The Very Best are a deliciously odd trio. The band formed more than four years ago, after DJ gods Johan Karlberg and Etienne Tron of Radioclit met Esau Mwamwaya after buying a bike at Mwamwaya’s used furniture/junk store in East London. In 2008, the group released a mixtape, Esau Mwamwaya and Radioclit are the Very Best, featuring samples of artists like M.I.A, Architecture in Helsinki, and Santigold. Since then, the trio have been producing popular ballads like “Warm Heart of Africa”, inspired by Esau’s native country of Malawi. They released their official debut of the same name, Warm Heart of Africa, last August to critical acclaim from Rolling Stone, NME, and Pitchfork. I recently sat down with the band to discuss their collaboration with Ezra Koenig, the process of creating beats, and why The Very Best’s aim is to put a smile on your face.

How did you guys meet?

JOHAN: Esau ran a second- hand junk shop on my street. Etienne lived up the street, so he used to pass the shop going to my house. He bought a bike from Esau and invited him to his house warming party and that’s where I met him. He told me he was a drummer so I invited him to to the studio, thinking he was an African percussionist. As it turned out, he was more of a proper drummer and was drumming for his local church in Hackney, East London. Esau came to the studio and, as we played him some beats, he started to sing along. That day, we did the song “Chalo”, which is still on the album, Warm Heart of Africa, ’til this day. We just went from there and started recording every week; we practiced whenever there was time Esau had off work.

How long have you been playing together for?

We don’t play together in the sense of playing instruments. but we play together as in having fun. It’s been four years in September now. We chilled out and had fun and took our time making the album, then the mixtape. Now we’re just touring and doing all that comes with having a record out, but we’ve managed to almost finish up a new mixtape as we’ve been on road, so we stay creative.

As a three-piece, what does your music writing process look like?

Usually we give Esau an instrumental piece. He brings some melody ideas, which we develop together. And when we’re set on melodies, he will write the lyrics for it.

You collaborated with Ezra Koenig of Vampire Weekend on “Warm Heart of Africa.” Did you write the song with his vocals in mind?

Nah, that song was made with him and Esau in studio, at the same time the instrumental/beat was made. That was made the same morning, just about an hour before Ezra arrived in the studio. Ezra wrote the hook and recorded, then Esau came in and did his verses, and then Ezra, Esau, and us vibed together to get it all glued together the right way.

Esau, I know you grew up in East Africa. Do you feel like this greatly influenced your music?

ESAU: Everything influences my music… life, nature, love, hardship. Of course, my background inspires me too. I grew up with a lot of western music so that influences me too. Now I’m back in Malawi after nine years in England and it’s a combination of all these life experiences that really inspire me. There’s sooo much to life and sooo much to observe and experience, hence sooo much to write about.

You guys came out with “Warm Heart of Africa” in 2009. Should we be excited for a new album in the near future?

We’ve just started to toy with some new ideas, so its still very early. But there will be another album one day, we hope….

What do you aim to achieve with your music?

To go as far as we can, really. Go wherever it takes us. It’s amazing seeing how people take to your music and how it affects people. We had such a good time making this album and in general, making music together. It’s great to see that filter down to listeners. This was a happy project and it seems we managed to translate that from us being in the studio to people being at home listening or coming to the shows, taking part. We just want to put a smile on people’s faces and open up their mind to some different styles of music.

RIYL: Amadou & Mariam, Annie, Tinariwen, Vampire Weekend, Discovery, LCD Soundsystem, Ebo Taylor, Surfer Blood, Ra Ra Riot, Local Natives, Ali Farka Touré, Oumou Sangare, Salif Keita, Orchestra Baobab, Two Door Cinema Club, The Shins, Girls, Broken Bells, Boubacar Traoré, Cold War Kids, Issa Bagayogo

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The Very Best – Warm Heart of Africa (feat. Ezra Koenig)

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The Very Best – Chalo

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The Very Best – Mfamu

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Green Owl Records

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England is one of the last places I would expect a musician to be “bored”, especially if they are native to the country. Its rich history aside, every major label houses an office there and there are certainly a surplus of venues present, not to mention an endless list of British influences to get inspiration rolling. It has all the privileges of the American music scene in a more condensed geographical area, which only helps in making European tours more convenient for the locals and artists alike. It was not singularly the people, music industry, or potentials of the UK that made Chris Hicken leave his native Birmingham, the second most populated British city (and home to the likes of The Moody Blues and ELO). Obviously those bands had little issue growing up in Birmingham, but like Hicken they eventually relocated after sincerely valuing their musical ambition. “It seemed very natural to me, something I could be good at,” said Hicks, who always showed glimpses of musical talent despite learning difficulties like dyslexia interfering with his school work. “Very quickly it became all I wanted to do.” Although there remain groups (primarily in the art-rock, Arctic Monkey-ish vein) that maintain significant success in the UK while encompassing a large US following, it often pertains most to a group’s style when determining which country they would fare best in.

Both the US and UK possess very similar mainstream tastes in regard to music, arguably more than ever before due to music’s new level of accessibility. We are seeing more simultaneous Euro-American successes more than ever, which opens up a nice opportunity for Hicken. The Birmingham native has always been enamored with American and British folk music alike, but his rarely complex taste at an early age allowed him to differentiate between the two country’s distinctive musical styles (which was a lot easier in the preceding decades to this one). His preference as an artist seems somewhat obvious, though much of it can also be accredited to the assimilation that took place after moving to New York City in 1993 with his then-band, Bigmouth. This project saw little attention apart from opening for UB40, but it opened up plenty of opportunities for Hicken. Times in the city were pretty routine for Hicken after Bigmouth was abolished, as he went to work as a bartender in the East Village before kicking off his solo career with 2004’s Championship Boxing. This job was actually where his alias, Cantinero, derives from; his Ecuadorian co-worker had always called him cantinero, which means “bartender” in Spanish. Prior to that he was actually contemplating starting his solo career with electronic experimentation, prompted by a recent fascination with Boards of Canada. Entertainingly enough though, Hicken was so touched by the musicianship on Ken Burns’ Jazz documentary that it made him reconsider going for a more natural sound.

Hicken’s follow-up Better for the Metaphor continues upon the infectious alternative-pop that Championship Boxing so effectively conveyed. Hicken’s style of alternative-pop touches both the eccentric folk of an Andrew Bird or Devendra Banhart while reminding listeners of a charming vein of power-pop where electronics are not entirely prohibited, but instead ushered in sporadically to maintain the natural harmonics of the power-pop or alternative-rock. (think Phoenix, Holopaw, Califone, Royal City, etc.). Hicken’s tendency for anthemic choruses and a boatload of hooks allow him to sit comfortably in both genres, combining both British and American schools of pop music to produce an album that improves upon Championship Boxing in its sheer diversity. The opening “My House” describes Hicken quite nicely as an artist – straightforward lyrics, bouncy variations of keys and percussion, and a chorus that strikes gold. What makes Hicken such an accomplished pop songwriter and a track like this is the variation between momentary transitions. While “My House” is mainly an ode to proper gratitude, Hicken avoid monotony by implementing a variety of successful techniques. Whether he temporarily subdues the percussion or brings in a masterful keyboard progression to accompany an already-familiar melody, every small contribution leads up to a plethora of efforts that are accessible and contagious.

Whereas Championship Boxing supplied us with a fusion of folk, pop, and electronica by providing samples of an acoustic nature with natural instrumentation, Better for the Metaphor succeeds even more because of Hicken’s willingness to play it all himself. A talented multi-instrumentalist for sure, this effort sees less in the way of samples and more naturally constructed hooks. “Go-Getter” is reminiscent of Beck so much that, without Hicken’s unique vocal range, it would be difficult to distinguish between the two. Like Beck’s best and earliest work, “Go-Getter” an instance of awe-inspiring stylistic multifariousness. As the rhythm section hints at a story based around smooth-flowing jazz, Hicken’s rushed and hushed vocal delivery sounds tranquilly suitable for chillout electronica instead. The gurgles of synth that he introduces prove surprisingly compatible with the natural acoustics of a piano, and this chorus-focused element serves as the primary source of melodies reflective of alternative-rock or power-pop. This is precisely Hicken’s most treasured ability, one that allows him to introduce various genres with instrumentation that would be contrary to popular belief. Whether he is incorporating psychedelic nostalgia into maudlin ballads or jazzy rhythm sections into electronic ambiance, it all comes off so cohesively that these short pop songs expand into a more memorable territory. There are plenty of these tracks on Better for the Metaphor, which is finallyE seeing a wide release after its initial pressing in 2007.

RIYL: Beck, Phoenix, Holopaw, Califone, Royal City, The Sea and Cake, Marjorie Fair, Apollo Sunshine

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Cantinero – My House

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Cantinero – Go-Getter

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Cantinero – Medicated

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When the time occurs in which technology overtakes many basic human functions and automation becomes a habit, many futurists claim that we will revert into something of a “leisure society”. John Maynard Keynes, one of the forefathers of macroeconomics, projected that most modernized countries would see a decrease in work time and an increase in leisure time, so much that in 2030 we would have more days off than at work. “We shall do more things for ourselves than is usual with the rich to-day,” he wrote in an essay from 1930, “only too glad to have small duties and tasks and routines.” As glorious as a four or five-day weekend sounds though, the chances of this arising within 25 years are quite marginal. Critics claim that Keynes failed to account for people’s relative needs, which are things that people want but are not required to have. Someone could likely live a similar lifestyle from working only three or four days per week now, but it would be very doubtful that they would have the extra expenses to buy things like iPods, stereos, and other products that are nice but not necessary. Also, in our current economic situation, there are people that would gladly take up a well-paying occupation that requires five or six days per week. This “leisure society” seems farther away than when Keynes first envisioned it, but that does not mean that some people cannot yearn for it through artistic means.

This background information can certainly be useful for discovering the origins of The Leisure Society’s name, but what it does more importantly is assist in identifying their desired sound and how they achieve it so successfully. Perhaps the group says it best in their own words, clarifying that “they strive for a time of relaxation through automation, for a moment when they can hold their table tennis bats aloft and salute modernity”. Much like Keynes, their desire for a world in which people are judged by their qualitative actions and not by how long they sit in a cubicle is prevalent. Whether one is best judged by what they do in their free time or how well they perform in a menial occupational task is an argument that cannot be won due to subjectivity. It is also an argument that everyone from economists to philosophers can jump into. As for the boys of The Leisure Society, they present their ideology quite clearly. Through glimpses of luxurious chamber-pop and melodic folk music, they present listeners with a ceaselessly soothing style that is made memorable by lead vocalist Nick Hemming’s delicate voice and naturally infectious songwriting. Simplicity is a concept that The Leisure Society proclaim throughout the album, both in their charming songwriting and lyrical content. Whether they sing of yearning for the days when “life was so much simpler” in “Love’s Enormous Wings” or the overemphasis on assigned tasks in “A Short Weekend Begins With Longing”, it is evident that this British collective value enjoyment through the simple things in life, those in which people often overlook because of demanding schedules and occupational conformity.

“Turned into stone, all the people they had known,” Hemming sings on the effervescent, string-led “A Short Weekend Begins With Longing”. “Lost on their way through a world of blank expression,” he continues. “No one made the time, everybody had their reasons.” The lines seems conventional enough under the caressing strings and gently plucked acoustic guitars, but for Hemming it is a summation of the album’s thematic approach. As they attempt to define the separation between work and leisure time (weekdays and weekends), it is impossible to avoid the sheer charm of The Leisure Society’s songwriting and general stylistic approach. What they have done so effectively is mix stellar orchestration with compatible lyrical sentiments to create an album that reaps from cohesion, resulting in a perfect mood piece. Abrasiveness is not found on one note throughout the 11 tracks on their debuting The Sleeper, showcasing the meticulous craftwork of Hemming’s songwriting. Chamber-pop may be the most readily available genre to clump this one into, but an additional emphasis on folk, country, and pop makes attempting to singularly classifying The Sleeper a futile effort. Though the lyrical focus, structural tendencies, and choice of instrumentation is consistent, longtime fans of Hemming should be hardly surprised that he has offered up enough variety to excite listeners. After all, The Leisure Society’s frontman has been around for quite awhile, and this looks to be just the thing that will lead to his recognition beyond the island of Great Britain.

Even though his best days are still ahead of him, the story of Hemming’s career is quite an interesting one. His first project was an indie-rock group by the name of She Talks to Angels, a short-lived outfit that lasted from 1990 to 1993. The interesting thing is that it featured actor/director Paddy Considine and director Shane Meadows before they became stars in the UK. Considine has starred in a few great movies like In America while being featured prominently in films like Hot Fuzz and The Bourne Ultimatum, while Meadows is considered one of the most promising directors in the UK after directing the already cult-classic Dead Man’s Shoes and the universally acclaimed This Is England. The demise of She Talks to Angels was rooted in both of their desires to pursue film, a belief that proved to benefit both of them and Hemming in the process. Since they were former bandmates, Meadows let Hemming write the music for two of his films, A Room for Romeo Brass and Dead Man’s Shoes. After spending some time in the ’90s with bands like The Telescopes and Unisex, he began constructing the initial stages of The Leisure Society. The group’s debut single, “The Last of the Melting Snow”, was released this past December to a warm reception among British radio shows. The second single, “A Matter of Time”, will be released on March 16th, precisely one week before the release of the album itself, The Sleeper.

While The Sleeper offers plenty of memorable songs, the one that most immediately captivated me was “Love’s Enormous Wings”. The bare effort of a ukulele eventually finds itself complemented by an upright bass, woodwinds, and sparkling keys, paving the way for the song’s excellent development. The melody tends to repeat itself throughout the entire track, with the instrumental additions of a new string arrangement or woodwind accompaniment establishing the subtle melodic alterations. Considering that it is so beautiful though, it is hard to complain. Hemming’s vocals carry this one with extravagance and bliss. “Oh, once life was so much simpler,” he sings. “I had a heart, she owns it now. I’ll get it back some day.” The lyrical tone is melancholic and reflective, but the arrangement suggests otherwise in its briskly infectious delivery. If anything, the track perfectly summarizes how The Leisure Society are able to craft beautiful gems using little more than conventional structures and highly melodic instrumentation. Well, let us not forget Hemming’s stellar songwriting as well. On The Sleeper, all of these forms are showcased in an accessible and memorable manner that should have listeners coming back for more, whether they are in the middle of a workday or just beginning a weekend. The Leisure Society fit nicely on both occasions, even if they tend to be partial to the latter.

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The Leisure Society – Love’s Enormous Wings

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The Leisure Society – A Short Weekend Begins with Longing

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The Leisure Society – The Last of the Melting Snow

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Willkommen Records

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by Mike Mineo

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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

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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

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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

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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

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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

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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

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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

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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

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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

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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

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

Some claim that technology dilutes originality and ambition, providing convenient sources to information that would otherwise be obtained through more arduous methods requiring a uniquely resourceful approach. While I do not disagree that technology has likely made the average person lazier, claiming technology to have a negative impact on creativity is laughable. Creativity is present in most individuals, triggered by circumstances that are unique to themselves. Give someone with no prior experience a guitar, bass, or drum set and you may have something special on your hands; it is a procedure determined as much by chance as it is talent. Technology has allowed music to exist in more forms than solid instrumentation, with many talented songwriters who are not the greatest guitarists or drummers finding solace in a more familiar source of output. As odd as it may sound, a laptop can be considered an instrument itself if the work produced on it exhibits an original form of songwriting and production that emits a sense of enjoyment. In fact, if not for technology, some contemporary artists may have never even discovered their truest stylistic intentions. Such is the case with Joseph Mount, the brains behind the highly touted Metronomy. If not for an unlikely technological purchase, his infectious songwriting may have never seen the light of day.

Prior to the formation of Metronomy, Mount had worked as a proficient drummer with a variety of bands around his native Devon, England. Current keyboardist/bassist Gabriel Stebbing actually played in quite a few of those bands, making the rhythm section familiar since the get-go. Considering that the bands mainly dwelled on conventional pop (The Upsides) and rock (The Customers), it was not until Mount’s father sold him a Mac G4 computer that his creativity started flowing. After grabbing a bunch of musically related programs, he began to discover a sense of melodic wizardry, a talent that he had been primarily unaware of. He played around with both the idea of writing his own songs and remixing other artists, honing experience as he interweaved the two skills steadily. He released Metronomy’s debut album, Pip Paine (Pay the £5000 You Owe), in 2006 to an initial pressing of 500 copies, with a more prosperous re-release occurring shortly after (it is also set to be re-released again this year, consequential to the buzz his newest album is receiving). It proved to be a fun effort that impressively displayed Mount’s fusion of electronica, dance, and synth-rock, leading to a period that saw Mount remix a large variety of tracks at a rapid rate. This included anything from Kate Nash’s “Foundations” to recently featured Late of the Pier‘s “The Bears are Coming”, earning further recognition as one of the most sought-after remixers of 2007.

Though Mount had received plenty of recognition based on the strong success of Pip Paine (Pay the £5000 You Owe) and his remixes alone, one trademark aspect of Metronomy’s performances have been their ability to put on a great show. Often aided by a cast of futuristic costumes, dance routines, and light shows, they are not ones to leave an audience with a feeling of dullness. However, Metronomy are also not a group set on style over substance. Mount is perfectly aware of the stereotype given to “laptop artists” in that their live performances often consist of some guy placidly sitting behind his laptop and he has done plenty to prevent this from applying to him. Apart from making his shows engaging with such charismatic fixtures, the music is often played in real-time by the consistent trio of Mount, Stebbing, and multi-instrumentalist Oscar Cash. Oh yeah, and about that music… it is quite impressive as well. Mount’s content contains too many instrumental elements depictive of rock and pop to be classified in a strict category of electronica, with the varying melodic forms being a prime component of his creativity. He appears to think similarly to Justice or LCD Soundsystem’s James Murphy, a performer whose boastful range of catchy electronic tracks offers both infectiousness and stylistic diversity despite being engineered in similar forms to one another.

Hot off dozens of memorable remixes, the buzz for Metronomy’s second album, Nights Out, is starting to reach its peak for good reason. In addition to expanding upon a sound that has already found success, the album already sports four great singles in “Radio Ladio”, “My Heart Rate Rapid”, “Holiday”, and “Heartbreaker”. “Radio Ladio” was the first to be released, debuting last November. Featuring a typically assorted array of whirring synths over a rhythm section that is curiously depictive of funk, Mount crafts his stellar hooks by revealing fresh progressions in the midst of a lead melody experiencing a slight structural tweak. This one takes a turn for the better when the synths heighten in pitch and a chorus of child-like vocals enters the picture, spelling out the track’s title in vibrant form (a la “D.A.N.C.E”). Throughout the album, Mount has a tendency to build upon simplistic synth lines with a highly intricate stage of evolvement, a feat that is best evidenced on the extremely infectious “My Heart Rate Rapid”. And even on a more subdued, vocal-led track like “Heartbreaker”, success is resoundingly achieved. While the lyrics speak desperately of romantic miscues, the subtleties within the track’s production transform it into a breakup song that, instead of enforcing melancholy, urges the victim to dance rather than procreate; it is a welcome change of pace. It would be too early at this point, but if one were to compare Metronomy to the success Justice experienced in 2007, it may be premature but certainly not unlikely.

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Metronomy – Radio Ladio

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Metronomy – My Heart Rate Rapid

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Metronomy – Heartbreaker

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The first of several British artists exposed in today’s feature is Vanilla Swingers, a duo comprised of Miles Jackson and Anne Gilpin. Though their name indicates a production of some overly flamboyant form of funk, they have been generating quite a bit of buzz in the UK for their consumingly seductive interpretation of electronic pop. The duo utilizes conventional elements of pop in their usage of guitars, bass, and percussion, but the inspirational electronic element arrives in their extremely impressive grasp of appropriately atmospheric melodic additions. With serene synth pads and lulling sound clips often supplementing infectious melodies driven by progressions highlighted by alternating guitars and keys, the result is intricately captivating. And not to forget, when you have two musicians as lyrically astute as Jackson and Gilpin, there is more to enjoy than hooks led by commendable melodic scenarios. In fact, as their eponymous debut demonstrates in its thematical concept, they maintain a sense of virtuous ambition while simultaneously remaining accessibly enthralling.

The conceptually rewarding Vanilla Swingers explores an interesting plot that highlights two lovers blockaded by the obstacles of time, quite literally. Concisely, they meet each other, run away together, travel back in time to 1985, lose each other, and meet up once again in the year 2015. Appropriately, the vocal duties are split between the two members as they grow increasingly familiar with their roles. “Well I’d been here forever, sixteen years that felt like more,” Gilpin sings angelically on the opening “The Town”, a stylish number led by an acoustic guitar and complementary keys. “And you’d think it was clever not to venture far from your front door around here.” Her voice is highly comparable to Black Box Recorder’s Sarah Nixey, with the accompanying music also being striking in a similar vein. The album itself is like a storybook, with each line and song featuring moments of literary notability that should keep the listener enthralled throughout its entire duration. “You asked me what’s the year and smiled the saddest smile I’d ever seen,” Jackson croons during “Goodbye Lennon”, my personal favorite on the album. Apart from the fantastically thorough use of keys, the track demonstrates the duo’s vocal, melodic, and literary ability all in one, being ardently empowering in the genuine romanticism displayed by both Jackson and Gilpin. With undeniable chemistry and impressive literary chops leading the way, Vanilla Swingers is a duo that should undoubtedly find a significant following. When their debut drops on August 11th, I unreservedly recommend the purchase.

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Vanilla Swingers – Goodbye Lennon

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Vanilla Swingers – Back to the Present

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Vanilla Swingers – The Town

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Editor’s Note: Since there are many worthwhile artists who have yet to tour outside of their native countries due to financial restraints, I decided to implement an occasional feature that highlights such musicians at work in a live atmosphere, provided by skilled writers who were actively in attendance. I will participate myself once I move to the more bustling location of DC in September, but for now while I am still stuck in Jersey, it will be aided by the participation of guest writers who will enlighten both readers and myself as to who and what to look out for in locations that you may not vacate often; I find that articles about live performances in varying geographical locations can be fascinating if done properly. The first feature in this particular vein comes from the town of Dartford in England:

Gary Ptaszek and Crack Silence at Bar Mondo, Dartford, England (06/23/08)

By D.R.J Gaymer

The lights cast out a red glow illuminating the room and the indie kids who were stumbling around, spilling cider over their plaid shirts whilst trying their hardest not to, disturb a small contingent of metal-heads. There is a light show of sorts, but if truth be told, there are more people in the alley outside the bar (as is so frequently the way with small town gigs); there are excited vibrations in the air simply because something is going on.

Live music!

No S-Club 7 records!

The possibility of actually meeting real-life people who might be into the same bands as you! It really does not matter who is playing, what matters is that someone is playing; that in itself makes the event. If the music is good then that is an added bonus and, tonight, the music is well above par. Gary Ptaszek (pronounced Per-Tash-Eck) is perched calmly on the end of a bar stall, clutching his acoustic guitar and sipping from a glass of water. He is dressed in all black, the only white being the graphics on his “Dartford Dealth Kult” t-shirt and his socks, which give vague recollections of Michael Jackson circa 1982 to those who were paying attention. Placing the glass of water on the floor, Ptaszek engages the crowd in conversation (strictly no shoe gazing) and then launches into another powerful acoustic number. The vocals drift between high floating melodies and low growls, creating a dynamic that fits over his strummed rhythms that include an eclectic range of chords and sparse riffs. When compared to other contemporary unsigned acoustic acts, this is a more mature set, transcending the banality of covers such as Oasis’s “Wonderwall” and instead drawing on British post rock groups like Biffy Cylro, Reuben, and stateside groups such as Silverchair. For the most part, the influences are covert and mixed in to create a more individualized sound, although there is the occasional exception such as a Coheed and Cambria cover where – for a brief instant – influences are outwardly stated. Nevertheless, Ptaszek concluded with his own composition, “Start”, a perfect example of his own brand of Dartford power pop.

From here on out, things started to decline as Crack Silence took to the stage. After a ten minute long sound check they finally got into a set of rather generic metal riffs, embellished with requests for the crowd to throw the horns with them (yet nobody yelled “FRRRREEEEEEEEE BIRD!!!”). Yet, for some unexplainable reason, screams inheriting such memorable quotes such as,“I’m going to fucking rape you! Rape you!” and “You’re a motherfucker!” were prevalent. After all, contrived controversy bored the cat. Fundamentally, they were just too loose for the polished and hard sound that they were evidently tying to pull off. All the ingredients were there, they just needed to tighten it all up and drop some of the clichés. Still, the audience were not particularly concerned. As far as they were concerned the important thing was that the bar was still open, booze was still being sold and music still being played, without a tracksuit in sight.

MySpace: Gary Ptaszek; Crack Silence

The post Vanilla Swingers; Gary Ptaszek and Crack Silence (Gig Review) appeared first on Obscure Sound: Indie Music Blog.

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. The Jam emerged in the late ’70s with a new breed of punk, R&B, and power pop that would be later deemed “mod revival”, with the trio being one of the forefront innovators of the genre. Weller distanced himself from The Jam’s style in 1983 upon the formation of The Style Council, a four-piece whose roots rested more in key-led blends of soul and pop music. Since The Style Council disbanded in 1989, Weller has released eight solo albums that have all peaked in the UK Top 10. Such impressive sales aside, the most impressive aspect of his discography has been the stylistic diversity he has implemented in every release. From the fused elements of soul and British folk on 1993’s classic Wild Wood to the lively nostalgic rock sound of 2005’s As Is Now, Weller has made it a fun ride so far.

His ninth solo album, 22 Dreams, manages to simultaneously capture glimpses of Weller’s 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. Though the varying approaches may appear intimidating to someone who is playing the album on shuffle, each song eases into one another with graceful precision as Weller explores both familiar and unchartered stylistic territory. 22 Dreams is simply one of those albums that must be played in correct order for the most beneficial sense of comprehension and enjoyment.

The primary fear that many listeners have about double albums is relative to whether or not the artist will include too many fillers in an attempt to make both halves comparable in duration. However, for the startlingly consistent Weller, such fears are put to rest after only a handful of listens. 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 flair. As it is though, the soulful chorus in which Weller is backed by a series of vocalists under the collaborative rush of flowing strings and guitars brings back a few vintage moments of The Style Council just fine.

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”. The latter should fascinate longtime fans of Weller the most, mainly because eeriness is not often a feeling that Weller’s music grants upon the listener. Using an array of variously pitched strings, wind instruments, and restrained rhythmic propulsions, Weller touches upon influences of free jazz and ambient electronica over the continuous whirring of a budding synth pad. With the stark contrast of ominous synths and light strings emerging in their most audible form during the intensified conclusion, the track is as momentously spine-chilling as it is artistically rewarding. Reverting back to a familiar formula, the first disc concludes with “Why Walk When You Can Run”. Here, Weller works with a simplistic acoustical progression whose lyrical content is focused on the sense of urgency that youths feel to grow up. “He sees only the time, and the surf and the sea,” Weller sings in a fatherly tone, suggesting forces beyond his own control. “He’s oblivious to me calling.” The melodic hooks are signaled by the suave coordination between the various guitar progressions, with the swift strikes of an electric guitar providing a whole new edge to the acoustical accompaniment.

An additional force throughout 22 Dreams is that of Simon Dine, producer and occasional co-songwriter. He can be accredited for the vibrant string arrangements found on extremely memorable tracks like the “Empty Ring”, “111”, and “Song for Alice”. It was vital that Weller enlisted a producer who had the ability to capture his extreme ambitions on 22 Dreams, as it is certainly not an easy task to capture the wide array of genres demonstrated here. Based on Dine’s contributions as both a songwriter and producer, Weller made a remarkable choice. Thanks in part to both stellar songwriting and production, the album remains cohesive while remaining enjoyably unpredictable. One of Dine’s co-written tracks, “Push It Along”, opens the second disc up terrifically in being perhaps the catchiest track on the entire album, setting aside any premature beliefs of a disc-by-disc inconsistency. The notable “Song for Alice” is an exotically invigorating tribute to Alice Coltrane, complementing the late jazz pianist with a meticulously crafted form of instrumental jazz-rock that would have made her grin with delight. 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. Considering its length and degree of material, it is a colossal achievement in songwriting even for the reputable likes of The Modfather. 8/10

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Paul Weller – Push It Along

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Paul Weller – 22 Dreams

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Paul Weller – 111

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These days, it seems that anyone can call themselves an “artist”. With the internet and other forms of digital technology allowing for mass distribution of various art forms for little to no cost of production, it is not a difficult task for one to capture at least a handful of fans if the quality of one’s music, film, or illustration is commendable and it is promoted with modernistic sensibility. This creates very desirable circumstances for those who tend to classify themselves as eclectic artists, seemingly trying their hand at nearly every style of art imaginable. Sure, anyone can attempt to succeed gracefully, but actually doing so in all areas of music, film, and illustrative tasks is a rare feat that only a select few have the raw ability to accomplish. Though Sage Rader is far from being a recognizable name at this point, I imagine that those who look at his list of artistic accomplishments would not be surprised if he breaks out soon. Rader spent some time as an acclaimed poet (The Guardian called him the “Michael Moore of Poetry”, whatever that was meant to say), an actor (he was in “Beyond the Ocean”, a film nominated for the Sundance Grand Jury Prize), and an illustrator (he published an illustrated confessional titled “Sex Drugs and Sunday School”). While these accomplishments are merely the markings of a young artist looking to try his hand at a variety of crafts, it simply goes to show that Rader’s great potential can be seen as something of a dying art in itself.

Following in the footsteps of Leonard Cohen or any number of poets or writer who successfully became great musicians in the process, Rader hopes that his most recent project finally finds him the success that he has openly yearned for. Calling it a recent project would be slightly erroneous though, as Rader has been refining his musical skill; since he was a young schoolboy in England. Violin was his first attempted instrument, later studying it at the Oberlin Conservatory of Music. He pushed aside his musical endeavors for a short time while pursuing other arts, but it came of little surprise when he found himself back where he started, with more skill and experience to boot. However, it was not until a meeting at an art show last year that Rader’s musical ambitions began to blossom yet again. He met Shaun “Stakka” Morris, a Brighton-based DJ and producer, and the two found each other holding similar intentions to their heart. To gauge his musical intentions, Morris gave Rader a copy of a Ror-Shak album, derived from the project Morris had been working on with DJ DB. “He did an interesting little sketch with violin over one of the tracks,” Morris said of Rader. “We stayed in contact, and he brought some tracks ‘round my studio that he’d been working on.” And thus, after sporadic stages of compiling and mixing, Ready Fire Aim was born.

For several consecutive months after their first meeting, Rader and Morris continued to work together by swapping demos back and forth, eventually deciding on a sound that satisfied both their needs. Their first album, This Changes Nothing, eventually emerged and is scheduled for a May 27th release on Expansion Team Records. The result sounds like a hybrid of Depeche Mode, Nine Inch Nails, and synth-rock revivalists in the vein of White Rose Movement and She Wants Revenge, both of whom capitalize on such aforementioned influences in order to produce a more accessible and danceable sound. Both Rader and Morris appear to split their work evenly, with Rader providing leading vocals and a few instruments while Morris tackles the bulk of the production aspects. “I’m a big fan of processing, even to the point of extremes,” Morris said. “I mean, when the mix was near completion, we were recording big chunks of the actual record back into samplers to mess around with it. It could be something simple at the end of a track, like a whole beat section sinking into a filter or going through a bit-cruncher — there’s some crazy stuff that can be had out of that. If you keep that processing mentality going, you can get to an interesting place.”

I will also go on to say this one thing: This Changes Nothing is not for everyone. Considering that the group takes its dues from a melodramatic style of synth-pop that dominated the ’80s, I expect to find a handful of critics bashing Ready Fire Aim for having an outdated sound . While originality is truly only found in Morris’ unique methods of production, it is simply the duo’s ability to write catchy pop songs that makes This Changes Nothing a worthwhile listen. Both Rader and Morris appear set to release “Wannabe Your” as the debuting single and – while I find it too generic – the simplistic hook is enjoyable enough to garner a substantial amount of radio play. It would actually be easiest to compare the track to an early effort from Collective Soul. Still, I find myself more attracted to tracks like “As If It Were That Easy”, a slow-tempo charmer that shows shades of Erasure as Rader reaches a falsetto that Andy Bell would grin in delight upon hearing. More brooding tracks in the vein of “Beautiful Thing” and “So Fine” remind me of early Depeche Mode; the simultaneous emphasis on both synth-pop and dance supplies a variety of commendable hooks, even if the lyrics happen to be overly cheesy at times. Showed best on “Beautiful Thing”, Rader and Morris have the ability to make the seamless transition from minimalist synth-pop (a single synth and drum loop) to grandiose depictions of dance with keys, guitars, and varying degrees of percussion on full display over Rader’s suitably ardent vocals. Sure, This Changes Nothing will not be hailed as a breathtaking achievement when it drops on May 27th, but a substantially sized niche will undoubtedly find solace in the duo’s nostalgic trends.

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Ready Fire Aim – Beautiful Thing

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Ready Fire Aim – As If It Were That Easy

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Ready Fire Aim – Wannabe Your

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30. Richard Hawley – Lady’s Bridge

As a longtime (and near obsessive) fan of Pulp, I suppose it is only natural that I admire Richard Hawley’s songwriting prowess with great veneration. Though many have surely known him as the guitarist for Pulp during their most successful years, Hawley has slowly but steadily unattached himself from the mere label of “backing instrumentalist” for The Longpips and Pulp. Instead, he has become recognized as an exquisitely talented solo artist in his own right, with releases like Coles Corner and Lowedges depicting a style that falls somewhere in between folk-rock, rockabilly, and Brit-pop. Appropriately enough, Hawley seems to be getting better with every release. Though it serves as a continuation of a style that capitalizes on the pride of working class British life, Lady’s Bridge is Hawley’s best effort to date. “Tonight the Streets Are Ours” sparkles in elegance under layers of keys, strings, and Hawley’s deeply luxurious vocals, while the excellent “Lady’s Bridge” is an masterfully crafted version of twinkling, key-aided folk. “Take me with you when you go, it’s the only place I know,” Hawley speaks of the landmark bridge, symbolizing the crossing between childish dreams and imminent realism. “We lost the dreams that we once had, how did our lives turn out so bad?” he questions emphatically, crafting a devastatingly emotional hook over the drowsy groundwork of keys and reverbed guitars. Like Bruce Springsteen or even the occasional musings of close friend Jarvis Cocker, it is wholly rewarding to see an artist hang on to his original ties despite becoming a prominent figure in the music industry. Hawley shows his admiration for his hometown of Sheffield, England in a beautiful manner, demonstrating a form of respect that most contemporary artists seem to foolishly forget.

Richard Hawley – Lady’s Bridge

Richard Hawley – Tonight the Streets Are Ours

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29. LCD Soundsystem – Sound of Silver

It says a lot when an artist picks up a Grammy nomination for a debut album, just like James Murphy did with LCD Soundsystem’s self-titled debut in 2005. The two-disc album was critically acclaimed, dishing out supremely successful singles like “Daft Punk Is Playing at My House” and “Losing My Edge” in the process. Murphy’s sophomore follow-up, Sound of Silver, is merely a continuation of what made the debut so fantastic. Like its predecessor, Sound of Silver sees Murphy build his hooks in a meticulous manner, often relying on droning mixtures of guitars, synths, and percussion to create a tightly knit melodic force. The compositions are often repetitively epic in nature, relying on interchanging instrumentation and concisely memorable vocal performances in an effort to provide successful electronic differentiation. He juggles the varying styles well, with the anthemic “North American Scum” being one of Murphy’s most rock-centric tracks of his career, while the standout “All My Friends” is driven by a series of pulsating keys that is richly supplemented by a powerful bass line. It serves as a momentous build-up, with snippets of guitars and whirring synths preceding the rising emotion of Murphy’s crisp voice. One of the most melodic tracks in “Someone Great” is taken from the infamous LCD Soundsystem-Nike collaborative promotion of ’45:33′, an entirely instrumental song of its self-titled length. This time around, Murphy adds some reflective vocals on top of matching keys to make the section even more engaging. Oh yeah, and though it almost seems like an annual event for him by now, Sound of Silver recently awarded Murphy his second Grammy nomination in just as many attempts. For Murphy, the term “sophomore slump” is seemingly nonexistent.

LCD Soundsystem – All My Friends

LCD Soundsystem – Someone Great

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28. The Go! Team – Proof of Youth

Even if you consider the rampant comparisons to cheerleader chants and retro television theme songs in relation to The Go! Team to be a desperate journalistic reach, there is no denying the unique pop flair that lead songwriter Ian Parton has the ability to convey. With a multifarious approach that touches on variations of throwback funk, electro-tinged hip-hop, and sample-led pop, the six-piece from Brighton appears to be in a league of their own when it comes to crafting a sound that would be suitably classified as ineffable. Proof of Youth marks the group’s second album, with styles ranging from star-studded hip-hop to cutesy indie-pop being seamlessly incorporated. Ninja, the group’s leading rapper, takes control in the infectious “Grip Like a Vice”. Though drizzling guitars and trademark horns make their entry during the infectious chorus, the majority of the track sees its strength in the form of Ninja’s ceaselessly energetic verse; it is lengthy and repetitive, but also actively engaging. “Fake ID” is an absolute pleasure of a song that uses an amiable vocal delivery that maintains a tinge of youthful innocence, all while maintaining credibility. While immediate comparisons will likely arise to an in-key version of Deerhoof’s Satomi Matsuzaki, the track remains equally, if not more, reminiscent of Cibo Matto’s more accessible tracks. The Shibuya-Kei influence is very prevalent — and enjoyably so. That the vocals sound like they could be delivered by a child is part of the charm in “Fake ID”. Between that and the masterfully executed trumpet solo found after the notably gripping chorus, it is hard to pick a favorite track from the album. Having the perfectly casted Chuck D. lend guest vocals on the zestful “Flashlight Fight” does not hurt their cause either. Who would have thought that Chuck D., rousing horns, and cheerleader chants would have gone so well together?

The Go! Team – Grip Like a Vice

The Go! Team – Fake ID

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27. White Rabbits – Fort Nightly

It appears as if much of today’s youth has a clear misconception in regard to ska music. Many assume that some offshoot of emo with a few brass instruments here or there equates to a quality ska sound. In such a scenario, I want to throw them an album from Madness or The English Beat, artists who replicated the original Jamaican-led form of R&B with enormous success. While attempting to sound like early ska greats Madness would sound somewhat outdated, White Rabbits certainly had the right idea with their exceptional debut, Fort Nightly. Instead of tackling the genre head-on, they chose to incorporate classic ska with contemporary aspects of indie-rock. The result is one of the finest debuts of the year, with the shuffling swagger of “Take a Walk Around the Table” and “Dinner Party” being heavily reliant on a bustling rhythm section, with the tinges of ska coming in the rhythmic guitar patterns and smatterings of brass. “Dinner Party” is particularly impressive, as the six-piece’s potential is on full display. The correspondence between the guitars and horns are top-notch, with a series of grim keys gliding underneath the robust vocals in a subtly ingenious manner. Fort Nightly defies expectations of conventional indie-rock, incorporating a true style of ska that is wrongly beginning to feel forgotten.

White Rabbits – Dinner Party

White Rabbits – Take a Walk Around the Table

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26. Private – My Secret Lover

By the end of next year, I would not be surprised if Thomas Troelsen practically owns the music scene in his native Denmark. Over the past year, the producer/songwriter’s new project, Private, has taken the country’s charts by storm with a form of dance-pop that appears seemingly untouchable in terms of initial catchiness and radio-friendly appeal. Though his style translates to a high level of flamboyancy that will likely turn off those who yearn for a more original style of electronica and dance, there is certainly nothing wrong with conventionalism if it is pulled off properly. Private’s debut, My Secret Lover, sees its appeal in such commendable execution by offering a plethoria of dance-oriented hooks that are executed flawlessly over crip production and infectious songwriting. Troelsen is an all-in-one package; his vocals are a ranging replica of pop perfection, his songwriting is enduringly sharp, and he appears to have mastered a style in which clichés seem to dominate. The album’s self-titled track is truly descriptive of that, being one of the catchiest singles of the year despite its structural simplicity and general predictability. As in most of the album, the song relies on sheer execution for success. Troelsen just seems to pull it off every time. Private is not just a sensation in Denmark either. They are rightfully beginning to get noticed overseas and, with an album like My Secret Lover hitting shores, I expect the reception to be much of the same.

Private – My Secret Lover

Private – I Can’t Wait

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25. John Vanderslice – Emerald City

John Vanderslice has a knack for writing about the bizarre, the politically invigorating, and the emotionally challenging. Indisputably one of the “nicest guys in indie-rock”, the “nice guy” tag certainly does not stop him from holding back his intelligent thoughts, even if they are wildly as areu ambiguous in nature. Though often cloaked behind instances of metaphors, his usage of poetic diction and melodic captivation has earned him the title as one of the most consistent songwriters of the past several years, with albums like Cellar Door and Pixel Revolt earning him cult followings as a result. Throughout his career, Vanderslice’s lyrical content has often been political in tone and his newest album, Emerald City, is no different. His sixth solo album, Vanderslice named Emerald City after the controversial “Green Zone” in Baghdad, a 4-mile area where American forces are in heavy control. The stabs at Bush in the excellent “Tablespoon of Codeine” are interesting to say the least, whether one is in political disagreement or not. Also, for once, the lyrical content is hardly ambiguous. “And what happened in September was a fake,” he sings over echoed keys and shifting percussion, “But they’re chasing demolition or remote control planes.” The gruesome realities of war (murder, rape, and destruction) are also depicted in the chilling “The Minaret”, a gruesomely realistic tale aided by the surprisingly suitable factor of highly pitched, chirping keys. For those who could care less about politics, Vanderslice’s more conventional musings of childhood nostalgia in the breezy “The Parade” should serve as relief, though I am sure one would be able to transform it into a politically active song if they put their mind to work. Though Emerald City is largely a thought-provoking political album, there are plenty of moments for varying fans of Vanderslice.

John Vanderslice – Tablespoon of Codeine

John Vanderslice – The Minaret

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24. Panda Bear – Person Pitch

Every year, there always seems to be one album on this list that results in a dozen or so disgruntled readers taking their frustration out in e-mails or comments directed toward me. Last year, several people were surprised enough that I placed Joanna Newsom’s Ys at #31 that some of them went as far to be in “shock and awe”, simply because seemingly every other publication had it in the top 5. I am expecting a similar situation with Panda Bear’s second album, Person Pitch. Before you start the backlash, let’s get one thing straight: I think Person Pitch is one hell of an album. Perfect? No, a repetitive latter part prevents that. But Noah Lennox (Panda Bear) reaches rare stylistic territory in one of the bravest efforts of 2007; Person Pitch is at a stylistic flux where many other artists merely fear to tread. While it can easily be classified as a summery album, influences to Brian Wilson and Bill Holt’s “Dreamies” are abound, especially in Lennox’s ability to implement a variety of unconventional samples into a serenely beauteous soundscape. Whether it is something startlingly simple like wind chimes and bells or an aspect more irrelevantly laced like profuse sobbing, Lennox’s admirable level of unpredictability allows for songs like “Bros” and “Good Girl/Carrots” to be some of the year’s best. Though both are over 12 minutes long, Lennox makes every second count. With his vocals soaked in reverb over instrumentation that is both originally implemented and abundantly sampled, Lennox’s ability to transform sounds that are naturally disregarded daily by the human ear into a musical element is true art in its own right.

Panda Bear – Comfy in Nautica

Panda Bear – I’m Not

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23. Marissa Nadler – Songs III: Bird on the Water

Regardless of how the talented Marissa Nadler demonstrates such practical skill, incorporating a sense of fragile beauty into songwriting is not as easy as she makes it seem on her stunning third album, Songs III: Bird on the Water. Classified appropriately as a dream-folk artist, her arrangements and vocal accompaniments are a haunting spectacle. Often shrouded in heavy doses of reverb, her spine-tingling vocals provide for a singularly identifiable listening experience. She quivers her way through delicate arrangements consisting of acoustic guitars, strings, and harps, luring the listener into an otherworldly listening environment with tales that trace back to chronological eras of medieval relevance where love seemed more courteously adaptable. Nadler has the ability to craft extremely intricate characters, like the alluring vision of desperately vanishing widows in “Rachel” or the contemplating lady in the heartbreaking “Thinking of You”, where a wife is in deep contemplation of leaving a supportive lord who seems cold and barren. “You never gave me nothing that I could hold on to,” she sings tenderly, yet still dreaming of the elusive character that she left for a more advantageous life far away. Nadler’s genius of a folk album pulls this card well — it engages the listener in tales of tragedy and triumph, with stunning instrumentation and vocal accompaniments aiding such virtues with tragic force.

Marissa Nadler – Thinking of You

Marissa Nadler – Rachel

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22. The National – Boxer

There are several logical reasons explaining why The National are one of the most revered indie-rock bands of the past 7 years. Matt Berninger’s uniquely identifiable baritone vocals could be one explanation. The words flying out do not hurt either; he is widely considered to be one of the greatest lyricists in contemporary indie-rock. The spoken content releases a feeling of genuine acrimoniousness over sociologically analytical lyrics that are often metaphorically derived, providing for a tireless listening experience that depicts emotions that many other songwriters would simply push aside and call indescribable. Though The National’s moroseness and pessimism may be too overwrought with grief for some to handle, those who appreciate the beauty of perspective analysis have fallen in love time after time with the Brooklyn-based five-piece. The remarkable quality about The National’s fourth album, Boxer, is its ability to transition between tempo and instrumental style on a whim. “Oh, you wouldn’t want an angel watching over you,” Berninger sings in his trademark baritone, “Surprise, surprise, they wouldn’t wanna watch.” In summation, Berninger is depicting “another uninnocent, elegant fall into the unmagnificent lives of adults”, a tale he has certainly tackled many times before. The mood of sullenness is much of the same throughout the album, notably on the Sufjan Stevens-aided “Racing Like a Pro”, an excellent track in which Berninger depicts the effect that corporate pressure can have on an individual. Societal pressures, lost loves, and sullen regret… yeah, it sounds like another quality album from The National to me.

The National – Mistaken for Strangers

The National – Racing Like a Pro

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21. Arcade Fire – Neon Bible

After releasing one of the greatest debuts of the decade in Funeral, Arcade Fire had quite a bit of pressure on their shoulders. Funeral was considered an epic achievement by many, a monumental mark in indie-rock in which a rookie artist decided to focus on actual familial-based emotional baggage instead of producing weightless words over a generic melody. Though such a stance is purely opinionated, one thing is for certain: Arcade Fire has emerged successfully with Neon Bible, their sophomore follow-up to the acclaimed Funeral. Though it does not boast the emotional depth of its predecessor, Neon Bible remains generally more accessible with fervent tracks like “No Cars Go”, “Keep the Car Running”, and “Black Wave – Bad Vibrations” providing as relief for more intensely brooding tracks in the vein of the organ-led “Intervention”, the symphonic string-induced cries of “Ocean of Noise”, and the rapturing closer in “My Body is a Cage”. The band even earned some complementary Springsteen comparisons on excellent tracks like “(Antichrist Television Blues)” and the epic build-up in “Windowsill”, with the likeness lying primarily in Win Butler’s ardent vocal delivery. The transitional vocal attempt it not consistent from track-to-track, but the diversity allows for exhilarating captivation. Though the album’s best track (“No Cars Go”) was already released prior to the album, Neon Bible provides plenty of worthwhile and original moments for intense replay value.

Arcade Fire – No Cars Go

Arcade Fire – Windowsill

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The post Best Albums of 2007: #30 to #21 appeared first on Obscure Sound: Indie Music Blog.

I am sure that at one point in your lives, many of you have experienced a feeling similar to the one felt by Matt and Edd of The Hidden Messages. It is a feeling of isolation, barrenness, and deprivation. And no, it has nothing to do with shoddy romance. While managing to juggle studying and an avid pursuit for musical arts, the two founding members of The Hidden Messages were completely disgusted with the lack of music-related knowledge exhibited by their fellow friends at classmates at the University of Surrey. According to them, they were surrounded by people “who believed that The Velvet Underground and The Clash were clubs in Guildford, who believed that The Beach Boys only wrote about surfing, and who didn’t like The Flaming Lips because ‘the singer can’t sing’.” Now, unless you sulk around in some pretentious scene club where the chance of admittance relies on the amount of gel in your hair or the tightness of your jeans, it is difficult to find a music fan who is content with their social atmosphere in regard to conversations about music. This is why many of us consider the internet to be a haven in this regard. I doubt many of you would be reading music blogs like this one if you thought otherwise. It allows us to communicate freely about artists who live up to our form of quality without the person on the other end of the conversation scratching their head while looking utterly confused. Though it often comes as a culture shock, we are able to find intelligent music fans who think similarly and ideally without irrationality. Many of us listen to, chat about, and practically live off music. Some others create it.

As discouraging as living in a secluded environment was to Matt and Edd, they did not let it get them down. Instead, they formed The Hidden Messages in 2005 as a two-piece with a boatload of aspirations. The two were no stranger to collaborating musically, as their previous band, The DAs, gave them a share of experience together. Shortly after their formation they asked themselves a simple but important question: Where in England will give us the biggest chance of opportunity? The answer should be immediate. London, of course. After seeking solace in the shadow of Big Ben, the duo was joined by Matt’s schoolmates, two of the few who the duo deemed knowledgeably appropriate for the task. After taking the majority of 2006 as a time for performances and songwriting, the group welcomed a new member, Claire, into the band, officially making it a five-piece. It remains somewhat difficult to classify the roles of each member in The Hidden Messages. Apart from Justin’s singular task of being the group’s bassist, the other four members are craft multi-instrumentalists. Keeping it somewhat short and not nearly conclusive – Matt sings and dabbles in an assortment of guitars and strings, Kenny is the main percussionist and surveyor of keys, Edd provides more vocals and guitars, and Claire takes over with a set of beautifully enhancing backing vocals and additional violins. I said that all in one sentence? Wow.

2007 marks the introductory year for The Hidden Messages. Though the members have been involved in their share of musically-related projects for several years, their first release came just a few months ago. The Hidden Messages have opted to, instead of releasing a full-length album with 8 tracks, oddly release two joint EPs with 4 tracks each. Entitled Animal Actors EP1 and Animal Actors EP2, they both provide an exceptional display of the five-piece’s invigorating pop mindset. The opening track on EP1, “Such a Disgrace” should serve as the group’s defining track if they should suddenly receive a boost of well-deserved recognition. As the first several seconds demonstrate a simplistically layered acoustic guitar, many will come to expect a small-town band looking for a small-town hit in a big city. However, once the exotically sweeping strings enter the scene almost immediately thereafter, you should be well aware that The Hidden Messages are not simply an average act. They are exhibiting some of the most infectious and most expertly crafted pop songs I have heard all year. With homages to all the giants of British guitar-pop from the past 50 years, The Hidden Messages are also a group that remains extremely accessible. From obvious influences like The Beatles and XTC to fellow contemporaries in the vein of Radiohead, their involvement of British invasion, jangle-pop, college rock, and psychedelica remains fresh and ceaselessly exciting.

In stark contrast to the infectiously gliding, radio-friendly flair of “Such a Disgrace”, the group explores territory that could be dubbed somewhat psychedelic in the equally exceptional “The Underground”. This time showing a knack for innovation and, dare I say it, melodic genius, “The Underground” should not be missed. Guided by the steady beat of a drum and a haunting array of keys, it proves to be a chilling track that could arguably serve as The Hidden Messages’ most impressive song to date. “Elephant Graveyard” falls somewhere in between the two in terms of style, this time using a bouncy keyboard instead of sweeping strings. It twinkles with keys, booms with horns, and repeats itself – an enjoyable mix, for sure. The verse’s vocal melody initially begins as a splitting image of Radiohead’s “Airbag”, though the song’s main message in conveying that “love will see you through” is a cheerful shrug of mortality, going hand-in-hand with the song’s atmosphere expressed by an intimate spur of keys and horns. Like most acts striving to make it big, “Such a Disgrace” is a chronicling of the band’s urges to move out of the small spotlight and into the bigger, more rewarding stage. In addition to personal frustrations caused by ignorant social norms (the use of kitchen appliances, awkward silences, etc.), the group righteously yearns for proper success on their leading track. “I’m waiting to break out,” Matt sings over the translucent allure of guitars and strings, “Got to get out of here.” One thing is for sure: success for The Hidden Messages will occur eventually. If The Hidden Messages continue to produce music as enjoyable as the material displayed on their two debut EPs, their irresistible messages will be impossible to hide.

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The Hidden Messages – Such a Disgrace

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The Hidden Messages – The Underground

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The Hidden Messages – Elephant Graveyard

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