Racket Scan

Review: Belle and Sebastian's "The BBC Sessions"

2008-11-02T19:12:00.000-08:00

I've never really gotten into Belle and Sebastian. I know it's a staple of indie rock fans, one of those basic ingredients to a healthy love of the underground. But...they just haven't done it for me. Whether it was just because I hadn't found that song which totally captured me and drew me into the world of Belle and Sebastian, or just because they didn't connect, I didn't much like them. The Delgados on the other hand...but that's for a different post.

The BBC Sessions totally changed all that though. The organic and accessible nature of these songs really drew me in. Tracks like "The State I Am In" and "Judy and the Dream of Horses" are melodically magical and charming. The simple instrumentals and dynamic vocals play well off each other, making for tracks that are addictive but subtle. That, and it doesn't get old. Play the record again, and again, and again...you'll be ready for another go.

And really, the best part of this album is that it can draw in new fans (like me) and offers some new stuff for the tried and true Belle and Sebastian masses. Beyond just the new tracks, the new takes on old favorites are worth looking into The BBC Sessions. It fits both into Belle and Sebastian's time and 2008, into new fans' collections and old. Very, very recommended.

Dirty on Purpose on Tour

2008-09-30T17:27:00.000-07:00

Dirty on Purpose, one of the best undiscovered acts out there right now, is again on tour. Dates are at the bottom of the post.

Their blending of My Bloody Valentine shoegaze and Smashing Pumpkins alternative is frankly better than either at times. Where similar act Silversun Pickups rely on brilliant guitars and heavily-layered melodies, Dirty on Purpose more often than not remain subtle, charming and forlorn. Their LP Hallelujah Sirens is heart-wrenching in some moments and exhilarating at others. Check out the video for "Light Pollution" below.

Tour Dates:

September 29 @ Turf Club (St. Paul, Minnesota)*
September 30 @ High Noon Saloon (Madison, Wisconsin)*
October 1 @ Empty Bottle (Chicago, Illinois)*
October 2 @ Pike Room (Pontiac, Michigan)*
October 3 @ Lee's Palace (Toronto, Ontario)*
October 5 @ La Sala Rossa (Pop Montreal Festival w/ Liam Finn & The Veils; Montreal)
October 9 @ Johnny Brenda's (Philadelphia, Pennsylvania)#
October 10 @ Music Hall of Williamsburg (Brooklyn, New York)#
October 11 @ Middle East (Boston, Massachusetts)#
October 12 @ Living Room (Providence, Rhode Island)#

*w/The Wedding Present
#w/The New Year

Dirty on Purpose - "Light Pollution"

Belle and Sebastian: "The BBC Sessions" Out in November

2008-09-25T13:55:00.000-07:00

The BBC Sessions, a collection of recordings by Belle and Sebastian from 1996 through 2001, will be released on November 18th through Matador records. The 2-disc album will feature tracks from live radio recordings for Mark Radcliffe, Steve Lamacg, and John Peel.

Four songs for Peel, recorded in 2001, have never been released on CD or vinyl--though they've been constantly bootlegged and are infamous for being the last studio recordings with Isobel Campbell. "The Magic of a Kind Word," "Nothing in the Silence," Shoot the Sexual Athlete," and "(My Girl's Got) Miraculous Technique" will all be officially released for the first time on The BBC Sessions.

Additionally, the compilation contains a live 2001 Belfast Christmas show which features covers such as The Beatles' "Here Comes the Sun," The Velvets' "I'm Waiting for the Man," and Thin Lizzy's "Boys Are Back in Town." Other highlights of the album include alternate versions of "The Wrong Girl" and "Lazy Line Painter Jane."

All in all, "the album tracks the group's development" from 1996 to 2001, and frankly showcases the sheer talent contained within Belle and Sebastian. I'll try to have a review up soon. In the mean time, I will say this: Don't write this off as another manufactured collection of songs the band is trying to sell to you again--this is worth your money. This is big.

Asobi Seksu on Tour, New LP in 2009

2008-09-24T14:10:00.000-07:00

Asobi Seksu, the lovable shoegaze-touting Japanese infused New York outfit, has announced both new tour dates and that a new LP is coming in early 2009. The group has been abroad more often-than-not for the past two years, so it's nice to have them back on home turf for some U.S. shows. Tour dates below:

10/17 Annandale-on-Hudson, NY @ Bard College - Smog
10/18 Boston, MA @ T.T. the Bear’s
10/19 Montreal, QC @ tba
10/20 Toronto, ON @ Horseshoe
10/21 Cleveland, OH @ Grog Shop
10/22 Chicago, IL @ Empty Bottle
10/24 Denver, CO @ Hi Dive
10/25 Salt Lake City, UT @ Kilby Court
10/27 Seattle, WA @ Nectar
10/28 Vancouver, BC @ Media Club
10/29 Portland, OR @ Holocene
10/30 San Francisco, CA @ Rickshaw Stop
10/31 Los Angeles, CA @ tba

The new album, the group's third to date, has been produced by Chris Zane (The Walkmen, Les Savy Fav) who also assisted in the making of the glorious Citrus. To hold us over until 2009, Asobi Seksu will be releasing the first single "Me & Mary" on November 18th here in the U.S. through Polyvinyl. In Europe, the single will be available a day earlier. Reportedly, the song "rolls forth on a bed of drums and glistening guitars, and features a soaring vocal performance from Yuki Chikudate." Sounds decent to me. Check out the video for "Thursday" from their last album Citrus below.

Theresa Andersson: New Video, New Album, New Tour

2008-09-23T19:51:00.000-07:00

Theresa Andersson, the kitchen-diva who rocketed to YouTube fame with her multitasking track "Na Na Na" (YouTube video here) has released a new video following on the heels of the release of her album Hummingbird, Go!. The track, titled "Birds Fly Away," is again a kitchen-centered piece with Andersson handling all of the instruments with "functional choreography." Looks like she's accumulated about 200 additional foot-pedals and some higher production techniques, but the track is the same sunshine-washed synth-pop smile-fest that "Na Na Na" was. If you liked the first, you'll love the second. Find it here:

Theresa Andersson - "Birds Fly Away"

FIttingly, her new album Hummingbird, Go! was recorded entirely in her kitchen. "The kitchen sounds amazing, it has wonderful, natural reverb," Andersson explained. “Even the room itself is audible." It tickles me that artists pay thousands of dollars escaping the noises of anything other than their instruments, and here's Andersson willingly seeking out the noises her fridge reverbs back at her. The album was released on September 2 through Basin Street Records and from the looks of things, it's picked up some flattering acclaim. Both "Na Na Na" and "Birds Fly Away" can be found on the album. Mp3 files of both tracks are linked below.

Theresa Andersson - "Na Na Na"
Theresa Andersson - "Birds Fly Away"

Finally, Andersson -- a Sweden resident herself -- has embarked on a U.S. (and Canadian) tour through November. Joining her are fellow Scandinavians Tobias Fromberg and Ane Brun. Tour dates below:

09/23 - Cincinnati, OH @ 20th Century Theatre
09/25 - Baltimore, MD @ 8 x 10
09/26 - Philadelphia, PA @ World Cafe Live
09/27 - New York, NY @ Bowery Ballroom
09/30 - Washington, DC @ DC9
10/02 - New Orleans, LA @ Howlin' Wolf
10/04 - Gretna, LA @ Gretna Heritage Festival
10/21 - Washington, DC @ The Swedish Embassy
10/22 - New York, NY @ Living Room (CMJ)
10/23 - Philadelphia, PA @ Tin Angel
10/24 - Arlington, VA @ IOTA Club & Cafe
10/25 - Norfolk, VA @ Attucks Theatre
10/28 - Nashville, TN @ The Basement
10/29 - Dayton, OH @ Canal Street Tavern
10/30 - Indianapolis, IN @ Rathskeller Restaurant
11/01 - Chicago, IL @ Schubas
11/08 - Montreal, QUE. @ Petit Campus
11/10 - Allston, MA @ Great Scott

Kevin Ayers Releases Track From "What More Can I Say"

2008-09-20T12:35:00.000-07:00

Kevin Ayers will release What More Can I Say, an LP of unreleased tracks from the '70s, will be released on November 4th through Reel Recordings. The collection of tunes was found in poet Lady June's London apartment on a set of cassette tapes and features performances from bassists Mike Oldfield and Archie Legget, organist David Bedford, and drummer Robert Wyatt. Download "Crystal Clear" from What More Can I Say below.

Kevin Ayers was the bassist of British psychedelic rock band The Soft Machine during the 1960's, then pursued a solo career after he quit the band in 1968. Known for his somewhat ironic laid-back manner, Ayers became a work-horse of music, releasing a steady stream of albums until the present day. His latest album, Unfairground, hit shelves in 2007 and received high praise (Mojo described the album as "gorgeous").

Kevin Ayers - "Crystal Clear"

Ane Brun Readies U.S. Debut of "Changing of the Seasons," Announces Tour Dates

2008-09-19T15:28:00.000-07:00

Norwegian singer/songwriter Ane Brun will be releasing her sophomore U.S. album Changing of the Seasons on October 21st. She's also announced tour dates with Tobias Froeberg and Theresa Andersson. Brun's first U.S. album A Temporary Dive in 2006 was nearly drowned in praise, whether for her surreal melodies of erotic, Bjork-like vocals. Her voice is polarizing--it has a certain waver that drives people nuts, for better or for worse. It's quite sensual really. In any case, Brun is in no way tackling sophomore-slump issues. Changing of the Seasons is her fifth album altogether and was produced by Valgeir Sigurdsson (Björk, Sigur Ros, Múm, Bonnie Prince Billy, Coco Rosie, Maps, and more). So don't be afraid to set your hopes high. Check out the video for "Don't Leave" from the upcoming album below.

Brun has also announced a set of dates for her fall U.S. tour:

10/22 - The Living Room - New York, NY
10/23 - Tin Angel - Philadelphia PA
10/24 - Iota Club and Café - Arlington, VA
10/25 - Attucks Theatre - Norfolk, VA
10/28 - Café Du Nord - San Fransico, CA
10/30 - Hotel Café - Los Angeles, CA
11/01 - Schubas Tavern - Chicago, IL
11/06 - London Music Club - London, ON
11/07 - El Mocambo - Toronto, ONT
11/08 - Lee Saints - Montreal- QUE
11/11 - Great Scott - Boston, MA

Mason Proper New Album, Tour w/Cloud Cult

2008-09-19T13:11:00.000-07:00

Michigan's half-post-punk, half-emo indie rockers Mason Proper will release their sophomore album Olly Oxen Free on September 23. Produced both by the band and by Chris Coady (TV on the Radio, Yeah Yeah Yeahs, Blonde Redhead), the album reportedly "bristles with a ghostly ambience...[it] beams with otherwordliness and reaches towards transcendence." Quite a lofty description, but I expect good things. Their 2006 debut There Is a Moth in Your Chest was worth the flattering feedback it received, though it wasn't exactly my cup of tea. The descriptions of their coming album play up to my gloomy post-rock tastes though, so perhaps they'll win me over yet. Check out the video for "My My (Bad Fruit)" from There Is a Moth in Your Chest below.

Additionally, the band will be on a quick tour this fall--including some dates with Minneapolis experimental outfit Cloud Cult. Dates below.

09/25: Ann Arbor, MI @ The Blind Pig (CD Release Party)
10/21: New York, NY @ Rehab (Dovecote Records CMJ Showcase)
10/31: Mt. Pleasant, MI @ Rubbles Bar
11/01: East Lansing, MI @ Small Planet
11/10: Washington, DC @ Black Cat*
11/11: New York, NY @ Bowery Ballroom*
11/12: Danbury, CT @ Herloom Arts Theater*
11/13: Cambridge, MA @ Middle East Downstairs*
11/15: Rochester, NY @ Bug Jar

*Dates with Cloud Cult

Review: My Majestic Star's "Too Late, The Day"

2008-09-18T15:11:00.000-07:00

Most post-rock you come across nowadays are filled with a certain dramatic gloom that so well lends itself to heavily layered, massive attacks of guitars. Explosions in the Sky, This Will Destroy You, A Place to Bury Strangers, all exude an attitude of negative energy to some extent. Not that their songs are depressing or pessimistic, but it’s characteristically difficult to pull off a “happy” post-rock track.

While perhaps My Majestic Star don’t achieve “happy,” their songs in Too Late, The Day are certainly more sunny and optimistic than some of their instrumental brethren. The follow-up to 2006’s Ideas Are the Answer, Too Late uses the theme of a quickly passing day well. The title track, which leads off the album, is short-lived and dramatic like most days—if albeit in a slowly developing sort of way. Unlike most days however, “Too Late, The Day” is enjoyably atmospheric and worthy of being repeated.

The most-used musical theme however, is that found within “On Afternoons.” Cheerful instrumentals hold back any darkly-layered guitars, spiraling into enjoyable sonic chaos before giving way to a daydreamy Sonic Youth guitar riff. The track, as well as others such as “Defects in Sunsets” and “Forget Idaho,” is filled with distracted attentions, perhaps trying to capture an afternoon spent on your back, watching clouds dance across the sky.

My Majestic Star exudes warmth in its instrumentation where others deliver only frigidity. In fact, the biggest drawback of Too Late, The Day is that My Majestic Star relaxes you into forgetting that you’re listening to music. Concentration is difficult on this lazy summer afternoon of an album. My Majestic Star craft a graceful collection of delicate melodies that move at a natural pace—seemingly no faster than the pace of a flower growing, or the sun moving across the sky. A wonderful find for all fans of post-rock, shoegaze, or beautiful music.

My Majestic Star - "Defects in Sunsets"

(Published at MusicEmissions.com)

The Juan Maclean - "Find a Way"

2008-09-17T14:18:00.000-07:00

Hello! Been a while. The Juan Maclean -- the electro-infused persona of John Maclean -- is embarking on a U.S. tour this fall. To kick off the tour, the New Hampshire resident has released "Find a Way" available as a free download at RCRD LBL.

First off, if you haven't heard of RCRD LBL, it's truly one of the best things to happen to music and one of the best uses of the Internet (and of course, this crazy record label-less world it has created). Bands as diverse as Tokyo Police Club, The Chemical Brothers, Foals and Caribou have published singles, remixes, or B-side tracks to the site where you can download them all for free! It's a pretty cool operation, and definitely worth some of your time.

Anyways, "Find a Way" is a groovy dance-floor/trance/electronica/whatever cut that throws in some jazzy influences (the piano part in the intro is one of my favorite elements). Fans of Cut Copy (who Maclean recently toured with) should take to The Juan Maclean instantly. Watch for the act's new album The Future Will Come early next year. Tour dates below.

The Juan Maclean - "Find a Way" (via RCRD LBL)

The Juan Maclean will be joined by Nick Millhiser (!!!), Gerry Fuchs (Turing Machine) and Nancy Whang (LCD Soundsystem) on tour.

09/17: Scottsdale, AZ @ Martini Ranch
09/18: Tucson, AZ @ Club Congress
09/19: Albuquerque, NM @ Launchpad
09/20: Ciudad, Juarez @The Hard Pop
09/22: Austin, TX @ The Mohawk
09/23: Dallas, TX @ Palladium Loft
09/24: New Orleans, LA @ One Eyed Jacks
09/25: Atlanta, GA @ Masquerade, with Ratatat
09/26: Chapel Hill, NC @ Local 506
09/27: Greensboro, NC @ Guilford College
09/28: Baltimore, MD @ Ottobar
09/29: Washington, DC @ Black Cat
09/30: Philadelphia, PA @ Johnny Brendas
10/18: New York, NY @ Bowery Ballroom, with Chairlift
10/31: Los Angeles, CA @ Lot 613

RedEye ChiTunes: Bully in the Hallway

2008-09-11T21:11:00.000-07:00

A new article of mine on Chicago punk-rock act Bully in the Hallway was published in the Chicago Tribune's RedEye. The quintet pours a variety of styles into their music, which helps them stand out from the ridiculously crowded field of semi-punk bands in Chicago. They have a debut album coming out soon, nine months in the making, while they already have enough songs penned for a second release. Serious songwriting machine. Find the article -- and their song "The Bored" -- at the link below.

ChiTunes: Bully in the Hallway

Racket Scan Podcast #6

2008-04-11T10:59:00.000-07:00

Racket Scan Podcast #4 is up and ready for download.

IIn this episode: Tokyo Police Club, Lykke Li, Butterfly Explosion, Union of Knives, The People’s Revolutionary Choir.

Tracklist:
1. Tokyo Police Club – “Sixties Remake”
2. Lykke Li – “Little Bit”
3. Butterfly Explosion – “Next Year”
4. Union of Knives – “Operated On”
5. The People’s Revolutionary Choir – “Do You Feel Like I Do?”

Download here. Stream online here.

As always, subscribe to the Racket Scan podcast though iTunes here.

Podcast #4

2008-03-29T09:25:00.000-07:00

Racket Scan Podcast #4 is up and ready for download.

In this episode: Colin Meloy, Candie Payne, Ghost of the Russian Empire, Shearwater, I Was A Cub Scout.

Tracklist:
1. Colin Meloy – “Barbara Allen”
2. Candie Payne – “I Wish I Could Have Loved You More”
3. Ghost of the Russian Empire – “Decade Without Death”
4. Shearwater – “Rooks”
5. I Was A Cub Scout – “P’s and Q’s”

Download here. Stream online here.

As always, subscribe to the Racket Scan podcast though iTunes here.

Podcast #3

2008-03-29T09:21:00.000-07:00

Racket Scan Podcast #3 is up and ready for download.

In this episode: The Hourly Radio, Great Northern, Ghostwood, The Duke Spirit, and Nada Surf.

Tracklist:
1. The Hourly Radio – “Deaf Ear” (Shiny Toy Guns Remix)
2. Great Northern – “This is a Problem”
3. Ghostwood – “Red Version”
4. The Duke Spirit – “You Really Wake Up The Love In Me”
5. Nada Surf – “Weightless”

Download here. Stream online here.

As always, subscribe to the Racket Scan podcast though iTunes here.

Podcast #2

2008-03-29T09:13:00.000-07:00

Racket Scan Podcast #2 is up and ready for download.

In this episode: The Bird and the Bee, Foals, The Soldier Thread, Computer Club, and Bear Colony.

Tracklist:

1. The Bird and the Bee - "Come as You Were"

2. Foals - "Balloons"

3. The Soldier Thread - "Fevers and Fireworks"

4. Computer Club - "Snobs"

5. Bear Colony - "Hospital Rooms"

Download here. Stream online here.

As always, subscribe to the Racket Scan podcast though iTunes here.

Racket Scan Podcast Now on iTunes

2008-03-16T20:40:00.000-07:00

You may now subscribe to the Racket Scan podcast through iTunes:

Subscribe!

Every episode is 5 songs of the latest and greatest indie rock (post-rock, indie-pop, folk, anti-folk, shoegaze, electro, singer/songwriter, punk, Brit-rock, and even Bjork). I hope to have one for you every week, with minimal talk and maximum music. Subscribe today!

Podcast!

2008-03-09T19:12:00.000-07:00

This is the first of what I hope will be many podcasts here at Racket Scan. Hopefully find them soon on iTunes as well:

Racket Scan Podcast #1

Shutting Down...

2007-10-08T18:13:00.001-07:00

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

2007-06-24T16:11:00.000-07:00

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

2007-06-12T18:09:00.001-07:00

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

2007-06-11T07:11:00.000-07:00

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

2007-06-01T14:39:00.000-07:00

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

2007-06-01T14:06:00.000-07:00

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

2007-05-28T14:46:00.000-07:00

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

2007-05-23T17:35:00.000-07:00

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

2007-05-21T17:47:00.000-07:00

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

2007-05-16T18:37:00.000-07:00

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

2007-05-13T14:01:00.000-07:00

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

2007-05-09T16:05:00.000-07:00

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

2007-05-07T18:49:00.000-07:00

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

2007-05-07T17:57:00.000-07:00

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

2007-05-07T16:02:00.000-07:00

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

2007-05-07T15:21:00.000-07:00

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

2007-05-02T15:46:00.000-07:00

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

2007-04-21T09:06:00.000-07:00

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

2007-04-21T08:06:00.000-07:00

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

2007-04-21T07:49:00.000-07:00

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

2007-04-21T07:30:00.000-07:00

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

2007-04-15T14:56:00.000-07:00

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

2007-04-14T09:12:00.001-07:00

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

2007-04-07T12:54:00.000-07:00

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

2007-04-07T12:53:00.000-07:00

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

2007-04-06T13:05:00.000-07:00

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

2007-04-06T11:10:00.000-07:00

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

2007-04-01T13:04:00.000-07:00

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

2007-04-01T12:32:00.000-07:00

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

2007-03-24T10:39:00.000-07:00

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

2007-03-19T15:16:00.000-07:00

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

2007-03-14T19:18:00.000-07:00

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

2007-03-14T18:38:00.000-07:00

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

2007-03-14T18:08:00.000-07:00

"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

2007-03-10T22:41:00.000-08:00

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

2007-03-10T08:55:00.000-08:00

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

2007-03-08T18:10:00.000-08:00

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!)

C-Jay--Scheurbrie

2007-03-04T13:48:00.001-08:00

The newest release on Babylon Records comes from the Dutch artist C-Jay. The multi-talented DJ has been involved in music since age 11, taking influences from the likes of Jean Michel Jarre, Vangelis and Tangerine Dream. He owns his own record store, owns his own record label, DJs, produces, and runs his own underground dance nights (called The Sessions). His first release came in 2004 with Dutch engineer BlueSparkle, and since then has signed multiple record deals and traveled all across Europe. Schreurbrie is his latest release.

The original track is extremely busy. A quicker-than-normal bass-pace plows the ear along through effects raining down like a snowstorm on the dancefloor. The 8 minute track rolls up and down, containing its overwhelmingly powerful moments and subtlety touching slices. A good track for any club, Schreurbrie contains just enough rave and pop to keep things interesting without derailing.

The Roger Martinez Dirty Dub Mix dices up the driving bass beat found in C-Jay’s original, adding a slew of fuzz and sliced up tidbits. A touch longer than the original as well, the remix sounds very similar to its namesake—with the difference of busier effects. Gone are a few quiet moments, as many sonic sidesteps and alleyways rush by the listener without pause.

A decent entrance into Babylon Records, C-Jay proves himself to be a favorable artist making some darn good music. Not anything to blow your mind over, but definitely a worthy soundtrack for your evening.

(Published at 365Mag.com)

Gui Boratto--Chromophobia

2007-03-04T11:44:00.000-08:00

With hordes of fans and Kompakt Distribution kissing his feet, Sao Paulo releases his first full-length: Chromophobia. The Brazilian – under the guise Gui Boratto – has been producing for over 10 years, working with such acts as Pato Banton, Steel Pulse, Mano Choa, and Desiree. His long stream of singles has built up quite an expectation for this full-length, and he effectively lives up to them. Chromophobia is a healthy blend of many electronic influences, including dance, house, and pop—providing a fascinatingly diverse range of sounds often lacking in full-length techno albums.

Boratto includes the tracks you would come to expect to blast out of your speakers. Tracks like "Terminal," "The Blessing," and "Shebang" contain well-mixed dancefloor beats and the standard blips and beeps dancing around the foundation of bass. However, Paulo throws in some different sorts of tricks you may not have been expecting.

"Acrostico" is much more on the pop-side of the spectrum, with less-emphasis on the driving bass-beat and more on wonderful melodies in a slew of sounds that could easily make its way into an indie-rock playlist. Further capitalizing on this style is "Beautiful Life," which adds more pop-effects and even ambient vocals to a pulled-back pulse. In addition, "Mala Strana" is a complete departure from the ever-driving dancefloor tunes found in "The Blessing." Here is ethereal worlds, where the listener is invited to drift amongst the ambient landscapes like some distant dream.

"Hera" moves back towards the dancefloor, incorporating more of a bass-beat but still staying very much pop (think VNV Nation). These tracks, the ones that incorporate the bass of the dancefloor with the ambient sounds of another world, are the ones where Gui Boratto truly shines. The more traditional dancefloor tunes are frankly nothing out of the ordinary, and while the ambient tracks are beautiful they tend to have little dynamic and are less engaging.

"Beautiful Life" and its like are the happy medium, throwing a monkey wrench into the old techno-beat game without completely disrupting the machine. All in the all though, the machine Gui Boratto has created is dynamic, with changing styles and diverse influences. From one spectrum to the other, Boratto masters the art and creates an album that refuses to let your attention go.

(Published at 365MAG.com)

The Arcade Fire--Neon Bible

2007-03-02T11:16:00.000-08:00

I will readily admit that a few weeks ago, I was not an Arcade Fire fan. Funeral never did much for me, and – although I by no means disliked it – I never understood why it was such a celebrated and treasured release. And so I felt about Neon Bible...until "No Cars Go." Embraced by the caress of orchestral soundscapes that rocket throughout the song, I was immediately won over. I rushed to start the album over from the start, and every song pulled me deeper and deeper into alcoves of Arcade Fire.

"Intervention" is the clear single-worthy track off the song, pushing Arcade Fire’s organ instrumentals straight into the spotlight with a scathing commentary on religion, and those within it. The dramatic lyrics feel right at home amongst the majestic instrumentals, as Win Butler sings, "Working for the church as your family dies / Take what they give you and keep it inside / Every spark of friendship and love will die without a home." Building and growing in volume and scope, "Intervention" explodes into a climactic spine-chilling climax, showing off everything that makes The Arcade Fire a spectacular outfit.

Other tracks like the steady drudgery of "Black Mirror," the organ-infused-blues of "My Body Is A Cage," and the shout-out against society and America in "Windowstill" show off the range of instrumental expression available to Arcade Fire—and the dynamic range in lyrical content. "Black Wave _ Bad Vibrations" puts the contrast between Butler and Regine Chassagne’s vocals on display, bounding along with a instrumental beat the hints at growing unrest—hinting at the feeling that all is not quite right. As Butler takes over the lyrics, the song becomes stronger with a pounding drum-beat, driving home the "Nothing lasts forever" theme relentlessly. Chassagne’s backing vocals add an ethereal and haunting quality to a breath-taking work. Crank your speakers on this one, and feel the chills run up and down your very being.

"No Cars Go" is my clear favorite, and revealed the entire album in a new light. A snappy drum beat supports a pop-friendly instrumental line as the song builds into the duo-vocals, singing of a place where society is left behind…where "No cars go." The lyrics and instrumentals crescendo in desire and desperation before finally unveiling a majestic composure of orchestral landscapes and imposing vocals, demanding everyone to come along: "We don’t know where we’re going / But let’s go!" This is what its all about.

I feel no doubt saying Neon Bible blows Funeral clear out of the water. I found a connection here that was missing in Arcade Fire’s first release, and its made a raving fan out of me. The incredible diversity of instrumentals and lyrical content, as well as the masterful use of non-traditional and emotion is wonderful. The Arcade Fire took my breath away and sent chills down my spine more than once, and they will for you too. The first release that will make it on everyone’s "Best of ‘07" lists, Neon Bible is simply a must-have.

(Published at ComfortComes.com)

Riton--Hammer of Thor

2007-02-24T16:54:00.000-08:00

Riton – the French term for ‘Henry,’ as in Henry Smithson – provides Tiefschwarz’s Souvenir label their third release in "Hammer of Thor." Smithson, who has released and remixed music on a slew of labels such as Grand Central, Get Physical, and Klang, is currently working on his third album which will represent a change in Riton’s music. Stepping away from the contemporary world of electronica, Smithson will instead focus his musical talent on 1970’s German Kosmische.

In a way then, "Hammer of Thor" is a stepping stone towards this eventual destination. A bit of rave and a bit of dance-floor grooves, Riton’s first release with Souvenir is a quick-n-dirty three song glimpse at what Smithson is experimenting with…and what we can expect in the future.

The opening namesake track of the release is a synth-infested 9 minute groove. Evolving its way from the simplest of origins, a trumpet-like electronic melody guides your way through a world of blips, beeps, and grinding drumbeats. While the trumpet-like effect make slice a bit too hard into the eardrum, the modest beat driving the listener along through the song is very catchy and will get even the most stagnant foot moving.

Almost sensing this, the Roman Flugel remix of Hammer of Thor distributes the trumpet effects throughout the song, and putting in more of the deliciously drum-snaps and beats and using the other effects as breaks in the action. Both versions of the track are wonderful raves that would get any dance-floor moving, but the dispersion of the less-ample effects in the Flugel version seem more pop-oriented.

Closing out the release, Cocks and Noodles is a shorter track with a more mellow traditional beat, but still one that’s well-defined and great to move to. Quieter and less drastic, Cocks and Noodles reveals that Riton is still hanging on to this previous influences while gasping out for new territory. "Hammer of Thor" is a transitional piece that finds an artist moving on to new musical ground, while still keeping a foot in familiar sounds.

(Published at 365Mag.com)

Shonky--Olympia EP

2007-02-24T16:50:00.000-08:00

From the first bass rumblings of Olympia you know you’re in good hands. Shonky’s "Olympia" is his second EP since beginning his DJing career in 1998. Influenced by such Parisian artists like Dan Ghenacia, Ivan Smagghe, and :Terry, Shonky released his own debut "Let Me Ask You" in 2005, and follows it with "Olympia," Freak n’Chics’ first release of 2007.

Olympia—the namesake opener of the EP—is a straightforward yet tantalizing electronic joy-ride, displaying just what Shonky can do to get your body moving. Added on like layers on a sonic cake, brightly colored manifestations of resonance fly on by around the firm foundation of a solid dance-floor groove. Phantonmas is sludgier and darker, but still feature the kaleidoscope of whirling snapshot-like synth effects—like a sonic strobe light spitting out snippets of electronica joy.

Horizontal Moon – besides having one of the best song titles yet of 2007 – follows the same recipe as the previous two tracks. A different blend of effects are added however, which makes the general composure sound hipper and more life-like in a way that’s very difficult to explain. Perhaps it’s the addition of rhythmic vocals that make Horizontal Moon suave, or just the sly bass-line.

Whatever the case, Shonky makes himself a player in 2007 with "Olympia," showing he’s got the stuff to make it both in the Parisian scene and around the world.

(Published at 365Mag.com)

Zwan Blurb

2007-02-21T09:43:00.000-08:00

After descending from the lofty perch of rock that was The Smashing Pumpkins, Billy Corgan and Pumpkins drummer Jimmy Chamberlin entered the new millennium with their newest creation: Zwan. Matt Sweeney of Chavez and Skunk fame joined in as guitarist, as well as David Pajo (of Slint and Tortoise) on guitars and bass.

Touring briefly in late 2001, the band gained Paz Lenchantin of A Perfect Circle on bass. By early 2002, Zwan’s live shows hinted at over 5 dozen songs in their line-up. Due to the sheer depth of musical quantity pouring out of the group, "Honestly" was released later that year through Reprise, and Mary Star of the Sea followed in January of ’03. Despite a strong start to the year -- including a five-night stand at The Smashing Pumpkins’ old nest (the Metro in Chicago) -- Zwan dissolved in September. Corgan hinted at wanting his Pumpkins back, and possibly starting a solo career as reasons for the break-up.

Sure enough, The Future Embrace – Corgan’s solo album – was released in the summer of 2005. A year later, The Smashing Pumpkins reformed and hiked off to the studio. They are expected to release their first studio album since 2000's MACHINA/The Machines of God on July 7th, 2007.

(Published at MusicEmissions.com)

Calla--Strength In Numbers

2007-02-18T13:05:00.000-08:00

New York rockers Calla enter 2007 with their fifth studio release, Strength In Numbers. The trio have always been known for the wistful dark brand of moderately paced rock, and the fittingly titled Strength In Numbers shows a refined loyalty to this quality. Always gaining more talent and experience between releases, Strength In Numbers represents Calla’s improvements since Collisions. The opener "Sanctify," like the majority of the album, is a slow-burner that features a guitar snippet that reminds one of Sonic Youth, before launching into an Audioslave-like solo. Unfortunately, because of the songs’ not-quite laid-back nature, all of the tracks begin to melt together. Tunes like "A Sure Sight" and "Le Gusta El Fuego" are well-written jam tracks, but are also a tad repetitious and slow. Not to say those qualities are detrimental necessarily, but the songs do fail to retain the listener’s active attention. That said, the guitar work is wonderful and any track that rips out into a solo will become a well-worn favorite. In addition, Calla achieves a few very catchy tunes in "Defenses Down," "Rise," and "Bronson," not to mention the hauntingly chilling instrumental interlude found within "Malo." Calla stick to what they know, and gain an overall victory with Strength In Numbers. While some tracks may lose your attention – especially if you’re more pop oriented – the majority of the release is very enjoyable (turn to "Malicious Manner" for proof). Strength In Numbers finds the New York trio continuing to hone their talents, and still winning over auidences.

(Published at ComfortComes.com)

Silversun Pickups--Pikul

2007-02-18T11:16:00.000-08:00

After hearing bootlegs of their own live shows, the Las Vegas group Silversun Pickups were so disgusted that they ran off to the studio to prove they could sound better. 10 seconds into Pikul shows not only that the group sounds better, but is a powerful force to be reckoned with. Their first hit, "Kissing Families" is a culmination of the ‘90s rock blend of shoegaze and alternative that has become Silversun’s trademark. Picking up comparisons to The Smashing Pumpkins and My Bloody Valentine, the song features Brian Aubert‘s hauntingly quiet voice that – at any moment – can explode into a fury of emotion. The effect-ridden shoegaze guitar solo blows whatever expectation you had of the group out of the water, climaxing into a chilling cello instrumental that displays the group’s fine use of loud/soft dynamics.

Within "Comeback Kid," Silversun Pickups create a suspicious instrumental cloud of pint up paranoia and fear. Once again, Silversun builds up towering climaxes and tears them down with instrumental fall-offs that ricochet seamlessly into another brilliant guitar solo worth drooling over. "Booksmart Devil" is a low-key, smoke-filled-room style groove that moves slowly yet gracefully along. Supported by Nikki Monninger’s bluesy bassline, Aubert throws out some jazz-themed guitar solos in a jam that’s still catchy as hell. "The Fuzz" follows suit, building slowly upon a groovy line that finally culminates into a gale of ‘90s alternative stylings.

Silversun Pickups deliver a delicious blend of shoegaze and alternative ‘90s rock, yet with their own classical touch. This isn’t just a memory of an era of music gone by, this is a talented group taking these influences and wrapping it into their own idea of what music should be: deep, intricate, emotionally stimulating, and complex. No cheap shots are taken, and every song is as well-written and well-executed as the last. In their first single, Silversun Pickups blow away most veteran bands’ full-lengths. The quality and care put into every song, in combination with the explosive quality of their later full-length Carnavas, reveal a band ready to take the world by storm.

(Published at MusicEmissions.com)

Tia Carrera

2007-02-17T17:20:00.000-08:00

"We’re going to try to recruit all the stoners of the world to follow our band," proudly proclaims Jason Morales, guitarist of Tia Carrera. Like Phish and The Grateful Dead before him, Morlaes and his two bandmates thrash out powerfully terrifying grooves for hours upon the stage. Unlike their predecessors however, none of it is planned. "We never rehearse," confesses bassist Andrew Duplantis, and their live show proves it. Tia Carrera put new meaning to the term "jam band," crafting a scything line-up of bluesy, vintage and stoner rock…all improvised for your pleasure.

All music veterans, the trio of artists arrived into the 21st century still clasping their ‘90s grunge stylings, and refusing to let go. Jason Morales – raised in Olympia, Washington – played briefly with The Butthole Surfers and his own band Hell Trout, which played with Nirvana before Bleach. Hell Trout’s drummer Dave Foster even played for the fellow grungers before Chad Channing came along. Morales’ amp is even featured on the cover of Bleach. In addition to Tia Carrera, he also shreds ax in Migas and Gorch Fock.

Bass player Andrew Duplantis, hailing from Louisiana, has been very much an in-demand rhythm instrumentalist. Playing in over 40 bands since he first picked up a bass, including the Meat Puppets and Bob Mould, Duplantis brings with him the glue needed to fuse the talents of Morales and drummer Erik Conn. "I just feel it. It’s telepathy man," revels Conn. Playing for Roach Factory, Conn opened for Jesus Lizard, The Flaming Lips, Uncle Topuleo, and Mudhoney before joining up with Stick. It was Conn who proved the key middle man between Duplantis and Morales, gigging with them both and bringing them together at the suggestion of Duplantis

The group’s first gig – a benefit funding the construction of a skate park – was the trio’s first time playing together: raw, unrehearsed, and blistering. Concerned over the young skaters’ music tastes clashing with their style, Tia Carrera were surprised to find a different group applauding them. "The funniest thing was," recalls Morales, "I can remember playing and [the skaters’] parents all coming up and going ‘Yeah! These guys are playin’ some of that blues music…I saw Cream, and it was just like that!"

Since then, the group has been a regular at Room 710 in Austin, Texas. Each and every week, at 8:00 on Friday, the trio take the stage and throw out new jams…new even to them. "You don’t know where it’s going to go but it feels good," Morales claims of their songs. Duplantis agrees: "People really seem to lie it, because they’re not really songs. It’s not packaged into nice little two and half minute deliveries."

This quality makes for a thrilling and blazingly haunting live set, but making an entrance into the studio-world is difficult. Usually handing out free recordings of their live acts, Tia Carrera decided to record their first album. The November Session, released in 2003 and recorded in a single day, certainly got the critics talking. Rolling Stone magazine described it as containing "A-bomb quality, like the 1970s German band Guru Guru shredding Jimi Hendrix’s ‘Machine Gun’ at half-speed." The Austin Chronicle agreed, claiming the monstrous grooves are "like Hendrix firing up his axe while the Melvins pour kerosene on it…Tia Carrera will have you on your knees, begging darling please." Achieving a place on The Austin Chronicle’s Top 10 list of 2003, The November Session exposed a whole new demographic of music-lovers to Tia Carrera’s exposed and unabashed sound.

Their newest recording come out in 2007 within the Heaven / Hell EP, which features more of Tia Carrera’s blistering jam rock, with a few guest faces and always stepping closer to the power of their live act. Tia Carrera’s on-stage performance will always be the heart of the band. "It’s like a treasure," Conn muses, "You’re not looking for it, but lo and behold you find it, and it’s more beautiful than you ever imagined."

(Written for Arclight Records)

Mêlée--Horns & Halos

2007-02-14T19:31:00.000-08:00

Even if you haven’t heard of Mêlée, you probably have heard them. Featured prominently and often on the popular shows "The O.C." and "House," the national recognition has nabbed the appropriately Orange County natives a spot on a major record label. Warner Bros will release Mêlée’s sophomore effort Devils & Angels in April of 2007. Horns & Halos, the first EP off their new record, gives a good idea of what we should expect from the California group. "Built to Last" is prominently pop, but with some mellow and desirable pop-indie influences as well. Clearly about a certain relationship (that’s "Built to Last," obviously), the song may be simplistic, but it’s easy on the ear and the instrumentals are fairly mellow and inoffensive. "Drive Away" is up next, and follows in the opening track’s footsteps. Pop, but not offensively painful and obviously so, the tune features more relationship woes but again fairly pleasant instrumentals that make up for any other lacking area. The final track "Frequently Baby (She’s A Teenage Maniac)" is wholly pop, and thus very annoying. The chorus could be catchy to some, but after the first two tracks I have little patience for yet another mindless romp through the flower-field that is mainstream radio. An enjoyable single, I doubt I would be as pleasant if I were forced to listen through a full-length.

(Published at MusicEmissions.com)

Dilatazione--Too Emotional For Maths

2007-02-10T14:15:00.000-08:00

Imported shoegaze from Italy—a fine delicacy. Following along the instrumental paths of My Bloody Valentine, Ride, and label-mates My Majestic Star, Dilatazione’s Too Emotional For Maths contain 7 almost-fully instrumental tracks that at first seem to be a shoegazer’s dream come true. Ranging from 3 to over 7 minutes per song, Too Emotional For Maths carries a modest and informal mood—almost as if you’re sitting in on the band’s jam sessions. The songs feel loose and free to flow where they may, an interesting aspect that is both a boon and curse for the Italian group. Though a gem for some fans, the unfocused (and arguably rambling) quality of their songs may lose the attention spans of others. "Solo in una strada affollata" (which translates as "In One Road Only Crowded") and "Eva Robin’s meets Stefania Sandrelli" are excellent shoegaze grooves off the album. While some shoegaze fans will completely fall in love with Dilatazione’s unfiltered shoegaze work, others may find Too Emotional For Maths too drawn-out for me.

(Published at MusicEmissions.com)

The Living End--State of Emergency

2007-02-07T20:05:00.000-08:00

Being American is sometimes (read: always) embarrassing. We’re a tad selfish with the whole natural resources thing, our attention spans are shallow and childish, and our tastes in music are just as shallow…most of the time at least. The Living End is a good example. They hail from Australia, and for some reason their latest work State of Emergency was hurt by a delayed release here in the States…primarily because of disinterest. What a crime. This album is the best pop-punk work I’ve heard in months, and that includes American Idiot by The Living End’s number one comparative artist: Green Day. Arguably (as will be argued by me), these guys blow the pants off Green Day, and State of Emergency should have swept through the States like a primeval wind-storm. Alas, my soap-box and I don’t control American tastes, so I will be satisfied by convincing you to go out and sneak a listen to The Living End—if you haven’t already.

Skinny ties and upright bass included, State of Emergency is an explosion of a pop-punk piece that includes horribly catchy tunes, one right after the other, and a general state of discontent towards the state of everything. "Wake Up" is probably the best example of this complaint, as singer Chris Cheney calmly instructs, along with a Floyd-like chorus of school-children: "So wake up / To the manipulation / Wake up / To the situation." The entire first half of the album is laden with punk rhythms just waiting for ears to lick up. From the stunningly fast guitar solo in "What’s On Your Radio" to the opening powerful chords of "’Til The End" (which will pull you into The Living End ‘til the end), State of Emergency rocks. "We Want More" sounds poignantly like earlier Green Day tracks, but frankly holds much more depth, more finely crafted instrumentals, and classier vocals.

The second half is a bit more pulled back. Tracks like "Nothing Lasts Forever" and "One Step Behind" find The Living End pulling back their formerly crashing instrumentals, opting instead for quiet verses and more moving choruses—giving Cheney to show off his lyrical might. This dip in intensity is a well-deserved break from the roller coaster of the opening tracks, and lets the closing songs come off much stronger than they would have if every single track were an tremendous sonic adventure. That’s not to say the middle tracks are bad, "Nowhere Town" still has a catchy pop melody, just with a light-punk influence. These scaled back tracks open up into the conclusion of the album, the blisteringly fast "Into The Red" which leaves the listener breathless from the mile-a-minute guitar solos…and strongly desirous to start the CD again. The Living End are wonderfully impressive in their latest musical addition, containing more depth and coming off as more catchy than their North American brethren—and perhaps humbling us Yanks.

(Published at MusicEmissions.com)

Brightblack Morning Light--Brightblack Morning Light

2007-02-07T17:54:00.000-08:00

If Brightblack Morning Light were a person, you’d want to invite them to every single party you threw. They’ve got character out the wazoo as it were. Begun by childhood friends Nathan "Nabob" Shineywater (guitars, vocals) and Rachael "Rabob" or "Rabinyah" Hughes (Fender Rhodes, vocals), both have since decided to live isolated of modern city life. Instead, they live out in northern California. By summer you can find them in tents, and when winter rolls around they retreat to a cabin. Whether it’s because of their Indian blood or just because that’s who they are, they’ve got character. Once more, their music fits completely with their background. Combining shoegaze-esque grooves with quiet, country rhythms, their self-titled second album is much like what My Bloody Valentine would have been, had they been cowboys (or had Jerry Garcia as leadman). There’s a thought you hadn’t planned on thinking up today. Brightback Morning Light move about instrumental soundscapes slowly, like a celestial sonic donkey moseying it’s way across a Western landscape. Just their song title "Amber Canyon Magik" sums up their music. Does it work? Sort of. If you find yourself nodding off at the length of My Bloody Valentine and Mazzy Star, or skipping through the tracks of the Grateful Dead, Brightback Morning Light is not for you. While they have some good grooves, mainly they’re just long and drawn out. Great groovy background noise, Brightback Morning Light may struggle to keep your undivided attention, but if they do you’ll find wonderfully mesmerizing and fascinating tracks that unravel more of themselves every time you listen.

(Published at MusicEmissions.com)

Andy Partridge--Fuzzy Warbles

2007-02-07T17:15:00.000-08:00

This is the sort of collectors box set that every music fan salivates over. Or is terrified of. Here, in over 9 CDs and an incredible 161 songs, Andy Partridge has assembled the vast enormity of songs that his group XTC never got around to using over their tumult-filled 30 year career—as well as a few of his own solo tracks. The total collection provides a good kaleidoscope of the many sides of XTC. In "Ship Trapped In The Ice" can be found the British Invasion stylings that got the group associated with other light poppy Brits. Within "I Don’t Want To Be Here" can be heard the edgy influences that always kept Andy and XTC distanced from traditional pop. Partridge’s song-writing skills are proudly displayed in the totally vocal track "Put It On Again," and as the fourth album opens we are immersed in the pastoral beauty of Partridge’s music after his 1982 nervous breakdown.

"All I Dream of is a Friend" finds Partridge vulnerable and alone with a guitar, singing tenderly of loneliness and forlorn feelings. In a conflicting paradox, XTC’s borderline scary playful mood blasts through "Bumpercars," an almost-dance based track that professes an undying love for the amusement park ride. Lush melodies aplenty are to be found on Volume 5, what with songs like the psychedelic and melancholy "My Land Is Burning." Passing by Volume 6 (a goofy collection of whistle and kazoo-filled tunes), we come to "Sonic Boom" and Volume 7, a more pop-oriented song that has strong roots in the late ‘80s, early ‘90s. By the end of the collection, the music sounds near-modern ("I Gave My Suitcase Away" is a good hit off of Volume 8). The Fuzzy Warbles Collectors Album plots the evolutionary course of a man and his band from the ‘70s all the way up to the present, charting their varying moods and influences along the way. Like a backstage pass to the music unseen from XTC, this collectors box-set should fill the appetite of even the hungriest XTC fan, and gives a magnified look at the songwriter skills of one of the most influential British rockers.

(Published at MusicEmissions.com)

The Klaxons--Myths of the Near Future

2007-02-07T15:57:00.000-08:00

In the house where pop music lives, locked away in the attic and forced to feast upon fish-heads broods the Klaxons. Their debut album Myths of the Near Future reveal this London group as pop music’s ugly twin – hidden away from public view – a quality that is as intriguing as it is wonderful. Though primarily rooted indie rock, the Klaxons infuse a fair amount of dance music (mostly from the UK rave movement) which gives their tunes a pop-sound (much like The Arctic Monkeys). However, their songs stay clearly on the experimental side of the genre-border with whacked-out songs such as "Atlantis to Interzone." Though built upon a dance-floor beat, the crazed vocals (think Ad Astra Per Aspera) and spastic manner of the melodies show off the Klaxons’ nonconformist side.

Resounding much like Withdrawal and The Rapture, the Klaxons deliver their off-kilter lyrics at a mile-a-minute rate, barely pausing enough to let the instrumentals – and your ears – catch up ("Totem on the Timeline" is a great example, pumping out the tongue twister "Serebella sitting on the totum timeline / Unwelcome foreign hands are very hard to find / Hangmen also die, in famagusta's hive" in just a few seconds). While songs such as "Forgotten Worlds" and the chillingly melodic "It's Not Over Yet" may try to convince you that the Klaxons are a purely dance-infused pop outfit, this only but their surface. Turn to tunes like "Magick" and the tribal "Isle of Her" to see just how scarily original the Klaxons can be. Myths of the Near Future is bound to make a big, freaky splash in the music scene as the Klaxons descend from their attic lair.

(Published at MusicEmissions.com)

Beneath Augusta--You Gotta Come Down Sometime

2007-02-07T15:19:00.000-08:00

"We sound like Interpol…I guess," relents Beneath Augusta on their MySpace page. This is a band that would rather pull their teeth than offer up a list of bands they copy. Which is refreshing…but it may also be because their sound is just so darn unique. You Gotta Come Down Sometime isn’t bland, but the music just presents itself without baggage or description, and when the song ends everything that it brought with into your ears slips away. This is a really long way to say Beneath Augusta present a scaled-back version of progressive rock, in a way not unlike Interpol. The album contains many appealing songs that would hold their own weight on mainstream radio stations. "Satellites," "Silhouettes In Two," and "Security Wires" in particular cater to some light-punk-pop tastes, contain some alternative instrumentals, and contain that necessary malcontent with most things ("The blood and feces just keeps building up"). The lyrics made be clich矡t times, but when tied together with their angsty music (and if you’re in the right sort of mood) they do sound well-written (i.e. "Getting too close means you’ll get burned" in "Silhouettes In Tow"). While You Gotta Come Down Sometime sounds impressive, it lacks that glue that keeps the music cemented in your brain. Beneath Augusta show great potential in this release, but also reveal that they are still finding their feet.

(Published at MusicEmissions.com)

Pimp the Cat--Pimp the Cat

2007-02-07T14:24:00.000-08:00

I’m not one for jazz and blues albums, and don’t pretend to be very knowledgeable on the topic. But damn do I know some good music when I hear it. When this album fell into my lap I stayed away from playing it for at least a month because of the title and cover. Don’t judge a book by it’s cover, right? Never was this a more correct phrase than with Pimp the Cat. Despite their name (I envisioned the music of some immature "punk" outfit to come oozing out of my speakers), these guys can play like no other. Rounding out 74 minutes with 11 tracks (including "Itzit," an 11 minute instrumental), this is a groove album to end ‘em all. Most of the tracks are instrumentals, and average about 5 minutes. Beautifully played guitar solos, solo filled organs, and a cool-hand blues/jazz wave come sweeping out of this album…almost too much to handle. Made up of the best musicians for their respective instruments, (Mark Greenberg, the drummer, has played with the likes of The Doobie Brothers and Roomful Of Blues, as well as endorsing Zildjian), Pimp the Cat crank out "Bill Hilly," an 8 minute behemoth, like its no sweat. The solos roll out one after the other, simulating a great live experience. A wonderful gem of a find, Pimp the Cat prove not only that they can play the socks off anyone, but that "indie" is not just a rock term.

(Published at MusicEmissions.com)

Extropy -- The Machineries

2007-02-05T14:56:00.000-08:00

Extropy’s liner notes hardly reveal the name of this album, let alone anything else to do with the mysterious group. The cover art is blisteringly artistic, a piece of art that could have stood up to the scrutiny that LP covers received. Yet it too reveals nothing about this group. A quick search online sheds light on relatively nothing, besides the random review here and there. No information, except that everyone who touches this album falls freakishly in love with it. The Machineries is Extropy’s second release, after Lethe was released back in 2004. The album strikes a very intriguing and appealing middle ground between rock, goth, industrial, and electronic vibes (like if Radiohead, VNV Nation, and Lacuna Coil all were flushed down the toilet, genetically fused in the sewer pipes, and came out to wreak havoc in New York City). From the word go (or rather, word "Epilogue" as their opening track is ironically titled) Extropy seize your attention, and I sat on the edge of my seat waiting to discover if this reclusive group is yet another sad pompous punk group, or if there is perhaps something to their aggressive themes. My oh my, was I in for a pleasant shock.

Extropy deliver electronic grooves that remain on the fringe of rock (and perhaps pop, but that just sounds so wrong) in the same way that Radiohead does, but they also thrown in tastes of goth and industrial influences, together with a wonderful anti-establishment mood that is obviously required when you have a song titled "The Quiet Attraction of Suburbia." Sure enough, beyond the breath-taking instrumentals (again, like Thom Yorke producing Lacuna Coil) is a political message ("Every golden age / Shaped and nourished / By the long shadow of progress / And the illusion of change") delivered by soft-spoken and chilling lyrics that rely on their words, not their volume, to get the point across. The Machineries contains more than a few instrumental tracks, all of which craft exhilarating electronic landscapes—never letting go of those more punk attitudes. A very interesting blend of many influences, Extropy continues to make a fan out of everyone who takes a peak at what they have been up to.

(Published at MusicEmissions.com)

The Hero Cycle--Lakes and Ponds

2007-01-27T10:00:00.000-08:00

The Hero Cycle are one of those bands you discover…and instantly want to hide. You want run with them to some cave and bury them within, hoping against all hope that no one will come strolling by and discover your treasure. You sneak out at night – when no one’s watching – and uncover their wonderfully indie stylings, entreating yourself to a listen…but not too loud. Yet always you know that someday your secret will be revealed, and your treasure taken away. The Hero Cycle is that treasure, and there is precious little time remaining for them to be hidden away in your cavernous horde of musical talent. Their newest EP Lakes and Ponds feature brilliant shoegaze and indie tunes, including the vibrant "American Proxy" ("Gettin’ tired / Of running on empty") and revealing opener "Breathing In." The Hero Cycle, while suffering from a few rough spots (but that’s what the first few EP’s are for) craft a brilliant musical landscape, and will take your breath away with the skill with which this young band plays. Grab a listen of Lakes and Ponds now so you can mourn with the rest of us when the world discovers The Hero Cycle.

(Published at MusicEmissions.com)

Jean-Paul Bondy--The Path of Most Resistors

2007-01-27T09:41:00.000-08:00

Born and raised in Detroit, Jean-Paul Bondy was consumed in his early years with post-rock, new-wave, techno, and industrial music. Hopping between various bands and playing as a hip-hop DJ throughout the city, Bondy eventually decided to move west. He arrived in LA in the early ‘90s, where he further crafted his musical skill by turning his attention to slowed versions of electronica. He continued creating ambient and chillout mixes with various outfits – including Volsoc (as Volum) with Justin Maxwell – before moving to Berlin. Once in Germany, he began work on his first solo composure, The Path of Most Resistors.

The Path of Most Resistors is a relaxing and downtempo collection of well-conceived tunes that play with the ear, while always remaining in the quiet musical shadows. The length of the songs create a lull which disengage the listener from nit-picking the songs, leading them to hear and feel the overall emotion and composure in a track. Bondy mixes in elements of hip-hop as well, as the political call-back opener Something Is Not Right displays. Yet, even this influence is slowed and pulled-back as if Bondy is prescribing each musical piece their own brand of tranquilizer. His early industrial and new-wave experimentations are brought forth in Cold Reformer, a salute to Depeche Mode, and in Dry Humper.

Bondy offers up some dark instrumental magic in Prompted Some Observers—a haunting mixture of electronica pushing its way through his own brand of musical sludge. The entire album flows well from song to song, creating a cloud over when a track ends and when another begins. The most breath-taking track is saved for last. The 12-minute epic Bit By Bit/Ear Worms rounds out the album and overdoes everything that has come before it. Slowly beautiful, it pushes on with glittering effects and twinkles brightly popping and snapping around a morose chill-out beat. For 12 minutes Bondy keeps up the beat, complete with eerie vocals from Rochelle Vincente.

Altogether, The Path of Most Resistors is slow burning composure of beautiful background noise. While some songs, such as Something Is Not Right and Cold Reformer stand strong on their own, the true strength of Jean-Paul Bondy’s creation is as a whole: an hour-long of constant beats that stay in the shadows. Bondy does not make his music pop out and grab you in, rather he lets the groove slowly evolve, until without realizing it there is a solid wall of wonderful sound filling up all the space around you. A good chillout album that goes beyond its objective, The Path of Most Resistors is a highly recommended pick.

(Published at 365Mag.com)

The Shins--Wincing the Night Away

2007-01-22T17:37:00.000-08:00

With growing crescendo, bubbly instrumentals lead into a full-on explosion of bright bouncing melodies in The Shins’ "Sleeping Lessons," their opening track on the eternally tricky third album, Wincing the Night Away. Veteran Shins fans should feel comfortable in the warm overflowing, pop-injected intro track—but don’t get too comfortable. "Sleeping Lessons" serves more as a transitional piece, leading into The Shins’ new refined sound. While a few songs relive this "classic" Shins sound ("Phantom Limb," "A Comet Appears"), Wincing the Night Away finds James Mercer and The Shins experimenting with down-trodden and melancholy tones—experimentation that adds a breath of fresh air to the easily bungled third album.

"Red Rabbits" and "Black Wave" play with this idea, and as a result become some of the most powerful tracks on the album. "Red Rabbits" in particular is softly chilling, due mostly to Mercer’s dark lyrics: "So help me, I don't know, I might / Just give the old dark side a try / Don't cast your warring eyes on the shore / Did we even the score?" Complemented with some sort of underwater percussion and somber guitar-work, Mercer strains out his last breath to finish the song, "We've pissed on far too many good intentions held by clever sprites / And they're all standing up for their rights." Wincing the Night Away features a good balance however, and it’s not all down-and-out melancholy. "Australia" features wonderful melodic refrains, a bouncy upbeat rhythm line, and the tongue-teasing chorus "You'd be damned to be one of us girl / Faced with a dodo's conundrum / Ah, I felt like I could just fly / But nothing'll happen every time I try." The masterpiece of the album however is "Split Needles," a tune that shows just what musical heights The Shins can climb to with their new-found sound. Awe-inspiring vocal climaxes rock the listener with sweetly dramatic lyrics, sweeping instrumentals, and an overall sound that could make this album your favorite.

Wincing the Night Away sheds light on The Shins incorporating a new sound into their peppy modus operandi. Incorporating ‘80s influences with a down-trodden melancholy theme, The Shins are clearly moving in a new direction with their music. I hesitate to call this new direction an improvement per sea, only because nothing about The Shins’ earlier sound was necessarily in need of improving. More, it is a welcomed change that shows a mature band modestly flexing its creative muscle and crafting songs that sound refreshingly different from their earlier works, while remaining true to their musical foundation and avoiding alienation of old fans. The Shins win a major victory in the always difficult third album by filling Wincing the Night Away with a sound that’s been tinkered with…but not overhauled.

(Published at MusicEmissions.com)

Jim Noir--Tower of Love

2007-01-19T09:46:00.000-08:00

In his debut album -- Tower of Love -- Jim Noir proves to be a notable singer/songwriter. Combining influences from the ‘60s, ‘70s, and contemporary artists, Noir provides a kaleidoscope of vintage class, modern light heartiness, and talented song-writing. Extremely catchy from the word go, "My Patch" and "Key of C" climb into your head with memorable rhythms as Noir adds his delicate boyish vocals. Other songs such as "Climb a Tree" and "Tower of Love" bring up memories of ‘60s and ‘70s folk artists, as "I Me You I'm Your" hint at Beatle-like vintage British influences. Despite some odd and annoying patches, Noir succeeds in crafting more than a few warm and enjoyable tunes. In Tower of Love can be found the cheekiness of the Beach Boys, the warm summers of the Mamas & the Papas, and the modern melodies of Belle & Sebastian—as well as Noir’s own unique touch, ("Computer Song" is a wonderfully bouncy modern ballad). Warmly brilliant, Jim Noir is a man to watch for in the future.

(Published at MusicEmissions.com)

The Earlies--The Enemy Chorus

2007-01-18T11:53:00.000-08:00

So many oddities, so little time. So, if you’re unfamiliar with The Earlies, get this: half the band lives in England, the other half in Texas. From what I understand, that sort of commute tends to get in the way of the creative process, so the band industriously started a system of "musical pen pals," using technology to craft an album full of songs. The UK release of These Were the Earlies and subsequent touring brought the group physically together for the first time, as well as swelling their numbers to 11. Interested yet? The Enemy Chorus is The Earlies latest work of trans-Atlantic music, and is a mish-mash of just about everything you could think to throw into an album—all grinded and blended for your pleasure. A orchestra of brass instruments pokes their way through in "No Love in Your Heart," as "Bad Is as Bad Does" simulates what it would be like if The Velvet Underground played on a train and "Found a Lion and Earth" experiments with a drugged-out Chicago sound (the band, not the city) . "Try to keep your eyes closed / This might take all night," declares The Earlies’ vocalist, transitioning from a rickety piano line in "Burn the Liars" into outerspace orbit with a slew of goofy and hypnotic out-of-this-world electronic effects. Getting the picture here? The Earlies never stay in one set rhythm or type of sound within one song, and it’s easy to get lost within the unsettling hold of The Enemy Chorus. From soft acoustic tear-drippers to full out African-drum grooves, The Earlies elude classification but not like-ability. Take away all the icing – that is, the goofy effects, varying genres of influence, and cheeky attitude – and you’re left with just some damn catchy songs. You listen to "When the Wind Blows" a few times, and tell me you won’t be humming it for the rest of the day. The Earlies have released a brilliantly wonderful album, despite the trans-oceanic commute.

(Published at MusicEmissions.com)

Kabuki--Fever Pitch

2007-01-14T09:22:00.000-08:00

The ever-talented German drum & bass producer and mixer Kabuki is back with his newest single release: Fever Pitch. Never accepting simplicity in his work, Kabuki shows off his veteran talents for creating complex fast-paced and beat-ridden environments, all packed within two tracks. Pumping as many influences and varieties of sound as he can into his work, Kabuki crafts tracks that never sound monotonous, and yet feel much longer than the two-track playlist reveals.

The namesake song Fever Pitch wraps a quick-paced drum beat with a jazzy piano riff, all coated with seductive and somewhat unsettling vocals. This combination is broken up by a quick interlude of electronic trinkets and treats, before exploding back into Kabuki’s well composed melody of jazz, beat, electronica, and emotion.

Side B reveals Lunar Phase, which reveals an oriental twist in Kabuki’s sonic repertoire. Again, after a softly mysterious intro, Kabuki kicks the song into high gear with a break-neck-speed drum rattle, this time accompanied with heavy bass. He lets this mix expand, momentarily cranking the distortion into a peak – holding the tension – before finally letting the rhythm crash back into it’s comfortable groove. The song continues in a rattlesnake snare beat, while the deep bass winds intricate circles ‘round and ‘round. One by one the pieces of the composure break away, until the listener is left with nothing by silence.

In just under a dozen minutes Kabuki has said his piece and has walked off the stage, but the listener is breathless. Here, in the space of two songs, he has pumped so much rhythm and melody that the audience is gasping for more. Lucky for you though, that you can replay Kabuki all over again.

Field Music--Tones of Town

2007-01-13T09:25:00.000-08:00

In a quick 1-2-3 of releases, Field Music shipped out their self-titled debut in 2005, sophomore effort Write Your Own History in 2006, and now Tones of Town in 2007. Hailing from Sunderland, England, Field Music combine silly English-derived indie with a mellow brand of easy-going orchestral and chamber stylings. The result: a horribly mellow Futureheads, with a violin instead of a guitar. Intriguing? Very much so. From the very opening of "Give It Lose It Take It" Field Music becomes elusive to wrap with a description, as their flowing harmonic melodies almost hypnotize your ears from making snap judgments or comparisons. The namesake track "Tones of Town" shows off its album-naming worthiness with up-beat and sunny melodies, and "A House Is Not A Home" finds Field Music’s vocals – a fast-paced attack of British accents that sound strongly of The Futureheads – melding with classic guitar riffs and orchestral effects that could have been taken straight from The Beatles. The combination may raise eyebrows, but works wonderfully. The album runs to its end, but not before "A Gap Has Appeared" pumps the speakers full of sorrowful and reflective orchestral sounds, blending into a delicious soft-edged pop piece. Field Music blend influences very well in Tones of Town, and utilizes their mellow orchestral instrumentals beautifully. For a lazy sunny day – even in gray January – pop Tones of Town in.

(Published at ComfortComes.com)

Little Barrie--Stand Your Ground

2007-01-13T09:23:00.000-08:00

All fans of jam bands, Traffic, Cream, jazz-rock, blues-rock, and even Led Zeppelin and Hendrix listen up: Little Barrie is playing for you. A warm modern-day jam band, Little Barrie follow-up their We Are Little Barrie 2005 debut with Stand Your Ground, a slow-moving album of excellently vintage guitar work, easy-going lyrics, and a classic attitude. Songs such as "Love You" and "Pin That Badge" immediately evoke memories of Cream, Traffic, and other classic ‘60s jam bands. Little snippets of a guitar riff here or vocal croon there remind one of Hendrix’s guitar style and Led Zeppelin’s heavy blues roots. "Green Eyed Fool" could divert into a Stooges song from the overly distorted Iggy-like intro, but quickly declares (by use of a scratchy vintage guitar solo in the spirit of The Eagles) that Little Barrie is firmly rooted in the classics of yesteryear. Song after song provide new jams, each with simple lyrics but wonderfully diverse guitar work. Indeed, most of the album is Little Barrie’s superb instrumental work, establishing a groovy beat backbone and laying intricate lacings of guitar work over the top like sonic icing on a cake. The guitar solos in "Why Don’t You Do It?" smash Clapton, Page, and Hendrix into one. While it may not be as good (and what could be better than a Clapton-Page-Hendrix guitar beast?), it sure is refreshing to hear this sort of music played so well nowadays. Little Barrie have put together an excellent album for anyone who enjoys the sound of a scratchy vintage guitar cranking out a good ‘60s jam.

(Published at ComfortComes.com)

My Majestic Star--Fining

2007-01-09T18:44:00.000-08:00

So you say you like My Bloody Valentine, but all that feedback and gobbilty-gook tends to rub your head the wrong way? Headaches result from Ride and it pains you because "Vapour Trail" is just so darn good? Boy oh boy do I have the band for you then. Meet My Majestic Star (mmm, can you smell the alliteration?), the smooth, creamy version of My Bloody Valentine, Ride, and any other shoegaze band you can think up. Ethereal soothing sounds can be found aplenty here, but without the mind-numbing ax-splitting feedback found in Loveless, and the 11-minute "Attachments" can compete with "When You Sleep" and come out holding it’s own. The lovely melodies and sweeping crescendos found in their latest work Fining will have even the hardest shoegaze rocker swimming in a pool of shimmery landscape-filled emerald tunes. "The Letter F" and "Fining" are wonderfully ambient tracks that also achieve a bit of mainstream pop-ability, which lets the listener get gobbled up by My Majestic Star faster then most shoegazers. Fining is a relaxing and exciting release all at once. Short and punchy, My Majestic Star prove to be a wonderful remedy to overworked shoegaze ears—a remedy that (unlike that stuff your mom gave you when you were little) tastes better with every dosage.

(Published at MusicEmissions.com)

Rising like the Sun and the Moon--An Interview with Sam Endicott of The Bravery

2007-01-08T20:49:00.000-08:00

Somewhere, someplace, pounding through some lucky person’s eardrums, exists The Bravery’s sophomore album. Slotted for release in early 2007, The Sun And The Moon follows up the New York rockers’ self-titled debut in 2005. The debut – a vibrant retro mixture of rock, techno, and pop in the spirit of Bloc Party, The Killers, Franz Ferdinand, and Rock Kills Kid – has gathered a sizable fan base for the band and a fine collection of raving reviews. With the likes of MTV, Pitchfork, Mojo, and Rolling Stone praising The Bravery, it’s no surprise that the music world waits on the edge of its seat to see what The Bravery has cooked up. For more info on the upcoming release, Perpetual Toxins got a hold of Sam Endicott—The Bravery’s vocalist and guitarist.

"It still sounds like us, but it’s very different," reports Endicott of The Sun And The Moon, "It’s a lot more organic…the sounds are created by unusual acoustic instruments like strange organs, vocal effects, a string quartet…that sort of thing." The album will be missing much of the synthesizer instrumentals found in their debut release, in part because of producer Brendan O’Brien (Pearl Jam, Bob Dylan, Aerosmith, , Red Hot Chili Peppers, Bruce Springsteen, etc. etc.) and the band’s Atlanta recording location. "It was different because we did most of it in Atlanta," confesses Endicott, "but we did a lot of it the old way too—just in a basement in New York…the best of both worlds."

The "old way" is certainly familiar to the New York residents, who met in college after a childhood education in punk rock (and aspirations to be astronauts). Endicott, who grew up outside of the city, was blown away by the musical diversity found within. "[We] started going to underground dance clubs and hearing this great indie-electronic music. It was like techno for people who liked rock."

Inspired by the fusion of his old love with techno (not to mention the presence of John Conway, the "electronica guy," who went to college with Endicott), he set out to create a "garage-y, live rock band" melded with the sounds and beats of the New York underground. With bandmates Mike H., Michael Zakarin (who were pulled in from a newspaper ad), Conway, and Anthony Burulcich (veteran drummer from Bishop Allen), the rookie band played their first show—opening for The Animators at Brooklyn’s Stinger, summer 2003.

"It was an absolutely tiny club," remembers Endicott, "There was like, 15 people there—mostly siblings and ex-girlfriends." Despite a knife-fight at the closing of the show ("Though I don’t think any of our siblings or ex-girlfriends were involved"), the show was a relative success. The surprising upswing in local popularity soon after encouraged the fledging group. "We’d stand outside Tower Records all day handing out CDs we had burned." All the fliers posted and demos handed out yielded results.

"Suddenly some major radio stations started playing the mp3’s from our website, which almost never happens." The tracks being handed out were early cuts of tracks soon to be found on their self-titled EP, much of it recorded long before the Stinger show with only Endicott and Conway. "It was incredibly amateurish. The equipment we used was beyond shitty." As soon as major radio stations began to take notice however, "we started taking the whole thing more seriously." Mostly because more than radio stations and listeners were getting hooked on The Bravery’s cocky retro sound—record labels were too.

Island Records signed the band to their roster, and The Bravery EP was released in 2005. Greeted with eager open arms by listeners and critics, The Bravery proved their merit with a blistering set of catchy tunes that evoke memories from the ‘80s dance floor mixed with punk attitudes. "Unconditional" and "An Honest Mistake" are lined with bouncy bass backbones while lacey synthesizer effects, scything guitar bits, and Endicott’s bittersweet vocals lightly toe their way through the retro sound blast. The release could not have come at a better time either: The Killers had released their Hot Fuss blockbuster a year before, Hot Hot Heat were priming for their release of Elevator a month later, and music lovers eagerly awaited Franz Ferdinand’s sophomore release You Could Have Had It So Much Better. The music world was swelled with the ecstasy of ‘80s dance-infused rock outfits, and The Bravery launched their debut right into the center of the storm with a refreshing playful attitude.

With the album’s success came the music videos, the most eye-catching being "Fearless," in which the band members perform the song on-top of racing speed boats. "That was the most fun day of my life," recalls Endicott with glee. "They just strapped us to boats and did it for real. The advice they gave us: ‘If for some reason the boat flips over and you’re trapped underwater, just try not to breath.’ That was reassuring…It was also kinda the most terrifying day of my life." Fearless indeed.

While Endicott leaked all he would about The Sun And The Moon, he does reassure us that The Bravery will resume their touring madness again to support the album. He’s not thinking too much past then, but does muse that he would someday like to produce other bands. But, releasing his own band’s second album and the touring campaign to support it comes first. "We’d like to do this for the rest of our lives," he declares. With hints of major changes in their catchy retro sound, The Bravery’s sophomore release should prove to be one of the most interesting albums of an exciting year for music.

(Soon to be Published in Perpetual Toxins Magazine)

Interview with The Sunshine Underground

2007-01-04T08:32:00.000-08:00

Questions Answered by Daley Smith

You've been through extensive head-lining touring, the release of your debut album, and had your music break the Top 40. What has your reaction to all this success been?

Personally my reaction is to constantly strive to do better, whilst doing one show you're thinking about the next and so on. It's kinda like "I definitely won't do that tomorrow, or tomorrow I'm gonna do that instead." Same with recording and writing, you are in constant consideration of the next destination.

What brought the band together to start The Sunshine Underground, why start a band?

We were all in different bands before TSU, we were at college one day and just ended up in a room together with our instruments, we were lucky enough to do a college course that afforded us to have a lot of spare practicing time. We all just felt that nobody was making music that we wanted to hear. We basically thought that we could be good.

How did the band get launched from the local scene into the national eye?

I don't feel that we have been launched anywhere, for us to get noticed it has taken a hard slog of loads of gigs and promo. Even with the Leeds scene we played loads of gig before anyone took notice, then a few more people would show up, then a few more I feel like we are still going through that nationally.

What was recording Raise the Alarm like?

Recording the album was the favorite period for me last year, we were locked away in a house in Brixton, it was a really relaxed atmosphere; we all really got on, us the producers and the studio staff. We would generally work from 11am until we were finished with what we had set out to do that day, which would be anywhere between midnight and 2am. We all ate together, played foosball together, had BBQ's and worked together it was great.

In hindsight, is there anything in the album you wish you could change or tweak?

Not really, for me once an album is on the shelves it's done, we are thinking about the next record. We have added bits to the songs whilst playing live but that’s more for the live show.

What do you hope to achieve in 2007?

I hope to write another album I'm really proud of, keep making the live show better and better, just to keep going really. It's all about progression.

Thinking at all about the ominous second record? Any ideas on how it may turn out?

As we speak I am writing this from my bed in a cottage/studio in the middle of nowhere in Devon where we are holed up for a weeks writing retreat. I'm really optimistic about the next record. We have few new toys and new sounds to play with. We already had one solid song before we came out here, we've been listening to a lot of new music. I'm excited about it.

What has been a more enjoyable experience for you and the band: recording or touring?

For me it's recording, with recording you can physically see the progress you are making in front of your eyes, it can be very rewarding. With touring it can be the most amazing thrill of playing to 1000 people then the next night to the disappointment of no one turning up because Razorlight are playing down the road in the only big venue in town. But you can't beat the excitement of being on stage. So can I say both??

Could you see yourself with The Sunshine Underground in, say, ten years?

Sometimes it's hard to see that far ahead at all and sometime I can't imagine doing anything else. As long as it's still a good experience for everyone involved then I'll keep doing it.

How would you describe the music scenes in Shropshire and Telford, especially when compared to those in Leeds and even London?

The music scene in Shropshire is growing I am pleased to say, obviously it is small compared to London or Leeds, but those places are cities with large populations. But I think Shropshire and the midlands should be proud of pulling itself out the heavy metal trap it was stuck in few years back. I was out there over Christmas and had no CD's or an iPod with me, so had to listen to the radio a lot, I had it tuned to radio Shropshire which in the evening had a local music scene radio show and all these acts had sent in their demo's and music. You had everything from bands to glitchy/tech Thom Yorke style stuff it made me reconsider the music scene over there. The thing holding it back is the lack of venues.

Best of '06

2007-01-02T18:38:00.002-08:00

Top Albums of 2006

Muse – Black Holes and Revelations

TV On The Radio – Return To Cookie Mountain

Sonic Youth – Rather Ripped

The Futureheads – News and Tributes

The Decemberists – The Crane Wife

Silversun Pickups – Carnavas

The Sunshine Underground – Raise The Alarm

Sound Team – Movie Monster

The Walkmen – A Hundred Miles Off

Band of Horses – Everything All The Time

Top Songs of 2006:

1. "Wolf Like Me" – TV On The Radio
2. "Supermassive Black Hole" – Muse
3. "Reena" – Sonic Youth
4. "Future Foe Scenarios" – Silversun Pickups
5. "Burnt" – The Futureheads
6. "Commercial Breakdown" – The Sunshine Underground
7. "Louisana" – The Walkmen
8. "Your Eyes Are Liars" – Sound Team
9. "Cobrastyle" – Teddybears
10. "Not Going Home" – The Elected

The Thermals--The Body, The Blood, The Machine

2006-12-29T08:45:00.000-08:00

If you’ve been listening to The Thermals’ earlier work, you have probably noticed the striking Nirvana-esque grunge influence on their music (i.e. "How We Know"). Following that train of thought: The Body, The Blood, The Machine is a striking mix of In Utereo and Nevermind. Not wholly pop, The Thermals wrap obvious religious and political themes around their grunge instrumentals—thus hinting at the depth found within In Utero. Throughout the album, The Thermals consistently bring up religion in an arguably sarcastic, albeit honestly lost tone. In "Returning to the Fold," for example, Hutch Harris sings of blistering doubt and discontent, but finishes with "But I still have faith / If I ever had faith / Wait for me / Wait for me." Furthermore, in "Pillar of Salt," Harris shouts "That’s why we’re escaping / So we won’t have to die, we won’t have to deny / Our dirty God, dirty bodies." The need and desire for escape is an overbearing theme of the album. The majority of the songs mention escaping, and even the liner notes declare "ATTENTION ESCAPISTS!!!" Yet, past all this religious and political questioning and satire is the damnably catchy Thermals. "Here’s Your Future" and "Pillar of Salt" are the two strongest pop tracks off the record. Both clock in at just about 2 minutes, 30 seconds, and contain the delicious grunge instrumentals. Quick and dirty melodies wrap themselves around Harris’ unique voice in a way that gets you moving, despite and even in spite of the harsh religious satire held within the lyrics. This healthy mix of depth and pop melds that of In Utero and Nevermind, but in a way that’s more detached from grunge than any of their previous albums. The Thermals have carved a new road for themselves, and it will be very interesting to see where it takes them.

(Published at MusicEmissions.com)

Anachronicxp--Nervomoteur

2006-12-17T12:18:00.000-08:00

From deep in French Canada (well, really just Quebec) come Anachronicxp, an intriguing blend of hip-hop and electronic influences that are praised as the "music of childbirth"…a term we desperately hope hasn’t been skewed in translation. Nervomoteur is a quick taste of what Anachronicxp is putting out, using electronic instruments to drive a hip-hop based, powerful bass beat. Songs roll along with this foundation, as electric blips and beeps twist and swirl around it like a massively charged obelisk rising into the sky. But then they let it fall away into silence, before quietly starting the groove up again. Intermixed with the electric shocks and looming bass beats (the best of which can be found in "L’altercation") are tastes of real life, such as the dramatically chilling screams and worries thrown into "Recomposition." Nervomoteur is a beast of mixed influences, all of which create an interesting and unsettling musical composition.

(Published at MusicEmissions.com)

Shortfilm--Mythical Beast

2006-12-16T11:11:00.000-08:00

Recorded and released in 2005, Shortfilm’s Mythical Beast EP "represents a different glance into the world of the enchanted beast, at the same time having nothing to do with it at all." So it’s unique but it’s not, it’s well-played but sucks, and quite interesting…but I’m bored. And I’m not being sarcastic. Though five tracks Shortfilm prove their ability to play an excellent instrumental, yet skew themselves as just another punk outfit. Their vocals and lyrics are off-kilter, strange, and juicy, but are delivered in a way that’s been painfully overdone. "Victorian" is a 90% instrumental track that screams with ingenuity and a refreshing punk attitude, but runs a little long and the introduction of vocals into the track is hardly a benefit. Shortfilm solidify their ability to add some unique ability into the punk scene with "Stamp," which contains a catchy guitar riff. After an explosive interlude in "Ghost," Shortfilm close with "Snuff." Much in the spirit of Ad Astra Per Aspera, "Snuff" is a delusional track that keeps mowing along despite the suspicion that the musicians involved may in fact be on some sort of snuff. The track is messed up, melodic, and emotional, and is a fitting end to a odd EP. While Shortfilm perhaps should shorten their songs to increase to punch and do become dull by the end of some tracks, they prove that they add some new light into the music scene with excellent instrumentals and emotional drug-trip tracks.

(Published at MusicEmissions.com)

Ahab Rex--Blood on Blonde

2006-12-16T10:41:00.000-08:00

In what’s become a revolving door for musical talent, original solo-project Ahab Rex has released their follow-up to The Queen of Softcore EP: Blood on Blonde. Featuring Chris Connelly (Ministry, Revolving Cocks), Martin Atkins (Nine Inch Nails), Steven Seibold, Dylan Ryan, and Assassins, Blood on Blonde is a vibrant effort full of quirky variety. The linking similarity is the duo behind it all, Ivan (a.k.a. Ahab Rex) and Brooke Cassell who handle vocals and most of the creative work. The album starts strong on "Ordinary Things," a creeping and crawling track with Ivan’s deep, dark, I’m-a-messed-up-serial-killer-with-black-lipstick vocals subliming it all. Yet, when we get to the instrumentally more up-beat track "Thank You Mister Russia," Ivan’s vocals remain unchanged. Listening to a sunny (even if the content isn’t) love story through the voice of a goth-like canter takes away any seriousness Ahab was hoping to achieve…and is frankly just humorous. "To Whom It May Concern" works better with Ivan’s vocal rut, giving him the chance to speak in his creep-tastic voice as opposed to sing. "Undertow No.5" is a distorted delicious mess, warping everything from the punk guitar rhythms to the static vocals (if Ivan won’t start singing different, we’ll just distort his voice so it sounds changed). Found at the end of the album are two interesting remixes of previous tracks ("To Whom it May Concern" and "Ordinary Things"). The border-line techno remixes are an interesting take on Ahab’s more punk-alternative approach, and add more variety to an already diverse album. Ahab Rex defy labels and all in all create an well-done and interesting release, despite the vocal’s static (and sometimes laughable) nature.

(Published at MusicEmissions.com)

Shiloe--Please Remove Your Teeth From My Neck

2006-12-16T08:05:00.000-08:00

Boy do I hope you like Sonic Youth. If you don’t, turn around and march away from Shiloe this instant, because this music ain’t for you. Unless you’d like to test the infamous underground waters, in which case Shiloe is probably the best alternative to the godfathers of indie themselves. Shiloe’s Please Remove Your Teeth From My Neck is their sophomore EP release, gearing up hopefully for a full-length LP sometime in 2007…because six songs just leave the listener drooling for more. The namesake track opens the release, and right away the influences from Sonic Youth (and a touch of Radiohead and Joy Division). Easy-going instrumental fuzz backs Thurston Moore-styled vocals, but Shiloe comes off much more pop-friendly than the experimental rockers. The farther the listener ventures into the EP, the farther Shiloe depart from the Youth and into Pixie-land. "Tremors" is a bottled-up brew of dark emotion topped with vocals that again adopt many of the same styles as Pixie singer Black Francis. Shiloe channels underground rock right out of the early ‘90s and delivers it – reshaped and remade for a new era – right to your ears. Get on this band so you can join me in begging for an LP.

(Published at MusicEmissions.com)

Eyes Adrift--Eyes Adrift

2006-12-10T13:32:00.000-08:00

For anyone who appreciates ‘90s hard-rock and grunge, Eyes Adrift should make you drool. In theory at least. Curt Kirkwood, fresh from the Meat Puppets and their 2000 release Golden Lies, teamed up with Krist Novoselic from Nirvana and Bud Gaugh from Sublime to create what would be the coalition of ‘90s talent ripping into the new millennium. Except it wasn’t. The reason this massive grouping of big-names and talent went so unheralded is because their music blew. As romantic and exciting the idea is, Eyes Adrift and their debut-self-titled album was a flop. "Alaska" is barely a mediocre hit, and its quite frankly the best song on the album. "Pasted" ain’t a horrible track either, but nothing in the album breaks forth and declares the coming of a new, grunge-alternative era. Which shouldn’t surprise anyone, because it never happened. Yet, Eyes Adrift is a nifty little blip of a band that most people have over-looked. If you enjoyed the bands that these members came from, this is an interesting – albeit disappointing – album to search for. Happy hunting!

(Published at MusicEmissions.com)

The Decemberists--The Crane Wife

2006-12-09T09:54:00.000-08:00

With accordion and bouzouki alongside, The Decemberists signed onto Capitol Records to release their fourth album, The Crane Wife. In the eyes of many, The Decemberists – a band who enjoys dressing in American Civil War styled outfits – lost all their indie-rep by making the jump to a big-label. The Crane Wife shouts clearly from the roof-tops that it matters not what label backs you, it’s the music that matters.

The running story within The Crane Wife is loosely based on an old myth from Japan, which is cut and jumbled throughout the album (the ending opens the album, the beginning ends it), and basically intermixes a man, a crane, and a wife. The Crane Wife, Parts 1 & 2 rounds out the better part of eleven minutes, and is clearly divided into two distinct songs squished into one. Emotional, loving, hopeless, hopeful, and wonderfully clandestine throughout, The Crane Wife story is backed by The Decemberists’ call-card folk instrumentals. While The Crane Wife, Parts 1 & 2 is the lyrical and ballad masterpiece of the album (if not The Decemberists’ entire discography), this story-line is only a slice of the album.

Following their American Civil War-style dress are a number of songs that could fit perfectly into the time period, including When The War Came. A powerfully repetitive instrumental-line supports Colin Meloy’s haunting lyrics. Sweeping melodies and spine-chilling choruses push The Decemberists’ work beyond mediocrity into breath-taking emotional pieces. Shankill Butchers displays The Decemberists’ love of folklore of yore, singing as a lullaby of the gang of murders that will come and rip "Your ribbons / From your curls" if children do not listen to their parents.

The Decemberists prove that signing to a major label does not mean that they will give up their wonderfully odd indie roots. The Crane Wife is a masterpiece of lyrical and song-writing. Always original, songs like O Valencia!, Summersong, and Sons & Daughters are wonderfully uplifting yet emotionally down-trodden folk-melodies that should be played again and again. The Crane Wife is yet another masterpiece from The Decemberists, if not their best work.

(Published at 365Mag.com)

Mood Deluxe--The Tangent Universe

2006-12-09T09:20:00.000-08:00

Cameron has been sneaking around for a while now. The freelance DJ/artist has switched his guise many a time, and has been the guiding force behind much of America’s trance and breaks music…even if from the shadows. After spending 5 years in Los Angeles teaching music tech, Cameron has returned to the United Kingdom in time for the release of his album, The Tangent Universe, under the guise of Mood Deluxe. The album launches off with Casual Loop, a fast-paced opener with pop-centered vocals which offers a tempting reward to those hesitant to venture further with The Tangent Universe. Mood Deluxe almost loses these hesitant listeners (of which I am included) with Episodes, an exotic track with Arabian-like effects, and some vocals that hint towards schizophrenia. If you can hang on until Closer, you’re in for a treat. Straight-up trance, Closer delivers a wonderful seven minutes of unfiltered and unaltered dance-floor beats, which feels even better after just having come through the schizophrenia experience. The album continues on with more trance hits, including a very jumbled and non-stop track that takes the album’s name. Cameron experiments here and there, but always promises to drag his creation back into the confines of mainstream dance and trance. This balance – along with some bits and pieces of pop – serve as a good blend for listeners. The experimentation and originality lets you know that Mood Deluxe is not just another face in the crowd, but he can still bring it right back and craft a master trance track. The album closes out with Amber and Lucid Juice, two well-mixed and vibrant dance-floor beats that together craft an ethereal and other-worldly landscape. As they should do, The Tangent Universe promises to offer a new take on old genres. Cameron as Mood Deluxe effectively attempts to experiment with the standard dance and trance beats, but still includes enough mainstream tracks to prove that he is a master DJ in all arenas.

(Published at 365MAG.com)

A Brokedown Melody Soundtrack

2006-12-03T11:50:00.000-08:00

A Brokedown Melody, a 16mm surfer film released back in 2004, promotes a big-name riddled soundtrack that’s calm, mellow, and quite content being under-the-weather. Jack Johnson, M. Ward, Johnny Osbourne, and Eddie Vedder all lend their musical talents to the flick – with Johnson taking the majority of the titles. Johnson’s "Breakdown" is one of the best reasons to check this soundtrack out. A bouncing acoustic melody backs Johnson’s bittersweet, happily-sad voice; much like that in his "Let It Be Sung." "This ship is goin’ down / Desperately I need a song / To be sung so we can carry on," he sings. Eddie Vedder’s "Goodbye" is softly downtrodden as well, yet feels tropical with the addition of a ukulele. This Hawaiian influence is carried through in "Transfiguration #1" from M. Ward, an instrumental track that would work brilliantly in tropical elevator music or those CD’s that help you relax. Johnny Osbourne’s "We Need Love" takes the album in a different direction, pumping in R&B and rastafarian influences, along with an excellent organ solo. Johnson finishes out the release with his mellow "Home." Relaxing, well-written, tropical, and low-key, A Brokedown Melody’s soundtrack is worth checking out.

(Published at ComfortComes.com)

Scissor Sisters--Ta-Dah

2006-11-29T21:29:00.001-08:00

My ear is tired of hearing about "I Don’t Feel Like Dancing," but was ever so eager to actually hear the song. Sadly, my ear was disappointed. The tune is highly catchy and pop-able, but frankly I don’t see why it deserves the incredible hype it has received—besides the fact that Sir Elton John provided the piano instrumental. However, that’s not to say the song is bad, it’s very well-written and I wouldn’t mind hearing it a few dozen times on the radio. It’s certainly the best off Ta-Dah, which in total falls a tad short of the Scissor Sisters incredible self-titled release in 2004. "I Can’t Decide" is another catchy pop song that feels like a less-excited version of "Dancing," as "Kiss You Off" is a dance-infused ‘80s rock love-child. Both represent the variety you can come to expect from the Sisters in their sophomore release. Ta-Dah may fall short of their debut, but the Scissor Sisters are still going strong. And although the hype may overextend the credibility of "I Don’t Feel Like Dancing," I’ll still walk down the street humming the tune tomorrow.

Oxford Collapse--Remember The Night Parties

2006-11-29T21:26:00.000-08:00

Brooklyn rockers Oxford Collapse are back with their third release – and first with their new record label Sub Pop – Remember the Night Parties. With a fresh indie spirit, Oxford Collapse mix some math rock in as well, creating a sound much like Joy Division and Sonic Youth mixed with more indie-pop influences. "Loser City" especially shows off these influences in their instrumentals, as Michael Pace’s vocals are bouncy and unique to the point of almost sounding British at times. "For the Khakis and the Sweatshirts" and "Kenny Can't Afford It" are other hits off the release, and overall Remember the Night Parties is a solid effort. However, it all feels repetitive by the end, and I have yet to make it to the finale without a pounding headache. Oxford Collapse have not created their best work here, but it is by no means a bad album.

Revival--Horses of War

2006-11-26T09:42:00.000-08:00

LA group Revival debuts in Horses of War, a scything lyrical effort supported by a mix of British psychedelica, post-punk, and touches of country. A short album at nine songs, Revival comes off as a version of Band of Horses that forgot to take their anti-depressants. In "Anniversary," vocalist Josh Read belts "And there’s a bottle of whiskey / And a pistol to make it complete." Need I say more? Revival mixes an alt-country attitude and instrumentals with postpunk effects, and songs like "Fog Rolling In" contain zoomy effects that could be passed off as British psychedelic influences. Mostly though, songs like "King of King’s" paint Revival as a bad Nickelback (or is that repetitive?), trying to infuse a bad-boy attitude with country-esque "she-left-me-for-my-brother" themes, all to alternative instrumentals. It doesn’t quite work, and despite the short length Horses of War drags and feels long. Revival do have their moments, the climax in "Fog Rolling In" and "When You Come Calling" are quite inspired, and catch your breath as they heighten and climb and fade back into their alternative guitar strumming. Revival need to add a little variety to their songs and work more with their strong points, rather than mixing too many influences into a musical mush. Horses of War ain’t bad, it just won’t become your favorite.

(Published at MusicEmissions.com)

Orbit Service--Songs of Eta Carinae

2006-11-25T07:45:00.000-08:00

150 years ago the star Eta Carinae suffered a giant outburst, causing it to become one of the brightest star spots in our night sky despite it being 800,000 light years away. I looked this up because Orbit Service’s new album Songs of Eta Carinae reminded me of some fantasy-styled soundtrack, and I was ready to find Eta Carinae to be some fantastical world next door to Middle Earth. The name fits Orbit Service’s style of music—which is very out of orbit. Spacey, elongated rhythms and melodies are pulled and stretched throughout seven minute tracks (or in the case of "Asphyxia," 11 minutes). Yep, that’s right, we’ve got ourselves a good old stoner album here, where we’ve got our head in the stars and like our music slow and spacey. Songs of Eta Carinae reminds one of a amateur Pink Floyd, with touches of Dream Theater in there too. Each song is very slow, a tad creepy, and very long. Not that those are bad qualities, Orbit Service does what they set out to do very well. Point being though, unless you’re looking for some good late-night background noise or something to cater to your bong-party, stay clear of this one.

(Published at MusicEmissions.com)

Various Artists--The New Crazy

2006-11-24T08:46:00.000-08:00

Deep Elm Records boasts a healthy roster of punk-pop and emo acts that they rightfully like to show off now and again, and so here we are again. The New Crazy is Deep Elm’s 2005 sampler, featuring acts like Fightstar, Latterman, Sounds Like Violence, and Slowride. Latterman kicks off the release with the explosive "Doom! Doom! Doom!," which leads into Fightstar’s mega-hit "Palahniuk’s Laughter" which is probably the best track on the sampler. "Nothing" by Sounds Like Violence gives Fightstar a run for their money, with modestly well-written riffs that come off much more powerful than the previous tracks’ loud and in-your-face instrumentals. From there we get mixed up in some acoustic emo from the likes of Secondhand Stories that isn’t bad, but my finger itches to skip ahead and see what other treasures the compilation has in store. Burns Out Bright’s "Sincerely I" deserves mentioning for some interesting guitar riffs, but they lose me with their vocals. Long Island rockers Latterman make another appearance before Clair De Lune’s fast-tongued "Killjoy," an odd mix of rap vocals, punk riffs, and an emo chorus. "Rust Killer" by Slowride features a great guitar intro and mature chorus, mixed with some great vocals. The release gets a strong finish from The Appleseed Cast in " Steps and Numbers," a well-paced and not-too-weepy downcast tune. I realize I’m just rattling off songs here, so just a blanket statement: If you like emo / punk / or post-punk, check out what Deep Elm Records has to offer you. Fightstar, Latterman, and Sounds Like Violence are good places to start. Go forth now, and consume the punk!

(Published at MusicEmissions.com)

Hem--No Word From Tom

2006-11-24T08:12:00.000-08:00

Since the Hem’s birth in 1999, the New York group has been making a quiet but impressive mark on the alt/country world. Their latest release Funnel Cloud was supplemented earlier by the collection of covers and b-sides from over the past 7 years. No Word From Tom is a sorrowful collection, featuring tear-dripping acoustic instrumentals matched with Sally Ellyson’s fragile vocals. The cover of Brook Benton’s "Rainy Night in Georgia" sums up the album, singing of overcast hopeless days and somehow finding the strength to go on. No Word From Tom also features "The Present," a lost track from Eveningland, and contains some of the best lyrics on the release: "I have wandered / By the dust here on my feet / For every present / That I have squandered / On every false heart that I meet." The album goes on to feature songs uncut from previous releases, covers from R.E.M. and Pee Wee King, a few lost songs recorded during touring, and even songs taken from Ellyson’s first lullaby demo tape ("The Golden Day Is Dying" and "All The Pretty Horses"). Hem’s infusion of alternative and folk music is impressive on their studio albums, but here in this collection of outtakes and lost tunes it shines even brighter. No Word From Tom creates a timeline of Hem’s musical growth from behind-the-scenes, taking the songs most intimate and most important to the artists themselves and crafting a release that could stand alone as a studio album. Hem shows that even when playing b-sides and covers, they are at their best.

(Published at MusicEmissions.com)

Ben Swift--Pull

2006-11-23T16:12:00.000-08:00

Solo singer/songwriter Ben Swift debuts on the music scene with the impressive Pull. Swift not only provided all the instrumentals and vocals for the album, but also co-produced and engineered the album, as well as providing the cover art (he is also a professional photographer). Jeeze. The music drips of talent as well, playing on the edge of pop, country, and typical acoustic singer/songwriter territory. Most of his songs deal with the typicals: love lost, love found, life’s ups and life’s downs. Yet, also intermixed are some intriguing unique songs like "Shortest Day of the Year" and especially "Puppet Baby." This latter song in particular displays some of Swift’s best and most haunting lyrical work, singing "Bring me your wretched your tired and poor / Smile for the camera and calmly ignore / All of these problems become such a bore…Power is sexy power is fun / We like to get drunk and play with our guns / There’s nothing to it / This could all be yours." Swift has a softly pleasing voice that does all it should: hints at emotional fragility while remaining strong and enjoyable to the ear. His vocals and instrumentals mix well too, as in "New York Rain" which displays some of the strongest melodies on the album. Pull hits a rough spot in "Happy Song," as the repetition tends to get bothersome after the joke ends, but Swift’s acknowledgment of his glass-half-empty style songs is refreshing. A strong effort from a very talented artist, Pull pushes Swift in the right direction.

(Published at MusicEmissions.com)