June 24, 2007

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)

June 12, 2007

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. “CafĂ© 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)

June 11, 2007

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)

June 01, 2007

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)