by Mike Mineo

For the average music fan, it would be easy to say Damon Albarn is cheating. His Gorillaz project has been one of the best-selling groups of the past decade for several reasons. While Gorillaz is certainly aided by a PR-friendly campaign of engrossing visuals courtesy of Jamie Hewlett, Albarn’s success is indebted largely to his inarguable talent as an alarmingly consistent songwriter and producer. As one of the most melodically gifted pop songwriters of the past several decades, his consistencies defy expectations for any songwriter prominent since the early ‘90s. For over twenty years, he has been producing stellar material, with each of his most popular projects – Blur and Gorillaz – becoming some of the most popular acts of their respective decades. Blur, in my opinion, was the best Brit-pop act of the ’90s. We see this now more clearly as groups like Oasis and Suede dissolved into nothingness, shortly prior to Albarn disbanding of Blur on amicable terms before they released even one flop. Albarn’s prevalent ambition has always suggested a discontent with treading in one stylistic spot too long, as even with Blur one can see obvious differences between the catchy pop of Parklife and more atmospheric-driven works on 13. That he would pursue a commercial-friendly blend of ominous pop and infectious trip-hop after Blur was not at all surprising, nor was the massive success of Gorillaz that followed.

Plastic Beach, to put it bluntly, is the most selfless album Albarn has ever done. Even looking at the tracklisting of Gorillaz’s third album can be daunting. The sixteen tracks, only four of which appear to have no collaborators, make it bear an initial resemblance to a hip-hop mixtape. After all, can anyone even envision Lou Reed, Mos Def, Snoop Dogg, and Bobby Womack working on the same album together? Perhaps this sounds odd, but like a quality mixtape Plastic Beach is bound to introduce listeners to new artists using a concept and artist they are already familiar with. From cult staples of classic-rock like Reed and Mark E. Smith to relevant staples of contemporary hip-hop culture like Snoop Dogg and Mos Def, Albarn is somehow able to pull off an experiment of epic proportions that finds amazing consistency in his ability to revel in other’s supplemental talents. Other more low-key collaborators, like Little Dragon and Hypnotic Brass Ensemble, are going to achieve substantial recognition on account of Albarn’s cleverness and, in some cases, actually prevail over the bigger names. Albarn writes and produces all the tracks here, using these collaborators as instruments of sorts to fulfill visions of stylistic defiance. By all accounts, Plastic Beach may end up being a timeless album for one specific reason: Albarn has taken timeless performers themselves, those that have developed a certain stylistic movement, and adjusts his songwriting formula for them specifically. This is the same type of songwriting that, after over twenty years, has proved timeless itself.

Stemming from this timeless quality is an album that is stunningly cohesive despite running nearly an hour. On 2005’s Demon Days, Gorillaz employed Danger Mouse to produce a more vivid form of their dark, brooding, but often infectious blend of pop trip-hop. The album was certainly a large success, but at times felt constrained to one technique of production that relied on Danger Mouse’s slight linearity. Despite having several other producers at hand, the final vision felt constricted and too uniform. This is corrected somewhat immediately on Plastic Beach, where “Orchestral Intro” clashes with ocean sounds and a climactic string accompaniment. Think Philip Glass meets Gustavo Santaolalla. Only a minute long, it merely sets up “Welcome to the World of Plastic Beach”, which is basically an extended introduction in itself. Even if its purpose is more atmospheric than hook-driven, hearing Snoop Dogg as the first voice on a Gorillaz album brought a grin and, later, a surprising sense of satisfaction. Albarn caters to Snoop’s signature calmness with slowly vibrating synth arpeggios and a cooing vocoder in the background. Hypnotic Brass Ensemble, which is also outstanding during the Mos Def-featured “Sweepstakes”, provides plenty of orchestral elements that give the song a fantastic sense of fluidity. Leave it to Albarn to make vocoders actually sound good (even if Snoop helps out). If there is a production technique with a bad reputation, then Albarn practically considers it a challenge to make it sound good. As usual, he succeeds here.

One of the album’s brightest moments is “Rhinestone Eyes”, a track that sounds like classic Gorillaz in its minimalistic, sample-led resemblance to efforts like “DARE” and “Clint Eastwood”. This is one of the few efforts with no collaborators, which is practical because even one may have diluted Albarn’s sole presence. This is an utterly infectious, nearly flawless work that stands alongside “Feel Good Inc.” as a readily accessible gem that capitalizes upon Gorillaz’s uniqueness. The Noodle-like audio sample during the chorus of shrill synths, the sample of a woman’s “oh!” during a serene escape from percussion and bass, and the main organ lead are a few examples of ingeniously concocted placements of hook-driven madness that reminds us why Albarn relishes in critical acclaim with each album. I cannot get enough of this song, and I doubt it will get sickening by the time radios are blasting it this summer. The only effort that comes close in downright infectiousness is “Pirate Jet”, a teaser of sorts that concludes the album. With a pulsating shrill of an organ directing itself over a kangaroo bounce sort of percussion, it is a somewhat apt way to close off the album considering Albarn’s next foray will be with the re-formed Blur. This is vintage Albarn pop, with few electronic modifications creating either an ominous or soothing atmosphere. In the vein of “Boys & Girls”, it drives home an insanely catchy melody and has no faults in presentation or demeanor, its lead melody carrying everything. Here, it basks in exuberance again. “Still connected to the moment it begun,” he sings, almost ironically in the sense that this is most certainly a throwback to his younger days as a songwriter.

“Superfast Jellyfish” is intended to be radio-friendly like “Stylo” and “Rhinestone Eyes”, but its lack of expansion makes more novelty than quality. De La Soul really does a great job of delivering verse-per-verse, but Gruff Rhys feels sort of wasted in his short cameo during the chorus. The melody here is way too simplistic and underwhelming in comparison to what is presented later, mainly because the last minute or so goes into an addictive array of escalating synths that tends to magnify the earlier . This section resembles the hurried music to Super Mario Bros. and it could not have been done better. Enough has been made of “Stylo” by now, as it is one of the strongest singles of 2010 thus far. It is the quintessential example of Albarn’s collaborative genius, which finds him juggling Bobby Womack’s soulful howl with Mos Def’s rhythmically inclined spurs to produce a riveting accomplishment. Its dark, synth-y vibe along with Womack’s trademark croon makes it sounds like an early ‘80s lovechild of disco, soul, and recently emerging synth-pop. The song gives nothing to complain about, and continues an amazing stretch of songs that begins at “Rhinestone Eyes”. Among these is “Some Kind of Monster”, a head-scratching sort of track that makes you ask how Albarn made electro-pop and Lou Reed mix cohesively. I have to say, one of the most rewarding moments on the album is when Reed plays along with Albarn during the song’s latter two choruses. It is effective because it surprisingly works, but mainly because it is impossible to resist Reed when he stutters “some kind of nature, some kind of soul” at the song’s final moments. His accompaniment is not just novelty either… listening to this song, his parts seems absolutely essential to its success.

One of the unexpected stars on an album full of them is Sweden’s Little Dragon. They appear on two tracks, “Empire Ants” and “To Binge”, which both serve as accomplished standouts. Vocalist Yukimi Nagano is utterly consuming with an obvious background in jazz, experience that works incredibly well for musicians in the vein of Albarn or Matthew Herbert that employ rhythmically-based electronic-pop. “To Binge” sounds like a tropical treat with its high-pitched keys and soft cooing vocals, the style retaining a psychedelia influnece with flourishes of reverbed guitar and vocals. The duet here between Albarn and Nagano is quite nice too, as her beautiful voice interweaves well with Albarn’s distinctive voice. “Empire Ants” is already a fan favorite for good reason. It generally exists in two parts: one where we find Albarn singing softly over a beautiful accompaniment of acoustic guitars and pianos, the other where Nagano takes control of pulse-charging synths that resemble material on Röyksopp’s Junior. Both sections are outstanding and the transition from one into another is seamless. “Cloud of Unknowning” is also a nice addition for its subtle beauty; when the woodwinds and strings finally converge, Womack is going to send chills up your spine just like he did in 1972 when he released “Across 110th Street”. I stand by this: Damon Albarn seems nearly equivalent to Quentin Tarantino when it comes to unexpected revivals. It also helps that neither of their résumés show a decrease in quality, giving artists like Reed and Womack comfort in knowing their legacies are in good hands.

Another recommendation is “Sweepstakes”, an overlooked gem featuring Mos Def that packs the build-up that most hip-hop tracks envy. I dare you to sit still once the brass kicks in. It is not a downright accessible effort like the extremely conventional but very pleasant “Melancholy Hill”, but as Mos Def eases the listener into his area of rhythmic comfort there is nothing that can deny the energy of his delivery when the Hypnotic Brass Ensemble provide their irresistible orchestral additions. The only two tracks I take issue with on the entire album are “Broken” and “White Flag” not American flag, both of which stumble out of the gate and never pick up the pace. If both of these tracks were omitted then the album would approach a rare instance of cumulative perfection. Spotty decisions and forced stylistic fixtures are faulty components of these two efforts, but the rest of Plastic Beach is just the opposite. From Little Dragon’s melodic synth-pop efforts to the wonderfully spontaneous additions of Mos Def and Lou Reed, this is one of the few collaborative albums that actually works. Easily one of the best albums of 2010, Plastic Beach is also one of the grandest musical accomplishments of the past decade. While most albums reliant on collaboration are commercial flops intending to cash in on popular names, this is an album where enjoyment will come in both the amazing quality of the songs and the talent that perfectly encompasses them. Rarely is an artist like Albarn willing to become so selfless to the point where listeners are finding other artists by listening to his music. When you have songs as great as those on Plastic Beach, I suppose there is nothing to lose.

9.5/10.0

RIYL: Blur, The Good, The Bad & The Queen, Daft Punk, Team Sleep, Radiohead, The Chemical Brothers, Soulwax, Massive Attack, Death in Vegas, Ratatat, The Prodigy, Röyksopp, Moby, Björk, MGMT, Cibo Matto, Goldfrapp

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Gorillaz – Rhinestone Eyes

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Gorillaz – Empire Ants (featuring Little Dragon)

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Gorillaz – Some Kind of Nature (featuring Lou Reed)

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The post Gorillaz – Plastic Beach (2010) appeared first on Obscure Sound: Indie Music Blog.

Calling a song “I Wish I Was in Hüsker Dü” seems pretty customary for a high school band. Maybe not today, but we can be sure that high school in the mid-‘80s consisted of many kids that would give up their newest cassette player to be in Hüsker Dü, R.E.M., or any other successful alternative-rock group of the era. Music-related dreams like these inhabit the minds of many artistically inclined high school students, as the end of high school generally marks a point where they must decide whether pursuing music full-time is realistic or not. I do not refer to respectable but somewhat conventional tasks like working as a session musician, music teacher, or music journalist, but instead that dream of rock ‘n’ roll stardom that has predominantly existed since the ‘60s among youths exposed to media. Nowadays, this sentiment seems to be replaced by a desire to scream voraciously and wear tight jeans, but that is a whole different story in itself. That Let’s Wrestle would name one of their early songs “I Wish I Was in Hüsker Dü” suggests an immediate influence, not so much directly in regard to Hüsker Dü but rather the era they resided in. Picture a surprisingly effective high school band in the 1980s and you will likely have something that sounds like Let’s Wrestle, a London-based trio that invokes nostalgia and a DIY ideology without lacking in stylistic originality or captivating songwriting.

Listen to Let’s Wrestle for about one minute. Which adjectives would you use to describe it? I imagine that a handful of critics with a nearing deadline would use words like “sloppy” or “awkward”, which is perfectly acceptable if you are a listener that judges a song by its first minute or so. Those with patience, though, will be rewarded unexpectedly and quite memorably. What is so enjoyably unique about Let’s Wrestle is how they exploit this sound of throwback ‘80s garage-rock, surprising listeners with an outstanding flurry of hooks after either opening up clumsily or showing little attempt at innovation. This always turns out to be highly intentional though, as the intricate components of the tracks are exposed after several studious listens. Much like their ‘80s alt-rock influences, Let’s Wrestle deliver a very raw sound that triumphs over its non-polish with solid songwriting, passionate performances, and clever hooks. Being in a high school garage band in the ‘80s was hardly a unique or innovative thing to do, but Let’s Wrestle’s implementation of alt-rock, post-punk, and psychedelia make such a scenario appear desirable because it reminds us of the days when a song did not need over-production and star power to get airtime on a prominent radio station.

Like any band indebted to the engaging force of ‘80s alternative-rock, Let’s Wrestle do have lyrical substance under their addictively concise melodies and the deep, nearly slurring vocals of Wesley Patrick Gonzalez. His vocals usually sound as if he is recovering from a very severe hangover, a very personable delivery that associates well with Let’s Wrestle’s grainy mixture of guitars, keys, and rhythm. Their music formula, Gonzalez’s vocals, and their lyrical content all result in something extremely relatable. In other words, they are the best modern group I have heard that can pass off sounding like a ‘80s garage-rock band. The relation to high school is distinctively reminiscent in their ardent depiction of a popular genre and the adolescent compatibility of their music For their youthful audience, it only makes sense that most of the lyrics on Let’s Wrestle’s full-length debut, In the Court of the Wrestling Let’s, involves everything from coping with lost loves to putting on the tea kettle. The latter is covered in “My Schedule”, a steadily trippy journey into a droll life inhabited by routine bouts with errands, forgetting to put the tea kettle on, and coping with lost love. “I wish that you’d call me but you don’t call at all,” Gonzalez says plainly, only to prepare the listener for the prevalent emotions that follow. When he beckons for the object of his affection to call him, Gonzalez’s voice strains and he begins to choke up. The emotion presented here seems genuine, and under the hazy reverberations of organs and whirring guitars it is an extraordinary moment that summarizes Let’s Wrestle’s explosive potential.

The serene woo-ing of the backing vocals in “My Schedule” are sure to send chills up most spines, displaying a side of Let’s Wrestle that is slower in tempo and more gradual in approach than most of the material presented on their 2008 EP, In Loving Memory Of. “My Arms Don’t Bend That Way, Damn It!” and “Tanks” show their post-punk leanings more, resulting in bustling rhythm sections and hooks . Check out the excellent bass line in the excellently paced “Tanks”, an excellent track that blends late ‘70s post-punk with modern art-rock. It sounds as if The Jam and Arctic Monkeys were somehow fused together, complete with Bruce Foxton’s irresistible bass lines and Alex Turner’s straining vocals. Gonzalez’s tone is deeper than Turner’s and most other artists in the genre, so it creates some pretty spectacularly unique moments like on the minimalistic “Diana’s Hair”, where Gonzalez seems to recall vintage Brit-pop with marching band percussion, a patriotically anthemic chorus, and an effective vocal delivery that uses his British accent to its full capacity. The melody here is delightfully bouncy, appearing as something Jarvis Cocker or Damon Albarn might have done during the late ’90s. And although shades of Brit-pop, post-punk, and art-rock appear throughout the album in sporadic doses, In the Court of the Wrestling Let’s is predominantly an ode to the diversity that quality ‘80s alternative-rock exhibited. And because of that, with their original hooks and stylistic variations, Let’s Wrestle’s full-length debut proves to be an eclectic release that finds a rookie band in the rare position of being fully confident and prepared for their stylistic direction, whichever way that might be.

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Let’s Wrestle – My Schedule

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Let’s Wrestle – Tanks

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Let’s Wrestle – Diana’s Hair

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The post Let’s Wrestle the Past appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

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40. Kristoffer Ragnstam – Wrong Side of the Room

We all knew that it was only a matter of time before a Swedish pop artist made this list, and I will also admit that Kristoffer Ragnstam will not be the last before this year’s best-of concludes. I first took notice of Ragnstam when he released a great single in “Breakfast by the Mattress”, a sly effort that saw his practical use of fast-paced indie-pop flourish with irresistible melodies and gleeful hooks. Accessibly enjoyable melodies and hooks in Swedish indie-pop? Who would have known? Well, Ragnstam’s second album, Wrong Side of the Room, provides a wildly accessible look at some of the catchiest pop music to derive from the musically incessant country of Sweden in 2008. “Swing That Tambourine” is a gleeful sing-along that finds Ragnstam reciting the track’s title during a chorus filled with anthemic guitar lines and vocal outbursts, with the latter being a trademark of Ragnstam’s crisply invigorating delivery. “Happy Mistakes” may be the album’s most impressive effort with the stark contrast between the verse and chorus; the verse stems off of keys and guitars that gradually increase in force, while the chorus delivers a suave and seductively brisk accompaniment that sees keys and wind instruments collide for a compellingly memorable conclusion. The final minute or so sounds somewhat like a ‘70s spy flick, which is just one of the reasons why Ragnstam’s simplistically effective pop music remains so memorable. Other tracks like “Sorry for Being the Man of 1000 Questions” showcase his occasional synth-rock premise, while “2008” finds a seamless transition between acoustic and electric accompaniments that eventually finds catchy progression of high-pitched keys concluding each chorus. While his songs may be too simplistically orchestrated for those seeking avant-garde pop music, there are few albums this year that are as instantaneously infectious as Wrong Side of the Room.

Kristoffer Ragnstam – Happy Mistakes

Kristoffer Ragnstam – Sorry for Being the Man of 1000 Questions

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39. The Bug – London Zoo

He has recorded under six main projects and released over one dozen full-length albums in the past decade, but Kevin Martin still remains an elusive figure despite his undeniable contribution to the recently invigorated genre of dubstep. In the process, Martin’s variety of projects have allowed him to explore other genres like jazzcore and industrial hip-hop to an investigative extent, providing him with experience that most electronic artists foolishly dismiss as being stylistically irrelevant. Ever since his debut release, Techno Animal’s Ghosts in 1991, Martin has been building this type of experience gradually but productively, as this year’s release of The Bug’s London Zoo has proven. It is saying quite a bit that London Zoo is his most eclectic release yet, as Martin has never shown a reluctance to tread in stylistic territories that would be deemed abnormally progressive for artists who primarily specialize in dubstep and other forms of electronica led by bass and samplers. What London Zoo does so brilliantly is capitalize on Martin’s experience as a songwriter and his skills as a producer, resulting in something that sprinkles industrial hip-hop, dancehall, and grime into his mastered interpretation of dubstep. To add variety, he enlisted a different vocal performer on each track, basing his choices on the overall mood and pace of the track. It is an excellent collaborative method that makes the album even more redeeming. For example, Martin makes excellent use of Killa P’s sonorous delivery and his prevalent reggae-based influence to capitalize on the ominous, bass-led fury of “Skeng”, while Tippa Irie’s irate delivery makes for several discordantly appropriate political statements during the percussive stampede of “Angry”. Upon first listen, the tone of some tracks may sound irritated and disoriented, but with each successive play the listener will begin to realize the album’s success in delivering something that is both infectious and emotionally responsive. This in addition to Martin’s stellar production makes The Bug one of the finest electronic releases of the year.

The Bug – Angry (feat. Tippa Irie)

The Bug – Murder We (feat. Ricky Ranking)

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38. The Ruby Suns – Sea Lion

With the Internet now allowing anyone to access music from virtually any country they please, it has become a common practice for artists to integrate worldly influences into their initial sound. This high level of accessibility has made it convenient for some to expand their linear cultural perspective, but I would imagine that many would argue that a true cultural experience is accurately related to traveling to a country and experiencing it first-hand yourself. I imagine that Ryan McPhun, frontman for The Ruby Suns, would agree with this ideology quite well. A native of California, McPhun always had an interest in different cultures and countries, showing just that by moving to New Zealand in 2004 and forming The Ruby Suns while he was there. Prior to this move though, McPhun traveled around Africa and Thailand to quench his thirst for cultural exploration. A music fan all his life, he also took with him a different musical perspective after being personally exposed to the different types of art in each of the countries he visited. McPhun released The Ruby Suns’ self-titled debut in 2006 to some notice, though to an extent that was incomparable to their second album, Sea Lion. This 2008 release saw McPhun reach into his worldly repertoire and pull out a collection of songs that were both strikingly original and culturally influenced. Gems like “Oh, Mojave” and “Tane Mahuta” borrow trademarks of Latin folk to integrate into the group’s psychedelic-pop leanings brilliantly. “Tane Mahuta” is even sung in M?ori, an Eastern Polynesian dialect that is one of the official languages of New Zealand. For the tracks that sound a little more like home, “There Are Birds” is one of the standouts that are led by psychedelic-pop with a warmly reverberating mixture of keys and fuzzy guitars over McPhee’s tranquil vocal harmonies. With tracks that are both culturally resounding and melodically appealing, Sea Lion is a uniquely successful album with one the most ambitious scopes you are likely to find for an indie-pop group.

The Ruby Suns – Oh, Mojave

The Ruby Suns – There Are Birds

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37. Love Is All – A Hundred Things Keep Me Up at Night

Love Is All’s contagious formula of punk-tinged guitar progressions, devilishly triumphant uses of brass, and intricately bustling rhythm sections was so ingeniously engineered on their debut, Nine Times That Same Song, that it would be a crime to call the result even slightly derived; it simply did not fit in with either stereotypical Swedish indie-rock or western derivatives of punk music. Instead, the Swedish five-piece crafted a sound of their own that proved as successful as the plethora of hooks in their songs. As a result, you can probably imagine how gruesome it was for fans to wait three years for a follow-up. However, when A Hundred Things Keep Me Up at Night was finally released, most listeners were satisfied to hear that Love Is All did not change their stylistic make-up at all. Josephine Olausson maintains the same mixture of gleeful yelps and fastidiously passionate displays of emotion and the rest of the group engineers a countless number of hooks over their hectically melodic display of guitars, bass, keys, and brass. One of the album’s clear highlights is “A More Uncertain Future”. Olausson begins the track in a subdued manner when compared to the other brisker tracks, backed nearly exclusively by an expanding rhythm section as the slight overtone of an electric guitar gradually takes over prior to the emergence of keys. Olausson and Nicholaus Sparding both sing quite equally on the track, with the format being representative of a crumbling relationship as each vocalist relays the perspective of each significant other. Just like on “Felt Tip”, Sparding eventually takes over as vocalist to complement Olausson’s previous sentiments, only this time he takes on a larger role as he emerges after each verse. In a more excitable vein, the rush of guitars and heavy bass on “Movie Romance” reminisces their punk leanings to a larger extent with an explosive chorus in which Olausson and Sparding turn up their harmonizing abilities once again. “Last Choice” and “Wishing Well” feature choruses with a large emphasis on twinkling keys, and verses that see little more than a steady bass line and Olausson’s fervent vocals overlap for an effect that many fans of Nine Times That Same Song should find familiarly invigorating. For old fans of Love Is All and new ones alike, A Hundred Things Keep Me Up at Night is a surefire success.

Love Is All – A More Uncertain Future

Love Is All – Movie Romance

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36. Bryan Scary & The Shredding Tears – Flight of the Knife

I remember finding myself in a state of regret when I discovered Bryan Scary & The Shredding Tears’ debut early last year. With its portrayal of infectious ‘60s pop clashing fluidly with thematically invigorating forms of contemporary indie-rock, the quality exhibited would have likely stuck it in the top 20 of my “Best Albums of 2006” had I found it a few months earlier. That being said, my inattentiveness was not at hand for this year’s inclusion of their second album, Flight of the Knife. This effort finds the Brooklyn-based songwriter continue upon his emphasis on ’60s pop, though this time around his backing live band, The Shredding Tears, make their studio debut in fantastic form; their addition to Scary’s immense level of creativity expands his scope of ambition even more. It allows Scary to provide more variation in both songwriting and instrumentation, with the obstacle of playing every single instrument an album to sheer perfection now being diminished substantially. His focus here is clearly on the songwriting, an aspect of the album that proves utterly outstanding. His style remains as an operatic version of ’60s pop, providing for a very interesting twist on nostalgic pop music. Still though, Scary manages to not be overly pretentious in his interpretation of throwback pop, providing contemporary indie-rock snippets like the catchy “Imitation of the Sky” in addition to nostalgic pop gems like both versions of “Flight of the Knife” and the contagious key-led intricacies of “Venus Ambassador”. Like their debut, Bryan Scary & The Shredding Tears’ Flight of the Knife serves as one of the most ambitiously impressive and downright infectious albums of the year.

Bryan Scary & The Shredding Tears – Flight of the Knife (Part Two)

Bryan Scary & The Shredding Tears – Venus Ambassador

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35. Kanye West – 808s & Heartbreak

Up until the release of 808s & Heartbreak, it seemed like the only thing that was not controversial about Kanye West was the style of music he was pursuing on his first three albums. His singularly unique style of hip-hop, often with sharp production and soul-tinged samples, was something that seemingly everyone could get on board with. With a nice collection of Grammys, chart-topping albums and singles, and universal recognition as one of the most prominent producers in the world, West had no reason to alter his stylistic direction to achieve some sort of higher monetary success. His first three albums, all generally similar in style, were critically acclaimed for good reason, so the reason to pursue something completely new on 808s & Heartbreak must have been rooted entirely in some sort of emotional transition, right? After separating from his fiancée and coping with his mother’s death, a return to the jovial, radio-friendly appeal of a track like “Champion” did not appear to be in the near future. Instead, West chose to explore his fascination with electronica and synth-pop. As the first part of the album’s title indicates, automated electronic percussion is a standard throughout the album, along with the controversial use of Auto-Tune. The effect sometimes appears distracting, like in the Lil’ Wayne-guested “See You in My Nightmares”, but other efforts like “Paranoid” and “Heartless” see how it can be implemented successfully in both fast-paced hip-hop and somber soul music. Though the newer version of “Robocop” has been classified as being inferior to the original version, it is hard to deny the power of the chorus’ hook in which twinkling keys and strings overlap over a vocal melody that appears as West’s most upbeat on the entire album. “Paranoid”, on the other hand, sees synth-pop and hip-hop collide for something that may be one of the most impressive tracks West has released in his already storied career. While the new stylistic direction of 808s & Heartbreak may turn off some fans, West’s approach often proves immensely successful for anyone with an open state of mind.

Kanye West – Paranoid

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34. Amadou & Mariam – Welcome to Mali

Ever since they met in 1975 at Mali’s Institute for the Young Blind, Mariam Doumbia and Amadou Bagayoko have been inseparable. After they were married in 1980, Bagayoko made the transition from an aspiring solo artist to performing in a duo with a collaborative partner. Who was the other musician? Well, none other than his new wife, Mariam, of course. Since then, the duo has become one of the most respected performers from Mali and later Western Africa as a whole. They have been one of the acts that are prominently influential in the exposition of world music to young listeners, making it both accessible and fascinatingly cultural in the process. Their style in the ’80s was stark in its featuring of little more than a guitar and vocals, but their breakthrough period in the late ’90s saw them turn their focus to a more rock-oriented sound that was still heavily backed by influences pertaining to the traditional music of Mali. Their mixture of western rock with traditional Mali music has seen the duo play with anything from funk to electronica, with all of their albums in the past decades receiving critical acclaim all throughout the world. Their newest album, Welcome to Mali, is just as its title indicates: an extremely accessible journey into musical influences typical of Mali culture. The accessibility stems with how seamlessly Amadou & Mariam are able integrate western and African sounds, perhaps best shown in the Damon Albarn-produced “Sabali”. Properly acting as the album’s debuting single, “Sabali” incorporates Mariam’s distinctively edifying vocals over a synth-led beat. For someone who has cut so many out of Gorillaz, Albarn’s incorporated brilliance is not a surprise. A simplistic synth line is the tracks’ heartbeat throughout the entire duration, gradually backed by a whirling array of glittering synths that grows in prominence as the duo’s vocals increase in audibility. Along with other more culturally resounding gems like “Ce N’est Pas Bon” and “Djama”, “Sabali” heads a very impressive album.

Amadou & Mariam – Sabali

[audio:http://mineorecords.com/mp3/amamar-sab.mp3]

Amadou & Mariam – Djama

[audio:http://mineorecords.com/mp3/amamar-dja.mp3]

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33. School of Language – Sea to Shore

Though there are a few exceptions, there are admittedly not many solo artists who have matched or exceeded the quality exhibited in the main project from which they initially found recognition off of. After all, it is usually done after either the aforementioned main project breaks up or loses all credibility. Peter Brewis’ decision to go ahead and form his solo project, School of Language, was not because of either reason, as the band’s most recent release, Tones of Town, is one of their best and they are still together (though currently “on break” to try their hand at some other projects, like Brewis and his brother, Peter, have been doing). As one of the three members in Field Music, Brewis has proven to be a vital contributor toward the brand’s engaging sound, with his vocal and multi-instrumental work being highly impressive. Enjoyably enough, School of Language’s debut, Sea from Shore, does not stray too far stylistically from the shimmering pop flair of Field Music. Like his previous work with the band, Brewis produces admirable nods to pop greats in the vein of XTC and Brian Wilson, intertwining accessibility and melodic aptitude for an appeasing experience. The project’s differences are primarily on an instrumental emphasis, as Field Music’s Tones of Town held a similar form of instrumental dexterity but there was a larger abundance of keys and orchestral elements in the vein of strings and brass. Just because it is not a grandiose chamber-pop spectacle does not mean it suffers in any way though. In fact, the more personable nature presented on Sea from Shore allows Brewis to produce what a proficient solo project should sound like. While the emphasis on instrumentation may be marginalized in complexity, the melodies are as strong as ever. “Disappointment ‘99” remains to me as one of my favorite songs of the year. Brewis uses his form of vocal ingenuity brilliantly in the bridge, mimicking the quick chords of a high-pitched guitar with a shrill shriek. Surprisingly, that only serves as one of the song’s hooks, with the sole plucking of a guitar guiding a percussion-less form of Brit-pop during the chorus’ final moments (with vocals provided by Futurehead David Craig) also being aptly enjoyable.

School of Language – Disappointment ’99

School of Language – This Is No Fun

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32. Silver Jews – Lookout Mountain, Lookout Sea

Widely touted as one of the best lyricists of the indie-rock era, David Berman has grown to be one of the most venerable figures in rock music ever since his emergence in the early ’90s. Some of songs could appear eerily auto-biographical to any listener, while the contents of other tracks seem odd in a way that they could only exist in some atypical universe. A band whose lineup has changed constantly throughout its two decades in existence, the current lineup consists of nothing more than Berman and his wife, Cassie. Her most noteworthy presence on the Silver Jews’ excellent sixth album, Lookout Mountain, Lookout Sea, is on “Suffering Jukebox”, where she takes lead during the chorus. It provides for a remarkable transition between Berman’s deep and narrative vocals, as she is transitionally melodic over the expanding use of backing guitars. Berman delivers the lyrical meat with his somberly charged vocals and his wife delivers the melodic hook; it is a situation where fans of both lyrical and melodic content should find solace. As far as stylistic mongers go, country-rock has always been present in most material by Berman, and this track along with “We Could Be Looking for the Same Thing” is an enjoyable indication of just that. “My Pillow is the Threshold” may end up being a classic from Berman, as it echoes the sort of bleak desperation and hopelessness that Berman has delivered so effectively for the past 20 years. “Because the pillow that I dream on is the threshold of a kingdom,” he sings. “Is a threshold of a world where I’m with you.” Compared to his wife’s enjoyable presence on “Suffering Jukebox”, Berman exemplifies how he can take complete control of a song’s hook. His method is less melodic and more emotionally involved, with the slight quiver in his vocals creating the impression that Berman is indeed the victim of the anecdote at hand. The genuine tone of Berman’s voice, his poetic brilliance, and the raw power he is able to convey through a performance are aspects that have made Silver Jews such a brand name. On Lookout Mountain, Lookout Sea, listeners are simply convinced even more of his authenticity.

Silver Jews – My Pillow is the Threshold

Silver Jews – Suffering Jukebox

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31. Elbow – The Seldom Seen Kid

Bands that tend to improve with each release are a rare sight indeed. As bleak as it may sound, there are plenty of one-hit wonders and too few artists that withstand time and prove durable enough to learn from their own experience in a quest for incessant improvement. This is especially rare among contemporary artists, many of which appear too obsessed with monetary matters to stick with something that may not be initially successful. Finding initial success was never an issue for the British five-piece, Elbow, as they were nominated for the Mercury Music Prize with their debut album, Asleep in the Back, in 2001. What came next, though, could have been a devastating affair in seeing a group potentially chase the success of their first album embarrassingly, just like many other groups that foolishly believe that expanding upon an album or style is somehow detrimental to future success. Elbow made the wise choice though; they enhanced their sound to make it fuller, more exotic, and more intricate, with their songwriting and production also becoming more noteworthy with each successive release. Even more impressively, they chose to actually win the prize that they fell short of in 2001, releasing their fourth album, The Seldom Seen Kid, in 2008 and winning the esteemed Mercury Prize in the process. That they beat Radiohead’s In Rainbows and Burial’s Untrue was surprising to me, but I certainly felt that it was one of the best nominees and certainly well-deserved. Listening to the stunning “Grounds for Divorce” can attest to why such a choice was made, as I believe it to be one of the best songs of the year. With the backing harmonies invoking a sing-along effect of a very bluesy progression, the introduction to the song almost seems like a nod to Chicago blues and its integration of electric guitars and Delta blues. The chorus exists in an entirely different spectrum though, as it sees Elbow revert back to comfortable Brit-rock as Guy Garvey sings, “There’s a hole in my neighborhood, down which of late I cannot help but fall”. Other remarkable efforts include the progressive “The Bones of You” and the majestic “Mirrorball”, the latter of which features a haunting mixture of piano, strings, and acoustic guitars. Take the Mercury Prize’s word for it: The Seldom Seen Kid is one of the best albums of the year.

Elbow – Grounds for Divorce

Elbow – Mirrorball

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The post Best Albums of 2008: #40 to #31 appeared first on Obscure Sound: Indie Music Blog.

Side projects are an aspect of music that has gradually allowed artists to explore different scenarios, both in a stylistic and collaborative vein, without as much habituated pressure for decades. Considering that many successful ones are derived from a previous project that has already seen a considerable degree of success, the amount of hype often reduces due to the audience’s inability to confidently assume what it will sound like. Whether the side project proves to be a giant jump of ambition or simply in the mold stylistic continuance, the artist can revert to both a new sound and finalized mindset without the press bashing the final result as a result of jumping the shark. It allows the artists more flexibility, consequently resulting in something that may fare out even better than their original project. The list of successful side projects is quite sprawling, with names like Gorillaz, Broken Social Scene, and The Postal Service all coming to mind as a recent few that have seen a magnitude of success. While the members of the self-proclaimed “side project” Faded Paper Figures do not have the past accolades of a Damon Albarn or Ben Gibbard at hand for effortless exposure, the classification alone may have made the stylistic transition that much more seamless.

Like all those confident enough to classify a new expenditure as a side project, the three members of Faded Paper Figures have all had experience in other bands. Multi-instrumentalist Kael Alden also heads Robot Repair, a music studio and production company that serves as his day job. While there, he wrote a song that eventually ended up on a Lexus commercial. Considering that I do not watch much television at all and I have seen it several times, I imagine that it will be strangely familiar for many people (check it out here). As Kael states in his own YouTube comments, the full-length version of the untitled track “should be available for free download any day now”. But let us return the focus to his band, Faded Paper Figures. They also have material set to debut this week, an album by the name of Dynamo. Alongside Alden’s impressive multi-instrumental electronic chops, R. John Williams takes helm of vocals and guitars. Alden’s wife, Heather, rounds out the group in providing some excellent backing vocals, an aspect that is vital toward crafting several of the most accomplished moments on Dynamo. Featuring 12 tracks of devilishly clever electronic pop, Dynamo will be self-released through the band’s Shorthand Records in the U.S. and through Rallye Records when it hits the shores of Japan.

In the vein of any successful side project, Faded Paper Figures capitalizes on the most prevalent talents of each member involved. Williams’ vocals are soothingly appropriate when set to the backdrop of Kael Alden’s synthesized melodies, with Heather’s angelic backing vocals providing just the right amount of harmonic diversity. Kael’s electronic approach is eclectic, providing glimpses of arpeggiated progressions that are enjoyably supplemented by concisely effective percussive samples and riveting synth-bass lines. Williams’ gentle croon and acoustical accompaniments cause comparisons to The Postal Service and The Notwist to be ubiquitous, also sounding occasionally like Stars as well (if they had no access to strings). A similar electro-pop ideology is present though, with the expansive style allowing for plenty of uniquely memorable moments on Faded Paper Figures’ impressive debut. The release is striking from the get-go, with “North by North” serving as a richly enjoyable opener that illustrates each member’s unique capabilities to the fullest. Kael Alden’s electronic arrangements never prove overwhelming though, with the accessibility of “North by North” solidifying such a sentiment. The track and methodical approach remain highly infectious, with the trickles of higher-pitched synths during the chorus contrasting nicely with the emergence of Heather Alden’s caressing vocals. “You said a long long time ago, you were happy being someone,” she sings during the chorus as a tinge of brass incorporates itself into her husband’s swirling electronic arrangement. With a touch of evident desperate romanticism, “North by North” is a thoroughly pleasing track.

“Logos” is a track that sees Williams’ guitar usage appear considerably dominant, even if the progression is initially nothing more than a looped succession. The approach eventually works well though as the progression evolves into an expendable structural component that glides seamlessly over Alden’s accentuated synth and rhythmic arrangements, once again uplifted by a chorus that sees Williams and Heather Alden execute a fluttering duet. “Polaroid Solution” sees minimalist electronica accompanied by Alden’s trickling synth lines, with an increase in vocal intensity being initiated by a variation in instrumental intricacy. The futurist musings of “Metropolis” succeed similarly, employing a familiar technological focus over Alden’s topically appropriate musical approach. “Now information without flesh means your body’s just a drive,” both vocalists sing, “Loading up with life and death: the after-human has arrived.” The topic has been reiterated time and time again, but the trio of Faded Paper Figurines provide additional depth to technological rampancy with their infectious melodic engineering and wisely executed vocal harmonies. While it is one feat to create music for a successful commercial that has generated many views based on the music alone, Dynamo is a different type of accomplishment that shows all members of the California-based trio working with great precision to mold a sound that sounds neither generic nor repetitive. Side project or not, Faded Paper Figures’ debut is one not to miss.

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Faded Paper Figures – North by North

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Faded Paper Figures – Metropolis

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Faded Paper Figures – Logos

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I admit, I have not heard many successful bands with an unabbreviated name as long as this five-piece from Seattle. In fact, I was surprised to find that they fit their name on their album cover. Boasting a whole 12 syllables, Gary Reynolds and the Brides of Obscurity are out to prove that there are no lengthy limitations to success. With their name actually being the least important aspect of their overall makeup, frontman Gary Reynolds and his four talented henchmen are slowly but steadily making a name for themselves as one of the catchiest indie-rock acts to come out of the Pacific Northwest this year. Though their photos depict a group of older men who appear past the norm of a stereotypical “indie rocker” with dyed jeans and slick hairdos in their early 20s, the cumulative experience of the five band members causes their ideal artistic peak to be more in the present and future than it is in the past. Though the majority of members in Gary Reynolds and the Brides of Obscurity have been basking in a variety of musical acts throughout the past 15 years, their latest release under their current moniker is undoubtedly their best on several fronts.

Having your name preceding the title of your backing band often symbolizes a role of productive leadership and raw talent. Gary Reynolds is no exception. Though the Brides of Obscurity are faultless in their instrumental craft, Reynolds’ engaging songwriting remains the heart and soul of his promising act. He also provides for much of his material’s production process, as he engineered and produced the majority of his releases so far. It must help that he owns Electrokitty Studio, the site of Gary Reynolds and the Brides of Obscurity’s second full-length release, Santiago’s Vest. It is the follow-up to the band’s impressive 2005 debut, Instant Happiness; it was a widespread effort that drew pleasurable comparisons to John Lennon, Donovan, and other legendary British songwriters. In addition to providing lead vocals, guitar, and piano, Reynolds is joined by guitarist Don Durham, bassist Justin Friesen, organist Jeremy Manley, and drummer Perry Morgan. The group manages to execute a cohesive display of power-pop and Americana influences while constantly reminding us of their knack for irresistible hooks, often led by Reynolds’ vocals, guitar, or Wurlitzer. He has the voice of a storyteller, a deep and soulful croon that exhibits an ability to turn a chorus into a moment of absolute magnificence on vocal strength alone. Look no further than the powerful “Sleep” for a credible example; it is one of the best tracks on Santiago’s Vest that never seems to get tiring. Its dynamic chorus, fully supplemented by Reynolds’ vocals, is arguably the finest moment on the album.

Oddly enough, though Reynolds is based out of Washington, his vocals frequently remind me of several Brit-pop greats, particularly an accent-less Damon Albarn. Check out the rollicking sing-along, “Where We Go From Here”, or the harmonious Wall Eyed Girl”, a sympathetic guitar-led tale depicting the similarities between artistic and humane imperfections, for some justifiable comparisons. Though both stray in similar patterns, the repetition seems rewarding because of Reynolds’ sincere melodic recognition. The swift changes of key, particularly during “Where Do We Go From Here”, are often supplemented by a proficient guitar solo or percussive burst. It is there where the Brides of Obscurity shine, incorporating key-based instruments flawlessly with a variety of electric guitars and interlaced percussion. The overlapping approach contained in the varied instrumentation is echoed through the origination of the album’s name, Santiago’s Vest. “The concept is about ordinary things being held up like they have great worth,” Reynolds explained, relaying a story in which he used an intern’s (Santiago’s) leftover vest as a case for his trusty Wurlitzer. With guitars often being the domineering force in indie-rock and power-pop, Reynolds takes pride in using a variety of instruments that often go overlooked.

Though guitars and a steady rhythm section remain vital aspects throughout Santiago’s Vest, I have found the most uniquely beneficial instruments to be in the form of Reynolds’ Wurlitzer and and Manley’s organ. Both the infectious “Everybody’s Somewhere” and “Mrs. Lowe” are highly demonstrative of these instrumental qualities, both reaping in crafty key-oriented execution. “Everybody’s Somewhere” takes a minute or two to kick into full gear but, once it does, Reynolds’ vocals make an irresistible chorus soar. “Mrs. Lowe”, on the other hand, is just as enjoyable in its showmanship, this time showing slight shades of British psychedelia. Strains of organs and the progression of a Wurlitzer during the bridges and choruses make each song an absolute treat, much like Santiago’s Vest as a whole. In fact, the opening “Capital State” is nearly solely dominated by a Wurlitzer and acoustic guitar, being hauntingly enriching considering the lyrical content it tackles. “It looks like you’re flying at half mast,” Reynolds sings, detailing the struggle that many go through in their attempt for artistic singularity. Though the five men in Gary Reynolds and the Brides of Obscurity take nods from a variety of genres including psychedelia, Brit-pop, blues, and folk, their most readily apparent style is that of fun, hook-filled power-pop. Look for Santiago’s Vest when it hits the shelves in February. Mark it up as another great one for ’08.

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Gary Reynolds and the Brides of Obscurity – Sleep

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Gary Reynolds and the Brides of Obscurity – Everybody’s Somewhere

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Gary Reynolds and the Brides of Obscurity – Mrs. Lowe

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Imagine what it would be like growing up in the ’60s and ’70s as the offspring of a folk musician. With all kinds of people, from hippies to philosophers, gathering at various folk circuits and festivals, you would likely know more about the world at age 10 than a suburban-based individual would at age 25. This is a reality for three out of the four members in the Toronto-based Spiral Beach. Proudly calling themselves “folkie offspring”, they wear it on their sleeves proudly even if their music is hardly classifiable as folk. If anything, their eclectic mixture of electronica, dance, rock, and punk is a result of their years exposed to a variety of diverse musicians. The songwriting core of the four-piece revolves around brothers Daniel and Airick Woodhead, sons of folk songwriter David Woodhead. With their father known prominently around folk circles for his sought-after production skills, bass work, and compositions for films and commercials, it would not be entirely unrealistic to expect a lot from the sibling duo. With Airick taking guitar and occassional vocal duties combined with Daniel’s percussive skills, the group is rounded out by lead vocalist/keyboardist Madddy Wilde and bassist Dorian Thornton. Wilde just happens to be the daughter of Nancy White, the Canadian comedian and singer-songwriter known for her humorously satirical dealing with mostly politically-oriented topics. She was a radio favorite on CBC Radio One from 1976 to 1994.

Rarely can you get such a gratifying result from talking about the parents of band members. It can widely be attributed to the fact that, simply, the offspring of musicians hardly pan out. As they either get discouraged after seeing no initial success or fear that they will always remain in the shadow of their elder, it is rare to see a group like Spiral Beach where three of the members are successful musicians who have actually had accomplished musicians as parents. Alright, alright – enough about their parents. Let’s get down to what makes Spiral Beach so damn irresistible. If I were simple-minded I would easily say that it is may very well be because I have not heard a catchier Canadian band all year. I will elaborate a bit though. Spiral Beach consistently incorporates the use of outstanding keyboard melodics with pulsating synths, fastidious guitar progressions, and steady rhythm to create a sound that is never tireless or dull. Their structural diversity contained in each and every song remains an impressive aspect that most contemporary bands only strive to succeed in. While the majority of their songs are not even 3 minutes in length, each one is filled with enough enjoyable quirks and brilliantly executed hooks to accomplish the rare feat of involving both ingenuity and and stylistic diversity to create a sound that remains very impressionable from the first listen onwards.

Released this past Tuesday, Ball is the second album from Spiral Beach. Following their impressive but widely overlooked self-titled debut, this is appears destined to be the album that will thrust the band into the spotlight throughout Canada and elsewhere. After playing with popular acts like the Hidden Cameras and Sloan since their formation in February 2003, their fan following is getting larger by the day. The group formed at, where else, at a folk festival. “Weâ€ve been together with these four members the whole way so far,” the brothers express proudly in unison, “Thereâ€s a whole lot more we can do together.” Co-produced and engineered by The Hidden Cameras†cellist Mike Olsen, the majority of the material for Ball was recorded during the month of February in a barn outside of Hamilton. It surprised me when I read that the album was recorded live, as the songs are extremely organized and polished. This simply translates to the fact that Spiral Beach is, by all means, a very tight band. “It was like a document of what the band actually sounded like at that moment,” Daniel said as he recalled the recording process, “We just wanted to perfect the sound we already had.”

“Man Moon” beckons back to the days of quality Brit-pop. Actually, if I had to choose, the dark and neon-like tone of the song reminds me most of a more recent output in Damon Albarn and his Gorillaz project. With it being the only track on Ball where Wilde is not in full control of the vocals, it instead contains vocal collaboration between both her and Airick, resulting in an excitable track led by Danielâ€s boisterous guitar progressions and Wildeâ€s sensational keyboard-based melodies. “Red Shoes” rides the suave chill of a keyboard with lyrics that, while risqué, are fascinatingly brilliant. “If you go find a nickel, I can get you high,” Wilde sings over the sensual push of a concise rhythm section; it is remarkable in how much the tinge of psychedelia in this song reflects the lyrical output. An excellent track, regardless how you look at it. Either way, it is an exceptional song. With even quickies like “CLT” and the exotic “Two Black Eyes” making a lasting impression in less than a minute. With fast-paced gems like “Casual T” and the Mega Man-induced guitar riffs of “Made of Stone” clashing cohesively on the album with tracks of a more relaxed pace, the group manages to change tempos and initial stylistic representations with ease. “We Saw Ghosts” is just as the title implies – a haunting piece where Wildeâ€s vocals shine prominently over the whispering tone of keys, reverb, and distorted guitars. With such stunners, Ball is easily one of the more impressive albums of the year.

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Spiral Beach – Man Moon

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Spiral Beach – Red Shoes

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Spiral Beach – We Saw Ghosts

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Working in the shadows of a prominent music figure can have both its perks and disadvantages. While such an environment could provide for a bountiful amount of experience and visionary knowledge, it can also create unavoidable comparisons that are imminent to appear in the occasional case of a singular future career. Until her solo career took flight in 2003, Martina Topley-Bird was widely considered to be nothing more than a featured vocalist in the albums of legendary British trip-hop and electronica artist Tricky (Adrian Thaws). Though her roles were vital in albums like Tricky’s classic debut, Maxinquaye, and its unofficial follow-up, Nearly God, Topley-Bird was often overlooked by critics because of the other prominent names like Björk, Neneh Cherry, and Damon Albarn involved in Tricky’s circulating production process. However, Tricky understood the importance of Topley-Bird’s vocal effort and their romantic and musical relationship continued into the late ’90s. With Topley-Bird’s seductively entrancing vocals implemented in Tricky’s delicately layered methods of production, Tricky became known as one of the most successful British producers and trip-hop artists of the ’90s. After their relationship collapsed in 1998, Topley-Bird finally began her quest to create a singularly successful solo career for herself. For the following six years, she independently wrote dozens of songs for her upcoming solo album. When it was finally released in 2003, it was well worth the wait.

With Independiente Records seemingly well aware of Topley-Bird’s illustrious past work with Tricky, they signed her almost immediately after hearing her initial solo demos. When her debut, Quixotic, was released in July of 2003, the British press fell head over heels in love. With acclaiming reviews pouring in rapidly, she found herself nominated for the illustrious Mercury Music Prize in that same year; a rare and admirable feat considering it was Topley-Bird’s first album on her own. However, upon further inspection, it appeared that she was not working entirely independent after all. Though she was clearly the main force of Quixotic, both in terms of songwriting and melodic formation, she received some productive aid from her former collaborator, Tricky, on several tracks, signifying the fortunate continuation of a passionately successful musical relationship. While their relationship remains platonic, it was refreshing to see the two work together so productively again. Despite being an extremely solid album with glowing British reviews and a respectable Mercury nomination, Quixotic never really caught fire in the United States. It is a shame that music blogs were not more popular in ’03 — she would have been all over the place. Palm Pictures attempted to re-release Quixotic to an American audience in 2004 (re-titled as Anything) but sales remained minimal. Though it would be easy to blame the exclusion of three original tracks from the Anything version, perhaps American audiences were just not ready for Topley-Bird’s sound. However, with her new sophomore follow-up, I think this one is going to be impossible to miss.

Seeing that Topley-Bird’s newest release is scheduled to be put out early next year, The Blue God is the first album from 2008 that I have listened to. Though the upcoming year remains a few months away, The Blue God is sure setting the bar pretty damn high. This is the type of album that not only relies on flawless vocal power and melodic ability, but also the atmosphere that Topley-Bird is able to construct using her wildly emotive vocals in a variety of instrumental circumstances. Whether it be in the subtle hooks found within the minimalist electronica composition of the exceptional opening “Phoenix” or the brooding take on heavily reverbed ’60s soul in “Valentine”, Topley-Bird is confident and nearly impeccable in every musical aspect she is presented with. The stylistic diversity on The Blue God is absolutely astounding; a rare achievement that only a few albums per year are able to accomplish. We have heard contemporary artists like Grizzly Bear and Beach House succeed in similar throwback styles to “Valentine”, but Topley-Bird’s vocals provide for a unique experience that is both immaculately delivered and stylistically indefatigable, all while avoiding weighty overbearing tendencies. Even the simple piano-led pop songs like “Carnies”, “Baby Blue”, and the cutesy “Da Da Da Da” are pulled off with a distinctive goal in mind. Topley-Bird allows The Blue God to feel like a co. Despite the album being stylistically all over the place, her melodic grasp

To keep it somewhat concise, Topley-Bird’s instrumental arsenal on The Blue God typically consists of subdued keys and synths, electric guitars, brooding strings, and electronic percussion. While such an ambitious approach would usually serve to provide many precautions for the average listener, famed American producer Danger Mouse does an expectedly excellent job in juggling Topley-Bird’s industrious vision and presenting it in a form that is neither intimidating or overly involved. “Shangri La” is a fine example of this, presenting a song that is catchy, atmospheric, and vibrantly powerful through its flawless involvement of acoustics, strings, and eerily presented keys. Though it obviously has no other albums to compete with as of yet, I sincerely believe that The Blue God is going to be exposed as one of the best releases of 2008. I do not consider myself to be jumping the gun — The Blue God is just that impressive. Martina Topley-Bird is a singular talent that has finally broken free of collaborative comparisons, finding her own stylistic self in an album that exceeds even the harshest of expectations.

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Martina Topley-Bird – Shangri La

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Martina Topley-Bird – Carnies

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Martina Topley-Bird – Valentine

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The download links for “Carnies” and “Valentine” were removed upon request of the artist.

Where do you go when you want to find a listing of music instrument lessons in your area?  What about Piano Lessons?  If you love art and music, you can find the nearest lessons near you via the internet.  You can even learn how to play the guitar through Guitar Lessons!  No matter where you are, the internet is the best locator for all of your art and music needs!

The post The First Great Album of ’08: Martina Topley-Bird’s “The Blue God” appeared first on Obscure Sound: Indie Music Blog.

At first glance, I assumed that Scouting For Girls was a well-placed pun in regard to the Girl Scouts. It would have been quite clever — arranging the few words of an organization that preaches mature growth, responsibility, and dedication into a type of unparalleled sport that most single (and immorally married) men casually enjoy, though “scouting for” usually inherits a verbal substitution that appears much more subtle, with phrases such as “looking for a romantic companion” or “searching for my other half” usually said instead to friends or family members of a more judgmental nature who think aloud when wondering what your Friday nights consist of. But of course, the trio from London is more mature than that. The Girl Scouts are an organization that is much too feeble to pick on. Instead, Scouting For Girls’ name is in referral to the book of the same name by Robert Baden-Powell, published in 1908. Though Baden-Powell went on to become the founder of the Boy Scouts, Scouting For Girls saw the book as the proper symbol for their project. “The name Scouting for Girls is both a cheeky pun and a beautifully rounded image,” the band writes on their MySpace. “[It is] infused with the nostalgia of innocent childhood and boyish adventure, yet suggestive of maturation towards experience, adulthood and disillusionment.”

Formed in 2005, the three members of Scouting For Girls go by the cordial names of Roy Stride, Greg Churchouse, and Peter Ellard. The “lifelong friends” all lend in a hand in regard to the vocals as Roy plays the piano, Greg plucks the bass, and Peter drums steadily. While the use of guitar is certainly not lacking in the production of their songs, I am not sure who takes control of the instrument. Regardless, like most bands that appear to have a radio-friendly approach, the focal point of Scouting For Girls appears to be their developed melodies, often catchy enough to earn most of their songs the right and opportunity to be heralded as one of the catchiest songs of the summer. If Scouting For Girls becomes one of the biggest bands in the UK by the end of the year, I would hardly be surprised. Yes, that’s right. It is more than likely that Scouting For Girls will eventually outgrow the “undiscovered” aspect of this blog, as they express a form of musical intellect that will allow for both veneration in relation to their musicianship and stylistically broad preference. They manage to blend elements of 90s Brit-pop and contemporary British indie-rock without sounding outdated or cliché. Roy’s utilization of keys reminds me heavily of Blur’s reigning heyday in the mid-90s, with the joint vocals sounding harmoniously comparable to Albarn’s creative peak and the keys as irresistibly correspondent and reactionary as the likes of “Charmless Man” or “Clover Over Dover”.

Their lyrical wit and youthful delivery will also likely place them on the same boat with fellow British modern successes in the vein of the Arctic Monkeys or the Maccabees. However, from where I am standing, it is apparent that Scouting For Girls contains more musical maturity than both of those bands combined. Instead of relying on repetitious guitar riffs and similarly layered vocal melodies, Scouting For Girls implements a varied approach of wholesomely executed pop music that benefits from trademark elements of quality songwriting. While their songs are typically under four minutes and contain traditional structural progressions, the songs on their debut three-song EP, It’s Not About You, all encompass infectious melodic features that allows the listener to enjoy the songs at hand, regardless of one’s mood. Whether you are brooding a lost lover or celebrating the discovery of a new one, the songs remain suitably enduring. The addictive qualities are represented best in the exceptionally infectious “Mountains of Navaho”. With layers of keys and synths toppling on a quickly gratifying guitar riff, the energized vocals muse through a series of engaging lines and witty quips. With Roy singing the majority of lead vocals in most of the tracks, he does a notably remarkable job in “Mountains of Navaho”. “Except one day we will fly over the seas, over the sky,” he sings in hopes of an unrealistically ideal paradise where love does not clash. “Except one day we will go high in the mountains of Navaho.” Like the other two songs on the EP, the lyrical content remains primarily focused on the aspects of a faltering relationship. As modern British bands currently (and will always) rely on the Kinks for a lyrically sincere influence, the trio relays lyrics that remain sympathetic to the youth of any civilized country, most specifically the UK. With the sincere ability to relate to their target audience, it is merely another developed success in a long string of them for Scouting For Girls.

While It’s Not You only features three songs and barely exceeds ten minutes in overall length, the reception has certainly been impressive. The sales of It’s Not About You are reflective of my high regards for the blossoming trio and, as of today, the EP is #31 in the charts. “If you were in Leicester Square last Sunday you may have seen three lads hunched round a radio jumping around like proper lunatics,” Roy wrote in response to the prominent placement. “It was a fairly indescribable feeling.” This comes after their signing to Epic Records a few months ago; one of the first labels that took the band’s palpably enjoyable methods to heart. Recognizing a band that were bound for global radio airwaves, Scouting For Girls’ big break coincidentally came when the signing occurred on Valentine’s Day. A bit ironic considering their strained, though occasionally optimistic, view on romance and love in general. While “It’s Not About You” is already earning the most national recognition with a video and a slew of promotions, my favorite remains “Mountains of Navaho”. While the style will sound fairly typical to fans of Blur, Supergrass, or other 90s Brit-pop, it remains impressive that Scouting For Girls sounds so musically mature on their debut. While most bands scatter several songs of varying styles on a debut in search of their style, Scouting For Girls are abruptly decisive and appear settled on an amiable sound. Scouting For Girls reminds me of Blur in more ways than one, most particularly their desire to remain wholeheartedly and vocally English while still relaying a universally enjoyable sound. As the sales of their EP have indicated, the public is rightfully eating their material up. Quite honestly, barring a break-up, this will not be the last time you will hear about Scouting For Girls. In fact, you will most likely end up hearing about them so much that you will eventually get sick of them. I recommend that, for the time being, enjoy it is as much as you can.

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Scouting For Girls – Mountains of Navaho

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Scouting For Girls – It’s Not About You

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Scouting For Girls – Keep On Walking

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The post Scouting For Girls is Fun appeared first on Obscure Sound: Indie Music Blog.

Lou Reed opened up his classic 1973 album, Berlin, with the lingering words, “In Berlin, by the wall, you were five foot ten inches tall.” A native of New York City, Reed’s lyrics were particularly striking at a time sixteen years prior to the abolishment of the Berlin Wall. Both politically eloquent and emotionally rousing, Reed’s album depicted two troubled youths in a deep state of love, even while forced into the perils of drug addiction, abuse, and suicide with the pressure of the country’s perilous past lingering on their minds. With lyrical intellect adorned with a political and emotional coat, Berlin was one of the first rock albums that interchangeably connected politics with natural human emotion, detailing the often overlooked sociological effects of an individual in the midst of a situation that renders completely uncontrollable. It was also arguably the first commercial album that effectively relayed the personal views of Germany’s past from a New Yorker, as Reed was born in Brooklyn and grew up in Freeport. Now over thirty years later, Berlin has transformed into a thriving city where industry and positivity have regained a new form of power. Much like New York City, it has become the central thriving point of its respected country, both in terms of industrial and artistic production.

Jason Friedman, the lead songwriter for The Boggs, can relate to Reed’s recollection thoroughly, even while Friedman has been placed in a less turbulent contemporary society. Based out of Brooklyn, Friedman relocated to Berlin for artistic intentions both revolved around music and video production after The Boggs’ second album, Stitches. After sketching out the ideas for Forts, the Brooklyn-based group’s third album, Friedman returned to his native New York to hammer out the details and record the final product. With an increased intellectual view of cultural diversity and domestic transition, Friedman appeared set to incorporate both his philosophical and musical learnings into their third album. Seeing the great potential that the first two Boggs albums held, Friedman once again gathered a few familiar figures from some very recently admirable acts, most notably Julian Gross of The Liars and David Lloyd of Cause For Applause. The first two releases from The Boggs were highly symbolic of great detail and dedication, with innovative production being shrouded by a variety of instruments ranging from brass and xylophones to bass and guitar. Despite the diversity and impressive use of range, the general view was that The Boggs were always a mere inch away from fulfilling their potential, with overambitious intentions portraying a generally unorganized collective of oddball pop. While their musical intellect was certainly representable, Friedman and his backing band often shrouded their most memorable hooks through numerous layers, producing what quite frankly was a very messy album in Stitches.

Hoping to correct this criticized form of disorganization, Friedman’s Forts holds a handful of songs that truly capture the intended essence of The Boggs. The self-titled opening track finds the band in form consistent to their first two releases, compiling non-traditional percussion over layers of keys and guitar swipes that sound nearly in the form of a rich tribal dance. “Forts” does indeed hold an infectious chorus that boasts a diverse transition from the initial verse; an aspect that the band previously struggled with on their first two albums. Surprisingly, the next track on Forts, “Remember The Orphans”, explores entirely new territory altogether for the band with vocals that sound oddly like Damon Albarn’s seventieth project, masked under accompanying female shouts that are regularly consistent throughout the album. The vocal approach also applies for the volatile “Arm In Arm”, a track led by a distinctively animated distorted guitar that treads through the track in a consistent manner, with an increase of rapidity signaling an eruptive chorus laced with Friedman’s husky vocals. Imagine such a thing. A contemporary band based in New York and Germany that sounds like a traditionally jumpy mid-90s British experimental pop band. Even so, this eccentric pop song is one of the gems on the often inconsistent Forts, an album that contains many of the same weaknesses that the first two albums possessed despite excitable songs like “Remember The Orphans” and “Arm In Arm”.

The first half of Forts is actually quite good in being the best batch of songs the band has ever written. The dramatic strings touched in “One Year On” provides a nice setting for a new set of vocals that sounds like an unconventional cross between Stephin Merritt and Stuart Stapley. Whether it is easy to adore or dislike the constant etches between Albarn, Merritt, and Stapley, those searching for forms of consistency will not be enamored with Forts. The latter half of the album is filled with dull acoustic attempts like the repetitive “After The Day” and the incoherent jumble that is “Melanie In The White Coat”. It gets no better with “If We Want (We Can)”, sounding like a drunken sorority with access to a furious percussionist. While The Boggs create several interesting innovations and excitable circumstances with tracks in the more coordinated vein of “Bookends” and the structural consistencies of “Remember The Orphans”, it appears that The Boggs’ only form of significant growth has come in the increased patterns of well-synchronized rhythm sections and early Brit-pop comparisons. While their potential continues to glow brightly, it will take quite a bit of newly constructed musical unity and organization to achieve their evident goal of being mentioned in the same sentence with Xiu Xiu, !!!, The Liars, and other groups in the upper tier of enjoyably unconventional pop music.

5.8/10

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The Boggs – Remember The Orphans

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The Boggs – Forts

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The Boggs – One Year On

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The post REVIEW: The Boggs – Forts appeared first on Obscure Sound: Indie Music Blog.

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In a decade, I would not be surprised if the Arcade Fire are considered the absolute definition of a band whose popularization was vitally dependant by internet blogs and media. Their rise to fame was quick, as their debut album Funeral propelled the Montreal-based group from an unrecognizable status to the cover of Time Magazine. Funeral was arguably the most universal choice for the “album of the year” in 2004, reaching a rare stage of emotion with their stellar and unique sound complemented by busy guitars, effective strings, and stinging brass. With a lyrical focus on familial turbulence, the Arcade Fire’s debut felt extremely personal, giving a sense of rarely captured emotion. In one of the most anticipated releases of the year, their new album Neon Bible will be released this spring. Three confirmed tracks are ‘Black Wave/Bad Vibrations’, ‘Intervention’, and ‘Black Mirror’, with all three having already found their way onto the internet. The first single is ‘Intevention’ and it can be heard by calling (866) NEON-BIBLE, extension number 7777. As the story goes, the Arcade Fire uploaded the wrong version of the song to iTunes as a charity single for “Partners in Health”. The song uploaded by mistake was ‘Black Wave/Bad Vibrations’. The release of ‘Black Mirror’ was more intentional, as it was done on their official web site. You can hear the song by going to frontman Win Butler’s scrapbook, where you can also feed an odd creature some food. To avoid the oddness, you can just listen to it below. All three tracks are quite enjoyable, though I enjoy ‘Black Mirror’ the most. If this is any indication, Neon Bible looks to be even more darker than Funeral. ‘Black Mirror’ begins with an acoustic strum and a dreamy ambient effect in the distance, with a flurry of strings and keys indiciating a more energetic chorus. Butler sounds whimsical as usual, with his vocals adding the perfect touch to a song already clouded by insatiable darkness.

Arcade Fire – Black Mirror

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Unlike the Arcade Fire, Modest Mouse had to wait a bit for their national recognition. While they now are on MTV every other day with such hits as ‘Float On’, for about ten years they released great albums that were only appreciated by a minimal audience. Albums such as The Lonesome Crowded West and The Moon & Antarctica were fantastic and as you can probably guess, I enjoy their earlier material the most. In preperation for their new album We Were Dead Before the Ship Even Sank, legendary Smiths guitarist Johnny Marr joined the band as an official member last August. It will see a release this March, led by the single ‘Dashboard’. I have to say, this is quite a different approach by Isaac Brock and company. While Brock’s vocals maintain to be distinct, Marr has brought a much more formulaic approach, almost sounding like Andy Partridge and XTC. Though the song certainly is far from being their best, I enjoy it more than ‘Float On’ and numerous other songs on Good News for People Who Love Bad News. The exotic strings during the bridge and chorus add another touch and I’ve always been a fan of Marr, who shows his new touch with Washington’s finest.

Modest Mouse – Dashboard

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Despite my reports earlier this week, it appears that Blur won’t reform after all. While Damon Albarn’s offer will always stand to reform the Brit-pop legends, he has stated that he would not do it unless all four members decided to return. Guitarist Graham Coxon denied involvement yet again after the published reports last week stated that he finally gave in. That’s certainly a shame, as a new album from Blur would have certainly become my most anticipated release of 2007 if it had been the case. Well, that’s the bad news. The good news is that Damon Albarn’s new project The Good, the Bad and the Queen is coming along nicely. I gave a listen to their self-titled debut album the other day and there are a handful of extremely enjoyable songs. The group definitely dates back to Albarn’s Brit-pop days in the 90s, rather than his recent adventures with alternative hip-hop hitmakers Gorillaz. ’80s Life’ is one of my favorite tracks from the album, ironically calling on a melody reminiscent of the 50s, rather than the 80s. The Good, the Bad and the Queen will be released on January 22nd and it will likely satisfy the hunger of fans who adored Albarn’s previous projects.

The Good, the Bad and the Queen – 80s Life

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