by Lauren Tischler

The sound of Ghost Mall is indescribable. But the band, made up of college roommates Pierce, Alex, Cody, and Jimi, give it their best shot. “Garage-y ramshackle pop/ethereal,” lead singer Pierce Lightening struggles, attempting to put a label on his own music. With a lead singer named Pierce Lightening, and influences along the lines of “Babes, Springsteen, Comic Books, and Star Wars,” you are naturally drawn to the quartet. What is surprisingly more interesting than the band members themselves is the music on their first album, Goons.

The album, produced by DJ Teenwolf of Ninjasonik, features five well-done and oddly classy songs. The EP starts out with the marijuana-induced “40 Nugs”, and while I would have chosen a different track for the first, it sets an appropriate tone to the album without giving away their mysterious style. Next is “Senile Felines”, setting a dark synthesized tone that lures the listener further in. The next couple of tracks are “Young Liars”, followed by “Balloon Idea’s”, which captures an eerie essence while keeping it light; it samples a few lines from Biz Markie’s “Just a Friend” with convincing maneuvers. The final track, “Johnny Appleseed”, serves as a near-perfect ending. It is more of an anthem than anything, providing the listener with a soft sort of closure.

The album itself is a work of art, but it is clear that Ghost Mall are about performance art more than anything else. Ethan Barnett, a fan, describes a show in full detail. “The first time I saw them, it was in the basement of SUNY New Paltz. It was one of the coldest nights of that winter, but as soon as I got into the basement and Ghost Mall was about to begin their set, I began to sweat because there were about 75 people packed into a small classroom. They began their first song and the room turned into a beehive, with everyone dancing in every direction. The lead singer was lost in the crowd, and all you could see was one of his hands. By the time they began their second song, the keyboardist and guitarist were lost in the mess too. Midway through their set, Pierce was thrown up into a crowd surf, and he held onto a water pole that was soaking wet from condensation. After the final song, “Johnny Appleseed”, everyone ran out the exit covered with sweat. Head to toe.”

“I don’t know what we’re trying to achieve,” Pierce says about his band’s music. “We’re just being honest. Sometimes it’s about our specific friends, sometimes it’s about how everything should be. Mostly, our songs are about the end of the world. So maybe they’re a warning.”

You can catch Ghost Mall on September 24th at 323 Wall Street in Uptown Kingston, New York.

RIYL: Japanther, Penguin Prison, Male Bonding, Urinals, Latterman, Cloud Nothings, Abe Vigoda, Times New Viking, No Age, The Mae Shi, Parts & Labor, Psychedelic Horseshit, AIDS Wolf, Wavves, Lightning Bolt, Jay Reatard, NODZZZ, Sic Alps, HEALTH, Arab on Radar

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Ghost Mall – 40 Nugs

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Ghost Mall – Balloon Ideas

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Ghost Mall – Johnny Appleseed (acoustic version)

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Official Site

MySpace

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

by Lauren Tischler

Summer; everyone’s favorite season. If you are immersed in tasteful conversation with a friend or loved one, there is a large chance that nearby ears will catch speak of summer album releases, and perhaps familiar phrases
like “Lollapalooza.” That’s right, the musical pleasures of summer are right around the corner. With album releases expected from Hot Hot Heat (Future Breeds), LCD Soundsystem (This is Happening), and Marina and the Diamonds (The Family Jewels), summer 2010 has the potential to be extremely friendly to music fans. As well as Chicago’s biggest music festival, all you Californians are probably already excited for the annual and prestigious Coachella. This year, the festival boasts big names like MGMT, Grizzly Bear, Jay-Z, and even ’80s superstars DEVO (and yes, from a show I experienced a few months ago, they will still be rocking the white jumpsuits in their old age.) But as effectively as festivals do their job in bringing indie bands out of their club-scene closet, 2010 holds some wonderful summer tours for us.

Folk gods Blitzen Trapper announced a 15-stop tour earlier this month, while Europeans will be blessed with the presence of the Dirty Projectors in early July. Alas, music is not the only sensory treat of the season. For all of you who dread sitting in a dark theater with unfamiliar faces, summer marks the opening of your local Drive-In Theater (if you still have one). This year, you can bathe in the sun before enjoying awaited films such as Michael Cera’s latest appearance in Scott Pilgrim vs. the World, where he plays the same awkward, closeted sex fiend we all love so dearly, plus a few sucker punches and comic book-inspired visuals. I recommend taking your time to see The Living Wake as well, a quirkier, almost upbeat version of 2007’s Wristcutters, which breaks the fourth wall quite a bit and stars Adventureland’s Jesse Eisenberg.

So with all of this and much more to look forward to, I took the opportunity to make my first submission to Obscure Sound as a contributing writer. What I put forth is a playlist full of sunny sounds that I hope will fire you up for this summer. With music from artists both old and new, known and unknown, I handpicked the tracks that led me most to reminisce of sunscreen, late night bonfires, and sand-covered skin. The playlist consists of reggae roots from Slightly Stoopid, sunny synth leads from Phoenix, light love ballads from the Maccabees and the Temper Trap, and of course catchy head boppers provided by Rilo Kiley, the Arctic Monkeys, and much more. From the bottom of my summer-filled heart, I invite you to adopt this playlist as the anthem of your much deserved summer. Enjoy.

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Rilo Kiley – Breakin’ Up

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Phoenix – Summer Days

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Slightly Stoopid – Nobody Knows

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The Maccabees – First Love

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Stereophonics – Pick a Part That’s New

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Arctic Monkeys – Mardy Bum

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Little Joy – Brand New Start

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Tokyo Police Club – Breakneck Speed

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Norwegian Recycling – Sorry For I Mashed You

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Voxtrot – The Start of Something

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Tegan and Sara – Take Me Anywhere

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They Might Be Giants – Don’t Let’s Start

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

In a bit of a twist, this compilation encompasses both December and January. The “Best Albums of 2009” featured last month was a lot of fun, as was the three-week break I took after it was published. I am always exhausted after that feature every year, but I still used the vacation time to discover some great music. The difference is that during the holidays I can listen without being persuaded to write about it. It is a change of pace for me, considering that by nature I am compelled to share something great if I hear it. During winter break though, family and friends were usually the victims of my music recommendations… whether they liked it or not. I usually cannot contain excitement for too long, so kicking off the new year is always slightly overwhelming. There is so much to get excited about, disappointed over, or fall in love with. Regardless of the disappointments though, there are triumphs every year. When there are several triumphs released in the first month of a year, I would consider that a pretty good sign, and this compilation is indicative of that.

Since updates resumed a few weeks ago there has been little to complain about. I regard 2010 as an excellent year already; Beach House’s Teen Dream kicking off the year in grand fashion combined with highly anticipated releases on the horizon should create plenty of anticipation and delight. Much like the release of Merriweather Post Pavillion at the beginning of 2009, we already have a genuine class kicking off the year. Solid albums thus far from Yeasayer, Citay, and Shearwater tell us this may not be an isolated trend. Several reviews – notably the Yeasayer and Shearwater – were written by a new contributing writer, Jay Mattson. He has a great writing style and plenty of acts to expose, so I am glad to offer another opinion on this site in addition to my own. A one-man site is restrictive in the sense that bias can not be prevented, regardless of its subtleties. As the site expands and grows I hope to find talented writers like Jay to continue our search for great independent music. For now, check out the best new artists we featured over the past two months. Enjoy it, and don’t forget to watch LOST tonight.

01. Beach House – Walk in the Park (post)
02. Yeasayer – Ambling Alp (post)
03. Big Spider’s Back – Warped (post)
04. Citay – Dream Get Together (post)
05. Shearwater – Black Eyes (post)
06. The Nightgowns – Buoy (post)
07. Jaga Jazzist – Banafleur Overalt (post)
08. Dumas – Dans Un Rétroviseur (post)
09. Beach House – Better Times (post)
10. Dragon Turtle – Island of Broken Glass (post)

DOWNLOAD ENTIRE COMPILATION>>> (48.7 MB, .RAR)

The post Obscure Sound: Best of Winter 2009/2010 appeared first on Obscure Sound: Indie Music Blog.

The past month provided me with a much-needed break, one that allowed me to take a break during a time in which artists are usually reluctant to release material. After all, releasing an album in late December or early January bears the risk of being overlooked for year-end honors. It is not that most artists hold much merit in the opinion of most bloggers, but the rush of the holiday season can even bombard the most dedicated music fans so that finding worthwhile new albums is no longer their most prioritized task. This is at least was what happened to me, although I was not completely out of it. One bit of practically unavoidable news involved Animal Collective’s Merriweather Post Pavilion and how it may in fact be better than anything released in 2008, though writing a review seems rather unnecessary since most of the publications giving the album its deserved acclaim are spot-on. Still though, the album will be covered at some point. On another note, I will continue to encourage readers to check out my Top 50 Albums of 2008. It has brought a bit of controversy, both through agreeable and disagreeable circumstances, so feel free to jump into the fire. Anyways, getting back to the usual way of things, I will start with an artist whose name alone conjured memories of summertime baseball in the midst of winter for me. What else can you expect out of a diehard baseball fan?

Andre Ethier bears no relation to the talented right fielder on the Los Angeles Dodgers, but the Toronto native encompasses a talent entirely of his own in a musical format. He first rose to prominence as the frontman for The Deadly Snakes, a former Canadian garage-punk band, but is now coming into his own as a solo artist whose stylistic territory provides an enjoyably stark contrast to his jagged work with The Deadly Snakes. Shifting from a highly energetic fusion of rock and punk, Ethier’s approach now appears more studied and precise than ever. Not only is he able to emit a wider array of moods through a more comprehensible lyrical delivery, but hiss new stylistic focus on orchestral folk music allows his majestic voice to contain the support that it always seemed to yearn for. Despite their final two albums, Ode to Joy and Porcella, receiving a heavy dose of widespread acclaim and positive sales, The Deadly Snakes disbanded in the summer in the 2006. It is rare for a group to disband at what seemed to be in the middle of their peak, but it is saying something that their final two albums introduced a crisper, confident, and darker sound that proved to later serve as an adjuster for Ethier’s solo releases. Strings were ushered in, Ethier’s vocal usage proved more effective than usual, and the songwriting was excellent enough to simultaneously deliver a plethora of hooks and intricately implemented emotions.

It is no coincidence that a similar description can be applied to Ethier’s solo works, and those looking for something a bit more in-depth have plenty of material to choose from. After all, Ethier has been quite busy since he left The Deadly Snakes. He has averaged releasing one album per year since, with his second solo release, Secondathallam, being put out the same month that The Deadly Snakes broke up (August 2006). On Blue Fog was released a year later, and his newest album, Born of Blue Fog, was released in Canada in December. The obvious similarity between his past two albums is the name; each album represents one-third of a project designed for Blue Fog Recordings that Ethier plans to complete by 2010. With the recent release of Born of Blue Fog, he is now two-thirds complete. On Blue Fog was truly the first release that saw the evolution of Ethier’s approach in its most prevalent light, and Born of Blue Fog continues to show that the Canadian songwriter is a master of tinkering with a style to perfection. Born of Blue Fog appears livelier than On Blue Fog in several forms, the main being how the strings are used more prominently and vigorously. Despite the instrumental differences though, one cannot help but notice the sheer quality within Ethier’s songwriting. From album to album, the way in which he takes risks to improve his songwriting is highly commendable and it proves no different on the excellent Born of Blue Fog.

Though the mixture of Ethier’s warmly reverberating vocals and eclectic instrumental output provides for something that is singularly unique, his sound occasionally appears as a distant cousin of ambitious indie-folk troubadours in the vein of Andrew Bird or The Czars. The utterly fantastic “Easiest Game”, though, introduces an arrangement and form of production that is more typical of suave jazz than clever indie-folk. Much of this can be accredited to the striking saxophone that makes its emergence less than 30 seconds in after the concise build-up of acoustics and percussion. As the sprinkling of keys and the backing of bass provide a sturdy accompaniment, Ethier’s vocals arrive when acoustics, keys, and percussion are the only factors at play. The sax returns when he dives into an eloquently compelling chorus. “If you’re haunted by a room in disarray, and you’re haunted by perfume of a new bouquet,” he croons. “Oh and love is just the easiest game to play, tie yourself to it and float away.” When combined with the simultaneous accompaniment of strings and a saxophone, the moment is bound to send chills up your spine. The final few minutes of “Easiest Game” proves even more extraordinary, recapping the song’s prior accomplishments in more instrumentally dynamic form.

Other highlights like “Infant King” and “Heaven Above You” see Ethier tread in bluesier territory, with the latter also sporting a chorus that is reminiscent of soul music with its driving organs. “By the Stables” is also notable for its structural approach, introducing a light acoustic melody during its first few minutes before it concludes with a somewhat ominous instrumental that is driven by strings. And even on the tracks like the concluding “Can’t Go Back Again” where nothing apart from an acoustic guitar and Ethier’s vocals are present for the entire duration, success is hardly subtle. In fact, the entirety of Born of Blue Fog is a nearly flawless product of a gifted songwriter who deserves all the attention that comes his way. Though one of Ethier’s largest gigs came when the Dodgers enlisted him in 2007 to sing the Canadian national anthem during a game against his hometown Toronto Blue Jays, his future recognition will not come simply because he shares his name with another celebrity. Instead, Ethier’s future should be indicative of the lofty talent that he possesses as a musician whose stylistic vision remains constantly and enjoyably unpredictable.

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Andre Ethier – Easiest Game

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Andre Ethier – Heaven Above You

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Andre Ethier – Can’t Go Back Again

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MySpace

BUY

The post Andre Ethier Is Born of Blue Fog appeared first on Obscure Sound: Indie Music Blog.

In terms of self-coined genres, the result is often either overbearingly descriptive or shockingly accurate with no wavering point, especially when “Afro-” is the preceding article to a genre that is considered somewhat conventional in nature. Now, after the acclaimed funk-jazz collective Budos Band brought us a form of “Afro-Soul” earlier this year, Boston-based MCer Mike Ladd is making a name for himself with his apparent form of “Afro-Punk”. One of the original artists on James Iha’s (ex-Smashing Pumpkin) Scratchie/Mercury Records, Ladd has since written and produced 10 albums, all of which are presented in a stylistically diverse nature. What remains most impressive is Ladd’s stylistic diversity; his fusion of hip-hop, electronic pop, and punk is often supplemented by a lyrical delivery that supports elements of spoken word and poetic device. Before his days of eclectic musicianship, he dabbled as a poet and won the the Nuyorican Poets Café Slam in addition to being published in several tomes. Still, I guess such diversity is to be expected from someone who has attended Harvard, had their music commissioned by the Brooklyn Academy of Music (after In What Language?, a collaboration with pianist Vijay Iyer), and is an acclaimed poet. After hearing such a résumé, one can only begin to imagine what his actual music sounds like.

The main reason that I bring Ladd up is that his excellent album from 2004, Nostalgialator, is being reissued for American fans on Definitive Jux on January 15th. Though he is a native of Boston, Ladd is currently based in Paris and has found his most success around Europe, being why Nostalgialator and a few of his albums have only seen European releases as of now. “Housewives at Play”, being a display of suave electro-pop in the vein of Hot Chip, is a bit unconventional for Ladd’s usual, fastidious delivery. Regardless, its immediate catchiness and colorful flavor cannot be denied. Rounded out by a slick guitar solo and a flurry of tightly tinged synths, Ladd sounds seemingly at home within the style. He is certainly not limited to it on Nostalgialator though; “Black Orientalist” and “Afrostatic” regain familiar ground with Ladd’s interests in pop culture and Black history (one of his college majors), implementing hip-hop, funk, and soul in the process.

“Afrostatic” is a well-executed throwback track that sounds enjoyably cheesy in the vein of Parliament-Funkadelic, using retro horns and expeditious vocals in the process. It personally reminds me of The Go! Team without the cheerleader chanting and dancing; the brass accompaniments surrounded by the distinctively outdated style of production provides for a sound that richly encompasses Ladd’s desired intentions. “Black Orientalist”, though more concentrated on rhythm, sees a similar approach bolstered by a more concentrated focus on hip-hop. As Ladd spits rhymes involving Osama Bin Laden, Shaq, Sean Connery, and a variety of Asian countries in the infectious chorus, it makes his quest for apparent world domination sound seemingly less unrealistic than it really is.

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Mike Ladd – Housewives at Play

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Mike Ladd – Black Orientalist

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Mike Ladd – Afrostatic

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MySpace

Also: Trouble Shot

BUY

The post Mike Ladd Turns on the Nostalgialator appeared first on Obscure Sound: Indie Music Blog.

Usually above this text, there is a picture of an artist or band posing ceremoniously for a photographer with the intent of public distribution. You will be hard-pressed to find any photos like this of Thom Bell. A photo of him accepting a prestigious award is more than symbolic of his career. Much like the career of this masterful producer, arranger, and songwriter, the preference for substance over style resounds in his own unforgettable musical legacy. Though he was never found on stage crooning fervent soul classics like Marvin Gaye or Otis Redding, Bell’s work behind the scenes made him arguably the most important figure of soul music throughout the 1970s. Born in Jamaica but raised in Philadelphia, Bell found his love for music very early in life while studying classical piano at the age of 5. Working diligently throughout his childhood, Bell’s recognition rose fast and he was conducting and arranging songs for local groups by his late teens. When Bell caught his first break and a major label (Cameo Records) came calling in 1967, he was only 24 years old. While Marvin Gaye, James Brown, and Sam Cooke among many others had popularized their own form of soul music before Bell’s national inception, Bell introduced a style to the world that would later be dubbed “Philly Soul”. Seeking solace in sweeping strings, endearing horns, and other grandiose orchestral arrangements, this smooth stylistic innovation brought enormous success to Bell’s name throughout the 3 major groups he worked with: The Delfonics, The Stylistics, and The Spinners.

When Cameo Records approached Bell with the intentions to produce the then-aspiring The Delfonics, he was a mere session pianist for the label. However, upon seeing his impeccable grasp regarding production and arranging, the label knew that Bell was the right man for the job. Almost immediately, Bell and The Delfonics’ manager, Stan Watson, formed the Philly Groove label in association with Bell Records (no relation to Thom Bell). Under the label, Bell produced The Delfonics’ classic debut album, La La Means I Love You, in 1968 and introduced his form of Philly Soul to a wide range of audiences. Under Bell, The Delfonics later went on to become one of the most memorable soul acts of the decade. Though they never quite echoed the sales of The Stylistics, The Spinners, or The O’Jays, their cult following continues to grow and brilliant gems like “I’m Sorry” and “Didn’t I (Blow Your Mind This Time)” are absolutely irresistible, the latter receiving a bit of revived exposure in 1997 when Quentin Tarantino used it as a focal song in his entertaining film, Jackie Brown. Bell produced and wrote three albums for The Delfonics from 1968 to 1970, all of them being fantastic. I recommend all three wholeheartedly, or at least their greatest hits. Like all three of the soul acts Bell primarily worked with during his career, they declined after Bell left. Despite The Delfonics’ brief time in the spotlight, their success gave Bell the vehicle to expose his irresistible style of suave soul to the world. This led to bigger and brighter things, establishing Bell in the early ’70s as one of the most sought-after songwriters and producers in the music industry.

After the The Delfonics’ finesse started to faded, Bell moved onto another freshly aspiring soul group. Like The Delfonics, Bell discovered The Stylistics out of local hype and after being personally impressed with lead vocalist Russell Thompkins, Jr.’s spine-tingling falsetto and the backing band’s melodic capabilities. When Bell and fellow songwriter Linda Creed produced and released The Stylistics’ self-titled debut in 1971, it garnered immediate attention. When the debuting single, “You’re a Big Girl Now”, dabbled in the charts at #73, it proved as only a tease. The prom floor classic, “You Are Everything”, was one of the many great moments on the debut. From Thompkins Jr.’s rich falsetto to the brilliant electric sitar over Creed’s simplistically powerful lyrics, it is a flawless soul classic. Though you have likely heard it before (either at a prom, in a movie, or as a cover), this is the type of song that simply never gets old. Though it reached #9 and went gold, The Stylistics’ most popular song still had yet to come. Naturally, the exceptional “You Make Me Feel Brand New” was also written by Bell. Reaching #2 both in the US and UK, it was one of the best songs of 1974 with its sheer beauty and delicate arrangements. It also proved as a farewell for Bell, as he left The Stylistics that same year. Similar but even more dramatically impacting than his work with The Delfonics, Bell had made The Stylistics into stars with their first three albums. Though they had marginal success after Bell’s departure with commendable songs like “Na Na Is the Saddest Word”, their success and originality was undoubtedly never the same.

When Bell left The Stylistics, he appeared to be looking for a challenge when he decided to produce The Spinners for Atlantic Records. Unlike Bell’s first two projects, The Spinners were hardly a rookie band. They had been around since 1957 while Bell was still a teenager, going by virtually unnoticed for 15 years before Bell decided to lend a hand. The Spinners always had the proper tools in place, they just never knew how to execute their style properly. Bell provided his magic touch and, predictably enough, The Spinners became one of the most successful soul bands of the ’70s. In fact, many respected critics consider The Spinners to be the greatest soul group of the early ’70s; the exact period in which Bell took the wheel. Considering the abundance of blossoming soul artists during that time period, it is a remarkable lasting impression to leave behind. The Spinners would eventually chart dozens of Top 100 singles, with five coming off of Bell’s first production with the band in 1972’s The Spinners. The Spinners’ finest album, it featured era-defining classics like “I’ll Be Around” and “Ghetto Child”. When Bell left The Spinners in the late ’70s, he was responsible for molding three wildly influential bands in a timespan of just over 10 years. Though Bell also produced artists like The BeeGees, Johnny Mathis, and even Elton John for a short while, he will always be remembered for his unforgettable impact on the genre of soul music.

Thom Bell is one of those rare songwriters that comes across once every 20 or 30 years. He defines a genre, perfects it, and leaves memorable examples to influence later artists in all enduring forms. Though he is still alive and well at the age of 64, he continues to live a life away from the spotlight. I can hardly blame him. After all, this legend has nothing more to prove.

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The Delfonics – Didn’t I (Blow Your Mind This Time)

The Delfonics – I’m Sorry

The Delfonics – Break Your Promise

VIDEO: La La Means I Love You (live)

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The Stylistics – You Make Me Feel Brand New

The Stylistics – You Are Everything

The Stylistics – Betcha By Golly, Wow

Check out a recent video of Thompkins Jr. singing “Betcha By Golly, Wow”. He still sounds great.

VIDEO: Rockin’ Roll Baby (yes, Bell can write blues too)

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The Spinners – I’ll Be Around

The Spinners – Ghetto Child

The Spinners – I’m Coming Home

VIDEO: Wake Up Susan

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BUY: The Delfonics, The Stylistics, The Spinners

If you wish to jump right into it and purchase the best-of compilations, I fully recommend La La Means I Love You: The Definitive Collection (The Delfonics), Ultimate Collection (The Stylistics), and A One of a Kind Love Affair: The Anthology (The Spinners).

The post Soul Music’s Genius Sculptor: Thom Bell appeared first on Obscure Sound: Indie Music Blog.

In the marvelously abundant world of music blogs, it is rare occasion when a new artist that is worthwhile has yet to be exposed. I have found over the years that there remains thousands of writers like myself who find satisfaction in exposing these artists to a broader audience, recognizing quality through a means of personal taste and quality musicianship. When I first listened to Testa Rosa, I was almost positive that other music blogs were already buzzing with excitement over the trio from Milwaukee. Not only does the music of Testa Rosa allow for a remarkably delightful experience, but their stylistic fervor is an exceptional blending of various styles that results in a sound all too rich to be ignored. From 60s Motown to synth-infused post-punk, Testa Rosa has created an experience that no other band will even come close to rivaling this year. Lead singer/songwriter Betty Blexrud-Strigens is an absolute driving force; a talent of a rare caliber to behold. With a soaring voice that is comparable to the intensely dramatic Mary Weiss or other 60s “girl group” songstresses, the fact that she has the ability to both sing and wrote the majority of her gems is breathtaking. The remainder of the trio is filled by Paul Hancock and Blexrud-Strigens’ husband, Damian Strigens. “We all write but Betty wrote about 70% of the songs on this record,” Strigens said. All three members are multi-instrumentalists and are competent in most conventional methods of playing. While you will most often find Blexrud-Strigens behind the microphone with her husband on guitar, Hancock on bass or piano, and touring partner Jay Tiller on drums, the three musicians in Testa Rosa have the ability to play the majority of instruments thrown at them.

I remain optimistic that the reason for Testa Rosa’s lack of exposure is that their debut album is not even released yet. Hopefully when Testa Rosa drops on August 7th, more people will take notice to this exceptional trio, as the majority of their current fan base is comprised of followers from their previous band, The Mustn’ts. Strigens also previously played with The Lovelies and The Frogs, the latter for five years. Seeking a change of pace and style with a name that is slightly easier to pronounce, the remnants of The Mustn’ts formed Testa Rosa and never looked back. They are one of the newest additions to Latest Flame Records, a Milwaukee-based label that is continuing to grow in respectability as they sign quality acts like Testa Rose. Like most of their preceding influences, whether it be 60s pop or sadcore folk in particular, Testa Rosa are purely romanticists at heart. Blexrud-Strigens’ lyrics often circulate around romantic situations soaked with regret and isolation with a hesitation to take that final step into conclusiveness and let go. While such a lyrical focus remains fairly overused in contemporary music, it is reveled in the case of Testa Rosa with an ornate display of charm through Blexrud-Strigens’ poetic ability and dramatic vocal finesse.

While the album’s focal point remains consistent in its embracing of rapturous melodies and irresistible pop hooks, the range of emotion is an aspect that remains enjoyably diverse throughout each varying song. While the swaggering “Hollow Arm” is ignited by a collection of rollicking guitar licks, the sorrowful “Arms of a Tree” remains dependent on Blexrud-Strigens’ poetic ability and acoustical charm. Both songs are similarly enjoyable but are executed quite differently, leaving me considerably impressed especially because the two songs are back-to-back. Despite Testa Rosa‘s envious characteristic of not having one lackluster song, the first two songs, “Ollie & Delilah” and “Book About Clouds”, are undoubtedly the album’s best. Written by both husband and wife, the opening “Ollie & Delilah” is a tantalizing tale of two troubled lovers whose only source of solace comes in the form of their love for one another. Even so, this is much more than a “love conquers all” song. Whether this were to be released in 1967 or 2007, it would prove to be an ineluctably compelling. Both infectious and stylistically savvy, “Ollie & Delilah” is the most definitive example of the cumulative talent found within Testa Rosa. “Delilah softly holds his arm while Ollie smiles, swallows heart,” Blexrud-Strigens sings before the stunning chorus, using her own vocals as the backing melody. “And he says, ‘Don’t be scared, I am here, you’ll always have my heart.'” Entirely worthwhile in every aspect, “Ollie & Delilah” is a beautifully endearing masterpiece, tugging at the heart with its ravishing melodic ability and sheer lyrical power. One of the best songs of the year.

The equally satisfying “Book About Clouds” was written entirely by Blexrud-Strigens. Harnessing her own expressive vocals over a piano-led melody touched by the weeping of an electric guitar, this song in particular has a slight country tinge that reminds me of Stevie Nicks in several aspects. Whether it be solely in the sweeping instrumenation or her ability to create hooks utilizing a convincingly poignant vocal tactic, even my ongoing praise can hardly do the first two songs on Testa Rosa justice. Never dull or tiring, the repetition in “Book About Clouds” is merely enhanced by an exuberant melody whose durability is only surpassed by its preceding track, “Ollie & Delilah”. Slowly working its way up to becoming my favorite debut album of 2007, Testa Rosa is an absolute treasure with not one song that lacks in quality or artistic vision. While I may be one of the first sites to post about Testa Rosa this year, I guarantee you that I will not be the last. They are simply too irresistible to pass up.

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Testa Rosa – Ollie & Delilah

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Testa Rosa – Book About Clouds

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Testa Rosa – Arms of a Tree

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Official Web Site

MySpace

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Ironically, Americana is a genre whose definition is often more heavily dependent on countries other than America. Rock music has always been a universal statement, as has electronica, hip-hop, and many other classifiable genres in the very musically enabled world we live in. When one thinks of early Americana, the names of folk innovators such as Pete Seeger and Woody Guthrie are certainly understandable representatives. At the time, their style was completely unique to other parts of the world. With a surprisingly simplistic formula, many American artists changed decades at a time with nothing but an acoustic guitar and an imaginable vocal presence, years before The Beatles were even born. Beginning in the early 90s, many artists, in the United States and elsewhere, brought on a form of folk revival. Mixing together elements of folk and contemporary production and songwriting, artists such as Uncle Tupelo and The Jayhawks built up impressive followings upon each successful. Though the trend has certainly died down at the moment, it still exists in the vein of new artists like Creech Holler. If you were to ask one of the three members what genre their band fits in they would likely reply with “Americana”, though all that means is that it is a mixture of several other genres. For them specifically, the three primaries are folk, country, and alternative. Throw in a dark Gothic setting and you have yourself Creech Holler, the revivalists based from Murfreesboro, Tenneesee and Asheville, North Carolina. They present their image well, promoting the fact that they are infatuated with the past ideals of America’s heartland. Songs and satirical outlooks on immoral religious infatuation, racial tension, and chauvinism all represent why they would have been labeled as “the devil’s music” in the time they are merely portraying. As far as the instrumentation goes, the trio can each play their share of instruments. In addition to all three singing at various times, Joseph Campbell plays bass and melodica, Jeff Zetner plays clawhammer (a type of banjo) and bottleneck guitar, and Christian Brooks takes care of the drums, tambourines, and all the lively footstomping.

Their debut album With Signs Following is certainly entertaining, though admittedly not for everyone. Fans of folk music, blues, and traditional formats will most likely found great joy in the ten songs. However, the individuals searching for a more varied approach will come back disappointed. Personally, I’m open to all genres so I came away with an agreeable experience, for the most part. With Signs Following consists of five traditional songs, four originals, and a cover of influential banjo player Dock Boggs’ “Country Blues”. One of the original songs is “Lester Ballard”, a song that is almost certainly about the protagonist in Cormac McCarthy’s 1973 novel, Child of God. The song is certainly an accurate portrayal of the tragic hero that the fictional Ballard represented, being a highly volatile and violent man who lets his anger get the best of him for most of his perilous life. Lester clashes his own radical beliefs against his strict Tennessee society, resulting in a very dark tale of redemption, religious fanaticism, and sinful profanities. This certainly echoes the sound of Creech Holler. Most of the songs on the album rely on mood over structure, with the majority of songs being repetitive in nature but focusing on characterizable traits, such as the isolation emphasized when the band bursts out, “Oh Lester Ballard, what’d you do last night? Did you roam the hills of Holler through the broad daylight?”. The Boggs cover (“Country Blues”) is presented in the similar format of blurred vocals and furious instrumentation. Contemporary covers of socially forgotten influential musicians are usually a treat but I was never much of a Dock Boggs fan, though I respected his contributions. This song is too repetitive for me though the guitar instrumentation and playing style is undoubtedly impressive. The passionate demonstration may be worth the listen alone. “The Gospel of Judas” is one of the more enjoyable songs on the album, being uncharacteristically slow in tempo and reaching the state of a ballad. The atmosphere is thin and forgotten with vocals that solemnly mutter a soliloquy of indeterminable passion, resulting in the sometimes fortunate circumstance of death. Despite several songs that waiver much too long in repetitiveness and lack in depth, purist fans of folk, blues, and early country may find enjoyment in With Signs Following, a bold debut from a very focused trio of musicians.

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Creech Holler – Lester Ballard

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Creech Holler – Country Blues

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Creech Holler – The Gospel of Judas

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When Ritchie Young formed Loch Lomond in 2003, he saw it nothing more than a solo project. Always in touch with his music persona, Young found working solo to be a fulfilling yet somewhat shallow experience. Alongside longtime friend, producer, and drummer Rob Oberdorfer (of Portland-based post-rock quintet The Standard), Young created Loch Lomond’s debut album When We Were Mountains with his multi-instrumental talent, mainly dabbling in guitar and mandolin. It was released on In Music We Trust Records and though it was of commendable quality, the album did not receive the deserved press at the time of release. Despite the lack of initial publicity, When We Were Mountains was an extremely impressive display of Young’s musical range, from the electronic New Order-inspired “Sir Edmund” to the grungy “Stripe”. Jazz and soul elements even poke through in songs such as “Whatafall”, where Young appears to be an inherent natural at creating whatever genre is thrown at him. Most of Loch Lomond’s recognition came after the release of their debut while touring, with shows that initially started out as Young and Oberdorfer or Young alone. Many musicians began to take note of Young’s skill and asked the ambitious young man about opening spots in the band. Over the years, as many as ten different musicians took the stage at once for Loch Lomond. A few mainstays included Jay Clarke on bass and accordion, Kate O’Brien on violin, Katie Schnepp on viola, and Peter Broderick on saw and slide guitar. Their consistent performances and songs of impressive range also caught the attention of HUSH Records, home to prominent artists such as The Decemberists and The Places. They were awarded a record deal and will release their label debut with Lament For Children. Originally self-released in early 2006 as an EP of various recording sessions, Loch Lomond eventually became a nine-person band in late 2006 and decided to perfect the EP and have it evolve into their second full-length album.

In contrast to When We Were Mountains, Loch Lomond’s second album Lament For Childen is a much more focused effort. Where Young previously made attempts toward a variety of more diverse genres such as vague hints of electronica and jazz, Lament For Children consists of eight folk-driven songs. What remains are Young’s engaging lyrics and interesting vocal delivery. His vocals remind me a bit of The Decemberists’ Colin Meloy, who he happens to share a label with. Such an example is shown on the acoustically rendered “Tic”, where Young demonstrates a similar slight vibrato and emotional choral outburst. Young’s lyrics display a vivid line of an assortment of different characters. There are no awkward love songs or awkward flamboyance in Young’s lyrics, with each song telling a story in their own right. The lyrics for “Tic” tells the tale of a man with sociophobia, viewing his own faults as a reason to avoid human. “Singin’ I am not an animal and I am not an animal, he cried!” Young bursts out emotionally over a brooding violin. Such a song would pale well in comparison to Joseph Merrick, otherwise known as “The Elephant Man”. “Spine” is another exceptional song that shows Loch Lomond’s instrumental diversity, delivering a more electric song that while not as lyrically powerful, is generally more catchy than “Tic”. Still, Young is a powerful presence and the chorus led by a simplistic electric guitar adds for nice transition. “Grandad & Toothache” is just as odd as the name represents. It’s just as chilling as well. Young begins the song with a haunting acoustic guitar and whispered vocals, already setting a different pace than those of the previous energetic songs on the album. A series of various strings and plucks eventually weave themselves into this eerie song, with the lyrics being similarly spine tingling. “I think we can thank grandad, grandad for the toothaches” may sound awkward in contrast to the song’s dark feel, but the interpretation of Young’s lyrics are up to you, no matter how perverse your interpretation are. If it were up to me, I think Young may be hinting at something a bit deeper than candy. Such risks and engaging qualities make for a very impressive record, both lyrically and musically. All eight tracks on Lament For Children are highly enjoyable and I would suggest picking it up when it releases on March 13th.

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Loch Lomond – Tic

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Loch Lomond – Spine

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Loch Lomond – Grandad & Toothache

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It is impossible for most artists to avoid comparisons to their past influences. After all, complete innovation is not something to be taken lightly. So, if one compared David Vandervelde to Marc Bolan, Scott Walker, and John Lennon, it would be no surprise to see the majority of listeners give Vandervelde a listen based on the mere association alone. After all, songwriters like those three come along once in a blue moon and are a few of the vital inspirations to the majority of accomplished artists today. What struck me immediately about David Vandervelde was his vocal star power, calling back on the days when frontmen like Robert Plant, David Bowie, and Bolan all set the atmosphere alone using their powerful vocals and boisterous stage presence. But even Vandervelde’s vocals are not the aspect that makes his debut album The Moonstation House Band one of the greatest albums I have heard so far this year. No, it’s his talented songcrafting abilities and knack for a great melody that keeps pulling me back for more. At the ripe young age of 22, this young songwriter from Chicago seems to be destined for the spotlight. For another display of his talent, keep in mind he plays almost all the instruments on The Moonstation House Band, besides a few bass lines done by Wilco’s Jay Bennett, who also lended a hand in the production. His work seems to mostly echo the energetic pop of ‘Can’t See Your Face No More’. Also, the beautiful strings done in such tracks as ‘Corduroy Blues’ and ‘Wisdom From A Tree’ were done by Beck’s father, the legendary Canadian composer David Campbell, who has worked with the likes of Leonard Cohen, Elton John, and Rod Stewart. Much like Joanna Newsom and Van Dyke Parks, the duo of Vadervelde and Campbell work flawlessly together. Campbell’s involved work most reminds me of Scott Walker’s early career, particulary the Walker Brothers and his early solo albums. Vandervelde signed to Secretly Canadian last year, releasing the 7″ single ‘Jacket’ in November. The Moonstation House Band releases on January 23rd and, as I said before, it is the best album that I have heard so far in 2007.

While the album is indeed short (eight tracks including an instrumental), the time involved in extremely memorable. The opener ‘Nothin’ No’ is a dirty rock ‘n’ roll backlash, arguably being the best example of Vandervelde’s distinct vocal presence. Vandervelde comes off as a pleading young man, who while enjoys pleasures such as “getting high out on the front porch”, begins to recognize that life is not all fun and games, particulary when it involves relationships. Despite the vague morals involved, the song remains as an anthem of troubled youth, in one case being parental abuse after getting caught drunk while attempting to “put the drinks under the deck”. Towards the conclusion, Vandervelde recognizes that love is often clouded by uncontrollable forces and hidden emotions, repeating the undeniably catchy chorus with, “I’m tired of countin’ all the tears that you hide, you know I’m dyin’ just to lay by your side”. This exciting opener serves as representation of a child becoming a man, doing so decidedly. ‘Jacket’ and ‘Feet Of A Liar’ both send haunting echoes of Marc Bolan and T. Rex. You’ll likely see a T. Rex reference in every article you read about Vandervelde this year, so get used to it. The similarities are particulary the case in ‘Feet Of A Liar’, where Vandervelde masks his voice over a soaked reverb, just like Bolan did in ‘Ballrooms of Mars’. The track lifts a quick change during the chorus when Vandevelde is matched well with an assortment of sparkling keys. Concerning the the string compositions of David Campbell, they also account for my favorite two tracks on the album, ‘Corduroy Blues’ and ‘Wisdom From A Tree’. ‘Corduroy Blues’ is magical, playing like even the best McCartney ballad. “And nothing in this world can change the way I feel about you,” is examplatory of the emotion displayed in the song, with brilliant songwriting and musicianship on each side you look at it. While serving as a pure definition of melancholy and regret, it is also a good showing of Vandervelde’s musical and emotional range. The string work is simply extraordinary as Campbell adds another impressive song to his already impressive résumé. ‘Wisdom From A Tree’ is another definitive highlight, displaying a more frantic style of cellos and violins as they continue to be effective. The repetitious manner in which the strings operate proves to eventually be effective, as the sudden change in the second chorus works for great dramatic closure. Honestly, The Moonstation House Band is the first album of the year that I can listen to thoroughly without feeling the urge to skip a track. You can catch Vandervelde on tour starting in February, with a large live band consisting of three guitarists, a bassist, a keyboardist, a drummer, and possibly a violinist. They are apparently a great live band of seemingly accomplished musicians, so I would recommend looking into that as well.

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David Vandervelde – Nothin’ No

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David Vandervelde – Jacket

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