I have heard several people complain about this phenomenon of “lo-fi” artists. Why hide songwriting under layers of incoherence, they usually ask, if the songwriting is allegedly good? Being one of the more popular lo-fi examples, Ariel Pink is one of the first examples they use. I then usually ask if them if they have ever heard The Doldrums, his debut full-length. I tell them to name a song on there that would sound “better” if reverted to the studio quality of – say – his most recent album, Before Today. The thing is, Ariel Pink’s style of songwriting at that period – arguably his bleakest and most creative – went hand-in-hand with such an approach, one that gushed with the melancholy and late-night feel of the album with greater authenticity than most artists around. Sure, a more fleshed-out version of any of these songs would still showcase his strengths as a songwriter for any skeptic, but beyond that there is a certain atmosphere embedded in songs written for a more lo-fi method that accommodates the sound beautifully.

Some see it as extraneous novelty when an artist beatboxes his percussion tracks, or when hissing sounds from their mouth serve as prevalent effects. I am not one to buy into novelty effects to disguise poor songwriting either, but if one creates a successful song that would actually benefit from such bizarrely appropriate methods then I do not see the issue. To imagine the muddy desperation of Ariel Pink’s “For Kate I Wait” under the control of an expert percussionist would just not have the same allure to me as the original songwriter finding any method possible to emit his percussion of choice, especially when that original creator did not have the means presently available to him to do otherwise. Call it part of the story and nothing else if you must, but if that overall result produces something that is clearly coherent enough to identify the artist’s intent then complaints are somewhat futile.

Even to the critics of such labels, the recording style of Australian-based Blank Realm is lo-fi in a rewarding sense. Their methods do not stray too far from what you would expect from financially strapped start-ups. Well, their heavy use of the four-track is somewhat rare in an era dominated by high-tech studio programs, but Blank Realm are no stranger to Pro Tools as well; they will use it if the track calls for it. This is somewhat irrelevant overall though; the recording device at hand is hard to spot because of their muddy sound, which is heavily distorted and sometimes vague but never in excess or over-indulgence. In “Trained Creep”, for instance, there are many different progressions occurring simultaneously, with not one of them demanding more clarity than what is already present. Everything is highly coherent, especially in this awesomely unsettling epic. The varying and indistinguishable methods of recording throughout their second album, Deja What?, enforce my earlier point that distinguishable intent is most essential.

“Trained Creep” is an instrumental effort that shows off the band’s strengths extraordinarily. A distorted effect from the guitar is constant, but there are stabs of icy synths that align with the pit-pattering percussion. The emergence of hazy hi-hats about a minute in is abruptly signaled by the increased presence of the synth, which is presented as a rapid tremolo as the multiple guitar progressions create a swirling effect reminiscent of both post-punk and psychedelia – The Flaming Lips are not too far off, especially their recent Embryonic material. The whole track sounds like one big anxious build-up, which is very exhilarating considering the swelling progressions combine for some wonderful noise that anyone – from psych-rock acts or noise-punk experimentalists – would be proud of.

“Full Moon Door” sounds like it features some of that mouth-beatboxing generally associated with artists like Ariel Pink, who incorporated it with the somber wistfulness of The Doldrums for a very memorable effect. Blank Realm incorporate it with more energy and optimism; the percussion use seems like a fusion of beatboxing and a reverbed hi-hat, but I can’t be certain. Either way, you have to like what they are doing here. A droning organ nearly hides itself in the background over the percussion and its lively progressions subtly serve as the backbone of the track. It is one of several highlights on Deja What?, which is a very impressive sophomore accomplishment for Blank Realm.

RIYL: The Flaming Lips, Sonic Youth, !!!, Beach House, Mercury Rev, The Delgados, Six by Seven, Galaxie 500, Luna, Mojave 3, Yo La Tengo, Sebadoh

Blank Realm – Full Moon Door

Blank Realm – Trained Creep

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It is hard not to root for Inches in Falling. Apart from the fact that they seem way beyond their years, their presentation as classic-rock fetishists showcases a ferocity that is genuinely reflective of the era. It could be due to the scraggly, unrestrained vocals that somehow maintain melodic consistency despite sounding both frenetic and agitated. Or perhaps it is the blend of rhythm guitar, bass, and percussion that values the classic-rock build-up effect that most indie-rockers compensate for with innovatory production techniques. Inches in Falling differ in that sense, since their production relies on no bells and whistles to present itself. Their songs are riveting on their own, recorded very spontaneously as to capture the band’s live capabilities as well as their songwriting, which benefits from a plethora of guitar solos and percussive throttles as the image of them on stage becomes clearer with each passing song.

The four-piece from South Shore, Massachusetts certainly are aware that radio stations are likely to pass over the opening song on their debut EP. “Not Insane” is six minutes full of classic-rock bliss, serving as the perfect introduction to the quartet’s style. So it is a shame that the classic-rock stations will reject it simply because the band released it in 2010, while the contemporary stations will take one look at the length and throw it away. Readers of this site just care whether it is good or not, so enjoy. The bluesy bass line sounds great over the sputtering of guitar, which fluctuates from quick-paced single notes to echoey chords, the former usually emerging when the vocals are not.

Steve Hottenrott’s vocals are easily comparable to Anton Newcombe, even without the classic-rock revivalism that both groups share, mainly because there is no reluctance to stretch higher pitches or hold a note. The concise, spur-of-the-moment delivery is more abundant than if one was stuck in contemplation, and it adds to the audible spontaneity present within the group. The song is just downright exciting, and if I heard Inches in Falling playing this at a battle of the bands or other local event it would convince me to look further. I doubt their live performances differ much from studio cuts like these, but it remains obvious that the band still maintains the right amount of polish and ingenuity to put out a record worth listening to.

Their music also reminds me of Grinderman, a Nick Cave project that is set to release their second album this year. Of course, the scraggly high-pitched vocals in Inches in Falling are a far cry from Cave’s deep convulsions. His voice immediately demands the essential presence of lyrics with substance, which fortunately align with Cave’s talents as a supreme lyricist. At least at the moment, Inches in Falling’s lyrics are generally irrelevant and forgettable in the grand scheme of things, simply because the vocalist’s presence is more rhythmically and melodically involved. The narrative scheme is usually non-existent, which is just fine when you are able to offer up songs like “Not Insane” or “Straight Forward”, which begins with a Todd Rundgren-like jangle of acoustic and electric guitars. It tackles territory more restrained in the vein of power-pop as opposed to classic-rock, and in turn there is more repetition than usual. It lacks the wonderful ferocity of “Not Insane”, but offers plenty of great ideas in its incorporation of keys, which flow seamlessly into the guitar-led deftness of the final minute or so.

For all the songs by The Rolling Stones, Steely Dan, and The Who that Inches in Falling listen to and show appreciation for, their own originality speaks volumes. Their overall enthusiasm reminds one of a group like Dr. Dog, who lack desperation in the most complementary sense. And with such an emphasis on classic-rock over other more popular (at the moment) revivalist genres like power-pop or post-punk, both their audible ideology and instrumental precision supports an ebullient presence that surpasses most rock-friendly peers. From the looks of their press photo, I would be surprised if they were out of high school. When it comes to genuinely good rock music though, that type of shit could not matter less.

RIYL: The Rolling Stones, Dr. Dog, Steely Dan, The Who, Deerhunter, Brian Jonestown Massacre, Grinderman, The Dandy Warhols, The Warlocks, Spacemen 3, The Black Angels, Darker My Love, Dead Meadow, Black Rebel Motorcycle Club, Spiritualized, 13th Floor Elevators, The Jesus and Mary Chain, Ride, Wooden Shjips, My Bloody Valentine, The Velvet Underground, Comets on Fire, Galaxie 500

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Inches in Falling – Not Insane

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Inches in Falling – Straight Forward

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Inches in Falling – The Bochen

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The post Inches in Falling appeared first on Obscure Sound: Indie Music Blog.

by Lauren Keiser

We all know that guy. The one who wakes up still drunk, refuses to spend more than ten dollars for a t-shirt, and reads the works of Hunter S. Thompson like a to-do list. Luke and Mitch Meseke both are probably “that guy” and, fortunately for us, they form the all-elusive Woozy Viper. Without even so much as a bio, their ’60s-inspired rock emits a form of authenticity that makes it feel as if we already know and love them.

At first listen many may draw comparisons to the Black Lips and rightly so, but I think just pairing them alongside their coevals would not be doing Woozy Viper justice. The NYC-based duo have successfully taken the great pop sensibilities of the Mod era and interwoven post-modern nuances to form a refreshing aberration. Tracks like “Dirty Rat” and “King Kong” are reminiscent of The Monks in subversive catchy goodness, yet are original enough to not be imitative. The trademark vocals soar in their range and versatility, drawing comparisons to Brian Jonestown Massacre’s Anton Newcombe ability to shine over lo-fi rawness. This debut album is comparable to a cart spiraling out of control on broken elevated tracks in a rustic mine. Just as you start getting used to a steady vibe of Kinks-inspired throwback rock, Woozy Viper time-warp us back to the days of Jerry Lee Lewis with the song “Woah Baby”. Yet, the very next track swelters Jim Morrison-esque croons. Then the proverbial “lever” is pulled and we are still in that old rustic mine, descending at a mind-whirling velocity from soulful cowboy ballads to spastic ditties that, at times, have the off-kilter whisper-shout stylings that take a surprising nod to such acts as Suicide and The Pixies.

While I was painstakingly cutting out the shoulder pads of a new sweater, I felt comfort in knowing that although some fads need to die a horrible sordid death, there remain some styles that are classic and need to be revisited in order to be preserved. The latter is such the case with this gem of an album, which by the way is free (though you can also support the band by buying it here)! The MC5 would be proud that their spirit of kicking out the jams still lives on through this Kansas duo. Now feel free to download their completely free album here. If you like it, you should be happy to know that their sophomore album, Rock & Roll, is on the way.

RIYL: Brian Jonestown Massacre, The Dandy Warhols, The Kinks, The Monks, The Warlocks, Spacemen 3, The Black Angels, Darker My Love, Dead Meadow, Black Rebel Motorcycle Club, Spiritualized, 13th Floor Elevators, The Jesus and Mary Chain, Ride, Wooden Shjips The Velvet Underground, Comets on Fire, Galaxie 500, Deerhunter

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Woozy Viper – King Kong

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Woozy Viper – Look Out!

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Woozy Viper – The Switchblade Swing

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Official Site

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Altar Eagle are content under layers of gauziness, the duo’s music emitting the type of confidence and nostalgic yearning that triggered attention for Beach House, Cold Cave, and other recent breakouts known for their simultaneous recollection of shoegaze and implementation of electronica. Its two members, Eden Hemming and Brad Rose, have been working together throughout the past decade. Their first project, Corsican Paintbrush, was a precursor to Altar Eagle’s fascination with ambiance, psychedelia, and folk, with tracks like “Bones of Ash” sounding like a procession of spirits around a campfire, amplified with the necessary doses of sitar-like guitars and droning reverb. This campfire-like spontaneity is still present in their work, even if Altar Ego’s efforts supersede both the intricacy and melodic prowess of Corsican Paintbrush. Their music has always sounded like it came straight from a cassette tape, all while retaining the ethereal and otherworldly tendencies of a sound dependent on the collaborative chemistry of two very like-minded individuals.

The whole male-female duality of Altar Eagle immediately brings Beach House comparisons to the table, even if Eden Hemming’s vocals are not as up-front as Legrand’s. Rose allows Altar Eagle to stray away from the automation that many shoegaze/psychedelic inspirations nowadays fall victim to; it bashes an ideology where many seem to think that using an organ and then adding reverb to a drum machine is stylistically inclusive to shoegaze/dream-pop, with no regard at all for the intricately developmental songwriting that is pivotal to the style’s classification. Beach House are one of 2010’s success stories because their production – which actually lacked chords in favor of single-note dualities – treasured melodic songwriting over intricate note placements. This is what made Teen Dream sound so diverse. The production on each of the songs are strikingly similar since aid from beyond the duo was minimal, but they did not languish behind reverb or distortion in fear of repetition or discordance. They wrote songs that encompassed the serenely ethereal tendencies of the genre, all while infusing hooks that sounded majestically cohesive enough to stray beyond dream-pop’s borders into more conventional pop, a fusion that should be embraced more than feared.

Altar Eagle’s success is certainly imminent to some degree. While it would be difficult to expect 7-minute epics like “You Lost Your Neon Haze” to see radio play, it is not the length of their songs that makes it stubborn for widespread exposure. The involved development is actually what will deter most conventional listeners (meaning, impatient listeners) from Altar Eagle. The melody here is a playfully plucked guitar arpeggio, high in pitch to enforce the aloofness, with a very vocal percussive strategy. A “woop” relays several times per verse under a muted snare, not phasing Hemming one bit as her cherubic voice takes on the role of supplementation. Her vocal melody is not exactly powerful, but her pitch variates from crisp-clear resonation to a distorted lead-in, giving way to a carefully orchestrated section of “la-la-la”ing that sounds like a cross of DeVotchKa’s worldly folk and Mazzy Star’s blissed-out representation of dream-pop (a sound that has surged in the past few years; see here). I doubt that conventional listeners will have patience for a track like this without context of Mazzy Star, Cocteau Twins, or Slowdive, but that is only because there is no ego-centric intent from either member to fascinate them. Their roles are established with selflessness.

When attempting to separate Altar Eagle from the likes of Asobi Seksu, Beach House, and the rest of dream-pop-inspired hotspots, the task becomes easier throughout the progression of their debut full-length, Mechancial Gardens. “Honey”, like many of their songs, finds dependence on a series of prolonged and accentuated organ chords, with playful little synth arpeggios comprising the backdrop along with slight percussion that resembles tapping on a kitchen counter more than actual drums. The duet here between Hemming and Rose carries it for the most part, as it does on the pulsating “Monsters” where Rose’s monotone, deep-toned voice is more in the forefront. This track’s more anthemic approach shows some high-charged synths over some dubstep-coordinated percussion, the production being a head-scratcher in its success. Noise, dubstep, and synth-pop are all players here and I applaud the band for going the extra distance. It shows. The nine tracks on Mechanical Gardens – from the lush and beckoning “Breakdown” to the high-charged flamboyance of “Monsters” – are all extremely worthwhile and it remains a mystery why Altar Eagle are not considered the “next big thing” in the dream-pop scene at the moment.

RIYL: Beach House, My Bloody Valentine, Mazzy Star, Cocteau Twins, Slowdive, Asobi Seksu, Cold Cave, Emeralds, Ride, Lush, Galaxie 500, Nite Jewel, Health, No Age, Telepathe, Abe Vigoda

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Altar Eagle – Monsters

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Altar Eagle – Honey

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Altar Eagle – Breakdown

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Digitalis Industries (which Hemming and Rose co-own)

MySpace

BUY

Limited vinyl of Mechanical Gardens is currently the “Album of the Week” at Boomkat.

The post Altar Eagle appeared first on Obscure Sound: Indie Music Blog.

by Josh Taylor

Julian Shah-Tayler was born to make music. Putting out an EP every few months and pumping out 50-70 songs a year is no easy feat, unless you show prevalently the aspects of a well-rounded musician. His robust musicianship is responsible for his versatility as an artist. What I noticed after listening to his latest EP, Un Ange Passe, is that Julian is a songwriter who creates for his heart’s content. He strays from songwriting conventions and isn’t afraid to experiment if it amuses his untypical sensibilities.

Julian’s songs distinctly belong to their maker. Un Ange Passe is very personal and all the songs on the EP (with the exception of “Wetter”) were written for a dearly departed friend of Julian’s who tragically passed away. The literal translation of the title “Un Ange Passe” is “an angel is passing”, but is usually used when an awkward silence falls over the room. The EP tells a brief and interesting story about what happened to Christine. Julian tells it well, as the story is endearing and stripped down to the most honest details.

Instead of diving into the story headfirst, the EP begins with “Wetter.”  The songs on the EP are sandwiched by “Wetter” and the remix of “Wetter” by Karl Leiker. This song is definitely the black sheep… uptempo, naughty lyrics and electro influence. The feel of the song is great and could be a radio hit. The second song on Un Ange Passe is “Everything Is You”, serving as a good transition into the rest of the EP, which is more relaxed musically. The song begins with finger-snapping, chimes and some elusive and wandering exotic-sounding instruments. Then iit develops a direction and chooses to take on a New Order/Depeche Mode feel. The nameless exotics remain, lending a curious tone to the song. It’s almost as if they don’t belong, but are still welcomed.

“Communication” resembles the sparse feel of a desert. It’s expansive (at 5 and a half minutes) and filled with many instrumental breaks. The track lulls and winds but I don’t know that it goes anywhere. All I know is that when I listen to it, I start to space out.  If Julian wanted “Communication” to have a daydream-inducing effect, then bravo — well done, because that is exactly what happens.

“Christine” is where the EP starts to come together and the song clearly lays out what exactly happened to his late friend of the same name. Make what you want of the other songs and interpret them as you wish, but here is what happened, Julian seems to say. Musically, “Christine” brings to mind The Smiths “How Soon Is Now?” and has the same pensive inquiry.  One of the most striking and revealing lyrics is “as the kiss of the needle delivers you to the real world” followed by this lyric in the bridge “even if this life could give you all the love you need, I guess you had enough.” The verdict: overdose.

Un Ange Passe occupies a certain estranged darkness, but it is only when the listener gets to “Christine” that I feel they can go back and find its lingering presence in the background of the entire EP. Perhaps that misplaced discomfort is the awkwardness that the album title also refers to. Still, the way the song is handled is half ode, half something else that I can’t quite pin down. For a song written for a close friend the song isn’t particularly sentimental, which is odd to me. However,  I think those feelings find their way into the next song “Lullabies.”

From what I heard, “Lullabies” was written for Julian’s future daughter. But the listener is also led to believe that perhaps the song’s tender message is intended for Christine as well. The lullaby soothes the listener as well as the singer, perhaps reminding him that everything will be fine and there really is nothing to be afraid of during the night, and maybe in death…

Whatever the ultimate purpose of Un Ange Passe is, it can be listened to in many different ways. Julian is adventurous with his artistic choices and presents his subject matter though a twisted lens. This is not to say that his method is perverse, but rather aiming for artistic perfection on his own terms. Some say that’s a nifty idea. I would say it’s better than nifty, or original, or clever. I would say the whole EP is a noble effort. Too many musicians make music to turn a quick buck but lack the vision to make something worthwhile. Others write for their heart’s content, yet lack the talent to make sophisticated music. Julian, however, is the best of both. He is talented and passionate, which shows remarkably.

One last thing I noticed: None of these songs showcase Julian’s piano talents, but word on the street is that his full-length debut does. Entitled Coito Ergo Sum, it is due in the fall. So keep an eye out, or an ear rather.

RIYL: Depeche Mode, Dave Gahan, New Order, Erasure, Pet Shop Boys, Duran Duran, The Cure, Orchestral Manoeuvres in the Dark, Alphaville, David Wrench, The Human League, Gary Numan, Tears for Fears, Soft Cell, INXS, Talk Talk, A Flock of Seagulls, Naked Eyes, Blancmange

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Julian Shah-Tayler – Everything Is You

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Julian Shah-Tayler – Wetter

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Julian Shah-Tayler – In Your Room (Depeche Mode cover)

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Impossible Things Records

MySpace

BUY

The post Julian Shah-Tayler appeared first on Obscure Sound: Indie Music Blog.

by Jon Chapple

It’s a bizarre state of affairs when a band’s live act actually starts attracting people prepared to pay good money (well, I say good money; it was £14 or something) just to turn up and heckle them. But judging by the crowd present for Anton and co.’s triumphant return to the Capital of The North, this rare and curious honor belongs – rather predictably – to the proudly divisive Brian Jonestown Massacre. Mingled amongst the die-hard BJM veterans (favorite chants: “go on, Joel!”; “Hide and Seek!”) – and curious Newcombe newcomers (a load of noises roughly resembling what they think the words might be) making up the bulk of the audience at the intimate, packed-out University of Manchester’s students’ union gig on Monday – stood pockets of people busying themselves purely with launching glasses and shouting about how much they love The Dandy Warhols, clearly there just hoping to see notoriously explosive frontman Anton Newcombe kick things off.

But it never came. Rising above the taunts of his detractors with nothing more than a couple of dignified “fuck off!”s, Anton deliberately kept a low-profile presence hidden away at the side of the crowded stage, letting mute resident tambourine-banging percussionist and almost-Bez Joel Gion (of “go on, Joel!” fame) take center-stage for the duration, wisely taking the majority of the spotlight away from the elephant in the room and letting the music speak for itself.

And what music it is. With a set-list comprised mainly of tracks from their ridiculously prolific ‘classic’ period of 1996 to 1998 and featuring very little in the way of anything newer, the show was always going to be a crowd-pleaser and was clearly designed as such, but – and maybe I’m just being biased because I was, y’know, there – no-one, both crowd and band alike, was expecting the kind of reaction that their performance ended up eliciting. Strolling onto the stage without a word following a short slot by support act The See See (4/10; the BJM but louder and less tuneful), and launching straight into the distinctive, droning introductory strains of “Super-Sonic”, the roars instantly filled the rafters and must have put the fear of God into those hoping for a “quiet one” (they were about; the kind of idiots that tell you to “take it easy, mate”, in a tone that suggests you’re moshing in a crèche). Everything you wanted to be there was; “Servo”, “Vacuum Boots”, “Oh Lord”, “Anenome”, “Who?”, welcome surprises in “Going to Hell” and “Let Me Stand Next to Your Flower” and – about half way through – “Not if You Were The Last Dandy on Earth”.

Even I didn’t see the sheer madness of “Dandy” coming. Right from the outset it was all I could do to stop myself from tumbling over and being trampled underfoot by a bunch of newly-shirtless lunactics, and I’m six foot three, so I’d hate to think what that oh-so-brilliant anti-poseur anthem did to the more vertically-challenged around me. Well, actually, I do know how one dealt with it; a charming young lady climbed on my friend’s shoulders and, upon dismounting post-song, charmingly announced that he had her “pussy sweat all over” him.

The crowd were lively right from the start, but after “Dandy” it was a whole different kind of lively, and the nine (!) band members on stage clearly thrived from it. Well, not openly of course; they’re rock stars, they don’t smile. Well, not in public at least, but when the crowd spontaneously launched into the age-old chant that is “let’s go fucking mental, let’s go fucking mental, la-la-la-la”, etc., (recently incorporated, notably, into a God-awful new song from the BJM’s latest effort, Who Killed Sgt. Pepper?) drowning out the band and delaying the next song, newly-returned guitarist Matt Hollywood looked like he was trying to suppress a grin so much his face might crack. And with regards to said chant; yes, I know it’s tired and it’s yobbish, but at the time it just felt appropriate. So shoot me.

Almost two and a half hours after rolling onto the stage, the Brian Jonestown juggernaut finally ground to a halt, a bittersweet but welcome relief for those of us bloodied, soaked, losing possessions fast (why on Earth did I think it would be a good idea to wear bracelets?) and awash in a sea of tinnitus. There was no encore, but we didn’t need one; the band had been perfect and the atmosphere even better. And so we left, displaying our massive grins and assortment of bruises to rest of Manchester-like hard-won trophies, and praying that Anton doesn’t accidentally kill himself before they chance to tour again.

RIYL: The Dandy Warhols, The Warlocks, Spacemen 3, The Black Angels, Darker My Love, Dead Meadow, Black Rebel Motorcycle Club, Spiritualized, 13th Floor Elevators, The Jesus and Mary Chain, Ride, Wooden Shjips, My Bloody Valentine, The Velvet Underground, Comets on Fire, Galaxie 500, Deerhunter

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The Brian Jonestown Massacre – Who?

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The Brian Jonestown Massacre – (David Bowie I Love You) Since I Was Six

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The Brian Jonestown Massacre – Not If You Were the Last Dandy on Earth

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Official Site

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You can view the rest of their 2010 tour dates here.

The post The Brian Jonestown Massacre @ The Academy 3, 05/17/10 appeared first on Obscure Sound: Indie Music Blog.