I’m all about recycling, upcycling, composting… anything that reuses materials already on this earth. If a friend wants to use jeans for insulation or to make a quilt out of old clothes, I’d be over in an instant. But recycling music? I was not keen on the idea until I heard Stolen Voices by White Label. While the original samples are extracted from greats like David Bowie, Dennis Wilson, and The Supremes – all of whom need no help lending their creations – White Label redirect the intentions of their memorable classics, no matter how familiar.

Hailing from Scotland, the trio create a full sound that breathes life into older songs that you may not have heard in awhile or at all; many samples are taken from rare and unreleased tracks. Stolen Voices uses only the vocals from the samples, separating voice from background accompaniments and placing them within a full-band arrangement. The results are exciting and have the potential to appeal to a wider audience than previously intended. In a world where one of music’s major purposes is to express emotion and reach other individuals, White Label do these artists a favor by expanding their audience. Beyond that, White Label do not envision the result as their creation. Their name shows this, after all, as a tribute to vinyl records. Stolen Voices covers a wide array of music styles and it is difficult to not find at least one song that suits one’s musical preference.

The album begins with “Jean 1”. The vocals come from The Supremes’ song “Plane”. The keys provide an unexpected intro and give the song a unique vibe, somewhat of a crossover between contemporary indie-pop and throwback soul. The ‘60s soul is still very present, but with added piano, bass, and drums that make it feel more modern.

“Jimmy” takes the song “Sycamore Trees” by Jimmy Scott and makes it sound even more mysterious. Some may already know, but this was a track featured in the final episode of Twin Peaks. It opens with an eerie guitar twang, which sets the stage for cumbersome and tired percussion reminiscent of Badalamenti’s trademark work. The spaced out elements continue with flourishes of synths and a smattering of piano, aided by Scott’s powerfully emotive voice. Indeed it feels as if we are entering into the world of David Lynch. Fortunately, if you look around, you will find we are still in a universe where David Lynch’s characters don’t await under our beds. But when you need a break from the monotony of our world, this tune will transport you to a peculiar place.

The album closes with a loveable favorite, The Beach Boys’ Dennis Wilson. An underrated genius in his own right, it’s nice to see a modern tribute of sorts. “Dennis” features vocals from Dennis Wilson’s song “Carry Me Home”. This track was unreleased; it did not make the cut for the 1973 Beach Boys album Holland. Thankfully White Label uncovered this treasure and altered the song without destroying it. The soft bass and drums fuse effortlessly with the caressing piano. They are the perfect accompaniment to comforting and gentle Wilson vocals. The essence of Wilson is not lost; he is still the main player in this arrangement. As a continuing trend, White Label provide enhancement of a pre-existing gem.

Stolen Voices was a difficult project to undertake. It is taxing to take on the work of an older artist and make it new and worthwhile with a fresh coat of paint. An artist must always ask himself, am I altering it too much or too little? Am I making this song my own? White Label are extremely successful in their venture. It is as if they found old family jewelry, polished it, and gave it a new topcoat. New is not always what is best. Finding new meaning in old material is innovative. Find your favorite artist of the past or maybe artists you have never particularly cared for that are featured on this album, and enjoy listening to it in a new way. Just remember: the voices are stolen, but the arrangements are provided for a new generation to appreciate.

Click here to download Stolen Voices in its entirety.

RIYL: The Supremes, Jean Terrell, Jimmy Webb, Todd Rundgren, The Beatles, Billy MacKenzie, The Associates, Harry Nilsson, Jean King, Billie Holliday, David Bowie, John Martyn, Dennis Wilson, Avalanches

White Label – Jimmy

White Label – Jean 1

White Label – Dennis

Official Site

The post Stolen Voices From White Labels appeared first on Obscure Sound: Indie Music Blog.

Dan Barrett’s music plays like a spectre in the night, most effective to the highly attentive and surveyors of the smallest details. It’s something that exists and has its hand on your shoulder. Your reason for ignoring it has nothing to do with the light ethereal touch, but rather that it may trigger thoughts that veer into the unpleasant and supernatural; it is what some might deem as “unnatural”. A track from the eponymous album of Dan Barrett’s project Giles Corey, “Empty Churches”, begins with an appropriate sample. The famous paranormal researcher Raymond Cass begins: “The voices of unknown origin appearing on radio frequencies were first noticed in Scandinavia by the military in the ‘30s, and were put down at the time to secret Nazi transmitters.” He continues: “After the war, no records of secret Nazi transmissions ever came to light. The voices didn’t stop after the war, but it was not until 1959 that Frederich Jorgensen noticed intrusions on tape and commenced his own systematic study. A disturbing fact soon emerged; the voices zeroed in onto [Jorgensen], addressing him by name, revealing knowledge of his thoughts and actions and claiming to be the voices of deceased friends and acquaintances.”

Barrett produces music that plays like the sounds of ghosts from another time; it is hardly a menacing sound, instead opting for ethereal beauty in the compositions despite lyrical content that is gloomy – to say the least. The most chilling aspect of Barrett’s fascination with death and the afterlife is that it arose from depression. The longing to no longer exist, in this life at least, is certainly one way to spark an interest in such affairs. What makes Barrett’s music such an artistic feat is how genuinely it projects these sentiments. Much of Giles Corey is wordless; heavy organs and keys show dominance over ghostly choirs and languishing croons, with Barrett’s breathy and sombering tone providing the only hint of singular resonance. It sounds like a procession of tortured ghosts rather than one man tackling depression and his ensuing fascination with death. But through his own work and the art of others, he seeks the answer to whether life is worth living. By how resounding his music will be to others in a similar situation, one can hope he realizes the worth and impact of his life and the musical ability he was given alongside it.

Giles Corey is a dense, hour-long affair that features songs with plenty of life – despite how it occasionally sounds like it’s coming from a lifeless entity. There’s so much power in these compositions that even the ghostly quality is submerged at some points by vibrant life; both “Spectral Bride” and “Blackest Bile” begin as an acoustic slogs with solemn organ-drenched choir processions before bursting into expansive arrangements – and even in the case of “Spectral Bride” a brass-like movement. “Blackest Bile” ascends to stomping percussion and vocals with greater clarity, with both high and low pitches interweaving with precision. Moments like these, especially in subdued chirpiness of “Spectral Bride”, provide a hint of optimism that lifts these efforts to an emotionally stirring state. The very sudden transition from gloomy cathedral-like processions to more spontaneous bursts of life, even if the sanguinity isn’t exactly unavoidable, is metaphorical on several levels. This, in particular, brings Scott Walker’s recent works to mind. Every song on Giles Corey attacks this ascension differently, each providing a glimpse into Barrett’s troubled but brilliant mind. It’s art for the human soul, and for what exists beyond that.

Giles Corey comes with a 150-page book that Barrett calls “an intensely personal, intimate portrait of depression that took me almost 4 years to make.” The album follows a story arc that is detailed in the book, along with an emphasis on afterlife theorist Robert Voor. It’s certainly not something to read/listen to if you’re looking for a sudden burst of happiness, but anyone interested in the human psyche and the many factors of the afterlife will find this to be a stunning work of art.

RIYL: Scott Walker, John Cale, Tim Buckley, Robert Wyatt, Jacques Brel, David Sylvian, Stars of the Lid, Roxy Music, Talk Talk, Tindersticks, Harry Nilsson

Giles Corey – Empty Churches

Giles Corey – Spectral Bride

Giles Corey – I’m Going To Do It

Official Site / MySpace / BUY

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

HAL were featured on Obscure Sound over five years ago. They were under-exposed then, and remain so now. That HAL have not released anything in seven years certainly didn’t help. Nonetheless, I listened to their eponymous debut very often for several years without tiring of it. Its swirling mixture of Beach Boys-inspired west-coast pop and twangy country-rock projected a crisp form of pop with a bevy of infectious hooks, both in the vein of Brian Wilson-inspired interwoven vocal harmonies and dizzying instrumental theatrics. Maybe it was their west-coast pop hitting my sweet spot, or how the Allen brothers’ vocals mirror the ardent falsetto on The Beach Boys’ “ Be Here in the Mornin’”. That song was on The Beach Boys’ fourteenth album, Friends, and any fan of that album or The Beach Boys in general will fall immediately in love with HAL. I’m in that niche, obviously.

On Friends, the exuberantly majestic self-titled song, the cool-headed psychedelia of “Passing By”, and the suavely soulful “Little Bird” established it among The Beach Boys’ more relaxed releases, even if it also marked one of their most stylistically ambitious. Its enduring appeal can be attributed to cohesive stylistic adjustment; R&B, bossa nova, country-pop, and – thanks to Dennis Wilson – some great alternate take on psych-rock were driving forces, and all were incorporated with a smooth precision that only a producer like Brian Wilson could handle. The Beach Boys already proved such diversity before with Smiley Smile and Wild Honey (the latter being another accurate comparison to HAL’s sound), but it was still an enjoyable development. Although Friends, is not regarded with as much reverence as Wild Honey by some, it made its mark in most clearly exemplifying The Beach Boys’ underrated grasp of many styles that extended beyond the traditional west-coast pop that commercial audiences are familiar with.

Although HAL remain indebted to early rock much like The Beach Boys (and obviously the west-coast pop they engineered), they achieved something similar with HAL that Wilson did with Friends. HAL masterfully took elements of power-pop, country, and classic-rock and embedded it within a style they could call their own (for the most part). Beach Boys tributes tend to be derivative and dull, but when you put such a powerful influence in the hands of talented pop songwriters like the Allen brothers, they do not repeat ideas. If that were the case, Beach Boys fans would regard their songs as poor cover versions. Instead, HAL are more focused on Brian Wilson’s production methods than his songs. The multi-tracked harmonizing, orchestral tendencies, and glistening melodies are entirely their own. HAL sounds like a bunch of excellent original songs produced by Brian Wilson, not written by him. Did I mention that this was HAL’s debut? I apologize if the Beach Boys comparisons are tiring by now, but (like The Explorers Club) HAL are a very rare breed. They fully capture a nostalgically successful genre without replicating it, which for west-coast pop this is a very admirable feat.

Over the past year or so I somewhat neglected HAL. Regardless of how great an album is, if the band goes a long time without material of any sort then listeners initiate a defense mechanism of sorts. They shun away from the album, simply to prevent over-exposure to it. Whether it is a relationship or form of art, no one wants the initial luster to fade. This is what I did, somewhat unintentionally, but like all great albums I came back to it. Upon revisiting HAL, it established itself like any great album; re-discovery prompted new discoveries. Songs I somewhat dismissed previously – the Smile-inspired “My Eyes are Sore” and the catchy southern-rock ballad “Coming Right Over” – now started clicking. Old favorites like “I Sat Down” and “Worry About the Wind” sounded even better. And thus it was established: HAL is not the usual album that one forgets about, forever in their music vocabulary but rarely repeated for enjoyment. It is more important than that.

Coincidentally, just as I was re-discovering their excellent debut, HAL announced for the first time in nearly one half-dozen years that they are releasing new material. Their new single “Be With You” will be available May 13th, and their long-awaited sophomore album The Time, The Hour will follow shortly thereafter. The band was generous enough to post most of their newly released songs on Soundcloud, so check them out below. Posting even one track from their debut album is unfortunately forbidden. I have no permission to post them, but I’m sure you can figure out how to obtain key tracks “Worry About the Wind”, “My Eyes are Sore”, and “I Sat Down”. Either way, HAL’s new tracks sound good and their upcoming album, The Time, The Hour, is certainly a dark horse for being one of the best pop albums of 2011. HAL was up there with the best in 2005, and considering that their new tracks are nearly as good I doubt their second album will falter.

RIYL: The Beach Boys, Dr. Dog, Brian Wilson, The Thrills, Explorers Club, The Stands, Harry Nilsson, Mull Historical Society, Move, Tom Petty, Roy Orbison, The Byrds, The Zombies, The Ronettes, The Kinks, The Left Banke, The Beatles, Big Star

HAL – Be With You

HAL – Down in the Valley

HAL – Close To Her

And a couple tracks from HAL’s biggest influence, from the album most reminiscent of their sound:

The Beach Boys – Be Here in the Mornin’

The Beach Boys – Passing By

Official Site / MySpace / BUY

The post HAL Return… Finally appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

——————————————————————————————————————————————-

40. The Leisure Society – The Sleeper

Through glimpses of luxurious chamber-pop and melodic folk, The Leisure Society present listeners with a ceaselessly soothing style that is made memorable by lead vocalist Nick Hemming’s delicate voice and naturally infectious songwriting. Simplicity is a concept that The Leisure Society appear fond of, both in their charming songwriting and lyrical content. Whether they sing of yearning for the days when “life was so much simpler” in the ukulele-driven “Love’s Enormous Wings” or the overemphasis on assigned tasks in “A Short Weekend Begins With Longing”, it is evident that this British collective value enjoyment through the simple things in life, those in which people often overlook because of demanding schedules and occupational conformity. Abrasiveness is not found on one note throughout the 11 tracks on their debuting The Sleeper, showcasing the meticulous craft of Hemming’s songwriting.  The bare effort of a ukulele eventually finds itself complemented by an upright bass, woodwinds, and sparkling keys, paving the way for the song’s excellent development. The melody tends to repeat itself throughout the entire track, with the instrumental additions of a new string arrangement or woodwind accompaniment establishing the subtle melodic alterations. Considering that it is so beautiful though, it is hard to complain. The track perfectly summarizes how The Leisure Society are able to craft beautiful gems using little more than conventional structures and highly melodic instrumentation. Well, let us not forget Hemming’s stellar songwriting as well. On The Sleeper, all of these forms are showcased in an accessible and memorable manner that should have listeners coming back for more, whether they are in the middle of a workday or just beginning a weekend. The Leisure Society fit nicely on both occasions, even if they tend to be partial to the latter.

The Leisure Society – Love’s Enormous Wings

The Leisure Society – A Short Weekend Begins with Longing

Willkommen Records

MySpace

BUY

READ MORE>>>

——————————————————————————————————————————————-

39. Atlas Sound – Logos

Another regular on this annual list, Bradford Cox has wowed visitors with both of his projects (Atlas Sound and Deerhunter) in the past few years. Easily one of the most interesting songwriters of the decade, Cox’s erratic and stream-of-conscious tendencies bring out a rare breed of musician that is neither concerned by commercial appeal nor structural fundamentalism. The result is always something creatively willing and unpredictable, whether it involves glistening post-punk, screeching experimental-rock, or lush ambient electroncia. Bradford’s most useful talent, in my opinion, is his ability to tame his ambition. Clearly he has an assortment of ideas, but his devotion to cohesiveness on each of his releases is inarguable. An early leak of Logos had Cox fuming, saying the leak was nowhere near the final product. When the final version was released, its fascinating appeal was not a surprise. Although he would have obviously preferred it never to leak, comparing a rough draft with Cox’s final version simply shines a bright light on his accompanist abilities. The album’s center stroke of genius, “Walkabout”, finds the dreamed-about collaboration of Bradford Cox and Animal Collective’s Noah Lennox come to fruition. It is absolutely gorgeous as one could imagine, ironically enough serving as one of the most pop-oriented efforts from both careers thus far. Cox and Lennox are some of the most inventive songwriters of the past few years, so to see them avoid previous ideals and stereotypes to create an absolutely stunning pop song is highly commendable. ’60s AM radio meets the lovechild of “Good Vibrations” and Animal Collective’s “Grass” and the result is profoundly effective. As far as the rest of Logos goes, Cox continues to marvel listeners with his raw throwback approach. “An Orchid” has an eerie air to it with heavy doses of acoustic reverb and clashing percussion. Cox’s vocals take on their lovingly indistinguishable feel, generating hooks as the slow plow of muddled acoustics push forth an elegant melody that slowly unfolds into gushing melodic bliss.

Atlas Sound – Walkabout (with Noah Lennox)

Atlas Sound – An Orchid

Official Web Site

MySpace

BUY

——————————————————————————————————————————————-

38. Cats on Fire – Our Temperance Movement

Cats on Fire take listeners back to mid-’80s Britain. Familiarly clawing jangle-pop is their trade, led by a witty vocalist that sounds part operatic and part maudlin balladeer in his somber and quivering delivery. Their familiarity to certain jangle-pop legends are evident by now, we get the point. For this familiarity to negatively impact the band’s work, though, would be an absolute crime. This is simply the music they grew up on, and for once within the stream of new artists it has nothing to do with image or commercial appeal. Morrissey, Felt, and the Go-Betweens all show up for a cup of tea at some point throughout Cats on Fire’s second full-length, Our Temperance Movement, but none stay and chat for too long. The treatment of their influences can be integral in determining whether an artist prefers to imitate or innovate, and tending to such obvious artists more out of respect than imitation is how Cat on Fire’s evident growth in maturity is demonstrated on this sophomore effort. These are solid and impeccably arranged tracks and their precise songwriting is evident. This songwriting, a virtuous use of arpeggios, and rich melodies are the album’s biggest strengths. “The Borders of This Land” is one example of this arpeggiated mastery, which can be a tricky device for pop musicians considering its tendency to run rampantly and excessively. It brings to mind how Aztec Camera’s Roddy Frame impressed with his acoustic work on gems like “Oblivious”, or how Johnny Marr accentuated Morrissey’s sullenly unique voice with stellar guitar-centric production. The guitar work on tracks like “The Borders of This Land” and “The Steady Pace” bring to mind legendary accompanists like these, but acoustics are not the only force at work. The trickle of keys toward the conclusion of “Lay Down Your Arms”, the contagious use of muted harmonics on “Letters From a Voyage to Sweden”, or the burst of triumphant awe in “Horoscope” all provide plenty of satisfying variation. Our Temperance Movement is full of surprises like these, making its replay value considerably high for a pop album of its stature.

Cats on Fire – The Borders of This Land

Cats on Fire – Letters From a Voyage to Sweden

Official Web Site

MySpace

BUY

READ MORE>>>

——————————————————————————————————————————————-

37. Klum – We Carelessly Turned Amazingly into Nothing

It helps when all your bandmates are multi-instrumentalists, like in the California-based Klum. This versatile aspect 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. 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. This is what they show consistently throughout We Carelessly Turned Amazingly Into Nothing and it attributes to an excellent release that this promising group should be proud of.

Klum – Nonbeliever

Klum – For Sale a New Life

MySpace

BUY

READ MORE>>>

——————————————————————————————————————————————-

36. The xx – xx

The XX playfully list their influences in regard to opposite spectrums, commercial success and cult success. It is not so much dependent on style, but instead how similar approaches can end up differing dramatically based on the pressures of derivative automation. They like everything from Aaliyah to CocoRosie, Rihanna to The Cure, and Missy Elliott to Chromatics. Some sharp contrasts, sure, but their message is clear in describing their influences this way. This London-based quartet is the antithesis of independent elitism, showing both their adoration for mainstream pop music and independent stylistic mash-ups with a sound that contains the commercially receptive allure of acts like Rihanna and Aaliyah but without the repetitive, industrialized facades that tarnish their images. It makes it even more amazing when considering the three members are barely of legal drinking age.  Like Junior Boys or early Air, The xx’s debut 2.0 possesses a late-night feel that can be attributed to serene soundscapes, mostly led by a rumbling rhythm section that paces itself perfectly. It complements chilly synths and husky vocals with absolute precision, alternating between concise bass lines and highly rhythmic propulsions when the song calls for it. It helps that, like many musicians, The XX seem to work almost exclusively at night. The quality shows. Oliver Sim and Romy Madley Croft are responsible for these aforementioned vocals, showing their beautiful abilities in the form of both duets and solo accompaniments. Their voices often sound trapped in an icicle-laden cave, the reflection of reverb becoming apparent due to the minimalistic arrangements. Synthesizers and guitars collide in the beautiful “Infinity” as both interchangeably emit a soulful croon, with a slight tinge of Afro-pop being evident in the spright keys of the similarly presented “Basic Space”. All 11 efforts on 2.0 unfold with beauty, elegance, and precision, never hesitant to surprise a listener with innovation enclosed in an atmosphere of ethereal beauty.

The XX – Basic Space

The XX – Crystalised

Official Web Site

MySpace

Rough Trade Records

BUY

READ MORE>>>

——————————————————————————————————————————————-

35. Antony and the Johnsons – The Crying Light

A piano is usually the only instrument Antony Hegarty needs to emit his wide range of emotions, and that is if we are being greedy. His voice is one of those rare entities that sounds beautiful and flawless regardless of accompaniment or lyrical content. The motivation for his naturalist lyrical disposition and words of worth are driven purely by his passion for music, a reverence that can be displayed through the sincere quiver in his piercing voice, the haunting arrangements he is able to so masterfully conceive, and the transcendent melancholic perspectives that are enriching rather than demoralizing or melodramatic. “One Dove” is a pretty little stunner, the sensual aroma of ’50s brass sweeping up after the elegant keys and Hegarty’s whimper subside into little more than a percussive rattle. I have been in love with this man’s voice since their self-titled debut in 2000, but The Crying Light finds new heights for Antony in his musical ambitiousness. While previous efforts consisted mainly of ballads and occasional anthemic stomps, the exploration of various genres throughout The Crying Light is breathtaking. One can enjoy the jazzy influence of “One Dove” with its brass developments or even explore operatic musicals on Broadway with the very expressive “Everglade”. A masterful and sweeping closer to an excellent album, the use of various orchestral instrumentation plays wonderfully over Antony’s vocals. “Epilepsy Is Dancing” is notable for being one of the album’s more accessible efforts in its rapid demeanor, restrained only by an orchestra section not all too familiar with dance music. The Crying Light brings so many interesting circumstances like these to light, in turn crafting an excellent album that sees this extraordinarily talented songwriter still finding room to grow. Few artists take such tremendous strides with each successive release as Antony.

Antony and the Johnsons – One Dove

Antony and the Johnsons – Everglade

Official Web Site

MySpace

BUY

——————————————————————————————————————————————-

34. Foreign Born – Person to Person

While Foreign Born’s style shows accessible shades of indie-rock that would be receptive toward most contemporary fans, the diversity presented on their second album, Person to Person, is more indicative of an eclectic fusion of influences, both domestic and international. British rock is certainly a prominent influence for this talented four-piece, citing the Happy Mondays and Echo & the Bunnymen as stepping stones for their guitar-based sound. This British style of rock is fused with classic American songsmiths like Bob Dylan, Townes Van Zandt, and Harry Nilsson. Their catchy mixture of concisely implemented guitar licks, frantic percussion, and other conventional attributes of art-rock does not exactly coincide with the folksy singer/songwriter musings of Dylan or Nilsson, but their simultaneous ability to combine memorable musical accompaniments and engaging lyrical content is something that combines the broodingly infectious form of British post-punk that dominated the ‘80s and the interpretively heartfelt lyrical content of traditional American folk songwriters. To combine characteristics of two separate genres with differing geographical origins is risky for a young group, but Foreign Born is one of the few to prevail. Staying true to their summery interpretation of indie-pop, “Early Warnings” is a great demonstration of the group’s cumulative melodic capacity and Garrett Ray has a strong presence with his fierce drumming skills. The lead guitar has the type of twang that one would expect from Little Joy, The Shins, or any other conventionally accessible indie-pop group, but the subtle variations within the track make it a treat that would benefit from a variety of listens. Listeners with a tendency to focus on the percussive elements more than anything (drummers mainly) will likely find themselves impressed at the track’s end, as Ray has a tendency of restraining his percussion when vocals or instrumentation are at full force and knocking out an impressive solo when instrumental minimalism requires it. This results in a plethora of diversity throughout the album, both structurally and stylistically. Merely avoiding the sophomore slump is an achievement in itself. To make an album that trumps an already-impressive debut in several ways is a rare spectacle that is hard to rival.

Foreign Born – Early Warnings

[audio:http://mineorecords.com/mp3/fborn-ear.mp3]

Foreign Born – Blood Oranges

Secretly Canadian Records

MySpace

BUY

READ MORE>>>

——————————————————————————————————————————————-

33. Richard Hawley – Truelove’s Gutter

Richard Hawley continues to produce the best solo career out of any former Pulp member, releasing albums consistently enjoyable enough to separate himself entirely from any past associations.  Low-key and proud of his modest English background, Hawley has perfected the craft of luxurious and inoffensive pop music. His style has always recalled a “Wall of Sound” influence, complete with reverb-heavy strings and twinkling keys that play counteractive to the slick guitar licks and a soothing vocal presence. His last two albums, Coles Corner and Lady’s Bridge, were fantastic so the success of Truelove’s Gutter is not that surprising. The album’s most striking track, “Open Up Your Door,” is one of Hawley’s best efforts to date. Backed by a stirring accompaniment of strings and guitars that propel into an emotional wrath of various interweaving orchestral instruments, it finds this simple but resounding sentiment at the forefront: “Love is so hard to find, and even harder to define.”  “I’ve never been so sure,” is the only other phrase repeated throughout this lengthily gorgeous chorus on “Open Up Your Door”, but Hawley’s confidence has never sounded so sincere and effective. The music really shows it too. ’50s maudlin balladeers were obviously an influence for Hawley’s throwback style, and his ability to integrate this with the chops he learned as Pulp’s former guitarist and as a solo artist is what makes Truelove’s Gutter so magical. Like his close friend and collaborator Jarvis Cocker, Hawley’s work remains most appealing to an English audience. His lyrics reflect the English lifestyle to a sympathetically engaging effect, often using native landmarks of Sheffield in naming his album and song titles. Truelove’s Gutter is further remarkable for expanding upon this limited ideology. A romanticized focus on universalized loss is more consistent throughout the album, with flourishes of optimism appearing in forms of instrumental capriciousness. As usual, Hawley has delivered with another outstanding album and step forward.

Richard Hawley – Open Up Your Door

Richard Hawley – As the Dawn Breaks

Official Web Site

MySpace

BUY

READ MORE ABOUT LADY’S BRIDGE>>>

——————————————————————————————————————————————-

32. Neon Indian – Psychic Chasms

Neon Indian was clouded in ambiguity for quite some time before Alan Palomo (Vega) and Alicia Scardetta were revealed as the duo behind the illuminating glow. It followed in the footsteps of recent electronica artists, who in the vein of artists like Burial used ambiguity to their advantage. The reason for ambiguous success on Neon Indian’s part is the atmospheric ability that the group conveys, evident in a style that strays on the borders of dream-pop, italo-disco, and psychedelic electronica without fully committing itself to one specific niche. The approach is consistent throughout their debut EP, Psychic Chasms, and results in one of the most promising releases of the year. In addition to using sparkling synths and hazily reverbed vocals to construct their style, they hold something in common with Sweden’s Air France. They released an EP, No Way Down, in 2008 that brought their radiant electronica to the masses due to widespread acclaim. Psychic Chasms is nearly identical in length and overall quality, providing listeners with a sample that should have them excited for the duo’s promising future. “6669 (I Don’t Know If You Know)” shows how their music is both innovative and accessible, blending in varying elements of pop and electronic. The vibrato-led bass line is reminiscent of italo-disco and dance, but the fusion of wavering synths and tranquil vocal melodies appears more indicative of dream-pop or even shoegaze despite its technological origins. The beauty of this track arises in its multiple layers, as they accentuate one another beautifully with a blissful style of production that capitalizes on the consuming flexibility of synthesizers while maintaining a lo-fi quality that it not hindered by forceful or overly elaborate components. Although Psychic Chasms lacks the length of a consummate album, it shows enough to provide Neon Indian with the credibility they need to get their music deservedly exposed to an audience that does not have to work hard to enjoy it. This is the type of stuff that consumes and rewards the listener effortlessly.

Neon Indian – 6669 (I Don’t Know If You Know)

Neon Indian – Deadbeat Summer

MySpace

BUY

READ MORE>>>

——————————————————————————————————————————————-

31. Afternoon Naps – Parade

Afternoon naps are a pretty amiable thing to name your band after, even if it is hardly the most exciting. These few hours are simple but highly productive, at least in the sense that recuperation amidst a weekday’s chaos is rare, and these are the reasons why it can be so enjoyable. Although somewhat misleading, this was precisely the intention the Cleveland-based Afternoon Naps had when exposing their sound. They do not hold back that their structures are traditional, their instrumental selection is restrained, or that their influences have been making great power-pop before them. It sounds familiar and simple, just like their namesake, and this is ironically why their second full-length album, Parade, has resulted in such a success. It sounds like a product of shimmering jangle-rock, catchy ’60s pop, and richly arranged Brit-pop, all genres interconnected by a similar tendency to remain durable, accessible, and musically impressive throughout the simplest of appearances. Simplicity does not always correlate with predictability though; guitars, keys, synths, and bass were all lead instruments at some point for the greatest of these artists in their respective genres. Afternoon Maps should become notable with Parade for applying just this, which results in a remarkable sophomore effort that sounds both freshly invigorating and oddly nostalgic. Some of the finest creations on Parade are influenced by psychedelic-pop, as “Beach Bums” could easily show. Complete with its lead organ, bustling rhythm guitar, and accompanying acoustics, “Anything you want to ask of me just whisper it to the breeze,” they both sing. “I will try my hardest not to scream as waves crash on top of me.” The melodrama of ’80s British post-punk and jangle-pop is certainly evident in the lyrical content and vocal tone of both singers, and the melody is more distinctively reminiscent of psychedelic-pop with its hazy underlying production and use of reverb. Parade is a colorful album with its nostalgic influences and sharp production, and it results in resounding success because most of the songs refuse to keep in a straight stylistic line.

Afternoon Naps – Beach Bums

Afternoon Naps – Mitten Fingers

HHBTM Records

MySpace

BUY

READ MORE>>>

The post Best Albums of 2009: #40 to #31 appeared first on Obscure Sound: Indie Music Blog.

Foreign causes are often distinctive enough to warrant recognition on their own. Food is probably the most common instance of this, with the international food industry comprising for a substantial bulk of food sales in the US. After all, restaurants that are in contrast to burger joints and other casual American delicacies offer more than just food. Atmosphere is just as important, and for exotic eateries it can be the difference in retaining a customer or turning them away. There is the actual product and then the appearance, which can either relate to the appearance of the product or the atmosphere in which the product exists. Such distinctions surprisingly overlap into the music industry as well, with the allure of a foreign product being comparable. Audiences become consumed by how songwriting techniques vary from country to country, how these international musicians present their work, and how prominently their influences are displayed (in addition to who their influences actually are). It is a change of pace, and for that audiences may become more lenient or even ignore them altogether due to their foreign status. After all, culture shock can be intimidating and this relates to numerous areas, including food and music. Although their name suggests otherwise, Foreign Born are simply a bunch of guys from Los Angeles. However, their music implies a more collective fusion of influences that makes their presentation distinctive enough for the title.

While Foreign Born’s style shows accessible shades of indie-rock that would be receptive toward most contemporary fans, the diversity presented on their second album, Person to Person, is more indicative of an eclectic fusion of influences, both domestic and international. British rock is certainly a prominent influence for this talented four-piece, citing the Happy Mondays and Echo & the Bunnymen as stepping stones for their guitar-based sound. This British style of rock is fused with classic American songsmiths like Bob Dylan, Townes Van Zandt, and Harry Nilsson. Their catchy mixture of concisely implemented guitar licks, frantic percussion, and other conventional attributes of art-rock does not exactly coincide with the folksy singer/songwriter musings of Dylan or Nilsson, but their simultaneous ability to combine memorable musical accompaniments and engaging lyrical content is something that combines the broodingly infectious form of British post-punk that dominated the ‘80s and the interpretively heartfelt lyrical content of traditional American folk songwriters. To combine characteristics of two separate genres with differing geographical origins is risky for a young group, but Foreign Born looks to finally prevail with a new album that blends their large assortment of influences beautifully.

To avoid the factor of intimidation that applies to most music with a variety of inspirations, Foreign Born’s new album, Person to Person, has the distinction of treading within a familiar style while exploring new territory in each song. Their first album, On the Wing Now suffered from a lack of cohesion despite some worthwhile standouts, serving as an example of a young band with heaps of potential but a lack of focus. Despite this though, they were proclaimed as one of the most promising groups in the LA area and earned some generally positive reviews. The most prominent aspects of the album included Matt Popieluch’s soaring vocals and Garrett Ray’s outstanding drumming ability. Foreign Born held the distinction of being a group with a capacity for anthemic heart-pumpers, and this is hardly different on Person to Person. If anything, this strength is capitalized upon even more with the expansion of the group’s instrumental repertoire, featuring an assortment of woodwinds, strings, brass, and synths. From the twinkling of synths in “It Grew on You” to the exotic, Lennon-like use of strings in “See Us Home”, there is plenty of eclectic musicianship on Person to Person. This is where the importance of Ray shines more than ever, as he is often the only steady force amongst a flurry of impressive instrumental additions. With an astute ability to turn even the simplest melodies into an intricately empowering force and the overly complex efforts into a more accessible format, Ray is largely responsible for restraining the group’s lofty ambitions to a point where their material is accessible and instantly rewarding.

Staying true to their summery interpretation of indie-pop, “Early Warnings” is a great demonstration of the group’s cumulative melodic capacity and Ray’s largely complementary role in modifying some good songwriting to make it excellent. The lead guitar has the type of twang that one would expect from Little Joy, The Shins, or any other conventionally accessible indie-pop group, but the subtle variations within the track make it a treat that would benefit from a variety of listens. Listeners with a tendency to focus on the percussive elements more than anything (drummers mainly) will likely find themselves impressed at the track’s end, as Ray has a tendency of restraining his percussion when vocals or instrumentation are at full force and knocking out an impressive solo when instrumental minimalism requires it. This results in a plethora of diversity throughout the album, both structurally and stylistically. The feel-good nature of “Early Warnings” benefits heftily from this, as the verse’s lack of frantic percussion complements the unavoidable entry of it in the chorus extraordinarily. “Blood Oranges” also offers an excellent build-up, primarily found in a stunning rhythm section led by Ray and bassist Ariel Rechtshaid. “Anthemic” was a word used often to describe Foreign Born’s debut, and Popieluch’s vocal performance here remains indicative of that as well. On the Wing Now was impressive for a debut album, but Person to Person exceeds it on most fronts in being the summation of Foreign Born’s underrated depth and potential. Merely avoiding the sophomore slump is an achievement in itself, to make an album that trumps an already-impressive debut in several ways is a rare spectacle that is hard to rival.

——————————————————————————————

Foreign Born – Early Warnings

——————————————————————————————

Foreign Born – Blood Oranges

——————————————————————————————

Foreign Born – It Grew on You

——————————————————————————————

Secretly Canadian Records

MySpace

BUY

The post Foreign Born, LA Bred appeared first on Obscure Sound: Indie Music Blog.

Robert Bradley has strayed on both sides of the tracks. From singing on the streets of Detroit to appearing on major-label albums and in high-budget films, he is reflective of artists that maximize even the most humble of circumstances to acquire experience and eventually prevail. Street performers can live happily if funds never go awry and they genuinely enjoy playing music for a living, but there must be an apparent frustration within these artists. How can they not lament an inability to get their music heard beyond the street they are performing on? Many street performers have devoted their lives to music, so there must be some apparent desire for recognition. For many this desire is subtle, and happiness is simply derived from seeing a dozen or so people a day walk by and display some sort of enjoyment in response to their music. Bradley was never a stereotypical street performer since he became renowned for his singing at coffeehouses, Baptist churches, and Detroit’s Eastern Market for nearly three decades, a local legend of sorts whose soulful voice and enigmatic presence made hordes of passerbys stop and take notice. He is also blind, so one must feel sorrowful in the respect that he is not able to see the happiness that his music brings to people’s faces. He certainly heard their praise though, and two of those that took lauded him were Michael and Andrew Nehra, members of indie-rockers Second Self.

The Nehra brothers were immediately impressed by Bradley’s natural ability, ardent demeanor, and obvious commitment, prompting a discussion among musicians once they met him on the street. The story goes like this: the group was practicing for Second Self when they heard a distinctive voice coming from below their apartment. They followed the soulful croon until they came across Bradley, paving the way for a discussion regarding future collaboration. Robert Bradley’s Blackwater Surprise was formed then and it proved to mark a fusion of two generations, one consumed by blues and the other by alternative-rock. Bradley had decades’ worth of experience and his aged features showed that, while the Nehra brothers and drummer Jeff Fowlkes represented a bunch of fresh-faced indie-rock kids that were looking to add a twist to the occasionally generic alt-rock of the early ‘90s. An odd pairing to say the least, but it worked nonetheless and a deal with RCA Records took place shortly prior to the group’s debut album, Blackwater Surprise. Bradley’s years of cumulative musical experience and the Nehra brothers’ background in production were essential to the debut’s success, an impressive release that saw the blending of blues, soul, and gospel into a guitar-based formula that was easily received by the early ‘90s alternative-rock crowd.

Blackwater Surprise featured plenty of bluesy improvisation from Bradley, but the group’s second album, Time to Discover, resulted in a more expansive type of sound that found Bradley and his young backing band in a more collaborative environment. Bradley’s raspy vocals and honest lyrics were still the most distinctive parts of the release, but Fowlkes and the Nehra brothers provided backing instrumentation that provided more diversity, ambition, and infectiousness than the debut. The critical acclaim was even more prominent for Time to Discover too, with Allmusic calling it “the first modern blues classic of the new millennium.” One of Bradley’s best friends, Kid Rock, also made an appearance on the album before he was even relatively notorious. The acclaim was still not enough to keep the group on RCA Records though, as the style appeared too frustrating for commercial benefits. Some fans of blues found it to be too restrained, while alt-rockers found fault in its fusion of the past and present. Most critics and eclectic music fans enjoyed it though, so the group kept chugging along and signed with Vanguard for the release of their third album, New Ground, in 2002. This marked the departure of the Nehra brothers, but Fowlkes stayed on board and Bradley brought in Matthew Ruffino, a songwriter and guitarist. Similar results were achieved as on their RCA releases, drawing acclaim but not much in regard to commercial success. Critics saw it as consistency, but not enough in terms of improvement needed in order to vaunt the group into national recognition.

The group’s fourth album, Still Lovin’ You, featured Bradley leading the album more than before, taking sole songwriting track on every track apart from a cover of Isaac Hayes’ “I Thank You”. There was an additional emphasis on Philly soul in order to supplement Bradley’s vocals more comfortably, and it succeeded for the most part in another success that saw the band straying in a consistently good category that was not exactly “great” yet. This album was released in 2003, signaling a five-year wait in between the release of Still Lovin’ You and their new album, Out of the Wilderness. Efforts like “Alabama”, an ode to Bradley’s home state, slides more into classic rock territory; the sound is more reflective of The Allman Brothers while the chorus’ hook shows shades of Harry Nilsson. “My heart still lives in Alaba-a-ma,” Bradley croons during the gripping chorus. His voice sounds better than ever, and the backing instrumentation contains more swagger and hooks than all of his past releases. The greatness of “Alabama” even prompted the state’s governor, Bob Riley, to award Bradley with a Certificate of Commendation. Such a display is indicative of Bradley’s sheer poetic prowess, using both his vocals and vivid storytelling abilities to create something powerful and captivating.

In addition to the excellent “Alabama”, Out of the Wilderness contains plenty of material to get excited about. The swanky “Americaland” recalls vintage Elvis Costello with Bradley’s nasally mumbling, the organ’s eventual prominence, and the funk of the scraggly guitars, while “Love You in the Daytime” is strongly reminiscent of singer/songwriter balladry in the vein of Randy Newman. One of the album’s more sensitive cuts, “Beautiful Girl”, touches on the topic of dealing with a child leaving home. It is one of Bradley’s most lighthearted affairs but still achieves success based on his prevalent ardency, an aspect that is presented most prominently during the up-tempo chorus. “Cryin’ My Eyes Out” and “Gotta Find a Woman” are more conventional of Bradley’s soulful relations of despair and detriments, and the difference in tonality between tracks like these and “Beautiful Girl” or “Love You in the Daytime” makes the flow of Out of the Wilderness extraordinary. There is plenty to like here, as Out of the Wilderness is the album that has finally pushed Bradley from good to great. Although his past success is still respectable, his experience has finally paid off with his biggest success yet. The album has already generated unusual commercial success, with “Love You in the Daytime,” “Cryin’ My Eyes Out,” and “Everybody Wanna Party” appearing in the movie Love n’ Dancing with Billy Zane and Amy Smart. As Bradley’s track history shows though, I doubt he cares much about Hollywood success. Out of the Wilderness is a clear success that will bring enjoyment to many people, and that is the most important thing to the Alabama native.

——————————————————————————————

Robert Bradley’s Blackwater Surprise – Alabama

——————————————————————————————

Robert Bradley’s Blackwater Surprise – Love You in the Daytime

——————————————————————————————

Robert Bradley’s Blackwater Surprise – Beautiful Girl

——————————————————————————————

Official Web Site

MySpace

BUY

The post Robert Bradley’s Blackwater Surprise appeared first on Obscure Sound: Indie Music Blog.

MP3 files are now working

When monumental success is accomplished through means of distinctive locality, I imagine that the sense of pride for a group is indescribable. You grow up with a certain group of friends, talk and occasionally bicker with them about music to pass the time during class, and even form an embarrassing band or two during the same period; it is all a natural part of growing up for childhood friends that share a mutual love for music. With that being said, to make a flourishing career out of something that has positively taken hold of you for the entirety of your childhood can be a dream come true. To do it with those same friends that you grew up with is a rare sight to behold, but it is certainly not impossible to find. The Pittsburgh-based Ball of Flame Shoot Fire can certainly attest to this, as the entirety of their band is made up of a group of friends who grew to be the best of friends during their high school years. They were often simultaneously friends and bandmates, a mixture that can occasionally prove to be complicated due to the highly sensitive nature of an occupational relationship. As displayed in their music though, the chemistry for this five-piece in undeniable, allowing the five friends to maintain their composure and combine their talents for something that is truly and uniquely riveting.

The list of influences that Ball of Flame Shoot Fire have appropriately compiled on their MySpace proves quite indicative of their modernistic approach. A few years out of high school, it is not surprising of them to list a few contemporary greats like Sunset Rubdown, Animal Collective, and Grizzly Bear as a few of their influences. However, their prevalent admiration for legends like Tom Waits, Harry Nilsson, and David Bowie also allows them to emit their veneration for past approaches. This ultimately results in a very flexible form of indie-rock that gravitates largely toward aspects that are largely experimental and occasionally psychedelic. A rather immediate comparison would be to that of Animal Collective, specifically displayed on the excellent “Mugs”, but Ball of Flame Shoot Fire are certainly no imitators of a particular style or group. Apart from the fact that their songs differentiate from one another vastly through melodic, instrumental, and structural variation, their songwriting is captivating in a way that calls upon both inventively plausible hooks and audible energy; this aspect of songwriting is what makes the comparison to Animal Collective the most accurate. Fitting in nicely with imaginatively unclassifiable indie-rock acts in the vein of Animal Collective, Man Man, and Frog Eyes (all influences by no coincidence), Ball of Flame Shoot Fire have the capability to become the next big thing in the world of creatively unpredictable indie-rock.

Though all five members were friends throughout high school who had participated in other miscellaneous projects, Ball of Flame Shoot Fire did not officially form until 2006. They have played primarily around Pittsburgh, achieving a startlingly emergent fanbase while opening up for acts as accomplished as Grizzly Bear, Man Man, and Mates of State. Listening to their music, it is quite easy to see why acts in the vein of Grizzly Bear and Man Man have sought out the five-piece to open for them too. Ball of Flame Shoot Fire do not only write songs that are somewhat influenced by the psych-folk of such groups, but their ardently expressive reliance on youthful exuberance is heavily prevalent. The same can be said for a group like Man Man that have made a name for themselves in being one of the best live acts around due to their highly energetic presence on stage and in the studio. Hot off some significant local recognition, Ball of Flame Shoot Fire released their debut EP, Grumpy Little Bird, in the fall of 2007 to some more consistent acclaim. Some local publications and sharp blogs were the ones to generate some buzz for this one, solidifying the group’s status as one of Pittsburgh’s most promising up-and-coming acts. Still though, the EP had yet to attract the national recognition that the group’s sound so genuinely deserved. To check it out, you can to listen to it for free here.

After devoting most of this year to writing new material, the five-piece has emerged with Jokeland, their debut full-length. Set to be released by the end of December, it may very well be one of the most prominent unexpected hits of the year if it is released in time for annual consideration. Keeping steady with the unique quality that all of the group’s members were good friends in high school, the album was actually produced by another one in Alex Herd; he went to elementary school with vocalist/saxophonist/keyboardist Peter Henry. Thanks to both this cumulative chemistry and the group’s undeniable level of talent, Jokeland looks to be a fantastic debut that stems nicely from the great potential displayed on Grumpy Little Bird. The aforementioned “Mugs” is utterly irresistible, seeing an alternating cast of vocalists pull off their best Avey Tare impression with a variety of melodically infused yelping and slurring over an onslaught of harmonic variations that serve as a nod to this five-piece’s songwriting ability. The track’s presence truly comes alive when the backing vocals enter to infuse some ‘60s psych-rock harmonies over an evolving assortment of guitars, bass, and keys. The vocal delivery transitions from freak-folk to a tribal chanting of sorts, structurally consistent enough to prepare the listener for each succession of this particular vocal-oriented hook. At the midpoint of “Mugs”, the back instrumentation explodes with fury as a series of guitar tremolos increase in audibility over the same charismatically infectious overlapping of different vocals that made the track so striking from the get-go.

Another one of the album’s tracks, “Bertie Hey”, serves as a good indicator of the album’s overall diversity. While it is still heavily apparent that the same band is behind the effort, the differing vocal approach and melodic ideology separates the track significantly from an effort like “Mugs”. “Bertie Hey” almost reminds me of Man Man’s “Engwish Bwudd” with its pirate-y melodic theme; this is especially true when numerous vocals collide simultaneously in accordance to a heightening pitch around 02:13. This is followed by a messily enjoyable guitar solo, another indication of this group’s alarmingly impressive flexibility. “Bertie Hey” concludes just as excellently, with a series of brass accompanying several ardently conveyed phrases like “you think I’m guilty, didn’t do it; got a voracious appetite for danger”. “Patience” brings us into territory more reminiscent of a group like Sunset Rubdown or Frog Eyes, where vigorously intricate keys lead the way over occasional falsettos and whimpers to establish over five minutes of pure art-rock bliss. When the distortion of the multiply layered guitars subsides after three minutes and a gentle electric guitar arpeggio emerges, it sounds as if it is about to practically evolve into a new song. The original melody swiftly returns though, as this new guitar arpeggio slides seamlessly into the gradual accompaniment. Based on these three songs alone, I personally cannot wait for the release of Jokeland. Though it is likely too early to make such claims, Ball of Flame Shoot Fire has the potential to be one of the most talked-about bands of 2009.

——————————————————————————————

Ball of Flame Shoot Fire – Mugs

——————————————————————————————

Ball of Flame Shoot Fire – Bertie Hey

——————————————————————————————

Ball of Flame Shoot Fire – Patience

——————————————————————————————

MySpace

Some great live videos of Ball of Flame Shoot Fire

BUY

The post Ball of Flame Shoot Fire in Jokeland appeared first on Obscure Sound: Indie Music Blog.

In essence, Dr. Dog have been making a living from the past. Plenty of contemporary bands utilize a style derived from the form of pop music that embraced the airwaves over 30 years ago, but Dr. Dog’s individuality arises in more than just an appealing reflection of past artists that molded them. Instead of simply just replicating a brisk form of ‘60s pop, they seamlessly manipulate it to ease the technological transition as sheer nostalgia steadily transforms into something that is unpredictable and enjoyable. Much of it can be attributed to the group’s apparent willingness to implement a bit of modernistic flair to their sound, usually in the form of varied vocal deliveries, eclectic methods of production, and songs that differ from one another in a variety of melodic and structural aspects. That being said, comparing songs within Dr. Dog’s entire catalog is a painless task, but within one singular album the diversity between each song solidifies the sentiment that Dr. Dog are not just another group with dreams of sounding like The Beatles or The Band. After the lo-fi appeal of early albums like Toothbrush, Dr. Dog broke through in 2005 with Easy Beat, a critically acclaimed effort that saw the group’s emphasis on ’60s pop clash fluidly with a more expansive instrumental. Since then, their masterful blend of elements both past and present has carried them from a state of anonymity to a more nationalized form of recognition.

For their fifth album, Fate, Dr. Dog intentionally granted high expectations months before the release. Calling it the album that “they were destined to make”, it should make the album’s title a rather obvious one. However, considering that last year’s We All Belong was easily one of the best indie-rock releases of the year, improving upon a release that is widely considered their best may be a daunting task. For a band that has improved with each successive release though, success appeared nearly imminent. And while Fate does not substantially topple We All Belong in terms of overall consistency, it offers a few of the most rewarding moments that can be found on Dr. Dog’s growing discography. Considering that hints indicating Fate as their most expansive release to date were heavily prevalent, it is nearly ironic that the opening moments of “The Breeze” sound like the throwback lo-fi version of Dr. Dog, back in 2004 before My Morning Jacket scooped them up and brought them out on tour to expose them to an audience who would grow extremely fond of the Philly-based five-piece. As the track progresses though, “The Breeze” proves to be a great representation of Dr. Dog’s songwriting. The soft strumming of an acoustic guitar gradually shifts to a broader instrumental accompaniment that features a cohesive display of guitars, tropical keys, and cooing backing vocals, with the gradually augmented percussion establishing the build-up to an extremely commendable extent. Immediately from the first listen, the stark transition from the acoustical introduction to the expansive arsenal that follows is wholesomely captivating.

Rather than attempting to bolster a previously acclaimed style, the rest of Fate sounds very much like – well – recent Dr. Dog. Unlike the big jump from Toothbrush to Easy Beat, there is no stylistic transition present on Fate. To Dr. Dog’s benefit, it results in being arguably the strongest album of their career. Much debate will eventually arise among fans that are split deciding which one of their three recent albums is Dr. Dog’s most effective. When listening to a succession of tracks in the middle of their most recent effort, it is hard not to make a case for Fate. “Army of Ancients” kicks off this irresistible run, sporting a combination of brass and strings that makes a striking impression when set against the backdrop of vigorous keys and Scott McMicken’s powerful vocals. He resembles an ardent fusion of Harry Nilsson and Richard Manuel as he lets out a highly emotive croon at the conclusion of each chorus; the whimper seems to get better each time around and establishes itself as a convincingly stable hook. “The Rabbit, the Bat, and the Reindeer” is more reminiscent of traditional Dr. Dog with its key-led progression and simplistically memorable chorus, but it fits exceedingly well between the ambitious pop of “Army of Ancients” and the outstanding “The Ark”. The chorus is primarily guided by several chordal shifts and vocals that, like “Army of Ancients”, serve as a good example of McMicken’s range. The structural approach is primitive in theory but McMicken’s quivering vocals carry the style with resounding success.

“The Ark” serves as a great achievement for a group even of Dr. Dog’s throwback mentality, as the diversity alone presented within its duration should silence any critics who describe their sound as being bland or overly imitative. Barely over three minutes long, both the track’s lyrical scope and melodic tendencies prove highly memorable. “God, he called for rain, so I built an ark but no rain came; I was ashamed,” Toby Leaman sings. “Man, he called for war so I built a gun and I joined the core, but I wasn’t sure.” The topics range from war and remorse to love and faith, all presented in lyrical forms that contradict the conventional actions involved in all circumstances. The various progressions and rhythmic accompaniments are more subdued when compared to other efforts on the album but it bodes well with the content at hand. The chorus nearly resembles the grandiose flair of Pulp’s “This is Hardcore”, with Dr. Dog’s nostalgic tendencies emerging as the dividing factor. And, of course, Leaman tops it off with a yelp-like croon that ushers in a slick guitar solo before the fantastic chorus enters once again. With the halted guitar-led stomps of “The Beach” and the intricately infectious “My Friend” closing off the album in equally impressive form, it is difficult to find a track on Fate that is not wholesomely enjoyable to some extent. So, in the end, is Fate a massive improvement upon We All Belong? No, but it is just as consistent and massively enjoyably as its predecessor. And since We All Belong was one of the best releases of last year, Fate also slides in nicely as one of the most accomplished indie-rock albums of 2008. 8.5/10.0

——————————————————————————————

Dr. Dog – The Ark

——————————————————————————————

Dr. Dog – The Rabbit, the Bat, and the Reindeer

——————————————————————————————

Dr. Dog – The Old Days

——————————————————————————————

Official Web Site

MySpace

BUY

The post Dr. Dog – Fate (2008) appeared first on Obscure Sound: Indie Music Blog.

Some people are simply artists at heart. Whether it be through sculpture, painting, film, or music, they pursue the most personally attainable form of self-expression regardless of their environmental or social circumstances. In fact, harsher conditions have often played a pivotal role in the production of classically influential art. The overwhelming degree of emotional variability can create spectacles of self-expression that are marveled at for hundreds of years, providing a glimmer of hope for anyone with even a hint of ambition. For Fredo Viola, it is heavily apparent that the London-born songwriter would have had found a way to release art regardless of his preferred method of output or variability of location. Until he finally decided to settle in NYC with a specialization in songwriting, Viola was in a stage of constant transition. The transitional tendencies were found in regard to both his location and method of art; he lived in places as varied as London, Rome, Los Angeles, and New York throughout his life, dabbling in financially unreliable but artistically fulfilling occupations like a boy soprano vocalist, a film director, and an animation designer. Even though a past history may create cause for biographical indecisiveness, Viola classifies himself concisely as an American singer/songwriter and multi-media artist.

Film and music often overlap gracefully, as they both require similar requirements for the most fulfilling experience for the viewer or listener. Though one relies on visual perception and the other relies on audible perception, the intended themes and emotional expressions are often delivered in a similar manner. Whether a soundtrack is supplementing a film or a music video is supplementing a song, the two can be enjoyed simultaneously while still maintaining their individuality. That being said, it should not come as a shock that Viola was convinced to become a songwriter while studying to be a film director. As a student at NYU’s Tisch School of the Arts, he first discovered the works of classical composers like Béla Bartók, Dmitri Shostakovich, and Igor Stravinsky. Considering that the composition of sound and the involvement of a soundtrack plays a pivotal role in the study of film, Viola’s dedication to his originally intended study eventually led him to his true calling as a singer/songwriter. As he would be the first to tell you though, his musical influences are not limited to classical composers. During the same period at NYU, he became infatuated with independent artists like Belle & Sebastian, Amon Tobin, and Boards of Canada. In addition to being a fan of other genres as varied as gospel and trip-hop, he cites arguably his favorite rock artist as Harry Nilsson. Regardless of his past influences though, it is difficult to find one past artist who sounds anything quite like Fredo Viola’s musical output.

Viola’s first big break came in 2004 when Jonathan Demme’s remake of The Manchurian Candidate was released in theaters. His fantastic track, “The Sad Song”, was licensed for use in the film, finally giving Viola recognition both on the screen and through music. Likely the most recognizable placement for “The Sad Song” came last year when it appeared on The O.C. (though I can honestly say that I have never seen the show in my life). The well-deserved recognition of the song’s quality suddenly made Viola an admired name, as he found himself fielding calls from the likes of Roger Ebert, Massive Attack, Neil Gaiman, a few news outlets, and several film directors. They all offered promising career opportunities and Viola eventually decided to collaborate with Massive Attack, flying to Bristol and working on some material with the duo. Capitalizing on the success of “Sad Song”, he has decided to feature the track on its respective self-titled EP, released last year. His full-length debut, The Turn, will be released this spring. As evidenced on “Sad Song”, Viola’s stylistic tendencies are remarkably unique. His usage of experimental ’60s pop, minimalist electronica, and straight-cut psychedelia are all incorporated seamlessly. However, the aspect that separates him respectfully from most independent songwriters is undoubtedly his exquisite use of a capella, often turning his vocal melodies into a thing of stunning beauty.

Though it is nearly 4 years old, I believe that the inclusion of “The Sad Song” on The Turn was a great decision on Viola’s part. Its beauty remains a thing of unwavering talent and stylistic ambitiousness, with the most impressive aspect being the minimal usage of instrumentation. Using a capella vocal form, a subtle rhythm section, and an occasional sprinkling of keys, Viola capitalizes on both his vocal and melodic skills without using bloated instrumentation or overproduction. Like a foreign virtuosity, the lyrics are uninterpretable but the melody and sheer power of Viola’s vocals provide for a stunning listening experience that will have most listeners’ jaws close to the floor. With several layerings of his own vocals providing for the driving melody of the song, chill-inducing moments like the sudden entrance of keys prove extremely enjoyable. “The Turn” is another exceptional example of Viola’s a capella usage, with the radical transition from a talkative crowd to Viola’s smooth vocals in the opening moments being startlingly appropriate. It uses the same elements that attributed to the greatness of “The Sad Song”, yet it prefers infectiousness over beauty with its larger emphasis on pop. Keys relatedly emerge as a delicately important fixture and Viola’s vocals rise in intensity as the song progresses, crafting an engagingly different but similarly enjoyable experience. As for the rest of The Turn, the attempts are largely experimental.

Other worthwhile moments on The Turn include the electronically manipulative production of “Friendship Is” and the urgent piano-led beat of “The Original Man”, the latter being intentionally humorous in its usage of directorial terms and namedropping of George Clooney and Nicolas Cage. It mainly deals with the fear of modern technology, with Viola making remarks like “I have my doubts of the digital files,” and “I’ve never once dealt with HD compression,” with seemingly natural genuineness. It is an appropriate gesture for an artist who was previously an aspiring filmmaker. With his melodic talent though, it remains universally agreeable that his transition to a career as a songwriter was likely for the best. He can still dabble in film as well through music videos, as evidenced by his self-produced video of “The Sad Song”. With different variations of unparalleled beauty and downright infectiousness interweaving with a countless variety of genres (a capella, electronica, free jazz, pop, classical… you catch my drift), The Turn is easily one of the most uniquely enjoyable debuts of 2008 so far.

——————————————————————————————

Fredo Viola – The Sad Song

——————————————————————————————

Fredo Viola – The Turn

——————————————————————————————

Fredo Viola – The Original Man

——————————————————————————————

Official Web Site

MySpace

BUY

The post Fredo Viola Takes The Turn appeared first on Obscure Sound: Indie Music Blog.

———————————————————————————————–

10. B.C. Camplight – Blink of a Nihilist

Musicians who have struggled with past mental illness are often tagged with a very undeserving label. Foolish critics shout names like Brian Wilson and Syd Barrett without even regarding the new artist’s work or current state of mind. All I ask of new listeners to Brian Christinzio (alias: B.C. Camplight) is to pay attention to his musical output, not his past history. Though his conquering of a mental illness certainly makes for an interesting lyrical perspective, the only aspect that should be regarded is that his second album, Blink of a Nihilist, has emerged as a dark horse in being one of the catchiest albums of the year. By integrating synths and crisp vocal production with brass orchestral elements and piano-led melodies, Christinzio’s knack for classic pop hooks beckons back to the days of the Beach Boys and Beatles, relying on simplistic but effective melodic additives in the crafting of a very accessible sound. In contrast, his variation of styles shifts from contemporary guitar-based indie-pop in the vein of The New Pornographers (“Officer Down”) to suave brass-led chamber-pop like in the exceptional “Soy Tonto!”. The choruses are often substantially invigorating, with the bridges being subtly interwoven in the result of a structurally sound composition. Blink of a Nihilist is a fresh mixture of classic influences like The Beach Boys and The Beatles that overlap with more conventionally modernistic nods to The High Llamas, The New Pornographers, and The Shins. Do not be surprised to see Christinzio lauded for eventually landing in the upper ranks with the latter group. With an album like Blink of a Nihilist, he now certainly has the credentials.

B.C. Camplight – Soy Tonto!

B.C. Camplight – Officer Down

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

09. World’s End Girlfriend – Hurtbreak Wonderland

Katsuhiko Maeda is truly a master of capturing human emotion through the art of music. His incorporation of classical music, avant-garde production, and tumultuously layered samples has created cause for acclaim in his solo project, the oddly titled World’s End Girlfriend. Still, “solo” does always seem quite a tiring word in appliance to Maeda; his usage of piano, strings, upright bass, and nearly every orchestral instrument imaginable creates an experience that is elaborately detailed, yet never overwhelming. One is usually shocked to find that the output of World’s End Girlfriend is done in majority by one individual, and one very talented one at that. Like his past releases, Hurtbreak Wonderland is dark and often chaotic in tone. Always keeping the listener on edge, Maeda has proven that, at any moment, he can transform an instrumentally tranquil setting into a scene of abrupt chaos. His typically expansive instrumentation is often found laced with sound effects in the feverish vein of a door quickly closing shut, the scream of a child, or the laughter of a deranged madman. These all are expertly implemented, providing an atmosphere that is too eerie to find a home in even the most chilling of horror movies. Apart from the maniacal laughter and screams found within the brilliantly chilling “Dance for Borderline Miscanthus”, Hurtbreak Wonderland is largely an instrumental record. Though Maeda still blends in the use of samples – like the creaking of a door in “Bless Yourself Bleed” or the sound of rainfall in “River Was Filled With Stories” – the use is much more subtle and less involved than in previous releases in the form of The Lie Lay Land. For a suitable example of Maeda’s raw emotional power, try listening to “Dance for Borderline Miscanthus” in a room that is entirely dark for its entire duration without flinching. If you do, your nerves are certainly stronger than mine. Thanks to Maeda, few albums can accomplish as much emotional depth as Hurtbreak Wonderland.

World’s End Girlfriend – 100 Years Of Choke

World’s End Girlfriend – Dance For Borderline Miscanthus

Official Web Site

BUY

READ MORE>>>

———————————————————————————————–

08. The Tough Alliance – A New Chance

If one were to attempt to neatly fold the various styles within the bustling Swedish music scene into one package, the result would likely sound something like The Tough Alliance’s A New Chance. Their quality is reflectively expected too; the Swedish duo weave elements of irresistible pop seamlessly with electronica that, while occasionally complex, offers more than a handful of melodic swoons capable of instant memorability. Though the duo’s central focus remains within the somewhat conventional realm of electronic pop, the showmanship presented on their sophomore album, A New Chance, is stylistically remarkable. From the infectiously danceable leading synth line in the irresistible “First Class Riot” to the brilliant incorporation of reggae and electronica in “Looking for Gold”, it is difficult to strictly classify The Tough Alliance as either an electronic, pop, or even reggae artist. It truly depends on which song on A New Chance you are exposed to, as the album is spread all over the place in an enjoyable form. Though the core of many songs on the album is driven by a synth-laden pulse largely reminiscent of popular electro-pop dance, the variation of styles both old and new establishes a fresh listen that keeps listeners coming back for more. What perplexes me is that if Justice can literally become the “next big thing” with “D.A.N.C.E.”, why are The Tough Alliance not getting recognition for a stopper like “First Class Riot”? Regardless, though the import-only price is rather hefty, A New Chance is well worth the price of admission.

The Tough Alliance – First Class Riot

The Tough Alliance – Looking for Gold

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

07. David Vandervelde – The Moonstation House Band

When I first heard David Vandervelde’s debut, The Moonstation House Band, way back in January, I knew that it would take something special to overtake it as the debut album of the year. Though 2007 saw plenty of excellent debuts in the following months, I sit here at the end with the unwavering confidence to say that The Moonstation House Band remains my favorite in that regard. It would be easy to relate the Chicago-based songwriter to a songwriter like Marc Bolan, the talented frontman of T.Rex, a group that can be credited as one of the most influential glam acts of the ’70s. In fact, “Feet of a Liar” sounds remarkably similar to Bolan’s “Ballrooms of Mars”, both haunting tracks that are aided by sparkling keys and heavy doses of reverb. Though glam-rock is one of Vandervelde’s most blatant influences, a variety of different classic rock idiosyncrasies are utilized throughout the album, including string-led compositions that are driven by alluring hooks and sweeping instrumentation. Beautiful strings performed in such tracks as the stunning “Corduroy Blues” and “Wisdom From a Tree” were done by the legendary Canadian composer David Campbell (Beck’s father). Much like Joanna Newsom and Van Dyke Parks, the duo of Vadervelde and Campbell work flawlessly together. “Corduroy Blues” serves as one of the year’s most ravishing tracks and, even if “Nothin’ No” and “Jacket” have enough initial charm to garner themselves as Vandervelde’s most radio-friendly tracks, his true potential is exposed in the extravagant “Corduroy Blues”. Thanks to the album’s consistent output of quality (and short, half-hour duration time to boot), there is not a dull moment to be found on The Moonstation House Band.

David Vandervelde – Nothin’ No

David Vandervelde – Jacket

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

06. Sunset Rubdown – Random Spirit Lover

It takes quite a lot to finish in the “Top 10” two years in a row. But in appliance to Spencer Krug, I guess it is to be expected. After all, some consider calling him “the busiest man in indie-rock” to be an understatement. It is not the quantity of work he puts out (usually 2 or 3 albums per year under different bands), but the quality that each release conveys, always incorporating something fresh and exciting into a trademark style that fans have grown lovingly accustomed to. Wolf Parade and Swan Lake aside, I have found that Krug’s strongest material is often present under a group alias where he seemingly has the most control, Sunset Rubdown. Last year’s Shut Up I Am Dreaming scored high on my list at #4; this year’s Random Spirit Lover sees much of the same success. For fans of the prolific “The Men Are Called Horseman There” on Shut Up I Am Dreaming, the majority of Random Spirit Lover will come off as immediately satisfying. Not only is Krug once again focused on treating instruments like building blocks, throwing various melodies on top of one another through various works of instrumentation, but numerous tracks on the album are representative of Krug’s inherent ability to craft emotionally wounding build-ups. Like Krug also shows on “Winged/Wicked Things” with a slight strain of synth and “Stallion”with a trickle of keys, he works with an initial melody and then expands it into several modified arrangements until dozens of different layers are fluidly implemented into one. A similar approach is used in the awe-inspiring “The Taming of the Hands That Came Back to Life” as Krug utilizes guitars and synths as a compatible pair, resulting in arguably the most satisfying song on the album. His lyrical adeptness is also in full force, with the humorously titled “Magic Vs. Midas” being a contemporary societal comparison of sorts to Midas, a mythological Greek king who could turn anything he touched into gold. “Hey woman, with the gold that you keep or which keeps you in your place,” Krug quivers over piercing keys before cleverly remarking, “Do you recall that it’s just green and copper taste?” Well, there is no need for King Midas to touch Random Spirit Lover. It is already pure gold.

Sunset Rubdown – The Taming of the Hands That Came Back To Life

Sunset Rubdown – Winged/Wicked Things

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

05. Frog Eyes – Tears of the Valedictorian

I can honestly say that I have not come across a band similar in approach to Frog Eyes. Leading man Carey Mercer, upon first impression, possesses the vocals of a madman. He whimpers, squeals, and trembles his way through hordes of unconventional instrumentation, somehow regaining enough emotional ardency to carry out a strong melody in the process. I suppose that you could group him in with his aforementioned roommate/collaborator Spencer Krug if you were desperate, but even Krug’s unique style seems nearly accessible compared to the sounds Mercer conveys. His lyrics are presented in a hectic daze, an aspect that seems to serve nearly exclusively as a melodic element, simply because the lyrical content is too ambiguous and muttered to even attempt interpretation. Like their previous three albums, Frog Eyes’ songs fly at a furious pace in Tears of the Valedictorian. Though their style remains similarly adjusted, the reason why Tears of the Valedictorian is Frog Eyes’ best album of their career is a simple one: every song is worthwhile. “”Stockades”” is one of the best songs Mercer has ever written, being a display his ability to craft pop hooks despite arrangements that are chaotic enough to send an early bird into a daze. Led by the ceaseless hammering of keys, Mercer transcends into a series of yelps and sighs; his tonal aggression provides as structural indication for a song that, to many, remains thoroughly unpredictable. In terms of epics, “Bushels” is also one of the most impressive songs Mercer has written. Stretching over 9 minutes, it begins rather barefaced with the strains of a single guitar. As expected though, Frog Eyes seems too impatient to rely on the same tempo and melodic pattern for the entire song. Less than a minute inwards, it explodes into a chorus of epic proportions with pulsating keys and rapid percussion. Mercer’s ability to toy around with such intricate songs remains perplexing but also equally impressive. On Tears of the Valedictorian, his impatience is simply a rewarding virtue.

Frog Eyes – “Stockades”

Frog Eyes – Idle Songs

Official Web Site

MySpace

BUY

———————————————————————————————–

04. Jens Lekman – Night Falls Over Kortedala

All Jens Lekman fans know that the tragedy of heartbreak is a concurring theme throughout the majority of his songs, whether it be in the twinkling “Rocky Dennis’ Farewell Song” or the humorous “Psychogirl”. So, when Lekman announced that he was retiring from music last year, fans suddenly became the embodiment of that certain captivating character in his lyrical tales of humor, wit, and anguish. What a pity it would have been if the Swedish native followed through on it too. The so-called “retirement” merely lasted a few months and the outstanding Night Falls Over Kortedala was released in September. What followed was merely validation that Lekman is one of the most talented pop songwriters of the decade. While such a tag may seem initially overwhelming to handle, Lekman’s soft-spoken nature leaves him unphased. After obtaining a massive fan base, both in and out of Sweden, through the releases of his debut album, When I Said I Wanted to Be Your Dog, and its proceeding compilation, Oh You’re So Silent Jens, the pressure placed on the budding songwriter seems nearly obsolete. Instead, Night Falls Over Kortedala offers the best work of Lekman’s career, with jazz-tinged gems like “Friday Night at the Drive-In Bingo” mixing fluidly with string-induced dramatic in the vein of “If I Could Cry (It Would Feel Like This)”. But perhaps the album’s best moment comes in the exhilarating “Kanske Är Jag Kär I Dig”, a humorously metaphorical lyrical tale about a little boy who was forced to have a pig for a pet because “his mom was once attacked by a dog”. Backed by a sample that sounds reminiscent of ’70s soul and doo-wop, the song’s eventual expansion into the chorus led by a brass-led accompaniment of swanky soul is brilliantly executed; it is moments like this throughout the album that truly makes it an outstanding accomplishment. There is little doubt in my mind that Jens Lekman has the potential to become one of the greatest pop songwriters of our generation. With another impeccable album like Night Falls Over Kortedala under his belt, he is certainly on his way.

Jens Lekman – Kanske Är Jag Kär I Dig

Jens Lekman – Friday Night at the Drive-In Bingo

Official Web Site

MySpace

BUY

———————————————————————————————–

03. Dr. Dog – We All Belong

Though a bunch of raving critics would state otherwise, I believe that there is nothing wrong with a band embraing ’60s pop music in their sound — as long as they pull it off, of course. The primary reason that Dr. Dog have not found similar success to the other nine artists in the “Top 10” simply derives from their strength (or weakness) to latch onto an influence and generally manipulate it into a contemporary style in prominent embodiment of throwback execution. The thing is, Dr. Dog are far from copycats. They simply are fans of legendary songwriters like Harry Nilsson and John Lennon, in turn using their ability to craft irresistible pop hooks that sound, well, timeless. Take “Ain’t it Strange” for example, widely considered a ballad in the world of Dr. Dog. Lead vocalist Scott McMicken relays a reverbed snarl over the pairing of melodic keys, synchronized to perfection. When the heavy twang of a newly added guitar is overlapped with an ardent change in vocal pitch, the hook is simply too powerful to refuse. The same can be said for “Alaska”, a swankily enjoyable tune that sounds like some gem taken out of the Harry Nilsson vault. Whether you are a fan of retro revivalism or not, We All Belong is justifiably one of the best pop albums of the year.

Dr. Dog – Alaska

Dr. Dog – Ain’t It Strange

Official Web Site

MySpace

BUY

READ MORE>>>

———————————————————————————————–

02. Spoon – Ga Ga Ga Ga Ga

When I saw Spoon perform live at the Roseland Ballroom in NYC a few months ago, there was one thing that initally perplexed me. “This is the biggest event that we’ve ever headlined for,” frontman Britt Daniel quipped to the audience. Looking at Spoon’s wildly consistent discography, I suppose it can come as a shocker that the Austin-based four-piece are just beginning to break out in a big way. Sure, while Kill the Moonlight and Gimme Fiction were of fantastic quality, their sixth album, Ga Ga Ga Ga Ga, is their first entry into the upper echelons of the music charts. Whether it can be attributed to the album’s immediate level of accessibility or the infectious pop that the four-piece conveys, it can be confidently traced back t0 the veteran musicianship that the band has acquired throughout their past 14 years together. Ga Ga Ga Ga Ga is largely a rhythmically led album, with domineering bass lines steering the rush of guitars and flurries of keys in sensational tracks like “You Got Yr. Cherry Bomb” and “My Little Japanese Cigarette Case”. Arguably the most infectious, however, comes in the exceptional “The Underdog”. Featuring a plethora of brass and halted acoustical patterns, Daniel’s whimsical array of vocal melodies makes the inevitable comparison to Billy Joel come true. Yes, I know you have heard that one before, but it truly fits the glove surprisingly well. Though their past releases are reputable for their scattering of bright spots, Spoon’s Ga Ga Ga Ga Ga serves as one singular accomplishment throughout its entire duration.

Spoon – The Underdog

Spoon – You Got Yr. Cherry Bomb

Official Web Site

MySpace

BUY

———————————————————————————————–

01. Radiohead – In Rainbows

Just over ten days prior to the release of In Rainbows, most fans assumed that Radiohead was still in the midst of writing new material, roughing out the edges for the imminent production of an album that would, in best case scenario, be released by the end of 2008. On the first day of October, when the group left an ambiguous message on their blog stating that In Rainbows would be released a mere 10 days, I did not know what to think. I had a fairly good idea of what my favorite albums of the year were at the time, and I had no intention of reserving a vacant spot on the list for a new Radiohead album. After all, after waiting 4 years for the newly coined “LP7”, impatience had literally grown to a state of numbness. I admit that I paid literally nothing for the album’s first release (in download form), yet I figured that paying $80 for a box set would somewhat compensate for my general appreciation of the group’s efforts. This “pick-your-price” distribution sparked a prominent interest within the music industry. There were thousands of rants regarding how it would effect the music industry, with many considering the “death” of the record label as we know it. For the most part, I considered such assumptions to be narrow-minded. People should realize that Radiohead is only one of the handful of bands in the world who could pull this off and actually make a difference. They have earned it too, with a body of work that has earned them the title of arguably the most accomplished band of the past 20 years.

Apart from all of this industrial mumbo-jumbo that journalists seem to focus on a bit too much, let us turn to the musical side of things: In Rainbows is what I consider to be the best album of the year. I admit that I was initially hesitant, as I considered their previous album, Hail to the Thief, a mixed bag of sorts. It reflected a period of stylistic hesitation and, though I also consider it an accomplished album, there were moments on Hail to the Thief where the album’s cohesiveness seemed skeptical at best. Compared to the likes of Kid A or OK Computer, its inconsistency raised slight concern. Still, comparing an album to such giants is never a lawful approach to take. In Rainbows appears to be the group’s most stylistically confident album since Kid A, showing a level of maturity that is more than well-deserved at this point in their careers. Apart from the energetic “Bodysnatchers”, it serves as some of their most subdued work to date. They appear tired of experimentation in attempts to transcend a singular style, resulting in an album where their genuine intrepidity is parallel to sheer greatness. One of my favorite tracks, “Nude”, contains some of the best songwriting I have heard from the group in some time. Initially built on soft percussion and rumbling bass, Yorke’s voice appears frail but also on the verge of emotional insatiability. Throughout the track, a swelling of strings build up in contrast to Yorke’s quivering tone. When the song takes a slight halt and the strings become reflective of Yorke’s soft, heartbreaking hum, it is a spine-chilling induction that serves as one of the finest moments on the album.

Yorke’s vocal techniques are as equally impressive on the album’s debut single, “Jigsaw Falling into Place”. Like several gems in the vein of “Nude”, “All I Need”, and “Faust Arp”, the use of strings is expertly implemented, causing a sound that resonates in a devastatingly tragic manner. “Reckoner” has already become a fan favorite for good season, fusing together various orchestral and pop techniques to create a haunting flow. Though I still am one of the many that prefers the more energized live version of “Videotape”, there is little to fault In Rainbows for. Even their decision to change “Arpeggi” from an orchestrally laden ballad into a guitar-based build-up works well in contrast to the rest of the delightfully interwoven In Rainbows. In fact, such blatant stylistic confidence remains the primary reason for it being one of Radiohead’s best albums of their career. A landmark achievement in both industrial distribution and musicianship, In Rainbows is the definitive album of 2007.

Radiohead – Nude

Radiohead – Jigsaw Falling into Place

Official Web Site

MySpace

BUY

The post Best Albums of 2007: #10 to #01 appeared first on Obscure Sound: Indie Music Blog.