Arthur & Yu
In Camera
2007 | Hardly Art
I’m singing my praises this week for a slew of good new releases. In Camera,
the first release from Arthur & Yu, and also the first release off
Sub Pop’s Hardly Art label, was the bright beacon of a much anticipated
release. Upon hearing the track “Come to View (Song for Neil Young)”
several months ago, I had the sinking sensation in my stomach that I
would have to wait for the album to come out. Its smooth, folky
male/female vocals crackling with lo-fi goodness made for simply
beautiful music. And, unlike several advanced tracks from other bands,
when I finally got to hear the whole album, I was overjoyed that every
track was that good.
Not actually named Arthur and Yu, Grant
Olsen & Sonya Westcott (the original bassist for band Rogue Wave)
are either echoing each other or singing alongside each other
throughout all the tracks to produce this ethereal quality to their
songs. The style bounces around from folk to psychedelic to garage
tinged with some country, but it all ties together perfectly with the
vocals. It’s reminiscent at times of the Raveonettes, especially when
the music take on a distant, slight twang, like in “Flashing the Lobby
Lights” and “Black Bear”. The minimal structure to the songs produces
lovely happy songs without the bubblegum effect. Overall it’s an
excellent effort from this duo. If I had to pick a few to recommend,
try “Come to View (Song for Neil Young)”, “Afterglow” and “1000 Words”.
-Elana Rintala
Matt Pond PA
If You Want Blood
2007 | Altitude
Secretly, when I first saw the title to matt pond PA’s new EP If You Want Blood,
I was hoping that perhaps he decided on doing an AC/DC cover EP. But
no, instead he opted on doing light, pop-infused indie songs that he is
good at (although it would be possible to add a cello to “Let There Be
Rock” and have it turn out cool still, right?).
It’s an easy
listen, while being incredibly nonoffensive and yet retaining the
integrity of not sounding like I’ll hear it in the mall- at least not
yet. It’s full of earnest songwriting and at times tips to being a bit
too upbeat (If you live a love, live it like your last…I wish I could
prove everybody wrong, I wish I’d never lose anybody”). Actually, the
whole EP itself is a much more upbeat course than what I’ve heard from
them on prior releases. Style wise, it doesn’t exactly differentiate
itself as new or different, but it doesn’t make you go “blah” and find
something else to listen too. Hopefully their new full length release
in September will be able to combine the darker, earlier tunes with the
poppier style found on this EP for a well rounded sound. I’d recommend
listening to “Everything Until the East Coast Ends” for its low key,
haunting melody.
-Elana Rintala
Datarock
Datarock Datarock
2007 | Nettwerk
There is usually some space between European and U.S. releases, but two
years? Damn. Finally making its “official” debut here, Datarock’s
“Datarock Datarock” is appearing after a not so brief Van Winkle sleep.
“Bulldozer”
opens the album with a minimal drums and keys and vocals that mimics,
with real instruments, the synthesized songs that will follow. Although
very different stylistically than the rest of the album, the song is
one of my favorites for its ability to create a musical climax while
keeping a streamlined approach to its structure. From this point on the
album shines as its strobe light beats and mixture of chanting
choruses, David Byrne-like singing, and hoarse screaming all come
together to make me shout along to “Fa-Fa-Fa” in my car as several
small children in the vehicle next to me watch in amusement.
While
there is a slight cartoonish quality to some of the tracks, Datarock
actually makes that work in their favor. Sometimes so over the top, it
becomes clear they are making a caricature of themselves. But not
everything is a joke with them. “Laurie” uses the electronic elements
of the prior songs while incorporating layered guitars for a dreamy
track with just a touch of catchy sing along parts.
Disco new wave is by no means a new thing here, but Datarock make it enjoyable to listen, and yell along in your car, to.
-Elana Rintala
Get Him Eat Him
Arms Down
2007 | Absolutely Kosher
If Ted Leo and Phantom Planet had a child I think it would come out sounding like Get Him Eat Him’s Arms Down,
the second release from the Providence, RI based band. It’s a bit
disturbing how much lead singer Matt LeMay’s voice sounds like Leo’s,
but overall this band has a much more approachable pop infused style.
And in true pop music fashion, several songs barely hit the three
minute mark, but are still are able to get out the right message
without being clipped or sounding rushed for time. I feel that they do
tend to pull too much from their influences though, sounding a lot like
other bands as opposed to their own style. With that aside, Get Him Eat
Him are a fun listen to with sing along lyrics and sometimes erratic
tempos that make your head bob. And they have happy keyboards. I’d
recommend “Push and Pull”, “CBT” and “Patronage”.
-Elana Rintala
A Sunny Day in Glasgow
Scribble Mural Comic Journal
2007 | Notenuf
It’s been years since a record truly expanded upon the dizzy waves of sound that My Bloody Valentine’s Loveless created. A Sunny Day in Glasgow accomplish this effortlessly without
sounding derivative, false, or like some weak culmination of every
shoegaze-noise-pop band who merely attempt to “bring that sound back.”
The quartet simply builds a musical bridge that stretches MBV’s
romantically dense feel with a more “modern” approach; heavily
utilizing sequencers and microdots of overdriven guitar. Vocally, the
Cocteau Twins also play a huge role as the guide for these relentless
sheets of ethereal guitar that overlap then suddenly disappear. Combine
that with an approach closer to Dan Snaith’s amazing Caribou/Manitoba
albums, and even Lovesliescrushing’s dark instrumental pop, and you’ve
taken the first steps into a disorienting world.
The first half
of this album is mesmerizing and sometimes scattered, but makes
complete sense as a “whole listen” rather than trying to place a
logical format on the arrangement. Scribble Mural Comic Journal opens
with the blippy and ambient “Wake Up Pretty.” It comes off very smooth
and reassuring yet more “safe” than anything else on the record. Once
you hop down to “Our Change Into Rain Is No Change At All (Talkin’
‘bout Us)” the focus becomes more bold and eventful. This particular
song mashes choppy strides of guitar and glues them together with
charging drums. High-pitched guitars quickly blow-up into your face
sounding less like an instrument with each strum. “Ghost in the
Graveyard” and “5:15 Train” get heavier and pack more density as the
guitars come pouring down in volumes, imagine a hailstorm destroying a
tin roof. As the rhythm slices the ghostly vocal delivery becomes wider
and more angelic, this could easily be Enya behind the mic.
The
album continues to surprise and excite with the drug-induced pitch
bending on “Lists, Plans” and the mind-blowing “C’mon.” They’re easily
the most striking and fucked up songs on the album with guitars and
voices that sound like they’re melting under a heat lamp. The dueling
vocals of twin sisters Lauren and Robin Daniels shift from soaring
“oohs and ahhs” to background swells of shrieks that actually sound
like the ghosts they describe. “Things I Can Only See” leads the album
into straightforward pop territory, complete with a linear guitar
melody that tears a page from Medicine’s Buried Life. The
vocals also become more clear and recognizable on songs like “The Best
Summer Ever.” A space-like chorus eventually falls back on top of
weaving guitars and saturated vocals. Amazing.
I don’t want to
bum you out if you’re trying to start a band, but this is an example of
how music changes ideas, and in turn, changes the musical landscape. If
your purpose is to push an idea into sounding less like typical music
and more like an emotion or mood then this is one of the best handbooks
I’ve ever come across. Scribble Music Comic Journal is filled
with outstanding ideas warped into something that feels so odd and
difficult but will make sense for anyone who believes that making
records still holds limitless boundaries.
-Scott McDonald
Xu Xu Fang
These Days
2007 | Vacancy
After years of preparation and band-crafting, Bobby Tamkin unveils the first Xu Xu Fang release in several years with this new 12" single. "These Days" has been a myspace gem for what seems like ages, garnering consistent praise and anxious commentors patiently awaiting the band's every move. Tamkin, the band's mastermind, has spent time as a drummer in the Warlocks and a newer incarnation of Medicine. But his greatest strength comes in the form of master songwriter, multi-instrumentalist and a obvious knack for arrangement.
"These Days" slowly builds with layered guitars, a slow-motion rhythm and pristine slide guitar, all guided by a soothing voice that comes off like a passionate lullabye. As the song reveals itself the hooks appear vocally while guitar riffs wrap the song into tighter form. More and more changes reveal themselves as the song picks up into a heavier state of rock but never forces itself on you. The obvious feeling you're left with is that there's a lot of care and thought put into this band's songs and every instrument has a purpose.
The b-side, "Doom's Shadow," is darker and even more lucid, as the title suggests. It's not as strong as the title track but clearly makes the statement that this band is clearly more interested in creating pieces that are moody and timeless. Both clock in at over 8 minutes in length and feature several minutes of instrumentals that could be soundtracks to a dark murder mystery.
The arrangements never drone or hold back, yet it instills this sedative state from start to finish. For a band that never relies on effects or gimmicks to get their point across it becomes even more difficult to classify. Verve meets AIR? Maybe. Classic Rock? Kind of. Psychedelic? Yes. Accessible? Definitely.
-Scott McDonald
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