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

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

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

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

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

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

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UltraChorus – Scarlet Eyes

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UltraChorus – HouseParty 5

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UltraChorus – Bestin the Farther

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The first group goes by the name of WhoMadeWho, a clever choice considering their broad array of influences. An initial listen will flaunt shades of ‘90s alternative-rock, specifically in a British context with groups like Blur and Supergrass serving as enjoyable constants. This is most prominent in their use of jangly guitars and the crisp delivery of both Jeppe Kjellberg’s and Tomas Hoffding, though this context certainly does not apply to every aspect of their sound. For the most part, their emphasis on more electro-influenced styles like funk, dance, and house is delivered more prominently. The result is an extremely modernistic sound that fuses the enjoyable aspects of ‘90s alt-rock with several accessible elements of contemporary indie-electronica. This description tends to place WhoMadeWho among similarly fused acts like Klaxons (whom they have toured with), though WhoMadeWho’s delivery is generally too polished to make this comparison entirely justifiable. For a stellar pop track like “The Plot”, the refined mannerisms emit more of a radio-friendly appeal than any form of angst or pettiness. As I previously mentioned, it is not WhoMadeWho’s intricacy or boldness that makes them memorable. It is the way in which they can craft a stellar pop hook using familiar influences of both the present and past, making that feeling of instantaneous captivation a frequent occurrence for the listener.

WhoMadeWho have already shared the stage with the likes of Hot Chip, Justice, and LCD Soundsystem, and such acts provide a good indication of their stylistic demeanor. WhoMadeWho’s knack to implement additional genres – which reaches back as far as ‘60s psychedelia – is also a uniquely creative component that most groups of their nature fail to succeed in accomplishing. Often one will find such indecisiveness between incorporating rock and electronica in acts like this, but the Danish trio show no hesitation whatsoever. “The Plot”, the self-titled track off of their upcoming album, begins with some standard indie-rock flair. A very prominent bass, a few guitar chords or so, and Hoffding’s slight falsetto in the chorus establish a very infectious tone from the get-go, though the track becomes more eclectic as it progresses. After the introductory chorus, the verse attempts a slight stylistic shift with a repeating synth line. The melody here is a more subdued version of the first verse, and it makes the subsequent reversion into indie-rock territory that much more seamless. With the booming bass and occasional synth lines counteracting with the hectic percussion and ardent vocals, one could make a case in saying that “The Plot” summarizes the direction that WhoMadeWho will take on their new album. If this is the case, success seems practically imminent.

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WhoMadeWho – The Plot

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WhoMadeWho – The Train

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Compared to WhoMadeWho, it would be practical to say that La Roux seem more primed for widespread recognition. Apart from already being scooped up by a major label in Polydor, the British duo have received significant airplay across the UK for irresistible efforts like “Quicksand” and will be the supporting act on Lily Allen’s upcoming UK tour. Much like The Knife (but without the brother-sister connection), La Roux are comprised of two members that both have an esteemed knowledge of electronic pop music. Elly Jackson serves as the face and vocals of La Roux, while both she and Ben Langmaid create the infectious melodies with their personal arsenal of synthesizers. Unlike WhoMadeWho, their style is strictly within the realm of electronica, but that does not hinder them from standing out from the rest. Though their songs are extremely conventional and straightforward, their material has a special flair to it that derives from both its infectious qualities and atmospheric consistencies. Jackson’s voice is one that quivers and yelps in accordance to the backing instrumentation, best evidenced by the convincingly danceable “Quicksand”.

Even at the beginning of “Quicksand”, Jackson is an immediate force. Taking advantage of consummate production and high-end technology, she shifts between several ranges and tones of production seamlessly. This track sees her delivery transition from robotic-like, tight vocals into a very flexible approach during the chorus in which she simply proclaims, “I’m in the quicksand”. Again, there are no lyrical revelations to be found or stylistic innovations, but the songwriting and production are solid and Jackson certainly has what it takes to become a memorable figure in electronic pop music. Whether this type of music is too electronically engineered for a mass audience is questionable, as the current “hot faces” in the UK like Lilly Allen and Amy Winehouse deliver a more orchestrated, expectable form of pop music. But if electro-pop becomes the mainstream genre of choice in the next year or decade, La Roux are surely primed to hit the big time. One reason to believe this is by looking at their string of song releases. Hyped electro-pop bands in the vein of La Roux often tend to release a great song or two and disappear, but considering that they have already released two electrifying singles in “Quicksand” and “In For the Kill” (the latter to be released on March 16th), it would be surprising to see their upcoming full-length disappoint.

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La Roux – Quicksand

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La Roux – In For the Kill

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by Mike Mineo

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50. Hot Chip – Made in the Dark

Before they earned a Grammy nod or topped the UK singles charts, Hot Chip had a considerable amount of doubt surrounding them. Their 2005 full-length debut, Coming on Strong, showed signs of potential here and there with a few stellar hooks, but many found the London-based group to be lacking in three things that are often vital in electronic pop: energy, wit, and consistent infectiousness. They answered the criticism resoundingly with their second album, The Warning, a year later and have not looked back. It somehow found the perfect divide between creativity and accessibility, proving more accessible than Coming on Strong while also suggesting that the group was steadily evolving into something that could be easily separated from the hordes of generic synth-pop acts. The songs were bouncier, more energetic, and – most importantly – more fun. That being said, it was hardly a surprise when their follow-up, Made in the Dark, proved just as successful and arguably even more so when considering how remarkably consistent the album’s quality is. The budding catchiness of “Ready for the Floor” may very well be the best song of their short career so far, while even the more emotionally demanding pieces like the seductive “We’re Looking for a Lot of Love” and the swanky “Don’t Dance” prove wildly successful, providing a fair amount of diversity to an album whose genre usually does not demand it. It simply proves that Hot Chip are beginning to think outside of the box and, in doing so, are succeeding dramatically.

Hot Chip – Ready for the Floor

Hot Chip – We’re Looking for a Lot of Love

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49.Little Joy – Little Joy

When you are a member like an internationally renowned band like The Strokes, it can be difficult when attempting to separate yourself from your past projects in order to form a new one. These initial thoughts may have ran through Fabrizio Moretti’s head when he first formed Little Joy, but after the widespread acclaim of their self-titled debut album, the association appears nearly obsolete. Never mind the fact that lead vocalist Rodrigo Amarante can sound eerily like Julian Casablancas on tracks like the tropical “No One’s Better Sake” and the rockabilly-tinged “How to Hang a Warhol”. Little Joy is ultimately the product of a compelling stylistic focus, resulting in carefree and extremely accessible effort that allows simplicity to flourish in the most complementary way possible. Beautifully interweaved backing vocal harmonies, subdued rhythm sections, and the gentle twang of acoustic and electric guitars are a few of the components at work throughout the album, as is the powerful usage of Amarante’s breezy vocals. Though Little Joy was released a month or two after the warm days of summer, it is inarguably a perfect album for the season. Additionally, even though Amarante is the lead vocalist throughout the majority of the album, Moretti’s girlfriend, Binki Shaprio, shines brightly with her backing vocals and on “Unattainable”, an unrequited love ballad that blends gentle acoustical melodies and hushed vocal harmonies. This track, in addition to irresistibly luxurious efforts like “The Next Time Around”, makes Little Joy a sure winner.

Little Joy – The Next Time Around

Little Joy – Unattainable

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48. Phoebe Killdeer and the Short Straws – Weather’s Coming

At one time in her life, Phoebe Killdeer was an eight-year-old who admired few people more than her musical hero, Tom Waits. As a college student, such a fact was quite alarming to me. After all, I have some friends my age who STILL are not mature enough to even respect Waits as a songwriter. For an eight-year-old to recognize such prevalent talent, it can perhaps prove to be an indicator of their future musical endeavors. Well, this was at least true in Killdeer’s case. Now a renowned songwriter who, like Waits, continues to defy stylistic and methodical norms, her solo debut, Weather’s Coming, exhibited both a raw display of talent and a veneration for artists of the past and present with a swirling stylistic fusion of jazz, Afro-pop, blues, and folk. The audibly emotional fury of “Big Fight” plays with a form of vocalized free-jazz that sees a variety of woodwinds and brass combine with the constant use of an upright bass to create a purely enthralling sense of tension. It sounds like something Matthew Herbert would have crafted, but the credit here goes to Killdeer and her noted producer Marc Collin. “Let Me” sees her pop approach in more conventional form, using elements of Afro-pop in the echoey keys and supplementing electric guitar. Combined with the serene elegance of Killdeer’s voice, it creates a resoundingly successful atmosphere that contributes to an album that has been criminally overlooked this year.

Phoebe Killdeer & The Short Straws – Let Me

Phoebe Killdeer & The Short Straws – Big Fight

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47. Firekites – The Bowery

Speaking of criminally overlooked albums, Firekites’ The Bowery has subtly emerged as one of this year’s finest folk-oriented efforts. The focus throughout the release is folk music, but the subtle implementation of jazz and even electronica is executed flawlessly by this Australian collective. Some tracks like “Same Suburb Different Park” tend to have more emphasis on electronica, while the beautiful “New Year Has Spoken” seems more inclined to tread in folkier and jazzier waters. Regardless though, every track on The Bowery flourishes with exceptional songwriting and instrumentation that gives the group more depth than the majority of their contemporaries, a complement that also weighs heavily on their ability to multifariously emit a selection of styles. Two tracks in particular, “Autumn Story” and “Paris”, are particularly indicative of this wildly successful fusion of folk and electronica. “Autumn Story” gradually shifts from a sole acoustical melody to one that is accompanied by tragically empowering strings and steady percussion, eventually supplemented by a gurgling synth pad that echoes the initial guitar melody elegantly. The usage here is subtle underneath the strings and intricate guitar progression, but it adds to the atmosphere of the track even more so. The instrumental “Paris” utilizes synth pads in similar form, throwing it under a variety of simultaneous guitar progressions. When the distant use of an upright bass is heard, the percussion picks up and introduces the listener to a more vigorous instrumental approach. The introduction, like every stylistic preface on this beautiful album, is one that proves highly rewarding and consistently satisfying.

Firekites – Autumn Story

Firekites – Paris

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46. Destroyer – Trouble in Dreams

Dan Bejar, better known under his Destroyer alias, has made a name for himself as one of the most consistent songwriters in contemporary indie-rock ever since the 1996 release of his debut, We’ll Build Them a Golden Bridge. He is also known as one of the most prolific, releasing eight LPs in a span of eleven years and appearing on a countless number of year-end lists because of it. Well, here he is again with Trouble in Dreams, an effort that sees him continuing with his uniquely invigorating delivery and continuously impressive songwriting. Whether you happen to be a fan of The New Pornographers, Swan Lake, or Destroyer itself, Bejar’s vocals has become one of the most recognizable in contemporary indie-rock for good reason. Trouble in Dreams, his eighth LP, finds . Debating which Destroyer album is the most worthwhile can be a trivial affair, as it is a widely accepted opinion that he has yet to release an album under the alias that lacks his usual vigor and strengths as a songwriter. That being said, Trouble in Dreams is simply like his other albums: engrossing and melodically rewarding, both in ways that improve with each successive listen. The eight-minute “Shooting Rockets (From the Desk of Night’s Ape)” proves to be one the album’s best efforts, throwing in plenty of Bejar’s expected metaphors over a forceful display of swift keys and roaring guitars to create something that is epic and masterfully constructed. The same can be said for the majority of the album, as Bejar has once again crafted something worth contributing to his status as one of the most consistent songwriters in indie-rock.

Destroyer – Shooting Rockets (From the Desk of Night’s Ape)

Destroyer – My Favorite Year

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45. White Denim – Workout Holiday

The Austin-based White Denim hold more importance than being identified as one of the first groups to embrace netlabels as a source of distribution. They also are showing that the quality of music does not have to be poor or even mediocre for this type of distribution. In fact, the material can be quite excellent, as their debut album, Workout Holiday, quite perfectly demonstrates. The first version of the album (the “Tour EP”) was released in 2007 under the digitalized RCRD LBL, resulting in a considerable amount of attention for a group who had always been a live favorite in their native Texas. The EP version of Workout Holiday was then re-released in 2008 under the same name, featuring several new tracks and re-recorded versions of older ones. “Sitting” and “I Can Tell You” are two examples of their newer material, being two of the more gratifying displays of the group’s gritty mixture of blues and garage-rock. “Sitting” is an outstanding display of the trio’s youthful energy, as vocalist James Petralli indicates immediately with his quivering croon over a slick piano progression. The remainder of the group – bassist Steve Terebecki and drummer Joshua Block – then come in with a very lively rhythm section, an aspect of the band’s repertoire that proves to be one of their major strengths throughout the release. “I Can Tell You” also proves worthwhile as an ode of sorts to early punk, using a repetitive structure over aggressive guitars, a bustling rhythm section, and – the best component – a small sprinkling of keys at the end of each verse. Their methods may have changed from self-distributing CD-Rs at shows to signing with a netlabel and then signing with an actual label, but the newest release of Workout Holiday proves vastly enjoyable regardless of the release format.

White Denim – Sitting

White Denim – I Can Tell You

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44. Benoît Pioulard – Temper

The concept of lo-fi music can occasionally end up being too pretentiously overbearing for some. It can be used as an attempt to cloak a songwriter’s inabilities or a producer’s lack of grandiosity, but there is little doubt surrounding a select group of artists who embrace the style and use it masterfully. Benoît Pioulard is one of them. He recorded his debut EP, Enge, on a built-in computer, an early indication of his lo-fi endeavors. Listening to his second full-length, Temper, though, I start to wonder whether that “lo-fi” tag can even apply any more. Pioulard has hardly changed, with his interests in tape decay and field recordings fusing together to create a sound that uses elements of folk, pop, and electronic in a delicately consuming form. However, the amount of intricacies that lie in any one of the album’s 16 songs makes it seem like it is from another world; it is usually not an aspect of so-called “lo-fi”. Often using ambiance in the background of tracks, whether it be natural elements like rain falling in “The Loom Pedal” or melodic attributes like the eerie bells on “Ardoise”, Pioulard’s success derives primarily from an impressive amount of well-executed ideas. “Idyll”, one of the album’s more accessible efforts, sees a very simplistic acoustic guitar progression being repeated throughout the entire duration of the track. Adding on numerous complementary instrumental layers is what to be expected and he does so here, but when combined with his caressing, lyrically indistinguishable voice, the result is anything but predictable. The same can be said for a track like “The Loom Pedal”, where a repeating acoustic guitar progression is warmly embraced by a synth pad that alters the barren atmosphere into something resoundingly effective. While Temper is perfect for a late-night listen with its gently plucked progressions and use of desolate electronica, the cumulative innovational success engineered by Pioulard makes it more than a nightly affair.

Benoît Pioulard – Idyll

Benoît Pioulard – The Loom Pedal

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43. Howlin Rain – Magnificent Fiend

Back in the day when groups like The Grateful Dead and The Allman Brothers reigned supreme, live performances were just as valued, if not more than, the albums themselves. Even if one was able to acquire the show’s setlist beforehand, it would likely prove absolutely irrelevant in determining the content of the performance. The musicians in each group altered their initial songs drastically, throwing in a variety of musical styles over structural dissimilarities in a form that sounded ingeniously cohesive and somehow reminiscent of the original song at hand. When listening to Howlin Rain’s second album, Magnificent Fiend, it is quite conspicuous that the Oakland-based collective lean towards a similar school of thought. Appropriately meshed in with the “jam band” standards of blues, rock, psychedelia, and folk, Howlin Rain have crafted an album full of unpredictable hooks that are highly indicative of a group with a studied vision of their stylistic roots. “El Rey” is an excellent example of the grup’s multi-instrumental prowess, utilizing a variety of keys and organs over a prominent brass section. The chorus is the biggest treat here, where a series of brass clashes with Ethan Miller’s wailing vocals to show just how perfectly implemented his soulful presence is. Miller’s howl during “Dancers at the End of Time” sounds like some sort of possessed preacher, with a backdrop of vigorous guitar progressions and straining organs acting as the composed followers. The main lyrical focus of “El Rey” describes this group best: “You don’t have to change; you don’t have to hold onto your past.” A similar musical style has been evident for several decades, but the unpredictably enjoyable way that Howlin Rain present their outstanding songwriting and integration of influences is what separates them from the rest.

Howlin Rain – El Rey

Howlin Rain – Dancers at the End of Time

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42. Hilotrons – Happymatic

Relying heavily on a genre that fans and critics alike generally tend to call “outdated” can prove to be a risky venture. That is, unless it is performed in such a unique way that it instead appears as an updated memento rather than an outdated . With a clever mixture of humor, wit, and stylistic accuracy, Hilotrons have released one of the surprise successes of 2008 with their third album, Happymatic. Whether Happymatic finds the Canadian five-piece tackling synth-pop on “Emergency Street” and “Streets of Science”, new-wave on “Love Suit” and “Caught on Video”, or odes to the spaghetti westerns of Ennio Morricone on the instrumental “Feet First”, there is something for everyone with at least a slight hunger for everything good that came out of the ‘80s. That is not to say the album is entirely a trip to the past though, as tracks like “Deep River” and “Big Plans” provide an inventive edge to contemporary indie-rock with snappy guitar progressions and superbly vigorous rhythm sections that allow such efforts to stay within the cohesive range of successful attempts at synth-pop and new-wave. “Big Plans”, while not the most intricately impressive effort on the album, proves to be one of the most fun with a chorus that borders on ska and reggae. Mix in a bit of Hilotrons’ trademark new-wave and you have yourself an extremely appetizing style to gravitate toward. For a more proficient example of their songwriting, the intense build-up toward the chorus in “Big River” is hard to beat. For an album that contains so many styles (many of which are blasts to the past), it is extraordinary how cohesive Happymatic. For a group who has been flying under the radar for over six years now, this is a fantastic effort that should give them some well-deserved recognition.

Hilotrons – Deep River

Hilotrons – Big Plans

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41. Cineplexx – Picnic

After the sleepless city life of New York City prompted Sebastian Litmanovich to pursue music as a producer and songwriter, he did something slightly unexpected: he returned home to Argentina. You would figure that with all the connections, sights, and opportunities that New York City has to offer, an up-and-coming artist would be at least skeptical of leaving. Not Litmanovich though, as he valued comfort to . This wise decision allowed him to flourish as an artist, playing with the post-rock group Amarena Incident and co-founding a design studio before Cineplexx was even orchestrated. Now, after ten years and five full-length albums, he is widely accredited as being one of the most talented Argentinian musicians of the decade. For his fifth album, the masterful Picnic finds Litmanovich at his absolute finest in crafting an album that defies all atmospheric expectations. Using a variety of twinkling keys, placid guitar progressions, and synthesizers, he has created an extremely lush arena for his beautiful songs to play out in. The standout “Droga Paliativa” fuses together electronic and acoustical aspects of pop music to result in something that proves quite extraordinary. The varying use of reverb on Litmanovich’s hushed vocals adds to the atmospheric brilliance, with the infectiousness of the track also being an unavoidable characteristic of the overall success found on “Droga Paliativa”. For a more poised representation of Litmanovich’s skills as a pop songwriter and perhaps future composer of film scores, the beautiful “Humedad” reaps benefits from twinkling keys and sweepingly somber string arrangements. The same can be said for “Novatone 500mg”, an instrumental effort that sees a highly ardent melody flourish with the appropriate touches of synthesizers, samplers, and automated percussion. Whether he is using dozens and dozens of synthetically engineered samples or a single acoustic guitar, the lushly invigorating atmosphere that Litmanovich stirs up on Picnic is nothing short of breathtaking.

Cineplexx – Droga Paliativa

Cineplexx – Humedad


[audio:http://mineorecords.com/mp3/cplexx-hum.mp3]

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Whether you are someone who attends a concert once a year or once a week, it is easy to recognize the wide variety of benefits that such a music-oriented event can offer. The primary reason for attending, of course, is nearly always related to seeing a favorite artist perform in a more personalized capacity. But, even if some are reluctant to admit it, there is just something about the atmosphere of such an event that makes most of the show-goers seem more sociable and amiable than they do in the routine of daily life. Such approachable dispositions are usually caused by two things. For one, everyone there has something in common that they can talk about (a specific music niche), making awkward social situations generally irrelevant. Also, if someone has the time to attend a show for leisure, the amount of stress in their life at that given time is likely minimal. Great music, fun people, and no stress? Ah yes, it is the wonderful appeal of concerts. And if you are lucky, you may even meet someone who will change your life for the better. No, I am not referring to a new lover (though that is always very possible), but a partner in a more artistic vein whose apparent music interests overlap with your own. In fact, I imagine that discovering a new band mate is much easier at the proper shows, as any issues regarding opposing musical interests are obsolete.

Ever since Shaun Robinson and Rocky O’Reilly met at an Icelandic electronica show a few years ago, they have been constant musical companions. As the sole founding members of Oppenheimer, success has been mutual for the recently thriving duo. Their electronica-based meeting place unraveled both of their musical interests to one another, resulting in a sparked chemistry that involved a lust for kraut-rock, electronica, and synthesizers. Oh, and as the sound of their own project clarifies, the boys appear extremely fond of well-crafted pop music as well. Despite using a diverse array of guitars, synths, and rhythmic alterations, the result is always a cohesive and polished blend of electronic pop and rock. Over the past few months, they have been gaining extraordinary momentum. Apart from sharing the stage with the likes of Hot Chip, Regina Spektor, and They Might Be Giants, Oppenheimer’s tracks have been featured in several nationally televised series (Gossip Girl, Ugly Betty). They were able to score such prominent gigs after the release of their self-titled debut album in 2006. Released by Bar-None Records, it brought the Irish duo their first signs of recognition but did little as to hint where the duo would take listeners next. On their follow-up album, released in early June, they perfect upon a familiar sound that should please listeners both old and new to Oppenheimer.

For their second album in Take The Whole Mid-Range and Boost It, Oppenheimer has utilized an ideology that a large variety of indie-pop bands seem to unfortunately forget when writing their sophomore albums. Artists are often so eager to follow up an acclaimed debut with a release that expands upon their stylistic focus that it can backfire rather tragically, ending up as an overbearing mess. You can call it an overabundance of confidence if you like, but confidence is hardly to blame for rushed production and faulty songwriting. In terms of style, Take The Whole Mid-Range and Boost It is not a drastic change of pace from Oppenheimer; the same fresh presentation of sparkling electronic pop is present once again. The glaring difference, however, is that the songwriting is definitively stronger. Whereas Oppenheimer occasionally suffered from being overly repetitive, the 12 tracks on Take The Whole Mid-Range and Boost It vary to a commendable extent despite consisting generally of the same instrumentally fused approach. The lyrical content is as equally diverse, with topics ranging from Cate Blanchett and her following of impersonators to the joyless illegality of fireworks in New Jersey (as a resident, I can say that the ruling is quite hilarious). The track, entitled “Fireworks Are Illegal in the State of New Jersey”, acts like an impending firework display in itself, shifting from the serene gaze of light keys to a rapid explosion of synths and guitars. Indeed, if you are someone who constantly hungers for cliché love songs in their most conventional form, then Oppenheimer is not for you. This duo appears fearless in their lyrical and melodic approach.

I was immediately intrigued by “Cate Blanchett” on its name alone, as I figured that an ode to arguably the most eclectic actor in the biz today could be an entertaining one. As it turns out, the track is quite a spectacle, but not for the reasons I prematurely thought. It takes over a minute to gain true momentum, but once the hook is triggered by the entry of effervescent synths over the backing of brass, the level of enjoyment increases dramatically. The high-pitched, airy nature of Shaun Robinson’s voice could actually be mistaken for a female’s upon first listen, but the angelic tone sounds excellently implemented over the sparkling array of electric guitars, whispy synths, and soft keys. Oppenheimer has a tendency to almost reach into a vein of orchestral pop without using conventional orchestral instruments at all. And while this may sound very odd, the nature of it is due to the flexibility of synthesizers and also the highly involved intricacy of all the included instruments, all of which overlap cohesively with one another. The brisk “Look Up” is even more indicative of this, with a more fluid approach reminiscent of basic power-pop. The structure proves rather predictable but the infectiousness of the melody alone carries the track to great heights, setting up for what I believe to be a single whose future success is imminent. While the duo’s ability to produce brightly effused electronic pop may become tiring to listen to in large doses, the concise factor of enjoyment found on tracks like “Look Up” and “Cate Blanchett” should not be missed out on.

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Oppenheimer – Look Up

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Oppenheimer – Cate Blanchett

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Oppenheimer – Fireworks Are Illegal in the State of New Jersey

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A fling is usually regarded as a “play date” of sorts that is short, sweet, and emotionally irrelevant, usually done in order to satisfy certain needs that appear often to any sane individual. As long as neither partner is involved in some voluptuous affair, the effect can be surprisingly useful in reducing stress and even providing a bit of an ego boost for both parties involved. Though their music consists of numerous aspects that can be enjoyed and remembered for much longer than a few hours on some hazy Friday night, the sounds of The Fling bring a concisely excitable form of indie-rock to the table that makes the four-piece’s namesake appear wildly appropriate. They provide immediate satisfaction with an array of suavely executed hooks, all complemented by a familiarly invigorating fusion of varying styles that focuses as much on the past as it does on the present. To remain comparatively adjusted, a past lover with a new bag of tricks up their sleeve would be appropriate enough. With elements of classic ’60s pop, ’90s alternative, and contemporary indie-rock clashing fluidly to create a strangely nostalgic effect, their successes are moments that prove memorable even after a seemingly impenetrable hangover.

It would be easy enough to list influences like The Beatles, The Band, and The Pixies when attempting to describe The Fling, but an agenda arises when the focus shifts to comparisons on a song-by-song basis. Unlike the indie-rock norm, every song The Fling has released so far has exhibited a form of variety that makes one unified comparison impossible and consequently irrelevant. They all remain in the realm of throwback rock, pop, and folk, but the songwriting in itself showcases a variety of structural tendencies and revolving aspects of production that makes the cumulative listening experience vastly unpredictable. Based out of Long Beach, California, half of the band is comprised of the Lovelis brothers. Dustin provides guitars and Graham serves as the bassist, with both lending their zealous vocal deliveries to the final result. They were originally the only members, as The Fling was initially Dustin’s side project with Graham until the arrival of two key members in 2007. This period marked the introduction of guitarist Joel Bond and drummer  Justin Ivey to the fledging group, with the increase in instrumental dexterity signaling the band’s entry into a more expansive style. The four-piece recorded and produced their debut EP, Ghost Dance, in the following months. It was released in March of this year, one month before Bond left the group and was replaced by multi-instrumentalist Scotty Cantino.

Like many groups of a similar vein before them, The Fling’s decision to release a concise EP before a debut album mainly attributes to their personalized value of critical reception. Focusing all your funds and time towards a full-length that may falter considerably is a risky expenditure, so gaining a bit of experience before risking all of their chips should be a smart one for the California-based quartet. That being said, Ghost Dance is no lacking effort. It does an excellent job in showcasing the band’s potential, all contained within an illustrious style that serves the exuberant group well. They actually remind me a bit of the previously featured White Denim in several ways, both in their blend of throwback and contemporary styles of rock and folk and their intended method of distribution (a pick-your-flavor EP before an actual album). Also, like White Denim’s early output, a bunch of tracks on The Fling’s debuting EP are most certainly good enough to serve as standouts on an eventual album. “Lonely Fool” is one of them, featuring an electric guitar progression with tinges of folk and blues aided over a lyrical perspective that highlights the pitfalls of social anxiety. “‘Cause I don’t think I even wanna step foot outside today,” the brothers sing in near-unison, bringing shades of Supergrass into the mix. “‘Cause I don’t really want to see anyone.” The track is actually the most melodically simplistic on the EP, but that also allows it to be arguably the most accessible and instantaneously awarding.

The stylistically focused “Strange Ideas” is more efficiently demonstrative of the group’s creativity and lyrical scope, once again defined by impeccable dual vocal harmonies that glide seamlessly over the progression of a distorted guitar. The brothers do a commendable job of depicting unrequited emotions, surveying conventional reactions such as denial and false hope as the instrumental backdrop corresponds appropriately. “I don’t know where these strange ideas form, or do you feel it too?” they croon as a new progression with a heightened pitch ushers in the chorus, audibly echoing the increasing anxiety felt by the song’s protagonist. When they nearly literally compare false hope to “standing on the edge of the real thing” over the revolving shuffle of guitars, the song reaches its artistic peak due to the cohesive structural techniques that precede it. The EP’s opening track, “The Breaks”, adds a bit of country twang to The Fling’s previously notable incorporation of garage rock and folk. Led by percussive handclaps over an acoustic and twangy electric guitar, the decision to implement a harmonica at the conclusion of some extended verses proves to be a good one. Keep an eye out for this young four-piece. If Ghost Dance is any indication, they could be making a sudden surge like White Denim by year’s end.

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The Fling – Lonely Fool

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The Fling – Strange Ideas

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The Fling – The Breaks

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Though his talented songwriting is worth considerable praise alone, fans of Antony Hegarty often find it easiest to distinguish the English singer/songwriter by his voice, an enjoyably unique feature that ranges several octaves and encompasses a striking delivery that is practically impossible to rival. It is the type of voice that sounds good over any style of music accompanying it, mainly because of the raw skill and emotional capacity Antony pours into it. His two solo albums under his most reputable project, Antony and the Johnsons, are worth checking out too, with his most recent one, I Am a Bird Now, being one of my favorite albums from 2005. I would like to explore his upcoming album, The Crying Light, in detail, but I’ll leave that to another post. This one is for Antony’s most recent side project, Hercules & Love Affair. The brainchild of DJ Andrew Butler, the project’s beginnings date back to 2003. Butler wrote “Blind”, a synth-oriented track, and showed it to Antony with the intent of getting him to do the vocals. The two finished the track and left it largely unnoticed for a year or so. It was not until a year later when the urgings of Antony encouraged Butler to revive the track and perhaps an entirely new project altogether, resulting in the eventual birth of Hercules & Love Affair.

Four years later, “Blind” is now a disco-tinged track bursting with various instrumentation and additional vocal appearances by Kim Ann Foxman and R&B singer Nomi. With revamped production, it is set to appear as Hercules & Love Affair’s debut single for their self-titled debut album, set to be released on March 10th. Butler’s emphasis on dance and disco presents wildly exciting circumstances for Hercules & Love Affair, especially considering that he has the help of Antony. He adds his vocals to half of Hercules & Love Affair’s self-titled debut, with all 5 tracks being quite memorable. Those accustomed to Antony’s delicate piano-laden ballads may find it initially difficult to grasp the new style, but Antony does a remarkable job throughout the release and simply solidifies the belief that his vocal delivery sounds good over just about anything. “It’s going to be a challenge presenting dance music to people who are used to saying that they don’t like dance music,” Butler said. “Trying to get them to open up their minds and even consider it a legitimate form is a challenge in itself. I just hope they can hear the sincerity in this project, even if it lands outside of the spectrum of Antony’s other work.” Though his work as a performer differs in style, the fact that Antony grew up idolizing the likes of Alison Moyet, Marc Almond, and other staples of ’80s dance and synth-pop leaves sufficient reason to believe that he can capture the power of this genre as well.

If you were a contemporary artist who specialized in electronica and dance, getting signed to DFA Records would certainly be worth something boasting about. In addition to being home to the likes of LCD Soundsystem, Hot Chip, and The Rapture, the team’s production work has treated artists like Gorillaz, Nine Inch Nails, and The Chemical Brothers since the label’s origination in 2001. When DFA signed Hercules & Love Affair a few months ago, it must have provided a dense realization in the dance community that the Butler-led collective could be one of the most unique acts of 2008. Butler has been building up his name ever since his first DJing gig at the age of 15. He considers himself to be a disco revivalist; his musical output certainly shows it too. “There was a moment when disco music and ’80s music was really considered tasteless and tacky,” Butler said. “But I think people are coming around. Disco music is something more than what wedding bands play — it’s a real, legitimate musical form.” Led by soaring vocals, swanky bass lines, and a wide array of horns, keys, and guitars, Hercules & Love Affair will likely be remembered as arguably the most stylistically ardent release of the year. Butler looks to capitalize on the momentum by touring with a seven-piece lineup, Antony included. As for the odd name, the origins coincide well with Butler’s outspokenly stylish approach. “Growing up I was excited by Greek mythology and as I got older I found out that Hercules happened to have a number of homosexual love affairs,” he says. “The name refers to one of his lovers that he lost during some adventure. He’s left wandering an island, desperately looking for him. And I just like that image: The strongest man on earth, vulnerable and looking for his lost love.”

Though there remains a handful of tracks on Hercules & Love Affair that are of an undeniably infectious nature, my favorite is “Raise Me Up”. It illustrates Butler’s sensational songwriting, Tim Goldsworthy’s sparkling production, and Antony’s emotionally invigorating vocal form in simultaneously impressive form, with the constant urging of a seductive bass line being the underlying factor of memorability. Antony soulfully croons over the simplistically powerful rhythm section during the song’s first several moments, all until a lethal hook is introduced by the impulsive offerings of brass and keys. The chorus sees an expansion of instrumentation over a handful of vocal tracks, all being highlighted by Antony’s soaring vocals. Both the chorus and verses are equally irresistible, being reminiscent of quality disco and dance in more ways than one. “Blind” is the most recognizable Hercules & Love Affair track for good reason, with its variety being the most alluring element. For all 6 minutes it remains unpredictable, exciting, and bursting with an array of engaging hooks. The only repetition is intentionally done so in order to relive highlights; Butler does not waste time repeating moments worth forgetting. For instant infectiousness though, I recommend “Hercules’ Theme”. Though the vocal usage is minimal compared to the past two tracks, it is nearly purely an example of Butler’s exceptional form of instrumentation and songwriting. He turns a sound that many kids nowadays liken to something embarrassing into something that is now suave and sophisticatedly engineered. There remains a certain phrase that Butler has always been enamored with and he is improving the chances of it occurring considerably. Yeah, now disco may never die, and there is certainly nothing wrong with that.

***TRACKS REMOVED UPON REQUEST OF ARTIST***

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Hercules & Love Affair – Raise Me Up

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Hercules & Love Affair – Blind

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Hercules & Love Affair – Hercules’ Theme

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Ever since they released their excellent debut, Fuzzy Logic, in 1996, Super Furry Animals have proven to be one of the most eclectically and consistently successful acts in Brit-pop. Classifying the group into one genre has always been daunting though, as Brit-pop does admittedly remain too linear a term for the Gruff Rhys-fronted five-piece. In addition to sensibilities of British pop, their 8 studio albums have demonstrated impeccably executed styles of psychedelic rock, dance pop, punk, and throwback power pop. In fact, their latest album, Hey Venus!, served to be an utterly infectious representation of this and, in doing so, is already one of my favorite albums of 2008 (I am considering the American release date, not the import). The group has always been steered by the lead songwriting of talented vocalist/guitarist Gruff Rhys, though 2005’s Love Kraft showed signs of more collaborative songwriting within the band. In addition to the customary displays of mid ’90s Brit-pop, Rhys’ songwriting has shown shades of ’60s rock and ’70s psychedelia in both his solo work and with Super Furry Animals. Though elements of techno and dance have always been slightly prevalent, it was never a style that Rhys really focused on to a substantial extent. In his first collaborative project since the formation of Super Furry Animals, it appears as if Rhys will steer his stylistic intentions toward arguably the only pop-oriented decade that he has somewhat neglected. Yeah, the ’80s never seem to die.

Neon Neon is the collaborative project consisting of Rhys and Bryan Hollon, a Cincinnati-based producer and songwriter under the alias of Boom Bip who specializes in underground hip-hop. Like Rhys though, he does not show any favoritism toward one style in particular. With elements of electro-pop, hip-hop, and rock being his three most glaring styles of play, his labeling of a “laptop pop” artist has become something of considerable relevance. Known for both his ferocious command of the human beat box and intelligent use of samples, Hollon has three albums and several EPs to his name. His album released in 2005, Blue Eyed in the Red Room, is the most recent of that nature; it also marked the first noteworthy collaboration between Hollon and Rhys. The Super Furry Animals frontman helped with the general production of the album and co-wrote the song “Do’s & Don’ts”. Noticing their productive ability to write songs together, the duo formed Neon Neon in 2007 and released their debut single, “Trick for Treat”, in July. Though several tracks – notably “Touch Sensitive” – on Super Furry Animals’ Rings Around the World displayed uses of trip-hop, the fast-paced, electro-tinged style of hip-hop on “Trick for Treat” appears more reflective of Hollon’s stylistic leanings. Even so, the 8 tracks on their full-length debut, Stainless Style, appear evenly attributed to each songwriter. It incorporates Rhys’ rock and pop sensibilities with Hollon’s explorations in dance and hip-hop, producing a release that, like both artists themselves, is an enjoyably eclectic blend of each songwriter’s individual style.

If you want to hear what Super Furry Animals would have likely sounded like if they formed about 10 years earlier, taken a listen to “I Told Her on Alderaan”. Being a synth-driven track that relies on the collaboration between chugging guitars and chirpy synths, Rhys pulls off the vocals of an ’80s pop star with ease. “I told her in Alderaan that something else is going on,” he sings over the leading synth during a chorus that prides itself in being as nostalgically futuristic as possible. Yeah, it sounds like ’80s synth-rock to me. For obligatory comparisons, “I Told Her on Alderaan” remains somewhat reminiscent of Duran Duran… well, their three albums that were actually decent anyways. The subject of Alderaan, a fictional universe in Star Wars, is chronologically suitable as well, with its first reference coming in 1978 (I had to look that info up, I swear). Though not nearly as infectious, “Steel Your Girl” is another track on Stainless Style that beckons back to the days of ’80s synth-rock. It proves to be more of a ballad in comparison, with Rhys now singing over a drowsier melody with twinkling keys and a repeating guitar progression as he declares that “video games are nothing but delusion”. Serene atmospherics are preferred over instant infectiousness here, though it succeeds just as well in sounding like it genuinely was made during the ’80s. Sure, some may call it outdated, but it would be foolish not to admire that stylistic accomplishment that Rhys and Hollon have pulled off.

“Raquel” was released as a single in December, featuring the original version of “Trick for Treat” alongside a Hot Chip remix in addition to the title track. It is the track on Stainless Style in where I believe the collaborative duo of Neon Neon to be at their stylistic best. It is a fusion of dance, Brit-pop, and minimalist italo-disco, with the latter being to the credit of Hollon’s commendable production. It begins in traditional dance form, with an exotically invigorating array of percussion expanding upon itself in repetition. Several synths subtly follow, expanding upon their melodic origination in similar form. When Rhys’ crisp vocals are introduced it becomes wildly apparent that, no matter the style, Rhys’ delivery seems to fit well. At the end of each of his verse, a short but highly effective twinkle of synth occurs to establish an inconspicuously empowering hook, with Rhys also heightening his pitch to declare sincere ardency. Each time the moment occurs, I can’t help but believe that the song as a whole rivals most successful dance tracks from the ’80s. For its intended style, it simply does all things right. Though the album is only 8 tracks and 30 minutes long, Stainless Steel is a delightful release that capitalizes on both the strengths of production and songwriting that Gruff Rhys and Bryan Hollon are able to mutually deliver.

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Neon Neon – Raquel

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Neon Neon – I Told Her on Alderaan

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Neon Neon – Trick for Treat (Feat. Spank Rock and Sean Tillmann)

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Imagine how barren the indie music scene would be if the process of attending college was nonexistent. It is impossible to count how many influential bands met in some dorm room, a class, or at an on-campus club while attending (or partying at) a college. This often instantaneous cause for musical chemistry can be largely attributed to the placement system that these colleges select in their students, often gathering a group of like-minded individuals who value similar ambitions in comparable fields of study. Most importantly for us, it allows skilled musicians to come together and work together in ways that, without college, would formerly be impossible. And – surprise, surprise – they usually work well together. It is not a high school where cover bands and three-chorded heroes reign the so-called music scene. In conventional terms, high school is not the proper environment for a skilled musician. Sure, you could have the top marching band in the country, but what does that really mean in creative terms? Close to nothing. Music tastes in this niche are generally linear too; people are merely brought together by geographic location, not specific ambitions or comparable philosophies. In college, however, you choose what you make of your experience and the people that revolve around it.

There are a reason that so many bands form at college campuses, and much of it can laid on the fact that college serves as the first time for many in their personal discovery of creative independence. Whether you choose to call such meetings the cause of fate or free will is up to you, but all that should really matter is the fact that some of these college-bred acquaintances are producing some damn good music. For Dan McCurry, frontman of the South Carolina-based four-piece Run Dan Run, this form of quality has been fervently ignited by the acquiring of musical companions in a new atmosphere. After he met the other three members in Nick Jenkins, Ash Hopkins, and Erin McKinley at various college functions, the oddly titled Run Dan Run was formed. Flash back about 10 years ago to McCurry’s 7th grade class; he claims to have played the fool, playing flawed songs at a party in order to impress the “hot, popular girls there”. For a 7th grader one has to admire the confidence though… and he was playing for a very tough crowd (preteen Blink 182 fans) after all. Since McCurry has resided at college though, there is absolutely no reason to expect a similarly negative reception. After all, it is difficult for the majority of college students to deny a band that shows shades of The Flaming Lips, The Postal Service, and Broken Social Scene in a sound that is filled with both atmospheric ingenuity and hook-filled melodic adeptness. According to McCurry, ever since he got out of his “annoying-i-think-i-know-everything-about-love-and-people stage”, his promising songwriting has seen much louder applause.

Apart from McKinley adding only her sweetly whimsical vocals, the other three members of Run Dan Run are all skilled multi-instrumentalists. Hopkins sings backing vocals and plays guitars and bass, and Jenkins is largely responsible for the percussive end of things. McCurry sings and plays guitar, bass, keyboard, violin, and whatever else he can get his hands on. All 12 songs on their excellent debut, Basic Mechanics, were written by McCurry, being a fantastic display of his ability to both write and perform in a style that can not be classified in a strict manner, but rather as a blend of likable artists whose reputation remains at a respectable high. Though the themes involving robots and automated love on Basic Mechanics over a variety of hooks bursting with colorful synths and futuristic pads would remind even the most casual listener of The Flaming Lips, the implementation of guitars and other naturally bounded instrumentation in the form of grand pianos and uncloaked guitars creates an experience that is also reminiscent of Death Cab For Cutie, Hot Chip, and The Postal Service, all artists who manage to maintain a tinge of electronica while working within realms of dance, indie-rock, and accessible pop. Run Dan Run fits in with such a group well and, though they do occasionally misstep on Basic Mechanics, several undeniable songs in the vein of “Your Name Escapes Me” and “Science” provide possible evidence that Run Dan Run may be finding a welcoming home on commercial radio soon.

Basic Mechanics offers plenty in terms of diversity, successfully including tracks that are heavily dependent on guitar, synth, and rhythm. For every electro-induced gem like “Your Name Escapes Me”, there is a guitar-oriented rocker in the vein of the uproarious opener, “Withheld Information”. The track provides excellent correspondence between the percussion, guitars, and synths, serving as the perfect opener in the fact that it demonstrates all the instrumental strengths of Run Dan Run in the first two minutes. “Enough For Crimes” is one of the few tracks that abandons synths entirely in its enjoyabler favoritism for guitars, properly showcasing McKinley’s vocals in their best light. On the album, McKinley appears to sound best over a series of conventional guitar riffs and underlying rhythm, while McCurry sounds perfectly suitable in his youthful, airy tone in the more dance-oriented tracks like “Your Name Escapes Me” and “Multi-Colored Lights”, the latter also being an exquisite mixture of guitars and synths in proving to be a more soothing form of “Withheld Information”. He can toy with the acoustic flair too though, as shown in the suavely seductive “Stop Sign”. Throwing a few quickly spurred piano melodies over the strumming of an acoustic guitar, “Stop Sign” is a catchy treat that governs assiduity with respect. My favorite, though, remains to be the exceptional “Your Name Escapes Me”. McCurry and McKinley sing a duet for the majority of the song, with a series of repeating flavorful synths being in concise correspondence with a series of plucked guitars and bass-led percussion. “Your Name Escapes Me” proves to be adorably catchy, just like the majority of tracks on the very pleasing Basic Mechanics.

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Run Dan Run – Your Name Escapes Me

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Run Dan Run – Stop Sign

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Run Dan Run – Enough For Crimes

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In terms of self-coined genres, the result is often either overbearingly descriptive or shockingly accurate with no wavering point, especially when “Afro-” is the preceding article to a genre that is considered somewhat conventional in nature. Now, after the acclaimed funk-jazz collective Budos Band brought us a form of “Afro-Soul” earlier this year, Boston-based MCer Mike Ladd is making a name for himself with his apparent form of “Afro-Punk”. One of the original artists on James Iha’s (ex-Smashing Pumpkin) Scratchie/Mercury Records, Ladd has since written and produced 10 albums, all of which are presented in a stylistically diverse nature. What remains most impressive is Ladd’s stylistic diversity; his fusion of hip-hop, electronic pop, and punk is often supplemented by a lyrical delivery that supports elements of spoken word and poetic device. Before his days of eclectic musicianship, he dabbled as a poet and won the the Nuyorican Poets Café Slam in addition to being published in several tomes. Still, I guess such diversity is to be expected from someone who has attended Harvard, had their music commissioned by the Brooklyn Academy of Music (after In What Language?, a collaboration with pianist Vijay Iyer), and is an acclaimed poet. After hearing such a résumé, one can only begin to imagine what his actual music sounds like.

The main reason that I bring Ladd up is that his excellent album from 2004, Nostalgialator, is being reissued for American fans on Definitive Jux on January 15th. Though he is a native of Boston, Ladd is currently based in Paris and has found his most success around Europe, being why Nostalgialator and a few of his albums have only seen European releases as of now. “Housewives at Play”, being a display of suave electro-pop in the vein of Hot Chip, is a bit unconventional for Ladd’s usual, fastidious delivery. Regardless, its immediate catchiness and colorful flavor cannot be denied. Rounded out by a slick guitar solo and a flurry of tightly tinged synths, Ladd sounds seemingly at home within the style. He is certainly not limited to it on Nostalgialator though; “Black Orientalist” and “Afrostatic” regain familiar ground with Ladd’s interests in pop culture and Black history (one of his college majors), implementing hip-hop, funk, and soul in the process.

“Afrostatic” is a well-executed throwback track that sounds enjoyably cheesy in the vein of Parliament-Funkadelic, using retro horns and expeditious vocals in the process. It personally reminds me of The Go! Team without the cheerleader chanting and dancing; the brass accompaniments surrounded by the distinctively outdated style of production provides for a sound that richly encompasses Ladd’s desired intentions. “Black Orientalist”, though more concentrated on rhythm, sees a similar approach bolstered by a more concentrated focus on hip-hop. As Ladd spits rhymes involving Osama Bin Laden, Shaq, Sean Connery, and a variety of Asian countries in the infectious chorus, it makes his quest for apparent world domination sound seemingly less unrealistic than it really is.

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Mike Ladd – Housewives at Play

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Mike Ladd – Black Orientalist

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Mike Ladd – Afrostatic

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Super Nintendo and shoegaze. Many of those who are legally considered adults at this point will find those two words to be synonymous with the late ’80s, even if both were too separable to ever cross paths. Somewhat surprisingly, it appears as if a band has managed to incorporate the two together into a stylistic fusion of nostalgic proportions, resulting in an extremely distinctive sound that raises questions of whether or not this whole ’80s revival thing occurring rampantly in fashion and music is really a longstanding niche after all. Whether it is their intention or not, the exceedingly creative two members in The Depreciation Guild are sure to attract a large crowd who favors just that. With prominent aspects of guitar-led shoegaze being fused together with the likes of infectious synth-rock and spacey pop, the duo’s influences are impressive in the form of being chronologically diverse. Their synth use is somewhat reminiscent of power-punkers Ozma, incorporating Nintendo-esque 16-bit synth lines with an array of resounding guitars, most of which can lend its shoegaze influences to a heavy amount of reverb being featured beside a variety of guitar pedals and effects. To be honest, The Depreciation Guild present one of the most singularly distinctive styles I have heard all year.

As if the recently featured The Cyanide Valentine releasing an enjoyable album as a free download was not enough, The Depreciation Guild are doing the exact same thing with the release of their debut album, In Her Gentle Jaws. You can download it for free by clicking on the yellow strip on their web site. Originally consisting of dual songwriters Kurt Feldman and Akira Hashizume, the Brooklyn-based The Depreciation Guild came together in 2005. The duo released Nautilus – a three-song EP accompanied by guitars, samples, and a Famicom 2A03 sound chip – in early 2006 on 8-Bit Peoples. That particular record label lives up to its namesake as well, specializing in artists who primarily focus on “chiptune”-led sound. For those not to keen on retro gaming, “chiptunes” are songs that are solely composed using a game console’s sound chip. This often translated to songs with a very simplistic, MIDI-like, feel that were very reliant on tones. Check out the wiki for a more technical explanation. After Hashizume left the band in May of this year to focus on his academic pursuits, Christoph Hocheim joined almost immediately, lending additional guitars and vocals to Feldman’s ceaselessly entertaining sound. Together, they created and released In Her Gentle Jaws, just uploaded last Wednesday.

(Image by Nathan Meunier)

If you are wondering where the bass, percussion, and synths are derived from on the newest album, look no further than the Famicom. Yes, much of it is the work of a machine that the band picked up on eBay. “We think the Famicom is definitely the most talented member of our band,” Feldman joked in a feature on PopMatters. Though some may prefer the natural aspects of musicianship, keep in mind that all of their songs are programmed and written with total originality. And, you know, sometimes lugging a bass, a synthesizer, and an entire drum set can become a hassle, especially for veteran gamers. Because of Hocheim’s desirable skills as a guitarist, The Depreciation Guild’s most recent sound is much more guitar-involved than their earlier, more synth-guided material. The irresistibly infectious “Butterfly Kisses” is a perfect showcasing of this, with heavily reverbed vocals gliding seamlessly over variously implemented guitars and “chiptune” synths. Though the synths make their presence well known during the explosive chorus, the heavily distorted guitar remains prominent throughout. “Sky Ghosts” is similarly produced, being an onslaught of heavy guitars during the verse that are uplifted by serene synths serving as an atmospheric pad during the edgy chorus. Even though his instrumental approach remains consistent, Feldman’s soaring vocals are prominently incorporated. His melodies are diverse and always enriching, a trait that makes In Her Gentle Jaws worth the listen, free or not.

In addition to the more rock-oriented tracks in the vein of “Butterfly Kisses”, “Sky Ghosts”, and “Darklooming”, enjoyable tracks like instrumentals ‘Water Window” and “Heavy Eyes” are more melodic and subdued in instrumental content. They both provide for a more relaxing atmosphere with crisper guitars and more delicate arrangements of synths, providing a nice change in tempo and delivery in contrast to the other, more intensely composed tracks in the beginning of the album. Since The Depreciation Guild are releasing such a fantastic album for free, if you enjoy it like I do, I recommend that you either attend one of their shows (next one is in New York on 12/20), buy one of their snazzy t-shirts ($11), or even a pin ($2) would do some justice. I just feel obligated to show my thanks in some form whenever an artist releases such exceptional material for free. Plain and simple, you have no excuse not to give In Her Gentle Jaws at least one chance. For fans of shoegaze and synth-rock, I can nearly guarantee that you will not regret it.

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The Depreciation Guild – Butterfly Kisses

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The Depreciation Guild – Sky Ghosts

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The Depreciation Guild – Heavy Eyes

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Download In Her Gentle Jaws for Free (76MB, .ZIP)>>>

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The post The Depreciation Guild Revives the Famicom for Free appeared first on Obscure Sound: Indie Music Blog.