Attempting to juggle two musical projects is like being forced to decide between two best friends. Each one provides great collaborative moments and a level of comfort, but the subtleties are often what determine the final decision. How durable the relationship has been, the amount of changes undergone to maintain relations, and even accustomed tones of voice are all subtle components of a friendship that devise the strength of a relationship’s backbone. Since music is often a process that is undeniably collaborative for most of today’s artists, the decisions regarding who to work with and what to work on are grounded in a very similar decision-making process. And like friendships, there is often pressure to focus all of one’s energy into a singular force. No one enjoys being a spare tire. For Brent Knopf, one-third of the creative power behind acclaimed indie-rockers Menomena, his ambitions are much too lofty to exist in a musical world full of singular demands and mind-numbingly consistent expectations. Menomena’s third album and Barsuk debut, Friend and Foe, was released nearly three years ago to glowing reviews, most of them praising the trio for taking accessible indie-rock into uncharted fusions of punk, noise-rock, and funk. Knopf has been with Menomena since the beginning and from their unknown status into one of prestige, leaving a sort of allegiance that is hard to shake off even if your fellow band members are supportive of a solo side project.

As Knopf attempts to simultaneously juggle his primary project (Menomena) and solo project (Ramona Falls), one cannot help but imagine how he is able to produce quality work with the pressures of both projects looming over him. Menomena have been in the studio for nearly three years preparing the follow-up to Friend and Foe, while the debut release from his new solo project contains 11 tracks that contain the depth and focus that fans of Menomena are accustomed to. To say that he has been busy over the past two years would be an understatement, as the development process for an album is grueling and time-consuming (unless you can whip a classic out in a week or so, like The Beatles did numerous times). But Knopf has kept his focus despite the struggles involved in simultaneously being a force in both projects, the struggles being not just the actual physical tasks of songwriting and recording but also the stress that one must feel if friends or band members are not supportive. However, even by simply listening to their music, it becomes fairly evident that the members in Menomena are all mature enough to respect the songwriting process and one’s own individualistic means of expression. For an artist like Knopf, this support makes his solo material flourish even more.

It takes a mature artist to admit a preference toward one specific project. It is always difficult to though, almost like telling a good friend that there will always be someone more reliable and fulfilling than them. But music is not always like life; music is much more flexible. Knopf admits that he initially kept his stronger material saved for Menomena, primarily because he believes in the power of collaboration. It only took a matter of time for Knopf’s own solo material to reveal otherwise though. While Knopf remains true to Menomena and continues to work on their new album, he has transformed his solo output into something of equal effort, satisfaction, and time. With his solo alias being named after one of his favorite childhood hiking trails, Knopf’s Ramona Falls has released a debut that is reflective of Menomena’s innovative tendencies while remaining completely original in style and tone. Like his initial work, Ramona Falls’ Intuit reveals a sophisticated vein of Knopf’s pop music that is enriched by everything from delicate piano progressions to the screeching of synchronized samples. He remains a pop songwriter at heart, but his interweaving and acoustical and electronic components are a gift for all listeners, especially those that are already Menomena fans.

Intuit sports plenty of guest appearances (The Helio Sequence, Mirah, Loch Lomond…) but Knopf is clearly the main audible force. What is amazing about this album is how polished he makes something sound with such little means; the majority of Intuit was recorded in DIY fashion with little aid from the studio. “I Say Fever” boasts a messy arsenal of interweaving guitars that seem to enjoyably crash and burn over the delicate twinkles of keys, while “Salt Sack” takes advantage of edginess by constantly alternating the rhythm section in accordance to Knopf’s melodic variations. These do not sound like DIY efforts, but Knopf’s ability to turn even the simplest of ideas into something extraordinarily grandiose should be unquestioned by now. Even the tracks that do sound lo-fi – like the build-up of acoustics in reverb in “Bellyfulla” or the stripped-down “Diamond Shovel” – are excellent additions to an album reigned supreme by constant innovation. “I Say Fever” is not quite minimalistic, but its evolution from a bluesy guitar progression into an epic with roaring guitars and squealing brass is boisterously impressive. Rarely has the birthing of stylistic fusions been so enjoyable.

With a croon that possesses the same nasally excellence and sincerity of a Michael Stipe sound-alike, Knopf also delivers a countless number of hooks in tracks like “Melectric” and the astonishing “Russia”. The constant use of keys makes this comparison even more apt, as the warble of acoustics and keys in the opening “Melectric” paves the way for brilliant bursts in rhythmic and vocal content that are quite reminiscent of similarly influenced ‘80s alternative-pop acts, even recalling Celtic folk in the process. “Russia” may be the best thing he has written, featuring musical snippets more abundantly than a conventional structure. They all combine to form something beautiful though, complete with string arrangements and revolutionary percussion. To say the least, it is the most epic three-minute song you are bound to hear. Knopf’s talent is extremely evident throughout Intuit but one must not forget how important his gifted support system and multifarious focus was toward this outstanding album’s final result.

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Ramona Falls – Russia

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Ramona Falls – I Say Fever

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Ramona Falls – Melectric

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Aqueduct is a solo act consisting of talented singer/songwriter David Terry. Yes, I was surprised as well when I learned that all of Aqueduct’s innovative yet accessible ideas were from the mind of one individual. The Oklahama native made his mark with his debut album, Power Ballads, which contained catchy favorites such as ‘Growing Up With GNR’ and ‘Assignment #1: Heart Design’. Terry’s mixture of Casio keyboards, synths, and throwback rhythms equates to his own personal talent and success, which is one of the reasons he scored a record deal with Barsuk. Power Ballads seemed to be a recollection of Terry’s high school days, which he often describes as a period of heartbreak and good music (I can relate). ‘Growing Up With GNR’ is a good example of this, as Terry launches into a somewhat sympathetic, “I was only twelve, dammit all to hell, I was feeling fine,” he implores, “hearing Axl Rose on the radio, remembering the good times with you”. Some songs bring back good memories and some bring back bad memories… but doesn’t it just suck when good songs bring back bad memories? Anyways, Barsuk was kind enough to supply me with Aqueduct’s brand new single, ‘As You Wish’, from their upcoming new album, Or Give Me Death, which releases on 2/20/07. This new one from Terry takes a different musical approach than many of his previous endeavors. While the lyrical content of lost love and desperation is still present, he utilizes brass and acoustic guitars instead of the emphasized keyboards and synth. The song also seems to be more in focus with his classic influences of 60s pop, such as the Beach Boys and the Beatles. It all works well though, which makes me look even more forward to Or Give Me Death.

Aqueduct – As You Wish

Aqueduct – Growing Up With GNR

Aqueduct – Assignment #1: Heart Design

Official Web Site

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Just like David Terry, the more prominent James Murphy is the solo frontman for his acclaimed project LCD Soundsystem. Though he has an impressive cast of musicians alongside him for live shows, Murphy is known to do most of his album work on his own. Their 2005 self-titled debut opened new boundaries for dance, electronic, and rock genres, as Murphy utilized all three styles to the full extent in one of the most impressive debut albums of this decade. It’s not surprising that LCD Soundsystem’s sophomore follow-up, Sound Of Silver, is one of the most anticipated releases of 2007 to legions of fans around the world. From New York to Tokyo, the handful of singles that LCD Soundsystem has released (‘Losing My Edge’, ‘Daft Punk Is Playing at My House’) have been very successful, almost defining the unique genre that Murphy has apparently overtaken, as he is also the co-founder of DFA Records. Their new track ‘Someone Great’ borrows a major instrumental section from the infamous Nike promotion of ’45:33′, an entirely instrumental song of the same length. This time around, Murphy adds some twisted vocals on top of matching keys to make the section even more engaging. I always considered the smooth and enjoyably creative LCD Soundsystem to be great driving music, so I can’t wait to pop this one into my car tomorrow morning.

LCD Soundsystem – Someone Great

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The post Two new songs from 2007: Aqueduct; LCD Soundsystem appeared first on Obscure Sound: Indie Music Blog.

Admittedly, I did not know much about What Made Milwaukee Famous before they signed to Barsuk. That’s not to say they didn’t have success before their signing though, as they played on PBS’ ‘Austin City Limits’ with Franz Ferdinand as one of the only unsigned acts to play during the show’s 32 year history. That sure got the attention of several labels, and rightfully so. They aren’t from Milwaukee, but they are from Austin, Texas. Their charming sound is an eccentric mix of several styles, as their songs on their debut Trying to Catch Up can turn from catchy power pop riffs to an acoustic ballad of heartbreak. Their sound is quite modern in utilizing electronics and production to the fullest, comparative to their touring buddies the French Kicks. I’m not sure if they got their name from the Jerry Lee Lewis song, but it sounds a lot more fun than The Strokes or The Shins. They are re-releasing their debut Trying to Catch Up on Barsuk, which is now re-mastered with four new tracks. I know it is officially not an album of 2006, but Trying to Catch Up is one of the best albums I have heard this year.

‘Hellodrama’ is just pure catchy bliss. I think it is rather apparent that this band has the potential to be on those mainstream MTV shows that we all love to hate, but try and ignore that for a second. ‘Hellodrama’ is most likely the ticket for the band to really get out in the open like they deserve. The song is easily accessible, as easily understandable witty lyrics kick it off, with power-pop riffs and slight synths backing it up. I often get sick of bands who make a verse and a chorus and repeat it the whole song, but What Made Milwaukee Famous are the exact opposite. There are eight to nine structural separations in this song, each more recognizable every new time you listen, with the chorus opening with vocalist Michael Kingcaid barely shouting, “Oh, Charlena!” in a loving manner. ‘idecide’ is the opener to the album, and it reminds me of early Muse before they tried to be the next Pet Shop Boys. The melodic vocals leading to the synthetic eruption sounds familiar, but still maintains to have great originality, leading to a curiously odd but fulfilling opener. The song is a strong example of their range, as the flow of the album keeps its maintainence, even when the song “Hopelist” (a few tracks later) reminds me of a mixture between Simon & Garfunkel and Elliott Smith. It works though, yet again. ‘Sweet Lady’ is an extremely upbeat song with bittersweet lyrics. “I can’t help thinkin’ that you love somebody but me,” Drew Patrizi’s vocals chirp over twinkling keys. ‘Sweet Lady’ is my favorite out of the new four that is included on Barsuk’s reissue. Expect to see this band on the commercial circuit soon.

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What Made Milwaukee Famous – Hellodrama

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What Made Milwaukee Famous – Sweet Lady

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What Made Milwaukee Famous – idecide

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Official Web Site

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The token lovably chubby guy is out of the Arctic Monkeys, as Andy Nicholson left the band due to “fatigue”. Clearly, a few of the member’s ego’s exploded along with their fame and Andy couldn’t deal with his old mates acting like programmed robots ( source ). Isaac Hayes has canceled his tour due to his heart condition based on doctor’s orders ( source ).
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Check out this hilarious story to see the impact of Green Day’s newest album on the preteens of the world ( source ). Jay-Z’s most recent enemy is not a rapper, but rather a champagne. He is boycotting Cristal because it is becoming an “unwelcome attention” ( source ). U2, Rufus Wainwright, and Jarvis Cocker are just a few of the great names contributing to the new Leonard Cohen film soundtrack ( source ).
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Barsuk has signed British songwriter Jim Noir ( source ). There is a new musical about The Ramones called ‘Gabba Gabba Hey’, which will run from 7/31 to 8/5 at London’s KOKO. For some reason, I don’t think Ramones fans are that interested in classical musicals but there are some exceptions ( source ). More arrogant statement from The Kooks’ frontman, Luke Pritchard, who claims his band will change the face of music. Actually, the band is generic and faulty ( source ). Oh, and Pete Doherty was fined for cocaine use but it is just so common that is is an ending blurb nowadays ( source ).
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New material: The Roots, Harvey Danger, David Pajo, Kelis, Feist, Pixies, TV on the Radio, Thunderbirds Are Now!, The Mountain Goats, Tom Petty, The Sex Pistols, Jim Reid, The Go! Team, Portishead, Mr. Lif, Air, Akron/Family, Thom Yorke, Joan Of Arc, Cursive, M. Ward
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New tour info: Flaming Lips, Pearl Jam, Zero 7, Final Fantasy, Keane, Dirty On Purpose, Radio 4, Snow Patrol, Devendra Banhart, Ben Folds, Calexico, Muse

The post SHORT BITS – 6/21/06 appeared first on Obscure Sound: Indie Music Blog.

The teenage indie pop duo create a surprisingly strong effort on their Barsuk debut.

Artist: Smoosh
Album: Free To Stay
Release: June 20, 2006
Label: Barsuk
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So, is Smoosh some kind of Nickelodeon special? Some marketing ploy to try and capture a young audience? No, none of these would apply. Smoosh are simply two gifted sisters who make shockingly good catchy pop music. Asya is thirteen, and she sings and plays the keyboards. Chloe is eleven, and she plays the drums. She was actually taught the drums by Death Cab For Cutie’s Jason McGerr, who saw the sisters’ musical inclimation and offered her lessons free of charge if she supplied the drum set. While Chloe is impressive and on time, Asya is a marvel to listen to. Her vocals have a distinct childlike sound, but her tone can be compared to the likes of PJ Harvey or even Norah Jones at times. Her piano playing is fantastic for someone her age, especially in songs such as ‘Free To Stay’ or the eccentric rock-like ‘She’s Right’, which also displays some of her best vocal work. Free To Stay is their second album in three years, and they have definitely improved over the potentially adaptable but simple She Like Electric.

You will hear comparisons to several prominent musical figures as Smoosh’s career takes off moreso, but oddly, the person I could most compare their style of play to was Ben Folds. Yes, of course the songs are not nearly as complex or in sync, but they could certainly reach that point. Asya’s keyboard work and dramatic vocal play provides a beautiful array of different sounds that Free To Stay displays, from the bluesy ‘Clap On’ or the acoustic ballad ‘Waiting For Something’. Their reach to try different genres streches too far on the obnoxious ‘Rock Song’, but it is probably the only low point on the album as far as general enjoyment goes. Many would probably expect every song to have a traditional structure, but it is hardly the case as gems like ‘I Would Go’ have flawless transitions that prevent the songs from being dull. Exactly one minute into ‘I Would Go’, a frantic piano compliments an already catchy verse that wouldn’t even be harmed if it was repeated, but the new lines make it all the better. ‘Gold’ is as good of song as any band of any experience age could create.

The album ends with a typical slow paced ballad in ‘Slower In God’. Despite the lyrics being elementary most of the album, Asya’s vocal strengths display some of their best here, with lyrics that have a nice backbone. “I look out my window, see through a waterfall, it seems as if I could walk off the edge,” Asya says quite precisely, “if it weren’t for the barrier between, the water’s pounding so hard, it keeps my windows clean.” The album swiftly changes from a happy paced adventure to a melancholy piano solo, and it does so in a unique and creative way. This is the way Smoosh seems to do things though, and if these two girls do not fade away in all the hype, they will end up with some enormous accomplishments.

Rating: 7.8/10

01. Find A Way
02. I Would Go
03. Free To Stay
04. Rock Song
05. Waiting For Something
06. Clap On
07. Glider
08. Gold
09. Organ Talk
10. She’s Right
11. This Is Not What We’ve Become
12. Slower Than Gold

 = Track Recommendation

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Smoosh – Find A Way

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I take a look at The Starlight Mint’s third album as they craft their finest album on their Barsuk debut.

Artist: Starlight Mints
Album: Drowaton
Label: Barsuk
Year: 2006
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One thing about The Starlight Mints that you will notice off-hand, is all the instruments they utilize in their music. Itâ€s all here: strings of all kinds, keyboards, trumpets, trombones, and an assorted number of others, and even with all these instruments been played, The Starlight Mints sound surprisingly simple. This is a good thing though, as the accessibility of their third album, Drowaton, is one of the things that make it a great accomplishment. While The Starlight Mints are constantly compared to an early version of The Flaming Lips, I only see a strong resemblance in both their hometowns (both originate from Norman, Oklahoma). The Starlight Mints actually have a clearer vision in their influences than The Flaming Lips had at this point in their career. When they released their debut album, The Dream That Stuff Was Made Of, in 2000, it showed their extreme potential with very listenable pop songs with very noticeable hooks. Things were only improved in 2003â€s Built On Squares.

Drowaton kicks off with a traditional sounding pop song in ‘Pumpkinâ€. ‘Pumpkin†easily resembles Blurâ€s Parklife-era, with the background “wooâ€s” and trumpet chirping in the background. Itâ€s an upbeat sounding song, though the lyrics ply an interesting trade in contrast to the happy melody. “Because I feel alone,” vocalist Allan Vest sings during the surprisingly upbeat chorus, “because my heart is cold, and the words, they burn on my soul.” The odd combination is a winner though in its sarcastic offering. The following song, ‘Torts†follows Blur with an obvious Tom Waits influence, in the intro anyways. The song eventually opens up originally with keys slowly building up to a halt, and then a chorus. Keyboardist Marian Love Nunez provides a nice flavor with her surprising backing vocal appearance, and her phrase directly before the chorus.

The most easily accessible songs on Drowaton are naturally ‘Seventeen Devils†and ‘Whatâ€s Inside Of Me?â€. ‘Seventeen Devils†has a beautifully arranged string piece that kicks off the song and continues throughout, with a screeching guitar accompanying it. Vestâ€s vocals shine particularly well in ‘Seventeen Devilsâ€. “A heart so slippery, love slides away,” Vest sings over an electric and acoustic guitar, shortly before the strings kick in to resume the verses. ‘Whatâ€s Inside Of Me?†will most likely be their first single for Drowaton, well, it should be. Itâ€s undeniably catchy from start to finish. Itâ€s only complementary that Vest starts off with a witty line of some: “Well, I donâ€t need your sympathy, but I could use your company; crawl into a mystery that I call you, so come inside of me.” If Jarvis Cocker or Morrissey wrote the song, we could probably analyze some sexual innuendo, but The Starlight Mints retain innocence and straightforwardness.

It should come as no surprise that The Starlight Mints have the capability to create songs of an epic nature as well. The song ‘Drowaton†comes mid-way through the album it is named after, and itâ€s simply phenomenal. The song best displays their wide use of instruments and their talented writing of arrangements. One moment it sounds like a slow-tempo acoustic song, while shortly and successfully transitioning into a guitar and string romp, while then shifting back again. It remains the most rewarding song on the album.

I mentioned a Tom Waits influence earlier, and this is heard throughout the album; mainly on several creatively titled and odd sounding songs. The brilliantly titled instrumental ‘Rhino Stomp†is a fun trade of brass and strings with a few surprising retro keys along the way. The album does not have any point of drop off, as even the later songs of ‘Rosemarie†and ‘Sidewalk†are full of life and energy. ‘Sidewalk†appropriately ends the album with another brilliant string arrangement in key with Vest singing, “And if the stars collide, well it ainâ€t love until itâ€s over.” The Starlight Mintâ€s musical prowess is at their strongest, resulting in their best album yet. If youâ€re looking for some irresistible pop music, The Starlight Mintâ€s newest is the way to go.

Rating: 8.6/10
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Starlight Mints – What’s Inside Of Me?

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01. Pumpkin
02. Torts
03. What’s Inside Of Me?
04. Pearls (Submarine #2)
05. Seventeen Devils
06. Rhino Stomp
07. The Killer
08. Eyes Of The Night
09. Drowaton
10. The Bee
11. Rosemarie
12. Sidewalk

= Track Recommendation

The post REVIEW: STARLIGHT MINTS – DROWATON appeared first on Obscure Sound: Indie Music Blog.

Hot off Morrissey’s new album, Ringleader of the Tormentors, this song just further proves Morrissey has not lost a bit of his touch. This is really reflecting his song career in the early 90s, and I’m glad to hear a song like this. The vocals are very top-notch, and the twinkles in the background are great. Typical fun Morrissey lyrics: “I see the world, it makes me puke, but then I look at you and I know that somewhere there is someone that can soothe me. To me you are a work of art, and I would give you my heart, that’s if I had one.” And when he says ‘had’, well, you know what Moz does when he wants to exaggerate a word. Top notch stuff from him, and upon preview of the album, it appears to be outstanding.

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John Vanderslice – Angela (live)

Live in San Francisco on 11/5/05, it is my favorite Vanderslice song sung live. It’s a great pop song, and his live rendition is great. He is a well credited solo artist, and sometimes solo producer (Spoon’s Gimme Fiction). ‘Angela’ is off his 2005 album, Pixel Revolt. Other songs I recommend off the MP3 link below are ‘Dear Sarah Shu’ and ‘Exodus Damage’.
Also: Tons of Vanderslice MP3s
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