Gramercy Arms’ self titled album is without a doubt a must have for any true fan of indie rock. The band consists of musicians from the NY area that were formerly in groups such as Guided By Voices, Joan As Police Woman, Luna, and several others. Together, they create an excellent sound that’s not too indie but not too rock.
On the album the first track "Automatic" is probably one of the best songs on the album. With its catchy chorus, intricate sound, and overall excellence, it makes a great first impression for Gramercy Arms.
The next song "Looking At The Sun" is a cutesy little thing that has a nice mellow but still upbeat feel to it. Skipping down a track or so, "Since Last September" essentially is a love song. Now, this does not make it some cheesy chick song; if anything it’s just a nice easy on the ears kind-of song.
"Fakin" is next up and also one of the better tracks on the album. This song features some excellent guitar melodies with some nice drumming in the background combined with the vocals make this track something special.
As for the rest of the album, a total of ten tracks, the songs are as good as the others and worth checking out. So all in all this album is a match for anyone who is seeking a upbeat but still chill and relaxing album.
Let me make this known: I owe a whole lot to Bob Pollard. Pollard was the long-time leader of Dayton, Ohio lo-fi kings Guided by Voices, the band that got me seriously into music and beyond the limits of the Top 40. And ever since 7th grade when I heard “I Am a Scientist” on a boom box in my teacher’s classroom, I’ve turned time and time again back to the music Pollard has created in his 25+ year career.
With more than a thousand songs registered with BMI, Pollard is up there with R. Stevie Moore as one of the most prolific indie songwriters of the last 50 years. He’s known for banging out great pop ditties at an incredible clip that have all the teenage longing of early Beatles, all the jangle of The Byrds, and all the concision and less-is-more attitude of Wire. In addition to his long run with GBV, which saw the release of Bee Thousand, a cornerstone of 90s indie rock every bit as important to the genre as Slanted & Enchanted, Pollard has released albums under his own name since 1996, and exclusively since GBV’s breakup in 2004. In his first release of 2009, The Crawling Distance, Bob brings ten more tracks of his trademark sound.
On the album’s opener, “Faking My Harlequin,” Pollard sneeringly poses a challenge to a lover as the music chugs and throbs along: “Try not speaking to me, my love.” The hooks come fast and furious on this release, and the surreal lyrics that never seem random or forced but never quite make total sense fit nicely. Pollard has a soft side, too, and “It’s Easy,” a haunting dreamy pop song that brings up comparisons to “I’m Only Sleeping,” confirms that this 51-year old former school teacher is still brimming with creativity. “Imaginary Queen Anne” may be the best cut on the entire album, the best jangle-pop Big Star never wrote.
For those unacquainted with Pollard and Guided by Voices, The Crawling Distance isn’t likely to win over any new converts. But for fans of Uncle Bob, it’s one more in a long history of excellent releases that does nothing to detract from the legacy.
Dylan Gilbert's newest album The Quiet Life came rolling out in February 2008, almost a year ago. Music is nothing new to Dylan, a Charlotte, NC native who has been writing and performing since an early age. He has already released two full length albums including The Quiet Life, the first being The Artist & The Scientist (Sept 2006), as well as an EP entitled Oh No Oh Now I Know (Dec 2005). A mix of folk, experimental, and pop, The Quiet Life differs from Gilbert's earlier releases, which were based on a more folk-punk sound.
The album starts of with a track called "The Quiet Life", a three minute ditty about growing up and moving away from the lighthearted, untroubled days of youth. The song sets the premise for the album, introduced through lyrics "Safe from the noise of the city I'll keep my mind at ease" that simply state what the artist is missing.
The next few songs continue to please with Dylan's voice manipulation (tracks like, "I'll Plant A Seed" and"Math"); a style all his own that he has developed and grown comfortably into. Tracks like "Before My Egg Hatches," "Darlin' Don't Forget My Name," and "If You Leave Me" stick out with their catchy hooks and instrumentals. Gilbert's style is similar to that of groups like James K. Polk and the Family of Friends, another folk act hailing from NC.
The Quiet Life is the soundtrack that follows your trips back home, from the car ride and diner stops to the midnight coffee runs and everything else along the way. When you get to the last track, "Please Repeat," you'll want to do just that.
Video: Here is the video for Dylan's track "Before My Egg Hatches":
Links: Check out Dylan's website here for more information, tour dates, and to purchase his cd.
Upcoming tour dates: 01.24.09 @ The Common Market (Charlotte, NC) [21+] 01.30.09 @ The Midnight Rooster (Hartsville, SC) 02.07.09 @ Legends (Wilkesboro, NC) 02.13.09@ Go! Bar (Athens, GA) 02.15.09 @ Deep South The Bar (Raleigh, NC) 02.19.09 @ The Soapbox (Wilmington, NC) 02.20.09 @ Wonder Root (Atlanta, GA) 03.01.09 @ Tremont Music Hall (Charlotte, NC) 03.12.09 @ Mansion 462 (Chapel Hill, NC) 03.17.09 @ Crossroads Coffee on the App State Univ Campus (Boone, NC) 03.20.09 @ The Evening Muse (Charlotte, NC) 6.06.09 @ Wedding (Johnson City, TN)
Never judge a book by its cover, or an album by it's first song; the latter is something I learned while reviewing Loney Dear's fifth full-length album Dear John. Loney Dear is the musical project of Emil Svanängen, and the album Dear John, released January 27th to the US, is a culmination of genres, experimentation, and perfectionism.
Having never heard anything of Loney Dear before this album, the opening tracks, "Airport Surroundings," and, "Everything Turns to You" had me pegging this album as something it's not. I envision these two tracks as perfect soundtrack material for some action sequence in a film. "Airport Surroundings" starts the album off with a strong drum-machine beat and rushed vocals. "Everything Turns to You" starts with tense orchestrals, and the overlying siren-esque vocals only add to the sense urgency that these songs create.
The album then softens with the next track, "I Was Only Going Out." This a different side of Svanängen entirely; a side that features whistling and organs as instrumental accompaniment to soft voices and evocative lyrics. If I were to pick a favorite track it would be this one because of the atmosphere it creates, the softness of it. But this isn't an album easy to separate into favorites; I think it works well as a singular element, one of those that doesn't leave you skipping tracks when listening straight through.
Throughout Dear John there is genre bending abounds (some songs lean towards techno, other towards folk) and simple musical talent. Nothing sounds out of place, each musical element sounds precise and perfected as though it was carefully thought out. Certainly a product of perfectionism.
The obvious comparisons can be made to other Swedish artists like Jens Lekman, or other soft-spoken vocalists the likes of Stuart Murdoch. In listening to this album I was also reminded of Teitur in terms of the vocals, the strength behind a soft and contained vocal range. Loney Dear achieves musical depth and complexity in Dear John while losing nothing in terms of vocals and lyrics, and since listening to it the whole way through once, I haven't turned it off.
Video: Here is the video for the first single from Dear John, "Airport Surroundings"
Links: For more information, tour dates, or to purchase this and other Loney Dear cds, visit Loney Dear's website and myspace.
Upcoming Tour Dates: 02.04.09 @ The Variety Playhouse (w/ Andrew Bird) Atlanta, Georgia 02.06.09 @ The Plaza Theater (w/ Andrew Bird) Orlando, Florida 02.07.09 @ The House of Blues (w/ Andrew Bird) New Orleans, Louisiana 02.09.09 @ Spanish Moon (Headline show) Baton Rouge, Louisiana 02.10.09 @ Rudyards Brittish Pub (Headline show) Houston, Texas 02.11.09 @ Hailey’s (Headline show) Denton, Texas 02.12.09 @ The Paramount Theater (w/ Andrew Bird) Austin, Texas 02.13.09 @ The El Rey Theater (w/ Andrew B) Albuquerque, New Mexico 02.14.09 @ The Rialto Theater (w/ Andrew Bird) Tuscon, Arizona 02.15.09 @ Soma San Diego (w/ Andrew Bird) San Diego, California 02.17.09 @ The Cellar Door (Headline show) Visalia, California 02.18.09 @ The Orpheum THEATRE (w/Andrew Bird) Los Angeles, California 02.19.09 @ The Fillmore (w/ Andrew B) San Francisco, California 02.20.09 @ The Fillmore (w/ Andrew B) San Francisco, California
2005’s Beautiful Seizure, the first release from Chicago noise rock three-piece volcano! caught the attention of critics, who were impressed by the versatile vocals of Adam With set against the sonic pastiche of thunderous drums, distorted guitar riffs, and electronic glitches.Volcano! bring more of the same in their new album Paperwork.
Musically, volcano! is pretty similar to noise rock groups Parts & Labor, Gang Gang Dance, and No Age.But there is a lot to this band that in certain ways sets them apart.Perhaps the most impressive thing about Paperwork is the vocal acrobatic performance by With.Going effortlessly from a growl to a croon to a falsetto and back again at a breakneck pace, With at times sounds like a sort of noise rock Tim Buckley in that he uses voice as another instrument. While that may seem like high praise for a relatively unknown, unproven singer from a noise rock band, one listen to the opening track, “Performance Evaluation Shuffle,” confirms that With is one exciting vocalist.
And just because volcano! use voice as an instrument doesn’t mean that the lyrics are neglected; on Paperwork, they are both bitingly satirical and cleverly quirky.The real stand-out cut here is “Africa Just Wants to Have Fun,” a savage indictment of the phony philanthropy of Bono: “You just came to shoot your load off the stage/A pacifier for a nation of beige/After your concert and at the G-8/You came to party yeah you came to get laid.”
That’s not to say Paperwork is a flawless album.Volcano! seem to fall into the almost inevitable noise rock trap of having the raucous noise becoming exhausting.When a band never lets the listener catch his breath with a little bit of a lull in the action before hitting them upside the head with a blast of noise, an album gets pretty old pretty quickly.While none of the tracks on Paperwork are terrible, it’s harder to appreciate them one after another when each prior song wears the listener down like they do.By the time the listener gets to “’78 Oil Crisis,” a great song that has a fantastic buildup over the course of two minutes, most people will have already hit the “noise rock wall” where the constant noise just seems like noise for noise’s sake, and not in the Merzbow good way.
Overall, volcano! get a lot right.Given the current state of indie rock, with artists foregoing much rocking with any kind of sincerity in favor of pseudo-intellectual sensitive-guy pretentiousness, a rock band with a bullshit detector so firmly stuck in the “ON” position is a refreshing change.
This past Tuesday Of Montreal released their newest EP on Polyvinyl entitled Jon Brion Remixes. The EP consists of five tracks, two of which are remixes of "An Eluardian Instance" (renamed "First Time High"), and the other three are remixes of "Gallery Piece." These remixes were done by critically acclaimed producer Jon Brion, who has produced artists ranging from Spoon to Kanye West, and scored movies such as Eternal Sunshine of the Spotless Mind. Both of these songs come from Of Montreal's 2008 Polyvinyl release Skeletal Lamping.
The first track, "First Time High (Reconstructionist Remix of "An Eluardian Instance")" seems to cut out some of the longer horn interludes from the original, but does little else to really change the song. Track two, however, satisfies those looking for a little more raw and emotional Kevin Barnes. The "Of Chicago Acoustic" version of "An Eluardian Instance" reminds me of most of "Girl From NYC (Named Julia)" most likely because Barnes' voice is rarely heard next to an acoustic guitar. The acoustic guitar isn't all though; a mandolin can also be heard played by Chris Thile of Nickle Creek.
Following the two remixes of "An Eluardian Instance" are three (including one instrumental) remixes of "Gallery Piece." Why this song was chosen to be highlighted on this EP is beyond me as I thought it was one of the weaker tracks on Skeletal Lamping. The first remix, the "JB Remix" adds a few things to the song, but much like the first remix, does little else to change it overall.
The second version is the "Long Version," 8:16 to be exact. So what happens in the four-and-a-half minutes added to the song you ask? Not too much; primarily, different synth solos. The solos add a new feel to the song, but in my opinion they don't do enough to hold the listeners attention for eight minutes.
I feel that this EP is definitely worth the $6 they're charging for it for one principle reason: "First Time High (Of Chicago Acoustic Version)." This song alone is worth the six bucks, and if you're anything like me, the song will probably be on repeat until the next Of Montreal release.
Check out a song (not including the acoustic version, because I want you to buy the album):
Singer-songwriter Gus Black released his fifth full length album, "Today Is not The Day," this past summer on Cheap Lullaby. The twelve track collection takes you through the aches of life: loneliness, homesickness, and betrayal. The album is introduced by the first track "Today Is Not The Day" in which Black sets the mood of low spirits through his lyrics, "let's go out tonight with drunken ambition, the one I want just left the country".
The next eleven songs on the album continue with the theme of despair and increasing helplessness, exemplified in tracks like "I'm F#@Ked" and "Variations On A Theme Called Honesty". It is only in the last two songs ("Hurrah, Hurrah, Hurrah, Hurray Hurray" and "On For The Arrow") that the mood seems to begin to turn in another direction.
Virtually every track is a new development in overcoming the despondency he is experiencing. The song structures consist of mellow acoustics that rest beneath a top layer of hypnotizing vocals. Some tracks recruit background vocals that create an echo effect; this addition brings a feeling of comfort to the songs by creating a feel of multiple people sharing the same experience.
The closing track to the record "On For The Arrow" is my favorite as it is instrumentally consistent with the rest of the album, but lyrically reflects the personal growth that has occurred over the record: "so come out tonight, lets go dancin', shoot out the lights, the whole distance, and throw our souls from tall buildings, from broken roads, just like kids". This is much different than the first song's dejected attitude, and it shows the emergence of a belief in promise. Black's musical style on this album is similar to that of Leonard Cohen or Brian Eno. It reminds me a lot of Raine Madia's The Hunter's Lullaby.
Video: Here is the video for Gus Black's track "Today Is Not The Day"
Teitur's debut album Poetry & Aeroplanes has been a staple of mine for many years now, and after completely skipping his second album for fear of ruining the image I had created for him, hearing his third album was somewhat of a shock. Now, it's not that I mean that in a bad way; The Singer (an apt title, I think) certainly is a change of pace from the acoustic softness of Poetry & Aeroplanes, but at the same time shows the capacity of Teitur to grow and evolve in his musical expression.
The elements that initially drew me to Teitur remain, for the most part, consistent in this album. Though, if I were to complain about anything it would be that I feel his change of focus from simple acoustic driven songs to more complex instrumentation has left many of the tunes bereft of his knack for intricate melodies. It doesn't seem like that would make sense, that the addition of more depth to each song takes away from the sense of intricacy; but to me each melody on this new album seems to play second fiddle to his vocals. This is why I say the title is apt, I think The Singer is more of an exploration of his own voice as a singer and songwriter.
For now, the fourth track, "We Still Drink the Same Water" is my absolute favorite from the album. The melody is haunting, his voice is subtle, and the use of repetition is reminiscent of earlier tracks like, "I Still Sleep with the Lights On."
"Catherine the Waitress" is another standout track on the album. Instantly with the instrumentation, horns and doo-wop voices, it creates its aura, (leather jackets, jukeboxes, the works). The lyrics are easy to relate to: a fleeting crush on a waitress in another town, "Catherine the waitress/ if you only knew where my mind is/ "Is there anything you'd like?"/ If I could only tell you." The song itself is as fun and fleeting as those sorts of crushes are, and certainly an escape from the more somber tone of many of the other songs on this album.
In contrast, songs like the final track, "You Should Have Seen Us," use minimal instrumentation (a lone cello seems to be the real driving force for much of the song) as the undercurrent for the lyrics, which are sung very sparsely, almost as though they are being spoken.
This album is certainly a move into a more experimental genre than his earlier work; something now more akin to spoken word poetry. I believe that he says it best in the title track: "I always had the voice/ and now I am a singer."
In an old church outside of Montreal, Land of Talk set up to record new songs for their October release Some are Lakes. This seemingly simple ten track album is actually an intricately weaved recollection of life's ups and downs. The album is a follow-up to a two year tour and the pick up and drop off several members, and the result is a strikingly sincere album that promotes honesty.
Singer Elizabeth Powell's voice is passionate, similar to that of Regina Spector, and the underlying music is recorded with a raw quality that gives the album a homey feel. Track ten sounds as if recorded live in a basement, probably because it was. Justin Vernon (Bon Iver) also contributed to the album on the first nine tracks, and the tenth track that was recorded in his parent's basement.
The album ranges from mellow ("It's Okay," and "Troubled,") to more upbeat ("Some are Lakes," "Young Bridge," and "The Man who Breaks Things"). Land of Talk succeeds with the perfect intro and outro to the album, opening with "Yuppy Flu," and concluding with "Troubled." "Yuppy Flu," a track that projects the emotional side of the album, builds the anticipation necessary for the listener to become hooked into finishing. You'll find that the energy building until the final track. "Troubled" has more of an acoustic sound that provides for a more intimate listen; it's as if Powell is playing for you in the same room. This raw sincerity is what makes the album such a success. This song is the perfect end to the journey as it leaves the listener satisfied.
Some are Lakes can be considered life's narrative as it takes us from high to low and everywhere in between.
Links: Check out their website here for more information, tour dates, and to purchase their cd.
Upcoming tour dates: Jan 14 2009/ 8:00P/ Ebar (Zeroes & Little Scream)/ Guelph, Ontario Jan 15 2009/ 8:00P/ Horseshoe Tavern (Zeroes & Little Scream)/ Toronto, Ontario Jan 16 2009/ 8:00P/ the grad club/ (Zeroes & Little Scream)/ Kingston, Ontario
Canadian musician Sebastien Grainger is making his mark on the music industry with his new album. Former singer and drummer of Death From Above 1979 recently released his first full-length solo album in October 2008 on Saddle Creek Records titled Sebastien Grainger & the Mountains.
The album consists of twelve tracks that embrace the raw energy of a live show, making the listening experience quite enjoyable. Every song is essentially a different story; each one a fusion of styles that result in a great dance punk record. Choice tracks include "Love can be so mean", "(Are there) Ways to come home?", "American names", and "Renegade Silence". Grainger's approach to music is unique in it's entirety, as seen on this album. The emotion he puts into his vocals allows for variation in evoked moods that keeps the listener interested throughout all twelve tracks.
Sebastien has successfully produced a dozen shots of energy and lasting satisfaction. Only two years after the break up of his previous duo, Grainger has managed to create a handful of catchy tunes and an overall successful album. The delivery of music on this record is nothing short of an accomplishment.
Video: Here is a live video for Sebastien Grainger's song "(Are there) Ways to come home?":
Links: Check out his website here for more information, tour dates, and to purchase their cd.
Upcoming tour dates:
15 Dec 2008 / / / Winnipeg - Burton Cummings Theatre 16 Dec 2008 / / / Saskatoon - Prairieland Centre 17 Dec 2008 / / / Edmonton - Shaw Conference Centre 17 Dec 2008 / / / Starlite Room - DJ SET - Edmonton 18 Dec 2008 / / / Calgary - MacEwan Hall 19 Dec 2008 / / / Calgary - MacEwan Hall 21 Dec 2008 / / / Vancouver - Vogue Theatre 22 Dec 2008 / / / Vancouver - Vogue Theatre 23 Dec 2008 / / / Vancouver - Vogue Theatre 23 Dec 2008 / / / Republic Night Club - DJ SET - Vancouver
Murs, an acronym for Making Underground Raw S#$%, is an alias for Nick Carter who has taken the role of a true rapper and made an incredible album. On Murs for President, Murs takes up the role of what could be considered an honest rapper, on par with the likes of Kanye West, in that he raps about real life as opposed to the themes of traditional gangsta rap. Murs’ lyrics represent everything, from being in love to remorse for cheating, from standing up for the little man to his own path that he has taken.
For example, in “Love and Appreciate 2” Murs raps about correcting his gangster friend for treating women poorly and instead, as Murs puts it, “treating her like a queen.”
The songs on the album Murs for President are individually strong songs but put together in this album make an amazing collection. The beats that Murs uses are original or classic spin-offs that, either way, are good. He also uses a broad variety of sounds and rhythms with the occasional change of tone or tempo, adding a good deal of diversity to the album and keeping its sound fresh. On top of this, the sound and production quality gives the album a sleek and crisp quality that a lot of CDs don’t have. When these elements are combined with his powerful and memorable lyrics, the tracks that Murs creates are an intense expression of his beliefs and feelings. Murs also occasionally features other artists in his music including Snoop Dogg, Tyler Woods, and Will.i.am.
All of the songs on the album Murs for President are excellent songs, but the best of these are “I’m Innocent,” “Everything-Murs,” “Me and This Jawn,” “Breakthrough,” “Time is Now,” and “Love and Appreciate 2.” “I’m Innocent,” is the second track on the album following the intro. This song has a very fast and strong beat that fits with the furious rapping that Murs brings to the table, and this track could definitely be compared to some of Kanye West’s music. The fifth track “Everything-Murs” is an inspirational song where Murs raps about his own story and gives the message to be unique and better the world. This song incorporates guitars and scratching that add to the diverse sound Murs achieves.
“Me and This Jawn” opens with an extremely unique beat that is captivating to listen to which consists of a scratching wah-wah like sound, a xylophone ding ding, a synthesizer’s wail, and a strong beat on the bottom. “Breakthrough” sounds similar to “Everything-Murs” with the traditional rap sound to it, but “Breakthrough” features some nice interludes with chimes and some vocal work in the background. Following this is “Time is Now” which features Snoop Dogg and the producer (“N” word)-rachi that when said sounds like Liberace with a slight twist. This song features some piano, stomping, clapping, and vocals in the beat that Murs and Snoop Dogg lay some smooth rhymes on top of. Tyler Woods is featured in the next track titled “Love and Appreciate 2” which has an almost throwback retro sound to it where Murs talks about love and treating her like she’s special and in turn hates on pimps and their treatment of women.
So, all in all, Murs has definitely made a great new album, Murs for President, and he could certainly come in a close second to Obama with it.
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.
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.
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)
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.
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.
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.
A couple weeks ago on October 7th Margot & The Nuclear So and So's put out two new albums entitled Animal! and Not Animal. At a glance, it seems like the albums are a set; essentially they are. Animal is the "original" album, and Not Animal is a glorified b-sides disc, in fact, five of the twelve tracks on Animal are also on NotAnimal. These two albums are beautiful complements to each other.
These have both been well worth the wait, which has been a little over a year now if you don't follow the band. However the most important thing to keep in mind when first listening to this new material is that over time a band's sound will tend to grow and change. Margot is no exception to this general tendency.
These albums are certainly not The Dust of Retreat. Both releases are slightly noisier than the band's previous album and demos, and they're a bit more experimental as well. These are definitely not the kind of albums expected to be released by Margot, however the new sound is refreshing and an interesting departure from The Dust of Retreat.
Together these albums make an excellent set, but each album brings something unique to the table. Animal! is a bit calmer than Not Animal can get at times. Songs like "I Am A Lightning Rod" and "At The Carnival" bring a much more experimental and slightly ambient sound to the table than previously heard by the band while songs like "As Tall As Cliffs" and "Hello Vagina" bring back that same melodic sound we're used to hearing from Margot.
Each song on this album is something great; I couldn't pick a favorite even if I was asked to. However one track that deserves considerable attention is "A Children's Crusade on Acid." This is one of the more experimental tracks on the albums. The song starts with piano, guitar and percussion, that on their own give the song somewhat of a gypsy folk music feel, paired with a sample that sounds almost like cars passing on a freeway. Then the lead guitar comes in with an echoic riff that completely changes the feel of the song and it takes a turn for the creepiest. This song is on both albums and is definitely one to look for.
"A Children's Crusade On Acid" is accompanied on both albums by "As Tall As Cliffs," "German Motor Car," "Hello Vagina," and "Cold, Kind, and Lemon Eyes." So what does Not Animal have to offer? The answer to that would be seven more brilliant songs creating the better of the two releases. This album has many final versions of demos that have been floating around the internet including: "Broad Ripple" (Now called "Broad Ripple is Burning"), "Hip Hip Hooray," "Holy Cow," and "Ocean" (Now called "The Ocean (Is Bleeding Salt)"). The demos of these songs are absolutely fantastic if you haven't heard them yet, but the flushed out versions bring a whole new and invigorating feel to each song.
All-in-all each disc is worth picking up. They both bring a whole new sound to the Margot's repertoire. If you can only get one, then Not Animal is the way to go, this is the one that I can't stop listening to. If you've never heard Margot before, go out and grab one of these, or even their first album, the band is creating a solid catalog of music that is definitely a worth-while investment.
With its roots in Brazil, Little Joy carries a mellow sound from its three members: Strokes drummer Fabrizio Moretti, Binki Shapiro, and guitarist/singer Rodrigo Amarante from Los Hermanos.
Moretti and Amarante first met through chance after playing a festival in Lisbon, humoring the idea of working together on a project separate from their current bands. When Amarante travelled to the states to record Devendra Banhart on his Smokey Rolls Down Thunder Canyon album, he met up with Moretti to hang out.
It was only through Binky Shapiro that the Moretti and Amarante finally acted on their previous idea of collaboration. Months later they moved into a house in Echo Park to demo songs, and soon after, they finished their self titled album, Little Joy, named after the local dive by their home.
From left: Producer Noah Georgeson, Rodrigo Amarante, Fabrizio Moretti, and Binky Shapiro.
If the three are any indication of the overall album, we're in for a treat. The first song, "No One's Better Sake" opens up with a twangy bass line and synth organ in a quick 6/8, lending itself to a mellow bassa-nova beat. Combined with a simple, no frills time-signiture, the vocals' grainy distortion gives the song an antiquated feel that calms.
The tracks change to "Brand New Start." Swing time and a brass section gives energy to the songs slower pace. I usually cant tolerate love songs, but this one's so unforgivingly open and straightforward that I can't help but love it. Catchy as hell, you'll probably have it stuck in your head for the rest of the day.
The set follows with "With Strangers" a sad, slow tune that makes me want to start drinking Kentucky Gentlemen in a dark room. "With Strangers" paints a darker image than the previous songs with lines like "Compells my hand to do what my heart wouldn't dare," and "you're perfecting love with strangers." With its almost slow deliberate vocals and powerful imagery, "With Strangers" is my favorite of the four tracks. The tone of the music quickly switches tracks to a playful little diddy called "The Next Time Around." It opens with a light ukelele and guitar duet followed by a beautiful harmony of Amarante and Shapiro. The song dances around with a light percussion part and the gravelly tones of Amarante on lead vocals. The show is truly stolen two minutes in when the language switches to Portugese, and Binki breathes out a solo very reminiscent of "Girl From Ipanema." The song closes on the light tones of the guitar and ukelele.
Playing heavily on a light string sound, brass instruments, and synth organ, Little Joy delivers an antiquated sound dipped in the Brazillian heritage of Amarante and Moretti. With the rest of the album due out November 4th, all I can do is wait in anticipation.
October 10, the San Francisco based group released their newest album, Offend Maggie. Interestingly enough, although the release is somewhat a departure from traditional Deerhoof weirdness, if you will, it does follow the trend of recent experimental bands recording significantly more listenable material (see Radiohead, TV on the Radio, No Age, etc).
Offend Maggie has managed to incorporate a new element of composition that has often restricted Deerhoof to a smaller audience: Melody. Although the record is still somewhat a sonic playground for theory nerds, this is ultimately the most melodic the band has has ever sounded on record. For the first time you can actually bob your head and tap your foot to a Deerhoof record without getting dizzy or feeling like an idiot.
"The Tears and Music of Love", the very first track, sets the tone of this new direction. Complete with heavy, swooping chords; the song progresses more like a classic rock anthem than the guitar tinkering of one of the most high profile art-rock groups in modern music. Satomi Matsuzaki's falsetto voice pirouettes above and balances out the new and heavy sounds of the rest of the band. The awkward end in a minor scale is almost an afterthought on this kind of album, not commonplace as it was in the past.
"My Purple Past" and "Snoopy Waves" might be the most commercial sounding songs on the record (aside from their names that is). In addition to building drums and four and five chord based melodies, the songs also incorporate the loud vs. quiet effect pioneered by bands like The Pixies and Nirvana and used by just about every major rock band today.
Two favorites of mine off the album are tracks 9 and 10 "Family of Others" and "Fresh Born" respectively. The former feels like a 60's acoustic piece with passive male vocals as opposed to Satomi's sometimes attacking vocals. "Fresh Born" opens with an acoustic intro and jumps into a hip-hop/funk/jazz inspired riff that lasts practically until the end of the three and a half minute piece. One can't help but think that if this song hadn't been recorded about 15 years too late, it would have been an easy pick for A Tribe Called Quest to sample.
Possibly the best song on the record is the title track, "Offend Maggie". Complete with Celtic-like arpeggios (almost bagpipe-like) and powerful windmilling chords, the piece is the best example of Deerhoof's new musical direction: strange, sometimes bizarre (especially the lyrics), but always melodically conscious.
Of course no Deerhoof album would be complete without the headscratchers (see "Basket Ball Get Your Groove Back", that's all I'm going to say) but Offend Maggie is a delightful change of pace from what was/is an increasingly awkward and experimental band. If you have never listened to Deerhoof or perhaps the method behind their madness has always escaped you, now is an opportune time to start listening.
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