It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at just-discovered music, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Animal Collective, Dirty Projectors, Deerhunter, TV on the Radio, M. Ward, and St. Vincent.
to be released May 19 on Arts & Crafts
Report Card: B-
Despite his role as their mostly anonymous lead guitarist, there remains little doubt that Andrew Whiteman is a key figure making Broken Social Scene as dynamic as they are. And there’s even less doubt that it’s an admirable move on his part to avoid the whole Broken Social Scene Presents nonsense that gave (perhaps questionable) legitimacy to releases by good-enough-to-do-it-on-his-own Kevin Drew and probably-had-no-chance-without-the-help Brendan Canning. But while flying under the Apostle of Hustle banner is a strong statement of creative independence, with that comes not only substantial reward, but also substantial risk. And with Eats Darkness, Apostle of Hustle’s third LP, which side of that coin gets more play becomes quite the relevant question.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at just-discovered music, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Animal Collective, Dirty Projectors, Deerhunter, TV on the Radio, M. Ward, and St. Vincent.
to be released May 26 on Warp
Report Card: B+
Here’s a fact: saying anything about Grizzly Bear that falls short of utter and uncompromising praise isn’t a very popular move. That being acknowledged, let’s put aside all the acclaim and rampant fandom for a second and allow this piece of blasphemy to come into focus: no matter how good Veckatimest may be as a whole, it never, ever reaches the impossibly lofty expectations created by its early singles. And how about this: is it possible for an album to be a sweeping, marvelous success in so many ways, yet still, at the end of the day, feel like a disappointment? To that question, Veckatimest says yes.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at just-discovered music, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Animal Collective, Deerhunter, TV on the Radio, M. Ward, and St. Vincent.
to be released June 9 on Domino
Report Card: A freaking +
The pressure’s been building behind Dave Longstreth’s meandering Dirty Projectors project for the last few years, and 2007’s excellent if somewhat mystifying Black Flag covers/“reimaginations” album Rise Above brought listener intrigue to a new high—could it be that idiosyncratic oddball and Yale dropout Longstreth was growing nearer to accessibility? It seems so, and, really, the career trajectory here is not at all unlike that of fellow 2009 darlings Animal Collective, in that both started out hyper-obscure and intentionally abrasive, with an emphasis on willful experimentation and defiance of gratification, only to slowly but surely move towards a refined confidence in heightened normalcy. And that’s not to suggest that either outfit has shirked their uniqueness; they instead have learned to channel their innovation in a way that produces complete songs that human beings will actually enjoy, rather than just fragmentary attacks on musical reason. For Dirty Projectors, that turning point is embodied in the sparkling Bitte Orca.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at just-discovered music, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Animal Collective, Deerhunter, TV on the Radio, M. Ward, White Denim, and Grizzly Bear.
to be released May 5 on 4AD
Report Card: A-
Annie Clark’s beginnings in the flocks of Polyphonic Spree and Sufjan Stevens hardly made her transformation to big stage rockstar thrashabout a foregone conclusion. And it’s a strange thing that in a year of ridiculously hyped releases—from Animal Collective to Grizzly Bear, and now Dirty Projectors—that the frequently-adored Clark would come out of comparative nowhere with the quite-good Actor, an album sufficiently superior to its precursor that positions St. Vincent as an unlikely force to be reckoned with. Yet this, as we well know, is a world capable of defying expectations.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at just-discovered music, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Animal Collective, Deerhunter, TV on the Radio, M. Ward, White Denim, and Grizzly Bear.
released March 31 on Almost Gold
Report Card: C+
Peter Bjorn and John, blessed as they can be, have for a while appeared to be dodging accountability for the unexpected leap into international fame caused by “Young Folks,” and that song’s ubiquity (think radio, think television, think McDonald’s, think JC Penny), put the somewhat awkward north-Euros into a spotlight their personalities weren’t quite prepared for. That fact has been evident in their declining live show, as what was once a bouncy and playful romp through retro-rock and white guy dance moves has turned into a mostly joyless electronic sleepwalk, complete with a lack of connection to the audience befitting a band with audience to spare. To PB&J’s benefit, they haven’t fallen asleep at the experimental wheel, as their clever post-Writer’s Block misdirection Seaside Rock (a slight make-up for Peter Moren’s hideously bland solo album) wandered through instrumental and field recording reels, thus refusing to whet the appetite of a legion of pop-fanatics desperate for another tune to whistle into the ground.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at just-discovered music, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Animal Collective, Deerhunter, TV on the Radio, M. Ward, White Denim, and Grizzly Bear.
to be released March 24 on Jagjaguwar
Report Card: B+
There’s something inherently obnoxious about the whole “supergroup” moniker, and music history is dotted with thankfully aborted attempts to make something of the name’s lofty claim. Despite that, it’s surely intriguing when that star-crossed label becomes affixed to three guys who just a decade ago would have found it nearly impossible to develop a following in the first place, let alone such independent fan bases that when they get together to screw off in the studio it elicits all sorts of anticipatory glee-shouts. Yet in these internet times, musicians such as Spencer Krug, Carey Mercer, and Dan Bejar do have a niche in which to survivably produce some of the most intricate and conceptually demanding albums of the last few years, and even afford themselves the spare time to work on the Swan Lake project, a project best described as what happens when three mad scientists meet at a mad scientist convention and decide to be mad scientists together.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly
first glance at just-discovered music, whether it be just-released,
just-leaked, or some long-lost gem that has remained under the radar.
Click here for other recent editions of Hot Off the Press, featuring acts such as
Animal Collective, Deerhunter, TV on the Radio, M. Ward, White Denim,
and Grizzly Bear.
to be released March 3 on Kemado
Report Card: B
Marissa Nadler’s built a nice little scaffolding of critical acclaim
from her last couple albums, and during this time she’s admirably
filled the gap between the likes of Josephine Foster and Joanna Newsom
on the ethereal side, and St. Vincent and Feist on the less-challenging
side. Her airy, controlled approach is on display once again with Little Hells, the excellently titled follow-up to 2007’s Songs III: Bird on the Water.
And if it seems like Nadler’s been coming out with albums at a
ferocious pace, you’d be right—this is her third in four years, and
never before has her career seemed so poised for a breakthrough into
that most fantastic of sub-major laudations: widespread blog-love.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at just-discovered music, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Animal Collective, Deerhunter, TV on the Radio, M. Ward, Deerhoof, Juana Molina, Crystal Stilts, White Denim, and Grizzly Bear.
released February 24 on Western Vinyl
Report Card: B+
Waterlogged and almost exhausted, Here We Go Magic’s self-titled debut throws a few excellent songs out there in an effort to survive its cumbersome name and thin catalog. At turns eerie and buoyant, the album is wispily folky while incorporating electronic flourishes and tunefulness in a way that feels both comforting and excellent. But while often catchy and joyfully monotonous—several songs are constructed from one highly repetitious base with change made on top, especially in the way of main man Luke Temple’s falsetto-heavy singing—it’s hard to shake the feeling that this album was considered “finished” just a tiny bit too early.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at just-discovered music, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Animal Collective, Deerhunter, TV on the Radio, M. Ward, Deerhoof, Juana Molina, Crystal Stilts, White Denim, and Grizzly Bear.
To be released March 10, 2009 on K Records
Report Card: B-
For all the time that’s passed—Mirah’s last record, the warmly received C’Mon Miracle, came out in 2004—it seemed reasonable to hope for the groundbreaking with this new release. And while (a)spera undoubtedly has its endearing moments, it unfortunately feels like a too-logical follow-up to the previous album, as if the last five years have changed nothing for music or for Mirah herself. Like before, she brings the kitchen sink, from horns to choirs to offbeat percussion, to buffer her simple tunes, and these tricks will surely please anyone not familiar with her work; to someone who is, though, the new adornment may feel a little uninspired, almost like Mirah herself looked at what she had and tried to come up with some sort of “unexpected” way to legitimize her spare vocal tracks.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly
first glance at just-discovered music, whether it be just-released,
just-leaked, or some long-lost gem that has remained under the radar.
Click here for other recent editions of Hot Off the Press, featuring acts such as
Animal Collective, Deerhunter, TV on the Radio, M. Ward, Deerhoof,
Juana Molina, Crystal Stilts, White Denim, and Grizzly Bear.
to be released February 10th on Nonesuch
Report Card: A-
Skeptics are sure to abound in regards to Dan Auerbach’s solo debut.
After all, even many long-time Black Keys fans have had to admit that
their favorite rust-covered two-piece had backed their sound into a
corner the last couple albums—for those familiar with the band’s
catalog, Magic Potion feels like it hardly happened, while enlisting Danger Mouse to helm Attack & Release felt a little like a desperate attempt to shake things up, regardless
of the fact that that album saw the band achieve its widest notoriety
yet. But really, when it comes down to it, there’s only so much you
can do with one guitar and a drum kit, especially when you’ve
established, as the Keys have, such a steady and immediately
recognizable sound. With all this in mind, even an Akron native could
look upon hometown hero Dan Auerbach’s first album minus Patrick Carney
with a heaping helping of doubt, and at least a little concern that an
Auerbach flop would signal the dusk of Ohio blues legitimacy altogether.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at music discovered in the last seven days, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as Deerhunter, TV on the Radio, M. Ward, Deerhoof, Juana Molina, Crystal Stilts, White Denim, and Grizzly Bear.
Released on January 27 on Soft Abuse
Report Card: B+
In regards to sanity, Carey Mercer could go either way. The prophetic declarations of times past that mark much of his work have established his position as heir to the throne of Scott Walker and Current 93’s David Tibet—like those men, he breaks many of the unwritten rules about how to be a successful vocalist, while also lending a healthy push to the question of whether the guy in charge is a genius or merely a madman. And while Mercer seems a little reined in by the full band nature of his primary project, Frog Eyes, and even more tempered by Swan Lake (the super group à la eccentric of Mercer, Spencer Krug of Sunset Rubdown and Wolf Parade, and Dan Bejar of Destroyer and The New Pornographers), his Blackout Beach project gives him the opportunity to go, without checks and balances, absolutely apeshit.
It’s Wednesday, and that means it’s time for Nick Courtright’s weekly first glance at music discovered in the last seven days, whether it be just-released, just-leaked, or some long-lost gem that has remained under the radar. Click here for other recent editions of Hot Off the Press, featuring acts such as of Montreal, Vivian Girls, Bodies of Water, White Denim, Conor Oberst, The Walkmen, The Bug, Lackthereof, and Grizzly Bear.
Department of Eagles – In Ear Park
To be released October 7 on 4AD
Report Card: B-
It’s not hard to get excited about the potential behind Department of Eagles. After all, the band’s frontman is none other than Daniel Rossen, Grizzly Bear extraordinaire, and of late it’s seemed that anything Grizzly Bear touches turns to gold. And while the deeper-voiced Ed Droste is perhaps Grizzly Bear’s most recognizable member, Rossen is a big reason for the band’s Midas-touch, as he sings lead regularly, and got the ball rolling on the band’s assault on the most-anticipated-album lists with his stirring “While You Wait for the Others,” the first post-Yellow House track the band released. And if that wasn’t enough, Rossen’s cover of Jo Jo’s “Too Little Too Late,” a mostly terrible song in its original incarnation, kicks ass. So yeah, it’s easy to get excited about Department of Eagles, where presumably Rossen would be able to differentiate himself from his Bear brothers, not to mention giving the music world another class A release.
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