Hood
Outside Closer
Domino Recording Co.
Grade: A-
After a brief intro track, the true opening salvo of “The Negatives” launches you into the magical world of this four-piece from Leeds, England. Though Hood has been around for a decade and a half, it is only recently that they have been getting the recognition they apparently deserve. This is probably even more true on this side of the Atlantic. Their previous record Cold House piqued listeners’ interest, scoring vast critical acclaim. On Outside Closer, Hood includes a caldron of local musicians to flush out the songs, adding layers of strings, keys and electronics. The complexity and wealth of sounds included in compositions such as “Any Hopeful Thoughts Arrive” is just stunning. In many ways, Hood is like a brilliant instrumental group who decided to add breathy, ambient vocals to develop a complete package. Providing the mood and atmosphere of some favorites from Temporary Residence Ltd, Hood brings the songs further home with lyrical purpose and, of course, handclaps. The nine tracks average at around five minutes with every strung out, emphasized utterance as on “End of One Train Working.” Hood probably work their most pop on the electronic-beat and synth-based “The Lost You;” and this is where the Englishness flows fresh again. Though songs like “Any Hopeful Thoughts Arrive” and “Closure” are compelling, the forthcoming single “The Negatives” still steals the show. Seemingly, “The Negatives” compile and compress all that is Hood into one stellar track. This latest from Hood certainly caught us off-guard. Outside Closer is the perfect disc mellow out from any metal high or to accompany you on your day of work.
Friday, August 29, 2008
Thursday, August 28, 2008
Blood Brothers - Crimes
Blood Brothers
Crimes
V2
Grade: A-
Long the darling boys of underground spastic punk/noise, Blood Brothers demolished quaint listeners on their previous record Burn, Piano Island, Burn – and thus introducing this quintet to the masses. Vocally carried by Johnny Whitney and Jordan Blilie, Blood Brothers come across on their debut for V2 like well-funded and smart songwriting relatives of 3.1.G’s eclectic lineup – and in many ways they are. With the backing of V2, it appears as if BB had the time and space to air out their songs with a slaughtering of sections with nearly ever conceivable sound, but all with a purpose and a reason. That is, there is very little random noise or sound placed in just to be placed in. Most defining are the vocal back-and-forths and coming-togethers of Whitney and Blilie and the underlying pianos/synths. Crimes begins on “Feed Me to the Forest” with slow common noise before vocals and beats come in and quietly builds to the balls out. “Feed Me to the Forest” sets the stage for the rest record as carried on the following “Trash Flavored Trash.” “Love Rhymes with Hideous Car Wreck” beckons the first hint of mellow balladry for BB – and is one of the better tracks here – and “Peacock Skeleton With Crooked Feathers,” “Live at the Apocalypse Cabaret” and “Crimes” really brings home the point. BB makes up for speed drop on spastic tracks like “Teen Heat” and “Beautiful Horses.” The Yeah Yeah Yeahs’ Nick Zinner adds guitar to the creeping “Wolf Party.” BB close on “Celebrator” and latter-song craze of “Devastator.” As a follow up their breakthrough Burn, Piano Island, Burn, the Blood Brothers succeed with flying colors. One of the real treats to see the boys re-create this energy live – so do it.
Crimes
V2
Grade: A-
Long the darling boys of underground spastic punk/noise, Blood Brothers demolished quaint listeners on their previous record Burn, Piano Island, Burn – and thus introducing this quintet to the masses. Vocally carried by Johnny Whitney and Jordan Blilie, Blood Brothers come across on their debut for V2 like well-funded and smart songwriting relatives of 3.1.G’s eclectic lineup – and in many ways they are. With the backing of V2, it appears as if BB had the time and space to air out their songs with a slaughtering of sections with nearly ever conceivable sound, but all with a purpose and a reason. That is, there is very little random noise or sound placed in just to be placed in. Most defining are the vocal back-and-forths and coming-togethers of Whitney and Blilie and the underlying pianos/synths. Crimes begins on “Feed Me to the Forest” with slow common noise before vocals and beats come in and quietly builds to the balls out. “Feed Me to the Forest” sets the stage for the rest record as carried on the following “Trash Flavored Trash.” “Love Rhymes with Hideous Car Wreck” beckons the first hint of mellow balladry for BB – and is one of the better tracks here – and “Peacock Skeleton With Crooked Feathers,” “Live at the Apocalypse Cabaret” and “Crimes” really brings home the point. BB makes up for speed drop on spastic tracks like “Teen Heat” and “Beautiful Horses.” The Yeah Yeah Yeahs’ Nick Zinner adds guitar to the creeping “Wolf Party.” BB close on “Celebrator” and latter-song craze of “Devastator.” As a follow up their breakthrough Burn, Piano Island, Burn, the Blood Brothers succeed with flying colors. One of the real treats to see the boys re-create this energy live – so do it.
Wednesday, August 27, 2008
Saul Williams - s/t
Saul Williams
s/t
Fader Label
Grade: A-
I’ve always viewed Saul Williams from afar. That is, Williams has seemingly been at the epicenter of hip for a number of years, but never enough into a mainline consciousness. That may change on this latest record which varies sounds so much that the tracks are enormously accessible and thick and rich in lyrical content. So, take note of Saul Williams and what he has to say.
Saul Williams headed to NYC for post-grad at NYU and began to get involved in poetry open mics across the city. Williams’ first real smash onto the artist stage came in the late 1990s when he took the lead role in Slam, the slam poetry film by Marc Levin. Though Williams has vast skills, he excels with poetry and particularly spoken word. His work has been compiled into a wealth of books and articles across the literary spectrum from the New York Times to Essence to Elle. The move to putting his words to music was a natural progression which now is beginning to come into its own.
For his latest music offerings, Williams enlisted a host of friends to help him develop and expand his craft. This includes Zack de la Rocha, SOAD’s Serj Tankian and Isaiah Key Owens of the Mars Volta among others. These inputs coupled with the vast and dazzling lyrical content by Williams makes for one of the best and varied records of the year. And what is the sound? Well, it is nearly impossible to characterize beyond ‘urban.’ While the most obvious connection may be with the hip hop world, the songs and sounds are so mind blowing that it doesn’t translate to any marked degree. The music serves more as a vehicle for Williams to get his words and ideas in a tight and memorable package for listeners and observers.
The record begins on the eerie and creepy “Talk to Strangers” which features probably Williams’ most straight forward spoken word endeavor across the twelve tracks. The skulking piano and high pitched background vocals presents an image of being in a dank, murderous swamp waiting for something bad to happen. This leads into off-kilter guitars and heavy distorted bass on “Grippo,” and gives you the first sense of what to actually anticipate from Williams’ music. “Telegram” includes fore-fronted old school moderate punk guitar and includes this massively scary voice-altered chorus section. The song is basically about the terrible state of hip hop and soars when Williams riddles off lines like he is dictating a telegram – “Telegram to hip hop/stop/This shit has gone too far/stop/…. “Act III Scene 2 (Shakespeare)” features de la Rocha’s backing vocals and gyrates with seriously flanged space guitars that move back and forth across your speakers. With a seamless transition into “List of Demands (Reparations),” Williams begins with dirty bluesy vocals before the beats come in and singes your memory. “List of Demands” also includes Williams’ daughter Saturn joining in the haunting whining/crying chorus. After the less compelling “African Student Movement,” comes the fantastically upsetting yet catchy “Black Stacey.” “Black Stacey” is about Williams’ apparent self-image problem of being too black growing up in Newburgh, NY and it is impossible to get the chorus out your head. After the short faux-hard “PG,” comes the distorted bass led “Surrender (A Second to Think)” that begins slow but picks up with the inclusion of dark riffing guitars. After the off “Control Freak,” comes the other spoken word-flavored track of the record “Seaweed.” It has Williams going on through his lines with people in back doing partial scales of la’s and breaking in points for light female backing vocals from Mai Doi Todd. The record closes on the electronically-balanced and murky “Notice of Eviction.”
This latest from Saul Williams is certainly one of the most innovative and unique records of the year and re-establishes Williams as an artist standing on his own island of creativity. Take advantage of any opportunity to checking out Williams in person whether musically or in poetic form.
s/t
Fader Label
Grade: A-
I’ve always viewed Saul Williams from afar. That is, Williams has seemingly been at the epicenter of hip for a number of years, but never enough into a mainline consciousness. That may change on this latest record which varies sounds so much that the tracks are enormously accessible and thick and rich in lyrical content. So, take note of Saul Williams and what he has to say.
Saul Williams headed to NYC for post-grad at NYU and began to get involved in poetry open mics across the city. Williams’ first real smash onto the artist stage came in the late 1990s when he took the lead role in Slam, the slam poetry film by Marc Levin. Though Williams has vast skills, he excels with poetry and particularly spoken word. His work has been compiled into a wealth of books and articles across the literary spectrum from the New York Times to Essence to Elle. The move to putting his words to music was a natural progression which now is beginning to come into its own.
For his latest music offerings, Williams enlisted a host of friends to help him develop and expand his craft. This includes Zack de la Rocha, SOAD’s Serj Tankian and Isaiah Key Owens of the Mars Volta among others. These inputs coupled with the vast and dazzling lyrical content by Williams makes for one of the best and varied records of the year. And what is the sound? Well, it is nearly impossible to characterize beyond ‘urban.’ While the most obvious connection may be with the hip hop world, the songs and sounds are so mind blowing that it doesn’t translate to any marked degree. The music serves more as a vehicle for Williams to get his words and ideas in a tight and memorable package for listeners and observers.
The record begins on the eerie and creepy “Talk to Strangers” which features probably Williams’ most straight forward spoken word endeavor across the twelve tracks. The skulking piano and high pitched background vocals presents an image of being in a dank, murderous swamp waiting for something bad to happen. This leads into off-kilter guitars and heavy distorted bass on “Grippo,” and gives you the first sense of what to actually anticipate from Williams’ music. “Telegram” includes fore-fronted old school moderate punk guitar and includes this massively scary voice-altered chorus section. The song is basically about the terrible state of hip hop and soars when Williams riddles off lines like he is dictating a telegram – “Telegram to hip hop/stop/This shit has gone too far/stop/…. “Act III Scene 2 (Shakespeare)” features de la Rocha’s backing vocals and gyrates with seriously flanged space guitars that move back and forth across your speakers. With a seamless transition into “List of Demands (Reparations),” Williams begins with dirty bluesy vocals before the beats come in and singes your memory. “List of Demands” also includes Williams’ daughter Saturn joining in the haunting whining/crying chorus. After the less compelling “African Student Movement,” comes the fantastically upsetting yet catchy “Black Stacey.” “Black Stacey” is about Williams’ apparent self-image problem of being too black growing up in Newburgh, NY and it is impossible to get the chorus out your head. After the short faux-hard “PG,” comes the distorted bass led “Surrender (A Second to Think)” that begins slow but picks up with the inclusion of dark riffing guitars. After the off “Control Freak,” comes the other spoken word-flavored track of the record “Seaweed.” It has Williams going on through his lines with people in back doing partial scales of la’s and breaking in points for light female backing vocals from Mai Doi Todd. The record closes on the electronically-balanced and murky “Notice of Eviction.”
This latest from Saul Williams is certainly one of the most innovative and unique records of the year and re-establishes Williams as an artist standing on his own island of creativity. Take advantage of any opportunity to checking out Williams in person whether musically or in poetic form.
Tuesday, August 26, 2008
Montag - Alone, Not Alone
Montag
Alone, Not Alone
Carpark Records
Grade: A-
It is clear about one minute into the first vocal track, “Grand Luxe,” that Montag are anything but American. Though Montag are not the electro-Euro-chic that you may imagine, they are pretty close coming out of French-speaking Montreal. Actually, I should speak in singular form since Montag is one Antoine Bedard, though he is bolstered and aided by numerous other musicians on Alone, Not Alone. On Montag’s third release, Bedard focuses on minimal electronic pop that is sweetly punctuated by feminine vocals from Amy Millan (Stars and Broken Social Scene) and Ariel Engle. While Bedard’s own vocals – particularly when in French – are compelling, when he is coupled with Millan or Engle, the end product is phenomenal. Highlights of this awesomeness come from “Grand Luxe,” “Perfect Vision” and “Angles, Country & Terrain Connu.” Though it is not as if Bedard only exists to make such electro-pop dreams comes true – even if “Perfect Vision” is one of the better tracks I’ve heard in awhile. Bedard also has a penchant purely instrumental mind-melds that utilize both his own and others minimalist string arrangements and throbbing low-grade electronics. This is illustrated on tracks such as “Les Choses Se Placent,” “Figures of a New Color,” “Time Difference II” and “Exit Melodie.” This latest from Montag is a record that I’m super thankful for being introduced to. If you enjoy slightly esoteric instrumentals matched with timely pop sensations, then you will love Alone, Not Alone.
Alone, Not Alone
Carpark Records
Grade: A-
It is clear about one minute into the first vocal track, “Grand Luxe,” that Montag are anything but American. Though Montag are not the electro-Euro-chic that you may imagine, they are pretty close coming out of French-speaking Montreal. Actually, I should speak in singular form since Montag is one Antoine Bedard, though he is bolstered and aided by numerous other musicians on Alone, Not Alone. On Montag’s third release, Bedard focuses on minimal electronic pop that is sweetly punctuated by feminine vocals from Amy Millan (Stars and Broken Social Scene) and Ariel Engle. While Bedard’s own vocals – particularly when in French – are compelling, when he is coupled with Millan or Engle, the end product is phenomenal. Highlights of this awesomeness come from “Grand Luxe,” “Perfect Vision” and “Angles, Country & Terrain Connu.” Though it is not as if Bedard only exists to make such electro-pop dreams comes true – even if “Perfect Vision” is one of the better tracks I’ve heard in awhile. Bedard also has a penchant purely instrumental mind-melds that utilize both his own and others minimalist string arrangements and throbbing low-grade electronics. This is illustrated on tracks such as “Les Choses Se Placent,” “Figures of a New Color,” “Time Difference II” and “Exit Melodie.” This latest from Montag is a record that I’m super thankful for being introduced to. If you enjoy slightly esoteric instrumentals matched with timely pop sensations, then you will love Alone, Not Alone.
Monday, August 25, 2008
Genghis Tron - Cloak of Love
Genghis Tron
Cloak of Love
Crucial Blast
Grade: A-/A
Before hearing one lick from this Poughkeepsie, NY based three-piece, it is impossibly not to love the fact that their name is Genghis Tron and that the CD has a crazy spectrum of colors that could combine to be Banana Republic’s new spring line. Their moniker is about as perfect as you could conjure up, as the boys merge both balls-out, obnoxious speed, power-chord metal with electronic pop – both together and apart – for an awe-inspiring product. The five-song EP starts on “Rock Candy” with space leading to insane A.C.-style metal which eventually leads to an electronic breakdown and a series of non-connected electronic and metal parts. One of the most brilliant parts of “Rock Candy” is a voice sample of some guy saying “wow, this music sounds really good” before heading back into brutality. “Arms” follows as the first track where Genghis Tron immediately mix together metal and electronics into a seamless package. “Ride the Steambolt” features a Theremin and metal solos plus Ministry-style industrial riffs. As probably the ‘danciest’ song “Laser Bitch” begins like a lost New Order song before GT decided to pummel your brain with mic-can’t-entirely-record heavy distorted machine gun guitars. “Sing Disorder” closes the record with a large reliance on industrial riffs and only minimal underlying electronics. Cloak of Love may very well be the best thing I hear for the rest of the year. All hail the onslaught of dance-metal!
Cloak of Love
Crucial Blast
Grade: A-/A
Before hearing one lick from this Poughkeepsie, NY based three-piece, it is impossibly not to love the fact that their name is Genghis Tron and that the CD has a crazy spectrum of colors that could combine to be Banana Republic’s new spring line. Their moniker is about as perfect as you could conjure up, as the boys merge both balls-out, obnoxious speed, power-chord metal with electronic pop – both together and apart – for an awe-inspiring product. The five-song EP starts on “Rock Candy” with space leading to insane A.C.-style metal which eventually leads to an electronic breakdown and a series of non-connected electronic and metal parts. One of the most brilliant parts of “Rock Candy” is a voice sample of some guy saying “wow, this music sounds really good” before heading back into brutality. “Arms” follows as the first track where Genghis Tron immediately mix together metal and electronics into a seamless package. “Ride the Steambolt” features a Theremin and metal solos plus Ministry-style industrial riffs. As probably the ‘danciest’ song “Laser Bitch” begins like a lost New Order song before GT decided to pummel your brain with mic-can’t-entirely-record heavy distorted machine gun guitars. “Sing Disorder” closes the record with a large reliance on industrial riffs and only minimal underlying electronics. Cloak of Love may very well be the best thing I hear for the rest of the year. All hail the onslaught of dance-metal!
Friday, August 22, 2008
The Fiery Furnaces - EP
The Fiery Furnaces
EP
Rough Trade Records
Grade: A-
If the last five songs were as good as the first five, then this would be the best record of the year. Unfortunately, that is not the case, but the Fiery Furnaces still strike brilliance on their latest EP. While this may actually be a full-length for most artists, this ten-track, forty-one minute enterprise is actually half the length of their previous – so technically an EP? After the brother-sister duo of Eleanor and Matt Friedberger struck initially magic on their debut Gallowsbird’s Bark, they were quickly back with the epic Blueberry Boat. Needless to say, the Friedbergers’ sense of epic didn’t rub everyone the right way as the thirteen-track eighty-six minute record traveled in its own world of eclectic vaudevillian folk-blues. Blueberry Boat is one of those records that critics love, but average listeners despise. Whatever the reason, the Friedbergers decided they would offer up a ‘song’-driven album to appease all pop-harmony, indie radio fans. I for one am massively appeased.
EP starts out on “Single Again” with beats and synths reminiscent of Blueberry Boat, before Eleanor comes in with vocals and entirely changes that direction – and for the better. What you realize immediately is that the Friedbergers are writing more standard numbers that only extend to a few minutes – very different from before. Taking a Johnny Cash-esque plus bluesy guitar approach, “Single Again” gets into your head with its simple creepingly, haunting lyrics. Yet, this song merely sets up one of the gems on the record – “Here Comes the Summer.” Taking their classic fusing of songs, “Here Comes the Summer” features a piano and hyper-fuzzed guitar with an unconscious riff that accentuates the dazzlingly catchy vocals by Eleanor. Her refrain of “Remember” is only rivaled by the glorious chorus where the Friedbergers take shit to the next level. Coming off such an affair is tough for any song, and such is the case for “Evergreen.” You need to get to the chorus on “Evergreen” to acknowledge the song’s quality and appeal. “Sing for Me” is the first song to feature Matt on lead vocals and includes this grandiose, 60s feel and repeated refrain of the title. The last song of this amazing opening – and probably the best, next to “Here Comes the Summer,” on the record – is “Tropical-Iceland.” You want to talk about a song that you can’t get out of your head. Holy shit, then this is it. “Tropical-Iceland” is hot fun and is characterized by Eleanor’s pronunciation of the title – Troppy-cool, Icy-land – which is the magically repeated chorus. When she belts lines like “I’ve seen enough stray ponies and puffins/To get me through till the end of May,” you are convinced this is genius. Now this review started talking about the drop-off in song quality, or at least pop-fantasia, – and it begins on the following “Duffer St. George.” Though “Duffer St. George” begins promisingly with Eleanor on vocals, it quickly becomes spoiled. The slow, eclectic nature of “Smelling Cigarettes” provides some nice moments, but there aren’t enough to salvage. “Sweet Spots” is a solid number, but you might as well divorce yourself from “Cousin Chris.” EP ends on the six-plus-minute “Sullivan’s Social Slub” where the Friedbergers focus on varying forms of keys in a mellowed manner. Through twists and turns, the song’s highlight comes on Eleanor’s singing of the line “So’s’on Saturday say slips’offs’a Sullivan’s Social Slub” – trying saying that even twice fast.
In some respects, it seems that the Friedbergers wrote the songs on EP to simply illustrate they can write some of the best indie-pop songs in the world if they really wanted to. But their interests may take them to the theatrical strand – as on Blueberry Boat. It will be interesting to see what the musical future direction of the Fiery Furnaces will be.
EP
Rough Trade Records
Grade: A-
If the last five songs were as good as the first five, then this would be the best record of the year. Unfortunately, that is not the case, but the Fiery Furnaces still strike brilliance on their latest EP. While this may actually be a full-length for most artists, this ten-track, forty-one minute enterprise is actually half the length of their previous – so technically an EP? After the brother-sister duo of Eleanor and Matt Friedberger struck initially magic on their debut Gallowsbird’s Bark, they were quickly back with the epic Blueberry Boat. Needless to say, the Friedbergers’ sense of epic didn’t rub everyone the right way as the thirteen-track eighty-six minute record traveled in its own world of eclectic vaudevillian folk-blues. Blueberry Boat is one of those records that critics love, but average listeners despise. Whatever the reason, the Friedbergers decided they would offer up a ‘song’-driven album to appease all pop-harmony, indie radio fans. I for one am massively appeased.
EP starts out on “Single Again” with beats and synths reminiscent of Blueberry Boat, before Eleanor comes in with vocals and entirely changes that direction – and for the better. What you realize immediately is that the Friedbergers are writing more standard numbers that only extend to a few minutes – very different from before. Taking a Johnny Cash-esque plus bluesy guitar approach, “Single Again” gets into your head with its simple creepingly, haunting lyrics. Yet, this song merely sets up one of the gems on the record – “Here Comes the Summer.” Taking their classic fusing of songs, “Here Comes the Summer” features a piano and hyper-fuzzed guitar with an unconscious riff that accentuates the dazzlingly catchy vocals by Eleanor. Her refrain of “Remember” is only rivaled by the glorious chorus where the Friedbergers take shit to the next level. Coming off such an affair is tough for any song, and such is the case for “Evergreen.” You need to get to the chorus on “Evergreen” to acknowledge the song’s quality and appeal. “Sing for Me” is the first song to feature Matt on lead vocals and includes this grandiose, 60s feel and repeated refrain of the title. The last song of this amazing opening – and probably the best, next to “Here Comes the Summer,” on the record – is “Tropical-Iceland.” You want to talk about a song that you can’t get out of your head. Holy shit, then this is it. “Tropical-Iceland” is hot fun and is characterized by Eleanor’s pronunciation of the title – Troppy-cool, Icy-land – which is the magically repeated chorus. When she belts lines like “I’ve seen enough stray ponies and puffins/To get me through till the end of May,” you are convinced this is genius. Now this review started talking about the drop-off in song quality, or at least pop-fantasia, – and it begins on the following “Duffer St. George.” Though “Duffer St. George” begins promisingly with Eleanor on vocals, it quickly becomes spoiled. The slow, eclectic nature of “Smelling Cigarettes” provides some nice moments, but there aren’t enough to salvage. “Sweet Spots” is a solid number, but you might as well divorce yourself from “Cousin Chris.” EP ends on the six-plus-minute “Sullivan’s Social Slub” where the Friedbergers focus on varying forms of keys in a mellowed manner. Through twists and turns, the song’s highlight comes on Eleanor’s singing of the line “So’s’on Saturday say slips’offs’a Sullivan’s Social Slub” – trying saying that even twice fast.
In some respects, it seems that the Friedbergers wrote the songs on EP to simply illustrate they can write some of the best indie-pop songs in the world if they really wanted to. But their interests may take them to the theatrical strand – as on Blueberry Boat. It will be interesting to see what the musical future direction of the Fiery Furnaces will be.
Thursday, August 21, 2008
The Chemical Brothers - Push the Button
The Chemical Brothers
Push the Button
Astralwerks/Virgin Records
Grade: A-
After less-than-inspiring recent releases by contemporaries Fatboy Slim and the Progidy, it is warmingly refreshing that this Chemical Brothers’ record is drop-dead gorgeous. Since the Chemical Brothers’ came out of the underground club scene to the masses during the mid-1990s, Tom Rowlands and Ed Simons have provided the staid with blast beats to get them moving. While the Chemical Brothers may have slipped a bit from the limelight in the past few years, on Push the Button, their fifth album, Rowlands and Simons have returned to reclaim what is there’s.
And they achieve their goal with immediacy on the opening “Galvanize” featuring Q-Tip – fresh off appearances with Dave Chappelle. What strikes you quickly on “Galvanize” is this slightly off-timed Middle-Eastern strings riff – before Q-Tip offers up some mildly impressive rhythms, but actually serves as the vocal cheerleader to the enormous blissful electronics. After this six-and-a-half minute blitzkrieg, “The Boxer” comes in featuring long-time collaborator Tim Burgess with a bit of 70s R&B flair attached. “Believe” is a seven-minute electronic voyage that parallels more traditional club themes, while Anna Lynne from Trespassers Williams offers up breathy and striking vocals on “Hold Tight London.” Thanks to Williams’ vocals and mellowed attack, “Hold Tight London” stands out as a highlight from Push the Button. After the eclectic and frustrating “Come Inside,” Rowlands and Simons provide ultra-hot electronic riffs and beats on “The Big Jump.” As the name implies, “The Big Jump” will easily get listeners in varying environments to move. Centrally featuring hip-hop artist Anwar Superstar, “Left Right” is the most blatant anti-war-related material on Push the Button. Bringing the listener back to happier moments, “Close Your Eyes” is the pleasant enigma on the record. Collaborators the Magic Numbers provide the soft, pleasant vocals that bring “Close Your Eyes” into the hip indie-electronic world and, thus, will likely attract scores of proponents. “Shake Break Bounce” is another perfectly-suited title as it matches the beat-driven composition. Push the Button closes on “Marvo Ging” and “Surface to Air.” “Marvo Ging” is probably the most rock-orientated track, as the Rowlands and Simons loop a pedal steel riff and provide straight-forward beats. On the seven-and-a-half minute “Surface to Air,” Rowlands and Simons use the space to slowly build in strings, keys and electronics to create a vastly amazing journey to the end of the record. Though not necessarily intended, it is easy to see “Surface to Air” being picked up as soundtrack material to a defining moment in a future film.
On Push the Button, the Chemical Brothers have provided what everyone has been searching for – excellent, fresh and innovative electronic music that all can enjoy.
Push the Button
Astralwerks/Virgin Records
Grade: A-
After less-than-inspiring recent releases by contemporaries Fatboy Slim and the Progidy, it is warmingly refreshing that this Chemical Brothers’ record is drop-dead gorgeous. Since the Chemical Brothers’ came out of the underground club scene to the masses during the mid-1990s, Tom Rowlands and Ed Simons have provided the staid with blast beats to get them moving. While the Chemical Brothers may have slipped a bit from the limelight in the past few years, on Push the Button, their fifth album, Rowlands and Simons have returned to reclaim what is there’s.
And they achieve their goal with immediacy on the opening “Galvanize” featuring Q-Tip – fresh off appearances with Dave Chappelle. What strikes you quickly on “Galvanize” is this slightly off-timed Middle-Eastern strings riff – before Q-Tip offers up some mildly impressive rhythms, but actually serves as the vocal cheerleader to the enormous blissful electronics. After this six-and-a-half minute blitzkrieg, “The Boxer” comes in featuring long-time collaborator Tim Burgess with a bit of 70s R&B flair attached. “Believe” is a seven-minute electronic voyage that parallels more traditional club themes, while Anna Lynne from Trespassers Williams offers up breathy and striking vocals on “Hold Tight London.” Thanks to Williams’ vocals and mellowed attack, “Hold Tight London” stands out as a highlight from Push the Button. After the eclectic and frustrating “Come Inside,” Rowlands and Simons provide ultra-hot electronic riffs and beats on “The Big Jump.” As the name implies, “The Big Jump” will easily get listeners in varying environments to move. Centrally featuring hip-hop artist Anwar Superstar, “Left Right” is the most blatant anti-war-related material on Push the Button. Bringing the listener back to happier moments, “Close Your Eyes” is the pleasant enigma on the record. Collaborators the Magic Numbers provide the soft, pleasant vocals that bring “Close Your Eyes” into the hip indie-electronic world and, thus, will likely attract scores of proponents. “Shake Break Bounce” is another perfectly-suited title as it matches the beat-driven composition. Push the Button closes on “Marvo Ging” and “Surface to Air.” “Marvo Ging” is probably the most rock-orientated track, as the Rowlands and Simons loop a pedal steel riff and provide straight-forward beats. On the seven-and-a-half minute “Surface to Air,” Rowlands and Simons use the space to slowly build in strings, keys and electronics to create a vastly amazing journey to the end of the record. Though not necessarily intended, it is easy to see “Surface to Air” being picked up as soundtrack material to a defining moment in a future film.
On Push the Button, the Chemical Brothers have provided what everyone has been searching for – excellent, fresh and innovative electronic music that all can enjoy.
Wednesday, August 20, 2008
The Faint - Wet From Birth
The Faint
Wet From Birth
Saddle Creek Records
Grade: A-
It has been an infinitely-long time since Omaha’s favorite punk-electronic dance troupe has unleashed a new album for hip, uptempo partiers. Yet that time away from recording has added tremendously in the quality of this latest endeavor. For both those still in the dark about the Faint as well as their legions of fans, Wet From Birth is a smoking affair.
Although Media is the Faint’s first release, it wasn’t until Blank Wave Arcade did the current conception of the band take hold. As it were, the Faint were simply another indie rock band during the days of Media and they found it less than inspiring. Thankfully for us listeners, they decided to include keyboards and other electronics to make a product that is a fabulous time in both recorded and live form. In the move to this new sound the band became composed of brothers Todd Baechle (lead vocals, synths) and Clark Baechle (drums, vocals) along with Jacob Thiele (synths) and Joel Petersen (bass, guitar) – and later Dapose (guitar). To say that Blank Wave Arcade was a shocking blast of awesomeness onto the musical world would be an understatement. The throbbing sexual prowess of Blank Wave Arcade starting with “Sex is Personal” to “Worked Up So Sexual” to “Casual Sex,” along with other fantastic tracks like “Call Call” and “In Concert” created one of the most grabbling albums of the time. This recording coupled with a phenomenal live performance won fans from everyone who could experience such a show. While Blank Wave Arcade is comparatively raw, it is what laid the foundation for the Faint and helped issue in a fresh new wave energy.
The Faint followed up with 2001’s Danse Macabre, an album with a significantly enhanced production job that highlighted the band’s allegiance to all things electronic. While Danse Macabre illustrated vast musical maturity by the band, it seemed to lack the pure punk foundation and favored more electronic-dance esotericism. Regardless, Danse Macabre opened the doors to the masses for the Faint allowing them to score amazing opening tours – e.g., with No Doubt – as well as to set their agenda for touring. It is hard to deny that songs such as “Agenda Suicide,” “Your Retro Career Melted” and “Glass Danse” are breath-taking indie club tracks, but compared with Blank Wave Arcade the songs dropped off in appeal to punk catchiness. Still, and amazingly enough, Astralwerks released a remixed version of the record featuring such phenomenal electronic artists as Paul Oakenfold, Thin White Duke, Junior Sanchez and Tommie Sunshine.
For Wet from Birth, the band took over a warehouse and worked on the record for the better part of year. Besides from simply taking their time, the members of the Faint were also busy doing their own stuff including Petersen’s Broken Spindles. Heading back into recording with uber-producer and Omaha/Saddle Creek stalwart Mike Mogis, the Faint have unleashed arguably their best record. It is clear from the opening “Desperate Guys” that the Faint have welded and weaved the two previous records to make a more punk-orientated record – and it is awesome. On “Desperate Guys,” the Faint set the tone for what is in store over the next nine tracks. “Desperate Guys” begins with creepy strings as Baechle’s vocals come in to thumping bass and drums and intermittently employs electronic swath. Following a slower throbbing beat “How Could I Forget” begins slowly but picks on the bridge with strings and synths. Petersen’s heavily distorted bass opens “I Disappear” and maintains the rhythm throughout the course of the moderately entertaining song. Yet “I Disappear” is simply the set up to probably the best song on the record – “Southern Belles in London Sing.” With a slow strings movement as the introduction, the song picks up inertia with stabbing strings and Baechle’s vocals leading the way to an awesome section of Orenda Fink and Maria Taylor (of Azure Ray) providing ethereal vocals. Further, the breakdown on “Southern Belles in London Sing” is simply brilliant. What really will encase the song in your memory are the strings and the uptempo party atmosphere. The Faint follow this up with the slow tempo, clapping “Erection” – a song that comes very close to the sound on Danse Macabre. “Paranoiattack” is a blitz of distorted electronics, while “Drop Kick the Punks” is clearly the most aggressive, hard hitting number on Wet from Birth. As the first track ever released that was written by Clark Baechle, “Phone Call” starts in with uninspiring fashion but picks up on the strung out electronic bridge and the chorus. While “Phone Call” is not as stellar as say “Southern Belles in London Sing” it ain’t half bad either and is a formidable offering by Clark. “Symptom Finger” begins as a distorted remix of something oh so familiar – Dead or Alive-esque – and carries the theme throughout the choruses. Wet from Birth ends on the guitar-driven “Birth” where the Faint echo back to musical themes from Blank Wave Arcade.
The sheer awesomeness of Wet from Birth easily makes up for not releasing any new material for several years. Since the Faint play bigger and bigger clubs these days, their amazing live show with synchronized light bonanza is diminished – if they are playing a place that can ensure a pitch black start point then you will be floored by their show (as we were a few years ago). Still, seeing the Faint in any locale can only provide a smile to your face and workout for your feet.
Wet From Birth
Saddle Creek Records
Grade: A-
It has been an infinitely-long time since Omaha’s favorite punk-electronic dance troupe has unleashed a new album for hip, uptempo partiers. Yet that time away from recording has added tremendously in the quality of this latest endeavor. For both those still in the dark about the Faint as well as their legions of fans, Wet From Birth is a smoking affair.
Although Media is the Faint’s first release, it wasn’t until Blank Wave Arcade did the current conception of the band take hold. As it were, the Faint were simply another indie rock band during the days of Media and they found it less than inspiring. Thankfully for us listeners, they decided to include keyboards and other electronics to make a product that is a fabulous time in both recorded and live form. In the move to this new sound the band became composed of brothers Todd Baechle (lead vocals, synths) and Clark Baechle (drums, vocals) along with Jacob Thiele (synths) and Joel Petersen (bass, guitar) – and later Dapose (guitar). To say that Blank Wave Arcade was a shocking blast of awesomeness onto the musical world would be an understatement. The throbbing sexual prowess of Blank Wave Arcade starting with “Sex is Personal” to “Worked Up So Sexual” to “Casual Sex,” along with other fantastic tracks like “Call Call” and “In Concert” created one of the most grabbling albums of the time. This recording coupled with a phenomenal live performance won fans from everyone who could experience such a show. While Blank Wave Arcade is comparatively raw, it is what laid the foundation for the Faint and helped issue in a fresh new wave energy.
The Faint followed up with 2001’s Danse Macabre, an album with a significantly enhanced production job that highlighted the band’s allegiance to all things electronic. While Danse Macabre illustrated vast musical maturity by the band, it seemed to lack the pure punk foundation and favored more electronic-dance esotericism. Regardless, Danse Macabre opened the doors to the masses for the Faint allowing them to score amazing opening tours – e.g., with No Doubt – as well as to set their agenda for touring. It is hard to deny that songs such as “Agenda Suicide,” “Your Retro Career Melted” and “Glass Danse” are breath-taking indie club tracks, but compared with Blank Wave Arcade the songs dropped off in appeal to punk catchiness. Still, and amazingly enough, Astralwerks released a remixed version of the record featuring such phenomenal electronic artists as Paul Oakenfold, Thin White Duke, Junior Sanchez and Tommie Sunshine.
For Wet from Birth, the band took over a warehouse and worked on the record for the better part of year. Besides from simply taking their time, the members of the Faint were also busy doing their own stuff including Petersen’s Broken Spindles. Heading back into recording with uber-producer and Omaha/Saddle Creek stalwart Mike Mogis, the Faint have unleashed arguably their best record. It is clear from the opening “Desperate Guys” that the Faint have welded and weaved the two previous records to make a more punk-orientated record – and it is awesome. On “Desperate Guys,” the Faint set the tone for what is in store over the next nine tracks. “Desperate Guys” begins with creepy strings as Baechle’s vocals come in to thumping bass and drums and intermittently employs electronic swath. Following a slower throbbing beat “How Could I Forget” begins slowly but picks on the bridge with strings and synths. Petersen’s heavily distorted bass opens “I Disappear” and maintains the rhythm throughout the course of the moderately entertaining song. Yet “I Disappear” is simply the set up to probably the best song on the record – “Southern Belles in London Sing.” With a slow strings movement as the introduction, the song picks up inertia with stabbing strings and Baechle’s vocals leading the way to an awesome section of Orenda Fink and Maria Taylor (of Azure Ray) providing ethereal vocals. Further, the breakdown on “Southern Belles in London Sing” is simply brilliant. What really will encase the song in your memory are the strings and the uptempo party atmosphere. The Faint follow this up with the slow tempo, clapping “Erection” – a song that comes very close to the sound on Danse Macabre. “Paranoiattack” is a blitz of distorted electronics, while “Drop Kick the Punks” is clearly the most aggressive, hard hitting number on Wet from Birth. As the first track ever released that was written by Clark Baechle, “Phone Call” starts in with uninspiring fashion but picks up on the strung out electronic bridge and the chorus. While “Phone Call” is not as stellar as say “Southern Belles in London Sing” it ain’t half bad either and is a formidable offering by Clark. “Symptom Finger” begins as a distorted remix of something oh so familiar – Dead or Alive-esque – and carries the theme throughout the choruses. Wet from Birth ends on the guitar-driven “Birth” where the Faint echo back to musical themes from Blank Wave Arcade.
The sheer awesomeness of Wet from Birth easily makes up for not releasing any new material for several years. Since the Faint play bigger and bigger clubs these days, their amazing live show with synchronized light bonanza is diminished – if they are playing a place that can ensure a pitch black start point then you will be floored by their show (as we were a few years ago). Still, seeing the Faint in any locale can only provide a smile to your face and workout for your feet.
Tuesday, August 19, 2008
Strike Anywhere - To Live in Discontent
Strike Anywhere
To Live in Discontent
Jade Tree
Grade: A-
Finally breaking out of the shadow of another immaculate Richmond, VA, punk band (that is, Avail), Strike Anywhere offer up a collection of b-sides, rarities and cover songs on To Live in Discontent. Taking up a similar mantle as Avail, Strike Anywhere have subsisted on political punk which focuses on material from police brutality, rights of the working poor, privacy fascism and the like. It is true that recent punk bands have concentrated more on selling on MTV than dealing with such a swath of topics. Coming off the Rock Against Bush tour this past year with like-minded Anti-Flag, Strike Anywhere are one of the few bands going that is able to lace political lyrics into catchy songs and make it not sound awkward. This is a phenomenally difficult task and as this collection of thirteen songs illustrates, Strike Anywhere is damn good at it. The first two tracks – “Asleep” and “Antidote” – were on a limited release 7” on Fat Wreck. Both tracks feature probably the most uptempo numbers here and at times the guitars and lead singer Thomas Barnett come off like Lifetime (and that is a good thing). The next six songs come from the 2000 Chorus of One EP and it is clear that the title track is a stunner. “Chorus of One” has basically everything you are looking for from a punk song – muting, breakdowns, timely thumping bass and a degree of catchiness. While the next four pale in comparison, highlights still come from “Incendiary” and “Notes on Pulling the Sky Down.” As a relative matter, the Exit English-throw away “Two Fuses” competes for the best song on this record. Compelling in its own right, the chorus line of “And these wire taps and satellite maps can’t touch my right to exist” will burn in your memory and force you to listen to the song repeatedly. The next track “Sunspotting” comes off Strike Anywhere’s 1999 demo and has that to-be-awesome local punk band sound. The final three songs are covers of “Two Sides” by the Gorilla Biscuits, “Values Here” by Dag Nasty and “Where Are They Now?” by Cock Sparrer (who?). Far and away, the song and cover of “Where Are They Now?” is flat-out awesome amongst this set. To Live in Discontent performs admirably as a compilation of previously tough to attain Strike Anywhere tracks and serves nicely as a pick-up for people enthralled by 2003’s Exit English.
To Live in Discontent
Jade Tree
Grade: A-
Finally breaking out of the shadow of another immaculate Richmond, VA, punk band (that is, Avail), Strike Anywhere offer up a collection of b-sides, rarities and cover songs on To Live in Discontent. Taking up a similar mantle as Avail, Strike Anywhere have subsisted on political punk which focuses on material from police brutality, rights of the working poor, privacy fascism and the like. It is true that recent punk bands have concentrated more on selling on MTV than dealing with such a swath of topics. Coming off the Rock Against Bush tour this past year with like-minded Anti-Flag, Strike Anywhere are one of the few bands going that is able to lace political lyrics into catchy songs and make it not sound awkward. This is a phenomenally difficult task and as this collection of thirteen songs illustrates, Strike Anywhere is damn good at it. The first two tracks – “Asleep” and “Antidote” – were on a limited release 7” on Fat Wreck. Both tracks feature probably the most uptempo numbers here and at times the guitars and lead singer Thomas Barnett come off like Lifetime (and that is a good thing). The next six songs come from the 2000 Chorus of One EP and it is clear that the title track is a stunner. “Chorus of One” has basically everything you are looking for from a punk song – muting, breakdowns, timely thumping bass and a degree of catchiness. While the next four pale in comparison, highlights still come from “Incendiary” and “Notes on Pulling the Sky Down.” As a relative matter, the Exit English-throw away “Two Fuses” competes for the best song on this record. Compelling in its own right, the chorus line of “And these wire taps and satellite maps can’t touch my right to exist” will burn in your memory and force you to listen to the song repeatedly. The next track “Sunspotting” comes off Strike Anywhere’s 1999 demo and has that to-be-awesome local punk band sound. The final three songs are covers of “Two Sides” by the Gorilla Biscuits, “Values Here” by Dag Nasty and “Where Are They Now?” by Cock Sparrer (who?). Far and away, the song and cover of “Where Are They Now?” is flat-out awesome amongst this set. To Live in Discontent performs admirably as a compilation of previously tough to attain Strike Anywhere tracks and serves nicely as a pick-up for people enthralled by 2003’s Exit English.
Monday, August 18, 2008
The Postal Service - "We Will Become Silhouettes"
The Postal Service
“We Will Become Silhouettes” Single
Sub Pop Records
Grade: A-
In the barren times while we wait for the next-to-be-dazzling record from the Postal Service, we can sink our teeth into this single release. Since the 2003 release of their debut Give Up, Ben Gibbard (Death Cab for Cutie) and Jimmy Tamborello (Dntel) have run the gambit from simple long distance side project to some notice to the hottest artist of the year. This recognition includes the U.S. Postal Service going after them for their name and then making a deal where the Postal Service can keep the name and the USPS will be able to use their songs in commercials – this all probably makes the USPS the coolest government agency ever. As Gibbard does his time with Death Cab and Tamborello does production jobs and the like, they have provided this four-song single. It seems that Gibbard and Tamborello have also officially co-opted everyone’s favorite indie chanteuse Jenny Lewis of Rilo Kiley for action in Postal Service endeavors to come. Lewis plays a significant vocal role in the original “We Will Become Silhouettes” on Give Up, but she also provides vocals to the new song “Be Still My Heart.” The noteworthy thing about “We Will Become Silhouettes” track is that there is also a mellowed-out, minimalist mix of it here by Matthew Dear. The new song “Be Still My Heart” is absolutely hot with blips, keys and various percussions leading the march. Though not as outstanding as “Such Great Heights,” it will be the next thing spoken of to vast extents. This single also includes a drop-dead sweet remix of “Nothing Better” by Styrofoam – one of the highlights off of Give Up. Styrofoam includes immense distorted electronics to bolster the sound past a simple pop number. If you aren’t down on actually buying a single, you should at least try to track down “Be Still My Heart” and the “Nothing Better” remix off someplace like iTunes to satisfy your Postal Service craves until the next full-length.
“We Will Become Silhouettes” Single
Sub Pop Records
Grade: A-
In the barren times while we wait for the next-to-be-dazzling record from the Postal Service, we can sink our teeth into this single release. Since the 2003 release of their debut Give Up, Ben Gibbard (Death Cab for Cutie) and Jimmy Tamborello (Dntel) have run the gambit from simple long distance side project to some notice to the hottest artist of the year. This recognition includes the U.S. Postal Service going after them for their name and then making a deal where the Postal Service can keep the name and the USPS will be able to use their songs in commercials – this all probably makes the USPS the coolest government agency ever. As Gibbard does his time with Death Cab and Tamborello does production jobs and the like, they have provided this four-song single. It seems that Gibbard and Tamborello have also officially co-opted everyone’s favorite indie chanteuse Jenny Lewis of Rilo Kiley for action in Postal Service endeavors to come. Lewis plays a significant vocal role in the original “We Will Become Silhouettes” on Give Up, but she also provides vocals to the new song “Be Still My Heart.” The noteworthy thing about “We Will Become Silhouettes” track is that there is also a mellowed-out, minimalist mix of it here by Matthew Dear. The new song “Be Still My Heart” is absolutely hot with blips, keys and various percussions leading the march. Though not as outstanding as “Such Great Heights,” it will be the next thing spoken of to vast extents. This single also includes a drop-dead sweet remix of “Nothing Better” by Styrofoam – one of the highlights off of Give Up. Styrofoam includes immense distorted electronics to bolster the sound past a simple pop number. If you aren’t down on actually buying a single, you should at least try to track down “Be Still My Heart” and the “Nothing Better” remix off someplace like iTunes to satisfy your Postal Service craves until the next full-length.
Friday, August 15, 2008
Iron & Wine - Woman King
Iron & Wine
Woman King
Sub Pop Records
Grade: A-
In nary a year since Iron & Wine’s stellar full-length Our Endless Numbered Days, Sam Beam is back with this sweet little six-song EP. Though Beam was already on the indie map from his previous releases The Creek Drank the Cradle and The Sea and the Rhythm EP, his latest record along with tours with likes of the Shins and the Decemberists have pushed him into an all-together different echelon. For those uninitiated, Iron & Wine’s songs are all acoustic folk numbers that feature Beam’s brilliant hushed vocals and an array of string instruments and light percussion. Most tracks come with a strong Southern folk feel that makes sense given Beam originally hails from Columbia, SC and now spends his time in the faux-southern Miami. What is most impressive of Woman King is the pure strength and breadth of the six songs – given he had just done a full-length. The EP begins well on the title track with very direct and straight lyrics where Beam seemingly shows off an instrumental arsenal. This is followed by probably the best track “Jezbel.” What makes “Jezbel” special is simply an amazingly catchy acoustic guitar – accompanied by light electric – and Beam’s perfectly fitting vocals. You can easily listen to “Jezbel” over and over again. “Gray Stables” comes off similarly to Endless Numbered songs, while “Freedom Hangs Like Heaven” sounds like pure delta-blues with a folk touch. “My Lady’s House” is surprisingly catchy though it moves at a snail’s pace and is bolstered by the addition of piano halfway through. The EP closes on “Evening on the Ground (Lilith’s Song)” with higher tempo percussion and guitars as Beam is joined by sister Sarah on vocals. Woman King, in all, is another stunning product by one of the best in the indie-folk world.
Woman King
Sub Pop Records
Grade: A-
In nary a year since Iron & Wine’s stellar full-length Our Endless Numbered Days, Sam Beam is back with this sweet little six-song EP. Though Beam was already on the indie map from his previous releases The Creek Drank the Cradle and The Sea and the Rhythm EP, his latest record along with tours with likes of the Shins and the Decemberists have pushed him into an all-together different echelon. For those uninitiated, Iron & Wine’s songs are all acoustic folk numbers that feature Beam’s brilliant hushed vocals and an array of string instruments and light percussion. Most tracks come with a strong Southern folk feel that makes sense given Beam originally hails from Columbia, SC and now spends his time in the faux-southern Miami. What is most impressive of Woman King is the pure strength and breadth of the six songs – given he had just done a full-length. The EP begins well on the title track with very direct and straight lyrics where Beam seemingly shows off an instrumental arsenal. This is followed by probably the best track “Jezbel.” What makes “Jezbel” special is simply an amazingly catchy acoustic guitar – accompanied by light electric – and Beam’s perfectly fitting vocals. You can easily listen to “Jezbel” over and over again. “Gray Stables” comes off similarly to Endless Numbered songs, while “Freedom Hangs Like Heaven” sounds like pure delta-blues with a folk touch. “My Lady’s House” is surprisingly catchy though it moves at a snail’s pace and is bolstered by the addition of piano halfway through. The EP closes on “Evening on the Ground (Lilith’s Song)” with higher tempo percussion and guitars as Beam is joined by sister Sarah on vocals. Woman King, in all, is another stunning product by one of the best in the indie-folk world.
Thursday, August 14, 2008
Bright Eyes - I’m Wide Awake, It’s Morning//Digital Ash in a Digital Urn
Bright Eyes
I’m Wide Awake, It’s Morning//Digital Ash in a Digital Urn
Saddle Creek Records
Grade: A//B+
Conor Oberst and Bright Eyes have been on an upward track of brilliance for sometime now; to the point that you wish people would stop heralding Oberst as the greatest songwriter of his generation. Not that he doesn’t deserve the vast praise, but you just want to let him do his thing, in his space, in his time. Though it appears that Oberst is under constant pressure to live up to all this billing, Bright Eyes’ double release clearly establishes that he is something special.
There is little Bright Eyes’ history that most people interested in the indie rock haven’t heard before. What is more important to keep in the mind is the scope and depth that Oberst has been performing at for roughly a decade. Oberst starting recording at 14 and helped found Saddle Creek records as an avenue for himself and Omaha friends to release their own material. Now with an n-th number of Bright Eyes records, many nicely packaged in last year’s excellent vinyl Bright Eyes’ box set, and with Saddle Creek bands making a killing, Oberst has been able to expand his material and range. Of course, much of this was started long before today and long before 2003’s Lifted or the Story Is In the Soil, Keep Your Ear to the Ground. Yet, you can’t underestimate the influence of Lifted on Bright Eyes’ ascendance. The record propelled Bright Eyes to a Short List nomination, spots on late night shows and pre-election shows with REM and Bruce Springsteen. All the while, Bright Eyes were doing quite well for themselves on their own touring schedule and regiment. For Oberst, this included starting his own label Team Love and putting out records by Tilly and the Wall and Neva Dinova.
In the midst of all these happenings for the past few years, Oberst left the barren lands of Omaha for a residence in NYC. Perhaps wanting a change in lifestyle and musical thoughts from the sometime noted musically-incestuous Omaha crowd, Oberst set to work on these two records; two records that are obviously both ‘Bright Eyes’ but also show Oberst’s virtuosity as a folk-country perform and as electronic-based artist – though we’ll talk about the important differences in a few moments. When he was ready to record, Oberst headed back to Omaha & Lincoln to record with Mike Mogis, as well as to Athens, GA to record with Now It’s Overhead’s Andy LeMaster. Oberst also enlisted his usual group of helpers including Jason Boesel (Rilo Kiley) and Clark Baechle (the Faint) on drums, LeMaster on vocals/guitars, Mogis guitars/keys, Maria Taylor (Azure Ray) on vocals, as well as the addition of Emmylou Harris on vocals for I’m Wide Awake, Jim James (My Morning Jacket) on vocals for I’m Wide Awake, Nick Zinner (Yeah Yeah Yeahs) on guitars for Digital Ash and Jimmy Tamborello (Postal Service) on Digital Ash. Thankfully, and completely unlike most hip hop records, these guest appearances/musical aiding & abetting work to enhance an already amazing Oberst product. In the realm of what musical collaboration is all about, this is the gold standard.
The major gripe some people have with Oberst is his fragility and his aching, trembling, vibrato vocals. In some, this creates a visceral reaction – particularly on his hardcore ballads. For those individuals, I’m Wide Awake, It’s Morning is probably not the best place to start in your new journey to appreciate Bright Eyes – and you should step over to the electronic Digital Ash In a Digital Urn. For the rest of us, we’ll start with I’m Wide Awake.
Oberst starts I’m Awake with no illusions that he is anything other than a singer-songwriter in a traditionalist folk style. The first minute-and-a-half on “At the Bottom of Everything” Oberst tells a rather off story before breaking into one of the best songs on the record. Along with mandolin by Mogis and vocals by James, Oberst’s appeal is swiftly evident within two spins and it will have you quickly going back for more – allowing yourself to skip past the introduction. This is followed by the slower “We Are Nowhere and It’s Now” where Oberst sings lines like “Stars that clear have been dead for years, but the idea just lives on” and Harris lends her vocals to create splendid moments such as “I haven’t been gone very long, but it feels like a lifetime.” Coupled with “At the Bottom of Everything” this is a brilliant way to begin a record. “Old Soul Song” is a slow mover that again hints at Oberst’s NYC experiences, while “Lua” was the pre-album single that Bright Eyes released. Putting in prospective with the other nine tracks on I’m Awake, “Lua,” again set in NYC, might be one of the ‘worst’ songs on the record. Of course, this is all relatively and comparatively. This is followed by the six-plus-minute “Train Under Water” which slows through an introduction until a full band comes in and the pedal steel of Mogis is pushed real hard. The harmonies on the chorus of “Train Under Water” make this a special song. “First Day of My Life” finds Oberst back with just an acoustic guitar and minimal backing instruments for a song that is perfect for a lost or distant love. Finally picking up the tempo, “Another Travelin’ Song” sounds exactly like a traveling song should sound like and is a rip-roaring good time – nearly a hoot-n-hollering number. When Harris comes in on the chorus and when Oberst sings “I’m hunched over a typewriter, I guess you call that painting in a cave,” “Another Travelin’ Song” strikes a masterful highlight. To bring things back to a natural state of equilibrium, Oberst and Harris couple for a stripped-down, minimalist version of “Land Locked Blues” – which originally appeared on Saddle Creek’s 50 release. Though I love the addition of Harris on this song, the original version with a full band is preferred. “Poison Oak” is a sneaky remarkable song. It begins slow with acoustic guitar and Oberst’s vocals and then gradual crescendos in a first phase that you enjoy, and then a second phase but then there is a ‘chorus’/fab section that completely blows your mind. “Poison Oak” is one of those songs where you get rewarded for paying attention the whole time. Though this would be a tremendous closer to a tremendous record, Oberst decides to musical lightening things up a smidge on “Road To Joy” – though not necessarily content-wise. “Road To Joy” comes across like a knockout blow for his Omaha rock crew and provides the line for the album’s title.
For most, writing, producing and recording a likely awarding winning record would be enough for someone’s immediate period of life. But Oberst decided to pull out his electronic-based collaboration that had been circulating in his mind for some time to a release concurrent album. While your immediate thought may be of Postal Service-like material, Digital Ash follows more traditional Bright Eyes’ themes, with just a replacement by electronic instruments. Stretching out twelve songs over fifty-minutes, Oberst has some significant highs and lows on Digital Ash – which actually helps underscore the brilliance of I’m Wide Awake. Part of the downside of appeal is that as an electronic rock album, Digital Ash isn’t at the top of its game like I’m Wide Awake is. Nonetheless, there are number of songs worth mentioning and worth paying attention to. This includes the wonderfully synths-driven “Gold Mine Gutted” which hooks you with its chorus and the bridge. “Gold Mine Gutted” is followed up by the oddly-latter-day Paul-Simon-feel “Arc of Time” that is both reassuring and disturbing for its underlying sense. On the first single “Take It Easy (Love Nothing),” Postal Service’s Jimmy Tamborello joins Oberst in a decidedly more rock-orientated tone as well as some of the blips that one expects from a Tamborello-worked product. “Hit the Switch” is clearly a classic Bright Eyes’ song simply clothed in minimal electronics sheath – particularly given the lyrics and the vocal cadence. “I Believe in Symmetry” comes through with electronic-magic after an awkward opening, while “Light Pollution” is in the same compelling rock vein as “Take It Easy (Love Nothing).” Digital Ash is rounded out by the impressive Cardigans-like “Theme From Pinata” and the longer drawn out “Easy/Lucky/Free” – both of which feature Taylor’s ethereal vocals.
Simply releasing two concurrent, separate and different styles record puts Conor Oberst and Bright Eyes in rarified air. Making either of them near perfect takes you up a notch. That Oberst is able to come up with sheer brilliance on I’m Wide Awake, It’s Morning, then switch styles and momentum to write the strong and solid, if a bit deficient, electronic-based Digital Ash In a Digital Urn is quite amazing. Bright Eyes have already hit the road in support of I’m Wide Awake and surely will spend the next couple of years on the road. In this time, there should be a shift to supporting Digital Ash. It wouldn’t surprise me in the least if Oberst decides to form an entirely new outfit to live out his electronic fantasy. With the Faint, Broken Spindles, Statistics, etc. already in the family, it shouldn’t be very difficult to see such a new endeavor come to fruition.
I’m Wide Awake, It’s Morning//Digital Ash in a Digital Urn
Saddle Creek Records
Grade: A//B+
Conor Oberst and Bright Eyes have been on an upward track of brilliance for sometime now; to the point that you wish people would stop heralding Oberst as the greatest songwriter of his generation. Not that he doesn’t deserve the vast praise, but you just want to let him do his thing, in his space, in his time. Though it appears that Oberst is under constant pressure to live up to all this billing, Bright Eyes’ double release clearly establishes that he is something special.
There is little Bright Eyes’ history that most people interested in the indie rock haven’t heard before. What is more important to keep in the mind is the scope and depth that Oberst has been performing at for roughly a decade. Oberst starting recording at 14 and helped found Saddle Creek records as an avenue for himself and Omaha friends to release their own material. Now with an n-th number of Bright Eyes records, many nicely packaged in last year’s excellent vinyl Bright Eyes’ box set, and with Saddle Creek bands making a killing, Oberst has been able to expand his material and range. Of course, much of this was started long before today and long before 2003’s Lifted or the Story Is In the Soil, Keep Your Ear to the Ground. Yet, you can’t underestimate the influence of Lifted on Bright Eyes’ ascendance. The record propelled Bright Eyes to a Short List nomination, spots on late night shows and pre-election shows with REM and Bruce Springsteen. All the while, Bright Eyes were doing quite well for themselves on their own touring schedule and regiment. For Oberst, this included starting his own label Team Love and putting out records by Tilly and the Wall and Neva Dinova.
In the midst of all these happenings for the past few years, Oberst left the barren lands of Omaha for a residence in NYC. Perhaps wanting a change in lifestyle and musical thoughts from the sometime noted musically-incestuous Omaha crowd, Oberst set to work on these two records; two records that are obviously both ‘Bright Eyes’ but also show Oberst’s virtuosity as a folk-country perform and as electronic-based artist – though we’ll talk about the important differences in a few moments. When he was ready to record, Oberst headed back to Omaha & Lincoln to record with Mike Mogis, as well as to Athens, GA to record with Now It’s Overhead’s Andy LeMaster. Oberst also enlisted his usual group of helpers including Jason Boesel (Rilo Kiley) and Clark Baechle (the Faint) on drums, LeMaster on vocals/guitars, Mogis guitars/keys, Maria Taylor (Azure Ray) on vocals, as well as the addition of Emmylou Harris on vocals for I’m Wide Awake, Jim James (My Morning Jacket) on vocals for I’m Wide Awake, Nick Zinner (Yeah Yeah Yeahs) on guitars for Digital Ash and Jimmy Tamborello (Postal Service) on Digital Ash. Thankfully, and completely unlike most hip hop records, these guest appearances/musical aiding & abetting work to enhance an already amazing Oberst product. In the realm of what musical collaboration is all about, this is the gold standard.
The major gripe some people have with Oberst is his fragility and his aching, trembling, vibrato vocals. In some, this creates a visceral reaction – particularly on his hardcore ballads. For those individuals, I’m Wide Awake, It’s Morning is probably not the best place to start in your new journey to appreciate Bright Eyes – and you should step over to the electronic Digital Ash In a Digital Urn. For the rest of us, we’ll start with I’m Wide Awake.
Oberst starts I’m Awake with no illusions that he is anything other than a singer-songwriter in a traditionalist folk style. The first minute-and-a-half on “At the Bottom of Everything” Oberst tells a rather off story before breaking into one of the best songs on the record. Along with mandolin by Mogis and vocals by James, Oberst’s appeal is swiftly evident within two spins and it will have you quickly going back for more – allowing yourself to skip past the introduction. This is followed by the slower “We Are Nowhere and It’s Now” where Oberst sings lines like “Stars that clear have been dead for years, but the idea just lives on” and Harris lends her vocals to create splendid moments such as “I haven’t been gone very long, but it feels like a lifetime.” Coupled with “At the Bottom of Everything” this is a brilliant way to begin a record. “Old Soul Song” is a slow mover that again hints at Oberst’s NYC experiences, while “Lua” was the pre-album single that Bright Eyes released. Putting in prospective with the other nine tracks on I’m Awake, “Lua,” again set in NYC, might be one of the ‘worst’ songs on the record. Of course, this is all relatively and comparatively. This is followed by the six-plus-minute “Train Under Water” which slows through an introduction until a full band comes in and the pedal steel of Mogis is pushed real hard. The harmonies on the chorus of “Train Under Water” make this a special song. “First Day of My Life” finds Oberst back with just an acoustic guitar and minimal backing instruments for a song that is perfect for a lost or distant love. Finally picking up the tempo, “Another Travelin’ Song” sounds exactly like a traveling song should sound like and is a rip-roaring good time – nearly a hoot-n-hollering number. When Harris comes in on the chorus and when Oberst sings “I’m hunched over a typewriter, I guess you call that painting in a cave,” “Another Travelin’ Song” strikes a masterful highlight. To bring things back to a natural state of equilibrium, Oberst and Harris couple for a stripped-down, minimalist version of “Land Locked Blues” – which originally appeared on Saddle Creek’s 50 release. Though I love the addition of Harris on this song, the original version with a full band is preferred. “Poison Oak” is a sneaky remarkable song. It begins slow with acoustic guitar and Oberst’s vocals and then gradual crescendos in a first phase that you enjoy, and then a second phase but then there is a ‘chorus’/fab section that completely blows your mind. “Poison Oak” is one of those songs where you get rewarded for paying attention the whole time. Though this would be a tremendous closer to a tremendous record, Oberst decides to musical lightening things up a smidge on “Road To Joy” – though not necessarily content-wise. “Road To Joy” comes across like a knockout blow for his Omaha rock crew and provides the line for the album’s title.
For most, writing, producing and recording a likely awarding winning record would be enough for someone’s immediate period of life. But Oberst decided to pull out his electronic-based collaboration that had been circulating in his mind for some time to a release concurrent album. While your immediate thought may be of Postal Service-like material, Digital Ash follows more traditional Bright Eyes’ themes, with just a replacement by electronic instruments. Stretching out twelve songs over fifty-minutes, Oberst has some significant highs and lows on Digital Ash – which actually helps underscore the brilliance of I’m Wide Awake. Part of the downside of appeal is that as an electronic rock album, Digital Ash isn’t at the top of its game like I’m Wide Awake is. Nonetheless, there are number of songs worth mentioning and worth paying attention to. This includes the wonderfully synths-driven “Gold Mine Gutted” which hooks you with its chorus and the bridge. “Gold Mine Gutted” is followed up by the oddly-latter-day Paul-Simon-feel “Arc of Time” that is both reassuring and disturbing for its underlying sense. On the first single “Take It Easy (Love Nothing),” Postal Service’s Jimmy Tamborello joins Oberst in a decidedly more rock-orientated tone as well as some of the blips that one expects from a Tamborello-worked product. “Hit the Switch” is clearly a classic Bright Eyes’ song simply clothed in minimal electronics sheath – particularly given the lyrics and the vocal cadence. “I Believe in Symmetry” comes through with electronic-magic after an awkward opening, while “Light Pollution” is in the same compelling rock vein as “Take It Easy (Love Nothing).” Digital Ash is rounded out by the impressive Cardigans-like “Theme From Pinata” and the longer drawn out “Easy/Lucky/Free” – both of which feature Taylor’s ethereal vocals.
Simply releasing two concurrent, separate and different styles record puts Conor Oberst and Bright Eyes in rarified air. Making either of them near perfect takes you up a notch. That Oberst is able to come up with sheer brilliance on I’m Wide Awake, It’s Morning, then switch styles and momentum to write the strong and solid, if a bit deficient, electronic-based Digital Ash In a Digital Urn is quite amazing. Bright Eyes have already hit the road in support of I’m Wide Awake and surely will spend the next couple of years on the road. In this time, there should be a shift to supporting Digital Ash. It wouldn’t surprise me in the least if Oberst decides to form an entirely new outfit to live out his electronic fantasy. With the Faint, Broken Spindles, Statistics, etc. already in the family, it shouldn’t be very difficult to see such a new endeavor come to fruition.
Wednesday, August 13, 2008
Summer's End - s/t
Summer’s End
s/t
Hand of Hope Records
Grade: B+
On an average day you can walk into a record store and immediately be able to discern a band’s sound based on the cover alone. Metal bands look dark and evil, punk bands run the gamut, indie rock bands have high fashion sense, rap groups have glitz and bling, etc. With Summer’s End, you would fail miserably in this endeavor. The artwork on this self-titled debut is pure horror-Misfits and you immediately come to the judgment that this will be simply Misfits-induced punk. How wrong. This five-piece from DC bristles on the edge of brutal metalcore with dazzling dueling guitars, solid screams and tight musicianship. This full length is actually a partial full-length as there are only six studio tracks (at twenty-plus minutes) coupled with three live tracks recorded at Fletcher’s in Baltimore. Though Summer’s End slams you in the head instantly on the opener “Buried Near the Living Dead” and illustrates their metal soloing proclivity on songs like “Haunting Hallowed Graves” and “Victim,” they don’t lose sight of other influences. This is most obviously illustrated by having Michael Graves of the Misfits lend vocals and lyrics to “Headwound;” a thick six-minute metal-punk number. The three live tracks, “Through My Blood,” “Flawless Seasons” and “Final Goodbye,” leave something to be desired particularly in respect to the latter-day Earth Crisis style vocals. While Summer’s End currently swoons in the metal circles, they may be better matched up with bands like metalcore city-mates Darkest Hour. Look for more from this talented group.
s/t
Hand of Hope Records
Grade: B+
On an average day you can walk into a record store and immediately be able to discern a band’s sound based on the cover alone. Metal bands look dark and evil, punk bands run the gamut, indie rock bands have high fashion sense, rap groups have glitz and bling, etc. With Summer’s End, you would fail miserably in this endeavor. The artwork on this self-titled debut is pure horror-Misfits and you immediately come to the judgment that this will be simply Misfits-induced punk. How wrong. This five-piece from DC bristles on the edge of brutal metalcore with dazzling dueling guitars, solid screams and tight musicianship. This full length is actually a partial full-length as there are only six studio tracks (at twenty-plus minutes) coupled with three live tracks recorded at Fletcher’s in Baltimore. Though Summer’s End slams you in the head instantly on the opener “Buried Near the Living Dead” and illustrates their metal soloing proclivity on songs like “Haunting Hallowed Graves” and “Victim,” they don’t lose sight of other influences. This is most obviously illustrated by having Michael Graves of the Misfits lend vocals and lyrics to “Headwound;” a thick six-minute metal-punk number. The three live tracks, “Through My Blood,” “Flawless Seasons” and “Final Goodbye,” leave something to be desired particularly in respect to the latter-day Earth Crisis style vocals. While Summer’s End currently swoons in the metal circles, they may be better matched up with bands like metalcore city-mates Darkest Hour. Look for more from this talented group.
Tuesday, August 12, 2008
Out Hud - Let Us Never Speak of It Again
Out Hud
Let Us Never Speak of It Again
Kranky Records
Grade: B+
This is not an easy or wise album to just skip around the tracks on as you will inevitably lose something to the overall draw. On this ten-track full-length – also available on double LP – the five-piece electronic-dance rock outfit Out Hud compile what is invariable a brilliant live show onto tape. Initially forming in 1996 out in California, the members of Out Hud have only released one other full-length in that time entitled Street Dad; though they have a host of 7”s, etc. This is partially due to Tyler Pop, Nic Offer and Justin Vandervoigen also rocking out in !!! This trio is joined by childhood friends Molly Schnick and Phyllis Forbes who most importantly lend their gorgeous vocals to the collective. Originally recorded in the Spring of 2003 and sufficiently molested together by Vandervoigen over the past year, it is clear that Out Hud are founded in early 80s New Wave but merge vast influences to create an unnervingly appeasing product. This is no doubt enhanced by a nearly constant bass-heavy rhythm and Schnick’s and Forbes’ vocals. After the brief intro track “This Just In,” comes one of the hottest tracks “It’s For You” where the ladies’ vocals sink in perfectly on the catchy chorus. Thumping heavy Jackson 5 bass underlies “One Life to Leave” and is the first instance that Out Hud sounds not just like an electronic ‘dance’ band, but also live within the indie eclectic world. After the average “Old Nude” comes an eight-minute instrumental, “The Song So Good They Named It Thrice,” that moves Out Hud probably furthest into techno. “How Long” has a similar feel as “One Life to Leave,” but with more ambience before Out Hud begin a four-song mostly instrumental close to the record – save for actually the finale “The Stoked American.” This includes the smoking eleven-plus-minute “Dear Mr. Bush, There Are Over 100 Words For Shit and Only 1 For Music” where sweet electronics clash and dance with Schnick’s cello. There should be little doubt that “Dear Mr. Bush…” will get some serious club attention. As Out Hud’s second full-length for the masses, they have provided a lot to sink your teeth in and stop complaining about lack of material.
Let Us Never Speak of It Again
Kranky Records
Grade: B+
This is not an easy or wise album to just skip around the tracks on as you will inevitably lose something to the overall draw. On this ten-track full-length – also available on double LP – the five-piece electronic-dance rock outfit Out Hud compile what is invariable a brilliant live show onto tape. Initially forming in 1996 out in California, the members of Out Hud have only released one other full-length in that time entitled Street Dad; though they have a host of 7”s, etc. This is partially due to Tyler Pop, Nic Offer and Justin Vandervoigen also rocking out in !!! This trio is joined by childhood friends Molly Schnick and Phyllis Forbes who most importantly lend their gorgeous vocals to the collective. Originally recorded in the Spring of 2003 and sufficiently molested together by Vandervoigen over the past year, it is clear that Out Hud are founded in early 80s New Wave but merge vast influences to create an unnervingly appeasing product. This is no doubt enhanced by a nearly constant bass-heavy rhythm and Schnick’s and Forbes’ vocals. After the brief intro track “This Just In,” comes one of the hottest tracks “It’s For You” where the ladies’ vocals sink in perfectly on the catchy chorus. Thumping heavy Jackson 5 bass underlies “One Life to Leave” and is the first instance that Out Hud sounds not just like an electronic ‘dance’ band, but also live within the indie eclectic world. After the average “Old Nude” comes an eight-minute instrumental, “The Song So Good They Named It Thrice,” that moves Out Hud probably furthest into techno. “How Long” has a similar feel as “One Life to Leave,” but with more ambience before Out Hud begin a four-song mostly instrumental close to the record – save for actually the finale “The Stoked American.” This includes the smoking eleven-plus-minute “Dear Mr. Bush, There Are Over 100 Words For Shit and Only 1 For Music” where sweet electronics clash and dance with Schnick’s cello. There should be little doubt that “Dear Mr. Bush…” will get some serious club attention. As Out Hud’s second full-length for the masses, they have provided a lot to sink your teeth in and stop complaining about lack of material.
Monday, August 11, 2008
Howard Hello - s/t
Howard Hello
EP
Temporary Residence Ltd.
Grade: A-
This four-song EP serves as Don’t Drink His Blood – The Epilogue in many respects for the brilliant collective that is Howard Hello. After releasing last winter’s lovely Don’t Drink His Blood, headmen Kenseth Thibideau and Marty Anderson went on to focus on other musical projects. For Thibideau this included Pinback and also a prog-metal endeavor Sleeping People. Anderson has focused on a double-album for his outlet Okay. When Thibideau had the desire to follow up quickly on Howard Hello music, Anderson said ‘and with my blessings, for now’ allowing Thibideau to create on his own. Bringing in a familiar group of players including Zach Hill on drums, Amber Coffman, Chelsea Rose and Shizuka Hyashi, Thibideau unleashes ambient pop bliss. The EP opens on “More of the Same” and closes on “Even More of the Same” that most obviously follows the previous record with the wall of voices echoing ‘do, do….’ The second track, entitled “Interlude,” has a slightly darker ambient feel, while “Follow” is nearly a straight-up rock song for Howard Hello. As something to tide you over until Howard Hello’s next full-length, this EP is perfect.
EP
Temporary Residence Ltd.
Grade: A-
This four-song EP serves as Don’t Drink His Blood – The Epilogue in many respects for the brilliant collective that is Howard Hello. After releasing last winter’s lovely Don’t Drink His Blood, headmen Kenseth Thibideau and Marty Anderson went on to focus on other musical projects. For Thibideau this included Pinback and also a prog-metal endeavor Sleeping People. Anderson has focused on a double-album for his outlet Okay. When Thibideau had the desire to follow up quickly on Howard Hello music, Anderson said ‘and with my blessings, for now’ allowing Thibideau to create on his own. Bringing in a familiar group of players including Zach Hill on drums, Amber Coffman, Chelsea Rose and Shizuka Hyashi, Thibideau unleashes ambient pop bliss. The EP opens on “More of the Same” and closes on “Even More of the Same” that most obviously follows the previous record with the wall of voices echoing ‘do, do….’ The second track, entitled “Interlude,” has a slightly darker ambient feel, while “Follow” is nearly a straight-up rock song for Howard Hello. As something to tide you over until Howard Hello’s next full-length, this EP is perfect.
Friday, August 8, 2008
Engineers - s/t
Engineers
s/t
The Echo Label Ltd.
Grade: A-
It is simple to see why we need more bands like the Engineers. Graceful and hypnotic, the Engineers hit you immediately with the magical opener “Home” that within two listens will be etched in your memory forever. Featuring four Londoners, the Engineers cross the ambient rock music world somewhere between Brian Eno and Air. As far as the latter is concerned, the Engineers certainly focus on more rock elements, but on a headphone-listen you can’t avoid vocal comparisons to Air; which for me is highly appreciated. Moreover, they engage in accompanying visuals during shows. After the opening “Home,” the Engineers just come at you on the next ten tracks with one breathtaking, whispering song after another. Highlights come from “Waved On,” “Forgiveness,” “Said and Done,” the closer “One in Seven” and “Thrasher.” Based on this self-titled record, it seems like only a matter of time before the Engineers become the next big thing. While they don’t possess the same strident pop harmonies and melodies that Air radiates, you surely will be aurally pleasured indeed.
s/t
The Echo Label Ltd.
Grade: A-
It is simple to see why we need more bands like the Engineers. Graceful and hypnotic, the Engineers hit you immediately with the magical opener “Home” that within two listens will be etched in your memory forever. Featuring four Londoners, the Engineers cross the ambient rock music world somewhere between Brian Eno and Air. As far as the latter is concerned, the Engineers certainly focus on more rock elements, but on a headphone-listen you can’t avoid vocal comparisons to Air; which for me is highly appreciated. Moreover, they engage in accompanying visuals during shows. After the opening “Home,” the Engineers just come at you on the next ten tracks with one breathtaking, whispering song after another. Highlights come from “Waved On,” “Forgiveness,” “Said and Done,” the closer “One in Seven” and “Thrasher.” Based on this self-titled record, it seems like only a matter of time before the Engineers become the next big thing. While they don’t possess the same strident pop harmonies and melodies that Air radiates, you surely will be aurally pleasured indeed.
Thursday, August 7, 2008
Des Ark - Loose Lips Sink Ships
Des Ark
Loose Lips Sink Ships
Bifocal Media
Grade: A-
Living in Chapel Hill, it seems the Durham-duo of Des Ark have been around and kicking for years. Well, technically they have – three years – but they have only now gotten around to releasing their debut full-length – after several singles and their Day of Prole EP. Looking to take on the world proper, Des Ark have laid out eight tracks of their guttural vocal and drum/guitar attack. That is Tim Herzog (Milemarker) bangs out the beats, while Aimee Argote (Rubeo) lays down the guitars and anguished vocals. With some parallels to Milemarker, Des Ark concentrate on often dissonant, angular, stop-start guitars and intensely luscious vocals that lazily compares to an indie-art version of PJ Harvey. Recorded with J Mascis and Zeno Gill, there is little doubt that whatever Des Ark brings to a live show was captured on tape. The records begins on the haunting acoustic-folk number “Some Are Love,” where you swear this could be one of the best things you’ve heard in awhile – and serves as a nice companion piece to I’m Wide Awake. Des Ark knocks this comparison with the following “No More Fighting Cats, OK?” where the guitars dissonantly thrust and Argote’s shout without screaming. “Queen of the Sketch Patrol” follows a similar pattern as the duo flush out the sections, while “Yes Sir, Yes Way” is starker and actually does have Argote screaming for emphasis. Des Ark back off a bit on “It’s a Hard World Sometimes For Little Things” as a strangled piano accompanies Argote’s haunting vocals. “Jesus Loves You (But Yr Still Comin Home With Me Tonight)” satisfies your guitar hook fix as the duo dirty things up with a touch of blues before a four-minute eclectic ending soaks up the gorgeous opening. After the solid “Send Jolley to Raleigh,” comes the brilliant short closer “For Bob Riecke.” Simply featuring piano, the song illustrates Argote’s vocal range and the type of materials that are fair game for Des Ark as a project. This full-length is one of the best things out of the Triangle in a good while and makes me regret taking Des Ark playing all the time in Chapel Hill for granted.
Loose Lips Sink Ships
Bifocal Media
Grade: A-
Living in Chapel Hill, it seems the Durham-duo of Des Ark have been around and kicking for years. Well, technically they have – three years – but they have only now gotten around to releasing their debut full-length – after several singles and their Day of Prole EP. Looking to take on the world proper, Des Ark have laid out eight tracks of their guttural vocal and drum/guitar attack. That is Tim Herzog (Milemarker) bangs out the beats, while Aimee Argote (Rubeo) lays down the guitars and anguished vocals. With some parallels to Milemarker, Des Ark concentrate on often dissonant, angular, stop-start guitars and intensely luscious vocals that lazily compares to an indie-art version of PJ Harvey. Recorded with J Mascis and Zeno Gill, there is little doubt that whatever Des Ark brings to a live show was captured on tape. The records begins on the haunting acoustic-folk number “Some Are Love,” where you swear this could be one of the best things you’ve heard in awhile – and serves as a nice companion piece to I’m Wide Awake. Des Ark knocks this comparison with the following “No More Fighting Cats, OK?” where the guitars dissonantly thrust and Argote’s shout without screaming. “Queen of the Sketch Patrol” follows a similar pattern as the duo flush out the sections, while “Yes Sir, Yes Way” is starker and actually does have Argote screaming for emphasis. Des Ark back off a bit on “It’s a Hard World Sometimes For Little Things” as a strangled piano accompanies Argote’s haunting vocals. “Jesus Loves You (But Yr Still Comin Home With Me Tonight)” satisfies your guitar hook fix as the duo dirty things up with a touch of blues before a four-minute eclectic ending soaks up the gorgeous opening. After the solid “Send Jolley to Raleigh,” comes the brilliant short closer “For Bob Riecke.” Simply featuring piano, the song illustrates Argote’s vocal range and the type of materials that are fair game for Des Ark as a project. This full-length is one of the best things out of the Triangle in a good while and makes me regret taking Des Ark playing all the time in Chapel Hill for granted.
Subscribe to:
Posts (Atom)