact that they can go from the pop-riffs of “Sleepwalking” to the pure electronic instrumentals in “I've Lost My Vision” is wonderfully refreshing, and the complete mood-change from the in-your-face attitude of “Get Away” to the sunny “Keep On Smiling” is impressive. And within “Get Away,” my musical taste buds are satisfied to unheard-of levels as a wonderfully distorted guitar solo rips through dance-floor electronica foundations. This isn’t your cheap dance-floor rip off, this is quality blending of indie and electronica, imported from Norway’s finest. 120 Days is a delightful delicacy.

(Published at MusicEmissions.com)

Cardinal--Cardinal

Cardinal’s story of sharply peaked levels of popular interest is familiar to anyone who was thoroughly disillusioned with the grunge movement by 1994, and needed something different. Singer/songwriters Richard Davies (of previous Moles fame) and Eric Matthews came together in the early ‘90s, and in 1994 released their sole self-titled album, a cabinet of redone ‘60s guitar chamber pop, mixed with some touches of modern indie-pop. Treasured by the underground of indie – especially those who appreciate the combination of thoughtful guitar instrumentals and orchestral support – Cardinal fell apart soon after their only release due to internal conflicts between Davies and Matthews. Both Davies and Matthews’ vocals on the release are bittersweet, evoking images of musical pioneers playing upon brightly colored stages—pumping their images and music into the homes of millions ‘60s families. Tracks like “If You Believe in Christmas Trees” and “You’ve Lost Me There” are silently brilliant and sound not one decade old, but four. Davies’ songs (which include both previously mentioned) are indeed more thoughtful in comparison to Matthews’ “Dream Figure,” which moves relatively slowly and awkwardly (think the worst Foo Fighters song you’ve ever heard) compared to “Big Mink” by Davies.

For those have been sitting on these 10 songs for over a decade now – and those whose ears devour “Silver Machines” and demand more – this 2005 re-release of Cardinal includes 11 bonus tracks. Included are original demos of favorite tracks like “If You Believe in Christmas Trees” and “You’ve Lost Me There,” both of which sound rawer and as a result more powerful than the album versions. Also included are a few unreleased tracks (including the rousing B-side “Say the Words Impossible”), most of which were written by Davies, and again show the true depth of his songwriting ability. A special treat to Cardinal fans old and new, these 11 tracks shed some much needed light into the creative processes of a power-combination whose full potential was only partly realized.

(Published at MusicEmissions.com)

Les Breastfeeders--Les Matins de Grands Soirs

Can French Canadians kick it or what? If your answer is “what?,” your quest-of-the-day is to go out and buy Matins de Grands Soirs by Les Breastfeeders—the best garage punk to be drenched in French since the ‘60s. After a decent start in their 2004 debut Dejeuner sur l'Herbe, Les Breastfeeders return even stronger and prove the language barrier is a boon in disguise. The rambunctious Montreal-French vocals add an exotic flavor to the dish, while in themselves becoming yet another crashing instrument in the spunky punk blend. Irresistibly catchy tracks (“Qui a Deux Femmes”) show off the rowdy fun Les Breastfeeders deliver with apparent ease, sprinting from one track to the next with quick-‘n’-dirty guitar solos and nonstop melodies. It’s a breathless experience rushing from the drum-backed bouncy refrains of “Viens avec Moi,” to the sweet-and-sour vocals of “Chanson pour Destinée,” all the way to the slowed bittersweet closer “Septembre Sous la Pluie.” Les Breastfeeders prove to be strong garage punk rockers (“Tuer l'Idole”) while keeping an element of rowdy fun (“En Dansant le Yah!”), and never abandoning their multicultural heritage (“Da-Di-Dam”). Playing in a similar style to The Raconteurs, the Ramones, their French Canadian brethren Malajube, or even The Vines (try out the Craig Nicholls retches in “Qui a Deux Femmes”), Les Breastfeeders crank out exotic stylings while still staying true to the genre, proving that punk is punk—no matter where you go. Wet your punk palate with Les Breastfeeders and Les Matins de Grands Soir.

(Published at MusicEmissions.com)

(in)camera--(in)camera

There’s no better accompaniment to the approaching spring than the ethereal landscapes crafted masterfully by (in)camera. From the very onset of opener “Juniper,” flowery blips pop about summery melodies like delicate fireworks carefully interrupting silent fields of stars. The symbols crash around otherworldly guitar riffs, as if the sparks and twinkles raining down from expired supernovas. All of this warm imagery is wrapped cozily around the strongly recherché vocals of Shelagh Larkin and Susan Smith. This, the self-titled EP debut of Cincinnati’s gloriously indie outfit (in)camera, rounds out 20 minutes with 4 songs. Like any good EP, the closing crashing feedback of “Green Motel” leaves your ears ringing and your moth salivating. Every song on this release is blisteringly warm, strong, and deep—as in a bottomless ocean sort of deep. “Inbetween” practically drowns the listener in a lake of sonic reverberations, teasing with smooth seas before inciting tidal waves of choruses. There are layers upon layers of sound within these tracks, and – much like Sonic Youth, Stereolab, and even My Bloody Valentine – your ears will require a few listens to swim through the waves of sound generated by (in)camera. The young-yet-veteran musicians of (in)camera prove already to be worthy of praise and to them I say: Please give us more!

(Published at MusicEmissons.com)

Maximo Park--Our Earthly Pleasures

Brace yourself for this one. Fusing a delicious union between the crashing post-punk of The Futureheads the pop-friendly dance-driven rhythms of Bloc Party, Maximo Park rocket into 2007 with Our Earthly Pleasures. Vocalist Paul Smith’s style in tracks like "Girls Who Play Guitars" and "Our Velocity" possess a smack of Futureheads’ vocalist Barry Hyde, and explosive guitar instrumentals follow a vein of The Futureheads (see "A Fortnight’s Time")—but toned down, giving the overall impression of a pop-indie sound delicately toeing the post-punk waters. Drum-beat led tracks ("The Unshockable") elude to A Weekend in the City or even Franz Ferdinand, but fall short of being as eruptively monumental. Other tracks such as "Russian Literature" are more modest (think a more interesting Razorlight, or modern Smiths) and have horrendously catchy melodies that will haunt your long after listening. Smith’s vocals are always easy on the ear, and quieter pieces such as "Your Urge" work beautifully where Barry Hyde or Kele Okereke may falter.

Maximo Park pepper-spray Our Earthly Pleasures with a healthy mix of contrasting songs to keep things interesting, and by the closing riffs of "Parisian Skies" your only thought will be of starting the whole thing over again. A release that will surely attract more than its share of comparisons to The Futureheads, Bloc Party, Franz Ferdinand, and Withdrawal, Maximo Park’s sophomore full-length is strong where previously mentioned heavy-hitters are weak. Our Earthly Pleasures may not rocket up the charts as fast as A Weekend in the City or News & Tributes, but it is a delightful treat for anyone who loves what’s been coming out of England lately—and will surely generate some Maximo Park buzz.

(Published at ComfortComes.com)

The Nyquist Frequency--Elephant Art

Not to be confused with the Nyquist rate, the Nyquist frequency is half a sampling frequency from a signal processing system. No wait...it has something to do with bandwidth? Fortunately, a degree in physics is not needed to understand Elephant Art, the debut release from a collective led by Keith Nyquist. Originally from DeKalb, Illinois, Nyquist takes a few Ubique Records friends along for the ride (Mark Mattson from Captains and Craig Swafford on drums). Modestly subdued, The Nyquist Frequency keep most of their 13 tracks bland—but a few shining gems break the tricky "same-old, same-old" layer of overused indie sediment. Taking root in some ‘70s influences (the band offers up comparisons to early Byrds, although I think that’s stretched and it would be better to jump into Elephant Art with neutral expectations), Elephant Art is generally a warm glowing mass of indie-pop, made ever sweeter by the delicious musk of DIY found all over the album. "Sand" sets up some vintage melodies complete with a tastefully distorted guitar solo. In a contrasting set-up, "Dark Skies" is one of the brightest tunes in Elephant Art, with a wonderfully pop melody (complete with applause) that still keeps a foot both in warm ‘70s memories and low-fi indie influences. Indeed, The Nyquist Frequency do a respectful job of blending many influences, and in a way come out sounding very original—albeit rough in spots. "Sunset" closes the album with bittersweet guitars and a forget-me-not lyrical track provided by Mark Mattson and Molly McNett. While the majority of Elephant Art may be forgetful (though better with each listen), the few catchy hits speak volumes at just where further development might take this young band—and specifically Keith Nyquist himself. A very respectful debut, I would not be surprised to hear from (and of) The Nyquist Frequency more in the future. Until then though, they’re your DIY indie treasure.

(Published at MusicEmissions.com)

Youth Group--Casino Twilight Dogs

Australian rockers Youth Group have a warm shimmery halo wrung about their heads and engraved in their music. Its almost indescribable – and quite magical really – how easily they snap up your ears and have you totally captivated by their brand of summeresque dream-indie found in Casino Twilight Dogs. The quick doses of orchestral blends add a professional resonance to their music—and even in such allegedly sarcastic songs as "Sorry," Youth Group compels a warmhearted emotional undercurrent.

Yet they always linger on the edge of indifference. The lecturing vocals on "Catching & Killing" force my finger to linger over the skip button, but soon enough the group is safely back within the caring arms of their sunny instrumentals and warmly melodic choruses. "Dead Zoo" continues the summer melodies with some bittersweet lyrics, which evolves into the very vividly picturesque "Under the Underpass." Toby Martin’s tender vocal talents are a key part of Youth Group’s warm sound, and "Sicily" shows Martin off as the instrumentals take a back seat ("They'd need a surgeon / Because in this version / We'd become one person"). If the opening tracks of Casino Twilight Dogs didn’t convince you of Youth Group’s wrenching summer-melodies, I give you "Forever Young." The infamous cover that got picked up by The O.C., "Forever Young" seems to culminate the general feeling experienced throughout Casino Twilight Dogs: the desire for an unending summer, the death-like grasp of the feelings and experiences under the burning sun, and thoughts on what the hell it all means.

In my opinion though, "Forever Young" is beat out by "TJ," a song inspired by the death of TJ Hickey after being chased by the police. A slower and mellow tune, "TJ" features a blisteringly strong and haunting melody: "Do what we like / Go about our lives / Happy to see it says nothing about us / Read in the news / Just shake our heads / Happy to see it says nothing about us." This is indie, at its very purest form: innovation after innovation that never prescribes to what I, the listener, want to hear, but to what I may like. They may hit or miss, but Youth Group offers up flowery summer images, deep introspective and deliberating thoughts, a slew of different influences and techniques in a glorious attempt to connect with listeners—there’s so much here for everyone. Youth Group win a strong victory, gain a mass of fans, and rocket into 2007 with one of the best albums of the year.

(Published at MusicEmissions.com)

Claudio Parodi--Horizontal Mover

One track. One hour. One hell of a story. One crappy piece of music.

This is Horizontal Mover, the first track of a seven part series from Italian pianist and electronic avant-garde musician Claudio Parodi. Each feature will use one of seven tracks of Tiziano Milani’s Suoni 2005 as a starting point—and is dedicated to the work of Alvin Lucier. The use of reonsators and humming amplifiers was styled after Lucier, directly mimicking his work "I am sitting in a room," which involved playing that speech line until the loss of speech. After much cutting, stretching, distorting (what Parodi describes as "uncovering a new detail in Milani’s accumulative work"), the song was so incredibly long that Parodi’s computers failed and he had to revert to "pioneers’ age of electro-acoustic music." Just what was he recording? A room. The reverberations of a room.

Naturally, the story behind this odd piece of art is more interesting than the art itself. I spent an hour of my life listening to the chopped up and faded reverberations of an empty room, and I want that back Parodi. For those who appreciate avant-garde art, you need no review to hype this record, and forgive me for saying this is boring tripe. Yes, I may have missed the deeper artistic message behind it all, but I have my own rooms to listen to for an hour. For those who like music, stay clear.

(Published at MusicEmissions.com)

Unlucky Atlas--Unlucky Atlas

"The new American century waits and weeps to a dream, not all a dream, a new frontier." Such the weight of bitter-sweet lyrics that accompany the biting acoustic instrumentals Unlucky Atlas has to provide. A quick listen at just over 30 minutes, the Chicago group’s self-titled release is a power-packed punch of acoustic ramblings and orchestral ballads. Just take a listen to the opening seconds of "Noble Enterprise" to feel the power pint up in Unlucky Atlas’ fingers. Quick and nimble at times, slow and calculated at others ("Great Awakening"), the acoustic instrumentals become Unlucky Atlas’ signature touch—along with heart-bending orchestral effects that add a classical touch to songs. That classical touch comes through also in their female-sung lyrics which drip with literary care, taking a page from romantic poets in a way that comes off not unlike The Decemberists (with song titles like "Jacobin Waltz" and autoharps and fiddles in your instrumental arsenal, how can you not come off as Decemberist-offspring?). Unlucky Atlas offer a wealth of unexpected acoustic delicacies and siren-song instrumental tracks full of mournful, introspective, and romantic drudgery. A wonderful find from the Windy City, pick this one up if you can get your hands on it!

(Published at MusicEmissions.com)

Malajube-Trompe-L'oeil

Rocketing straight out of French Canada, Malajube rip up the stage with a blisteringly good take on Muse-like instrumentals, coupled with delicious French vocals that convey meaning in other ways than the words themselves. With songs ranging to a slamming drum explosion of rock sound, to a piano-supported track with all the pomp and raunchiness of a French salon, Malajube provide great dynamic and some awesome tracks. "Le Crabe" is an obvious winner off Trompe-L'oeil, playing to the soft delicacy of Malajube’s French vocals, then contrasting that fragility with the onslaught of a Muse-like guitar melody coupled with more forceful vocals. Moving into "Étienne d'Août," Malajube are quieter, with more of a Shin-indie sound (not unlike "Phantom Limb"), and as always their foreign speech adds a romantic touch of exotic emotion—as does the addition of a sweetly charming string part. "Ton Plat Favori" opens with a bouncy piano solo that reminds one of raunchy salons, an idea much supported by Malajube’s high-spirited vocals soon after. The song is a peppy, light-hearted track that fits right in with the ups and downs of the rest of the album. "Fille à Plumes" is straight off a Muse album, combining dramatic guitar riffs with slamming drum beats and an ever changing melody. A fast-paced rhythm pulls you along for the ride, a sweetly divine mixture of some great influences. Malajube never stay on one thought for long, and (unless you know French quite well), we can only assume what those thoughts are. From forceful to introspective to fun-loving, Trompe-L'oeil is a great find and an essential album for fans of Muse, The Flaming Lips, or Super Furry Animals. Yay for French Canada!

(Published at MusicEmissions.com)

Streif--Nordic Winter

The title tells all: this is the music playing in the humble log shelter in which you’ve taken shelter from the harsh Scandinavian elements. Quiet traditional Scandinavian tunes are coupled with a soft-jazz influence for a very pleasing album that’s modestly touching. The four-man outfit from Scandinavia use a variety of traditional instruments to craft exotic and truly chilling folk music, simulating the frigid gusts of their Nordic homeland. Tracks like "Estlandsk Vuggevise" and "Ballade" are softly gurgling springs of melancholy feeling, mixed with a few jazzy saxophone touches—adding an interesting modern touch to what would otherwise feel quite classical. Great background music for a snazzy party or for a rainy day at home, Streif puts the indie in Scandinavia traditional music…a fact I’m positive you were not aware of before today. Nordic Winter – chilling, melancholy, and even jazzy – is a very interesting listen if you can get your hands on this release. Don’t pass it by.

(Published at MusicEmissions.com)

The Hunt Is On

There’s an excitement in hunting for music. A primeval evolutionary leftover from our species’ humble hunter/gather stage is activated as I open the door to my town’s dinky used record store. Immediately the scent of delicious bands and scrumptious music hiding in the shelves and among the brush cater to my overwhelmed nose. With predatory speed and instinct I rip through the rows of albums, delighting when my fingers finally reach the plastic foil of my desired music, salivating on the cashier as he rings up my total. An exaggerated account it may be, and entirely a false one. Why? There are no dinky used-record stores in my town.

Like Tower Records’ 89 store closings and the other 1,200 retailers who have gone the way of the dodo across the nation, my music shops are dying. This void of musical discovery needs filling. And by what? I cringe at the thought of relenting myself to MTV and XM Radio, letting their choices of music be force-fed down my stagnantly passive ear-drums. Where can I feel the same exhilaration of a record store hunt? The digital revolution provides the answer: the Internet.

In what has become the most massive record store the world has ever seen, the Internet attracts billions of users to thousands of music sites which feature millions of artists—an overwhelming scope of musical discovery and listener interaction. Over 155 million users have registered with the online community behemoth MySpace, over 3 million of which are unsigned artists. PureVolume claims over 360,000 artists, posting 315,000 songs for the 750,000 registered users to enjoy. Last.fm offers social networking for their 15 million users blended with music from 7 million bands, Bandwagon has attracted nearly 6,000 bands, and Sputnik Music lets its 455,000 users review and discuss any sort of music. But more than that, anyone with an opinion can open their own Web site to the world, creating a vast intricate network of music recommendations and artist samples. From the bloated networks all the way down to the unknown bloggers, all patiently await the arrival of your ears. Its a music hunter’s dream come true.

Imagine a record store filled with millions of customers – all gossiping, discussing, and recommending music to one another – while paroling by music being actively shown off by the bands themselves like a vast sonic bazaar. Listeners stalk and devour a hundred times the number of bands previously available to them in the record stores. This is the Internet, and its no surprise to see so many music hounds glued to their computer screens. Two such bands lured me over to their respective online booths, and shared with me their thoughts of this new field of musical play.

Dickie Haydon – leadman of young Kentucky indie-outfit Petticoat, Petticoat – voiced his opinion of sites like MySpace after his band’s 2006 debut Every Mother’s Child. "40 years ago I’m sure there were tons of bands that could have made it big, but nobody had any idea who they were because the only way you could find them out would be if they had some record deal." Surely he has his band in mind when saying this. Petticoat, Petticoat have MySpace to thank for the majority of their fan-base, and the realization of their 2006 tour. "We booked all through MySpace," he admits, revealing just how heavily Petticoat, Petticoat relies on the community Web site.

"I definitely think there's a change coming in the industry," agrees Sleeping At Last bassist Dan Perdue. After a brief stint on Interscope Records, the Chicago rock group opted to release its latest album Keep No Score independently. "We're going to start hearing a lot more stories of bands…selling like 100,000 [albums] without any label," predicts Perdue. Sleeping At Last chose to go independent because of the freedom provided to them online. With their established fan base behind them, the band felt sure promoting their album online would yield just as much success as through a restrictive label. "The big labels are going to have to change the way they do things. They don't hold all the cards anymore." They certainly don’t: Sleeping At Last’s independently-promoted new tracks were recently featured on popular TV show "Grey’s Anatomy."

Indeed, record labels should take heed. The Internet is the new battleground for the attentions of listeners and consumers like myself, and those who don’t adapt to the new environment will not survive. With traditional offline music businesses sinking in deep water, it is becoming clearer that bands can survive happily without big labels—supported by online fans. Labels now have a choice: attempt to refocus on the Internet and try to recover, or to pass away like so many record stores. Either way, we’ll go on hunting…one Web site at a time.

(Property of Crawdaddy!)