The Decemberists - Picaresque

The Decemberists
Picaresque
Kill Rock Stars
Grade: A-/A

As I waited for my car to get serviced and plopped down to do work, I put in the latest from this epic Portland, OR five-piece and was immediately blown away by the opener “The Infanta.” Previous encounters with the Decemberists had hardly registered a blip beyond the ordinary. But now I was fascinated with every inkling of this eleven-track opus. At first, I thought that there was something wrong with me that I would find such pleasure in such theatrics. Of course, there is something wrong with me, but this was different. The fascination led to uncountable spins of the record and a mild procrastination in actually trying to review the gorgeous Picaresque.

The Decemberists formed in and around 1999, when frontman Colin Meloy headed into town from Montana to pursue a musical absorption. Having a previous familiarity with the Portland area, Meloy realized it was difficult to do music in Montana and broke up his band Tarkio to head west. After some common open-mic nights, Meloy enlisted the efforts of Jenny Conlee, Chris Funk, Nate Query and, later, Rachel Blumberg to form the Decemberists. While it is hard to escape concentrating on Meloy’s hyperliterate storytelling verses and perfectly situated vocals, it is clear from the Decemberists’ songs that Meloy relies in great detail on his band mates in creating the magic. All pieces need to be fluid in making great music and when it clicks it is wondrous.

The Decemberists debut record Castaways and Cutouts came out in 2002 on the relatively small Portland label Hush Records; and was subsequently re-released in 2003 by KRS. Production thrived as the band also unleashed the EP Five Songs for Hush in 2001 and the full-length Her Majesty the Decemberists for KRS in 2003. In addition, the Decemberists released a short EP entitled The Tain for Spanish label Acuarela Discos based on an eighth century Irish poem. For Picaresque, the Decemberists reenlisted Chris Walla of Death Cab for Cutie to produce the record and a score of additional musicians to fill-in horns, strings and voice where needed. Weeks recording in Portland and Seattle have now paid off in droves for both the band and the listener.

As mentioned, the Decemberists are noted for epic, theatrical numbers that illustrate just a ridiculous literary flair; something that is both marvelous and bewildering at the same time. Meloy generally prefers relatively obscure synonyms for basic words in his lyrics, typically suited to rhyme lines – for instance, using “Purloined in Petrograd” in “The Bagman’s Gambit.” But, it not necessarily the case that Meloy is sitting there with a thesaurus trying to be obscure and it doesn’t come off as too much.

Picaresque begins on “The Infanta” with jungle moments as the song tells the tail of a child princess’s coronation with all various royals and elephants moving within the show. While a strong number with galloping beats, my preferred part of the song comes on the opening line “Here she comes in her palanquin.” Aurally, I hear this line as “Here she comes in her Colin Quinn” and laugh every time. The following number “We Both Go Down Together” is one of the musical highlights of the record, though it is about a couple committing suicide. The chorus of “And O! My Love! My Love!” is memory-burning and lyrics such as “Meet me on my vast veranda” will have you coming back for repeat listens. “Eli, the Barrow Boy” is a solemn acoustic number about a brokenhearted boy who is found downed in the river but whose ghost still walks singing about his lost love. The Decemberists pick up the tempo and pop-appeal on “The Sporting Life” as the character plays the role of injured soccer player. The song echoes a vast disappointment on several levels within a hyper-competitive world – not just sport. The seven-minute “The Bagman’s Gambit” is a slow, acoustic picking number that moves to full orchestration several minutes and continues to dip back and forth. “The Bagman’s Gambit” concerns a classic Cold War-style love affair between two spies and dazzles on the quasi-chorus “No, they’ll never catch me now.” “From My Own True Love (Lost at Sea)” is a short first step into the common Decemberists’ theme of ocean adventures; though here it is about a person asking about a lost love at sea. The Decemberists pick the tempo up again on “16 Military Wives” where they musically go for mass pop appeal along with a critique of the Iraq war. The chorus is most pointed: “And America does if America says it’s so/And the anchorperson on TV goes “la di da di da….” “The Engine Driver” revolves around four characters – an engine driver, a county lineman, a writer and a moneylender – and their quest for a love that they can’t have for whatever reason. “The Engine Driver” flows right into “On the Bus Mall,” a quite sad lyrical number about runaway prostitutes who have banded together like family. However, it is musically beautiful and is a stunning storytelling number. The most obviously epic and theatrical number follows on the nine-minute “The Mariner’s Revenge Song.” The tale, recorded live around a single microphone and punctuated by Conlee’s accordion, involves a boy – now a young man – avenging his mother’s death on the sea. It goes that this guy moved in with his widowed mother, put her in massive debt, left, their property was taken by the government and then his mother died. He finally catches up the captain when a whale demolishes both boats and they find themselves alive inside the whale. If there were ever an epic pop song, “The Mariner’s Revenge Song” is it. Picaresque ends on the glorious, mellow acoustic number “Of Angels and Angles,” which serves a sweet contrast to the frantic opener. Here, Meloy sounds much closer to mellow Weakerthans’ number than to the other ten songs on this record.

There is little doubt that Picaresque is the Decemberists’ best effort to date and clearly illustrates a band progressively improving. Don’t miss the amusing stagecraft photos in the booklet accompanying several of the songs. On the unfortunate side of things, the Decemberists gear was stolen this past month in Portland while they were about to set off for tour. The spectrum of the gear is enormous and you can gain information on it, as well as provide support for the band, through this link: The Decemberists’ Fund.

Red Sparowes - At the Soundless Dawn

Red Sparowes
At the Soundless Dawn
Neurot Recordings
Grade: A-

This is the start of something possibly epic and beautiful. Red Sparowes are comprised of members of Isis, Neurosis, Halifax Pier and Cignal and this, At the Soundless Dawn, is their debut for all those with a piercing fascination of stunning instrumentals. The seven tracks here comprise over an hour and are drenched with blissful moments that are as soothing and compelling as anything the all-stars Explosions in the Sky offer, but Red Sparowes provide darker and heavier imagery to their compositions. This is done not with chugging distorted guitars or double bass, but with darker tones on guitar effects and very little sunshine moments. Their vast texturing comes easily from the intertwining of four guitar/bass players – all of which have experience creating rich soundscapes. With hardly a drop off across the seven long-winded-titled songs – that compile to form a paragraph – this is clearly the best instrumental record released this year. If you are a fan of Temporary Residence and, specifically, bands like Explosions, then you will drool over At the Soundless Dawn.

The Locust - Safety Second, Body Last

The Locust
Safety Second, Body Last
Ipecac Recordings
Grade: A-

As mentioned in our recent live review of the Locust, this ferocious foursome from San Diego are an acquired taste; the type best gorged on after a live show experience. This is no different on their latest EP for Ipecac. Like Plague Soundscapes, Safety Second, Body Last features the Locust utilizing further and better electronics into their spazz insanity. Although the EP is delineated between four ‘songs’ and seven ‘sections,’ there are only two tracks burned onto the CD. The first track encompasses the first number “Armless and Overactive: Who’s Handling the Population Paste” and “Invented Organs: New Tongue Sweepstakes” and “: Consenting Abscess.” The second track picks up with “: Consenting Abscess” and continues with “One Decent Leg: Movement Across Membrane” & “: Oscillating Eyes” and “Immune System Overtime: Hairy Mouth” – all in four minutes. The ten minutes compile the Locust beating the crap out of their instruments and the three vocalists screaming at different points. Yet, the best moments come from the electronic breakdowns, particularly the haunting simulated electronic one-stroke church bell on “Armless and Overactive…” – that could be from a crazy video game or your worst nightmare. If you have enjoyed the Locust’s past endeavors then this will make you salivate.

LCD Soundsystem - s/t

LCD Soundsystem
s/t
DFA Records/EMI
Grade: B+

The buzz around LCD Soundsystem/James Murphy’s debut full-length over the past few months has been on the order of the Special Olympics – retarded (in a good way). Nearly ever PR email I got from people not associated with LCD/Murphy/DFA/… leading into SXSW had a nod to this record. While this double-disc release – one record of new material and one of past single – is as hot as the sun, it’s not as if the wheel was just reinvented. If you don’t know who Murphy is it is just that no one has told you the links that you actually already know. Murphy used to molest drums in the bands Pony and Speedking before turning towards the producing and recording end of the profession. Along the way Murphy worked studios across the NYC-area and formed DFA Records with Tim Goldsworthy – along with Jonathan Galkin. The label is noted for the Rapture’s Echoes as well as remixes of Le Tigre, Radio 4 and N.E.R.D. After a number of singles over the course of time, this, again, is LCD’s first proper full-length. Part of the previously mentioned dolled out love for LCD came from the first track on the new material record, “Daft Punk Is Playing In My House.” “Daft Punk” is precisely about its title and moves with direct purpose that you find on previous LCD singles. The thick bass line and drums along with Murphy’s vocals are perfectly situated. This is followed by the lazy, whispering vocal and drums of “Too Much Love” and the laptop distortion-style of “Tribulations.” “Movement” flows like art-blip-rap to rock blasts, while Murphy comes out of an opium den to provide the Beatles-dripping pop number “Never As Tired As When I’m Waking Up” – seriously, there are the same progressions. The eight-minute “On Repeat” sounds exactly like that as it slowly builds drums. “Thrills” is a bit of filler, before the awesome number “Disco Infiltrator.” Again, we find Murphy playing the role of a white art-rapper – where with a cold – accompanying Nintendo blips and varying beats. The new material record ends on “The Great Release” that features a continuous beat with limited piano chords that builds into a glorious, uplifting movement before dropping off to nothingness.

Again, the second CD consists of the singles that LCD has released over the past few bits. The record includes six tracks including one song “Yeah” with two versions and is highlighted by the excellent “Losing My Edge.” “Losing My Edge” is like perfect well-tempered post-art school schbaz where Murphy references being at every hip electronic/beat music moments over the past few decades – against the backdrop of getting swallowed by newer fair. I like the section about people having collections of the music that are impossible to have: “I hear that you have a compilation of every good song ever done by everybody.” “Beat Connection” follows suit, while you get smacked by the punk “Give It Up.” Spastic psychedelic guitars greet you on “Tired” as Murphy goes off on an acid trip of squealing moments. The two versions of “Yeah” – the “Crass Version” and the “Pretentious Version” – combine for twenty minutes of gloriousness, though the “Crass Version” is preferred as Murphy comes off like a Duke fan in the other. If you have ever had a notion of LCD Soundsystem, now is your chance to own everything.

The Wombats - Self-Titled

The Wombats
s/t
KIDS
Grade: A-

This six-song EP functions as a teaser of sorts for this hot indie pop punk band from Liverpool. As a precursor to their full-length A Guide to Love, Loss, & Desperation, the songs here encompass the band’s central singles including “Kill the Director” and “Moving to New York.” Playing the quintessential dancey indie punk that’s become more of the norm over the past few years (most obviously with Bloc Party), but still is remarkably attractive, the Wombats have hotness stamped all over them. Besides from the aforementioned songs, the sweetest smoking number is by far “Backfire at the Disco” that is three-plus minutes of joy. The final track of the EP is CSS doing a remix of “Kill the Director” and the magic is in full flying unicorn.

Goodbye Blue Monday - Help Is on the Way

Goodbye Blue Monday
Help Is On the Way
Loud and Clear Records
Grade: A-

This is a sneakily good record by Goodbye Blue Monday. Coming out of the oddly exceptional music basin of San Diego, Goodbye Blue Monday smoke out some of the best instrumental-inspired rock that I’ve heard in a long ass time. After releasing their debut full-length Next Time We Stop Breathing in 2003, GBM replaced guitarist Andrew Trecha with former Dropscience Demetrius Antuna. Antuna joined the already solid Matt Mournian on guitar and vocals, Jason Hooper on drums and later Dario Izarraras on bass. What makes the band particularly special across the seven tracks on Help Is On the Way is an amazing gift to push out expansive instrumental guitar rock, but with a near perfect mix of Mournian’s vocals to take them over the edge. Typically, when majority instrumental bands add vocals a small minority of the time, it sounds forced and ill-conceived. Mournian’s pitched, Bono-like vocals sound perfectly situated to fulfill the promise of ethereal bliss the layered guitars provide. A characteristic instance of this comes from the title track where the guitars are intertwining and echoing, while Mournian belts the line “Help is on the way.” Such revelations though are not confined to this single track and are equally spread across the other six – particularly “This is Your Four Leaf Clover” and “The Last of the Golden Palominos.” Indeed latched into San Diego bricklayers the Album Leaf, Pinback and the Black Heart Procession, GBM is probably the least-known brilliant act out of the area. Yet, that is unlikely to last very long given Help Is On the Way.

Wolf Parade - At Mount Zoomer

Wolf Parade
At Mount Zoomer
Sub Pop Records
Grade: A-

After Wolf Parade’s absurd hit upon all of us humans a few years ago, expectations run insanely high for their follow up. With the members of WP doing tons of side project work, us listeners have been presented with a cadre of sounds and influences that may or may not have been included on new WP music. Across the nine songs of At Mount Zoomer, Canada’s WP present a considerably more consistent and strong sound than past releases, but at the same time lack the slam dunk tracks, such as “Shine a Light,” that have greeted past releases.

It almost seems that discussing any of the background of Wolf Parade would be like preaching to the converted; every music fan worth his or her soul knows all the material off of the limited number of releases of the band. Besides their teaser EP, this consists of the excellent album Apologies to the Queen Mary, where WP offered the previously mentioned song “Shine a Light,” along with such knockouts as “I’ll Believe in Anything” and “This Heart’s on Fire.” While Apologies to the Queen Mary offered such standout tracks, At Mount Zoomer doesn’t as clearly distinguish between the magnificent and the pure strong songs. Instead, WP offer similarly skilled numbers across the nine songs and in so doing present a much more mature and solid outfit. It is easier to fish for massively hot songs such as “Shine a Light,” but after the nth listen you want an album that offers the whole deal – and that is what At Mount Zoomer does.

At Mount Zoomer begins with a flutter of electronics and keys on “Soldier’s Grin” before the crew of Spencer Krug, Dan Boeckner, Arlen Thompson, and Hadji Baraka bust in the moderate tempo indie rock construction. Though not containing a magical riff, you soon realize that “Soldier’s Grin” flies at a high level of rock. “Call It Ritual” is similar in thought and shines on the chorus of joy, while “Language City” puts Wolf Parade back on the Bruce Springsteen track. Unlike “Call It Ritual,” “Language City” lays it out with the best of Canadian indie punk over the past few years. “Bang Your Drum” is deliberate teeth pulling and the six-minute “California Dreamer” surprises you with catchiness in spite of the length. In fact, a number of the songs on At Mount Zoomer near excessive length, including the intermittently interesting, ten-minute closer “Kissing the Beehive.” After “California Dreamer” WP push the tempo again with the fantastic “The Grey Estates,” where the boys continue to push the best of Springsteen squared into an indie rock state. Hopefully with little regard to the awful 80s/90s outfit Fine Young Cannibals, the WP song by the same name saunters in with little magic but enough consistency to keep your ear to the grind. Before the closer, you are greeted with the whimsical “An Animal in Your Car.”

Even though Wolf Parade doesn’t offer as clear a magical single as past releases, At Mount Zoomer is considerably more consistent and solid, and illustrates a band that has matured to the point of knowing exactly how to execute a precise track of awesomeness. One may prefer clear grand slam endeavors from such a fantastic band, but you are likely to be warmed by At Mount Zoomer.

Fischerspooner - Odyssey

Fischerspooner
Odyssey
Capitol Records
Grade: A-

After a thrashing success with their debut record #1, the New York-based duo Warren Fischer and Casey Spooner have refocused the mission of the music and have unleashed one of the hippest records of the year. Unlike their long-winding electronic movement towards #1, Fischerspooner went quickly after rock moments to give their electronic breathing a solid foundation on Odyssey; and so named record. This included working with producers and songwriters such as Mirwais, Tony Hoffer, Linda Perry and Susan Sontag. The final outcome is just brilliant. And if nothing else the added rock parts will certainly expand the appeal of Fischerspooner. After the warm opener “Just Let Go,” comes the striking high point of the record “Cloud.” “Cloud” comes in with electronics and bass builds towards just breathtaking vocals, particularly on the chorus. These first two numbers introduce you to the ‘rock’ concept that Fischerspooner is exploring. It is not electro-punk jammed your throat. But rather a melodic and radiant FM radio sound that is smoothed out by their traditional dose of keyboard electronics. After the appealing “Never Win,” “A Kick in the Teeth” offers up the next dazzling array of melodic and catchy choruses. “Everything to Gain” and “Ritz 107” are unabashedly in the vein of Air, while “We Need a War” is the piece drawn out by Sontag. The repetitive vocals are compelling, but, again, “We Need a War” soars when backed by female vocals on the chorus. “Wednesday,” “Happy” and “All We Are” are mildly weak, while Odyssey finishes on the odd early-80s electronics of “Circle.” Look for “Cloud,” “A Kick in the Teeth” and “We Need a War” to be ripping off your pants in the near future. At the rate of offending some, for those who are fascinated by Postal Service but are looking for more consistency track-to-track pick up this latest from Fischerspooner.

Divide By Zero - Answer to No One

Divide By Zero
Answer To No One
Jump Start Records
Grade: A-

With a longer than expected time between the release of Chicago’s Divide By Zero awesome EP Timber and this debut full-length and a mailing mishap, I was unpleasantly surprised that I wasn’t knocked on my ass by the opener “Grave.” Yet, the simple straight ahead, melodic punk that characterizes the first number “Grave” – though it has a great line of “And your words roll off your tongue/like a bullet from a gun” – soon gave way for the what is one of the best melodic punk bands since Hot Water Music. The four-piece formed in 2002 after the breakdown of Logan’s Loss and slowly set out to define their own sound, in a smart contrast to the punk movement of the time. Besides from this record and Timber, the band also released a five-song EP Mirrors on Chicago’s Sinister Label. For me, as mentioned, what sets Divide By Zero apart from like-minded bands is the fabulous use of intricate and progressive sections that marry intertwining and battling guitars, a modified walking bass and soaring vocals. As such, Divide By Zero echoes the groundbreaking HWM releases like Finding the Rhythms and Forever and Counting. If you are furious as I that HWM doesn’t rip out number like “Minno” anymore than Divide By Zero is the answer to your disease. This is no better illustrated than by the breathtaking seven-minute “Bleeds and Bleeds,” where the band cruises through a near-infinite number of sections that meld and weave seamlessly together. Other choice cuts from this eleven-song, fifty minute record include “Timber” (from the EP), the straight-up punk number “Scars,” “Hold On,” “Northern Lights” and “The Year that Trembled.” Surely, I’m enthralled by the longer, multi-segmented numbers, but it is something that can’t be denied to like-minded individuals. Divide By Zero are not the type of band that is going to immediately capture your imagination and shake you unconscious, but by the second listen you are beginning to become an addict. I provide this review now, but Answer To No One seems like the type of record that is going to take several months for periodic listening to fully ingest – and if time allows an updated review may follow. Though I don’t know the entire scoop and whether inquires/offers have been made, it is baffling that Divide By Zero hasn’t been captured by some heavyweight labels – like hometown Victory. Regardless, look for Chicago finest to rip through your town and blow off your roof.

The Casting Couch - 5 Songs

The Casting Couch
5 Songs
I Eat Records
Grade: A-

This is easily the best local release of the year! This debut recording – actually is five songs – from Austin-based Wendy Mitchell and Lynn Boland is about as brilliant as bunch of folks just kicking it in the South could do. Merging wise, catchy indie rock with smits of alt-country, the Casting Couch have that something special that is nearly impossible to capture. In the meantime, the duo added John Hooker, Matt Strmiska and Julie Wood to round out a proper band. Led by Mitchell’s lazy day and at times creeky vocals and a simple, moderate tempo, the Casting Couch captures your imagination immediately on the opener “The Roof.” Surely, for me, the sweet combination of Mitchell’s vocals and imminent piano made me pay serious attention on “The Roof.” This is followed by the more country “Flying Machine,” where the duo takes their time getting the high point and title line. While things slip slightly on “Copper Girl,” the Couch follows it up with the simple and plaintive “Easy to Fall” with only piano and Mitchell’s vocals slightly reverbed. Things wrap up on “Whiskey Skiffle” with a tuba punctuated, thumping path in a cup of back porch country. Within such southern university haunts, like Chapel Hill, Athens and Austin, the Casting Couch are likely to become celebs. Mitchell and Boland are planning on a fall full-length release also on upstart Austin-based I Eat Records.