Articulate Silences

Record Review: Caribou

2010-06-03T21:00:00.000-07:00

Caribou
Swim
[2010, Merge]
3/4

This one took a little while to grow on me. I instantly loved lead single "Odessa," but for a long time I thought "Sun" was irritating (it's since become a favorite from the record). Caribou (the project of Dan Snaith) largely eschews the traditional guitars/drums/keyboards setup featured predominantly on Andorra in favor of experimental house that's heavily influenced by Arthur Russell's Calling Out of Context. I had a lot of trouble finding something to talk about with this album, but after weeks of delays (sorry), I finally had a solid angle to work with. Read the whole thing (it's not that long) over at In Review Online.

Buy it

Record Review: Beach House

2010-03-02T19:25:00.000-08:00

Beach House
Teen Dream
[2010, Sub Pop]

This will most certainly be making my best of 2010 list. A wider breadth of emotions is prevalent, but Victoria Legrand's sadness is still palpable in her plaintive strains. Alex Scally's guitar work offers a greater stylistic range as well, including some nice lightly distorted tones that work well in their given situation. Read the full review over at In Review Online.

Best of the decade: 2000-2009

2010-02-12T05:47:00.000-08:00

Joanna Newsom
Ys
[Drag City, 2006]

This is likely my final piece of writing for Tiny Mixtapes, so I think it's important that the featured writing is on one of my favorite albums of not only the past decade, but of all time. If you want read me rhapsodizing about Joanna Newsom (and you do, right?!), Go Here. I guess I'm a fanboy.

If you don't own this record, at the very least in mp3 form, please go listen to it.

Year-End Festivities: The best electronic-ish releases of 2009

2010-01-24T20:51:00.000-08:00

Yeah... I'm really late. I developed some kind of aversion to blogging for a short while, so I postponed posting here until now. More 2009 highlights to come, as well as new content. Thanks for sticking with me.

Tim Hecker: An Imaginary Country

This was a bit of a disappointment when compared to the masterpiece that is Harmony in Ultraviolet, but an excellent experimental ambient album no less. Hecker paints from a familiar palette of static-laced field recordings, overdriven organs, aqueous rumblings, etc., but the feel here is pretty far removed from past albums. "Borderlands" alone makes this album worth checking out, sounding unlike anything the artist has written thus far. Frigid piano chords shiver over Hecker's frozen tundra using some excellent DSP techniques, and hollow bell-like tones sound in the distance. Evocative as all Tim Hecker albums are, An Imaginary Country is an excellent journey through a truly fantastic world.

Bibio: Ambivalence Avenue

I debated writing this in a different post, but enough of it is purely electronic to qualify it for this list. Stephen Wilkinson completely reinvented himself on this record, and I'd say it's for the better. He retains elements of past recordings, but incorporates many stylistic elements from his new labelmates at Warp. The songwriter included a few folky tunes, some excellent pop numbers, and several instrumental hip hop cuts that would jibe well alongside Flying Lotus or J Dilla on a mix. Here's what I've written about this album in the past.

Kreng: L'Autopsie Phénoménale De Dieu

If the foreboding title and cover art alone didn't inform you, this is without a doubt one of 2009's most unsettling albums. A bizarre combination of musique concréte, jazz and aria samples, found sounds, prepared (and traditional) piano, and minimal string arrangements that recall Ligeti and Arvo Pärt. Though the pieces were conceived for avant-garde theatre and dance troupes, L'Autopsie Phénoménale De Dieu is a work that holds up when decontextualized (I've not seen the pieces which the album accompanies). The TMT message board was constantly buzzing about this guy, but I never got around to listening until about a month ago. The Chopin prelude that "Meijse en Auto" (the song that initially grabbed my attention) is based upon is beautiful and sorrowful enough as is, but when combined with what sounds like a woman crying over a telephone and a languorous, funereal snaredrum and ride cymbal pattern, it's one of the most despairing things I've ever heard. Not for the faint of heart, but highly rewarding and very innovative.

The xx: xx

Upon initial listens, "Crystalised" was very underwhelming. I dismissed the group (as many have) as yet another UK buzz band who've gotten too much press too quickly. While they may have garnered an unbearable amount of exposure before having time to adjust (one of the original four members quit after an exhausting festival circuit), they show remarkable maturity and restraint on their debut album. Smart, sexy, and surprisingly honest, xx is one of 2009's most surprising releases. These eleven songs delve deeply into the minds of twenty-somethings, admittedly not very fertile ground for truly profound material, but the simple candidness in both lyrical content and delivery is often disarming (though entirely welcome). Musically, xx shows a nascent band who've already crafted and almost perfected their own aesthetic, an austere blend of stark MPC beats, clean guitar and bass lines, and soft, sultry vocal interplay. Yield to the hype.

John Wiese: Circle Snare [EP]

Prolific LA based noise auteur John Wiese shows a remarkable amount of restraint on this effort. Not nearly as great as Soft Punk, but a solid and intriguing EP no less. Here's what I wrote for Tiny Mixtapes' Year-End Fest:
Circle Snare stood in stark contrast to John Wiese’s watershed release, Soft Punk. Although there was empty space between sounds, Circle Snare was insular and claustrophobic, delivering profound psychoacoustic effects when listened to on headphones. There were certainly passages of chaos and emotional catharsis, but they felt well-deserved after the long segments of silence punctuated by abrupt, small sounds. While noise is overtly harsh and often considered impersonal to the uninitiated, Wiese’s expressions on this album were very human — almost uncomfortably so. His chopped-up, sampled breathing sounded absolutely malicious as it skittered between channels, and when he unleashed waves of pummeling noise, it was with brute physicality. The three-part title suite unfurled steadily, initially hinting at the inclusion of traditional tonality. This notion was quickly dispelled as the drone was shattered into thousands of indiscernible fragments, pitch-shifted drum machines moaned, and mangled tape loops screeched and yowled like feral cats. Possibly the most noticeable aspect of the release was the absence of the sadism found so frequently in the genre. Wiese allowed his listener some respite quite often (by way of near-silence), making Circle Snare one of the most patient, restrained sets of noise music released in 2009.

Jon Hopkins: Insides

This British composer/producer certainly has an ear for texture. Massive bass assaults yield to placid, elegiac piano miniatures, only to be succeeded by glitchy IDM workouts. The melding of organic strings with rich synthetic pads and drums works very well for Hopkins. It's a shame that his contributions to Coldplay's Viva La Vida are conflated with and overshadowed by those of Brian Eno (both men produced, and though I'm a huge Eno fanboy, I'd venture to say that Hopkins' synth contributions were much more essential than Eno's). Insides almost feels a bit too long at times, but the incredible highlights alone are worth your time.

In Review Online's best of 2009

2010-01-06T15:26:00.001-08:00

Hey, look -- I contributed a blurb about Mount Eerie's excellent Wind's Poem to InRO's end-of-2009 coverage. I've been pretty bad about posting as usual, but I imagine you expect that by now. Launching a tumblr soon. Not really sure why, or whether it'll subsume this blog here. Details forthcoming. For now, check out the staff's picks.

Record Review: Baroness

2009-12-23T14:39:00.000-08:00

Baroness
Blue Record
[2009, Relapse]
3.5/4

First thing's first: this is one of the best albums I heard in 2009, metal or otherwise. And yes, I listened to more than just "hipster metal" this year (the station had Dying Fetus, Eagle Twin and Gorgoroth in rotation, and, well, you've seen my love for that Converge record). Anyway, I'll point you in the direction of In Review Online for the full review. I try to avoid simply rhapsodizing about a record in reviews, but it was difficult to contain here... Blue Record is phenomenal.

Year End Festivities: Best Hard Rock Releases of 2009

2009-12-16T22:08:00.000-08:00

The unfortunate overlook of great "loud rock" (be it hardcore, metal, or otherwise) in "indie rock" circles continued this year; I can't claim to have kept up much myself, but I'm very glad to have discovered what I'm spotlighting here.

Converge: Axe to Fall
I found out about this album from Pitchfork's hyperbolic, 8.5/10 review, but was shocked that Axe to Fall was denied "Best New Music" status. Sure, the band is signed to Epitaph records, but metal bands have formerly been given the distinction... I'm pretty certain (and disappointed) that Schreiber and crew were too worried about credibility to acknowledge such a great album. The reviewer even went so far as to name Converge "This generation's Black Flag," so I wouldn't be surprised if the review wasn't initially a few points higher.

Axe to Fall opens with the brilliant hat-trick of "Dark Horse", "Reap What You Sow" and the title track, tearing through vintage Metallica thrash and hardcore blast beats while the guitarist furiously unfurls searing pull-off runs. Far removed from the more grind-oriented sound defining their earlier landmark album Jane Doe, the mid section delves into slower, sludge, post-rock and doom-inspired territory. They display immense technical ability throughout, shifting through time signatures with ease while performing with dexterity, but nothing about the album feels showy. Instead, it's raw, violent and passionate. Some momentum is lost on the Earth/Tom Waits homage "Cruel Bloom" and slow-building closer "Wretched World," but they offer a needed come-down after such a blistering album. If You haven't checked this one out yet, and consider yourself a fan of harder rock music, please listen.

Zu: Carboniferous
Zu rival Sunn O))) in heaviness on a lot of these tracks. Unlike Sunn O))), however, Zu is hardly about stasis or fixation on held tones. This prolific Italian experimental jazz trio teams up with The Melvins' King Buzzo and Ipecac label-head (and venerable experimental musician in his own right) Mike Patton for a lengthy, disorienting set of ten tracks. Carboniferous introduced me to the group, so I can't say how it compares to their past efforts (and they have a pretty exhaustive back catalogue, with fourteen albums that include collaborations with Fred Lonberg Holm, Nobukazu Takemura, Ken Vandermark, and others). Comprised of tight yet powerful, polyrhythmic drumming, distorted, layered saxophone and scuzzy electric bass, Carboniferous is the most simultaneously brutal, noisy and technically demanding piece of work I heard this year, but it's also very rewarding.

Pissed Jeans: King of Jeans
Maybe it was the band's name, or my initial reaction to hearing "Ice Cream" from 2007's Hope for Men (I was pretty close-minded to a lot of rock music offshoots at the time), but I likely wouldn't have checked out King of Jeans had it not entered heavy rotation at V89, where I was forced to play it during several shifts (only the first time was forced... I gladly returned to it -- and even hoped for it in my rotation -- during subsequent shifts). There's improved clarity in the mix, but the group fortunately retains their dirty sound. Singer Matt Korvette channels The Jesus Lizard's David Yow quite often, and it works well for him. Though he details pretty mundane topics (going to the gym, parties, and R-rated movies), Korvette manages to explore insecurities (body image, social interaction, sexuality, etc) that most can easily relate to.

Sunn O))): Monoliths and Dimensions
Sunn O))) as an idea had always fascinated me, but it wasn't until Monoliths and Dimensions that I'd truly loved one of their records. Probably one of the most appropriate album titles of 2009, Sunn O)))'s power is physically and emotionally draining. The core duo of Stephen O'Malley and Greg Anderson enlisted a slew of collaborators, including Australian experimental guitarist Oren Ambarchi, Hungarian vocalist Attila Csihar, Earth's Dylan Carlson, a Viennese women's choir, a string section, and countless others. Genuinely terrifying at times, the duo summons immense drones from their own guitars, but the most transcendent moment of the album comes with closing track "Alice." Dissonant guitar tones (presumably from Dylan Carlson) ring out and languish over a barren desert landscape, and as each brief guitar pattern decays, the horns and strings provide tense crescendos. Just over halfway through the song, though, the darkness begins to disperse with a major key tonal shift, ultimately yielding to three blissful minutes of harp, strings, Ambarchi's processed guitar, and orchestral flourishes. Without a doubt one of the best songs of the year, this is Sunn O))) at their best and most innovative, displaying immense patience (which they've always had) and compositional prowess.

Baroness: Blue Record
Last but certainly not least, Baroness' Blue Record was my fifth favorite album of 2009. I wrote about 600 words on it, but the review has yet to be published. Check back later this week for my (mostly) complete thoughts on it.

Year-End Festivities 2009: an introduction

2009-12-15T21:37:00.000-08:00

Well, here I am again, attempting to share what mattered most to me in the past year. And again, I'm struggling to recall those things. I alternately love and hate our current musical climate. I'm very glad that music is so readily accessible, but the availability has led to inundation. Now, we hear artists' music long before it was intended (I understand that a lot of this is determined by record companies intentionally staggering release dates), before we have adequate time to process what came before. It's difficult to turn down the latest album leak -- I'm prone to leap at the chance to hear an album before the release date, certainly. However, I feel that it's been immensely detrimental to how I value music, and how I absorb music. Writing about music has physically and emotionally drained me this past year. It's something that I've loved for a long time, but I'm not sure how long I can continue (please stick with me... if i ever "retire" this blog, I'll post a formal missive of some sort).
Enough of this sentimental nonsense... on to some year-end business. I don't really feel like writing about each of the 25 releases in my list, so I'll highlight a few favorites in the days to come.

News: Steve Reich

2009-12-09T18:50:00.001-08:00

I love Steve Reich. Not only is he one of the most venerable (deservedly so) living composers, but he just seems so unassuming. I don't know him, but his demeanor and dress belie his intellect and musical brilliance. Aside from the perfectly detailed lyrics of Matt Berninger, the instrumental contributions of the National are some of the most compelling in rock music today. Delicate, intricate guitar work, polyrhythmic experimentation, unique chord progressions...I can't wait to hear this piece.

On Repeat: Lia Ices

2009-12-07T10:02:00.000-08:00

Immediately after hearing "Cymbal, Trumpet and Bell" on the Esopus #13: Nostradamus comp, the versatile alto of Lia Ices (she refuses to disclose her birth name) became one of my favorite contemporary female voices. Her debut, 2008's Necima, features piano-led arrangements augmented with strings, clarinet, and occasional guitar supplementing an alternately frail and supple voice. Some immediate reference points are the Jon Brion-produced version of Fiona Apple's Extraordinary Machine, the smoky, sultry feel of latter-day Cat Power, and the frigid (pun not intended), confident vocal timbre of My Brightest Diamond's Shara Worden.

While those three are all known for histrionics in their own right, Ices' formal theatre training is evident in her choice of arrangements, familiar (but altogether welcome) chord progressions, and unforgettable vocal melodies. My only real complaint with the album is her over-reliance on a few said progressions, but Necima is a solid record no less. The subtle inflectional details of the gorgeous closer "You Will" recall Joanna Newsom's unique delivery (compare the way both articulate "to", "skin", and "ground") applied to an old jazz standard (the way she sings "Waiting for you..." gives me chills every time) -- it might sound like a completely incongruous combination, but it's one that definitely works. The simple, understated video fits the song's mood perfectly, as well. Hopefully we'll hear more from her in the future.

Record Review: Eno, Moebius & Roedelius

2009-12-03T08:16:00.001-08:00

Eno, Moebius & Roedelius
After the Heat
[Sky, 1978; Bureau B, 2009]
3/5

The second collaboration between Brian Eno and Cluster (here credited as constituents Hans Joachim Roedelius and Dieter Moebius) arrived only a year after the trio’s first collaboration, Cluster & Eno. By the time of their first meeting, Eno had released his first proper ambient album, Discreet Music, as well as a handful of pioneering pop records. Cluster had steadily moved away from the free-form ambient style marking their debut, Cluster ’71, to the slowly shifting, pulsating krautrock on landmark releases Zuckerzeit and Musik Von Harmonia (with Neu!’s Michael Rother). After hearing these releases, Brian Eno was eager to collaborate with Moebius and Roedelius.
Continue reading at Tiny Mixtapes.

Buy it

On Repeat: People Under the Stairs

2009-11-23T17:40:00.000-08:00

LA hip-hop duo People Under the Stairs make fun music, plain and simple. Fun DMC is an homage to lazy Saturday afternoons, a collection of songs that celebrate idyllic times with friends. Listening to standout song "Gamin' on ya" never fails to put me in a good mood (perhaps it's due to my own long-lost affinity for video games). For me, video games were more often than not a solitary activity -- I would spend hours on end playing Zelda games on my N64. However, I did spend some quality time with my sister and close friends playing Goldeneye and Super Smash Brothers .
Anyway...
The rhymes are tight (consisting almost entirely of old-school video game references), but the production on this track is what always makes me come back for another listen. Built around a Galaga sample (that's honestly the only one I recognize) and a simple but propulsive and effective beat, not only does the track reflect the song's subject manner, but it also accentuates the communal feel and playfully competitive spirit of emcees Double K and Thes One. Listen, have a good time, and share your own video game reminiscences and/or sample identifications in the comments!

On Repeat: Bedhead

2009-11-02T09:24:00.001-08:00

I'm not sure how the search began, but I discovered Bedhead after spending a bit of time in the Tiny Mixtapes review archive. The now defunct slowcore act lives on today in the form of The New Year, but Bedhead's tragically under-recognized Transaction de Novo is an album definitely worth revisiting, or getting acquainted with if you're unfamiliar. Anyway, though there are many great songs on the record, "Lepidoptera" stands out as the clear highlight.

As much as I love "Lepidoptera," it's been bothering me quite a bit lately. The typical hallmarks of a Bedhead song are here -- contrapuntal guitar and bass lines, an andante tempo, and Matt Kadane's mumbled, reticent vocals. The drums metronomically count out the 3/4 time signature as soft guitars chime two-note intervals in the background. Kadane quietly details a still room at night, lit only by "what [little] moonlight there is." At about a minute in, though, the drums disappear completely, a moth flutters through the open window with its delicate "blown-glass wings" and lights on a darkened lightbulb. The sumptuous, clean guitar strums hang in the air gracefully. We hear the sound of wings pushing against the constraints of a chrysalis in the beginning, the first hesitant wing-beats relishing freedom, but then hear the narrator reveal that he can't move or speak. Whether this is from awe of the beauty or some sort of literal paralysis is uncertain. The subtle dissonances in the final measures suggest the latter, but the revelation that "[his] guardian angel has finally arrived," paired with the major resolution, lend the entire song hope and positivity, as if seeing this graceful moth reminds him of what life was (or would be) like free of confinement.

The delicate guitar interplay against Kadane's soft, hesitant vocals is so arresting that I typically play the track about three or four times in a row. "Lepidoptera"'s chord voicings are very atypical and advanced by indie-rock standards -- simply put, this is a refreshing, exciting song. The very brief track time is appropriate given the ephemeral nature of an insect's life, and maybe it's even a comment on human mortality (or maybe I'm looking into this far too much), but I really wish that it lasted at least a minute longer, as the chord progression that starts to unfold in the final measures hints at a continuation of the breathtaking beauty that preceded it. Please listen to this song, and let me know what you think! Then go buy this album. I'm glad I did.

Revisited: Why?

2009-10-10T10:40:00.000-07:00

Not enough time has elapsed to say that I truly "revisited" Alopecia, since I haven't really stopped listening to the album since first hearing it a little over a year ago. However, the good folks over at In Review Online decided to publish a Discographer feature on the Berkeley-by-way-of-Cincinnati band to coincide with the release of their latest, Eskimo Snow, and asked me to contribute my thoughts on my favorite Why? album. As Alopecia was one of my favorites from 2008, I was happy to oblige. Check out the rest of the feature Here.

Lifting lyrics from cLOUDDEAD’s “3 Twenty,” “The Vowels pt. 2” opens Alopecia with one last look to the past. The album marks the last Why? album containing any vestige of hip hop, and sees the band progressing further into pop territory, prescient of the complete submersion that would mark the subsequent Eskimo Snow. The album’s titular disease reflects the dark humor in Why?’s music; it’s nothing more than a fairly common problem of hair loss, but to lead singer/songwriter Yoni Wolf, the gradual depletion of his follicles is a looming reminder of his mortality.

With its carefully balanced amalgam of hip-hop, folk and pop music, Alopecia is the definitive statement of Yoni Wolf’s career thus far. Keyboards range from the guttural piano rumble opening the record to the staccato organ marking “These Few Presidents.” Josiah Wolf’s percussive prowess finally makes its way to the foreground, with rapid xylophone parts and the most intricate drumming yet to be heard on a Why? record. Rather than jarring juxtaposition, Why?’s blend of hip-hop influenced vocal and rhythms with an indie-rock band setup proves to be the most musically interesting incarnation of the group.

Of course, words are the most important part of any Why? record, and Alopecia finds Wolf’s lyricism at its most direct and exposed. His confessions are unflinchingly candid, sincere, and uncompromisingly honest. He never gives the impression that his uncomfortably intimate details are intended for shock value, but rather for a necessary catharsis. While his cadence often incorporates hip-hop delivery, it’s his clever wordplay that reflects his past in “art rap” and evinces his history with Anticon.

Further, Wolf’s fixation on mortality has never been displayed with this much eloquence, wit or confidence. Unease from a constant fear of death leads him to ruminate on religion for the majority of the album. He’s best when most subversive, and utilizes liturgical imagery and tradition to expose his doubt in the sovereignty and/or existence of a higher power (“Torpedo or Crone’s” and “The Fall of Mr. Fifths” betray a more-than-superficial familiarity with American Protestant tradition, surprising given the considerable references to a Jewish upbringing in his work). When he intones, “Devoid of all hope,” on the despairing “Good Friday,” you believe it.

Add to that the fact that “A Sky for Shoeing Horses Under” is referenced on this year’s Eskimo Snow, and this all might come to indicate that Wolf won’t ever fully close the doors on his past. If that’s the case, it’s unfortunate for his mental health, but great for listeners craving honest, innovative and consistently rewarding songwriting. It’s Wolf’s writing, after all, that makes Alopecia not only Why?’s best record, but one of 2008’s best and most intriguing listens.

Capsule Review: The XX

2009-10-05T08:39:00.000-07:00

The XX
XX
[2009, Young Turks/XL]
4/5 (Heavy Rotation)

The four members of The XX met at London’s Elliot School, the same university that counts Burial, Kieran Hebden (Four Tet) and members of Hot Chip as alumni. The unique vocal dynamic of Oliver Sim and Romy Madley-Croft combines the disaffected quality of brooding 80s guitar pop bands with the sensuality of American pop R&B divas. It’s an unusual formula, but a surprisingly effective one. XX, their debut for Young Turks/XL Recordings is sparse yet incredibly immersive and spacious. A dark, atmospheric, and oddly sexy album of pop songs, XX is a very well crafted debut from these four promising twenty year-olds. I initially avoided this due to the massive amount of hype surrounding it (and the awful album cover), but I'm glad I finally checked it out after a friend recommended it.

Listen
Buy it

Capsule review: Why?

2009-10-03T11:03:00.001-07:00

Why?
Eskimo Snow
[2009, Anticon.]
3.5/5 (Heavy Rotation)

Alopecia was one of my favorite albums from 2008, but Eskimo Snow is musically superior. A marked change from past efforts, the album finds the band playing straightforward indie-pop, having completely eschewed their hip-hop inclinations they once featured so prominently. While the musical quality on Alopecia ranged from adequate to interesting, Eskimo Snow is lush, layered, and often flat-out gorgeous. Lambchop's Mark Nevers' spacious production accentuates the nuances in the vibraphone/piano/guitar arrangement of "Berkeley By Hearseback" and the sweeping piano string strums of "Even the Good Wood Gone." While I don't think frontman Yoni Wolf's lyricism is quite as clever or focused on this effort, his ruminations on sex, spirituality and mortality are far more acute than most singer/songwriters in the "indie" world (whatever that is). If you haven't listened to Why? before, I think this would be a good starting point. Well, maybe a good follow-up to Alopecia, anyway.

Listen
Buy it

Capsule review: David Bazan

2009-10-03T10:51:00.000-07:00

As previously noted, I began writing brief reviews to accompany in-rotation-music at V89. I'll post these comparatively colloquial reviews as "capsule reviews" in (hopefully) consistent posts:

David Bazan
Curse Your Branches
[2009, Barsuk]
3.5/5 (Medium Rotation)

Curse Your Branches is David Bazan's first solo LP since the dissolution of Pedro the Lion. Lyrically, he covers familiar territory (invectives against God and Christianity, struggles with alcohol and family), but he admits that this is his first truly autobiographical record, and he seems more vulnerable than ever before. His relationship with God has always been tumultuous, but rarely has he challenged Him so directly or boldly. The struggles he details are heartbreaking, and unsettlingly juxtaposed by the often uptempo, cheery arrangements. And the arrangements are what kept me from giving this a higher score; Bazan has never been stronger or more assured as a writer, but too often the musical accompaniment here seems like generic, expendable indie-folk. There are certainly some exceptions (the album's bookending tracks, "Lost My Shape", the title track), though. Overall, a very solid release from a great songwriter, full of honest search and struggle.

Listen
Buy it

Record Review: Black Mold

2009-09-23T10:30:00.000-07:00

Black Mold
Snow Blindness is Crystal Antz
[2009, Flemish Eye]
2.5/5

Read the full review at Tiny Mixtapes. Chad VanGaalen has certainly kept busy over the past few years. In addition to releasing several great albums, he’s produced music for Calgary’s Women, designed album art, and remained closely involved with the Flemish Eye label. The musician hinted at an affinity for warped electronic sounds on albums credited to his given name, but this interest always seemed one of exploratory curiosity than of studied proficiency, as he incorporated electronics into only a song or two on each album. VanGaalen subverts this notion under the Black Mold moniker, releasing a 19-song album complete with “100+ bonus minutes of glitchy oddities” on an included download card...

Listen
Buy it

In brief, there's some good material on Crystal Antz, but the Black Mold project doesn't even come close to VanGaalen's output under his given name. If you haven't heard him before, I highly recommend his last album, Soft Airplane. Or maybe you don't want to spend money/steal it from the internet? Well, here's a free and legal collection of Soft Airplane B-sides.

Record Review: Es

2009-09-11T08:02:00.000-07:00

Es
Kesämaan Lapset
[2009, Fonal]
3.5/5

Read the full review at Tiny Mixtapes. There’s something magical and transcendent about the relatively nascent ‘New Weird Finland’ movement (or ‘Finnish freak-folk,’ or whatever other inane designation you prefer). Es, the recording name of Fonal Records head Sami Sänpäkkilä, continues to demonstrate this strange mysticism on Kesämaan Lapset. Translated as “Children of the Summerland,” Es’ latest pays homage to Finnish artist Pekka Streng’s album Kesämaa (“Summerland”), capturing the essence of summer through the innocent eyes of a child.

I've been consistently impressed with the Fonal Records catalog. If you're unfamiliar with the label, though, I would recommend starting with Eleanoora Rosenholm or Paavoharju, two of my favorites.

Listen
Buy it

Fan mail!/Updates

2009-09-08T09:21:00.000-07:00

This is not a post about the album of the same name from defunt 90s pop r&b queens TLC. Now that that's established, let us begin. I love receiving feedback for my reviews/commentary/etc. I Received a forwarded email from TMT's editor with something completely unexpected: a reaction to my review for Wino's anthology, A Bottle of Pills With a Bullet Chaser. The review was published in January, so I was pretty surprised to see a response letter so after-the-fact. It's certainly far from my best writing, but I am pretty proud of the line about the singer's lyrics, "about as profound as the brooding couplets scrawled into an angst-ridden high school student’s notebook cover." But enough self-congratulating, here's the letter I received:

Your so cool!

I know that's your opinion. The only thing you know of the band is this
cd.

From- WINO.

Glaring grammatical errors aside, I'd like to point out that A Bottle of Pills... is all that anybody (aside from those "lucky" enough to have witnessed the band's live show before their dissolution) could know about this band... it's their entire recorded output. So thank you, dear fan, for assuming the role of band spokesperson and taking the whole of fifteen seconds to share your feelings/embarrass the band you love. Or, if you're actually a former member of the band, you should consider editing yourself.

I recently began working for the music department at WVFS. I will be writing brief reviews for albums entering rotation, so expect some capsule-style reviews here very soon. Currently reviewing BLK JKS's After Robots, David Bazan's Curse Your Branches, and Why?'s Eskimo Snow.

Finally, I have a few reviews that I really want to finish, but haven't found time to, yet. A full review of Zoos of Berlin's great new album Taxis is coming soon(ish), but for now, check out this very elaborate track review for "Electrical Way" (not one of my favorite tracks, but a good one no less) and enjoy the song.

Record Review: Choir of Young Believers

2009-09-03T06:09:00.000-07:00

Choir of Young Believers
This is for the White in Your Eyes
[2009, Ghostly International]
2/5

Read the full review at Tiny Mixtapes. Jannis Noya Makrigiannis is a big deal in his native Denmark. Previous EPs from his Choir of Young Believers helped garner auspicious accolades overseas, including “Talent of the year” and “Hope of the year.” Ghostly International, a label who rarely — if ever — releases music so earthy or organic, signed the band for American distribution, hoping to capitalize on (as the awards would have you believe) Denmark’s greatest new musical export with This is for the White in Your Eyes.

I initially enjoyed the more immediate songs on this album (tracks 1, 4, 7), but after a few listens through, the quiet, subtle tracks really began to shine. A paragraph was omitted from this review, in which I discussed "Why Must it Always be this Way." The original appeared on the Burn the Flag EP, as a voice/guitar/cello song. It appears on the long-player with a small string section, and copious amounts of vocal reverb. It threatened to kill the sentiment of the original, but in my opinion, it's one of the better tracks on the album. If you're into orchestral pop, this is worth checking out, despite the low score I gave it.

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Dancing about Architecture

2009-08-23T21:02:00.000-07:00

"Writing about music is like dancing about architecture." The author of the quote is unknown (Elvis Costello and Frank Zappa are among the allegedly responsible), but I think it's a rather provincial proposition. To the average person on the street, I'm sure that a dance about architecture would appear absurd. However, we have used one medium to describe another since the beginning of time, so why not use the written word to express music?
I'm not going to expound on this matter much further, because, as a reader of this blog, you know that I love to write about music. However, I encourage you to check out the 2009 music issue of The Believer, the literary magazine from McSweeney's. As in past issues, the volume contains a mix CD with detailed insights on each track. However, the articles in the 2009 music issue, in my opinion, are far superior to those from the 2008 and 2007 issues (There are more, of course, but I've only been reading The Believer since 2007). I've only read about half of it, but each piece has been compelling and thoroughly researched (the segment on The Lawrence Welk Show was much more interesting than I expected it to be). Arthur Phillips' exposition, "Dancing about Architecture,"[FULL ARTICLE] is illuminating and thought-provoking, my favorite article in the issue so far, and maybe one of the best ruminations on writing-about-music that I've ever read. Pick up a copy Here, read Phillips' piece, and share your thoughts!

Record Review: Blind Man's Colour

2009-08-20T07:16:00.000-07:00

Blind Man's Colour
Season Dreaming
[2009, Kanine Records]
1.5/5

Full review Here. In a recent interview, the two young men of Blind Man’s Colour responded to accusations of aping Animal Collective. According to the St. Petersburg, FL natives, Orhan Chettri and Kyle Wyss have been sampling water and incorporating similar sounds into their collage-style works since 2006. They continued by noting that Animal Collective’s Water Curses EP, the recording that BMC’s sound most closely resembles, was released in 2008; it wasn’t a matter of plagiarism so much as coincidence. It wasn’t coincidence, however, that Blind Man’s Colour first rose to prominence on the blog-buzz of several Animal Collective covers they recorded prior to the release of Merriweather Post Pavilion, a move that of course openly invites the comparison.

Maybe I was a little harsh on this one. I do agree with parts of Joe Colly's review on Pitchfork, particularly when he mentions that BMC certainly won't be the last of Animal Collective imitators. Perhaps it would have been better if the group hadn't released their digital EP of AC covers. The scenario reminds me of when Bradord Cox of Deerhunter advocated the practice instead of downloading a leaked album (which is a pretty unrealistic expectation for the majority of listeners). Anyway, like I say at the end of the review, the band is good at what they do, and there are a few pretty good tracks on Season Dreaming.

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Record Review: The Antlers

2009-08-07T14:57:00.000-07:00

The Antlers
Hospice
[2009, Frenhkiss]
3.5/4

I recently saw The Antlers perform at the Pitchfork Music Festival. It was one of the best sets of the weekend, and one of the best I've seen all year. If you haven't gotten this album yet, do yourself a favor and check it out.

Read the full review at In Review Online. The more seemingly fictional or fantastic an album’s mythology, the greater chance it has of becoming inextricably entwined with the album itself. When Bon Iver’s For Emma, Forever Ago began receiving belated press in 2008 (despite initial release in 2007), nary a review surfaced that didn’t mention the conditions surrounding the album’s inception – Justin Vernon breaks from his band and a romantic relationship, sequesters himself within a cabin in rural Wisconsin, and writes an intimate, endearing song cycle. While I think that Vernon’s distraught, maybe even despairing mindset at the time explains how such a sad album can come to life, the music and lyrics are already so powerful that explaining the back-story might be doing Emma a disservice.
Well, this isn't a Bon Iver review, so if you want to read my thoughts, check the full review. Regardless, go get a copy of Hospice.

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Anticipated: Stars of the Lid

2009-08-06T09:32:00.001-07:00

While I'm eagerly anticipating the next Stars of the Lid album (not sure when the release date is), this video recently came to my attention. I've wanted to see SOTL live for some time now. As they never tour as far south as Florida, this might be the closest I get to seeing them anytime soon. Their music is already very spiritual, and I can't imagine how much that would be amplified when heard in a conducive setting like a cathedral. If only I didn't have to wait until 2010...

Revisited: Wilco

2009-08-04T21:35:00.000-07:00

Wilco's Yankee Hotel Foxtrot is one of my favorite records, and one that I find myself constantly returning to. I recently watched Sam Jones' fantastic I Am Trying to Break Your Heart: A Film about Wilco; the experience was very enlightening. I had no idea how much tumult surrounded the creation and release of this beloved record. I'd recommend listening to the record first, then checking out the doc. Without further ado, here are some thoughts on one of the decade's best records, and Wilco's finest album.

Re-posted from In Review Online. A tangible loneliness pervades Wilco’s fourth album, 2002's landmark Yankee Hotel Foxtrot. From the stark apartment buildings adorning the cover to the defeat in Jeff Tweedy’s weary delivery, the emotion is tantamount in importance to any musical element on the album. The desolate sonic palette from which the record is painted is not only a meditation on post 9-11 America, but also a thorough reflection on the difficulty the band faced at the time, both with themselves and their management.

Aside from its significance in marking Wilco’s further sonic exploration, YHF represents a paradigm shift that forever altered the band’s trajectory. Extensively documented in Sam Jones’ documentary I Am Trying to Break Your Heart: A Film about Wilco, multiple personnel changes were undergone shortly before and immediately after the album’s recording. Percussionist extraordinaire Glenn Kotche signed on as drummer (thanks to mutual friend Jim O’Rourke), and lead guitarist/multi-instrumentalist Jay Bennett was dismissed from the band after increasing friction with Tweedy. Bennett was serving as co-producer and mixer, and his pop-oriented mixes were in opposition to the direction Tweedy wanted to take. Against Bennett’s knowledge, Jim O’Rourke was brought in to remix “I Am Trying to Break Your Heart,” the results of which impressed all involved, and earned him chief mixing duty. Agitation continued throughout the process, and Bennett was asked to leave the band soon after the album was completed.

Crafting what is definitely their most experimental record to date, the band utilized innovative percussion (thanks to Kotche), field recordings (including the eerie radio transmissions from “Poor Places” that gave the album its title), and various atmosphere-enhancing textures. Early demos (again, see: Jones’ illuminating documentary) indicated that this very well could have continued in the power-pop vein of Summerteeth. Thankfully, Tweedy’s desire to push the band’s boundaries won over Bennett’s traditionalist bent. It’s a masterfully paced song cycle that never compromises tunefulness for the sake of experimentation. Even on the most nontraditional tracks, Tweedy’s melodic gifts shine, demonstrating that Wilco will always be, in essence, a pop band.

Despite this, the label execs at Reprise were so shocked by what they heard that the record was shelved indefinitely, and the label dropped the band. However, after floating around in limbo for several months-- and after fervent fan word-of-mouth precipitated by the band's brave decision to stream the album on their website – Nonesuch (the band’s current home) adopted them. Ironically, Warner Brothers is the parent company of both Reprise and Nonesuch.

Tweedy’s lyricism is direct and wounded on Yankee Hotel Foxtrot, from the opening declarations of “I Am Trying to Break Your Heart” to the heartbreaking confessions of “Reservations.” It’s appropriate that the bitterly tongue-in-cheek “How to Fight Loneliness” appeared on the preceding Summerteeth, as Yankee Hotel Foxtrot finds Jeff Tweedy tired of pretending, now acquiescing with grand gestures of resignation. A sprawling record marked with profound sentiment and fascinating musical direction, Yankee Hotel Foxtrot is, in my opinion, Wilco’s best and most important record.

BUY IT.

Mixtape #4: Warp

2009-07-30T21:04:00.000-07:00

Warp Records just turned twenty years, and is celebrating by putting on some amazing shows and releasing this absolutely beautiful box set. Included in the set are a few mixes -- one from label co-founder Steve Beckett, another with tracks voted on by the fans, and some sort of mash-up disc. If a generous reader would like to purchase one for me, I would love them forever (seriously).
ANYWAY...
I attribute my love of electronic music in part to Warp Records. Their pioneering stable of artists is inspiring, and the breadth of stylistic ground their bands cover is impressive in itself. To celebrate the venerable label, I decided to curate a humble mix of my own. It barely scratches the surface, but I included many of my personal favorites from the roster (sadly, Jamie Liddell and Bibio narrowly missed the cut due to some sequencing issues). Also, I think this is the best mixtape I've made yet. Get it Here, and share your thoughts on Warp Records (or... anything, really) in the comments.

Song Order:
0:00 – 4:33 Aphex Twin “Vordhosbn”
4:33 – 9:58 Boards of Canada “Julie and Candy”
9:58 – 13:01 Flying Lotus “Tea Leaf Dancers”
13:01 – 17:11 Squarepusher “Don't Go Plastic”
17:11 – 21:00 Broadcast “The World Backwards”
21:00 – 24:10 Prefuse 73 “Perverted Undertone”
24:10 – 26:45 Jackson and His Computer Band “Hard Tits”
26:45 – 32:18 Clark “Matthew Unburdened”
34:12 – 38:08 Born Ruffians “Kurt Vonnegut”
38:07 – end Grizzly Bear “Reprise”

Record Review: Jónsi & Alex

2009-07-23T07:52:00.000-07:00

Jónsi & Alex
Riceboy Sleeps
[2009, XL]
2.5/5

Read the whole thing at Tiny Mixtapes.
I recently came across a few “iTunes essentials” playlists that are unfortunately indicative of how “ambient” music has come to be perceived. The Indie Chillout playlist features Mogwai, Tortoise, and Sigur Rós. To many listeners, this dynamic (though arguably formulaic) music is “ambient” and “chill,” serving mainly as background to doing homework or falling asleep. While I think that labeling the music of Sigur Rós "ambient" indicates a gross misunderstanding of what ambient music is, the label is perfectly suited to Jónsi and Alex’s debut album/art project.

In short - this album is rather boring. It is, however, stunningly pretty, and very evocative. I really wish that the duo had structured more songs like "Boy 1904". As it is, I wouldn't recommend the record for active listening, but it's wonderful background music (it soundtracked nearly every study session before finals week a month ago).

Listen (full album stream)
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Record Review: Wilco

2009-07-13T22:11:00.000-07:00

Wilco
Wilco (the album)
[2009, Nonesuch]
2.5/4

Read the full review at In Review Online. As Jeff Tweedy sings on Wilco (The Album)’s incredibly self-aware opener, “Wilco will love you, baby.” Appropriate, as the band has been consistent in quality over the course of six studio albums and a live release, and their latest is no exception. After the critical and popular backlash following 2007’s mundane Sky Blue Sky, listeners have no doubt been curious to see where Wilco would take their ever-evolving sound for this record.

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Record Review: Nomo

2009-07-13T07:17:00.000-07:00

Nomo
Invisible Cities
[2009, Ubiquity]
3.5/5

Full Review Here. Although assuming regional distinctions might suggest a provincial worldview, I’ll be honest — when I first heard NOMO, I would never have imagined that they were from Ypsilanti, Michigan. Over the course of three full-lengths and two EPs, the band has cranked out consistent sets of dense, polyrhythmic grooves indebted to traditional African music. A companion album to last year’s Ghost Rock, Invisible Cities again finds the group in fine form, refining their sound and moving gradually further from revivalist afrobeat into a style all their own.

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Record Review: Bowerbirds - Upper Air

2009-07-07T09:09:00.000-07:00

Bowerbirds
Upper Air
[2009, Dead Oceans]
3.5/5

Read the full review here. Upper Air finds this North Carolina folk group much more assured in their songwriting. Phil Moore is still passionate about the environment, but his lyrical focus has expanded to include personal relationships as well. If you liked the last one, you'll surely like this. And if you didn't, give Upper Air a chance; I think it's better overall than its predecessor.

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Record Review: Jono El Grande

2009-06-30T08:13:00.000-07:00

Jono El Grande
Neo Dada
[2009, Rune Grammofon]
4/5

Full Review Here. Jono El Grande is not of Latin or Hispanic origin. Actually, Norwegian Jon Andreas Håtun would have difficulty picking a more absurd name under which to release his music. Given the nature of his songs, though, he couldn’t have picked a more appropriate moniker. Whether in a studio or live-slapstic-show setting, Håtun subverts convention through musical and physical humor. However, the levity that allows El Grande to connect so easily with some may alienate others.

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Mixtape #3: Shoegaze/Dream Pop

2009-06-26T12:02:00.000-07:00

I love shoegaze. For those unaware, this style was so named for the on-stage posture that its practitioners displayed, seemingly fixated on the pedalboards at their feet. Categorization is typically pretty nebulous, so you might disagree with some of the groups included here. This is by no means an inclusive "best of" of list, but rather a broad overview of shoegaze/dream pop music. Get it Here. Already, right before posting, I realize I forgot one of my favorite bands of the past few years, Deerhunter. Oops. Check them out, too.

Track order:
0:00 - 4:17 "Only Shallow" - My Bloody Valentine
3:50 - 6:43 "Saltwater" - Beach House
6:43 - 13:30 "Silver" - Jesu
13:22 - 18:09 "That Summer at Home..." - The Twilight Sad
17:16 - 21:29 "Machine Gun" - Slowdive
21:17 - 25:51 "Moonchild" - M83
25:30 - 30:46 "Tommy Gun Angel" - Bardo Pond
30:40 - 34:01 "Pulling Our Weight" - The Radio Dept.
33:53 - 38:15 "Half Asleep" - School of Seven Bells
37:36 - 41:20 "Lantern Fish" - Candy Claws
41:17 - End "Thursday" - Asobi Seksu

Playlist: 6/5/2009

2009-06-24T19:14:00.000-07:00

After DeeJaying my friend's birthday party, I had to cover a shift at V89. I wouldn't have taken it, but I only heard about the party after I volunteered to cover the shift. Needless to say, after being up all day, and DeeJaying for about four hours and playing some live music at a party, I was tired. And since it was Saturday morning in the (very) early hours, I felt like indulging in some drone after I finished getting through my required rotation. I got a very drunken request for Bob Dylan and "Sexy Boy" from Air, somebody called in with an inquiry about who was playing when "Fünf" from Gas' Königsforst was on, there was an extra ice cream sandwich in the station freezer, and I got to play Keith Fullerton Whitman's excellent Lisbon [cover above] in its entirety. I'd say it was a great night. Here's the playlist.

Rock the Vote

2009-06-24T05:24:00.000-07:00

Florida State University is currently polling students to determine the performer at Warchant, our annual homecoming concert. Last year it was Lupe Fiasco (who was decent) and Augustana (who were terrible). I don't want a repeat of that, and neither do you. To prevent a terrible band from performing at our fine school, please vote here. you don't even have to be a student! Just vote! i'd appreciate it. Vote for Yeah Yeah Yeahs and prevent any of these egregious acts from disgracing our campus:

Asher Roth
Boys Like Girls
Citizen Cope
Dashboard Confessional
Fabolous
Flo Rida
Kid Cudi
3OH!3
Third Eye Blind
Young Jeezy
Sara Bareilles

Ok, so they aren't all egregious (most are, though). But if you could vote, I'd appreciate it. I don't even think the last YYY album was that great, but they're still better than most of that list.

Record Review: Bibio

2009-06-22T07:56:00.000-07:00

Bibio
Ambivalence Avenue
[2009, Warp]
4/5

Read the whole thing at Tiny Mixtapes. For those who got my first mixtape, you know that I love the title track to this album (and hopefully you do, too). The album definitely doesn't disappoint, either. Stephen Wilkinson has branched out from his hazy warped-folk style, and truly represents the broad spectrum of the Warp Records roster with this release. This is a great summer album, so check it out if you haven't yet.

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Live: Animal Collective/Black Dice

2009-06-12T11:18:00.000-07:00

[pic from Gorilla Vs. Bear] I saw Animal Collective and Black Dice at Club Firestone on Wednesday night. I'm not a big fan, but Black Dice records are definitely interesting, to say the least. Their collages of truly unique noises converging into some semblance of dance music is most often an engrossing listen, but I was just annoyed live. During their non-stop set, hour-long set, I got the feeling like I was watching some bellwether of a horrible new kind of self-indulgent electronic jam-band movement. Worse still were two guys dancing (completely out of sync with the 4/4 rhythm) next to me, occasionally commenting to one another about how great the show was, and questioning why nobody else was dancing. I really can't stand that arrogant sense of "enlightenment" that comes with fans of more "abstract" music. It's not that I didn't "get" it; Black Dice were simply amateurish that night. I'm not sure how they usually are live, but Wednesday they weren't good.

Since Merriweather Post Pavilion was released, the AnCo fanbase has increased greatly. I think it's a great record, but along with its popularity came an influx of new fans. And that's great, but not when those fans are annoying, clap arrhythmically at inopportune moments, and sing obnoxiously (even during the quiet parts). I can't fault the band for the show not being enjoyable, as they performed an awesome set. While I would have loved to hear some Feels favorites, most of the material was culled from MPP. They did, however, perform Here Comes the Indian's "Slippi", and a beautiful new song. The visuals for the second song featured a repeated image of "God" written in clouds from a skywriter plane, which was appropriate for the airy, ethereal feel, and Avey Tare's repeated refrain of (what sounded like, but may or may not have been): "All I want is God". Animal Collective haven't really spoken about spirituality before (to my knowledge), so this came as a surprise. Regardless of what he sang, it was beautiful, and a great change of pace. After "Brothersport", they left the stage. As expected, they came back out for an encore of "My Girls" (surprise).

Record Review: Black Moth Super Rainbow

2009-06-10T08:53:00.001-07:00

Black Moth Super Rainbow
Eating Us
[2009, Graveface]
2.5/4

Full review Here. Willy Wonka and the Chocolate Factory often comes to mind when I think about Black Moth Super Rainbow. Both are ostensibly inviting and sweet, bordering on the saccharine at times, but there’s a constant sense of unease and dread that pervades them. Despite the ultimately optimistic tone, 'Wonka' is filled with unscrupulous and malicious characters and some downright demented lysergic inspired imagery. Similarly, BMSR craft outwardly cheery pop songs that most often contain a sour morsel in the center, a combination of the cringe inducing and welcoming, much like I imagine “hairy candy” or “berries that burn” would seem...

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Record Review: Pontiak

2009-06-09T06:56:00.000-07:00

Pontiak
Maker
[2009, Thrill Jockey]
3.5/5

Full review Here. Despite being recorded in the confines of a 12x12’ home studio by three brothers, Pontiak’s Maker avoids sounding overly jammy or excessive. And this is no small feat, particularly in the absence of a supervising producer. Even on the title track, the album’s 14-minute centerpiece, the siblings tastefully monitor both how long they allow each idea to gestate until it is realized and when to progress to a fresh one before driving old ideas into the ground through unrelenting repetition... continue reading

Side note: If you're in Tallahassee, go check out Pontiak at the Engine Room tonight!

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Mixtape #2: heartbroken ladies' open mic night.

2009-06-02T13:09:00.000-07:00

Get it HERE. I thought of the concept for this mix when I heard Patty Waters' version of "Black is the color of my true love's hair", a fourteen minute avant-jazz piece in which the singer's typically smooth vocals quickly descend into tormented screaming of the word "black" for over ten minutes, amidst free jazz drums, piano and bass. It was initially the final song on the mix, but I didn't think many would enjoy it, so I replaced it with one of her more accessible, traditional songs.

Anyway, we're all familiar with the mentally unstable or emotionally tormented male singer/songwriter archetype (Brian Wilson, Kurt Cobain and Elliott Smith come to mind), but women with similar conditions aren't often given as much attention. While I don't pretend to know the state of these singers' mental or emotional health, each is sung in with such pain, unease, and conviction that I had to compile them into a mix. I'm not celebrating mental illness, as it's truly an important issue that can't afford to be overlooked, but I won't deny that thinking about it informed this playlist. It's not bright or cheery, but these are some powerful songs from powerful singers. There are some recognizable iconoclasts, as well as some lesser-knowns, but each song is from a singer that I love. I hope you find something you like!

Finally: as you can see, i enjoy compiling mixes thematically or by mood, and would love some suggestions for future mixes. You'll be credited for the idea! blog notoriety will be yours!

Track order:
0:00-4:04 "Winds of St. Anne" - Evangelista
3:37-7:24 "If I Had a Heart" - Fever Ray
7:16-10:20 "First Communion" - Gang Gang Dance
10:20-15:46 "Hidden Place" - Björk
15:42-18:30 "Heavy Water/I'd Rather be Sleeping" - Grouper
18:30-20:48 "Polar Nettles" - Neko Case
20:49-24:26 "Ne Me Quitte Pas" - Nina Simone
24:26-27:33 "Adieu Mon Couer" - My Brightest Diamond
27:32-32:54 "Kounandi" - Rokia Traoré
32:52-35:52 "Moon, Don't Come Up Tonight" - Patty Waters
35:52-39:21 "The Neighbors" - St. Vincent
39:17-End "Threads" - Portishead

Record Review: Grizzly Bear

2009-06-01T11:33:00.000-07:00

Grizzly Bear
Veckatimest
[2009, Warp]
3.5/4

Read the full review HERE. Since the cozy lo-fi intimacy of Horn of Plenty, the men of Grizzly Bear have slowly been widening their scope. 2006’s watershed Yellow House was almost infinitely more complex than its predecessor, with dense arrangements and winding song structures that propelled them to universal acclaim, without compromising the haunting intimacy of Horn of Plenty. Floorboards creaked, steps resonated through halls, even the sound of piano dampers being released could be heard on “Knife.” With the following Friend EP, their sound seemed to be turning inward, with the “electric version” of “Little Brother.” The group seemed to be moving toward a more simplistic (but no less powerful or huge) sound, one that they had been honing over countless tour-dates...continue reading

I really like this album. If you haven't heard it, I suggest you do. This isn't the most eloquent review I've written, and maybe a little bit gushy at times; I was pressed for time toward the end.

Mixtape #1: May 2009

2009-05-24T16:32:00.000-07:00

Download HERE

For those of you keeping up, my blogging has always been sporadic at best. In an effort to bring fresh content, I've decided to start posting some mixtapes to share the music that I love. They'll be mixed DJ style (ie, one continuous mp3) in adherence to the spirit of the mixtape: the songs were sequenced this way for a reason, so no skipping around. Anyway, I really hope you enjoy, and I'd appreciate feedback.

This mix was inspired by the title track to Bibio's latest album Ambivalence Avenue. I'm typically not a big proponent of analog and lo-fi sounds and techniques (certainly not against them, either), but I love the sound quality of the track. The hazy, lazy feel... it reminds me a bit of the first half of Panda Bear's "Take Pills" played at twice the speed. The rest of the tracks are in a similar vein, for the most part.

0:00 - 3:29 Bibio: "Ambivalence Avenue"
3:29 - 6:48 Broadcast: "Accidentals"
6:48 - 11:20 Animal Collective & Vashti Bunyan: "Prospect Hummer"
11:20 - 14:25 Benoít Pioulard: "Palimend"
14:25 - 18:08 Kurt Vile: "Beach on the Moon (Recycled lyrics)"
18:08 - 20:01 Grouper: "When We Fall"
20:01 - 24:34 Here We Go Magic: "I Just Want to See You Underwater"
24:34 - 31:48 Lotus Plaza: "Antoine"
31:48 - 35:06 Dan Rossen (of Grizzly Bear): "Deep Blue Sea"
35:06 - 36:00 Jon Brion: "Row"
36:00 - End Chad Vangaalen: "Rabid Bits of Time"

Record Review: John Vanderslice

2009-05-21T06:14:00.001-07:00

John Vanderslice
Romanian Names
[2009, Dead Oceans]
3/5

FULL REVIEW HERE. To put it simply, I just wasn't very impressed with this album. To get more perspective on Vanderslice's work, I revisited Pixel Revolt and Emerald City. Romanian Names just doesn't come close to the greatness of either of those records. I saw that NPR is calling this album one of his best, but I have to respectfully disagree. If you're new to this great singer/songwriter, go check out one of his previous two albums first.

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Anticipated... sort of

2009-05-19T22:22:00.001-07:00

Cormac McCarthy's Pulitzer Prize winning novel The Road may well be my favorite book. If not favorite, than certainly top five. Well, the trailer for The Road has been released, and... I'm even more hesitant to see this film than I was before. Despite the sparse prose in which McCarthy wrote the novel, I always had very vivid images in my head while reading. I never imagined the city scenes as the director visualizes them here. The coastal scenes, however, are exactly as I imagined them. Regardless, The Road is touted as another post-apocalyptic thriller. Seriously? There was absolutely no subtlety in that trailer, a quality that truly carried much of the novel's weight. Some of the most important communication between Father and son (in the novel) is delivered through eye-contact rather than verbal exchange, but there's a good deal of speech in the trailer. When that kid makes the comment about the can of Coca-Cola, I cringed -- it seems like somebody made a mistake in casting. And the music... great, I'm glad that the studio chose generic Hollywood thriller fare. Sure, maybe it would have been cliché or expected, but almost anything by Godspeed You Black Emperor! would have been fitting. Maybe "Dead Flag Blues" with an alternate voiceover in the beginning? ~~Then again, there's no way GYBE! would license a song to any movie~~. EDIT: GYBE! licensed the very song to 28 Days Later.

The Road is a compelling tale of the bond between a father and son. It has a very elementary plot, yet it's one of the greatest pieces of literature I've read. This film looks like it will be an edge-of-your-seat thriller, and something that I will see, but am honestly worried about.

Record Review: Mokira

2009-05-18T06:27:00.000-07:00

Mokira
Persona
[2009, Type]
2.5/5

Full review HERE. Far too much ado is made about “analog warmth,” as if recording fidelity somehow equates to authenticity and overall quality. For those not convinced that warm, natural sounds can be generated with “cold” digital techniques, get yourself a copy of Gas’ Pop album or any of Christian Fennesz’ recent output, particularly his collaborations with Ryuichi Sakamoto. Certainly there is a different character to analog sound (not to mention the benefits in sound preservation and relative autonomy), but from a songwriting standpoint, reliance on analog equipment as a shtick will likely return less-than-satisfactory results...

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On Repeat: Brian Eno

2009-05-15T11:27:00.000-07:00

I was about to post something that I found kind of amusing, but as this is a little over the one-year anniversary of the blog, I'm posting something monumental.

Brian Eno, "An Ending (Ascent)"

It's absolutely perfect, and one of the most comforting songs I know. There are currents of melancholy and general emotional ambiguity that run underneath the surface, but without them, just as in life, the pure beauty of this song wouldn't be as important, fulfilling, or real. If you like this, love it, or think that I'm making a big deal out of nothing, I'd like to know.

Record Review: St. Vincent

2009-05-04T08:17:00.000-07:00

St. Vincent
Actor
[2009, 4AD]
4/5

FULL REVIEW HERE. First of all, the rating I think this album deserves is about an 8.5 (alas, the five star scale doesn't allow for that). Annie Clark's vocals are perfectly eerie and aloof, reflecting the uneasy nature of the lyrics (kids foaming at the mouth, kids with daddy's smith & wesson, etc.). I haven't heard such a good marriage of form and content in awhile, so fans of clever songwriting, take note. Though its highs don't quite surpass Marry Me's soaring climaxes, it's overall a much more cohesive effort, and one that you should really go check out. Now.

Listen
Buy it

Delorean Review: Dntel

2009-04-30T08:14:00.001-07:00

Dntel
Something Always Goes Wrong/Early Works for Me if it Works for You/Early Works for Me if it Works for You II
[2009, Phthalo]
3/5

FULL REVIEW HERE. Life is Full of Possibilities, Dntel’s breakthrough work, is also his most fully realized. The album is remembered for its ideal marriage of somber, subdued vocals with Tamborello’s pensive, brooding soundscapes and glitchy programming. Yet it was the Ben Gibbard-featured standout, “This Is the Dream of Evan and Chan,” that drew attention to the producer and would serve as the impetus for The Postal Service. Although the duo’s only album Give Up is polarizing to say the least, I maintain that Gibbard’s effortless, languid melodies perfectly complemented, even tempered, Tamborello’s dense, occasionally frenetic arrangements.

Buy it
Listen

Record Review: Zak Riles

2009-04-30T07:02:00.000-07:00

Zak Riles
Zak Riles
[2008, Important]
2.5/5

FULL REVIEW HERE. Zak Riles, lead guitarist for the prolific Grails, melds idioms and instrumentation of traditional American and Middle Eastern music in his main gig, so it shouldn’t be any surprise that he would adopt this approach on his self-titled debut. The results, however, are decidedly mixed: while the album finds Riles playing as assuredly as ever, it also shows him relying on unnecessary and awkward crutches that ultimately depreciate the record.

Buy it
Listen

Record Review: Cryptacize

2009-04-23T08:39:00.000-07:00

Cryptacize
Mythomania
[2009, Asthmatic Kitty]
3/5

Full review HERE. Nedelle Torrisi has some lovely vocal melodies on this album, and when the group is at their best, they write really great pop songs ("Tail and Mane", "Blue Tears", "Mythomania", "The Cage"). However, there are some very underdeveloped ideas, resulting in an uneven album. I had trouble choosing a rating... initially I gave this a 3.5, but the great songs don't quite compensate for the weaker ones. I highly recommend at least checking out the noted tracks.

Listen (whole album stream!)
Buy it

Record Review: Jacob Kirkegaard

2009-04-20T07:36:00.000-07:00

Jacob Kirkegaard
Labyrinthitis
[2008, Touch]
4/5

Full review HERE. A particularly engrossing release from the rarely-disappointing Touch label, Jacob Kirkegaard here subverts the conventions of sound generation and music itself. In brief: the artist placed tiny microphones (those used to measure otoacoustic emissions (OAEs) in infant hearing-screening tests) into his ears, as well as little amplifiers. The process is explained in full in the review. This is easily the most "trying", "difficult", and "experimental" work I've ever analyzed, but also one of the most fascinating and rewarding. A 38 (!) minute drone-piece fills out the lavishly packaged album, replete with a booklet of insightful and very-explanatory essays on the nature of sound, the two-way communication of the ears, and sundry topics.

On a personal note, the circumstances behind this review seem very prescient -- I like to think that I was meant to write this review, to contemplate this specific piece of music. A year ago, I began considering audiology as a career. The only other personal blog posts on here reflect the anxiety I was facing as I awaited acceptance to FSU's College of Communication and the department of communication disorders. Well, I got accepted, and eagerly await my first audiology classes next spring (Fall, unfortunately, is all about comm. disorders in general). While I'm not sure if this is where I'm meant to be, I'm excited to explore this new, very alien-to-me venture (...no more writing courses, no more literature classes... I'm going go miss them).

Buy It
Listen
educate yourself

Ólafur Arnalds

2009-04-19T19:07:00.000-07:00

I first heard this young Icelandic composer's Eulogy for Evolution last summer. Every time I hear "1440", the dramatic shift at 4'04 gets me in a way that only a handful of other songs can. Last week, he released a free song each day. While they are quickly-finished versions of unfinished sketches lying around, the set is far from a toss-off curio for die-hard fans. No, these are some very beautiful songs that would be worth paying for. BUT THEY'RE FREE! To download these lovely Found Songs, click HERE. Also, I highly recommend Eulogy for Evolution and the Variations Of Static EP

Record Review: Joker's Daughter

2009-04-10T07:09:00.000-07:00

Joker's Daughter
The Last Laugh
[2009, Team Love]
2/5

The Last Laugh, the collaborative album between UK-based songwriter Helena Costas and Brooklyn-based Danger Mouse, immediately calls to mind Joanna Newsom’s 2006 masterpiece, Ys. The album paired an idiosyncratic songwriter known for very sparse arrangements with renowned producer and arranger Van Dyke Parks, as well as the legendary studio magicians Jim O’Rourke and Steve Albini. Through Newsom’s brilliant songwriting and Park’s lush arrangements, they crafted one of the decade’s finest albums (in my opinion, of course). In Joker’s Daughter, Helena Costas and Danger Mouse combine the former’s folk pop proclivities with the latter’s penchant for hip-hop and psychedelia, and the results are mostly awkward and cumbersome... FULL REVIEW HERE.
This album makes me physically uncomfortable, and embarrassed for some reason, even when I listen to it in headphones. Rolling Stone, Spin, NPR, Pitchfork... everybody seems to like this but me... informed comments would definitely be appreciated for this one.

Listen

The Antlers: Hospice

2009-04-08T20:19:00.000-07:00

But something kept me standing by that hospital bed, I should have quit, but instead I took care of you. You made me sleep and uneven, and I didn't believe them when they told me there was no saving you.-"Kettering, or Bedside Manner"

The above comes from the new album from The Antlers, a band that I had no knowledge of until last week. Check the link, there's a whole lot of free music available, as well as the excellent new full-length. The album's been resonating with me quite a lot lately. It's a concept album of sorts, with a plot that's almost Grey's Anatomy-esque, but without any petty drama. Anyway, I highly recommend it. Absolutely haunting.
On a personal note... I never know when to give up. And it's dominating my thoughts these days.

a pleasant surprise

2009-04-05T10:23:00.000-07:00

Justice make some awesome remixes. U2's new single, "Get On Your Boots" is absolutely terrible. Yet somehow, Justice made it much more than tolerable -- they made it really, really good.

MGMT's "Electric Feel" was already good, but Justice really upped the ante by adding their trademark hyper-compressed kick&snare attack, distorted synths and funky bass lines.

I guess this is just a brief Justice tribute post. Do you love them? Hate them? Ambivalent? Apathetic? Share your thoughts if you please.

Record Review: Lotus Plaza

2009-03-30T06:05:00.000-07:00

Lotus Plaza
The Floodlight Collective
[2009, Kranky]
3.5/5

Well, this took long enough to get posted. I had my initial review mailed back to me because of the similarities it bore to marc hogan's pitchfork review. We had different arguments, but used a lot of the same examples, and he published his first. So, this is weaker than the original version I submitted. I was really torn on a 3.5 and 4 bubble rating...Read my thoughts on this album HERE

Listen
Buy it

Gymnopédie no. 1

2009-03-26T23:00:00.000-07:00

The delicate melody of Erik Satie's Gymnopédie no. 1 is one of the most beautiful I've ever heard. It evokes profound emotion, but it's very difficult to determine what exactly it is I feel when I hear it. It's romantic and serene, but with longing, plaintive undertones that really breach the surface in the last chord of the song. It's the emotional ambiguity of it, and the lack of resolution at the end that keeps me returning again and again. Gymnopédie no. 1 offers a fleeting glimpse of something beautiful, but maybe something that's too beautiful to behold for too long, something that we're not ready for.

The song was used to stunning effect in the film Man On Wire. In the middle of his tightrope traversal between the World Trade Centers, Phillippe Petit stops and lies supine on the thin cable supporting him. From the ground, he appears to be lying on his back, floating in the air. Though I think the evocative nature of this song is so intense that coupling it with any imagery is risky and possibly even stupid, the image of Petit lying there, suspended in the air nearly moved me to tears. I think it resonated with me because it is such a powerful visual statement -- though we're impossibly miniscule, we're much more significant than we know. The best I can give you here is the still above, and the song itself. Enjoy.

Record Review: Seeland

2009-03-24T05:51:00.000-07:00

Seeland
Tomorrow, Today
[Loaf, 2009]
3/5

Full review HERE. For fans of soft, kind of urbane pop music, this'll be right up your alley. Definitely not a bad album, and even a good one, but a lack of vivacity keeps it from being "really good," "great," "outstanding," etc. Any number of superlative adjectives, really. Opener "Burning Pages" is pretty cool, if you check out just one track.

Listen
Buy it

Awesome

2009-03-23T09:56:00.000-07:00

I used to watch MTV's Cribs. A lot. I'm not proud that I have these materialistic tendencies, but I would watch this show and lust after these luxurious homes and rooms full of stuff. Anyway, I always remembered the Ying Yang Twins episode as a real classic, possibly the series' pinnacle. Here I present to you, MTV Cribs: The Ying Yang Twins episode, with commentary. [NOTE: If you can't see the commentary on the right, please click the link; the commentary makes it so much better.]

Record Review: Tim Hecker

2009-03-17T10:32:00.000-07:00

Tim Hecker
An Imaginary Country
[2009, Kranky]

3/4
I was so excited to hear this, and thankfully, wasn't disappointed. While I don't think it reaches the peaks that some of his other work does, it's no less a great new Tim Hecker record. Full review Here.

Listen
Buy it

Awesome

2009-03-17T10:23:00.000-07:00

This is the work of Tim Ferrell, made while I was sitting in the office. I love it. Just wanted to share this awesome picture of a hamster powered truck (from the future) driven by a hamster through an apocalyptic wasteland with prehistoric animals and stuff exploding. That's all.

Record Review: DM Stith

2009-03-17T05:54:00.000-07:00

DM Stith
Heavy Ghost
[Asthmatic Kitty, 2009]
4/5

Full review HERE. First off, if it were possible to give albums ".5" ratings on TMT, I would have given this 8.5. I've been anxiously waiting to post this one for quite awhile. I'll be brief, as the review is pretty thorough, but Heavy Ghost has been one of my favorite releases this year. If you listen to just one song, make it the beautiful "Braid of Voices." Does anybody else love this? Hate it? Let me know.

Listen
BUY IT! (Check out that gorgeous double LP...)

Live Coverage: Harvest of Hope Festival, 2009

2009-03-13T15:19:00.000-07:00

The first annual Harvest of Hope Festival was sponsored by Gainesville’s No Idea Records, a label that Against Me!, Less Than Jake, and This Bike Is a Pipe Bomb have all called home at some point. While the talent buyer wisely booked a good number of very reputable indie-rock acts, the organization and set times were detrimental to the festival as a whole. Rather than alternating pop punk with hip-hop or “indie rock,” the lineup was, for the most part, divided up into neat chunks of the same genre, band after band. Still, the festival’s goal of “providing financial, educational, and service oriented aid to migrant farm workers all over the country” seemed much closer to accomplishment with the high turnout.
Read set-by-set commentary HERE.

Here are my favorite pictures from the weekend. Having press access was amazing (thanks, TMT).

Deerhunter (pictured -- Lockett Pundt)

John Vanderslice

Holy Fuck

KRS-One

The National (pictured -- Matt Berninger)

Record Review: Cursive

2009-03-13T07:46:00.001-07:00

Cursive
Mama, I'm Swollen
[2009, Saddle Creek]
3/5

Full review HERE. It's been over a month since I've had any reviews posted, so this was nice to see when I checked TMT today. I score is different because what's posted is an average score of the several editors and myself. I initially gave this a 3.5, but as I listened several more times yesterday, I just felt a little disappointed with it.

Listen
Buy it (the packaging on this LP is tempting me)

Only Shallow

2009-03-11T08:40:00.000-07:00

All that I know about Nadja is that Aiden Baker, one half of the doom metal/dark ambient/shoegaze duo, collaborated with one of my favorite electronic/drone/ambient producers, Tim Hecker, on last year's great Fantasma Parastasie. To pay homage to their influences, the duo (consisting of Baker and Leah Buckareff) is releasing When I See the Sun Always Shines on TV, a covers record. The two tracks released thus far sound what you'd expect doom/dark ambient versions of popular songs to sound like -- plodding tempi, droning guitars, and vocals with more reverb than Panda Bear, Fleet Foxes, and My Morning Jacket combined.

"Only Shallow", the propulsive opener of My Bloody Valentine's seminal album Loveless, is a fantastic song, despite my typical dislike of Bilinda Butcher's breathy vocals. Though it's not quite as good as the MBV original, Nadja's heavy, slowed down tribute to those shoegaze progenitors is a notable effort, and worth checking out. Compare!

Only Shallow - My Bloody Valentine

Nadja's cover

Another Ballad for Heavy Lids

2009-03-01T16:15:00.000-08:00

Tonight's the kind of night that I just want to lie down and sleep. Actually, I want to lie down and listen to Stars of the Lid for awhile, then sleep. The first time I ever heard the duo was on my friend Michael's shared itunes library, last year in my dorm. I'd read the name several times before, but never really given the group a chance. If you haven't, and you like ambient (or just beautiful) music but don't know SOTL, then you're missing out. As much as I love the distorted, more processed work of Tim Hecker, Christian Fennesz and Belong, there's a quality in the clean drones of Stars of the Lid that's truly transcendent. Their definitive work, in my opinion, is 2007's ...And Their Refinement of the Decline. Clocking in at two hours, it's not an album for everyday listening, but it's one of the most gorgeous, emotional albums I own. I don't have anything intelligent to say about this at the moment, but I encourage you to go out and get it. Now.

Buy it
Listen

...

2009-02-16T19:48:00.000-08:00

In response to all the comments--thank you all very much. They're helping me out... I'm still in somewhat of a funk, but I really appreciate the comments. I'll update when/if anything happens. Should also have some reviews up as soon as TMT decides to post them, as well as (maybe) some short essays on some songs I love. Thanks for sticking with me.

To those following, sorry I've been neglecting the blog as of late. This semester's been rough so far, and I've never felt stuck in a place more transient than this. I'm in a poetry course, and really like the instructor. However, I don't feel like I'm learning anything, and have yet to write a poem I'm proud of. I'm sure I'll be able to scrounge up ten poems for my final portfolio, but I want something that I can feel satisfied with. My biggest problem with all this, of course, is that I don't put enough time into poetry. It's just so daunting, and I never know where to begin.

I guess what I'm getting at is... I don't even really feel like a writer anymore. I used to think I was fairly creative, and a good writer, but now I'm just not so sure. My sister Kaitlyn now seems to be the "writer" of the family, and will likely be remembered for it. That probably sounds very bitter, but I'm actually really glad that she's found and is cultivating something that she loves so much. I just feel that I'm kind of... overshadowed by her now. The only writing I seem to be doing anymore is criticism, analyzing somebody else's creative work. I myself haven't written an entire song (or poem, or story) in a very long time.

Sorry if this is a downer, but I'm just not feeling right lately. I spend a lot of time studying, and a lot more time idling at the keyboard, waiting for I-have-no-idea-what, wasting time and accomplishing nothing. I can't wait until March 2nd, and hate that I feel my future hangs in the balance. I'll receive an email that will determine the rest of my college career, and frankly, I've never been more scared. I don't feel like I was intended to be an English major, and am eager to set out on something new, something secure (ish), something more important than writing extensive words about why you should/shouldn't buy an album.

If you read this, thank you.
-Lukas

Spotlight: Oval

2009-02-03T15:10:00.000-08:00

Oval are pioneers of glitch, a genre which has itself birthed some interesting offspring ("glitch hop" a la Prefuse 73 or Machinedrum, "glitch pop" like Dntel, etc). However, elements of any kind of popular music are pretty far removed from Oval's sound. The group draws patterns in Magic Marker on the backs of CDs, and records the sounds of their playback. The results, particularly on their groundbreaking 1995 album 94 Diskont, are nothing short of astounding. Overall, their approach is not unlike that of 20th century minimalist composition in the vein of Reich or Glass, but channelled through fairly modern (at the time) technology. By leaving certain spaces of the CDs unmarred by marker, traces of cut up melody appear, and are repeated heavily. Variation and evolution occur over time, just as in a long form minimalist work.
Overall, this record is just fantastic, and I highly recommend you seek it out. The other groups that Markus Popp, the group's leader, has been involved with (Gastr Del Sol, Microstoria) are also highly recommended.

Buy it

V89

2009-02-03T09:04:00.001-08:00

Well, I have no idea who reads this blog (other than close friends), but I'm inviting you to tune in to WVFS Tallahassee (The Voice of Florida State!) today from 2-4 PM while I DJ. I might put up a tracklist or selected favorites later today.
Also, I'm DJ-ing every Saturday morning from 6-10 am this semester, and would like some requests.
WVFS Tallahassee
Listen (stream in your audio player)!

-UPDATE!-
The shift went very well. I need to start planning the shift a bit in advance so I'm not scrambling... despite having 20,000+ CDs and lots of LPs to choose from, I still had trouble deciding. Too many choices. I did, however, play some awesome songs. A few highlights:

Luomo (feat. Apparat), "Love you All"
Oval, "Shop in Store"
Neu!, "Isi"
Gastr Del Sol, "The Seasons Reverse"
Antony & The Johnsons, "One Dove"
Fabio Orsi, "Lost Love"
Mount Eerie & Julie Doiron, "Lost Wisdom"

if you haven't heard any of these awesome groups/artists for any reason, get on it.

Record Review: Cotton Jones

2009-02-02T06:49:00.001-08:00

Cotton Jones
Paranoid Cocoon
[2009, Suicide Squeeze]
2.5/5

I was really excited to review this, as I enjoyed Page France quite a lot. I'll spare you my abbreviated thoughts and point you to my more realized opinion HERE. Overall disappointing; songs like "Jesus," "Chariot," and "Trampoline" were all great and invigorating, but Michael Nau sounds here like he took some tranquilizers. Here's hoping the next album will be better.

Listen
Buy it

The Wrestler

2009-02-01T11:44:00.000-08:00

I saw Darren Aronofsky's The Wrestler last night, and loved it. Very well acted, and each character was believable and well developed. Though this sounds banal, the director imbues his characters with a profound sense of humanity, particularly the protagonist, Randy "the Ram" Ramzinski. We aren't told how he got to be in his current state at the film's opening, but the man's life is pitiful. His body is wracked from years of being slammed on the mat, he has a hearing aid on his left ear, and a serious heart problem from years of steroid use. There are several scenes of him making calls on a pay phone, visiting a strip club to see Cassidy, the woman that he loves and closest thing that he has to family, and several heartbreaking encounters with his estranged daughter. I left the theatre feeling pretty somber, but it was an amazing film. I initially avoided it, as I'm not interested in professional wrestling at all, but it's a visceral, very human story, rather than a mere sports narrative.

Under Examination: Sufjan Stevens

2009-01-29T08:06:00.000-08:00

4AD/Red Hot's Dark Was the Night seems like an incredible compilation. I haven't gotten it yet, but every track that's been released thus far has been absolutely incredible. Ben Gibbard/Feist, Dirty Projectors/David Byrne, Grizzly Bear/Feist, and today the Myspace is streaming Sufjan -- those very well-connected Dessner twins from the National certainly know how to curate a successful charity comp.

Quite simply, "You Are the Blood" is refreshing as well as exhilerating. I've loved Sufjan since I got ...Illinoise in 2005 and delved into his back catalog. With this track, he marks a very radical departure from his typically "pretty" sound, a stylistic shift first hinted at on The Avalanche's "Springfield, or, Bobby got a shadfly caught in his hair". An electronic beat, synthesizer, a noisy guitar breakdown in the middle, a grandiose horn arrangement, and acrobatic backing vocals (presumably from Shara Worden) all converge to make one of Steven's most adventurous tracks yet. After the noise freakout at seven minutes in, a virtuosic piano solo begins. I'm unsure who's playing, but if it is Steven's, I had no idea he could play (or even write) so well.

You need to get this track, now. As noted, it's currently streaming (today only!) on the Dark Was the Night Myspace. Also, an mp3 of the track is incredibly easy to find with a simple google search. If this is indicative of Stevens' current direction, I'm eagerly anticipating more work.

Record Review: Lithops

2009-01-27T08:48:00.000-08:00

Lithops
Ye Viols!
[2009, Thrill Jockey]
3/5

I have no idea why this is called Ye Viols!, as the only discernible string instrument is in the first track (and even that is a tiny embellishment). I digress, Lithops makes some pretty interesting music. Not as good as his day job in Mouse on Mars, but still worth checking out if you're into dark atmospheres, industrial noise, and some beat-driven tracks. Full review Here.

Artist and purchase information

Gothic (?) music

2009-01-24T21:17:00.000-08:00

No, this is not a post about bands that sold well in Hot Topic in the early 2000s. I've been really into some pretty haunting records lately. This is not the kind of music to listen to on a cheery day. At the same time, I don't recommend listening to this stuff if you're feeling down. I guess going into any of these albums feeling "neutral" would be best. If you're in the mood for an engrossing, challenging, and even frightening listen, I recommend delving into any of these. And when/if you do, listen in a dark room with headphones on. It could be an experience tantamount to any horror film.

1) Grouper: Dragging a Dead Deer Up a Hill. I already blogged about this HERE.

2) Scott Walker: The Drift. He began his career as a radio friendly pop artist in the 60s, I believe. In 1995, he resurfaced with Tilt, a record that couldn't have been farther from his early work in the Walker Brothers. He underwent another hiatus until 2006, when he released his masterpiece, The Drift. Incorporating electronic embellishments, intensely claustrophobic atmospheres, grotesque lyrics, and a litany of other very uncomfortable elements, this album is downright horrifying. In all honesty, it's the most frightening album I own. Heavily indebted to 20th century modern composition, Walker's stunning voice and dissonant, atonal string sections are incredible. Abrupt dynamic shifts and long-form but never merely meandering song structures captivate throughout. It's something that I don't listen to often, but it's rewarding every time I do.

3) Evangelista: Hello, Voyager!. I only got this album today, but it was essentially the impetus for this post. Carla Bozulich sounds like Joanna Newsom if she smoked a pack of cigarettes a day and just escaped from a mental hospital. Maybe that's not appealing, but tell me it's not intriguing. At the same time, her voice is a lot more immediately "listenable" than Joanna's (don't get me wrong, Joanna Newsom's Ys is one of my favorite records of all time. Her lyrics are cryptic and brooding, and are perfectly complimented with the noisy, free jazz meets modern composition style music from the band. Slight glimpses of optimism are seen throughout. A bizarre and visceral release that hardly ever falters.

4) DM Stith: Curtain Speech EP/Heavy Ghost. Well, Heavy Ghost isn't released yet (I got an advance copy), but if you want a taste of the man's music, I highly recommend the (far too short, yet tantalizing) Curtain Speech EP. I first heard his austere compositional style on a My Brightest Diamond remix of "Gone Away" (which is breathtaking, by the way). His voice, curious lyrics, and dense (and often primal) instrumentation combine to make a truly (at risk of making this adjective banal) haunting experience. Ultimately a lot more welcoming and positive than the other three albums listed, there are songs that are almost celebratory in nature.

Record Review: Andrew Bird

2009-01-20T20:42:00.000-08:00

Andrew Bird
Noble Beast
[2009, Fat Possum]
3.5/5

Full Review Here. Andrew Bird has been a consistent favorite of mine since I heard 2005's lovely Andrew Bird and the Mysterious Production of Eggs. Since then, though, the man has seemed to be losing energy with each consequent record. Ironically, every aspect of his recordings has improved (his lyrics are incredible, same for every instrumental contribution he makes), but something's missing. A very fine record, sure, but not the one that Bird will be remembered for. If you're new to Andrew Bird, do yourself a favor and seek out ...Production of Eggs first.

Listen
Buy it

Spotlight: Grouper

2009-01-18T11:44:00.000-08:00

Grouper is Liz Harris, from the impossibly hip Portland, Oregon. It's a dreary, rainy day in Tallahassee, the kind of day that's perfect for sitting in bed and listening to music like this. Harris sounds alternately like a scared little girl and a siren, both wandering through a foggy clearing in the woods. The very creepy cover is a perfect visual accompaniment to the music inside. Acoustic guitar, nearly indecipherable lyrics, and occasional piano, all drowned with reverb. It took me a few listens to warm up to this one, but it gets better each time. Dragging a Dead Deer Up a Hill is pretty simple and straightforward, but incredibly effective. Though I have no idea what she's singing about, it's an intensely emotional record.

Buy it

Record Review: Wino

2009-01-15T11:48:00.000-08:00

Wino
A Bottle of Pills with a Bullet Chaser
[Temporary Residence, 2008]
2/5

Read it here. My first Delorean review, though I had no idea that's how it would be posted until this morning. Cool.
This was honestly the worst reviewing experience I've yet undergone. I didn't request to review this album, but, as a favor to the artists, did give it about six full listens (which is quite a lot to give, considering it's a two hour album, and not a good one at that). I hope that I didn't sound too snide or callous in this review, but seriously... just read it and you'll understand. Temporary Residence is a pretty good label, I'm glad they've progressed.

Buy it...

Terrible lyrics

2009-01-14T11:22:00.000-08:00

I was just listening to the A-trak remix of "Get 'em high", from The Graduate mixtape. First of all, that song is awesome. Trizzy mashes the a capella track with the Knife's "Heartbeats" instrumental (well, Karin sings on the chorus), and the result is a lighthearted party track. I was enjoying it as usual, until the part of the song I dread -- Common's verse. I don't really like Common that much. I haven't heard his early work, but am really unimpressed with the latest records, as well as how he seems more intent on being recognized for his "unique" style than his subpar rap skills. After a few solid minutes from Kanye and A-trak, Common takes the mic, almost stumbling over the oh-so-heinous line

"Real rappers is hard to find -- like a remote."

...Seriously? Who let him keep that line in there? Why was this not cut? Where was the quality control in the studio? Evidently taking the day off. An awkward sounding, just-plain-bad analogy. Shame, Common, shame.

What are some of the worst lyrics, hip hop or otherwise? Share them, it'll be fun!

Record Review: Everything, Now!

2009-01-13T10:35:00.000-08:00

Everything, Now!
Spatially Severed
[MFT, 2008]
2.5/5

Full review HERE. I wasn't very fond of this release. Not really my thing, but there are some decent songs on it. Somebody associated with the band contacted me and told me to listen to their older recordings, claiming that he didn't even like this record... so I guess I'll do that.

Listen, get the album here as well.

Go Buy This: Animal Collective

2009-01-11T09:34:00.000-08:00

In lieu of a full review, let me just say that this album is nearly flawless. The only thing I can complain about, really, is the album artwork, which feels like a poster that would be hanging on a college freshman stoner kid's wall. I was talking to a friend about this album the other day. He told me that he'd avoided all of the album leaks, and waited until the official release to listen to Merriweather Post Pavilion. He said that when he carried the LP into his room, tore off the shrink wrap, and set the needle in the groove, he felt like he was part of a moment in musical history. This may seem absurd to some of you, but that's how I felt the first time I listened straight through this record. It truly does feel like a paradigm shift. The music contained on this album is almost unbelievably creative and forward-thinking, even for the ever imaginative Animal Collective. If you haven't heard this album yet, do yourself a favor and buy it. Though it's been the only 2009 release I've heard thus far, I predict that nothing will surpass it.

BUY IT
listen to "my girls"

In Review Online's best of 2008

2009-01-10T15:21:00.000-08:00

I did a several year-end writeups for In Review Online; My top 20 list is a bit different there, as I submitted it early in december, so I recommend you check it out to see what Jordan (chief music critic) had to say rather than my blathering. Also, check out some insightful reviews from the other critics. This probably sounds like a shameless plug, and I won't lie, it is. Though In Review Online is only updated weekly, each review is insightful and worth your time.
READ IT ALL HERE

Record Review: Anathallo

2009-01-07T10:52:00.000-08:00

Anathallo
Canopy Glow
[2008, Anticon.]
4.5/5

A lot more streamlined than 2006's Floating World, Canopy Glow is Anathallo's best release yet. Read my full review HERE.

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Buy it

Year-End Festivities: 2008 in review

2009-01-02T20:07:00.000-08:00

Hello friends, sorry for the delay. I don't even have a good excuse, I think I just needed a break to read and play music and not write about music for a few days. I've been deliberating for over a month now, and I'm still unsure as to the exact ordering of this list... They just keep trading spots. Even the top three alternate with the days. Well, I think Fleet Foxes is album of the year hands down, but all the others are relatively interchangeable. Without further ado, I present some of my favorites from 2008:

1. Fleet Foxes: Fleet Foxes. One of my favorite live acts of 2008. What hasn't been said about this band that needs to be covered? I'm sure you've heard it, and I'm sure that you at like, if not love it. Gorgeous harmonies, simple instrumentation with a spacious sound, an absolute classic, and an indomitable debut album.

2. Deerhunter: Microcastle. I loved Cryptograms, but I think this release is miles ahead of the former. Clearly divided into two halves by the very well done middle ambient section, it's perfect all the way through. The integration of doo-wop chord progressions and vocal melodies into shoegaze aesthetics (especially notable on "Neither of Us, Uncertainly" and "Twilight at Carbon Lake") is a surprisingly suitable combination. Hopefully you already have this one.

3. Born Ruffians: Red, Yellow & Blue. I've already said enough about this record... just go out and get it.

4. Son Lux: At War with Walls and Mazes. Recently named NPR's best unknown artist, he was the first artist I blogged about. It's still a stunning album, and nearly perfect straight through. My favorite track remains "Stand". That song is just a visceral, cathartic experience.

5. Why?: Alopecia. Yoni Wolf's excellent wordplay coupled with the groups skewed approach to pop music makes for a fantastic record. The lyrics are very candid, often uncomfortably so, but it makes the album even better.

6. Beach House: Devotion. A perfect record for the browns and oranges of autumn, Victoria Legrand and Alex Scally's sepia toned ballads are timeless. Maybe I have a weakness for heartbroken women or something, if this list is any indication.

7. My Brightest Diamond: A Thousand Shark's Teeth. Another record I blogged about way back in this blog's nascency, Miss Worden captured my heart. And my ears. She conveys sorrow so beautifully, writes great arrangements, and has an absolutely stunning voice.

8. Bonnie "Prince" Billy: Lie Down in the Light. I haven't been in the mood for this record for awhile, which nearly made me discount it from this list. But then I listened again, and remembered that it's one of his best records, and great straight through. His most overtly religious outing yet, and redemptive and joyous at the end.

9. School of Seven Bells: Alpinisms. One of the first albums I reviewed for Tiny Mixtapes. A beautiful debut album, nearly every song is a gem. I think "Sempiternal/Amaranth" drags on for a bit too long, and after awhile, some of the tracks become less and less discernible, but it's such a cohesive collection that it's hard to find fault.

10. Portishead: Third. Beth Gibbons sounds terrified on this album. And I love it for that. At times claustrophobic ("Machine Gun"), others spacious and expansive ("Hunter"), the stark arrangements and noir-ish vibe of Third are unforgettable.

11. Wolf Parade: At Mount Zoomer
12. Cut Copy: In Ghost Colours
13. Department of Eagles: In Ear Park
14. Flying Lotus: Los Angeles
15. TV On the Radio: Dear Science
16. Atlas Sound: Let the Blind Lead Those Who Can See But Cannot Feel
17. Fennesz: Black Sea
18. Hauschka: Ferndorf
19. The Dodos: Visiter
20. Los Campesinos!: We Are Beautiful, We Are Doomed

Honorable Mentions:
Grouper: Dragging a Dead Deer Up a Hill
Electric President: Sleep Well
Paavoharju: Llaulu Laakson Kukista
Emeralds: Solar Bridge
Anathallo: Canopy Glow
Gang Gang Dance: Saint Dymphna
Okkervil River: The Stand-Ins
Shearwater: Rook
Tobacco: Fucked Up Friends
Library Tapes: A Summer Beneath the Trees
Skeletons: Money
Sun Kil Moon: April

Year-end reflection: part 2

2008-12-26T11:19:00.000-08:00

Here are some of my favorite tracks from albums not covered in my top 25 list. This is neither comprehensive nor ranked in any way. Sorry that I couldn't find a place to stream Welcome Wagon or Horse Feathers.

1) High Places: "From Stardust to Sentience", from High Places- This song is simply sublime. I have conflicting feelings towards High Places, as Mary Pearson's tranquil vocals are often just too detached, too tranquil, but they work very well here. Rob Barber's clattering percussion and hypnotic glassy tones form a perfect background. I could listen to this song on repeat for quite a while.

2) Four Tet: "Ribbons", from the Ringer EP- One of the best tracks Kieran Hebden has ever made. The straight 4/4 beat is a marked departure from his typically more slipshod approach. The unfurling, burbling synth arpeggios in this song are just beautiful.

3) Beach House: "Used to Be", from the Used to Be 7"- I've already rambled about this song in the past, but it's remained one of my favorites from the year, even the past few years. Gorgeous, melancholy, nostalgic, dreamy- the quintessential beach house track.

4) The Welcome Wagon: "Up On a Mountain", from Welcome to the Welcome Wagon
- Monique Aiuto's childlike vocals add a perfect sense of innocence to this very honest song about Jesus. Their unabashed spirituality comes through in this track (as well as nearly every other on their debut album). Sufjan Stevens provides tasteful arrangements and quiet harmonies; it truly does sound like a small room of friends getting together to sing, and it's a comforting, welcome (pun not intended) quality.
5) Fuck Buttons: "Sweet Love for Planet Earth", from Street Horrrsing- I saw this track live earlier this year, and it was simply one of the most visceral live music experiences I've ever partaken in. Tranquil, almost haphazard bell tones are cut through with dirty, jagged sawtooth waves, culminating with a combination of throbbing, brutal sawtooth waves and distorted screams from Benjamin John Power.

6) Pas/Cal: "You Were Too Old for Me", from I Was Raised on Matthew, Mark, Luke & Laura- This song is so enthralling because of its gradual evolution, until the very last note. I blogged about this over the summer, and I hope it's familiar to some of you by now.

7) Bowerbirds: "Hooves", from Hymns for a Dark Horse- The opening notes of this song still make me think of Andrew Bird. The lilting melody here is as hummable as many of Bird's, and just as pretty. The accordion typically annoys me, but its use is so subtle here, and I can't imagine the song without it.

8) Horse Feathers: "Curs of the Weeds", from House With no Name- The spare production and hushed vocals make for a truly intimate listening experience (and I hate saying things like that). The vocal melody is amazing.

9) DM Stith: "Just Once", from the Curtain Speech EP- This was likely overlooked by many due to its December eighth release date. A shame, as this designer and musician is one of the most promising acts on the Asthmatic Kitty roster. Many of his songs have an eerie, haunting quality, and this is no exception.

10) Hot Chip: "Ready for the Floor", from Made in the Dark. A fun, fantastically done song. Perfect, actually; there isn't a single aspect I would change about it.

Record Review: Born Ruffians

2008-12-23T19:52:00.000-08:00

Born Ruffians
Red, Yellow & Blue
[2008, Warp Records]
4.5/5

I wrote this for Music in Review online, but can't supply a direct link. So, here's the review. My third favorite album of 2008.

After a few measures of stark fingerpicking and a muttered vocal melody, Luke Lalonde muses about starting his own country, and what its flag’s color choices would symbolize. This sort of optimistic naïveté establishes a precedent that the band follows for the next thirty-nine minutes. They chronicle their frustrations, aspirations, and ever-prevalent longing in a nearly flawless set of succinct, intricate songs.

The group employs the classic pop idiom of playing upbeat music that belies lyrical angst. Despite their restricted cache of instruments (drums, bass and a guitar), Born Ruffians create frenetic, engrossing music. Steven Hamelin provides furious, non-traditional drum work (check “Hummingbird” or “Kurt Vonnegut”), and Mitch Derosier brings melodic bass lines. Most remarkable though, is Luke Lalonde’s voice. His unhinged, yelpy vocal style sounds not unlike a younger Avey Tare with an even more expressive range. He wails and yells (“Badonkadonkey”), but is more than capable of settling down for a low-key campfire sing-a-long (“Little Garçon”).

The songwriting is candid, vulnerable, and unpretentious. On “Barnacle Goose” and “I Need a Life”, he sings of dissatisfaction with who he’s become, lost in an existential malaise. On “Foxes Mate for Life” and “Hedonistic Me”, the singer seems earnest in his devotion to a significant other, yet seems to be primarily driven by lust and chemistry in “In a Mirror”. Though there’s nothing particularly groundbreaking covered here, it’s all conveyed in a way that’s near-universally relatable. Who hasn’t been dissatisfied with who they are, and who hasn’t felt conflicted and confused between love and lust? Though the subjects seem somber in print, there’s an underlying resilience and conviction in this band, seen most clearly in the group shouted “We’re not gonna die like this!” on “Hummingbird”.

Rusty Santos’ restrained production is immediately noticeable. Unlike other records he’s produced (among them the seminal Sung Tongs and Person Pitch), Red, Yellow & Blue seems almost bereft of effects -- even the nowadays ubiquitous reverb. The songs all sound as if they were recorded in a tiny room, a room that you inhabit along with the band. Guitars and vocals are trebly and right against your ears, and the bass isn’t very pronounced. At first the feeling was almost uncomfortable, but the more I listened, I grew to love the unique qualities of the recording, whose quirks reflect those of the band members. Most importantly, the absence of effects for the majority of the record greatly accentuates the moments when they’re included. On “I Need a Life”, solemn piano chords resonate in the build to the song’s cathartic release, and the subtle use of vocal reverb on “Hedonistic Me” and “Barnacle Goose” is a small but crucial touch.

Red, Yellow & Blue is simply one of the most fun records of 2008. Though it was well received upon release in early 2008, it’s been criminally overlooked on nearly every year-end list from major publications. And this is just nonsense. It’s an album that’s immediately accessible yet bears startling depth upon examination, and flows perfectly from start to finish.

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Spotlight: Flying Lotus

2008-12-18T16:15:00.000-08:00

In an ideal world, Steven Ellison (Flying Lotus) would be in as high demand as Timbaland, Swizz Beatz, or Just Blaze. Sadly, that isn't the case. His disorienting, grainy take on hip-hop is miles ahead of what anybody else is doing. Sure, he's inspired numerous contemporaries both domestic (The Gaslamp Killer, Samiyam) and abroad (Rustie, Hudson Mohawke), but Ellison stands above them all. His remixes for Lil' Wayne and Kanye West are complete re-imaginings of the originals, with only the source vocals recognizable (in Wayne's case, even that element was altered). Inebriated rhythms hobble along dark, damp alleyways, while conceptual spaceships from the 1950s fly around overhead. Or something like that.

This is definitely headphone music, so make sure to have a pair handy. I think his Reset EP is a perfect starting place for those interested. If you like that, don't miss his recent Los Angeles; it's a great record.

Kanye West, "Love Lockdown (Flying Lotus Remix)"
Flying Lotus, "Robo Tussin" (remix of Lil' Wayne's "A Milli")

Year-end reflection: part 1

2008-12-17T07:29:00.000-08:00

The sites I contribute to have released their year-end lists and articles today, so I'd like to direct your attention to Tiny Mixtapes and Music in Review Online. I'm copying my contribution to the TMT festivities below. I wrote a bunch of track commentary ("best tracks of '08") for MIR, but have to say that my choices for those spots are still being decided in my head, if they ever are. I will say that AC's "Water Curses" was my favorite track of '08. Whatever, read if you like, and feel free to comment.

Animal Collective- "Water Curses"-Water Curses EP

The opening windup of “Water Curses” sees an anxious group of swimmers gathered at the edge of an undisturbed lagoon, about to jump into the welcoming blue. Their bodies crash through the glassy surface, and their playful thrashing roils the water into choppy, frothing waves. Or maybe those few seconds see the nervous prey getting a head start in a chase through the rainforest, as if “The Most Dangerous Game” were enjoyable for both parties. Ridiculous metaphorical situations aside, “Water Curses” is one of the most ebullient songs of the year. Animal Collective has never sounded so carefree and breezy, but, as usual, the joyful music belies an unsettling murk beneath it. The unrelenting drums indeed call to mind a chase; a warped mariachi band shows up at some point, and Avey Tare’s unsettling, obscure lyrics — sung in his naïve falsetto — further contribute to the polarized-yet-cohesive, unforgettable feel of “Water Curses.” Though this EP didn’t sate my hunger for the band’s next album, it did provide a concise example of a quintessential Animal Collective song.

Progress

2008-12-15T21:31:00.000-08:00

I've been working on this song for awhile, and it's still not quite done. It's not even really a fully realized song so much as a beat that I want an emcee to rap over. Honestly. I was listening to a whole lot of Prefuse 73 and Machinedrum, and wanted to try my hand at that glitchy, cut up hip-hop. I want some input on it. Also, I guess this i a shameless plug for my myspace page.

CLICK HERE FOR MUSIC!!!

Christmas break

2008-12-13T20:53:00.000-08:00

I'm pretty tired. I felt compelled to get home quickly, so I got up at 7am to avoid traffic. I'm glad I did, as I got to eat lunch with my sister Jaclyn and my Mom. Last week was very very stressful. Though I only had one final, I was furiously revising two personal essays for my creative nonfiction class; I finally finished them at 5 am Friday morning, so needless to say my schedule's out of whack.

I always set nearly impossible goals to accomplish over Christmas break, and this year is no different. Other than the perpetual "run a lot, get back in shape" endeavor, I plan on practicing piano, drums, and guitar, because I want musical proficiency.
Though I enjoyed my literature class this past semester, I'm so glad to finally have time to read things of my choosing. Here are the books/novels that I plan on reading...

Philip Roth American Pastoral. I really liked Goodbye, Columbus, and my friend raved about this book, so I picked it up. So far, it's great. Roth's an amazing writer.

Cormac McCarthy All the Pretty Horses. I first discovered McCarthy's work through The Road (one of my favorite books, and one of the most powerful things I've ever read... post on it coming soon). I then moved on to his masterful Blood Meridian, and then No Country For Old Men after that. Though both the movie and novel were excellent, I'm going to say that the Coen Brothers' adaptation was better than the book. Again, two friends of mine highly recommended this one, so I plan on plowing through it next.

George Saunders In Persuasion Nation. I love Saunder's work; he definitely reminds me of Vonnegut (a favorite of mine), but has a style all his own. A fantastic storyteller. Go read Offloading for Mrs. Schwartz; it's one of the first stories of his that I read, and possibly my favorite. Seriously, click the link, and go read that. I apologize for the color and font of that page; it's horrible.

Anything that you recommend I read? I prefer fiction, but if there's some stunning nonfiction work that you'd love to share with me, I'll consider it. That is... considering I make it through all these. Let's hope.
Also, I will still be reviewing albums, and will be posting sporadically as they're uploaded to TMT.

Spotlight: Paavoharju

2008-12-13T20:52:00.000-08:00

I saw this album on several Tiny Mixtapes writers' top ten of 2008 lists. The name alone made me do a google search. I liked the artwork, particularly because it recalls Agnes Montgomery's work for Panda Bear (she designed the phenomenal covers for Person Pitch and all of its singles ). As soon as the record began to play, I was floored. It's like an ethereal psych-folk sound collage, and sounds unlike anything I've ever heard. Sometimes it is indeed reminiscent of Panda Bear, one track sounds like a recent Gang Gang Dance B-side, and sometimes the group plays straightforward folk music (though combined with field recordings and processed through decimation effects and filters).

I know very little about this Finnish group, but their latest album, Laulu Laakson Kukista, is fantastic. Songs transition seamlessly, and the whole affair is blissful and dreamy. Portions sound like ancient folk music recordings, then they break out synthesizers and decimation effects. Intriguing, truly beautiful music. Get this now.

Listen

Record Review: The Sight Below

2008-12-11T06:21:00.000-08:00

The Sight Below
Glider
[2008, Ghostly International]
3.5/5

Full review HERE. Glider is a promising debut from the reclusive, Seattle based producer, The Sight Below. It's a dark album, but there are some optimistic moments. Really gorgeous textures. My only complaints: he hasn't quite forged his own identity, and the entire album feels very similar. Still, a good debut no less. You can get his debut EP, No Place for Us, FREE from Ghostly International's website. I suggest you do that.

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Buy it

Borrowed Review: MoHa!

2008-12-08T14:06:00.001-08:00

MoHa!
One-Way Ticket to Candyland
[2008, Rune Grammofon]

Full review HERE
No new reviews to re-post this week, but I should have one up soon. Instead, I want to draw your attention to a band that's been dominating my itunes plays all day. I know very little about them, other than that fellow TMT reviewer gave this album a 4.5/5. I'm typically not into noise rock, but I do love really chaotic, technical drumming, and MoHa! delivers. They blend spastic drums, dissonant guitar chords, and harsh electronic noise (broken synths, noise generators, etc). I have to disagree with part of Keith's assessment of One-Way Ticket to Candyland, though; there are melodies in here, but they typically only span three to five notes, and are very repetetive. While this probably sounds very unappealing on paper (and it may be difficult to approach if you're not accustomed at all to this kind of thing), it translates to a very enthralling, exciting listen. Some tracks are spazzy and all over the place, others are brooding and drone-based.
My favorite track as of now is "Prog-o-rama". True to its (tongue-in-cheek) title, its full of start/stop rhythms, time signature shifts, heavy syncopation, etc. Ultimately, this (two piece) band reminds me of HEALTH, if that band's members were technically proficient with their instruments, instead of relying on histrionics and violent feedback. Highly Recommended, especially if you like: Lightning Bolt, Health, Scorch Trio, Hella, Parts & Labor, noise music

Listen!

Gear lust: microKORG XL

2008-12-04T13:43:00.000-08:00

Pictured above is the new microKORG XL synthesizer, a virtual analog like its predecessor, the lauded and loved microKORG. It's supposed to arrive in early 2009 in the UK, so we'll have to wait a bit longer. The microKORG was a great starter synth, but I moved on after two years with it to the KORG Radias rack unit. The new microKORG will have the same MMT multi modeling technology engine as the Radias and R3, and even an improved keyboard (so says KORG). Judging from the look of things, the keyboard will be much-improved.

I'm debating selling my microKORG so I can afford one of these when they come out. It's prettier, has a better keyboard, a display, more polyphony, and better sound capability. Anyway, just wanted to share something other than a music review with you all. What are your thoughts on the new design, and the mK XL in general?
specs and more info available Here

*Note: I used UK links because the microKORG XL is first being released overseas. Also, the UK website is so much nicer looking than the US Korg site. It's so ugly I don't even want to link it.

Record Review: Helios

2008-12-04T11:49:00.000-08:00

Helios
Caesura
[2008, Type]
3.5/5

Full review HERE. This is the second work I've reviewed by the Boston based multi-instrumentalist Keith Kenniff. I was pretty unimpressed with the latest Goldmund release, but really liked a lot of his last album under the Helios guise, 2006's Eingya. Caesura definitely has some tracks worth merit, and as a whole is very pretty, but doesn't satisfy. It's lovely aural wallpaper, but ultimately doesn't reward close-listening any more than background-music listening.
If you happen to stumble across this post, Keith, I want you to know that I respect your work, and that you're recordings all sound great. But they need more focus and shouldn't wander so much. Of course, this is just one critic's opinion.
If anybody has a different take on this album, I'd love to discuss.

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Buy it

Record Review: Alva Noto

2008-12-01T18:23:00.000-08:00

Alva Noto
Unitxt
[Raster-Noton, 2008]
3.5/5

Full Review HERE. Alva Noto is Carsten Nicolai, a German-born sound artist who co-founded the experimental electronica label Raster-Noton (also home to Ryoji Ikeda). I was interested in reviewing this album because I love the three collaborative EPs between Alva Noto and Ryuichi Sakamoto; check them out. Unitxt is a fascinating album, but ultimately disappoints in its lack of variety. It's definitely worth checking out a few of the tracks, though.

Myspace, contains excerpts of Unitxt

Buy it

"Trioon", by Alva Noto & Ryuichi Sakamoto. Really hypnotic song and video.

Record Review: Kanye West

2008-11-25T06:37:00.000-08:00

Kanye West
808s and Heartbreak
[2008, Roc-A-Fella/Def Jam]
1.5/4 [the site is an aggregate score made up of the editor and my own ratings]

I haven't written anything for Music in Review in awhile, but was asked to write an article on the new Kanye album. I obliged (I hadn't yet downloaded it, and felt like I needed a reason to listen to it, as I'd been avoiding it like the plague). What's posted now contains my thoughts of 808s and Heartbreak. Enjoy, and let me know what you think.

Used to Be

2008-11-24T22:05:00.000-08:00

I just got the new Beach House track, and have to say that I'm pretty stunned. When I first heard this band, I absolutely hated them. I thought their music was the most boring/stupid thing ever (I know, mature, right?). Then I listened again last winter, and realized how much I love them. Victoria Legrand's languid, woozy melodies are complimented by Alex Scally's inebriated slide guitar into a perfect melange of narcotic pop. Last Sunday I listened to some of my favorite tracks of theirs (from both 2006's Beach House and this year's fantastic Devotion).

So on to the track: "Used To Be" is pretty simple meditation on change, love, and growing older (and of course, how these affect one another). Legrand provides a halcyon chord progression with some sort of bright mallet patch on her keyboard, singing in a much clearer manner than ever before. Her voice is still swimming in reverb, but the beauty of her plaintive, earnest melodies really shines through here. After the first verse, Alex Scally adds heavily distorted, almost fuzz-folk guitar (á la Neutral Milk Hotel's "Ghost") adds a new dimension to the band's sound, one I'd like to see them explore even more.

The B-side is a demo version of "Apple Orchard" that I find far superior to the original. Legrand doesn't strain at all, as the melody is completely within her grasp, but I miss the slide guitar of the LP version.

If you're new to Beach House, BUY THEIR MUSIC NOW!

The simplicity of the video compliments the song well; I love it.

Record Review: Cyne

2008-11-18T06:21:00.000-08:00

CYNE
Pretty Dark Things
[2008, Hometapes]
Rating: 3/5

I had a really hard time writing this review for some reason. I listened to this album so many times while reviewing it, maybe twenty times over a two week period. Too much. Anyway, if you're into derivative indie hip-hop, then go get this now. It's not bad... just hardly says anything new. Read my review HERE. Hometapes does a great job with packaging, as always.

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Buy it

Fennesz: Black Sea

2008-11-13T22:12:00.000-08:00

After giving the new Fennesz album a full listen, I have to say that I'm very impressed. The music is as beautiful as always, with Christian Fennesz processing acoustic and electric guitar signals through MAX/msp patches until their original sound is indiscernible. This is definitely more drone-oriented than his earlier work, and has very little distinguishable rhythmic elements heard so clearly in songs like "Rivers of Sand" from 2004's Venice.

Check out the first track, "Saffron Revolution" to get a taste of the album. The final minutes are just overwhelming, and so positive (with a tinge of melancholy); like a lot of his work, it just feels... well, right. I'm going to stop rambling now and go to sleep, but I had to share this gorgeous track.

Black Sea is out in December on venerable experimental label Touch. Not only is this one of the best releases of 2008, but that artwork is stunning as well.

Saffron Revolution - Fennesz

To "John and Sarah"

2008-10-30T19:50:00.001-07:00

To my dear commenter who cowers behind the veil of anonymity;

"Dude you should just off yourself. Seriously, you are one of the most pompous ill informed music writers I've ever read and that's saying something. Please, please, please stop whining like some collegiate pussy and misinforming people with your crap. You have a bad ear and a faulty knowledge of music. Seriously -- just stop"-John and Sarah

I appreciate the oh-so-thoughtful comment.

Am I really as pompous as some Pitchfork writers...Brent DiCrescenzo, perhaps?

I mean, the guy's hilarious, and a great music critic, but I'd venture to say that he was a smidgen more pompous than I am.

And anticipating a possible reaction: yes, of course I read pitchfork. Yes, they're esoteric and often very harsh, but I think anybody would agree that they staff some of the best music writers in the industry.

"John and Sarah" [I REALLY hope that's a McCain/Palin reference...you're just too clever, and oh-so-relevant!], next time you decide to troll the internet, and feel like tearing somebody up for doing something they're passionate about, go ahead-

quitting is the farthest thing from my mind now. Thanks for giving me an audience.

With love,

Lukas