Distinction will never be an issue for Wild Beasts. With a voice like Hayden Thorpe’s, it almost seems as if the English four-piece could put any arrangement under his dramatic delivery and the result would sound great. A stylistically distinctive vocalist can bring a new group soaring to great heights, as a natural ability like this tends to compensate for musical richness and cumulative innovation among critics that are satisfied by stylistic ambition alone. Luckily for new artists like these, the rampant tendency of critics to proclaim an artist as the next big thing based on stylistic accomplishments alone leads to recognition that is often undeserved (though this plight is common in the music industry regardless). There is often a disregard for the effectiveness of songwriting and cohesiveness of the respective release, prompted by a certain characteristic embedded in the artist’s sound that drastically separates them from their influences and contemporaries alike. In music, compensation for the insufficient is a manipulative process that results in artists either reaching their pinnacle or becoming forgotten by any indication of a fan base. Certainly there are some artists that dabble in perfection and never need to undergo this developmental process, but in this day and age where creativity is dampened by an excess of influences it is hard to look past a style that either creates feelings of extreme detest or excitable captivation among its listeners.

Unlike most other indie-rock newcomers, Wild Beasts probably were not the most desperate for a fan base right away. Most groups that successfully hearken back to a nostalgic style hardly are. It would be easy to slide Wild Beasts into a grouping that includes British Sea Power, Glasvegas, and perhaps even Franz Ferdinand. While Wild Beasts are generally darker and more distinctive in tone, these are all acts that wear their influences on their sleeves, showing no reluctance to bring out theatrical vocals in the vein of Queen or Sparks over eerie guitar progressions deriving from ‘80s post-punk. Classifying British Sea Power and Franz Ferdinand in this niche may be a slight reach though, as their roots tend to be more reflective of this decade’s art-rock push than the somberness of post-punk. Their voices though, whether it is Alex Kapranos or Yan, tend to emit a similar croon that is both deep in its audible and figurative meaning. The difference between these groups and Wild Beasts is quite simple though. The groups like Franz Ferdinand have lately striven for commercial access, releasing perfectly capable material in that regard but hardly breaking through any stylistic boundaries. Wild Beasts are so impressive because they are devoid of this pop-fueled desire, instead opting for the teary-eyed dramatics that made legendary post-punk acts like The Chameleons UK, Joy Division, and Billy Mackenzie so memorable. This authenticity is one of the reasons why their songwriting may be overlooked, which would be positive if they were generic songwriters. As it turns out though, the work on their new album is exceptional.

The most quirkily enjoyable thing about Wild Beasts is the juxtaposition of their varying influences. Thorpe’s lead vocals are strongly reminiscent of the quivering cries for help that Billy Mackenzie made famous in the realm of post-punk, but their music often hints at lights of optimism that are rare in a genre that encompasses such an enjoyably sullen haze. But while Thorpe makes post-punk the most oblivious practice on their second album, Two Dancers, but their tendency to use unconventional practices like chirpy guitar progressions or exhilaratingly anthemic choruses is what creates their signature sound. They are able to reach into the depths of sadness without coming across as melodramatic, just as they are able to scale the dizzying heights of pop elegance without coming across as too desperate for fame and fortune. These tendencies result in a sound that borrows neither too much from the past nor excess from the present, resulting in a sound that is fresh and engaging without being classified into the ridiculously flexible genre of art-rock. Two Dancers is a tremendous growth in development from Wild Beasts’ 2008 debut, Limbo, Panto, that sees the four-piece expanding upon a nostalgic sound that is revitalized by fresh pop hooks and an unforgettable voice that reminds us of a few musical treats from the decade of greatest excess, the ‘80s.

Falsettos have recently been tied to comedy or musical spoofs, with most artists too afraid of the delicate tactic to actually implement it into their sound. It seems to come natural for Thorpe though; he flawlessly flaunts it on practically every song. Like Antony and the Johnsons though, it is perfect for the style. “Hooting & Howling” contains just enough energy to show off Thorpe’s ability, but maintains the lush and relaxed composure of the general album with steady percussion and sporadic piano additives. Thorpe retains a sort of seductiveness that pertains more to the revolutionary performers of the ‘50s, even if the African-inspired percussion and thick guitar progression sound distinctively from within the past 25 years. This is him at his most upbeat, effortlessly eluding the stereotyping of melodramatic post-punk with a youthful, finger-snapping impression that prepares their style for a generation full of romanticized drama kings and queens.

“When I’m Sleepy” or “All the King’s Men” is more apt for that sort, being more direct in their respective descriptions of death and desperation over mumbled vocals that weep and yelp over anguished guitar lines. The bass lines are subtler than typical post-punk, but the dramatics of the distorted guitars and weep-y vocals are still there, stuffed with pop-oriented theatrics that make the style more accessible for those somewhat opposed to the dramatics of Joy Division or The Cure. “We Still Got the Taste Dancing on Our Tongues” finds Thorpe’s most theatrical crooning uplifted by guitar tremolos and sprinkles of haunting keys that coincide with his vocals to craft a sound that is as elegantly uplifting as it is haunting and serene. And this is what Two Dancers is; it serves as phenomenal album that quickly follows up a debut to prove that Wild Beasts are more than clever stylistic imitators. Most importantly, it shows that they are great songwriters and producers in their own right, leading to the credibility of all forthcoming recognition.

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Wild Beasts – Hooting & Howling (video)

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Wild Beasts – All the King’s Men

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Wild Beasts – We Still Got the Taste Dancing on Our Tongues

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Urban legends and Hollywood productions certainly have a hand in molding the common perception of being in a band. Want a bowl of M&Ms in your room after the show, with all the brown ones removed? It’s on the way, sir. How about suggestively introducing some groupies to live seafood? Sounds fun. Between urban legends like these and the handful of pseudo-rockumentaries in the vein of Almost Famous, the romanticized concept of existing within a popular band has existed at least since the British invasion’s introductory use of rock ‘n’ roll stereotyping in the early ‘60s. Since that time, what these aspects of film often seem to overlook are the artistic obstacles involved in this creative process. They instead choose to focus on the overly grandiose lifestyles and unique personalities of the band members themselves, often showing artistic struggles as the result of drug addiction or non-commitment. After all, what is going to sell more: sex and drugs or watching an aging band attempt to write songs together? Commercialism tells us that it is the former, so it remains difficult to criticize these filmmakers for attempting to make the elements of existing within a popular band accessible and engaging. To deal with such expected fallacies though, looking at the reasons for the California-based Klum’s imminent success should enlighten many fans in regard to the inner-workings of a successful group more than any overly dramatized film or VH1 special.

When one looks back upon the most successful rock groups of the 20th century, it is distinctive that practically every group was based on collaborative quality. Led Zeppelin, The Beatles, and Pink Floyd all had some members that attracted the spotlight more than other members, but their mutual infusion of collaborative quality was a distinction that allowed their music to live without any major constraints that ended their careers as a group too abruptly. Many of these groups included members that could pick up nearly any instrument and start strumming away to perfection, indicative of their musical talent but also of their willingness to make communication between members as clearly as possible. Instrumental differences are a common detriment to a cumulative songwriting process, as the greatest songwriters tend to exhibit audible mastery of every instrument included in their work. Being a multi-instrumentalist or at least having a respectable grasp of a broad array of instruments makes working with others significantly easier, as their ideas can be extracted easily and fused with others to create something genuinely worthwhile. The six members in Klum are all multi-instrumentalists and it allows their songwriting to serve as a display of an extraordinarily impressive cumulative effort, reinforced by a mutual dedication to melodic astuteness and successful pop experimentation that each member demonstrates in their own unique way.

Klum’s second full-length album, We Carelessly Turned Amazingly Into Nothing, can show the band’s excellent chemistry just in the quality of the eleven songs alone, but experienced listeners will likely walk away more impressed by their ceaselessly unpredictable approach and tactful cohesiveness. Klum delivers the type of experimental pop music that hardly sounds experimental, an oddly exciting result that derives from infectious melodies, uplifting brass arrangements, and an unpredictable assortment of instrumentation and vocalists. As far as the classification of their genre goes, Klum and their efforts on We Carelessly Turned Amazingly Into Nothing are not restricted by any linear stylistic identity. “For Sale a New Life” plays like an amiable indie-pop charmer with its twinkling keys and ukulele accompaniment, while the fascinating “The Showmen” benefits from boisterous electric guitars, backing pub-like yelps, and concise brass arrangements. The former sounds like some spawn of Unicorns and The Leisure Society, while the latter finds distinctive comparisons to Elbow, British Sea Power, and art-rockers in the vein of Franz Ferdinand and Dogs. These comparisons alone suggest a vast difference in style on a track-by-track basis, which is true. But what must not go overlooked is Klum’s apparent ability to implement the stylistically diverse into a style that is honest, unique, and something that they can truly call their own.

While “For Sale a New Life” does a great job of showing off the band’s indie-pop leanings and “The Showmen” fulfills the task of successfully exposing Klum’s grittier, rock-oriented side, it is a few of the more interesting tracks on We Carelessly Turned Amazingly Into Nothing that really make it one of the most memorable debuts of the year thus far. The opening “Bashing for the Kids” plays with over-the-top guitar riffs and ardent vocal deliveries in a way that Black Kids would envy, indicative of Klum’s ability to bring out the expressively effective without appearing melodramatic. In fact, Klum seem free-spirited and fun most of the time, even during the somber chamber-pop balladry of “My Baby’s Just Stardust” and the twinkling build-up to the distorted angst of “Our Monster’s End.” Perhaps the biggest gem on the album though comes from “Nonbeliever”, an undeniably fist-pumping frenzy of a track that shows the group’s talents most prevalently. The various vocal melodies howl like wolves at the moon when the first verse is introduced, led astray over a catchy piano progression and a variety of samples that allow the song to be simultaneously haunting and infectious. The overlapping vocal harmonies of Brock Flores, Joe Fraley, and Aaron Arkenburg allow concurrent high-pitched and low-pitched vocals to supplement the brilliant intricacies of “Nonbeliever” as it flawlessly concludes the track. “Nonbeliever” should be all a listener needs to be convinced of Klum’s blatant ability, but the likes of “For Sale a New Life” and “The Showmen” also do a fine enough job. In fact, if I were forced to choose one track to represent this album, it would prove extraordinarily difficult. We Carelessly Turned Amazingly Into Nothing is too consistently memorable for such linear classifications.

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Klum – Nonbeliever

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Klum – For Sale a New Life

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Klum – The Showmen

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Though there are still a few underexposed albums from 2008 that I will feature in the coming weeks, it is most certainly not too early to move on to 2009. We have only slightly more than three weeks left and, with the “Top 50 Albums of 2008” being published next week, I figured it would be nice to spur up some excitement for the upcoming year. A convenient way to do so would be to listen to Vacilando Territory Blues by J. Tillman, a folk songwriter who is perhaps best known as the drummer for one of this year’s breakthrough artists, the Seattle-based Fleet Foxes. With his band’s self-titled debut proving to be one of the most talked-about releases of the year, Tillman has found himself at a rather strong place for dramatically increasing the recognition of his solo project. Although he has flown somewhat under the radar since his first slew of releases in 2004, his material has always shown a form of potential that has many convinced of Tillman’s imminent breakthrough. Some may consider it insulting if I said that Fleet Foxes’ will likely be a major contributor to his success as a solo artist in 2009, but I refer purely to the aspects of exposure. The quality in his music undoubtedly represents a clear vision and studied talent, but this does not always equate to widespread recognition. Being a major component in one of this year’s most acclaimed groups should lead to a higher interest level in Tillman’s work, leading to the increase in audience that his music truly deserves.

The beginning of Josh Tillman’s music career traces back to New York City in the beginning of this decade, when he was a college student. After honing his experience as a drummer by participating in a handful of gigs with Saxon Shore, he relocated to Seattle and began touring with promising folk acts like Damien Jurado and Rosie Thomas. Around this time, Tillman also began touring under his solo name of J. Tillman to gauge the reception on a variety of songs he had written. This evolved to the release of several albums released via CD-R, which he distributed personally at shows and through the Arizona-based KEEP Recordings. I Will Return was released in 2005, with Long May You Run, J. Tillman and Minor Works being distributed the following year. The September release date of Minor Works also coincided with Tillman signing with the French-based Fargo Records. The label also went on to release both I Will Return and as a single package the same year, making all of Tillman’s releases to date widely available in some form. The release of the LP Cancer and Delirium in 2007 saw Tillman sign on to yet another label in Yer Bird, marking his most elaborate album to date. As you can see, for someone with so much talent and so many label changes in such a short period of time, Fleet Foxes’ success could not come at a better time for both Tillman’s status as their drummer and a solo artist in his own right.

Additionally, now that three of Tillman’s LPs (I Will Return, Long May You Run, J. Tillman, and Cancer and Delirium) are available via iTunes courtesy of Autumn Tone Records and his other one, Minor Works, is available via Undertow Music, it gives people no excuse not to check his material out. It is a generally fascinating journey to check out his releases in succession, as his evolution from a rather minimalistic folk songwriter to one that incorporates elements of folk, pop, and indie-rock into a very enjoyable formula is done enjoyably without being too forceful or overbearing. If anything, it offers up-and-coming musicians a very admirable approach on how talent can evolve through patience and experience over commercialized desperation. It is heavily apparent that Tillman is going to find widespread success eventually, and it looks to be quite soon too with the upcoming release of Vacilando Territory Blues on January 20th. Coinciding with how his albums seem to get better with each passing one, Tillman’s newest effort proves to be his most consistent to date. While other January releases from the likes of Animal Collective, Franz Ferdinand, and Andrew Bird may be receiving the most attention at this point and time, it would be a shame to overlook this gem. I will say this much: If it were being released this year, I would have to shuffle around some albums to make room for it on my Top 50.

In comparison to his work with the psych-folk leanings of Fleet Foxes, Tillman’s approach on Vacilando Territory Blues is rawer, darker, and ultimately less reliant on ambitious methods of production. Not to take any jabs at Fleet Foxes – because their songwriting is extremely impressive – but some of their material’s success can be attributed to some brilliant production, which is to be expected considering their highly contrastable style of psych-folk. Like his previous albums, Tillman’s Vacilando Territory Blues is a representation of his sheer ability, whether it be through his gorgeous songwriting, the captivating quiver of his consuming vocals, or the beautiful lyrical imagery he is able to convey. The production is certainly sharp, but there are no underlying subtleties that alter the presentation in any significant form. “Firstborn”, for instance, is led initially by nothing more than an acoustic guitar, with smatterings of keys delicately smoothing out the rough edges. The chorus sees the keys rise into a more prominent spectrum while Tillman delivers a series of haunting “Oooh”s over the climaxing percussion. The track concludes with the chorus being accompanied by nothing more than that initial guitar, reminding listeners that Tillman’s presence alone is strong enough to carry a track into great heights.

As a likely single, “Steel on Steel” is most certainly one of the most jubilant tracks on Vacilando Territory Blues. Lively rhythm section and brass accompaniments are the two main components at work here, with Tillman’s caressing vocals maintaining the same composure despite the instrumental accompaniment’s moments of carefree exuberance and unexpected . It is joyous, yes, and it attests to Tillman’s emotionally eclectic nature as a songwriter. Not only is he able to craft brooding, minimalistic gems like “James Blues” and “Vessels”, but intricately vigorous forms of enthusiasm like “Steel on Steel” and “Laborless Land” are pulled off just as precisely. “Laborless Land” is pure beauty, accompanied by a series of riveting strings that sound simply stunning over Tillman’s vocals. His croon sounds both frail and soaringly majestic, an extraordinary combination that causes even his more linear arrangements like “Master’s House” and “Vacilando Territory” to result in great successes. As an artist who has been consistently releasing quality material for several years now, Tillman’s extremely memorable Vacilando Territory Blues looks to be the one that will give him the recognition he deserves.

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J. Tillman – Steel on Steel

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J. Tillman – Laborless Land

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J. Tillman – Firstborn

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With acclaimed artists like Belle & Sebastian, Franz Ferdinand, and Mogwai becoming highly reputable names over the past few years, even the youngest of indie-rock fans are beginning to recognize the Scottish town of Glasgow as arguably the most productive city for new and talented musicians. While one would be able to make a compelling argument for other cities being more active in relevance to music-related quantities or other financial matters, the music scene in Glasgow has always been recognized as ceaselessly exciting due to the sheer amount of stylistic variety. There are no forms of stereotypical rock ‘n’ roll, hip hop, or country to be expected from the city’s most successful artists, but rather a smörgåsbord of different artists who achieve success from stylistic methods that differ dramatically from one another. Whether one prefers the epic post-rock of Mogwai, contemporary indie-rock in the vein of Franz Ferdinand and The Fratellis, or varied legends of their craft like Aztec Camera, Teenage Fanclub, and Orange Juice, Glasgow is a city where musical tastes are not a variable factor in an equation for artistic enjoyment; one will find some form of localized satisfaction regardless of their preferences, as the city offers a plethora of artists suited for a wide array of tastes.

Though Glasgow serves up plenty of artists who take their style from no geographical archetypes, Frightened Rabbit happen to be a band that American and British fans will have a difficult time differentiating from the form of indie-rock that they have grown accustomed to. I mean that mainly as a compliment too, as the four-piece sees substantial success from a generally accessible methods of successful indie-rock songwriting that rely on overlapping vocal melodies, driving guitar progressions, and steadfast rhythm sections in similar forms to that of western indie-rock staples like Modest Mouse, The Shins, and even the Arcade Fire when their early releases propelled them into a state of cult-like fanaticism. Like fellow Glasgow-based contemporaries Belle & Sebastian, Frightened Rabbits’ broad sense of ambition remains admirably prevalent, yet they allow enough room for such aforementioned classifications of indie-rock conventionalism too be classified more appropriately as independent futurists. Founding members Scott and Grant Hutchison probably meant for their craft to be delivered in such a familiarly comforting form as well, as the brothers have shown a noteworthy amount of potential since they formed the group in 2004. With Scott as a guitarist and Grant as a percussionist, the two originally began writing songs and preforming them for family members. Upon the urging of friends and family, they eventually decided to pursue the project full-time. Guitarist Billy Kennedy joined the group in 2006, with bassist Andy Monaghan making his debut with the band earlier this year.

When Frightened Rabbits started work on their second album, The Midnight Organ Fight, the four members found themselves in a position that was quite unfamiliar to them. For the first time in their musical careers, they had others apart from their families and friends in Glasgow who recognized their talent. Because of their critically acclaimed debut, Sing the Greys, in 2006, Universal decided to pick up the album and re-release it in the U.S. and U.K. last year. Now, after playing at a variety of American shows and festivals like SXSW in a coinciding effort with their re-release, they have amassed an overseas audience that is very respectable for a band with merely one album. On an artistic standpoint, The Midnight Organ Fight also proves to be the first opportunity for the group to rework any of the minor flaws that dragged Sing the Greys down. Considering that it got in the hands of many people, they likely had plenty of critiques to work off of. Well, whichever method they chose to use, The Midnight Organ Fight is a significant step-up from their impressive debut. Produced by Peter Katis (he was behind the first two Interpol albums and the two most recent albums from The National), it represents an improvement upon both aspects of production and the songwriting.

The four members of Frightened Rabbit also consider The Midnight Organ Fight to be the most personal piece of art they have released. “This album [The Midnight Organ Fight] is a lot more intense than the first one. There’s a lot more blunt imagery,” Scott Hutchison said, alluding to the somber feelings of suicide, depression, and regret that lingers throughout the album. Still though, Scott considers optimism to be a proud component of his band’s lyrical output. “I always feel that no matter how morose the subject matter, there’s always a way that we – as a group – find of putting a positive slant on it, whether it be a depressing lyric put to a really pleasant melody or just a positive spin in the end. I hope people don’t feel depressed when they listen to our music.” With the abundance of hooks, fleeting melodies, and underlying instrumental additives, I doubt Scott has any reason to worry about listeners feeling down. Take the opening “The Modern Leper” for instance, an infectious tune whose success owes a significant amount to Hutchison’s distinctive Scottish accent. In stark contrast to Glasgow-based bands like Belle & Sebastian or The Jesus and Mary Chain, their accent is enjoyably evident and adds a uniquely enjoyable flavor to the result. Despite the lyrics foretelling the impact that ignorance has on societal limitations, melodic elements like Hutchison’s genuine yelp during the song’s bursting chorus can’t help but remind listeners that hope always has a chance of prevailing in the end. And on Frightened Rabbits’ gratifying Midnight Organ Fight, the sense of hope has turned simply into an element of great expectancy; instead of treading in unfamiliar waters, Frightened Rabbits’ newest effort commendably shows them as a band comfortable with their own stylistic delivery.

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Frightened Rabbit – The Modern Leper

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Frightened Rabbit – Fast Blood

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Frightened Rabbit – Head Rolls Off

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It is always interesting to explore the new solo project of an artist whose familiarity remains strong to the listener, primarily because of a past group or project they participated in. Unless the artist decides to transform their style into an instrumental spawn of some genre that is entirely unfamiliar in comparison to their earlier works, vocalists usually have the most arduous time in separating themselves from previous releases and niches. Even if they were to go from lush folk to intensified metal, these artists often discover that critics deem prior musical engagements inseparable. I personally find it to be the fault of laziness on the critic’s part on most occasions, though it is true that some songwriters simply are not talented enough to dwell on more styles than one. Others, however, discover stylistic variety naturally, increasing their reputation as an eclectic songwriter and performer even more so. I have mentioned Rick Colado on this site before, with his band, Julius Airwave, being one of the most surprisingly enjoyable artists of the past year for me. When I wrote a feature on their second album, The City, The Forest, a year ago here, I was impressed with the group’s ability to deliever amiable hooks through the traditionally laden style of indie-rock.

Led by infectious arrangements that were primarily bolstered by the leading melodies of guitars and keys, Julius Airwave’s exceptional “Appley” become one of my most revered tracks of 2007. It was an enjoyably simplistic indie-rock romp that recalled the likes of The Strokes and Franz Ferdinand, with such likable comparisons leading me to believe that thre group was well on their way to becoming a relatively domineering force in indie-rock. Though The City, The Forest was one of my favorite albums of the year (#40, to be exact), it never caught on like I thought that it would. I suppose it would be easiest to blame the five-piece’s preference of style, as their blend of typical indie-rock allowed plenty of alternatives that proved more reputable in the eyes of the mainstream press. Still, the songwriting displayed on songs like “Appley” and “Glory, Glory” leads me to believe that the group’s efforts are not fully diminished yet. Though it applies to thousands of other bands, they are just one hit away from getting the recognition they deserve. Julius Airwave, however, certainly has the undeniable talent to do so. Even if it does not work out though, lead songwriter, vocalist, and multi-instrumentalist Rick Colado has something else to fall back on: his own solo project. Going under the name of RickoLus, he provides a style that is both equally promising and enjoyable.

Generally discarding the guitar-based distortion and elaborate rhythmic supplementations of Julius Airwave, Colado’s solo efforts are more reminiscent of breezy indie-pop. He capitalizes on the allure of DIY lo-fi, focusing on a variety of delectably weightless keys and charming acoustic guitar progressions over Colado’s amiable vocals; the voice remains familiar but the approach differs, mainly in lyrical approach and melodic conveyance. Though it contains a similar degree of infectiousness when compared to Julius Airwave, the integration of acoustical instruments over less convoluted arrangements creates cause for a more personable approach. Generally seeing RickoLus as a project of constant development and artistic progression, he has offered all the tracks for free on his web site. The site features three albums and one “soundtrack for a movie that’s never been made”. Being his lengthiest venture yet, Colado’s newest album is American Backyard, released late last year. Featuring 12 tracks of Colado’s most refined indie-pop yet, it is well worth the download. Though some tracks suffer from repetition and general fatigue, Colado’s ability to craft hooks has clearly been carried over from his work with Julius Airwave. In RickoLus, they are just more subtly placed.

Out of all the free tracks on Colado’s site, I consider the most impressive to be “Backyard Baby”. Like many of his other solo tracks, the instrumental focus remains on the responsive actions between acoustic guitars and keys. With the simplistically steady percussion backing up, . It sounds tropical, yet innocent in a way that Colado clearly intends for. The chorus is the most enjoyable snippet, with Colado raising his emotional pitch and singing reflectively melodic notes over an increased sprinkle of keys. “Sicamore Sally” is further demonstrative of Colado’s songwriting abilities, this time showing his tendency to implement transitional tempos. Colado plays with the floating-at-sea angle during the song’s first of several parts. “Sicamore Sally” later makes the transition into a bouncy indie-pop ballad with Colado’s acoustical progression mashing with the increased percussion. When that subsides, the track ends where it started with Colado singing his exuberant “yo-ho-hoho-hos” over skewered harmonics. “Lucky Me” is more traditional than the other two in an indie-folk sense. Though additional instruments accompany the melody a handful of times, the emphasis now lays on the minimal usage of an acoustic guitar, backing percussion, and Colado’s vocals. A slight key pad supplements the airy melody and Colado delivers a slew of hooks using his vocal ability alone, capturing the listener with a series of well-placed whistles and heightened pitch deliveries. Both accessible and simplistically impressive, most of the material on Colado’s site is well worth the download.

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RickoLus – Backyard Baby

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RickoLus – Sicamore Sally

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RickoLus – Lucky Me

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If you live in Los Angeles, attend parties every weekend (or weekday), and love to dance (or just listen to it), then the name Steve Aoki probably sounds more familiar than George W. Bush. Aoki has more fans, I can say that much. A part-time DJ and full-time founder of Dim Mak Records, Aoki is a staple in California under his DJ Kid Millionaire moniker. His reputation as a DJ is largely unmatched in California and his skills as a musical entrepreneur are just as impressive. Success seems to run in the family too; his father, Rocky Aoki, is the owner and founder of the Benihana restaurant chain and his half-sister, Devon Aoki, is a very popular model and actress. You may know her best as the elusive Miho in “Sin City”. Even though his family provides for some fun facts, the careers of Aoki’s father and sister is largely irrelevant to his importance in the music scene. With his natural proficiency and keen ear for quality, Aoki would have likely had this reputable status even if his childhood was unprivileged. Simply put, he knows good music when he hears it. Whether it be in his knack for remixes or discovering a soon-to-be hit artist, Let’s put it this way: If you were a music executive in California, you want DJ Kid Millionaire on your side. His record label, Dim Mak Records, is the label responsible for making Bloc Party one of the most popular indie-rock bands in the world, with newly signed artists like Klaxons, The Rakes, and Mystery Jets already making names for themselves.

I admit that I am not usually one to become infatuated with mix tapes, as I am one of those guys who always prefers the “full experience” of a cumulative album over a few select tracks . I usually see it as a clever romantic gesture though; a good mix tape always works well as a mini-Christmas gift for that special someone. The hardest thing when compiling one, though, is the mentality that the tape is not just for the compiler. It is for the intended audience, whether it be one person or 100,000. With his massive following, Aoki understands that the amount of people listening to his debut mix album, Pillowface and His Airplane Chronicles, will likely approach the 7-digit mark. Featuring guest vocalists Steve Bays (Hot Hot Heat), Mickey Avalon, Todd Fink (The Faint), and Uffie alongside crafty remixers like MSTRKRFT, Erol Alkan, Soulwax, and Weird Science, Aoki has expectedly chosen a bunch of very enjoyable remixes for his fantastic mix debut. Though tracks like Justice’s “D.A.N.C.E. (MSTRKRFT Remix)” and Klaxons’ “Gravity’s Rainbo (Soulwax Remix)” have been favorites on the blogosphere for several months now, Aoki has compiled the best remixes from the indie-electro scene of 2007.

Considering that Aoki plays dozens of the latest (and somewhat undiscovered) electro-dance hits every night, one would expect Pillowface and His Airplane Chronicles to be exceptional. They certainly will not be disappointed either, with several instrumental and vocal additions being highly notable. Steve Bays lends his whimsical whimpers to the frantic rush of Datarock’s infectious electro-funk in “Fa-Fa-Fa” and they fit surprisingly well in the process. While not a drastic overhaul by any means, it is hardly subtle either. Erol Alkan’s version of Franz Ferdinand’s “Do You Want To” sees him drag out the introductory guitar lick for about a minute, shortly supplemented by a pulsating bass synth that adds a whole new grip to the song. It manages to be enjoyable without sounding too similar to the original, yet the regained guitar licks still adds an aroma of art-rock that stands strong. When a light synth echoes Alex Kapranos’ original vocal melody in the last several seconds of the remix, it serves as quite an accomplished tease. Artists on Aoki’s fantastic Dim Mak label are also represented well, specifically Mystery Jets and Scanners. The Rilton Re-Dub mix of Mystery Jets’ “The Boy Who Ran Away” is also commendable, using a variety of glitch effects over the slight tinge of eerie synths. L.A. Riots’ remix of Scanners’ “Low Life” is just as good, being more intensely repetitive but arguably even more enjoyable than the original. Additionally, though it may be deemed as a guilty pleasure for many, Peach’s minimal vocal involvement in Weird Science’s remix of Bloc Party’s popular “Helicopter” is substantially pleasurable. Imagine that.

Though the conventional purpose of a remix is to expose a song in an enjoyable new light, some tracks on Pillowface and His Airplane Chronicles like “Low Life” and “Gravity’s Rainbo” actually exceed such boundaries and come close to or surpass the original. Thanks to DJ Millionaire for compiling this gem; apart from the screamo touch in Refused’s opening “New Noise” (it’s simply not my style), the following 16 tracks will have you tapping your feet long past dawn. Aoki seems to literally DJ every night and, though most of the dates are in California, he will be making a few shows in New York, Chicago, Washington, and Nevada in late January. Check out his upcoming shows on his MySpace. Want to see what an average show hosted by Steve Aoki looks like? Boom. Yeah, the dude knows how to make kids dance. He is able to, quite literally, be the life of a party.

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Klaxons – Gravity’s Rainbow (Soulwax Remix)

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Justice – D.A.N.C.E. (MSTRKRFT Remix)

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Datarock – Fa-Fa-Fa

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Franz Ferdinand – Do You Want To (Erols Alkan’s Glam Racket Remix)

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Mystery Jets – The Boy Who Ran Away (Rilton Re-Dub)

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Scanners – Low Life (L.A. Riots’ Remix)

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Bloc Party – Helicopter (Weird Science Remix feat. Peaches)

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Dim Mak Records

MySpace

BUY

The post Steve Aoki’s Pillowface and His Airplane Chronicles appeared first on Obscure Sound: Indie Music Blog.

The “sophomore slump” is a term that has been applied a countless number of times for musicians, with indie-rock artists arguably being in that recent undesirable majority. It often proves difficult to attempt to pinpoint the cause for such drop-offs in quality, though I believe much of it can be accredited to the amount of pressure an artist receives from their label, the press, and the masses of fans who follow in their every step. Believe it or not, unless one is as stiff as a double shot of absinthe, even wildly successful artists can get distracted by overpowering emotions, just like the rest of us. Several indie-rock artists this decade have ridden the hype train, with some surviving and others vanishing without a trace. Though their talent and ability have and will continue to carry acts like Interpol, Arcade Fire, and Franz Ferdinand to the top for the next several years, they are just a few major names whose sophomore releases I found to be distinctively inadequate compared to its preceding debut release. Now, keep in mind, none of those artist’s second album were bad by any means. Instead, they were simply not up to par with the band’s potential displayed in the debut. Additionally, though quality is often deemed to be determined by one’s own personal taste, the introduction to a band’s style is inarguably vital. First impressions are usually the most memorable, often making debuts either a rampant cause for acclaim or distaste. Sophomore albums are often a slight indication of whether or not the artist can hold their own with future releases. However, for many artists, it takes more than just one successive release to get the ball rolling again.

In regard to British Sea Power, I admit that they initially set my expectations at a nearly insurmountable high. I consider their fantastic 2003 debut, The Decline of British Sea Power, to be one of the best debuts of this decade and I continue to give it a listen every so often. It is one of those albums that never seems to get tiring, with absolute stunners like “Carrion” and “Fear of Drowning” nearing tireless, astonishing perfection. With their incorporation of post-punk, garage rock, and Brit-pop reigning supreme in most cases throughout the album, British Sea Power quickly escalated into indie-rock favorites. Though they may not have been as commercially successful as many of their contemporaries, I truly believe that The Decline of British Sea Power competes with indisputable classic debuts of the decade like Interpol’s Turn on the Bright Lights and The Strokes’ Is This It. They released their second album, Open Season, in 2005; the result was not something I was too personally enamored with. Like the aforementioned artists above, it was certainly not a bad follow-up by any means. It was just simply a step back, the complete opposite of what the band intended to do.

Shortly after the release of Open Season, keyboardist Eamon Hamilton left British Sea Power to focus on his own group (The Brakes). Despite the loss, the band trekked onward as a four-piece and released an EP, Krankenhaus?, in October. The five-track EP eventually served as a teaser for their third and most recent album, the appropriately titled Do You Like Rock Music?, featuring two songs from the upcoming album in “Atom” and “Down on the Ground”. As we near the newest album’s UK release date of January 14th (February 12th in the US), I cannot hold my excitement in much longer. This is a complete return to form, reminding me what astonishing potential British Sea Power displayed in their powerful debut.

Wasted potential is always depressing and I feared, with the release of Open Season, that British Sea Power would either attempt to reinvent their sound or tread in mediocrity for the remainder of their careers. However, as I have learned, artistic pessimism hardly ever leads to satisfaction. With Do You Like Rock Music?, the album’s title seems hypothetical in relation to the brilliant content it conveys. With it, I have once again regained hope that British Sea Power could indeed be one of the most inventive indie-rock bands of the decade. It all begins suitably with “All In It”, a brooding build-up where a choral vocal accompaniment sings reflectively over the steady beat of a snare drum. Once the song begins to subtly fade out and the murmur of a church organ is the only audible presence, a burst of percussion and high-pitched guitar effects collapse onto one another, creating a monumental hook that sets the tone for the rest of Do You Like Rock Music?. The brilliant “Waving Flags” is the best song that British Sea Power have written since the classic “Carrion”, crafting their trademark sound of epic, guitar-oriented rock into a state of pure bliss. Once the ardently grandiose chorus kicks in, any skeptics of the Brighton-based four-piece will likely cower away. Scott (Yan) Wilkinson’s vocals remain a domineering force throughout the song, only taking a break when the chorus hits and the song’s introductory melody is repeated in new full-fledged form by shrilly executed guitars. Unlike the majority of indie-rock acts, the structure remains unpredictable with a flurry of newly utilized guitar progressions and vocal-led arrangements constantly being implemented to provide a sensation of quick-witted brilliance. The best song of 2008 so far? Though we have over a year for other entries, it very well may be at this point.

Though the structure remains more consistent and the instrumentation more simplistic, the glimmering “Canvey Island” once again finds its strength in a explosive chorus, fully cemented by a preceding verse and bridge where the murmur of strings are presented over the slight strumming of an electric guitar. Depicting the great North Sea flood of 1953, the suitably named British Sea Power carry the song in full force, touching on feelings on disastrous disbelief as Wilkinson resoundly croons, “Don’t you think its strange, you know, the way it all works out? Brace yourself for storms and summer drought.” Wilkinson’s voice always personally reminded me of a powerful fusion of Ian Curtis and Bruce Springsteen, though his transitioning range really makes comparisons dependent on the particular song. Nonetheless, “Canvey Island” is a very enjoyable track that depicts elements of patriotism tinged with past anecdotes, fully bolstered by British Sea Power’s ceaselessly exciting arrangements and melodically efficacious harmonies. I just mentioned yesterday how Beach House’s Devotion was my premature favorite album of 2008 so far. Well, Do You Like Rock Music? has just nudged it softly into the #2 slot.

Grouped in with guitar-based epics like the several-parted, 6-minute “Lights Out for Darker Skies” and the sheer distorted force of “Atom”, the beautiful “No Need to Cry” rounds off the album very nicely. Being somewhat of a new approach for British Sea Power, they pull off the sympathetic throwback love ballad with ease. Wilkinson turns his vocal intensity down a notch but compensates it with a lush assortment of guitars, subdued percussion, and cooing backing vocals. Unlike the stadium-sized intensity of the choruses in excellent tracks like “Waving Flags” and “Canvey Island”, “No Need to Cry” uses a more subtle approach in being uplifted by a simplistic sprinkling of keys. Regardless, the result is stunningly beautiful when a violin cleverly emerges from the layers of delicately crafted sound during the song’s final few moments. Once the concluding track, “We Close Our Eyes”, ends after being merely an excellent expansion of the opening “All In It”. Do You Like Rock Music? opens, continues, and concludes in the same way: with complete quality. So, if for some reason, the question of “Do you like rock music?” remains etched in your head, it should be quite easy to answer. In regard to this specific album, the answer is an unhesitant “yes”.

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British Sea Power – Waving Flags*

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British Sea Power – Canvey Island*

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British Sea Power – No Need to Cry*

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Official Web Site

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*Upon request, tracks are now streaming only.

Want to learn to play the indie music you love?   Are you looking to purchase electric guitars? If so, the Internet is the perfect place to buy a new musical instrument. They have a massive warehouse of acoustic guitar, keyboards, and dj equipment for sale.

The post British Sea Power Likes Rock Music appeared first on Obscure Sound: Indie Music Blog.

Hail Social are one of those bands that you can throw comparisons around all day for. Their eclectic mixture of synth-pop, post-punk, and most other genres with an included dash is both highly engaging and infectiously melodic, spurring some of the catchiest tunes of 2007 with their excellent sophomore album, Modern Love and Death. Hailing from Philly, this stylistic group has successfully followed and conquered the initially grueling path of a commonplace local band with big aspirations. However, unlike most other bands with humble beginnings, Hail Social made it to the big time based on rousing first impressions alone. Originally found playing exclusively to local audiences while selling their color-coded EPs solely at their shows, Hail Social decided to take the plunge into national exposure when they sent a few of their EPs out to various bands and publications who echoed their distinctive sentiment for deeply layered post-punk, addictive synths, tight rhythm sections, and vocal hooks that would cause even the most frigid of individuals to get up and dance. Surprisingly, the first band to respond were no small fries. Interpol quickly recruited the initial four-piece as touring partners, propelling Hail Social’s recognition just in time for the release of their debut album, Hail Social, in 2005.

After the tour received glowing support and reviews, Polyvinyl Records quickly took notice and signed Hail Social to a deal. Regarding my previous claim that Hail Social are easy to distinguish in a comparative sense, it was a highly suitable signing as several songs on Modern Love and Death are reminiscent of the amusing synth-pop incorporation found in Of Montreal’s releases, a band also housed on Polyvinyl. Even with the newly exposed synths rediscovered on the self-released Modern Love and Death, Hail Social’s self-titled debut was more critically compared to post-punk godfathers Wire and post-punk revivalists in the vein of Franz Ferdinand and Bloc Party. Lead songwriter and vocalist Dayve Hawk distinguished himself as a talented driving force behind the band’s alluring sound in the debut and followed it up with an even more impressive sophomore album. Recognizing that playing strictly post-punk will cause nothing but useless comparisons to other bands, Hawk decided to implement a more dance-oriented approach in Modern Love and Death. While “Modern Love and Death” and “The Fall” are more implicative of the more masterfully arranged tracks on Hail Social, Hawk seems revitalized with the release of Modern Love and Death. This time touching on synth legends like Orchestral Manoeuvres in the Dark, Daft Punk, and even a guiltless Hall & Oates, Hawk has truly found his stylistic niche.

The absolutely irresistible opening track, “Annabelle”, is a short but contagious song driven by a sparkling assortment of keys and a glitzy bass beat that makes the charm of the star-studded chorus even more ineluctable. “You’re the only girl that I will ever love,” Hawk sings as a prelude to the chorus, touched brilliantly by an additional guitar progression and an increased focus on the tight rhythm section consisting of bassist Dan Henry and drummer Matt Maraldo. Barely over two minutes long, this tale of sexual frustration and unrequited love left me begging for more. Fortunately, the second track, “Heaven” answered my prayers (ignore the pun) with ease. Being a strong indication of Hail Social’s newly emphasized admiration for dance and modern disco, Hawk demonstrates the properly executed vocal maneuvers in the more dance-oriented tracks like “Heaven”, “One U Love”, and “Cherry Cola Funk”. Managing to remain in key while attempting a variety of emotionally charged pop hooks, both songs utilize melodic charm and ravishingly addictive choruses for impressive durability. Tracks like these makes it hardly surprising that Hawk likens his own sound to “80s rollerskating music”. Hey, if rollerskating music in the 80s was this good, that is certainly enough to cause the nearly nonexistent fad to become socially acceptable again… if roller skates are even manufactured anymore.

There are a countless number of aspects on Modern Love and Death to be impressed with. Whether it be Hawk’s seamless vocal hooks, Dan Henry’s faultless bass lines, or the gleaming incorporation of danceable synths, this is a thoroughly enjoyable album. It always brings a smile to my face when I see bands like Hail Social improve immensely on already impressive debut albums, attempting and succeeding in a style that represents the band as a significantly more mature incarnation of their originative beginnings.

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Hail Social – Annabelle

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Hail Social – Heaven

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Hail Social – One U Love

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Official Web Site

MySpace

BUY

The post Hail Social Makes Dancing Seem Fun Again appeared first on Obscure Sound: Indie Music Blog.

Think back to the 1990s. What comes to mind? For me and many others engaged in music, we all remember the uprising of grunge, alternative, and Brit-pop. Indeed, we know them as the glory years before the formulaic boy bands and plastic pop stars invaded the airwaves. For John McKeown, the frontman for a band whose name gives a nod to the decade, he most likely remembers those ten years as a time of musical progressions, experiences, and regrets. In the mid 90s, McKeown led a band from Glasgow who called themselves Yummy Fur. While they never saw major success outside of Glasgow, their claim to fame came after the band’s demise in 1999. After keyboardist Mark Gibbons committed suicide that same year, two of Yummy Fur’s members, Alex Kapranos and Paul Thomson, went on to form Franz Ferdinand, resulting in a form of success that most young lads from Glasgow can only dream of. It would be expected that McKeown, after the death of a friend and seeing his previous bandmates excel in a different project, would fall under the pressures of failure and regret. Instead, he diligently chose to strike back.

In 2005, sick of their futile attempts on the music scene, McKeown and Michael McGaughrin (ex-drummer for V Twin and McKeown’s “drug buddy”) initially decided to call it quits. According to the two, their motto during this turbulent time was apparently “take a lot of drugs and get really really really drunk and party all night long.” Who knew that their flawed lifestyle would lead to their first form of true success? With an ideology focused on fun and youth, the two began writing songs together for the pure joke of it. With the songs intentionally sounding like a mockery of “mad little 70s New York rock songs with really ridiculous lyrics”, McKeown and McGaughrin realized shortly thereafter that they actually had something going. After writing a few more songs and playing alongside the legendary Damo Suzuki, they joined up with bassist Jamie McMorrow and put their new project, 1990s, into full motion. Almost immediately after their sixth gig, they were signed to Rough Trade. Active for over thirteen years, the success felt relatively new to McKeown, who still realized that this opportunity was not one to be wasted. With the name of a well-known label attracting the crowds, 1990s toured with the likes of The Strokes, Belle & Sebastian, and even McKeown’s old mates, Franz Ferdinand. Showing no love lost, the remaining trio from Yummy Fur apparently remain friends and touring partners.

If you have not noticed by now, in traditional Scottish fashion, the three members of 1990s all have last names that begin with “Mc”. Vocalist and guitarist Jackie McKeown, drummer Michael McGaughrin, and bassist Jamie McMorrow. That is what one would call a fashionable coincidence. The (Mc)1990s released their debut album, Cookies, in May in the UK. Produced by Bernard Butler (Suede, The Tears), the US will see a July 31st release date, preceded by the debut American single, “See You At The Lights“, on June 19th. The single has already reached #102 on the UK charts, primarily attributed to the band’s modernistic approach. While primarily drawing on classic acts like the Rolling Stones and the Stooges with their raw rock ‘n’ roll sound, the guitar production and song structures are more reminiscable of the same art-rock explosion that McKeown’s former bandmates, Franz Ferdinand, helped establish to a broad audience. The opener to Cookies and the band’s first single, “You Made Me Like It”, sounds like a cross between the Rolling Stones, Violent Femmes, and Franz Ferdinand. With muttered vocals that are blatantly comparable to Mick Jagger or Gordon Gano, the excitable chorus is more reminiscent of Franz Ferdinand’s “Do You Want To” to the effect that it will tire those who have heard it before.

Despite the overdrawing comparisons to the Stones or Franz Ferdinand, the innovation of 1990s is found in their rare and admirable approach. They seem content on holding the reputation that they are bringing back what made rock ‘n’ roll the respectable and organic genre that it is. There is no radical production technique, experimental instrumentation, or innovative failure. 1990s is simply a guitarist, a bassist, and a drummer hammering out what they do best: making genuine rock ‘n’ roll. While it is an easy task to compare 1990s to a handful of artists stretching over the previous five decades, one must remember that complete creativity is an aspect that is hard to accomplish in the present age. When a band like 1990s comes around and embraces a previously enshrined genre with quality songs, critics who shout out claims of unoriginality need to sit down, take a deep breath, and enjoy the music of 1990s for what it is. Pure, natural, and honest rock ‘n’ roll are several aspects of the narrow, though enjoyable, 1990s, a band that plays music “like a blonde gets out of a car.”

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1990s – You Made Me Like It

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1990s – See You At The Lights

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1990s – Risque Pictures

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Official Web Site

BUY

Oh, one more thing. Be sure not to mix them up with The 1900s or call them “The 1990s” or “1990’s”. I have heard the members of 1990s are a bit particular.

The post 1990s (the band, not the decade) appeared first on Obscure Sound: Indie Music Blog.

The Cribs – Men’s Needs, Women’s Needs, Whatever

by Tom Barrett

Strokes-lite opportunists or genuine contenders? Your opinion of The Cribs will generally fall into these two brackets. That being said, Men’s Needs, Women’s Needs, Whatever is unlikely to persuade anyone to switch from the former to the latter. But fans of chirpy three and a half minute indie-rock gems should fear not. There is a hell of a lot to be enjoyed from this record.

Men’s Needs, Women’s Needs, Whatever kicks off with “Our Bovine Public”. Rousing sing-along chorus? Check. Spiky and infectious guitar riffs? Check. Poser-denouncing lyrics? Check again. While The Cribs continue to live and die by factual numbers and longstanding rock formulas, it is always worth keeping note that few bands do as well by this method as The Cribs. It is a feat that ought to be commended in keeping the same high standard of songwriting for a third straight effort. Franz Ferdinand’s Alex Kapranos is on production duty for his first time and he has done an excellent job in iiving the band a step up from the scratchy lo-fi charm of the previous records to something a bit more professional and clean, without losing said charm that originally picked them apart from the platitude of the Strokes/Libertines aping apes.

Lurking beneath the indie dance floor slaying likes of “Men’s Needs” and “Girls Like Mystery”, theres a hint of something more epic and ambitious, at least in the Cribs world . The staggering six-minute long “Be Safe” features a spoken word piece from Sonic Youth’s Lee Ranaldo. It is certainly not an understatement to call this one of my favorite songs of the year. It is a hint of what the Jarman brothers could achieve if they could increase the quality their tactful game. “I’ve Tried Everything” has a chorus so close to pop/rock perfection it would make Casablancas and company blush. It is not all generic indie-rock sailing though, as surprises arise in the album closer, “Shoot The Poets”, which has plodding and sadly token acoustic number feeling to it. Despite some fantastic tracks, the band goes through weary motions on the lacking “Major Titling” and “Women’s Needs”. Both tracks are lean meat and quite forgettable with predictable structures and typical stylistic fares.

However, save for a few damp squibs, this album has “Summer 2007” all over it. Time will tell if Men’s Needs, Women’s Needs, Whatever can catapult The Cribs up a few divisions in the indie big leagues. Personally, I feel they’ve got a shot. This is yet another very impressive showing from the Jarman brothers, proving that they are a band you can rely on when you need an album fit for the enjoyable summer weather. With The Cribs’ definitive trend being to release one album every two years, I am waiting anxiously for their next success in 2009.

8.0/10

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The Cribs – I’ve Tried Everything

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The Cribs – Girls Like Mystery

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The Cribs – Men’s Needs

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Official Web Site

BUY

The post REVIEW: The Cribs – Men’s Needs, Women’s Needs, Whatever appeared first on Obscure Sound: Indie Music Blog.