FUTURE ISLANDS: ON THE WATER

Posted in discosalt, Independent Music, MUSIC, Record Review, top story
[rating: 3.5]
Future Islands: On the Water
Release date: October 11, 2011
Label: Thril Jockey

 

To say that Future Islands singer Samuel Herring has an unusual voice, would be an understatement. Before listening to the band’s new album, On the Water, I have always equated Herring’s distinct, strained  vocals with the likes of Tom Waits. What critic Daniel Durchholz described as sounding “like it was soaked in a vat of bourbon, left hanging in the smokehouse for a few months, and then taken outside and run over with a car.” But on their new album, Herring’s voice sounds less Waits, and more comical – more like the  voice of Jason Segal’s Dracula puppet in Forgetting Sarah Marshall.

 

No matter how you desect  it,  Herring’s voice, just isn’t welcoming.  Granted, certain tracks like “Where I Found You”, convey a certain charm and  palpable operatic emotion, but on the whole, Herring’s voice is a challenge for the listener. While there are great things to be said about a band who challenge their listeners, On the Water is relentlessly agitating, with each song masked by an intentionally repellent exterior.

 

Herring’s voice aside, On the Water is sonically reminiscent  of the last Wild Beasts album or even Austra’s LP. Most songs are built around synthesizers and buzzy, poppy effects, then layered with natural instruments. Where the vocals fall short,  the musical arrangements pick up the slack, and they do so with incredible strength. This is a a nautical album, heavy on atmospherics and complete with splashing wave sounds throughout tracks like “Tybee Island”. “Before the Bridge” is the most engendering song on the album, which is also highly progressive. There is a lot of raw emotion and yearning on this album, some of which flows from Herring, but most of which can be found in the subtle soundscape brilliance that the album is soaked in. Ultimately, song structure is so saccharine and well constructed on this album, that in some instances, Herring’s voice almost seems appropriate.  It takes some time and patience to arrive at that concession, but like listening to their previous effort In Evening Air on heavy rotation, it’s an embrace worth extending arms for.

 

-Andrew Bailey

Halloween Video Mix

Posted in discosalt, Independent Music, Music Video

Get your Halloweenhead together with a video playlist of our favorite Halloween Songs.

The Horrors  :  Sheena is a Parasite

Chromeo :  Don’t Turn the Lights On

Ray Parker Jr. :  Ghostbusters

The Ramones :  Pet Cemetary

Bauhaus : Bela Lugosi’s Dead

Rockwell : Somebody’s Watching Me

Spoon : The Ghost Of You Lingers

David Bowie : Ashes to Ashes

Ryan Adams : Halloweenhead 

The Cure : Lullaby

Duck Sauce :  The Big Bad Wolf

MGMT: Kids

RATATAT: Drugs

ANR: Big Problem

The Cramps :  I Was a Teenage Werewolf

Joy Division : Dead Souls 

Cut Copy : So Haunted 

Sonic Youth: Halloween 

Michael Jackson :  Thriller

Rocky Horror Picture Show : Science Fiction/ Double Feature

David Bowie :  Scary Monsters (And Super Creeps)

The Rolling Stones : Sympathy for the Devil

Radiohead : Bodysnatchers

WolfMother : Witchcraft

The Presets : A New Sky 

Black Sabbath : Paranoid

Daft Punk : End of Line (Tame Impala Remix)

WE WERE PROMISED JETPACKS: IN THE PIT OF THE STOMACH

Posted in Independent Music, MUSIC, Record Review

[rating: 3.5]

We Were Promised Jetpacks: In the Pit of the Stomach 
Label: Fatcat Records
Release date: October 4, 2011

When people think of Scotland, three things come to mind – kilts, haggis and the Loch Ness monster. This is a fact and to be honest, it’s quite comprehensive. But after spending a decade living there one year, I quickly realised that beyond prehistoric urban myths and (surprisingly delicious) sheep innards, Scotland has a thriving music scene with a wealth of burgeoning talent and a handful of next-big- things.

For the uninitiated, We Were Promised Jetpacks (WWPJ) build on the reputation of fellow countrymen, like Belle and Sebastian and The Fratellis, falling somewhere along the spectrum between the formers’ poetic melancholy and the latters’ sanguine sing-alongs. Their debut album, These Four Walls (2009), put the Edinburgh-based quartet on the map, seeing them tour America and later open for Jimmy Eat World. Several singles achieved commercial success and served as soundtrack fodder for U.S. TV shows and a film (okay, so it was Hall Pass, but still).

The big question, as with most second albums, is whether In the Pit of the Stomach is a display of maturity or a sophomoric slump.

The opening track, “Circles and Squares”, starts with a cacophonous intro and immediately it’s apparent that compared to These Four Walls, vocalist Adam Thompson is lacking his former energy and passion. Confusingly, it somehow manages to gracefully evolve and ramp up to a powerful crescendo. The reward is a beautiful, contemplative instrumental ending that ultimately saves the song. Nonetheless, noticeable dissonance at Track #1 is never a good thing.

“Act on Impulse” is arguably one of the best tracks on the album. The addictive opening of punchy guitar riffs and drumming goes on for over two minutes and is gentle, upbeat and calming. An ethereal cadence and the songs’ raw lyrics show just what WWPJ is capable of, proving also that Thompson does indeed have the ability to stir emotions without needlessly yelling.

Expectations are lowered in “Through the Dirt and the Gravel”, which is chaotic and frenetically paced. Thompson’s vocals are grating and dispirited; one gets the feeling he can’t wait for this song to end either. While bassist Sean Smith and guitarist Michael Palmer struggle to salvage and inject some much-needed energy, the track sounds like something from a high school battle of the bands.

If you listen to just one song on In the Pit of the Stomach, make it “Sore Thumb”. This autumnal anthem is a modern-day lullaby for 21st century youth. To the social media weary, the indifferent, the young-and-already-blasé, and the confused and searching – this song is yours. It magically encapsulates the orchestral grandeur of Arcade Fire and fuses it with the strengths and personality of WWPJ, notably the exuberance that was abundant in their debut album. The result is nothing short of a poignant indie masterpiece fit for heavy rotation.

Like my year abroad in Scotland, the album avoids any middle ground, favouring an emotional rollercoaster approach instead. Thrilling highs or dramatic lows. Love or hate. Fish or chips. So what’s the verdict – sophomore slump or does WWPJ soar up into the strata? It’s actually not easy to tick either box definitively. In the Pit of the Stomach lacks the gumption and cohesiveness of These Four Walls, which was full of youthful vigor. It is decidedly the awkward, evolving adolescent phase of the band, and while there are moments of beauty and revelation, the underlying discordance shows that WWPJ are still finding their feet. But then, aren’t we all?

-Des Carter

RYAN ADAMS: ASHES & FIRE

Posted in Independent Music, MUSIC, Record Review
[rating: 3.5]
Ryan Adams: Ashes & Fire
Label: Paxam
Release date: October 11, 2011
The long, desultory wayfaring that Ryan Adams first embarked on as a lovelorn, sentimental balladeer on 2000′s Heartbreaker, has finally come full circle.Adams, whose previously, indiscriminate performances in musical experimentation could be described, at best, as enigmatic (here’s to you, Orion), is finally back, doing what he does best: Alt. Country Rock.Ashes & Fire is a collection of understated, honeymoon songs from a man who sounds again at ease. Since his Whiskeytown days, Adams has weathered drug and alcohol addictions, heartache, and mental collapse, and each has greatly impacted his work. The musical results, though generally positive, have been vastly, varied. But in 2009, Adams got married; he then distanced himself from The Cardinals; and flirted with retirement due to Ménière’s disease, an inner-ear disorder which affects hearing and balance. Apparently, the roads he’s traveled have not been in search of creative reconciliation, but rather a matter of personal and physical well-being.There are vestiges of these demons on Adams’ new record – “Save Me” is a subtle but desperate cry for help – but ultimately, Ashes & Fire seems to reflect a reinvigorated spirit. The album astutely opens with Adams’ garbled words, “the last time I was here it was raining/it ain’t raining anymore,” over light, barely-there acoustic guitar. And for the first time in a long time, Adams appears defiant in the face of his obstacles and welcome to the challenge they present. His narrative about dancing in dirty rain, evocative of a “bring it on” mentality, persists throughout the record, even when he may be lamenting his situation. Adams discerns the positive even amidst the emotional shackles of a relationship on “Chains of Love”, and he prescribes virtue to hard lessons learned on “Lucky Now,” and “I Love You But I Don’t Know What to Say.” In the piano-driven grand finale, Adams seems to address his new wife, Mandy Moore, directly: “I was lost/I tried to find a balance, got caught up in the cost/I let it go, when I met you”. It wasn’t that long ago that Adams was completely lost in love –  he titled an album Love is Hell, for crying out loud – but Ashes & Fire is the very much the opposite.Sonically, this album is comparable to Heartbreaker. Adams has immeasurable taste, and while with The Cardinals, there appeared to be some method to his madness (the more instruments, the better), as  front man to the band, the intimacy of his work progressively dissolved: III/IVwas sprawling and over-packed, and Easy Tiger, though a good album in its own right, was singularly geared to producing a radio-worthy single. (I won’t even broach Orion.) Yet Ashes & Fire is simple and elegant; it feels personal and hopeful. The album is a return to Adams’ solo roots, but reflects the evolution of a man. No longer angst-filled, Adams is steadfast in his determination to fight rather than wallow – and he’s doing it with new found grace.-Andrew bailey

ATLAS SOUND: PARALLAX

Posted in Independent Music, MUSIC, Record Review
[rating: 4.5]
Atlas Sound: Parallax
Label: Parallax
Release date: November 8, 2011In the past year, Bradford Cox has asserted himself as one of the most important musical figures of this generation. Four, full-length, outtake and rarity albums, a massive tour with Deerhunter, and the release of his career-defining album Parallax. Up until this point, so much of Cox’s solo work was indistinguishable from his other projects — different store fronts for the same product. But on Parallax, the output is entirely unique and tremendously enjoyable.Previous Atlas Sound albums have always been an atmospheric and moody affair, but there’s a certain aura to Parallax that’s lacking in the former works. Maybe it’s a byproduct of the autumnal change, but the album contains a certain lively spirit that is hard to describe. “Terra Incognita,” a slow-rolling, acoustic piece is the soundtrack to lonely walks on uneven sidewalks. Cox’s haunting voice matches the deathly look of the leaves. It’s a beautiful landscape he paints, and it’s just one of the many focal points on the record.

The real weight of Cox’s work comes from the sense of isolation he creates on Parallax. Where most albums involve the world outside the artist, this album feels completely on its own, a summary of Cox’s stream-of-consciousness style of song writing and perfectly arranged instrumentals. While piecing the tracks together doesn’t necessarily reveal a coherent story or theme, the tone and rhythm of each song, strings together in movie score-esque pattern. Infectious guitar chords on “The Shakes” are echoed deep within the closing track “Nightworks,” in a tangentially related but familiar way. There’s a pattern to so much of Cox’s work, but it’s never boring or predictable. The subtle piano keys on “Mona Lisa” differentiate it from the rest of the album, but the same guitar effects are present along with Cox’s echoing vocals.

The album’s highlight, which truly showcases Cox’s ability to arrange and perform a song, is “Te Amo.” One of the best tunes this year, “Te Amo” has a simple lyrical structure, but is amazingly complex and breathtaking when taken as as a whole.The scaling piano keys at the beginning are entrancing, compounded by the slam of a drum that all lead into the explosion of Cox’s vocals. “We’ll have such strange dreams,” Cox sings in the third verse, the tune, by this time, having fallen into a hypnotic pace. On its own, the tune is perfect. But even as it transitions to the next track on the album, you can hear how it fits perfectly within the context of the rest of the album. And that’s where “Te Amo” excels: in its ability to stand alone as a great single, without retracting from the contained experience of Parallax.

There’s usually little to be learned from an album’s cover art, but Parallax has a story to tell. Cox, grabbing the microphone, standing half-lit and alone, is presented in his truest form. While his other projects also flourish, Cox is at his best when solo, left unaffected by outside voices and concerns. His ability to write hermetically, and at the rate and range at which he does, proves Cox to be an important, if fringe, member of the modern music scene. Parallax challenges current experimental pop music’s tropes and habits, vastly exceeding all expectations as one of the best albums this year, and certainly the best of Cox’s already-storied career.

– Erik Burg

NEW BLACK KEYS VIDEO: LONELY BOY

Posted in Independent Music, MUSIC, Music Video, top story

 

The Black Key’s first new single “Lonely Boy” off the forthcoming album El Camino is out today. The album co-produced by the Black Keys and Danger Mouse, officially hits stores Dec. 6th but on November 25th, as part of Record Store Day’s Black Friday series, it will be released on 12″ viny. As a bonus, if you pre-order the album today to get an instant download of Lonely Boy. Preview the track through the band’s new viral video . Pretty sure this guy stole my dance. 

STARS PREMIERE: DEAD HEARTS VIDEO + LAUNCH CROWD-SOURCED PROMO

Posted in Independent Music, MUSIC, Music Video, top story

Montreal’s Stars have partnered with IFC to premiere the music video for “Dead Hearts.” In addition to appearing on 2010’s The Five Ghosts, the song is slated for release on the soundtrack for upcoming film Like Crazy – the 2011 winner of Best Picture at the Sundance Film Festival.

The band worked with renowned Canadian street artist Roadsworth to conceptualize and create the heart imagery in the video. To honor his work, the band is asking fans to draw inspiration from Roadsworth’s vision to create their own “dead hearts.” Using iPhone app, Instagram, fans will submit photos tagged with #deadhearts in order to enter their photo to be used in a companion video. For more information, visit the band’s Facebook page.

ABADABAD REMIX E.P. FEAT. PAPERCUTZ, COM TRUISE, SLOW MAGIC

Posted in Best Tracks, Downloads, Independent Music, MUSIC

ABADABAD is Brooklyn’s Jeremy Lee Given, tape relic’d guitar rock of perpetual summers and dreamy ladies. Invited to contribute to a remix, on an E.P. release coming out later in the year were Slow Magic, KeepShelly in Athens, :papercutz, Yalls and Com Truise, each one adding their particular sonic flavor and broadening Jeremy’s initial vision and audience for his beloved and personal songs.

Abadabad – Park Slope (:papercutz Remix) by :papercutz

NEW M83 VIDEO: MIDNIGHT CITY

Posted in Independent Music, MUSIC, Music Video, top story

M83 has released an official video for “Midnight City”, the first single from Hurry Up, We’re Dreaming. Directed by Fleur & Manu and Produced by DIVISION, “Midnight City” is the soundtrack for a pack of gifted kids with telekinetic powers who escape from an institution to be free and run wild on the outskirts of LA. Having recently relocated to Los Angeles, the video reflects Anthony’s ongoing love affair with the magical escapism of film and the city itself.

NORTH AMERICAN TOUR DATES 

Oct. 15 – Mexico City – Corona Capital Festival

Oct. 28 – Washington DC – Black Cat (early show) (Sold Out)

Oct. 28 – Washington DC – Black Cat (late show) (Sold Out)

Oct. 29 – Raleigh, NC – Kings Barcade (Sold Out)

Oct. 30 – Asheville, NC – Moog Fest

Oct. 31 – Atlanta, GA – Masquerade

Nov. 1 – Tallahassee, FL – Engine Room

Nov. 2 – Orlando, FL – The Beacham Theatre (venue change)

Nov. 4 – Houston, TX – Warehouse Live

Nov. 5 – Austin, TX – Fun Fun Fun Fest

Nov. 7 – Phoenix, AZ – The Crescent Ballroom

Nov. 9 – Los Angeles, CA – Music Box (Sold Out)

Nov. 10 – San Francisco, CA – Mezzanine (Sold Out)

Nov. 11 – Portland, OR – Wonder Ballroom

Nov. 12 – Vancouver, BC – Venue (Sold Out)

Nov. 13 – Seattle, WA – Neumos (early show) (Sold Out)

Nov. 13 – Seattle, WA – Neumos (late show)

Nov. 16 – Minneapolis, MN – First Avenue

Nov. 17 – Chicago, IL – Lincoln Hall (early show) (Sold Out)

Nov. 17 – Chicago, IL – Lincoln Hall (late show) (Sold Out)

Nov. 18 – Toronto, ON – Lees Palace (Sold Out)

Nov. 19 – Montreal, QC – Le S.A.T.

Nov. 20 – Boston, MA – House of Blues

Nov. 22 – New York, NY – Webster Hall (Sold Out)

Nov. 23 – Brooklyn, NY – Music Hall Of Williamsburg (Sold Out)

 

 

 

LEMONHEADS ANNOUNCE NEW TOUR + ALBUM

Posted in Independent Music, MUSIC, top story
THE LEMONHEADS announce an additional 50 U.S. tour dates in early 2012.
The Evan Dando-led three piece will be performing their classic 1992 album, IT’S A SHAME ABOUT RAY, from beginning to end.  Joining Dando on this tour will be guitarist Josh Lattanzi  (The Candles) and drummer Brian Nolan (American Hi-Fi).
It’s A Shame About Ray was released in 1992 and was The Lemonheads’ second album for Atlantic Records. The album featured the trio – Evan Dando (guitar, vocals), David Ryan (drums) and Juliana Hatfield (bass, backing vocals) – breezing through 12 songs in just under 30 minutes, including the title track, “My Drug Buddy,” “The Turnpike Down” and the cultural touchstone, “Alison’s Starting To Happen.”
On February 7, 2012, The Lemonheads will also release Hotel Sessions on Hall of Records/Breath of Saltwater – an intimate recording documenting a Sunday night that Evan Dando spent recording new songs with just an acoustic guitar (and some revealing commentary) in a hotel room in Bondi Beach, Australia. The 14 songs include some that never made it to an official Lemonheads album, but Dando says, “the “Into Your Arms” I did here is better than the one on the album (I like it anyway).”
THE LEMONHEADS upcoming shows:
US TOUR
10/21 – Chicago, IL @ Double Door
10/22 – Minneapolis, MN @ First Avenue
10/24 – Denver, CO @ Marquis Theatre
10/25 – Salt Lake City, UT @ Urban Lounge
10/27 – Los Angeles, CA @ El Rey Theatre
10/28 – San Juan Capistrano, CA @ Coach House
10/29 – San Diego, CA @ Soda Bar
10/30 – San Francisco, CA @ The Independent
10/31 – Santa Clara, CA @ The Avalon
11/03 – Portland, OR @ Mississippi Studios
11/04 – Vancouver, BC @ Biltmore Cabaret
11/05 – Seattle, WA @ The Triple Door
11/06 – Bellingham, WA @ Wild Buffalo House of Music
UK TOUR
11/30 – Portsmouth @ Wedgwood Rooms
12/01 – Nottingham @ Rescue Rooms
12/02 – Leeds @ Leeds University Student Union
12/04 – Newcastle @ Cluny
12/05 – Glasgow @ Oran Mor Auditorium
12/06 – Manchester @ Ritz
12/07 – Liverpool @ Academy 2
12/08 – Sheffield @ Plug
12/10 – Birmingham @ Academy 2
12/11 – Cambridge @ The Junction
12/12 – London @ Shepherds Bush Empire
12/13 – Brighton @ Concorde 2
2012 US TOUR
01/10 – Brooklyn, NY @ Knitting Factory
01/11 – Brooklyn, NY @ Knitting Factory
01/12 – Clifton Park, NY @ Northern Lights
01/13 – Uncasville, CT @ Mohegan Sun Casino – Wolf Den
01/14 – Buffalo, NY @ Town Ballroom
01/16 – Pittsburgh, PA @ Stage AE
01/17 – Toledo, OH @ Frankie’s
01/19 – Grand Rapids, MI @ The Intersection
01/20 – Indianapolis, IN @ The Vogue
01/21 – Milwaukee, WI @ Turner Hall Ballroom
01/22 – Madison, WI @ The High Noon Saloon
01/24 – Des Moines, IA @ Vaudeville Mews
01/26 – Omaha, NE @ The Waiting Room
01/27 – Lawrence, KS @ Granada
01/28 – St. Louis, MO @ Old Rock House
01/29 – Fayetteville, AR @ George’s Majestic Lounge
01/30 – Oklahoma City, OK @ The Conservatory
02/01 – Colorado Springs, CO @ The Black Sheep
02/02 – Aspen, CO @ Belly Up Aspen
02/03 – Boulder, CO @ Fox Theatre
02/04 – Albuquerque, NM @ Launch Pad
02/06 – Phoenix, AZ @ Rhythm Room
02/07 – Tucson, AZ @ Plush
02/09 – Dallas, TX @ The Door
02/10 – Houston, TX @ Fitzgerald’s
02/11 – Austin, TX @ Mohawk
02/12 – San Antonio, TX @ White Rabbit
02/14 – Baton Rouge, LA @ Spanish Moon
02/15 – New Orleans, LA @ One Eyed Jacks
02/16 – Oxford, MS @ Proud Larry’s
02/17 – Birmingham, AL @ BottleTree
02/18 – Pensacola, FL @ Vinyl Music Hall
02/20 – Tallahassee, FL @ Club Downunder
02/22 – Gainesville, FL @ Double Down Live
02/23 – Orlando, FL @ Hard Rock Live
02/24 – Tampa, FL @ Crowbar
02/25 – Jacksonville, FL @ Jack Rabbits
02/27 – Atlanta, GA @ The Earl
02/28 – Athens, GA @ 40 Watt Club
02/29 – Greenville, SC @ Handlebar
03/02 – Greensboro, NC @ Blind Tiger
03/03 – Knoxville, TN @ Bijou Theatre
03/04 – Asheville, NC @ The Orange Peel
03/05 – Louisville, KY @ Headliner’s Music Hall
03/06 – Columbus, OH @ The Basement
03/09 – Richmond, VA @ The Canal Club
03/10 – Baltimore, MD @ The Ottobar
03/11 – New Hope, PA @ New HopeWinery
03/13 – Hoboken, NJ @ Maxwell’s
03/14 – Hoboken, NJ @ Maxwell’s

THE EXPERIMENT: AN EXPLORATION INTO CREATING ELECTRONIC MUSIC

Posted in Album Stream, Best Tracks, Independent Music, MUSIC, top story

Mysterious 80’s synth lord Teeel wrote a bunch of songs back in 2008 under the alias “mimeo”.  The album is an exploration into creating electronic music. At the time, he was still learning about synthesis and using different techniques to compose music, hence the name “the experiment”.  You’ll hear hints of TEEEL mixed with downtempo and chill electronica. Enjoy this free download. [DOWNLOAD]

ICEAGE: NEW BRIGADE

Posted in Independent Music, MUSIC, Record Review
[rating: 4]
Iceage: New Brigade
Label: What’s Your Rupture
Release date:  June 21, 2011

Anger, anxiety, maladjustment and nihilism are all impulses that legions of teenagers combat daily. In Copenhagen,  four teens are not merely scrapping against these demons, but waging an outright war on them.

Meet Iceage: a Danish punk outfit, whose rowdy live shows have delineated them the poster children for a “new cult of violent youth” – just have a scroll through the bloody post-show photos on their blog.But their new album New Brigade, substantiates the band as much more than a group of gashed-head exhibitionists and young, brash, noise makers. In a musical climate so over-run with baby-soft indie pop, New Brigade  is a refreshingly angry, visceral exercise in contained chaos and high-octane energy output. The album is a post-punk call of arms for loners and anarchists, alike, and easily one of the best punk records I’ve heard in years.

You only need listen to the exhilarating “feedback made to sound like galloping” first few seconds of opener “White Rune”, to get immediately drawn into the relentless, dark, fast-paced grip of this record.  Singer Elias Rønnenfelt belts out jumpy modernist angst ridden chants “I am White Rune!”, rioting the song into a furious Gang of Four-esc bounce that burns itself out in just two minutes,  before the listener even has time to catch their breadth.

 

Running just about 23 minutes, buried beneath scowling layers of heavy distortion and sloppy garage noise, New Brigade is, at it’s core, a faithful re-interpretation of early Joy Division, and New York No Wave. But for an album brimming with such over-worked post-punk , atmospheric goth and hardcore, New Brigade manages to infuse all three genres with a raw, new energy. The result of which, naively sounds as if the foursome discovered their “new” sound all on their own,  independent and oblivious to the last 30 years of music. And, for a band whose average age is seventeen, maybe, I even believe this.

M83: HURRY UP, WE’RE DREAMING

Posted in discosalt, Independent Music, MUSIC, Record Review

[rating: 5 stars]

M83: Hurry Up, We’re Dreaming

Label: Mute

Release date: October 18, 2011

Hurry Up, We’re Dreaming is twenty-two tracks of flawlessly crafted synth, drenched in intrepid, day-glo, art-pop scenery, barring a wasted moment. What M83 (Anthony Gonzalez) has accurately described as “Very, very, very epic.”

The double-album experience marks M83’s sixth record release, and an ambitious one at that. Siting Billy Corgan’s twenty-eight-track, nine times platinum, alternative magnum opus Melon Collie and the Infinite Sadness, as inspiration, more evoking of The Breakfast Club Soundtrack, Anthony Gonzalez, forges his ongoing love affair with dreams and the magical escapism of his youth into seventy-four minutes of bittersweet nostalgia, reconciled through epic dance jams. The result, is a very long, polished bedroom recording, you can bounce and sway to, contrived as a listener album, not a consumer.

Thematically, this is an album romanticizing youth; utter isolation, ecstatic joy, heartbreak and self-discovery. The first record follows one character’s longing for a relationship to finding love (even if it only  lasts two songs), through a period of self-mourning, and new dawn and redemption.

While this is very much a unified album, almost every song on Hurry Up, We’re Dreaming beautifully occupies a space all it’s own. The stand-out single and notably, one of the most redeeming singles of the year, “Midnight City”, is a humid, adrenaline-driven dream of a song, unlike any of M83’s previous work. Here, Gonzales’ voice is extremely compelling, less of a whisper than usual and more of a throaty cry, as eerie vocal harmonies, haunting sub-textures and synthetic strings adeptly sweep you into a highly danceable urban groove, swimming in broken neon light. M83’s signature dream pop aesthetics are all here, but each track feels larger and more bombastic than ever. “Reunion” is an effective track, ruminating on familiar territory from 2008’s Saturdays=Youth; nostalgia for youth, only this time around with heavier soaring synths. And, there is no better example for magnifying the familiar  than on “Wait”,  with it’s wistful Pink Floyd-like acoustic guitar riff, and high-pitched vocals elevating the song into something bigger and better than any songs off Gonzale’ previous albums.

Hurry up, We’re Dreaming, like almost every “indie” album recorded this year, adopts nostalgia as the basis from which to create, but what makes Gonzalez unique is his ability to dig deeper into the music and memories of his youth and not only move forward with it, but transcend it.

Q + A: THE DO

Posted in Independent Music, MUSIC, top story

DISCOSALT: Hi there! It’s been such a long time for me, since I first saw you guys. It’s great to finally meet you!

Dan: Which festival was that?

DS: It was Eurosonic Noorderslag festival in Holland.

Olivia: In Amsterdam?

DS: No, It was in Groningen. Nice festival but it was quite cold at that time. You were touring for so long in Europe and the USA. How did you find time to record in all that time?

O: Actually that’s a good question. Everybody kept asking like why it took us to record so long but actually it took us only 1 year to record.  But yes we toured for almost 2 years for the first time. It was a long time. And we were impatient to record new songs.

DS: Where did you record the new album “both ways open jaws”?

O: We started recording in the house we rented in South of France. We started for a few weeks. We took all our stuff from the studio and rented a truck.  We started going around with that truck and also different musicians came there to work with us. It was very important for us to get away from Paris and being in a new environment.

DS: What do you think about Paris these days? I’ve spent the last 2 summers there and I find it much more touristy now compared to 10 years ago.

O: That’s true. I think Paris is going down. We want to move somewhere else soon but we are not sure where it will be. Maybe to Berlin.

DS: Olivia, you are from Finland and Dan, you are from France. I assume that most of your time is spent together because of the tour, but when you are not touring…do you still spend time together?

D: We do music very often, so most of the time we are together. But when we need we take some time off and go apart, we do.

DS: And when you are on tour for a long time, who is your best friend?

D: Musicians.

O: I don’t know. I can’t focus on a book when I’m touring.  I can’t really actually focus on something else.

D: Normally, when you are on a tour, our best friend is our bed. We are so tired that when we have time to sleep we are extremely happy.

O: It’s also good to have good headphones. Listen to your own thing.

DS: Who do you listen to these days?

O: Tune-yards.

D: Micachu and The Breeders.

DS: On your new album, there are two songs that stand out for me, which I love: “Bohemian dances” and “was it a dream”. Can you tell us the story behind those songs?O: I remember I wrote Bohemian Dances when I was very sick. I wanted to break free, go out and start singing again. I was so bored. It was like a freedom anthem for me.D:  “Was it a dream’s” story…We wanted to make an old school song. And nobody is dancing slow these days.DS: (Olivia and Dan start dancing a little)

DS: Olivia,  this question is for you… Your style is very interesting.  Do you choose your clothes or does somebody else choose them for you?

O: Since I don’t really have time to go and pick them up somewhere,  a friend goes out for me and help me out.  Sometimes I just have time to go around and do shopping very quickly.

DS: What was the first album you bought?

O: I remember that the first I bought was with my brother. Michael Jackson:  “Dangerous”.

D: Mine was also from Michael Jackson: “Thriller”.

O: Was that on tape or  vinyl?

D: Vinyl. I’m older.

O: I’m a girl from 80’s. You are from 70’s.

DS: You are old Dan! (they both laugh)

DS: What’s the “phrase” you use these days, as a band?

D:: Can you feel the groove tonight! We just want to say that like a thousand times a day.

O: Oh it’s a long story. But you know you find the most cheesy video on Youtube and you keep watching it and it becomes a habit.

DS: Do you have any secret talents?

O: He’s (Dan) really good at cooking.

DS: Yeah? What can you cook?

D: Whatever you want.

DS: So if one day you decide to stop being a musician,  you always have a second job!

D: My parents have a restaurant for 35 years, so I have a talent.

DS: If you were to be a band in 60s or 70s, who would you be?

O: Can we be the Beatles?

DS: No! Everybody wants to be The Beatles.

D: The Kleenex.

– Hayalsu Altinordu

PAINFUL NEW VIDEO FROM OFF! FEAT. SKATER LEO ROMERO

Posted in Independent Music, MUSIC, Music Video

OFF! just released a video for their song “Crawl” featuring Thrasher’s 2010 skater of the year Leo Romero wiping out. Over and over and over. For a minute an a half, to be exact. Check it out and feel free to share the pain. 

The band are out on tour starting this weekend, full dates follow:

Oct 7 – Club Sound – Salt Lake City, UT

Oct 8 – Marquis Theater – Denver, CO

Oct 9 – The Black Sheep – Colorado Springs, CO

Oct 12 – Sons of Hermann Hall – Dallas, TX

Oct 13 – Red 7 – Austin, TX

Oct 14 – The Studio @ Warehouse Live – Houston, TX

Oct 15 – Siberia – New Orleans, LA

Oct 17 – Exit/In – Nashville, TN

Oct 18 – The Masquerade – Atlanta, GA

Oct 19 – Palomino Pool Room – Gainesville, FL

Oct 20 – The Engine Room – Tallahassee, FL

Oct 21 – Backbooth – Orlando, FL

Oct 22 – State Theatre – St. Petersburg, FL

Oct 23 – Culture Room – Ft. Lauderdale, FL

STREAM: JACK WHITE HOMAGE TO HANK WILLIAMS: YOU KNOW THAT I KNOW

Posted in Album Stream, Best Tracks, Independent Music, MUSIC

The lost notebooks of Hank Williams were discovered after he died in 1953.   Jack White, Bob Dylan and a bunch of other artists have gotten together to complete the collection of previously unheard songs, adding a little lick of their own style with a lot of Hank’s raw energy to make  The Lost Notebooks of Hank Williams.  Stream the standout track “You Know That I know” from White Stripes frontman Jack White HERE. 

STREAM THE COOL KID’S MIKEY ROCKS: PREMIERE POLITICS

Posted in Independent Music, MUSIC

Sir Michael Rocks aka Mikey Rocks of The Cool Kids dropped his solo debut last week for free. Premier Politics features guests Alchemist, Casey Veggies, Jeremih, Cardo, Boldy James, Shorty K, Chuck Inglish and plenty others.

 Grab it here, feel free to share this link: http://www.mediafire.com/?a29f1r1b08c2p9c 

NO RADIOHEAD AT OCCUPY WALL STREET TODAY

Posted in Independent Music, MUSIC

Sorry folks, No soap, No Radiohead. The band’s representative Steve Martin of Nasty Little Man said in an email “We can officially confirm this is NOT happening.”   Twitter rumors have been circulating of  a confirmed Radiohead  “surprise” show downtown for the Occupy Wall Street protest this afternoon at 4pm, but looks like this will not happen.  The band will however,  stick around NYC to play Jimmy Fallon’s late show Monday night, and has been rumored to play the All Tomorrow’s Party over the weekend.

 


DISCOSALT EXCLUSIVE: ANR AND THE COMING APOCALYPSE

Posted in Independent Music, MUSIC, top story
Miami’s ANR navigate post-apocalyptic musical territory on their new album Stay Kids.

The end of days may be imminent, but right now, we are going to need more napkins.It’s about 95 degrees and feels like Cambodia in the back room of Mikey’s, a greasy, Asian-influenced burger joint in the Lower East Side. I’m sitting down with Floridian (psych-synth) chill-wave band ANR, trying to stave off forehead sweat and keep my shirt clean, while politely navigating the house signature: a patty infused with corned beef hash, smothered in curry chili.If the Apocalypse looms near then two of the four horsemen have potentially revealed themselves as some unlikely but dubious “signs”: a lamb satay burger and a restroom door handle made of tissue paper. If this is, in fact, our last meal, I regret not having ordered the avocado shake. The horror…

DISCOSALT EXCLUSIVE: ANR AND THE COMING APOCALYPSE

ANR’s Michael-John Hancock and Brian Robertson are concerned about the coming apocalypse – their worry rears itself into our conversation more than once over the course of the night. This is, most likely, because of the band’s South Florida roots – an area notoriously devastated by hurricanes. In fact, the duo’s last album, Stay Kids, is a concept album about the recent Gulf Coast disaster, the earthquake in Haiti, and the fear that Miami will soon find itself under three feet of water.

“Miami has like 20-50 more years before its like Venice, before it’s flooded,” says Michael-John. “I think some people don’t want to talk about [the apocalypse]. This year especially, waking up New Years, dead birds falling from the sky, dead fish floating in the waters, that dumb ass with his head shaved in Arizona, all this stuff happening in the Middle East. So [the album] Stay Kids also means, ‘Go back to square one and deal with it, like a kid would.’”

The band has opened for such big name acts as Yeasayer. But, they tell me, they don’t get out much – and for some reason, I believe them.

Together, these “reclusive” Miami music-makers create complex, atmospheric synth-heavy dance music; A sound the band describes as  “apocalyptic psychedelic pop.” They create loud, virtuosic melodies with haunting, brilliant falsettos that reach a shimmering chorus of electro-pop juju with raw, punk rock intensity.

ANR is equal parts energetic and unnerving. Theirs is the kind of music befitting the soundtrack of a horror movie.Which, incidentally, it is. Slasher? I barely knew her is the band’s new, film project, in which Brian – the quieter of the two – plays an eerily believable killer. The short is an extended music video cum horror epic, reminiscent of Michael Jackson’s “Thriller” and based on ANR’s single, “Big Problem.”

“It all started with the idea of shooting spear hooks through this girl’s back, through her boobs, into her boyfriend’s hands,” Michael-John explains. “That little idea became a short film.”

DISCOSALT EXCLUSIVE: ANR AND THE COMING APOCALYPSE

We discuss the merits of Star Trek versus Star Wars, breakfast cereal with the Chariots of Fire soundtrack, evangelical radio preachers, and what it’s like living and making music down South. Brian tells us that one of the major handicaps to the South Florida music scene is its lack of venues. “It’s a pretty cool, self-contained scene, in a way, being so far South…So far out of the way from the rest of the country. You have to just get together, collaborate, make stuff. “

While our conversation occasionally drifts into darker waters, ANR’s laid-back, quintessentially southern style has me at ease like we are swapping ghost stories on a road trip. (Or how movie killers deftly charm their victims into thinking everything will be okay.)

But ANR truly will make everything okay, because they are a pop band that transcends pop music. ANR has managed to find an emotional catharsis in the chaos of the apocalypse and cultivated a sound and style that is surprisingly hopeful for the future. Stay Kids is really about “just trying to put a positive spin on the coming apocalypse,” says Michael-John.

Discosalt Magazine - Issue 1 - Cover

If the end of days is coming, ANR is spending their time wisely.

Continue Reading the full article > Download the Summer 2011 Issue of DISCOSALT MAGAZINE

NEW VIDEO + MP3 GRAB FROM UK’S JETHRO FOX: BLINDING LIGHT

Posted in Best Tracks, discosalt, Downloads, Independent Music, Music Video

Jethro Fox is a songwriter based in Liverpool, UK.  This year has seen the release of first single Blinding Light, which received positive praise from many different blogs and companies, plus a one-to-one songwriting session with Sir Paul McCartney.  Autumn 2011 will see further releases and a selection of tour dates.

MP3 DOWNLOAD: Blinding Light