The Pains of Being Pure at Heart are just as sweet as their name implies. While the EP was making its way around the blogosphere in 2007, I fell in love and before entering last nights show at the Bowery Ballroom, I thought to myself, this is going to be the cutest night the Bowery has ever had. Cute people, cute music, and an all around cute vibe.
The Pains of Being Pure at Heart play perfectly blended pop music with comparisons abound to the fuzzy and melodic My Bloody Valentine and late 80s/early 90s pop in general, and while I’m not quiet certain you could go so far as to label it twee, it’s not far off. With their bookish lyrics and happy demeanors, they could turn even the most unpleasant of moods around in minutes.
After seemingly making their rounds to every venue in New York, we were fortunate to catch the Pains for their first Bowery gig, and their awe and appreciation was evident. Whether these kids have any notion of how good they are is unclear, but their modesty is sincere. I was left with the impression that each of them had likely been to countless performances at the venue over the years and the magnitude of playing the same stage as the bands they idolized was recognized. Additionally, we were also fortunate to catch what I believe was the first show with Christopher Hochheim as a permanent member at second guitar from Kurt Feldman’s (Pain’s drummer) other project, the incredible The Depreciation Guild.
As expected, the Pains play with the energy of a band in love with their own songs and in love with performing. Frontman Kip Berman could rarely wipe the smile from face as he grinned ear-to-ear for each song while Peggy Wang danced at her keys and flashed a great smile on more than one occasion. Having fun, Peggy suggested that the crowd play “Truth or Dare with the Pains”, but unfortunately it turned out to be the lamest game of truth or dare to have ever been played as a result of a couple pathetically boring questions for their truths. I wanted to ask “Will you play Teenager in Love?” but I didn’t get the chance as they launched into their final song of the set. Although a shorter set than I would have liked (they had a 5am flight apparently), and being slightly disappointed that I didn’t get my song, the show was wonderful as they went hit for hit, from Young Adult Fiction to This Love is F*cking Right!, leaving the crowd sweaty and happy.
Starting the night’s performance was Zaza, which is (surprise, surprise) another side project of the very busy Kurt Feldman. Zaza played a very enjoyable minimalist pyschpop set with almost hauntingly distant vocals and driven by Kurt’s drumming which seemed to have been the focal point of the performance. The minimalist setup near the front of the stage was sans kickdrum but included an electronic drum loop overdubbed which was a little disappointing, but allowed Kurt to display his incredible drumming nevertheless. Set to beautiful backlit shoji blinds with a tree scene, Zaza played a great set and I hope to hear more out of them.
The second and last of the opening bands, Suckers, from IAmSound reminded me of a poppier and somewhat calmer Man Man (which explains the make-up and headgear). Their self-titled debut EP comes off as a poppier version of their live performance. The formation of the band is important to understanding the way they play. The four-piece started as three multi-instrumentalist one-man projects, later adding a drummer to round out their sound. For this reason, you’re likely to catch these guys playing any assortment of instruments at anytime doing whatever it takes to move your butt….and with songs like “It Gets Your Body Moving” and “Easy Chairs”, you’ll have a hard time not moving.
Check out More Pictures from the show on Backseatsandbar.com
Pains of being Pure at Heart Video for “Young Adult Friction”
Since 2004, Holy Fuck, a Canadian electronic band aye, has been cranking out electro sounding effects using live instrumentation without any laptops or programmed tracks. So while you think you might be hearing looping, splicing or programming in their music, they are actually playing it all. Young Turks Director: Drew Lightfoot from their new record “LP” in stores and online now
This Bloc Party video was shot over just two nights at London’s Olympia theater by fans with cell phones! The footage was cut and integrated with some behind the scenes action to create a lo-fi masterpiece video for “Ares (Villains Remix)”. The Video may give you a seizure the first time you watch it but it has an amazing energy that captures the feeling of being right in the middle of a live show crowd and may induce leg dropping. And the remix is rowdy, so check it out. The track is taken from Bloc Party’s “Intimacy Remixed” out now on Wichita Recordings/ Atlantic (US).
Gussie up to get down. SUNDAY BEST —the easy-going, late afternoon, backyard BBQ dance party—is back again this summer. Every Sunday afternoon from May 24 to September 6 at The BKLYN Yard , the same leafy, waterside lot on the Gowanus Canal as last year. Veg Burgers and tacos from Red Hook Ballfields are back with cold sangria and beers while resident DJs JUSTIN CARTER , EAMON HARKIN and DOUG SINGER spin alongside some of the finest DJs to ever take on a back yard. Check the link for the full lineup and all the info.
Akron Family- Set “Em Wild, Set ‘Em Free
Conor Oberst-Outer South
British Sea Power- Man of Aran
Iron & Wine- Around the Well
Passion Pit- Manners
Release Date: April 29, 2009
So often a prolonged hiatus between albums fails, timing completely falling through the cracks. But Portishead’s tactic of forcing fans to hold their breath for an excruciating 11 years for a new LP has paid off. A dark voyage to things past, or an enchanted view of the future, songstress Beth Gibbons has never had a problem painting an otherworldly picture. Don’t fret, all the additional trappings of mid-90’s Portishead are there: minimalist drumming, lo-fi guitar, loads of echo. Immediate standouts include “Hunter” & “Silence”, two of the most visual tracks on the album. Don’t be surprised if you find yourself daydreaming of journeying through a monochromatic landscape. “The Rip”, a wonderful illustration at how successful their simple yet climactic song arrangements are. Of course there are little surprises such as the ukulele/barbershop quartet take on “Deep Water”. And I’ll be damned if the last minute of “Machine Gun” isn’t the theme song to the original Terminator film. Aside from these momentary drifts, Portishead satisfies wholly, proof that the fruit is better when ripened.
Cut Copy: In Ghost Colours
Label: Modular Interscope
Release Date: April 8, 2008
This album is the epitome of what I needed to start summer. Fully loaded with catchy dance hits, Cut Copy has really outdone themselves this time. Every track on this album is whipped lightly, and prepped perfectly for the French pop sound they are frequently accused of imitating. I disagree with comparison because it implies a simplicity and lack of depth to the music, which is simply not present in this album. The lyrics are catchy, and the beats are fresh. Although their sound is similar from song to song, each song has something different to offer, namely, emotion. This is the most emotive electro pop I can remember hearing, and it shows through in their dynamic live performances. There are some standout tracks from “Lights and Music” which recalls the glory days of the 80’s club era to “Hearts on Fire” which brings back memories of Madonna and slumber parties. If you are a person who even vaguely likes pop, the subdued fun in this album will speak to your inner dance-self.
<3 The Elephant
Lyrics Born: Everywhere at Once
Release Date: March 18, 2008
Quannum poster-boy Lyrics Born (born Tom Shimura) didn’t just step off the ship-hop. Collaboratively producing albums as far back as Latyrx’s The Album, LB has subjectively perfected unique vocalizations characterized by buzzing baritone and vocab depth. This go LB explores the trappings of success, while reflecting on the blood, sweat & tears shed to get here. Unlike his freshman solo effort Later That Day…, he’s spent considerably less time massaging flows from track to track. And although a good four years weren’t taken to cultivate, most tracks are laden with the same electronic funk that suit him like white suits rice. Cut to the quick with “I Like It I Love It”, the standout jimmy jam among jams. On “Hott 2 Deff” LB employs indie hip-hops other more notable baritone Chali 2na (of Jurassic 5) doing both justice. Don’t be surprised if you hear LB more often in the club rather than (Coke) commercials. Everywhere At Once is new-school bump and grind, working well for everybody who wants to shake their ass.
Crystal Castles: Crystal Castles
Label: Last Gang Records
Release Date: March 15, 2008
It is unusual that a band accidentally releases a single and then gets a record deal. Toronto duo Ethan Kath and Alice Glass managed to do just that. The MySpace leak, “Alice Practice”, eventually became the second song on their eponymous first album. “Alice Practice” landed in the second slot on the album, encouraging listeners toward their melodic, syncopated opening track “Untrust Us”. The first two tracks define the character of the album: divided into melodic, rhythmic pop beats and dark, noise-distortion heavy tracks. The weakness is the underlying lack of cohesion. Although variety is valuable, there isn’t a strong enough bond between the melodic tracks and the dark tracks. “Crimewave” and “Untrust Us” almost belong to one album, while “Alice Practice” and “xxzxcuzx me” might belong to another. Oddly, this disparity is also the strength of the album. There isn’t one second where the hooks try to hold you for too long, or where the next track is underwhelming. Like it or not, Crystal Castles has created a multi-lingual, looped, catchy-ass bunch of songs.
<3 The Elephant
Astralwerks and War Child , an award winning charity that provides humanitarian assistance to war-affected children in some of the most devastated regions of the world , have put together a really interesting collaboration album between music legends like Dylan and Bowie with a new crop of artists. The album features 16 awesome cover songs and is due out in the US on February 24th. Check out the Trailer ,
1. Beck (Bob Dylan – “Leopard-Skin Pill-Box Hat”)
2. The Kooks (The Kinks – “Victoria”)
3. The Hold Steady (Bruce Springsteen – “Atlantic City”)
4. Hot Chip (Joy Division – “Transmission”)
5. Lily Allen feat. Mick Jones (The Clash – “Straight To Hell”)
6. Yeah Yeah Yeahs (The Ramones – “Sheena Is A Punk Rocker”)
7. Franz Ferdinand (Blondie – “Call Me”)
8. Duffy (Paul McCartney – “Live And Let Die”)
9. Estelle (Stevie Wonder – “Superstition”)
10. Rufus Wainwright (Brian Wilson -” Wonderful & Song For Children”)
11. Scissor Sisters (Roxy Music – “Do The Strand”)
12. Peaches (Iggy Pop – “Search And Destroy”)
13. Adam Cohen (Leonard Cohen – “Take This Waltz”)
14. Elbow (U2 – “Running To Stand Still”)
15. The Like (Elvis Costello – “You Belong To Me”)
16. TV On The Radio (David Bowie – “Heroes”)
Release Date: February 17, 2009
Compilations are seemingly rare in indie music, I am not sure why. Or if that’s true. In any case, The National has curated a 2 disc compilation to be released by 4AD on February 16th. Just in case you aren’t aware of the internet and you haven’t already heard every track, I’m here to tell you that should you buy, not illegally download, this album. Not because it’s fantastic, but because profits from the venture will go to the Red Hot Organization, which raises funds and awareness for AIDs and HIV. Although true to form, anything the National touches is excellent. And if this isn’t enough to get you to go buy the friggen album, maybe this all-star cast will:
Antony + Bryce Dessner
Blonde Redhead + Devastations
Bon Iver & Aaron Dessner
The Books featuring Jose Gonzalez
Buck 65 Remix (featuring Sufjan Stevens and Serengeti)
Cat Power and Dirty Delta Blues
Dirty Projectors + David Byrne
Feist + Ben Gibbard
Grizzly Bear + Feist
Iron & Wine
Sharon Jones & The Dap-Kings
My Brightest Diamond
My Morning Jacket
The New Pornographers
Conor Oberst & Gillian Welch
Dave Sitek (TV On The Radio)
Yo La Tengo
Late Of The Pier– Fantasy Black Channel
Animal Collective– Merriweather Post Pavilion
Bon Iver-Blood Bank
Franz Ferdinand– Tonight: Franz Ferdinand
Von Bondies– Love, Hate, and Then There’s You
Morrissey– Years of Refusal
…And You Will Know Us by the Trail of Dead – The Century of Self
MSTRKRFT– Fist Of God
The Decemberists– Hazards Of Love
Bands on our radar :
Bear Hands-Straightforward post-punk indie.
Yeasayer-Psych-experimental dance party. If you haven’t heard them, please leave your cave immediately and rejoin society.
A Place to Bury Strangers-Dark Atmospheric noise-pop against a tension-wracked Joy Division-meets-Ministry, Jesus-Mary Chain backdrop.
Blonde Acid Cult-Brooklyn swagger Rock& Roll Party band ala Jet, Stone Roses.
Crystal Stilts-Cheap instruments, Moody Stipped Down Garage Rock. Ian Curtis-y doom with sunshine-y shop Assistants style pop.
Deer Tick-Indie Rock disguised as Alt- Country. Hank Williams/Van Morrison meets Bright Eyes.
Dinowalrus-Noise Rock but with some semblance of a pop song structure.
Gang Gang Dance-Experimental distillations of world music through an urban No-Wave-y filter.
MGMT-Psych Disco, new-wave synth-pop, and early 90s Britpop. Already too big for this list.
Francis & the Lights-Prince-esc falsetto vocals and James Brown Dance moves…from a white guy named Francis. What? Youtube “the top”.
Free Blood-Electro-Punk Trio. Part Timbaland, part Excepter, part Hot Chip.
KaiserCartel-Laid back pop duo. Think early Cowboy Junkies.
La Otracina-Drug Drenched Psych/Space Rock.
O’Death–Southern hoedown-core rock from Brooklyn
White Sun, Cutter, Drunk Driver-Lo-fi noise.
Bottle Up and Go-Two-man raw blues. Think Black Keys.
The Pains of Being Pure at heart–Knowingly naive or emotionally complex indie-pop. I’m not sure. Clear My Bloody Valentine influences.
Takka Takka-Suburban NYC indie rock. Phoenix meets Counting Crows acoustic Rock.
Telepathe-Post-Futuresex pop. Experimental Hippie Chanting, Guitar-like synths and electronic percussion. TV on the Radio… but way more alien.
The Lisps-Indie-pop outta da Bronx. Working on a sci-fi musical based on a Civil War soldier that wants to write science fiction.
Titus Andronicus-Violent Indie Rock. Conor Oberst screaming from the bowels of hell.
Violens-Shin-like Indie Pop if they took an enormous amount of happy drugs with the 60’s West Coast Elektra set.
Vivian Girls-All girl 60’s California-based garage-rock with bangs.
Dirty Projectors-West African Dance band meets Math Rock. An odd mix of Phish, The Police and Deerhoof reworking a concept- a song by song “reimagining” of Black Flag’s Damaged.
Vampire Weekend: Vampire Weekend
Label: Xl Recordings
Release date: January 2008
Vampire Weekend, hot sh*t band of the moment, turn in 11 fun and inspired songs in just 34 minutes on their virgin effort. Inspired by what, you ask? Mostly by Paul Simon, with a taste of the Police for effect. And what is wrong with a fresh and interesting Graceland-era Paul Simon record for 2007? Nothing really, unless you don’t like Paul Simon…or derivative music. The remarkable thing about Vampire Weekend is that when they want to sound like the heavily African rhythm inspired Paul Simon, they REALLY sound like Paul Simon (“Cape Cod Kwassa Kwassa”), and when they want to sound like some early Police, they REALLY sound like some early Police.
The most inspired stuff from what is destined to be the ubiqitous music of the next 6 months or so is also destined to be the most overlooked. “I Stand Corrected” is a fairly awesome bit of early 80’s pop, and “Walcott” is a straighforward bit of piano and drums driven indie pop (and with an unexpected and totally welcome baroque string section), but these are not the songs of our futures. The songs that will come to dominate the parties, get togethers, barbeques and idle time listening to the PA waiting for the next band to come on are the Sting channeling “A-Punk” and the Paul Simon meets that one college town jam band funk of “One (Blake’s Got A New Face)” and “The Kids Don’t Stand A Chance.” Not ideal, but things could be decidedly worse.
With the bad comes the good, I guess. A few weeks ago I went to that church-y place on Delancy and Suffolk. Remember that place? Yeah, I went on that date there that one time. So this time, again I find myself slightly tipsy and far from home late at night. Going to see
this band called the Bellmer Dolls with a good friend of mine and her sister. I love these girls, they are just darlings, and both of them have lovely boyfriends. So I trust them when they take me to a concert that I hadn’t heard of. This is really rather exciting. Apparently the
first band was excellent. Preacher and the Knife is unsigned, but word on the street is that they are really phenomenal live, so I am going to give them a little shout out. Based on myspace and their website, I
sort of doubt that they are my taste, but who knows, maybe I will have a change of Heart. Needless to say, I missed them.
So this brings us to the Bellmer Dolls, who were unspeakably awful. They were a parody of themselves, shaking and grooving to their screechy melody-less crap. Dressed in all black, and breathing heavily
into the microphone, I sort of felt bad for the lead singer. But sort of not, maybe this just isn’t my bag, y’know? So I look over at my very polite, sweet friend Anna, and she is staring intently at them,
sort of in the same way you’d watch a child’s piano recital. So the first song passes, followed by the second, equally shitty “song”. Meanwhile, I am casting furtive glances at my ladies and their men, waiting for someone else to identify this accurately: this is a
graceful exit scenario. Unfortunately this is a seated show, and the seats are in a bit of a balcony, so we can’t really get out subtlety. Meanwhile, my friends seem to think this is perfectly acceptable music. FUUUUUUCK. I can’t escape. My ears are just burning with cruel irony. Suddenly Ashley (Anna’s sister) leans over and breathes into my ear, “oh my god i’m sorry” They are horrible. I breathe a lighter, happier breath. Anna turns and agrees. So we do just that: escape to have another drink. Oh Anna and Ashley, you came through. Thank GOD.
Lesson learned: don’t go to a show w/o listening to the band first.
<3 The Elephant
Iron and Wine: The Shepherd’s Dog
Label: Sub Pop
Release date: September 2007
I guess the thing that struck me most about The Shepherd’s Dog wasn’t the studio production (slick) or the effects pedals (lots of wah wah) or the plugged in-ness of it (Sam Beam went electric a long time ago). No, I guess it wasn’t the funk song (?), or the honky tonkin’ piano (“The Devil Never Sleeps”) or the lyrical imagery (Jesus, dogs, and birds are still hangin around in these songs). Yeah, I think that struck me most about The Shepherd’s Dog was the addition of the ethereal 10 cc-esque background vocals on “Innocent Bones.” Not that the album is not striking, both in it’s adherence to the traditional Iron & Wine formula and it’s stark change from said formula, but the angelic “ooohhh”s, they really stopped me in my tracks.
And what of the songs? Is it so much to NOT expect Sam Beam to be channeling Curtis Mayfield on “Wolves (Song of the Shepherd’s Dog)”? To NOT expect to hear a song that sounds exactly like it belongs right in the middle of the Iron & Wine Songbook (“Reserrection Fern”), but could possibly one of the prettiest songs of the year and definitely one of the most beautiful Sam Beam has ever written? The addition of the varietal of sounds & instruments to the sonic palette of Iron & Wine is certainly unexpected, but is surprisingly welcome. The storybook Americana that exists within the world of Iron & Wine is still populated with grandmas, star crossed lovers, sinners, saints, gamblers, harlots, Jesus, and, yes, lots of dogs. The songs still have lots of room to breathe, and the vocals still barely sound as if they rise above a whisper, but the song structures are no longer rooted in an Americana structure.
What differs, very pleasingly differs, is the literal jump from the rootsy folk-country foundation that Beam’s songs are usually built upon, this jump happening at the beginning of the record. Opener “Pagan Angel and a Borrowed Car” begins with a very typical Iron & Wine acoustic groove, but sounds as if it’s being broadcast from an AM radio. When the strings (and drums & psychedelic guitars) kick in, the difference is apparent, and by the time the record ends (with the absolutely gorgeous waltz “Flightless Bird, American Mouth,”), the difference is welcome. By retaining what made Iron & Wine unique, and by embracing the studio and it’s many wonders (and musical instruments) and his singular vision & voice towards what a song means and can do, Sam Beam has crafted one of his best albums and has taken a step into uncharted territory. I literally have no idea what comes next for this band, and that’s exciting. Not knowing what the new Iron & Wine album is going to sound like is both pleasing and unexpected, and that newfound unpredicability makes The Shepherd’s Dog a giant step forward.
We have added some new reviews here at discosalt.com . Check out John Whitaker’s album reveiws of Dr. Dog- Fate and Shearwater- Rook, as well as the Elephants (elephantwhale.blogspot.com) show reviews this month for Wolf Parade, Chairlift, and Fleet Foxes in the REVIEW section. More coming soon!
Label: Carpark Records
Release Date: February 26, 2008
Pop music from a haunted house? Beach House plys in the labor pool of the lazy, meandering melody that seems to have no obvious beginning or end, but is anchored and steered by the certain vocals and harmonic vocal resonance formerly held by the long forgotten Cocteau Twins, but there’s a real difference. These songs have actual lyrics. The songs on Devotion aren’t so enamored with their own moodiness or atmospherics. This lack of self-aware fascination is in part by the space left between the music and the listener. Devotion doesn’t jump out of the speakers at you; if anything, it takes a step backwards.
Buoyed by drum machines, lazy electric guitars & keyboards that fill most open space and yet remain sounding reserved, songs like “Some Things Last A Long Time” and “Turtle Island” bring a cold atmospheric feeling to Devotion, while a full and obvious melody thankfully avoids sharp turns on “All These Years,” a melancholy ode to the title of the album, devotion. “Gila” provides the most singular moment on the album, a guitar melody that anchors the song, one that adheres to the cool reservation of a Blonde Redhead-esque atmopheric and strikes it’s own singular chord as well. Beach House’s second album broadens the scope of their domain, and also cements them to the ground laid in their debut, the self titled Beach House. No better or memorable part on a song this year than that guitar on “Gila,” and no better record will come out this year to take a boat ride on a cloudy day, or to listen to the ghosts kick a jam at the old abandoned orphanage. Creepy and cool
11 days and counting. This Saturday, August 30, 2008, Sonic Youth are playing the LAST McCarren Pool Show with Wolf Eyes, Times New Viking and Vivian Girls. Doors open at 4pm. $35.00 tickets still on sale through ticketmaster.com, the Nokia Theatre box office (44th & B’way), and Earwax Records.
Discosalt spotted some hipster pipedream petitions floating around the slip and slide to keep the venue a concert space, but we are apprehensive. There is already a $50 million plan underway to return the venue to a pool. Wah Wohhh. The good news is, the free shows may be transferred to East River State Park or Bushwick Inlet Parkin 2009. There’s an online petition asking the Parks Department for space that so far has only gotten 233 signatures, so get on it.
Dr. Dog: Fate
Label: Park the Van
Release Date: July 22, 2008
On “Army of Ancients,” the vintage Band-esque 70’s horn-soaked ballad, Dr. Dog bassist and co-lead singer Toby Leaman screams “Oh, I’ve Got It” to anchor the soulful chorus. In this case, he might mean “Eureka!” With Fate, Dr. Dog “get it” in terms of ditching their old Lo-Fi aesthetic for the friendly confines of the studio, and come the closest that the band has so far to capturing what makes them such an endearing and enjoyable live band. Loving the studio, and tripling up on the harmonies, the horns, the guitars and the energy, Fate is easily the band’s best album. Maybe not necessarily the best set of songs, but definitely the best time you can have with a Dr. Dog LP at the crib.
To know Dr. Dog is to know the Beatles, and a bygone era of music. Far from 60’s worshipers like Robert Schneider of the Apples in Stereo, Dr. Dog are more like the flip side of a coin, coupled with tragic balladeer and Beatles successor Elliott Smith. But where Elliott Smith is the John/George side of the coin (the tails side), Dr. Dog is easily the Paul side. Check all the harmony oohs and aahs on, say, any song on Fate, but “My Friend” or “The Old Days,” or most notably “100 Years.” They’re Beatles, they’re E. Smith, they’re Beach Boys, they’re Dr. Dog and they’re awesome. The somber ballad, a la John, though, doesn’t exist in this world. Lots of bounce, lots of soul, lots of bass and lots of energy anchor the sounds Dr. Dog get on Fate. They don’t ape the 60’s/70’s sound, their band simply just sounds like that.
There’s a little three song arch early on, beginning with “The Old Days” and ending with “The Rabbit, the Bat, and the Reindeer” that affirm this new comfort and ease that Dr. Dog have with eschewing their Lo-Fi roots. While they once were a band that HAD to be seen live, this now isn’t necessarily the case. I heard “Wake Up” from Easy Beat, and wasn’t instantly drawn in. Live, though, the song takes a different energy, much of which is taken from the crowd and their energy. I “got it” once I was in that room, watching them play and hearing the crowd sing along; and could now hear the song in a different context once i’d had that experience. Fate suffers from no such dependence on checking them out live (though it certainly is never a bad idea to see Dr. Dog live if you have the chance.)
Wolf Parade: At Mount Zoomer
Label: Sub Pop
Release Date: June 17, 2008
Montreal’s Wolf Parade builds slightly upon a rigorous sound established in their first LP, illustrating a certain level of refinement. Distinctive vocals from dynamic duo Dan Boeckner & Spencer Krug (both nurturing successful side projects) give the otherwise right-brained audibles a healthy balance. Their maturity exists in what could be called a post-modern post-punk, “Soldier’s Grin” setting this stage from the get-go. Depth is built with added instruments and and hints of progressive rock, evident for the bulk of the album and peaking at “Fine Young Cannibals”. Gears switch periodically, “The Grey Estates” could be found on a Pulp album circa ’94 for example. Instead of venturing far from the womb, WP has stood close recounting both her eeriness and warmth. At Mount Zoomer results simply in a solid list of nine tracks, easy to listen for the easy to please.
Label: Matador Records
Release Date: June 3, 2008
Consider Rook essential summer listening. Like your “Summer Reading” list, Rook isn’t really “summer-y” at all. It’s heavy, dense, dramatic and beautiful and dark. Four of those five adjectives actually DO apply to summer, come to think of it, but i’m thinking more of the “essential summer reading” lists. Notice those books skew more towards Tolstoy than the Nancy Drew (or my personal favorite, Skinny Bitch in the Kitch), and I think summer listening should do the same. Nothing really works better than the antithetical when wrapped in the world of the iPod, wrapped and enraptured into whatever world you choose, and with Rook, the marked contrast from the world outside and the world inside, i.e. inside el cerebro, is simply divine. Divine Tragedy, but divine nonetheless.
The tragic and dramatic qualities of Shearwater jefe Jonathan Meiburg lie most obviously in the both soft, falsetto vibrato and the gigantic, shouting abandon of his voice. In all fairness, Meiburg’s voice is one that will make or break Shearwater for any listener (think 1 part Scott Walker, 1 part Morrissey & 1 part Will Sheff. Shake and Pour), like a Joe Pernice or a Joanna Newsom; in other words, singular and unique. And while Rook shares some qualities with his other band, Okkervil River (DRAMA!), it also is much larger and grand than the songs of Will Sheff. The vocal drama comes out, in both ways, on penultimate song “The Snow Leopard,” as verse one is built upon a sparse piano melody and Meiburg’s falsetto, and verse two turns on the drums, turns up the guitars and turns UP Meiburg’s gorgeous vocals. The musical drama comes out most emphatically on “Leviathan Bound,” and is my favorite dramatic piano reading since Midlake’s channeling of the theme song from M*A*S*H on “Roscoe.” “Leviathan Bound” sounds like the theme to an unrealized soap opera, but think along the lines of The Young and the Restless and you’re on your way; this song is also another soft/loud vocal opportunity for Meiburg to carry the melody.
In “Home Life” Shearwater paints a solitary portrait of youthful wanderlust, telling the narrator “you were tracing the lines on the globe with your fingers. Cool rivers, white waves, desert shores and the forest green, and a limitless life.” The limitlessness is heavily scored with flutes, violins, the ever dramatic piano and tasteful and dynamic drums. This portrait of isolation is emblematic of the songs on Rook, and while not sparse (the orchestra is a huge part of what makes these songs not only dramatic but achingly gorgeous), this isolation is akin to the heavy nature of these heavy tomes we pick up as summer reading. All summer listening should be as dense, challenging and rewarding as this record, and if you don’t make it this summer, Rook will keep until next summer and many summers after that.
For you hoofers who haven’t heard this Aussie electro-pop new age synth outfit, the Presets are one band you positively need to see live. In fact, Discosalt commands you. The duo, consisting of Julian Hamilton on vocals, keyboards, clicks and beeps and Kim Moyes on drums, packed a very strong party bag of tight dance music into even tighter jeans last Thursday, June 5, 2008, at The Bowery Ballroom.
Julian goaded the crowd on, pushing buttons, slamming keyboards, howling and dancing around the stage like an entrancing epileptic new wave robot from 1983. And the crowd took the bait, dancing, jumping, singing along, crowd surfing and pouring as much ceremonial sweat into the observance as the performance. Highlights included “Steamworks”, “Kicking and screaming”, “A New Sky” and the anthem, “Are you the one”,all of which liberated so much energy, I wanted to quit my day job… and just dance. You will too, and you should.
The Presets on the Interwebs
My Morning Jacket: Evil Urges
Release Date: June 10, 2008
Almost three years have passed since the release of 2005’s moderately successful “Z”. During that time MMJ has formulated a plan for the future of rock and roll, upgrading their guns. From the outset, frontman Jim James relinquishes the reigns of lead vocals (the first time ever for a LP). The title track could be viewed as a summation of the album as a whole: kicked off with a deeper experimentation of synth-fused rock and falsetto vocals, transitioning to a trademark jam band solo. James explains it on the following track crooning, “I know it sounds confusing, but it makes a lot of sense.” The bulk of the album is constituted of more pop-friendly southern rock, channeling James Taylor on tracks like “Thank You Too” and placing string arrangements at the proper intervals. Most of which are likely candidates for expansive fifteen minute live solo odysseys. James gets personal with “Librarian”, and recalls earlier efforts with “Smokin’ From Shootin'”. However, the dark horse of the album is undoubtedly “Highly Suspicious” launched with an opening recalling Gary Numan and backed with Prince-esque vocals. When the dusts settles its explicitly obvious this is no quintet planning on digging in on one sound. MMJ is hungry, we haven’t seen the last.
The Presets: Apocalypso
Release Date: May 13, 2008
Shake off your raver pants and get your glowsticks out of the freezer. The Presets continue to indulge in putting a gritty new edge on accessible synth. Thirty seconds after hitting the play button will most likely prompt you to get up out of your seat or preform some fierce ’87 style head-bobs or both. While Kim Moyes & Julian Hamilton studied classical composition they excel in its antithesis. After joining recently successful Modular Records in 2003, home to such acts as The Klaxons and fellow Aussies The Van She, The Presets have issued a slew of EP’s and remixes and 2005’s full-length Beams. But, with Apocalypso its clear that perfection has come with some (brief) work. The early album barrage includes singles “My People” and “This Boy’s in Love” both of which clearly demonstrate The Presets’ knack for layering updated samples on handy rhythms. Some time is spent in an experimentation, and in genre style as on “Aeons”. This release most certainly satisfies from cover to cover. Its clear that The Presets are ahead of the eightball in the recent wave of electro from the land down under. Do yourself a favor and give this one a listen.
After 18 years, the second “New Kids on the Block” coming is upon us…and there will be dancing.
“We’re going to dance, we’re going to sing… we’re going to do it all”-Donnie.
The prolific former teen dream machine will be loving you (forever) and hangin’ tough step by step as they kick off their fall reunion tour with an appearance on the Today show tomorrow am, Friday, May 16th. Fandemonium outside Today show studios has already ensured as security beefs up for the anticipated bedlam. In other news, four horsemen have brought news of locusts, a terrible plague in the west, famine and Death. Tomorrows weather: violent rain showers in the morning. High 300 degrees F. Winds 400 to 500 mph and a 70% chance of blood red sky.
The Kooks: Konk
Release Date: April 15, 2008
Luke Pritchard wrote The Kooks’ hit song “Naïve” when he was only 16 years old, which after release in 2006 catapulted the debut album, Inside In/Inside Out into the UK Top 20 charts and introduced the band to the US. Three years later, the British pop band has released Konk, the band’s sophomore studio album produced by Tony Hoffer. Konk is a continuation of inside in/inside out. While it doesn’t propel the Kooks into any new musical territory, it still serves up some of the same catchy pop anthems that made their first album a success and confirms these blokes as more than one hit wonders. Initially, the title Konk, suggests the bands affinity for another British pop rock band, the Kinks, but it is actually the name of the London studio where they recorded. At its core, this is a pop album and that was the bands intent. These are songs written for girls about heartbreak and
love loss….and in such a way that you can double clap along to most of them. The first track, “See the Sun” is instantly catchy and is a good kick off for the album, but the singles, “Always where I need to be” and “Shine” are a bit of a disappointment and suffer when they pander to a mainstream audience. “Sway” stands out as one of the more memorable tracks for me with its heavier chorus that actually creates a swaying feeling. While lyrically, a lot of the songs are a bit bubblegum, Pritchard’s honest heartbroken voice saves the album and makes the band still seem interesting. And did I mention you can double clap to most songs?
Release Date: April 29, 2008
Santogold may just be the most exciting Philly export since Hall & Oates, her self-titled debut a testament. If after first listen you find yourself comparing much of Santogold’s (aka Santi White) debut to electronic peer M.I.A. then you’d be on the right track. The production work has been distributed to notables including the aforementioned M.I.A. and her Kala co-producer Diplo, explaining the great range in style from track to track. If not for the exceptional production, the vocals alone would transport you to a 1983 Cyndi Lauper show. She comes strong right of the bat with L.E.S. Artistes crooning, “Creep up and suddenly I found myself an innovator” over super-catchy indie pop beats. Before it’s all over she dabbles with dub on “Shove It”, nods to Eurythmics on “My Superman”, and revives mid-90’s alternative on “I’m A Lady”. At the end of the showing, she might as well clear her throat and state, “beat that” because this one is gonna be hard to top. If its implied that Santogold has something to prove, then she’s done it, and kicked us in the seat of our pants.
Label: Sub Pop
Release Date: April 8, 2008
This EP is both a warm up for the upcoming Fleet Foxes LP and a declaration of who they are, which is a musically more interesting version of the My Morning Jacket formula. All the atmospheric dude vocals are present, even the same vocal affectations, but musically this EP, song for song, is not mired in the Jim James songwriting formula, i.e., long assed stoned jams that don’t really work as stoner jams (i.e., not headphone friendly). Country rock, alt-country heavy (not light), the Fleet Foxes execute a totally listenable & extremely interesting counterpoint to a band that most seem to think wrote the book on modern CSN&Y rock. I love the balls, too. The Fleet Foxes are essentially 3M to the My Morning Jacket/Band of Horses school. They take what they do and do it better.
Small Black announced they will release their new album, Limits of Desire on May 14, 2013 via Jagjaguwar. They have shared the first single ” Free At Dawn” , along with the album art and tracklisting.