by Mike Mineo

The author for the impending Flaming Lips biography must have it rough. There are few bands as consistently groundbreaking as Wayne Coyne and company, who would often devote concepts or stylistic trends into their work that defy the conventional norm. There was never a concise way to describe this band, whether referring to their one-of-a-kind live performances where a glowing Coyne-filled ball crowd-surfs in the audience or the ambitiously lofty career which describes their sound as still not concisely defined after over a dozen albums. This is precisely why the Flaming Lips will be remembered as one of the best bands of the past three decades, for their ability to remain entirely relevant and thought-provoking throughout that span in the midst of several stylistic revolutions is exemplary of their masterful demeanor. The thing with the Flaming Lips is that they were always ahead of the curve, preceding ’90s alt-rock with their late ’80s material and symphonic electronic-pop with legendary cuts like Yoshimi Battles the Pink Robots in the ’00s and its ’90s precedents. The latter is perhaps their most popular release, though part of the band’s beauty is that everyone seems to have a different favorite album. Yoshimi, The Soft Bulletin, and Transmissions from the Satellite Heart usually appear to be among the favorites, showing why The Flaming Lips have indeed lasted this long. The diverse acclaim attributes to a lack of consensual decisiveness among fans, which is strongly indicative of the group’s grasp of incomparable creativity and consequential stylistic relevance.

It would be easy to give the Flaming Lips a free pass at this point since they have yet to release a lackluster album in their 26-year career, but their releases are often such a mind-consuming experience that it becomes impossible not to criticize or complement. Their twelfth studio album, Embryonic, is particularly true of this. Immediate comparisons this will involve Zaireeka, their massive other double-disc offering, but only because of the effort’s enormous scope. There has been no other Flaming Lips album that is strongly comparable to this one, both in thematic effort and general style. Basically, Embryonic is a mess when compared to the ethereal works of Yoshimi or The Soft Bulletin where laid-back anthems like “Do You Realize??” and “Race for the Prize” were Lips standards. On Embryonic there are no heartwarming singles that casual fans will adore, nor fluttery examples of bubblegum-pop that provide some ease to the always-present level of experimentation. So, with this in mind, why exactly is Embryonic one of their best releases to date? Like many Flaming Lips releases, the reason becomes apparent after a full listen. Even though there is little conceptual theme or directed cohesiveness on Embryonic, the group’s tendency to constantly explore and engross in varying musical realms emits a vast array of satisfaction that accumulates throughout the release to eventually create one of the most lasting impressions of the year.

Like most Flaming Lips albums, Embryonic begins with a kick-in-the-face sort of track. Guitar distortions whimper in disarray, the reverb-heavy percussion plays with a sense of unpredictable fury, and Coyne delivers an eerie croon that finds itself reminiscent of Joy Division’s Ian Curtis in its drolly robotic allure. In doing so, “Convinced of the Hex” is a clear ode to both Kraut-rock and post-punk. The layers of sound build up until the rhythm section becomes the showstopper, gradually introducing bursts of bass as the percussion intensifies with heavy hi-hats. It nearly makes the listener picture an automation line, one superb addition after another. The different keyboard chord that appears after every other measure also does a great job of keeping this one in place in adding subtly invigorating forms of melodic variation in addition to Coyne’s vocals. One prominent method for his vocals throughout the album is to mix deadpan precision with emotive fury, like in “Convinced of the Hex” when he goes from a Curtis sound-alike to possessing the yelps of Britt Daniel (a la Spoon’s “The Ghost of You Lingers”) in the most inimitable way possible. This occurs again in “The Sparrow Looks Up at the Machine”, one of the most conventional Flaming Lips tracks due to its emphasis on electronic psychedelia. The production can actually be compared to Radiohead’s In Rainbows in that way, with multitudes of static bass clashing with heavily involved percussion to create atmospheres both ethereal and chaotic. Along with “Convinced of the Hex”, it packs an outstanding one-two punch to kick off an album full of surprises and engrossing stylistic maneuvers.

“The Sparrow Looks Up at the Machine” provides the listener with some nice Yoshimi nostalgia, though the album rarely goes in that direction again. “Evil”, one of the few ballads on the album, is one of the few exceptions. A synth progression possessing three notes repeats for several months as Coyne laments the past’s irreversible injustices. Backing vocals caress the melody nicely with the additional strings, though it never brings the listener to a place of complete satisfaction. Sure, it is soothing and relatively harmless, but when preceded by two gems it evidently lacks the full-bodied enigma despite its initial beauty. The same can be said for “The Impulse”, a nice novelty lullaby featuring vocoded synths over a half-symphonic, half-jazzy layered background. Once again though, the novelty of vocoders wears thin to the point where the majestic use of strings cannot salvage it enough. Perhaps it is being too critical, but when an artist releases a double-album there has to be due consideration for what would have been better removed. These are nice efforts, but they pale in comparison to rich compositions like “Convinced of the Hex” and “Powerless”, where constant compositional evolution is occurring throughout the entire five or six minutes. Coyne is a hard worker and extremely talented musician, but one gets the feeling that when he is not satisfied with a song he topples on strings or similar additives until the issue is cloaked, whether it is repetition or instrumental miscues. On a double-album, just tossing it out altogether would have been the wiser.

“Powerless” is indeed the biggest achievement on an album full of many, combining evolutionary post-rock with the touch of sparkling keys and unconventionally boisterous guitar solos, the latter of which sounds more like impulsive chordal strikes than melodic construction. There are several guitars to accompany keys which glitter gracefully throughout, the most prominent emitting a single chord that abrasively leads the effort with heavy distortion and hand swipes. It is a wonderful technique, mainly because the subtle and less audible guitar accompaniments provide beautiful additions thanks purely to the group’s songwriting skills. The only major variation occurs when the western-y bass line suddenly drops a few pitches with each succession, the lead guitar remaining steadily boisterous as the others emit stunning melodic whispers that will send chills down under listener’s spine. The way these instruments and melodies combine to create this epic force is absolutely stunning, making this one of the best Flaming Lips tracks released. The type of keys present here are used prominently in most of the album’s tracks, whether in the disastrously noisy Miles David-influenced “Aquarius Sabotage” or the more cohesive “Sagittarius Silver Announcement”, where Bowie meets new-age psychedelia in the vein of Spiritualized. In messes like “Aquarius Sabotage” or the overly percussive “Your Bats” it is too hidden away, especially in the latter where mostly everything is indistinguishable apart from the overly spastic percussion. In the more focused efforts though, it reminds us that this is a group intent on mastering both loud guitars and twinkles of keys. Hardly surprising considering their prolific resume.

The second disc begins with another knockout force in “The Ego’s Last Stand”, an effort that shows off the rhythmic precision of this album beautifully. Percussion has never before been so prominent for the Flaming Lips, so it is nice to see a diversified amount of efforts in regard to all sorts of instruments being the beneficiary in leading tracks. Percussion and bass appear to converse here by rarely coexisting, instead taking turns speaking before guitars and brass-like mute effects concoct a truly spectacular and anthemic chorus. Bass has always been a steady force though, so seeing its dominance in efforts like “Watching the Planets” is no surprise but as satisfying as ever. A stunning closer, it is a ceaseless expedition into fury that is complemented by a vigorous rhythm section and highly ardent vocal melody. Its heavy reverb, intentional sort of audible disarray, and heavy emphasis on rhythm are all indicative of the album it is placed on. Embryonic is hardly the most beautiful album to the Flaming Lips’ name, but its rough edges are so defined that the result is more engrossing than any of their albums from the past decade. Like any double-album there are a handful of tracks whose absence would not be missed, but the highlights are so memorable and purely fascinating in approach that it propels Embryonic to the echelon of 2009’s best releases.

8.5/10.0

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The Flaming Lips – Powerless

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The Flaming Lips – Convinced of the Hex

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The aspect of collaboration can be a touchy subject for some artists. Some prefer to languish in their own solitude, crafting songs that are entirely their own with little to no help outside the spectrum of production and mastering. Others, however, discover that pushing the boundaries to make their music as fulfilling as possible may involve bringing in a helping hand or two, even if a bit of individuality is sacrificed in the process. Perhaps it speaks to his level of experience, but Vic Chesnutt has been known throughout his prolific career as a songwriter and performer to show no reluctance in enlisting other talented individuals to supplement his own material in complementary form, all while maintaining his large doses of originality and commitment. As someone who has worked periodically with the likes of Michael Stipe, Emmylou Harris, Lambchop, and Bill Frisell, it appears as if he has also had access to some of the best in the biz ever since he surfaced in 1990 with his debut album, Little. That album, along with its follow-up West of Rome, was produced by Stipe, a native of Georgia along with Chesnutt. Following the two’s first meeting during one of Chesnutt’s solo shows in the late ‘80s, Stipe had encouraged him to lay his tracks down on tape after being impressed with his initial offering. Now, after over a dozen releases and 18 years later, he is one of the most respected songwriters to come out of Georgia.

I am sure that many of you may regard any “one of the most respected” tags with little merit, as a statement like that often comes off too subjectively to be held with much regard. So, in this case, I will just let the artists do the talking. I understand that the concept of a cover album has been debated over tirelessly in the past, but when the proceeds go to a great cause, what wrong is there in it? When artists like R.E.M., The Smashing Pumpkins, Garbage, and even Madonna contributed toward the cover album, Sweet Relief II: Gravity of the Situation in 1996, all proceeds went to the Sweet Relief Fund, a non-profit charity that aids professional musicians who are in dire need of medical care. As for the songs they were covering, it was none other than the material of Vic Chesnutt. Now, here were a few of the most popular artists in the world at the time – R.E.M., The Smashing Pumpkins, Hootie & the Blowfish, Madonna – covering Chesnutt’s songs in the midst of their prime; it was a grand gesture that signified both their respect for the person and musician that Chesnutt is. Paralyzed from the waist down since the age of 18 when a tragic car accident occurred, it brought awareness to both the struggles of medical care and the brilliance of Chesnutt’s songwriting.

Considering that such respective artists contributed toward the cover album in the mid ‘90s, a period when they were literally selling out arenas, it simply proved from a musician’s perspective that Chesnutt was the real deal. They needed little in the form of financial compensation or recognition; their desire was to simply expose Chesnutt’s work to their own broader masses of fans. The cover album was released during an appropriate period as well, as About to Choke, his fifth solo album, was released the same year to arguably his most prevalent form of critical acclaim yet, undoubtedly also aided by the fact that he was now on a major label (Capitol Records). His 1998 follow-up, The Salesman and Bernadette, saw a similar reception, with tinges of soul and jazz being highlighted by an expansive horn section (complementary of Lambchop) that contrasted excellently with his usual fare of poetic country-rock and folk. As is often the case with creative independent artists, a lack of sales caused Capitol to drop him. This was hardly discouraging to him though, as he quickly found a new label and proceeded to release six excellent albums throughout the following eight years. To be honest, with the new release of Dark Developments included, Chesnutt has put out 12 solo albums and not one is even slightly disappointing.

For his newest and twelfth solo release, Dark Developments, Chesnutt has once again teamed up with a talented collective of musicians to further supplement his continuously invigorating material. This time, it happens to also be in the hands of E6 favorites Elf Power, a group that hails from Athens, Georgia, just like Chesnutt. Alongside guitarist Curtiss Pernice, the seven-piece resumes their normal instrumental displays on an album that proves to showcase more captivating songwriting from the storied Vic Chesnutt. Though many songs like “And How” and “Teddy Bear” remain accessible with their conventional structures, all maintain a sense of ambition that is prevalent in the melodic shifts and ambiguously provoking lyrical content that Chesnutt is able to convey. “And Now” is a fun pop-laden effort that sees a remarkable melodic transition around the 01:30 mark with a twinkle of keys and the slight undercurrent of a trombone. “Who, what, why, where, and when?” Chesnutt asks as the track reaches its conclusion, questions that are likely to be asked if his vaguely incorporated lyrics are attempted to be investigated. “Teddy Bear” toys around with a slight reggae progression to establish one of the catchier efforts on the album, complemented superbly by the whirring of Laura Carter’s trademark Moog as Chesnutt repeats “he ain’t never coming back” before a beautiful guitar bridge occurs. From the haunting 7-minute epic “Phil the Fiddler” to the eerie harmonica-led ballad of “Mystery”, Dark Developments is yet another stroke of brilliance within the ceaselessly growing discography of Vic Chesnutt.

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Vic Chesnutt – And Now

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Vic Chesnutt – Mystery

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Vic Chesnutt – Teddy Bear

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The “sophomore slump” is a term that has been applied a countless number of times for musicians, with indie-rock artists arguably being in that recent undesirable majority. It often proves difficult to attempt to pinpoint the cause for such drop-offs in quality, though I believe much of it can be accredited to the amount of pressure an artist receives from their label, the press, and the masses of fans who follow in their every step. Believe it or not, unless one is as stiff as a double shot of absinthe, even wildly successful artists can get distracted by overpowering emotions, just like the rest of us. Several indie-rock artists this decade have ridden the hype train, with some surviving and others vanishing without a trace. Though their talent and ability have and will continue to carry acts like Interpol, Arcade Fire, and Franz Ferdinand to the top for the next several years, they are just a few major names whose sophomore releases I found to be distinctively inadequate compared to its preceding debut release. Now, keep in mind, none of those artist’s second album were bad by any means. Instead, they were simply not up to par with the band’s potential displayed in the debut. Additionally, though quality is often deemed to be determined by one’s own personal taste, the introduction to a band’s style is inarguably vital. First impressions are usually the most memorable, often making debuts either a rampant cause for acclaim or distaste. Sophomore albums are often a slight indication of whether or not the artist can hold their own with future releases. However, for many artists, it takes more than just one successive release to get the ball rolling again.

In regard to British Sea Power, I admit that they initially set my expectations at a nearly insurmountable high. I consider their fantastic 2003 debut, The Decline of British Sea Power, to be one of the best debuts of this decade and I continue to give it a listen every so often. It is one of those albums that never seems to get tiring, with absolute stunners like “Carrion” and “Fear of Drowning” nearing tireless, astonishing perfection. With their incorporation of post-punk, garage rock, and Brit-pop reigning supreme in most cases throughout the album, British Sea Power quickly escalated into indie-rock favorites. Though they may not have been as commercially successful as many of their contemporaries, I truly believe that The Decline of British Sea Power competes with indisputable classic debuts of the decade like Interpol’s Turn on the Bright Lights and The Strokes’ Is This It. They released their second album, Open Season, in 2005; the result was not something I was too personally enamored with. Like the aforementioned artists above, it was certainly not a bad follow-up by any means. It was just simply a step back, the complete opposite of what the band intended to do.

Shortly after the release of Open Season, keyboardist Eamon Hamilton left British Sea Power to focus on his own group (The Brakes). Despite the loss, the band trekked onward as a four-piece and released an EP, Krankenhaus?, in October. The five-track EP eventually served as a teaser for their third and most recent album, the appropriately titled Do You Like Rock Music?, featuring two songs from the upcoming album in “Atom” and “Down on the Ground”. As we near the newest album’s UK release date of January 14th (February 12th in the US), I cannot hold my excitement in much longer. This is a complete return to form, reminding me what astonishing potential British Sea Power displayed in their powerful debut.

Wasted potential is always depressing and I feared, with the release of Open Season, that British Sea Power would either attempt to reinvent their sound or tread in mediocrity for the remainder of their careers. However, as I have learned, artistic pessimism hardly ever leads to satisfaction. With Do You Like Rock Music?, the album’s title seems hypothetical in relation to the brilliant content it conveys. With it, I have once again regained hope that British Sea Power could indeed be one of the most inventive indie-rock bands of the decade. It all begins suitably with “All In It”, a brooding build-up where a choral vocal accompaniment sings reflectively over the steady beat of a snare drum. Once the song begins to subtly fade out and the murmur of a church organ is the only audible presence, a burst of percussion and high-pitched guitar effects collapse onto one another, creating a monumental hook that sets the tone for the rest of Do You Like Rock Music?. The brilliant “Waving Flags” is the best song that British Sea Power have written since the classic “Carrion”, crafting their trademark sound of epic, guitar-oriented rock into a state of pure bliss. Once the ardently grandiose chorus kicks in, any skeptics of the Brighton-based four-piece will likely cower away. Scott (Yan) Wilkinson’s vocals remain a domineering force throughout the song, only taking a break when the chorus hits and the song’s introductory melody is repeated in new full-fledged form by shrilly executed guitars. Unlike the majority of indie-rock acts, the structure remains unpredictable with a flurry of newly utilized guitar progressions and vocal-led arrangements constantly being implemented to provide a sensation of quick-witted brilliance. The best song of 2008 so far? Though we have over a year for other entries, it very well may be at this point.

Though the structure remains more consistent and the instrumentation more simplistic, the glimmering “Canvey Island” once again finds its strength in a explosive chorus, fully cemented by a preceding verse and bridge where the murmur of strings are presented over the slight strumming of an electric guitar. Depicting the great North Sea flood of 1953, the suitably named British Sea Power carry the song in full force, touching on feelings on disastrous disbelief as Wilkinson resoundly croons, “Don’t you think its strange, you know, the way it all works out? Brace yourself for storms and summer drought.” Wilkinson’s voice always personally reminded me of a powerful fusion of Ian Curtis and Bruce Springsteen, though his transitioning range really makes comparisons dependent on the particular song. Nonetheless, “Canvey Island” is a very enjoyable track that depicts elements of patriotism tinged with past anecdotes, fully bolstered by British Sea Power’s ceaselessly exciting arrangements and melodically efficacious harmonies. I just mentioned yesterday how Beach House’s Devotion was my premature favorite album of 2008 so far. Well, Do You Like Rock Music? has just nudged it softly into the #2 slot.

Grouped in with guitar-based epics like the several-parted, 6-minute “Lights Out for Darker Skies” and the sheer distorted force of “Atom”, the beautiful “No Need to Cry” rounds off the album very nicely. Being somewhat of a new approach for British Sea Power, they pull off the sympathetic throwback love ballad with ease. Wilkinson turns his vocal intensity down a notch but compensates it with a lush assortment of guitars, subdued percussion, and cooing backing vocals. Unlike the stadium-sized intensity of the choruses in excellent tracks like “Waving Flags” and “Canvey Island”, “No Need to Cry” uses a more subtle approach in being uplifted by a simplistic sprinkling of keys. Regardless, the result is stunningly beautiful when a violin cleverly emerges from the layers of delicately crafted sound during the song’s final few moments. Once the concluding track, “We Close Our Eyes”, ends after being merely an excellent expansion of the opening “All In It”. Do You Like Rock Music? opens, continues, and concludes in the same way: with complete quality. So, if for some reason, the question of “Do you like rock music?” remains etched in your head, it should be quite easy to answer. In regard to this specific album, the answer is an unhesitant “yes”.

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British Sea Power – Waving Flags*

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British Sea Power – Canvey Island*

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British Sea Power – No Need to Cry*

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*Upon request, tracks are now streaming only.

Want to learn to play the indie music you love?   Are you looking to purchase electric guitars? If so, the Internet is the perfect place to buy a new musical instrument. They have a massive warehouse of acoustic guitar, keyboards, and dj equipment for sale.

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It would be appropriate to say that Bran Van 3000 have been one of the most subtly successful groups of the past few years. Their songs have been displayed in a countless number of movies, television shows, and assorted adverts – yet they still have not achieved a status of widespread recognition based on their namesake alone. Whether it was their catchy “Go Shopping” over the faint static of a radio in the hit Mexican film “Y tu Mamá También”, the subtle ode to their breakthrough “Drinking in L.A.” in the cult “Hitchhiker’s Guide to the Galaxy”, or the Curtis Mayfield collaboration in Bran Van 3000’s song “Astounded” (which proved to be the last performance of Mayfield’s prolific career), there is actually a good chance you have heard Bran Van 3000 before. You probably just did not notice it. If you were to listen to an assorted number of songs from their first two albums, Glee and Discosis, several tracks would bring up an exclamation of, “Hey! I heard this song before!” Indeed, it is perhaps the only beauty of rampant commercialization for artists, whether they view it as a shameful deficiency or helpful marketing strategy. Regardless, Bran Van 3000 is undoubtedly doing something right with their smartly executed fusion of electronica and world music.

The number of members involved with Bran Van 3000 has alternated throughout their 12-year existence, but the central creative force has always been DJ Jamie “Bran Man” Di Salvio, a one-time filmmaker, part-time DJ, and full-time songwriter. Di Salvio had initially entered the world of business with the intent to become a well-known filmmaker specializing in documentaries. However, after finding out that the task was not particularly durable in its financial aspects, he looked toward a part-time career as a DJ and remix artist. Since childhood, he had always loved the production and creative aspects of music, being a fan of nearly every genre known to man; it turned out to be an ambitiousness that differentiates Ban Van 3000 from other electronica acts that are sunken in mediocrity. After gathering near 2 dozen talented but primarily unheard-of instrumentalists, producers, and singers throughout his native Montreal area, he began to put Bran Van 3000 into action. Glee was released in 1998 and critics reacted similarly to the album’s namesake, with their debuting single, “Drinking in L.A.”, becoming a radio favorite. Less than a year later, the single was re-released after appearing in a Rolling Rock commercial, soon reaching a whopping #3 on the UK Top 40 charts. Their follow-up, Discosis, was released in 2001, featuring even more collaborators like Eek-a-Mouse, Beastie Boys’ Mike D, and the late and legendary Curtis Mayfield. The album and its respected single, “Astounded”, was received just as well.

After six years of ambiguous comments and sparse public appearances, Bran Van 3000 has finally released a third album with the stylistically diverse Rosé. From their first two albums, it is just what I have come to expect from the massively talented musical collective that is Bran Van 3000. Di Salvio’s stylistic range is astounding, reaching a territory of intuitiveness where most contemporary artists merely fear to tread. He shows no hesitation, incorporating elements like reggae and soul as if they were his sole naturalized intention. For those who are impressed by artists who blend a variety of other worldly musical styles seamlessly, Rosé is a must-buy. It will be released on November 27th… just in time for the holidays. Within the midst of guitar-oriented rock and repetitive pop music, its range is a breath of fresh air. Instead of being linear with no direction or focus, Rosé appears to be a tribute directed toward genres that African-American musicians have influenced with intuitive skill and precision over the past 50 years. From stylistic classics like reggae and soul to more contemporary veins of hip-hop, Rosé covers it all.

For those who read the site regularly, you probably already know that I am enamored with the Spinners’ original version of “I’ll Be Around”, just because Thom Bell wrote it. I wrote a post on the visionary a month ago; he is a visionary who I consider to be one of the best songwriters of the past century. You can listen to the original “I’ll Be Around” in that post. Anyways, the reason I bring it up is that the first song on Rosé is an excellent remix of the soul classic, a risky pursuit that eventually succeeds due to its use of additional strings and dabbles of synths. When it fades into a Jamaican blend of hip-hop and dub in its final minutes, the effect is surprisingly gratifying due to its melodic similarity. After the hip-hop snippet, the song folds back into an instrumental, synth-tinged version of “I’ll Be Around”. Remixes of classic soul songs rarely turn out well. This is one exception. Soul not your thing? Check out “Sea of Life”, a suave reggae track that excels with a crisp saxophone, acoustic guitar, and glitch effects. Though the melody remains the same throughout, a variety of vocalists and melodic deliveries are utilized, making it constantly fresh and engaging. A hip-hop fan? “House Lights” is definitely for you, being one of the catchiest hip-hop tracks I have heard this year. The humorous reference to Depeche Mode and the absolutely irresistible chorus does not hurt either. In retrospective, here is a short guide based on your musical interests: Soul music – “Call Me (I’ll Be Around Medley)”; Reggae – “Sea of Life”; Hip-hop – “House Lights”. Diverse enough for you? I thought so.

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Bran Van 3000 – House Lights

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Bran Van 3000 – Call Me (I’ll Be Around Medley)

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Bran Van 3000 – Sea of Life

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As many aspiring hopefuls could tell you, the task of coming off as a genuinely expressive songwriter can be a grueling task. The general audience is often granted with the perception that, while many of these artists sing songs of brooding unrequited love and lonely intentions, there remains a likelihood that their fame, fortune, and recognition contradicts any assumption for a melancholic life. It begs the question: how could a successful musician sound so sad? Well, though it sounds terribly cliché, money does not buy happiness and fame does not guarantee the discovery of a mutual love. You could find tragic examples in the form of Elliott Smith and Ian Curtis to solidify the case; they are both bundles of talent who willingly ended their life despite being musical idols and stylistic innovators. While the likes of Smith and Curtis are now staples of common musical comparisons because of their sheer influence, it becomes harder and harder for a recent artist to express a similar type of dark, brooding sentimentality without sounding overly melodramatic or emotionally desperate. Chris Robley is one of the few who can pass it off. While his songs are atmospherically impressive with touches of lyrical desperation and anguish, perhaps it is his own honesty outside of the music he creates that causes his lyrical fortelling to appear valid. “My songs are dark, sure,” he says, “but I’m still just this normal, happily married, stable 20-something songwriter.”

Oh, an “emotional” singer/songwriter admitting that he lives a happy life? The horror! What a mockery to the art of personable music relationships! Yeah… right. If you actually believe in such rubbish, I feel a bit sorry for you. While Robley’s admittance to a pleasant life may be nerve-wracking to those who are looking for an emotional connection, it is vital to remember that he is human like the rest of us. As his enjoyable blend of folk-pop, orchestral dramatics, and even gypsy revivalism demonstrates, he has had plenty of experienced moments in his life to make hours worth of memorable material. Not only that, but he is a readily apparent observer of society (like the rest of us). In fact, his second album, The Drunken Dance of Modern Man In Love, derives from Robley’s own conversationalist experiences. “It refers to those clumsy interactions between people that make it so much easier for us to default to just staying strangers rather than just engaging,” he explains, “It’s really an album about the undignified process of living as a personality amongst personalities, how things naturally come to ruin.” In a nutshell, Drunken Dance of Modern Man In Love is an extremely entertaining, musically supplemented outlook of Robley’s observational analysis of people in the midst of daily lives and complicated relationships, both platonic and not.

Drunken Dance of Modern Man In Love serves as the follow-up to Robley’s impressive 2005 debut, This Is The. Being the opportunity that lifted him out of his native “Portland bubble”, it was a promising showing that demonstrated a skill for past influence and an outlook for bold creativity. Still, the album is a tease compared to the vast nature of the exceedingly enjoyable Drunken Dance of Modern Man In Love. As I noted previously, you are bound to find heaps of stylistic differences in variation from track to track. From the lush orchestral soundscapes of “Prelude/Primer” and “Gaslight Girl” to effervescent brass-induced electrical pop in the vein of “Culture Jammer” and “Little Love Affairs”, there is not a dull moment to be found. As he even succeeds in the instrumental acoustic charmer “388 Hate House” and the tinge of gypsy-folk in “The Love I Fake”, Robley attempts diversity throughout Drunken Dance of Modern Man In Love and succeeds each time exceedingly. Being a cross between Luke Haines and Elliott Smith, his lushly emotional vocals are also an entertaining aspect of the album’s composition. He can shift between a whispering reverb on “Culture Jammer” to a squelching yelp in the energetically charged “N.E. Brazee”, an uplifting incorporation of keys and brass, in the flash of an eye. The thing that amazes me is that, even with all the diversity, Drunken Dance of Modern Man In Love manages to be cohesive enough to reach a wildly respectable status.

Apart from being indicative of Robley’s stimulating sociological observations, the Oregon-based artist’s second album borrows its title from a line in one of its best songs, “Little Love Affairs”. While the song initially kicks off with the strums of a simple acoustic guitar, the weaving of brass instrumentation provides for a fanciful flair. It lyrically begs the question of whether or not cheating in one’s mind is as immoral as the physical act of cheating in real life. When a piano-led arpeggio comes into play over the quick touches of an electric guitar, it is difficult to distinguish the main hook of the song. I found that not to be a distracting quality, but rather an enjoyable one. The whole song is an enjoyable gem that, while melodically simplistic, is catchy enough to catch the ear of anyone in an audible radius. The haunting “Centaurea, Centaurea”, written at 2AM in the morning by Robley in the midst of a near-sleepwalk, is an apparent mixture of Elliott Smith’s soft-spoken croon, Tom Waits’ elaborately raspy storytelling, and the vastness of Ennio Morricone with the murmur of suave guitars, clarinets, strings, and a sudden burst of clashing brass. “It’s basically a poem that deals with those last moments at the end of a war, that kind of uncertain twilight period,” Robley says of the song’s content. Arguably serving as the epitome of Robley’s captivating approach, “Centaurea, Centaurea” is easily the most impressive song on the album. Drunken Dance of Modern Man In Love is a bountiful improvement from a debut that was already impressive in its own right. Pick this one up. ASAP.

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Chris Robley – Centaurea, Centaurea

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Chris Robley – Culture Jammer

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Chris Robley – Little Love Affairs

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There are some bands who are reluctant to point out their influences, fearing that such remarks would take away from their suggested innovation. While many take pride in sounding comparably favorable to their idolized inspirations, it remains a sensitive issue in the widespread desire to be separated from any other artist in a creative manner, either past or present. In atypical form, The Opposite Sex displays complete pride in sounding like a wholesome form of classic 80s post-punk. While the specific genre has been one of the most often utilized forms of revitalization this past decade, popular acts like Interpol often show abhorrence in relation to such analogies. For example, Interpol bassist Carlos D. told PopMatters a few years ago that any comparisons made relating their band to post-punk greats like Joy Division were “fallacious”, stating that “some critics are just not good and are very superficial in their analysis.” Whatever your opinion may be on the issue, it surprises me how sensitive such topics are. But this outlook does not apply to every artist. The Opposite Sex, on the other hand, remain to be visibly proud of the aforementioned influences who helped them sculpt a style of their own. On their own MySpace, they proudly proclaim themselves as a “post-punk band with a dark pop sense”, largely influenced by the likes of “The Cure, Echo & the Bunnymen, Siouxsie & the Banshees, New Order, and The Chameleons UK.” While such statements certainly set the bar high for expectations, The Opposite Sex do not disappoint one bit.

With a sound deeply layered with pulsating guitars and a tight rhythm section led by an infectious bass tremolo, lead singer Shawn Helton sounds like a melodramatically electrifying combination of post-punk legends Mark Burgess and Ian McCulloch. Adding his own individualized touch of stylized vibrato to each song, Helton is a scorching presence whose voice appears both haunting and memorably durable. Like Burgess (The Chameleons UK), his tendency to alter his vocal pitch in adjustment to the instrumental key proves lucratively successful in crafting moments of post-punk eminence. The Opposite Sex’s formation dates back to 2005 when they released a debut EP. Based out of Washington D.C., the success of their EP earned them reputable gigs at several festivals including Drop Drop Dead Festival 4, Winterfest ’07, and Popnoise 3. Their debut album, Violent Heartstrings, was released earlier this year and offers ten tracks that proves to be an imposing continuation of The Opposite Sex’s dependable form of songwriting. While their style should remain familiar to anyone who has any recollection of ’80s pop culture, there are very few modern bands that can actually pull it off like The Opposite Sex. Considering that I usually meet someone still stuck in the ’80s at least once a week, it is not much of a surprise that The Opposite Sex is gaining such an ample fan base rather quickly.

Like the works of their past influences, The Opposite Sex’s Violent Heartstrings is an atmospherically brooding experience. While their occasional preference for playing in minor key is often overshadowed by Helton’s emotionally wounding vocals, the majority of instruments remain soaked in distortion and backed by a altering synth pads. Hardly as laid back as the vocals of Ian McCulloch, Ian Curtis, or even the ceaselessly expressive Mark Burgess, Helton nearly reaches the point of screaming in tracks like “Knives” and “Somewhere Girl”, recalling a style that sounds more reminiscent of the 80s hardcore punk scene that featured artists like Minor Threat and Black Flag. The interesting thing about The Opposite Sex’s music, and “Somewhere Girl” most blatantly, is their incorporation of both hardcore punk and post-punk. While Helton’s vocals are delivered with a raspy grunt in the verses on “Somewhere Girl”, the chorus sees a transition to a more subdued form of post-punk. While the variation may throw some listeners off, it provides for an engaging and varying experience that sees both commendable production and capricious songwriting in glowing forms. While their previous EP was occasionally criticized for an abundance of amateurish production, Violent Heartstrings exposes the four-piece’s vibrant sound in suitable form.

For those in fear of a monotonously numb approach where similar guitar riffs and rhythmic patterns are played in tedious repetition, the opening track, “Violent Heartstrings”, does more than enough justice in contradicting the hesitation. While it is one of the most accessible songs on the album with a, the ambitiousness is shown gracefully with a hurried brass section. Serving as a latter bridge between the chorus and verse, it reminds me of early Felt in a very pleasing way. In “Does Anyone Truly Love Anybody Else?”, Helton once again displays an emphasis for an insightful hook during the chorus. While he did the same on “Violent Heartstrings”, he takes me a more vocally aggressive tone that is lyrically representative of anguish and isolated confusion. Over a swirling pattern of guitar solos and infectious riffs, Helton is in his absolute top form. “Is that in beauty of your soul, does it matter now?” he questions after an audibly stirring guitar solo, giving off an ’80s vibe that cannot help but trigger instant nostalgia. While “Walk on Water” is too lengthy for its incessant use of ominous synths and the vocals on “Shattering Walls” are too insipidly raucous when compared to the rest of the album, the other bright spots on Violent Heartstrings make it an impressive debut that exhibits a consistent utilization in classic post-punk style. While those who are up-to-date may have already heard dozens of other post-punk imitations this year, The Opposite Sex are one of the few bands who actually implement their own form of innovation along with it.

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The Opposite Sex – Violent Heartstrings

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The Opposite Sex – Does Anyone Truly Love Anybody Else?

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The Opposite Sex – Somewhere Girl

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Official Web Site

MySpace

BUY

The post Attracted to The Opposite Sex appeared first on Obscure Sound: Indie Music Blog.

I suppose the commercialized nostalgia of the 80s unfortunately causes us to remember all those plastic synth acts who achieved success through one hit singles and predictable hooks, making the accomplishments of truly impacting bands like The Smiths, R.E.M., and The Go-Betweens go by unfairly overlooked. Sure, all three of those bands maintain an overwhelming fan base and are given numerous nods from contemporary bands who proclaim them as vital influences, but it remains that modern media remains largely focused on the 80s as a decade of has-beens and formulaic approaches, instead of the artists who actually achieved success to their own substantial degree even after their prominent peaks. With all of that rubbish, it is always a pleasure to see modern bands like The Assistants remember the artists that made the decade more memorable than most people take for first glace. Whether you consider the approach a form of optimism or realism, The Assistants blend together classic influence from the college-rock, power-pop, and jangle-pop that made the overlooked artists of the 80s so lasting and memorable.

I was a bit surprised when I found out they were from Ontario, Canada. The vocals of both Kiley Meehan and Ciaran Megahey sound more European than they do Canadian, resembling a somewhat fainter version of The Housemartins’ Paul Heaton or the great Edwyn Collins. Both Meehan and Megahey also give off the impression of envisioned melancholy, giving off that same form of tortured insecurity that untouchable (and deceased) vocalists like Ian Curtis and Billy Mackenzie gave off through quivering bitterness and social angst. Not only do the vocals ring a distinctively British bell, but the shimmering guitars relay wholesome riffs that act as appropriate melodic counterparts to the captivating vocal melodies delivered by the vocal duo, reminding me of a now sadly impossible Robert Forster and Grant McLennan revival. In fact, if The Assistants were unable to write their own songs, they could probably make a living as a Go-Betweens cover band. Luckily, they have a skill in songwriting that is actually comparable to Forster-McLennan, displaying enough diversity to hold their own on their enjoyable self-titled debut album, The Assistants.

The Assistants can sift through a guitar-oriented track bursting with energy like “Planet News” and then transition toward a subtle acoustic track like “In My Dreams” in a style that makes it look easy. The lyrical content is predictably and romantically downtrodden, as lines in “Planet News” like “with every bridge we burn, it’s a longer way down” echo the sentiments expressed in their brooding musical presentation. It is easy to recognize in tracks like “Planet News” and “Taste It” that the five-piece is particularly fond of glistening guitars and concise rhythm sections, with both Meehan and Megahey acting as the guitarists behind the bass-percussion section of Tim Munro and Adam Boyle. They are nicely rounded out by keyboardist Ildiko Kaszas, who makes her most noticeable appearance in the infectious key-laden chorus of “White” and “Consent”, a throwback closer to the album that incorporates catchy synths and glorified guitar riffs. “And Then Again” and “The Fall” both sound like they could have come off of an unreleased Lawrence Hayward compilation, with slurring vocals over distorted visions of obsolete paradise being so blatantly prominent that a chill is viable to run up your spine. Though the ten tracks on The Assistants breeze by rather quickly, each song leaves a lasting impression through eerie vocal resemblances, impressive guitar production, and tight rhythm sections.

The more I listen to The Assistants’ debut, the more I seemingly fall in love with it. Though it may be because I am a huge fan of both The Smiths and The Go-Betweens, I believe that my feelings are justifiable enough to influence a personal belief that The Assistants have the appropriate amount of ability to truly make something of themselves this year. The Assistants was released in early February and for some reason I have yet to hear anything about it in the blogosphere, on the radio, or by word of mouth. Honestly, it perplexes me. I could sit here and make comparisons to great bands like Orange Juice and The Go-Betweens who made their mark several decades ago, but The Assistants still spout off enough ingenuity to separate themselves from the legions of followers that flood the music scene today. Fans of The Go-Betweens, The Smiths, Orange Juice, Felt, and R.E.M. are surely to find The Assistants’ first release to be one of the most remarkable debuts of the year, just as how I feel. Though critics suffering from two hours of sleep and general bitterness will likely call The Assistants about twenty years too late, I could personally care less. This is enjoyable material, no matter the circumstance.

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The Assistants – Planet News

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The Assistants – Taste It

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The Assistants – The Fall

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Official Web Site

BUY

The post The Assistants Revitalize the 80s Jangle appeared first on Obscure Sound: Indie Music Blog.

There are certain demographics that believe robots will take over within the next few centuries. As absurd as those scientologists and other controversial groups see fit, Julius Airwave is intent on mocking them. On the stage of every one of their lively shows sits a green robot sparkling with LCD lights, tube arms, and two light bulbs as ears. The robot has been considered a staple for the band since the robot first appeared last September. Created by band friend Curtis Lyles, audiences have hailed the cleverly designed robot as a rhythmic good luck charm and devoted companion. Even while their green friend has bought in some fans, it is the music of Julius Airwave that is making audiences stop in their tracks with a glisten of interest in their eyes. Originating from Jacksonville, Florida, Julius Airwave is led by songwriter and multi-instrumentalist Rick Colado, with guitarist Jeff Mehlhoff, guitarist Jeremiah Johnson, bassist Chris Gibson, and drummer Mark Hubbard at his side. All five musicians clearly have a very capable grasp on their music and enjoyable delivery. As far as their style goes, it’s as contemporary as a band can get. In about twenty years, one will most likely glance back at the music scene of this particular decade and recollect names such as The Strokes, Interpol, and Franz Ferdinand. Whether you prefer to call it a garage or post-punk revival or nothing at all is up to you, though several things are clear. One is the fact that most bands are certainly not shy to incorporate synths into their guitar-led punk deliveries. Another would be that catchiness reigns over artistic complexity, even though that has been the case for the past twenty years. Though this obviously does not apply to all artists of this particular decade, sales and universal popularity express a similar theme. I suppose you could classify Julius Airwave in both areas of the spectrum, both crafting insanely catchy pop songs and innovative odes of complexity and somehow managing to wrap it all together to create an extremely engaging sound.

The City, The Forest marks the band’s second album. While the cover art details a description of complex longitudinal maps, there is no doubt that Julius Airwave has found their way. Their debut album in 2004, Dragons Are the New Pink, was a fun listen but it did nothing to separate the band from the masses who sounded very similar. The City, The Forest displays a remarkable transition from sloppy art-rock to a clean and concise variety of songs that boast some of the catchiest melodies I have heard so far this year. The opener “In the City” works to intentionally throw the listener off with it’s lo-fi acoustic production. While the song is the first example of Colado’s impeccable talent for melody, many listeners may assume the rest of the album would be in a similar fashion. That is not the case, as The City, The Forest holds a remarkable amount of effort and complementary production, with the majority of the songs being electric in nature. The second track “Glory Glory” is more typical of the band’s sound. Colado sings with plenty of additional reverb, causing his breezy vocals to sound even lighter than usual over a fantastic chorus of frantic percussion, distorted guitar, and light keys. “No, we don’t need her” is the phrase that Colado assures himself of throughout this highly enjoyable song, nearly defining what a quality three-minute pop song should sound like. As close to perfection that “Glory Glory” comes, the band finds natural ability in the brilliant “Appley”. I suppose I couldn’t get away with writing about this song without comparing it to The Strokes. Indeed, Colado sounds just like Julian Casablancas during the astonishing chorus, where the aforementioned mixture of ceaseless synths and guitars prove to be a defining and memorable sound. Sure, the structure is predictable and the lyrics are hardly defiant, but the song is arguably the catchiest I have heard this year. I was extremely impressed. The following song, “Shipwreck”, just adds to the band’s catalog of diversity. Where “Appley” was an upbeat song of catchy proportions, “Shipwreck” is a haunting ballad with it’s introduction being led by a solemn synth, eventually cascading into a momentous build of several guitar and synth incorporations. “Broken Bells” is another impressive song off of The City, The Forest, involving a bit more folk and straightforward alternative rock as Colado’s confident vocals carry the song yet again over a clearly orchestrated musical arrangement, led primarily by the tight rhythm section of Chris Gibson and Mark Hubbard. Small touches such as Chris Gibson’s use of a toy xylophone add for even more enjoyment, as the band builds on yet another unstoppable chorus. These songs, along with others such as the brooding “Fur” and the piano-led epic “Nannerl”, create for an outstanding album. The City, The Forest should give Julius Airwave plenty of a well-deserved attention this year. Though this is most likely one of the first places you’ve heard about them, it won’t be long before their music spreads like wildfire. The City, The Forest will be released on May 8th. Mark it on your calender.

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Julius Airwave – Appley

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Julius Airwave – Glory Glory

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Julius Airwave – Broken Bells

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Official Web Site

BUY

The post Julius Airwave appeared first on Obscure Sound: Indie Music Blog.

Being a fan of both The Smiths and New Order, I would consider it only natural to be a fan of Electronic as well. Unrightfully, Johnny Marr was often overshadowed by Morrissey’s vibrant presence, while Bernard Sumner was in the background of the Ian Curtis saga. Both were vital elements to two of the biggest influential bands on the 80s, though Morrissey and Curtis often took all the cake for their theatrics. Though Sumner had already formed the brilliant New Order after Joy Division’s demise (Curtis’ suicide) and Marr had been playing with Matt Johnson and The The, both had the desire to collaborate with one another to create something truly special. The first song they created together was ‘Getting Away With It’, of which I already posted an MP3 here. Bringing in Neil Tennant from The Pet Shop Boys contributed even more to the overall feeling of a song from a “supergroup”. Why do I post about them again? Well, they just released Get the Message: The Best of Electronic, a very commendable greatest hits compilation that does the band’s reputation well.

I just recieved the album in the mail a few days ago and I’ve been listening to it quite a bit, reviving all three great albums that Electronic released. I think their best hook may be the chorus in ‘Second Nature’, though choosing Electronic’s best hook is often trivial to me (as it changes every other day). The acoustic frenzy of ‘Get The Message’ (the intro reminds me a bit of ‘Cemetry Gates’) is highlighted by Marr’s usual brilliant riffs, while the hopeless elegance of ‘Out Of My League’ is another example of Sumner and Marr combining their talents to create a beautiful song, enhanced by Sumner’s angelic vocals. Though the band only released three albums in their ten years of existence, Electronic is one of the many prominent marks in the two’s musical careers.
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Electronic – Second Nature

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Electronic – Get The Message

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Electronic – Out Of My League

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Joy Division – Novelty

Joy Division – She’s Lost Control

Joy Division – Komakino

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New Order – Bizarre Love Triangle

New Order – Paradise

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The Smiths – What She Said

The Smiths – I Started Something I Couldn’t Finish

The Smiths – Frankly, Mr. Shankly

The post The roots of Electronic appeared first on Obscure Sound: Indie Music Blog.

The nominations for the Mercury music prize have been announced, including Arctic Monkeys, Editors, Hot Chip, Muse, and Thom Yorke. The dark horse (and my favorite out of the bunch) happens to be Richard Hawley’s Coles Corner (MP3: Hotel Room). Check out the full list of nominees here. // The longtime show ‘Top Of The Pops’ will end and go off the air after its last episode this summer. The BBC’s show was made famous during its 42 year run when The Beatles performed ‘I Want To Hold Your Hand’ (MP3) in 1964. // Chris Karloff of Kasabian has left the band. The guitarist/keyboardist cited artistic differences, which means that he’ll likely pursue a failing solo career.

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There is actually a children’s album being released this fall that I may check out. Yes, a children’s album! It is called The Colours Are Brighter and the reason I am interested is that it will feature such artists as Franz Ferdinand, The Divine Comedy, Four Tet, and The Flaming Lips. The album is curated by Mick Cooke (Belle & Sebastian) and all proceeds will go to Save The Children. Franz Ferdinand’s song ‘Jackie Jackson’ (MP3) is about a greedy boy who eats so many cakes that he explodes! Great bands for a great cause indeed. // Scott Colburn and Marcus Dravs will have parts in the production of Arcade Fire’s new album, as posted on their official web site. // Art Brut and We Are Scientists are recording a LP together before they tour together, and it will consist of the band covering each other’s songs. Sorry Scientists, but I don’t see how you can pull off Eddie Argos’ fantastic vocal delivery.

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The tapes for The Beatles’ ‘Get Back’ sessions (mainly consisting of live material and drunk conversations) have been recovered, though there are no plans to reveal them to the public just yet. // Even Pete Doherty’s mother is an attention whore, so we see where he gets it from at least. She is planning to write a biography about her son, pinpointing specific details such as cross dressing. How many albums does Doherty have? Three? Exactly. Knock the hype off. // Sleater-Kinney’s last show will be on August 12th at the Crystal Ballroom in Portland. // Check out the tracklisting for Bob Dylan’s new album, Modern Times, here. // The shooting for the Joy Division biopic Control has begun. Sam Riley will play Ian Curtis. (MP3: She’s Lost Control) // The synth-driven punk group Out Hud has called it quits as well.

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New material info: The Hold Steady, Clinic, The Dears, Sparklehorse, Devandra Banhart, Tapes ‘N Tapes, Sean Lennon, The Bravery, Slits, The Killers, Pixies, Escape the Fate, Supersystem, The Draft, Bad Astronaut, Ladyfinger, My Morning Jacket

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New tour info: Deerhoof, Okkervil River, Andrew Bird, Scanners, Vetiver, Lagwagon, Snow Patrol, Radio Birdman

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