RAC, the Remix Artist Collective, has consistently been one of the best indie remixing teams of the past few years, thanks in large part to main man Andre Allen Anjos. He has now taken all the goodwill and friends earned through RAC’s remixes to help contribute to his debut EP, Don’t Talk To. Bloc Party’s Kele contribute to the first single released last month, and now you can hear Tokyo Police Club frontman Dave Monks (along with the rest of TPC) lending a hand on “Tourist”, the second track released from the EP. Don’t Talk To is out now. Enjoy!

The post RAC – “Tourist” (ft. Tokyo Police Club) appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

The intimidation of Ariel Pink is notorious. His ambition is not necessarily what arouses such feelings, as quality melodies and upfront hooks are always present through a wide array of styles. Rather, it is the quantity and breadth of his work, a trait that can be attributed to his incessant tendency to write music. Pink has recorded hundreds of songs that sound nothing alike, their dates of origin varying between the mid ’90s and late ’00s. Despite tackling a comprehensive range of styles throughout this somewhat extensive span, he showcases a remarkably consistent presence in his approach that makes an Ariel Pink song immediately known despite its context or genre. After he had dropped the jaws of Animal Collective’s four members (who also run Paw Tracks Records), Pink worked at a rapid pace releasing material under their label. Much of the ideas came from material he wrote in either the ’90s or early ’00s, modifying them with precision until they were presentable. New ideas arose during this time as well, but unloading the extensive Ariel Pink vault was certainly a necessity that contributes to enjoyment of his current endeavors and appreciation for his recent influence. Otherwise, it would be difficult to accurately recognize him as one of the most essential influences in the recent “chillwave” movement, where artists like Washed Out, Neon Indian, and Memory Cassette have paid subtle tribute to Pink’s incredible past work.

Many consider the release of The Doldrums in 2004 to be what ignited recognition for Ariel Pink’s Haunted Graffiti outside of his native Los Angeles. The album has a very understandable cult-following, which feeds on Pink’s eccentric personality and general presence. That this personality sheds through so prominently of his music is more reminiscent of the past, where artists like Michael Jackson or Mick Jagger could have few effective copycats simply because their stage presence alone was so groundbreaking and original. This album encompassed a very creative period for Pink (real name: Ariel Rosenberg), from around 1998 to 2003, where he could churn out a few quality songs per week if required. This came with a prerequisite knowledge that the style of production was going to be traditionally that of Pink. Lo-fi bedroom recordings were a description often used for him, which is true in a way. Some critics brushed him off as a quantity-over-quality artist as a result, but those who gave his music found a practically unlimited source of ambition that few songwriters of the decade could match. Some parts were out of key, others had pops in the recordings or awkward transitions, but his talent was evident in more ways than one. This would understandably make him a perfect source of enjoyment for the avant-garde faithful like Animal Collective, but Pink’s grasp of rock music and synth-pop always made him appear like a more natural fit for those seeking adventurous pop music in a nostalgic vein, rather than an approach fixated on the future developments of electronica.

This made his eventual role as one of chillwave’s biggest influences fairly accidental, at least in the sense that even Pink likely did not expect to spur perhaps this decade’s first relevant stylistic movement in indie-music. The critics that initially dismissed him would be even more surprised. Well, now that his influence is utterly undeniable, it might be time to give Pink a little more credit. This feature is written as a vital introduction to Ariel Pink’s work, which is often more inaccessible than it should be. His discography is intimidating at a mere glance, so I will attempt to make it easier. Pink himself actually did a great job of this on Grandes Exitos, a self-released 2009 tour EP that served as a greatest hits of sorts for Pink’s career up to that point. The 23 tracks there are great selections, and I urge everyone to check it out. Pink has yet to release a flawless album per say, but I find this is the closest one can get. Apart from the questionable omission of “Haunted Graffiti”, “Gray Sunset”, and “Let’s Build a Campfire There”, I consider it an outstanding introduction. It is hard to argue about the omission of certain songs though for a songwriter as greatly consistent as Pink, since even his occasional flourishes of mediocrity are fascinating. What I am saying is, check out Grandes Exitos first. The compilation is so accessible that it makes the subsequent journey through Pink’s discography that less intimidating. Then listen to The Doldrums and go from there.

Animal Collective’s accessible Merriweather Post Pavilion did wonders for their reputation. Like that, Ariel Pink’s newest album, Before Today, could finally prompt some well-deserved recognition. It is his first attempt at “slick production”, which essentially means he is using a drummer as a percussionist instead of his mouth and recorded in a decent studio. It will certainly appeal to those begging for a crisper display of Pink’s songwriting, but many will also wonder about the album’s cohesiveness. It is an acceptable thing to ask too, considering Pink is more impulsively creative than most songwriters would dare to be. One thing that tied everything from Pink’s post-punk fixations to his forays into ’70s soul was the traditionally lo-fi presence of his voice and backing instrumentation; he was heavy on bass, scratchy guitars, and organ-like stabs of synth, with various layers of any instrument taking lead when necessary. The quality itself was occasionally muddled, but never to the point where it obscured the melody too much. The melodies are too strong to blur in.While generally intentional, it was also a technique that supplemented his songs beautifully. His stylistic preferences often were of that vintage sort, from the ’60s pop of “Interesting Results” to the Scott Walker/Depeche Mode hybrid “Envelopes Another Day”, so it created feelings of nostalgia but also excitement when considering that his career just starting. It is a rare feeling to feel like you are listening to a classic from an artist who is not even in his prime yet, and this is precisely the feeling many received when listening to The Doldrums or any of his other releases.

A review of Before Today will be published closer to its release on June 8th, but in the meantime I feel an obligation to prepare you before that time. I believe that many will be anticipating this album quite a bit if they give these songs, or any on Grandes Exitos, a chance. It may sound a bit out there first, but I strongly stress to keep listening. “For Kate I Wait” is easily one of his most popular songs, also sounding the most modernistic with its glossy layers of synths and whiny, romanticized croon. It is a great example of Pink’s exhilarating harmonizing ability, which hits full stride toward the end when he flaunts a Michael Jackson influence with a series of high-pitched additives. It is very hard to not get lost in this song, and is highly recommended for nighttime listening (along with most Ariel Pink songs) due to its pulsating richness and serenely brilliant use of bass. The moody “Gray Sunset” should bring to mind The Cure, Echo & the Bunnymen, and other somber post-rockers in the best way possible, Pink’s vocals reaching incredible range in establishing moods that could simply not be produced successfully past the ’80s. He pulls it off though. Pink’s ability to interweave a variety of his own vocal melodies contributes immensely to his success, and it is notable and most of his songs. It works especially well on “Envelopes Another Day”, where he collides his highest and lowest pitch in a chorus that brings back the ominous allure of gloomy synth-pop.

Apart from ’80s throwbacks, Ariel Pink also has an obvious fondness for ’60s pop and ’70s music in general, specifically a Funkadelic-like fusion of funk, soul, and jazz. The incredibly vintage “Life in LA” shows this off well, its swaying mixture of brass and bass combining perfectly with a deadpan delivery that shows off a series of witty verses that collide with the romanticized view of Los Angeles. The mood of the song is what works best though, and the last three minutes or so are the best with its free-jazz impersonation. Moments like this make comparisons to Frank Zappa abundant, and even if Pink and Zappa tread in different stylistic territory most of the time, it would not be entirely crazy to compare their ambition. After all, Zappa became an unintentional influence as well after listeners finally caught on. I feel that similar circumstances will occur for Ariel Pink. He just needs a push from the media to expose his music to a wider audience. Hopefully Before Today will accomplish that when it releases in June. From the sound of it so far, I would not be surprised. The album’s opener, “Hot Body Rub”, brings Funkadelic to mind instantly in the catchiest way possible. All I will say is, it is a great way to start a very interesting album.

Many of Ariel Pink’s most accessible songs are in the vein of ’60s pop or folk, like “Every Night I Die at Miyagis”, the girl-group pop of “Among Dreams”, and an excellent cover of The Centimeters’ “Interesting Results”. These are all outstanding songs and boast some of Pink’s most melodic songwriting (the covers are not his own obviously, but his personality bleeds even onto them). “Let’s Build a Campfire There” is ridiculously addictive and in this same ’60s folk vein, sounding like a cross of Devendra Banhart or Animal Collective (even though this Pink wrote this song before either came into the public eye). The twinkle of the keys in the chorus, followed by the quick guitar lick, gets me every time. It is anticipatory though, as the most shining moment is the bridge where the melody changes dramatically, inducing a spontaneous burst of emotion that makes his deadpan approaches that much more enjoyable. This is not one of his most inventive efforts, but it is easily one of his most melodic. The most beautiful thing about Ariel Pink’s work is the diversity of efforts. Some tracks are experimental forays into free-jazz and others are instantly accessible re-interpretations of ’60s pop or ’80s synth-pop. You never know what to expect with Ariel Pink, but when quality is this consistent then taking risks as a listener requires less reluctance. Just give him a chance with these songs, Grandes Exitos, and The Doldrums Take it from there, and I can almost guarantee you will fall in love. After all, at this pace he may unexpectedly emerge as one of the most important artists of the decade.

RIYL: Washed Out, Neon Indian, Frank Zappa, John Maus, R. Stevie Moore, Nite Jewel, Ducktails, Panda Bear, Wavves, Ganglians, The Chameleons UK, The Smiths, Caribou, Interpol, Phantom Power, Memory Cassette, Real Estate, Girls, Memoryhouse, Animal Collective

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Ariel Pink’s Haunted Graffiti – Let’s Build a Campfire There

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Ariel Pink’s Haunted Graffiti – Interesting Results

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Ariel Pink’s Haunted Graffiti – Among Dreams

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Ariel Pink’s Haunted Graffiti – Gray Sunset

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Ariel Pink’s Haunted Graffiti – Haunted Graffiti

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Ariel Pink’s Haunted Graffiti – For Kate I Wait

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Ariel Pink’s Haunted Graffiti – West Coast Calamities

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ARIEL PINK DOWNLOADS (scroll down  a bit)

Other recommended tracks: “The Drummer”, “Envelopes Another Day”, “Helen”, “Alisa”, “Hardcore Pops Are Fun”, “Are You Gonna Look After My Boys?”, “Want Me”, “Lover Boy”, “Can’t Hear My Eyes”, “Beverly Kills”, “She’s Gone”, and many more.

The post Ariel Pink: An Essential Introduction appeared first on Obscure Sound: Indie Music Blog.

The month of October always seems to root out the Album of the Year contenders, making this and November one of the most active months in new music releases. Similar to the several months preceding the Academy Awards for film, many marketing agencies and labels are thrusting out the last of their ’09 products before focusing on the new year. This includes everyone from veterans (The Flaming Lips) to newbies (Surfer Blood), each providing their fanbase with an early gift for the holidays. This month provided everything from infectious electro-pop (UltraChorus, Midnight Juggernauts) and ambitions psych-rock (The Flaming Lips, Her Vanished Grace) to indication of several stylistic revivals in the vein of surf-rock (Surfer Blood) and psychedelic electronica (Washed Out). Even unclassifiable artists like The Kilimanjaro Darkjazz Ensemble  and Lymbyc Systym provided focused and memorable efforts this month, making October 2009 unsurprisingly a month where artists of all different genres find a meeting point in their qualitative nature.

01. Surfer Blood – Take It Easy (post)
02. Washed Out – Belong (post)
03. Total Babe – Bearbones (post)
04. Midnight Juggernauts – This New Technology (post)
05. The Flaming Lips – Convinced of the Hex (post)
06. Tim Williams – Ozone Street (post)
07. A Brief Smile – Bigger Lies (post)
08. UltraChorus – Bestin the Farther (post)
09. Her Vanished Grace – Blue (post)
10. The Kilimanjaro Darkjazz Ensemble – Embers (post)
11. The Library – Tomorrow Is Better (post)
12. Aficionado – The Myth About Real Life (post)
13. Lymbyc Systym – Ghost Clock (post)

DOWNLOAD ENTIRE COMPILATION>>> (52.3 MB, .RAR)

The post Obscure Sound: Best of October 2009 appeared first on Obscure Sound: Indie Music Blog.

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

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

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

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

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

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

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UltraChorus – Scarlet Eyes

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UltraChorus – HouseParty 5

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UltraChorus – Bestin the Farther

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The post UltraChorus Goes Ultra-Def appeared first on Obscure Sound: Indie Music Blog.

Listening or creating music can easily be labeled as a hobby, as it most commonly is. But for many musicians, its incorporation into one’s lifestyle makes it much more than that. When LA-based songwriter Adam Marsland compares creating an album to raising children, most parents would probably laugh at the comparison. An album has no real human emotions or dire consequences in case of neglect, right? While it would indeed be ridiculous to value art more than a human life, the similarities between the upbringing of both is amusingly striking. “You’re responsible for them,” Marsland also says of albums. “Some grow up to be mechanics and you don’t have to worry about them. Others are special, and you have to send them to medical school.” Any music fan will notice that a classic album has a certain amount of dedication involved to it, something that – alongside talent – is one of the only necessities in creating a masterpiece. But talent and true dedication is as rare as anything when they coexist, a fact that becomes heavily prevalent when occurring despite its rare showing. As a veteran songwriter and producer, Marsland is certainly aware of this. With that in mind, he must have also been aware of the implications involved in creating a double-album. In his analogy, it might be comparable to raising twins with stark personalities; the parent attempts to manage all occurrences and themes while remaining equal and attentive to the surplus of material at hand. It is arduous to be sure, but raising two gems has to be more rewarding than one, right?

The difficulties in creating a double-album is apparent for even a veteran like Marsland, who is accustomed to releasing consistent material since his emergence in the early ’90s with a few alt-rock groups, notably Cockeyed Ghost. He has been releasing solo albums since 2002’s 232 Days on the Road. But to create a double-album is a new venture altogether, even for a songwriter that has been around for nearly two decades. To fuse cohesion with quality songwriting throughout two discs and 23 songs is no small feat, and to gather the proper material for a songwriter accustomed to releasing average-length albums must mean that his time spent off the stage and out of the studio must have had an effect as well. Unfortunately, finding inspiration through demise is more common than discovering it through triumph. Such was the case with Marsland and his new album, Go West. Although the album often depicts moving on and personal triumph in a prominent light through some infectious pop songwriting, Marsland’s personal life was in a bit of chaos during the recording of the album. In addition to the untimely death of his brother, Marsland’s house was broken into and most of his recording supplies were stolen. A Telecaster, synthesizer, and computer were among the things stolen, and it took Marsland some time to recuperate. But as Go West shows, sometimes our deepest lows can lead us to our biggest triumphs.

The death of a sibling and a robbery could be enough in one year to bring most people down to their knees, but Marsland has kept chugging on. There is little to suggest that these two unfortunate events, in addition an illness that has effected his hearing for several years, is going to stop him now. His best years appear to be ahead of him, especially since he just released his most accomplished album, Go West this year. The album’s theme is immediately apparent from the dramatic croons of the opening “Standing in Chicago”, the city which he clarifies as “the midpoint between east and west”. He depicts characters at a crossroads, about to develop their life based on their own decisions about how to tackle their obstacles and control their strengths. It can get gritty and bleak, but it is always genuine and realistic. “It’s roughly about being a young adult gradually finding out life isn’t what you thought it was and neither are you,” he says. Self-discovery is a prominent theme throughout the album, but its involvement is more interesting than that. Marsland finds that the simultaneous desire for security and freedom leads to the heightened difficulty of moral choices. When that is realized and digested, the evolution into an adult begins and ends. This is what Go West tells us, both in its title and encompassing songs. For such a deep and universal message, it gets it across extraordinarily.

For any longtime fan of Marsland, Go West should be one of their favorite albums of the year. The reason for this is the eclectic talent displayed throughout the album, as Marsland’s career has seen him tackling everything from typical alt-rock to shimmering electro-pop. As a result, Go West almost plays like a greatest hits album due to its diversity and consistent quality, two necessities in creating a successful double-album. It is almost ironic since he released a greatest-hits collection last year, Daylight Kissing Night. This is why Go West is such a big accomplishment; these are all new tracks that could have easily fit on his greatest hits. Songs like “Learning the Ropes” concoct a style of piano-led pop that recalls that likes of Squeeze or Elton John, all while using Marsland’s soulful croon to bring the effort to R&B territory. With that in mind, listening to the preceding track, “I Don’t Wanna Dance With You”, finds Marsland in a completely separate zone. As the title may suggest, get ready for the synth-bass and the mock-worthy falsetto, all incorporated with the best of intentions to throw some genuine dance infectiousness within the midst of power-poppers and alt-rockers. Some alt-rock tracks, like “Burn Down the World” and “Stranger on the Town”, seem reminiscent of Marsland’s ’90s material with Cockeyed Ghost, but other efforts like “Learning the Ropes” and the fantastic “Standing in Chicago” are fresh and entirely innovative. What really makes Go West a great album is how it basically encompasses four different decades of music, even though Marsland has been around for barely over one. But between the infectious electro, fresh power-pop, ’70s piano ditties, and thumping alternative, there is plenty on Go West for everyone.

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Adam Marsland – Standing in Chicago

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Adam Marsland – Learning the Ropes

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Adam Marsland – I Don’t Wanna Dance With You

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The post Adam Marsland Goes West appeared first on Obscure Sound: Indie Music Blog.

First off, I want to apologize for the server difficulties this site has experienced the past week or so. Obscure Sound was apparently taking up too many resources to be situated on my host’s server, so they temporarily disabled it until I fixed the issue. To do so, I was forced to delete hundreds of old MP3 files. It had nothing to do with bandwidth or storage capacity; it was mainly that the site was getting hammered with too many requests, whether it was to download a file or use the flash player. As a result, I strongly discourage any web sites from directly linking to my MP3 files or flash player. I am a college student and cannot afford a dedicated server, so I hope to remain on this server because my host has treated me well the past three years (before this hiccup). However, I will begin looking for a new host if this happens for an extended period of time again. But for now, I hope that the issue is permanently resolved and I can continue exposing deserving bands without interruption.

I will move to a lighter and more enjoyable note in this month’s compilation. Although I was only able to expose one band last week due to server difficulties, July still served up an ample amount of great acts. It actually turned out to be one of my favorite months of the year so far in terms of music. I did not have as many worthwhile acts to expose as usual, but the ones that were memorable managed to stand out in a way that was completely unique to their own sound. Salem delivered some of the greatest pop music of the year thus far, Kinetic Stereokids churned out one of the most innovative and impressive albums of the year, and acts like Wild Beasts and Ramona Falls are establishing themselves as new masters of moody alt-rock. Throw in a few electro-pop favorites like JJ and Cold Cave, some irresistible indie-folk mavens like Barzin and Noah and the Whale, and you have one of my favorite compilations of the year.

01. Salem – It’s Only You (Part II) (post)
02. Wild Beasts – Hooting & Howling (post)
03. Barzin – Soft Summer Girls (post)
04. Kinetic Stereokids – Planes with Teeth (post)
05. JJ – Things Will Never Be the Same Again (post)
06. Ramona Falls – Russia (post)
07. Noah and the Whale – My Broken Heart (post)
08. Cold Cave – Life Magazine (post)
09. Kinetic Stereokids – Twisted Thoughts (post)
10. Salem – Twelve Fingers (post)

DOWNLOAD ENTIRE COMPILATION>>> (48.5 MB, .RAR)

The post Obscure Sound: Best of July 2009 appeared first on Obscure Sound: Indie Music Blog.

Like most stylistically unclassifiable acts, the sheer oddity of Cold Cave can only be explained by dissecting each member’s role. And when each collaborator’s presence is already shrouded in a unique enigma because of creative and somewhat intimidating content from their past projects, the supplied expectations surrounding the lack of conventional focus tends to make the unpredictable and unclassifiable more fun. In Cold Cave’s case, each member’s preceding fan base has come to expect their material to be filled with startling innovation. Consequently, there is no pressure to become increasingly accessible. Rather, with a new project comes a new opportunity to tweak an original formula and work with new collaborators to devise a sound that captures previous fans from all parties while remaining gripping enough to attract new audiences. One of Cold Cave’s main members hails from one of the most acclaimed experimental-pop groups of the decade, Xiu Xiu. Another, under the alias of Prurient, is renowned for his ability to turn even the most conventional of household appliances into a full-blown orchestra. The leader, Wesley Eisold, has dabbled in everything from punk-rock to experimental noise while working with everyone from Karen O to Eric Paul. When attempting to understand which influences and ideas inspired Cold Cave the most, their cumulative experience makes coping with the occasional complexities easier. With a group as diverse as this, it is hard not to appreciate the fusion of creativity found on their debut album.

Despite his original ideas, Eisold has found collaborative consistency to be a struggle. He has fronted numerous projects, all attaining some form of success, but has not yet found durability in a working group. His various projects and aliases, ranging from American Nightmare to Ye Olde Maids, have primarily focused on a mixture of punk-rock and noise-rock. His most popular project was one of his first, Give Up the Ghost; the Boston-based punk group retains its cult following in Boston and many of its members have gone on to form successful groups like Head Automatica and the Hope Conspiracy. Eisold’s recent work has involved more noise and general experimentation, and his most recent foray with Cold Cave shows a dramatic shift in composure for the songwriting veteran. Like a cross between the dance-pop of this decade and the explosion of new-wave and electro-pop in the ‘80s, Cold Cave sits between complexity and accessibility by featuring a style that borrows the unconventional noise-based experience of each member and an infectious grasp of electro-pop that makes it all go down easier. Xiu Xiu’s Caralee McElroy and Prurient (Dominick Fernow) also make their presence known with vocal performances, production ideas, and general song composures. Fans of either Xiu Xiu or Prurient will certainly notice their subtle additions on varying tracks, whether it is prominent like the angelic vocals on “Life Magazine” or the Prurient-like minimalism of “Youth and Lust”.

Despite the individualistic creativity of their past output, Cold Cave serves as one of the most accessible projects for Eisold, McElroy, and Fernow. Nothing suggests it is a cheap shot at recognition though. Industrial dance is hardly a genre filled with eye-catching innovations, but Cold Cave uniquely refine a style that many consider to be still lost in the surplus of ‘80s glamour. Their debut full-length, Love Comes Close, seems to configure the most enduring aspects of ‘80s electro-pop and integrate them into the world of contemporary production where noise, IDM, and ambience are all accepted music genres. Cold Cave’s primary source of uniqueness comes from the variation on Love Comes Close, with each track possessing a different feel and melodic arsenal. “The Laurels of Erotomania” channels evolving IDM with its simplistic synth riffs being backed by aromatic keyboard chirps and deathly croons. Its emphasis on dance-tinged minimalism certainly echoes The Knife with Cold Cave’s vocoder tactics being the most blatant reason for comparison. Similar progressions are found on the eerie “Hello Rats” and “Heaven Was Full”, both tracks that feature quivering vocals with a seductive baritone. The incorporation of ominous synths and booming vocals make both somewhat reminiscent of Dave Gahan and Depeche Mode in general, the latter being present in the mood and overall tone of the track. As the legendary electronic band proved throughout the ‘80s and as Cold Cave do now, sounding undead over the sound of ominous synthesizers can be oddly invigorating.

Tracks like these certainly establish the feel of regret and forlorn loss that dominated ‘80s electro-pop, but Cold Cave go beyond simple imitation with tracks like “Life Magazine”. This one plays like a more upbeat Black Box Recorder, complete with the seductive female vocals and accompanying synths that make this more bubblegum-pop than electro-pop. The vocals repeat themselves in a very distant echo, with the overdubbed reverb acting appropriately as a durable manufacturer of various hooks. In addition to the gloomy industrial tracks and the chirpy allure of “Heaven Was Full”, efforts like “Love Comes Close” perfectly capture the grace and ability of ‘80s revolutionaries like The Psychedelic Furs and Felt. The vocals sometimes seem dry and awkward, but this actually plays off like a benefit because it brightens the impressive arrangements even more with a more personable connection in the vocals. “The Trees Grew Emotions and Died” certainly looks to have a hand from Prurient, mainly because of the unconventional range in pitch and prominent percussion. Like his previous work, the track is unpredictably filled with concise samples and odd rhythm sections that cling and clang over the main arrangement. The difference serves as a stylistic expansion due to the parts of Eisold and McElroy, both of whom contribute an electro-pop edge to his inaccessible yet oddly captivating material. Cold Cave’s debut full-length is definitely worth a look for fans of noise-pop, contemporary dance, and ‘80s electronic. It can occasionally border on mocking a genre that many deem outdated, but for the most part Love Comes Close is a successful debut that showcases the unique talents of the three primary members.

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Cold Cave – Life Magazine

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Cold Cave – Love Comes Close

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Cold Cave – The Trees Grew Emotions and Died

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Are eccentric artistic tendencies hereditary? Like eye color or facial characteristics, I would not be surprised if they were, mainly because I have witnessed friends that walk and talk eerily similar to one of their parents. Whether or not musical talent is hereditarily passed down is too theoretical to be argued for or against, so I tend to think that one’s upbringing has more to do with it than anything. If one is constantly surrounded by music and their idol, presumably a parent, is a musician, what else do they have to look up to and aspire to be? Like all children of parents in a professional occupation, there are advantages to be had here. Most kids that want to learn music are hammered with traditional songbooks and stiff learning routines. Some, though, are raised on it. Traditionalists may argue that theoretical mastery is the key to musical ability, but actual experience seems to be the prevailing factor in most cases. In regard to the passing down of “musical genes”, there are examples to cover each end of the spectrum. Jeff Buckley, Rufus Wainwright, and Femi Kuti all stand as exceptionally talented musicians, but their history leads fans to different circumstances despite a few shared characteristics. They all have a musically renowned father and later found future success of their own, but their differing relationships may elude to whether musical ability can be hereditary.

The sons and daughters of famous musicians could have their own capacity to resourcefully create their own music, but it is just as likely that their talents can be attributed to their parents in some way. Jeff Buckley is an example of a reputable musician with a famous father, but his talents and style are undoubtedly his own. He only met his father, Tim, once before his death when Jeff was 11. While his father’s career may have inspired him to pursue music full-time, Jeff Buckley was given no special treatment. His lack of guidance suggests that, perhaps, music simply runs in his blood. Then you have a case like Femi Kuti, whose father Fela Kuti is legendary for his prolific discography and upbringing of afro-pop. Femi initially lived with his mother, but went to live with his father when he was 15. A few years later, Fela gave his son a spot among his all-star performers on stage and the experience needed to pursue his own career. Nowadays, Femi boasts a consistent discography that separates him from his father’s work, while not entirely dismissing the vital experience he was given due to his father’s esteemed status. The differences between Buckley and Kuti show that musical talent is found too often on a case-by-case basis to assume whether it is hereditary or not, but it also shows that musicians tend to impact the lives of the people they influence, whether they are related to them or not.

Although there are many musicians that do not pursue parenthood, the ones that do often vary dramatically in the relationship with their children. Some go off on tour and never return due to indifference, but others are genuinely interested in the happenings of their children… and maybe even their children’s friends. Such is the case with R. Stevie Moore, the prolific producer and songwriter whose accomplishments in both fields are admired by most in the music industry. His genre-bending and technological innovations in music seem nearly endless, and his contributions do not stop there. He gave a former bandmate’s son, who is also interested in music, the proper knowledge as he was growing up, exposing him to his material and quirky innovation in the process. As a result, it is not surprising that the kid’s band, Big Fresh, seems nearly like a replica of the elder Moore’s unique craftsmanship. The group consists of the collaborator’s son and his longtime friends, all thankful for the privilege to work with the legend. This video from 1999 shows just how great Moore seems with these kids, playing a rendition of Moore’s “Why Should I Love You?” from his classic 1976 debut, Phonography. The band is understandably rough there, but they certainly show some potential for their age. And now ten years later, it looks like Big Fresh’s potential has finally caught up to them.

After a debut that showed plenty of promise but not enough execution, Big Fresh returns with a second album that explains why they are so renowned in their native Lexington, Kentucky. Big Fresh Forever is an album that expands upon the group’s electro-pop repertoire, now complementing lush synths and bouncy bass lines with overlapping vocal melodies, eccentric structural transitions, and stylistic intricacies that show an increasing amount of ambition among the band members. Mixed by Robert Schneider (The Apples in Stereo), Big Fresh Forever takes the lo-fi brilliancy of Moore and combines it with the psychedelic musings of Elephant 6 standards like Schneider. “W.L.U.V.” shows off the group’s nostalgic leanings, complete with the crackling of vinyl as they sing about an Illinois radio station over the twinkling of keys and the “la-la-la”-ing backing vocals. It is electronic pop, but its minimalism results in one of the more restrained tracks on the album. That is not to say it is lacking in any way though, as it is nice way to begin a dense album with a track that is purely accessible. Songs like “W.T.O.” and “Entertainment” recall electro-pop surveyors like Chin Chin and Hilotrons with their thick synthesizers and swift implementation of acoustics, topped off by cartoon-ish vocals that echo Frank Zappa’s early material. As you can see, the comparisons to other groups are abundant but Big Fresh mix and match enough genres to call the varying stylistic results their own.

“Large Crowds” stands as one of Big Fresh’s biggest accomplishment though, introducing the listener to an otherworldly atmosphere that is the band’s own. It sounds as if The Flaming Lips combined with Depeche Mode, covering both spectrums of electronic pop with serenely entrancing synth lines and slickly utilized guitar progressions. The catchy “Satan, No” is more reflective of Of Montreal with its satirical lyrical content and key-led assortment of varying rhythmic transitions, made even funkier by an electronic edge that shows the group’s production chops and percussive emphasis. I guess it helps that R. Stevie Moore and Robert Schneider had a hand though, as their experience with the subtle grace of lo-fi production is practically unparalleled. For Big Fresh, their contributions on Big Fresh Forever contributes to a successful album that finds a young group inching closer to their eventual sound. The variety of comparisons warrants some indecisiveness, but there is so much to like on Big Fresh Forever that these insufficiencies can be overlooked. After all, any famous musician would be proud of an album like this, whether a family friend was involved or not.

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Big Fresh – Large Crowds

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Big Fresh – Satan, No

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Big Fresh – W.L.U.V.

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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?

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Dubious Ranger – Weapon

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Dubious Ranger – French Song

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Dubious Ranger – Ghost Ship

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

To be honest, I am shocked that I have had the time to update lately. Finals and papers have been bombarding me since Monday, and I have a few more papers due next week. Finals have certainly taken their toll on me, but I have become accustomed to listening to music while writing by now. As a result, neglecting the fine few artists featured this month was not  an option. Whether you want your girl-group pop (God Help the Girl), the latest trend in electro-pop (Neon Indian), or a familiar face (Jarvis Cocker), this month should satisfy most needs. These are all songs that I have had on repeat at some point. It is indicative of their shared infectiousness, which is commendable considering the diverse array of styles presented here.

01. God Help the Girl – God Help the Girl (post)
02. Delay Trees – About Brothers (post)
03. Jarvis Cocker – I Never Said I Was Deep (post)
04. Clues – Remember Severed Head (post)
05. Two Door Cinema Club – Something Good Can Work (post)
06. Neon Indian – 6669 (I Don’t Know If You Know) (post)
07. Anna Järvinen – Boulevarden (post)
08. Crocodiles – Here Comes the Sky (post)
09. The Kingsbury Manx – Well, Whatever (post)
10. God Help the Girl – Perfection as a Hipster (post)

DOWNLOAD ENTIRE COMPILATION>>> (41.1 MB, .RAR)

The post Obscure Sound: Best of April 2009 appeared first on Obscure Sound: Indie Music Blog.