The process of discovering artists can often turn into a domino effect, where reading into the origins of one artist leads to the discovery of another. This fortunate scenario is one of the reasons why I attempt to be so factually evident in writing about these artists, as it not only benefits the reader but also myself since I stumble upon so many affiliated acts in researching an artist’s origins. Often out of curiosity, I look into other releases that a featured artist has participated in. This proves especially useful if they are preparing their first release, as there is little else to go by in determining their growth as a songwriter. For anyone who has read this site as recently as Wednesday, the name Cass McCombs may sound familiar. It should, as the recently featured frontman of Papercuts, Jason Quever, put out his first set of legitimate material in the form of a few piano tracks for McCombs’ debut EP, Not the Way. Curious to see what Quever sounded like in the early part of this decade, I looked into McCombs and found two tracks on his MySpace. What initially was an effort to see how Quever changed as a songwriter evolved into something more, as McCombs lured me in with a mere two tracks that exhibited an extreme talent in songwriting that could not go overlooked.

After listening to the two tracks on McCombs’ MySpace, the sheer power of both “Everything Has to Be Just-So” and “Twins” made me believe that these were likely his signature songs. After all, both songs differed dramatically in tone but succeeded in sounding like an ardently empowering interpretation of indie-rock based on the exceptional songwriting alone. So, you can imagine my surprise after learning that both songs are actually b-sides to past singles. “Everything Has to Be Just-So” is only included on the single for “That’s That”, appearing on his most recent album, Dropping the Writ, which was released in October of 2007. “Twins” is a b-side from the “Sacred Heart” single, a track from his 2005 release, PREfection. Since I was curious as to how outstanding tracks like these could be released as b-sides, this curiosity prompted me to look into both albums and McCombs’ history as a songwriter. Originally a native of Conchord, California, McCombs set out to the east coast when he was 23 and never looked back. It was here where he recorded his debut EP, Not the Way. After the EP was released by the NYC-based Monitor Records in 2002, McCombs began working on his debut full-length, the ambiguously titled A.

Prior to the reissued version put out by 4AD Records in 2004, A had been released previously by Monitor Records in 2003 under the name of Best of Cass McCombs. It was a bold title to give a debut, but many fans maintain to this day that it serves as the best representation of McCombs’ tactful skills as a pop songwriter. Though it remains his most stripped-down release to date, A presented McCombs in an untainted light where amateurish production and subtle flaws contributed to an album where McCombs’ concurrent potential and ability shined brightly. The songs often involved little more than acoustic guitars and keyboards, but McCombs’ mixture of uniquely empowering vocals and heartfelt lyrics added wonderfully to barren but rewarding arrangements. His next release, PREfection, in 2005 proved to be a surprising affair for fans of A. It showed McCombs touting a more ambitious stylistic demeanor, presenting songs with numerous layers of instrumentation and structural tendencies that occasionally went into avant-garde territory. A track like “Sacred Heart” exhibits this quite well, as it finds McCombs’ whimsical delivery flourishing from a variety of electric guitars, bass lines, and a string-like backing synth pad. It actually serves as one of the album’s more conventional tracks in its structural intentions and accessible melody, but this single shows perfectly why McCombs’ ability as a pop songwriter should not be questioned.

While “Sacred Heart” benefits from an anthemic chorus that borrows the jangly demeanor of late ‘80s Brit-rock, I find myself more enamored with its b-side in the exhilarating “Twins”. This proves more indicative of ‘60s British psychedelia with a brooding introduction that features an instrumental whirlwind of both post-punk and psychedelic influences. I find the contemporary relevance of this specific style to be very reminiscent of Pulp’s This Is Hardcore, adding yet another British comparison to McCombs despite the fact that he is from California. It simply speaks to his knowledge of his targeted genre, and in “Twins” he literally does no wrong. Alternating between a whimpering croon and series of self-induced backing harmonies, McCombs continuously comes back to a chorus in which he somberly repeats, “You lied to me, you lied to me.” Underneath a spectacle of melancholic keys and thickly reverberating guitars and bass, “Twins” speaks more to McCombs’ ability than any other song I have come across. While I still find it extremely odd that this was not included on A or his subsequent album, Dropping the Writ, I suppose that cohesion must be valued. It is true that the style of “Twins” does not immediately relate to the flow of A, even if it is soaked in reverb and beautifully haunting instrumentation like on “Sacred Heart”, “Equinox”, or “Subtraction”. It may speak to McCombs’ personal admiration of “Twins” though that it is one of the two tracks posted on his MySpace. I can’t say I can blame him.

The other track on McCombs’ MySpace, “Everything Has to Be Just-So”, sees him explore territory that is more reminiscent of his latest material on Dropping the Writ, his first release for Domino Records. Although this is another effort that has been released as a b-side, the reason for doing so likely can be attributed to the song’s stylistic focus. Dropping the Writ has primarily been classified as an album which contains McCombs’ most linear stylistic direction, with most tracks sitting somewhere in between indie-rock and acoustical pop. It was certainly not a bad album, but fans of McCombs’ previous material hold such a high regard for his releases, as they should. He seemed to be becoming more ambitious with each release, sharpening his production and honing his skills along the way. Dropping the Writ, if anything, was neither a step forward nor a step back, but rather a release that saw developmental immobility. Since most fans of McCombs understand his true potential, it is hard to blame them for forming such high expectations. I personally would love to see McCombs pursue the style of psychedelia successfully attempted on “Twins” and the touch of new-age experimentalism on “Everything Has to Be Just-So” on his next album, but I am sure different fans have different perspectives. But as far as that “next album” goes, McCombs tells us that it should arrive any month now. That is something that all fans can get behind.

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Cass McCombs – Twins

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Cass McCombs – Sacred Heart

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Cass McCombs – Subtraction

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Domino Records

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The post Cass McCombs Looks Ahead to PREfection appeared first on Obscure Sound: Indie Music Blog.

In a historical sense, the hierarchical indecisiveness of an anarchy is most looked upon as a weakening state of political turbulence. With the absence of any governing force, a state of chaos and disorder is considered to be imminent if not already present. With that in mind, a name like Happy Anarchy should sound contradictory to anyone with a fair amount of common sense. As recently as yesterday’s feature of Setting Sun, I touched upon the varying factors of a collaborative group’s artistic ventures and the importance of a shared vision amongst all involved members. Whether the primary creative source is stemming from the talent of one individual or the collective ability of several, a mutual sense of entitlement and stylistic satisfaction. As their name lightly entails, Happy Anarchy take considerable pride in being a group whose style and songwriting are not determined by the work of one individual, but rather the collaborative ideals of all 5 members involved. As the guitarist and lead vocalist, Joe Pecora is considered the frontman but the classification primarily derives from his instrumental role and originative ties with the group. In commendable form, the final result is simply the cumulative work ethic of all members involved… a pleasant anarchy, indeed.

The beginnings of Happy Anarchy actually trace back to an eight-piece, the band’s original form before they reverted to a more condensed lineup. Pecora, guitarist/trombonist Tim Boylan, and electric guitarist Yuhei Yamanaka have been in Happy Anarchy since their formation in 2004. They released a self-titled debut the same year with the eight-piece lineup and drew some local buzz throughout New York City, particularly in their own Staten Island. Less than a month before the sizable group was set to head out a significant East Coast tour, 5 members left the band in what would be determined as a domino effect. The cause was neither due to communicative or artistic restraints. Instead, some members simply got tired of life in an aspiring band, choosing to focus on jobs with an actual set income. Rather than call it quits themselves, the remaining trio chose to focus on the prospective future of Happy Anarchy. Despite the following two years being filled with struggles to finish new material, the three knew that eventually their shared desire would lead the way. Sure enough, the band was given an extra hand in late 2006 when drummer Pete Smith and trumpeter/keyboardist Jesse Blum joined the group. Instantly bonding over similar musical intentions with their two new comrades, the trio experienced a surge in production when they reverted to a five-piece.

For the recording of their sophomore album, Reset, Happy Anarchy attempted to replicate the intensity of their live performances in a form that still sounded polished and efficient. Knowing that this was truly the first album in which an actual buzz was generated, they knew that the opportunity was too valuable to falter on. With that in mind, Reset is a startling expansion of the sound displayed on Happy Anarchy’s self-titled debut. Featuring their most diverse instrumental approach to date, their unique approach to familiarized indie-rock involves the use of strings, congas, trumpets, and saxophones among other more conventional instrumental accompaniments. The style of straightforward indie-alternative itself hardly differs from track to track but the melodic and instrumental variation causes the experience to be constantly engrossing and wholesomely addictive. The standout “Is That Right” demonstrates their ability to complement impressive keyboard and synth-led structures with a multifariously toned guitar, all while Pecora belts out an infectious vocal melody that blends with the sparkling chorus. It is evident from his vocal delivery alone that the group owes a bit to Modest Mouse, though Happy Anarchy’s songs may actually hold more variety on a song-to-song basis than the venerable indie-rockers. Though the quality may not be as consistent, it is certainly memorable enough to showcase Happy Anarchy’s boastful potential.

With the aforementioned diversity coming into play, “Personal Judas” is a bit different than the other tracks. It showcases an impressive blend of keys and guitars once again, but the chorus this time around is centered around Pecora’s aggressive vocal approach. It sounded odd at first due to being the first radical pitch shift on the album though it has grown to fit the song very well. The stuttered vocal melody that he throws in during the chorus manages to be avoid most clichés to become another admirable feature, with a well-placed acoustical bridge toward the conclusion of the song allowing the track to avoid any repetitive outcome. “Vampire Bunnies” is an adventure to say the least, sporting a surprisingly exotic chorus that is immediately followed by an entertaining vocal approach (it sounds like a drunken barroom rant) before reverting back to an extremely impressive brass accompaniment. His vocals here are actually comparable here to a more subdued Cedric Bixler-Zavala at some point, while “Is That Right” reminded me more of The French Kicks’ amiable indie-rock approach. It just goes to demonstrate that Happy Anarchy have crafted an enjoyably diverse sophomore release that should have most worldly rock fans hooked.

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Happy Anarchy – Is That Right

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Happy Anarchy – Vampire Bunnies

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Happy Anarchy – Personal Judas

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Official Web Site

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The post A Happy Anarchy appeared first on Obscure Sound: Indie Music Blog.

Even though it is easy to blame limited diversification within a music scene on the specific demographic represented, there is no dismissing the eligibility of stylistic trends and their influence on the individuals who view conformity as merely a customary element of human nature. I find that, on a personal level, my local music scene lacks in quality because of the fact that people around here really have no other choice but to listen to mundane quality if they want to become exposed to their local scene; it is like a domino effect of what is considered “hip”. I hear of these local bands, generically repetitive in appearance and sound, who dismiss even the theoretical basics of melody altogether. It is a classic example of style over substance, where discordant screaming is substituted for melodic singing and an organized structure is obsolete. Sure, even if the screaming and tight jeans somehow represent unified teenage angst, I just can’t see the appeal or the reason for doing so. I suppose that those who find audible discordance to be emotionally representative will become an instant fan of such artists, but the sane others who actually recognize the hard work and dedication that goes into crafting a form of actual quality will quickly realize that locality leaves much to be desired.

One of the reasons that I relate to The Delfields‘ frustration with their local music scene is that I am currently residing about 30 minutes away from their deriving New Brunswick, New Jersey. I have come to known the Jersey suburbs to be a place of repetitiveness and simplicity, aspects that are unfortunately reflective of the hopeful bands residing there. Though the state has seen plenty of influential artists rise into stardom, I have found from first-hand experience that the state has become ridden with emo, screamo, and other genres with no appeal to me whatsoever. Unless one wants to trek into NYC, the lack of a substantial scene can be discouraging, even if such a statement is applicable for most rural settings. With this in mind, when I discover a band of The Delfields’ caliber who are based relatively close to me, I can’t help but feel excited. And let me tell you, before I am accused of posting a band sheerly out of geographical bias, take a listen to this appealing five-piece. With their studied blend of psychedelic rock, surf music, and indie-pop incorporating itself with the group’s melodic prowess, it should be highly evident that I would post this band even if they were from Mars (and enjoyably enough, sometimes they sound like they are).

Wearing their influences on their sleeves, The Delfields declare the genre of indie-pop in their native New Brunswick to be “nonexistent”, a statement that many music fans in the surrounding area (including myself) can wholeheartedly agree with. Consisting of singer/guitarist Joe, lead guitarist Allen Meretsky, keyboardist Michael Vassallo, bassist Ryan Shook, and (twin brother) Kyle Shook on drums, The Delfields seem confident enough to contradict the very definition of “quality music” in their local music circuit. I hope they do it too — maybe it would spread around the state. Though they remain without a label, their sound is reflective of the style that most independent labels seem eager to covet. I could play a guessing game and call them extremely suitable for the charming indie-pop of Sub Pop, but I will let their reps call the shots on that one. Their first means of exposure will be their debut full-length album, Ogres. Consisting of 9 tracks, it was at an all-analog 8-track tape studio in North Brunswick, NJ (Rubberball Productions) with the help of producer Terry Hughes and collaborator Brian Bond. It will be available to purchase on January 25th, both on The Delfields’ MySpace and at their upcoming shows.

Though songs in the vein of “Short Sleeves” and “Francine” explore more ambitious quality that is more demonstrative of overall stylistic eclecticism, there is no denying the admirable accessibility of Ogres‘ opening track, “A Slippery Slope”. I know that such a comparison may sound linear at best, but the vocals of Joe immediately reminded me of The Shins’ James Mercer. He employs a breezy with the simplistic strums of an electric guitar effortlessly churning out a sprightly melody that is accompanied by organ-like keys and spurred percussion. It sounds like a fusion of airy ’60s pop and contemporary indie-pop, with the result being as infectiously irresistible as expected. The self-titled track, “Ogres”, sees the same delivery in equally impressive form, though the wildly impressive chorus relies on a newly implemented collaboration between guitars and lighthearted keys to establish a sound more reminiscent of ’60s pop. Joe’s vocals throughout Ogres constantly reminds the listener of The Delfields’ rooted influences, with his personally being instrumental surf music. “The thick, textured sounds and vibrant melodies always drew me in,” he said. There is always a tinge of psychedelia and surf music in The Delfields’ enjoyable formula, with the heavy bass line in “Honest” and the reverbed twang in “Francine” being just a few of the agreeable examples on the impressive release. It should be accepted to expect plenty of brilliant melodies soaked in reverb on Ogres, though many will be pleased to know that such methods of “outdated” production only come to bolster the output, not weaken it. If these guys do not find themselves on a respectable label by the end of the year, I will be quite surprised.

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The Delfields – A Slippery Slope

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The Delfields – Ogres

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The Delfields – Honest

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MySpace

The post The Delfields Blend Together the Past and Present on Ogres appeared first on Obscure Sound: Indie Music Blog.