Depeche Mode
The Best of Depeche Mode, Volume 1
Sire Records
Grade: A-
This extended eighteen-song best of from Depeche Mode serves as only one of several reissues and compilations discs recently releases by the band and various labels. And with a quick listen to these now classic tracks it totally makes sense to do this commercial onslaught now. I had completely forgotten how damn new wave Depeche Mode was and how so many of these current punk-dance bands have simply ripped off the band. Some of the cribbing of riffs and sequences by today’s bands will make you want to throw up. Combining 18 of Depeche Mode’s 500 or so singles stretching from the early 1980s until today (2005’s “Precious”), the songs that will make you reminisce, dance, cry, and sing annoying loud include “Personal Jesus,” “Enjoy the Silence,” “Everything Counts,” “Just Can’t Get Enough,” “Master and Servant,” the secretly hot “Shake the Disease,” “Strangelove,” “People Are People,” and the closer “Never Let Me Down Again.” An interesting, lengthy narrative by Paul Morley in the linear notes helps create a web of connection between the songs and changes in the band. Besides from the late 80s and early 90s uber-hits, the songs that really get you going are the band’s early material. Most of the material from this millennium can’t really be characterized as ‘best of.’
Monday, December 31, 2007
Saturday, December 29, 2007
Air - Pocket Symphony
Air
Pocket Symphony
Astralwerks
Grade: A-
At this point in their history, Air has crafted and cornered their own sound and have risen on high to be the best known atmospheric pop band in the world. Between albums, the non-stalker gets the sense that any day could be the last for Air – that they’ve created what they intended and to press on may do an injustice to what has already been recorded. That’s why each new Air record is deemed not just as another gift, but also another challenge for Air to live up their good name. On the twelve-song Pocket Symphony, Air meets this challenger by stripping away the pop structures that dominated 2004’s Talkie Walkie and moves back to atmospheric instrumentals – those that can stand alone as well as be perfect soundtrack music.
Again utilizing the production skills of Nigel Godrich, Jean-Benoit Dunckel and Nicolas Godin of Air took the less is more approach to Pocket Symphony. Songs are stripped to the basic ebbs and flows of drums, bass, and various keys, synths, and sounds. Dunckel and Godin still add vocals to songs, but in a sparser manner which only adds to the ordinarily light effect. The group also employs a new cadre of instruments, specifically Godin’s use of the koto and shamisen and varying electronic nuances. Besides from some of the usual suspects helping Dunckel and Godin, Jarvis Cocker lends vocals to “One Hell of a Party” and Neil Hannon leads “Somewhere Between Waking and Sleeping.” Cocker’s heavier vocals certainly add a new dimension to the typically lithe Air.
To assure the correct mood for Pocket Symphony, Air begins with the instrumental “Space Maker” – classic Air atmospherics tied down with smooth bass and picking acoustic guitar. “Once Upon a Time” starts similarly to a number of songs on Talkie Walkie and Dunckel’s light vocals lead the path halfway through. Yet, “Once Upon a Time” is one of the few songs here that resembles the more pop elements of Talkie Walkie. The Cocker-led “One Hell of a Party” meanders in a shrouded path, while “Napalm Love” follows past Air songs with multi-layered Dunckel vocals shushing a set of the same lines over and over – here, “How strange is your love/how strange is your love/how warm is your love/how tough is your love.” “Mayfair Song” serves as instrumental filler only partially realized, before the excellent “Left Bank.” With excessive fuzziness in the recording, “Left Bank” is one of the more traditional pop songs on Pocket Symphony. What is odd, though, is the quality of the recording. It sounds off – with distortion surrounding the vocals and guitars. Given that Air and Godrich are superior craftsmen, one must assume this was done on purpose. In previous sequencing fashion, “Photograph” is constant atmospherics and leads to a much more poppy “Mer Du Japon” that even with few lyrics stands on its own. The instrumental “Lost Message” introduces the aforementioned “Somewhere Between Waking and Sleeping” with Hannon on vocals. And like “One Hell of a Party,” “Somewhere Between Waking and Sleeping” is a more conventional melodic song than most of Pocket Symphony. “Redhead Girl” and “Night Sight” close out Air’s fourth proper full-length. Dunckel uses his ethereal vocals on “Redhead Girl” with Godin propelling the song with all manner of instrumentation including koto, glockenspiel, moog, and wind chimes. “Night Sight” is minimalistic, heavy electronic instrumental that is only aided by single note soundscapes.
Even if Air doesn’t directly create material for some new hipster films, you can bet that Pocket Symphony will be well-mined for soundtracks in the near future. For some that’s grand, for others it’s heretical. Either way you can use Pocket Symphony as the soundtrack for your life starting today.
Pocket Symphony
Astralwerks
Grade: A-
At this point in their history, Air has crafted and cornered their own sound and have risen on high to be the best known atmospheric pop band in the world. Between albums, the non-stalker gets the sense that any day could be the last for Air – that they’ve created what they intended and to press on may do an injustice to what has already been recorded. That’s why each new Air record is deemed not just as another gift, but also another challenge for Air to live up their good name. On the twelve-song Pocket Symphony, Air meets this challenger by stripping away the pop structures that dominated 2004’s Talkie Walkie and moves back to atmospheric instrumentals – those that can stand alone as well as be perfect soundtrack music.
Again utilizing the production skills of Nigel Godrich, Jean-Benoit Dunckel and Nicolas Godin of Air took the less is more approach to Pocket Symphony. Songs are stripped to the basic ebbs and flows of drums, bass, and various keys, synths, and sounds. Dunckel and Godin still add vocals to songs, but in a sparser manner which only adds to the ordinarily light effect. The group also employs a new cadre of instruments, specifically Godin’s use of the koto and shamisen and varying electronic nuances. Besides from some of the usual suspects helping Dunckel and Godin, Jarvis Cocker lends vocals to “One Hell of a Party” and Neil Hannon leads “Somewhere Between Waking and Sleeping.” Cocker’s heavier vocals certainly add a new dimension to the typically lithe Air.
To assure the correct mood for Pocket Symphony, Air begins with the instrumental “Space Maker” – classic Air atmospherics tied down with smooth bass and picking acoustic guitar. “Once Upon a Time” starts similarly to a number of songs on Talkie Walkie and Dunckel’s light vocals lead the path halfway through. Yet, “Once Upon a Time” is one of the few songs here that resembles the more pop elements of Talkie Walkie. The Cocker-led “One Hell of a Party” meanders in a shrouded path, while “Napalm Love” follows past Air songs with multi-layered Dunckel vocals shushing a set of the same lines over and over – here, “How strange is your love/how strange is your love/how warm is your love/how tough is your love.” “Mayfair Song” serves as instrumental filler only partially realized, before the excellent “Left Bank.” With excessive fuzziness in the recording, “Left Bank” is one of the more traditional pop songs on Pocket Symphony. What is odd, though, is the quality of the recording. It sounds off – with distortion surrounding the vocals and guitars. Given that Air and Godrich are superior craftsmen, one must assume this was done on purpose. In previous sequencing fashion, “Photograph” is constant atmospherics and leads to a much more poppy “Mer Du Japon” that even with few lyrics stands on its own. The instrumental “Lost Message” introduces the aforementioned “Somewhere Between Waking and Sleeping” with Hannon on vocals. And like “One Hell of a Party,” “Somewhere Between Waking and Sleeping” is a more conventional melodic song than most of Pocket Symphony. “Redhead Girl” and “Night Sight” close out Air’s fourth proper full-length. Dunckel uses his ethereal vocals on “Redhead Girl” with Godin propelling the song with all manner of instrumentation including koto, glockenspiel, moog, and wind chimes. “Night Sight” is minimalistic, heavy electronic instrumental that is only aided by single note soundscapes.
Even if Air doesn’t directly create material for some new hipster films, you can bet that Pocket Symphony will be well-mined for soundtracks in the near future. For some that’s grand, for others it’s heretical. Either way you can use Pocket Symphony as the soundtrack for your life starting today.
Friday, December 28, 2007
Teitur - Stay Under the Stars
Teitur
Stay Under the Stars
Equator Records
Grade: A-
Although Teitur Lassen travels in circles with acts I typically disparage – including JT Tunstall and Aimee Man – Stay Under the Stars is unquestionably a phenomenal record of the upper-order. Headquartered in Denmark and aided by a gaggle of musicians, Teitur waltzes through seven songs of quietly hypnotic songs anchored by his vocals, acoustic guitars, and piano. Fitting the bill of a singer-songwriter, Teitur lies somewhere between Sondre Lerche and Sam Beam; a European cool matched with rustic emotional underpinnings. It’s possible that Teitur manages to hold such a cool line because he has split ways with major Universal and now releases material on his own Arlo and Betty Recordings; and then licenses the record(s) to other labels in other countries (Montreal’s Equator Records for North America). The twelve-song Stay Under the Stars magical sweeps in on the terrific opener “Don’t Want You to Wake Up,” where finger-picking acoustic guitars and piano ride along with probably Teitur’s best usage of his soft, yet powerful vocals. “Louis, Louis” is more uptempo resembling an ordinary pop song, though the repeated title gets stuck in your head. “You Get Me” nears a similar feel to “Don’t Want You to Wake Up,” although you get sneaking suspicion “You Get Me” is destined for more pop-friendly audiences. After the solid “I Run the Carousel” and the average “Thief About to Break In” comes a live cover of Jerry Lee Lewis’ “Great Balls of Fire.” The version here is uber-slowed down and practically unrecognizable save for the chorus. Interestingly, it also serves as the weakest song on Stay Under the Stars; possibly a complement to Teitur. After the short and ho-hum “Night Time Works,” the well-devised “Umbrellas in the Rain” ushers itself in on Teitur vocals, acoustic guitars, and minimal background electronics. Rollicking piano and drunken-like vocals greets you on “Boy, She Can Sing!,” while “Hitchhiker” is a song that may be best conceived as an industrial number and not a heavy-picking acoustic song. Stay Under the Stars closes on “Waiting for Mars” and “All My Mistakes,” with Teitur using speaking vocals on the slow former and with the latter employing two-step piano to close the deal. There is some sliddage on the latter part of Stay Under the Stars, but the front part is enough for you to fall in love with.
Stay Under the Stars
Equator Records
Grade: A-
Although Teitur Lassen travels in circles with acts I typically disparage – including JT Tunstall and Aimee Man – Stay Under the Stars is unquestionably a phenomenal record of the upper-order. Headquartered in Denmark and aided by a gaggle of musicians, Teitur waltzes through seven songs of quietly hypnotic songs anchored by his vocals, acoustic guitars, and piano. Fitting the bill of a singer-songwriter, Teitur lies somewhere between Sondre Lerche and Sam Beam; a European cool matched with rustic emotional underpinnings. It’s possible that Teitur manages to hold such a cool line because he has split ways with major Universal and now releases material on his own Arlo and Betty Recordings; and then licenses the record(s) to other labels in other countries (Montreal’s Equator Records for North America). The twelve-song Stay Under the Stars magical sweeps in on the terrific opener “Don’t Want You to Wake Up,” where finger-picking acoustic guitars and piano ride along with probably Teitur’s best usage of his soft, yet powerful vocals. “Louis, Louis” is more uptempo resembling an ordinary pop song, though the repeated title gets stuck in your head. “You Get Me” nears a similar feel to “Don’t Want You to Wake Up,” although you get sneaking suspicion “You Get Me” is destined for more pop-friendly audiences. After the solid “I Run the Carousel” and the average “Thief About to Break In” comes a live cover of Jerry Lee Lewis’ “Great Balls of Fire.” The version here is uber-slowed down and practically unrecognizable save for the chorus. Interestingly, it also serves as the weakest song on Stay Under the Stars; possibly a complement to Teitur. After the short and ho-hum “Night Time Works,” the well-devised “Umbrellas in the Rain” ushers itself in on Teitur vocals, acoustic guitars, and minimal background electronics. Rollicking piano and drunken-like vocals greets you on “Boy, She Can Sing!,” while “Hitchhiker” is a song that may be best conceived as an industrial number and not a heavy-picking acoustic song. Stay Under the Stars closes on “Waiting for Mars” and “All My Mistakes,” with Teitur using speaking vocals on the slow former and with the latter employing two-step piano to close the deal. There is some sliddage on the latter part of Stay Under the Stars, but the front part is enough for you to fall in love with.
Thursday, December 27, 2007
Sybarite - Cut Out Shape
Sybarite
Cut Out Shape
Temporary Residence Ltd
Grade: A-
Xian Hawkins, the head of Sybarite (meaning something notorious or simply the dictionary definition), has spent four years putting the ten-song Cut Out Shape together. Though it was not like Hawkins was languishing in agony over completion or lazily bidding his time – instead Hawkins was working on scores for film and TV. With the assistance of a handful of players, Hawkins leads us through a tightly woven, excellently landscaped soundscape of mostly instrumental songs covered in minimalist electronics, beats, and soaring and falling strings. Those that truly climb include “Dot the Lines” and its slight AM-Gold six-note riff, the superb wall of guitar “Memory of End,” “Kill the Moonshine,” “Runaway (feat. Psapp),” and “Sanctuary.” Let’s hope the Hawkins spends more time with Sybarite instead of just making our favorite films become moments etched in memory.
Cut Out Shape
Temporary Residence Ltd
Grade: A-
Xian Hawkins, the head of Sybarite (meaning something notorious or simply the dictionary definition), has spent four years putting the ten-song Cut Out Shape together. Though it was not like Hawkins was languishing in agony over completion or lazily bidding his time – instead Hawkins was working on scores for film and TV. With the assistance of a handful of players, Hawkins leads us through a tightly woven, excellently landscaped soundscape of mostly instrumental songs covered in minimalist electronics, beats, and soaring and falling strings. Those that truly climb include “Dot the Lines” and its slight AM-Gold six-note riff, the superb wall of guitar “Memory of End,” “Kill the Moonshine,” “Runaway (feat. Psapp),” and “Sanctuary.” Let’s hope the Hawkins spends more time with Sybarite instead of just making our favorite films become moments etched in memory.
Monday, December 24, 2007
Street Dogs - Fading American Dream
Street Dogs
Fading American Dream
Brass Tacks Records/DRT Entertainment
Grade: A-
On the Street Dogs’ third record, Fading American Dream, the ass-kicking is so awesome that you won’t believe your ears. Cemented as a fearsome five-some spearheaded by Mike McColgan (ex-Dropkick Murphys), Street Dogs offer their best set of northeastern, working class punk, Irish-tinged anthems to date; further one of the best albums of this sound in years. Buttressing a similar musical vein to DM and harder Bouncing Souls, the thirteen songs here contain significant political leanings; specifically with respect to the Iraq War and how it relates to ordinary working class kids. Even if you ignore the content of the words and simply focus on the flow and the music, Fading American Dream will quicken your pulse and push up your pride. Among the songs to rip your head off include the opener “Common People,” the awesome “Not Without a Purpose” (quite possibly the definition of punk anthem), the folksy “There is Power in a Union,” the enhanced “Shards of Life,” the very Souls-like “Hard Luck Kid,” the title-track, and the surprising appealing acoustic “Final Transmission.” If you want a record to restore your faith in punk music, then the Street Dogs’ Fading American Dream is panacea.
Fading American Dream
Brass Tacks Records/DRT Entertainment
Grade: A-
On the Street Dogs’ third record, Fading American Dream, the ass-kicking is so awesome that you won’t believe your ears. Cemented as a fearsome five-some spearheaded by Mike McColgan (ex-Dropkick Murphys), Street Dogs offer their best set of northeastern, working class punk, Irish-tinged anthems to date; further one of the best albums of this sound in years. Buttressing a similar musical vein to DM and harder Bouncing Souls, the thirteen songs here contain significant political leanings; specifically with respect to the Iraq War and how it relates to ordinary working class kids. Even if you ignore the content of the words and simply focus on the flow and the music, Fading American Dream will quicken your pulse and push up your pride. Among the songs to rip your head off include the opener “Common People,” the awesome “Not Without a Purpose” (quite possibly the definition of punk anthem), the folksy “There is Power in a Union,” the enhanced “Shards of Life,” the very Souls-like “Hard Luck Kid,” the title-track, and the surprising appealing acoustic “Final Transmission.” If you want a record to restore your faith in punk music, then the Street Dogs’ Fading American Dream is panacea.
Sunday, December 23, 2007
Stationary Odyssey - Head! Foot! And the Pink Axe!
Stationary Odyssey
Head! Foot! And the Pink Axe!
Joyful Noise Recordings
Grade: A-
Like the indie instrumental pioneers of yore and contemporary parallel artists (all encompassing Explosions, Godspeed, Red Sparrows,…), this third record from Stationary Odyssey provides epic battles of instrumentation to soothe your soul or whet your wick depending on the mood. Led by Aaron Tanner and Brett Siler, with a slew of guest musicians, the eight-track Head! Foot! And the Pink Axe! has some inconsistencies but provides enough glee for you to wrap them in a blanket and put them on your shelf of joy. Such exclamation points come from the fabulous opener “Me and You and Gummi Bears” where guitars soar to the heavens; the intermittent Sonic Youth-like riff in the midst of “Nobody Does It Better;” and the spacious “Terror on the Hell Loop.” I for one am simply glad that bands like Stationary Odyssey are still pushing up from the ground and into your ears.
Head! Foot! And the Pink Axe!
Joyful Noise Recordings
Grade: A-
Like the indie instrumental pioneers of yore and contemporary parallel artists (all encompassing Explosions, Godspeed, Red Sparrows,…), this third record from Stationary Odyssey provides epic battles of instrumentation to soothe your soul or whet your wick depending on the mood. Led by Aaron Tanner and Brett Siler, with a slew of guest musicians, the eight-track Head! Foot! And the Pink Axe! has some inconsistencies but provides enough glee for you to wrap them in a blanket and put them on your shelf of joy. Such exclamation points come from the fabulous opener “Me and You and Gummi Bears” where guitars soar to the heavens; the intermittent Sonic Youth-like riff in the midst of “Nobody Does It Better;” and the spacious “Terror on the Hell Loop.” I for one am simply glad that bands like Stationary Odyssey are still pushing up from the ground and into your ears.
Saturday, December 22, 2007
Sondre Lerche - Phantom Punch
Sondre Lerche
Phantom Punch
Astralwerks
Grade: A-
Back with his Faces Down trio – guitarist Kato Adland, bassist Morten Skage, and drummer Ole Ludvig Kruger – Sondre Lerche goes back to his glorious pop rock songs after his one off jazz record Duper Sessions. Instead of falling back into Two Way Monologue II, Lerche tries to show all of his influences throughout the eleven-song Phantom Punch. In so doing, Lerche simultaneously dazzles and disappoints on some level. Listeners keen on Lerche’s crooning on top of pop love fests in the past will find new fixes for their addiction, but may be saddened if they’re only looking for the pop love. Songs that hit the pop rock vein include “The Tape,” “Face the Blood,” “She’s Fantastic,” and “Say It All.” Surprisingly, the clearly worst song on Phantom Punch is the title track – just a fuzzed rocker that sounds like filler. With the previously mentioned songs in mind, tracks that highlight Lerche’s phenomenal voice include the jazzy opener “Airport Taxi Reception,” the acoustic “Tragic Humor,” the Brazilian-tinged “John, Let Me Go,” and “After All.” A strong album on its own, Phantom Punch unfortunately doesn’t take Sondre Lerche to the next level that we all dream about.
Phantom Punch
Astralwerks
Grade: A-
Back with his Faces Down trio – guitarist Kato Adland, bassist Morten Skage, and drummer Ole Ludvig Kruger – Sondre Lerche goes back to his glorious pop rock songs after his one off jazz record Duper Sessions. Instead of falling back into Two Way Monologue II, Lerche tries to show all of his influences throughout the eleven-song Phantom Punch. In so doing, Lerche simultaneously dazzles and disappoints on some level. Listeners keen on Lerche’s crooning on top of pop love fests in the past will find new fixes for their addiction, but may be saddened if they’re only looking for the pop love. Songs that hit the pop rock vein include “The Tape,” “Face the Blood,” “She’s Fantastic,” and “Say It All.” Surprisingly, the clearly worst song on Phantom Punch is the title track – just a fuzzed rocker that sounds like filler. With the previously mentioned songs in mind, tracks that highlight Lerche’s phenomenal voice include the jazzy opener “Airport Taxi Reception,” the acoustic “Tragic Humor,” the Brazilian-tinged “John, Let Me Go,” and “After All.” A strong album on its own, Phantom Punch unfortunately doesn’t take Sondre Lerche to the next level that we all dream about.
Friday, December 21, 2007
Goldenboy - Underneath the Radio
Goldenboy
Underneath the Radio
Eenie Meenie Records
Grade: A-
With little in common with the other Golden Boy – Oscar De La Hoya – Goldenboy’s Underneath the Radio is quietly miraculous in its indie pop lushness. When you throw on the record and “Ice Breaker Blues” warms up, you aren’t expecting magic to appear with such vigor as the drums and guitars kick in. Put just let Underneath the Radio to spin, sit back and relax, and you will quickly become a fan of the cryptic Goldenboy. Spearheaded by Shon Sullivan, filled out, and realized by multi-instrumentalist Bryan Bos, along with a set of co-conspirators, Goldenboy meanders down singer-songwriter paths that are highlighted by Belle and Sebastian-type pop. Those that sweetly attain magical outcomes include the aforementioned, the terrific “Summer of the Evening,” the Elliot Smith walking (who Sullivan toured with) “I’m Still Down” and “Blackbird at Heart,” and the strong “Goodbye Erica.” Goldenboy gives you something to look forward to from sun shiny days.
Underneath the Radio
Eenie Meenie Records
Grade: A-
With little in common with the other Golden Boy – Oscar De La Hoya – Goldenboy’s Underneath the Radio is quietly miraculous in its indie pop lushness. When you throw on the record and “Ice Breaker Blues” warms up, you aren’t expecting magic to appear with such vigor as the drums and guitars kick in. Put just let Underneath the Radio to spin, sit back and relax, and you will quickly become a fan of the cryptic Goldenboy. Spearheaded by Shon Sullivan, filled out, and realized by multi-instrumentalist Bryan Bos, along with a set of co-conspirators, Goldenboy meanders down singer-songwriter paths that are highlighted by Belle and Sebastian-type pop. Those that sweetly attain magical outcomes include the aforementioned, the terrific “Summer of the Evening,” the Elliot Smith walking (who Sullivan toured with) “I’m Still Down” and “Blackbird at Heart,” and the strong “Goodbye Erica.” Goldenboy gives you something to look forward to from sun shiny days.
Thursday, December 20, 2007
Forward, Russia - Give Me a Wall
Forward, Russia
Give Me a Wall
Mute
Grade: A-
It’s potentially needless to say that Forward, Russia will dazzle your ears in a space that you least expect. Out of Leeds, UK and featuring former members of Black Helicopters, Forward, Russia merge stripped down rock with punk and dance, all within an uptempo shell. With influences ranging far and wide, not the least of which a more beat, fast Joy Division, the four-piece has the ability to fit with innumerable bands in shows, and thus will experience rapid appreciation. On the back of a series of high-profile single releases, the eleven-track Give Me a Wall immediately begins to entertain on the opener “Thirteen” and consistently surprises with songs like “Twelve” (yes all the song titles are numbers, a practice that the band has now retired), “Fifteen pt. I,” the mellower 80s modern rock of “Nineteen,” and “Fifteen pt. II.” This is one of the few times in the recent past that one of the highly hyped UK bands actually lives to and surpasses their reputation.
Give Me a Wall
Mute
Grade: A-
It’s potentially needless to say that Forward, Russia will dazzle your ears in a space that you least expect. Out of Leeds, UK and featuring former members of Black Helicopters, Forward, Russia merge stripped down rock with punk and dance, all within an uptempo shell. With influences ranging far and wide, not the least of which a more beat, fast Joy Division, the four-piece has the ability to fit with innumerable bands in shows, and thus will experience rapid appreciation. On the back of a series of high-profile single releases, the eleven-track Give Me a Wall immediately begins to entertain on the opener “Thirteen” and consistently surprises with songs like “Twelve” (yes all the song titles are numbers, a practice that the band has now retired), “Fifteen pt. I,” the mellower 80s modern rock of “Nineteen,” and “Fifteen pt. II.” This is one of the few times in the recent past that one of the highly hyped UK bands actually lives to and surpasses their reputation.
Wednesday, December 19, 2007
Elton John - Rocket Man: Number Ones
Elton John
Rocket Man – Number Ones
Mercury Records
Grade: A
Ask yourself this question: ‘would you spend $200 to see Elton John in Vegas?’ If the answer is yes, then you probably already have all the songs included on this expansive seventeen-track best of. If the answer is no, you may still have all the songs on this release, but if you don’t then you should run out and get this. There are twelve ‘number ones’ here including “Goodbye Yellow Brick Road,” “Bennie & the Jets,” “Daniel,” “Crocodile Rock,” “Don’t Go Breaking My Heart,” and “Don’t Let the Sun Go Down on Me.” As an additional bit of love, and the set that you may likely spend all of your time, classics “Your Song,” “Tiny Dancer,” “Rocket Man,” “Candle in the Wind,” and “Saturday Night’s Alright (For Fighting)” are included at the end. Needless to say I’ve been spinning this record endlessly since I got it a month ago; even my dog has been belting out Elton John songs. After listening to Elton John everyday for a month, you realize how terrible almost every other songwriter is (while consider the Bernie Taupin tie in for Elton John). You know who this for.
Rocket Man – Number Ones
Mercury Records
Grade: A
Ask yourself this question: ‘would you spend $200 to see Elton John in Vegas?’ If the answer is yes, then you probably already have all the songs included on this expansive seventeen-track best of. If the answer is no, you may still have all the songs on this release, but if you don’t then you should run out and get this. There are twelve ‘number ones’ here including “Goodbye Yellow Brick Road,” “Bennie & the Jets,” “Daniel,” “Crocodile Rock,” “Don’t Go Breaking My Heart,” and “Don’t Let the Sun Go Down on Me.” As an additional bit of love, and the set that you may likely spend all of your time, classics “Your Song,” “Tiny Dancer,” “Rocket Man,” “Candle in the Wind,” and “Saturday Night’s Alright (For Fighting)” are included at the end. Needless to say I’ve been spinning this record endlessly since I got it a month ago; even my dog has been belting out Elton John songs. After listening to Elton John everyday for a month, you realize how terrible almost every other songwriter is (while consider the Bernie Taupin tie in for Elton John). You know who this for.
Tuesday, December 18, 2007
Depeche Mode - Songs of Faith and Devotion
Depeche Mode
Songs of Faith and Devotion
Reprise/Sire/Rhino
Grade: A-
This repackaging of 1993’s Songs of Faith and Devotion is part of the band’s and labels’ all-out assault to etch Depeche Mode’s legacy in stone and, well, plastic. The ten-track Songs of Faith and Devotion was the band’s follow-up to the uber-popular and successful Violater. The chances of matching the sensation of Violater was slim and the band moved into a darker, more rock sound. This is immediately clear as you launch off on “I Feel You” and move through “Condemnation,” “Walking in My Shoes,” “Rush,” and the notable “One Caress.” This release also packages those songs on a DVD in amped-up 5.1 and Stereo sound, with bonus remixes, and provides a half-hour bit on the band from 1991 to 1994. As the liner notes from Daniel Miller and much of the DVD bit discusses Songs of Faith and Devotion kicked the band’s ass. For the gentle casual observer, the recently released Best of Depeche Mode may serve you better. For fans of Depeche Mode, this collector’s edition is like crack.
Songs of Faith and Devotion
Reprise/Sire/Rhino
Grade: A-
This repackaging of 1993’s Songs of Faith and Devotion is part of the band’s and labels’ all-out assault to etch Depeche Mode’s legacy in stone and, well, plastic. The ten-track Songs of Faith and Devotion was the band’s follow-up to the uber-popular and successful Violater. The chances of matching the sensation of Violater was slim and the band moved into a darker, more rock sound. This is immediately clear as you launch off on “I Feel You” and move through “Condemnation,” “Walking in My Shoes,” “Rush,” and the notable “One Caress.” This release also packages those songs on a DVD in amped-up 5.1 and Stereo sound, with bonus remixes, and provides a half-hour bit on the band from 1991 to 1994. As the liner notes from Daniel Miller and much of the DVD bit discusses Songs of Faith and Devotion kicked the band’s ass. For the gentle casual observer, the recently released Best of Depeche Mode may serve you better. For fans of Depeche Mode, this collector’s edition is like crack.
The Locust - New Erections
The Locust
New Erections
Anti-
Grade: A-
Though not as epically epic as you would hope or that the Locust could produce, the eleven-track latest New Erections finds new moments of glee within the buzzing, fluttering noise to continue your addiction of spiked Locust noise. As with all Locust material, these songs are best experienced live – so strap up your boots and head to your nearest show to be dazzled and let the band convince you whether this set fights along side their others.
Following through with their previous two releases, the full-length Plague Soundscapes (Anti-) and the Safety Second, Body Last EP (Ipecac), the Locust try to reinvent the spazz-core sound they helped define in the San Diego scene. The ploy on New Erections is actually a slowed down, more directed attack. The spazz has disassembled to a sputter, but the results are even more enticing. Instead of just throwing random walls of shit at your head, the Locust have more of a design to their bullet stop-starts, electronic swarming, and screaming movements.
At a short, taut twenty-three minutes, New Erections begins on the worst song amongst the eleven with “Aotkpta.” After the random blipping stop-starts, the song grinds away with vocals that don’t fit the feel; unless the feel is to sound like crap. Thankfully the slowed vocals are immediately replaced on “We Have Peached…” with classic Locust vocals, stop-starting structures, and down-thrashing guitars. Swarming electronics fly above your head on “The Unwilling…” before the languishing breakdown, while “One Manometer Away…” follows “We Have Peached” but here with an awesome galloping rhythm to the vocals, drums, guitars. As with many of the songs here, “Full Frontal Obscurity” demonstrates the need for a close listen on headphones as the instruments are constantly scanning from left to right and right to left. Through their sound and use of modulating, the Locust have perfected this skill of creating an uncomfortable feeling on something or like someone constantly hovering above you. The disjointed “Scavenger Invader” merely sets up the scream assault of “Hot Tubs Full of….” “God Wants Us All…” has a basic spazz structure, straight-down riffing matched with mechanical vocals, before the Locust spin off into a heavy breakdown. As the longest song on New Erections, the four-and-a-half minute “Book of Bot” sounds unfortunately like it could have been born by many a band; which for the Locust takes terrific effort to achieve. New Erections closes on the balls-out “Slum Service (Served on the Sly)” that uses too much talking, and the rollercoaster riffing “Tower of Mammal.”
The songs on New Erections can only be truly digested after a through headphone listen accompanied by a live performance. If the past is any judge, New Erections will add fuel to the band’s inflammatory blazing live show. For any band thinking of having the Locust open, just forget it – they’ll make you like sloppy and amateurish like they did to the Fantomas on their tour several years back.
New Erections
Anti-
Grade: A-
Though not as epically epic as you would hope or that the Locust could produce, the eleven-track latest New Erections finds new moments of glee within the buzzing, fluttering noise to continue your addiction of spiked Locust noise. As with all Locust material, these songs are best experienced live – so strap up your boots and head to your nearest show to be dazzled and let the band convince you whether this set fights along side their others.
Following through with their previous two releases, the full-length Plague Soundscapes (Anti-) and the Safety Second, Body Last EP (Ipecac), the Locust try to reinvent the spazz-core sound they helped define in the San Diego scene. The ploy on New Erections is actually a slowed down, more directed attack. The spazz has disassembled to a sputter, but the results are even more enticing. Instead of just throwing random walls of shit at your head, the Locust have more of a design to their bullet stop-starts, electronic swarming, and screaming movements.
At a short, taut twenty-three minutes, New Erections begins on the worst song amongst the eleven with “Aotkpta.” After the random blipping stop-starts, the song grinds away with vocals that don’t fit the feel; unless the feel is to sound like crap. Thankfully the slowed vocals are immediately replaced on “We Have Peached…” with classic Locust vocals, stop-starting structures, and down-thrashing guitars. Swarming electronics fly above your head on “The Unwilling…” before the languishing breakdown, while “One Manometer Away…” follows “We Have Peached” but here with an awesome galloping rhythm to the vocals, drums, guitars. As with many of the songs here, “Full Frontal Obscurity” demonstrates the need for a close listen on headphones as the instruments are constantly scanning from left to right and right to left. Through their sound and use of modulating, the Locust have perfected this skill of creating an uncomfortable feeling on something or like someone constantly hovering above you. The disjointed “Scavenger Invader” merely sets up the scream assault of “Hot Tubs Full of….” “God Wants Us All…” has a basic spazz structure, straight-down riffing matched with mechanical vocals, before the Locust spin off into a heavy breakdown. As the longest song on New Erections, the four-and-a-half minute “Book of Bot” sounds unfortunately like it could have been born by many a band; which for the Locust takes terrific effort to achieve. New Erections closes on the balls-out “Slum Service (Served on the Sly)” that uses too much talking, and the rollercoaster riffing “Tower of Mammal.”
The songs on New Erections can only be truly digested after a through headphone listen accompanied by a live performance. If the past is any judge, New Erections will add fuel to the band’s inflammatory blazing live show. For any band thinking of having the Locust open, just forget it – they’ll make you like sloppy and amateurish like they did to the Fantomas on their tour several years back.
Sunday, December 16, 2007
Signal Home - A Fragile Constitutional
Signal Home
A Fragile Constitutional
Carbon Copy Media
Grade: A-
Pennsylvania’s Signal Home pick up where Hot Water Music and Avail left off; there isn’t really much more you need to know to love them. Featuring raspy vocals matched with smart guitars, powerful vocals and enough harmonies, this is hardcore punk that sticks with you long after the record stops spinning. Signal Home grab you immediately with the opener title track – a two-minute all-star number that gets you psyched beyond belief. Consistent with more of the contemporary fair, and the fact that Carbon Copy is owned by Hawthorne Heights’ JT Woodruff, Signal Home also provide the screamy, melodic punk that has been beaten to death. Yet, even the inclusion of such numbers as “Two to Romance (A Story to Guide You Home),” “Rings and Fields,” and “Nail Your Colors to the Mast,” Signal Home push the boundaries beyond the ordinary. Highlights along the HWM vein include the brilliant “A History of Choices What We’ve Become” with a superb breakdown, “The Churches,” the terrific rhythmic solos on “It’s Time to Let…,” and the extended “Seaside.” Two words: fan favorites.
A Fragile Constitutional
Carbon Copy Media
Grade: A-
Pennsylvania’s Signal Home pick up where Hot Water Music and Avail left off; there isn’t really much more you need to know to love them. Featuring raspy vocals matched with smart guitars, powerful vocals and enough harmonies, this is hardcore punk that sticks with you long after the record stops spinning. Signal Home grab you immediately with the opener title track – a two-minute all-star number that gets you psyched beyond belief. Consistent with more of the contemporary fair, and the fact that Carbon Copy is owned by Hawthorne Heights’ JT Woodruff, Signal Home also provide the screamy, melodic punk that has been beaten to death. Yet, even the inclusion of such numbers as “Two to Romance (A Story to Guide You Home),” “Rings and Fields,” and “Nail Your Colors to the Mast,” Signal Home push the boundaries beyond the ordinary. Highlights along the HWM vein include the brilliant “A History of Choices What We’ve Become” with a superb breakdown, “The Churches,” the terrific rhythmic solos on “It’s Time to Let…,” and the extended “Seaside.” Two words: fan favorites.
Saturday, December 15, 2007
Peter Bjorn and John - Writer's Block
Peter Bjorn and John
Writer’s Block
V2/Almost Gold Recordings
Grade: A-/A
The whispering campaign that helped start these Swedes off in the U.S. and crest to screaming wave of praise is totally deserved. The trio of Peter Moren, Bjorn Yttling, and John Eriksson offer superbly crafted indie pop songs that could have originated in any of the past four decades – and they do a bunch of whistling! With an excellent skill set that is used to master simple pop songs instantly grab your attention with the busily working guitars on “Objects of My Affection,” the simple drum beat and whistling to “Young Folks” where Moren trades vocals with Victoria Bergsman (the Concretes), the hypnotic, repetitive feel of “Amsterdam,” the pop of “Paris 2004,” and the bass-driven, island-flavored “Let’s Call It Off.” The American version of Writer’s Block also includes a six-song bonus disc with new material from “Ancient Curse,” the acoustic rambler “Self-Pity,” and the self-explanatory “Sitar Folks.” You don’t need me to tell you Peter Bjorn and John are awesome – just know it.
Writer’s Block
V2/Almost Gold Recordings
Grade: A-/A
The whispering campaign that helped start these Swedes off in the U.S. and crest to screaming wave of praise is totally deserved. The trio of Peter Moren, Bjorn Yttling, and John Eriksson offer superbly crafted indie pop songs that could have originated in any of the past four decades – and they do a bunch of whistling! With an excellent skill set that is used to master simple pop songs instantly grab your attention with the busily working guitars on “Objects of My Affection,” the simple drum beat and whistling to “Young Folks” where Moren trades vocals with Victoria Bergsman (the Concretes), the hypnotic, repetitive feel of “Amsterdam,” the pop of “Paris 2004,” and the bass-driven, island-flavored “Let’s Call It Off.” The American version of Writer’s Block also includes a six-song bonus disc with new material from “Ancient Curse,” the acoustic rambler “Self-Pity,” and the self-explanatory “Sitar Folks.” You don’t need me to tell you Peter Bjorn and John are awesome – just know it.
Friday, December 14, 2007
Myotonia - S/T
Myotonia
s/t
Self-released
Grade: A-
Flying unfortunately under the radar, this Oakland, CA seek to totally demolish your brain and, more importantly, standard conceptions of heavy music; and for the most part are successful in their efforts. Using a slash-and-burn technique of including a billion different sounds and bits scattered throughout the eight songs on the record, Myotonia beat you down in parallel fashion to Taken or The Fall of Troy. Still, though, Myotonia are not copying anyone and instead are fashioning their own heavy sound. From the opening number “Total Protonic Reversal” to closer “Reverse Birth Tactics” the band has you glued to your seat and eager for shape-shifting. How these guys are not signed to a sweet deal is a mystery.
s/t
Self-released
Grade: A-
Flying unfortunately under the radar, this Oakland, CA seek to totally demolish your brain and, more importantly, standard conceptions of heavy music; and for the most part are successful in their efforts. Using a slash-and-burn technique of including a billion different sounds and bits scattered throughout the eight songs on the record, Myotonia beat you down in parallel fashion to Taken or The Fall of Troy. Still, though, Myotonia are not copying anyone and instead are fashioning their own heavy sound. From the opening number “Total Protonic Reversal” to closer “Reverse Birth Tactics” the band has you glued to your seat and eager for shape-shifting. How these guys are not signed to a sweet deal is a mystery.
Thursday, December 13, 2007
MSTRKRFT - The Looks
MSTRKRFT
The Looks
Last Gang Records
Grade: A-
Are you an indie rocker/scenester/hipster/etc. that wants to dance but is afraid of some of the stigma of getting down to dance music? Well, your cure is here with MSTRKRFT’s hot mover The Looks. The group features the collaborative powers of Jesse F. Keeler (Death From Above 1979) and producer Al-P. Friends for sometime, the duo began in earnest in recent years when Al-P helped produce Death’s You’re a Woman, I’m a Machine, and then Death’s subsequent demise left a gap of time and space. MSTRKRFT pushes the electro-dance of punk angles making you move with reckless abandon even while keeping your edge. This is evident, apparent, and clear within ten seconds of opener “Work on You” and continues through such glorious tracks as “Easy Love,” “She’s Good For Business,” “Street Justice,” and the funk-soul-brother “Bodywork.” Having The Looks around in your home puts you at a whole new level of cool and can provide background music for a variety of activities in such exotic locales as your bedroom.
The Looks
Last Gang Records
Grade: A-
Are you an indie rocker/scenester/hipster/etc. that wants to dance but is afraid of some of the stigma of getting down to dance music? Well, your cure is here with MSTRKRFT’s hot mover The Looks. The group features the collaborative powers of Jesse F. Keeler (Death From Above 1979) and producer Al-P. Friends for sometime, the duo began in earnest in recent years when Al-P helped produce Death’s You’re a Woman, I’m a Machine, and then Death’s subsequent demise left a gap of time and space. MSTRKRFT pushes the electro-dance of punk angles making you move with reckless abandon even while keeping your edge. This is evident, apparent, and clear within ten seconds of opener “Work on You” and continues through such glorious tracks as “Easy Love,” “She’s Good For Business,” “Street Justice,” and the funk-soul-brother “Bodywork.” Having The Looks around in your home puts you at a whole new level of cool and can provide background music for a variety of activities in such exotic locales as your bedroom.
Wednesday, December 12, 2007
Eluvium - Copia
Eluvium
Copia
Temporary Residence Ltd.
Grade: A-
Putting together a string of yearly releases, Matthew Cooper (aka Eluvium) is back with another set of ambient, sound washes that propel all sets of emotions and thoughts from the listener. Following up on 2006’s When I Live by the Garden and the Sea (TRL), Cooper drops guitars from his sound and concentrates on a wealth of strings, brass, and pianos to create the moods he is becoming increasingly famous for. Clocking in at near an hour, Copia’s twelve tracks vary between the short noise ramblers (“(Intermission),” “Hymn #1”) and pained segways (“After Nature”) to the epic ten-minute “Indoor Swimming at the Space Station.” Of note is the intensely emotional “Prelude For Time Feelers” – a song both familiar and personal. If you need ethereal, ambient music to fill in the silence while you work on the next great American novel, Eluvium’s Copia is your solution.
Copia
Temporary Residence Ltd.
Grade: A-
Putting together a string of yearly releases, Matthew Cooper (aka Eluvium) is back with another set of ambient, sound washes that propel all sets of emotions and thoughts from the listener. Following up on 2006’s When I Live by the Garden and the Sea (TRL), Cooper drops guitars from his sound and concentrates on a wealth of strings, brass, and pianos to create the moods he is becoming increasingly famous for. Clocking in at near an hour, Copia’s twelve tracks vary between the short noise ramblers (“(Intermission),” “Hymn #1”) and pained segways (“After Nature”) to the epic ten-minute “Indoor Swimming at the Space Station.” Of note is the intensely emotional “Prelude For Time Feelers” – a song both familiar and personal. If you need ethereal, ambient music to fill in the silence while you work on the next great American novel, Eluvium’s Copia is your solution.
Tuesday, December 11, 2007
Son Volt - The Search
Son Volt
The Search
Transmit Sound/Legacy
Grade: A-
Besides from the Cardinals and Budweiser, Jay Farrar is one of the best things about St. Louis. Though only one band in a crowd, Son Volt stands out like a beacon of light for wayward rockers in Middle America. And in that mindset and after the somewhat turbulent times surrounding Son Volt and headman Jay Farrar’s history comes one of the band and Farrar’s best with the fourteen song The Search. Featuring intricate song textures, vast instrumentation, and an uncanny level of catchiness, The Search is an album that’s hard to put down.
Farrar is an artist that you know even if you don’t think that you do. First and previously best known for his work in the legendary alt-country band Uncle Tupelo, Farrar formed Son Volt after his previous band’s demise. Dropped by Warner Bros. in 1999 after the critically acclaimed albums, though not exactly commercial smashes, Trace (1995), Straightaways (1997), and Wide Swing Tremolo (1998), Farrar ventured out as a purely solo artist for the next few years. With essentially an entirely new band, Farrar led Son Volt back with 2005’s Okemah and the Melody of Riot. On now Son Volt’s fifth album, Farrar is joined by Dave Bryson (drums), Derry deBorja (keys), Andrew Duplantis (bass), and Brad Rice (guitars). Recorded in St. Louis (they actually record stuff here?) with John Agnello, The Search bridges the alt-country/Americana gap with Uncle Tupelo while simultaneously making its own mark.
The Search begins on the cautious mover “Slow Hearse” to piano and Farrar’s vocals. This austere opener is soon greeted by the most uptempo rocker on The Search – “The Picture.” Featuring Chris Deusinger and Keith Moyer on horns, “The Picture” hides its social and political lyrics inside the rather upbeat feel. This is clear with a glance at the opening lines of “Hurricanes in December – earthquakes in the heartland/Bad air index on a flashing warning sign/Bound for trouble – the picture is dirty” all phrased in Farrar’s most Americana singer-songwriter cadence. “Action” opens like you are taking acid in a lost psychedelic desert until the main guitars kick in and unleashes a heavy riff matched by Farrar’s vocals. “Underground Dream” and “Circadian Rhythm” both slow the tempo, allowing lines such as “There is a wiretapping stealing a nightmare” to seep out. Bringing back Americana cadences “Beacon Soul” again hides serious lyrics in a good-feeling musical atmosphere. The title track is solid though not entirely memorable, while “Adrenaline and Heresy” resorts to haunting piano and some of Farrar’s most pained vocals before an upturn ending. “Satellite” and “Automatic Society” both are short rockers that echo mid-career REM with heavier doses of alt-country. Playing a hard-luck, working hard narrative, Farrar rambles through “Methamphetamine” with the mind-sticking chorus of “Would you take me back North Carolina/Would you take me back Arkansas….” “L Train” to Williamsburg is about the borough of Brooklyn and its flocking power, and hits strong melodies on “Everyone speaks their own movie/Making dialogue in designer finds.” The Search closes out on “Highways and Cigarettes” and “Phosphate Skin.” The former features Shannon McNally on backing vocals and Eric Heywood on pedal steel as Son Volt moves slowly through the country on touring roads. “Phosphate Skin” is an acoustic-centered ballad with a set of dismal lines – and maybe not the best manner in which to end a significant album.
With The Search, Jay Farrar and Son Volt reestablish themselves in the hearts, minds, and ears of indie rock, alt-country, and Americana fans and devotees. An extended cohesive lineup such as this will generate great material for years to come.
The Search
Transmit Sound/Legacy
Grade: A-
Besides from the Cardinals and Budweiser, Jay Farrar is one of the best things about St. Louis. Though only one band in a crowd, Son Volt stands out like a beacon of light for wayward rockers in Middle America. And in that mindset and after the somewhat turbulent times surrounding Son Volt and headman Jay Farrar’s history comes one of the band and Farrar’s best with the fourteen song The Search. Featuring intricate song textures, vast instrumentation, and an uncanny level of catchiness, The Search is an album that’s hard to put down.
Farrar is an artist that you know even if you don’t think that you do. First and previously best known for his work in the legendary alt-country band Uncle Tupelo, Farrar formed Son Volt after his previous band’s demise. Dropped by Warner Bros. in 1999 after the critically acclaimed albums, though not exactly commercial smashes, Trace (1995), Straightaways (1997), and Wide Swing Tremolo (1998), Farrar ventured out as a purely solo artist for the next few years. With essentially an entirely new band, Farrar led Son Volt back with 2005’s Okemah and the Melody of Riot. On now Son Volt’s fifth album, Farrar is joined by Dave Bryson (drums), Derry deBorja (keys), Andrew Duplantis (bass), and Brad Rice (guitars). Recorded in St. Louis (they actually record stuff here?) with John Agnello, The Search bridges the alt-country/Americana gap with Uncle Tupelo while simultaneously making its own mark.
The Search begins on the cautious mover “Slow Hearse” to piano and Farrar’s vocals. This austere opener is soon greeted by the most uptempo rocker on The Search – “The Picture.” Featuring Chris Deusinger and Keith Moyer on horns, “The Picture” hides its social and political lyrics inside the rather upbeat feel. This is clear with a glance at the opening lines of “Hurricanes in December – earthquakes in the heartland/Bad air index on a flashing warning sign/Bound for trouble – the picture is dirty” all phrased in Farrar’s most Americana singer-songwriter cadence. “Action” opens like you are taking acid in a lost psychedelic desert until the main guitars kick in and unleashes a heavy riff matched by Farrar’s vocals. “Underground Dream” and “Circadian Rhythm” both slow the tempo, allowing lines such as “There is a wiretapping stealing a nightmare” to seep out. Bringing back Americana cadences “Beacon Soul” again hides serious lyrics in a good-feeling musical atmosphere. The title track is solid though not entirely memorable, while “Adrenaline and Heresy” resorts to haunting piano and some of Farrar’s most pained vocals before an upturn ending. “Satellite” and “Automatic Society” both are short rockers that echo mid-career REM with heavier doses of alt-country. Playing a hard-luck, working hard narrative, Farrar rambles through “Methamphetamine” with the mind-sticking chorus of “Would you take me back North Carolina/Would you take me back Arkansas….” “L Train” to Williamsburg is about the borough of Brooklyn and its flocking power, and hits strong melodies on “Everyone speaks their own movie/Making dialogue in designer finds.” The Search closes out on “Highways and Cigarettes” and “Phosphate Skin.” The former features Shannon McNally on backing vocals and Eric Heywood on pedal steel as Son Volt moves slowly through the country on touring roads. “Phosphate Skin” is an acoustic-centered ballad with a set of dismal lines – and maybe not the best manner in which to end a significant album.
With The Search, Jay Farrar and Son Volt reestablish themselves in the hearts, minds, and ears of indie rock, alt-country, and Americana fans and devotees. An extended cohesive lineup such as this will generate great material for years to come.
Monday, December 10, 2007
Nakatomi Plaza - Unsettled
Nakatomi Plaza
Unsettled
Red Leader Records
Grade: A-
Nakatomi Plaza rips off its die hard face and unleashes a wall of intricate, high tempo post-punk that rivals any like-minded contingent. Building on post-punk foundations, the Brooklyn-based outfit incorporates a slaughtering of sounds to create the realization of Unsettled; indeed, an unsettled mess of sounds. NP periodically squirt crap-filled ventures, like the screamo-laden “Bang, Bang, Sing, Sing” and “Get Me My Meds,” but in most other circumstances the band channels a Mars Volta flow into such exquisite numbers like the opener “A Manifest Destiny Grows in Brooklyn,” “Not Hopeless,” the Boy Sets Fire-fueled “Calling All Cars,” “Red Room,” and guitar high notes meeting you on “Combustible/Jettison.” And to think that Nakatomi Plaza might have had difficulty in securing a deal and outlet for their adventures. If nothing else, the band is underplaced and should explode in a following by the end of this year. Look out for magic.
Unsettled
Red Leader Records
Grade: A-
Nakatomi Plaza rips off its die hard face and unleashes a wall of intricate, high tempo post-punk that rivals any like-minded contingent. Building on post-punk foundations, the Brooklyn-based outfit incorporates a slaughtering of sounds to create the realization of Unsettled; indeed, an unsettled mess of sounds. NP periodically squirt crap-filled ventures, like the screamo-laden “Bang, Bang, Sing, Sing” and “Get Me My Meds,” but in most other circumstances the band channels a Mars Volta flow into such exquisite numbers like the opener “A Manifest Destiny Grows in Brooklyn,” “Not Hopeless,” the Boy Sets Fire-fueled “Calling All Cars,” “Red Room,” and guitar high notes meeting you on “Combustible/Jettison.” And to think that Nakatomi Plaza might have had difficulty in securing a deal and outlet for their adventures. If nothing else, the band is underplaced and should explode in a following by the end of this year. Look out for magic.
Sunday, December 9, 2007
Love Me Destroyer - The Things Around Us Burn
Love Me Destroyer
The Things Around Us Burn
Suburban Home Records
Grade: A-
When the opening number “Choked and Charmed” smashes into your ears, you realize that Love Me Destroyer has something more to offer than the standard post-hardcore punk love fuck fest. When raspy, balls out vocals hit you on the following song “F.U.I.Q.” you know this is something good. This realization shouldn’t exactly be shocking as Love Me Destroyer formed several years back out of the dissolution of the terrific Pinhead Circus. On their second album, Love Me Destroyer mix their punk lineage with more mature song structures and compelling levels of post-hardcore. This combines to grab your throat and demand you to listen. Thankfully, the band doesn’t fall into the contemporary trap of doing some screaming as a faux manner of gaining intensity; though smidgens do creep in (e.g., “Sweet Lady Brick”). As you nod to the openers, tracks also to spend time with include “Not If You Were the Last Sinner on Earth,” “Kiss and Tell,” “Bleed It Now,” and “Color Of the Grove.”
The Things Around Us Burn
Suburban Home Records
Grade: A-
When the opening number “Choked and Charmed” smashes into your ears, you realize that Love Me Destroyer has something more to offer than the standard post-hardcore punk love fuck fest. When raspy, balls out vocals hit you on the following song “F.U.I.Q.” you know this is something good. This realization shouldn’t exactly be shocking as Love Me Destroyer formed several years back out of the dissolution of the terrific Pinhead Circus. On their second album, Love Me Destroyer mix their punk lineage with more mature song structures and compelling levels of post-hardcore. This combines to grab your throat and demand you to listen. Thankfully, the band doesn’t fall into the contemporary trap of doing some screaming as a faux manner of gaining intensity; though smidgens do creep in (e.g., “Sweet Lady Brick”). As you nod to the openers, tracks also to spend time with include “Not If You Were the Last Sinner on Earth,” “Kiss and Tell,” “Bleed It Now,” and “Color Of the Grove.”
Saturday, December 8, 2007
The Pattern Theory - EP1
The Pattern Theory
EP1
Self-released
Grade: A-
Every once in awhile having this music review job pays off in epic spades and listening to The Pattern Theory is one such case. This Leeds, UK four-piece move to smooth soundscaping instrumentals that brings to mind the best on Temporary Residence – not the least of which Explosions in the Sky and By the End of Tonight. EP1 is a four-song demo the band is currently using to draw interest and help book shows. But simply the many moods of the opening number “Lakes” is enough to make you a believer. The next three – “Trees,” “Cities,” and “Fields” – follow in form of “Lakes” and the expansive rock instrumentals has you all excited. The Pattern Theory might be slightly timid in their sound currently, but look for great things from these guys in the near future.
EP1
Self-released
Grade: A-
Every once in awhile having this music review job pays off in epic spades and listening to The Pattern Theory is one such case. This Leeds, UK four-piece move to smooth soundscaping instrumentals that brings to mind the best on Temporary Residence – not the least of which Explosions in the Sky and By the End of Tonight. EP1 is a four-song demo the band is currently using to draw interest and help book shows. But simply the many moods of the opening number “Lakes” is enough to make you a believer. The next three – “Trees,” “Cities,” and “Fields” – follow in form of “Lakes” and the expansive rock instrumentals has you all excited. The Pattern Theory might be slightly timid in their sound currently, but look for great things from these guys in the near future.
Friday, December 7, 2007
Sigur Ros - Hvarf/Heim
Sigur Ros
Hvarf/Heim
XL Recordings
Grade: A-
You may quickly caste Iceland’s Sigur Ros as ‘sleepytime music’, but there is little here not to enjoy as your mellowing music, concentrating music, background music, or as, indeed, your sleeping music. On Hvarf/Heim – a collection of two EPs – Sigur Ros are offering a bit of odds and ends instead of a true new package. The five songs on Hvarf – roughly translated to ‘disappeared’ or ‘haven’ – are composed of three songs not included on past recordings for various reasons (“Salka,” “Hljomalind,” and “I Gaer”) and two reworkings of “Von” and “Hafsol” from past albums. Heim – roughly translated to ‘home’ – features acoustic live versions of past released material recorded in sorts throughout 2006 and 2007. These include “Samskeyti,” Staralfur,” “Vaka,” Agaetis Byrjun,” “Heysatan,” and “Von.” In what to make of these eleven tracks, well, it is simply quintessential ethereal Sigur Ros and it’s amazing. Past fans will love it and the uninitiated should minimally find solace on the offerings. Along with this release, Sigur Ros is releasing the DVD Heima which chronicles the band’s series of free concerts offered throughout Iceland in the summer of 2006.
Hvarf/Heim
XL Recordings
Grade: A-
You may quickly caste Iceland’s Sigur Ros as ‘sleepytime music’, but there is little here not to enjoy as your mellowing music, concentrating music, background music, or as, indeed, your sleeping music. On Hvarf/Heim – a collection of two EPs – Sigur Ros are offering a bit of odds and ends instead of a true new package. The five songs on Hvarf – roughly translated to ‘disappeared’ or ‘haven’ – are composed of three songs not included on past recordings for various reasons (“Salka,” “Hljomalind,” and “I Gaer”) and two reworkings of “Von” and “Hafsol” from past albums. Heim – roughly translated to ‘home’ – features acoustic live versions of past released material recorded in sorts throughout 2006 and 2007. These include “Samskeyti,” Staralfur,” “Vaka,” Agaetis Byrjun,” “Heysatan,” and “Von.” In what to make of these eleven tracks, well, it is simply quintessential ethereal Sigur Ros and it’s amazing. Past fans will love it and the uninitiated should minimally find solace on the offerings. Along with this release, Sigur Ros is releasing the DVD Heima which chronicles the band’s series of free concerts offered throughout Iceland in the summer of 2006.
Thursday, December 6, 2007
Sea Wolf - Leaves in the River
Sea Wolf
Leaves in the River
Dangerbird Records
Grade: A-
Given the cavalcade of superior indie rock bands these days incorporating ‘wolf’ into their names, I’d be super hesitant of adding that word to my band’s moniker. Yet, Sea Wolf, aka Alex Church, is charming enough to gain acceptance for the use of the wolf inclusion and not for winding up watering down the power of the wolf. So, you can continue to believe that pretty much any band with wolf in its name is going to be good. Some people may recognize Church through his exploits with LA band Irving. After realizing a couple years back that his and the band’s vision of songs were on diverging paths, Church went out on his own with the moniker Sea Wolf and played a smattering of LA shows with friends. Working with Phil Ek for the ten-song Leaves in the River, Church now has a steady cadre of musicians to fulfill his live vision of the songs. Let’s get to the heart of the matter with Leaves in the River – “You’re A Wolf.” Already an indie/college rock radio favorite, “You’re A Wolf” is such a standout track that you may prefer to simply buy the single due to its overwhelming awesomeness. With up-and-down picking acoustic guitars and Church excelling on vocal tone, “You’re A Wolf” is catchy as hell and you just have to keep hitting repeat. If the rest of Leaves in the River neared the excellence of this song, you’d be listening to the best album of the year. A few other songs offer solace to the wandering soul including “Winter Windows,” the compelling “Middle Distance Runner” (which sounds destined for a film by Zach Braff), the Murder By Death-esque “Song of the Dead,” and “The Cold, the Dark, & the Silence.” Church and his Sea Wolf does offer a persuasive debut full-length, one that blends the heart-tugging indie strings and makes you fall in love all over again.
Leaves in the River
Dangerbird Records
Grade: A-
Given the cavalcade of superior indie rock bands these days incorporating ‘wolf’ into their names, I’d be super hesitant of adding that word to my band’s moniker. Yet, Sea Wolf, aka Alex Church, is charming enough to gain acceptance for the use of the wolf inclusion and not for winding up watering down the power of the wolf. So, you can continue to believe that pretty much any band with wolf in its name is going to be good. Some people may recognize Church through his exploits with LA band Irving. After realizing a couple years back that his and the band’s vision of songs were on diverging paths, Church went out on his own with the moniker Sea Wolf and played a smattering of LA shows with friends. Working with Phil Ek for the ten-song Leaves in the River, Church now has a steady cadre of musicians to fulfill his live vision of the songs. Let’s get to the heart of the matter with Leaves in the River – “You’re A Wolf.” Already an indie/college rock radio favorite, “You’re A Wolf” is such a standout track that you may prefer to simply buy the single due to its overwhelming awesomeness. With up-and-down picking acoustic guitars and Church excelling on vocal tone, “You’re A Wolf” is catchy as hell and you just have to keep hitting repeat. If the rest of Leaves in the River neared the excellence of this song, you’d be listening to the best album of the year. A few other songs offer solace to the wandering soul including “Winter Windows,” the compelling “Middle Distance Runner” (which sounds destined for a film by Zach Braff), the Murder By Death-esque “Song of the Dead,” and “The Cold, the Dark, & the Silence.” Church and his Sea Wolf does offer a persuasive debut full-length, one that blends the heart-tugging indie strings and makes you fall in love all over again.
Wednesday, December 5, 2007
John Fogerty - Revival
John Fogerty
Revival
Fantasy Records
Grade: A-
In the years since Creedence dissolved, John Fogerty has been a tortured rocker – trying to work outside the shadow of Creedence, create a new sound, and not try to trample over his “swamp rock.” After decades of difficulty, Fogerty returns to form and offers up Revival – his best record since CCR. Over the past few years Fogerty has come to agreement with the contentious split with CCR and reembraced the power of swamp rock; so much so Revival is being released on CCR’s initial label Fantasy Records (under entirely different ownership). It is quite possible that Fogerty reserves his best work for times of turmoil in America – as original demonstrated with CCR and now with regard to the Iraq War, War on Terrorism, and the Bush administration. Like other classic rockers getting invigorated by the current environment, Fogerty launches out against politics, culture, and society in a wave of spectacular tracks including “Don’t You Wish It Was True,” “Gunslinger,” “Long Dark Night,” and the punk rock “I Can’t Take It No More.” Revival certainly isn’t all geared to speaking out against politics – as Neil Young’s Life in War was – and there are a smattering other motivated songs including “Broken Down Cowboy,” “River Is Waiting,” and “Somebody Help Me.” In a nod to his settlement with CCR, Fogerty indulges his past with “Creedence Song” with the choice repeated line of “can’t go wrong if you play a little bit of that Creedence song.” If you are a fan of CCR, and really who isn’t, you will love Revival.
Revival
Fantasy Records
Grade: A-
In the years since Creedence dissolved, John Fogerty has been a tortured rocker – trying to work outside the shadow of Creedence, create a new sound, and not try to trample over his “swamp rock.” After decades of difficulty, Fogerty returns to form and offers up Revival – his best record since CCR. Over the past few years Fogerty has come to agreement with the contentious split with CCR and reembraced the power of swamp rock; so much so Revival is being released on CCR’s initial label Fantasy Records (under entirely different ownership). It is quite possible that Fogerty reserves his best work for times of turmoil in America – as original demonstrated with CCR and now with regard to the Iraq War, War on Terrorism, and the Bush administration. Like other classic rockers getting invigorated by the current environment, Fogerty launches out against politics, culture, and society in a wave of spectacular tracks including “Don’t You Wish It Was True,” “Gunslinger,” “Long Dark Night,” and the punk rock “I Can’t Take It No More.” Revival certainly isn’t all geared to speaking out against politics – as Neil Young’s Life in War was – and there are a smattering other motivated songs including “Broken Down Cowboy,” “River Is Waiting,” and “Somebody Help Me.” In a nod to his settlement with CCR, Fogerty indulges his past with “Creedence Song” with the choice repeated line of “can’t go wrong if you play a little bit of that Creedence song.” If you are a fan of CCR, and really who isn’t, you will love Revival.
Tuesday, December 4, 2007
Calvin Harris - I Created Disco
Calvin Harris
I Created Disco
Almost Gold Recordings
Grade: A-/B+
When you eye the moniker Calvin Harris and the title of the record I Created Disco, you aren’t thinking good things – really. But within a minute or so of the opening song “Merry Making At My Place” and the funky electro beat disco begins in full mode you begin to foot tap and the rest just folds like a chair. With a gaggle of vocal guests, Calvin Harris slides through a fourteen-song album filled with club, party, and home anthems – enough to get the least likely to move their feet. I Created manages to couple every electronic sound ever made into one tight package – beginning with the 70s and simply expanding to encompass the 80s, 90s, and 00s (sounds like a light FM station line, but this is actually good and good for you). Besides from the strong opener, tracks to hit your go spot include “Colours,” the hot smoking “The Girls,” “Acceptable in the 80’s,” “Vegas,” “Disco Heat,” and the title track. It would be a shame if Calvin Harris doesn’t explode in the US, at least in the electro club arena; otherwise Euro clubs and Ibiza are the stately fair.
I Created Disco
Almost Gold Recordings
Grade: A-/B+
When you eye the moniker Calvin Harris and the title of the record I Created Disco, you aren’t thinking good things – really. But within a minute or so of the opening song “Merry Making At My Place” and the funky electro beat disco begins in full mode you begin to foot tap and the rest just folds like a chair. With a gaggle of vocal guests, Calvin Harris slides through a fourteen-song album filled with club, party, and home anthems – enough to get the least likely to move their feet. I Created manages to couple every electronic sound ever made into one tight package – beginning with the 70s and simply expanding to encompass the 80s, 90s, and 00s (sounds like a light FM station line, but this is actually good and good for you). Besides from the strong opener, tracks to hit your go spot include “Colours,” the hot smoking “The Girls,” “Acceptable in the 80’s,” “Vegas,” “Disco Heat,” and the title track. It would be a shame if Calvin Harris doesn’t explode in the US, at least in the electro club arena; otherwise Euro clubs and Ibiza are the stately fair.
Monday, December 3, 2007
Blaqk Audio - Cex Cells
Blaqk Audio
Cex Cells
Interscope/Tiny Evil
Grade: A-
‘Wait, when did Depeche Mode put out a new album?’ That’s a common question that you hear when folks first take a gander at Blaqk Audio’s Cex Cells. In actuality, most fans of contemporary rock and punk probably know more about who is Blaqk Audio than what they actually sound like. Blaqk Audio consists of Davey Havok and Jade Puget from goth-punkers AFI, and this is their electronic new wave side project. Several years in the making, it is easy to be skeptical of Cex Cells – a million side projects get floated by bands making strides and often then not they’re withering messes. Of course, to enjoy Cex Cells you have to enjoy electronic new wave that’s designed for dance floors and clubs. If you don’t like that stuff, then you will hate Cex Cells even if you dig AFI. For those who either love 80s electro new wave or are simply a fan of electronic pop, you are going to love the twelve-song Cex Cells. Within the album there is a full spectrum of speeds, moods, tempos, and vocal ranges. You want upbeat movers, check out “Snuff On Digital”; you want more introspection, check out “Between Breaths”; you want middle-of-the-road electro new wave, check out “Where Would You Like Them Left?”; etc. Oh dear, it is possible that Blaqk Audio could still some of AFI’s thunder.
Cex Cells
Interscope/Tiny Evil
Grade: A-
‘Wait, when did Depeche Mode put out a new album?’ That’s a common question that you hear when folks first take a gander at Blaqk Audio’s Cex Cells. In actuality, most fans of contemporary rock and punk probably know more about who is Blaqk Audio than what they actually sound like. Blaqk Audio consists of Davey Havok and Jade Puget from goth-punkers AFI, and this is their electronic new wave side project. Several years in the making, it is easy to be skeptical of Cex Cells – a million side projects get floated by bands making strides and often then not they’re withering messes. Of course, to enjoy Cex Cells you have to enjoy electronic new wave that’s designed for dance floors and clubs. If you don’t like that stuff, then you will hate Cex Cells even if you dig AFI. For those who either love 80s electro new wave or are simply a fan of electronic pop, you are going to love the twelve-song Cex Cells. Within the album there is a full spectrum of speeds, moods, tempos, and vocal ranges. You want upbeat movers, check out “Snuff On Digital”; you want more introspection, check out “Between Breaths”; you want middle-of-the-road electro new wave, check out “Where Would You Like Them Left?”; etc. Oh dear, it is possible that Blaqk Audio could still some of AFI’s thunder.
Sunday, December 2, 2007
Band of Horses - Cease to Begin
Band of Horses
Cease to Begin
Sub Pop Records
Grade: A-
Developing national and international notoriety with 2006’s Everything All the Time, Band of Horses have become everyone’s favorite indie rock band over the past couple of years. With a move across the country and the replacement of a guitarist, BOH continue to gallop along with memorable Americana-flavored indie rock on their sophomore full-length Cease to Begin.
Initially created out of the ashes of Seattle’s Carissa’s Wierd – needless to say a bad name – the four-piece of Band of Horses presented their debut Everything All the Time for the hometown label Sub Pop. Some of it indeed paralleled the Shins’ indie pop catchiness, but it was also rife with Americana indie rock that felt more like it came from a hip southern college town than the overcast Seattle. And that resonance actually had more truth to it than initially thought. Turns out that in the time between Everything All the Time and the release of Cease to Begin, the core of Band of Horses, Ben Bridwell, Rob Hampton, and Creighton Barrett, moved home to Mt. Pleasant, South Carolina. So, not exactly a college town, but still fits the general motif. The band member that they lost along the way was guitarist Mat Brooke who parted with the band to launch out on his own. With all that occurring, or possibly because it was occurring, Band of Horses managed to top their debut and offer one of the best records of 2007.
A couple of things, at least, remained the same for BOH with Cease to Begin – it was again produced by Phil Ek at Seattle’s Avast Studio (as well as Asheville, NC’s Echo Mountain Studios). And where Everything only hinted at Shins’ parallels, Cease to Begin is chocked full of them; and that’s a good thing. Opening on the slow mover “Is There a Ghost,” Bridwell’s vocals and BOH wisp along with ethereal effects before rocketing the indie rock powers to heaven. Catchy as all get out, “Is There a Ghost” is terrific way to open the usually dreaded sophomore record. Follower “Ode to LRC” is more angular and shushes with 80s pop rock riffs, while “No One’s Gonna Love You” moves in the same form as “Is There a Ghost” with indie pop brimming out of the top of its lid. On ballad “Detlef Schrempf,” the name of the former NBA player but no other connection, Bridwell flexes his lyrical prowess and adds a smart chorus to break potential monotony. Hand clapping kicks off the fun-loving “The General Specific” that shimmers forward though doesn’t crest to the magic level. After the short instrumental interlude “Lamb on the Lam (in the City),” BOH kicks up the intensity with the stellar “Islands on the Coast,” where again Bridwell’s vocals parallel the Shins like no one business. Well these boys are from South Carolina and in honor of that, they offer the countrified ballad “Marry Song.” Bristling against the rest of the album, “Marry Song” grows on you like fungus but here you don’t want to get rid of it. Cease to Begin closes on the harder though not magnificent “Cigarettes, Wedding Bands” and the soft rolling “Window Blues.”
Cease to Begin is a level above Band of Horses’ debut and one of the best indie rock albums of 2007, though not necessarily amongst the best indie albums ever. But, given their trajectory Band of Horses still have time to sort that one out.
Cease to Begin
Sub Pop Records
Grade: A-
Developing national and international notoriety with 2006’s Everything All the Time, Band of Horses have become everyone’s favorite indie rock band over the past couple of years. With a move across the country and the replacement of a guitarist, BOH continue to gallop along with memorable Americana-flavored indie rock on their sophomore full-length Cease to Begin.
Initially created out of the ashes of Seattle’s Carissa’s Wierd – needless to say a bad name – the four-piece of Band of Horses presented their debut Everything All the Time for the hometown label Sub Pop. Some of it indeed paralleled the Shins’ indie pop catchiness, but it was also rife with Americana indie rock that felt more like it came from a hip southern college town than the overcast Seattle. And that resonance actually had more truth to it than initially thought. Turns out that in the time between Everything All the Time and the release of Cease to Begin, the core of Band of Horses, Ben Bridwell, Rob Hampton, and Creighton Barrett, moved home to Mt. Pleasant, South Carolina. So, not exactly a college town, but still fits the general motif. The band member that they lost along the way was guitarist Mat Brooke who parted with the band to launch out on his own. With all that occurring, or possibly because it was occurring, Band of Horses managed to top their debut and offer one of the best records of 2007.
A couple of things, at least, remained the same for BOH with Cease to Begin – it was again produced by Phil Ek at Seattle’s Avast Studio (as well as Asheville, NC’s Echo Mountain Studios). And where Everything only hinted at Shins’ parallels, Cease to Begin is chocked full of them; and that’s a good thing. Opening on the slow mover “Is There a Ghost,” Bridwell’s vocals and BOH wisp along with ethereal effects before rocketing the indie rock powers to heaven. Catchy as all get out, “Is There a Ghost” is terrific way to open the usually dreaded sophomore record. Follower “Ode to LRC” is more angular and shushes with 80s pop rock riffs, while “No One’s Gonna Love You” moves in the same form as “Is There a Ghost” with indie pop brimming out of the top of its lid. On ballad “Detlef Schrempf,” the name of the former NBA player but no other connection, Bridwell flexes his lyrical prowess and adds a smart chorus to break potential monotony. Hand clapping kicks off the fun-loving “The General Specific” that shimmers forward though doesn’t crest to the magic level. After the short instrumental interlude “Lamb on the Lam (in the City),” BOH kicks up the intensity with the stellar “Islands on the Coast,” where again Bridwell’s vocals parallel the Shins like no one business. Well these boys are from South Carolina and in honor of that, they offer the countrified ballad “Marry Song.” Bristling against the rest of the album, “Marry Song” grows on you like fungus but here you don’t want to get rid of it. Cease to Begin closes on the harder though not magnificent “Cigarettes, Wedding Bands” and the soft rolling “Window Blues.”
Cease to Begin is a level above Band of Horses’ debut and one of the best indie rock albums of 2007, though not necessarily amongst the best indie albums ever. But, given their trajectory Band of Horses still have time to sort that one out.
Saturday, December 1, 2007
Jatun - Self-Titled
Jatun
s/t
Other Electricites
Grade: B+/A-
Jatun are better than your average electronic, mostly instrumental spacey band – and that’s about all I need to know to be drawn into the sonic love. And Jatun’s mood-enhancing, mellowing while uplifting music hasn’t been spared the commercial treatment as Nike and varying snowboard/ski outfits use a few of the songs. It is immediately clear why, as the opener “Ghost and Grey” streaks across your sky before soft pop vocals are discreetly and expertly placed on top. Your obvious question at this point is who is Jatun? Whatever the name may dispel, Jatun are the Portland duo Alan Grosvenor and Scott Worley – the former leading the traditional set and the latter taking charge of keys and laptop molesting. The only knock on Jatun is that they don’t press the epicness of their soundscapes to the maximum level – the point at which you teeter on the edge and then in all your orgasmic glory you collapse. Now you should sit back and wait until the obvious happens and Jatun sign with Temporary Residence Ltd.
s/t
Other Electricites
Grade: B+/A-
Jatun are better than your average electronic, mostly instrumental spacey band – and that’s about all I need to know to be drawn into the sonic love. And Jatun’s mood-enhancing, mellowing while uplifting music hasn’t been spared the commercial treatment as Nike and varying snowboard/ski outfits use a few of the songs. It is immediately clear why, as the opener “Ghost and Grey” streaks across your sky before soft pop vocals are discreetly and expertly placed on top. Your obvious question at this point is who is Jatun? Whatever the name may dispel, Jatun are the Portland duo Alan Grosvenor and Scott Worley – the former leading the traditional set and the latter taking charge of keys and laptop molesting. The only knock on Jatun is that they don’t press the epicness of their soundscapes to the maximum level – the point at which you teeter on the edge and then in all your orgasmic glory you collapse. Now you should sit back and wait until the obvious happens and Jatun sign with Temporary Residence Ltd.
Subscribe to:
Posts (Atom)