I'm taking a short sabbatical from the blog as I travel to Florida for a Spring Break vacation. That means no updates until my return in about a week. My bad.
Au revoir.
Thursday, March 20, 2008
Monday, March 17, 2008
The Monday Mixtape
Welcome to this week's edition of The Monday Mixtape, a weekly update of songs, both old and new, that have been on my own personal heavy rotation.
This week I’ve got finals, I’m heavily under the weather and my selections are definitely an effect of that.
Bela Lugosi’s Dead – Bauhaus
Though I’m pretty certain this tune doesn’t need an introduction, here’s the first single, recorded in one take, from the goth-rock band Bauhaus. The song’s minimalist and drones – perfect for those grey days intermitting spring.
Don’t Talk (Redux) – ADULT.
Here’s a take from Detroit-bred ADULT. The band is made up a husband/wife duo and they’ve got a very much electro-punk sound to them: heavy on the analog synths, drum machines and lead singer, Nicola Kuperus’ scowl of a voice.
Little Garçon – Born Ruffians
Everything I had to say about Born Ruffians’ latest record on last week’s Monday Mixtape, still applies here and I’ve found myself digging the band’s latest LP, Red, Yellow and Blue quite a bit, especially in the sun, particularly in the car. This track’s rather different from last week’s “Kurt Vonnegut.” It’s much more sweet and subtle with a sunny disposition; it’s has a quaint, little sound and is a relaxing track if nothing else.
Left Bank – Air
Air’s Pocket Symphony from last year was a record that marked a change in their sound. They dropped a lot of their up-tempo electro and focused much greater attention on somber, ballad-esque tunes. “Left Bank” is a great example of their new direction and it sounds like a rainy day.
The Lord God Bird – Sufjan Stevens
Is there anything I can’t say about Sufjan Stevens? Here’s a track about an ivory-billed woodpecker of the same name. It was recorded in conjunction with a NPR segment about Sufjan’s songwriting. It’s got all of the standard Sufjan-accoutrements including banjo, a catchy lead-guitar melody, and a gentle, harmonious vocal track from Stevens himself.
Modern Love - Syme
Marking an up-tempo note on this week’s playlist is Syme’s “Modern Love,” which is off their 2006 remix EP, simply called Modern Love EP. Yes, it is a David Bowie cover and the song is heavy on the synthesizers and barbershop harmonies. There does seem to be a bit of Radiohead somewhere in there too, but this song is a sugary convection, like “Electioneering” chalk full of candy. It’s rainbow bright. Dig it.
Sun Spots – No Age
I’m still enjoying No Age’s compilation LP, Weirdo Rippers, quite a bit. This is just a quick instrumental cut. It’s straightforward with looped guitar feedback and reverbed synthesizer, but the bass-line is what sells me every time. Simple, yet lush, the song sounds like an dream ending.
Got It – Sebadoh
One of the pioneer bands of lo-fi indie rock music, Sebadoh’s been around for quite a while now. This track is off of 1994’s Bakesale. The tune’s melancholy guitars combine beautifully with lead singer, Lou Barlow’s soft vocals. Less noisy and more melodic than previous efforts, “Got It” is an exemplary Sebadoh song none the less.
Bem, Please Come Home – Pas/Cal
Well, what do you know, another Detroit band on this week’s mixtape. This is an intricately webbed together track from the Detroit six piece’s second EP, Oh Honey, We're Ridiculous. It’s a short instrumental take delivered sunny-side up.
Hospital Rooms Aren't for Lovers – Bear Colony
Bear Colony’s lead vocalist is Vince Griffin and his role as such includes acting as the band’s primary songwriter. In 2005, Griffin was misdiagnosed with Crohns Disease. He spent a whole lot of time in the hospital as a result and wrote nearly all of 2007’s We Came Here to Die while bedridden; the experience comes through in almost all of the album’s tracks. Most of the record is positive or optimistic and the music itself is relatively solid, heavy on the electronics and takes a few cues from bands like Minus the Bear.
Waltze of the Tennis Players – Meg Baird
Last year, Espers’ Meg Baird released Dear Companion, a traditional folk album. With "Waltze of the Tennis Players," (a cover of Fraser & DeBolt, a Canadian folk-duo) that’s exactly what you get. The song is humbly straightforward, but romantically so and the gently strummed guitar chords accompany Baird’s ethereal and delicate vocals in a way that is both natural and eternal.
This week I’ve got finals, I’m heavily under the weather and my selections are definitely an effect of that.
Bela Lugosi’s Dead – Bauhaus
Though I’m pretty certain this tune doesn’t need an introduction, here’s the first single, recorded in one take, from the goth-rock band Bauhaus. The song’s minimalist and drones – perfect for those grey days intermitting spring.
Don’t Talk (Redux) – ADULT.
Here’s a take from Detroit-bred ADULT. The band is made up a husband/wife duo and they’ve got a very much electro-punk sound to them: heavy on the analog synths, drum machines and lead singer, Nicola Kuperus’ scowl of a voice.
Little Garçon – Born Ruffians
Everything I had to say about Born Ruffians’ latest record on last week’s Monday Mixtape, still applies here and I’ve found myself digging the band’s latest LP, Red, Yellow and Blue quite a bit, especially in the sun, particularly in the car. This track’s rather different from last week’s “Kurt Vonnegut.” It’s much more sweet and subtle with a sunny disposition; it’s has a quaint, little sound and is a relaxing track if nothing else.
Left Bank – Air
Air’s Pocket Symphony from last year was a record that marked a change in their sound. They dropped a lot of their up-tempo electro and focused much greater attention on somber, ballad-esque tunes. “Left Bank” is a great example of their new direction and it sounds like a rainy day.
The Lord God Bird – Sufjan Stevens
Is there anything I can’t say about Sufjan Stevens? Here’s a track about an ivory-billed woodpecker of the same name. It was recorded in conjunction with a NPR segment about Sufjan’s songwriting. It’s got all of the standard Sufjan-accoutrements including banjo, a catchy lead-guitar melody, and a gentle, harmonious vocal track from Stevens himself.
Modern Love - Syme
Marking an up-tempo note on this week’s playlist is Syme’s “Modern Love,” which is off their 2006 remix EP, simply called Modern Love EP. Yes, it is a David Bowie cover and the song is heavy on the synthesizers and barbershop harmonies. There does seem to be a bit of Radiohead somewhere in there too, but this song is a sugary convection, like “Electioneering” chalk full of candy. It’s rainbow bright. Dig it.
Sun Spots – No Age
I’m still enjoying No Age’s compilation LP, Weirdo Rippers, quite a bit. This is just a quick instrumental cut. It’s straightforward with looped guitar feedback and reverbed synthesizer, but the bass-line is what sells me every time. Simple, yet lush, the song sounds like an dream ending.
Got It – Sebadoh
One of the pioneer bands of lo-fi indie rock music, Sebadoh’s been around for quite a while now. This track is off of 1994’s Bakesale. The tune’s melancholy guitars combine beautifully with lead singer, Lou Barlow’s soft vocals. Less noisy and more melodic than previous efforts, “Got It” is an exemplary Sebadoh song none the less.
Bem, Please Come Home – Pas/Cal
Well, what do you know, another Detroit band on this week’s mixtape. This is an intricately webbed together track from the Detroit six piece’s second EP, Oh Honey, We're Ridiculous. It’s a short instrumental take delivered sunny-side up.
Hospital Rooms Aren't for Lovers – Bear Colony
Bear Colony’s lead vocalist is Vince Griffin and his role as such includes acting as the band’s primary songwriter. In 2005, Griffin was misdiagnosed with Crohns Disease. He spent a whole lot of time in the hospital as a result and wrote nearly all of 2007’s We Came Here to Die while bedridden; the experience comes through in almost all of the album’s tracks. Most of the record is positive or optimistic and the music itself is relatively solid, heavy on the electronics and takes a few cues from bands like Minus the Bear.
Waltze of the Tennis Players – Meg Baird
Last year, Espers’ Meg Baird released Dear Companion, a traditional folk album. With "Waltze of the Tennis Players," (a cover of Fraser & DeBolt, a Canadian folk-duo) that’s exactly what you get. The song is humbly straightforward, but romantically so and the gently strummed guitar chords accompany Baird’s ethereal and delicate vocals in a way that is both natural and eternal.
Sunday, March 16, 2008
YouTube Friday
This week's YouTube Friday is all over the place (and a couple of days late).
First up is a very cool bluegrass cover of Radiohead's "Morning Bell" by mandolin virtuoso Chris Thile and his band. Certainly an interesting rendition.
Second up is the scandalous video for Add (N) to X's "Plug Me In," which I'm sure will be taken down in the next few days.
Next up is the Bat for Lashes video for "What's a Girl to Do?" The Bat for Lashes tune is good, but the video makes it much, much cooler. There's definitely a Donnie Darko vibe to this one, which doesn't hurt.
Here's the awesome video for "Rabbit in Your Headlights" by Unkle featuring Thom Yorke on vocals. Be sure to stick around for the video's tremendous ending.
For those of you who haven't heard a bootleg copy of Sufjan Steven's "Majesty Snowbird" (or heard it live, nooch), here's a decent video of the spectacle that's involved. The sound quality could be better, but then again, this is one of the best videos of the song I've been able to find. Oh yeah, the song's a nine minute gorgeous epic.
And as a quick bonus (and reference to Ghost World), there's this, which is pure rock 'n roll.
I hope everyone enjoyed their weekend.
First up is a very cool bluegrass cover of Radiohead's "Morning Bell" by mandolin virtuoso Chris Thile and his band. Certainly an interesting rendition.
Second up is the scandalous video for Add (N) to X's "Plug Me In," which I'm sure will be taken down in the next few days.
Next up is the Bat for Lashes video for "What's a Girl to Do?" The Bat for Lashes tune is good, but the video makes it much, much cooler. There's definitely a Donnie Darko vibe to this one, which doesn't hurt.
Here's the awesome video for "Rabbit in Your Headlights" by Unkle featuring Thom Yorke on vocals. Be sure to stick around for the video's tremendous ending.
For those of you who haven't heard a bootleg copy of Sufjan Steven's "Majesty Snowbird" (or heard it live, nooch), here's a decent video of the spectacle that's involved. The sound quality could be better, but then again, this is one of the best videos of the song I've been able to find. Oh yeah, the song's a nine minute gorgeous epic.
And as a quick bonus (and reference to Ghost World), there's this, which is pure rock 'n roll.
I hope everyone enjoyed their weekend.
Thursday, March 13, 2008
Album of the Week
Shearwater's Palo Santo
Formed in 1999 as a side project for two members of Okkervil River, Will Sheff and Jonathan Meiburg, that could act as a showcase for the two’s quieter songs, Shearwater is a band with humble beginnings. Will Sheff is Okkervil River’s singer, primary songwriter, and guitarist, whereas Meiburg acts as the band’s pianist/organist. Originally, Shearwater’s focus as a band paralleled Sheff and Meiburg’s original intentions for the group, and Shearwater’s first three albums, along with one EP, consisted of softer material, with instrumentation and vocals split between the two Okkervil River musicians. That is, until 2006’s Palo Santo.
Originally released on Misra Records in 2006, the album led Shearwater to be signed to Matador Records, where the album was then re-packaged, partially re-recorded, re-mastered, and then re-released in 2007. It is that final product which is this week’s album of the week.
Shearwater’s fourth album is notable primarily because Sheff is no longer present in the same way he had been on previous Shearwater releases. No longer having to split vocal (or songwriting) duties, the band became primarily helmed by Meiburg (although Sheff does play some instruments on the album). The results of Meiburg’s lead are astounding, and the glimmers of promise seen on previous Shearwater records is pushed into the spotlight; Meiburg is a tremendous song writer.
With the background information out of the way, let’s talk the music. It’s somber, sober, and striking. All of the pop melody of Okkervil River is practically absent. The music isn’t lush or overly produced, but stark and straightforward. The songs do have rings of epic quality to them, however, they are soft and mostly meek. The songs themselves are mostly piano driven, as Meiburg relies on the instrument to set up almost every melody to each song. It leads the way amongst guitars, both distorted and crisp, pounding drums, and most important of all, Meiburg’s vocals.
For me, that is one of the most poignant elements of Shearwater. Meiburg’s voice is trained, beautiful, but also very expressive. When the man shouts, he shouts and you can feel the emotion. However, songs like opener “La Dame Et La Licorne,” act as a platform for Meiburg’s powerful, trained voice.
For the majority of this entry, I’ve said a lot about Palo Santo’s songs being piano driven, grave, and emotionally sobering, but I attest that I’m not describing some love-sick Coldplay rehash. No, this band is nothing of the sort. Combining a variety of instruments and elements, the record can be summed up in one word: beautiful. It has a “rocker” or two, but isn’t designed for blasting in your car. It’s to be saved for a night in and a bottle of red.
I’ve posted maybe one too many songs from the record for my album preview segment of this entry.
First off is “Red Sea, Black Sea,” the album’s second track. Perhaps the most uptempo, straightforward rock song on the record, the song does contain numerous Shearwater staples, including a great vocal track by Meiburg and an foot-tapping banjo lead.
Next is “White Waves,” which follows “Red Sea, Black Sea” as the album’s third track. It begins with a soft guitar melody and meek vocals from Meiburg, but bursts into a Wilco-inspired guitar-driven jam, complete with a steady drum beat.
Third is “Nobody,” an example of the record’s few minimalist, acoustic tracts. Made up of primarily Meiburg’s vocals and a muted acoustic guitar, the song is slow and soft, and Meiburg’s singing and guitar playing is a delicate as anywhere else on the album. What I love most about this song is the My Bloody Valentine inspired keyboard melody that hits around 1:43. For whatever reason, the dissonant noise sounds perfect for the album’s subtle sixth track.
Fourth is the piano driven “Seventy-Four, Seventy-Five.” The song explodes with blaring piano as Meiburg’s near-shouted vocals, upright bass, and winding trumpet join in. Once the heavy drums kick in, the song hits a stride that it doesn’t abandon until a soft bridge at the 2:22 mark. However, the song re-remerges soon thereafter, gaining back whatever steam the bridge may have abandoned.
Fifth is the aforementioned track, “La Dame Et La Licorne.” It’s easy to see how the bare-bones nature of this song could create dissonance for any listener, but for me, this song’s simple piano and woeful, powerful vocal track is brilliant. It’s the album opener and really sets the stage for what is to follow. The song begins with Meiburg’s vocals working against the rhythm set by his piano. By the time the song finds its footing, it becomes a striking, falsetto equipped ballad.
Last is the absolutely amazing “Hail, Mary.” Easily my favourite song of the entire record, any comment I’ve made here previously can be applied to this one song; each mentioned element of Shearwater’s music is present here and pulled off perfectly. If there’s one song on this preview mix that one would listen to, this is it. Techniques pulled off perfectly with excellent results. It's almost a disservice to the song by continuing to try to capture its sound. Like I’ve said, it’s everything I've previously said in this post about Shearwater, rolled into one song.
Just press play.
Formed in 1999 as a side project for two members of Okkervil River, Will Sheff and Jonathan Meiburg, that could act as a showcase for the two’s quieter songs, Shearwater is a band with humble beginnings. Will Sheff is Okkervil River’s singer, primary songwriter, and guitarist, whereas Meiburg acts as the band’s pianist/organist. Originally, Shearwater’s focus as a band paralleled Sheff and Meiburg’s original intentions for the group, and Shearwater’s first three albums, along with one EP, consisted of softer material, with instrumentation and vocals split between the two Okkervil River musicians. That is, until 2006’s Palo Santo.
Originally released on Misra Records in 2006, the album led Shearwater to be signed to Matador Records, where the album was then re-packaged, partially re-recorded, re-mastered, and then re-released in 2007. It is that final product which is this week’s album of the week.
Shearwater’s fourth album is notable primarily because Sheff is no longer present in the same way he had been on previous Shearwater releases. No longer having to split vocal (or songwriting) duties, the band became primarily helmed by Meiburg (although Sheff does play some instruments on the album). The results of Meiburg’s lead are astounding, and the glimmers of promise seen on previous Shearwater records is pushed into the spotlight; Meiburg is a tremendous song writer.
With the background information out of the way, let’s talk the music. It’s somber, sober, and striking. All of the pop melody of Okkervil River is practically absent. The music isn’t lush or overly produced, but stark and straightforward. The songs do have rings of epic quality to them, however, they are soft and mostly meek. The songs themselves are mostly piano driven, as Meiburg relies on the instrument to set up almost every melody to each song. It leads the way amongst guitars, both distorted and crisp, pounding drums, and most important of all, Meiburg’s vocals.
For me, that is one of the most poignant elements of Shearwater. Meiburg’s voice is trained, beautiful, but also very expressive. When the man shouts, he shouts and you can feel the emotion. However, songs like opener “La Dame Et La Licorne,” act as a platform for Meiburg’s powerful, trained voice.
For the majority of this entry, I’ve said a lot about Palo Santo’s songs being piano driven, grave, and emotionally sobering, but I attest that I’m not describing some love-sick Coldplay rehash. No, this band is nothing of the sort. Combining a variety of instruments and elements, the record can be summed up in one word: beautiful. It has a “rocker” or two, but isn’t designed for blasting in your car. It’s to be saved for a night in and a bottle of red.
I’ve posted maybe one too many songs from the record for my album preview segment of this entry.
First off is “Red Sea, Black Sea,” the album’s second track. Perhaps the most uptempo, straightforward rock song on the record, the song does contain numerous Shearwater staples, including a great vocal track by Meiburg and an foot-tapping banjo lead.
Next is “White Waves,” which follows “Red Sea, Black Sea” as the album’s third track. It begins with a soft guitar melody and meek vocals from Meiburg, but bursts into a Wilco-inspired guitar-driven jam, complete with a steady drum beat.
Third is “Nobody,” an example of the record’s few minimalist, acoustic tracts. Made up of primarily Meiburg’s vocals and a muted acoustic guitar, the song is slow and soft, and Meiburg’s singing and guitar playing is a delicate as anywhere else on the album. What I love most about this song is the My Bloody Valentine inspired keyboard melody that hits around 1:43. For whatever reason, the dissonant noise sounds perfect for the album’s subtle sixth track.
Fourth is the piano driven “Seventy-Four, Seventy-Five.” The song explodes with blaring piano as Meiburg’s near-shouted vocals, upright bass, and winding trumpet join in. Once the heavy drums kick in, the song hits a stride that it doesn’t abandon until a soft bridge at the 2:22 mark. However, the song re-remerges soon thereafter, gaining back whatever steam the bridge may have abandoned.
Fifth is the aforementioned track, “La Dame Et La Licorne.” It’s easy to see how the bare-bones nature of this song could create dissonance for any listener, but for me, this song’s simple piano and woeful, powerful vocal track is brilliant. It’s the album opener and really sets the stage for what is to follow. The song begins with Meiburg’s vocals working against the rhythm set by his piano. By the time the song finds its footing, it becomes a striking, falsetto equipped ballad.
Last is the absolutely amazing “Hail, Mary.” Easily my favourite song of the entire record, any comment I’ve made here previously can be applied to this one song; each mentioned element of Shearwater’s music is present here and pulled off perfectly. If there’s one song on this preview mix that one would listen to, this is it. Techniques pulled off perfectly with excellent results. It's almost a disservice to the song by continuing to try to capture its sound. Like I’ve said, it’s everything I've previously said in this post about Shearwater, rolled into one song.
Just press play.
Monday, March 10, 2008
The Monday Mixtape
Welcome to this week's edition of The Monday Mixtape, a weekly update of songs, both old and new, that have been on my own personal heavy rotation.
This week’s has an overall hushed theme: It’s polite and reverent (save a song or two). It’s winter waiting for spring to knock down its door.
Sun Giant – Fleet Foxes
The opening track off of their 2008-current-tour EP, “Sun Giant” sweetly defines the sound of this Seattle five-some’s “baroque harmonic pop jams.” The closest band of the status quo that I can compare the Fleet Foxes to is probably Grizzly Bear, however, those similarities are primarily superficial; both bands do share a rustic, folk sound, though Fleet Foxes are not nearly a psychedelic, but much more grounded. It also serves to note that the mandolin at 1:30 is sublime.
Melody Day – Caribou
Harmony. This song has it in spades. Obviously taking multiple cues from sun-kissed California pop of the 1960s (the album and this track owe much to Brian Wilson), Daniel Snaith packs 2007’s Andorra with sugary percussion, twinkling guitars, dreamy vocals, and, as one could assume, melody. If this track doesn’t resonate amidst the winter months, save it for the first day of spring.
Running Up That Hill – Chromatics
Last year’s Night Drive was an album that I couldn’t quite dive into. I liked what I heard, but the record only seemed to make sense past 2 o’clock in the morning. I soon found, as the title of the record perhaps suggests, that the best way to digest the album is allowing the simple, synthesizer-heavy songs wash over you while stealing a night drive. Not everyone make take-in the record this way, but without doubt, this is music for romantic, lonely nights.
Young Bride – Midlake
I love nearly every aspect of Midlake’s 2006 effort, The Trials of Van Occupanther. Each song on the album contains subtle melodies that are infectious. Midlake are upfront about the influence CSN&Y and Fleetwood Mac have on their music, and it’s easy to see the band’s resemblance to acoustically driven bands of the 1970’s. The songs are long and winding, but never dull or dragging and almost always accompanied with rich, thick textures of guitars, pianos, and drums, all laced together with breezy vocals. Winter may be here, but Midlake revel in the imagery of fall.
Kurt Vonnegut – Born Ruffians
Here’s a fresh (and highlight) track off of last week’s Red, Yellow and Blue. The bands self-titled 2006 EP owed a lot to acts like The Pixies, but on their latest effort, the band is growing up. Vocals aren’t as spastic and there’s a greater focus on the songs a whole; they’re no longer just rocking out with their cocks out in the fashion they find suits them best. There’s certainly elements of the album that savor the brashness the band has previously displayed, but Red, Yellow and Blue is a much more concentrated effort and the band’s concentration has paid off in dividends. The backing vocals at 2:45 are brilliant accompaniment and the constant shifting nature of the song can keep any listener's attention, even if some of the song’s sounds are familiar.
Lost and Found – Atlas Sound
Almost every comment I made about Atlas Sound in the first issue of the Monday Mixtape can be cross-applied here. I’m still enamored by Bradford Cox’s lush soundscapes.
My Head In Front of Your Head – Best Friends Forever
There’s perhaps no explanation I can provide in a paragraph that can explain why I enjoy this song and its ridiculous subject matter, though letting someone read all the good lines when reading Shakespeare sounds like romance to me. Made up of primarily Bri Smith and Jes Seamans, Best Friends Forever are the only band that I know of that find Abraham Lincoln charming/hot shit and sing about it.
English House – Fleet Foxes
Because I’m really getting into their new EP, I’ve posting another Fleet Foxes track on this issue of the mixtape. “English House” is much more full-sounding than the sparse “Sun Giant” track posted above. However, all the previously mentioned sonic elements are still here and on this track the band gets to flex more of its instrumental potential. Their debut album comes out June 8th, so keep an eye out.
Going Away – The Innocence Mission
“Going Away” is a track that casts a spotlight on the crushing minimalism of The Innocence Mission. A track off of 1999’s Birds of My Neighborhood, “Going Away” is doused in unrequited love. Karen Peris’ vocals are fragile and haunting and swoon with each listen. The band’s stark simplicity works well in giving their songs hefty emotional weight and the acoustically-driven tracks almost always leave behind a sincere resonance.
Second Chance – Liam Finn
The second track off of this year’s debut, I’ll Be Lightning, Liam Finn’s “Second Chance” is, to me, Beatlesesque. That’s not to say it’s a bad thing, just that Finn wears his influences on his sleeve more often than not. What I really enjoyed about the record was that Finn played the majority of instruments on his own, a practice that I’ll always champion. The song’s certainly straightforward and isn’t necessarily bringing anything hugely new to the table, but it’s solid nonetheless.
Super Inuit – Holy Fuck
Ever since I saw them open for Do Make Say Think (the very band posed below), I’ve been digging Holy Fuck. The band’s focus is on making electronic music that’s played live, meaning they have live bass, live drums, and create all the electro/keyboard/synth loops live. “Super Inuit” is the first tract off of their self-titled LP from last year and I should mention that it’s actually a live take, recorded at one of their shows and it encapsulates many of the practices and sounds the band explores in their material. Plus, it’s a straight-up jam.
Auberge Le Mouton Noir – Do Make Say Think
Do Make Say Think is an instrumental “post-rock” band out of Toronto, Canada. Their music is very much slow-burning, even epic. It’s very rare that their songs dip below the five minute mark and, in some cases, it can take some work to listen to the highly repetitive instrumental tracks. However, if one has the patience, it’s wonderful to hear the tiny additions the band adds to the motifs established at each song’s beginning: an added guitar riff here, flashes of percussion there. The songs evolve into marathons of momentum, building up and then exploding out of themselves, radically altering any previously established instrumentation and this track is a perfect illustration. If you get the chance, check this band out or see them live.
This week’s has an overall hushed theme: It’s polite and reverent (save a song or two). It’s winter waiting for spring to knock down its door.
Sun Giant – Fleet Foxes
The opening track off of their 2008-current-tour EP, “Sun Giant” sweetly defines the sound of this Seattle five-some’s “baroque harmonic pop jams.” The closest band of the status quo that I can compare the Fleet Foxes to is probably Grizzly Bear, however, those similarities are primarily superficial; both bands do share a rustic, folk sound, though Fleet Foxes are not nearly a psychedelic, but much more grounded. It also serves to note that the mandolin at 1:30 is sublime.
Melody Day – Caribou
Harmony. This song has it in spades. Obviously taking multiple cues from sun-kissed California pop of the 1960s (the album and this track owe much to Brian Wilson), Daniel Snaith packs 2007’s Andorra with sugary percussion, twinkling guitars, dreamy vocals, and, as one could assume, melody. If this track doesn’t resonate amidst the winter months, save it for the first day of spring.
Running Up That Hill – Chromatics
Last year’s Night Drive was an album that I couldn’t quite dive into. I liked what I heard, but the record only seemed to make sense past 2 o’clock in the morning. I soon found, as the title of the record perhaps suggests, that the best way to digest the album is allowing the simple, synthesizer-heavy songs wash over you while stealing a night drive. Not everyone make take-in the record this way, but without doubt, this is music for romantic, lonely nights.
Young Bride – Midlake
I love nearly every aspect of Midlake’s 2006 effort, The Trials of Van Occupanther. Each song on the album contains subtle melodies that are infectious. Midlake are upfront about the influence CSN&Y and Fleetwood Mac have on their music, and it’s easy to see the band’s resemblance to acoustically driven bands of the 1970’s. The songs are long and winding, but never dull or dragging and almost always accompanied with rich, thick textures of guitars, pianos, and drums, all laced together with breezy vocals. Winter may be here, but Midlake revel in the imagery of fall.
Kurt Vonnegut – Born Ruffians
Here’s a fresh (and highlight) track off of last week’s Red, Yellow and Blue. The bands self-titled 2006 EP owed a lot to acts like The Pixies, but on their latest effort, the band is growing up. Vocals aren’t as spastic and there’s a greater focus on the songs a whole; they’re no longer just rocking out with their cocks out in the fashion they find suits them best. There’s certainly elements of the album that savor the brashness the band has previously displayed, but Red, Yellow and Blue is a much more concentrated effort and the band’s concentration has paid off in dividends. The backing vocals at 2:45 are brilliant accompaniment and the constant shifting nature of the song can keep any listener's attention, even if some of the song’s sounds are familiar.
Lost and Found – Atlas Sound
Almost every comment I made about Atlas Sound in the first issue of the Monday Mixtape can be cross-applied here. I’m still enamored by Bradford Cox’s lush soundscapes.
My Head In Front of Your Head – Best Friends Forever
There’s perhaps no explanation I can provide in a paragraph that can explain why I enjoy this song and its ridiculous subject matter, though letting someone read all the good lines when reading Shakespeare sounds like romance to me. Made up of primarily Bri Smith and Jes Seamans, Best Friends Forever are the only band that I know of that find Abraham Lincoln charming/hot shit and sing about it.
English House – Fleet Foxes
Because I’m really getting into their new EP, I’ve posting another Fleet Foxes track on this issue of the mixtape. “English House” is much more full-sounding than the sparse “Sun Giant” track posted above. However, all the previously mentioned sonic elements are still here and on this track the band gets to flex more of its instrumental potential. Their debut album comes out June 8th, so keep an eye out.
Going Away – The Innocence Mission
“Going Away” is a track that casts a spotlight on the crushing minimalism of The Innocence Mission. A track off of 1999’s Birds of My Neighborhood, “Going Away” is doused in unrequited love. Karen Peris’ vocals are fragile and haunting and swoon with each listen. The band’s stark simplicity works well in giving their songs hefty emotional weight and the acoustically-driven tracks almost always leave behind a sincere resonance.
Second Chance – Liam Finn
The second track off of this year’s debut, I’ll Be Lightning, Liam Finn’s “Second Chance” is, to me, Beatlesesque. That’s not to say it’s a bad thing, just that Finn wears his influences on his sleeve more often than not. What I really enjoyed about the record was that Finn played the majority of instruments on his own, a practice that I’ll always champion. The song’s certainly straightforward and isn’t necessarily bringing anything hugely new to the table, but it’s solid nonetheless.
Super Inuit – Holy Fuck
Ever since I saw them open for Do Make Say Think (the very band posed below), I’ve been digging Holy Fuck. The band’s focus is on making electronic music that’s played live, meaning they have live bass, live drums, and create all the electro/keyboard/synth loops live. “Super Inuit” is the first tract off of their self-titled LP from last year and I should mention that it’s actually a live take, recorded at one of their shows and it encapsulates many of the practices and sounds the band explores in their material. Plus, it’s a straight-up jam.
Auberge Le Mouton Noir – Do Make Say Think
Do Make Say Think is an instrumental “post-rock” band out of Toronto, Canada. Their music is very much slow-burning, even epic. It’s very rare that their songs dip below the five minute mark and, in some cases, it can take some work to listen to the highly repetitive instrumental tracks. However, if one has the patience, it’s wonderful to hear the tiny additions the band adds to the motifs established at each song’s beginning: an added guitar riff here, flashes of percussion there. The songs evolve into marathons of momentum, building up and then exploding out of themselves, radically altering any previously established instrumentation and this track is a perfect illustration. If you get the chance, check this band out or see them live.
Friday, March 7, 2008
YouTube Friday
This week's YouTube Friday is dance related.
First up is the new video for "DVNO" by Justice. It's awesome, perhaps even better than "D.A.N.C.E."?
Speaking of the great video for "D.A.N.C.E.", I'm on a Justice kick, so I'm posting that video too...
Next up is the ridiculously sexy Eagles of Death Metal video for the all-too-catchy "Cherry Cola."
Lastly, here's a video of a dancing, morbidly obese cat. It's some sort or commercial or PSA, undoubtedly brought to you by the Japanese.
Enjoy your weekend.
First up is the new video for "DVNO" by Justice. It's awesome, perhaps even better than "D.A.N.C.E."?
Speaking of the great video for "D.A.N.C.E.", I'm on a Justice kick, so I'm posting that video too...
Next up is the ridiculously sexy Eagles of Death Metal video for the all-too-catchy "Cherry Cola."
Lastly, here's a video of a dancing, morbidly obese cat. It's some sort or commercial or PSA, undoubtedly brought to you by the Japanese.
Enjoy your weekend.
Monday, March 3, 2008
The Monday Mixtape
Welcome to this week's edition of The Monday Mixtape, a weekly update of songs, both old and new, that have been on my own personal heavy rotation.
This week has a little bit of everything.
He Hit Me – Grizzly Bear
Fresh off last year’s Friend EP, “He Hit Me” is a cover of The Crystals' tune of the same name (orginially recorded by Phil Spector). The cover is haunting and the psychedelic-folk of Grizzly Bear makes the song sound eerily amazing.
IPT2 – Battles
Anyone who knows me personally has probably listened to my talk about Battles or heard me listening to Battles, or some variation of the sort. This band is just impressively amazing. Their sound consists primarily of live looping combined with analog drumming and most of the time, I’m baffled by the human/robot hybrid sounds they create in the studio. This is a short track off the B EP from 2004. An awesome, quick hit.
To Fix the Gash in Your Head – A Place to Bury Strangers
I got a chance to these guys live a few weeks ago, and it was an incredible show. The guitarist destroyed his guitar onstage while strobe lights were flashing at their highest speeds. I’d never seen anything like it before. Anyways, this is a highlight track off of their self-titled debut from last year. It’s part Jesus and Mary Chain, part Ministry, and sounds great at high volumes.
Crimewave – Crystal Castles
Okay, so here’s a remix of a HEALTH song of the same name. It’s a straightforward, catchy electronic tune, but the big kicker is how differently it sounds from the song it’s remixing. Apparently, Crystal Castles get their wicked keyboard sound from putting Atari soundchips into their keyboards. They don’t have a debut album yet, but they’ve remixed quite a few tunes. Their first record is due out March 18th, so keep an eye out.
Walk into the Mirror – Stephen Malkmus & The Jicks
A bonus track off the new Stephen Malkmus record (Real Emotional Trash - out tomorrow). It’s catchy as hell and it’s a new Stephen Malkmus track, so any fans of Pavement, be sure to give this one a listen. The actual record is quite good, much different than the basement tinkering of his previous effort, Face the Truth; It’s more of a band-centered album and I recommend checking it out.
34 Ghosts IV – Nine Inch Nails
For those who haven’t heard about it yet, Nine Inch Nails just released a new album on their website today. It’s called Ghosts I-IV and it’s comprised of 36 beautiful instrumental tracks. I’ve barely made a dent in the material, but this is one song that highlights just how good this new material is and what it sounds like. It’s $5.00 on Amazon.com for all 36 tracks for anyone that’s interested.
Shake a Fist – Hot Chip
This is the second track off of Hot Chip’s album that came out a month or so ago called Made in the Dark. The album is made up of solid Hot Chip material, but this song kills for me. If you’re not moving by the 1:43 mark, when the snare drum kicks in, then you’re unmoved by music. I recommend listening to this one over the weekend.
Holy Dances – Beach House
A track off of Beach House’s somber, recently released, second record, this song really captures their sound for me: sweet and relaxing. A definitive track off of a pretty damn good album.
Wild Sage – The Mountian Goats
The Mountain Goats just released an album a week or so ago, titled Heretic Pride, and it’s not bad by a long stretch and certainly worth a listen, it just left me longing for the personal songwriting of his Get Lonely and The Sunset Tree albums. So instead of posting one of their new tracks, I’m sticking with an older Mountain Goats tune.
I’m So Green – Can
A classic, groovy-jam from Can, what more can I say? In the spirit of full disclosure, I originally got into this band because they’re one of Radiohead’s favourite bands and serve as a big inspiration for them. However, after getting a large portion of their catalogue, the band is just truly spectacular and this is just one track that shows it.
13 Ghosts II – Nine Inch Nails
Another track off of Nine Inch Nails' new album, Ghosts I-IV. This is a much more soft, piano driven song, much like a lot of the material found on a previous Nine Inch Nails effort, Still. It has a beautiful melody and it’s the last song of this week’s mixtape. Enjoy.
This week has a little bit of everything.
He Hit Me – Grizzly Bear
Fresh off last year’s Friend EP, “He Hit Me” is a cover of The Crystals' tune of the same name (orginially recorded by Phil Spector). The cover is haunting and the psychedelic-folk of Grizzly Bear makes the song sound eerily amazing.
IPT2 – Battles
Anyone who knows me personally has probably listened to my talk about Battles or heard me listening to Battles, or some variation of the sort. This band is just impressively amazing. Their sound consists primarily of live looping combined with analog drumming and most of the time, I’m baffled by the human/robot hybrid sounds they create in the studio. This is a short track off the B EP from 2004. An awesome, quick hit.
To Fix the Gash in Your Head – A Place to Bury Strangers
I got a chance to these guys live a few weeks ago, and it was an incredible show. The guitarist destroyed his guitar onstage while strobe lights were flashing at their highest speeds. I’d never seen anything like it before. Anyways, this is a highlight track off of their self-titled debut from last year. It’s part Jesus and Mary Chain, part Ministry, and sounds great at high volumes.
Crimewave – Crystal Castles
Okay, so here’s a remix of a HEALTH song of the same name. It’s a straightforward, catchy electronic tune, but the big kicker is how differently it sounds from the song it’s remixing. Apparently, Crystal Castles get their wicked keyboard sound from putting Atari soundchips into their keyboards. They don’t have a debut album yet, but they’ve remixed quite a few tunes. Their first record is due out March 18th, so keep an eye out.
Walk into the Mirror – Stephen Malkmus & The Jicks
A bonus track off the new Stephen Malkmus record (Real Emotional Trash - out tomorrow). It’s catchy as hell and it’s a new Stephen Malkmus track, so any fans of Pavement, be sure to give this one a listen. The actual record is quite good, much different than the basement tinkering of his previous effort, Face the Truth; It’s more of a band-centered album and I recommend checking it out.
34 Ghosts IV – Nine Inch Nails
For those who haven’t heard about it yet, Nine Inch Nails just released a new album on their website today. It’s called Ghosts I-IV and it’s comprised of 36 beautiful instrumental tracks. I’ve barely made a dent in the material, but this is one song that highlights just how good this new material is and what it sounds like. It’s $5.00 on Amazon.com for all 36 tracks for anyone that’s interested.
Shake a Fist – Hot Chip
This is the second track off of Hot Chip’s album that came out a month or so ago called Made in the Dark. The album is made up of solid Hot Chip material, but this song kills for me. If you’re not moving by the 1:43 mark, when the snare drum kicks in, then you’re unmoved by music. I recommend listening to this one over the weekend.
Holy Dances – Beach House
A track off of Beach House’s somber, recently released, second record, this song really captures their sound for me: sweet and relaxing. A definitive track off of a pretty damn good album.
Wild Sage – The Mountian Goats
The Mountain Goats just released an album a week or so ago, titled Heretic Pride, and it’s not bad by a long stretch and certainly worth a listen, it just left me longing for the personal songwriting of his Get Lonely and The Sunset Tree albums. So instead of posting one of their new tracks, I’m sticking with an older Mountain Goats tune.
I’m So Green – Can
A classic, groovy-jam from Can, what more can I say? In the spirit of full disclosure, I originally got into this band because they’re one of Radiohead’s favourite bands and serve as a big inspiration for them. However, after getting a large portion of their catalogue, the band is just truly spectacular and this is just one track that shows it.
13 Ghosts II – Nine Inch Nails
Another track off of Nine Inch Nails' new album, Ghosts I-IV. This is a much more soft, piano driven song, much like a lot of the material found on a previous Nine Inch Nails effort, Still. It has a beautiful melody and it’s the last song of this week’s mixtape. Enjoy.
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