For those who were and are enamored with Texas experimental music, the name Brian McBride is a familiar one. As one-half of the duo Stars of the Lid, McBride and Adam Wiltzie composed a handful of beautiful, still records that quietly stand apart from their contemporaries. Mixing drone and synthetic tones with languid melody, Stars of the Lid's music exuded simplicty and unhurried beauty. Bands such as that often tend to disappear into the eather, and Stars of the Lid has been dormant for a few years--and that Wiltzie has also released a solo record, as The Dead Texan--it's not surprising that McBride has pursued a solo release.
Where Stars of the Lid demonstrated that the beauty of classical music can be found in drone-rock if you patiently wait for it, McBride's solo debut, When The Detail Lost Its Freedom, is a much more traditional exploration of classical themes within gentle ambient compositions. Though there are natural similarities between his solo work and Stars of the Lid, by himself, McBride eschews an overreliance on synthetic instrumentation, and the songs on Detail consist of traditional arrangements and very few special effects. In fact, most of Detail's songs are guitar-based--but you'd be hard-pressed to find any guitars. You'll find other things, though, like bells and manipulated percussion, as well as piano and harmonica--and on two songs, "The Guilt of Uncomplicated Thought" and "Our Last Moment in Song," contain beautiful vocals from McBride and guest female vocalists Cheree Jetton and Cheri Keating, respectively.
Ultimately, though, the instruments don't matter--it's the music that's important. McBride's steady hand is responsible for twelve gorgeous, simple ambient pieces that invoke a grey, cold winter's day. There's nothing hurried, rushed, or frantic about any of these pieces; they're still and gentle, instantly relaxing for those who choose to listen. Songs like "Our Last Moment In Song" and "I Will" recall the works of ambient masters Eno and Harold Budd, while the melodies of "For Those Who Hesitate" and "Retenir" swirl around in a way that recalls a pedal steel guitar, and it's not hard to picture these as BJ Cole compositions. But, ultimately, McBride's work is all his own, and he's quietly created a wonderful record that's perfect for relaxation and concentration. Unhurried and undaunted, it quietly moves along, gently flowing into the listener's soul.
There have been rumblings that Stars of the Lid will be recording in 2006. While it is good to know that the duo will once again place their minds together in collaboration, When The Detail Lost Its Freedom establishes McBride as a solo artist, and shows that he's quite capable of making excellent music on his own. This is a beautiful record that transcends genre, doing nothing more than caressing the listener's mind with beautiful, unhurried melody.
--Joseph Kyle
Artist Website: http://www.kranky.net/artists/mcbrideb.html
Label Website: http://www.kranky.net
December 21, 2005
The Triangles "Magic Johnson"
I very rarely give into my tendencies towards musical obsession, but recently I've allowed myself that luxury. I've had to allow myself that luxury, because, ultimately, I've had very little choice in the matter. Why? Because a band of five Australian kids have forced me to, that's why. I wish I'd been a bit more careful, because thanks to this band, I've not been able to get much of anything done--they've required my utmost attention, so much so that it's almost starting to worry me.
Let's back up for a few moments, and let's learn a bit more about this band, shall we? They're called The Triangles, and they hail from sunny Melbourne, Australia. They've been around for about three years now, and they've released three albums, an EP, and a single. They consist of three girls and two boys; they all play a variety of instruments and sing, and they're all cute as the dickens. They met at youth camp in the 1990s, and they've all been involved in community music and theatre projects. They play fun instruments like banjos and melodicas and recorders and ukeleles. They all seem less than convinced of the possibility of the Triangles "making it."
Internal pessimism aside, Magic Johnson is an extremly likeable record. Three of the band members share the singing duties, and they all offer up their own unique instrumental abilities in ways that are quite charming. At times, they've succesfully captured the same magic of The Polyphonic Spree and the Partridge Family, even occasionally sounding like the Cowsills, too. In other words, big, bright, sunny pop meoldies filled with gorgeous harmonies and lyrics about having fun and enjoying life. It's hard not to smile during the "bah-bah-bah's" of album opener "Applejack," and the song's catchy hooks will pull you up and into their world quite quickly. They then turn around and deliver one addictive hook-laden song after another, replete with banjos, harmonicas, kazoos, multitracked boy/girl singing and pretty, pretty harmonies. Heck, on songs like "Let's Replace the Cityscapes" and "I Am Your Valley," the background vocals are so strong, you'll be checking to see if maybe these kids stole the kidnapped the Polyphonic Spree choir!
Even on less sunny songs like "The 1850's" and "Your Heart," the band still utilizes the things that make their sunnier songs so great--and guess what? The songs are still awesome, and the band's still great!! Better still, the band's tricks and style never, ever sounds contrived, nor does it ever sound montonous; they're very good at what they do, and it's evident in their songwriting, as each song is rewarding in its own way. When a band can go from really sad to really happy is one thing--that they can do so without ever losing any of their magical charm is another. Seriously, there's not a bum note to be found on Magic Johnson; there's no song that's skippable--every song is a perfect little creation, lovely and beautiful in its own way; this album is truly a perfect record. That it's all but an obscurity is a shame--but hopefully, they won't be obscure for much longer.
Cheery, upbeat, sunny, funny, fun, cute, charming, catchy--what more could I possibly want? What more could you possibly want? This is, simply put, a damn fine record that sounds like absolutely nothing you've heard all year. It's been ages since a record's made me wave my hands up in the air, dance around like a fool around the room, and singing along to every song. If that's not the sign of pure pop perfection, then, damn, I don't know what is. Let's just hope they get over their own pessimistic tendencies, and realize how damn good they are.
--Joseph Kyle
Artist Website: http://www.thetriangles.net
Label Website: http://www.halfacow.com.au
Let's back up for a few moments, and let's learn a bit more about this band, shall we? They're called The Triangles, and they hail from sunny Melbourne, Australia. They've been around for about three years now, and they've released three albums, an EP, and a single. They consist of three girls and two boys; they all play a variety of instruments and sing, and they're all cute as the dickens. They met at youth camp in the 1990s, and they've all been involved in community music and theatre projects. They play fun instruments like banjos and melodicas and recorders and ukeleles. They all seem less than convinced of the possibility of the Triangles "making it."
Internal pessimism aside, Magic Johnson is an extremly likeable record. Three of the band members share the singing duties, and they all offer up their own unique instrumental abilities in ways that are quite charming. At times, they've succesfully captured the same magic of The Polyphonic Spree and the Partridge Family, even occasionally sounding like the Cowsills, too. In other words, big, bright, sunny pop meoldies filled with gorgeous harmonies and lyrics about having fun and enjoying life. It's hard not to smile during the "bah-bah-bah's" of album opener "Applejack," and the song's catchy hooks will pull you up and into their world quite quickly. They then turn around and deliver one addictive hook-laden song after another, replete with banjos, harmonicas, kazoos, multitracked boy/girl singing and pretty, pretty harmonies. Heck, on songs like "Let's Replace the Cityscapes" and "I Am Your Valley," the background vocals are so strong, you'll be checking to see if maybe these kids stole the kidnapped the Polyphonic Spree choir!
Even on less sunny songs like "The 1850's" and "Your Heart," the band still utilizes the things that make their sunnier songs so great--and guess what? The songs are still awesome, and the band's still great!! Better still, the band's tricks and style never, ever sounds contrived, nor does it ever sound montonous; they're very good at what they do, and it's evident in their songwriting, as each song is rewarding in its own way. When a band can go from really sad to really happy is one thing--that they can do so without ever losing any of their magical charm is another. Seriously, there's not a bum note to be found on Magic Johnson; there's no song that's skippable--every song is a perfect little creation, lovely and beautiful in its own way; this album is truly a perfect record. That it's all but an obscurity is a shame--but hopefully, they won't be obscure for much longer.
Cheery, upbeat, sunny, funny, fun, cute, charming, catchy--what more could I possibly want? What more could you possibly want? This is, simply put, a damn fine record that sounds like absolutely nothing you've heard all year. It's been ages since a record's made me wave my hands up in the air, dance around like a fool around the room, and singing along to every song. If that's not the sign of pure pop perfection, then, damn, I don't know what is. Let's just hope they get over their own pessimistic tendencies, and realize how damn good they are.
--Joseph Kyle
Artist Website: http://www.thetriangles.net
Label Website: http://www.halfacow.com.au
December 20, 2005
Rosie Thomas "If Songs Could Be Held"
When she first appeared a few years ago, Rosie Thomas served as an excellet complement to her labelmate Damien Jurado. Her songs were sweet, sensitive things; delicate as gossamer and as gentle as a cool spring breeze. Though these records placed her squarely within the folk-singer world, Rosie Thomas has apparently decided to expand her horizons beyond those limited parameters. To that end, her third album, If Songs Could Be Held eschews the precious folk stylings of previous records, and is, in its own way, a pop record.
It's clear that Thomas's desire to expand her music in a more pop direction was a wise decision. Instead of being the female Damien Jurado or David Bazan, she's proven that she belongs in the realm once reserved for Lucienda Williams, Natalie Merchant, and Joni Mitchell. Songs like "Guess It May" and "Since You've Been Around" are delicate and pretty like before, but they are deeper, stronger, and much more affecting--thanks, in part, to the more mature arrangements, namely a beautiful string section accompaniment. Pretty doesn't always mean comfortable, as her material is as dark as before--if not darker--especially on "Say What You Want" and the how-could-it-not-be-anything-but "Death Came and Got Me."
The most striking song on the record, though, is "Pretty Dress." It's a mid-tempo piano ballad that's not unlike Tori Amos; it starts off quietly, but it grows and builds up into a large, loud, expansively beautiful conclusion, complete with orchestral backing and downright beautiful singing. Haunting and instantly catchy, it's easily one of the best songs of this year. That it's not on the radio is not her fault; this little number could move a multitude of people to tears--tears of joy, tears of sentiment, tears of appretiation of hearing a song of sheer beauty.
If Songs Could Be Held is a beautiful, mature album, and it's a major step forward for Rosie Thomas. In all honesty, it succeeds because it breaks away from her previous work. It's always a bold gambit to do so, but in Thomas's case, she's succeeded. If Songs Could Be Held will quietly take room in your heart and will build a special place there--if you let it. Let it.
--Joseph Kyle
Artist Website: http://www.rosiethomas.com
Label Website: http://www.subpop.com
It's clear that Thomas's desire to expand her music in a more pop direction was a wise decision. Instead of being the female Damien Jurado or David Bazan, she's proven that she belongs in the realm once reserved for Lucienda Williams, Natalie Merchant, and Joni Mitchell. Songs like "Guess It May" and "Since You've Been Around" are delicate and pretty like before, but they are deeper, stronger, and much more affecting--thanks, in part, to the more mature arrangements, namely a beautiful string section accompaniment. Pretty doesn't always mean comfortable, as her material is as dark as before--if not darker--especially on "Say What You Want" and the how-could-it-not-be-anything-but "Death Came and Got Me."
The most striking song on the record, though, is "Pretty Dress." It's a mid-tempo piano ballad that's not unlike Tori Amos; it starts off quietly, but it grows and builds up into a large, loud, expansively beautiful conclusion, complete with orchestral backing and downright beautiful singing. Haunting and instantly catchy, it's easily one of the best songs of this year. That it's not on the radio is not her fault; this little number could move a multitude of people to tears--tears of joy, tears of sentiment, tears of appretiation of hearing a song of sheer beauty.
If Songs Could Be Held is a beautiful, mature album, and it's a major step forward for Rosie Thomas. In all honesty, it succeeds because it breaks away from her previous work. It's always a bold gambit to do so, but in Thomas's case, she's succeeded. If Songs Could Be Held will quietly take room in your heart and will build a special place there--if you let it. Let it.
--Joseph Kyle
Artist Website: http://www.rosiethomas.com
Label Website: http://www.subpop.com
LD & The New Criticism "Tragic Realism"
LD Beghtol understands one very simple concept: you don't have to be Nick Cave or The Handsome Family to write murder ballads. If the name sounds vaguely familiar, you're right; though best known for his appearance on The Magnetic Fields' opus 69 Love Songs, he's accomplished more than that. He's also spearheaded groups The Moth Wranglers and Flare, and he's one-third of the scary triumvirate The Three Terrors. You'll also find him spearheading the pages of Village Voice, Time Out New York, and the excellent Chickfactor.
But enough of those matters, as LD & The New Criticism is, as the name suggests, new. Beghtol's always possessed a dry, charming wit, but his other projects never fully explored this aspect of his personality. Sure, Moth Wranglers had some funny moments, and Flare's songs contained well-written songs with a touch of dramatic humor, but with LD & The New Criticism, Beghtol unapologetically indulges his most peculiar sense of humor, as every song on Tragic Realism provides some examination of the lighter--and darker--sides of life, love, and death. When a record's artwork contains a subject key that highlights each song's form of death and destruction, how can you expect anything less than brilliant self-indulgence?
And my, what wonderful things result from his self-indulgence! Beghtol's accrued a number of odd and unique musical toys, and he supplements his songs with all kinds of little things you've never heard of. But most of all, it's safe to assume you've never heard tragedy and death and bitterness and jealousy dealt with in such a fun, lighthearted manner. A hoedown about revenge and blackmail? Yeah, just listen to "Burn, Burn, Burn In Hell." A children's song about suicide? Just dig "DIY And Save Big." So you say you want to hear a simple song about watching your ex be hit by a train? "Elegy For An Ex" will serve you well. Plus, you'll find references to all sorts of wonderful things, ranging from the Louvin Brothers to Howdy Doody. Of course, you don't have to be erudite to appreciate Tragic Realism, but it sure does help. After all, you can't really appreciate the darkness of "When We Dance (At Joe Orton's Wedding)" unless you know the whole story of Joe Orton's life. (And we're not going to tell you the story--you won't learn if we simply tell you. Besides, it's all there in the song.)
Tragic Realism is simply, wonderfully, miserablly excellent. It's great that Beghtol's allowed the world into his inner thoughts--but if you choose to take the journey, be prepared for some rather dark, disturbing--and disturbingly funny--moments.
--Joseph Kyle
Artist Website: http://www.thenewcriticism.com
Label Website: http://www.darla.com
But enough of those matters, as LD & The New Criticism is, as the name suggests, new. Beghtol's always possessed a dry, charming wit, but his other projects never fully explored this aspect of his personality. Sure, Moth Wranglers had some funny moments, and Flare's songs contained well-written songs with a touch of dramatic humor, but with LD & The New Criticism, Beghtol unapologetically indulges his most peculiar sense of humor, as every song on Tragic Realism provides some examination of the lighter--and darker--sides of life, love, and death. When a record's artwork contains a subject key that highlights each song's form of death and destruction, how can you expect anything less than brilliant self-indulgence?
And my, what wonderful things result from his self-indulgence! Beghtol's accrued a number of odd and unique musical toys, and he supplements his songs with all kinds of little things you've never heard of. But most of all, it's safe to assume you've never heard tragedy and death and bitterness and jealousy dealt with in such a fun, lighthearted manner. A hoedown about revenge and blackmail? Yeah, just listen to "Burn, Burn, Burn In Hell." A children's song about suicide? Just dig "DIY And Save Big." So you say you want to hear a simple song about watching your ex be hit by a train? "Elegy For An Ex" will serve you well. Plus, you'll find references to all sorts of wonderful things, ranging from the Louvin Brothers to Howdy Doody. Of course, you don't have to be erudite to appreciate Tragic Realism, but it sure does help. After all, you can't really appreciate the darkness of "When We Dance (At Joe Orton's Wedding)" unless you know the whole story of Joe Orton's life. (And we're not going to tell you the story--you won't learn if we simply tell you. Besides, it's all there in the song.)
Tragic Realism is simply, wonderfully, miserablly excellent. It's great that Beghtol's allowed the world into his inner thoughts--but if you choose to take the journey, be prepared for some rather dark, disturbing--and disturbingly funny--moments.
--Joseph Kyle
Artist Website: http://www.thenewcriticism.com
Label Website: http://www.darla.com
December 16, 2005
Okkervil River "Black Sheep Boy Appendix'
Earlier this year, Okkervil River released Black Sheep Boy. For some, it's not merely the band's record, but it's also one of this year's better releases. It's easy to understand why; the melancholy and the darkness of Will Sheff's lyrical approach is greatly enhanced by his haunting--and hauntingly beautiful--singing. The band's accompaniment adds a dark, psychedelic touch to his words, creating a beautifully modern-sounding Southern Gothic record.
Black Sheep Boy Appendix collects several songs recorded during the album sessions but excluded for various reasons. Even though these are outtakes, the songs are still high-quality. Will Sheff is in fine, haunting voice, and his backing band is in touch with the same dark spirits found on Black Sheep Boy; "Missing Children," "Black Sheep Boy" and "Another Radio Song" have the disturbing, macabre quality of an Edward Gorey drawing. "Last Love Song" is an upbeat number, even though it's also quite disturbing in its lyrical imagery. The band's varied musical lineup and arrangements make these songs even better, and the hauntingly brief instrumental segues "A Forest" and "A Garden" (Cure references!) make the record a cohesive trip into darkness and melancholy. The one true shocker here, though, is "No Key, No Plan." It's a balls-out country-rock number that sounds a helluva lot like The Old 97s. Sheff gets all screamy in it, and though it feels quite out of place here...damn, it sounds great!
A lot of hype has surrounded this little Austin band this year--and it's well-deserved. Black Sheep Boy Appendix is a great introduction for those who might not have heard the band before, and it's a great little gift for those already fascinated.
--Joseph Kyle
Artist Website: http://www.okkervilriver.com
Label Website: http://www.jagjaguwar.com
Black Sheep Boy Appendix collects several songs recorded during the album sessions but excluded for various reasons. Even though these are outtakes, the songs are still high-quality. Will Sheff is in fine, haunting voice, and his backing band is in touch with the same dark spirits found on Black Sheep Boy; "Missing Children," "Black Sheep Boy" and "Another Radio Song" have the disturbing, macabre quality of an Edward Gorey drawing. "Last Love Song" is an upbeat number, even though it's also quite disturbing in its lyrical imagery. The band's varied musical lineup and arrangements make these songs even better, and the hauntingly brief instrumental segues "A Forest" and "A Garden" (Cure references!) make the record a cohesive trip into darkness and melancholy. The one true shocker here, though, is "No Key, No Plan." It's a balls-out country-rock number that sounds a helluva lot like The Old 97s. Sheff gets all screamy in it, and though it feels quite out of place here...damn, it sounds great!
A lot of hype has surrounded this little Austin band this year--and it's well-deserved. Black Sheep Boy Appendix is a great introduction for those who might not have heard the band before, and it's a great little gift for those already fascinated.
--Joseph Kyle
Artist Website: http://www.okkervilriver.com
Label Website: http://www.jagjaguwar.com
Elliott "Photorecording"
It's always disheartening when a good band dies in obscurity. It's one thing when a band makes an overwhelmingly amazing record that no one except a few people will hear, but to make a record that definitely could have appealed to a wider audience yet goes unheard except by a select few? Man, that's not just frustrating, that's just downright depressing. And so it was with Louisville's Elliott, who released their masterpiece Song in the Air in 2003, then quietly called it a day. For those who loved the band's epic soundscapes and melancholy melodies, this loss was especially painful, as Elliott's potential for wider success and recognition seemed assured.
After playing their final show, the band went into a recording studio and recorded their setlist live to tape, in hopes of capturing the energy of the band's live performance. This live set constitutes one half Elliott's farewell record, Photorecording. The seven-song set is an extremely tight performance; though the set is extremely brief, it's still a staggeringly beautiful set. The setlist contains their better moments, including "Drive Onto Me," "Blessed By Your Ghost" and "Shallow Like Your Breath." The songs don't differ too much from the previously released versions, except for one notable difference: passion. Elliott live had passion, and these songs definitely capture that live energy.
The other half of Photorecording consists of demo material, compilation tracks, and unreleased material. If it's true that you can tell the quality of a band by the material it rejects or neglects, then the songs found here prove that Elliott's albums were not merely glossed over in studio production. These songs aren't necessarily rejected outtakes inasmuch as they are alternate views on what the final songs would be; though "Bleed in Breathe Out," "Believe," and "Carry On" are different yet similar than the final versions, these songs do capture Elliott's studio experimentation. Perhaps the most interesting of these songs is "Drive," a dance remix version of "Drive Onto Me" that appeared in 2004. Even though an ethereal-minded band like Elliott might seem an unlikely contender for a dance remix, this song works surprisingly well; heck, it even shows that the band could have prettied up their sound for more mainstream success, and that the crossover might not have been as unlikely as one might have expected.
Also included with Photorecording is a DVD that contains a brief tour documentary of the band's last few dates, with plenty of live shots from their New York performance. This is fascinating watching, especially when the band talks about their reasons for splitting up, but it's not completely revelatory. It just shows a band having fun as they prepare to call it a day.
For a final document, Photorecording serves its purpose quite well. It captures the magic of Elliott the live band, and it wraps up any loose ends in terms of previously unreleased material and compilation tracks. That it flows together quite seamlessly is an additional bonus, too. Elliott was a great band, and it's sad that the world never had a chance to fully appreciate them. Listening to Photorecording will inform you of what the world's missed.
---Joseph Kyle
Artist Website: http://www.elliottintransit.com
Label Website: http://www.revelationrecords.com
After playing their final show, the band went into a recording studio and recorded their setlist live to tape, in hopes of capturing the energy of the band's live performance. This live set constitutes one half Elliott's farewell record, Photorecording. The seven-song set is an extremely tight performance; though the set is extremely brief, it's still a staggeringly beautiful set. The setlist contains their better moments, including "Drive Onto Me," "Blessed By Your Ghost" and "Shallow Like Your Breath." The songs don't differ too much from the previously released versions, except for one notable difference: passion. Elliott live had passion, and these songs definitely capture that live energy.
The other half of Photorecording consists of demo material, compilation tracks, and unreleased material. If it's true that you can tell the quality of a band by the material it rejects or neglects, then the songs found here prove that Elliott's albums were not merely glossed over in studio production. These songs aren't necessarily rejected outtakes inasmuch as they are alternate views on what the final songs would be; though "Bleed in Breathe Out," "Believe," and "Carry On" are different yet similar than the final versions, these songs do capture Elliott's studio experimentation. Perhaps the most interesting of these songs is "Drive," a dance remix version of "Drive Onto Me" that appeared in 2004. Even though an ethereal-minded band like Elliott might seem an unlikely contender for a dance remix, this song works surprisingly well; heck, it even shows that the band could have prettied up their sound for more mainstream success, and that the crossover might not have been as unlikely as one might have expected.
Also included with Photorecording is a DVD that contains a brief tour documentary of the band's last few dates, with plenty of live shots from their New York performance. This is fascinating watching, especially when the band talks about their reasons for splitting up, but it's not completely revelatory. It just shows a band having fun as they prepare to call it a day.
For a final document, Photorecording serves its purpose quite well. It captures the magic of Elliott the live band, and it wraps up any loose ends in terms of previously unreleased material and compilation tracks. That it flows together quite seamlessly is an additional bonus, too. Elliott was a great band, and it's sad that the world never had a chance to fully appreciate them. Listening to Photorecording will inform you of what the world's missed.
---Joseph Kyle
Artist Website: http://www.elliottintransit.com
Label Website: http://www.revelationrecords.com
December 13, 2005
Tender Trap "Language Lessons"
It's been way too long since Amelia Fletcher graced the indie-pop world with a new record. When you go back and listen to her records with Heavenly and Marine Research, it's hard to believe that the world would allow her lovely voice to fall silent. Tender Trap's record came out in 2002, and three years' wait is simply unfair. But not to fear! Matinee has saved them from the den of obscurity. Language Lessons breaks that drought, and it's about time, too!
Even though they're older and wiser, the band's not lost any of their charm. Fletcher's in fine, fine voice; she still sings as if she possesses the world's biggest smile, and the band's music is never lacking in charm. "Talking Backwards" is a fun little girl-group style romp that allows Fletcher to stretch her singing muscles. It is a fun little romp, and a classic pop number. "Unputdownable" is a mellower number; it's not quite as charming as the previous song, but it's still quite nice. The final two songs, "¿Como Te Llamas?" and "Friendster," were released a few years ago on a Spanish single, but they're still quite enjoyable; "Friendster" is an ode to that once-popular website, and "¿Como Te Llamas?" is a frantic-paced new-wave number that's very similar to labelmates Pipas. (Of course, with Pipas' own Lupe Nunez-Fernandez as a guest vocalist, how could it not?)
As a teaser for their forthcoming album, Language Lessons is a fun little indie-pop romp. It's good to know that Amelia is still making good music--but, really, that's not a surprise. A sweet little treat, this!
--Joseph Kyle
Artist Website: http://www.users.globalnet.co.uk/~queenb/tt/
Label Website : http://www.indiepages.com/matinee
Even though they're older and wiser, the band's not lost any of their charm. Fletcher's in fine, fine voice; she still sings as if she possesses the world's biggest smile, and the band's music is never lacking in charm. "Talking Backwards" is a fun little girl-group style romp that allows Fletcher to stretch her singing muscles. It is a fun little romp, and a classic pop number. "Unputdownable" is a mellower number; it's not quite as charming as the previous song, but it's still quite nice. The final two songs, "¿Como Te Llamas?" and "Friendster," were released a few years ago on a Spanish single, but they're still quite enjoyable; "Friendster" is an ode to that once-popular website, and "¿Como Te Llamas?" is a frantic-paced new-wave number that's very similar to labelmates Pipas. (Of course, with Pipas' own Lupe Nunez-Fernandez as a guest vocalist, how could it not?)
As a teaser for their forthcoming album, Language Lessons is a fun little indie-pop romp. It's good to know that Amelia is still making good music--but, really, that's not a surprise. A sweet little treat, this!
--Joseph Kyle
Artist Website: http://www.users.globalnet.co.uk/~queenb/tt/
Label Website : http://www.indiepages.com/matinee
Lowlights "Dark End Road"
You've got to hand it to Dameon Lee; he's a man who knows a thing about atmosphere. His band, Lowlights, comes across like a mixture between a more countrified Grandaddy and a more gentrified My Morning Jacket, but he does so in such a sublime manner. He's woven the delicate gossamer of Sparkehorse into the gritty dust and sand of the old Southwest, baked it in the summer heat, and the results are simply marvelous. Okay, so maybe that metaphor is a bit cheesy, and the comparisons are a bit lazy, but the point is this: the sounds found on Dark End Road might seem familiar, but it's to Lee's credit that he's managed to make it sound completely original.
For his second record, Lee has gathered a small orchestra to accompany him; with their assistance, he's able to expand the depths of his bleak, dark atmosphere yet ironically make his music much more delicate. Under his direction, the band sets about creating music that's slightly psychedelic, somewhat sad, and more than a little beautiful. Because of the attention paid to intricate detail, it's hard not to fall in love Dark End Road, and it's these little things that seperate Lowlights from their contemporaries. The soul-piercing harmonica on "The Way You Were," the gentle raindrop-sounding keyboards on "Hide Awhile," the slight piano on "Snow Is Silver," the gentle wash of pedal steel on "Curse"--these little things add up to a wonderful accompaniment for Lee's sad lyrics and even sadder songs. The band falters only once, on the upbeat rocker "Drive Thru;" though it's a good song, the fast pace and the horn section just feels out of place. (Oh, the song's still wonderful, but it's a bit more ramshackle than the rest of Dark End Road.)
Dark End Road is a simply simple delight; it's dusty and dark and spacey and sad and pretty and all of the likeable things about country music, made by a group of people who probably don't consider themselves a country band. Making good, beautiful music is a wonderful thing, and it's hard to deny Dark End Road. It's the perfect record for those moments when you're not feelin' too good, are feelin' a little sad, or simply want to enjoy the beauty of a grey day.
--Joseph Kyle
Artist Website: http://www.thelowlights.com
Label Website: http://www.darla.com
For his second record, Lee has gathered a small orchestra to accompany him; with their assistance, he's able to expand the depths of his bleak, dark atmosphere yet ironically make his music much more delicate. Under his direction, the band sets about creating music that's slightly psychedelic, somewhat sad, and more than a little beautiful. Because of the attention paid to intricate detail, it's hard not to fall in love Dark End Road, and it's these little things that seperate Lowlights from their contemporaries. The soul-piercing harmonica on "The Way You Were," the gentle raindrop-sounding keyboards on "Hide Awhile," the slight piano on "Snow Is Silver," the gentle wash of pedal steel on "Curse"--these little things add up to a wonderful accompaniment for Lee's sad lyrics and even sadder songs. The band falters only once, on the upbeat rocker "Drive Thru;" though it's a good song, the fast pace and the horn section just feels out of place. (Oh, the song's still wonderful, but it's a bit more ramshackle than the rest of Dark End Road.)
Dark End Road is a simply simple delight; it's dusty and dark and spacey and sad and pretty and all of the likeable things about country music, made by a group of people who probably don't consider themselves a country band. Making good, beautiful music is a wonderful thing, and it's hard to deny Dark End Road. It's the perfect record for those moments when you're not feelin' too good, are feelin' a little sad, or simply want to enjoy the beauty of a grey day.
--Joseph Kyle
Artist Website: http://www.thelowlights.com
Label Website: http://www.darla.com
December 10, 2005
Interview: Fishboy
Describe the recording process for Little D.
Very gradual. Drums for the five songs were recorded on tape at a house studio in Austin. Afterwards we brought those up to Denton where we spent the next year and a half “experimenting” in the home studio of Mark Sonnabaum. We knew we wanted to make a huge album but had very little resources (other than kind friends) so Mark agreed to record this massive thing we had in our minds for next to nothing. Because he couldn’t really push all of his other projects aside everything was done in small pieces. Some times we’d go two weeks with out touching it only to comeback and record for an afternoon. All the down time gave me more time to think about the structure and layers of the album so there was also a large trial and error process of playing with sounds. On top of all this we kept meeting local musicians whom we respected and would ask them come in and record a part when they had time.
What song on Little D do you feel you put the most work into, and why?
I personally didn’t do most of the work for this song, but "Start Again" was the most worked upon. Live we would just rock out the ending as loud as we could but for the album I had this dream for the grand finale to be a large orchestra piece. Mark transcribed sheet music from a demo I had and we got to together as many music students from the university that we could. Add in some make shift studio magic and we had ourselves an epic ending. Chris Flemmons from Baptist Generals singing the duel part as the disgruntled neighbor was icing on the cake.
If someone were to ask you what song on Little D best represented your overall work, which song would it be, and why?
Little D is full of songs that blossomed out of the recording process and can’t be fully duplicated live with the current line up so lately we have mainly stuck to the straight forward rock songs at shows. "Tree Star" is a good example of studio creativity applied to one of those straightforward rock songs. The lyrics also talk about some one who is under/fed/dressed/paid but still works hard with what they have to be the best they can. This describes my whole music career.
To you, what song on the new album is the most meaningful?
My cousin wrote "Haunted Highway" when she was 11 or 12 years old with out using any instruments. I was listening back to old tapes I had of us playing around with a four track and I found the song. Even though parts of it are a little silly the message to me is really deep. It’s a lot like an old hymn where every one is singing about how great it’s going to be when they die. It would be nice to hear a large group of people sing it someday.
If you had to describe the ideal setting for listening to Little D, what would it be?
I tested out a lot of the mixes while driving around Denton so certain songs remind me of certain drives. Maybe I should make a map where I tell you how fast to go from place to place so that each song ends when you get to a certain landmark. It will be like a star map only...really boring....
Whats next?
We are currently revamping the line up of the band so that we can do more stuff on stage. I hope to put out another album before we tour in the summer. Half of the songs are already written including one I wrote last night about using Buddy Holly’s ghost as a parachute. I’m really proud of it.
Very gradual. Drums for the five songs were recorded on tape at a house studio in Austin. Afterwards we brought those up to Denton where we spent the next year and a half “experimenting” in the home studio of Mark Sonnabaum. We knew we wanted to make a huge album but had very little resources (other than kind friends) so Mark agreed to record this massive thing we had in our minds for next to nothing. Because he couldn’t really push all of his other projects aside everything was done in small pieces. Some times we’d go two weeks with out touching it only to comeback and record for an afternoon. All the down time gave me more time to think about the structure and layers of the album so there was also a large trial and error process of playing with sounds. On top of all this we kept meeting local musicians whom we respected and would ask them come in and record a part when they had time.
What song on Little D do you feel you put the most work into, and why?
I personally didn’t do most of the work for this song, but "Start Again" was the most worked upon. Live we would just rock out the ending as loud as we could but for the album I had this dream for the grand finale to be a large orchestra piece. Mark transcribed sheet music from a demo I had and we got to together as many music students from the university that we could. Add in some make shift studio magic and we had ourselves an epic ending. Chris Flemmons from Baptist Generals singing the duel part as the disgruntled neighbor was icing on the cake.
If someone were to ask you what song on Little D best represented your overall work, which song would it be, and why?
Little D is full of songs that blossomed out of the recording process and can’t be fully duplicated live with the current line up so lately we have mainly stuck to the straight forward rock songs at shows. "Tree Star" is a good example of studio creativity applied to one of those straightforward rock songs. The lyrics also talk about some one who is under/fed/dressed/paid but still works hard with what they have to be the best they can. This describes my whole music career.
To you, what song on the new album is the most meaningful?
My cousin wrote "Haunted Highway" when she was 11 or 12 years old with out using any instruments. I was listening back to old tapes I had of us playing around with a four track and I found the song. Even though parts of it are a little silly the message to me is really deep. It’s a lot like an old hymn where every one is singing about how great it’s going to be when they die. It would be nice to hear a large group of people sing it someday.
If you had to describe the ideal setting for listening to Little D, what would it be?
I tested out a lot of the mixes while driving around Denton so certain songs remind me of certain drives. Maybe I should make a map where I tell you how fast to go from place to place so that each song ends when you get to a certain landmark. It will be like a star map only...really boring....
Whats next?
We are currently revamping the line up of the band so that we can do more stuff on stage. I hope to put out another album before we tour in the summer. Half of the songs are already written including one I wrote last night about using Buddy Holly’s ghost as a parachute. I’m really proud of it.
December 09, 2005
The Mars Volta "Scabdates"
Live albums are normally dicey propositions. Some bands aren't well-served by a live record, as their live performance doesn't really differ from their studio performance. Then you have a band like The Mars Volta, whose live performances are so kinetic and energetic and different from their studio recordings, that the music they perform is almost completely different than their studio work.
The Mars Volta is one hell of a live band, and a live record doesn't quite serve them well, mainly because it's impossible to fully capture the band's electricity. You have to experience it firsthand; you have to allow yourself to be surrounded and engulfed in their musical power. And yeah, it's powerful, heady stuff, too; while most of the material seems to draw from the De-Loused in the Comatorium album, but much of this material is so strong and so weird and so out there, it's hard to be quite sure where it comes from. But damn, it sure is noisy, and it sure is blustery, and it sure is lonnnnngggggg.....
Considering how their records aren't so much albums as they are long, continuous sonic experiments that are merely broken apart for the sake of commerce, it's hardly any surprise that Scabdates is the same way. This is a seventy-two minute experiment in tolerance; how much of this you can tolerate in one sitting is up to you to decide, especially on the album finale "Cicatriz," which lasts for nearly a half-hour with absolutely no restraint. Much like their albums, this live set is not for the faint of heart. Enjoy...if you can take it. If you can't, don't fear, there's nothing wrong with you--just come back later and try to take it all again.
--Joseph Kyle
Artist Website: http://www.themarsvolta.com
Label Website: http://www.universalrecords.com
Label Website: http://www.goldstandardlabs.com
The Mars Volta is one hell of a live band, and a live record doesn't quite serve them well, mainly because it's impossible to fully capture the band's electricity. You have to experience it firsthand; you have to allow yourself to be surrounded and engulfed in their musical power. And yeah, it's powerful, heady stuff, too; while most of the material seems to draw from the De-Loused in the Comatorium album, but much of this material is so strong and so weird and so out there, it's hard to be quite sure where it comes from. But damn, it sure is noisy, and it sure is blustery, and it sure is lonnnnngggggg.....
Considering how their records aren't so much albums as they are long, continuous sonic experiments that are merely broken apart for the sake of commerce, it's hardly any surprise that Scabdates is the same way. This is a seventy-two minute experiment in tolerance; how much of this you can tolerate in one sitting is up to you to decide, especially on the album finale "Cicatriz," which lasts for nearly a half-hour with absolutely no restraint. Much like their albums, this live set is not for the faint of heart. Enjoy...if you can take it. If you can't, don't fear, there's nothing wrong with you--just come back later and try to take it all again.
--Joseph Kyle
Artist Website: http://www.themarsvolta.com
Label Website: http://www.universalrecords.com
Label Website: http://www.goldstandardlabs.com
Robert Skoro "That These Things Could Be Ours"
A young man like Robert Skoro is a bit of an inspiration. Skoro started making music as a teenager, quickly rising to prominence in the Minneapolis music scene. He toured with Mason Jennings, he self-released his first album Proof, and he was named Minneapolis' Artist of the Year in 2002 and Male Vocalist of the Year in 2003. That he's done a lot in the past decade years wouldn't be nearly as impressive if it wasn't for the fact that he's only twenty-four. That his music is not at all 'trendy' makes his talent even more impressive--in an industry of phonies and hyped-up hacks, Skoro is very much a real talent.
For That These Things Could Be Ours, Skoro formed a stellar backing band, then sought out the production of the venerable Brian Deck. In the process, he wrote some really wonderful songs. With a humble singing voice that recalls Eric Matthews, Skoro and his five-piece band craft lovely, gentle pop songs that are lightly peppered with a bit of country and a bit of jazz. At times, it's hard not to think that Skoro and his band are a Y-chromosome version of Spinanes, especially on the breezy and sultry "Before the Sun," "Morning," and "Old Friend." On other songs, like "Influence" and "Boo Hoo" and "Hungry Ghost" Skoro heads straight for the sleepy-eyed child, singing gentle songs that can lull even the most stressed soul to slumber. His band contributes lovely washes of percussion, piano, and guitar, and together they create truly light and fluffy backdrop. The only time the band revs their engines is on the opening "All the Angels" and the closing "The Package," and though both numbers are excellent, they don't quite represent the rest of the album. It's okay, though, because in a roundabout way, both numbers show the beauty of restraint; sure, they could make a rattle, but when the band's mellower fare is so good, why bother?
It's easy to imagine That These Things Could Be Ours as the music you'd hear in a bookstore, a coffee shop or a quiet, candlelit bar. It's gentle, but it's not lazy; it's pretty, but it's not lightweight; it's light, but it's not shallow. It is, however, one of this year's sleeper albums. Heck, from my own personal experience, it's certainly a grower. After an initial listen a few months ago, it sat by my desk, unloved and unplayed. Last week, I put it on my stereo, and something clicked; I've listened to it several times a day, and I can see myself listening to it a lot more. And that, my friends, is what makes a great record, and that's exactly what Skoro's made. Well done!
--Joseph Kyle
Artist Website: http://www.robertskoro.com
Label Website: http://www.yeproc.com
For That These Things Could Be Ours, Skoro formed a stellar backing band, then sought out the production of the venerable Brian Deck. In the process, he wrote some really wonderful songs. With a humble singing voice that recalls Eric Matthews, Skoro and his five-piece band craft lovely, gentle pop songs that are lightly peppered with a bit of country and a bit of jazz. At times, it's hard not to think that Skoro and his band are a Y-chromosome version of Spinanes, especially on the breezy and sultry "Before the Sun," "Morning," and "Old Friend." On other songs, like "Influence" and "Boo Hoo" and "Hungry Ghost" Skoro heads straight for the sleepy-eyed child, singing gentle songs that can lull even the most stressed soul to slumber. His band contributes lovely washes of percussion, piano, and guitar, and together they create truly light and fluffy backdrop. The only time the band revs their engines is on the opening "All the Angels" and the closing "The Package," and though both numbers are excellent, they don't quite represent the rest of the album. It's okay, though, because in a roundabout way, both numbers show the beauty of restraint; sure, they could make a rattle, but when the band's mellower fare is so good, why bother?
It's easy to imagine That These Things Could Be Ours as the music you'd hear in a bookstore, a coffee shop or a quiet, candlelit bar. It's gentle, but it's not lazy; it's pretty, but it's not lightweight; it's light, but it's not shallow. It is, however, one of this year's sleeper albums. Heck, from my own personal experience, it's certainly a grower. After an initial listen a few months ago, it sat by my desk, unloved and unplayed. Last week, I put it on my stereo, and something clicked; I've listened to it several times a day, and I can see myself listening to it a lot more. And that, my friends, is what makes a great record, and that's exactly what Skoro's made. Well done!
--Joseph Kyle
Artist Website: http://www.robertskoro.com
Label Website: http://www.yeproc.com
Robert Skoro "That These Things Could Be Ours"
A young man like Robert Skoro is a bit of an inspiration. Skoro started making music as a teenager, quickly rising to prominence in the Minneapolis music scene. He toured with Mason Jennings, he self-released his first album Proof, and he was named Minneapolis' Artist of the Year in 2002 and Male Vocalist of the Year in 2003. That he's done a lot in the past decade years wouldn't be nearly as impressive if it wasn't for the fact that he's only twenty-four. That his music is not at all 'trendy' makes his talent even more impressive--in an industry of phonies and hyped-up hacks, Skoro is very much a real talent.
For That These Things Could Be Ours, Skoro formed a stellar backing band, then sought out the production of the venerable Brian Deck. In the process, he wrote some really wonderful songs. With a humble singing voice that recalls Eric Matthews, Skoro and his five-piece band craft lovely, gentle pop songs that are lightly peppered with a bit of country and a bit of jazz. At times, it's hard not to think that Skoro and his band are a Y-chromosome version of Spinanes, especially on the breezy and sultry "Before the Sun," "Morning," and "Old Friend." On other songs, like "Influence" and "Boo Hoo" and "Hungry Ghost" Skoro heads straight for the sleepy-eyed child, singing gentle songs that can lull even the most stressed soul to slumber. His band contributes lovely washes of percussion, piano, and guitar, and together they create truly light and fluffy backdrop. The only time the band revs their engines is on the opening "All the Angels" and the closing "The Package," and though both numbers are excellent, they don't quite represent the rest of the album. It's okay, though, because in a roundabout way, both numbers show the beauty of restraint; sure, they could make a rattle, but when the band's mellower fare is so good, why bother?
It's easy to imagine That These Things Could Be Ours as the music you'd hear in a bookstore, a coffee shop or a quiet, candlelit bar. It's gentle, but it's not lazy; it's pretty, but it's not lightweight; it's light, but it's not shallow. It is, however, one of this year's sleeper albums. Heck, from my own personal experience, it's certainly a grower. After an initial listen a few months ago, it sat by my desk, unloved and unplayed. Last week, I put it on my stereo, and something clicked; I've listened to it several times a day, and I can see myself listening to it a lot more. And that, my friends, is what makes a great record, and that's exactly what Skoro's made. Well done!
--Joseph Kyle
Artist Website: http://www.robertskoro.com
Label Website: http://www.yeproc.com
For That These Things Could Be Ours, Skoro formed a stellar backing band, then sought out the production of the venerable Brian Deck. In the process, he wrote some really wonderful songs. With a humble singing voice that recalls Eric Matthews, Skoro and his five-piece band craft lovely, gentle pop songs that are lightly peppered with a bit of country and a bit of jazz. At times, it's hard not to think that Skoro and his band are a Y-chromosome version of Spinanes, especially on the breezy and sultry "Before the Sun," "Morning," and "Old Friend." On other songs, like "Influence" and "Boo Hoo" and "Hungry Ghost" Skoro heads straight for the sleepy-eyed child, singing gentle songs that can lull even the most stressed soul to slumber. His band contributes lovely washes of percussion, piano, and guitar, and together they create truly light and fluffy backdrop. The only time the band revs their engines is on the opening "All the Angels" and the closing "The Package," and though both numbers are excellent, they don't quite represent the rest of the album. It's okay, though, because in a roundabout way, both numbers show the beauty of restraint; sure, they could make a rattle, but when the band's mellower fare is so good, why bother?
It's easy to imagine That These Things Could Be Ours as the music you'd hear in a bookstore, a coffee shop or a quiet, candlelit bar. It's gentle, but it's not lazy; it's pretty, but it's not lightweight; it's light, but it's not shallow. It is, however, one of this year's sleeper albums. Heck, from my own personal experience, it's certainly a grower. After an initial listen a few months ago, it sat by my desk, unloved and unplayed. Last week, I put it on my stereo, and something clicked; I've listened to it several times a day, and I can see myself listening to it a lot more. And that, my friends, is what makes a great record, and that's exactly what Skoro's made. Well done!
--Joseph Kyle
Artist Website: http://www.robertskoro.com
Label Website: http://www.yeproc.com
December 08, 2005
The Secret Handshake "This Is Bigger Than You or I"
It's a bit tedious, this whole "emo" to-do. "New grunge," blah blah blah, "all songs have emotional content," blah blah blah, "it's a youth movement meant to help kids get in touch with their feelings," blah blah blah, "you're too old to understand," blah blah blah, "emo died when the kids graduated from high school," blah blah blah*. There's a point to be made underneath all that cynicism. Sadly, I can't tell you what that point is, because...well, I don't know what the point is, other than "emo" means less to some than it does for others. I'm one of those "means less" people. (I made the mistake of attending an Alkaline Trio show a few years ago; not that the music was bad, but the experience of feeling like a high-school chaperone at a "punk" show made me feel old.) Superficially speaking, Dallas' The Secret Handshake appear to be a ripe candidate for the "emo" tag. A young fanbase, "serious" sounding album title, and lyrics that demonstrate youthful melancholy. Superficially, I wasn't really looking forward to listening to this little record. You should never judge a record by its cover, though, as was instantly learned here. Following on his 2004 debut album, this six-song EP may be brief, and it may be a tad "emo," but it's certainly not as bad as my stereotyping-mind led me to believe.
The music found on This Is Bigger Than You or I all seems to follow the same formula; the songs are mellow, piano-based affairs, all highlighted by Luis Dubuc's earnest singing. The first three songs sound like a Coldplay/Travis/Ben Folds blend that are not without their charm. "An Outline" is a gorgeous radio-friendly pop number; the same could be said of "Coastal Cities," an otherwise gorgeous song that's ruined somewhat by some rather amateurish studio vocal effects at the end. "Don't Call" borrows a piano tag from Parachutes, and the ticking clocks are a subtle reference, too. All three songs show a great deal of promise. The last three songs, however, aren't up to the high standards of the first half of the record. "Friendly Reminder" is a seemingly incongrous acoustic singalong number; "Love of My Troubles" sounds too much like a bad Radiohead imitation, while "The Giver" is simply forgettable, generic, whiny emo-pop.
Though the last half of the record is forgettable, the first three songs are excellent and show a great deal of promise. If Dubuc escapes the more generic-sounds of the last half of This Is Bigger Than You or I, then his next record might be something to look forward to.
--Joseph Kyle
Artist Website: http://www.thesecrethandshake.net
Label Website: http://www.dollhouseinc.com
*For best effect, imitate the teacher in the animated Peanuts specials.
The music found on This Is Bigger Than You or I all seems to follow the same formula; the songs are mellow, piano-based affairs, all highlighted by Luis Dubuc's earnest singing. The first three songs sound like a Coldplay/Travis/Ben Folds blend that are not without their charm. "An Outline" is a gorgeous radio-friendly pop number; the same could be said of "Coastal Cities," an otherwise gorgeous song that's ruined somewhat by some rather amateurish studio vocal effects at the end. "Don't Call" borrows a piano tag from Parachutes, and the ticking clocks are a subtle reference, too. All three songs show a great deal of promise. The last three songs, however, aren't up to the high standards of the first half of the record. "Friendly Reminder" is a seemingly incongrous acoustic singalong number; "Love of My Troubles" sounds too much like a bad Radiohead imitation, while "The Giver" is simply forgettable, generic, whiny emo-pop.
Though the last half of the record is forgettable, the first three songs are excellent and show a great deal of promise. If Dubuc escapes the more generic-sounds of the last half of This Is Bigger Than You or I, then his next record might be something to look forward to.
--Joseph Kyle
Artist Website: http://www.thesecrethandshake.net
Label Website: http://www.dollhouseinc.com
*For best effect, imitate the teacher in the animated Peanuts specials.
Rogue Wave "Descended Like Vultures"
What a difference a few years can make! Even though Sub Pop released Rogue Wave's debut album Out of the Shadows last year, it was actually released in 2002. This delay in releasing new studio material might be frustrating for some, but I'm willing to argue that this passing of time only helped Rogue Wave. Since releasing his debut album, main Rogue Zach Rogue has formed a full backing band, and they have toured the country several times. Naturally, the band's dynamic has changed--and for the better.
If Out of the Shadows is the lovely monochromatic sound of one man clapping, Descended Like Vultures is a full-blown technicolor feature. The debut--which was essentially a solo project--sounded nice, but it suffered from the same drawbacks found in other one-man band projects; the "band" is only as good as the musician behind the instruments, and it's very rare for one man to capture the same spontanaety of a full band accompaniment. While the debut charmed its listeners, it sounded charmingly awkward; one had the feeling that Rogue had the capacity for greatness, and one certainly hoped Rogue Wave's follow up would be a little bit better.
After one listen to Descended Like Vultures, it's clear that such concern was for naught. Rogue can compose a very catchy tune; "Publish My Love" and "Catform" are two songs that will not leave your head for days. Though he has the ability to make pretty groovin' rock and roll, most of the the album is mellowed-out sunshine rock that drifts in and out of your ears like a warm summer's breeze. The strumming guitars on "Salesman at the Day of the Parade" and the light electric guitars on "You" warm the heart and take the listener to a nice, calm place--one where the sun shines all day and the stars shine all night. True, times can be bittersweet (as you'll hear on "California," "Love's Lost Guarantee," and "Temporary"), but when there's love to be in, why not be in love? But don't think that because the band's music is soft and pretty, that they're incapable of making some great rockers; when the band wants to deliver its power, as heard on "10:1" and "Publish My Love," there's no stopping their full-force attack.
It's great to hear that Rogue and company have bonded so tightly, because Descended Like Vultures is, hands down, a great record. It's simple in its execution, but simplicity is often a sign of brilliance. May it not take Rogue and his rogues two and a half years to record and relase a follow-up!
--Joseph Kyle
Artist Website: http://www.roguewavemusic.com
Label Website: http://www.subpop.com
If Out of the Shadows is the lovely monochromatic sound of one man clapping, Descended Like Vultures is a full-blown technicolor feature. The debut--which was essentially a solo project--sounded nice, but it suffered from the same drawbacks found in other one-man band projects; the "band" is only as good as the musician behind the instruments, and it's very rare for one man to capture the same spontanaety of a full band accompaniment. While the debut charmed its listeners, it sounded charmingly awkward; one had the feeling that Rogue had the capacity for greatness, and one certainly hoped Rogue Wave's follow up would be a little bit better.
After one listen to Descended Like Vultures, it's clear that such concern was for naught. Rogue can compose a very catchy tune; "Publish My Love" and "Catform" are two songs that will not leave your head for days. Though he has the ability to make pretty groovin' rock and roll, most of the the album is mellowed-out sunshine rock that drifts in and out of your ears like a warm summer's breeze. The strumming guitars on "Salesman at the Day of the Parade" and the light electric guitars on "You" warm the heart and take the listener to a nice, calm place--one where the sun shines all day and the stars shine all night. True, times can be bittersweet (as you'll hear on "California," "Love's Lost Guarantee," and "Temporary"), but when there's love to be in, why not be in love? But don't think that because the band's music is soft and pretty, that they're incapable of making some great rockers; when the band wants to deliver its power, as heard on "10:1" and "Publish My Love," there's no stopping their full-force attack.
It's great to hear that Rogue and company have bonded so tightly, because Descended Like Vultures is, hands down, a great record. It's simple in its execution, but simplicity is often a sign of brilliance. May it not take Rogue and his rogues two and a half years to record and relase a follow-up!
--Joseph Kyle
Artist Website: http://www.roguewavemusic.com
Label Website: http://www.subpop.com
December 07, 2005
Saxon Shore "The Exquisite Death of..."
Saxon Shore’s latest album, The Exquisite Death of Saxon Shore, is nothing short of a blissful listening experience. That the album almost did not come into existence makes its existence even more blessed. Last year, two of the band’s founding members left, and Matt Doty was forced to put together an entirely new band. This overhaul has proven a good thing, as the new incarnation of Saxon Shore takes his music to new heights. They then enlisted magical studio wizard Dave Friddman to produce the record. The result? A drop-dead gorgeous record that burns with gentle intensity and unhurried passion.
The Exquisite Death of Saxon Shore's sound travels from quiet to loud to quiet again, but in so doing, they never tread into bombastic or lightweight territory. From the gentle lullaby tones of "This Shameless Moment" and "TheShaping of a Helpless Joy" to the epic, cinematic rock of "Isolated By the Secrets of Your Fellow Men" and "How We Conquered the Western World on Horseback," Saxon Shore explores all sorts of delicate, gentle ambient-rock sounds, treading the same ground as--but never imitating--Sigur Ros, Godspeed! You Black Emperor, Mogwai, and Explosions in the Sky. Though the band's tendency to start soft, grow loud and then grow soft again might not impress some, overall, the music is pretty enough and colorful enough to escape any easy dismissal as "generic-sounding." Indeed, it's understandable how a few of the songs could be labeled as generic, if you listened to them outside of the rest of the record. But listening to the album in individual parts seems to defeat the point; listening to it as if it were one long, continuous symphony makes the listening experience much more rewarding.
Very rarely is music this easy on the ears, but The Exquisite Death of Saxon Shore is a wonderfully relaxing record. Word has it that the band is working on a soundtrack score, and it's easy to understand why; their music and their tone is cinematic, and it will be interesting to see how their soundtrack-style music fits in with a visual element.
--Joseph Kyle
Artist Website: http://www.saxonshore.com
Label Website: http://www.burnttoastvinyl.com
The Exquisite Death of Saxon Shore's sound travels from quiet to loud to quiet again, but in so doing, they never tread into bombastic or lightweight territory. From the gentle lullaby tones of "This Shameless Moment" and "TheShaping of a Helpless Joy" to the epic, cinematic rock of "Isolated By the Secrets of Your Fellow Men" and "How We Conquered the Western World on Horseback," Saxon Shore explores all sorts of delicate, gentle ambient-rock sounds, treading the same ground as--but never imitating--Sigur Ros, Godspeed! You Black Emperor, Mogwai, and Explosions in the Sky. Though the band's tendency to start soft, grow loud and then grow soft again might not impress some, overall, the music is pretty enough and colorful enough to escape any easy dismissal as "generic-sounding." Indeed, it's understandable how a few of the songs could be labeled as generic, if you listened to them outside of the rest of the record. But listening to the album in individual parts seems to defeat the point; listening to it as if it were one long, continuous symphony makes the listening experience much more rewarding.
Very rarely is music this easy on the ears, but The Exquisite Death of Saxon Shore is a wonderfully relaxing record. Word has it that the band is working on a soundtrack score, and it's easy to understand why; their music and their tone is cinematic, and it will be interesting to see how their soundtrack-style music fits in with a visual element.
--Joseph Kyle
Artist Website: http://www.saxonshore.com
Label Website: http://www.burnttoastvinyl.com
The Darkness "One Way Ticket to Hell...And Back!"
And now, the award for this year's "November Surprise" release goes to...The Darkness!
The Darkness?
That band?
Yeah. That band.
Of course, follow-up albums to highly-regarded debuts aren't supposed to be this good, especially in the metal world. After all, bands are supposed to be self-induglent on their sophomore records; they're supposed to have big choirs and loud orchestras and songs about the high-life and success and money and all the things that are associated with newfound wealth. Such records are supposed to be bigger than life, bombastic as all get-out and filled to the brim with excessively long epic-rockers that don't really sound a thing like the previous record. That these records are often more popular than the record that preceded it isn't surprising--nor is said band's disappearance from the music world shortly thereafter.
But The Darkness have escaped from falling victim to the dreaded excessive follow-up curse, and they've done so for two reasons. First, the band assigned production duties to Roy Thomas Baker, a man who understands the proper techniques for making successful pomp and over-the-top rock; after all, his productions helped make Queen a household name. More importantly, though, the band's music was already decadent, over-the-top and bigger than life. Just take a listen to their debut album Permission to Land; it's full of great rockers about the bad-boy aspects of rock-and-roll, all highlighted by some excellent guitar pyrotechnics and Justin Hawkins' super-sweet falsetto. Though slagged at the time as being a "parody" metal band, many people looked past the cynical press and discovered that The Darkness is the real deal.
One Way Ticket to Hell...And Back is a quite succinct, compact record. While their debut was a blast of retro-rock that recalled the best (and worst) of early 1980s rock, for One Way Ticket the band has eschewed those tendencies in favor of a deeper, less superficial-sounding record, opting for songs with grander arrangements. Songs now feature orchestras and string sections, and only a few numbers (most notably "Girlfriend" and "Knockers") recall their debut. This is where Roy Thomas Baker's magic is felt; at times, especially on "Seemed Like a Good Idea At the Time" and "Blind Man," the similarities between The Darkness and Queen are not only noticeable, they're unavoidable. (This is not a bad thing, either.) But when you hear the bagpipes on "Hazel Eyes" or the orchestra on Hawkins' singing is better than ever, his falsetto swinging higher and higher, and after a few years on the road, it's even stronger than before. The man can sing, damn it. Maturity's a helluva thing, and for The Darkness, maturity is a blessing.
This newfound sonic maturity also falls in line with the band's lyrical maturity; gone are the songs about lust and love and drugs and debauchery and jealousy; instead, they sing of maturity, cleaning up their act, settling down in deep relationships, and, yes, going bald. That they're already addressing such subjects by their second album is an amazing feat; most bands wait until their third or fourth album to do so. Such topics often indicate a band's decline, here, it's an indication that the band's getting better, because, well...they're not making silly rock songs like "Love on the Rocks With No Ice" or "Get Your Hands Off Of My Woman." The band's newfound sense of maturity serves a grander purpose--seriousness. If Permission to Land made it easy to dismiss the band as a bunch of novelty-act poseurs making parody metal, One Way Ticket to Hell...And Back finds the band kicking the naysayers in the balls, proving to the world once and for all that The Darkness is a serious band. That the band can do so without losing any ground or coming off in a silly way only exemplifies their point.
One Way Ticket to Hell...And Back is indeed a surprise treat. Those expecting Permission to Land, volume two will probably be disappointed, but for those who had writ this band off as being nothing more than an amusing joke will certainly be surprised. I know I was. As surprising as it is for me to admit, this is easily one of the year's best records.
--Joseph Kyle
Artist Website: http://www.thedarknessrock.com
Label Website: http://www.atlanticrecords.com
The Darkness?
That band?
Yeah. That band.
Of course, follow-up albums to highly-regarded debuts aren't supposed to be this good, especially in the metal world. After all, bands are supposed to be self-induglent on their sophomore records; they're supposed to have big choirs and loud orchestras and songs about the high-life and success and money and all the things that are associated with newfound wealth. Such records are supposed to be bigger than life, bombastic as all get-out and filled to the brim with excessively long epic-rockers that don't really sound a thing like the previous record. That these records are often more popular than the record that preceded it isn't surprising--nor is said band's disappearance from the music world shortly thereafter.
But The Darkness have escaped from falling victim to the dreaded excessive follow-up curse, and they've done so for two reasons. First, the band assigned production duties to Roy Thomas Baker, a man who understands the proper techniques for making successful pomp and over-the-top rock; after all, his productions helped make Queen a household name. More importantly, though, the band's music was already decadent, over-the-top and bigger than life. Just take a listen to their debut album Permission to Land; it's full of great rockers about the bad-boy aspects of rock-and-roll, all highlighted by some excellent guitar pyrotechnics and Justin Hawkins' super-sweet falsetto. Though slagged at the time as being a "parody" metal band, many people looked past the cynical press and discovered that The Darkness is the real deal.
One Way Ticket to Hell...And Back is a quite succinct, compact record. While their debut was a blast of retro-rock that recalled the best (and worst) of early 1980s rock, for One Way Ticket the band has eschewed those tendencies in favor of a deeper, less superficial-sounding record, opting for songs with grander arrangements. Songs now feature orchestras and string sections, and only a few numbers (most notably "Girlfriend" and "Knockers") recall their debut. This is where Roy Thomas Baker's magic is felt; at times, especially on "Seemed Like a Good Idea At the Time" and "Blind Man," the similarities between The Darkness and Queen are not only noticeable, they're unavoidable. (This is not a bad thing, either.) But when you hear the bagpipes on "Hazel Eyes" or the orchestra on Hawkins' singing is better than ever, his falsetto swinging higher and higher, and after a few years on the road, it's even stronger than before. The man can sing, damn it. Maturity's a helluva thing, and for The Darkness, maturity is a blessing.
This newfound sonic maturity also falls in line with the band's lyrical maturity; gone are the songs about lust and love and drugs and debauchery and jealousy; instead, they sing of maturity, cleaning up their act, settling down in deep relationships, and, yes, going bald. That they're already addressing such subjects by their second album is an amazing feat; most bands wait until their third or fourth album to do so. Such topics often indicate a band's decline, here, it's an indication that the band's getting better, because, well...they're not making silly rock songs like "Love on the Rocks With No Ice" or "Get Your Hands Off Of My Woman." The band's newfound sense of maturity serves a grander purpose--seriousness. If Permission to Land made it easy to dismiss the band as a bunch of novelty-act poseurs making parody metal, One Way Ticket to Hell...And Back finds the band kicking the naysayers in the balls, proving to the world once and for all that The Darkness is a serious band. That the band can do so without losing any ground or coming off in a silly way only exemplifies their point.
One Way Ticket to Hell...And Back is indeed a surprise treat. Those expecting Permission to Land, volume two will probably be disappointed, but for those who had writ this band off as being nothing more than an amusing joke will certainly be surprised. I know I was. As surprising as it is for me to admit, this is easily one of the year's best records.
--Joseph Kyle
Artist Website: http://www.thedarknessrock.com
Label Website: http://www.atlanticrecords.com
December 05, 2005
Excepter "Sunbomber"
Listen To: "Dawn Patrol
Summer means a lot of things-vacations, new friends, trips, relaxation. But there’s one thing you can’t escape: the HEAT. Yeah, it’s kind of obvious, but the climate of summer is definitely an influence on society. What better way to document these things than by setting your experience to song? For their new EP Sunbomber, that’s exactly what New York experimental band Excepter did. This five-song EP was recorded on one hot July day in New York, and damn if they didn’t do a great job of capturing the mood and the feel of the atmosphere.
Through the five songs, the band warbles and drones and seemingly captures the vibe of New York City in the summer. It’s not exactly “noise,” but it’s something quite “ambient” in nature. The tones on “One More Try” are shimmering and warm and wobbly, not unlike the steam of a hot city street. On “Second Chances,” you hear their reinterpretation of a busy, traffic-filled street, full of gridlock and honking horns. But don’t think that all of Sunbomber is abstract; through “Bridge Traffic” and “Dawn Patrol” runs a sexy, seductive funk beat, the sound of the heartbeat of life in an urban wasteland. Think the sleazy side of Miami at night and you’re on the right track. (It’s not too hard of a stretch to say that those two songs, if edited a bit, would work as great incidental music for CSI: Miami.) The final track, the nine-minute title song, is a woozy, weird psychedelic jam epic, and though the woozy vocals are slightly irritating, it’s nonetheless quite captivating.
Some might wrongfully peg Excepter as making noise, but there’s definitely more to them than that. Sunbomber is, in its own way, an odd slice-of-life, a snapshot of a summer’s day.
--Joseph Kyle
Artist Website: http://www.excepter.com
Label Website: http://www.5rc.com
Summer means a lot of things-vacations, new friends, trips, relaxation. But there’s one thing you can’t escape: the HEAT. Yeah, it’s kind of obvious, but the climate of summer is definitely an influence on society. What better way to document these things than by setting your experience to song? For their new EP Sunbomber, that’s exactly what New York experimental band Excepter did. This five-song EP was recorded on one hot July day in New York, and damn if they didn’t do a great job of capturing the mood and the feel of the atmosphere.
Through the five songs, the band warbles and drones and seemingly captures the vibe of New York City in the summer. It’s not exactly “noise,” but it’s something quite “ambient” in nature. The tones on “One More Try” are shimmering and warm and wobbly, not unlike the steam of a hot city street. On “Second Chances,” you hear their reinterpretation of a busy, traffic-filled street, full of gridlock and honking horns. But don’t think that all of Sunbomber is abstract; through “Bridge Traffic” and “Dawn Patrol” runs a sexy, seductive funk beat, the sound of the heartbeat of life in an urban wasteland. Think the sleazy side of Miami at night and you’re on the right track. (It’s not too hard of a stretch to say that those two songs, if edited a bit, would work as great incidental music for CSI: Miami.) The final track, the nine-minute title song, is a woozy, weird psychedelic jam epic, and though the woozy vocals are slightly irritating, it’s nonetheless quite captivating.
Some might wrongfully peg Excepter as making noise, but there’s definitely more to them than that. Sunbomber is, in its own way, an odd slice-of-life, a snapshot of a summer’s day.
--Joseph Kyle
Artist Website: http://www.excepter.com
Label Website: http://www.5rc.com
December 03, 2005
Various Artists "Dimension Mix"
Bruce Haack was an odd fellow. He made music in his living room, and it wasn't just any kind of music...it was magical music. Some of it could be considered children's music, but Haack was much more interested in capturing the innocence of youth and the joy of innocence in song. He had a psychology degree, and he was interested in the role music played in the development of a child's mind. That he did so at a time when the music world was undergoing radical technological advances and sonic experimentation made his music even more interesting. That he lived and died in obscurity is sad.
It's no surprise, then, that his recorded work influenced a younger generation. While he might not necessarily be a well-known influence, for those more offbeat artists, Haack was a fascinating and fun little secret. A thank-you should go out to the bright spark who decided on the idea of a tribute record to Haack should also serve as a benefit record for autistic children, a cause dear to Haack's heart. As Haack is extremely obscure, there's probably little chance you know any of the original versions of these songs. (A companion disc of the originals a la The Late, Great Daniel Johnston would be REALLY nice, Santa!)
As such, it's best to simply listen to these songs with the artist's own styles in mind; surprisingly, several of these songs--especially offerings from Stereolab, Beck, The Danielson Famile, DJ Me DJ You, and Fantastic Plastic Machine sound like original compositions. Personal favorites include Irving's "Army Ants In Your Pants" and Eels' silly Middle Eastern kids-song "Jelly Dancer." Of course, there's a few unknowns, like The Stones Throw Singers' amazing "Rain of Earth," and Brother Cleve's "School 4 Robots," which are quite fascinating..
Quirky, fun music by an eccentric personality for a good cause? Sounds like fun! Dimension Mix is a great, unique little tribute.
--Joseph Kyle
Project Website: http://www.dimensionmix.com
Label website: http://www.eeniemeenie.com
It's no surprise, then, that his recorded work influenced a younger generation. While he might not necessarily be a well-known influence, for those more offbeat artists, Haack was a fascinating and fun little secret. A thank-you should go out to the bright spark who decided on the idea of a tribute record to Haack should also serve as a benefit record for autistic children, a cause dear to Haack's heart. As Haack is extremely obscure, there's probably little chance you know any of the original versions of these songs. (A companion disc of the originals a la The Late, Great Daniel Johnston would be REALLY nice, Santa!)
As such, it's best to simply listen to these songs with the artist's own styles in mind; surprisingly, several of these songs--especially offerings from Stereolab, Beck, The Danielson Famile, DJ Me DJ You, and Fantastic Plastic Machine sound like original compositions. Personal favorites include Irving's "Army Ants In Your Pants" and Eels' silly Middle Eastern kids-song "Jelly Dancer." Of course, there's a few unknowns, like The Stones Throw Singers' amazing "Rain of Earth," and Brother Cleve's "School 4 Robots," which are quite fascinating..
Quirky, fun music by an eccentric personality for a good cause? Sounds like fun! Dimension Mix is a great, unique little tribute.
--Joseph Kyle
Project Website: http://www.dimensionmix.com
Label website: http://www.eeniemeenie.com
Josh Joplin "Jaywalker"
Josh Joplin is a singer-songwriter with a penchant for REM. Well, there's no way of knowing whether or not that's true, but it's not hard to imagine, as he sounds exactly like Michael Stipe. He's been making music for several years, getting a big record deal during that brief time when David Gray represented the very brief 'singer-songwriter' trend. But the big deal didn't quite work out, yet Joplin's persevered, and after excellent records like Useful Music and The Future That Was--which are well worth the time to dig out of the dollar bin--he's returned, this time without the "Josh Joplin Group" moniker. It's not hard to understand why labels courted him, his voice is soft and pretty and sweet, and even though it instantly sounds like Michael Stipe, it also, in a way, reminds of Guided By Voices' Tobin Sprout: soft and pretty, though somewhat rough and imperfect.
Unfortunately, Josh Joplin isn't Michael Stipe or Tobin Sprout. That doesn't stop him from trying, though; Joplin's earnestness and sincerity is charming, even though it usually makes his songs sound terribly affected. His backing band doesn't help, either; the drums occasionally sound clunky and off beat, while the arrangements sound unfinished, resulting in songs that aren't as sharp as they could be. Case in point: "Arms to Hold Me." For the first minute and a half, it's just him busking and singing rather intensely. It's pretty damn good, but the band inevitibly joins in with clunky drums and sloppy playing that simply underwhelms this otherwise good song. The pretty David Gray-esque "A Hard Year" is a gorgeous song in spite of the overpowering drums. On the songs where Joplin doesn't try to project his voice, such as on "Jaywalker's of the World" and "Empire State," the results are quite satisfying. But these moments don't make up for the record's overall awkward production.
Jaywalker is a frustrating record, because it sounds half-assed. If Joplin had less talent, it would be easy to dismiss this record, but he's capable of better. Nothing's more frustrating than listening to a record by someone who can do better. Honestly, Joplin might benefit from a record that's truly a solo record. His acoustic demos on his website prove that he might be better served by exploring that sound next time around. Considering this is his first record without the "Josh Joplin Group," perhaps Jaywalker is a 'transition' record for Joplin. Yeah, I'll accept that, and I'll take comfort in that, for Jaywalker is a surprising C+ effort from an honor student.
--Joseph Kyle
Artist Website: http://www.joshjoplin.com
Label Website: http://www.eleventhirtyrecords.com
Unfortunately, Josh Joplin isn't Michael Stipe or Tobin Sprout. That doesn't stop him from trying, though; Joplin's earnestness and sincerity is charming, even though it usually makes his songs sound terribly affected. His backing band doesn't help, either; the drums occasionally sound clunky and off beat, while the arrangements sound unfinished, resulting in songs that aren't as sharp as they could be. Case in point: "Arms to Hold Me." For the first minute and a half, it's just him busking and singing rather intensely. It's pretty damn good, but the band inevitibly joins in with clunky drums and sloppy playing that simply underwhelms this otherwise good song. The pretty David Gray-esque "A Hard Year" is a gorgeous song in spite of the overpowering drums. On the songs where Joplin doesn't try to project his voice, such as on "Jaywalker's of the World" and "Empire State," the results are quite satisfying. But these moments don't make up for the record's overall awkward production.
Jaywalker is a frustrating record, because it sounds half-assed. If Joplin had less talent, it would be easy to dismiss this record, but he's capable of better. Nothing's more frustrating than listening to a record by someone who can do better. Honestly, Joplin might benefit from a record that's truly a solo record. His acoustic demos on his website prove that he might be better served by exploring that sound next time around. Considering this is his first record without the "Josh Joplin Group," perhaps Jaywalker is a 'transition' record for Joplin. Yeah, I'll accept that, and I'll take comfort in that, for Jaywalker is a surprising C+ effort from an honor student.
--Joseph Kyle
Artist Website: http://www.joshjoplin.com
Label Website: http://www.eleventhirtyrecords.com
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