On the heels of next week’s CMJ festival in NYC, Tim Williams is exemplary of the local favorites you are bound to find there. The Brooklyn-based songwriter caught one of his first breaks at CMJ in 2004, shortly after his debut Tales of Digression, and has been riding the wave ever since. Employing a very formidable style of indie-pop, Williams’ mixture of slick guitar riffs, inventive chorus-based hooks, and ardent vocals with the occasional yelps and grunts should cater to fans of Phoenix, Ben Kweller, Danielson, and Modest Mouse. His sound has a very contemporary feel to it, due in part to the continuous sense of capriciousness that his caressing vocals and versatile guitar work collaborate to produce. As a result, Williams has always been one or two hits away from holding a similar status as these major players. He has always enjoyed little more than local success though due to his past two album’s lack of exposure and focus. Their primary gratification was the demonstration of potential rather than fully embodied talent. The songs on Tales of Digression and its 2007 follow-up, When Work Is Done, sometimes appeared rough around the edges or devoid of focus, but what they did have was an imaginative premise with expertly integrated hooks. Cohesiveness was simply the final ingredient that Williams was missing to formulate his success.

Williams’ third album, Careful Love, continues the artistic maturity that its predecessor, When Work Is Done, showed off so impressively. It is not that Williams is particularly groundbreaking or stylistically inventive; his style of indie-pop should sound familiar to anyone with an ear or two. Instead, it is what he makes of it that is so worthwhile. Listening to snippets of any given track probably will not convince anyone of his artistic merits, but what a full listen of Careful Love exposes is a sensibility that is rare amongst most contemporary pop songwriters. There is a sense of virtuosity here, which in itself is a commodity since the respective genre is one where playing it safe is often advised. Williams does a little bit of both on Careful Love, mixing imminent college-radio favorites like “I Hit Another Wall” and “Oceans” with more avant-garde efforts (at least for the realm of indie-pop) that explore varying tempos, deliveries, and styles ranging from the dab of funk in “Ozone Street” to the electro-industrial influence of the rhythmically inclined “Right All Along”. When these are supplemented every other track or so that instead contain breezy, carefree indie-pop that requires little attentiveness to enjoy, it finds a nice middle ground between overly accessible indie-pop and intimidating avant-garde.

That Careful Love falls into neither category as a cumulative effort is a feat that his previous two albums did not accomplish, though When Work Is Done came close to doing so. Williams wrote this most recent effort after he successfully underwent open-heart surgery in May 2008, wasting no time after getting out of the hospital in writing tracks that packed more sincerity and expansiveness than before. One of the reasons for this expansiveness was the addition of a full band, which make their appearance on Careful Love in fantastic form. Where previous efforts would find Williams strumming his acoustic guitar with little to no accompaniment, the heightened sense of collaboration on Careful Love also attributes to the stylistic ambitiousness that the release portrays. “Stilts” is another nice example of Williams’ inventive indie-rock, utilizing the sounds of a sliding electric guitar and reflective arpeggio as Williams . This particular vocal technique is done throughout the album, with yelps or whoo-hoos making apt appearances on entertaining choruses that also include “Right All Along”, the orchestral dramatics of “I Want to Die in California”, and “Oceans”. The latter is so serene that it almost becomes reminiscent of Coldplay with its melancholic keys or Little Joy with its bright guitar chords. The title implies relaxation and the composition strongly enforces that carefree ideology with a brisk melody and flourishes of tropical bliss.

Another interesting cut on the album includes “I Want to Die in California”, a genuinely touching closer that reminds me of David Vandervelde’s fantastic debut, The Moonstation House Band. In that album he juggled grandiose orchestral-pop with the likes of indie-rock and glam-rock, resulting in something both nostalgic and groundbreaking. This effort is quite similar, finding Williams converting his classically soothing indie-pop croon to one with a western-ish twang. It feels particularly old-fashioned with its natural pianos and strings on an album that is primarily led by guitars and electronic tweaking, but that is also part of its allure. He finds himself singing in the vein of Dennis Wilson, who was able to turn the simplest pop songs into awe-inspiring achievements of emotion with his vocal and songwriting talents. A songwriter like that is perfectly justifiable for comparison, as Careful Love shows an artist who is just beginning to recognize his own emotive skills. Williams’ songs have resulted in an album that will be looked back on as the commencement of Williams’ most prominent growth as a songwriter. When he takes the stage at CMJ this year, audiences that saw him five years earlier will likely drop their jaws at this guy’s improvement. He is still showing heaps of potential, but he has durable quality and consistency to back it up now.

RIYL: Phoenix, Ben Kweller, Danielson, David Vandervelde, Modest Mouse, Dennis Wilson

——————————————————————————————

Tim Williams – Ozone Street

——————————————————————————————

Tim Williams – I Want to Die in California

——————————————————————————————

Tim Williams – Right All Along

——————————————————————————————

Official Web Site

MySpace

BUY

The post Tim Williams’ Careful Love appeared first on Obscure Sound: Indie Music Blog.

The integration of humor and satire into music can be an incredibly complex process. By coming across as humorous or self-depreciatingly witty, an artist tends to imply a sort of nonchalant demeanor that can either benefit their music or prove to be the chief detriment that drags them down. Emotional depth can be presented in any form of art, but the stylistic diversity present within music causes the attempt to integrate humor to be more intricate and complex than usual. Musical humorists often look toward the direction of Frank Zappa for a proper influence, as he remains one of the few songwriters in history that was able to blend idiosyncratic humor and satire with a never-ending assortment of musical genres. Zappa was truly a musical chameleon who was able to reconfigure popular stylistic trends to make them compatible for his unique humor, whether it was scornful, satirical, or politically motivated. Nowadays, artists seem fearful of individualistic humor, dreading that it could be a detriment to their commercialized perception. Sure, we have groups like Flight of the Conchords, Tenacious D, and The Lonely Island cooking up some pretty hilarious stuff that also maintains musical relevancy, but the style of humor often seems so contrived and inseparable from one another. Zappa was a singular force in his heyday and he continues to be in his posthumous state, serving as an influence to those that have skill in both comedic and musical performance.

Apart from being arguably the most prolific songwriter of the past century, Zappa’s enduring legacy is indebted to a style of humor that remains interpretable, enthralling, and anything but generic. I enjoy a handful of comedy-pop groups like Flight of the Conchords, but their style of comedy seems more randomly selected than metaphorically interpretive. Despite their evident talents and deserving recognition, the success of a group like Flight of the Conchords appears to be more based in stylistic mockery and over-the-top deliveries. As a result, finding a band that maintains a generally consistent style with effective humorous additives is rare these days; modern technology makes it so easy to mock a style like electro-pop or glam-rock and throw a clichéd music video together. The reason for this, as stated before, all comes down to commercialized perception. Creating quality music is obvious to the success of this genre and all others, but treading waters within this tricky realm of comedy-music requires simultaneous lyrical wit, justified instrumentation, and a delivery that is unique enough to trigger laughter but not desperate enough to be deemed over-the-top. Despite a few rough edges, Dubious Ranger hearken back to the days of Zappa when interpretable comedy in music was not incorporated to make up for a lack of musical or lyrical ability, but rather as an indicator of the artist’s own personality.

Just by reading their self-imposed description, Dubious Ranger’s comedic side can be seen. They are – and I quote – “the sound of befuddled hipsters becoming Bowie-eyed party-commandos and dancing themselves to sleep while dreaming of a more perfect union between high-art, classical-virtuoso pretension and take-your-pants-off rock and/or roll.” Quite a mouthful I know, but the best thing about this wacky description is how surprisingly accurate it turned out to be. Lead vocalist and pianist Alexander Eccles had been labeled as a piano prodigy since his childhood, with his influences comprising mostly of classical and avant-garde composers. Although his leanings shifted a bit when his brother and bandmate, Jonathan, introduced him to David Bowie, one can still get a sense of Eccles’ classical influence in the band’s unpredictable song structures and the cohesive mannerisms between the vocals’ mood and backing instrumentation. There’s the “classical-virtuoso pretension” for you, with rock ‘n’ roll being infused by Bowie’s underlying influence and Eccles’ fascinating personality. Jonathan classifies his brother as “bonkers” but explains that he is one of the few honest songwriters out there. “In his mind, love really is a rendezvous with a waitress on a cargo ship full of ghosts,” he said, providing a preview of Eccles’ odd but immensely entertaining lyrical output. “You can say you’re confused, but don’t for a damn second accuse him of not being sincere.”

Confusion among listeners is imminent on Dubious Ranger’s third album, Uneasy Truce at the Watering Hole, but so is enjoyment. The San Francisco-based quartet shows their fascination with dance-punk, indie-pop, and glam-rock simultaneously, resulting in a style that is very odd but also aptly fulfilling. The uniqueness of their style is only appropriate when their satirical delivery is involved, as Eccles’ vocals tend to alternate pitches and lyrical focus on a whim over a flurry of his own intricate piano progressions and his brother’s swanky guitar riffs. The music video for “Weapon” features an assortment of backdrops from San Francisco to Hong Kong, and one can get a sense in the track itself of the musical dexterity involved. Brimming with enthusiasm and key-led hooks, “Weapon” is one of the group’s more accessible efforts but succeeds on several fronts with slick guitar use, frenzied vocals, and clever sampling. It would be easy to identify this one as power-pop, but the presentation is too lofty to be restricted by pop ideologies. “French Song” distinctively recalls Television, both in Eccles’ spot-on resemblance to Tom Verlaine and his brother’s impressively luminous guitar use.

The humorously metaphorical outlook on love in “Ghost Ship” masterfully juggles humor with romantic sentiments, accompanied by hazy organs and a great accompaniment (the latter is an aspect present on nearly every track; Jonathan Eccles really knows how to play). The ‘60s pop of “Idiot” and the haunting cabaret of “Frozen Places” show even more diversity on the album, especially in Eccles’ ardent vocal delivery of the latter. If any of these tracks are too straightforward for you though, then I would suggest “Gemini”, the 11-minute opener that opts to directly expose the group’s post-rock mannerisms and instrumental ability. Any of the four classically-influenced “Intermezzo” pieces also slide in neatly to the album’s tone, providing minute-long piano pieces in an effort to further separate the vast amount of ideas throughout the album. The multitude of ideas throughout the album may tend to confuse first-time listeners, but repeated listens will surely reward those that are skeptical of Dubious Ranger’s lofty ambitions. In my mind though, their ambition has been reflected perfectly on Uneasy Truce at the Watering Hole, an album that has enough highlights to compensate for all the vague ideas and metaphorical interpretation. After all, what else can you expect from a successful concept album?

——————————————————————————————

Dubious Ranger – Weapon

——————————————————————————————

Dubious Ranger – French Song

——————————————————————————————

Dubious Ranger – Ghost Ship

——————————————————————————————

Official Web Site

MySpace

BUY

The post The Dubious Ranger’s Weapon appeared first on Obscure Sound: Indie Music Blog.

Even though it sounds painstakingly obvious, a great album must have something that appeals to the listener it so desires to captivate. Whether it has to do with the listener’s stylistic preference or simply some great songwriting on the artist’s part, the definition of a “classic album” encompasses characteristics that are universally receptive enough to result in a consensus that classifies that album as enduring, worthwhile, and groundbreaking in some form. One’s favorite album can alternate every few days or so and erratic taste certainly plays a large role in this classification, but most albums that are regarded as classics do not appeal to everyone. It is not that they contain major flaws, but everyone’s tastes are different and these varying tastes have an undeniable  impact on our personal perception of music, film, or any form of classics in art. Classics tend to have a universal conception among fans and experts alike though. A fan of strictly contemporary hip-hop may not carry even a single Beatles album on their iPod and it should not matter because everyone’s tastes are different, but if that person attempts to discredit something like The Beatles’ Sgt. Pepper’s Lonely Hearts Club Band and its influence and tactical brilliance, then fan-based chaos would easily ensue. Albums like these have a legacy to them that is indescribable in words; the music does the talking and people listen. If there was one common aspect about albums that are generally classified as masterpieces though, I assume it would be the ability of listeners to relate their own lives to the music, whether it is through the melodies, lyrical content, artwork, or all of them combined.

The debut release from Delay Trees boasts more than some attractive artwork. Apart from the excellent music (which I’ll get to in a bit) on Soft Construction EP, the Finnish four-piece have implemented an artistic component that reveals itself as both nostalgic and personally relatable even before one pops their disc in the stereo for the first time. Rami Vierula, the band’s songwriter and creative force, compiled photos from his family albums and decided to share a piece of his personal life with the listener; it is a technique that works very well with a sound that recalls the broodingly realistic fables told in shimmering ‘80s post-punk and the instrumental expansiveness present in contemporary indie-rock. Most of the photos consist of landscapes, but the shot behind the lyrics for “About Brothers” features a bunch of young males on a summer day with smiles that keenly express the carefree indulgences of youth. I cannot accurately say what the photo has in relation to Vierula’s personal life, but the song clearly is about the feelings of brothers that have drifted apart after childhood due to conventional excuses like marriage and conflicting interests. “I’m loving a robot – my brother has turned to steel,” Vierula sings over an enriching display of sporadic keys and distorted guitars. He likens robotic love to the childhood nostalgia of Japanese anime in the first verse, and in doing so establishes a direct relationship with his childhood self. Subsequently, when the track ends with a reaffirmation of an undying sense of familial love, the visible transition that Vierula made from childhood to adulthood is prevalent.

This correlation between artwork, lyrical content, and instrumentation is what makes Soft Construction EP so effective. The fact that it accomplishes this while being the first-ever release from this Finnish four-piece is impressive in itself, but the EP’s indication of what’s to come from Delay Trees serves as a hefty display of their songwriting ability, instrumental prowess, and thematic effectiveness. Vierula’s lyrics are often vague, using an assortment of hypothetical questions to construct a theme that does not come into focus until a song’s end. The slick “Moving” follows “About Brothers”, an appropriate transition considering the unified theme of both tracks. Like the eroding relationship between brothers in the latter, “Moving” capitalizes on the concept of time as an unparalleled force that can be the heaviest and most dramatic wrecking ball in destroying the stability of relationships. “I don’t want to see the time when I’ve lost my inner child along with my destinations,” Vierula sings in the first verse. Already, the longing for childhood and the yearning for experience is comparably balanced to that of “About Brothers.” A bouncy rhythm section gets this track going, as a series of guitar alternate between arpeggios and chordal accompaniments as Vierula works toward the eventual chorus. Vierula’s vocals recall those of Voxtrot’s Ramesh Srivastava with its light and airy demeanor, and the support of breezy melodies complement it beautifully. Their vein of indie-pop remains comparable to contemporaries like Voxtrot and The Shins, but a continued emphasis on ‘80s post-punk remains noticeable enough to make Delay Trees’ sound unique enough to shine.

The aptly titled “Coral Wind” serves as one of the mellower efforts on the album, in addition to the balmy, guitar-based beachside allure of “Replay.” The desperation for victory and fulfilled expectations stimulates “Coral Wind” and the collaborative effort between guitar arpeggios, chirpy reverb, and reverb that finds an enjoyable mid-point between psychedelia and surf-rock that eventually becomes prominent. The four-piece has a tendency for using bell-like keys to accentuate newly presented melodies, and “Coral Wind” is one of the finest examples with Vierula’s ooh-ing and aah-ing flourishing behind a series of acoustics, keys, and electric guitars. “Resurrection of Sonic Blue” hearkens back to David Axelrod with a bit of post-rock in the vein of Mogwai thrown in; it differs dramatically from all the other tracks on the EP, but does an excellent job of displaying both Vierula’s ability as a songwriter and the band’s cumulative sense of harmonic cohesiveness. “Tarantula / Holding On” shows how Delay Trees never appear to make one instrument overly prominent in a final mix, as the build-up here is presented in a way that sees each instrument gradually add on its unique tone and melodic progression to result in a grandiose conclusion that occurs during the concluding minute. I am shocked that Delay Trees have received such little press thus far in both their home country and overseas, but that should not last for long. Whether they choose to play for American, British, or Finnish audiences, their serenely melodic interpretation of indie-pop is fulfilling enough to achieve success wherever the four-piece chooses to take it.

——————————————————————————————

Delay Trees – About Brothers

——————————————————————————————

Delay Trees – Moving

——————————————————————————————

Delay Trees – Resurrection of Sonic Blue

——————————————————————————————

Official Web Site

MySpace

BUY

The post The Soft Construction of Delay Trees appeared first on Obscure Sound: Indie Music Blog.

Although they may not realize it, high school students are in incredibly unique circumstances. They have a general comprehension of the occupational process and the basic decisions that mold their future, but their current ideology is often restrained by a state of indecisiveness that makes both their appearance and ambitions a variable that can change at any moment. Unlike adults whose career paths are already defined or children that have little grasp of reputational or occupational advantages, high school students have the privilege of using their sociological and educational experience to actively pursue their most ideal future occupation without it being a detriment to their current standing. This is the primary reason why high school reunions can be so fascinating. Learning that the stereotypical loner developed into a profitable “people person” or that the arrogant prom queen was too embarrassed to show up are just a few examples of the dramatic parallels that end up often occurring. With outcomes like these, predicting someone’s future in high school is impractical due to high range of flexibility that one has in defining who they are as a person. This leads to all sorts of analysis; if I were forced to choose the “group” in high school that held onto their beliefs most durably after their graduation, it would have to be the “artsy” types. Whether in the form of music, painting, or photography, it seemed to me that students who devoted most of their free time to an art made it such a part of their life that abandoning it at any time in their future would be unrealistic.

How this ideology is embedded within the general practice of artistry is commendable, as exhibited by artists that we universally deem as influential. Great artists are often so consumed with their work that not creating art in their field is nearly equivalent to starving for them. If you put a canvas and paintbrush in front of an avid painter and told him not to paint, he would likely rather be told not to eat. Although they may have been classified as “those kids that dress in black and listen to weird music” in high school, the two members in Home Video are further proof of this ceaselessly productive ideology embedded into artists. David Gross and Collin Ruffino met in a high school art class, found an instant connection over the topic of art, and instantly began their collaborative process involving art. Ruffino was one of those kids that wore black and listened to ‘90s alt-rock staples like Smashing Pumpkins and Nine Inch Nails, while Gross was a classically trained pianist who had been sheltered from any type of music created during the twentieth century. Their first collaborative artistic venture was a film that Gross starred in and Ruffino directed, but their musical intentions soon became mutual after Ruffino introduced Gross to contemporary music. Sometimes an artist just needs to be stimulated with a little modernistic relevancy to bring out his true form, and this is exactly what the duo did for each other during the developmentally vital stage of high school.

A sheltered classical pianist and a fan of dark alternative-rock is an interesting mixture to say the least, but it was the similar artistic ideologies of Gross and Ruffino that molded the connection between them and brought them recognition less than ten years after their first art class together. Ruffino had showed Gross that contemporary pop music could be just as emotionally ardent as classical music, and Gross’ natural music ability aided Ruffino when the duo eventually decided to form their own project. Ruffino was wise enough to show Gross a variety of now-legendary albums like Radiohead’s OK Computer and Massive Attack’s Mezzanine, exhibiting a mixture between rock, pop, and electronica. College saw the two separate for a bit, with Gross in Boston studying music and Ruffino in New York studying film. Like all good friends though, they hung out during breaks and continued to write music together from time to time. Once the rush of college had subsided, Gross moved to New York and the duo began creating their first material for Home Video. Their first two EPs, That You Might and Citizen, captured the attention of Warp Records, one of the most prominent labels in all of electronic music. That an extremely prestigious label like Warp released their debuting EPs was simply indicative of the great potential that Home Video exhibited through their ethereal interpretation of electro-rock.

After Home Video’s EPs and their single, “That You Might”, began to attract considerable acclaim in the UK, the recognition started to carry over to the US as well. In addition to being featured in Rolling Stone, they toured with a variety of acts like Blonde Redhead, Justice, and Crystal Castles. Home Video’s debut full-length, No Certain Night Or Morning, was released in 2006 and featured plenty of promising material, but most audiences were still waiting for Home Video to capitalize on their undeniable potential. Seeking the transition that would satisfy fans who were aware of their talent, Home Video took a three year hiatus between the release of their full-length and this year’s release, It Will Be OK. Looking to acquaint listeners with their stylistic progression before the release of their second full-length, the four-track EP is available for free on their web site. As Home Video must have intended, the result is a magnificent leap forward. While their past material may have encompassed too many clichés to separate them from the rest of the electro-rock world, It Will Be OK appears to be Home Video’s first major step forward. The instrumentation never reaches points of startling complexity, but the gradual build-ups and subtle melodic alterations that the duo infuse into each song results in a highly memorable release that takes advantage of their electro-oriented sophistication without ever sounding too overbearing or desperate.

“I Can Make You Feel It”, the EP’s opener, is immediately indicative of Home Video’s growth. I doubt you can find a review that does not compare Ruffino’s vocals to Thom Yorke’s, but instead of the desperate imitation that was occasionally prevalent on Home Video’s past releases, his approach here sounds more natural and adjusted toward Home Video’s assortment of evolving percussion, gradual synth accompaniments, and subtle implementations of guitar. The melodic harmonizing within Ruffino’s multiple vocal layers is what establishes this song as one of their best yet, as the conclusion that sees an appropriate piano accompaniment cap off the song’s most consummate chorus is arguably the EP’s most uplifting moment. All of the tracks on It Will Be OK are hardly complex, and an effort like “You Will Know What to Do” remains reminiscent of the driving pulse present in minimalism. “Every Love That Ever Was” is notable for containing the most pure form of synth-pop on the album, even to the point where comparisons to Junior Boys are realistic. The arpeggio during the chorus may not serve as the most innovative in the duo’s repertoire, but it certainly does enough to get the listener’s emotions running; it is an attribute that Gross deemed impossible in pop music before he met Ruffino, but now both are crafting the formerly impossible. Because of this focused ideology, Home Video appear to finally be living up to their potential as songwriters and stylistic innovators. If this EP is any indication, one can expect Home Video’s second full-length to be the album that breaks them out in a big way.

——————————————————————————————

Home Video – I Can Make You Feel It

——————————————————————————————

Home Video – Every Love That Ever Was

——————————————————————————————

Home Video – You Will Know What to Do

——————————————————————————————

Official Web Site

MySpace

BUY

The post Home Video Makes It OK appeared first on Obscure Sound: Indie Music Blog.

There are few active bands that have released material as often and consistently as The Church. They have averaged an album every year or so since their 1981 debut, releasing over 20 albums and a handful of EPs over the span of 28 years. While it is impressive that the core members have remained throughout the entire duration and they continue to work well and often together, it is their consistency that has allowed The Church to be widely considered one of the best Australian bands of the past two decades. Western fans are likely to associate The Church with their 1988 hit single, “Under the Milky Way”, rather than their albums as a whole, but I urge those that are not familiar with the group’s large body of work to check out their classic albums; these include Starfish, Heyday, and their first two albums, Of Skins and Heart and The Blurred Crusade. While these four were all released in the ‘80s, The Church have released some surprisingly strong material in the ‘90s. It is practical to say that they are one of the few groups that have released albums consistently since the early ‘80s without one dud to their name. The only immediate group I can think of that resembles such success is The Pet Shop Boys, as even the greatest bands seem to have a misstep or two along the way.

Much of The Church’s consistency can be attributed to the immense talent of the three core members, Steve Kilbey, Marty Willson-Piper, and Peter Koppes. Not surprisingly, each one has seen success as a solo artist. As the lead singer, lyricist, and bassist for The Church, Kilbey’s distinctively melancholic vocals have always made him a staple of the group. For his solo work, Kilbey’s style is considerably more ambitious and prolonged than his work with The Church. His vivid lyrics have always remained prominent throughout his eight solo albums, as has some solid songwriting on albums that appear to fill the void between releases from The Church. Willson-Piper has served as The Church’s main songwriter and his songwriting chops certainly show on his solo material. Though his style serves more straightforwardly in relation to the jangle-rock of The Church, Willson-Piper’s excellent skills as a guitarist and songwriter have allowed him to craft an inventive approach to his solo material. Koppes also released a few solo albums, showcasing his catchy blend of guitars and keyboards. All three artists have also collaborated with some of the most influential musicians of the ‘70s and ‘80s, Australian or not. Kilbey was involved in the previously featured Jack Frost with the late Grant McLennan, while Willson-Piper has worked with everyone from Tom Verlaine to David Gedge. As The Church prove alone, it must be contagious to work with great songwriters.

In what appears to be an instance of extraordinary timing, both Kilbey and Willson-Piper are releasing their first new solo material in years within a month of one another. Both Kilbey’s Painkiller and Willson-Piper’s Nightjar are being put out by Second Motion Records, a North Carolina-based label that also plans to release a new studio album by The Church this spring. Kilbey’s Painkiller was released on February 17th and Willson-Piper’s Nightjar is slated for a March 3rd release. What I find so astounding is the quality exhibited on both albums, despite the different approaches that the two artists take. It should be interesting as to how fans of The Church will identify with each release. Each one boasts the strengths of both musicians and still manages to sound like a completely separate entity of The Church. On their solo albums, Kilbey’s voice sounds just as good as it did in the late ‘80s and Willson-Piper’s songwriting remains just as tasteful, but the unique properties that they add to their albums makes it a very exciting event, whether you are The Church’s most fanatical fan or have never even heard of them.

Kilbey’s solo material has often been classified as eccentric, at least in comparison to his material with The Church. Painkiller, his first solo album in seven years, continues along his adventurous path in compiling eleven songs that are indicative of Kilbey’s strengths as a lyricist, songwriter, and vocalist. Painkiller has everything a fan of Kilbey could want; there are energetically catchy two-minute gems like “Wolfe”, atmospherically blissful interpretations of Church-like pop like “Celestial” and “Crystalline Rush”, and memorable acoustical efforts like “Song for the Masking”. There is also the ambitious instrumental “File Under Travel”, a highly alternating, twelve-minute effort that shifts between heavy waves of guitar distortion and fused field sounds. Something similar can be said for the electronic soundscapes of “Not What You Say”, the 31-minute closer to the album. This track also is indication of Kilbey’s apparent fascination with field recordings, as “Not What You Say” applies only the sound of raindrops and thunder for five minutes. Overall, this album is all over the place in terms of style and lyrical content. Because of Kilbey’s immense focus and talent though, he succeeds in each format (even if some songs – like the 30-minute ambient efforts – may not appeal to everyone).The Church’s drummer, Tim Powles, also makes an appearance alongside Brian Jonestown Massacre’s Ricky Maymi to collaborate on an album that proves to be one of Kilbey’s finest.

Willson-Piper’s first album in nearly nine years, Nightjar, is considerably more tied-down affair than Kilbey’s Painkiller. However, this certainly does not imply that Nightjar is a generic and dull affair. In fact, many listeners may immediately prefer Nightjar because of its accessibility. As Willson-Piper displayed on previous solo efforts like She’s King and Hanging Out in Heaven, he has a knack for writing beautifully serene tracks that do not require elaborate instrumentation or experimental tendencies to succeed. Such can be heard on ballads like “The Love You Never Had” and “Lullaby for the Lonely”, both tracks that utilize a country-ish twang and the simultaneous croon of Willson-Piper and Swedish/Polynesian Tiare Helberg, the latter classified by Second Motion Records as a “star in the making”. The substance she adds to Willson-Piper’s already impressive sound is immense, often employing a beautiful duet of sorts that makes this Willson-Piper/Helberg combination similar to that of the Academy Award-winning duo of Glen Hansard and Markéta Irglová. Strings add to the romanticized elegance of “Lullaby for the Lonely”, while a haunting slide guitar establishes the melancholic beauty of “The Love You Never Had” as Willson-Piper sings, “I take my place in line to be alone / There are millions in front me I know.” The sheer precision of this vocal duo is outstanding, as are the majority of other tracks on the album. The ardently moving “No One”, the charming mixture of keyboards and acoustics on the poppy “Feed Your Mind”, and the exotic use of woodwinds in the coarse “Song for Victor Jara” are all highlights in their own unique ways. Like his longtime collaborator Steve Kilbey, Willson-Piper’s new solo release is filled with a variety of differing successes.

——————————————————————————————

Steve Kilbey – Wolfe

Steve Kilbey – Celestial

Steve Kilbey – Crystalline Rush

——————————————————————————————

Marty Willson-Piper – Lullaby for the Lonely

Marty Willson-Piper – The Love You Never Had

Marty Willson-Piper – Feed Your Mind

——————————————————————————————

The Church

MySpace: Steve Kilbey, Marty Willson-Piper, The Church

BUY: Steve Kilbey, Marty Willson-Piper, The Church

The post Two From The Church: Steve Kilbey & Marty Willson-Piper appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

———————————————————————————————–

30. Air France – No Way Down EP

This feature may be called the “Top 50 Albums of 2008”, but the title alone does not give me enough justice to dismiss arguably the finest EP of the year in Air France’s No Way Down. Throughout the six tracks and 23 minutes that make up this fine EP, the Swedish duo crafts an audible world that is both magical and enlightening, with the effective atmospheric capabilities displayed being reminiscent of the Avalanches’ classic Since I Left You in its ambitious sample-led scope and sheer melodic aptitude. With twittering brass, sweeping strings, radiant synthesizers, and a variety of samples that are often comprised of pleasant sounds like the chirping of birds or the sounds of a seashore, No Way Down takes the listener to a world where relaxation and lighthearted innocence are at the forefront. A track like “No Excuses”, with its reflective keys and heavy chorus, sounds like it would be perfectly associated with the joyful state of a party-filled tropical island, while “Collapsing at Your Doorstep” invokes a similar fantasy world-setting that proves to be more emotionally resounding with a vocal sample and accompanying strings that are gradually accompanied by an evolving use of percussion, bass, and guitar. The prominent samples throughout “Collapsing at Your Doorstep” (taken from the ’80s TV series “Beauty and the Beast”) all feature the voices of children, a remarkably effective technique that perfectly initiates the feelings of that certain period in childhood when innocence allowed even the most trivial thing in life to utterly amaze you. The brilliant “June Evenings” sees the group increase their focus on pop music while still maintaining their atmospheric ingenuity. The instrumentation is more vigorous, but certain effects like the melodic whistling during the chorus, the subtly enriching bass line, and the calming female vocals that consume the verses make “June Evenings” one of the best tracks of the year. Forget the fact that No Way Down is too short to be a full-length; it is truly one of the most innovative releases of the year, EP or not.

Air France – June Evenings

Air France – Collapsing at Your Doorstep

MySpace

BUY

———————————————————————————————–

29. Sigur Rós – Með suð í eyrum við spilum endalaust

When attempting to describe the work of Sigur Rós, I have come across many people who opt to jump right into the fact that the Icelandic four-piece occasionally sing in Vonlenska, a made-up language concocted by the band’s members. Frontman Jónsi Birgisson has explained time and time again that it is purely meant to act as a melodic aid for the voice in songs where lyrical content is deemed irrelevant in comparison to the harmony and level of ardency that the vocals emit. Birgisson’s explanation is certainly a better indication of Sigur Rós’ method of success than those who only know the group for overly exposed linguistic purposes. What remains true is that Sigur Rós are one of the most emotionally demanding acts of the decade, and it is the reason why they have become so influential to western fans and artists alike who cannot understand a lick of what Birgisson is saying. This emotional leverage that the powerful instrumentation conveys is comparable to the role of classical music during the Romantic period, a very common comparison that is synonymous with the group’s classical and minimalistic influences. The group’s fifth album, Með suð í eyrum við spilum endalaust, is a continuation upon their expectedly domineering orchestral instrumentation, though it also sees them shying away from the minimalistic concepts that were so abundant during their first few albums. This is best seen on “Gobbledigook” and “Inní mér syngur vitleysingur”, where a brisk progression of keys commands perhaps the most playful melody that the group has written. Strings make their emergence during the second verse, but they are now a supplement of the keys rather than an unavoidable force. While there is certainly a heavier emphasis on brisk keys and traditional guitar progressions throughout the album, tracks like the ethereal “Góðan daginn” and the epic build-up of “Festival” are a return to Sigur Rós’ classic mold. The true beauty of Með suð í eyrum við spilum endalaust, though, is that the group is able to succeed in both new and old stylistic endeavors.

Sigur Rós – Gobbledigook

Sigur Rós – Góðan daginn

Official Web Site

MySpace

BUY

———————————————————————————————–

28. Hercules and Love Affair – Hercules and Love Affair

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. Recognizing the vocalist’s talent, Andrew Butler wrote “Blind” and showed it to Antony in 2003 with the intent of getting him to do the vocals. The two finished the track and then pushed it aside, planning to come back to it later. 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. As can be heard on their eponymous debut, Butler’s emphasis on dance and disco presents wildly exciting circumstances for Hercules & Love Affair, especially considering that he has the help of Antony, who adds his vocals to half of the tracks on Hercules & Love Affair’s debut. 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. Raise Me Up”. It illustrates Butler’s sensational songwriting, Tim Goldsworthy’s sparkling production, and Antony’s invigorating vocal form in simultaneously impressive form, with the constant urging of a seductive bass line being the underlying factor of remembrance. 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 six 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 on this remarkable debut.

Hercules and Love Affair – Raise Me Up

MySpace

BUY

READ MORE>>>

———————————————————————————————–

27. Okkervil River – The Stand Ins

Like David Berman and Mark Eitzel, Okkervil River frontman Will Sheff has a growing reputation as one of the most poignantly effective lyricists in indie-rock. As Okkervil River’s album last year, The Stage Names, displayed with its occasional metaphorical musings regarding the correlation between life as a performing artist and life’s hardships, the topics do not always have to pertain to loneliness, regret, and unrequited love to result in success (though they have always remained common themes throughout Sheff’s work). In addition, Okkervil River’s style of play has never quite coincided with the typical output of someone as lyrically inclined as Sheff. A clever fusion of folk and indie-rock, the songs are often so infectious that the irresistible melodies may tend to overshadow Sheff’s lyrical content. As a result though, the tracks have a considerable amount of replay value for the cumulative ; it is a special aspect that is displayed once again on the group’s fifth full-length album, The Stand Ins. There is no central thematic focus on The Stand Ins when compared to the constant perceptions of pop culture throughout The Stage Names, but Sheff’s multifarious ability to write consuming songs and lyrical additives that involve real-life circumstances carries the album to similar heights. “Singer Songwriter” sees one of the band’s folkier efforts come to life as Sheff relays the expectations involved in a monetarily successful family. “You come from wealth, yeah you got wealth,” he sings. “What a bitch they didn’t give you much else.” As far as establishing classics goes, “Lost Coastlines” is one of the best efforts Okkervil River have released with its mixture of throwback pop and indie-rock. Sheff lowers the pitch of his voice slightly during a chorus that is backed heavily by a bass line that sounds like it was borrowed from some ‘60s pop classic. He brings his voice back to normal range when the energetic chorus enters and a series of “la la la” outbursts are accompanied by a fleetful guitar and later a majestic mixture of horns and strings. As usual for this consistently excellent group, The Stage Names is another enjoyable addition to Okkervil River’s glowing discography.

Okkervil River – Lost Coastlines

Okkervil River – Singer Songwriter

Official Web Site

MySpace

BUY

———————————————————————————————–

26. Explorers Club – Freedom Wind

Most artists who rely on an outdated style to achieve success are often left in the dust, realizing that their primary mistake lied in not attempting any form of innovation that would uniquely captivate the listener. I doubt that you will ever read a review or feature about The Explorers Club that does not mention Brian Wilson or The Beach Boys, but the South Carolina-based seven-piece manages to pull it off so ingeniously that their own originality shines through on every track throughout their debut, Freedom Wind. “Don’t Forget the Sun” is a perfect example of why The Explorers’ Club take on nostalgic ’60s pop is one of the best interpretations of the past several years. The overlapping vocal harmonies that take place during the track resembles Wilson’s most melodically invigorating moments, with the warm clap-based rhythm section, sprinkling of keys, and sporadic bursts of brass attributing to the immediate infectiousness as well. Three members in The Explorers Club share vocal duties and they do a fantastic job all throughout the album, most notably on “Hold Me Tight”, the lush “Safe Distance”, and the twangy “In the Country”. All of them look to be in their 20s as well, making their ability to capture the greatest moments of ’60s pop and surf-rock even more impressive. Many of those who were already familiar with The Explorers Club will also recognize “Forever”, a track from their debut EP that seemed to capture the most buzz among music publications. Its contemporary take on ’60s pop makes “Forever” somewhat reminiscent of That Thing You Do! soundtrack and other somewhat recent movies whose scores are focused on an accessible vein of throwback pop, which also means that visions of The Beach Boys, The Beatles, and The Zombies remain heavily prevalent in the process. Soaring falsettos, big-time hooks, and grandiose choruses… they can all be found on Freedom Wind, one of the most delightfully consuming debut albums of the year.

The Explorers Club – Don’t Forget the Sun

The Explorers Club – Forever

Dead Oceans Records

MySpace

BUY

READ MORE>>>

———————————————————————————————–

25. Xiu Xiu – Women As Lovers

When frontman Jamie Stewart announced late last year that Xiu Xiu’s sixth studio album, Women as Lovers, would be “more approachable or communicative on a basic human level” than any of the band’s previous releases, a substantial number of fans likely scratched their heads in disbelief. After all, it had always been a form of anguished unpredictability that made Xiu Xiu a contemporary staple in the genre of experimental art-rock, with additional unconventional structural techniques making compatible similarities to other artists seemingly impossible. With past lyrical content that included perverse sexual fantasies, grotesque fetishes, and descriptive violence—often supplemented by instrumentation that would be easily classified as avant-garde—Stewart has always been rightfully credited as being a poetically brilliant lyricist, with an ability to write songs that treat the listener to simultaneous feelings of heartrending romanticism and uneasiness difficult to match. Such history can beg a simple question: Just how “more approachable” is Women as Lovers when compared to Xiu’s Xiu’s past releases? The album’s most accessible and initially satisfying track, “No Friends Oh!”, serves as excellent indication of the group’s efforts to promote this new emphasis. Apart from showcasing some of Stewart’s most fulfilling songwriting of his career, the song serves as a nostalgic reminder of Xiu Xiu tracks where pop-oriented hooks reigned supreme over eerily sparse instrumental content. It beckons accessibility in the same way that “Save Me Save Me” and “I Luv the Valley Oh!” did, mixing unpredictably appealing verses with a consistently explosive chorus of epic proportions. “Tommy and Dan, you can’t hold hands”, Stewart sings in his lovably torturous croon during the chorus, enhanced by an remarkably layered brass progression that remains slightly out of key for rewarding effect. “Who cares you’re gay / But it’s your age / No friends oh”. Like the lyrical content on “No Friends Oh!”, a common theme throughout Women as Lovers appears to be the vile form of corruption that society has on the children that are forcibly exposed to it. With a chilling organ and delicate guitar progression, “Black Keyboard” relays the tarnishing effect on a child in a home of vile mental and sexual abuse. “Be free, laugh at your son / A child is nothing without hate”, Stewart sings, with a touch of sarcasm ringing in his quivering vocals. He coaxes up imagery throughout the album in tragically impressive form, whether it be of a child being pushed on a swing by a deranged mother on “Black Keys”, an infant who dies of parental neglect in “Gayle Lynn”, or the social reject who pops both Percocet and pimples on “White Nerd”. Though few would have predicted that Xiu Xiu would increase their already empowering form of ambitiousness, Women as Lovers capitalizes on it as yet another bold and consistently satisfying release in Xiu Xiu’s discography. Like its preceding releases, Women as Lovers is a grower that will warmly reward listeners who give it the time it deserves.

Xiu Xiu – No Friend Oh!

Xiu Xiu – I Do What I Want, When I Want

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

24. Paul Weller – 22 Dreams

Upon reflection of Paul Weller’s respectable career, it makes little sense why he would feel any incentive to release a sprawling album like 22 Dreams, the lengthiest and arguably most stylistically diverse album of his 30+ year span as a songwriter. After all, anyone with even the slightest understanding of The Modfather’s illustrious discography as both a solo artist and frontman of The Jam and The Style Council would already recognize him as being one of the most successfully eclectic songwriters to come out of England in the past several decades; he simply has nothing left to prove. He is a passionate musician though, and thankfully for all of us he has been ceaseless in his work. Weller’s ninth solo album, 22 Dreams, manages to simultaneously capture glimpses of his stylistic past while introducing a batch of newly attempted styles to the mix. Considering that the album boasts over 68 minutes of new material that spans over two discs, there is plenty of room for it too. An accustomed format for contemporary double albums has been for one side to inherit the louder and more instrumentally involved tracks, with the other side being more depictive of an artist’s subdued side. Rather than abiding by such limited conventionalism, Weller has created a cohesive flow that allows his multifarious vision to flourish without stylistic repetition bogging it down. Weller had intended 22 Dreams to be a thematic attempt at capturing the changing of seasons and the structure alone does a remarkable job of that; the subtleties are displayed through the transitional tendencies of each proceeding track. The first several tracks commendably serve as the introductory indication of Weller’s diversified approach on the album; “Late Nights” is an acoustically charged folk ballad with Celtic ties, “22 Dreams” and “All I Wanna Do (Is Be With You)” are traditional radio-friendly Weller solo tracks in their infectious uses of R&B and traditional British rock, and “Have You Made Up Your Mind possesses an irresistible chorus that demonstrates Weller’s knack for soul and rock. In fact, if organs and keys had a more active role in “Have You Made Up Your Mind”, it would serve as the most distinctive reminder of The Style Council’s lovable flair. The latter end of the second disc takes a more experimental turn, seeing Weller turn to the workings of a piano ballad in “Invisible”, the spoken-word acoustics of “God”, and the electronic ambiance of “111”. What tracks like these have done is separate Weller from the clichéd alternative-rock that other aging artists put out shamefully these days. The difference with Weller is that he has maintained a majestic vision that is consistently worthy of production for over 30 years, a sentiment illustrated deeply on 22 Dreams Apart from being the most eclectic and resourcefully imaginative solo album of Weller’s career

Paul Weller – Push It Along

Paul Weller – 22 Dreams

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

23. Nick Cave and the Bad Seeds – Dig, Lazarus, Dig!!!

If someone were to ask me to associate the word “prolific” with any contemporary artist, there is a reasonable chance that Nick Cave would be the first name that came to my mind. I am certainly not alone on this either, as the Australian songwriter has been one of the most critically acclaimed artists since his first solo release in 1984. Prior to that, his existence as the frontman for gothic post-punkers The Birthday Party proved to be merely a preview of one of our generation’s most talented and topically multifarious songwriters. This acclaim is impressive for several reasons, the most prominent being the prolific number of releases he has stringed together since the mid ‘80s. It has become a common practice for Cave to release a new album every one or two years, making it astonishing that there is not one album out of his dozen or so that can be called a failure or even mediocre. With that being said, the fact that Dig, Lazarus, Dig!!! is one of his most accomplished releases is very impressive. While it does not echo the elegant morbidity of classics like The Boatman’s Call, its sharp production and high involvement of guitars and organs remains somewhat reminiscent of another Cave classic in Let Love In. The focus of several songs coincides with Cave’s trademark scenarios of the bizarre, broken hearted, and religiously overzealous, while his fusion of rock, gospel, and blues is also at the forefront. The stylistic variation presented in each track providing the utmost suitability for the topic at hand, like in the brooding “Jesus of the Moon” where thick acoustics and menacing strings complement religious allusions that foreshadow an apocalypse of some sort, most likely pertaining to romance. In terms of livelier but just as successful efforts, “Today’s Lesson” is led by a thunderous bass line and droning keyboard that emits pure infectiousness. The topic here is an ambiguous and ironic look at prostitution, even if Cave says bluntly that the lesson is “something about the corruption of the working class”. It is all part of his charm though, and after nearly three decades of listening to his material there are only a few people foolish enough to doubt Cave’s ability.

Nick Cave and the Bad Seeds – Today’s Lesson

Nick Cave and the Bad Seeds – Jesus of the Moon

Official Web Site

MySpace

BUY

———————————————————————————————–

22. No Age – Nouns

In addition to attending free gigs that are only a few blocks away, it must certainly be a thrill to be a part of fledging local music scene. After a local band becomes massively successful, I can only imagine the feeling acquired when looking back upon the days when they were performing in a friend’s garage, simply classifying the experience as something that saw a part of a group’s evolutionary process toward productivity. Those active in Los Angeles’ scene – particularly at one of the city’s most famous venus, the Smell – have experienced local success stories before, but there were few that came close to the acclaim of No Age this year. Upon releasing their second album, Nouns, the local duo began receiving glowing reviews, resulting in a massive amount of exposure and their participation in gigs with quality acts like Times New Viking and Liars. The critical success was not much of a surprise for those who had followed the band since their 2005 inception, but the amount of listens that the album was receiving proved quite shocking considering the style of music that No Age plays. While often inventively enticing, their lo-fi interpretation of noise-rock is neither accessible nor instantaneously memorable. However, lying behind the fuzz, distortion, and repeated samples throughout Nouns, hidden gems will start to emerge with each successive listen. This is likely why the album’s recognition has only hardly faded since its May release. “Teen Creeps”, despite uneventful transitions and a repetitive melody, sounds like a lost gem from a late ’80s punk compilation with its three-chord fixtures and fuzzed production. Their use of electronic elements can be seen in the excellent “Things I Did When I Was Dead”, where the duo implements a near spoken-word set of vocals over guitars and two simultaneous samples, one of which sounds like a clown honking his nose and the other like a high-pitched . The elements within the songs are often a guessing game, but the high degree of success that often occurs is not. “Cappo” proves as one of the album’s more accessible efforts with its typical indie-rock flair, sporting a guitar-led hook in the chorus that sees a cross between grunge and power-pop. “Sleeper Hold” reaps greatly from a similar aspect with an even more explosive hook, once again hidden rewardingly over a plethora of distortion and muddled rhythm. To fully enjoy Nouns is a benefit that comes with successive listens for many people, but I can assure you that this album deserves the time required of it.

No Age – Things I Did When I Was Dead

No Age – Teen Creeps

Official Web Site

MySpace

BUY

———————————————————————————————–

21. Lil Wayne – Tha Carter III

Oh, what can I possibly say about this album to justify its placement? So many things were said leading up to the anticipated release of Tha Carter III that no one knew whether it was going to be a landmark masterpiece or a colossal disaster. As it turns out, neither classification applies. To be simple, Lil Wayne’s latest is simply an extremely solid collection of songs that provides a great mixture of star-studded hip-hop (“Mr. Carter”), smoothly infectious soul and gospel (“Comfortable”), and “hip-pop” (“Got Money”, “Lollipop”) . The production is sharper, the guests are brighter, and the songs are catchier than Tha Carter III’s two older siblings, but some may debate the flow and stylistic customization of the effort. To me, the range presented does nothing but show why people are primarily attracted to Lil Wayne in the first place; whatever he says – no matter when presented over synth-based hip-hop beats or suave guitar progressions – is thoroughly entertaining. Whether he raps about fixing an uncreative hip-hop track using medical metaphors over a jazzy percussive beat in the excellent “Dr. Carter” or tunes in over Betty Wright and a guitar line very typical of the ’80s in “Playin’ with Fire”, Lil Wayne is inarguably one of the most entertaining performers active today. For material more indicative of his typical hip-hop flair, it is difficult to beat something with the insatiable flow of “3 Peat” or the hooky chorus of “Mr. Carter”. Even two of Kanye West’s cuts – “Shoot Me Down” and “Let the Beat Build” – prove engaging in seeing how Lil Wayne alters his delivery over brooding bass-led pop or sample-led soul, respectively. In each case, Lil Wayne’s output remains synonymous of his typical form, with guests like Robin Thicke taking over the choruses for an additionally focused hook. As usual though, whenever Lil Wayne appears on a track, it has a sort of quality that only he can uniquely achieve through a shockingly astute grasp on pop culture. Oh, and that little thing called skill.

Lil Wayne – 3 Peat

Official Web Site

MySpace

BUY

The post Best Albums of 2008: #30 to #21 appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

———————————————————————————————–

40. Kristoffer Ragnstam – Wrong Side of the Room

We all knew that it was only a matter of time before a Swedish pop artist made this list, and I will also admit that Kristoffer Ragnstam will not be the last before this year’s best-of concludes. I first took notice of Ragnstam when he released a great single in “Breakfast by the Mattress”, a sly effort that saw his practical use of fast-paced indie-pop flourish with irresistible melodies and gleeful hooks. Accessibly enjoyable melodies and hooks in Swedish indie-pop? Who would have known? Well, Ragnstam’s second album, Wrong Side of the Room, provides a wildly accessible look at some of the catchiest pop music to derive from the musically incessant country of Sweden in 2008. “Swing That Tambourine” is a gleeful sing-along that finds Ragnstam reciting the track’s title during a chorus filled with anthemic guitar lines and vocal outbursts, with the latter being a trademark of Ragnstam’s crisply invigorating delivery. “Happy Mistakes” may be the album’s most impressive effort with the stark contrast between the verse and chorus; the verse stems off of keys and guitars that gradually increase in force, while the chorus delivers a suave and seductively brisk accompaniment that sees keys and wind instruments collide for a compellingly memorable conclusion. The final minute or so sounds somewhat like a ‘70s spy flick, which is just one of the reasons why Ragnstam’s simplistically effective pop music remains so memorable. Other tracks like “Sorry for Being the Man of 1000 Questions” showcase his occasional synth-rock premise, while “2008” finds a seamless transition between acoustic and electric accompaniments that eventually finds catchy progression of high-pitched keys concluding each chorus. While his songs may be too simplistically orchestrated for those seeking avant-garde pop music, there are few albums this year that are as instantaneously infectious as Wrong Side of the Room.

Kristoffer Ragnstam – Happy Mistakes

Kristoffer Ragnstam – Sorry for Being the Man of 1000 Questions

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

39. The Bug – London Zoo

He has recorded under six main projects and released over one dozen full-length albums in the past decade, but Kevin Martin still remains an elusive figure despite his undeniable contribution to the recently invigorated genre of dubstep. In the process, Martin’s variety of projects have allowed him to explore other genres like jazzcore and industrial hip-hop to an investigative extent, providing him with experience that most electronic artists foolishly dismiss as being stylistically irrelevant. Ever since his debut release, Techno Animal’s Ghosts in 1991, Martin has been building this type of experience gradually but productively, as this year’s release of The Bug’s London Zoo has proven. It is saying quite a bit that London Zoo is his most eclectic release yet, as Martin has never shown a reluctance to tread in stylistic territories that would be deemed abnormally progressive for artists who primarily specialize in dubstep and other forms of electronica led by bass and samplers. What London Zoo does so brilliantly is capitalize on Martin’s experience as a songwriter and his skills as a producer, resulting in something that sprinkles industrial hip-hop, dancehall, and grime into his mastered interpretation of dubstep. To add variety, he enlisted a different vocal performer on each track, basing his choices on the overall mood and pace of the track. It is an excellent collaborative method that makes the album even more redeeming. For example, Martin makes excellent use of Killa P’s sonorous delivery and his prevalent reggae-based influence to capitalize on the ominous, bass-led fury of “Skeng”, while Tippa Irie’s irate delivery makes for several discordantly appropriate political statements during the percussive stampede of “Angry”. Upon first listen, the tone of some tracks may sound irritated and disoriented, but with each successive play the listener will begin to realize the album’s success in delivering something that is both infectious and emotionally responsive. This in addition to Martin’s stellar production makes The Bug one of the finest electronic releases of the year.

The Bug – Angry (feat. Tippa Irie)

The Bug – Murder We (feat. Ricky Ranking)

MySpace

BUY

———————————————————————————————–

38. The Ruby Suns – Sea Lion

With the Internet now allowing anyone to access music from virtually any country they please, it has become a common practice for artists to integrate worldly influences into their initial sound. This high level of accessibility has made it convenient for some to expand their linear cultural perspective, but I would imagine that many would argue that a true cultural experience is accurately related to traveling to a country and experiencing it first-hand yourself. I imagine that Ryan McPhun, frontman for The Ruby Suns, would agree with this ideology quite well. A native of California, McPhun always had an interest in different cultures and countries, showing just that by moving to New Zealand in 2004 and forming The Ruby Suns while he was there. Prior to this move though, McPhun traveled around Africa and Thailand to quench his thirst for cultural exploration. A music fan all his life, he also took with him a different musical perspective after being personally exposed to the different types of art in each of the countries he visited. McPhun released The Ruby Suns’ self-titled debut in 2006 to some notice, though to an extent that was incomparable to their second album, Sea Lion. This 2008 release saw McPhun reach into his worldly repertoire and pull out a collection of songs that were both strikingly original and culturally influenced. Gems like “Oh, Mojave” and “Tane Mahuta” borrow trademarks of Latin folk to integrate into the group’s psychedelic-pop leanings brilliantly. “Tane Mahuta” is even sung in M?ori, an Eastern Polynesian dialect that is one of the official languages of New Zealand. For the tracks that sound a little more like home, “There Are Birds” is one of the standouts that are led by psychedelic-pop with a warmly reverberating mixture of keys and fuzzy guitars over McPhee’s tranquil vocal harmonies. With tracks that are both culturally resounding and melodically appealing, Sea Lion is a uniquely successful album with one the most ambitious scopes you are likely to find for an indie-pop group.

The Ruby Suns – Oh, Mojave

The Ruby Suns – There Are Birds

Official Web Site

MySpace

BUY

———————————————————————————————–

37. Love Is All – A Hundred Things Keep Me Up at Night

Love Is All’s contagious formula of punk-tinged guitar progressions, devilishly triumphant uses of brass, and intricately bustling rhythm sections was so ingeniously engineered on their debut, Nine Times That Same Song, that it would be a crime to call the result even slightly derived; it simply did not fit in with either stereotypical Swedish indie-rock or western derivatives of punk music. Instead, the Swedish five-piece crafted a sound of their own that proved as successful as the plethora of hooks in their songs. As a result, you can probably imagine how gruesome it was for fans to wait three years for a follow-up. However, when A Hundred Things Keep Me Up at Night was finally released, most listeners were satisfied to hear that Love Is All did not change their stylistic make-up at all. Josephine Olausson maintains the same mixture of gleeful yelps and fastidiously passionate displays of emotion and the rest of the group engineers a countless number of hooks over their hectically melodic display of guitars, bass, keys, and brass. One of the album’s clear highlights is “A More Uncertain Future”. Olausson begins the track in a subdued manner when compared to the other brisker tracks, backed nearly exclusively by an expanding rhythm section as the slight overtone of an electric guitar gradually takes over prior to the emergence of keys. Olausson and Nicholaus Sparding both sing quite equally on the track, with the format being representative of a crumbling relationship as each vocalist relays the perspective of each significant other. Just like on “Felt Tip”, Sparding eventually takes over as vocalist to complement Olausson’s previous sentiments, only this time he takes on a larger role as he emerges after each verse. In a more excitable vein, the rush of guitars and heavy bass on “Movie Romance” reminisces their punk leanings to a larger extent with an explosive chorus in which Olausson and Sparding turn up their harmonizing abilities once again. “Last Choice” and “Wishing Well” feature choruses with a large emphasis on twinkling keys, and verses that see little more than a steady bass line and Olausson’s fervent vocals overlap for an effect that many fans of Nine Times That Same Song should find familiarly invigorating. For old fans of Love Is All and new ones alike, A Hundred Things Keep Me Up at Night is a surefire success.

Love Is All – A More Uncertain Future

Love Is All – Movie Romance

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

36. Bryan Scary & The Shredding Tears – Flight of the Knife

I remember finding myself in a state of regret when I discovered Bryan Scary & The Shredding Tears’ debut early last year. With its portrayal of infectious ‘60s pop clashing fluidly with thematically invigorating forms of contemporary indie-rock, the quality exhibited would have likely stuck it in the top 20 of my “Best Albums of 2006” had I found it a few months earlier. That being said, my inattentiveness was not at hand for this year’s inclusion of their second album, Flight of the Knife. This effort finds the Brooklyn-based songwriter continue upon his emphasis on ’60s pop, though this time around his backing live band, The Shredding Tears, make their studio debut in fantastic form; their addition to Scary’s immense level of creativity expands his scope of ambition even more. It allows Scary to provide more variation in both songwriting and instrumentation, with the obstacle of playing every single instrument an album to sheer perfection now being diminished substantially. His focus here is clearly on the songwriting, an aspect of the album that proves utterly outstanding. His style remains as an operatic version of ’60s pop, providing for a very interesting twist on nostalgic pop music. Still though, Scary manages to not be overly pretentious in his interpretation of throwback pop, providing contemporary indie-rock snippets like the catchy “Imitation of the Sky” in addition to nostalgic pop gems like both versions of “Flight of the Knife” and the contagious key-led intricacies of “Venus Ambassador”. Like their debut, Bryan Scary & The Shredding Tears’ Flight of the Knife serves as one of the most ambitiously impressive and downright infectious albums of the year.

Bryan Scary & The Shredding Tears – Flight of the Knife (Part Two)

Bryan Scary & The Shredding Tears – Venus Ambassador

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

35. Kanye West – 808s & Heartbreak

Up until the release of 808s & Heartbreak, it seemed like the only thing that was not controversial about Kanye West was the style of music he was pursuing on his first three albums. His singularly unique style of hip-hop, often with sharp production and soul-tinged samples, was something that seemingly everyone could get on board with. With a nice collection of Grammys, chart-topping albums and singles, and universal recognition as one of the most prominent producers in the world, West had no reason to alter his stylistic direction to achieve some sort of higher monetary success. His first three albums, all generally similar in style, were critically acclaimed for good reason, so the reason to pursue something completely new on 808s & Heartbreak must have been rooted entirely in some sort of emotional transition, right? After separating from his fiancée and coping with his mother’s death, a return to the jovial, radio-friendly appeal of a track like “Champion” did not appear to be in the near future. Instead, West chose to explore his fascination with electronica and synth-pop. As the first part of the album’s title indicates, automated electronic percussion is a standard throughout the album, along with the controversial use of Auto-Tune. The effect sometimes appears distracting, like in the Lil’ Wayne-guested “See You in My Nightmares”, but other efforts like “Paranoid” and “Heartless” see how it can be implemented successfully in both fast-paced hip-hop and somber soul music. Though the newer version of “Robocop” has been classified as being inferior to the original version, it is hard to deny the power of the chorus’ hook in which twinkling keys and strings overlap over a vocal melody that appears as West’s most upbeat on the entire album. “Paranoid”, on the other hand, sees synth-pop and hip-hop collide for something that may be one of the most impressive tracks West has released in his already storied career. While the new stylistic direction of 808s & Heartbreak may turn off some fans, West’s approach often proves immensely successful for anyone with an open state of mind.

Kanye West – Paranoid

Official Web Site

MySpace

BUY

———————————————————————————————–

34. Amadou & Mariam – Welcome to Mali

Ever since they met in 1975 at Mali’s Institute for the Young Blind, Mariam Doumbia and Amadou Bagayoko have been inseparable. After they were married in 1980, Bagayoko made the transition from an aspiring solo artist to performing in a duo with a collaborative partner. Who was the other musician? Well, none other than his new wife, Mariam, of course. Since then, the duo has become one of the most respected performers from Mali and later Western Africa as a whole. They have been one of the acts that are prominently influential in the exposition of world music to young listeners, making it both accessible and fascinatingly cultural in the process. Their style in the ’80s was stark in its featuring of little more than a guitar and vocals, but their breakthrough period in the late ’90s saw them turn their focus to a more rock-oriented sound that was still heavily backed by influences pertaining to the traditional music of Mali. Their mixture of western rock with traditional Mali music has seen the duo play with anything from funk to electronica, with all of their albums in the past decades receiving critical acclaim all throughout the world. Their newest album, Welcome to Mali, is just as its title indicates: an extremely accessible journey into musical influences typical of Mali culture. The accessibility stems with how seamlessly Amadou & Mariam are able integrate western and African sounds, perhaps best shown in the Damon Albarn-produced “Sabali”. Properly acting as the album’s debuting single, “Sabali” incorporates Mariam’s distinctively edifying vocals over a synth-led beat. For someone who has cut so many out of Gorillaz, Albarn’s incorporated brilliance is not a surprise. A simplistic synth line is the tracks’ heartbeat throughout the entire duration, gradually backed by a whirling array of glittering synths that grows in prominence as the duo’s vocals increase in audibility. Along with other more culturally resounding gems like “Ce N’est Pas Bon” and “Djama”, “Sabali” heads a very impressive album.

Amadou & Mariam – Sabali

[audio:http://mineorecords.com/mp3/amamar-sab.mp3]

Amadou & Mariam – Djama

[audio:http://mineorecords.com/mp3/amamar-dja.mp3]

Official Web Site

MySpace

BUY

———————————————————————————————–

33. School of Language – Sea to Shore

Though there are a few exceptions, there are admittedly not many solo artists who have matched or exceeded the quality exhibited in the main project from which they initially found recognition off of. After all, it is usually done after either the aforementioned main project breaks up or loses all credibility. Peter Brewis’ decision to go ahead and form his solo project, School of Language, was not because of either reason, as the band’s most recent release, Tones of Town, is one of their best and they are still together (though currently “on break” to try their hand at some other projects, like Brewis and his brother, Peter, have been doing). As one of the three members in Field Music, Brewis has proven to be a vital contributor toward the brand’s engaging sound, with his vocal and multi-instrumental work being highly impressive. Enjoyably enough, School of Language’s debut, Sea from Shore, does not stray too far stylistically from the shimmering pop flair of Field Music. Like his previous work with the band, Brewis produces admirable nods to pop greats in the vein of XTC and Brian Wilson, intertwining accessibility and melodic aptitude for an appeasing experience. The project’s differences are primarily on an instrumental emphasis, as Field Music’s Tones of Town held a similar form of instrumental dexterity but there was a larger abundance of keys and orchestral elements in the vein of strings and brass. Just because it is not a grandiose chamber-pop spectacle does not mean it suffers in any way though. In fact, the more personable nature presented on Sea from Shore allows Brewis to produce what a proficient solo project should sound like. While the emphasis on instrumentation may be marginalized in complexity, the melodies are as strong as ever. “Disappointment ‘99” remains to me as one of my favorite songs of the year. Brewis uses his form of vocal ingenuity brilliantly in the bridge, mimicking the quick chords of a high-pitched guitar with a shrill shriek. Surprisingly, that only serves as one of the song’s hooks, with the sole plucking of a guitar guiding a percussion-less form of Brit-pop during the chorus’ final moments (with vocals provided by Futurehead David Craig) also being aptly enjoyable.

School of Language – Disappointment ’99

School of Language – This Is No Fun

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

32. Silver Jews – Lookout Mountain, Lookout Sea

Widely touted as one of the best lyricists of the indie-rock era, David Berman has grown to be one of the most venerable figures in rock music ever since his emergence in the early ’90s. Some of songs could appear eerily auto-biographical to any listener, while the contents of other tracks seem odd in a way that they could only exist in some atypical universe. A band whose lineup has changed constantly throughout its two decades in existence, the current lineup consists of nothing more than Berman and his wife, Cassie. Her most noteworthy presence on the Silver Jews’ excellent sixth album, Lookout Mountain, Lookout Sea, is on “Suffering Jukebox”, where she takes lead during the chorus. It provides for a remarkable transition between Berman’s deep and narrative vocals, as she is transitionally melodic over the expanding use of backing guitars. Berman delivers the lyrical meat with his somberly charged vocals and his wife delivers the melodic hook; it is a situation where fans of both lyrical and melodic content should find solace. As far as stylistic mongers go, country-rock has always been present in most material by Berman, and this track along with “We Could Be Looking for the Same Thing” is an enjoyable indication of just that. “My Pillow is the Threshold” may end up being a classic from Berman, as it echoes the sort of bleak desperation and hopelessness that Berman has delivered so effectively for the past 20 years. “Because the pillow that I dream on is the threshold of a kingdom,” he sings. “Is a threshold of a world where I’m with you.” Compared to his wife’s enjoyable presence on “Suffering Jukebox”, Berman exemplifies how he can take complete control of a song’s hook. His method is less melodic and more emotionally involved, with the slight quiver in his vocals creating the impression that Berman is indeed the victim of the anecdote at hand. The genuine tone of Berman’s voice, his poetic brilliance, and the raw power he is able to convey through a performance are aspects that have made Silver Jews such a brand name. On Lookout Mountain, Lookout Sea, listeners are simply convinced even more of his authenticity.

Silver Jews – My Pillow is the Threshold

Silver Jews – Suffering Jukebox

Official Web Site

MySpace

BUY

———————————————————————————————–

31. Elbow – The Seldom Seen Kid

Bands that tend to improve with each release are a rare sight indeed. As bleak as it may sound, there are plenty of one-hit wonders and too few artists that withstand time and prove durable enough to learn from their own experience in a quest for incessant improvement. This is especially rare among contemporary artists, many of which appear too obsessed with monetary matters to stick with something that may not be initially successful. Finding initial success was never an issue for the British five-piece, Elbow, as they were nominated for the Mercury Music Prize with their debut album, Asleep in the Back, in 2001. What came next, though, could have been a devastating affair in seeing a group potentially chase the success of their first album embarrassingly, just like many other groups that foolishly believe that expanding upon an album or style is somehow detrimental to future success. Elbow made the wise choice though; they enhanced their sound to make it fuller, more exotic, and more intricate, with their songwriting and production also becoming more noteworthy with each successive release. Even more impressively, they chose to actually win the prize that they fell short of in 2001, releasing their fourth album, The Seldom Seen Kid, in 2008 and winning the esteemed Mercury Prize in the process. That they beat Radiohead’s In Rainbows and Burial’s Untrue was surprising to me, but I certainly felt that it was one of the best nominees and certainly well-deserved. Listening to the stunning “Grounds for Divorce” can attest to why such a choice was made, as I believe it to be one of the best songs of the year. With the backing harmonies invoking a sing-along effect of a very bluesy progression, the introduction to the song almost seems like a nod to Chicago blues and its integration of electric guitars and Delta blues. The chorus exists in an entirely different spectrum though, as it sees Elbow revert back to comfortable Brit-rock as Guy Garvey sings, “There’s a hole in my neighborhood, down which of late I cannot help but fall”. Other remarkable efforts include the progressive “The Bones of You” and the majestic “Mirrorball”, the latter of which features a haunting mixture of piano, strings, and acoustic guitars. Take the Mercury Prize’s word for it: The Seldom Seen Kid is one of the best albums of the year.

Elbow – Grounds for Divorce

Elbow – Mirrorball

Official Web Site

MySpace

BUY

The post Best Albums of 2008: #40 to #31 appeared first on Obscure Sound: Indie Music Blog.

MP3 files are now working

When monumental success is accomplished through means of distinctive locality, I imagine that the sense of pride for a group is indescribable. You grow up with a certain group of friends, talk and occasionally bicker with them about music to pass the time during class, and even form an embarrassing band or two during the same period; it is all a natural part of growing up for childhood friends that share a mutual love for music. With that being said, to make a flourishing career out of something that has positively taken hold of you for the entirety of your childhood can be a dream come true. To do it with those same friends that you grew up with is a rare sight to behold, but it is certainly not impossible to find. The Pittsburgh-based Ball of Flame Shoot Fire can certainly attest to this, as the entirety of their band is made up of a group of friends who grew to be the best of friends during their high school years. They were often simultaneously friends and bandmates, a mixture that can occasionally prove to be complicated due to the highly sensitive nature of an occupational relationship. As displayed in their music though, the chemistry for this five-piece in undeniable, allowing the five friends to maintain their composure and combine their talents for something that is truly and uniquely riveting.

The list of influences that Ball of Flame Shoot Fire have appropriately compiled on their MySpace proves quite indicative of their modernistic approach. A few years out of high school, it is not surprising of them to list a few contemporary greats like Sunset Rubdown, Animal Collective, and Grizzly Bear as a few of their influences. However, their prevalent admiration for legends like Tom Waits, Harry Nilsson, and David Bowie also allows them to emit their veneration for past approaches. This ultimately results in a very flexible form of indie-rock that gravitates largely toward aspects that are largely experimental and occasionally psychedelic. A rather immediate comparison would be to that of Animal Collective, specifically displayed on the excellent “Mugs”, but Ball of Flame Shoot Fire are certainly no imitators of a particular style or group. Apart from the fact that their songs differentiate from one another vastly through melodic, instrumental, and structural variation, their songwriting is captivating in a way that calls upon both inventively plausible hooks and audible energy; this aspect of songwriting is what makes the comparison to Animal Collective the most accurate. Fitting in nicely with imaginatively unclassifiable indie-rock acts in the vein of Animal Collective, Man Man, and Frog Eyes (all influences by no coincidence), Ball of Flame Shoot Fire have the capability to become the next big thing in the world of creatively unpredictable indie-rock.

Though all five members were friends throughout high school who had participated in other miscellaneous projects, Ball of Flame Shoot Fire did not officially form until 2006. They have played primarily around Pittsburgh, achieving a startlingly emergent fanbase while opening up for acts as accomplished as Grizzly Bear, Man Man, and Mates of State. Listening to their music, it is quite easy to see why acts in the vein of Grizzly Bear and Man Man have sought out the five-piece to open for them too. Ball of Flame Shoot Fire do not only write songs that are somewhat influenced by the psych-folk of such groups, but their ardently expressive reliance on youthful exuberance is heavily prevalent. The same can be said for a group like Man Man that have made a name for themselves in being one of the best live acts around due to their highly energetic presence on stage and in the studio. Hot off some significant local recognition, Ball of Flame Shoot Fire released their debut EP, Grumpy Little Bird, in the fall of 2007 to some more consistent acclaim. Some local publications and sharp blogs were the ones to generate some buzz for this one, solidifying the group’s status as one of Pittsburgh’s most promising up-and-coming acts. Still though, the EP had yet to attract the national recognition that the group’s sound so genuinely deserved. To check it out, you can to listen to it for free here.

After devoting most of this year to writing new material, the five-piece has emerged with Jokeland, their debut full-length. Set to be released by the end of December, it may very well be one of the most prominent unexpected hits of the year if it is released in time for annual consideration. Keeping steady with the unique quality that all of the group’s members were good friends in high school, the album was actually produced by another one in Alex Herd; he went to elementary school with vocalist/saxophonist/keyboardist Peter Henry. Thanks to both this cumulative chemistry and the group’s undeniable level of talent, Jokeland looks to be a fantastic debut that stems nicely from the great potential displayed on Grumpy Little Bird. The aforementioned “Mugs” is utterly irresistible, seeing an alternating cast of vocalists pull off their best Avey Tare impression with a variety of melodically infused yelping and slurring over an onslaught of harmonic variations that serve as a nod to this five-piece’s songwriting ability. The track’s presence truly comes alive when the backing vocals enter to infuse some ‘60s psych-rock harmonies over an evolving assortment of guitars, bass, and keys. The vocal delivery transitions from freak-folk to a tribal chanting of sorts, structurally consistent enough to prepare the listener for each succession of this particular vocal-oriented hook. At the midpoint of “Mugs”, the back instrumentation explodes with fury as a series of guitar tremolos increase in audibility over the same charismatically infectious overlapping of different vocals that made the track so striking from the get-go.

Another one of the album’s tracks, “Bertie Hey”, serves as a good indicator of the album’s overall diversity. While it is still heavily apparent that the same band is behind the effort, the differing vocal approach and melodic ideology separates the track significantly from an effort like “Mugs”. “Bertie Hey” almost reminds me of Man Man’s “Engwish Bwudd” with its pirate-y melodic theme; this is especially true when numerous vocals collide simultaneously in accordance to a heightening pitch around 02:13. This is followed by a messily enjoyable guitar solo, another indication of this group’s alarmingly impressive flexibility. “Bertie Hey” concludes just as excellently, with a series of brass accompanying several ardently conveyed phrases like “you think I’m guilty, didn’t do it; got a voracious appetite for danger”. “Patience” brings us into territory more reminiscent of a group like Sunset Rubdown or Frog Eyes, where vigorously intricate keys lead the way over occasional falsettos and whimpers to establish over five minutes of pure art-rock bliss. When the distortion of the multiply layered guitars subsides after three minutes and a gentle electric guitar arpeggio emerges, it sounds as if it is about to practically evolve into a new song. The original melody swiftly returns though, as this new guitar arpeggio slides seamlessly into the gradual accompaniment. Based on these three songs alone, I personally cannot wait for the release of Jokeland. Though it is likely too early to make such claims, Ball of Flame Shoot Fire has the potential to be one of the most talked-about bands of 2009.

——————————————————————————————

Ball of Flame Shoot Fire – Mugs

——————————————————————————————

Ball of Flame Shoot Fire – Bertie Hey

——————————————————————————————

Ball of Flame Shoot Fire – Patience

——————————————————————————————

MySpace

Some great live videos of Ball of Flame Shoot Fire

BUY

The post Ball of Flame Shoot Fire in Jokeland appeared first on Obscure Sound: Indie Music Blog.

Some groups form after coming together by traveling across the borders of states, countries, and oceans. Others, however, may derive from the same town or even the same neighborhood. All of this geographical effort holds relevancy to finding one thing: seamless collaboration. Whether the core of a group meets in person because they live next door to one another or they form some long-distance relationship online, the end result for success is often the same. The method in getting there and finding the means necessary to do so is not. In their namesake alone, The British Columbians exhibit a sense of pride for where the band formed, despite some members having origins elsewhere. Girard Knox – the group’s lead guitarist, vocalist, and songwriter – is not based out of British Columbia at all; he moved there in the late ’90s in pursuit of his musical ambitions. Drummer David Moran, however, has lived in British Columbia for all of his life, growing familiar with the province’s music scene and the life that circulates within it. When Knox moved up north, it was Moran who made the transition seamless. Knox had the talent and means necessary to steer a group toward success, but he was in need of a vital collaborator who demonstrated a similar degree of talent, motivation, and a more prosperous knowledge of the area’s musical roots of the past and present.

Whether you choose to look at examples of the past like the Smashing Pumpkins or the future like Digitalism, it is a tough task to count how many groups have formed from its members meeting at a record store. This is exactly how The British Columbians came together, although it arose out of actual employment rather than a per-chance meeting. Specifically, Knox and Moran happened to be working at the same record store in Surrey, a city in the province of British Columbia. The expected happened and their musical interests overlapped to form a mutually ambitious demeanor of sorts, as their hopes to ignite a new project were abundant in their early conversations. The duo’s shared vision eventually evolved into The British Columbians after several songs were written and the general stylistic demeanor was decided. Bassist Chris Ellis joined shortly thereafter and the trio put their songs to life, apparently in a run-down shack by the “switching yard in Port Moody, BC”. Ellis joined based on his previous connections with Knox, who had played in a variety of local bands when he just arrived onto the scene in the earlier part of the decade. In addition to playing with Cremona, he worked in several sessions with Subconscious Satellite, the group in which he first played with Ellis.

So there you have it; a local and a traveler formed a band out of a mutual love for music, with their geographical origins holding no bearings whatsoever on the definition of their sound. Their separable derivations actually prove quite useful in their sound, which translates to an eclectically enjoyable fusion of blues and folk. It would be very easy to call the style quite Americanized for a band based out of Canada, but such a classification would be for those who have underestimated the blues scene in Canada. With an abundance of labels, societies, and artists who specialize in the genre, artists like the Powder Blues Band and Colin James have proved that it is not difficult to attain a massive Canadian fan base out of blues music if the songwriting and performances are of a high standard. While blues is a definitive and arguably the most predominant influence within The British Columbians’ sound, it certainly shows a capability to capitalize on modernistic methods of production and songwriting. Like other contemporary blues-rock acts in the vein of The Black Keys and The White Stripes, The British Columbians incorporate elements of indie-rock in their ardently invigorating sound. I have heard some blues fans mocking such acts by declaring that they “dumb down” blues music, but I have to strongly disagree. Blues has always been one of the most enjoyable forms of expression in music, and these acts simply remain synonymous with that belief while incorporating new and innovative techniques that consequently enforces a higher level of accessibility among younger listeners, perhaps encouraging them to become engaged with innovators like Muddy Waters, Robert Johnson, and B.B. King in the process.

All influences aside, the aspect of The British Columbians’ self-titled debut that I came away most impressed with is how the trio are able to craft nine songs that sound so meticulously different from one another despite remaining in a similar stylistic realm. You can listen to a song like “Gasoline Handshake”, a single-worthy effort that sees more of an emphasis on grainy garage-rock than blues, and get an impression of The British Columbians as a group that generates an intensely intricate but radio-friendly sound, but if you listen to the preceding “In the Leaves” first, then a more acoustical, folk-led vibe is bound to be more prevalent. You could also look at something different like the stereotypically enjoyable bluesy sing-a-long “Hail to the Rising Sun” or the subsequent “By and By”, a track which utilizes a slide guitar and organ excellently to complement some very southern imagery with its incorporation of folk, blues, and even country. Like “Gasoline Handshake”, “Ain’t No Direction” is another song that shines with an accessible demeanor and strongly expressive chorus, supplemented very nicely by some brass (courtesy of Miguelito Valdez) and congas (courtesy of Maurice Earle).

All of these songs are headed by Knox’s utterly sensational vocals, a clear-cut talent that can shift from an effectively gentle whisper to a spine-tingling howl in a heartbeat. Shades of Robert Plant, Chris Robinson, and Kristian Mattson are all present depending on the specific moment, but Knox’s voice is undoubtedly his own and he makes it shine even more through his impressive songwriting.. The only track in which his vocals do not appear on is the instrumental “The Rolling Tide”, a mid-album interlude of sorts that sees a thickly implemented bass line continuously support some excellent brass and guitar solos that resonate simultaneously for over five minutes. The brass squeals while the guitar and bass remain suave and seductive, a contrast that proves to supplement the song in excellent from. It is just one of nine indications of this excellent debut album of both Knox’s ability as a songwriter and the group’s overall talent. Simply put, this is a highly impressive debut chock full of tightly knit gems of blues-rock and folk. For fans of talented groups in the vein of The Black Keys and any others that successful choose to modernize blues-rock in a way that is neither shameless nor desperate, The British Columbians is a vital purchase.

——————————————————————————————

The British Columbians – Ain’t No Direction

——————————————————————————————

The British Columbians – By and By

——————————————————————————————

The British Columbians – Gasoline Handshake

——————————————————————————————

Official Web Site

MySpace

BUY

The post The British Columbians appeared first on Obscure Sound: Indie Music Blog.

Starting with the more experienced, Piano Magic is a London-based collective of musicians that has revolved throughout their 12 years of existence. Glen Johnson, Dominic Chenell, and Dick Rance were the original members upon their formation in 1996, though Johnson is the only one currently remaining. He served as the lead songwriter and frontman after Chenell and Rance had left by 1999. Johnson’s leadership steered the group in a more conventional direction, as their first several years saw a higher emphasis on a style of experimental pop music that found difficulty amassing a steady fan base. At this point, the most common comparison was to that of Kraftwerk and other electronically-enabled forms of Krautrock. After Johnson took control and assembled a new lineup though, a more accessible stylistic transition was made to a highly stylized fusion of post-punk and electronic pop that brought on new comparisons to stylistics molders of the late ‘70s and early ‘80s like Joy Division and New Order. Keeping in mind that New Order derived from the demise of Joy Division, the current sound of Piano Magic reminds me most of Electronic, an offshoot of New Order that featured the superduo of Bernard Sumner (Joy Division/New Order) and Johnny Marr (The Smiths). The duo took their fans by storm in 1991 when their classic self-titled debut disclosed an infectious mixture of post-punk and electronica, two styles that Piano Magic implement flawlessly into their sound.

In maintaining their ceaselessly prolific output, Piano Magic released a new EP, Dark Horses, in October. With nine full-lengths, a handful of EPs, and a countless number of singles and collaborations under their belts, the new EP simply attests to the continuous stream of quality that the group successfully strives for. It has been a common practice for Piano Magic to recruit new vocalists for a release, as they even helped convince ‘60s folk artist Vashti Bunyan to commence her recent resurgence by supplying her first vocal recording in over 30 years for Piano Magic’s 2002 album, Writers Without Homes. As a result, I must commend Johnson for being consistent in bringing back the angelic vocals of Angele David-Guillou for Dark Horses. The Klima vocalist and solo performer had previously appeared on Piano Magic’s 2005 album, Disaffected, and contributed immensely to the beautifully melodic sound presented. Within the span of two years from Disaffected to 2007’s Part Monster, their ninth full-length, Johnson also released a solo album and the group embarked on a world tour. Somehow though, they still managed the time to write and record the very enjoyable Dark Horses EP.

Limited to 1000 copies, Dark Horses features four tracks that embody the group’s sound in extremely complementary form. “Vacancies” features an infectiously haunting mixture of jangly guitar riffs, subtle synths pads, and a continuous bass line. David-Guillou’s vocal approach here may remind some of Black Box Recorder’s Sarah Nixey, especially when considering that the backing music is rooted in swift arrangements of whispery synths and jangly guitar progressions. “Dark Horses” is noticeably darker with a predominant rhythm section. Johnson’s eerily satisfying vocals are reminiscent of Robert Forster, and The Go-Betweens comparison does not stop simply at the vocal front. This track encompasses a similar touch of dark industrial-rock with near-spoken-word accompaniments that made the legendary Australian group’s sound so memorable. “Stations” also employs an eerily nocturnal feel, once again complemented by a steady mixture of heavily reverbed post-punk guitar lines and a prominent rhythm section. For those getting first acquainted to Piano Magic, I would recommend checking out either Low Birth Weight or Artists’ Rifles. However, to get a grasp on their current sound, Dark Horses is an impressive effort that solidifies the belief that Johnson and co. are one of the most consistent groups that, for some reason, remain criminally overlooked.

——————————————————————————————

Piano Magic – Vacancies

——————————————————————————————

Piano Magic – Dark Horses

——————————————————————————————

Piano Magic – Stations

——————————————————————————————

Official Web Site

MySpace

BUY

————————————————————————————————

As I make the transition from a well-traveled group with dozens of releases and several international tours to their name to a four-piece where not even one member is of legal US drinking age, one must keep in mind the developmental process of a band. Piano Magic alternated their lineups before they became stylistically comfortable, leading to a prolific number of quality releases that any musician would respect. When listening to Braids and noticing their prevalent talent, I can’t help but wonder how they will evolve throughout the coming years together, perhaps both stylistically and personally like Piano Magic. To date, the only change they have made pertains to their name (from The Neighbourhood Council to Braids). Listening to their self-released EP, Set Pieces, though, neither their approach nor make-up would benefit from a change at this point. Whether you are referring to 19-year-olds or 49-year-olds, the material presented here is startlingly innovative enough to captivate audiences whether they have prior knowledge of the band’s teenage status or not. When given Braid’s average age, one may have a tendency to make a generalization in regard to their sound. Generic indie-rock perhaps, as an ode to those conventional pop bands that everyone knows and loves? For our sake, it is quite the contrary. Not only are the able to craft 7+ minute experimental-rock epics with ease, but the ideas, songwriting, and high quality of performance are all aspects that truly define what it means for a new act to strive fearlessly for creativity. After opening for acts like Deerhunter and Times New Viking, it seems as if a few of the most prestigious names in indie-rock feel the same.

Just like Piano Magic, Braids are beginning their young careers ambitiously with a style of experimental rock music that demonstrates their unwillingness to conform to a conventionally appealing, radio-friendly atmosphere. Luckily for them, their approach is within the same realm as adored contemporary artists like Animal Collective, Arcade Fire, Atlas Sound, and other staples of indie-rock that have found momentous success through extremely innovative means this past decade. They recorded Set Pieces live at the University of Calgary’s radio station and released it in late June, though fans are just starting to catch on after this month’s release of another EP, Live At CJSW. The opening track on Set Pieces, “Liver and Tan”, is pure 9-minute goodness. A twinkling guitar progression carries the initial strum and a steady rush of percussion eventually increases in complexity and involvement. Light piano chords supplement the onslaught until about a minute in, which is when the piano abruptly replaces the guitar as the leading force. The guitar then reverts to a series of slide patterns, leading the way for each instrumental accompaniment to become involved in equal form.

The major transition point in “Liver and Tan” occurs at 2:15, when a serene break in rhythmic instrumentation commences a three-minute build-up that later introduces several overlapping vocal melodies which brilliantly usher their way in toward the instrumental accompaniment. The vocal delivery sounds like a tribal chant of sorts, and I can’t help but saying that the vocals remind me of what it would sound like if Régine Chassagne (Arcade Fire) attempted to imitate Avey Tare (Animal Collective). There is no real imitation here though for the Calgary natives, as the entirety of Braids’ EP is sprawling with original ideas that lead me to believe that this group is easily one of the most promising out of the already-fledging Montreal music scene. Oh, by the way, check out “Lemonade” on their MySpace. It may be my favorite one yet from this promising four-piece.

——————————————————————————————

Braids – Liver and Tan

——————————————————————————————

Braids – She Brave Soul

——————————————————————————————

Braids – Vendevel

——————————————————————————————

MySpace

Since they self-release their own material, e-mail the band at theneighbourhoodcouncil@gmail.com if you want a copy of either EP.

The post The Old & New: Piano Magic and Braids appeared first on Obscure Sound: Indie Music Blog.