Stereotypes involving the carefree indulgences of a Californian summer have been circulating since surf-rock originated in the ’60s. Its inception was largely brought on by the development and popularization of the spring reverb, which at the time was said to mimic the sound of waves along one of these sunny beaches. Mickey Deora described surf music nicely by calling it “a syndrome — a cluster of symptoms, no single one of which is necessary or sufficient for the diagnosis.” The main symptoms include a limited instrumental arsenal, prominent use of either reverb or the guitar’s vibrato, and a short song length that appealed to the abundantly used metaphor of catching a wave. Similar to that accomplishment, the conventional surf-rock tracks were short, infectious, and brimming with components like reverb or picked staccatos. This action-audio analogy may sound pretentious by today’s independent standards, but back then it was simply incorporating a popular form of youthful expression into another popular form of youthful expression. Music and surfing were unveiled by these groups to have more in common than one would think.

Before even listening to them, it is readily apparent that Surfer Blood are a bit enamored with the style and period of surf music. Their name alone possesses an obvious reference, while expositions of personality on their MySpace site flash glimpses of ocean-themed tracks, references to fun things like weed and Condoleeza Rice, and a bunch of promo photos that are either in front of the ocean or expressing serene artistic emission. This might sound normal enough if you are from West Palm Beach like Surfer Blood, but many fans of indie-rock may find themselves weary of such beach-bound associations. The differences between contemporary indie-rock and surf-rock are prominent for the most part, and to immediately align Surfer Blood with The Beach Boys or Dick Dale would be a premature impulse that would unfortunately result in missing out on a great band for those not attracted whatsoever to these past groups. Surfer Blood do not abide by Deora’s aforementioned symptoms of surf-rock on a strict basis, but by possessing a similar type of musical ideology to their surf-rock predecessors Surfer Rock have crafted an ingenious debut that reaps from an old-fashioned sort of intensity that only those powerful two-minute surf-rock epics from the ’60s brought to the table.

Although they serve exemplary of an artist influenced by an ideology instead of a precise audible style, Surfer Blood’s own unique style is something that should delight fans of modern indie-rock. The charming upbeat pop of The Shins is certainly present, as are groups like The Explorers Club that cling on to ’60s pop and surf-rock through overlapping vocal harmonies, picked tremolos, and lushly serene orchestration. Surfer Blood are a bit more modernistic than a group like The Explorers Club though, evidenced strongly by the variation in guitar tones and levels of distortion in addition to the lead vocals of John Paul Pitts. Amiable and accessible, Pitts always maintains a gleeful and whimsical croon that simultaneously recalls the sparkle-and-spit of James Mercer and versatility of Brian Wilson by aligning his vocal melodies with corresponding guitars. Like in surf-rock and power-pop alike, guitars are the driving force throughout Surfer Blood’s debut album, Astrocoast. These are precisely the two influences at work most consistently too; surf-rock is abundant through its production techniques while the hooks and song structures themselves are more reflective of power-pop.

Apart from “Slow Jabroni” and “Anchorage”, Astrocoast consists of tracks following below the four-minute mark but still achieving incredible growth and innovation during that time, beckoning a similar feeling to that of instrumental surf-rock when it emerged in the early ’60s. It helps that accessible efforts like “Floating Vibes” takes any related stereotypes by the throat to turn it into a gem with precise revision, even if the track’s simplicity and imminent radio time means it is not as durably enjoyable as the rest of this fantastic album. These aforementioned surf-rock instrumentals are even recalled on Astrocoast to a slight degree, which finds its own reworking on “Neighbor Riffs”. Perhaps it resembles post-punk or art-rock due to its selected melodic and tonal choices, but the structure is inherently that of how surf-rock instrumentals were. An initial bass line kicks off the effort and does not subside for the entire duration, instead serving as the source of opportunity for a multitude of dexterous guitar progressions that benefit from aspects like tremolo, reverb, and staccato that undoubtedly resemble conceptual surf-rock. This is a quite a departure from most of the efforts on Astrocoast, but it sits excellently in the middle of Astrocoast as the bridge between indie-pop-minded sensibilities and voraciously raw surf-rock.

“Twin Peaks” is also nicely demonstrative of this medium, seeing a verse that alternates between aptly implemented chirps of guitar and bursts of distortion before going into an exotic infusion of woodwinds and guitars backed by festival-like ambiance. The fact that Surfer Blood are able to involve both of these conceptual ideas within mere seconds of one another is very impressive and it is easily one of Astrocoast‘s biggest strengths. “Fast Jabroni” recalls the fuzzy dance-punk of the late ’80s with its backing synths and excellent bridge, which uses cleverly engineered snippets of guitar arpeggios and strings to piece together a joyous chorus that exposes Pitts’ vocals in the best light possible. The guitar solo toward the end of the track brings us back to the days of quality ’90s power-pop, before the time Weezer transformed from indie-rock heroes to monetarily desperate cash cows taking advantage of their own status to release pathetic music and manipulate dedicated fans in the process. The prominent synths along with Pitts’ chirpy vocals would have allowed this to site well on Donnie Darko‘s soundtrack, where influences like Echo & the Bunnymen and The Church showcased the precursor to an effort like this in the background of rebellious and misdirected youth. There is a sort of concurrent wisdom and youthfulness found in Surfer Blood’s work and it serves as a rare factor that will undoubtedly separate them from the masses.

Other highlights on Astrocoast include “Harmonix”, easily the best psychedelic-geared effort on the album with its droning guitars and reverbed harmonics (as one would assume by the name), and “Take It Easy”, which brilliantly infuses fiddles and plucked staccatos to introduce an ingeniously calming chorus that summarizes this group’s feel-good vibes in more ways than one. There are so many sheer successes on Astrocoast that it is hard not to chalk it down as one of 2009’s best debuts. Their fusion of surf-rock and indie-rock has been attempted recently by groups like The Drums and Holiday Shores with some degree of success, but Surfer Blood appear to be doing it the best so far.

RIYL: The Drums, The Explorers Club, Holiday Shores, Girls, Fool’s Gold, Little Joy, Weezer, The School

——————————————————————————————

Surfer Blood – Take It Easy

——————————————————————————————

Surfer Blood – Harmonix

——————————————————————————————

Surfer Blood – Fast Jabroni

——————————————————————————————

Kanine Records

MySpace

BUY

The post Surfer Blood on the Astrocoast appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

———————————————————————————————–

30. Air France – No Way Down EP

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

Air France – June Evenings

Air France – Collapsing at Your Doorstep

MySpace

BUY

———————————————————————————————–

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

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

Sigur Rós – Gobbledigook

Sigur Rós – Góðan daginn

Official Web Site

MySpace

BUY

———————————————————————————————–

28. Hercules and Love Affair – Hercules and Love Affair

Though his talented songwriting is worth considerable praise alone, fans of Antony Hegarty often find it easiest to distinguish the English singer/songwriter by his voice, an enjoyably unique feature that ranges several octaves and encompasses a striking delivery that is practically impossible to rival. It is the type of voice that sounds good over any style of music accompanying it, mainly because of the raw skill and emotional capacity Antony pours into it. Recognizing the vocalist’s talent, Andrew Butler wrote “Blind” and showed it to Antony in 2003 with the intent of getting him to do the vocals. The two finished the track and then pushed it aside, planning to come back to it later. It was not until a year later when the urgings of Antony encouraged Butler to revive the track and perhaps an entirely new project altogether, resulting in the eventual birth of Hercules & Love Affair. As can be heard on their eponymous debut, Butler’s emphasis on dance and disco presents wildly exciting circumstances for Hercules & Love Affair, especially considering that he has the help of Antony, who adds his vocals to half of the tracks on Hercules & Love Affair’s debut. Those accustomed to Antony’s delicate piano-laden ballads may find it initially difficult to grasp the new style, but Antony does a remarkable job throughout the release and simply solidifies the belief that his vocal delivery sounds good over just about anything. Raise Me Up”. It illustrates Butler’s sensational songwriting, Tim Goldsworthy’s sparkling production, and Antony’s invigorating vocal form in simultaneously impressive form, with the constant urging of a seductive bass line being the underlying factor of remembrance. Antony soulfully croons over the simplistically powerful rhythm section during the song’s first several moments, all until a lethal hook is introduced by the impulsive offerings of brass and keys. The chorus sees an expansion of instrumentation over a handful of vocal tracks, all being highlighted by Antony’s soaring vocals. Both the chorus and verses are equally irresistible, being reminiscent of quality disco and dance in more ways than one. “Blind” is the most recognizable Hercules & Love Affair track for good reason, with its variety being the most alluring element. For all six minutes it remains unpredictable, exciting, and bursting with an array of engaging hooks. The only repetition is intentionally done so in order to relive highlights; Butler does not waste time repeating moments worth forgetting on this remarkable debut.

Hercules and Love Affair – Raise Me Up

MySpace

BUY

READ MORE>>>

———————————————————————————————–

27. Okkervil River – The Stand Ins

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

Okkervil River – Lost Coastlines

Okkervil River – Singer Songwriter

Official Web Site

MySpace

BUY

———————————————————————————————–

26. Explorers Club – Freedom Wind

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

The Explorers Club – Don’t Forget the Sun

The Explorers Club – Forever

Dead Oceans Records

MySpace

BUY

READ MORE>>>

———————————————————————————————–

25. Xiu Xiu – Women As Lovers

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

Xiu Xiu – No Friend Oh!

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

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

24. Paul Weller – 22 Dreams

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

Paul Weller – Push It Along

Paul Weller – 22 Dreams

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

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

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

Nick Cave and the Bad Seeds – Today’s Lesson

Nick Cave and the Bad Seeds – Jesus of the Moon

Official Web Site

MySpace

BUY

———————————————————————————————–

22. No Age – Nouns

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

No Age – Things I Did When I Was Dead

No Age – Teen Creeps

Official Web Site

MySpace

BUY

———————————————————————————————–

21. Lil Wayne – Tha Carter III

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

Lil Wayne – 3 Peat

Official Web Site

MySpace

BUY

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

When describing The Lady Vanishes, Andy DeLoach chooses a method that would make most travel magazines proud. Almost making his solo music project out to be a luxurious hotel located in some exotic country, few would guess that he mainly relies on a simplistic blend of folk and pop music to perfect his craft. “The Lady Vanishes offers the most luxurious of musics for your relaxed bachelor lifestyle,” his MySpace boasts. “Qualified Songs are waiting to serve your every need and perhaps even get stuck in your head.” Such hyperbolic statements are usually meant for fun and little more than that, but the charm of DeLoach’s musical output is appealing and accessible enough to make the travel review method a rather attractive attempt at catching the attention of those already familiar with the world of contemporary folk-pop. The tour guide, Andy DeLoach, describes himself modestly in saying he is little more than an obsessive of ‘60s pop greats in the vein of The Beatles and The Zombies. DeLoach only recently turned 21 but his youthfulness does not lead to any signs of expected immaturity within his songwriting. He has been writing songs and collaborating with other musicians for years, most notably with Troy Stains (multi-instrumentalist in the recently featured gem from The Explorers Club) in a musical relationship that is continuing to blossom. “We’re trying to start a songwriting partnership that will provide songs for today’s musical scene the same way Burt Bacharach did for his,” DeLoach explains, already providing his veneration for influential artists of the past with wholesome intentions.

Such aspirations may seem a bit lofty for a 21-year-old without much credit to his name, but based on what DeLoach has offered on his self-titled EP, it may not be as farfetched as it initially seems. Based out of the “exotic locale” of Atlanta, The Lady Vanishes offers up plenty enjoyment in a simplistically appealing format. If one were keeping up with DeLoach’s hotel comparisons, calling the project something of a surprisingly affordable gem of a resort in a country with little to no western recognition would be accurate; there is more to it than meets the eye.“Karen, Don’t Stop Him” falls somewhere between the amiable lore of Simon & Garfunkel and Belle & Sebastian, guided by DeLoach’s boyish vocals and the gentle strumming of an acoustic guitar. “Karen don’t stop him, it’s only mid-day,” he sings as the subtle emergence of an organ occurs, softening the guitars in the process as a solidified rhythm section becomes prevalent. The twang of an electric guitar shortly follows, establishing DeLoach’s folk technique in which a naively pleasant melody is built upon by several other similarly laced instruments in an effort to boast a worthwhile hook. The track touches upon the common perspective of fate’s involvement in life’s routine, being an easygoing example of DeLoach slight metaphorical tendencies.

“Eliza at the Museum” is the most ambitious out of the three featured tracks, mainly due to cohesive adjustment between the “mmm”-ing backing vocals and the build-up effect of the involved instruments as they subtly increase in tempo before collapsing. DeLoach’s tends to stray inside the realm of conventional folk-pop and his ambitious nature appears to be at a halt as of now, “Wrapped in Cloth (All So We Can Love)” is more reminiscent of standard folk. Though the twinkle of bells adds for a nice touch in the conclusion, I am relatively certain that it was primarily written as a b-side or demo. Nevertheless, the unsigned DeLoan has already captured a good amount of buzz in Atlanta and his future appears quite bright, best evidenced by the affable characteristics of “Karen, Don’t Stop Him” and “Eliza at the Museum”.

——————————————————————————————

The Lady Vanishes – Karen, Don’t Stop Him

——————————————————————————————

The Lady Vanishes – Eliza at the Museum

——————————————————————————————

The Lady Vanishes – Wrapped in Cloth (All So We Can Love)

——————————————————————————————

MySpace

———————————————————————————————–

I was considering devoting an entire post to Sparks before I realized that I had done so already about two years ago, shortly after this site had just gotten underway. In the post, I gathered a few MP3s from my 8 favorite Sparks albums, all of which were released during a period ranging from the early ’70s to present day. As I said a few years ago and will say again today, Sparks is easily one of the most stylistically eclectic acts of the past 40 years and most people are generally only able to count on one hand the number of bands who have achieved success for as long and as consistently as the Mael brothers. Releasing at least a few albums each decade for the past 4 decades, the longevity is impressive but what has built Sparks’ cult following mainly traces back to their form of songwriting which seems to never get old or overused. I personally prefer their first three albums to anything they did afterward but the sheer fact that I can listen to any Sparks album from any decade and find myself enjoying it impressive to me in its own right.

For album #21 in their sprawling discography, I would feel as if I were doing myself and others an injustice by not at least mentioning Exotic Creatures of the Deep. Apart from being arguably the best thing they have released since 1994’s Gratuitous Sax & Senseless Violins, it simply solidifies the sentiment that the Mael brothers have no expiration date for cranking out quality tracks. What has been very prevalent throughout their most recent releases has been an increased comedic tone, suggested merely by the title of memorable tracks like “Dick Around”, “Ugly Guys With Beautiful Girls”, and “What Are All These Bands So Angry About?”. This is a continuing trend on Exotic Creatures of the Deep, only this time being supplemented by an even more eclectic (it IS actually possible!). There is a noticeable increase in the use of guitar, a feature that should delight fans of their rock-oriented material from the early ’70s. Still though, most of the tracks are led by Ron Mael’s keys and a series of orchestral arrangements. Anyone with a comprehension of The Smiths or Morrissey should chuckle at “Lighten Up, Morrissey”, a very enjoyable effort that contains a fusion of guitars and keys that remains very reminiscent of their ’70s works. The track does not mock on Morrissey, but rather the tortured men who weep themselves to sleep every night because of a little thing called rejection. Somewhat oddly, the band considers it a tribute to Moz, as the duo and former Smiths frontman have requited admiration for one another (Morrissey’s lyrics usually stray on the unrequited side of things).

In addition to “Lighten Up, Morrissey”, other highlights include the synth-fused infectiousness of “I Can’t Believe That You Would Fall For All The Crap In This Song” and the piano-led “Good Morning”, the latter being the album’s debuting single. Both rely prevalently on melodic repetition amongst transitioning lyrical deliveries, with the topics containing plenty of witty one-liners and consequential hooks in typical Sparks fashion. Whether guitars lead the way in the contagious “Lighten Up, Morrissey”, synths carry the dance-pop flair in “I Can’t Believe That You Would Fall For All The Crap In This Song”, pianos aid a brisk progression on “Good Morning” and the hilarious mock on superficiality in “Photoshop”, or strings flow vigorously alongside all of the aforementioned instruments in “Strange Animal” and the infectious “This is the Renaissance”, Exotic Creatures of the Deep contains enough diversity to make even the most dedicated and harshest of Sparks fans contemplate deeply whether or not Sparks’ 21st studio album will land in their all-time top 10. It is certainly too early to decide such matters, but Exotic Creatures of the Deep undoubtedly serves as yet another extremely commendable feat from the talented Mael brothers.

——————————————————————————————

Sparks – Lighten Up, Morrissey

——————————————————————————————

Sparks – This is the Renaissance

——————————————————————————————

Sparks – Good Morning

——————————————————————————————

Official Web Site

MySpace

BUY

The post The Lady Vanishes; Sparks Carry On appeared first on Obscure Sound: Indie Music Blog.

Thanks in part to the stimulating effect that the collaboration of audible and visual content in art can occasionally grant a viewer, many music fans (more often critics) have grown accustomed to classifying albums that somehow correlate to a certain season. Some people simply recall the season in which they got hooked into the respective album for the first time, but the more interesting of participants generate some sort of thought based on the actual melodic content and stylistic delivery involved. For instance, calling The Beach Boys’ Pet Sounds a “summer album” would provoke little to no argument. Any band who produces a similar form of surf-rock have often fallen into the same grouping too. Despite lyrical content that often depicts a much darker picture, similar bands who deliver such upbeat melodies in the realm of traditional surf-rock or power-pop occasionally seem to be practically begging for that “summery” label. With that in mind, I imagine that any group who puts out brooding post-punk like Interpol or barren electronica like The Knife is setting themselves up to be compared to a season that is visually seen to be less optimistic (“wintry”?), an attribute that is shunned away from in fear of sounding far too much like a criticism. I tend to shy away from such seasonal comparisons due to it being a sign of descriptive laziness for the majority of the time, but some bands just give off a vibe that is too appropriately seasonal to shun away from.

The Little Ones are surveyors of a style that holds little complication and even less intimidation. The five-piece have even admitted themselves that an accurate description for their sound would be “happy”, even if there are a number of other enjoyable variables involved. “The gist of it is we’re here to have fun,” guitarist Ian Moreno says, an admirably surefire critic of bands who are in it purely for the fame and loot involved. Alongside the recently featured likes of The Explorers Club, this ideology coincides rather nicely with the amiable nature of their brightly enthusiastic style. However, instead of tackling the likes of surf-rock, The Little Ones tread in waters that are more reminiscent of expected contemporary indie-pop. For this repetitively aforementioned “summery” feel, their percussive uses of hand claps and tambourines can attribute to it somewhat, though the defining factor lies in the melodies and methods of vocalization that the LA-based five-piece is able to convey. “The imagery and overall vibe is more of a summer album,” Reyes says, stating the enjoyably obvious. Their West Coast roots are most prevalent in Edward Nolan Reyes’ vocals, an enjoyable aspect that often shows traces of a commendable falsetto within glimpses of group harmonizing that appears reminiscent of ’60s pop music. In appropriate form, their noteworthy debut album, Morning Tide, will be released this summer. With a bountiful array of hooks and melodic additives, it is just one of those albums that sounds best when complemented by sunshine, a cool breeze, and the mere sight of a beach.

The formative process of The Little Ones involved a variety of past collaborators, current lovers, and childhood pals. Moreno and Reyes originally formed the first stages of The Little Ones after a band they had both participated in broke up, leading to an urge to form something new and greater. While searching for members, Ian happened to find out that his girlfriend’s brother was proficient at both the keyboards and bass. Avoiding any awkward moments due to their instantaneous music-based connection, Moreno convinced Lee LaDouceur to join him and Reyes. After that, however, the search for the next member lasted almost a year until Moreno received a call from a childhood friend, Greg Meyer, who was moving out to Los Angeles from San Diego. Already familiar with Meyer’s skills as a drummer, he was quickly recruited. Looking for another member to aid in LaDouceur’s efforts as both a keyboardist and bassist, Moreno brought in his brother Brian to play whatever instrument LaDouceur wasn’t during live shows. After David Esau replaced Meyer on drums, the five-piece was finally complete. The Little Ones’ first big break came in 2006 when solo artist Matt Costa scored the boys a gig at the Bowery Ballroom, giving those outside of the West Coast a chance to hear them live at a prominent venue for the first time. The Sing Song EP followed in February 2007 and the recent Terry Tales and Fallen Gates EP was released this past April. Drawing comparisons to other bright indie-pop bands in the vein of The Shins and The Delays from pleased critics, the slow but steady rise to recognition brought them into supporting Kaiser Chiefs and We Are Scientists on tour during the last several months of 2007.

Like many young bands who have been recognized as having heaps of potential, The Little Ones had to experience the obstacles of dealing with a major label in appliance to the release of their debut. Astralwerks released the Sing Song EP in 2007 but voided The Little Ones’ record contract in the beginning of this year. “”We already had an album in the can, and it was supposed to be released in April, then we were told that we had been released from our contract,” Reyes explained. “But the good thing is they were gracious enough to get the masters back.” The recovery of the masters means that Morning Tide should finally see a release this summer. I honestly have little clue as to why Astralwerks dropped them, but I imagine it will not be hard at all for The Little Ones to find another label. After all, one listen to the infectious “Ordinary Song” should have them lining up in masses. Apart from “Ordinary Song” being incredibly radio-friendly, it utilizes the group’s self-proclaimed Uncle Lee’s Rule of Feet, which states that a song is deemed appropriate for release “only if each of the Little Ones’ feet could shuffle” when listening to it. Thanks to the impeccable harmonizing, the eclectic arrangement of glistening keys and guitars, and the devastatingly memorable hook that the chorus conveys, my feet personally respond quite well to it. When Reyes sings, “I met you on the radio, radio,” during the fluttering chorus, I would be surprised if you did not have the same reaction. Though an official release date has yet to hit the horizon, Heavenly Records has recently swooped up this talented group to make the summer release date imminent for Morning Tide.

——————————————————————————————

The Little Ones – Ordinary Song

——————————————————————————————

The Little Ones – Boracay

——————————————————————————————

The Little Ones – Gregory’s Chant

——————————————————————————————

Official Web Site

MySpace

BUY

The post Watching The Little Ones appeared first on Obscure Sound: Indie Music Blog.

It is a rare when a month does this, but I cannot recall a moment in April where I did not have something new and enjoyable to listen to. Whether I found myself humming to southern-rock, Swedish pop, intricate shoegaze, or sample-led electronica, both the diversity and quality presented by this month’s featured artists did not fail to please. I didn’t really appreciate the consistency of quality this month until I compiled this month’s compilation, featuring releases by the likes of My Morning Jacket, Quiet Village, The Explorers Club, and Bryan Scary that are already a few of my favorites for the year. If you have not been following the posts for the past few months, I hope these tracks find as much enjoyment for you as they did for me.

01. My Morning Jacket – Two Halves (post)
02. The Explorers Club – Don’t Forget the Sun (post)
03. Quiet Village – Pacific Rhythm (post)
04. Håkan Hellström – För sent för Edelweiss (post)
05. Bryan Scary & The Shredding Tears – Flight of the Knife (Part Two) (post)
06. Centro-matic – Quality Strange (post)
07. Chin Chin – Miami (post)
08. This Is Ivy League – London Bridges (post)
09. Cinderpop – Cinnamon Winter (post)
10. Soundpool – The Divides of March (post)
11. Russian Red – Nice Thick Feathers (post)
12. Bravo Johnson – Are You Dreaming? (post)
13. Bill Priddle – Like to Smoke (post)
14. Years Around The Sun – Failing At Art (post)
15. Needers & Givers – Digging (post)

DOWNLOAD ENTIRE COMPILATION>>> (55.3MB, .RAR)

The post Obscure Sound: Best of April 2008 appeared first on Obscure Sound: Indie Music Blog.

When a new band crafts a handful of tracks that they consider to be of the utmost quality, they are often faced with one of the first major decisions that they will make as a band. They could either hold on to the allegedly successful tracks and simply throw them onto their debuting album, or they could release them in EP form immediately and generate a hopeful amount of buzz for a debut album that would be released a year or two later. The drawback of the latter is that fans could potentially get disappointed if the other tracks on the album do not match the caliber of the earlier tracks, as the long margin of time between the EP and debuting album would leave enough room for the tracks on the EP to grow on the listener and eventually wear themselves out; it would likely leave the album with that feeling of discontent that many compilations grant a listener. A logical way for the band to prevent this, of course, would be to craft songs on the album that either match or exceed the quality of the tracks that were already released, leaving the listener with both old songs to rediscover and new ones that they can swoon over for the first time.

We saw an example of this sticky decision-making process last year with Voxtrot, the five-piece from Texas who released three massively acclaimed EPs before their self-titled debut album last May. While the debut was enjoyable, many fans (including myself) found themselves more accustomed to the style demonstrated on their earlier EPs, considering the quality of songwriting a step back from their earlier efforts. They will likely continue to have a successful career, but it was clear that both critics and fans were enamored with their predating material and it left some people asking whether or not the band was already on a decline. This year, The Explorers Club will be facing many of the similar questions. They release their debut album, Freedom Wind, on May 20th, preceded by a four-song EP that was released in 2006. 3 of the 4 tracks on their eponymous EP are included on Freedom Wind, including the undeniably exceptional “Forever” and “Don’t Forget the Sun”. When I first looked at the tracklisting, I have to admit that a feeling of initial doubt came over me. I loved both “Forever” and “Don’t Forget the Sun” to death when they were originally released nearly two years ago and I feared that the newer tracks would pale in comparison. However, as it turns out, my symptoms of doubt were simply rooted in the wavering confidence I had in the band, a feeling that has been rightfully corrected in the excellent Freedom Wind.

As I mentioned earlier, “Don’t Forget the Sun” has been a favorite of mine for a long time. In fact, going into the listening process of Freedom Wind, I had already accepted the fact that it would take a lot for a song to overtake it. True enough, it remains my favorite song by The Explorers Club in general, but it is heavily apparent throughout Freedom Wind that the newer tracks exhibit the same successful formula that made earlier songs like “Don’t Forget the Sun” so memorable. With that in mind, I doubt that you will ever read a review about The Explorers Club that does not mention Brian Wilson or The Beach Boys; “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”, another track off the debuting 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 are all most immediately discovered on the most radio-friendly tracks on the album, specifically “Forever” and “Do You Love Me?”. Those these will soothe the impatient listeners, the subtle beauties of several other tracks make them more enjoyably in the long-term. “Honey I Don’t Know Why”, for example, toys with raspy blues and melodic ’60s pop in the same track, distinguished respectively by verse and chorus. “But somethings gotta change, for my life needs to rearrange,” they sing somberly during the dreamy chorus. “‘Cause I’m gonna make you see that I’m gonna, I’m gonna do better now.” So even though my favorite track on Freedom Wind is an old favorite, the similar quality displayed on the rest of the album makes the listen just as worthwhile. It drops just in time for summer too, being the perfect type of album to blast in the car with the ocean’s breeze blowing in your face. It’s true… most of us are only a month or two away from the warm embrace of summer.

——————————————————————————————

The Explorers Club – Don’t Forget the Sun

——————————————————————————————

The Explorers Club – Forever

——————————————————————————————

The Explorers Club – Safe Distance

——————————————————————————————

Dead Oceans Records

MySpace

BUY

The post The Explorers Club appeared first on Obscure Sound: Indie Music Blog.

Some bands just love talking about themselves. I occasionally receive one-sheets that contradict both their namesake and purpose in providing an accessible introduction to a particular artist, instead supplying a sprawling ten-page account of a band that formed merely a few months ago. While I admire such a dedication and willingness to provide mainly helpful information to aid me in my writing, there remains an aspect of missing elusiveness that makes the band seem more, well, descriptively mundane. Though this certainly does not coincide with a “Media Marketing 101” course, sometimes a band’s stylistic nature calls for a mysterious aroma. Without a press release or bio in hand, it seems as if Polynya are letting their music do all the talking. It’s a wise decision too; a very fresh one that boldly demonstrates supreme confidence. I honestly know very little about them, just like the rest of the world at this point. Hell, I don’t even know what the name of their band means. The loyal Wikipedia tell us that a polynya is defined as “any non-linear area of open water surrounded by sea ice”, adapted from a Russian word used by 19th century polar explorers. If I ever run into that word during my upcoming (and irritatingly required) oceanography class, I’ll be sure to thank the band. They would probably prefer compliments regarding their actual music though, which are pleasurably easy to give.

You can find Polynya’s five members in the photo above, writing their names with the sparkling use of either wizardry, Photoshop, or both. In addition to their coveted ability of writing illuminated letters in thin air, Amelia, Andrea, Luke, Pat, and Thom are all skilled multi-instrumentalists. While their liner notes clarify several conventional instruments in the form of guitars, keyboards, and percussion, several “accompaniments” remain strikingly unique. Andrea takes control of the “wands”, Luke handles the “twinkles”, and Pat assumes care for “calculations and shoe”. Yeah, that is seriously how it’s listed on their self-titled debut album. While such a presentation seems more suitable for a mockery band like Harry and the Potters, Polynya’s enjoyably sarcastic sense of humor is misleading. The songs on the debuting Polynya are of a different, more earnest breed. With a thick influence revolved around post-punk, ’80s American underground, and alternative psychedelia, the freshly consistent Polynya have a core stylistic focus that competes with even the most experienced of musical veterans. As for the “twinkles” and “wands”, I’m led to believe that the band may have used them as oddly symbolic words for keyboards and guitars; the two instruments that serve as the melodic core of Polynya. Those expecting a sci-fi experience will be sadly disappointed. But then again, who the hell wants that?

Polynya was finally released on July 20th after four long years of development. Produced by two of the band’s members in Thom Canova and Luke Berchowitz, Polynya is a solid representation of a harmoniously imposing group effort as each of the five members play a vital role throughout the album’s thirteen songs. While the group is too dexterously diverse to pinpoint specific instrumental roles, the vocal duties appear to be handed out persistently to the melodic female section of the band; consisting of Amelia and Andrea, their vocal deliveries are as similar as their names. Though both vocalists have their spots on Polynya where they sing solo, their brightest moments shine during the duets. Such a tactic is displayed exceptionally during the swirling chorus of the standout “Without a Trace”. With a bustling guitar progression being the primary backbone of the song, a modified organ works well in the dreamy landscape that Amelia and Andrea craft with seaming ease. Touching on a tinge of psychedelia with a droning sensation of reverbed keys, “Without a Trace” remains commodious and soothing throughout. Though the repetitive structural nature leaves it straying about one minute too long, the sheer atmosphere of the song makes it more than worthwhile.

One of the most intriguing tracks on the album is the explosive “Sweatshop”. With most members of the band participating vocally in an anthemic spur of sorts, Luke Berchowitz delivers a slew of heavy guitar riffs as the majority of Polynya erupts into an exclamatory vocal choir. “Get to work now, this is for kids!” the vocal legion yelps, this time churning out an aggressively volatile male-female duet. Generally consistent in intensity throughout the entire duration, it is doubtlessly the most excitable track on Polynya. Though it is nearly the tonal opposite of the reposeful “Without a Trace”, “Sweatshop” brings an equal form of resolute satisfaction. The music video is just as hectically presented and furiously paced, featuring the band in an artistically monochromatic tone.

Heavier than “Without a Trace” but significantly more organized than “Sweatshop”, “Tarantula” is one of the group’s most resourceful efforts. Though the deeply layered guitar lines and collaborative group effort makes the comparison somewhat predictable, “Tarantula” reminds me somewhat of early Broken Social Scene. Driven by Thom Canova’s stirring bass line, it sees its share of prolific guitar work weaving through yet another lively male-female duet. Rhythmically sturdy and diverse enough to strongly grip the listener, “Tarantula” proves to be an accurate summation of Polynya’s indefatigable style. Though Polynya sees many post-punk and art-rock formulas used repetitively and often, the band’s awareness in how to properly utilize successful songwriting techniques makes for one cohesive listen. Polynya is a worthy debut from a promising band who is extremely aware of their own stylistic intentions, even if it all sounds somewhat familiar.

——————————————————————————————-

Polynya – Without a Trace

——————————————————————————————-

Polynya – Sweatshop

——————————————————————————————-

Polynya – Tarantula

——————————————————————————————-

Official Web Site

MySpace

BUY

The post Twinkles, Wands, and Calculations from Polynya appeared first on Obscure Sound: Indie Music Blog.