Que? Zoo and Dr. Skull is the alias for Philly-based Brandon Seawell, who recorded the six songs on Days At the Zoo in his bedroom “with two microphones, a mixer from the Back to the Future era, and my laptop.” Although he counts Sufjan Stevens as a leading influence, there’s an eloquent bleakness inherent in Seawell’s sound, more similar to Antony and the Johnsons or Wild Beasts. Seawell’s voice, which sounds like a quivering murmur slowly suffocating, is one reason. And although his vocals are certainly a contributing factor, the understated beauty of his compositions is the main reason his music is so striking.

The acoustics-and-key pairing of opener “Poem” is similar to Grizzly Bear’s ghostly presentation, and here Seawell projects a high-pitched hybrid of glee and somberness; his voice sounds like a cross between Jamie Stewart (Xiu Xiu), Ed Droste (Grizzly Bear), and Hayden Thope (Wild Beasts). The minimal percussion allows the keys and unconventional string noises to converge beautifully toward the end, very much like early Xiu Xiu material. “James Brown” is another highlight, a delicate track with heavy reliance on theatrical vocals and a gentle rhythmic push reminiscent of Wild Beasts tracks like “Deeper”. The jingling of bells adds a nice exotic touch, as well, help solidifying the brooding yet beautiful sound of Que? Zoo and Dr. Skull. Closer “Pterodactyl takes Phlight” has the soothing piano-pop of an Air track, with some jazzy flairs and hip-hop percussion. It’s a really fascinating track, and one that sums up Seawell’s avant-garde leanings nicely.

Creativity is something that Seawell values significantly, but not to the point of it sacrificing a song’s listening appeal. “I try to make music that’s fun. I like twists and turns and unexpected lines in my music.” he said. “There may or may not be anything new under this sun of ours, but I think the strife to create something that is such is a worthwhile enterprise.” The songs on Days At the Zoo make it easy to see why.

Facebook / BUY

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This edition compiles January and the majority of December. Despite including material featured at the tail end of 2011, every track on here apart from “Stuck Together” and “(I’m In) A Chorus Line” is from a 2012 release. So here’s our first peek at music in the new year, even if it’s just the tip of the iceberg. Around this time last year we already had excellent albums by Destroyer and Cut Copy. The only comparable release this year so far is Field Music’s Plumb. Read the review here. Ku Klux Glam, the collaboration between Ariel Pink ad R. Stevie Moore, has some extraordinary songs as well – like “Come My Way” and “No Zipper” – but the album is too scattered past that. Still, most of the artists on here – Andrew Bird, The Shins, Leonard Cohen, etc. – will have something out this month or next. Also don’t count out releases from Dr. Dog, Explorers Club, HAL, of Montreal, and Marissa Nadler in the near future.

Here’s to a great year in life and music for all.

01. Field Music – (I Keep Thinking About) A New Thing (post)
02. Ariel Pink + R. Stevie Moore – SteviePink Javascript (post)
03. Andrew Bird – Eyeoneye (post)
04. The Shins – Simple Song (post)
05. Sleigh Bells – Born to Lose (post)
06. Lambchop – Gone Tomorrow (post)
07. Field Music – A New Town (post)
08. Thom Yorke – Stuck Together (post)
09. Daniel Rossen – Saint Nothing (post)
10. Warm Weather – A Promise (post)
11. Burial – Ashtray Wasp (post)
12. Leonard Cohen – Darkness (post)
13. Xiu Xiu – Hi (post)
14. Acid House Kings – (I’m In) A Chorus Line (post)

DOWNLOAD ENTIRE COMPILATION>>> (77.5 MB, .RAR)

Mirror Download #1>>>

The post Obscure Sound: Best of January 2012 appeared first on Obscure Sound: Indie Music Blog.

Grizzly Bear/Department of Eagles multi-instrumentalist and songwriter Daniel Rossen will release a new EP, Silent Hour/Golden Mile, on March 20th. The five-track EP will be released on Warp Records, with appearances by Ian Davis, Scott Hirsch, Kris Nolte, and Dr. Dog drummer Eric Slick.

You can listen to one of the EP’s tracks, “Saint Nothing”, below. It’s a barren yet beautiful piano-led track that, according to Rossen, isn’t too far from its very first incarnation. “Whenever possible, I like just keeping the very first impression of an idea, the first take of something. You very rarely get to do that because the recording quality is below standard,” he said. “It’s very liberating to just leave it.”

The PR release had a cool tidbit about the EP’s title: Fittingly, the EP’s title comes lifted from its closing track, “Golden Mile,” a gem that eases its lyrical despair with walloping rhythms and gnawing guitars. “For a silent hour, for a golden mile,” sings Rossen, pulling immediately from past difficulties to the infinite and unknowable future. “There’s bliss in this mess. There’s madness all around.”

Silent Hour/Golden Mile Tracklisting:

01. Up On High
02. Silent Song
03. Return To Form
04. Saint Nothing
05. Golden Mile

MP3: Daniel Rossen – Saint Nothing

Grizzly Bear / BUY

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Feathers are four girls from Brisbane creating infectious lo-fi dream-pop. While some of their songs are lively and upbeat, a large number are darker and based on harmony rather than rhythm. Hunter’s Moon is an album full of different moods and well-executed hooks, not to mention some great vocal performances that are far from gender-specific.

I’m generally a fan of music where the singer’s gender is indistinguishable, like the recently featured Black Partridge. Upon my first listening of “Darklands” I did not realize it was an all-girl group. The poppy guitar deliveries are reminiscent of bands like Girls and Malajube, and the vocals tout a similar punch as well, but the gender was still enjoyably indiscernible. The majority of Feathers’ songs are hazy pop gems with plenty of replay appeal and “Darklands” is no exception.

Feathers utilize many intricately evolving harmonies that resound with an art-rock punch. This tactic helps to give them a full sound, almost as if their voices are making up for the absence of an orchestra. “Early Morning” begins with a collective voice. The song is much slower than tracks like “Darklands”, with a chill intentionally drawn-out vibe, whereas “Cruel For Love” applies a rhythm section reminiscent of post-punk greats like Joy Division.

I look forward to seeing what Feathers release next. A comfortable and dazed album is always in high demand for those lazy days, and along with the likes of Beach House and Toro y Moi this group could be your next best bet.

RIYL: Beach House, Joy Division, Girls, Malajube, Yeah Yeah Yeahs, Sleater-Kinney, Twin Sister, Grizzly Bear, Wild Nothing, Best Coast, Beach Fossils, Cults, Tennis

MP3: Feathers – Darklands

MP3: Feathers – Cruel For Love

Feathers – Early Morning

Official Site

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When an artist embarks on a solo project at a young age, the pursuit is commendable. Such ambition is shown on the full-length album by Leaves of Green, Imago. The album was created by one James Madole, a 20-year-old student at New York University. On his debut, Madole uses an infusion of vocals, guitar, ukulele, and keyboards to create mellow pop that resonates fluidly throughout the album. Imago is sometimes eerie, but always melodic. It begins with the lush “Convictions Pt. 1”, which boasts an ethereal yet haunting sound. Madole pairs his background harmonies with prominent lead vocals to develop several beautiful layers of sound. The vocals are smooth and, coupled with guitar harmonies and a simple ukulele, achieve an atmospheric sound.

“Convictions Pt. 1” and its glimpses of Elliott Smith transition seamlessly into “Attic”, an effort that remains infectiously upbeat while retaining the earnestness of Madole’s efforts through its lyrics. Although many of the melodies are sweeping and lush, you should not expect sweet, gentle lyrics. Imago is reflective and emotionally heavy in its entirety. The lyrical matter is dense, but easily digestible because of the focus on content over quantity. The easy-flowing guitar melody aids in keeping the tone buoyant and chirpy, apt surroundings for Madole’s delicately youthful voice.

“Manhattan Ave.” opens solely with overlapping vocal harmonies, very similar to Grizzly Bear’s ghostly style of folk. The licks of the guitar shoot in with spontaneity, balancing out the sound and producing a haunting nigh-time melody, which touts a lively and abstract presentation that should appeal to all fans of complexly layered guitar-based pop. While the sound of Leaves of Green is far from the likes of Animal Collective, Madole uses similar production technique to successfully create a mood both ethereal and memorably haunting. The reverb of his vocals is emphasized as to create a numbingly hypnotic feel.

Imago is an impressive debut with pleasant cohesiveness, despite the wide array of experimentation Madole accomplishes. He presents more than just a genial sound; lyrical content and some unconventional production techniques make it an intriguing venture, with melodic subtleties that will entertain listeners on multiple listens.

You can download Imago for free here, as well as stream it below.

RIYL: Grizzly Bear, Elliott Smith, The Leisure Society, Bright Eyes, Sparklehorse, Nick Drake, Neutral Milk Hotel, Built to Spill, Jeff Buckley, Iron & Wine

Leaves of Green – Attic

Leaves of Green – Manhattan Ave.

Leaves of Green – Imago

Bandcamp

The post Leaves of Green appeared first on Obscure Sound: Indie Music Blog.

Autumn nears and so do my qualms about winter. Needless to say, it always seems like the best music and film arrives during the last one-third of the year. Award considerations aside, one gets the hunch artists want to end the year on a positive note rather than one of nothingness. A looming uncertainty can sometimes be the best source of inspiration. Combine this artistic spur with crisp days, pumpkin ales, and some football and you have some of my favorite moments. This month’s compilation offers a preview of that. New releases from Girls, Beirut, and CANT are some of the most buzzed-about kickstarts to the season, but don’t forget about emerging ones like The Wind, Pepper Rabbit, and J. Nolan as well. Not to mention, a familiar face in Bill Callahan released Apocalypse months ago, but we tossed a review up because – well – it just feels like an album for autumn.

The newcomer I’m most excited about is NewVillager, who released a very fun album the past month. Like TV on the Radio meets Man Man, the duo projects a perfect mixture of experimental pop and soulful rock. They should be big fairly quickly, especially with chaotically brilliant efforts like “Say the Code”.  In the hip-hop realm, J. Nolan touts the best delivery I’ve heard in awhile. The young and tireless rapper releases something new every month, each time time with improvement (even if it’s hard to top the lush electro-rap of “Cosmic Cruise”). Some garage-rock and blues can be found with the likes of You Won’t, The Stone Foxes, and Chappo, while artists of the more lengthily ambitious variety include old favorite Cymbals Eat Guitars and CANT, the solo project of Grizzly Bear’s Chris Taylor with appearances by Twin Shadow. Their album Dreams Come True sounds like a fall release if I’ve ever heard one. Some of these efforts, like the effervescent classic-rock sound of The Wind and The Drums, are not precisely aligned with the fall variety, but showcase the spurt of quality that is to be expected over the next several months.

Get back to the grind and enjoy the falling leaves with these wonderful efforts:

01. NewVillager – Say the Code (post)
02. Girls – Vomit (post)
03. The Wind – Sunshine and Peace of Mind (post)
04. Beirut – The Rip Tide (post)
05. Pepper Rabbit – Tiny Fingers (post)
06. J. Nolan – Cosmic Cruise (prod. One Love Beats) (post)
07. Woods – Out of the Eye (post)
08. The Drums – Let’s Go Surfing (post)
09. Warm Speakers – Where the Comma Lands (post)
10. Oh Ruin – The Pillow Where Your Head Does Lay (post)
11. CANT – The Edge (post)
12. Bill Callahan – Riding for the Feeling (post)
13. Chappo – Bodies Coasting (post)
14. You Won’t – Three Car Garage (post)
15. Cymbals Eat Guitars – Definite Darkness (post)
16. The Stone Foxes – Psycho (post)

DOWNLOAD ENTIRE COMPILATION>>> (106 MB, .RAR)

The post Obscure Sound: Best of August 2011 appeared first on Obscure Sound: Indie Music Blog.

by Jay Platt

Grizzly Bear’s Chris Taylor debuts his new solo project, CANT, with the full-length Dreams Come True. Featuring frequent collaborator and post-punk revivalist Twin Shadow (George Lewis Jr.), it is a more electronic-oriented and sensually layered release than Grizzly Bear efforts. Despite this, both projects deliver crisp production and engaging layers of melodies that combine for a memorably haunting effect.

When I heard Taylor was releasing an album, I expected it to be similar to Grizzly Bear’s breakthrough Veckatimest. This is clearly not the case. On first listen, I didn’t think much of the album at all. It was too dense and didn’t meet my stylistic expectations. However, many opportunities for exploration open up after the first few listens. The opening “Too Late Too Far” begins with a hectic electronic drum beat, much like the beginning of Radiohead’s “15 Step”.  Once enough time has passed for the chaotic rhythm to settle in, a repetitive bass-line starts, closely followed by the caressing vocals. The harmonies and melodies in this song are a little basic, but the complex rhythm and intricate sound effects maintain a level of interest. After a refreshing reverb-filled breakdown, the now-comforting rhythm starts again with a vocal line buried under the mix, like an eerie sample. Here, the voice is used more as an instrument than to traditionally maintain interest with a melody.

The second track, “Believe” is much mellower, providing excellent contrast to “Too Late Too Far” in several capacities. The spacey alternating panning effect of the slowly rolling drum beat is quite interesting, adding itself to the detailed shimmering background noises. The words “you won’t believe” are sung in beautiful harmony, giving the song a very relaxed feel. It  is a perfect setup for the next track. The muted trumpet riff in “The Edge”, combined with the delicate drum beat, makes for what initially sounds like a soul song. Things soon get back to normal when the layered vocal line starts, accompanied by a distorted synthesiser playing a complimenting riff. This is my favorite track on the album; it’s constantly changing and feels much more personal than the rest of the record. The peaceful guitar, gentle voice, and dreamy synth makes track four, “BANG”, sound like a Beach House song; perhaps they influenced Chris Taylor when they supported Grizzly Bear on their 2010 tour. This marks the end of the first half of the album, and after a short piano-driven instrumental breather, the electric sounds of CANT resume.

“She Found a Way Out” begins with sparse texture, but they gradually add layers that steadily build up. Still, it never quite reaches a climax before fading out in pulsating synth waves. The track’s ambiance is quite comforting. At ease in a different sense is “Answer”, which resembles Four Tet with its strong electronic beat, chopped up vocals and catchy recurring melody. Then arrives the title track, which is extremely dark with plenty of distorted sound effects and striking synth notes. Its nightmare-ish, ominous presence is one that should resonate with most listeners. The penultimate track begins in the same dark way, but finishes with a much more melodic and soulful piano and vocal solo. This is a small taste of the album closer, “Bericht”. The apt choice to make it the closer is solidified once Taylor’s voice joins the lonely piano. “And it’s all come down to this” he sings, carrying the calming lull of the song on his shoulders.

The album certainly makes an interesting listen, and is by no means a step backwards for Chris Taylor. Throughout the album, he utilizes several production techniques that would not be found on a Grizzly Bear release. The sample-like vocals and intricate sound effects show that he is not only a musician, but also a very talented producer with extreme attention to detail. Grizzly Bear fans knew that already, but Dreams Come True proves even to the most attentive fans that Taylor can successfully pursue styles that are well out of Grizzly Bear’s comfort zone. Taylor’s bright future extends beyond his role in a notable indie-rock group. His skills as a producer will likely extend his list of collaborators rapidly as his talents and accomplices grow.

CANT – The Edge

CANT – Believe

CANT – Too Late Too Far

Terrible Records / BUY

The post CANT – Dreams Come True (2011) appeared first on Obscure Sound: Indie Music Blog.

The wonderfully named Jethro Fox, originally born in Essex but now based in Liverpool, is creating a sound influenced by ‘60s pop, nostalgic both in terms of its content and product values.

Fox’s sound is unashamedly fused with bouncing beats and Beach Boys-esque guitar twanging. It’s a sound that was carved whilst working on his latest EP in Manchester, listening to the Rolling Stones, The Hollies, Roy Orbison and Gerry and the Pacemakers among others. He previously worked as the guitarist and co-writer in a number of bands (Street Light Youth, Journals, The Slowdown) and is currently occupying such a position in bands like Carnival Kids, Anna Lena & the Orchids and Evelyn Burke. He only first began pursuing his own solo venture this past spring. The outcome so far is very interesting, on par with recent ‘60s-tinged successes like Grizzly Bear, Cass McCombs, and Dr. Dog.

The recently released Blinding Light EP was mastered by Robin Schmidt and Jethro has already released two tracks from the excellent release, “I Never Knew Her Name” and “Blinding Light”. The latter is also accompanied by a video of Fox performing in front of multiple projected vintage videos, a simple formula that compliments his style perfectly. All of the tracks on the EP were put to tape before being mastered to help to replicate a more traditional analogue sound. This is coupled with tape echoes and spring reverbs added during the recording process.

Fox is continuing to tour with other bands which he’s involved with but is planning several gigs for October and November currently with more releases expected then.

RIYL: Cass McCombs, The Beach Boys, Grizzly Bear, Delta Spirit, Fuirt Bats, The Morning Benders, Surfer Blood, Dawes, Bill Callahan, Kurt Vile, Julian Lynch, Papercuts, Destroyer

Jethro Fox – Blinding Light

Jethro Fox – Never Knew Her Name

Anna Lena and the Orchids – Child (Remix by Jethro Fox)

Jethro Fox – Chasing Shadows

Bandcamp / MySpace / Tumblr

The post Jethro Fox appeared first on Obscure Sound: Indie Music Blog.

Artists like Scott Walker, Tom Waits, and Nick Cave are often commended for their eccentric tendencies; their music is entirely one-of-a-kind, as thematically engrossing through narrative idiosyncrasies as their musical accompaniments are haunting. Every component sticks with the listener, granting their music a radical enigma despite never venturing into shock value or explicit fervor. Their willingness to venture into the darkest corners of life with such a genuinely unique perspective is the reason for this. The no-frills approach apparent in many of their most intimate works (see Cave’s The Boatman’s Call or Waits’ Bone Machine) relies more on grim reality than desperately concocted stock characters and fantasies. All are lyrical geniuses in their own right, the type that always relied on the concept of an album rather than the snapshot appeal of singles. Their full-lengths unfold with intricate precision and always maintain the intimate themes that are initially presented. And in the case of a sudden revelatory transition, no one does it better or more cohesively than this trio – aptly titled, the dark storybook songwriters.

Contemporary artists like The National, The Mountain Goats, and recently The Antlers are groups that have these artists’ best interests at heart. They have mastered the art of dark, grimy, and gothic-infused atmospheres at this point in their careers, even if their music remains more accessible and less dense than artists like Walker, Waits, and Cave. Their delivery – generally a collection of indie-rock and folk influences – is less ambitious and nowhere near as prolific. Still, no one is going to listen to The Antlers’ Hospice and deny that it is as emotionally-charged and thematically dense than anything in the dark storybook catalog. The presence of one individual artist rather than an entire band (a recent trend for the approach) makes the gritty personalization of a Tom Waits or Nick Cave much stronger on a prolific level, but even longtime fans of them can agree that the latest crop of their influenced indie-rock offspring brings some interesting ideas to the album. They are perhaps not as innovative or groundbreaking, but interesting and wholly satiating nonetheless.

One aspect in this vein that goes overlooked is the extreme difficulty of entering the niche. These are groups with little radio appeal despite cult followings, who are often listeners with a strong emphasis on how musical content and lyrical wordplay communicate and affect one another. The beautifully abundant imagery throughout Waits’ “Kentucky Avenue”, a vivid recollection of childhood memories fresh in his memory, is lifted by a minimalistic and nostalgic piano melody that is gradually accompanied by exhilarating strings that grow in intensity with Waits’ croaking voice. “I’ll steal a hacksaw from my dad and cut the braces off your legs,” he sings during the strings’ emotive peak. “And we’ll bury them tonight in the corn field.” That line was written about Waits’ childhood best friend, who had polio. He was commenting on the power of innocence. Not knowing what polio was – or the fact it had no clear cure – gave he and his friend a sense of hope, one that is impossible for “knowledgeable” adults to acquire. In that sense, the concept of actual knowledge is subjective. This is echoed in this precise instance within the song, which through a collaborative lyrical and musical tour-de-force is able to capture both a memory and learning experience that few artists alive are able to convey.

Of course, setting oneself up to be the next Tom Waits is over-ambitious. After all, few people are both poets and musicians with the depth and scope of one Tom Waits or Nick Cave. There are those that are certainly as promising though, especially when you consider they are at an early stage in their careers. The Overcoat is a promising example of the next wave of dark storybook influences. A West Virginia-based trio fronted by the sullen vocals of Andrew Slater, their self-titled EP (available for free here) touts the same gothic devices as Nick Cave, the small-town secrets of Tom Waits and David Lynch, and the infectious rock and folk-infused fury of recent hybrids – like The National, Man Man, and The Antlers. The Overcoat call their music “an urgent, threadbare reminder of the angst and tedium of modern life”, an apt description especially for efforts like “Kid’s Bones” and “Fantasies” that dwell on everything from neglect and conspired death to divorce.

Dark indie-rock would be an easy label for The Overcoat, but their songs have more depth than the tag may suggest. “Simple Man” is heralded by screeching strings that somehow inject a climactic beauty, albeit one filled with chaos, into touching commentary about individuality (or the lack thereof). The crunchy guitar riffs present in “Fantasies” immediately brings out those Nick Cave comparisons, the realistically gritty lyrics enforcing this. “If only my pops packed his bags, absconded with his porno mags / In divorce court there’d be no white flags,” he sings. “At home my mom would make drinks for her dates / They’d wait and wink while she picked out a negligee.” The amount of angst and pain is prevalent enough to send chills down your spine, especially when a line like this precedes a very polished and affective guitar solo: “If only I were locked up in a cellar somewhere without food / And all my captors burnt me with their cigarettes and stripped me nude / Three months later cops would show and neighbors and the news crews.”

Other tracks, like the jazzy percussion and acoustical sparkle of “Barn Burning” or the morbidly epic folk of “Kid’s Bones”, are not nearly as accessible but pack similar lyrical depth. The Overcoat is a brilliantly moody release filled with many like this. If you want your jaw to drop again, check out the final minute of “Kid’s Bones”; the incorporation of Celtic and classical influences make for an utterly genius conclusion. The artistic prowess throughout resembles the awe-inspiring talent of the dark storybook songwriters that surely influenced this excellent album. That The Overcoat managed to infuse such dark themes and effective atmosphere into a variety of musical contexts, from slowly chugging creep-folk to jangly string-aided anthems, is perhaps the most impressive thing about their self-titled release. I’m not sure though; there’s just so much to appreciate.

You can download The Overcoat for free at the group’s Bandcamp. It is HIGHLY recommended.

RIYL: Nick Cave, Tom Waits, Scott Walker, The National, Man Man, The Antlers, The Mountain Goats, Akron/Family, Islands, Grizzly Bear, Interpol, Frightened Rabbit, The Birthday Party, Grinderman, Crime & the City Solution, Leonard Cohen, Tindersticks, Mark Lanegan, The Velvet Underground, Placebo

The Overcoat – Kid’s Bones

The Overcoat – Fantasies

The Overcoat – Simple Man

Bandcamp

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

Ben Talmi wants to fuck with your ears. He does not want you to know that his instrument collection is limited, or that his recordings rarely extend beyond his bedroom. In an age where popular music is bursting with superfluous production it is hard to blame him. Talmi recorded his debut EP, For the Dreamers, completely alone in his bedroom. And like most albums recorded in isolation, it resounds with a presentation unique to the artist. The Boston native seems to make music by his own standards, abiding by the belief that “limitation breeds creativity”, which makes me think that even if he was supplied an instrument apart from an acoustic guitar, a moog synth, and a piano free of charge, he would consider it to be cheating himself and – more importantly – his sound.

Admirable ideologies have little relevance in music if the material being produced is poor. I would not be featuring Talmi if that was the case though. His desire to bring out the most unconventional uses of his guitar/moog/piano arsenal results in some interesting efforts, for sure. But his most admirable traits of all, which are continuously infectious melodies and revolving song structures, are more prevalent than anything. Talmi successfully produces a vein of glitch-pop that – for once – does not express a reliance on sounds over melody. His material sounds simultaneously tightly infectious and creatively personalized.

The tightness of Talmi’s compositions are immediately recognizable, like on the crisp “Ticking of Your Bicycle” where the acoustic guitar swipes, beeps of synth, and clouting electro-bass combine for a tightly infectious journey. “Scales of a Fish in the Sky” is certainly more subdued initially, with an acoustic guitar arpeggio interweaving multiple progressions over the clock-like formation of the bass. The track picks up very quickly though, with a background of “ooh-ing” creating a serene feel about a half-minute in. From here, the listener is exposed delightfully to Talmi’s skills as a songwriter, which aligns perfectly with the styles of glitch-pop and electronica he maneuvers through. His innovative replication of orchestral elements is thoroughly fascinating, but it never overrides the infectious songwriting found on both “Ticking of Your Bicycle” and “Scales of a Fish in the Sky”.

It is appropriate that this feature comes only a few days after our review of Sufjan Stevens’ The Age of Adz. If anything, Talmi seems to possess the youthful ambition of Sufjan Stevens, and their stylistic preferences certainly appear aligned with these two releases. Talmi is younger and experienced, which shows, but sometimes it actually serves as a positive. Sufjan has lately been a bit over-ambitious in sacrificing accessibility for some puzzling choices within the avant-garde. That is not always true for him, since tracks like “I Walked” are as straightforward as one would want from him, but The Age of Adz was far from perfect with some notable missteps. Talmi, though, is still refreshingly experimental, in that he shows his bursting creativity but also knows that his chances for exposure would be weakened by acting too out there. Sometimes innocence and inexperience can pay off, especially when you pack as much potential as Talmi.

RIYL: Sufjan Stevens, Pinback, Andrew Bird, Grizzly Bear, Radiohead, Anathallo, Own Pallett, The National, Tor, Dirty Projectors, Deerhunter, The Dodos, Dave Sitek, M. Ward, Mass Fiction, Ross Fish, The Antlers, Rosie Thomas, Bright Eyes, My Brightest Diamond

Ben Talmi – For The Dreamers EP

Ben’s Bandcamp

MySpace

BUY (get $1 from Amazon when you purchase now)

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