Rare Monk – Shoot Me Down

Rare Monk resemble a mix of Celtic punk, avant-garde rock in the vein of Man Man, and southern gypsy-pop complete with quick-moving strings and snarling vocals. For a more concise comparison, think Modest Mouse with an extra shot of caffeine. Considering the high-throttle burst of energy their second EP Astral Travel projects, it’s not surprising that a few of its songs were recorded at a brewery. Oregon’s Ninkasi Brewing Company, which has a history of supporting their independent music scene, accommodated the Portland-based five-piece. The infectiously upbeat nature of the material makes it apt drinking music, but the group’s further reaches into elements of psychedelia, jazz, and funk makes their body of work much more than candidates for a party playlist.

GroopEase is currently offering the EP at $3, a 50% discount. It expires in two days, so make sure to grab it now. Opening track “Shoot Me Down” is an enjoyable embodiment of what to expect: a voice highly reminiscent of Isaac Brock showing great ferocity over a dexterous array of punk-tinged guitar riffs, southern-cooked string solos, and an indestructible rhythm section that serves as the backbone to such frenzied instances of experimentally fused rock.

“Shoot Me Down” is greatly infectious, but listening to the rest of Astral Travel Battles is vital to get a feel of the group’s overall talent. The outstanding “Teak” is demonstrative of their lyrical chops, approaching non-pretentious political commentary through metaphorical imagery. The music is fast-moving and exciting here, as it is throughout the entire EP, but Rare Monk’s wide arsenal of genres makes it hardly feel like one big blur. Epic closer “Somnifero” implements jazz and funk with surprising effectiveness, resulting in a rock-jazz-funk hybrid that the five-piece should pursue more with their next release. Whichever stylistic direction they choose to pursue, Rare Monk seem poised for success.

Pick up the EP for $3 on GroopEase.

RIYL: Modest Mouse, Man Man, Built to Spill, Why?, Pixies, The Unicorns, Minus the Bear, Cap’n Jazz, Ugly Casanova, Menomena, Akron/Family, The Dodos, tUnE-yArDs

Facebook / BUY

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As an obsessive music collector, Lavis Blake hits two of my pet preoccupations: differentiating types of non-singing, and bands whose output ends up on a single disc padded out with demos on a “record label” that’s usually just a record store in the town where the band came from. Who can argue with such stalwarts as The Vertebrats or The Pagans? Lavis Blake, who broke up in August and whose discography as best I can tell consists entirely of these two EPs, are surely candidates for this treatment. In Tandem was released in 2010, with Glue coming a year later.

As for the non-singing element, Blake is a pretty spirited and enervating non-singer. The non-singers and their rich tradition can be traced and categorized in terms of quality rather conveniently, and ranked pretty much in the same order of importance as whichever author they glommed onto most fervently. Robert Ashley, cosmic god, Unicron of the non-singers, tellingly takes cues from Gertrude Stein, an author many other authors haven’t even read, let alone musicians, and one who deserves more reading. There’s a rich untapped vein of inspiration in both Stein and Ashley’s work for the aspiring non-singer. Then there’s the primary source Beat-poet inspirations, at work in the songs of Tom Waits most prominently, and in the work of most other non-singers, at least most of the famous ones (Isaac Brock, Craig Finn, various vocalists for The Styrenes, etc.).

…And then there are the secondarily beat inspired. That’s where we come to Lavis Blake, whose repertory “On the Road” or “Ginsberg” seems like an unhinged Rich Little attempt at remaking “The Lonesome Crowded West”, Isaac Brock’s ugly step-child strung out, three days in on blue meth. Though nothing he eclipses the realm of cleverness, into the more distant realms of the inspired or interesting, his frantic delivery takes on the peculiar interest of a botched translation (I mean this in as complimentary a fashion as is possible given the circumstances) and transcends its origins through a combination of varied intertwining guitar tones and occasional mad mantras such as “Birds of paradise will always steal our spotlight!” This scream can transform to a styling reminiscent of emo vocals, making me cringe, but when I remember Lavis and not I will be downing cough drops come the night’s end, I’m more inclined to be forgiving.

Anyway, it has a beat! You can dance to it! It has enough suggestions of mental illness (don’t worry, the moderate adorable kind!) to satisfy those whose compulsive desire for genuine folk culture intersects with a definition of folk culture based around infirmity! Not as much as Hasil Adkins but what can you do? Just listen to the damn thing already.

RIYL: Modest Mouse, Built to Spill, The Hold Steady, The Styrenes, The Pagans

Lavis Blake – Ginsberg

Lavis Blake – Era of Hopeful Monsters

MySpace / Bandcamp / Facebook

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When an artist embarks on a solo project at a young age, the pursuit is commendable. Such ambition is shown on the full-length album by Leaves of Green, Imago. The album was created by one James Madole, a 20-year-old student at New York University. On his debut, Madole uses an infusion of vocals, guitar, ukulele, and keyboards to create mellow pop that resonates fluidly throughout the album. Imago is sometimes eerie, but always melodic. It begins with the lush “Convictions Pt. 1”, which boasts an ethereal yet haunting sound. Madole pairs his background harmonies with prominent lead vocals to develop several beautiful layers of sound. The vocals are smooth and, coupled with guitar harmonies and a simple ukulele, achieve an atmospheric sound.

“Convictions Pt. 1” and its glimpses of Elliott Smith transition seamlessly into “Attic”, an effort that remains infectiously upbeat while retaining the earnestness of Madole’s efforts through its lyrics. Although many of the melodies are sweeping and lush, you should not expect sweet, gentle lyrics. Imago is reflective and emotionally heavy in its entirety. The lyrical matter is dense, but easily digestible because of the focus on content over quantity. The easy-flowing guitar melody aids in keeping the tone buoyant and chirpy, apt surroundings for Madole’s delicately youthful voice.

“Manhattan Ave.” opens solely with overlapping vocal harmonies, very similar to Grizzly Bear’s ghostly style of folk. The licks of the guitar shoot in with spontaneity, balancing out the sound and producing a haunting nigh-time melody, which touts a lively and abstract presentation that should appeal to all fans of complexly layered guitar-based pop. While the sound of Leaves of Green is far from the likes of Animal Collective, Madole uses similar production technique to successfully create a mood both ethereal and memorably haunting. The reverb of his vocals is emphasized as to create a numbingly hypnotic feel.

Imago is an impressive debut with pleasant cohesiveness, despite the wide array of experimentation Madole accomplishes. He presents more than just a genial sound; lyrical content and some unconventional production techniques make it an intriguing venture, with melodic subtleties that will entertain listeners on multiple listens.

You can download Imago for free here, as well as stream it below.

RIYL: Grizzly Bear, Elliott Smith, The Leisure Society, Bright Eyes, Sparklehorse, Nick Drake, Neutral Milk Hotel, Built to Spill, Jeff Buckley, Iron & Wine

Leaves of Green – Attic

Leaves of Green – Manhattan Ave.

Leaves of Green – Imago

Bandcamp

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For many, Outside Lands is the premiere music festival for the West Coast. Numerous Coachella comparisons are warranted; headliners like Arcade Fire, Phish, and Muse mixed well with an assortment of independent acts, many on the verge of breaking out after a hot year of exposure. A handful of them – Lord Huron, Tamaryn, and Major Lazer – should be familiar with OS readers, all touting a following that has been growing rapidly. Outside Lands’ lineup was an excellent representation of old favorites, emerging stars, and unknowns with a boatload of potential. For every big name like Arctic Monkeys and Big Boi, there were groups like Cosmic Suckerpunch, The Stone Foxes, and Diego’s Umbrella; they all maintained a small but avid following prior to Outside Lands, but by the end of Sunday (the 14^th) it was evident their fan bases grew exponentially. Their live presence is the main reason such groups were chosen to appear at this prominent festival. Unlike headliners, a poor performance is a make-or-break scenario, an opportunity that may never be salvaged.

With beer/wine in one hand and something off the grill in the other, most listeners excitably made their way around the Golden Gate Park over the three-day festival. Listeners could have stumbled upon a variety of interesting occurrences. Even to the least dedicated of music fans, it would be fun to see Dave Chappelle cracking jokes on stage during a Big Boi technical malfunction intermission, deadmau5 exposing an orgasm of lights and hallucinations on a crystallized stage, or Arcade Fire frontman Win Butler sharing the stage with soul maven Mavis Staples. And that’s mainly a bunch of superficial appeal, separate from the musical aspect (which Outside Lands dominated as well). Or perhaps you’re one to enjoy the difficult decisions of carefree affluence, like on Friday choosing between seeing Beirut or The Decemberists. For me that’s a fairly easy choice (Beirut), but you know the massive followings for either group would have a strong opinion either way.

In any case, enjoy the tracks from some of Outside Lands’ more unknown artists below. The Stone Foxes present a swanky form of bluesy alt-rock that brings to mind The White Stripes, Allman Brothers, and 12-bar blues modernists. Diego’s Umbrella calls their sound “gypsy rock”, though it sits more in the flamboyant indie-pop category with sparkling key-led hooks and a little bit of Latin percussive flair. They remain a bit rough around their edges, but clearly have the pop smarts to traverse beyond the Disney soundtrack limits. Their sound will be a bit too cartoonish for some, but it’s hard to deny their fast-paced bursts of creativity. Then The New Orleans Klezmer All-Stars, Paper Diamond, and Orgone present something entirely different. Gypsy instrumental, lush electronica, funk revivalism… a bit of everything perhaps? Take a listen:

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THE STONE FOXES

The Stone Foxes – I’m a King Bee

The Stone Foxes – I Killed Robert Johnson

RIYL: The White Stripes, Allman Brothers, The Dead Weather, The Kills, The Black Keys, The Hives, Yeah Yeah Yeahs, Dan Auerbach

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DIEGO’S UMBRELLA

Diego’s Umbrella – Richardson

Diego’s Umbrella – Downtown

RIYL: Queen, Hot Hot Heat, The Cross, Deep Purple, Rooney, Randy Newman, Boy Kill Boy, We Are Scientists

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And now for some REAL Gypsy-inspired tunes, courtesy of THE NEW ORLEANS KLEZMER ALL-STARS. They tend to be surprisingly eclectic as their songs progress, showing influences hovering in blues, pop, and R&B:

The New Orleans Klezmer All-Stars – Moroccan Roller

RIYL: Gogol Bordello, Kultur Shock, Balkan Beat Box, Fanfare Cioc?rlia, Goran Bregovi?, Csókolom

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PAPER DIAMOND

Paper Diamond – Levitate

Paper Diamond – Snowfall

RIYL: Röyksopp, Air, Junior Boys, The Field, Groove Armada, The Chemical Brothers, Zero 7, Daft Punk

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ORGONE

Orgone – Who Knows Who

Orgone – Bacano Come Around

RIYL: Funkadelic, Parliament, Sly & the Family Stone, Graham Central, The Poets of Rhythm, Baby Charles, Lefties Soul Connection, Speedometer

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Cosmic Suckerpunch – In Love with a Robot

RIYL: Pearl Jam, Built to Spill, Pavement, Sebadoh, Archers of Loaf, Superchunk, No Age

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But alas, the days of summer festivals are over — at least for another nine or ten months. So for those starting to shuffle to class, save on next year’s tickets by checking out the Back to School Music Guide presented by Best Buy. Enter to win a $250 gift card to Best Buy and save on tablets, smartphones, and laptops. This deal was passed on to me, but I guess it’s more of a shock that you can buy a decent laptop these days for $300. That gift card would do the trick:

The post Dark Horses From Outside Lands appeared first on Obscure Sound: Indie Music Blog.

The role of a producer is often undesirable to many young musicians. The arrogance and pretentiousness among many in this niche leads them to believe their creative power is limitless, and so therefore their songs can speak volumes without sophisticated production and mastering. They eventually learn otherwise, but usually not until their music aspirations appear hopeless. Once they realize the poor sound quality of their songs – which they attempt to defend by using mindless labels like “lo-fi” and “###-wave” – will not attract an audience beyond their friends, they either abandon the field entirely or, in some cases, will pursue another method. In the latter case, many will place emphasis almost entirely on the production instead, abandoning the songcraft that may have been adequate enough in the first place. This thin line between polished nothingness and rough-cut potential is fully evident, and the failure to capture the in-between is what leads to the demise of many projects and music aspirations in general. To find the perfect form of production that will accommodate the strengths of one’s songwriting is one of the most difficult endeavors in creating music.

The linearity of today’s hip-hop makes the abundance of “quality” producers around the age of 21 prevalent in that field, if only because the valued practices are rooted in repetition and computer-based gimmicks involving sampling. But in fields of rock, pop, electronic, etc., most of the employed producers are 40+-year-old veterans who have failed for years before succeeding. The reason for this extends beyond the fact that instrumentation is recorded instead of sampled (for the most part). Sound – whether it is borrowed or created personally – needs to be implemented cohesively regardless. But what many perceive as quality hip-hop may need no more than a five-second loop repeating 40 times, as long as the “flow” and “lyrical depth” resounds to a certain audience. This decreased dependence on the aspects of musical composition does not make hip-hop inferior by any means. It is just a different method of production, one that actually caters more to young tech-savvy entrepreneurs than grizzled veterans.

For styles of music that call for not only variation in the instrumentation, but also rapid structural and sonic shifts, there are rarely young producers that get it. Max Fishkin is one of them. Just 21, he has been making music for about a decade. Often his most experience comes from helping others; recently featured Ross Fish and David Pollack both worked with him for their releases, and he has worked with plenty more close to his Springfield, NJ hometown and Rutgers-New Brunswick campus. It is just recently that he is beginning to flourish as a solo artist. Under the clever pseudonym Mass Fiction, he has just released his first full-length, Never Lie Down. It actually was released for free on his 21^st birthday, and can still be obtained for free on his SoundCloud. Fishkin’s production work has varied wildly, from the soulful alt-rock of Bridges and exuberant reggae-ska hybrid of Tromboner to Ross Fish’s creative electro-pop. He has dealt with a surprising amount of varied acts for a producer of any age, so with this it comes as no surprise that Never Lie Down is a very polished affair with a stylistically multifarious nature. With even one go-around, any listener can see the potential of both Fishkin’s songwriting and production skills.

“Jah Take the Wheel” is fully embracing with warm, gauzy layers of synth; it reminds me of The Radio Dept.’s Pet Grief. Choppy percussion then makes its arrival, complete with melodic percussive tweaks typical of dubstep. The track is dark and murky, but not without the playful nature inherent in much of Fishkin’s work that makes his skills as a pop songwriter prevalent in addition to his production chops. The track’s greatest strength comes in the final minute, when a crisply reverbed synth riff – which emulates the sound of a guitar – finds perfect accommodation over another eerie synth pad. A Bob Marley vocal sample is also used prominently here, showcasing a DJ Shadow influence by constructing a full-bodied melody from initial simplicity; the sample is not forced despite its somewhat off-beat presentation, simply because the elements surrounding it – from the guitar lick to the synth-pop beeps – all introduced themselves with grace and precision. It is certainly a job well done, even if it shows off Fishkin’s production skills more than anything.

“Tito Won’t Listen” certainly does not abandon the electronic soundscape entirely, infusing a more rock-oriented direction in addition. The jangly guitars during the main verse are actually reminiscent of ‘90s alt-rock in the vein of Smashing Pumpkins’ more subdued material (“Luna”, “Porcelina of the Vast Oceans”), with a hint of shoegaze thrown in for good measure. Just as the track slows down around the two-minute mark, a hard-rocking reprise of the opening lead emerges with ferocity seen in many indie-rock acts of today, like British Sea Power. The guitar melody here, while theoretically simplistic, achieves infectiousness through excellent rhythmic choices and polished production.

Continuing with the late ‘80s/early ‘90s rock feel, the blissful harmonies of “One Day” recall The Pixies in their purest form. The comparison is not hard to spot during the opener, though once it descends into the verse – with heavier distortion and vocals – Fishkin’s own sound comes out. Before reverting back to the “ooh”ing Pixies-esque harmonies, the guitar lead resembles the polished electro-rock of Ratatat, but without the generic one-trick-pony feel the latter group provides. Mass Fiction’s work is too varied for stiff styles of electro-rock. Guest vocalist Ross Fish keeps his voice hidden behind plenty of reverb, much like Fishkin’s voice on the other tracks, and this song is no different. It sounds like an echo amidst a rainy chaos, waiting to be unleashed with the proper introduction. This introduction is found around 03:07, when the distortion is more relaxed and a bumbling bass and swift guitar arpeggio are the only primary elements at play beyond Fish’s voice. While the vocal range is somewhat limited throughout Never Lie Down, Fishkin’s instrumental dexterity and production skills are not, and this allows the vocal sections on each song to succeed.

Fishkin’s finest piece of songwriting on Never Lie Down is “Spider Queen”. Not because it defies stylictic conventions or is astoundingly innovative though. Instead, this is a great example of the stellar hook-filled songwriting that Fishkin shows on Never Lie Down. Fishkin’s nasally voice reminds me most of The Wrens’ Charles Bissell, and the brilliant hybrid of alt-rock and electronic on “Spider Queen” is best demonstrative of this. Opener “Cold Heart” has the same depth in songwriting, although with more focus on instrumentation. Although Never Lie Down contains only seven tracks that span 28 minutes, it is a great showing of Fishkin’s potential, both as a songwriter and producer. His chops as a producer are especially notable, as he deals in genres that demand a great attention of detail on the production side of things. Considering his age, it’s a rare talent.

RIYL: The Wrens, DJ Shadow, Air, Radiohead, Smashing Pumpkins, The Radio Dept., Pinback, MGMT, The American Analog Set, Minus the Bear, Built to Spill, Ross Fish, The Appleseed Cast, Sharks Keep Moving, El Ten Eleven, Modest Mouse, The Sea and Cake, Cursive

Mass Fiction – Spider Queen

Mass Fiction – Jah Take the Wheel

Mass Fiction – Cold Heart

Mass Fiction – One Day

Never Lie Down by Mass Fiction

Facebook / MySpace / SoundCloud

The post Mass Fiction appeared first on Obscure Sound: Indie Music Blog.

Now 21 years old, David Pollack’s music continues to evolve. Often an age like this marks the beginning of an aspiring music career, but this NYC-based singer/songwriter has been at it for years already. I featured Pollack nearly four years ago when he was 18 and fronting a band called Play. Even at that point, the reception for his material was glowing. Tracks like “Rainbow Schemes” and “Get a Hold of You” garnered a very positive response in this site’s comments section alone, drawing comparisons to Weezer, Ozma, and other hook-filled alt-rock acts of the ‘90s and early ‘00s. Play disbanded in 2008 when Pollack went to college at the University of Vermont, but he continued writing songs. He joined the jazz vocal ensemble and an A-capella group, honing his already-amiable voice and keeping musically active. His native NYC kept calling though. He moved back last summer as a result, reuniting himself with a city and friends close to his comfort zone. This return to normalcy resulted in his first official release since 2006’s Play EP.

Pollack’s new EP, Out the Other Side, is the first under his name. It makes sense too; the songs are emotional and thought-provoking in a very personable format. Lo-fi songs that that “indicate the dark side of depression” place more emphasis on lyrics than his past material. Whereas Pollack’s past efforts would be very melodically inclined with somewhat forgettable lyrics, his evolution as an artist is occurring simultaneously with his maturity as an individual. Even though he never had issues turning emotions into melodies, it is now apparent that Pollack is also able to transpose his emotions into words without the slightest touch of melodramatic desperation. Not surprisingly, the musical accompaniments follow suit and make for his richest material to date. His melodic chops remain the same – strong. And his lyrical wits and structural tendencies have improved, resulting in an even more promising outlook for his musical future than when he was 18. Rarely does an artist’s potential increase with age, but Pollack appears to be an exception.

As he grows as an artist through his solo material, his talents continue to spread to other projects as well. In addition to his solo work, Pollack has spent most of his time recently with his new band, Bridges. He and friend Steele Kratt formed the five-piece last year, playing a natural progression of Pollack’s interest in ’90s alternative. It is more in the infectious vein of Play than his emotive folk as a solo artist. The difference simply shows off his diversity as a songwriter. Bridges’ new EP will be released shortly, but in the meantime one of its tracks – “Again and Again” – gives us a nice taste of what to expect. This time around, bands like The Wrens, Teenage Fanclub, and Guided by Voices are more apt comparisons than Weezer, even if emphasis on power-pop and some punk is still there. As far as more recent comparisons go, the soaring guitar work of British Sea Power is not too far off from their sound. In “Again and Again”, the suitable amount of distorted rhythm guitars and its lead twang-y counterpart mixing infectiously over Steele Kratt’s succinctly tight drumming. “I wake up from my slumber,” Pollack kicks it off with subdued restraint, before yelping “clock tells me it’s a quarter-to-three!” The chorus is just as impulsively excitable, capped off by several band members shouting “again and again and again!” It is a damn catchy track that should make any alt-rock fan excited for Bridges’ upcoming release.

“Again and Again” is infectiously distorted enough to prevent Pollack’s lyrical sentiments about daily monotony to dominate the track. His solo material, on the other hand, emphasizes wordplay and emotion with prominence. “The Right Night” is one of the finest examples of Pollack’s development as both a songwriter and lyricist. Touched with the delicate touch of horns (via Harry Hipwell), it utilizes the brass with grand proficiency. So many artists, especially young ones, tend to over-use an instrument simply for its novelty. Pollack, though, clearly knows how to write for a specific instrument; it is particularly useful in a genre like this. There are moments where Elliott Smith, DeVotchKa, and Smog might come to mind as influences, but “The Right Night” is clearly an individualistic piece. “It only happens when the stars collide, that’s what happens when you feel high,” he sings over a beautifully arranged acoustic melody. “That’s when you found your happy place.” The depth on Out the Other Side exceeds Pollack’s previous work – which was impressive in its own right – in the seamless accommodation of his stirring arrangements and the genuinely expressive pathos it accompanies. The expansive “Why Not Now?” blends lovable lo-fi alt-rock with bluesy stream-of-consciousness sentiments, producing a result just as successful but with added vigor and intricacy. Especially based on his recent material with Bridges and as a solo artist, David Pollack’s future continues to look bright.

David Pollack and his band Bridges will be playing tonight, 9PM, at Sullivan Hall.

RIYL: Weezer, Ozma, Built to Spill, British Sea Power, Teenage Fanclub, The Wrens, Guided by Voices, Archers of Loaf, Sublime, The Kinks, Sebadoh, The Strokes, Paul Simon, Pavement

Bridges – Again and Again

David Pollack – The Right Night

David Pollack – Why Not Now?

David Pollack – Official Site / Bridges’ MySpace / BUY

The post David Pollack’s Bridges appeared first on Obscure Sound: Indie Music Blog.

by Josh Taylor

Imagine being at an indie/rock show at a trendy Los Angeles venue. Then, all of a sudden, everything flashes back to the ‘90s. This is what I first thought as I listened to The Spies’ newest release Televolution. What better mix could you get than that? As a huge ‘90s music fan, and equally being a fan of the current indie/rock scene, this band reminds me of why I started listening to music in the first place. Honest lyrics, catchy hooks, and an overall good time. Televolution is the furthest thing from the sophomore slump that most bands worry about during their second album release. It is a quality album with one great song after the next.

The Los Angeles-based quartet was initially a collaboration between two Philadelphia friends, Leo Francis and Mark Matkevich. Francis had moved to LA in hopes of becoming the next big musician and Matkevich, like most that move to the City of Angels, got into acting. Francis and Matkevich eventually got back into the studio to work on Francis’ solo album, which solidified the idea of forming a band together. Later they added Adrian Barrio and Dylan Giagni to complete The Spies’ lineup.

Televolution is the band’s follow-up to the 2007 release of Old Ghosts. With ten solid tracks, there is not much room for disappointment. The album opens with a booming piano and a pounding kick drum, followed by a unique bass line and captivating guitars. The band is well aware of how to keep the listener’s attention track after track.

The album’s title track, “Televolution”, is an interesting song. With lyrics like “Let’s start a revolution baby, and take off this disguise, let’s get with evolution baby and it really isn’t much of a surprise,” and “the revolution will be televised, televolution.” Despite the conventional rhyming, the band has more of a message than typical Los Angeles indie-rockers.

“National Pastime” is probably the highlight of the band’s album. It has a Wallflowers-meets-John Mellencamp feel. It could have easily been the theme song to any WB show from the ‘90s and even a current CW sitcom. Speaking of WB sitcoms, does anyone remember Dawson’s Creek? The Spies’s vocalist/guitarist/keyboardist Mark Matkevich had a small part on the show (Drue Valentine anyone?) This is the song that the suits would consider “the radio hit.” I myself will agree with that. I can already hear it on the radio.

Having a catchy chorus is key if you are going to get anywhere near radio today. This was in the back of the band’s mind when they recorded “Radio Caller”.  By simply repeating the word “miscommunication” the band has you singing along by the second chorus. I do love sing-alongs.

“You’ve Got Some Nerve” serves as the albums mid-point. The song has quite a groove to it, which you can easily imagine being played in a smoky bar scene in the next big-budget Hollywood movie. This song has dual vocals that really complement each other well in the chorus and throughout the remainder of the track.

Another one of my favorites off the album is “Paper Trail”. This song has the perfect balance of guitars throughout the song and the vocals are convincing. The backing vocals are also a strong part to the bridge. It talks about the blue-collared life, the blandness of working a 9-5, and having the same boring day over and over; it is the feeling like you’ve accomplished close to nothing. One of my favorite lines is, “The hand is dealt so place your bets, with whiskey mouth and cigarettes. The paper trail is running out, I’m a working man.”

The Spies have a tightly concise sound that can that can only be explained by hours of practice and years of dedication. Francis and Matkevich display their vocals across the album together in a perfect blend of harmonies and overall accompaniment of one another. Dylan Giagni is a seasoned drummer who uses unique fills to give each song the overall fullness it needs to make this album a professional release, and not your ordinary DIY demo. Bassist Adrian Barrio is also not new to the music world. You can tell from his bass lines that he does not lack in originality or talent, for that matter. The keys make for a nice background; they help guide the song through without stealing the limelight, similar to how Coldplay incorporates the instrument into their sound.

The closing track on Televolution, “It Comes in Waves”, is the perfect ending to an impressive album. The build-up to the first verse sets a great atmosphere around the song. The tone of the keys and the melody used throughout the verses is one of my favorite portions. Giagni’s drums sound like a marching band, with crashing cymbals and thumping drum hits. “You aren’t the only one, it comes in waves.” These are the lyrics that replay throughout the song to reiterate the song’s overall theme.

With five years of playing together under their belts, it is no mystery why the The Spies’ sound is so tight and consistent. With the release of Televolution, this band should have no problem taking the Los Angeles music scene by storm and attracting a few A&R reps to their shows. Well, if they even exist these days.

RIYL: Spoon, White Rabbits, Wilco, New Pornographers, Menomena, Ted Leo and The Pharmacists, Cold War Kids, TV on the Radio, The Hold Steady, Arcade Fire, Tapes n’ Tapes, Built to Spill, Dr. Dog, The Black Keys, Okkervil River, Free Energy, The Thermals, Rogue Wave

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The Spies – You Got Some Nerve

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The Spies – National Pastime

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Official Site

MySpace

BUY

The post The Spies Conduct a Televolution appeared first on Obscure Sound: Indie Music Blog.

by Taylor DeBoer

If Funeral was the personal homage to life, love, and loss, as Neon Bible was a straight shot at the gut of political immoral corruption, then Arcade Fire’s The Suburbs is merely a simple acknowledgment of the two concepts. Not to mention, the powerful realization that “we can’t run from our upbringing”, especially when two-story brick houses and shopping malls stand in our way. And as Win Butler and company convey on their third album, each new generation is engulfed in a more brutal “suburban war.” With so much indie cred on the line, Arcade Fire delivers once again with their longest, most expansive album yet.

The Suburbs starts appropriately, with a title track that works as both a contrived summary and introduction to the fifteen songs that follow. Although not the strongest of the album, it serves its purpose. It then rolls into “Ready to Start”, which is a typical bombastic collective of Arcade Fire proportions, a jump-the-gun type of song. “Modern Man” in my opinion is where the beauty and originality of the album starts. With lyrics that strike the heart wires of Bowie fans, it questions what to some might be obvious, but to many is obscure–is the modern world in a productive progression?

Then comes the poppy “Rococo”, which appears to jab at the youth and their obsession with trend. In this case, a “terrible” song that has an infectious chorus. You can’t help but sing along to Butler’s quivering voice as he repeats “rococo” over and over. Blasting into “Empty Room” Butler has help on vocals from his wife Régine Chassagne. The shorter, but poignant song works as a nice easy transition into the New Wave sound of “City with No Children.” The nostalgic lyrics prove that Butler and crew have spent time listening to the likes of Bruce Springsteen and Neil Young, if that wasn’t already obvious. “Half Light I’s” slow build and Chassagne’s lofty voice creates a circus-like environment reminiscent of Funeral. Its dream like nature is once again a perfect pace-changer for the album. Their ability to keep the audience constantly interested and guessing is impressive.

Through the sad and desperate pace of “Half Light II”, we see a more personal Butler as he references his personal life with his wife, Regina, as well as his childhood. It has an Americana feel once again, which adds a unique tinge to the American perspective coming from a predominately Canadian band. The ending phrase, “one day they’ll see, it’s long gone,” rings through the brain long after the song ends.

“Suburban War” continues with the same melancholy style of “Half Light II”, but with a choppier composition. “They say the past won’t rest until you jump the fence and leave it behind,” Butler calmly sings. More than their first two albums, Arcade Fire are offering some solutions to the problems they address. “Month of May” is perhaps the only song that could fit on Neon Bible, their slightly less popular sophomore album, and would be a fitting opening to an Arcade Fire show.

“Wasted Hours” and “Deep Blue” return to the somber pace but only for a moment, then we’re hit with the slow but powerful build of “We Used to Wait.” “By the time we met, the times had already changed,” Butler sings.

“Sprawl I and II” help add to the lonely feeling of realizing that the things you used to recognize have changed dramatically. The saddened musical melody of “Sprawl I” makes it hard to not feel hopeless until the very end when Butler manages to bring it all back and inject us with just a bit of hope once again.

The trippy feel of “Sprawl II”  compliments the somberness of part I. We are once again graced with Chassagne’s voice. Comparing shopping malls and urban development to mountains is not only gut-wrenching but incredibly accurate. The extended metaphor can get grating, but most of the time it works.

The final song, “The Suburbs (continued)”  is in the same tone as “The Suburbs” but with Butler stretching his voice to an even higher falsetto. It’s a fitting end to a masterpiece, and may even be more satisfying than the initial creation.

Yeah sure, The Suburbs is filled with a lot of reoccurring words like “kids, houses, streets, and suburbs”. But instead of writing them off as cliche and unoriginal, consider the weight behind these words. The Suburbs is an analysis, a call to action, and a homage to the topsy-turvy, suburban world we live in. Few artists have been able to reach out to the youth in such an infectious way. Their songs are dark, dreamy, nostalgic, religious, extremely powerful, but oddly hopeful and their shows are the same way. And they manage to do it all on an indie label and without the aide of digital recording. But even Butler knows that resisting the world that plagues us is impossible. At the very least, we have The Suburbs to celebrate over.

You can download it here for a ridiculous $3.99.

8.0/10.0

RIYL: Broken Social Scene, Bruce Springsteen, The National, Wolf Parade, Tokyo Police Club, Neutral Milk Hotel, Modest Mouse, The Shins, Spoon, Band of Horses, The New Pornographers, My Morning Jacket, TV on the Radio, Cold War Kids, Stars, Radiohead, David Bowie, The Antlers, The Walkmen, Editors, Pavement, Yeasayer, Built to Spill

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Arcade Fire – Rococo

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Arcade Fire – Ready to Start

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The post Arcade Fire – The Suburbs (2010) appeared first on Obscure Sound: Indie Music Blog.

by Jon Chapple

Every time I go to listen to Band of Horses’ third and latest long-player in iTunes, I type ‘B-A-N’ (and possibly a ‘D’ if I’m feeling adventurous) and am always instantly rewarded not with Infinite Arms, but Music from Big Pink. “Isn’t that apt?”, I think. “The daddies of country rock and and their young heirs, side by side. Two generations of rootsy Americana, neatly rubbing shoulders in the sterile confines of the ‘Column Browser.’” And each time I smile a knowing little smile to myself.

But the problem is that Infinite Arms is hardly any more of a country or roots rock album than it is a jazz record, and I’m struggling to think about how this got into my head in the first place. It could be the fact that most live performances I’ve seen of the group tends to see them kitted out in some kind of curious cowboy-lumberjack hybrid attire (think flannel shirts with stetsons) could have something to do with it. The name, also, surely plays a part in it: ‘Band of Horses’; they’ve got to live on a ranch, right?. But no, despite my initial first impressions, Infinite Arms is none of the above; it’s a polished, restrained and relatively straight-forward pop-rock album, albeit one with the occasional ‘roots’ flourish or effect.

However, as much as I admittedly do have a soft spot for The Band, that’s by no means a criticism. The record kicks off with two of the strongest openers I’ve heard on a new album in a good few years; “Factory” floats along prettily on waves of ethereal strings, its closely-harmonized dual lead vocals and slow-building orchestral pomp swelling beneath them working to create a serene, lullaby-like atmosphere, whilst “Compliments”, a yearning, irresistibly catchy mid-tempo pop-rocker straight out of 1972, provides a welcome change of pace which compliments its predecessor perfectly.

The rest of Infinite Arms fails to live up to the potential of its incredible starting momentum, but song-wise, there are still a few other highlights. The unremarkable “Laredo”, another rocker in the vein of “Compliments” (but with far less melodic appeal) certainly isn’t one, but “Dilly”, with its sing-a-long chorus and some impressive interweaving vocal acrobatics from vocalists Ben Bridwell and Tyler Ramsey is pure pop gold. “Older” is a country-styled ballad (I know, but it’s the only one!) overlaid with some attractive, tasteful pedal steel guitar lines, whilst “Blue Beard”, a sparse, evocative number about love lost under a “grey and cold” Midwestern sky sees the group trying their hand at ornate, Brian Wilson-patented multi-part harmonies, which works relatively well but is spoiled by its sterile production, which is irritating and can make the voices involved sound unnatural and digital.

Unfortunately, that is a key problem with the album as a whole. Whilst, as already mentioned, it would be a stretch to call Infinite Arms an Americana release, lyrically it is a completely different story, and I would prefer if the production reflected this. “Blue Beard” isn’t the only song where far-flung American geography features prominently; “NW Apt.”, a middling, power-chord driven indie rocker without anything resembling a hook to speak of takes place in Oakridge, Oregon (“I’m driving over in Oakridge, baby, with the whole neighborhood in tow”), the six-and-a-half-minute closing epic “Neighbor”, which combines an achingly gorgeous melody with a lengthy build-up and cymbal-crashing climax that Explosions in the Sky would be proud of, makes frequent use of rural North American imagery (chipmunks, border towns and lights on porches) and the previously-mentioned “Compliments” contains the lines: “Deep in the heart of the country was a house I built from logs / a raven and a lady hawk” and “Quiet and calm through the day, see the sun burn through the fog / approaching was a yellow dog.” John Fogerty would be proud, I’m sure you’ll agree. And yet there’s no warmth or natural air to the recording to compliment such rustic sentiments; instead, for the most part, the album sounds shiny, brittle and thin. A deliberate artistic decision or simply pandering to the iPod generation? I’ll let you decide.

Out of the twelve tracks on offer here, only the aforementioned “rockers” (“Compliments”, “Laredo”, “NW Apt.”, and possibly “Neighbor” and “Dilly” if we feel like being liberal with the term) really provide any diversity to the album’s overall sound, mood or tempo (slow). I’ll draw the line at labeling the record as a concept album for fear of tarring the poor boys with a brush they may not appreciate, but I don’t think it is any coincidence that “Compliments” and “Laredo” were selected to be the first two singles drawn from the album, and – if I were a betting man (which I’m not) – I’d wager that the next will similarly be a component of my expertly-picked Rocker List featured above, simply because the more upbeat numbers feel a bit out of place in the sea of deliberate, precious mood pieces that bookend them. Think three (or five) “Sloop John B”s and you kind of get the picture.

Incidentally, I think Pet Sounds might be a good analogy here. Like that most hallowed and revered of musical creations, Infinite Arms is clearly designed to work as a whole; it is a neat little musical package that should to be listened to and digested in one fell swoop. But unfortunately, whereas Mad Mr. Wilson’s symphonic masterpiece is certainly comprised of a collection of similar-sounding tracks, it still has enough diversity, energy and – most importantly – melodies to keep to the listener hooked, something Band of Horses just achieved here. I wouldn’t say it’s a chore to persevere to the end, but it’s just not interesting enough on Infinite Arms to make the effort.

And that is the real killer blow to any lasting appeal Infinite Arms may possess. With a few obvious exceptions (notably, of course, the two killer openers) the album just fails to make much of a lasting impact, with around half of its songs meandering around with little confidence, seemingly filling the time for the sake of it. I can see what they were trying to do; there’s an almost Sigur Rós-y pseudo-‘epic’ vibe apparent on most tracks, but here it feels more like a necessity because of a lack of memorable material, and the concept of marrying said atmosphere with lyrics lifted straight from the golden age of roots rock is – dare I say it – an almost pioneering one, but it just doesn’t work. There’s also a distinct lack of hummable melodies or obvious hooks present, with the band seemingly more concerned with creating a ‘mood’ first and a decent song second. I haven’t found myself humming these songs when I’m walking to the shops or involuntarily hearing them in my head before I go to sleep at night, and on an album of four-minute pop songs, that’s simply unforgivable.

It’s a real shame and a wasted opportunity, because the non-filler material (“Factory”, “Compliments”, “Blue Beard”, “Dilly”, “Older”, “Neighbor”) is music really worth getting excited over, but the album just has too much sub-par material for me to be able to truly recommend it as a whole. But get a hold of the tracks listed above, and you’ve got easily the best EP of 2010 so far.

5.0/10.0

RIYL: My Morning Jacket, Fleet Foxes, Bon Iver, Rogue Wave, Death Cab for Cutie, Frightened Rabbit, Arcade Fire, Midlake, Manchester Orchestra, Bright Eyes, M. Ward, Blitzen Trapper, The Band, Okkervil River, Built to Spill, Iron & Wine, Minus the Bear, Wilco

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Band of Horses – Factory

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Videos for “Compliments” and “NW Apt.”

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The post Band of Horses – Infinite Arms (2010) appeared first on Obscure Sound: Indie Music Blog.

Librarians are certainly different than the professionals they take their name from. Their recent material finds solace in its own untidy ambition as opposed to systematic convention, a flexible ideology that allows their plethora of influences to shed their skins most appropriately. Their second album, Present Passed, will likely be one of 2010’s breakouts due to this newly infused mentality, which was somewhat absent on their debut, Alright Easy Candy Stranger. While receiving plenty of praise, the lack of attention their debut received can be chalked up to a feeling of complacency that resonated throughout the album. Whereas with their debut it seemed as if one memorable twist in a song was good enough, Present Passed finds a band taking less pressure off themselves in regard to writing a song that will get them noticed. This excellent album finds albums full of adventure and capriciousness instead, even with short two-minute interludes like “Island Jam” that fit wonderfully in the midst of a subtly complex album full of varying atmospheres and styles (from tropical-tinged pop to brooding folk). Complexity is not usually so discreet, but as Librarians’ songs evolve and flourish in a surprisingly cohesive narrative there will be cause to replay several songs for the sheer reason of so many enjoyable things going on. For pop music this readily accessible, it is an incredibly rare thing.

I notice even already that it does not take much to sell people on Present Passed, especially those enamored with widely-received artists like Radiohead and Animal Collective that tread deep waters of innovation while still retaining radio-friendly melodies and structures. The latter two artists have little resemblance in their approach, but they often find themselves in the same sentence due to their impact on respective “generations” of music, so to say. They have continued in a style that coincides with their introductory demeanor a decade ago, but also fit seamlessly within what is relevant today. Radiohead have proved durable for nearly two decades, and now eyes are on artists like Animal Collective to follow suit. There will always be creative artists like this, but the question will always be how they adapt to stylistic expectations surrounding music at the time. Radiohead have plenty of bands that sound just like them, whether they bear resemblance to the riveting alt-rock of OK Computer or more glitch-oriented key-led pop of Hail to the Thief. To a lesser extent, the same can even be said for a relatively young artists like Animal Collective and Ariel Pink, who have re-ignited interests in bedroom recording based in both synths and guitars. As a result, it is natural that they fit in with a scene fueled by their influence.

Librarians’ Present Passed seizes upon the expanding classification that psychedelia has been granted lately. As electronica becomes more accessible and acceptable due to the aforementioned artists, utilizing synths is becoming more recognizable in a style known mainly for echoing guitars, placid rhythm sections, and studio innovations. Librarians fit naturally within this range of psychedelia, as their resourceful use of instrumentation from their orchestral flourishes to stabs of synths comes off exuberantly under the rich melodic croon of Trey Curtis, who somewhat resembles the rich tenor of Grizzly Bear’s Ed Droste and is able to similarly transition from somber and retrospective to infectiously upbeat. The tone of the album shifts from track to track, in a cohesive manner of course, but still enough to make track-by-track comparisons somewhat futile. Lead vocalist Trey Curtis shines in an effort like “So What”, where the suave accentuation at each chorus’ end is part of the song’s majestic melody. “It’s like you’re always there when I need someone to talk to,” he sings in this moment. “I want to call your name and make everything new.” It is easily one of the band’s more accessible, coherent, but it sits alongside other tracks that are certainly more on the side of unconventional.

“Wait & See” and “Cranberry Palace” is essentially one song divided into two because of its excellent transitional effect, which sees the hurried and rhythmic jungle-pop of “Wait & See” collide with the serene psychedelia of its counterpart. The latter is particularly beautiful in its reminiscing of ’60s ballads and conclusion of falling synth arpeggios, while “Wait & See” should find great response in fans of Animal Collective’s fusion of high-pitched synths that resemble exotic woodwinds with gauze-y layers of soothing synth. The relaxing effect takes effect once “Cranberry Palace” emerges, and this part of Present Passed plays particularly well. “Candy Season” is also a very likable effort, employing a structure that finds evolving rhythm sections unfold over a brisk acoustic guitar loop. The build-up contained in song’s latter half, which is ushered in by a twinkle of keys, is easily the track’s most melodic moment, though the first half’s sugar-rush analogies are just as memorable. It serves as a nice summary of Present Passed, where most tracks begin with soaring harmonies and infectious rhythms before evolving into atmospheric, psychedelically coherent forms of post-rock that coincide perfectly with the success of artists influenced by these collection of artists that differ in style but not in approach, that being of staying true to one’s origins and molding the expectations surrounding them as a result.

RIYL: Grizzly Bear, Radiohead, Animal Collective, The Turtles, The Zombies, Clinic, Echo and the Bunnymen, Mogwai, The Helio Sequence, The Depreciation Guild, Leonard Cohen, Menomena, Fruit Bats, Stars of Track and Field, Explorers Club, Built to Spill, The Flaming Lips

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Librarians – So What?

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Librarians – Cranberry Palace

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Librarians – Wait & See

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Postfact Records

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The post Librarians of Present Passed appeared first on Obscure Sound: Indie Music Blog.