Some notable acts include James Blake, Beach House, Day Of The Dead (Aaron Desner of the National and his brother Bryce performing Grateful Dead songs), Mavis Staples, and (of course) Bon Iver.

You can watch the lineup announcement video and see the full poster below.

The post Bon Iver Announces Eaux Claires Festival Lineup appeared first on Obscure Sound: Indie Music Blog.

Earlier last week, a short clip was found showing Bon Iver’s Justin Vernon working out with his trainer Jeff Rogers. MTV Hive has confirmed that the video is not a fluke. In fact, it’s a portion of a full-length workout DVD directed by Dan Huiting, who also directed Vernon’s “Calgary” video.

The fitness regime is set to music from Bon Iver, Megafaun, and other favorite artists of Vernon and Huiting. Of the new project, Huiting said, “You can work out to cool music instead of something stupid…If you’re an indie rock kid and you put that music on while you’re running on the treadmill, this is an actual circuit… It’s in Justin’s yard, where he grew up, and it’s them doing these three circuit exercises.” The DVD features a commentary function that can be turned off so that the viewer may just listen to the music and watch the physical moves.

Huiting is currently working on a feature-length documentary focusing on Justin Vernon’s life. Huiting has been following Vernon around with a camera for the documentary and pulled the majority of his footage for the workout video from the documentary footage.

Bon Iver – Creature Fear

Official Site / BUY

The post Bon Iver Workout Clip Detailed appeared first on Obscure Sound: Indie Music Blog.

#50 to 41                   #40 to 31                   #30 to 21                  #20 to 11                   #10 to 01

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40. The Mountain Goats – All Eternals Deck

Few acts are able to pull off a front-and-center vocal delivery like The Mountain Goats. Frontman John Darnielle is a constant emission of confidence, never weary of occasional discordance or awkward fluctuations in pitch due to his stringy yet endearing voice. His voice is a nasally twang that probably sounds like a complaining heretic to some, but closer inspection reveals the sort of idiosyncratic charm that builds cult followings — which is exactly what The Mountain Goats have at this point. These fans already know that Darnielle surgically plants his lyrical quips in just the right places, with unconventional imagery and similes supporting characters ranging from the sanguine to disgustingly malicious. All Eternals Deck features the group’s widest range of these yet. Indication of the the malicious is best heard on “The Autopsy Garland”. A beautifully poignant collection of acoustic guitars and a heavy twang bass lead the way. “Fat rich men love their 12-year-olds /Deco cufflinks and cognac by the glass,” he sings, affirming with the lethal statement “You don’t wanna see these guys without their masks on.” That line points to the album’s theme, being that appearances and occupations are no indication of good or evil. Opener “Damn These Vampires” emphasizes the most dangerous aspect of human corruption: that it’s too late by the time you recognize it. You can’t undo a vampire bite, nor can one corruption, but there’s just the right amount of bouncy pop – like “Prowl Great Cain” or “High Hawk Season” — to numb the pain.

The Mountain Goats – Prowl Great Cain

MP3: The Mountain Goats – Damn These Vampires

Official Site / BUY

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39. Drake – Take Care

Prior to Take Care, it was easy to look at Drake and group him in with every other commercial vehicle. Aubrey Graham an actor-turned-rapper who put out some polished singles, and released an album with some of those singles and filler. Skeptics assumed he would keep repeating this process, like many other Young Money recruits. After the catchy but inconsistent Thank Me Later, it was a safe assumption that Drake would land a few successful radio singles and maintain a small following. Nothing more. Not everyone guessed he could release something as emotionally mature and coherent as Take Care, an album that prioritizes something absent in much of today’s commercial hip-hop music: atmosphere and mood. Noah Shebib turns in one of the best production jobs of 2011 by highlighting Drake’s rhythmic strengths over both downtempo and frenetic electronica, ranging from the ethereal piano minimalism of “Over My Dead Body” to the fleeting arpeggio-led electro-clash of “Under Ground Kings”. In the latter, evidence of Shebib’s breathtaking production is best heard at the two-minute mark, when new samples and orchestral additions are unveiled with stunning precision, as if submerging from a slumber. A similar technique is employed during the chorus of “We’ll Be Fine”, an equally exciting effort that provides a seamless counterpart to darker, more brooding efforts. The tracks on Take Care have a knack for starting out minimally, only to reveal themselves as powerful hip-hop anthems with intelligent glimpses of soul, R&B, and even dubstep. Drake’s chops as an MC are at their most refined here, though Take Care is a collaborative success at heart. Shebib’s stellar production should be just as honored.

MP3: Drake – Over My Dead Body (Star Slinger Jetlag Edit)

Drake – Shot For Me

Official Site / BUY

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38. Cut Copy – Zonoscope

Cut Copy’s 2008 release, In Ghost Colours, is one of the best electronic albums of the past decade. It’s more suitable to classify as an “electronic album”, rather than choosing from a dozen of sub-genres. The Australian four-piece doesn’t fall into any particular categorical realm. They’re a rock band with an astute grasp of electronic production, and thus they have an upper hand over many groups looking to infuse electro polish into a rock sound, or vice versa. Superfluous stylistic additions never appear on a Cut Copy record, yet they’re able to diversify their sound without growing dull. Zonoscope lacks the immediate hit appeal and non-stop fun of In Ghost Colours, though it’s to be expected since the structures are more schizophrenic and the instrumental arsenals more rock-oriented. The hooks aren’t quite as a discernible, but the songs as a whole stand stronger on their own. One of the highlights, “Where I’m Going”, isn’t electronic by any means. It’s a chirpy psych-pop charmer with a dreamy verse recalling the acid-washed ’60s odes of Super Furry Animals, with hints of George Harrison’s warbling croon. Cut Copy could craft a guitar-heavy psych-rock album successfully if they chose, but they’d rather jump around. If we’re comparing it to the cohesive In Ghost Colours, this is a detriment to Zonoscope. The wide assortment of intents, whether it’s asserting quick hooks in the fleeting psych-pop gems like “Where I’m Going” or building up momentous transitions in trickling electro epics like “Pharaohs & Pyramids”, listeners are more prone to get overwhelmed on Zonoscope than any other Cut Copy album. Still, it’s being overwhelmed in the sense of taking an extra hit or two. Once the high fades just a tad, and a preemptive listen or two grants listeners the proper chronological and stylistic foreknowledge, Zonoscope is free of anxiety and full of memorable moments.

Cut Copy – Alisa

MP3: Cut Copy – Where I’m Going

Official Site / BUY

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37. Bon Iver – Bon Iver

Justin Vernon, a.k.a. Bon Iver, has expanded his instrumental horizons by using a variety of new tools across this eponymous release, with mostly successful results. Examples include a saxophone on “Minnesota, WI”, a subtle electric guitar on “Towers”, and the manipulation of downtempo beats on “Michicant”. Then there’s “Calgary”, Bon Iver’s grandest song to date. It borders on prog-rock, but stays restrained throughout. It’s one of the most satisfying tracks on Bon Iver, and a stellar representation of how Vernon has grown as an artist. It’s also fun to search for sounds influenced by Vernon’s many side projects and collaborations. Volcano Choir’s ambient soundscapes are present on “Beth / Rest”, a throwback to early ’90s soft rock via David Crosby or (shudder) Michael Bolton that actually works. “Perth”, the opener, is a perfect example of Gayngs-esque distortions. Even Kanye’s influence is heard on “Hinnom, TX”, with rapid key tremolos accentuating Vernon’s heavily reverbed vocals – which later expand into a TVOTR-like flurry of soulful, brass-accented bliss. Most Bon Iver tracks don’t build up so much as they meander through melodies. This is not the case on “Towers”, arguably the best track on the album. It’s a sweeping, swelling, and emotional jam that’s more upbeat than usual. Bon Iver is a brighter album than For Emma, Forever Ago. The songs reveal a more optimistic Vernon that hasn’t necessarily been holed up in a cabin all winter with nothing but trees surrounding him. Much like For Emma, some tracks — like “Holocene” and “Wash.” — meander a bit too much, but even these efforts provide a calmness that compliments the highs and lows of the standout tracks. Review>>>

Bon Iver – Wash.

Bon Iver – Holocene

Official Site / MySpace / BUY

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36. Marissa Nadler – Marissa Nadler

Marissa Nadler’s voice is too conventionally beautiful to be labeled as freak-folk. If you’re looking for some idiosyncratic novelty, look elsewhere. She’s a traditional folkie armed with the retrospective wordplay of someone with several lives. Nadler’s prevous albums put her on display as a master of depicting the romantic essence: falling in love, being in love, and falling out of it. She accomplishes this with stark folk minimalism, accompanying a delicate voice drowned in reverb like a Hope Sandoval or Vashti Bunyan. Some past efforts, like “Mary Come Alive”, made use of percussion, electric guitars, and creaky synths, but a similarly direct form of this expansiveness is rare for Nadler. On her eponymous album, she neither toys with direct stylistic expansion nor remains entrenched in folk minimalism. Rather, these songs build with the heart-tugging metaphorical lyrics guiding their way. Nothing ever sounds forced upon the listener. Opener “In Your Lair, Bear” is a great example of Nadler’s delicate naturalism within her song structures. Using changing seasons as a metaphor for changing relationships, it begins with a singular acoustic interlude as Nadler asks “Where did you go, when the snow fell that year?” A soft pull of strings burst forth when Nadler continues, “And then summer came and he wore you like a charm.” The incompatibility of relationships is one thing to sing about, but Nadler’s comparison of their imminence to the coming of seasons is particularly heartbreaking. The fresh optimism of “The Sun Always Reminds Me of You”, and its rich country twang, is almost a necessary follow-up… both for emotional stability, and to show that Nadler’s strengths reach well beyond melancholic extractions. It’s one of several tracks you simply won’t forget on Marissa Nadler, a gorgeous album from her as usual.

MP3: Marissa Nadler – The Sun Always Reminds Me of You

MP3: Marissa Nadler – Baby I Will Leave You in the Morning

Official Site / BUY

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35. mr. Gnome – Madness in Miniature

When mr. Gnome were at their best in the past, it involved post-rock explosives with vocalist Nicole Barille stretching her exceptional vocal range to the limits. The technical skill of her guitar work and drummer/pianist Sam Meister was always apparent, but sometimes the songs struggled in letting loose and allowing melodies to reign over virtuosity. Madness in Miniature is a different story. Standout “House of Circles” manages to inject freak-folk into a frenzied alt-rock arsenal. Barille’s voice ascends from a moaning whimper into a confident snarl, both accompanied by a backing vocal harmony producing a ghostly yet ethereal effect; the banshee-like ‘ooh’ing is a perfect fit. A clashing between the folk-leaning verses and explosions of alt-rock guitars comes to full fruition slightly past the three-minute mark. Introduced by an epic percussive build-up that marches along in a bluesy White Stripes fashion – and complemented by a quivering Barille, who puts in one of her best vocal performances yet – the conclusion to “House of Circles” is a rampant stunner that embodies mr. Gnome’s energy and structurally innovative tendencies. While the first few tracks show Madness in Miniature as a continuous fusion of lighter rock elements with thunderous post-rock eruptions waiting at every turn, the second half of the album contains some efforts that could be considered ballads – at least by mr. Gnome’s standards. The aptly titled “Winter” utilizes crystallized keys and high-pitched note sequences, delivering something that sounds like the alternative equivalent of Sally Shapiro’s similarly arctic-sounding work. The wavering use of tremolo in the backing keys also deliveries a dream-pop vibe typical of Beach House, especially with Barille now alternating between a soft-spoken quiver and emotive proclamations. This is mr Gnome’s most successful release, and one that should propel them to a big 2012. Review>>>

MP3: mr. Gnome – Winter

mr. Gnome – House of Circles

Official Site / BUY

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34. Panda Bear – Tomboy

Even though the instrumentation on Tomboy is more immediate and intimate than on Noah Lennox’s work with Animal Collective, his vocals sound more distant than ever. Lennox chose to pile on the reverb and overdubs to nearly obscene amounts. In many ways, Tomboy is a soul-bearing experience for Lennox, a point of contention for those who aren’t particularly tuned to the same spiritual compass as he is. It’s an album torn down the middle; half of the tracks are beat-heavy dance numbers, while the other half consists of near-madrigal drones. Repetition plays an even greater role than before here, as Lennox’s appeal on this record seems to weigh solely on whether or not his drones reach epiphany. While they most often do, there are times I’m left waiting for the sunlight to break through the heavily clouded atmosphere of some of these tracks. Needless to say, Tomboy works better as a headphone-listening album, drowning you in its vast ocean of sounds and rhythms. Tomboy’s more droning tracks ( “Drone” or “Scheherezade”) are as cold and indirect as a cathedral choir. While beautiful, Lennox’s vocals are so distant from the listener that it’s hard to feel like Lennox is singing to you and not at you. On the other hand, groovier numbers such as “Slow Motion” and “Last Night at the Jetty” provide a simpler and more enjoyable approach to Lennox’s pop sensibilities. His same sense of slathered sunshine and “good vibes” accompany some truly fantastic melodies. Tomboy is still terribly catchy whenever it gains focus, and more often than not it does. If ordinary life is a trip, then Tomboy is the drug — even if its high wears off rather quickly. Review>>>

Panda Bear – Last Night at the Jetty

Panda Bear – Afterburner

MySpace / BUY

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33. Cass McCombs – Humor Risk

Cass McCombs released two albums this year: the sparsely somber Wit’s End and, a few months later, Humor Risk. Electric guitars and percussion are instrumentally dominant on the latter, unlike the emphasis on keys, acoustics, and makeshift kitchen appliances featured throughout Wit’s End. Efforts like “To Every Man His Chimera” and “Mariah” provide the dose of brooding melancholy that McCombs fans have come to expect, but Humor Risk is otherwise more lighthearted and repetitive than its slightly elder sibling.  In separating the two, it is hardly surprising that the lyrical wit of McCombs came up with something like this: “Wit’s End is like a stew; Humor Risk is the raw food diet.” While the first few tracks are typical McCombs fare, the final six songs are as strong as anything he has done, specifically the meat of the album. From “The Living Word” to the end of “Robin Egg Blue” is flawless. The album’s literal and emotional centerpiece, “To Every Man His Chimera”, would have been right at home on Wit’s End. Still, between the chugging infectious folk-pop of “The Same Thing” and the acoustically upbeat “Robin Egg Blue”, it provides a seamless sequential progression on Humor Risk. Apart from the heart-tugging start-stop patterns that McCombs employs, the main draw here is the excellent infusion of music into lyrics. Mentions of ghosts, failed weddings, and being stuck in a one-dimensional realm sounds like the plot to a Korean horror film, but McCombs incorporates the vague lyrical sentiments into a hazily retrospective guitar-led stroke of accompanying genius without getting overly fantastical. Although Wit’s End is more cohesive atmospherically and production-wise, Humor Risk is the best representation of McCombs as a songwriter in the “classic” folk-rock sense, which never goes stale. Review>>>

Official Site / BUY

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32. Colin Stetson – New History Warfare, Vol 2: Judges

New History Warfare Vol. 2: Judges could be written off as some sort of avant-jazz concoction, though it would be downplaying its feats significantly. There are sounds collected here that are refreshingly original and exposed through Stetson’s iconoclastic methodology. Imbued with such vivid spontaneity (no overdubs or multiple takes were employed), they seem to only be possible through the power of abstract, unhinged thought. With twenty-something microphones planted around Stetson as foliage, the sounds of violent clacking keys, the steady breath of Stetson, and the atonal residue of the instrument are recorded and mixed to different degrees. The result is something almost electronic in how otherworldly and humanly impossible it sounds. The gurgling tribal rhythms and oscillating tones of “Judges” and the samba beat of “Red Horse (Judges II)” provide the best examples of this seemingly sampled and manipulated sound. Both seem impossible to achieve without the aid of machinery, and yet the line between man and instrument are blurred ever so viciously. Stetson follows a modal and rarefied philosophy here. Motifs with loose connections to minimalism and pop and thematic set pieces weave the terrible sadness that haunts this album. Above all, the focus remains on Stetson. He literally breathes life into his instrument, personifying it as a daunting, wheezing, lumbering beast. Struggling through spaciousness and claustrophobia, he emits a tense atmosphere. It is sometimes beautiful (such as on the string-like vibrato of “From No Part of Me Could I Summon a Voice”), sometimes guttural (best achieved on the Flying Lotus-esc clockwork of “Home” and “Fear of the Unknown and the Blazing Sun”), yet always hypnotic and sobering. By putting all of his ideas in the iron sights of his spur-of-the-moment reactions, Stetson discovers a new unalloyed and beating heart within the bowels of his instrument. The sound recorded here is not just the instrument and its performer, but the deafening cry that silence being torn apart makes. Review>>>

MP3: Colin Stetson – A Dream of Water

MP3: Colin Stetson – Judges

Official Site / MySpace / BUY

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31. M83 – Hurry Up, We’re Dreaming

A double album often means mixed reviews for a mixed bag, generally containing a few singles and mostly filler. Some would even call the notion of a double-album in this era pretentious, as if one’s b-side material is worthy of circulation. M83’s Anthony Gonzalez defies skeptics that share this view. Ever since M83’s full-length debut — the gorgeously lustrous Dead Cities, Red Seas & Lost Ghosts — a double album has seemed imminent, as well as its success. Every M83 album is an exemplary of cushioning highly accessible anthems with a cast of atmospheric ventures fixated more on a specific ambiance than direct hooks. Especially considering Gonzalez’s single-disc albums are jam-packed to begin with, it’s not as if he had to adjust M83’s formula for a double album. The soaring pop anthems, bottled-up sugar rushes like “Midnight City” and “Ok Pal”, mesh beautifully with scenically otherworldly acid trips, varying from the whimsical and child-like sampling of “Raconte-Moi Une Histoire” to the explosive guitar-powered arena-whirring of “This Bright Flash”. That’s not to say the more accessible efforts lack flavor; “Midnight City” ends with a dazzling sax outro that only Destroyer’s Kaputt could conquer this year, while the infectious fluttering of “Steve McQueen” fades in and out like a white dwarf.

The lead progression on “Wait” recalls the Pumpkins’ “Disarm” with its thickly reverberating acoustic twang. Of course, M83 stacks glistening keys, droning synth pads, and fervent yelps on top of it, but these elements never hide the songwriting. Although “Disarm” was off Siamese Dream and not Mellon Collie and the Infinite Sadness, the direction of this double album is certainly influenced by the latter. The perfect assimilation of hard rockers and lush charmers is hard to miss, and any Pumpkins fan will certainly find a soft spot in their heart for Hurry Up, We’re Dreaming. They’ll especially love “My Tears Are Becoming a Sea”, a swelling orchestral jam that is the sheer definition of epic, allegedly one of Gonzalez’s favorite words. There isn’t a misstep on Hurry Up, We’re Dreaming, but that doesn’t mean any track comes close to “New Map” — an utterly flawless fusion of Gonzalez’s knack for both immediate power-anthem hooks and gradually developing epics. After an enormous few sequences, the finale boasts brass and woodwinds that assert a dexterously jazzy feel. It’s hard to pick the most memorable track on a double album full of them, but “New Map” may be Gonzalez’s brightest.

MP3: M83 – New Map

M83 – Midnight City

Official Site / BUY

The post Best Albums of 2011: #40 to #31 appeared first on Obscure Sound: Indie Music Blog.

“Hinnom, TX”, one of the highlights from Bon Iver’s second full-length album, has been provided a calming music video, directed by Isaac Gale and David Jensen. It’s a great driving song to begin with, so the video’s simple delivery is apt… driving slowly in open spaces, watching the sun set (or rise), and allowing your mind’s worries to slip away with the light of day.

Read our review of a Bon Iver show earlier this month here.

Bon Iver – Wash

MP3: Bon Iver – Perth (Rummage’s dub rubdown)

Official Site / BUY

The post Video: Bon Iver – Hinnom, TX appeared first on Obscure Sound: Indie Music Blog.

Bon Iver – O2 Academy, Birmingham – 11/09/11

Too many artists these days fall victim to it… playing material live exactly as they are heard on their records. This safe approach usually doesn’t result in an all-out disaster, but it fails to make for a memorable gig. After attending Bon Iver’s set this past Wednesday, I was delighted to find out he falls well outside this plight.

After a strong support slot from Kathleen Edwards, Justin Vernon and his nine-man band took to the stage of the O2 Academy Birmingham. The venue isn’t a fantastic one; it’s plastered in neon advertisements and half of the viewing space is obstructed by pillars. It just lacks any signs of sentiment. When they started to play, however, the room was immediately filled with magic. Vernon opened with “Perth”, the first song on his most recent album, and applied a mellow instrumental break to move seamlessly into “Minnesota, WI”. After a lively rendition of “Towers” (again, from the most recent album), they played “Creature Fear”, which is a peaceful song from the 2008 breakthrough debut, For Emma, Forever Ago. Despite the version on the album being calm and placid, Justin Vernon made use of the talented band to inject vibrant life and energy into it. It was extremely interesting to hear a song that so many people know and love completely reworked.

Singing “Hinnom, TX”, Vernon demonstrated his unique ability to sing in both pitch-perfect falsetto and hauntingly deep tones. He has one of the most versatile voices on the planet, and it’s often wrongly overlooked as “just another high-pitched male.” Hearing him words “I was not magnificent” during “Holocene” was an emotional moment, and it was clear that everyone in the room wanted to assure him just how magnificent he is. This poignant number was followed by the contrasting “Blood Bank” from the 2009 EP of the same name. This was another song that was reworked for performance, with all three percussionists pounding their drums to the beat from the moment of conception. The room was flooded in crimson from the powerful lights, and this just added to the intensity of the song. “Blood Bank” was a real highlight of the night. The other major highlight was, surprisingly, a three or four-minute instrumental jam. All members of Bon Iver and its touring band were playing their instruments with prevalent vigor, creating a complex soundscape not dissimilar Explosions In The Sky’s darker material. This, combined with the violently flashing lights, was an absolutely phenomenal addition to the set.

Following several songs from the new, self-titled album and “Re: Stacks” from the first, Vernon invited his support act onto the stage to play one of her songs that “only a real super-fan would know”. This was a lovely moment; he was genuinely appreciative of Kathleen Edwards’ presence on their tour. The band then proceeded to add magnificence to their set with one of the best tracks on the Bon Iver album, “Berth/Rest”. As soon as the beautiful synth was set into motion, the whole audience prepared themselves for the wonderful song they were about to witness. Hearing this emotional ballad played live was truly fantastic, and once again new life was breathed into it by the talented band. They ended the set with the much-anticipated “Skinny Love”, perhaps Bon Iver’s most popular track and one that has become a live staple. This song seems to have gained the band a lot of popularity over the last year or so, and it was clear that many audience members were waiting to hear it. The majority of people were singing along at the top of their lungs. Much of the time this ruins a song at a gig, but the communal joy of hearing the masterpiece live was lovely.

Persistent applause and cheers from the audience prompted Bon Iver to return to the stage for an extremely appreciated encore. Before they started playing, Justin Vernon invited the crowd to sing along to the second half of the song, getting louder and louder until you “freak out and lose all your shit”. After practicing a few bars, they jumped into “The Wolves”. What started as a quiet song soon turned into a brilliant cacophony of 3000 voices singing “what might have been lost” over and over with pure exhilaration. The show then ended on a high note with an upbeat, full version of “For Emma”.

Justin Vernon has journeyed a long way since founding the now famous Bon Iver. With his live performances he is clearly benefiting from having a large group of musicians at his side. Every live success made use of each of the nine musicians onstage. Nothing was too dense, and nothing was too thin. Bon Iver have proved themselves to be more than just an excellent studio band. They’re even better live.

Bon Iver – Skinny Love

Bon Iver – Calgary

Bon Iver – Holocene

Bon Iver – Bonnie Hathaway

Official Site / BUY

The post Live Review: Bon Iver, 11/9 appeared first on Obscure Sound: Indie Music Blog.

I don’t know about you, but I love a nice poetic story about the creation of an equally poetic band. Something that makes the music they present sound all the more home-grown and full of bold character.

Oh Ruin, which is taken from the surname of the band’s creator Eoin O’Ruainigh, are a pleasure to write about. O’Ruinaigh began his musical journey in Ireland, later journeying to London where he began to write. Eoin, equipped in the skill of being a luthier, makes his own guitars for the band.

Eoin gave me a copy of Oh Ruin’s album when he was on stage with one of his self-crafted guitars, supporting fellow label mates She Keeps Bees. I introduced myself and he asked me only to write nice things, and anything bad I was to leave out. I was slightly anxious to listen on my drive home from the gig, in case my article would end up being a sentence literally comprising band name, genre, and members.

Luckily Eoin’s unassuming attitude was proof in the six blissful tracks that filled my Renault with Irish folky delights. His voice has qualities similar to that of Damien Rice and Jose Gonzales. Each track tells a story of hopes, dreams, mischief and the naivety of love in a wistful bluesy style. There’s something quite wholesome and wonderful about the texture of his voice, which gets you caught up in a moment of whimsical notion. As an addition, check out some of Eoin’s favorite tracks here.

You can download both of Oh Ruin’s EPs on Amazon. Swaying comes as standard.

RIYL: José González, Alexi Murdoch, Bon Iver, Nick Drave, The Tallest Man on Earth, Iron & Wine, Horse Feathers, Ray LaMontagne, M. Ward, J. Tillman, The Avett Brothers, S. Carey

Oh Ruin – The Pillow Where Your Head Does Lay

Oh Ruin – Silver Lining (live on BBC 6 Music)

Oh Ruin – Ringsend (live on BBC 6 Music)

MySpace / BUY

The post Oh Ruin, Eoin appeared first on Obscure Sound: Indie Music Blog.

It’s hard to believe July is already here. The mid-point of the year has arrived, and for many sites like this it marks a time to evaluate 2011’s releases thus far and attempt to order them in some way. I consider doing so to be somewhat premature and unnecessary; I know of many albums the past few years that took several months to click, so why focus on past releases now? Instead, I tend to focus on relatively unknown acts this time of year.  The first five tracks on June’s compilation feature wonderful artists that are far from being a household name… at the moment at least. Still, their songs speak for themselves in showcasing extreme talents that will introduce them all — from the infectious electro-pop of Canopies to the intricate folk-rock leanings of Warm Weather — to the spotlight, and deservedly so. These groups all have what it takes to be something great. As a bonus, look for many of them to be featured in the future on an excellent new site I’m working with, GroopEase.

After some familiar names with fresh sounds (Junior Boys, Bon Iver) the compilation returns to a bunch of new acts, for the most part. Although Shabazz Palaces feature hip-hop vets like Digable Planets’ Butterfly and Southern All Stars are Japanese best-sellers, their music fits extraordinarily well with this time of year and the abundance of new quality acts emerging lately. There’s no need to ignore the fresh new sounds of The Demos, The Overcoat, and The Stanley Blacks; they all sound creative and energetic, each with their own unique stylistic traits. Finishing the compilation up is The Trade Winds’ classic “New York’s a Lonely Town”, one of the many excellent tracks on the Beach Boys sound-alike compilation That’s Not Me: Best of the Beach Bastards. Between this compilation and that one, they should help you get through the sweltering days of summer. I know I say this often, but I believe this is one of the most jam-packed and consistently enjoyable OS compilations to date. Enjoy!

01. Canopies – Rebels (post)
02. The Wind – Hathor (post)
03. Warm Weather – I Only Know (post)
04. Ennui – Coconino (post)
05. The Elliots – When Evil Happens (post)
06. Junior Boys – Banana Ripple (post)
07. Bon Iver – Calgary (post)
08. The Demos – Meet at Night (post)
09. The Overcoat – Kid’s Bones (post)
10. Shabazz Palaces – An Echo From the Hosts That Profess Infinitum (post)
11. Southern All Stars – You (post)
12. Them Changes – Lie to Me (post)
13. Fenech-Soler – Lies (post)
14. Figurines – Every Week (post)
15. The Stanley Blacks – In Sight (post)
16. The Trade Winds – New York’s a Lonely Town (post)

DOWNLOAD ENTIRE COMPILATION>>> (103 MB, .RAR)

The post Obscure Sound: Best of June 2011 appeared first on Obscure Sound: Indie Music Blog.

A jovial summer breeze comes quickly and unexpectedly, catching bystanders off-guard before they hastily yearn for more. If only this antidote for endless humidity was available at the snap of a finger. Technology does not permit climactic changes via an audible interface, but Warm Weather’s EP Dances is the closest you’ll come to audibly reliving that moment; a fresh breeze providing a reprieve from the scorching wasteland. While too gradual and focused to be comparable to a bucket of ice water being dumped over your head, Dances is a naturally occurring instance of sunny indie-pop – like a fresh breeze out of nowhere. Present influences like The Beach Boys and The Eagles make it hardly surprising that the trio is from California. While their sound certainly fits in among contemporary indie-rock’s greatest names (“Older” is reminiscent of Fleet Foxes’ expanded folk-rock as much as it is The Beach Boys’ soaring harmonies, while the second half of “The Dance” has the choir-boy jubilance of The Shins), it is hard to miss obvious nods to surf-rock and various forms of AM Pop, ranging from The Byrds’ eclectic fusion of country-rock, psychedelia, and folk to Jim Croce’s soft-rock conventions.

Lead single “So Far / Vertigo” takes its name from the U2 track due to singer Ryan Pollie’s joking adoration for Bono. “Bono’s music has done to the world what Advil has done to countless hangovers,” he sarcastically explained. “[It has] relieved unnecessary pain and suffering.” Pollie is kidding, so listeners should be pleased to hear that Warm Weather stick to their natural pop music smarts rather than pursue U2’s anthemic, often over-produced sound. Sure, Warm Weather sound like an eclectic collection of other influences (mentioned above), but with none dominating the material or bleeding into the group’s prevalent songwriting talents. Another fine example is the irresistible “Coney Island”, which is not on Dances but is definitely worth a listen. Check the bottom of this page for the stream.

If anything, “So Far / Vertigo” is bound to bring forth Vampire Weekend comparisons, mainly for the initial Afro-pop key stabs and tribal-like backing harmonies. “So far away from home,” is what Pollie repeats throughout the first minute, right before a slick guitar riff prompts heavier emphasis on the snare drum and unveils a fluttering array of multiple accompaniments and harmonies. Subsequently, the bridge between each verse is reminiscent of southern-rock mavens like the Allman Brothers, emitting a wide frequency of mirrored guitar progressions characteristic of their more instrumental works. The track is a beautifully eclectic collection of influences, one of the most enjoyably varied on the five-track, 12-minute EP.

While this is surely good enough to be a single, the best example of Warm Weather’s innate songwriting ability is the sparkling “I Only Know”. Bubbly synths emanate from the background as a sprightly guitar line is plucked with great vigor, paving way for an outstanding chorus led by whole-note guitar swipes and trickling staccatos. The freshly intimate, yet serenely lackadaisical, feel of the reoccurring chorus is telling of the summer breeze analogy mentioned before; can’t you just feel it? My only gripe with Dances is actually complementary in that it is way too short. Such is the case for a breakout EP, whether you’re talking about a group like Washed Out or Voxtrot. In their cases, it took multiple EPs before an album release. It sounds like Warm Weather are already to take the next step, and after listening to the tracks below I bet you’ll hope for the same.

You can download Dances for free via their Bandcamp.

RIYL: The Beach Boys, Fleet Foxes, Vampire Weekend, The Byrds, The Association, The Kinks, The Eagles, The Shins, Explorers Club, Local Natives, Bon Iver, The Antlers, Band of Horses, Cults, The Cave Singers, Andrew Bird, Noah and the Whale

Warm Weather – I Only Know

Warm Weather – So Far / Vertigo

Warm Weather – The Dance

Warm Weather – Older

Warm Weather – Coney Island

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by Jay Mattson

Justin Vernon has his work cut out for him. The incredible For Emma, Forever Ago, released in 2007 under the moniker Bon Iver (one of many winter references), showed what Vernon was capable of; it was full of emotionally jarring, deeply personal, and overtly rustic songs that worked beautifully to convey Vernon’s dark sentiments. That debut LP, and the Blood Bank EP released in January 2009, kept Vernon and his touring band busy for a few years before he decided to shelve Bon Iver in October of 2009. Vernon announced that he was taking a break from his Bon Iver alias to focus on other projects, the fruits of which have been extremely sweet (see Volcano Choir, Gayngs, My Beautiful Dark Twisted Fantasy, etc.) Now, Vernon is back with a new Bon Iver record which is, appropriately, self-titled.

Many were concerned that Vernon’s other work would cause a dip in quality on his sophomore record. Bon Iver is a tour-de-force that brilliantly showcases how Vernon has effortlessly evolved from his first album. While retaining his musical essence (which is extremely important on a Bon Iver record), Vernon has expanded his instrumental horizons by using a variety of new tools across the album with mostly successful results. Examples include a saxophone on “Minnesota, WI”, a subtle electric guitar on “Towers”, and the manipulation of downtempo beats on “Michicant”. Then, of course, there’s “Calgary”, Bon Iver’s grandest song to date. It borders on rock, but stays restrained throughout. It’s one of the most satisfying tracks on Bon Iver, and it shows best how much Vernon has grown as an artist.

Listening through the album, it’s also fun to search for sounds influenced by Vernon’s side projects. Volcano Choir’s ambient soundscapes are present on “Beth / Rest”, a throwback to early 90s soft rock via David Crosby or (shudder) Michael Bolton that actually works. “Perth”, the opener, is a perfect example of Gayngs-esque distortions. Even Kanye’s influence is heard on “Hinnom, TX”, with rapid key tremolos accentuating Vernon’s heavily reverbed vocals – which later expand into a TVOTR-like flurry of soulful, brass-accented bliss. Most Bon Iver tracks don’t build up so much as they meander through melodies. This is not the case on “Towers”, arguably the best track on the album. It’s a sweeping, swelling, and emotional jam that’s more upbeat than usual.

Bon Iver is a brighter album than For Emma, Forever Ago. The songs reveal a more optimistic Vernon that hasn’t necessarily been holed up in a cabin all winter with nothing but trees surrounding him, dwelling on how shitty things have been. This album feels like Vernon’s found a greater clarity, a wider perspective more conducive to emotions beyond depression and sadness. Of course, much like For Emma, some tracks like “Holocene” and “Wash.” meander a bit too much, but even these efforts provide a calmness that compliments the highs and lows of the standout tracks.

Fans and newcomers alike will be able to appreciate Vernon’s prowess as an artist on Bon Iver, a record that has Vernon conveying less anxiety and more optimism.

Bon Iver – Towers

Bon Iver – Calgary (via Ca Va Cool)

Bon Iver – Perth (via Ca Va Cool)

Bon Iver – Beth/Rest (via Ca Va Cool)

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by Mike Mineo

Skeletons’ new album, People, continues their rich mash-up of freak-folk and prog-rock, all while remaining separate from other contemporaries like Timber Timbre, Man Man, and Bruce Peninsula. People explores fuzzy narratives with fictional characters as idiosyncratic as the five-piece’s bustling sound, with producer Rusty Santos masterfully keeping Skeletons’ hypersensitive ambition in check. The ambitious prog-pop of John Vanderslice is a fairly noticeable influence, keeping excellent pace as bizarrely engaging psych-pop. Additionally, the accelerated guitar work invokes comparisons to virtuously melodic rock groups like Radiohead and Battles. Despite these glimpses of familiarity, People is a ceaselessly fascinating release with heaps of singular innovation that should establish Skeletons as a significant breakout act in indie-rock.

The quick guitars of “Grandma” are reminiscent of Battles’ technical expertise, The Grateful Dead’s virtuosity, and Radiohead’s trickling arpeggio-based fury. Producer Rusty Santos pulls off the vocal mixing perfectly, with Matt Mehlan’s crisp croon adjusting seamlessly to the constant alterations in volume and intensity. The guitars eventually increase in tonal force, with multiple layers starting to appear until crashing, percussive-led conclusions envelope for a minute. The final two-and-one-third minutes shows a lush folk melody gradually integrating itself into a full-bodied rock song, with each successive verse finishing with a teasing percussive build-up. Lead singer recites a bunch of – his mother, his grandfather, the girl he loves – and the eerie sentimentality grows in prevalence. “Grandma” is fairly jaw-dropping on several accounts, standing as one of the best efforts on People.

“More Than the One Thing” begins with a frantic piano melody that, if expanded upon, could easily unveil a jazz influence. The repetition is molded for the particular vocal melody though, and it changes subtly and with a newly budding brass attached. That section seems influenced by Matthew Herbet, along with many other elements – like the near spoken-word elements mixing with brass, jungle chirping, and a whimsically adorned structure. The screeching flutes and playful child-laughter, later accompanied by a more versatile brass flutter, during the song’s second half kick-starts a dramatic increase in variation. Under it all, the frantic piano melody remains intact. “More Than the One Thing” is a very intelligently crafted song, and one that shows off Skeletons’ versatility well.

Even the weaker tracks on People are the farthest thing from linear. “Walmart and the Ghost of Jimmy Damour”, while getting lost in some bland moments, is fascinating in its every pore, from the ambiguous narrative to the pulsating psychedelia inherent in the squiggly keys and tribal drums. Consider the tendency of over-indulgence to be more prominent here in this track than others, but it is not a significant issue. John Vanderslice is another artist who is able to juggle occasional overdoses of awkward contrasting and turn it into strengths; he is surely an influence found on “Walmart and the Ghost of Jimmy Damour”. It has a very idiosyncratically noticeable presence as an ambitiously bizarre slice of pop.

The soft, spacey twinkle of “No” seems like a practical intermission for the album. It lacks the intensity and variation of other efforts, but fits in the middle of the album as a suitable bridge from the split-personalities of “Walmart” to the prog-rock expansiveness of “Tania Head”. This instrumental-heavy track is another example of the band’s phenomenal build-up skills, bringing back the trickling arpeggio-led psychedelia under a very active rhythm section. Several ambient roars can be heard in the background, which greatly accompanies the dexterous ferocity of the chorus. It would be difficult to call this track the most ambitious on an album full of candidates, but “Tania Head” is certainly up there. While lacking the immediate hooks of a track like “Grandma”, “Tania Head” contains as many mesmerizing ideas – if not more.

Oh so modern, “Barack Obama Blues” is really the only place where Fleet Foxes comparisons are necessary – and that is only for the first few moments. A very cinematic drone of guitars finishes the bulk of it, returning listeners back to the post-rock/freak-folk/prog-rock mash-up that marks Skeletons’ wonderfully impulsive innovation. Regardless of the numerous similarities in pitch to Pecknold throughout the album, the comparisons would be easy for critics to make but hardly accurate in a full sense. Skeletons, while lacking that band’s up-front delicate beauty, present significantly more ideas and examples of innovation. Even if they are pulled off with less precision on a consistent basis, Skeletons’ full range of ideas is captivating. Their futuristic vein of folk integrates forms of rock that are markedly difficult to infuse with cohesion and creativity. Skeletons do it extraordinarily well though, making People one of the most fascinating and impressively creative releases of 2011 thus far.

RIYL: Timber Timbre, John Vanderslice, Bruce Peninsula, Bon Iver, Danielson, Radiohead, Battles, The Grateful Dead, The Souljazz Orchestra, Fleet Foxes, Quantic presenta Flowering Inferno, Natural Self, Orgone, Bill Callahan, Neutral Milk Hotel, Suuns, Braids, Kurt Vile

Skeletons – Grandma

Skeletons in “More Than the One Thing” from Shinkoyo on Vimeo.

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