It would be nice if all New Yorkers were given next week off for the sake of new music. CMJ’s Music Marathon is already intimidating enough with hundreds of artists on the roster, so with classes and work getting in the way it would be pretty nice to devote a whole week to new music instead. This nutty but alluring proposal aside, many of the groups playing next week are getting their first big break, a treat for audiences to be involved in. As a result, those attending will likely be more receptive to the potential and effort the artist may display or put forth, rather than instantaneous quality. Yesterday’s feature of Tim Williams was exemplary of an artist who put his first taste of CMJ exposure five years earlier to good use. Although he has yet to become a brand name, watching an artist live that you hypothesize to be prominent in a few years provides a unique feeling that is only rivaled by the discovery of a release produced under similarly deprived circumstances. Artistry is one of the few aspects of humanity that permits hunger and desire as beneficial forces and, although we never want well-deserved artists to go by unnoticed, we assume an unspoken role as listeners to spread the word about quality music. This site itself is a representation of that attempt, and comprehensively accessible festivals like CMJ are able to provide the wonderful feeling I get after writing about a band that I am positive will be adored by most that pass by this site.

Another great thing about CMJ is the amount of related e-mails I get for it. Since the majority of these groups are simply looking for exposure, the amount of invitations I receive is a nice source of entertainment for awhile, even if it makes me somewhat weary. Not so much because it is flattering, but instead due to my own time constraints and the many artists that have the potential to be breathtakingly original (if they have not reached that point already). To miss out on one because my inbox is full would be quite unfortunate. I have no clue what to attend during CMJ on the days I actually am available, so going through and listening to the artists beforehand is really the only form of judgment I and others can go by. This is what I do regardless though, so stumbling across a group like Midnight Juggernauts thanks to a CMJ invitation demonstrates how live appearances have both a direct and indirect effect on an artist’s exposure. Even if I were to not attend due to disinterest or personal conflicts, the mere fact they are appearing in the festival led me to their latest release, an EP by the name of This New Technology. Judging by the concise but impressive showing of the EP, perhaps I should clear my schedule for one of their CMJ shows.

Quite simply, Midnight Juggernauts are worth it. The title of their EP is good indication of their advanced stylistic trends, simultaneously emitting a fury of dance-rock in the vein of Cut Copy and hazy ’90s alt-rock reminiscent of early Suede or Manic Street Preachers, when drugs were influencing a sound influenced by both psychedelia and glam. Drug use is hardly advised but in some artistic instances it can serve as a beneficial supplement, shown throughout the recording of Suede’s Dog Man Star or even The Beatles’ transitional stage into works later classified as psychedelia. You can find a similar sort of revised psychedelia in the work of Midnight Juggernauts, even though they remain more sample-friendly and uptempo than many of these predecessors. Their pulsating bass work is more reminiscent of layered synths than anything, but the interesting decision to implement organs, varied guitar work, and a vocal delivery that would fit more aptly in the world of arena-rock make Midnight Juggernaut something of an unconventional success. Their debut, Dystopia, showed their blend of synth-pop and alt-rock for the first time in 2007, serving as one of the few electro-rock debuts that were polished full of confidence. The Tough Alliance and Cut Copy come to mind for this decade, but since the days of Massive Attack and Depeche Mode electronic-rock has dwindled into a more predictable entity that allows considerably more room for error.

Midnight Juggernauts defy such limitations on This New Technology, starting with the gorgeous self-titled cut. “This New Technology” already made a big splash in the blogosphere in late September, but this should do well in tiding you over until the EP’s release in November. A jaw-dropping effort, its integration of bubbly synths into chirps of brass and reverbed guitar licks may sound on paper like another typical indie-rock effort that mocks Cut Copy, but the advances this trio has made here makes for more than that. On Dystopia the group were often criticized for making their song structures too predictable, with verses often relying on vocals and choruses using more melodic forces of instrumentation. “This New Technologhy” rides on similar utilization of bass as the debut, but the interaction between guitars and organs here is what establishes it as a uniquely phenomenal effort. The vocals are also noticeably more empowering than on the debut, and the group’s newly acquired experience with structural alteration truly shows here as it makes the seamless transition between punchy dance-rock and hazy psychedelia. “Fantastic Valleys” is strictly instrumental but goes far in showing the listener even more stylistic growth, as the percussive intricacy and avant-garde keyboard work are new improvements for the trio. I am not quite sure whether it would sound more appropriate for the Goonies soundtrack or a film set in 2500, but those keys sure bring out feelings of both elusiveness and futurism in their unpredictable placement and synthetic tone. Midnight Juggernauts have made obvious improvements that should drive plenty of hype in anticipation for their forthcoming full-length album, set to be released sometime in early 2010. At the very least, they made me and others want to clear their busy schedules for a few CMJ appearances.

RIYL: Cut Copy, Manic Street Preachers, Suede, Giorgio Moroder, Scissor Sisters, Air, The Rapture

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Midnight Juggernauts – This New Technology

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Midnight Juggernauts – Fantastic Valleys

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Midnight Juggernauts – This New Technology (Emperor Machine Remix)

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We are producers. We make music for you. This is what UltraChorus convey on their web site, almost sounding like they cater to artists more than listeners in doing so. Such circumstances have the likelihood of create hazardous listening barriers, but in the realm of electronic-pop music it can actually make the process more seamless and enjoyable. Their “for-artists, by-artists” approach primarily relates to the handful of remixes the Minnesotan duo has released thus far, the artists including Phoenix, The Presets, and Daniel Merriweather to name a few. It would be easy to call UltraChorus – and other recent acts focused on remixing – a desperate plea for artistic individuality in the skewering of one’s work to compensate for your own lack of creativity, which is of course true for some. But in UltraChorus’ case, their first full-length release of original material shows how their experience with remixing contributed to an enjoyably individualistic sound that undoubtedly benefited from both practiced working and listening methods.

Electronic music, like any genre, requires practice and trial-and-error to increase one’s skill. However, considering that the genre relies on more intricate technology, one could make the argument that a melodic ear and great songwriting craft are not as prioritized as one’s technological grasp. In experimental music this can easily be the case, but when keeping in mind the implementation of pop music there remains a sense of simultaneous attentiveness that would result in generic placidity if ignored. Hot Chip, Chromeo, and Phoenix are a few examples of artists that maneuvered these waters successfully, and UltraChorus follow their footsteps in relaying a fun and infectious form of electro-pop that blends seductive R&B with tinges of art-rock and dance. This blend has been mashed together before, but UltraChorus’ prior familiarity with the practice of remixing leads to certain components that one would be hard-pressed to find in most other electronic acts. With this arises a question of whether UltraChorus or more electro-pop (Hot Chip) or art-rock (Phoenix). Perhaps certain technology at their disposal can reveal this.

Vocoders have been damned to hell by most “savvy” listeners by now. I agree with them for the most part, except when an artist executes it like UltraChorus have done on Ultra-Def. An example like this brings to mind how it is not the technology we detest that results in failures, but rather the culprits that misuse a device or method and provide it with a negative stigma. Listening to Ultra-Def in full will reveal UltraChorus as one of the good guys, using the vocoder not as a means to disguise melodic flaws but rather as a stylistic additive and songwriting tool. The opening “Scarlet Eyes” is shrouded in disco-infused bass lines and fragile piano progressions, making the vocoded element somewhat of a flash toward modernity. Like Pet Shop Boys, UltraChorus are able to turn electronic-pop into a meshing of several decades, this case being a fusion of ’70s pop and general balladry. The vocoded element is subtle and used somewhat sparingly in accordance to the track’s respective hook, and when it is utilized it provides a surprisingly refreshing take on electronic-pop without sounding too desperate for commercial attention.

Fans of the previously featured Pacific! are bound to fall in love with UltraChorus. That same sort of Swedish electro-pop wizardry with its glistening synths and heavily danceable rhythm section is prevalent, even if these two guys are from Minnesota. The same simultaneous focus on technical and pop-minded ideologies is evident though, as the diversity on Ultra-Def can show. “Bestin the Farther” tends to expand into flourishes of strings over its rigid keyboard progression; the vocoder is again featured to spice up the chorus’ emphasis on synthetic constructions. The subsequent bridge, featuring sped-up vocals over warbled synths, also tend to benefit from the device in its translation to a rhythmically complementary component. Swanky efforts like “Yucatan Peninsula” and “HouseParty5” benefit from sparse keyboard arrangements that are complemented by occasional bursts of bass, which always seems to be at its lowest tone possible. How the high pitches of twinkling synths collaborate with the lower resonates of bass is outstanding in crafting a serenely supreme atmosphere, paving the way for plenty of hooks in the process. “Hope that someday we’ll meet at that little cafe at the end of the street,” the vocals hopefully implore during the track’s final moments, attempting to make the daydream less of a dream by subsequently asking cream or sugar. The musings are simple and easy to understand, but the music resonates deeper than expected.

Although a mere three tracks are sampled here, I would strongly recommend all fans of electronic-pop to pick up Ultra-Def by Ultrachorus for the rest. What may sound like just another vocoder-aided electro-pop act will provide a treat upon extended listens. This is the rare type of pop music that emerges most prominently after familiarity reigns. Once you become accustomed to the album’s efforts, the element of predictability seems to coincide beautifully with the album’s concept of straight-laced hooks, simple-minded relations, and irresistible bouts of infectiousness. Ultra-Def is a remarkable effort by a Minnesotan duo that is poised for success.

RIYL: Pacific!, Hot Chip, Phoenix, Squeeze, Chromeo

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UltraChorus – Scarlet Eyes

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UltraChorus – HouseParty 5

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UltraChorus – Bestin the Farther

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To describe Aficionado as a sudden output of energy would probably the most accurate, as I doubt many bands possess the cumulative energy of this aspiring ten-piece from upstate New York. Ten members who play everything from exotic woodwind instruments to roaring guitars is not a common group composition after all, so when Aficionado takes the stage I can only imagine what goes through the audience’s minds. It would appear to have such a high potential for sloppiness or thematic pretentiousness based on the visual presentation alone. Laura Carrozza, backing vocalist and flute player, stands apart from the rest of her band members, most of them looking like a mixture of truckers and ’70s revivalists with their long bears and sloppy exterior. What resonates from this collective turns out to be to the contrary though, as this group impresses through a series of highly excitable tracks that embody original ideas and delicious hooks without ever treading too long or too intricately.

Taking a cue from punk acts of the early ’90s like At the Drive-In, Aficionado may initially impose whispers of post-hardcore and/or emo that may scare off many listeners accustomed to indie-rock. What I hope is that listeners give Aficionado a chance, as further listening shows that their ambition spreading across several genres makes them more comparable to groups like Slint, The Pixies, and Chavez. These, of course, are all artists that were integral to the development of today’s indie-rock. Aficionado are simply infusing a slight touch of early ’90s punk (though only the good kind). They make it easy for the desperate journalists by calling their special blend “progressive-indie”. Forming in 2004 amongst a group of close friends, Aficionado blended these influences with tight chemistry and emerged with a well-received album, Circus Music, in 2008. Critics noted the release for its enjoyable energy and strong musicianship, even if the songwriting did not correlate with the potential quite yet.

Their new EP, The Myth About Real Life, was produced by Don Fury in Troy, New York, which is about a ten minute drive from their native Albany. The opening, self-titled track is one that possesses the energy of favorites from Circus Music, with an even more expansive approach that results in newly cohesive song structures in alignment with the impressive multi-instrumentation. The initial brass sounds like an intro to a ska track with its thumping progression, only until a saxophone emerges with a seductive whimper to accentuate the jazz influence. The lead vocals of Nick Warchol emit a nasally, whimpery croon that shows a surprising amount of range among the powerfully alternating structures. The group’s ability to sound anthemic is inarguable. Carrozza’s backing vocals apply to this standard on both the self-titled cut and “The Same Original Idea”.

“The Same Original Idea” increases the dramatics with its introduction as Carrozza frequents more solos and verses over the fragile progression of a piano and delicate woodwinds. What sounds like a potential ballad eventually turns into the same balls-out, rock-filled atmosphere of “The Myth About Real Life”’s heightened moments, only this time with more unpredictable guitar-based transitions that resemble the progressive-rock of Yes, King Crimson, and other prog-rock forefathers. “It was a million and one of the same goddamn thing,” Warchol gripes. The intensity is raw and pure, only eclipsed by the powerful instrumentation and angelic interruptions from Carrozza. “I Don’t Believe We Met” continues in this fusion of post-hardcore, indie-rock, and progressive-rock, showing some epic ambitiousness in the use of keyboards and guitars similar to “The Same Original Ideas”. And although some ideas on the songs tend to repeat themselves in use, the varying approaches make it impressive enough to enjoy with ease. Catchiness and musical chops may eclipse groundbreaking stylistic integration for Aficionado, but with the chops of ten similarly-minded musicians at your disposal it is probably for the better.

RIYL: Slint, At the Drive-In, Yes, Kansas, The Hold Steady, King Crimson

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Aficionado – The Myth About Real Life

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Aficionado – The Same Original Idea

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Aficionado – I Don’t Believe We’ve Met

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Identifying the differences between concise indie-rock and avant-garde developments are more complex than analyzing track’s duration and selection of instrumentation. There are supremely talented musicians in each spectrum, with their method of choice usually being dependent on inspirational or influential precedents. But when we try to compare the Spoon’s and Phoenix’s of the world to a group like Animal Collective, it is more ideal to simply say that two produce indie-rock and the other puts out experimental indie-rock. To define something as experimental is usually subjective after all, though the ambition of certain artists will always remain indisputable. But when we use that term, it tends to designate an artistic technique that is either derivative and manipulated to wildly innovative means or entirely original in that it accomplishes something singularly unique despite some minor miscues (which are to be expected, as they can eventually unfold as a contributory entity). Each spectrum occasionally overlaps with one another, but for the most part the concise rockers and audible scientists remain consistent in separating themselves in the fact that experimentation has little to no commercial allure. I am not referring to the readers of this site or others similar, as they tend to exist outside commercialism’s grasp, but rather the ones that rely on advertisements and incomplete samples to form an opinion surrounding their potential interest in an artistic topic.

As consumers we tend to eliminate the mere idea of trying something more than once if the previous endeavor was not worthwhile, leaving many musicians with an unfair disadvantage in selecting their stylistic output. There is a generalization to group all music that surpasses commercial expectations in the realm of experimentation, which is quite rash considering it is one of the only genres where no prior template is possible to work off of. Sure, you could say Animal Collective borrowed components from The Beach Boys and Paul Simon among others, but there is no exact science in determining whether an artist has utilized the precise same template as a peer. It may be similar to another, but like a fingerprint there is not one exactly like it. Jesus H. Foxx could say that their influences had a role in their sound, but their uniqueness comes in their ability to border between punchy indie-rock and thought-provoking experimentation with seamless precision. The result is one of unparalleled, ceaselessly exciting awe. It sounds familiar and nostalgic while concurrently providing refreshing ideas to pop music that have delighted my ears in addition to the majority of critics that have stumbled across the British septet thus far.

Originating in the summer of 2007, Jesus H. Foxx was primarily the remnants of several fallen bands around the Edinburgh area. The collection of longtime released their debut 7”, Tightt Ideas, in 2008 as a five-piece in before acquiring two more members. They now consist of two drummers, three guitarists, a bassist, and a cornet/glockenspiel player as a result. Self-admitted fetishists of American experimental indie-rock in the vein of Animal Collective and Deerhoof, they appear indebted to groundbreaking innovations equally to accessible, psychedelic-minded pop music. This remains particularly reminiscent of Arthur Russell, whose work was so uniquely ambitious that it would be impossible to hear it prominently within the work of others unless they were sloppily ripping him off. His influence on this group, like the others, is more subtle and only prevalent to those familiar with his work. But like Russell, you can hear the seven members of Jesus H. Foxx aligning their pop ideologies with otherworldly, impressively intricate structures and developments.

Jesus H. Foxx’s new release, Matter, expands upon the impressive territory of Tightt Ideas by diversifying the six tracks on the release. To begin with where it ends, the last two songs on Matter are particularly reminiscent of this aforementioned Russell influence, particularly in the way they both use reverb and unconventionally tuned instrumentation. The self-titled track sees little more than a mumble initially to serve as a vocals, but as the track progresses with the echoes of an acoustic guitar overlapping beautifully over twinkles of keys and spatters of percussion it becomes apparent that Jesus H. Foxx is a group that plans meticulously. The rest of Matter is divided between accessibility and experimentation, with “I’m Half the Man You Were” and “Trying to Be Good” almost stealing the show. Both show a clear Talking Heads influence, in the vocals obviously with the deep oh-so-cool Verlaine tone but more prominently in how the track builds on infectiously concise guitar progressions and pleasurable eruptions deriving from the rhythm section. With female vocals coo-ing behind the snazzy Tom Verlaine-Michael Gira hybrid lead, it makes for a remarkably addictive effort. Jesus H. Foxx takes cue from songwriters like these, who apply strong pop foundations with intricately bizarre influences to create music that is sometimes confusing and a bit overwhelming, but for the most part Jesus H. Foxx are excitedly progressing into an act that we would be wise to keep an eye on.

RIYL: Animal Collective, Talking Heads, Deerhunter, Atlas Sound, Pavement, Arthur Russell

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Jesus H. Foxx – I’m Half the Man You Were

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Jesus H. Foxx – Trying to Be Good

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Jesus H. Foxx – Matter

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It is hard enough to stand out in the music industry, both in regard to the attention one receives and how long they are able to endure standing there without recognition. It is both literal and interpretive here, as a feeling of prominence undoubtedly effects one’s willingness to remain in an industry. In regard to the industry of music, it is difficult to name many other occupations that possess more unpredictability than that one. And on that note, forget about how the country or even the region recognizes them. Getting noticed by your locality cannot simply be an assumption. It is a triumph for some bands to be written about on the back page of their local paper, while others find insufficiency in an above-average review from Rolling Stone. Most newcomers, though, will find excitement in any sort of exposure. For that, I feel some sympathy for artists residing from Brooklyn. Sure, Grizzly Bear and TV on the Radio may be the area’s most popular contemporary acts, but that statement’s arguable nature simply shows how ample Brooklyn is with great acts; it is the rare instance of a local scene being both agreeably quantitative and qualitative. But it begs the questions, could a local scene ever be overpopulated by too many worthwhile acts? After all, we do need to go to work and get the recommended seven hours of sleep.

The obstacles for artists in artistically overcrowded localities are abundant, even if the issues often are prevailed by the privilege of living in an artistic community where inspiration is vastly accessible. In an area like Brooklyn though, I could only imagine the artists being more frustrated with the press’ selection process than the sheer concept of competition. To expose the already-exposed seems to be the norm, with superfluous addition of information (their favorite food, more influences, etc.) apparently compensating for the feeling of something fresh and exciting. For a stable artist intent on just creating music, this can be quite discouraging in the face of innovation. But for an artist like Kordan, who fuses a fresh and polished style of electro-rock with an urban-like rush, these deprived circumstances can be manipulated to his favor. When you have material as great as Kordan does in a place as thriving as Brooklyn, the experienced understand that patience is all one needs to eventually obtain success. Why I think Kordan’s success is imminent certainly has something to do with his music, but perhaps more so in how he reacts to the prospect of fame even if it has not arrived yet. It must be a city thing.

Kordan could modestly note that he’s opened for the likes of Cut Copy before selling any song or release, but the low-key Brooklynite does not approach success that way. He writes on his own blog about the art of others, not how his own project is on the verge of widespread recognition. Usually treading toward the avant-garde, featured artists on the blog like Pedro Vilas-Boas and Tatsuyuki Tanaka embody both the unknown and groundbreaking in the non-musical side of art. On the more audible end, Kordan is practically their equivalent. While working on a contemporary canvas that utilizes high-end electronic production to create shimmering works of memorable pop music, the embodiment of Kordan’s work is too distinctive and layered to be singularly grouped in the vein of electronic-pop. Like the avant-garde artists he adores and features, Kordan interprets and relays music differently than others within a similar realm. These include acts along the lines of Cut Copy and Chromatics, all very respectable electronic acts that infuse similar formulas of instrumentation and production but proceed to make their work individualistic through other, more discreet means.

While some electronic-rock acts utilize samples, stylistic fusions, and other forms of thematic quiltwork to establish cohesiveness, Kordan simplifies this dramatic struggle with precision. His debut EP, Fantasy Nation, contains a mere five tracks but each one possesses a different approach that summarizes Kordan’s intent beautifully. The EP’s self-titled cut is a translucent gem that takes the swift guitar work of Cut Copy and plasters it on the ’80s new-wave-inspired vocal techniques of groups like Cut Copy, who often worked their grandiose choruses using rhythmic prominence and abruptly increased vocal reverb. “Fantasy Nation”, along with several others on the EP, seems to incorporate guitar work that is not there for intricacy or dramatics, but rather as a supplementation of sorts. The rhythm section, powerful vocals, and subtle components of the great production is what truly establishes Kordan as something special. With “Fantasy Nation” serving as an up-beat replica of this decade’s trend in electronic-rock, the following “Tokyo Tears” is eventually more resounding as a somber look back at ’80s post-punk. The brooding bass line seems to pummel through the thick wave of reverb, making Kordan’s vocals nearly inaudible above being a moody whimper. When associated with the chilling guitar work though, it plays off extraordinary as one of the most ardently effective efforts on the EP.

“Slouchy Girl”, Fantasy Nation‘s closing number, is also noteworthy for being completely different than everything else on the release. With its strings, soft acoustics, and background coo’s, it almost sounds like Voxtrot acquired a stronger vocalist and started writing better songs. It is fun and catchy to be sure, and more than assurance that Kordan is vaster than a one-trick-pony. This phenomenal EP could have told you that by itself though. Fantasy Nation is one of the most memorable debut releases of the year, and listening to it shows why Cut Copy demanded Kordan to be their opening act last year after hearing the songs on this EP. Although Brooklyn’s bustle has prevented instantaneous exposure, the imminence of Kordan’s success can be easily heard through tracks like “Fantasy Nation” and “Tokyo Tears”. With artists like these, there is no such thing as an overpopulation of quality artists. As listeners, it should be our duty to sift through them in knowing that their locale provides more inspiration than most.

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Kordan – Fantasy Nation

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Kordan – Slouchy Girl

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Kordan – Tokyo Tears

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Any music fan can recognize the importance of collaboration in a finished product, regardless of whether they have the liner notes in front of them or not. Even in circumstances where one lead songwriter is in consummate control, there is always inspiration that derives from a willingness to accept others’ ideas as helpful intuition. Of course there have been legendary artists that have been stubborn as all hell, but most of them are still willing to admit that some influences and individuals had a prominent role in shaping memorable material. But what often goes unsuspected is the non-musical influence some of these people have, sometimes resulting in an indirect influence on the music itself. The importance of a loving family is inarguable, and to have certain artistic individuals surrounding you with no jealous intent or sense of corruption almost certainly proves beneficial. This is rare to be seen though, especially with many younger artists possessing the ideology that if they create something, the influence(s) are merely an afterthought. It also pertains to the indescribable enigma of chemistry, something that any great band can attest to having at some point in their career (for better or worse). To have a familial presence of fellow artists surrounding your ideas is a supportive way can only be beneficial, as long as all parties are genuine in their intent to aid one another in the formation and development of innovative ideas. And sometimes, it can turn into a band-like collaboration automatically as a result.

Le Loup is comprised of members that echo the indie-rock, DIY stereotype. They are all visibly talented musicians that aspire for great things in the realm of music, only delayed by lack of recognition and a pesky day job that requires them to sort through databases and PDF files. The allure of the stage life is much brighter, but we all have to pay for the groceries. Like any group, they have all been through their series of personal hardships and artistic ruts, but not like many others they are able to channel the negative energy into a creative flow that appears dependent on their incredible potential to work together. Between his job as a paralegal, songwriter Sam Simkoff has been honing has craft as a songwriter for years now. He gave birth to Le Loup in his bedroom and has steadily shared the inception with friends, most of them based out of the DC and Maryland area. He wrote songs throughout college and began moving around a bit after graduation, looking for ideas both as a songwriter and recent graduate with a sketchy job market looming. All throughout that time, he kept in touch with one of his best friends, Christian Ervin, and consistent sent him material in hopes of finding a mutual idea that exhibited the innovation and melodic precision they are both capable of. An electronic whiz, Ervin developed Simkoff’s initial songs into more expansive works that contained a more comprehensive scope of production while retaining Simkoff’s uniquely captivating songcraft. Simkoff sent the final product to Hardly Art, Sub Pop’s “sister label”, and they were signed shortly thereafter.

Le Loup’s 2007 debut, the ridiculously titled but underrated The Throne of the Third Heaven of the Nations’ Millennium General Assembly, was written primarily by Simkoff. Ervin did contribute to a few tracks, but it was mainly a DIY bedroom effort by Simkoff that relied heavily on banjos, synths, and other types of electronic experimentation. It received generally positive reviews but failed to reach the radar of most, mainly due to the fact that it was consistently of high quality but had no single that could achieve substantial radio-play. It would occasionally sound like experimental noise and then transform into a melodic pop song, suggesting somewhat of an indecisive technique despite the highly evident talents of both Simkoff and Ervin. Between then and now, Simkoff worked as a paralegal during the day and on his music at night, aiming toward a more expansive sound that was able to push the boundaries of contemporary innovation while showing off a more naturally spontaneous tone. The triumphs and errors of Le Loup’s debut made Simkoff realize that combining his talents with those of trusted friends could result in something extraordinary, and when you have friends that are as selfless and musically skilled as Simkoff’s then you should consider yourself fortunate. Their great chemistry is exhibited by the method of madness involved in creating their new album, Family. Appropriately enough, the band alternated between a remote cabin and basement, keeping Simkoff’s DIY methods in mind without relying on the singular ideas that make something a solo effort, rather than a collective one.

Family, as the name may suggest, was recorded in close-knit circumstances for a reason. That the five members retreated to a cable-less, internet-less, and social-less cabin in remote North Carolina was not just for fun; they wanted to create the most organic and authentic release they possibly could. The results certainly show, as Le Loup has seamlessly expanded their style from inconsistent experimental electronics to a more organic, satisfying result that can still be called experimental but now with a sense of diversity and musicianship that was largely missing on the debut. A song like “Grow” certainly shows why they have been bringing up so many Animal Collective comparisons lately, as it flaunts Simkoff’s breezy vocals over heavily involved percussion and backing vocals inspired by Afro-pop. There is still an electronic element here, but seeing actual percussion (instead of drum machines) and guitars (instead of samples) has done wonders for a project that just needed the extra collaborative push to put it in the spotlight. “Beach Town” has been making its way around the blogosphere for good reason; Simkoff grows from a whisper to an emotive whimper over the sound of seagulls, hectic percussion, and bubbling synth pad. The latter begins to resemble a sitar during its latter movements, again reflecting the apparent world music influence that Le Loup possesses. At times, songs resemble an Asian tribal chant like in “Saddle Mountains”. Others, especially “Beach Town”, invoke rare detailing to modern psychedelic pop in which world music and western pop collide to create majestic pieces of beauty. Family is full of tracks like these. Sure, experience helped in making this a great achievement and great improvement upon Le Loup’s debut, but one must not neglect the familial atmosphere surrounding this album. The stunning detail and stylistic evolution on Family certainly wear such chemistry well.

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Le Loup – Beach Town

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Le Loup – Grow

Le Loup – Saddle Mountains

***TRACKS REMOVED UPON THE REQUEST OF HARDLY ART***

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It is difficult to criticize naming a band after a fruit. The edible sensations encompass a distinctive color and familiar taste, all while serving as a delightfully refreshing treat that caters to a broad audience. Most people do not just tire of enjoying fruit one day; I have never found myself taking an extended break from apples or oranges, or refusing to eat fruit because of dietary or political concerns. Unlike meat, there are no vendettas against the harmless nature of fruits. I personally enjoy both herbivorous and carnivorous food selections, but the universal amiability of fruits is something that is hard to deny. When brainstorming band names, I am sure the four guys from Pomegranates had something similar in mind. The name already allowed for a specific color to represent any band logo, t-shirt, or memorabilia, but even more importantly it proved indicative of a style that coincides with the familiarity of contemporary indie-pop but exposes it in a way that is refreshing and memorable. Like the fruit they so effortlessly elude to in their namesake, Pomegrantes’ music is a delightful entity that retains both its familiar and refreshingly new qualities to result in something irresistible and wholesomely accessible. It also helps that their CD case seems to smell vaguely of pomegranates, even if my mind is just playing tricks on me at this point.

In addition to their tastefully modernistic sound, Pomegranates run among a crowd of current bands that appeal to the music blogosphere in a big way. They are just as receptive toward the power of music blogs as the bloggers themselves; they note on their MySpace that reaching #11 on Elbo.ws’ blog aggregate is one of their proudest accomplishments. Listening to Pomegranates, it is hard to blame them for valuing this demographic so importantly. Groups like Islands, Wavves, French Kicks, and a countless number of others appear indebted to blogs for their well-deserved but arguably overblown status of success, primarily because they all tread in stylistic waters that are ambitious enough to be classified as avant-garde but also accessible enough to appear on most radio stations without a hitch. The specifics vary from artist to artist, but Pomegranates certainly appear to be on the verge of a breakthrough with the flexible indie-pop presented on their second album, Everybody, Come Outside!. The instrumentation rarely alternates between songs, with an assortment of guitars and keys often leading the way, but it only goes to show Pomegranates’ songwriting strengths even more prominently. Their style of indie-rock is by no means eclectically impressive or groundbreaking, but the things that they do with such familiar components are what separates Pomegranates from most of their contemporaries.

Like most groups of a blog-friendly indie-rock vein, the vocals in Pomegranates are vital to the success of their songs. Since influences seem to play a larger role than innovation in their style, it seems mandatory in these types of groups for the vocals to encompass proper ardency and harmonic flexibility without resorting to the clichéd components of drenched reverb or pitch modification. In Pomegranates, Joey Cook’s lead vocals are comparable to Phoenix’s Thomas Mars, although Cook retains a warmer and more sincere presence that appears to owe more to ’60s British pop in the vein of Ray Davies than modern-day indie-rock. There is plenty of angst in “Jerusalem Had a Bad Day” that is eerily reminiscent of Modest Mouse’s Isaac Brock and “384 BC” delivers some Conor Oberst-like drama-folk, but the bulk of Everybody, Come Outside! finds Pomegranates sitting in territory that benefits more from chirping guitars, twinkling keyboard melodies, and frantic percussion. Some eclectic qualities are certainly displayed on the album, but the direction of lead single “Corriander” coincides more with the brisk interpretation of summery indie-rock that proves more synonymous with Pomegranates’ radio-friendly contemporaries. This does not mean it is by any means generic though, as the song benefits from some fluttering guitar work and serene atmospherics that are contrary to the simplistic expectations surrounding most of today’s indie-pop.

With a bubbly bass line, hushed vocals, and a plethora of slick guitar progressions, “Corriander” accessibly establishes Pomegranates’ glistening style. The style itself traces back to early ‘90s alt-rock in the retrospective vein of Yo La Tengo and even Sonic Youth, with the larger emphasis on pop being indicative of current trends in music. Pomegranates keep these influences in mind with all the French Kicks’, Strokes’, and Phoenix’s in the world, allowing for a very enjoyable fusion of early ‘90s alternative with modernistic indie-pop often controlling the concise song structures and instantaneously enjoyable harmonies. “This Land Used to Be My Land” shows off some ambitious guitar work and recalls the days of British ‘60s pop music, despite for a chorus that allows Cook to heighten his pitch and resort to the twinkling of keys and lucid guitar work. “Svaatzi Uutsi” is also worth noting, serving as a tidy and stylistically fulfilling instrumental that plays like an enjoyable intermisson on the album. Varying influences interweave themselves subtly into the song structures, whether it is the prominently explosive power-pop and subtly rhythmic post-punk on “Southern Ocean” or the traditional acoustical folk interlaced with an exotic far-eastern melody on “Sail (Away with Me)”. With summer about to arrive, Pomegranates’ Everybody, Come Outside! is an excellent album for the season, bustling with illuminating melodies and excellent songwriting that allows Pomegranates’ style of indie-pop to flourish with each passing song. There are no particular songs on the album that will make Pomegranates the next Strokes, but Everybody, Come Outside! contains utmost consistency throughout that will likely place them among the same tier as groups like French Kicks and Phoenix. Great pop music with slight stylistic variations is what these groups do best, and Pomegranates is no different.

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Pomegranates – Corriander

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Pomegranates – Southern Ocean

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Pomegranates – Svaatzi Uutsi

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Belle & Sebastian have always been one of the finest examples of how simplicity and intricacy are not exclusive entities in music. The Glasgow-based group’s melodies have always been extremely accessible; the arrangements feature consuming assortments of keys and orchestral elements that are smoothly integrated under Stuart Murdoch’s wistful, choir boy-like vocals. His delivery is filled with a harmonically satisfying touch of innocence, making his elaborate lyrical content catch many first-time listeners off guard when they come to expect stories of generic romance. Murdoch’s accessible exterior is upheld by a thought-provoking interior that has done extraordinary justice on the common perception of Belle & Sebastian. Murdoch is a gifted songwriter and most of his content exceeds indie-pop contemporaries by a long mile, but it is his subtle ambition that has made Belle & Sebastian one of the most recognizable groups of the indie-pop era. Murdoch’s touches of conceptual and metaphorical brilliance within an instantaneously accessible vein of pop music has earned them rampant comparisons to Simon & Garfunkel. They were responsible for bringing an accessible but poetically invigorating form of folk-rock to the masses in the late ‘60s, and Belle & Sebastian did similarly in the late ‘90s with their blissful interpretation of indie-pop. Their success has continued this decade, and a new project from Murdoch is further indication of his willingness to fuse a simple concept with enjoyable intricacies that are quite easy to overlook.

It is almost painful for music fans to recognize that there are thousands of songs written by legendary artists that will never be uncovered, all because the artist deemed the material not suitable enough for a certain album or style that was synonymous with them or their label. Murdoch has released seven albums and numerous EPs since 1996, so his work ethic is of no question. It also means that, like many other musicians, he likely has a bunch of songs lying around that will never see the light of day. Belle & Sebastian’s remarkable consistency shows that they comprehend quality though, so I doubt Murdoch could go without releasing something worthwhile if he has it on his shelf. Murdoch revealed his initial intentions surrounding his new project, God Help the Girl, in August 2007, stating in a blog entry that he was looking for three vocalists (two girls, one guy) to help him with it. Contestants submitted a self-portrait and a recording of their vocals over instrumental versions of two Belle & Sebastian songs, “Funny Little Frog” and “The Psychiatrist Is In.” Belle & Sebastian are typically seen as rather low-key in their recording methods, rarely reaching for the grandiose or overly spectacular. But this method, while different, coincides with the group’s personable music in that they do not need big names to achieve success. In fact, one of the main stars on God Help the Girl is making her first major appearance.

For God Help the Girl, the style of music may be a tinge different, but the level of quality remains the same. The official web site coins God Help the Girl as a mixture of “musicals, sixties’ girl groups, eighties’ indie and, most of all, classic pop records.” The charm of Murdoch’s songwriting and the Belle & Sebastian band’s background instrumentation is familiar and constantly refreshing, but the additional emphasis on the girl-group pop ideology provides a fascinating flux toward Murdoch’s chirpy indie-pop or acoustical tales. Catherine Ireton won the user-submitted grand prize and is the lead vocalist on most of the project’s album, presenting an extremely powerful voice that is ardent enough to fit both in the girl groups of the ‘60s and the fashionable indie-rock of the ‘80s. If her voice sounds familiar to Belle & Sebastian fans then that is because she provided backing vocals on The Life Pursuit’s “White Collar Boy.” It is not all Ireton and Murdoch on the album though, as Belle & Sebastian’s fame has admittedly awarded them with some privileges. A 45-piece orchestra directed by Rick Wentworth (Withnail & I) appears throughout the album, and The Divine Comedy’s Neil Hannon lends his orchestral-pop chops on the highly amusing “Perfection as a Hipster.” Hannon and Murdoch, both brilliant songwriters in their own right, provide for a fantastic collaboration that capitalizes on both of their oddball pop appeal. In addition to the excellent collection of songs on God Help the Girl, it eludes to several potential collaborative successes; Hannon-Murdoch, Murdoch-Ireton, and even Hannon-Ireton (as shown on “Perfection as Hipster”) are all successful collaborations, which serves appropriate on an album that shows collaboration as an excellent practice when under the watchful eyes of someone as talented as Murdoch.

In regard to the correspondence between Murdoch, Ireton, and their shared girl-group fetish, the self-titled track plays with the clichés of girl groups while maintaining originality, modernistic relevance, and the majestic pop songwriting that one could come to expect on any great Belle & Sebastian album. “There is no way I’m looking for a boyfriend,” Ireton begins the track, her vocals prominent over a poppy bass line and a combination of subdued guitars and keys. In typical ‘60s pop fashion, the strings kick in during the chorus as Ireton unveils the song’s hook in excellent fashion. The lyrical content is more straightforward than one would expect from Murdoch, but one has to keep in mind the track’s resemblance to girl-group pop. If there were any interpretable tangents, it would have been a detriment. Also, since God Help the Girl is designed to serve as the basis and soundtrack for a Murdoch-written movie by the same name, one would have to assume that all the content is precisely crafted here. The film starts production in 2010 and though no one can say for sure whether it will be good or not, the one certainty is that the film’s soundtrack will be great.

“Musicians, Please Take Heed” is another stroke of excellence, being more brooding and developmental than most of the tracks on the album. The transition in mood is reminiscent of how The Shangri-Las were able to infuse a girl-group delivery into songs that were bleaker than the ‘60s pop stereotype suggests. The elaborate explanation of hallucinogens and drug-induced hallucinations is more indicative of Murdoch’s usual intricacies here, and the sweeping strings over the steady woodwinds and brisk bass line provide excellent support for a track that serves as one of the biggest stylistic successes on the album. Upon my first several listens though, God Help the Girl shows that it certainly has what it takes to rank among Belle & Sebastian’s finest material, even if Murdoch claims it too be different from his usual material. Regardless, it succeeds tremendously and echoes the similar sentiments of consistency, melodic appeal, and replay-ability that have made Belle & Sebastian household names in indie-pop. If one is a fan of either girl groups or Belle & Sebastian, this one is definitely worth picking up when it is released on June 22nd. And if you are a fan of both, this may end up being one of your yearly favorites.

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God Help the Girl – God Help the Girl

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God Help the Girl – Musicians, Please Take Heed

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God Help the Girl – Perfection as a Hipster

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Treading the thin line between generic cheesiness and captivating ingenuity is a common practice for contemporary pop artists, especially now that the genre has been prevalent in media for numerous decades. We have seen brilliant pop music in a variety of forms, whether in the form of Beatles’ integration of rock ‘n’ roll or ABBA’s more conventional utilization of wistful keys and synthesizers. And, as a result, it is a more common practice to label a pop artist as an imitator over that of an innovator due to the average listener’s preordained familiarity with it. With this in mind, it would be difficult to expect an artist who specializes in a style or method that is previously known to masses of listeners to obtain success as a sculptor of music in their respective decade. So, is this cause to discard them entirely? The answer depends on the opinion of the individual, as some are more reluctant to allow contemporary modifications of familiarity to embrace their ears than others. While those that opt to engage in a constant pursuit of stylistic innovation may not be immediately enamored with Music Go Music, a more thorough look at their overall attributes should result in acceptance from both contrasting parties.

While the LA-based trio of Music Go Music does specialize in a form of glittery, synth-aided pop that ‘70s influences like ABBA and Electric Light Orchestra made so renowned in their heyday, there is little doubt surrounding the creativity of this elusive trio. Their innovation does not lie in one specific style, but rather the way in which they combine influences of the past to create something that is enthralling and filled with hooks. The snappy use of guitars in “Light of Love” alludes to a slight glam-rock influence, while the bass line remains more reminiscent of rockabilly. These two attributes are hidden under a lead melody based in keys and synths that should immediately remind listeners of ABBA. The fact that lead vocalist Gala Bell sounds like a cousin of ABBA’s Agnetha Fältskog brings that comparison to life as well. As for the actual identity of one “Gala Bell”, the three members of Music Go Music actually use aliases as a means of disguise. Bell is apparently the lead vocalist for a somewhat reputable indie-rock group entirely separate of Music Go Music, and she decided to go under a different name entirely in an effort to separate the two. Blogs and fans alike have attempted to guess the identity of Bell over the past several months, but there has been no breakthrough as of yet. If the voice sounds eerily familiar and you can pinpoint the source, feel free to share in the comments below.

While a majority of groups that are based in aliases and melodramatic mystique are often resolved to be an effortless side project or form of comedic output, Music Go Music are a rare breed in that they are truly looking to expand their stylistic boundaries in addition to finding success. Their first glimpses of it have already arrived, with the Indiana-based Secretly Canadian signing the group before the release of their first EP, Light of Love, in May of 2008. Since then, the trio has released two more EPs in October and, most recently, in January. Like the debuting Light of Love, Reach Out and Warm in the Shadows feature three tracks that capitalize on the glimmer and grace of the trio’s infectious fusion of synth-pop, dance, and glam-rock. Pursuing the route of an independent group who achieves hype through a string of short EPs, it has certainly benefited Music Go Music by placing them with a reputable label and earning a variety of amiable comparisons. In fact, it would be a challenge to find a review or feature of them that does not mention either ABBA or ELO, as such influences are distinctively intertwined in a manner that renders itself unavoidable. That Music Go Music are able to attract these comparisons while maintaining their sense of originality is impressive in itself, but that these influences are so enjoyably implemented without their sound being sacrificed in the process is part of a tactful art that is arguably the most defining factor in Music Go Music’s successful sound.

Considering that the three available EPs from Music Go Music are so similar in approach, effectiveness, and even cover art (each features the same landscape of a sunset, though at different times of the day), many will likely wonder why they did not just bother with putting out all nine songs as one release. Well, word is that the trio may intend to keep the three self-titled tracks from each EP and include it on a forthcoming album. If that were to happen, listeners would at least be guaranteed of three excellent tracks. Their most recent self-titled, “Warm in the Shadows”, is a nine-minute epic that sees the group at their most ambitious, with a structure reminiscent of house music allowing each instrument to gradually build upon one another until a melodic explosion of sorts that is embedded into the listener’s brain. “What kind of heart would break so easy as my own?” Bell asks over a thunderous bass and sprinkling of synths. The answer is never quite resolved, but with a variety of guitar solos and surprisingly effective melodic alterations occurring throughout the song, it hardly matter. Though some may find it too long for their own liking, it is hard not to respect ‘Warm in the Shadows” for its pure stylistic vision.

“Reach Out” introduces a more raucous side of the band, even if the songwriting and presentation is just as easy to wade through as star-studded relaxers like “Light of Love”. If anything though, “Reach Out” may be the best example of Music Go Music’s eclectic qualities, an attribute that will very likely be overlooked when their eventual full-length captures the attention of many. When a funk progression kicks in at about 03:42, this should become quite evident. A guitar solo and smattering of organs take over the minute-long instrumental section before an eerie acoustic guitar takes the lead, signaling the entry of Bell’s vocals once again. “Let my voice be your guide, let my love be alive,” Bell sings, providing a sparse moment of tranquility before the roaring guitars commence again over swirling organs and a thumping bass. With such powerful energy within the instrumentation around her, it is hard not to heed Bell’s forceful words.

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Music Go Music – Light of Love

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Music Go Music – Warm in the Shadows

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Music Go Music – Reach Out

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All bands have to start somewhere, and for Cymbals Eat Guitars it was as a high school band that dabbled mostly in Weezer covers (from their first two albums, fortunately). Listening to the music of Cymbals Eat Guitars in their current state though, Weezer is practically the farthest thing away from them in the indie-rock stratosphere. Though Cymbals Eat Guitars may immediately come across as a group whose intensity relays Modest Mouse’s early classics like The Lonesome Crowded West or The Wrens’ Secaucus, their overall sound actually appears to be more indebted to a wider variety of successful indie-rock trends of the past several years. They incorporate such aspects – whether it is sweeping strings, alternating song structures, or tonal experimentation – into a sound that proves perfectly depictive of what was so great about indie-rock music in the late ‘90s and early ‘00s. It is rather alarming that I find myself referring to those periods of time in such a fashion after they concluded less than ten years ago, but there is no denying the trends in independent music that have the potential to mold new artists, be it for better or worse. In the case of Cymbals Eat Guitars, their impressive stylistic approach stems not only off of their progressive talents as musicians, but also in their aptitude as fans themselves.

During the process in which Cymbals Eat Guitars evolved from a cover-centric duo to a wildly innovative group of their own, lead songwriter and vocalist Joseph D’Agostino advanced his own skills as both a listener and performer of music. During high school, he and drummer Matt Miller put together a very short LP under the name “Joseph Ferocious”, an alias that might as well apply to D’Agostino’s current work as well. He has always possessed a distinctively ardent vocal delivery, one that sits somewhere between the quivering croon of Isaac Brock, the vibrant angst of The Wrens’ Charles Bissell, and the vibrancy of Stephen Malkmus (another clear influence). When considering that D’Agostino’s songwriting also expresses a similar form of ferocity and hook-filled energy, it would have probably made sense to carry on with the “Joseph Ferocious” tag a bit longer. As with most high school bands though, distance became the primary factor in the eventual dissolution of the project after D’Agostino and Miller found themselves in college in separate states. After a few months, D’Agostino began writing songs again, intending to have his primary influence, Charles Bissell (of Wrens fame), produce them. For the task of recruiting a bassist, guitarist, and keyboardist for his upcoming session, he looked toward a somewhat conventional route: Craigslist. The site seems to have more bad deals than good ones, but as D’Agostino puts it, he got lucky with his choices.

After responding to D’Agostino’s Craigslist ad, bassist Neil Berenholz, guitarist Matt Cohen, and keyboardist Daniel Baer joined after they became fascinated by the 19-year-old’s songwriting and level of intellect. That’s right – when Cymbals Eat Guitars officially formed in February of 2008, D’Agostino was a mere teenager. D’Agostino’s former musical companion in high school, drummer Matt Miller, also joined the project shortly thereafter. The fact that two members are presently in their early 20s and the other two are in their early 30s has been no hindrance to the band though. After all, both D’Agostino and Miller are way beyond their years as capable musicians. If anything, the varying levels of experience contributes to their unique sound even more, even if two of the five members occasionally get irritated that they are the only ones in the band that are unable to legally purchase alcohol. Humorous incidents aside though, the chemistry within the group is undeniable, and that certainly is shown on their extremely impressive debut, Why There Are Mountains. I will say this much: There is a reason that a musician as respected as Bissell has went on to say that Cymbals Eat Guitar “will end up indie famous within the year”.

With an opener like “And the Hazy Sea”, it is hard to not take Bissell’s quotation seriously. A flurry of guitars and D’Agostino’s yelp-ish croon take charge during the intro as a singularly possessive guitar progression serves as an abrupt bridge between the song’s true introduction. “Do you know how many cities have been built?” D’Agostino asks. He is followed immediately by some brilliant songwriting that remains both unpredictable and convincingly effective, featuring both stark smatterings of keys and explosive arrays of guitars. His vocal delivery often adjusts accordingly, especially during the song’s fiery chorus. That part in particular remains reminiscent of Modest Mouse, but the song’s structural genius and melodic excellence appears more indicative of an idolized act in the Wrens. “Indiana” is just as effective, with the most notable aspect being the mixture of keys and horns that cleverly fuse together to create something that is wholesomely infectious. In addition to the dramatically effective accompaniment of strings in “Cold Spring” and the guitar feedback-led allure of “What Dogs See”, it sees Cymbals Eat Guitars at their most subdued. This takes nothing away from the overall quality though, as it sits equally alongside infectiously vigorous greats like “Indiana” and the brisk “Wind Phoenix”, the latter of which sees an amiably successful mixture of keys and guitars show how Cymbals Eat Guitars can maintain their accessibility while still being bold and unpredictable. Much of Why There Are Mountains speaks a similar sentiment, coinciding with Bissell’s statement that it would be a shock if Cymbals Eat Guitars went a year without some sort of unavoidable acclaim.

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Cymbals Eat Guitars – Indiana

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Cymbals Eat Guitars – And the Hazy Sea

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Cymbals Eat Guitars – Cold Spring

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