by Mike Mineo

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30. Yeah Yeah Yeahs – It’s Blitz!

They have only released three albums in their nine years together, but plenty of EPs and a reputation for being great live performers has given Yeah Yeah Yeahs a relatively solid reputation. Their first two albums, Fever to Tell and Show Your Bones, were rare examples of a band improving with few visible errors. The raw guitar schematics of Fever to Tell were indicative of a band enamored with ’80s garage-rock and ’90s punk, while Show Your Bones saw them improving upon all the little things to make a more art-rock style sound more polished. To hear Yeah Yeah Yeahs reaching their commercial pinnacle on It’s Blitz! is hardly surprising as a result. This is one example where commercial intentions are not such a bad things, as Yeah Yeahs Yeahs have retained the raw edges that made them so likable in the first place while they still strive toward a polished sound. The result is their most accessible songs to date, most complete with pulsating synthesizers, potent rhythm sections, and Karen O’s signature howl. Her voice has always been one of the band’s main attractions, and her fluid and concise vocal delivery is perfectly aligned with the electro-rock they are successfully attempting here. “Heads Will Roll” is a sure winner in this regard, its guitar tremolos and accompanying synthesizers forming an enjoyable fusion of post-punk and electronic pop that marks new territory for the band. It’s Blitz! has tracks like “Heads Will Roll” and “Zero” that are fantastic additions to their growing resume, which should see some interesting turns over the next few years. The trio has clearly established themselves as a band with few limits, and their next full-length will likely pack the same sort of dramatic punch or interesting stylistic development. As far as It’s Blitz! goes, this one is clearly a winner from the bursts of anthemic energy like “Zero” to glittering ballads like “Hysteric” and “Little Shadow”, both of which cap off a satisfying album in grand style.

Yeah Yeah Yeahs – Zero

Yeah Yeah Yeahs – Heads Will Roll

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29. The Clientele – Bonfires on the Heath

The Clientele’s fifth album, Bonfires on the Heath, is another installment to a very cohesive career. The London-based group has stuck with their autumnal and quaint form of psychedelic-pop since their debut full-length in 2003; they know what works and see little reason to alter it. Each album has boasted excellent songwriting though, and the fact that it seems to improve with each successive release is the cause for The Clientele’s recent surge in popularity. Well, that and the release of Bonfires on the Heath. The stylistic differences are sparse apart from the addition of Mel Draisey’s backing vocals and a larger emphasis on traditional folk music, and those accustomed to their orchestral-laden glimpses of serene psychedelic pop will not be disappointed. Bonfires on the Heath does stand alone in its overall consistency though. While Strange Geometry and God Save the Clientele had some fantastic tracks, but both albums lagged a bit when nearing its end. Bonfires on the Heath is a fully enjoyable experience for start to finish, suggesting the group may have just began to reach their peak. The primary reason for this is the emotional variation accomplished here. Their heavy reverb effects, hushed vocals, and slow-moving orchestral content sound melancholic by nature, so their ability to make tracks like “Jennifer and Julia” sound uplifting with joyous string accompaniments and choir boy-like vocal cues is part of a series of strengths that continue to grow for the band. Alasdair MacLean’s vocals over the brass in “Jennifer and Julia” or the beautiful trickle of acoustic guitars in the sweepingly romantic “I Know I Will See Your Face” remind any listener that The Clientele are capable of some majestically beautiful stuff. Bonfires on the Heath just happens to have plenty of those moments.

The Clientele – Jennifer and Julia

The Clientele – I Know I Will See Your Face

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28. Phoenix – Wolfgang Amadeus Phoenix

2009 was the year of Phoenix’s imminent breakthrough, something that most fans foresaw since the release of It’s Never Been Like That in 2006. Their concise and tightly constructed style of art-rock seemed bound to run into success sooner or later, most probably in the form of a few successful singles.  “1901” is indeed one of the best songs of the year, and this along with tracks like “Lisztomania” and “Lasso” has brought enormous success to the French rockers. It seems as if practically every song on Wolfgang Amadeus Phoenix has been used to some degree in popular media, whether in a commercial on ABC or a highlight clip on ESPN. This is a sign of some pretty accessible and universally likable material, which is the type of music Phoenix have always put out. It’s Never Been Like That did so and Wolfgang Amadeus Phoenix is pretty similar to its predecessor, the only difference being that the more recent is responsible of the biggest singles of its release year. “1901” shows a perfect mix of synthesizers and guitars; its success is almost entirely dependent on its variation, which touts a welcoming demeanor that excludes no fan of pop music. “Lasso” is more in the vein of strict guitar-pop that dominated much of It’s Never Been Like That. Wolfgang Amadeus Phoenix sees an increase in electronics and complementary synths, but the band’s guitar-based pop dynamics are still the charging force alongside Thomas Mars’ chirpy vocals. Occasional exceptions like the disco-tinged “Fences” are pulled off very well though, and hopefully their future albums will feature more variation like this. Wolfgang Amadeus Phoenix is not going to start a stylistic revolution, but it is definitely one of the most accessibly enjoyable albums of the year. It is easy to see why advertising agencies are so in love with Phoenix at the moment.

Phoenix – Lasso

Phoenix – 1901

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27. Julian Casablancas – Phrazes for the Young

To be young and responsible for The Strokes, a band whose positive legacy already seems durable, leaves plenty of room for contemplation and experimentation. Even if it was shorter than most expected, Julian Casablancas’ rise to the top with The Strokes’ genius debut . It was not exactly a fall, but more of a placid status that saw little development from a band that showed so much promise. Now that the group seems to be on a hiatus of sorts, the members have spread out to separate solo projects. Julian Casablancas and Albert Hammond, Jr. have budding solo careers, while Fabrizio Moretti is one-third of Little Joy. It is hardly surprising that Casablancas’ solo forays are the most energetic of the three, particularly considering his excitable stage presence and vocal delivery was always a noteworthy aspect of The Strokes. His long-awaited solo debut, Phrazes for the Young, finds the former frontman experimenting with a variety of styles. While not exactly the cohesive release of the year, seeing a talented songwriter like Casablancas release something like this is very encouraging. There is a lot of imagination here and a lot of the tracks are very well done, particularly “11th Dimension”, which is easily one of the catchiest pop songs of the year. We all should have expected synthesized power chords and sparkling guitars from Casablancas for his first single, as both relevancy and instantaneous appeal are what escalated The Strokes to eternal decade-laden fame. This one plays it safe with delightful electro-pop, and while other more experimental attempts like the playful blue-eyed soul of “4 Chords of the Apocalypse” or twangy, yuppie-fearing folk of “Ludlow St.” do not reach similar heights they have various degrees of captivation that are always worthwhile and slightly infectious at the very least. Phrazes for the Young is not the follow-up masterpiece to Is This It that we have all been waiting for, but it is the closest Casablancas has come so far.

Julian Casablancas – 11th Dimension

Julian Casablancas – Ludlow St.

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26. Marissa Nadler – Little Hells

Unanimous association with tranquility can be a turn-off for some, as they may perceive such a style to lack the vigor necessary to result in something memorable. But as Marissa Nadler has proven with her past three albums, haunting serenity can be one of the most powerful forces at work. This appears to be especially the case in folk music, where minimal instrumentation is often prevalent and effective lyrical imagery is vital toward success. On her fourth and finest album, Little Hells, Nadler’s arrangements are not bare by any stretch of the imagination with tinges of throwback synthesizers, distorted bass, and chilling organs. However, they do attain a quality that never allows her works to be overwhelming or stylistically desperate. In addition to her majestic songwriting, it can be traced to one thing: Nadler’s uniquely empowering voice. She is able to instill beauty, temptation, and pensive melancholy through a voice that sits somewhere between that of an airy ghost and an undeniably beseeching angel. In other words, it sounds like it is not quite from this earth. The ghostly “Rosary”, in particular, involves a very reverb-heavy slide guitar cloaked under a vocal melody that complements the instrumentation and choice of reverb beautifully. Although it is one of the album’s more subdued and less demanding tracks, it provides as one of the greatest examples of Nadler’s subtle elegance. “Mary Comes Alive” is distantly reminiscent of classic Portishead with a ghostly female voice crooning over a repetitively bustling guitar progression, thick bass drums, and a synth line that first appears sporadically before it emerges as a central point of the song. Here, Nadler sounds like she is on the verge of tears, which is effectively appropriate considering the tone of her lyrical delivery. And even on more expansive tracks like “Mistress” and “River of Dirt”, where her first accompanying “full band” shows off their powerful effect – Nadler’s beautiful subtleties resonate very powerfully. Though Little Hells is an effort that continues utilizing the aspects that made Nadler’s previous releases so memorable, both solid songwriting and the addition of a backing band makes Nadler’s fourth album a release of pure beauty.

Marissa Nadler – Mary Comes Alive

Marissa Nadler – Rosary

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25. Cymbals Eat Guitars – Why There Are Mountains

All bands have to start somewhere, and for Cymbals Eat Guitars it was as a high school band that dabbled mostly in Weezer covers (from their first two albums, fortunately). Listening to the music of Cymbals Eat Guitars in their current state though, Weezer is practically the farthest thing away from them in the indie-rock stratosphere. Though Cymbals Eat Guitars may immediately come across as a group whose intensity relays Modest Mouse’s early classics like The Lonesome Crowded West or The Wrens’ Secaucus, their overall sound actually appears to be more indebted to a wider variety of successful indie-rock trends of the past several years. One of the centerpieces on their debut, Why There Are Mountains, shows this better than anything. A flurry of guitars and frontman Joseph D’Agostino’s yelp-ish croon take charge during the intro of “And the Hazy Sea” as a singularly possessive guitar progression serves as an abrupt bridge between the song’s true introduction. “Do you know how many cities have been built?” D’Agostino asks. He is followed immediately by some brilliant songwriting that remains both unpredictable and convincingly effective, featuring both stark smatterings of keys and explosive arrays of guitars. His vocal delivery often adjusts accordingly, especially during the song’s fiery chorus. That part in particular remains reminiscent of Modest Mouse, but the song’s structural genius and melodic excellence appears more indicative of an idolized act in the Wrens. “Indiana” is just as effective, with the most notable aspect being the mixture of keys and horns that cleverly fuse together to create something that is wholesomely infectious. In addition to the dramatically effective accompaniment of strings in “Cold Spring” and the guitar feedback-led allure of “What Dogs See”, it sees Cymbals Eat Guitars at their most subdued. This takes nothing away from the overall quality though, as it sits equally alongside infectiously vigorous greats like “Indiana” and the brisk “Wind Phoenix”, the latter of which sees an amiably successful mixture of keys and guitars show how Cymbals Eat Guitars can maintain their accessibility while still being bold and unpredictable. Much of Why There Are Mountains loudly speaks similar sentiments of ingenuity.

Cymbals Eat Guitars – Indiana

Cymbals Eat Guitars – And the Hazy Sea

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24. JJ – JJ N° 2

One aspect that artists on Sincerely Yours seem to share is a vibe that is distinctively reminiscent of summer. The Tough Alliance’s infusion of reggae into electronica on tracks like “Looking for Gold” or Air France’s sampling of ocean waves and childish laughter over spright synths certainly attributes to this, but both artists’ sense of capriciousness within an accessible and prominently innovative style is more responsible for this enjoyable vibe. JJ unsurprisingly captures similar sentiments, leaving little room for balladry or rockers with a presentation that sits in between the throwback pop of Sally Shapiro and the contemporary electronica of artists like Air France or The Tough Alliance. JJ’s new album, JJ N° 2, also explores territory that shows an appreciation for world music, evident in the African percussion in the aptly titled “From Africa to Málaga”or the twinkling allure of Afro-pop inspired vocal minimalism over the fluttering acoustics and keys in “My Love”. The expansion of horizons is one reason to enjoy JJ N° 2, but its primary allure is in the cumulative stylistic brilliance presented on the album. The vocals are almost always present, more reminiscent of throwback electronic-pop than sample-based pop experimentation. Here, though, it works wonderfully with female vocals that are lush enough to echo the Cocteau Twins but ardent enough to resonate within fans of Sally Shapiro or even ABBA. When one combines the lush but ardent vocal performances of JJ with each and every song’s grace and beauty, it results in one of the most accomplished electronic releases of the year. The only issue is that its 27-minute run time makes JJ N° 2 seem too short, even though the nine tracks pack enough punch to keep listeners captivated for quite awhile. The elusive JJ shows enough throughout the album to warrant the acclaim though. Few electronic debuts this year have had a reception as positive as JJ N° 2.

JJ – Things Will Never Be the Same Again

JJ – From Africa to Málaga

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23. Ramona Falls – Intuit

Menomena frontman Brent Knopf admits that he initially kept his stronger material saved for the Portland-based indie-rock trio as opposed to his solo project Ramona Falls, primarily because he believes in the power of collaboration. It is understandable, but if you can write songs like Knopf then why rely on it? Like his initial work, Ramona Falls’ Intuit reveals a sophisticated vein of Knopf’s own pop songwriting that is enriched by everything from delicate piano progressions to the screeching of synchronized samples. He remains a pop songwriter at heart, but his interweaving and acoustical and electronic components are a gift for all listeners, especially those that are already Menomena fans. The songs on Intuit do not sound like DIY efforts, but Knopf’s ability to turn even the simplest of ideas into something extraordinarily grandiose is on full display. “I Say Fever” is not quite minimalistic, but its evolution from a bluesy guitar progression into an epic with roaring guitars and squealing brass is boisterously impressive. Rarely has the birthing of stylistic fusions been so enjoyable. With a croon that possesses the same nasally excellence and sincerity of a Michael Stipe sound-alike, Knopf also delivers a countless number of hooks in tracks like “Melectric” and the astonishing “Russia”. The constant use of keys makes this comparison even more apt, as the warble of acoustics and keys in the opening “Melectric” paves the way for brilliant bursts in rhythmic and vocal content that are quite reminiscent of similarly influenced ‘80s alternative-pop acts, even recalling Celtic folk in the process. “Russia” may be the best thing he has written, featuring musical snippets more abundantly than a conventional structure. They all combine to form something beautiful though, complete with string arrangements and revolutionary percussion. To say the least, it is the most epic three-minute song you are bound to hear. Knopf’s talent is extremely evident throughout Intuit but one must not forget how important his gifted support system and multifarious focus was toward this outstanding album’s final result.

Ramona Falls – Russia

Ramona Falls – I Say Fever

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22. Röyksopp – Junior

Taking another four years between the release of new albums, Röyksopp have infused an impressive introspective within the material on their third album, Junior. Although much of the material will prove readily accessible to those that have never heard of the duo before, those considerably familiar with Melody A.M. and The Understanding will likely discover a sense of satisfaction that exceeds the initial listens of Röyksopp’s first two albums. The reason for this lies in Röyksopp’s gathered experience, which has consequently allowed them to fuse the stylistic successes of both albums together. Many longtime fans will hold “Vision One” in very high regard, as it practically epitomizes the duo’s growth in the last several years. What begins as a serene trickle of high-pitched keys eventually transitions into a dance-charged series of flexible synths, complemented by the enchanting vocals of Anneli Drecker. At this point, both phases of Röyksopp are present in their execution of vocal-led dance and synthesized experimentation. The vocal harmonies are conventional and accessible, with the plethora of accompanying synths and percussion changing virtuously in unpredictable form. Contrary to the sunny-day escapades of “Happy Up Here” or the effervescent sci-fi musings of “The Girl and the Robot”, “You Don’t Have a Clue” succeeds with tonal resurgences that are haunting, exotic, and delicately interwoven. Anneli Drecker once again shows why Röyksopp keep bringing her back with a phenomenal vocal performance. Appropriate for a rainy day, the mixture of trickling keys, operatic backing vocals, and the somber strings that conclude them all craft an elegant composition with no rival on the album in terms of sheer melodic presence.  Great cameos that include Robyn, Lykke Li, and Fever Ray’s Karin Dreijer Andersson are a few reasons for the success and variation on the album, but Junior succeeds immensely primarily due to Röyksopp’s undeniable growth as songwriters. They have always had sharp production, but the cohesive stylistic direction that Junior has taken results in it being one of the most memorable electronic releases of the year.

Röyksopp – You Don’t Have a Clue

Röyksopp – The Girl and the Robot

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21. Washed Out – Life of Leisure / High Times

If stoner-rock is defined by slowly presented guitar riffs grounded in heavy doses of reverb and downtuned effects, then where does electronic music with a similar aim sit? The early works of Air, Massive Attack, and Boards of Canada – with their serenely intoxicating fusion of sweeping orchestras and placid synthesizers alongside other genres like hip-hop and trance – were among the first in a movement that now includes Caribou, Neon Indian, Chromatics, and Junior Boys. What many have  been previously classified as “trip-hop”, “chillout music”, or IDM have all had a hand in crafting a sub-genre that now, within the realm of independent music, has become one of the most thriving scenes in the world. As the main project of recent USC grad Ernest Greene, Washed Out is the latest in this line of artists, now often referred to as “chillwave” artists. Life of Leisure, Washed Out’s debut EP, was released earlier this year alongside a cassette-only EP, High Times. The latter, which only saw 200 copies, shows Greene’s massive scope of creativity quite well and is wholesomely recommended. Tracks like “Luck” resemble the respectable works of DJ Shadow with their genius use of sampling, accompanying synths, and hip-hop influences. The sputtering of the keys and inconsistent percussive ferocity paints an imperfect picture for this and the funk-influenced “You Will Be Sad” (which mixes brass samples and rhythm sections wonderfully), but each one always resonates with extreme success by its end. “You Will Be Sad” in particular has a beautiful interlude at its conclusion, featuring nothing more than an organ and bass line that comparatively gives the preceding stampede of brass and percussion even more prominence. “Belong” showcases Greene’s pop skills to the best extent, mixing an Afro-pop beat with the brooding electronics of ’80s artists like Orchestral Maneuvers in the Dark or The Human League. Just don’t be startled by the chills up your spine when the strings hit during the last minute with Greene’s soaring voice. Other efforts like “Phone Call” show more of a likeness to traditional trance and minimalism in its continuous repetition and supplementation, bearing more resemblance to than fellow pop-minded electronic artists. What these efforts cumulatively show us is the incredible range of diversity Greene has in the field of electronica, whether one is more willed to call it “chill-out music”, “psychedelic-electro”, or a new concoction altogether. This range has already led to plenty of acclaim, so all we have left to wait for is the landmark release that will propel Greene to the top.

Washed Out – Belong

Washed Out – Feel It All Around

Washed Out – Luck

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The post Best Albums of 2009: #30 to #21 appeared first on Obscure Sound: Indie Music Blog.

Throughout their educational career, one often comes across a teacher or professor that leaves a durable mark on their future. These could either be individuals who teach from knowledge, their heart, or both; it depends purely on the student’s perception of what makes a teacher effective and – in modern terms – cool. My personal definition of a “cool teacher” is one that allows students to participate in stimulating discussions in order to form their own awareness of a certain topic. I have had even the dullest topics, whether it was math or science, become understandable and even somewhat enjoyable through the tactful work of some teachers. Of course, it also helped if they gave exams or papers that were not too difficult. Out of all the teachers that I have had though, I can confidently say that none of them took an approach that was similar to the one of Timothy Showalter. In fact, after reading about some of his tactics, it almost makes me want to go back in time and become an 8th grader all over again. Well, maybe that’s a stretch, but learning to expand my artistic imagination by telling fantasy stories alongside songs by bands like Sigur Rós in the classroom sounds like an innovative and enjoyable way to get the most out of kids’ imaginations. “It really showed me how beautiful kids’ imaginations are,” Showalter said in an interview, providing a glimpse of just how genuine his intentions really are.

For someone who has such a commendably high awareness of the importance of youthful imaginations, it should come as little surprise that Showalter is also an artist himself. The guitar strummin’, Sigur Rós-playing, long-bearded teacher is likely hailed as the coolest teacher in the school based on his inventive teaching approach alone, but his status as a potential rock star certainly should help. Well, rock star is an overstatement since his debut album, Leave Ruin, ushers in a soft and melodic mixture of indie-pop and folk as its main stylistic focus, but Showalter can at least be assured that he will always have a willing audience to try out his new material on. At the moment, Showalter’s students have no awareness of his musical project Strand of Oaks, but it seems pretty likely that one or two of them will stumble upon either intentionally or by accident in the near future, as the buzz is certainly building up online for the impressive Leave Ruin. As for Mr. Showalter, he teaches and makes his home in Wilkes-Barre, Pennsylvania. Although he is an Indiana native, he considers Wilkes-Barre to be his home based on the town’s strong sense of community. And although he and his fiancé plan to move to Philadelphia for a few years since she plans to pursue her Masters, Showalter has said that it would take a lot to keep him away from Wilkes-Barre.

The collection of songs on Leave Ruin encompass a broad chronological variety of songs, as Showalter has been writing songs for about a decade. Over the past few years, he has been modifying them slightly in an effort to complete them in a satisfactory manner. He found himself at a mental block for a number of songs, but he began refining his songs with a passion before and after his days as a schoolteacher. Showalter shortly found welcome contributions from his friend, Lou Rogai of Lewis & Clarke, and began pushing his album even more toward completion. Rogai suggested to Showalter that they record the majority of album at the studio of Dan McKinney, a Pennsylvania native who is based in Lehigh Valley. They also worked with engineer Tom Asselin, who along with Rogai made some vital contributions to the final version of Leave Ruin. The result was somewhat of a mix between the raw lyrical folk of Nebraska-era Springsteen, the contemporary fusion of folk and pop from Bright Eyes, and the warmly harmonious reverberations of The Mamas & the Papas. For someone who had grown up enamored by the capabilities of electronic music, it was a surprising stylistic development for Showalter but it worked out very well in the end. “I’m not sure why I ever started playing the music I do now,” he remarked. On tracks like the romanticized, key-led “Sister Evangeline” and the gospel-influenced “Mourning Worker” with its organs and slide guitars, you will likely wonder the same thing. It hardly matters though, as Showalter has succeeded in this style with such precision that there is little reason to turn back.

The album’s opening track, “End in Flames”, delivers a strong personal statement from Showalter in vaguely anecdotal form. One unfortunate day, Showalter came home to see his home on fire, with every one of his imaginable possessions inside. He was distraught, even sleeping in his charred bed the day after the fire, but he eventually overcame it. In fact, one could say that such an event gave Showalter the artistic stimulation that he required, as he began the process for creating Leave Ruin shortly thereafter. Appropriately enough, the melody sifts a fine line between melancholy and heartfelt optimism. Several hushed piano chords and a frantic electric guitar progression establishes the track’s initial workings. “To see the world end in flames, to see the world end in flames,” he then repeats, opening way for the warm embrace of the rhythm section. After referring to the hyperbolic metaphor that is the song’s title, he speaks of beauty in one another before touching on reflection for a final time. Accompanied by a simple but warmly effecting melody, it is a genuinely enjoyable effort that opens up an album full of similar sentiments. “Two Kids” is less majestic in scope in both lyrical and melodic elements, but the subtleties like the hushed handclaps and involvement of a banjo “Because men my age, it’s hard for us to say all the places that we’ve gone wrong,” he sings, once again referring to the process of moving on and reflecting upon life in a positive manner. This is a constant theme throughout the album, which is somewhat ironic since Showalter’s greatest days still appear to lie ahead of him.

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Strand of Oaks – End in Flames

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Strand of Oaks – Mourning Worker

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Strand of Oaks – Two Kids

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This month’s compilation actually serves as a fusion of December and January. My primary focus in December was the Best Albums of 2008 feature, so there were not enough featured artists to suffice for an entire compilation. With that being said, the interval of time between the last feature of December and first feature of January allowed me to efficiently find some fantastic new artists. Whether you fancy icy electro-pop, bluesy indie-rock, or Japanese post-rock, there should be something for everyone in here. Stylistic variety has always been an aspect of music that I have striven to feature, and I am happy to say that this compilation is indicative of that.

01. Fever Ray – Now’s the Only Time I Know (post)
02. Andre Ethier – Easiest Game (post)
03. Here We Go Magic – Fangela (post)
04. Marissa Nadler – Mary Comes Alive (post)
05. J. Tillman – Steel on Steel (post)
06. Timber Timbre – Lay Down in the Tall Grass (post)
07. Ball of Flame Shoot Fire – Mugs (post)
08. Cymbals Eat Guitars – Indiana (post)
09. Music Go Music – Light of Love (post)
10. Dan Auerbach – When the Night Comes (post)
11. The High Dials – My Heart Is Pinned to Your Heart (post)
12. Future Clouds and Radar – Feet on Grass (post)
13. 4 Bonjour’s Parties – Satellite (post)
14. The Western States Motel – Oh World (post)
15. Dreamend – If Only for a Day (post)

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The post Obscure Sound: Best of January 2009 appeared first on Obscure Sound: Indie Music Blog.

Treading the thin line between generic cheesiness and captivating ingenuity is a common practice for contemporary pop artists, especially now that the genre has been prevalent in media for numerous decades. We have seen brilliant pop music in a variety of forms, whether in the form of Beatles’ integration of rock ‘n’ roll or ABBA’s more conventional utilization of wistful keys and synthesizers. And, as a result, it is a more common practice to label a pop artist as an imitator over that of an innovator due to the average listener’s preordained familiarity with it. With this in mind, it would be difficult to expect an artist who specializes in a style or method that is previously known to masses of listeners to obtain success as a sculptor of music in their respective decade. So, is this cause to discard them entirely? The answer depends on the opinion of the individual, as some are more reluctant to allow contemporary modifications of familiarity to embrace their ears than others. While those that opt to engage in a constant pursuit of stylistic innovation may not be immediately enamored with Music Go Music, a more thorough look at their overall attributes should result in acceptance from both contrasting parties.

While the LA-based trio of Music Go Music does specialize in a form of glittery, synth-aided pop that ‘70s influences like ABBA and Electric Light Orchestra made so renowned in their heyday, there is little doubt surrounding the creativity of this elusive trio. Their innovation does not lie in one specific style, but rather the way in which they combine influences of the past to create something that is enthralling and filled with hooks. The snappy use of guitars in “Light of Love” alludes to a slight glam-rock influence, while the bass line remains more reminiscent of rockabilly. These two attributes are hidden under a lead melody based in keys and synths that should immediately remind listeners of ABBA. The fact that lead vocalist Gala Bell sounds like a cousin of ABBA’s Agnetha Fältskog brings that comparison to life as well. As for the actual identity of one “Gala Bell”, the three members of Music Go Music actually use aliases as a means of disguise. Bell is apparently the lead vocalist for a somewhat reputable indie-rock group entirely separate of Music Go Music, and she decided to go under a different name entirely in an effort to separate the two. Blogs and fans alike have attempted to guess the identity of Bell over the past several months, but there has been no breakthrough as of yet. If the voice sounds eerily familiar and you can pinpoint the source, feel free to share in the comments below.

While a majority of groups that are based in aliases and melodramatic mystique are often resolved to be an effortless side project or form of comedic output, Music Go Music are a rare breed in that they are truly looking to expand their stylistic boundaries in addition to finding success. Their first glimpses of it have already arrived, with the Indiana-based Secretly Canadian signing the group before the release of their first EP, Light of Love, in May of 2008. Since then, the trio has released two more EPs in October and, most recently, in January. Like the debuting Light of Love, Reach Out and Warm in the Shadows feature three tracks that capitalize on the glimmer and grace of the trio’s infectious fusion of synth-pop, dance, and glam-rock. Pursuing the route of an independent group who achieves hype through a string of short EPs, it has certainly benefited Music Go Music by placing them with a reputable label and earning a variety of amiable comparisons. In fact, it would be a challenge to find a review or feature of them that does not mention either ABBA or ELO, as such influences are distinctively intertwined in a manner that renders itself unavoidable. That Music Go Music are able to attract these comparisons while maintaining their sense of originality is impressive in itself, but that these influences are so enjoyably implemented without their sound being sacrificed in the process is part of a tactful art that is arguably the most defining factor in Music Go Music’s successful sound.

Considering that the three available EPs from Music Go Music are so similar in approach, effectiveness, and even cover art (each features the same landscape of a sunset, though at different times of the day), many will likely wonder why they did not just bother with putting out all nine songs as one release. Well, word is that the trio may intend to keep the three self-titled tracks from each EP and include it on a forthcoming album. If that were to happen, listeners would at least be guaranteed of three excellent tracks. Their most recent self-titled, “Warm in the Shadows”, is a nine-minute epic that sees the group at their most ambitious, with a structure reminiscent of house music allowing each instrument to gradually build upon one another until a melodic explosion of sorts that is embedded into the listener’s brain. “What kind of heart would break so easy as my own?” Bell asks over a thunderous bass and sprinkling of synths. The answer is never quite resolved, but with a variety of guitar solos and surprisingly effective melodic alterations occurring throughout the song, it hardly matter. Though some may find it too long for their own liking, it is hard not to respect ‘Warm in the Shadows” for its pure stylistic vision.

“Reach Out” introduces a more raucous side of the band, even if the songwriting and presentation is just as easy to wade through as star-studded relaxers like “Light of Love”. If anything though, “Reach Out” may be the best example of Music Go Music’s eclectic qualities, an attribute that will very likely be overlooked when their eventual full-length captures the attention of many. When a funk progression kicks in at about 03:42, this should become quite evident. A guitar solo and smattering of organs take over the minute-long instrumental section before an eerie acoustic guitar takes the lead, signaling the entry of Bell’s vocals once again. “Let my voice be your guide, let my love be alive,” Bell sings, providing a sparse moment of tranquility before the roaring guitars commence again over swirling organs and a thumping bass. With such powerful energy within the instrumentation around her, it is hard not to heed Bell’s forceful words.

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Music Go Music – Light of Love

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Music Go Music – Warm in the Shadows

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Music Go Music – Reach Out

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All bands have to start somewhere, and for Cymbals Eat Guitars it was as a high school band that dabbled mostly in Weezer covers (from their first two albums, fortunately). Listening to the music of Cymbals Eat Guitars in their current state though, Weezer is practically the farthest thing away from them in the indie-rock stratosphere. Though Cymbals Eat Guitars may immediately come across as a group whose intensity relays Modest Mouse’s early classics like The Lonesome Crowded West or The Wrens’ Secaucus, their overall sound actually appears to be more indebted to a wider variety of successful indie-rock trends of the past several years. They incorporate such aspects – whether it is sweeping strings, alternating song structures, or tonal experimentation – into a sound that proves perfectly depictive of what was so great about indie-rock music in the late ‘90s and early ‘00s. It is rather alarming that I find myself referring to those periods of time in such a fashion after they concluded less than ten years ago, but there is no denying the trends in independent music that have the potential to mold new artists, be it for better or worse. In the case of Cymbals Eat Guitars, their impressive stylistic approach stems not only off of their progressive talents as musicians, but also in their aptitude as fans themselves.

During the process in which Cymbals Eat Guitars evolved from a cover-centric duo to a wildly innovative group of their own, lead songwriter and vocalist Joseph D’Agostino advanced his own skills as both a listener and performer of music. During high school, he and drummer Matt Miller put together a very short LP under the name “Joseph Ferocious”, an alias that might as well apply to D’Agostino’s current work as well. He has always possessed a distinctively ardent vocal delivery, one that sits somewhere between the quivering croon of Isaac Brock, the vibrant angst of The Wrens’ Charles Bissell, and the vibrancy of Stephen Malkmus (another clear influence). When considering that D’Agostino’s songwriting also expresses a similar form of ferocity and hook-filled energy, it would have probably made sense to carry on with the “Joseph Ferocious” tag a bit longer. As with most high school bands though, distance became the primary factor in the eventual dissolution of the project after D’Agostino and Miller found themselves in college in separate states. After a few months, D’Agostino began writing songs again, intending to have his primary influence, Charles Bissell (of Wrens fame), produce them. For the task of recruiting a bassist, guitarist, and keyboardist for his upcoming session, he looked toward a somewhat conventional route: Craigslist. The site seems to have more bad deals than good ones, but as D’Agostino puts it, he got lucky with his choices.

After responding to D’Agostino’s Craigslist ad, bassist Neil Berenholz, guitarist Matt Cohen, and keyboardist Daniel Baer joined after they became fascinated by the 19-year-old’s songwriting and level of intellect. That’s right – when Cymbals Eat Guitars officially formed in February of 2008, D’Agostino was a mere teenager. D’Agostino’s former musical companion in high school, drummer Matt Miller, also joined the project shortly thereafter. The fact that two members are presently in their early 20s and the other two are in their early 30s has been no hindrance to the band though. After all, both D’Agostino and Miller are way beyond their years as capable musicians. If anything, the varying levels of experience contributes to their unique sound even more, even if two of the five members occasionally get irritated that they are the only ones in the band that are unable to legally purchase alcohol. Humorous incidents aside though, the chemistry within the group is undeniable, and that certainly is shown on their extremely impressive debut, Why There Are Mountains. I will say this much: There is a reason that a musician as respected as Bissell has went on to say that Cymbals Eat Guitar “will end up indie famous within the year”.

With an opener like “And the Hazy Sea”, it is hard to not take Bissell’s quotation seriously. A flurry of guitars and D’Agostino’s yelp-ish croon take charge during the intro as a singularly possessive guitar progression serves as an abrupt bridge between the song’s true introduction. “Do you know how many cities have been built?” D’Agostino asks. He is followed immediately by some brilliant songwriting that remains both unpredictable and convincingly effective, featuring both stark smatterings of keys and explosive arrays of guitars. His vocal delivery often adjusts accordingly, especially during the song’s fiery chorus. That part in particular remains reminiscent of Modest Mouse, but the song’s structural genius and melodic excellence appears more indicative of an idolized act in the Wrens. “Indiana” is just as effective, with the most notable aspect being the mixture of keys and horns that cleverly fuse together to create something that is wholesomely infectious. In addition to the dramatically effective accompaniment of strings in “Cold Spring” and the guitar feedback-led allure of “What Dogs See”, it sees Cymbals Eat Guitars at their most subdued. This takes nothing away from the overall quality though, as it sits equally alongside infectiously vigorous greats like “Indiana” and the brisk “Wind Phoenix”, the latter of which sees an amiably successful mixture of keys and guitars show how Cymbals Eat Guitars can maintain their accessibility while still being bold and unpredictable. Much of Why There Are Mountains speaks a similar sentiment, coinciding with Bissell’s statement that it would be a shock if Cymbals Eat Guitars went a year without some sort of unavoidable acclaim.

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Cymbals Eat Guitars – Indiana

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Cymbals Eat Guitars – And the Hazy Sea

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Cymbals Eat Guitars – Cold Spring

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Robert Moore’s 1976 film, “Murder by Death”, was a memorable spoof on “whodunit” mystery fares. Featuring an all-star cast (Truman Capote, Alec Guinness, Peter Falk) that accompanied a subtly comedic script written by the legendary Neil Simon, it remains a cult classic in the genre of satirical spoofs. At heart though, it proved to be a clever analysis of human nature. The plot saw individuals being forced to work together with associates they distrusted and generally disliked, all in an effort to find the alleged murderer and save themselves. It sounds like the plot to any conventional murder novel, yet “Murder by Death” was a unique breed at the time by mixing humor with believably linear human reactions to create an entertaining swipe at contemporary society’s greed and selfishness. Perhaps this sociological allusion is the reason why the Indiana-based four-piece Murder by Death decided to craft their name as a homage to their film. Their musical content is filled with brooding references to the state of humanity, examining the darker side of human nature with different characters and varying circumstances in each song. This is all done with eclectic stylistic form too; alternating genres of punk, alternative-country, are just a few of the mainstays. Even if treading in the dark waters of sociological evaluation is not for you, the group’s unique implementation of musical styles is alone worth checking out.

To give an idea of Murder by Death’s lauded thematic grasp, the group’s previous album, In Bocca al Lupo, tackled themes that most songwriters would consider too controversially intricate to explore in a lyrical sense. Vocalist Adam Turla was allegedly reading a variety of novels at the time, the most evident being Dante Alighieri’s “The Divine Comedy” and Edgar Allan Poe’s “Fall of the House of Usher”. Turla considered the themes of “sin, redemption, and guilt” to be invigorating when writing the album, noting that each novel was “about a different character who has either committed acts that have harmed other people.” As he described in a track-by-track analysis on the site, In Bocca al Lupo‘s transformation into a concept album was brought on by its consistent focus on sin and punishment. Turla recommended to listeners that they treat the album like “short stories in one anthology”, with the story-led brilliance in each unique track earning rave reviews and a plethora of attention by new fans and record labels alike. It was the album’s success that earned the quartet their first major label deal, signing onto Vagrant Records last October. Their fourth full-length studio album, Red of Tooth and Claw, is prepared to be released on March 4th.

Considering that In Bocca al Lupo dealt with themes that overlapped with Dante’s classic interpretation of hell and Poe’s ghastly portrayals of death and rebirth, it would be difficult for Red of Tooth and Claw to be more ambitiously tied into literary classics. Well, considering that Murder by Death have been producing engaging songs with allusions to history and classic works of literature ever since their formation in 2000, attempting to predict the nature of their material will always come across as futile. This time around, Turla describes Red of Tooth and Claw as being in the mold of a “Homer’s Odyssey of revenge, only without the honorable character at the center.” Per usual, themes of egocentricity, fate, and human nature remain prevalent, but it is now presented over an instrumental force that remains both more consistent and accessible. In Bocca al Lupo marked a transitional period of stylistic development for the band in 2006, providing less emphasis on keyboards while increasing usage of guitars. However, a factor that has remained at the forefront ever since the band’s inception has been Sarah Balliet’s cello. It alone has attributed to being a trademark instrumental aspect of the four-piece, with its involvement being so uniquely implemented that fans would likely deem it as the most singularly identifiable aspect of the band.

Since the departure of keyboardist Vincent Edwards in 2004, the guitar-laden style has attracted a larger crowd, mainly owing to the newly energized form of navigable indie-rock the group takes on in seemingly effortless form. This is not to say that the group’s stylistic diversity has suffered though; they remain generally eclectic throughout the album. This is perhaps best evidenced by the sweeping “Theme (for Ennio Morricone), a very commendable ode to the master of film scores. Using Morricone’s scores of Sergio Leone’s classic spaghetti westerns as an influential backbone, Murder by Death incorporates a variety of slick guitar progressions aided by a brooding cello and a steadfast rhythm section. When all instruments collide fluidly during the song’s concluding moments, it simply reminds us all of how brilliantly innovative Morricone actually is. If you enjoy this track even in the slightest bit and have never checked out Morricone, you have a treasure awaiting you.

Apart from Red of Tooth and Claw showcasing what is Murder by Death’s most accessible material to date, Grammy-winning producer Trina Shoemaker has given the group a more polished sound that provides in a resounding result. The album’s leading single, “Comin’ Home”, provides instantaneous enjoyment in its portrayal of Homer’s struggles to return to his point of embarkment in arguably the most concisely descriptive form. Like their past efforts, many songs on Red of Tooth and Claw utilize universally recognizable plot lines to provide an understanding of human nature. More audibly, Turla gives the listener a brief glimpse of what Johnny Cash would have sounded like if accompanied by the brisk motions of roaring electric guitars and reflective cellos, capitalizing on distinctively deep voice as a source for resounding hope and dumbfounded persistence. When the eventual entry of a kick drum signifies the simultaneous emergence of cellos and organs, the grandiose chorus recalls a form of excitement and genuine fury that Murder by Death have not exhibited before.

The lores presented throughout the album are also just as engaging as the preceding In Bocca al Lupo, with “Rumbrave” detailing the lonely travels of an immorally selfish swine. This time, Turla’s voice resembles a less flamboyant version of Morrissey, especially during the chorus in which he proclaims, “When we meet, you will see; I will destroy everything of beauty!” As the rest of the song recalls with incidents at “shanty towns full of bitter men”, it provides more evidence of Murder by Death’s ceaselessly entertaining lyrical wit. When Red of Tooth and Claw drops tomorrow, keep it in mind. Though it remains more predictable on a structural standpoint, the songwriting and production shows the four-piece at their peak. Both on a lyrical and instrumental level, it is Murder by Death’s best effort yet.

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Murder by Death – Comin’ Home

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Murder by Death – Rumbrave

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Murder by Death – Theme (for Ennio Morricone)

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The post Murder by Death’s Literary Connections appeared first on Obscure Sound: Indie Music Blog.

Working in the shadows of a prominent music figure can have both its perks and disadvantages. While such an environment could provide for a bountiful amount of experience and visionary knowledge, it can also create unavoidable comparisons that are imminent to appear in the occasional case of a singular future career. Until her solo career took flight in 2003, Martina Topley-Bird was widely considered to be nothing more than a featured vocalist in the albums of legendary British trip-hop and electronica artist Tricky (Adrian Thaws). Though her roles were vital in albums like Tricky’s classic debut, Maxinquaye, and its unofficial follow-up, Nearly God, Topley-Bird was often overlooked by critics because of the other prominent names like Björk, Neneh Cherry, and Damon Albarn involved in Tricky’s circulating production process. However, Tricky understood the importance of Topley-Bird’s vocal effort and their romantic and musical relationship continued into the late ’90s. With Topley-Bird’s seductively entrancing vocals implemented in Tricky’s delicately layered methods of production, Tricky became known as one of the most successful British producers and trip-hop artists of the ’90s. After their relationship collapsed in 1998, Topley-Bird finally began her quest to create a singularly successful solo career for herself. For the following six years, she independently wrote dozens of songs for her upcoming solo album. When it was finally released in 2003, it was well worth the wait.

With Independiente Records seemingly well aware of Topley-Bird’s illustrious past work with Tricky, they signed her almost immediately after hearing her initial solo demos. When her debut, Quixotic, was released in July of 2003, the British press fell head over heels in love. With acclaiming reviews pouring in rapidly, she found herself nominated for the illustrious Mercury Music Prize in that same year; a rare and admirable feat considering it was Topley-Bird’s first album on her own. However, upon further inspection, it appeared that she was not working entirely independent after all. Though she was clearly the main force of Quixotic, both in terms of songwriting and melodic formation, she received some productive aid from her former collaborator, Tricky, on several tracks, signifying the fortunate continuation of a passionately successful musical relationship. While their relationship remains platonic, it was refreshing to see the two work together so productively again. Despite being an extremely solid album with glowing British reviews and a respectable Mercury nomination, Quixotic never really caught fire in the United States. It is a shame that music blogs were not more popular in ’03 — she would have been all over the place. Palm Pictures attempted to re-release Quixotic to an American audience in 2004 (re-titled as Anything) but sales remained minimal. Though it would be easy to blame the exclusion of three original tracks from the Anything version, perhaps American audiences were just not ready for Topley-Bird’s sound. However, with her new sophomore follow-up, I think this one is going to be impossible to miss.

Seeing that Topley-Bird’s newest release is scheduled to be put out early next year, The Blue God is the first album from 2008 that I have listened to. Though the upcoming year remains a few months away, The Blue God is sure setting the bar pretty damn high. This is the type of album that not only relies on flawless vocal power and melodic ability, but also the atmosphere that Topley-Bird is able to construct using her wildly emotive vocals in a variety of instrumental circumstances. Whether it be in the subtle hooks found within the minimalist electronica composition of the exceptional opening “Phoenix” or the brooding take on heavily reverbed ’60s soul in “Valentine”, Topley-Bird is confident and nearly impeccable in every musical aspect she is presented with. The stylistic diversity on The Blue God is absolutely astounding; a rare achievement that only a few albums per year are able to accomplish. We have heard contemporary artists like Grizzly Bear and Beach House succeed in similar throwback styles to “Valentine”, but Topley-Bird’s vocals provide for a unique experience that is both immaculately delivered and stylistically indefatigable, all while avoiding weighty overbearing tendencies. Even the simple piano-led pop songs like “Carnies”, “Baby Blue”, and the cutesy “Da Da Da Da” are pulled off with a distinctive goal in mind. Topley-Bird allows The Blue God to feel like a co. Despite the album being stylistically all over the place, her melodic grasp

To keep it somewhat concise, Topley-Bird’s instrumental arsenal on The Blue God typically consists of subdued keys and synths, electric guitars, brooding strings, and electronic percussion. While such an ambitious approach would usually serve to provide many precautions for the average listener, famed American producer Danger Mouse does an expectedly excellent job in juggling Topley-Bird’s industrious vision and presenting it in a form that is neither intimidating or overly involved. “Shangri La” is a fine example of this, presenting a song that is catchy, atmospheric, and vibrantly powerful through its flawless involvement of acoustics, strings, and eerily presented keys. Though it obviously has no other albums to compete with as of yet, I sincerely believe that The Blue God is going to be exposed as one of the best releases of 2008. I do not consider myself to be jumping the gun — The Blue God is just that impressive. Martina Topley-Bird is a singular talent that has finally broken free of collaborative comparisons, finding her own stylistic self in an album that exceeds even the harshest of expectations.

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Martina Topley-Bird – Shangri La

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Martina Topley-Bird – Carnies

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Martina Topley-Bird – Valentine

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The download links for “Carnies” and “Valentine” were removed upon request of the artist.

Where do you go when you want to find a listing of music instrument lessons in your area?  What about Piano Lessons?  If you love art and music, you can find the nearest lessons near you via the internet.  You can even learn how to play the guitar through Guitar Lessons!  No matter where you are, the internet is the best locator for all of your art and music needs!

The post The First Great Album of ’08: Martina Topley-Bird’s “The Blue God” appeared first on Obscure Sound: Indie Music Blog.

If one was asked about the current music scene in Sweden, I would expect the usual response to be in relation to witty folk-pop songwriters Jens Lekman and Julian Nation or adorable indie pop in the vein of The Concretes and The Cardigans. After all, ABBA basically defined the musical generalization of the county thirty years ago with their irresistible style. So, what about those epic psychedelic rock acts that most often generate from other countries such as the United States, France, and Japan? Well, surprisingly Sweden has their share of them as well. They just live behind the shadow of more “acceptable” linear Swedish acts such as I’m From Barcelona and Peter, Bjorn & John. As Jens Lekman once proclaimed in “The Cold Swedish Winter”, the impression of the country is usually led by baseless standards: “When people think of Sweden I think they have the wrong idea… like Cliff Richards, who thought it was just porn and gonorrhea.” As comedic as that brilliant line is, it applies well to the country’s musical assumptions. One band hopes to change that. Since early 2001, Dungen began to record his own music, constructing his own private studio in the basement. His friend Stefan Kéry eventually heard the fascinating songs and offered has been creating a whole new style based around their own innovative standards. The Swedish foursome is led by the talented multi-instrumentalist Gustav Ejstes. On their five albums, Ejstes has played all instruments and written all the songs on his own. While performing live, he is backed by guitarist Reine Fiske, bassist Tiaz Gustavsson, and drummer Fredrik Björling. Growing up on a small village in Vastergotland, Sweden, Ejstes was born into a musical family. His father was a musician and music teacher who educated Ejstes well on musical intellect. Ejstes eventually learned how to play a variety of instruments out of sheer enjoyment while he developed a fond admiration for all musical genres, even hip-hop (which he sampled for a short time). After moving to his mother’s farm, Ejstes a record deal on Subliminal Sounds, the label who later released Dungen’s self-titled debut LP in 2001. Through the next six years, Ejstes recieved a variety of offers from major labels but chose to stick with his friend’s label, as he released three more albums over the following years. While he was a prominent figure in Sweden since Dungen’s debut, his foreign recognition skyrocketed in 2004. Ta Det Lugnt (“Take It Easy”) brought his attention overseas as American audiences fell in love with Ejstes’ original psychedelic sound, which both sounded foreign and familiar. While Ejstes sings in Swedish, foreign audiences do not even notice the language barrier. His melodies and instrumental knowledge overshadow any lyrical misunderstanding, as such captivating music does not rely on lyrics either way.

On May 1st, Ejstes will release Dungen’s fifth album Tio Bitar. Translated to “Ten Pieces”, that is exactly what it is: ten new excellent pieces of music from the mastermind of Gustav Ejstes. While he still plays the majority of instruments like past releases, Ejstes actually enlisted some outsider help for the recording of Tio Bitar. While Ejstes is still the main force, he brought in a few friends to aid with backing vocals, along with a Turkish string musician. Ejstes can still be found on guitar, bass, organs, flute, and strings. Tio Bitar is Dungen’s most expansive album yet, with each track clearly differentiating themselves from one another. While “Familj” is classic Dungen with it’s soothing vocals and mellow reverb, “Caroline Visar Vägen” is one of the most original tracks that Dungen has produced. Mainly consisting of percussion, organs, and an outstanding arrangement of strings, the instrumental track fits very nicely on the album in between the rapid “Gör Det Nu” and the catchy “Du Ska Inte Tro Att Det Ordnar Sig”, which is about as “anthemic rock” as Dungen gets. “Du Ska Inte Tro Att Det Ordnar Sig” is a large success though, largely credited to Ejstes’ lasting vocals and attributed emotion. “Svart Är Himlen” is another gem bursting with originality. A classic piano is layered over a heavily distorted guitar and a collection of light backing vocals and organs, with the introduction being relayed by a compelling flute. Of course, like most Dungen albums, Tio Bitar is not without an epic. The nine-minute “Mon Amour” transcends from a typical rock song to a nearly improvised sketch with guitar solos and experimental effects in it’s remaining seven minutes. While Tio Bitar is not as catchy or lighthearted as Ta Det Lugnt, it is certainly more musically impressive. Ejstes’ ambitiousness shows great value as each track has it’s own form of life, with all ten pieces being highly rewarding and completely necessary.

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Dungen – Du Ska Inte Tro Att Det Ordnar Sig

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Dungen – Caroline Visar Vägen

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Dungen – Familj

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No, I’m not talking about the four troublesome actors. I prefer the unrelated musical duo. Actually, The Baldwin Brothers aren’t even brothers at all. Jason Hinkle and TJ Widner both met in high school in Indiana in 1983, both being musically inclined since a young age. Hinkle had proficient knowledge of guitar, bass, and drums by the end of his high school career, while Widner was a fantastic piano player since the age of six. When Hinkle heard Widner play, he invited him over for a jam session in his basement, which was virtually a recordng studio (Hinkle was born into a musical family). They decided on the name of The Baldwin Brothers (‘baldwin’ was an inside joke to them, meaning someone who was “in-the-know). After a few recordings, the two went their separate ways and attended college. Sure enough, they met again ten years later. Fate, perhaps? Hinkle and Widner immediately began to write music together again, with more musical comprehension than they had in high school. Widner has main control of the Rhodes, which is “an electric piano and my main ax,” says Widner. Hinkle takes care of the entire rhythm section, while newly recruited Dan Gottesman and Angry Skinny contribute in various ways.

The Return of the Golden Rhodes marks their second album on New York’s TVT Records. They define their sound as ‘junktronic’ — a diverse mixture of several musical styles, notably acid jazz, hip-hop, dance, and funk. “I don’t think you can peg us to an era,” Widner says, “I think our sound is timeless.” ‘Leave the Past Behind’ plays smoothly like a 70s soul love ballad, with a nice dance variation midway through. ‘A Matter of Time’ is the Baldwin’s take on hip-hop, mixing together jazz elements with modern hip-hop melodies to create a surprisingly catchy song, enhanced by the brass samples. ‘The Party’s Over’ borrows the talents of Mark Lanegan (Screaming Trees) to create a melodic and lush display of strings, more implemented brass, and a simple acoustic guitar stitched over the deep and emotional vocals. The Return of the Golden Rhodes is full of diverse and memorable songs and is probably the group’s most impressive release yet.

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The Baldwin Brothers – Leave the Past Behind

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The Baldwin Brothers – A Matter of Time

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The Baldwin Brothers – The Party’s Over

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