Jazz and electronica are not exactly two peas in a pod. One holds rare prestige in being “American music”, a coin termed by many jazz musicians that expressed the genre’s geographical uniqueness, dual West African and European musical traditions, and context in American political systems (namely segregation). The other is a baby in comparison, at least in terms of historical development. Electronic instruments have been around for most of the 20th century, much like jazz, but unlike that genre its relationship to music and theoretical structure was obsolete at its time of inception. Like any form of technology, it did not break into popular culture until modifications were made to both the actual hardware and method of use. Jazz required few tweaks apart from tuning, and even then we reach a subjective field that pertains to jazz’s uniquely invigorating focus on both structural theory and its audible perception. From tuning to electricity, nothing was mandatory apart from the music itself. These two genres find a divide in sheer preparation, one relying on theoretical mastery and the other on technological adeptness. But their meeting point requires less concentration to devise than their difference, mainly because it involves a subject too varied and personalized to even form a conception of it. The raw expression of human emotion can be tricky like that.

You may ask yourself how electronic music could even be remotely considered “raw expression”, since multiple lines of programmed code and hardware are anything but “raw”. This is a conception that is often held by jazz professionals and those aspiring to be, mainly because with such a grasp of theory and traditional instrumentation they are understandably reluctant to gravitate toward music they deem artificial. Until the day that robots are creating art, I have to respectfully disagree with that view. Even if you are not a fan, to refuse the credibility of early electronic works in the vein of Depeche Mode and Tangerine Dream is premature and ignorant. For instance, the chirping synths and choppy percussion of Depeche Mode’s “Blasphemous Rumors” can tell you one thing about the track’s direction and progressive grasp. The lyrical content, on the other hand, tells an entirely different story. It provides a stunningly relevant look at religious doubt and man’s curiosity concerning it; it is a topic fit for any time. Upon its release, the pope’s official declaration of hatred for the song being indicative of its proven message and relevance. Relevant music – both in style and tone – is critical to the establishment of a movement or genre, and with abundant segregation this was precisely the role jazz played in the early 20th century.

Although the likes of The Human League and The Cars present a more pop-oriented and less intensely emotional sound that cater more to those refusing to acknowledge the authenticity of talented electronic musicians, many people need to understand is that the main disparity between these two genres is not their emotional range. A certain style of music has little bearing on its emotional output, even if some genres have more flexibility than others. Instead, what differentiates jazz and electronica is the primary emitter of these emotions. A jazz musician hardly needs much to get stirred up, a good one connecting with the crowd immediately as he turns a conventional instrumental arsenal into his own personal counseling session. “Therapeutic”, “invigorating”, and “tense” are words often used in music journalism, but adjectives in such a format would have never been popularized if not for jazz. Before sampling and other forms of recent production opened all sorts of doors, classical and jazz reigned supreme as the ultimate surveyors of human emotion in audible form. Jazz’s lack of development since that time has been predictable mainly because it relies on such a classical formula, which even including the concept of improvisation is the basis for most structural jazz. Its roots in early blues and call-and-response patterns are some examples of intricate characteristics, but they were simply stylistic components guided by a unique structural identity. Placing the performance upon the discretion of the performer and not the recorded notes is what made jazz so unique.

Jaga Jazzist are a rare breed, mainly because they throw all past conventions out the window and fuse genres that are widely considered incompatible. Incompatibility is subjective most of the time, but the working relationship between jazz and electronica sounds too objectively difficult to even fathom. This is why it is impressive how seamless Jaga Jazzist’s style sounds. Artists have combined the likes of hip-hop and rock before with remixes and whatnot, but Jaga Jazzist’s fusion is exceedingly and impressively natural and original. Combining everything from saxophones to DJ equipment, Jaga Jazzist presents a unique melding of classic equipment from both genres. The Norwegian collective should not be limited to the shameful “jazz fusion” category though, since the combination of jazz and electronica produces a sound that is too sharp and hook-oriented to be considered second-rate elevator music. Their first new album in five years is highly expressive of this. One-Armed Bandit certainly shows the ten-piece was not sitting idly, as it blows all of their preceding releases out of the water in terms of sheer stylistic succession. Rarely do two genres interweave to produce something that sounds nothing like either one, but this is one of those rare instances. The self-titled track shows moments of initial minimalism, which is almost always a cue for expansion both in jazz and electronica. The fact that Jaga Jazzist do expand songs to intricate precision is one of the few predictable elements of their sound, but everything else is dependent on the circumstance. With nearly a dozen of similarly-aimed musicians, no instrument or structural shift is out of the question on One-Armed Bandit. This restraint held back some of Jaga Jazzist’s earlier releases, but their emergence from hiatus has come hand-in-hand with a release that should bring them significant acclaim. You do not need to enjoy electronica and jazz, or even one of them, to enjoy this fantastic release. Its recommended for all fans of music in general. It helps that “Banafleur Overalt” is one of the most stunning works I have heard this year.

Update: A friend brought to attention that i didn’t do a good enough job of elaborating on “contemporary production” before… I agree. So here it goes: I guess it is a somewhat subjective classification for types of production that utilize techniques that were popularized in the last 10-20 years. a few examples include sampling, laptronica, and “live coding”. my reference to Zappa is one of MANY traditional influences that Jaga Jazzist express proudly. in reference to this “contemporary production”, the 2000s brought along a number of software-based “studio software” that made the influence of various effects in production different than before. vast advances in technological and microprocessor technology are responsible for such advances, and the consequential advances and usage of these techniques within a traditional medium like jazz is what I was referring to in “contemporary production” being emphasized and evident. when it is able to take on its own sound by implementing both a traditional and somewhat new medium, then I personally view it as a success.

RIYL: Jazzanova, Skalpel, De-Phazz, The Cinematic Orchestra, José James, Bugge Wesseltoft, Micatone, Kyoto Jazz Massive Play, The Flaming Lips, Pink Freud

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Jaga Jazzist – Banafleur Overalt

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Jaga Jazzist – One-Armed Bandit

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Jaga Jazzist – Prognissekongen

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The month of October always seems to root out the Album of the Year contenders, making this and November one of the most active months in new music releases. Similar to the several months preceding the Academy Awards for film, many marketing agencies and labels are thrusting out the last of their ’09 products before focusing on the new year. This includes everyone from veterans (The Flaming Lips) to newbies (Surfer Blood), each providing their fanbase with an early gift for the holidays. This month provided everything from infectious electro-pop (UltraChorus, Midnight Juggernauts) and ambitions psych-rock (The Flaming Lips, Her Vanished Grace) to indication of several stylistic revivals in the vein of surf-rock (Surfer Blood) and psychedelic electronica (Washed Out). Even unclassifiable artists like The Kilimanjaro Darkjazz Ensemble  and Lymbyc Systym provided focused and memorable efforts this month, making October 2009 unsurprisingly a month where artists of all different genres find a meeting point in their qualitative nature.

01. Surfer Blood – Take It Easy (post)
02. Washed Out – Belong (post)
03. Total Babe – Bearbones (post)
04. Midnight Juggernauts – This New Technology (post)
05. The Flaming Lips – Convinced of the Hex (post)
06. Tim Williams – Ozone Street (post)
07. A Brief Smile – Bigger Lies (post)
08. UltraChorus – Bestin the Farther (post)
09. Her Vanished Grace – Blue (post)
10. The Kilimanjaro Darkjazz Ensemble – Embers (post)
11. The Library – Tomorrow Is Better (post)
12. Aficionado – The Myth About Real Life (post)
13. Lymbyc Systym – Ghost Clock (post)

DOWNLOAD ENTIRE COMPILATION>>> (52.3 MB, .RAR)

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To say that Lymbyc Systym represent the next large movement might be an overstatement, but their methodology is certainly becoming more prevalent among emerging artists. Almost all of us can remember being enamored with a certain technological breakthrough during our childhood, from color television to smart-phones. Many young artists today can probably remember when Atari or the internet first came out, which are now regarded as a few of the first interactive technological experiences available to the general public. Growing up in the ’80s or ’90s meant having these advancements pushed in your face, whether it was the social functions of arcades or the necessity of computer skills. Interest in technology unsurprisingly peaked as a result during this time among the public, whose younger demographic grew up to be already accustomed to the technological skills that older individuals have difficulty grasping. The musicians naturally hold true to traditional theory and influences, but many also fused their tech-savvy skills into aspiring musicianship to create music that used both today’s latest technology and the influential musicians of yesterday. Lymbyc Systym, among several others, have begun using this to create a successful project by today’s standards.

Brothers Jared and Michael Bell possess the obvious modernistic edge as the founders of Lymbyc Systym, and with that they should know that glitzy production and VSTs are not going to disguise sloppy songwriting (except in the genre of trance perhaps). Luckily for their listeners, the Bell brothers are not going to overburden you with robotic tendencies. Their influences range everywhere from free-jazz to thumping indie-rock, resulting in a glistening combination of powerful musical layers and styles that could probably be classified best as post-rock. Their approach is a tad more futuristic than others in the genre though, owing more to those in the vein in The Flaming Lips and Mercury Rev instead of Mogwai or Mono; the vibe is distinctively futuristic even if electronic forces are only subtly prevalent. Possessing the orchestral beauty of Sigur Rós and versatile prose of a Broken Social Scene in one, Lymbyc Systym successfully tread the dangerous waters of loops being implemented into post-rock. Whether it is percussive horse hoofs, washes of breaking waves, or trickles of a pulsing synth, Lymbyc Systym implement it all beautifully without sacrificing the delicately authentic nature of group-based post-rock.

Lymbyc Systym’s second full-length album, Shutter Release, should open great doors for the Arizona-based brothers, much in the way Lost and Safe did for The Books in 2005. I make this reference because the two duos are currently touring together, in addition to possessing similar styles of music that must make it a treat for audiences interested in sample-supported post-rock. Note the “supported” emphasis, for neither band make an issue of overusing it and abandoning the genre’s ethics. Both groups manipulate the boundaries of post-rock and electronica, producing a mesh of madness that is often incomparable. Lymbyc Systym shows this as well as versatility; the varying tempos on the album are remarkable for its diversity, like the gradual build-up contained after the imploring brass and twinkling of keys in the self-titled effort where it explodes from delicate chamber-music to a full-blown haze of shoegaze and intensifying post-rock. The previous two genres are perfectly represented through keys and rhythm, as guitars are prominent but more in their tonal direction. Their melodic content is irrelevant but done so intentionally to ensure the diversity and authentic entertainment of the track. Listening to this one, among others on the album, a few times or so will reinforce this.

Shutter Release can sound everything from dark and brooding to effervescent and triumphant, though its main point of interest is how these moods are delivered. The swipes of keys over bursts of childish laughter in “Teddy”, the infusion of guitars and keys to create the monstrous driving melody in “Ghost Clock” before reverting into anthemic indie-rock bliss, and the pit-pattering of percussion over unfolding organs and pulsating synth chords… these are just a few of the audibly descriptive examples I can provide after listening to Shutter Release a few times. The songs are so well constructed and maneuvered that the replay value on this one is tremendous, whether you are listening for that single hook or the entire song’s cumulative value. Everything is present in these tracks, as there is so much ambition and exploration that the topic of one’s enjoyment becomes subjective in a sense. There is so much to like here that the only thing listeners have to argue over is the best moment of any track. On an album like Shutter Release with so much to admire though, it would be unjustified to choose just one.

RIYL: The Books, Broken Social Scene, Sigur Rós, This Will Destroy You, The Album Leaf, Do Make Say Think

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Lymbyc Systym – Ghost Clock

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Lymbyc Systym – Shutter Release

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Lymbyc Systym – Teddy

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When projects attempt to be conceptual in both their style and purpose, there arises a sensitive area where criticism has difficulty retreating from the subjective to the objective. What we define as “quality” is premeditated by our own personal taste and is primarily subjective, but a release can also reach a consensus of inarguable quality and influence that gravitates more toward the objective. This almost always occurs quite some time after the initial release, for the term “instant-classic” is rarely used properly and often exaggerated when done so. If you wish to listen to The Kilimanjaro Darkjazz Ensemble, you are probably going to have to leave any of these subjective perceptions of quality at the door. You cannot compare anything definitive to this project, another brainchild of the ceaselessly active and multifarious Jason Köhnen. He is best known for Bong-Ra, another project of his since 1996 that has emerged as one of the most respectable sources of quality breakcore, which is basically a fancy name for industrialized techno with heavy percussion and samples at high tempos. Most of his projects possess these obnoxiously non-descriptive names like breakcore, but he is obviously not to blame. In fact, when you are as constantly innovative as Köhnen, listeners have no choice but to make up sub-genres in order to express what tickles their fancy.

It is always easy to cover an artist that fits generic words like “breezy indie-pop” or “tender acoustics”, but when using these terms without further clarification it tends to be an indicative of lacking originality. Perhaps this is why I am lost when attempting to concisely describe The Kilimanjaro Darkjazz Ensemble, as their swirling assortment of influences and stylistic directions allow the listener to take a full-bodied ride into unchartered territory with touches of jazz, post-rock, electronica, and IDM without being too overwhelming. The Kilimanjaro Darkjazz Ensemble formed in 2000 out of mutual admiration for silent filmmakers that used powerful music to convey raw emotion in synchronization with visual content, an interesting influence since this concept is often lost in modern film-making for special effects and generic instrumental covers. Notable influences included F.W. Murnau, Fritz Lang , and even somewhat contemporary works by the likes of Jan Švankmajer (check out his 1988 stop-motion interpretation of Alice in Wonderland for some cool stuff). The members of The Kilimanjaro Darkjazz Ensemble were so enthused by the passion of these filmmakers that Köhnen and co. began composing scores to already existent films, arranging soundtracks to the classic likes of Nosferatu and Metropolis in order to hone their experience in the most unique way possible.

As a true pursuer of stylistic ambitiousness, such tactics are hardly a surprise for followers of Köhnen. There is no method or style that seems beyond his reach. Bong-Ra played with everything from dance-rave to avant-garde jazz, a feat that was diverse enough to receive acclaim from the likes of John Peel (who included him as one of the 125 best Peel sessions ever). I admittedly find breakcore to be a frustrating genre, often sounding cluttered due to repetitive tempo or lack of melody altogether, but Köhnen’s work tends to appeal more to the majority despite his distinctively avant-garde leanings. Although his layers may have occasionally been too complex or his ideas overly thematic to grasp, Bong-Ra showcased a variety of genres like hip-hop and jazz that did not abide by breakcore’s very specific classification. In comparison to this, Köhnen’s new foray with The Kilimanjaro Darkjazz Ensemble is more straightforward, but also packs more of an emotional punch than any of his earlier material. Whereas his previous work would have sounded best at a rave party, this work with The Kilimanjaro Darkjazz Ensemble instead sounds like the ambiance of Hades, where contemplative sorrow is displayed more than impulsive excitement. The dramatic alteration in mood is one notable aspect of the transition to Köhnen’s new project, and it is not the only one either.

The stunning parts of The Kilimanjaro Darkjazz Ensemble’s third album, Here Be Dragons, are abundant, but not in the instantaneously infectious sort of way many are used to. Keep in mind that this is the same sort of stuff that World’s End Girlfriend have done so well, where full-blown orchestras combine with jazz percussion to craft audible worlds that are bleak, serene, and chilling. Too in-depth to serve as a film soundtrack, the works of these artists are often overlooked due to the sheer complexity and scope of the project. The beautiful “Embers” is one of the more concise efforts on the album, but it still builds with collapsing thunder as brass, horns, and the ghostly vocals of Charlotte Cegarra evolve into both vocal-led emissions of fury and smoothly presented saxophone solos. The diversity on tracks like these throughout the album is absolutely extraordinary, a true landmark achievement even for an artist as eclectically inclined as Köhnen. “Embers” almost has that sort of ethereal, crystal-y feel to it that is reminiscent of Air’s Moon Safari days, especially in the way Beth Hirsch sent chills up listener’s spines on “All I Need” with her fragile croon. The parallel between the somber and free-fleeting moments of “Embers” are the best parts; the brass solos and detached vocal additions are juggled masterfully.

It would be acceptable if the rest of the album sounded like “Embers”, but any fans of the Utrecht-based Köhnen know that it is his tendency to mix things up. “Sirocco” is an amiable effort with the initial giddiness of Afro-pop keys making one of those oh-so-brilliant Köhnen mood transitions. Cegarra’s vocals appear alongside the strings, which sound very thick and reverb-heavy over a haunting melody that already portrays darker elements on its own. The percussion here is certainly influenced by his earlier works, as the industrial feel is heavily prevalent in both that and the backing atmospheric pads. “Mists of Krakatoa”, while lacking the general passion of the other two tracks, is exceptional for its sheer curiosity in blending Cegarra’s operatically inclined vocals again with strings, except unlike in “Sirocco” they collide here with a piano in minor key and the backing whirring of what faintly sounds like machines at work. This is less structurally cohesive than the others, like the fantastic opener “Lead Squid” or plucked goodness of “Caravan!”, but still retains its value through innovative sophistication and cumulative emotional expression. Some tracks on Here Be Dragons may take too long in their introduction or conclusion, but in their climaxes they will convey a type of innovation and musicianship that stands out even among the avant-garde.

RIYL: World’s End Girlfriend, Portishead, the later and more experimental years of Talk Talk

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The Kilimanjaro Darkjazz Ensemble – Embers

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The Kilimanjaro Darkjazz Ensemble – Sirocco

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The Kilimanjaro Darkjazz Ensemble – Mists of Krakatoa

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To describe Aficionado as a sudden output of energy would probably the most accurate, as I doubt many bands possess the cumulative energy of this aspiring ten-piece from upstate New York. Ten members who play everything from exotic woodwind instruments to roaring guitars is not a common group composition after all, so when Aficionado takes the stage I can only imagine what goes through the audience’s minds. It would appear to have such a high potential for sloppiness or thematic pretentiousness based on the visual presentation alone. Laura Carrozza, backing vocalist and flute player, stands apart from the rest of her band members, most of them looking like a mixture of truckers and ’70s revivalists with their long bears and sloppy exterior. What resonates from this collective turns out to be to the contrary though, as this group impresses through a series of highly excitable tracks that embody original ideas and delicious hooks without ever treading too long or too intricately.

Taking a cue from punk acts of the early ’90s like At the Drive-In, Aficionado may initially impose whispers of post-hardcore and/or emo that may scare off many listeners accustomed to indie-rock. What I hope is that listeners give Aficionado a chance, as further listening shows that their ambition spreading across several genres makes them more comparable to groups like Slint, The Pixies, and Chavez. These, of course, are all artists that were integral to the development of today’s indie-rock. Aficionado are simply infusing a slight touch of early ’90s punk (though only the good kind). They make it easy for the desperate journalists by calling their special blend “progressive-indie”. Forming in 2004 amongst a group of close friends, Aficionado blended these influences with tight chemistry and emerged with a well-received album, Circus Music, in 2008. Critics noted the release for its enjoyable energy and strong musicianship, even if the songwriting did not correlate with the potential quite yet.

Their new EP, The Myth About Real Life, was produced by Don Fury in Troy, New York, which is about a ten minute drive from their native Albany. The opening, self-titled track is one that possesses the energy of favorites from Circus Music, with an even more expansive approach that results in newly cohesive song structures in alignment with the impressive multi-instrumentation. The initial brass sounds like an intro to a ska track with its thumping progression, only until a saxophone emerges with a seductive whimper to accentuate the jazz influence. The lead vocals of Nick Warchol emit a nasally, whimpery croon that shows a surprising amount of range among the powerfully alternating structures. The group’s ability to sound anthemic is inarguable. Carrozza’s backing vocals apply to this standard on both the self-titled cut and “The Same Original Idea”.

“The Same Original Idea” increases the dramatics with its introduction as Carrozza frequents more solos and verses over the fragile progression of a piano and delicate woodwinds. What sounds like a potential ballad eventually turns into the same balls-out, rock-filled atmosphere of “The Myth About Real Life”’s heightened moments, only this time with more unpredictable guitar-based transitions that resemble the progressive-rock of Yes, King Crimson, and other prog-rock forefathers. “It was a million and one of the same goddamn thing,” Warchol gripes. The intensity is raw and pure, only eclipsed by the powerful instrumentation and angelic interruptions from Carrozza. “I Don’t Believe We Met” continues in this fusion of post-hardcore, indie-rock, and progressive-rock, showing some epic ambitiousness in the use of keyboards and guitars similar to “The Same Original Ideas”. And although some ideas on the songs tend to repeat themselves in use, the varying approaches make it impressive enough to enjoy with ease. Catchiness and musical chops may eclipse groundbreaking stylistic integration for Aficionado, but with the chops of ten similarly-minded musicians at your disposal it is probably for the better.

RIYL: Slint, At the Drive-In, Yes, Kansas, The Hold Steady, King Crimson

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Aficionado – The Myth About Real Life

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Aficionado – The Same Original Idea

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Aficionado – I Don’t Believe We’ve Met

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The media has an interesting way of molding stereotypes within the music industry, regardless of the feature’s innovation or commitment. If a style, song, or particular theme even slightly resembles a popular mold of the past, there appears to be a lesser form of venerability for whatever artist has succeeded it. Now whenever a contemporary group attempts to implement African stylings into a style highly reminiscent of indie-pop, they come to expect rampant comparisons to a group like Vampire Weekend, even if the differing components between groups is unavoidable to the attentive listener. Most major outlets, from the New York Times to the LA Times, have covered this Afro-pop revival of sorts at one point, often mentioning how Paul Simon’s Graceland was an unmistakeable influence for this band and others on successful stylistic debuts. It is undoubtedly true that Simon holds an influence on many of these groups, which are mostly indie-pop newcomers like Vampire Weekend that have utilized subtle components of the genre to cloak a style that is only minimally different from typical indie-pop. Other contemporary groups like Akron/Family, The Walkmen, and Born Ruffians have used it more commendably, opting to . It is commendable for a group like Vampire Weekend to successfully imitate an exotic style and fuse it with something domestically familiar, but I have always been more enthralled by groups like The Walkmen that attempt the fusion in a subtle, more non-imitable form.

It is hard to blame the press for covering groups like Vampire Weekend to an overbearing extent, as they often cater to an audience that listens to singles instead of albums. One must keep in mind though that their lack of staying power is evident by the lack of diversity within their debut, which is very contrary to the likes of The Walkmen or Akron/Family. These groups include their Afro-pop influences as only one color on a painting full of dozens, while the likes of Vampire Weekend seem rather monochromatic in comparison. The LA-based Fool’s Gold use their adoration for Afro-pop quite prominently, but not to the flawed extent where it comprises the entirety of their audible appearance. What separates them from the rest is their designed usage of differing influences; Afro-pop is used more prominently than Akron/Family’s diversified material, but it is not as in-your-face as Vampire Weekend after they turn from cutely adorable to durably obnoxious. In fact, “world music” might fit more aptly for Fool’s Gold, as they combine everything from middle-eastern folk to jazz fusion. The Afro-pop influence is most prominent, but it is not cloaked under generic shades of Americanized pop music. Fool’s Gold is a collective that is too eclectic, experienced, and ambitious for something like that.

The members of Fool’s Gold are not exactly strangers to the game of success; they have all, in some way or form, found a fanbase and/or acclaim with previous efforts. The actual number of members seems to fluctuate, but there are usually a dozen or so that accompany frontmen Luke Top and Lewis Pesacov. Pesacov’s guitar work will sound familiar to fans of the previously featured Foreign Born, another one of his fun LA-based indie-rock groups that released a delightful second album this year. His chirpy, concise guitar progressions always recall the glistening heat of summer, complemented by a highly emotive vocalist in both Foreign Born and Fool’s Gold, Matt Popieluch in the former and Luke Top in the latter. Top provides a deeper and more diversified version of Popieluch’s anthemic croon, all while retaining the same sort of youthful exuberance the makes the occasional campfire odes, exotic delicacies, and other forms of experimentation within the material of Fool’s Gold that much more accessible. Sharing a common love for both American pop music and the open-mindedness to explore music from other countries, the mutual ideologies and skills of Pesacov and Top make them appear as if they were destined to work together. Fool’s Gold self-titled debut shows that at the very least, in addition to showing music fans some great world influences touched with a dab of American pop music. In rare an commendable form, it is not vice versa for once.

The Israeli-born Top makes his voice present by using more than his empowering vocal chords. His native Hebrew is actually the predominant language sung throughout Fool’s Gold, an interesting maneuver considering much of the music stems from African influences. As someone not even slightly familiar with the language, though, I can say that the accentuation adds wonderfully to the components of Afro-pop, most noticeably the backing vocals and constant percussion that echo the genre’s traditions beautifully. “The World Is All There Is” is a track that is arguably most indicative of this, seeing a cast of backing cast following along with Pesacov’s shimmering guitar progression. Sure, Afro-pop is clearly abundant here, but there is an interesting dynamic at play. Pesacov’s guitar, despite its African accompaniment, is more typical of indie-pop, while Top’s Hebrew vocals add yet another beautiful influence at play. Whether this song is played at an African music festival, a bar in NYC, or a hookah bar in Israel, it would likely go over very well.

“Poseidon” presents a keyboard-laden hook that contains a melody more suitable for the Far East, adding to the group’s exotic allure in an even grander sense. One of the most captivating tracks, though, is the excellent “Yam Lo Moshech”, a highly infectious fusion of dance and new-wave pop that uses some explosive brass and an impressively evolving rhythm section to construct one of the most impressive tracks on the album. “Surprise Hotel” is quite fun as the album’s opener, even if it lacks differentiation from Foreign Born or many similarly entitled acts. Still, it is an infectious effort that grows enough to deserve its imminent airplay. Latter efforts on the album, like “Yam Lo Moshech” and “Night Dancing”, expose the group’s more experimental side with bursts of brass and even larger doses of unpredictability, eventually becoming more rewarding despite their initial cautions. Backed by a cast that includes members of a variety of bands, from We Are Scientists to The Fall, the tight musicianship on Fool’s Gold creates a very organic feel that is caused by the meshing of foreign influences and quality songwriting that has no reliance on sparkling production or overly elaborate tactics. It is an album that will grow on listeners by itself, eventually revealing itself as one of the most intricately impressive releases of the year.

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Fool’s Gold – Surprise Hotel

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Fool’s Gold – Yam Lo Moshech

***TRACK REMOVED UPON REQUEST OF IAMSOUND RECORDS***

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Fool’s Gold – Night Dancing

***TRACK REMOVED UPON REQUEST OF IAMSOUND RECORDS***

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Fool’s Gold – The World Is All There Is

***TRACK REMOVED UPON REQUEST OF IAMSOUND RECORDS***

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Nathan Pemberton refuses to abide by the DIY stereotype. He records in his Florida garage with an economical home studio, which supplies just enough firepower for him to make his innovations come alive. But despite the allure of lo-fi minimalism that comes attached with these modest circumstances, Pemberton is pursuing the most majestic sound possible in accordance to his personal repertoire. He is a multi-instrumentalist in the truest sense, using his experience with a multitude of instruments to encompass his material in its entirety. There are few collaborators to be heard, only the ideas of Pemberton and his five friends/roommates as they flow gracefully in a mixture of epic jams and dreamily intricate indie-rock. They go under the alias of Holiday Shores, a name that will certainly be reputable by year’s end. Hip-hop, punk or metal, and lo-fi pop have always seemed to be the easiest to tackle with a home studio due to their respective forays in sampling, tremolo riffs, and bare minimalism, but Pemberton, Holiday Shores’ songwriter, seems to have crafted a winning combination with doses of heartfelt pop nostalgia and contemporary indie-rock wizardry. He possesses the ambition of a jam band or post-rock experimenters, all while retaining the pop sensibilities that fellow genre-mashing contemporaries like Sunset Rubdown and Deerhunter have flawlessly exhibited throughout the past several years. But do not overly associate Holiday Shores with these acts. After all, their greatest strengths are in their own ideas, not the inspiration of others.

Being seemingly aware of your past and present is simply one of Pemberton’s strengths, as concocting an original sound from a variety of influences is not the only ingredient required for success. Songwriting and flow are both elements that are overlooked by many groups new and old, not necessarily because they disvalue it but because it is so difficult to combine great and captivating songwriting with a sound that is entirely your own, whether it derives from past successes or not. Pemberton accomplishes this tricky venture with rare precision, making the best of his garage studio to unveil his enigmatic voice and compositional prowess in a manner that should mark Holiday Shores as one of 2009’s breakthrough acts. Pemberton’s pop sensibilities often result in songs barely exceeding four minutes, but both his capitalization of minimal resources and extremely impressive grasp of several instrumentals combine for unconventional endeavors that make four-minute efforts feel epic in the best way possible. For instance, the sputtery “Days Drag” uses the echoes of guitar distortion to craft an initial feeling of rough-edged repetition, only to be beautifully complemented by a twinkling bundle of keys. The transitional phases that this song encompasses, like many others on its album, are always one step ahead of their subsequent outcomes, resulting in an album full of replay value.

On Holiday Shores’ debut album, Columbus’d The Whim, the initial development always turns into something extremely gratifying and precise, like the keys in “Days Drag” or the evolution of muffled percussion into expansive hi-hats in “Tremor Rolls the Peak”. These turns are unexpected, but Pemberton’s strong pop ties often make the ideas sound extremely appealing after the second or even first listen. A beauty like “Edge of Our Lives” requires only a few minutes to recognize its brilliance though, sounding like the perfect mash of a lost ‘60s classic and today’s indie-pop breeziness. I would be surprised if it is not a college-radio favorite by year’s end. Between Pemberton’s tranquil voice, the interweaving guitar arrangements, and explosive hook that the chorus crisply generates, this is a surefire accomplishment in every regard. That it is difficult to spot the hook I am referring to is part of the song’s allure; there are so many different methods of achieving melodic greatness here that describing only one is an injustice. There also seems to be a slight undertone of jazz in the use of keys and guitar, again beckoning to jam bands of the past and their tendency to unveil pop hooks under an intricate cast of evolving instrumentation. This may be one of the album’s more accessible tracks, but there are few that show the group’s apparent high level of musicianship as well.

Comparisons, as I mentioned before though, are a bit extraneous in regard to Holiday Shores, as so many influences can be found in their sound that it eventually becomes influentially indistinguishable. However, as a songwriter and vocalist, Pemberton seems to recall the ingenious ability of Tom Verlaine most vividly. Like many up-and-coming indie-rock acts these days, the work of Verlaine and Television is a strong influence in Pemberton’s sound. This is most notable in his songs’ ability to evolve into full-scaled epics, usually with the innovative pushing of a particular instrument (most often in a soaring guitar solo or trickle of keys). He also emits a similar croon, finding a warm place between nasally elegance and brittle yelps over series of concise guitar progressions and hectically implemented keyboards. It all depends on the track though, as Columbus’d The Whim is so enthused with its own ambition that it achieves greatness on its innovation alone. But considering it IS a pop album at heart, the stellar songwriting of Pemberton certainly helps the cause. Both fans of modern indie-rock and nostalgic pop music will likely embrace Holiday Shores because of this, not only because it can remind them of their favorite bands, but also allow them to discover a new one in the process. I consider Columbus’d The Whim one of this year’s must-haves. It is an enormous accomplishment for any album, making its status as a debut album that much more impressive.

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Holiday Shores – Edge of Our Lives

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Holiday Shores – Tremor Rolls the Peak

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Holiday Shores – Days Drag

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Although many industry professionals may have a tendency to disagree, there is nothing wrong with the audible expression of youthful exuberance. An immediate assumption would associate this expression with experience, which is a vastly premature notion that is prompted by the same stereotypes that plague mainstream pop artists. Society has grown so accustomed to seeing boy bands and pop idols being coddled by restless music execs, paid-for-hire songwriters, and millionaire choreographers that insist on implementing generic ideas in order to appeal to the general public. Consequently, there is not even a shock factor involved when one of these glittery wunderkinds starts attempting to write songs on their own. Instead, denial is the most prevalent feeling amongst former fans that feel somewhat betrayed by their idol’s decision to actually relay their OWN emotions and talents. Execs tend to avoid this maneuver, predicting a lack of success based primarily on the fact that sex will sell better than “childish” anecdotes and the acquisition of experience. They are right too, but this is not to say that showing one’s child-like enthusiasm for music should be deemed industrially dangerous just because there are no vetted supervisors. My main issue with mainstream pop is this, that one is criticized or immediately disregarded for thinking outside the box and, in doing so, showing their commitment to an art that truly relies on innovation at this point in its history.

As a result of this, it is safe to say that Kinetic Stereokids will never be the darlings of the mainstream pop world. Their music sounds much too improvised, unpredictable, and stylistically fused for that. How dare they attempt such creativity within the realm of pop music! It almost sounds as if the five guys in Kinetic Stereokids are friends in middle school, getting into music performance for the first time simultaneously. Who the hell would give someone with that description a chance? Well, any fan of Beck, the Beastie Boys, or the Avalanches already has, as these are just a few examples of acts that defied the typically corporate format of pop music with groundbreaking stylistic fusions and engrossing thematic concepts that were able to cater to both fans of innovation and popular music. Their names remain trademarks of the ‘90s and ‘00s as this decade comes to a close, allowing neither their enigmatic enthusiasm nor initial lack of experience to prevent them from selling millions of records and, more importantly, attaining respectability in a genre that is overly selective when it comes to something new and different. Kinetic Stereokids look to continue a similar trend in a new era, one rampant with technological differences that could prove to be a benefit or detriment to the creation of music in the coming years.

Preparing a sophomore album is always a sensitive topic. It is the band’s first exposure to a world of expectations, regardless of whether your album went gold or sold ten copies. Criticism tends to be taken more prominently for the most mature artists, as these eventually come to be perceived as free constructive criticism rather than some blowhard lamenting his biased disdain for a style he personally does not enjoy. That Kinetic Stereokids have released an epic for their second album seems like a gesture of sorts, perhaps to the critics that found their 2007 debut, Basement Kids, too inconsistent for their tastes. Sometimes it was too flip-floppy, while other times it was consistent but too mundane. The impressive qualities certainly outweighed the bad ones, but it struggled like most debuts do in attempting to capture a cohesive feel throughout the album. This often relies on thematic and melodic consistencies, which are two qualities that Kinetic Stereokids’ new album, Kid Moves, accomplishes with relative ease. Its length spans over 70 minutes, but the consistent focus on recapturing youth results in some of the freshest and most inventive material you are bound to hear this year. After all, the enthusiasm of childhood is something that many adults attempt to reclaim. Kinetic Stereokids make this a bit easier.

Kid Moves is not an album that is particularly easy to listen to; most albums that attempt dozens of genres over a 70-minute span are not. But this release is impressive for several reasons, the most blatant being how they are able to seamlessly imitate a multitude of styles while retaining the youthful expression that makes their music so irresistibly fun. The opener, “Free Money”, sounds like one of those summer jams from the ‘90s with its infusion of hip-hop percussion and chirpy vocals corresponding excellently with the near-improvised distortion of several electric guitars. As the band personally clarifies, fusing the sounds of Sonic Youth and the Beastie Boys is not the worst idea in the world. “Twisted Thoughts” is not as intricately interwoven but it still packs a similar punch, contrasting an automated robot voice with naturally sweet acoustics and a natural croon that shows Kinetic Stereokids as supremely talented musicians with a great knack for melody. The robot seems to be describing some sort of acid trip too, which makes the serene progressions even more comforting. That it is followed by the psychedelic hip-hop of “Drugs Is a Drag” is no coincidence, as Kid Moves is an album that flows with surprising precision despite its daunting stylistic diversity. “Drugs Is a Drag” later flows into some Avalanches-like mash-up that leaves me thoroughly impressed; the incorporation of guitar solos over the samples of an operatic tenor, hazy percussion, and warbled vocals make this an effort of extreme innovation, just like the album it is included on.

I could go on all day about how more tracks, specifically “Assisted Living” and “Planes with Teeth”, are groundbreaking in several ways, but this is an album designed for listeners willing to enjoy surprises. The eight-minute “Planes with Teeth” incorporates scratched samples with haunting alt-rock theatrics reminiscent of Radiohead and whimpering acoustics that recall either Jeff Buckley or a stripped-down Modest Mouse. You can even find some free-jazz if you listen closely, reminiscent of Talk Talk’s later material. These all gradually grow into one another, eventually resulting in a fusion that should leave any appreciators of various genres with their jaws wide open and their ears begging for more. I rarely come across a band with such a grasp of both natural and electronic concepts. Usually it is difficult to find an artist with esteemed talent for just one, but Kinetic Stereokids have defied expectations and churned out an album that is truly one of 2009’s best because of their ability to cohesively and seamlessly incorporate the best of both worlds. Contrary to their name, Kinetic Stereokids are anything but kids when it comes to their musical ability. They just possess a similar passion and ambition, one that will eventually be fulfilled if they keep releasing epic triumphs like Kid Moves.

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Kinetic Stereokids – Planes with Teeth

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Kinetic Stereokids – Twisted Thoughts

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Kinetic Stereokids – Drugs Is a Drag

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Summery indie-pop, intricate art-rock, and a little bit of blues were the mainstays this month, featuring a bunch of new faces apart from Sunset Rubdown. Their new album, Dragonslayer, is fantastic and their track on this month’s best-of is one of the best Krug has ever written, which is quite complementary considering his prolific work ethic. The likes of Klum and Alligators offer up a similar style of art-rock, showcasing plenty of clever hooks with a modernistic edge that grants them plenty of great moments. Pomegranates, Wild Moccasins and Armen Firman offer up a summery style of indie-pop that is suited perfectly for June, while Robert Bradley and T. Nile prove to be more traditional with some soulful blues. Dubious Ranger and Bowerbirds offer up something different, with the former showing some infectious comedic chops and the latter exhibiting some of the most beautiful folk harmonies I have heard all year. Plenty of gems were covered this month, so here’s hoping that June is just as strong.

01. Sunset Rubdown – Apollo and the Buffalo and Anna Anna Anna Oh! (post)
02. Klum – Nonbeliever (post)
03. Alligators – Original Fear (post)
04. Bowerbirds – Beneath Your Tree (post)
05. Armen Firman – Porch Dweller (post)
06. Dubious Ranger – Weapon (post)
07. Wild Moccasins – Spanish and Jazz (post)
08. Pomegranates – Corriander (post)
09. Robert Bradley’s Blackwater Surprise – Alabama (post)
10. T. Nile – Reverie (post)

DOWNLOAD ENTIRE COMPILATION>>> (55.8 MB, .RAR)

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Many musicians, regardless of prestige or intellect, tend to emit an appreciation for many varieties of art. They can stand afar as hobbyists of painting or photography, but few are brave enough to venture into being an actual participant of the art. The word “artistic” seems too broad most of the time, but there is no doubt that certain individuals posses a superior flair for fusing creativity, passion, and knowledge into an audible and/or visual experience. All arts require these aspects in some form, so it is no surprise that many successful artists are eclectically inclined within some fields of art apart from their primary field. In some cases, dabbling in an assortment of arts can eventually lead an artistically inclined but multifariously overwhelmed individual into a field that suits their personal abilities best. Here, a cumulative interest in art brought the initial founders of Bowerbirds together. The North Carolina-based trio has consisted of alternating members since their formation in 2005, but core members Phil Moore and Beth Tacular are indebted to a sense of artistic eclecticism among Bowerbirds’ members. Their style is highly indicative of stylistic transfiguration, altering accessible forms of folk and chamber-pop into accomplishedly unpredictable results that succeed after practically every attempt.

Lead vocalist, guitarist, and songwriter Phil Moore began writing songs for a then-unnamed project in 2005, looking toward friends in multi-instrumentalist Mark Paulson and Beth Tacular to provide additional input and initial instrumentation on the material. Moore and Paulson had been friends in middle school and fronted several bands together during their schooldays, including some hilariously ridiculous names like Speed of Sauce, Ticonderoga, and Blast Force. Tacular originally had little experience in music, doubting her ability to sing and perform. However, Moore recognized her potential and artistic ability and she joined the group in 2005. She had taught herself to sing and play the accordion, so her contributions were immediate in April 2006 when the trio began recording their first EP, Danger at Sea. She also has a background in painting and web design, the latter of which pertains to the web design company she and Moore own. After all, everyone needs some kind of day job. For these two multi-talented bandmates, it came in something that catered to both of their eclectic artistic talents. This undoubtedly helped her eventual work with the similarly inclined Moore and Paulson, the latter of whom Tacular credits for his “multi-talentedness.” That is a word that describes Bowerbirds as a whole, both in their personal lives and their band’s stylistic result.

Bowerbirds’ debut album, Hymns for a Dark Horse, was released in early 2007 to commendable reviews, drawing many comparisons to the freak-folk movement that was so prominent at the time (with the likes of Devendra Banhart, Joanna Newsom, etc.). The comparisons likely brought some extra fans to Bowerbirds’ camp, but I personally found the comparisons somewhat off the mark as Bowerbirds’ additional emphasis on pop songwriting and accessibility was contrary to many figures of the particular movement. This is further demonstrated on their new album, Upper Air. This is not music from the typical surveyors of indie-folk with hushed melodies, soft acoustics, and subtle choruses, but rather an inventive concoction of infectious pop and folk that combines for an experience that could be called soothing, refreshing, and impressive. In comparison to a genre like jazz, pop music often lacks a component of subtle variation in which suave key changes are implemented or chords are presented with a certain variance. Bowerbirds’ past material opposes these simplistic sentiments, but Upper Air shows them at their true best with unconventional intentions in familiarly accessible territory. There are minimalistic acoustical efforts like “Silver Clouds” and “Ghost Life”, but there also stands extremely impressive displays of expansiveness that include the lusty Parisian exoticness of “Teeth” and the ever-evolving franticness of “Beneath Your Tree”. These are displays of a band that clearly shows their ambition, but also of one that seems to have few limitations.

“House of Diamonds” plays like a pop gem, plain and simple. The opener to Upper Air certainly sets Bowerbirds off on the right foot, boasting with an irresistible melody being led by acoustics, keys, and Moore’s smooth voice. An instant comparison would be to Andrew Bird, but Grizzly Bear’s multiple harmonies over lush folk instrumentation remain as another comparison due to the often-simultaneous vocals of Moore and Tacular. The track begins simplistically with its acoustic and keys, but an excellent chorus introduces a great hook as the duo sings, “You are free, you are already free.” A string arrangement serves as a portion of the bridge… and in an instant Bowerbirds’ resourceful delivery is exposed. They do not adorn their music with unnecessary additives, instead resorting to a qualitative philosophy that opts to utilize additional instrumentation when it truly makes a difference. During this specific moment after the chorus, the strings work beautifully and any additional use would have taken away from its novelty. The same resourcefulness can be said for the other tracks on Upper Air as well. “Beneath Your Tree” sticks to the same instrumental arsenal throughout, but still feels like an ardent success to the group’s rhythmic variations, interesting chord use, and superb songwriting. They are all reasons why Upper Air is Bowerbirds’ biggest success yet, also proving indicative of their explosive potential and likely breakthrough.

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Bowerbirds – House of Diamonds

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Bowerbirds – Teeth

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Bowerbirds – Beneath Your Tree

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