Grizzly Bear
Friend EP
2007 | Warp Records
Since when does an EP consist of TEN songs? Grizzly Bear's
latest release, the Friend EP decides that they can throw in as many as
they want, especially if the songs are good. For me, Grizzly Bear is
the band that sounds like they should have come from the Great White
North but do not. They're from Brooklyn.
This EP contains two
'new' songs, and remakes and reworks a handful of older songs. Even
though they're trying to make these older songs fresh, there is still
that preciousness to them. They are different versions, but they still
sound just how I would expect them to sound. The cascading notes and
icy feeling reiterates to me that feeling I get of them recording on an
arctic tundra somewhere.
One outstanding song they remake on here is "He Hit Me and It Felt Like a Kiss", the 1962 single by the Crystals.
I'm a pretty big fan of the original song, however, Grizzly Bear turn
the song into an even more haunting melody. It's similar in its
stripped down simplicity and the heightened builds of the Crystals, but
the uniqueness comes from the vocals. They are incredibly striking and
give me chills; really, one should be careful about listening to
Grizzly Bear in the dark. There are also two 'deconstructed' songs on
here ("Plans", the Terrible vs. Nonhorse Sounds Edit, and "Knife" the Atlas Sound version) that take the reworking of a track off to a far away place
with static and random bits of the songs. They actually provide a nice,
jarring detour from the rest of the tracks.
As for the other covers from other bands, it's hit or miss. CSS's
cover of "Knife" (a song I felt really didn't need any reworking of any
kind) sounds pretty much like what you expect to hear from CSS.
Electric keys with a less childish sounding Lovefoxxx, but bland. It
lacks the power that CSS usually emanate in their music. Band of Horses seems to me an obvious choice to cover a Grizzly Bear song. Both these
bands share a vocal similarity where the lead has a voice that echoes
and reaches out. Band of Horses ups the tempo, but risk sounding like a
song out of Emmet Otter's Jug Band Christmas with their twangy take on "Plans". It's enjoyable, but silly at the same time.
Taken
as a whole, it's a nice supplement to Grizzly Bear's other albums,
however I crave newer material from them with other lyrics. I recommend
listening to "He Hit Me and It Felt Like a Kiss", "Little Brother", and
"Deep Blue Sea".
-Elana Rintala
(Looking for something similar? Try these bands: The Beach Boys, Iron and Wine, and Beirut.)
Old Time Relijun
Catharsis in Crisis
2007 | K Records
So, there's this chick drummer, and a guy who looks like he's a bible
salesman hooked on to a stand up bass, and then there's this hillbilly
guy with a beard who's stripped down to his underwear that kind of
howls into the microphone... This is how Old Time Relijun was first
described to me. Not much has changed. They've added a full time
saxophonist, the line up has gone through a few different people, and
although their new press photos would have you believing they were in
the Mob, they are still putting out some raw, almost frighteningly good
music. Their latest release Catharsis In Crisis is the third in a
musical trilogy, but can equally be enjoyed even if you are not
familiar with the other albums.
The
opening track "Indestructible Life!" starts with these resonating
pluckings from a guitar while that howl I was told to watch out for
announces who you are listening to, in case you needed to double check.
And then comes some of the catchiest, syncopated beats that move like
murky water and just suck you in. Arrington de Dionyso's voice both
carries a melody and sounds as if it can rip flesh apart. This is the
trend throughout the album. Each track carries some of that heaviness,
that psychotic-ness that ties the album together. The lyrics present a
dual nature, someone questioning their existence, their sanity. As de
Dionyso sings "I got lost in the wilderness, I got lost in confinement"
alongside ideas of stolen flesh and borrowed bodies, a thin line breaks
between man and his demons.
Not every song is so heavily laden
with foreboding lyrics though. "Garden of Pomegranates" is a velvety
song that uses an undulating bass line as a sexual tonic. While "Dark
Matter" (although some lyrics at the end) feels like the most UN-pop
surf guitar song I've ever listened to, and I don't mean that as
negative.
The last striking element on here is the ability for
Old Time Relijun to both sound frantic and paced at the same time; a
controlled chaos. I recommend Catharsis in Crisis all the way through,
but I especially recommend listening to "Indestructible Life!", "Garden
of Pomegranates", and "Akavishim".
-Elana Rintala
(Looking for something similar? Try these bands: Captain Beefheart or Tom Waits)
Band of Horses
Cease to Begin
2007 | Sub Pop
Band of Beards, I mean Band of Horses' sophomore release Cease to Begin
segues nicely from their last record with the opening track "Is There a
Ghost". That track could have sat well on Everything All the Time.
However that dreaded sophomore slump has wormed its way into the
subsequent tracks. This album has proven that I can still have a
love/hate relationship with a piece of music. Ok, well maybe hate is
too strong of a word. Listening to the lyrics though sometimes I had to
shake my head. "Ode to LRC" is a perfectly acceptable song, catchy
even, until Ben Birdwell starts to sing out the words "..the world is
such a wonderful place..la tee da." Then it feels strained and cliched.
Maybe he just rushed through the song, or he was having an amazing day
when he wrote it, but the word choices are jarring from his usual
lyrics that feel a little grittier. That's the problem with some of the
songs, bordering on a mediocre approach that seems to only hover on the
surface and not go further.
But
then I have the love part of the album too that still makes me want to
listen and give them a try. Birdwell's voice still holds that sad, soft
quality to it, and it has a sharp uniqueness to it that still draws me
to listen to him. I'm also a sucker for songs you can clap along to and
stamp your feet ("Lamb of the Lam (In the City)"). The accessibility
towards a wider audience is here, and yet it is obvious that they are
still trying to do a "Band of Horses" album and not completely re-work
their material into something foreign for them. I can respect that.
Overall the album is polished, but in that over scrubbed way. I'd
recommend "Is There a Ghost", "Marry Song" and "Lamb of the Lam (In the
City)".
-Elana Rintala
(Looking for something similar? Try these bands: Neko Case, Wilco, and Neil Young.)
Iron and Wine
The Shepherd's Dog
2007 | Sub Pop
When the first single off Iron and Wine's latest release The Shepherd's
Dog hit the web several months ago, there was this odd shock that Sam
Beam was letting go of the hushed, dreamy folk-type music that he had
done well up to that point. The single "Boy With a Coin" first off
sounded more produced than what I was familiar with. However, even with
the addition of the hand drums and clapping, the song didn't come off
as this poppy piece that I was expecting to hear. That is until I
finally was able to listen to the whole album.
There is a
blending of the slow, melodic folk music with a very present Indie Rock
sensibility. Sam Beam's voice still has that masked quality to it but
is surrounded by a much more fuller sound. Sometimes the layered
effects of Beam's soft voice with the band work, sometimes not so much
as they inadvertently muddle each other. I found this to be the case
with the first track "Pagan Angel and a Borrowed Car". I did enjoy the
upbeat, sunny quality to the song, but I found the actual mix was, at
times, drowning out what I find to be one of the best qualities about
Iron and Wine, his voice.
The second track "White Tooth Man"
mixes bluegrass pickings with a world music beat. Although an odd
pairing, the end result is very fluid and feels right. Maybe it's the
drumming. "The Devil Never Sleeps" is an upbeat number that
incorporates electric guitar and a piano for the combined effect of
some 70's classic rock jam that feels like an unspoken force on this
album. Following that classic vein, "Peace Beneath the City" adds some
psych elements. There's something about it that kept making me think I
was going to start hearing "Black Magic Woman" or "Planet Caravan"
though.
"Resurrection Fern" and "Flightless Bird, American
Mouth" work best for me for not straying so far from what Iron and Wine
used to be. Soft meandering tracks where the vocals, although subdued,
really stand out and complete the songs. Although this really is a new
direction for Iron and Wine, it is not so different as to turn away
older fans, and is more approachable for a somewhat wider audience. I'd
recommend: "White Tooth Man", "Resurrection Fern" and "The Devil Never
Sleeps".
-Elana Rintala
(Looking for something similar? Try these bands: Tom Waits, Modest Mouse, and Nick Drake)
Devendra Banhart
Smokey Rolls Down Thunder Canyon
2007 | XL Recordings
Devendra Banhart has always conjured up something far away and other
dimensional for me. His leaning heavy on the folk side biased me
towards lumping it in with those freak-folk people that have been
popping up in clusters everywhere. I didn't dislike it, I just felt
detached from it. However, on his 5th studio release Smokey Rolls Down
Thunder Canyon, the simplicity has been pushed aside for a greater
flowing mix containing elements of Marc Bolan to the Stranglers and
from countries with sultry languages.
The
idea of the meandering album is still here, what with the time spanning
over an hour. But it feels more like a musical journey as opposed to
the feeling of a never-ending 'concept' album. The first track
"Cristobal" still shows Banhart hanging onto the lo-fi sound, combining
very sweet melodies amid tropical sounding instruments and soft,
echoing vocals. This style carries into the next track "So Long Old
Bean" while feeling a bit on the "old-timey" side with a sprightly
piano tune in the background. From here the idea of the musical
"journey" takes off as he travels from a Samba to a more folk inspired
song that feels heavily influenced by the Strangler's "Golden Brown".
Banhart seems to be trying to cover a lot of area on this latest
release, however the tracks still work together because he keeps
similar style elements present throughout. When tracks like "Bad Girl"
seem to have sprung from an alt-country vein, and "Tonada Yonmaminista"
suddenly jumps into a feverish, sing-a-long, it may take listener's
heads for a spin. And yet, the up and down tempos feel perfectly placed
as a whole, and Devendra Banhart's vocals all have that singing from
inside a bathroom quality to them that strings the songs along.
Occasionally
the slow songs seem to feel too slow and drag a bit. Like someone
should have told him to wrap it up a little quicker cause he was
getting too caught up in the moment. But then he'll have found someway
to channel Marc Bolan and make him play funk ("Lover"), and it's easy
to forgive him for overindulging. I'd recommend "Seahorse", "Tonada
Yonmaminista", and "Lover".
-Elana Rintala
Division Day
Beartrap Island
2007 | Eenie Meenie
You
hear that? It’s the sound a band exhaling from over a year of toe
tapping, nail biting, and screaming into pillows. But now that all the
weight has been lifted Division Day prove once again
that their music has staying power by shattering that boulder of
anxiety into 14 tightly wound tracks. The album is loaded with angular
guitar chords and blasts, stabbing synths, and a muscular rhythm
section. Beartrap Island also throws in a few new added songs that are arguably the band’s most driving and tense moments.
The
record starts off with a sustain-heavy guitar line, the title track,
and bursts into a new addition entitled “Ricky”. Pulsating with needles
of synth this song demands to be played on alternative radio formats
everywhere; can we get a video too? Division Day never specifically
focus on one instrument as the main event either. Instead, they utilize
their collected talent to write catchy hooks that are intricate and
full of bright melodies. The gripping rhythms and soaring vocals on
“Lights Out” and “To The Woods” seize your attention because there are
so many great parts to listen to within each verse or chorus.
“Colorguard” contrasts the quartet’s pop bombast with a dreamier and
stark feel. And the anticipating feedback on “Tap-Tap, Click-Click”
displays real power within a super-catchy tune, as equally satisfying
as “Ricky”. Did I mention I liked “Ricky”?
Beartrap Island is one of the most complete and cohesive sounding albums from any L.A.
artist, pick any city for that matter, I’ve heard all year. Rather than
sounding derivative or exhausted, the album is longer than normal, the
sounds and arrangements manage to keep the listener engaged at every
turn.
-Scott McDonald
Liars
Liars
2007 | Mute
Liars are a band that like to shift their styles of music as much as they can
get away with. In fact, listening to lead singer/guitarist Angus
Andrew, I can picture him chameleon-lizard like sticking a spiked
tongue out while chanting falsettos in an abandoned warehouse
somewhere. In keeping with their array of post-punk musical numbers,
Liars again puts forth a misfit group of tracks that range from
Psych-pop to industrial noise. The opening track "Plaster Casts Of
Everything" off the new self-titled album by Liars struck me as a song
that would be perfect for any new slasher horror movie out in theatres
right now. The pounding drums and metal heavy guitar riffs are
thunderous, however it's probably not the most accurate description of
the rest of the album. Liars actually has a more psychedelic,
shoe-gazer quality that shows prominently in songs like "Pure Unevil"
and "Cycle Time". "Freak Out" is their most accessible number,
somewhere between Jesus and Mary Chain and Gang of Four. It has that
dance quality to it that seems to poke its head up at points on the
album, but without the goofy effect.
There are moments when the
"noise" aspect of the band overpowers the album though. "Leather
Prowler" and "The Dumb in the Rain" both feel too heavy and almost a
bit hard to listen to. However, for the track "What Would They Know",
that same heaviness is made more melodic, and feels like a Bauhaus
song. Perhaps they were trying to balance out the less accessible
tracks by having these radio friendly ones. Regardless, in doing so,
Liars created an album that strives to be dark and yet poppy, creating
a middle ground that can be enjoyed by a wider audience. I'd recommend
"Freak Out", "Cycle Time" and "Clear Island".
-Elana Rintala
(Looking for something similar? Try these bands: Gang of Four, Sonic Youth, and the Raveonettes)
C.O.C.O.
Play Drums + Bass
2007 | K
When drums and a bass guitar are pitted against each other, and not in
a techno sense, the end result is something raw, digging deep into your
ID. C.O.C.O., on their latest release Play Drums + Bass, combine that aggressiveness with a beat you can, well, dance to.
With
just the minimal vocal, bass and drums, this duo stomps through indie,
funk and beat music, all the while keeping in mind that they want their
audience to get up and shake. The opening track "Good" hooks you in
with the sultry voice of Olivia Ness, backed by a funky beat that
instantly reminds me of ESG. It's loose but deceptively complex. Also
the woops from drummer Chris Sutton (of Dub Narcotic Sound System fame)
in the background are pretty fun too.
The transitions from each
song are smooth despite the obvious changes in style of music. With the
meat of the song basically the same, it's probably easier to do.
However, the ability to transform each song with it's simplicity into
such unique gems is pretty fantastic. "For You" is a quick tempo garage
beat song while "Crime" reflects more of a 60's beat, finger snapping
style. "Much to Learn" really digs deep into that primal heavy sound
with tribal like drums and chanting accompanied by Olivia's haunting
vocals. "The End" closing out the album, is the culmination of happy,
pop-beat music that leaves your heart racing. For creating this band
while learning how to play their respective instruments, Play Drums + Bass is
a highly polished example of what a few years and some commitment will
get you. I'd recommend "For You", "Crime" and "The End".
-Elana Rintala
(Looking for something similar? Try these bands: ESG, The Ettes, and The Fall.)
Film School
Hideout
2007 | Beggars Banquet
Film School’s
self-titled debut was a history lesson that covered many points along
the darker and more brooding side of shoegaze/80’s-pop (The Cure &
Ride specifically). The album sounded like a group of guys jockeying
for position with no clear direction, but good tunes nonetheless. When
I popped in Film School’s sophomore release, Hideout, it immediately grabbed me and sounded like a different band altogether, a better one.
While Hideout was being made things also changed in camp Film School (the addition of bassist/vocalist Lorelei Plotcyzk, guitarist Dave Dupuis and drummer Dave Smith). With the exception of keyboardist Jason Ruck, longtime band members moved on, and Greg Bertens stepped up as the principal songwriter who's vocals and melodies have
seriously grown into something special. The first thing you’ll notice
on Hideout is how lush and patient each song sounds. And
while a standout banger like “He’s a Deep Deep Lake” from their debut
soars with waves of guitar that particular track sounds dated compared
to most of the new material Bertens has written.
Perhaps it’s
because I’ve always thought of Bertens as the singer/guitarist of a
quintet, simply a piece of the puzzle, but he’s much more than that
now. Turns out he is the puzzle and carries this album like a
matured writer and musician giving the audience a peek into his life.
His voice hints at personal relationships and the experiences we have
all come across concerning love and failure.
Several outstanding songs that appear on Hideout easily distinguish this album as a true progression in form.
“Capitalized I” and the ultra-catchy “Go Down Together” will remind you
of the building miasma created by Serena-Maneesh, only Film School are
less concerned with blown-out noise and ruckus. Other tracks vary but
are quite sticky as we follow Film School down a consistent path of
dreamy pop. The band unleashes devastating melodies and awesome guitar
structures on “Compare”. This song could work as a radio single because
the melody is so inviting and eventually transforms itself into a
beast. Bertens also reveals a beautiful falsetto on “Florida”. The
music and vocals create a tension against the chaotic keys and
repetitive wash of reverb, a real gem for Pale Saints fans. Once the
song opens the floodgates you’ve got to be sold on this record.
With
the help of some notable musicians like Colm O’ Ciosoig (My Bloody
Valentine), Tracy Uba (ex-Timonium) and Paul Wilson (Snow Patrol) the
album displays a real variety of rhythms and vocal styles. But I still
get the feeling that this record exists as the product of Greg Bertens
locking himself up in a studio and revealing himself the way he’s
always wanted to.
-Scott McDonald
(Looking for something similar? Try these bands: Pale Saints, Slowdive, and Psychedelic Furs.)
No Age
Weirdo Rippers
2007 | Fatcat Records
If you were in L.A. recently and missed one of No Age performances,
that's too bad- they're really good. However, they've just put out Weirdo Rippers,
which is pretty close to what they sound like live. No Age do not
completely settle on one style here. The songs picked off of the five
EPs (all vinyl releases, all different labels) from this past year
dabble in lush, hypnotic static, in indie pop melody and in garage
beats. They are a fine product out of Los Angeles.
Weirdo Rippers starts out with shimmery static guitar on "Every Artist Needs a
Tragedy" and turns the listener on their head as they cut in with
fuzzed out vocals and thumping drums in a definable rhythm. The next
track "Boy Void" is an example of their punk/garage beats that get your
heart racing, but then just as quickly they ease you back down into "I
Wanna Sleep". This up and down plummeting of tempos in songs feels
exact, like they know what you need next.
I hate that people
will pass off No Age as "noise", when really, many of the songs have
that swirling, melodic style ("Neck Escaper") found in more
"shoe-gazer" type bands (or even bands like Spaceman 3). They do get
loud though; hitting frenetic beats so wild you wonder if hearts will
explode- like in the back to back punch of "My Life's Alright Without
You" and "Everybody's Down". That's also their appeal; they do both so
well it seems effortless listening to them. What I also admire is how
well they emulate their sound both on record and live. I always have
high esteem for those bands who can do this, because I've found that
there are those well-weathered bands out there can't always compete
with their recorded sounds. So, again I have the dilemma of trying to
pick a few songs to listen to- let me just recommend you listen to the
whole album.
-Elana Rintala
(Looking for something similar? Try these bands: Japanther, Spaceman 3, and Deerhunter.)
Minus the Bear
Planet of Ice
2007 | Suicide Squeeze
"Math
Rock" always makes me think that I shouldn't be listening to it because
I'm not really good at math. However, I am wrapping my head around
Minus the Bear's 3rd full length album Planet of Ice just fine.
Minus
the Bear make laid back indie rock, even more so on this newest
release. There is something soothing in the vocals and the way that
even while rocking out, which they like to do, the music never feels
harsh. Guitars and other instruments present have this muted quality to
them. The repetitious nature of many of the songs (a la prog rock)
actual plays on many variations and subtleties that may not make
themselves present on first listen. Songs like "Dr. L'Ling" are
layered, fitting in soft electric keyboards between the twirling
guitars. However, if you are not prepared for these building layers, or
your attention span stops around the 2 minute 30 mark, then this may
not be for you. Other songs like "Double Vision Quest" feel true to the
angular, jarring stops and starts found in Math rock bands. The song,
in just over four and a half minutes takes the listener on several
musical rides; slow starts and sudden fast breakdowns and all being led
with the honey vocals of Jake Snider. Think Yes' album Fragile,
odd? No, not really, with similar tempo changes and that softening of
sound both bands share several similarities from on these albums.
Overall
the album meshes well together, even with the angular structures.
Although sometimes the songs blend so well that I can't always
distinguish between them. But when they hit their good riffs, they
really come together. I'd recommend "Knights", "Dr. L'Ling" and "Lotus".
-Elana Rintala
(Looking for something similar? Try these bands: Yes, The Fucking Champs, and Pedro the Lion.)
Architecture in Helsinki
Places Like This
2007 | Polyvinyl
Sometimes you just want something fun to listen to; Architecture in
Helsinki know how to do that. On their 3rd full length release Places Like This,
the Australian 6 piece knock out ten not so typical dance songs that
utilize pop, Calypso, indie rock, and anything they think will get you
to move as frenzied as they do.
The name of the band is somewhat
deceiving (I have to remind myself Australia, not Finland). Especially
since the electro-funk beats and kiddie girl/boy singing make me feel
like I'm listening to some kind of Scandinavian house band, think Sigur
Ros on speed with steel drums. The lyrics at times are juvenile, almost
repetitive standards of electro-dance music ("Give it to me, baby give
it to me"), but AiH inject their songs with fun and an irreverence that
make them quite enjoyable. Although, sometimes I find that I don't know
how seriously I should be taking them because they can be so manic.
When male vocals start wailing out in a falsetto, like on "Debbie", or
when it drops on "Hold Music" and sounds like the DavidGedge from the
Wedding Present, it starts to feel almost too over the map. However,
the fluctuation in the musical instruments, or rather how many they
seem to be able to cram into a song (drums, horns, keys, vocals,
etc..), and make them all sound like they belong, is an accomplished
feat. What also stands out is that their music isn't your usual 10
minute dance song; they know when to cut it off, clipping the songs on
average around 3 minutes, give or take. Even in three minutes though
the pounding out of yelling vocals and beats can be a bit overwhelming,
especially for repeated solitarylistenings in a row. But, if you want a
crazy pick-me-up, they deliver. I'd recommend "Red Turned White", "Hold
Music", and "Lazy (lazy)".
-Elana Rintala
(Looking for something similar? Try these bands: Datarock, Chromeo, Of Montreal)
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