Dr. Dog
We All Belong
2007 | Park The Van
On Dr. Dog’s latest album The Band and The Kinks immediately come to mind, but there's a carnival vibe floating throughout every song that reminds me of a traveling circus, minus the safety nets. Vocally, Dr. Dog handle some serious three-part harmonies that would rival REO Speedwagon and The Beach Boys. And for some of you reading this, the vocals will be the only selling point you’ll need after the first spin. Overall, the album is sprinkled with pianos, guitars and horns arranged to baffle your senses. It's that good.
It's difficult to pick
particular peaks on this record because all of the songs are so
refreshing, but I will anyway. "The Girl," “My Old Ways,” “Ain’t It
Strange” and the Motown-meets-Beatles groove of “Worst Trip” are the
outstanding moments. Hooks, dynamite instrumentation and amazing
harmonies flourish in every verse and chorus.
What's so
appealing about this record is how Dr. Dog's use of melody never feels
deliberately vintage, yet the album sounds like a classic. The listener
is brought into to a world where ideas are the central theme and
they're executed with layers of lush melody and harmony, unlike many
70's inspired rock albums of today.
-Scott McDonald
Directed by Jared Eberhardt
Will this album ever die? Not any time soon. Hoardes of fans keep rolling into their festival/tour gigs and are left spent and amazed. Even celeb-retard Paris Hilton showed up during their set at Coachella.
"All My Friends" is the latest single dropping on May 28th from LCD. It features exclusive mixes and covers by Franz Ferdinand, John Cale and a new LCD cover of Joy Division's "No Love Lost" and "Freak Out."
The Field
From Here We Go Sublime
2007 | Kompakt
When it comes down to electronica, which is a genre being overshadowed by lots of mash-up and generic electro-dance outfits these days, I pay close attention. It’s not the kind of music that’s easy to get into and can require some serious patience and understanding of how sampling, synths and sequencers work. There are tiny fragments everywhere and sometimes hidden bits of noise that you wish you could unearth as something real. In a simple pop-rock format you’ll never find that kind of attention to detail.
With Electronica I’m usually looking for
finesse and sounds that stir up some excitement. Like most people I
know, I end up going with my gut and think about how the artist
arranges and creates the sounds that win me over. Some people would say
it’s a limited genre that has already been dominated by the likes of
Aphex Twin, Autechre, LFO…you could name loads of other great acts. The
Field is that kind of band; only the music feels limitless. It hits
nerves with subtleties, layers, and space. From Here We Go Sublime is stunning yet completely minimal when compared to some of the best electronica ever made.
Overall,
beats pounce along and make you want to move. On the other hand there
are qualities of ambience that will make you trip out as you lie down
on your bed and take it all in. Axel Willner is the lone swordsman of
The Field. And when he lays out a menu with songs like “Everyday” and
"Good Things End” it’s hypnotic. The album has personalities of trance
and chill-out tempos, but both create their own gravitational pull. From Here We Go Sublime is consistent and devastating with dreamlike beats programmed to tackle and smother your senses.
-Scott McDonald
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The Raveonettes have delivered three very different cds from each other, each one excellent - though my favorite is still their debut, Whip it On. They’re a band I adore not only because they are great but because they try different things, and they are now touring the States just as the fundamental pair of Sune Rose Wagner and Sharin Foo. They’ll bring their unique hurricane-like force up and down the West Coast starting May 31st in Santa Barbara. I talked with Sharin at the end of April about the band’s future.
Directed by Audiocinema
Portland's Nice Boys released their self-titled album last fall on Birdman Recordings.
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