Happy Thanksgiving!

From all of us at Vinyl Visions: Happy Thanksgiving everyone! We hope it's a good one!

The Pavement Revival Continues

Matador Records has gained quite a reputation with independent rock music. The 19-year old record label has been the homes for such important bands as Belle & Sebastian, Yo La Tengo, Cat Power, The New Pornographers, Liz Phair, and now even Sonic Youth (this is just to name a few). One of the most recognizable bands that emerged from the Matador scene was California’s influential Pavement. Matador obviously takes pride in the band by not only releasing every single album of Pavement’s 10 year span, but also releasing frontman Stephen Malkmus’ solo albums (with the Jicks) and reissuing every Pavement album.

So far, 3 of the 5 albums have been re-released as densely packaged 2-disc deluxe editions, all kept in chronological order. In 2002, their 1991 debut Slanted & Enchanted was reissued with the proper subtitle “Luxe and Reduxe”. 2004 saw the reissue of their sophomore 1994 release Crooked Rain, Crooked Rain, which included the indie-rock anthem “Cut Your Hair,” and 2006 saw the rebirth of 1995’s Wowee Zowee.

Now comes along 2008, and the 2-year pattern of Pavement reissues prove themselves ever-flowing with the re-release of the guys’ fourth album Brighten The Corners. Like Slanted and Wowee, Brighten The Corners has been reissued at its 11-year mark, the original release date dating back to February 1997. By this point in their career, Pavement had a steady fan base. They stood out from their ordinary 90s contemporaries, their music being exceptionally more ‘upbeat’ in comparison to the grunge bands of the times. And with a voice like Mr. Malkmus’, how can you even sound ordinary? Malkmus, drummer Stevoe West, Bob Nasatanvich, bassist Mark Ibold (who is, wuddyaknow, currently touring with Sonic Youth) and Scott “Spiral Stairs” Kannberg made up a damn catchy band. Not “Smells Like Team Spirit” catchy, but that kind of catchy that makes you feel happier than you were before, and you continue to listen to it over and over again until you become completely sick of it.

Brighten The Corners: Nicene Creedence Edition (a reference to the original album’s liner notes crediting the band as ‘the Nicene Creeders’) is the latest installment of the Pavement revival series, leaving us now with 4/5 of the band’s studio albums in their deluxe edition makeover. Only 1999’s Nigel Godrich-produced conclusion Terror Twilight is left. The Corners reissue may be one of the shorter reissues in the series with a run time of only 2 hours and 34 minutes (ranging from both discs, of course). Nicene Creedence starts off with the original 12 track album newly remastered from its original tapes and sources. The album itself is worth the buy alone, with it’s classic opener, "Stereo" where Malkmus deservedly and commandingly brags to " (Ho!) Listen to me!/ I’m on the Stereo". And of course there is the fan favorite bass line of "Shady Lane" following right after (talk about 'damn catchy').

Other tracks like "Embassy Row," "Passat Dream," "Starlings of the Slipstream," are all highlights of pure Pavement melodies, and the exceptional sound from what fans and critics alike deem, "The Quintessential Indie Rock Band."

Track 13 acts as the gunshot that starts of the hour and 50 minutes worth of extra material. With more than half of the extra tracks being unreleased, the material is a collection of single b-sides, and numerous radio sessions from ‘97 with alternative versions of BTC tracks such as ‘Date w/ Ikea’ and ‘Fin’. One of the radio sessions that is definitely worth a listen is a John Peel radio session that ends with a cover of “The Classical” by The Fall, Peel’s favorite band. It also includes studio session outtakes, and even a two-track finale of the late night cartoon talk show ‘Space Ghost’ theme song. Both tracks are the most vocal and guitar-effect heavy you’ll probably hear from Pavement.

Along with the cover of The Fall’s, "The Classical", other covers include Echo and the Bunnymen’s, "Killing Moon" (a somewhat confusing pick for the band), "Oddity" by The Clean, and even a stellar version of “It’s A Rainy Day, Sunshine Girl” by 70s Krautrock legends Faust. Like the previous reissues, the supplementary material on Nicene Creedence can be a bit overwhelming for a single listen-through; but when individually listened upon time after time, the charms are as present as the day they were recorded.

Waiting only 10 years to reissue Pavement’s records might seem a bit impatient and premature on Matador’s part, but at least they aren’t waiting too long. We’re living in an age where bands such as Lynyrd Skynyrd and AC/DC get the Special Edition and Box set-makeovers nearly every month it seems. So even if it may seem a bit early, we should be thankful that at least excellent bands such as Pavement are getting the legacy recognition they deserve. I mean after all, they were pretty much the best thing that rock saw in the 1990s.

Myspace Band of the Week: Alignment

Ever wondered what happens when you mix a clarinet, a steel drum, and some effects? The answer is this week's MySpace band of the week: Alignment. The band is comprised of two members: Colin Kemper (clarinet) and Tim Engers (steel drum). Their music is somewhat tough to place on the musical spectrum (even for the band); I'd call it classical with a psychedelic twist. This may sound odd at first, but listen to their tracks and you'll understand why their musical flow and pure creativity has made them our MySpace band of the week.

The band's MySpace is the definition of humble with no picture, three friends, and the stock profile. That can only mean one thing: it's brand new. So is the band, having started only a couple months ago in August. When asked where their inspiration came from, Engers replied, "We just get together a couple nights a week and jam." He also mentioned that clarinetist Colin Kemper saw something like it on YouTube and wanted to try it out.

Alignment has two songs, or "jams" as Engers refers to them, up on their MySpace and have about 10 to 15 others recorded in total. However, they feel that these two are their best. “The goal is to get a 12 to 14 track album soon, which will probably go up on the Internet as a free download since we don’t imagine selling it,” says Tim.

Head on over to Alignment's MySpace, see what you think, and keep an eye out for some new tunes from the duo.

Alignment's MySpace

White Rappers from Colorado

I think my roommate hates me now. He's too passive to speak up, and I don't have earphones (they broke), so when I need to finish a paper - or just don't feel like going to sleep - he has to put up with 3OH!3's Want playing ad nauseum. I like to think that he's soothed to sleep by the fast paced electronica of Sean Foreman and Nathaniel Motte. They bring all the irreverence of white rappers with a sound that gives them the legitimacy to make a lasting impression on the music community.

It's so tempting to label 3OH!3 as hip-hop, electronica, or some combination of the two but they dont really fit the image of either. First, I suggest you listen to "Holler til You Pass Out". It's gritty, harsh, deliciousness. But you say, "Johnny! That song is all kinds of hip-hop electronica!" And I would have to agree with you politely and ask you to watch the music video. It's two white guys, nay, two scrawny white guys, playing basketball against a bunch of little kids. By turning the idea of a hip-hop artists on its head, 3OH!3 manages to take all the awkward white kid of a Computer Science dorm, an amazing amount of arrogance, and combine the two in a such a way that's not only entertaining, but kind of funny too.

It's like when you went to a highschool dance and saw the tiny little freshmen freak-dancing to "Fantasy" by Ludacris; you cant help but chuckle, and dance along. Take, for example, this gem their eigth track "Rich Man," "Drinks are on the house,/ Whiskey's on the rocks/ while your sister's on my mouth." Vulgar? Yes. But coming from two scrawny white guys that met in physics class, you can't help but chuckle.

But even then, when you have them play them off as a tongue in cheek jab at hip-hop, "Still Around" starts playing, all soft and slow-like. It leaves you with the feeling you get when, not to beat this metaphor to death, switches to a slow song, "for all the couples out there." The change of pace in the album is nice and helps to define the band as more than gimmick. "Still Around" drops the lanky white rapper image, and lets us know that this band is much much more than their poppy, tongue-in-cheek sound lets on.

They are currently touring around the states, enjoying sold out shows all along the way.

www.myspace.com/3oh3

3OH!3: Don't Trust Me
3OH!3: Rich Man
3OH!3: Still Around

Wildbirds and Peacedrums - Heartcore

Comprised of drummer Andreas Werliin and singer Mariam Wallentin, Wildbirds & Peacedrums album Heartcore is an engaging mix of folk, blues, pop, and soul, that when put together, the end product is anything but mundane.

The sound is similar to what you would imagine hearing from a downstairs room in your home, being sung by a familiar voice such as your mother. Wallentin’s singing is responsible for evoking this homey impression that makes the listener feel comfortable and relaxed. No one song on the album can be pinned to one genre alone, and that’s what makes it so fun.

The creative approach to percussion and soulful singing make for an experience of elation that only this couple could produce. The Swedish join up have succeeded in creating a balance between Mariam’s vocals and Andreas’ unique approach to percussion that portrays the album in a seemingly simple structure, but is really a clever concealment of its intended frame.

With a wide range of incorporated types of music, Wildbirds & Peacedrums have produced a variety of enticingly dramatic ditties that range from mellow and calm ("The Battle In Water," and "A Story From A Chair"), to upbeat and exuberant ("The Ones That Should Save Me Get Me Down," "Doubt/Hope"). Each complements the other, and the end result is refreshing, original, and satisfying.

Here is the video for their track, "The Window"




Wildbirds & Peacedrums: I Can't Tell In His Eyes

Upcoming tour dates:
Sun 7 Dec 2008: Neumos, Seattle, WA, USA
Tue 9 Dec 2008: Doug Fir Lounge, Portland, OR, USA
Thu 11 Dec 2008: Bottom of the Hill, San Francisco, CA, USA
Fri 12 Dec 2008: Spaceland, Los Angeles, CA, USA (with Radars to the Sky)

Website: http://wildbirdsandpeacedrums.com

MySpace: http://myspace.com/wildbirdsandpeacedrums

Rithma's new album Sex Sells

Rithma has just released their new album Sex Sells. Rithma, aka Etienne Stehelin, produces all of his own music and plays all of the instruments. As far as Sex Sells goes it is apparent that Rithma has incorporated some jazzy, funky, and sexy sounds with a slight techno feel and very strong jazz roots. All of these works together to give Sex Sells that classic sound of a coffee shop with its very mellow and smooth feel.

The first track is just a small instrumental forward that leads into the second song. Track two, “We Are” featuring “Rock and Roll” Franny, opens with a very smooth acoustic bit that is blended with a saxophone riff that works its way into a strong beat with some funky instrumental riffs in the background making this song a very chill one. Rithma’s voice has a very smooth and well trained sound and feel to it; and in, “We Are” he is accompanied by Franny’s slightly deep feminine voice which gives a nice balance of ranges and harmonies. The song then turns towards a jazzy instrumental sound with accompaniment from voices or other sounds.

Track three, “Map Point Baby” featuring Mitch Manker, has a unique beat that is occasionally interrupted by some synthesizer fills that add a mellow and smooth feel. After this is “Extra Strength” which has a very unique beat and ambient sound to it that is perfect for relaxing too. About half way through this song comes a very very very smooth guitar solo that melts perfectly into this song. Following this is “Lithuania” which features a faster and more diverse beat that are layered over with very crunchy bass lines that set the mood for the song. The vocals have a loudspeaker monotone sound to them that helps set of the changing style of the beat from plain drums to a very heavy techno beat, but this is all held together by the high hat that stays mostly constant throughout the song giving it a unified sound that the listener will like. Skipping ahead is the title track “Sex Sells” featuring Dan Boissy that opens with an elevator style instrumental bit in the opening that is picked up with some tribal drums in the back ground. The listener will understand why this is the title track because of its smooth and relaxing sound but it still keeps from being boring with its strong beat. Immediately following this is “Sex Jam” which also features Dan Boissy. This song is an ultra-smooth transition from “Sex Sells” carrying the same feel through it, but carrying it into a whole new direction. This album is one that has some well planned transitions that give Sex Sells a masterful flow that make this album a great one.

This album is one that should be recommended to anybody who is looking for some smooth sounds that are ideal for chilling to. To check out Rithma and his music go to http://www.myspace.com/rithma.

EP Review: One Day As A Lion

What do you get when you mix one Zach De La Rocha of Rage Against The Machine with The Mars Volta's Jon Theodore? You get One Day As A Lion. While I was never a huge fan of Rage or Mars Volta, I do respect Zach's raps as I appreciate the experimentalism of The Mars Volta. Picking up this EP I didn't really know what to expect, but in retrospect I got exactly what someone would expect from the two: some great lyrics, but repetitive and noisy music.


The five-song EP opens with "Wild International" which wastes little time, getting political from the get-go. The song appears to be the fan favorite, and it's understandable with such a memorable chorus. Outside of the chorus though, the song is lacking much of a message and the beats are not all there.

The second track "Ocean View" seems to be a little more influenced by Theodore with its unstructured beats and the groan of a distorted guitar humming through the entire song. Much like "Wild International," this song has a memorable chorus both lyrically and musically.

Ocean of tears rise, rise a flame to tear them down
Ocean of past crimes now fill our hearts to tear them down

Track four, "If You Fear Dying," again accents Zach's poetic raps, discussing (obviously) the fear of dying. This song, more than the others, gets quite repetitive relying solely on Zach's rap while the music is just a background noise.

Overall I'd recommend the band to any Zach De La Rocha or Rage Against The Machine fan. If you don't like Rage however, I doubt you'll appreciate this band and find the music and beats rather repetitive.

One Day As A Lion: Wild International

Check out their Myspace.
Buy their EP and merch here.

From the Vinyl Bin: The Sonics - Have Love Will Travel

This month in the vinyl bin I came across an old song, by Tacoma, Washington garage rock legends The Sonics, called "Have Love Will Travel" which is originally by Richard Berry. This song is easily one of the most influential of the 1950's and 60's. Since it was written it has been covered by artists like Raul Revere and the Raiders, Stiv Bators of The Dead Boys, The Black Keys, and Jim Belushi.

This song is a true testament to the garage rock sound and comes complete with distorted guitars and wailing screams from the mic. This song can seem slightly repetitive a minute or so in (like most generic 50's and 60's songs). Then it hits the sax solo adding something totally different and giving the song somewhat of a bluesy feel.

The interesting and little known fact about this song, and even this band and the movement that they were a part of is that it is (or was) punk rock. That's right I said punk rock.

So how do we get the accelerated and distorted power chord progressions, quick drumbeats, and leather jackets complete with studs from an early 60's rock band? Listen to the song and think about the music of the time. Bands like The Sonics, Paul Revere and the Raiders, The Kingsmen, and The Wailers (no, not Bob Marley's band) pioneered that fast and distorted rock sound that was referred to as punk, but is now called garage rock.

This sound is obviously not quite what punk is. A good modern comparison would be The Hives, who sound heavily influenced by bands like The Sonics. Over all though it was this music that has been the driving force behind the punk movement, grunge (which started in a similar area), and the garage rock bands of our day.
The Sonics: Have Love Will Travel

Wanna know more? Wikipedia, MySpace, and fan sites are your best bet. Just Google the band you'll find the limited information fast enough. Just like information on them, the band's music is somewhat scare and not always easy to find, so if you ever find some pick it up, listen to it, and hear to the sound that's helped make rock today what we've known it to be.

Guns N' Roses: Chinese Democracy, Nov. 23

Have you heard?! Or have you been under a freaking rock?! Guns n' Roses! They're back! Chinese Democracy! Fire up the old Chevy Camaro and slick back that mullet. We're gonna rock out like it's...1991. Hmm.

Ok, they're a little outdated, but Axl and the boys are back to do what they do best! Rock out hard! Can you imagine the ensuing world tour coming to a major arena near you? Think of Axl coming out with his trademark bandana and...dreadlocks. But then comes out Slash and McKagen! Or you know... Dizzy Reed and Robin Finck. Close enough right?

The album's been a work in progress over the past 17 years. Fans should be getting quality right? The thing's been tweaked and speculated over for the better part of two decades. I wonder if there are any collaborators? What's that? Shaquille O'Neil reportedly rapped on a track? Former Skid Row frontman and permanent VH1 resident Sebastian Bach sang on a track? Wow. Uh, way to throw back guys.

So yeah. The fact of the matter is Chinese Democracy could either be the worse thing mankind has ever recorded on purpose, or relatively listenable. It won't be Guns n' Roses. It won't live up to the hype. It can't. The only thing we can hope for is for it to rise briefly above mediocrity to satisfy fans, and then plummet (and hopefully take Axl along for the ride). It's nice that Rose managed to deliver the album almost within the same century as his last, but after 17 years of waiting, how much does anyone care anymore?

Who knows? Maybe I'm just a cynic and the album will be fantastic. All I'm saying is that if you are one of those mulleted, chain smoking, wanna-be bikers who's waiting for the great second coming, well you might want to get back under that rock I mentioned.

The Profound Underground: Pretty Lights [UPDATE]

On October 24th (read it here) I reviewed Pretty Light's album which was available for free on their website. Well today I am writing to let you know that Derek Smith of Pretty Lights has just put out a 2-disc album entitled Filling Up The City Skies. After listening to the album for the first time I already could feel the potential. The album is great and I'd reccommend it to any fan of electronica, downtempo, hip hop, glitch...it's all good. The best part is: IT'S ALSO 100% FREE. That's right, the two and a half hour album is available on their website www.prettylightsmusic.com. Please donate if you can.

Below are two stand out tracks, "Finally Moving" appeared on the Pretty Lights album Taking Up Your Precious Time and in my opinion outshines the original.

Derek Smith of Pretty Lights: More Important Than Michael Jordan
Derek Smith of Pretty Lights: Finally Moving [Remix]

Check out their Myspace!

Live Review: Matisyahu w/ Flobots and HR (of Bad Brains)

Recently (on November 1st) popular reggae/hip hop artist Matisyahu's fall tour stopped in at Baltimore, Maryland's Rams Head Live. I was lucky enough (or so I thought) to get tickets to this show, however the first thing I noticed was that it didn't sell out, which has been usual for Matisyahu in the past. This was hardly discouraging to my hopes for this show though, I've seen him in the past once and it was spectacular. I had high hopes for this show, and sadly I was kind of let down.

I say "kind of" let down because the opening acts were fantastic. First up was HR of the legendary Bad Brains. Every time I'm presented with a chance to see a member of a legendary band I'm always skeptical, thinking it just won't be the same. I had this same concern when HR took the stage. I was right; it just wasn't Bad Brains, but it was one of the best performances I've seen in a long time.

HR's style is mostly a fusion of reggae and hip hop however he proved that he hasn't forgotten where he came from. I was ecstatic to hear the grungy sound of distortion in the guitars, see the keyboardist walk off stage, and finally hear the tempo pick up. I couldn't have asked more from their performance, great reggae and even a few hardcore songs. Watch out for HR on tour, this is definitely a show you don't want to miss.

The next act was rising alternative rock/hip hop band Flobots. I was extremely excited to see Flobots for one reason: I wanted to see "Handlebars" live. Coming into the show I would have been happy if they had just play that one song and walked off stage, but by the end of their set I was thinking their performance would rival what I was hoping to see from Matisyahu. They were easily the best part of the night with their most notable songs being "Stand Up" and "Rise." The band put on a brilliant performance showing their true talent as a band which only left me expecting great things from them in the future.

This is where the show took a heart-wrenching turn for the worst; the catalyst was Matisyahu taking the stage. Last time I saw Matisyahu was in 2006 at the last HFStival; his performance was amazing, the perfect end to a day of great music. Because of this it truly pains me to say that I was absolutely bored by his set, which lasted two and a half hours and was comprised of about 16 or 17 songs. If you do the math there you'll notice that that's about eight minutes per song. This wasn't uniform but it seems about right; just about every song included a long interlude which was basically the band jamming. Don't get me wrong, being a musician I can appreciate a good jam, but I can hear that without paying 30 dollars, especially when I'm paying to hear songs, not jams.

The band wasn't off, Matisyahu didn't seem like he was having a bad night, the set just progressed too slowly. I wouldn't take this as a deterrent from seeing him again, just a warning of what might be. A lot of people left during the set though, so we can only hope he'll take that to heart and get back to playing the songs that got him to where he is today. Overall I wouldn't count the night as a waste, the show was great, just a little disappointing. I skeptically await Matisyahu's next tour.

To find out more or hear these artists:
http://www.matisyahuworld.com/
http://www.myspace.com/matisyahu
http://www.flobots.com/
http://www.myspace.com/flobots

Electric Owls: Magic Show EP

Magic Show EP -Track List:

1. Magic Show

2. Darken Me

3. Cannibal Superstar

4. Throw the Switch

Multi-instrumentalist and vocalist of the band, Andy Herod, brings rapture to his listeners with the raw emotion in his vocals. Herod, one of the original founders of the NY based band The Comas, has turned to this solo project as they have been on hiatus for the past few months. Currently residing in Asheville, NC, Andy has been recording his still untitled full-length album that will be released on Vagrant Records in March of 2009, at the Echo Mountain recording studio.

This four song EP is an upbeat mix of acoustics and synthesizers that forms a short but inviting collection of what Herod likes to refer to as emo-pop. Herod’s voice is a complementing opposite to his beats, bringing out a feeling of ecstasy when listening.

The first track starts with a mix of acoustic guitar, maracas, and electronic melodies. Herod’s voice almost has an echo after it, giving the song an enchanted feel. In between verses, a girl’s voice sings the words “magic”. The song itself is a metaphor drawing a comparison to performing a magic show and playing a gig. It is a very happy song, as opposed to the second track – darken me, which is more mellow. Track two has more of a folk feel, its lyrics recalling a broken bond between two people that has left the narrator “darkened”. The third track is definitely a change of pace, although by listening to everything but the lyrics, you would not notice that the song is about the story of a man who is a cannibal and kills his wife. Throw the switch, the final song on the EP, is the perfect ending to the collection – fast in the beginning, progressing to a slow fade out in the end that leaves the listener satisfied.

It can be assumed Herod planned for this EP to be exactly what he calls it, a magic show, and each track a trick. I have had these four songs on loop since I bought it this weekend, and I strongly urge anyone interested in a good listen to check it out, and if you like what you hear, buy the album when it comes out in March.

Electric Owls on Myspace

Electric owls on Vagrant Records

Electric Owls New EP – Magic Show, now available on iTunes.

The Comas Website

Kids, They Always Come Back and They're Always Doing Something Different

If you've ever heard of MGMT, then you most likely know the song "Kids." What you probably don't know is that there is more than one version of the song; in fact, there is a version of "Kids" on each of the bands four releases. However the only difference in the versions on Oracular Spectacular and the We (don't) Care EP is production quality.

The four versions are (I'll refer to them as 1, 2, 3, and 4):
1. Kids (Oracular Spectacular)
2. Kids (We (don't) Care EP)
3. Kids (Time to Pretend EP)
4. Kids (Afterschool Dance Megamix) (Climbing to new Lows)

There are many interesting points we can bring up about this song. The first is the title: "Kids." I find this song to be a lot like kids actually. You never really know what kids are gonna do next, but they're always popping up in different ways. Not to imply that the songs are nearly spastic as children tend to be at times, but the four versions certainly do make an interesting set. Versions one and two are almost exactly the same aside from the production. Version three is also quite similar to the first two, save one section of the song, and version four is almost completely different. The first two would be like the kids wearing very similar outfits, the third would be the kid wearing something close, but the logo on the shirt is quite noticeably different. The fourth would be the one that decided to dress up as a fire-fighter for no reason.

All-in-all each version of this song has something different to offer, but why three different versions? Can we expect to see "Kids" on the next release? I can't really answer those questions with a concrete answer. However I can say that a track record of four out of four would lead me to think it's certainly possible. As far as why, there could be a multitude of reasons. Maybe they just like the song. Who knows.

So what do think? Let us know what you think of these different versions and if you think there'll be more to come.

Out of Print: MGMT (The Management) - "Climbing to New Lows" and "We (Don't) Care EP"

When people first hear of up-and-coming psychedelic rock band MGMT and decide to go buy an album by them, most of them go out to the store and pick up a copy of Oracular Spectacular, the band's "debut" album. While this album is the band's first major release and first release on Columbia records, their current label, it is not the band's first album and is far from their first release.

MGMT has actually been around for a few years now and Oracular Spectacular is their fourth release. The band's name comes from their old name The Management, under which they released their first EP and album in 2004 and 2005. Their discography also includes the Time To Pretend EP which was their first release as MGMT.

MGMT has come on to the scene and made a strong entrance with a psychedelic style that has an interesting take on the combination of electronic sounds, and the sounds of traditional instruments. Overall, their style is fairly innovative and not one that is normally heard on the mainstream level, which they are quickly breaking into. This is all fine and dandy, but what about their old material? Can we expect the same echoic and psychedelic sounds that we hear on Oracular Spectacular from the old stuff?

Put simply the answer is no.

When I first heard MGMT at this year's Bonnaroo I immediately went bought bought Oracular Spectacular and looked them up online. My search led me to some information that I think is crucial to understanding the transition from the old sound the their current one. MGMT did extensive touring with Of Montreal in support of the Time To Pretend EP. Based on their current sound this kind of makes sense, but when you consider their old sound it's like a hand fitting in a glove.

MGMT's original material under The Management sounds a lot like new Of Montreal actually. If you want a more concrete description, strip off all the live instrument's and a lot of the vocal harmonies. What you're left with is a lot of keyboard samples and some odd lyrics that create some incredible songs. The material I'm referring to can be found on the band's first release: the We (don't) Care EP and the band's first album: Climbing To New Lows.

While I have implied that the MGMT's current material is a drastic departure from their earlier stuff, this is not uniformly true. A precious few of the songs off of their old releases such as "We Care," "Love Always Remains," and even the version of "Kids" that is found on the We (don't) Care EP sound like they could be on Oracular Spectacular, in fact this version ok "Kids" is on Oracular Spectacular. Most of the songs are either drastically different, like "We Don't Care" and "Everything's Happenin' So Fast," or are transitional between the old and new styles, like "The Kids Quartet." Hints of this older sound can be heard on the Time To Pretend EP in songs like "Destrokk."

This older material is a window into the evolution of this increasingly popular band. A complete review of the their catalog really gives you a feel of where this new sound came from and how it began.

Take a listen and see what you think:
Climbing To New Lows
We (don't) Care EP

Album Review: Vessels- White Fields and Open Devices

If you've never heard of this five-piece British math rock band, you're in for an experience with this album. Minus the Bear or Maps and Atlases would be a good reference point if you were trying to decipher their sound, which is very ambient with riveting transitions between soft (and at points almost silent) extended pitches and smashing chord progressions that at points blow the listener away. None of this would be complete without the intricacy of the music that will only leave you in awe of the musical talent of Vessels.

The band recorded and released their debut album entitled White Fields and Open Devices. The album is definitely a strong first release. The opening track, "Altered Beast" was a good choice for first song on the album. Opening with what can only be described as a tidal wave (of sound) building up momentum and taking shape for a collision course with the shore. Mid-song the wave crashes down as chaotic chord progressions take over the canals of your ears.

The progression of the album is solid; listening to the whole thing beginning to end just feels natural, if that's what you're in the mood for. I don't mean that in a bad way though; listening to this album is like taking a journey of sorts and is best enjoyed when you can just let the music take you in.

All-in-all I'd say a journey through White Fields and Open Devices is one well worth taking with highly qualified tour guide Vessels. This is a terrific first release and an excellent start to the bands catalog. This critic anxiously awaits Vessel's next release and highly recommends that you all keep an eye on this up and comer to the scene.

For more info on the band:
http://www.myspace.com/vesselsband

Just a taste:
A Hundred Times In Every Direction
Yuki