Are eccentric artistic tendencies hereditary? Like eye color or facial characteristics, I would not be surprised if they were, mainly because I have witnessed friends that walk and talk eerily similar to one of their parents. Whether or not musical talent is hereditarily passed down is too theoretical to be argued for or against, so I tend to think that one’s upbringing has more to do with it than anything. If one is constantly surrounded by music and their idol, presumably a parent, is a musician, what else do they have to look up to and aspire to be? Like all children of parents in a professional occupation, there are advantages to be had here. Most kids that want to learn music are hammered with traditional songbooks and stiff learning routines. Some, though, are raised on it. Traditionalists may argue that theoretical mastery is the key to musical ability, but actual experience seems to be the prevailing factor in most cases. In regard to the passing down of “musical genes”, there are examples to cover each end of the spectrum. Jeff Buckley, Rufus Wainwright, and Femi Kuti all stand as exceptionally talented musicians, but their history leads fans to different circumstances despite a few shared characteristics. They all have a musically renowned father and later found future success of their own, but their differing relationships may elude to whether musical ability can be hereditary.

The sons and daughters of famous musicians could have their own capacity to resourcefully create their own music, but it is just as likely that their talents can be attributed to their parents in some way. Jeff Buckley is an example of a reputable musician with a famous father, but his talents and style are undoubtedly his own. He only met his father, Tim, once before his death when Jeff was 11. While his father’s career may have inspired him to pursue music full-time, Jeff Buckley was given no special treatment. His lack of guidance suggests that, perhaps, music simply runs in his blood. Then you have a case like Femi Kuti, whose father Fela Kuti is legendary for his prolific discography and upbringing of afro-pop. Femi initially lived with his mother, but went to live with his father when he was 15. A few years later, Fela gave his son a spot among his all-star performers on stage and the experience needed to pursue his own career. Nowadays, Femi boasts a consistent discography that separates him from his father’s work, while not entirely dismissing the vital experience he was given due to his father’s esteemed status. The differences between Buckley and Kuti show that musical talent is found too often on a case-by-case basis to assume whether it is hereditary or not, but it also shows that musicians tend to impact the lives of the people they influence, whether they are related to them or not.

Although there are many musicians that do not pursue parenthood, the ones that do often vary dramatically in the relationship with their children. Some go off on tour and never return due to indifference, but others are genuinely interested in the happenings of their children… and maybe even their children’s friends. Such is the case with R. Stevie Moore, the prolific producer and songwriter whose accomplishments in both fields are admired by most in the music industry. His genre-bending and technological innovations in music seem nearly endless, and his contributions do not stop there. He gave a former bandmate’s son, who is also interested in music, the proper knowledge as he was growing up, exposing him to his material and quirky innovation in the process. As a result, it is not surprising that the kid’s band, Big Fresh, seems nearly like a replica of the elder Moore’s unique craftsmanship. The group consists of the collaborator’s son and his longtime friends, all thankful for the privilege to work with the legend. This video from 1999 shows just how great Moore seems with these kids, playing a rendition of Moore’s “Why Should I Love You?” from his classic 1976 debut, Phonography. The band is understandably rough there, but they certainly show some potential for their age. And now ten years later, it looks like Big Fresh’s potential has finally caught up to them.

After a debut that showed plenty of promise but not enough execution, Big Fresh returns with a second album that explains why they are so renowned in their native Lexington, Kentucky. Big Fresh Forever is an album that expands upon the group’s electro-pop repertoire, now complementing lush synths and bouncy bass lines with overlapping vocal melodies, eccentric structural transitions, and stylistic intricacies that show an increasing amount of ambition among the band members. Mixed by Robert Schneider (The Apples in Stereo), Big Fresh Forever takes the lo-fi brilliancy of Moore and combines it with the psychedelic musings of Elephant 6 standards like Schneider. “W.L.U.V.” shows off the group’s nostalgic leanings, complete with the crackling of vinyl as they sing about an Illinois radio station over the twinkling of keys and the “la-la-la”-ing backing vocals. It is electronic pop, but its minimalism results in one of the more restrained tracks on the album. That is not to say it is lacking in any way though, as it is nice way to begin a dense album with a track that is purely accessible. Songs like “W.T.O.” and “Entertainment” recall electro-pop surveyors like Chin Chin and Hilotrons with their thick synthesizers and swift implementation of acoustics, topped off by cartoon-ish vocals that echo Frank Zappa’s early material. As you can see, the comparisons to other groups are abundant but Big Fresh mix and match enough genres to call the varying stylistic results their own.

“Large Crowds” stands as one of Big Fresh’s biggest accomplishment though, introducing the listener to an otherworldly atmosphere that is the band’s own. It sounds as if The Flaming Lips combined with Depeche Mode, covering both spectrums of electronic pop with serenely entrancing synth lines and slickly utilized guitar progressions. The catchy “Satan, No” is more reflective of Of Montreal with its satirical lyrical content and key-led assortment of varying rhythmic transitions, made even funkier by an electronic edge that shows the group’s production chops and percussive emphasis. I guess it helps that R. Stevie Moore and Robert Schneider had a hand though, as their experience with the subtle grace of lo-fi production is practically unparalleled. For Big Fresh, their contributions on Big Fresh Forever contributes to a successful album that finds a young group inching closer to their eventual sound. The variety of comparisons warrants some indecisiveness, but there is so much to like on Big Fresh Forever that these insufficiencies can be overlooked. After all, any famous musician would be proud of an album like this, whether a family friend was involved or not.

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Big Fresh – Large Crowds

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Big Fresh – Satan, No

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Big Fresh – W.L.U.V.

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Many people have generalized that a band from Kentucky would have little variation in their style, clinging onto the stereotypical blend of country-rock and folk that has plagued the most common description of the southern music scene in America for the past several decades. And while southern rock music has certainly found a niche of resounding success in the independent music scene with acts like Band of Horses, Drive-By Truckers, and Kings of Leon, there has been prevalent criticism regarding the lack of eclecticism and unconventional techniques within the genre. As arguably the most consistent and influential rock band hailing from the south of the past decade, it would make sense for a band like My Morning Jacket to clear up such baseless beliefs. The five-piece from Louisville has always been regarded as somewhat of a patriarchal figure within the genre, as it seems that My Morning Jacket expands their stylistic boundaries with each newly successive release. With the internet allowing fluid access to thousands of unqualified individuals who call themselves critics of art, we live in an age where most artists are too afraid to change or even toy with a new approach to their sound, as the fear of losing an entire fan base and witnessing a critical backlash is often too much to handle. With that in mind, I was not surprised at all when I heard Evil Urges, My Morning Jacket’s fifth studio album, and found it to be the group’s most diversifying effort yet. But would I have expected Jim James, the bold and fearless frontman for the group, to be flaunting his falsetto for a handful of tracks? Hell no. But per usual, regardless of what this band attempts lately, it has resulted in an ample success.

As it stood before the production phase of Evil Urges, My Morning Jacket had little reason to try anything new at all. After all, their previous album, Z, was one of the most critically acclaimed albums of 2005 and was prematurely being described by many as the group at their creative peak. I suppose the acclaim was imminent at the time, as it was their most varied effort before the release of Evil Urges. Their first two albums, The Tennessee Fire and At Dawn, brought the group plenty of buzz but they found it initially difficult to escape the linear classifications of alt-country that critics granted them, mainly due to the determinable sound that James and company were just beginning to confidently grasp. Though not as consistent in quality with the first two albums, It Still Moves was the group’s first step in their ambitions to become a rock act where stylistic classifications were made on a per-song basis and not based on a singular career. Z simply perfected James’ approach as an impressively unpredictable songwriter, mixing anthemic indie-rock tracks like “Anytime” and “Lay Low” with tinges of reggae in “Off the Record” and reminiscences of their classic alternative sound in the opening “Wordless Chorus”. Even if the increased eclecticism was subtle for many listeners, the changes were evident for veteran fans. In a matter of 6 years, My Morning Jacket evolved from just another alt-country band into something of bigger, more epic proportions. Instead of sticking with southern stereotypes, comparisons were being made to The Flaming Lips and R.E.M, both artists who – in a sense – revolutionized the way that modern artists in their respective genres would tackle songwriting. And with the release of Evil Urges, such commendable sentiments are stronger than ever.

Like several My Morning Jacket albums before it, the opening track on Evil Urges serves as a gradually satisfying experience that increases in memorability with each successive listen. Also serving as the self-titled track, the heightened pitch in James’ vocals during “Evil Urges” will catch listeners off guard initially, but the summery guitar progression and brisk rhythm section will soothe any concerns about the track going stylistically overboard. As James’ vocals become more familiar and the rebounding melody begins to engross the listener, sudden enhancements like the slight dosage of strings during the chorus’ second entry become more noticeable and rewarding. Like preceding greats in the vein of “Anytime” and “One Big Holiday”, it concludes gracefully with a stirringly effective guitar solo before the infectious chorus is recapped once more. The following track, “Touch Me I’m Going to Scream”, is unlike anything My Morning Jacket have attempted before, utilizing a synth line as the primary instrumental force. The synths clash fluidly over a constant bass line, bringing up unlikely comparisons to Prince and The Flaming Lips in the process. I guess you could call the soothing key-aided “It Beats For You” a distant cousin, but even that particular track had guitar-led arrangements that were expected of the band. If it were not for James’ distinctively soaring vocals, many would not be able to tell that “Touch Me I’m Going to Scream” was from My Morning Jacket at all. It remains oddly addictive though, even if the style contained in the track and its 8-minute counterpart (“part two”) differs dramatically from the rest of the album.

It was certainly an odd choice to stick “Evil Urges”, “Touch Me I’m Going to Scream”, and “Highly Suspicious” as the first three tracks on Evil Urges, as they can arguably stand as My Morning Jacket’s most unconventional efforts to date. “Highly Suspicious” is inarguably the most bizarre on the album, led by hardly much more than James’ apparent falsetto, a booming bass line, and steady percussion. The chorus adds a few halted guitar chords as James and a few deeper-voiced companions chant “highly suspicious!” over the eventual whirring of a synth. Being the second track in a row that reminds me of Prince (and enjoyably so), I would not be surprised if the majority of listeners refuse to take it seriously. And hey, who’s to blame them? Looking back, the decision appears wise to slot these 3 tracks together, as the rest of the album contains a similar degree of variation that is more conventional in regard to My Morning Jacket’s stylistic standards. The fourth track, “I’m Amazed”, immediately puts the listener back in the warm embrace of classic My Morning Jacket, re-introducing James’ distinctive croon as was heard in the first four albums. Like “Anytime”, it proves further that James’ ability to write an anthemic track – regardless of whether its in the vein of indie-rock or alt-country – is something of a rare skill. The first two minutes consist purely of radio-friendly alternative, with the remainder being a captivating guitar solo that coincides precisely with the backing chorus. In terms of tracks that would fit just as well on early My Morning Jacket material, only the strangely nostalgic “Smokin’ From Shootin'” and simplistically endearing “Look At You” come close. It ends up being commendable though, as I have not even touched upon the best moments of Evil Urges yet.

Jim James clarified in an interview several months ago that “I’m Amazed” would begin the “second phase” of the album, following the first three tracks that somehow went “together in this weird way.” The group has been known to perform with fully accompanied orchestras during their live performances lately, and several excellent tracks during the “second phase” like “Sec Walkin'”, “Librarian”, and “Thank You Too” utilize this new approach with confidence, swagger, and resounding success. “Sec Walkin'” manages to recall classic country with the overlapping of reverbed keys and guitars as James puts his full southern accent on the table, deepening his voice to a suave croon with contained influences of Johnny Cash, Hank Williams, and Carl Perkins. “Thank You Too” sports the album’s most grandiose chorus, supplemented by a swirling arrangement of strings and James’ limitless vocal range. And as oddly creepy as the lyrical content is, the build-up of strings in “Libraries” is too masterfully executed to ignore. The insanely catchy “Two Halves” recalls an accessible, pop-oriented Roy Orbison in its recollection of ’60s rock ‘n’ roll, serving as the most immediately satisfying track on the album. It is in close competition with “Aluminum Park” though, a roaring rock ‘n’ roll ditty in which James into some ardent hybrid of Springsteen and Meat Loaf during the song’s exceptional chorus. All of the influences may be hard to classify initially, but one thing is for certain; My Morning Jacket are proud to wear their influences on their sleeves. And when a band of My Morning Jacket’s ingenious talent has the maturity to embrace their past influences and implement them fluidly into a contemporary sound, the result sounds something like Evil Urges. It is working its way into becoming my favorite album from My Morning Jacket, making it certainly one of my favorites for the year as well. 9/10

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My Morning Jacket – Two Halves

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My Morning Jacket – Sec Walkin’

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My Morning Jacket – Evil Urges

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Note: Thanks to weeone for the information: Chea Beckley remains the keyboardist in the group and Zeke Buck is no longer part of the line-up.

It is always interesting to see in which direction a band will follow after experiencing even the tiniest morsel of commercial success. By the end of 2004, things were looking up for VHS or Beta, the newly acclaimed four-piece out of Louisville, Kentucky. In reaching a wide variety of audiences, they had landed a song on both the stoner-comedy Grandma’s Boy, the superficially laced drama The O.C., and were receiving glowing reviews for their second album, Night on Fire, from the likes of Rolling Stone and Blender. Fans and critics alike were generally impressed with the group’s take on “art-wave”, a newly coined sub-genre that proved to be a concise summation of the band’s style. As much as I despise newly originated genres formed by critics and fans alone, I suppose “art-wave” fits VHS or Beta surprisingly well. As it obviously claims, their apparent incorporation of art-rock and new wave derives from the artists that the young songwriters in VHS or Beta grew up listening to in the 80s. Whether it be The Cure or Depeche Mode, recollected influences are one of the aspects that VHS or Beta can seamlessly blend into contemporary trends, most notably in the ceaseless form of art-rock. However, deep down past the aggravating stages of classification, they remain radio-friendly producers of catchy pop music with a tinge of dance and funk.

With this in mind, it was not much of a surprise when they toured with Duran Duran in 2005. Even though VHS or Beta borrows several components of its sound from Duran Duran’s heyday, VHS for Beta are synth revivalists at heart who also happen to share a fondness for modern alternative rock. Nothing to be ashamed of, right? After all, Duran Duran is in the studio with Timbaland and Justin Timberlake as they prepare to release their twelfth album in October. I’m sadly not kidding about any of that either. As for VHS or Beta, they plan to release their third album, Bring on the Comets, on August 28th. After the departure of keyboardist Chea Beckley, they currently sit as a trio. Regarding VHS or Beta’s transition from Night on Fire to Bring on the Comets, lead vocalist, guitarist, and songwriter Craig Pfunder states that the new album was written “for the world” instead of “for one group of people.” As vague as that may come across to new listeners, it is once again surprisingly accurate. Whereas both Night on Fire and VHS or Beta’s 2002 debut, Le Funk, pleased a loyal fan base with a variety of stylistic attempts, Bring on the Comets is more commercial friendly with straightforward, directly infectious singles like “Can’t Believe a Single Word” and “Burn It All Down”. Hell, Le Funk had several ambitious epics that exceeded seven minutes. You will not find anything remotely close to songs like “Solid Gold” or “On and On” on their newest release, as Bring on the Comets serves as merely a representable collection of three-to-four minute pop songs. Apart from a few wasted opportunities toward the end of the album, the meat of this album revolves around the two impressive singles.

Already intently knowledgeble on the nature of a quality single after the enormous promotional success of “Night on Fire”, Bring on the Comet features their most accessible, radio-friendly song yet in “Can’t Believe a Single Word”. While it will tragically disappoint fans who followed the band since their Le Funk beginnings with a lack of depth and experimentation, the traditional structure is fortunately uplifted by a chorus that, while expectedly formulaic, offers a beckoning call that is destined to reach the top of the charts with an irreproachable charm. “I say to you would you ever want to walk away from here?” Pfunder asks, desperately rushing his own charm. The melody is simple and the lyrics are even more elementary but this song is potently compelling nonetheless. Though I grew tired of it after a few listens, “Can’t Believe a Single Word” will most likely be the song that propels VHS or Beta to the upper stage. However, it is far from my personal favorite on Bring on the Comet. That title goes to the synth-fused “Take It or Leave It”, a song that is a display of what Duran Duran rubbed off on the youngsters after their collaborative tour two years ago. Yeah, sure, it sounds like Duran Duran. While that may sound like an insult to most bands these days, I am fortunately referring to the type of Duran Duran that performed before 1984. Think back to “Rio” or “Girls on Film”. “Take It or Leave It” is a cleverly catchy dance-rock track that is an expressive display of where VHS or Beta’s true talents lie.

While VHS or Beta has somewhat quickly gone from sounding like a stepson of Daft Punk to a cousin of Rooney, Bring on the Comet offers enough thrills for an enjoyable third album. While I prefer their earlier material along with the majority of those who enjoyed Le Funk, I suppose the new direction must be expected in today’s industry. When the band realized that they had the ability to craft MTV-pleasing pop songs like “Night on Fire” in 2004, a stylistic recession most likely occurred. I would not be surprised if this was the reason for Beckley’s absence, though I can only speculate at this point. While Bring on the Comet is extremely far from being a commercial cop-out, the band’s focus on commercial success now remains highly evident. I will just remain optimistic that their future releases will be more in the synth-pop, dance-rock vein of the enjoyable “Take It or Leave It”.

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VHS or Beta – Take It or Leave It

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VHS or Beta – Can’t Believe a Single Word

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VHS or Beta – Burn It All Down

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Traditional folk songwriters have always played a large role in the life of Rocky Votolato. The Texas-based singer/songwriter has long admired highly influential artists in the vein of Springsteen, Willie Nelson, and Steve Earle, with the story of Votolato’s early childhood sounding much like the lyrics to an Earle song in itself. Growing up on a barren fifty-acre farm in rural Texas, Votolato’s father was a member of one of the country’s fiercest motorcycle gangs – the Scorpions. After living the traditional lifestyle of a farmhand for the first few years of his life, Votolato’s mother moved the family to a more urban environment in Seattle. It was there where Votolato first picked up a guitar. Though he had always admired country and folk greats, he was urged to start playing guitar by his older brother Sonny. This tradition also passed on to Rocky’s younger brother, Cody, who went on to become the guitarist of The Blood Brothers after playing with Rocky in the punk-quartet Waxwing during their high school years. Considering that Rocky Votolato formed Waxwing almost immediately after high school, the short-lived group’s critical success was quite admirable before their demise in 2005. Still, the band gave both Votolato boys enough experience to capture success in their respected future projects.

While Cody Votolato continues to be busy making teenage girls swoon by playing the part of guitarist in The Blood Brothers, his older brother Rocky is taking a much more honorable route. Since his self-titled release in 1999, Rocky has established himself as one of the most consistent solo folk acts of the past eight years with five studio albums that all glisten with refined songwriting and captivating lyrical content. While his vocals are quite easily comparable to Ryan Adams, Votolato’s approach remains more consistent in approach and quality. While Adams has a talented use of transition that allows him to slide between several musical styles with ease (often resulting in astounding failure or success), Votolato remains generally predictable but also strongly and straightforwardly enjoyable. While differences between bare acoustic ballads and fully shrouded band accompaniments noticeably change between albums, both presentations are highly admirable and seem to fit Votolato’s veracious intentions wholeheartedly. Even if the integration of folk and country is perhaps not the hottest prospect on the map for radio stations, Votolato is bringing the genre into a more acceptable realm where dull first impressions are being invigorated by Votolato’s pure skill and unfeigned lyrical charm.

Set to be released on June 19th, Rocky Votolato’s fifth studio album, The Brag & Cuss, is a realignment to a deeper and involved sound compared to his previous album Makers, a very enjoyable release that was gentler and more acoustic in nature. Votolato calls The Brag & Cuss “very much a band record”, focusing on the fanfare audience of “lovers, drinkers, and the distant oasis of a truck stop on a stretch of dark highway.” Whatever audience Votolato was aiming for, it appears that I am somehow involved. Though I have personally never been a diehard fan of folk or country, Votolato’s The Brag & Cuss is one of his most accomplished and enjoyable albums, both musically and lyrically. From the initial opener, “Lilly White”, it is easy to recognize the musical growth that Votolato has endured from his inexperienced punk days in Waxwing to his currently accomplished state of a venerated solo artist. Votolato utilizes guitar twangs and a distinct harmonica, using his upright emotional set of vocals to distinguish pure emotion devoid of any dishonesty or self-doubt. Detailing a man struggling to hold on to his own confidence in a battle with life, Votolato sounds completely genuinely over a bursting set of organs, guitars, and harmonicas. “I’m bleeding on my knuckles again, fighting in a fight I can’t win, broken teeth and broken nose again,” he sings in an engrossing chorus, detailing how it truly feels to be at the “bottom of a bottle” in life. Concluding one of the best songs Votolato has written in his career, he pleads one final question. “Will you help me find my way back home?” Clearly, Votolato’s ability as a songwriter makes it much too difficult to refuse.

While “Lilly White” is notably the most preferable song on The Brag & Cuss, other highlights like heart-tugging “Postcard From Kentucky” opens with a country cliche, even if it retains enjoyability as the song eventually progresses into a touching version of a love-hate relationship. “Jack Daniels in one hand, basic light in the other,” Votolato muses on loneliness, preferring clearly to hold someone’s else’s hand over a bottle of Jack, even if it is renders unrealistic. “My two best friends for so long that I can’t even remember.” Always fond of being the one to ask romanticized questions, Votolato implores on “Whiskey Straight”, tackling fear and self-doubt head on with an emotionally quivering, “why do you keep running?”. While the song is a traditionally acoustic ballad underlied by slight keys, Votolato’s warm and embraceable voice makes it sound more involved than it truly is, displaying true sings of a songwriter who allows his witted emotions to flow freely through each and every song. While The Brag & Cuss contains some songs like “The Old Holland” that sound too comparable to stronger tracks earlier in the album, The Brag & Cuss is the most capable album from Votolato yet. As he prepares to improve with each release, one can only imagine the great heights where Votolato will be in several years.

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Rocky Votolato – Lilly White

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Rocky Votolato – Postcard From Kentucky

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Rocky Votolato – Whiskey Straight

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Classifying the ever-elusive musical duo, Thailand, may prove to be more difficult than the band intended. Sure, they are create some of the catchiest melodies of the year in very simplistic three-minute-song fashion, but their incorporation of several styles appear to be quite distinct and intuitive. The two components of Thailand, Marc Linquist and Staci Roark, both clearly have a fondness for the influential songwriters of the 70s who most of us will never tire of. This would include Bowie, Eno, and Roxy Music; that lovable sort. Mixing together such a 70s songcraft appears to be flawlessly integrative for the band’s sound, as they also provide great consideration for danceable hits of the 80s by incorporating a variety of synth sounds, whether it be atmospheric pads or fast-paced snippets. Synth-pop, rock, punk, and even blues are present styles, clumping Thailand into an enjoyably limited category of artists who have the capacity to involve several genres without the range causing a substantial clutter.

Though the band is based in Los Angeles, chief songwriter Marc Linquist was raised in Florida by his father, Allen Lynn, a solo lounge musician. After being schooled on the rights and wrongs of songwriting by his father and setting out on his own, he met fellow musician Staci Roark in Tennessee. The duo began to write songs together, moving to London and then to Kentucky, with their final bearings finally ending in Los Angeles. Regarding their namesake, it appears that the development process for Thailand has been slowly building up during the time that Linquist and Roark have worked together, taking in a variety of different environments as their songwriting’s characteristics have increased in quality and experience. Recalling that Bowie influence, Linquist has vocals that sound strikingly close to the ageless Mr. Stardust, giving Thailand’s sound an aggressive swagger with a touch of throwback glam. The resemblance can be heard on most of the band’s songs on their debut full-length, Motorcade, though songs like “Come On, Tiger” and “Bergerac” are so distinct that even the most dedicated of Bowie fans might mistake the voice for a second or so. Self-released by the band this year, Motorcade has proven to be quite the experience.

When I first listened to the first song on Motorcade, a sense of odd excitement overcame me. At the time, I was honestly not aware why. I mean, I had never even heard of the band before and I had too little information on them to even form a biased opinion. Distinctively, it was their mixture of different styles. Thailand clearly struck my weak point by making such irresistible songs that were reliant on devastating hooks built by layers of excellently implemented synths, convivial glam guitar, and a set of vocals that would make fans of Bowie, Bryan Ferry, and Lawrence Hayward squirm with delight. One of the album’s most successful songs, “Ocean of Fire”, will likely draw comparisons to bands like Interpol, though both Interpol and Thailand are borrowing the same influences, making contemporary comparisons quite obsolete. With a thick fade-in introduction that recalls Felt and The Chameleons UK, some high-pitched synths eventually weave their way into this stylistic song, one that eventually explodes into an emotional burst of instrumentation as Linquist further shows his fittingly stylistic vocal murmurs.

The majority of the songs on Motorcade are dominated by successive guitar riffs and synths, with a driving bass line and rhythm section buried under the chaotic layers of melodically dominant tracks. As far as the synths and guitars go, the incorporation is split down the middle, with both instrumental aspects playing a vital and unique role. With most tracks, the band introduces a guitar riff or two which is later accompanied by stellar synth. A rare exception is one of the better tracks on the album, “Valley Vista”. Kicked off by a soothing synth pad, a boisterous succession of guitars enter the picture shortly thereafter. True, it may sound like Interpol with synths to most listeners though more educated comparisons should go to artists like Roxy Music and Bowie, who developed such a taste before the enduring NYC post-punkers were even born. “Don’t come over ’til you’re overjoyed,” Linquist deeply mumbles over the dominantly catchy gem, “don’t give me none of that angry noise.” Indeed, “angry noise” is an accurate way to describe most music these days, though Thailand can only grin at the fact. Linquist and Roark seem content and at home in their own stylistic world of synths and guitars. They should too, as Motorcade is a remarkably enjoyable album; one of the most fulfilling debuts of the year.

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Thailand – Ocean of Fire

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Thailand – Valley Vista

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Thailand – Come On, Tiger

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The oddly titled 00 The Rabbit (Double Zero: The Rabbit) is the musical project of Russell Brooks, a native of Morgantown, Kentucky who was formerly the guitarist and singer for Cheap Fireworks. Even in the sense that his musical style is typically alternative pop, his variation in song structures and DIY production style provides for a fresh and innovative sound. While Brooks wrote all the songs on his debut album Boom Ching on his own, he enlisted the help of a few friends. On several tracks, Brad Annis plays drums, Ryan Doughty plays trombone and trumpet, and Cole Porter, Shawn Coots, and Adam Williams lend their guitar playing. Brooks is a skilled multi-instrumentalist himself but the collaborative efforts from the five additional musicians provide for a sound that feels more well-rounded and less effortless. The production, as I said, is done with DIY in mind. All songs were recorded in a lo-fi studio on a computer, though the presentation in most songs stand to be very presentable. Brooks admits that the production is far from perfect due to the use of several inexpensive microphones and studio equipment, though the sound quality is certainly generous enough to provide a great sense of enjoyment. Talented and original artists in the vain of Brooks usually only need mediocre sound quality at best to gain a receptive fanbase anyways. Usually, debut albums struggle with repetition in mind, as many tracks repeat themselves in form of structure, production, and general feel. Boom Ching avoids that generalization completely, offering twelve tracks that vary dramatically from each other, with each demonstrating a whole new sense of enjoyment.

This variation is most recognizable in “Headphones On”, a track with an electronic edge that borders the tastes of Junior Boys. Working around various samples (mainly grunts adding to the rhythm) and Brad Annis’ reverbed percussion, Brooks creates another world with this very dark track that relays it’s own purpose off of Brooks’ fitting vocals, fitting somewhere between Justin Timberlake (eh?) and Jeremy Greenspan. Don’t be thrown off by the Timberlake comparison, it’s just an example of a certain voice that sounds well over the dark ambient effects of electronica. “Filling in the Blanks” is one of the most expansive tracks on the album, with percussion work by Brad Annis complemented by Ryan Doughty on trombone and trumpet, truly giving the track a feeling of constructive isolation from the rest of the album, for which the majority is a one-man band consisting of Brooks (besides the explosive opener “Monster (Boom Ching)”, which uses the same collaborators). Brooks’ repetitious guitar riffs are noticeable under the midst of his own collaborators in “Filling in the Blanks”, though his quivering vocals tend to have the right touch in mind. Doughty’s trumpet additions after each chorus is certainly memorable, as are the backing vocals supplied by Brooks and his friends during each bridge. The song appears to be a different version than the one on his site, so it may be that this is an early version. It could be final as well. After some straightforwardly enjoyable acoustic songs, Brooks surprised me with the creative “6 Feet Under”. The gritty track is a dramatic shift from his usual alternative sound, this time dwelling on gritty blues, funk, and hip-hop. If anything, the production is surprisingly enjoyable. With his limited resources, he created a song that is both catchy and creatively tactful during it’s short but memorable two minutes. These three tracks offer something different in each of them, whether it’s dark electronica, straightforward alternative pop with touches of brass, or gritty funk. Such is the case with Boom Ching, a debut album whose cleverness and ambition exceeds it’s own flaws. Though Boom Ching was released last year, Brooks is already planning to release his sophomore album later this year, an album that he describes as “much cleaner”. You can purchase Boom Ching on iTunes.

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00 The Rabbit – Headphones On

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00 The Rabbit – Filling in the Blanks

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00 The Rabbit – 6 Feet Under

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The amount of time it takes to record an album varies dramatically from artist to artist. Some are like Ryan Adams, sometimes releasing several albums per year. Others tend to be more in the mold of a Scott Walker, releasing one new album about once every ten years. Whether or not the time involved can define a perfectionist, it just goes to further emphasize that every artist has a different way of creating their own songs. As far as releases between albums go, Ideal Free Distribution tends to be taking after the Scott Walker route, an artist they ironically list as one of their primary influences. Their self-titled debut album, Ideal Free Distribution, is finally being released ten years after the band formed in 1997. Originally a mere trio, the Kentucky-based group has evolved into seven consistent members. Their story is a very simple one of determination and hard work. The original trio consisted of Eric Griffy, Tony Miller, and Craig Morris, three friends who were all fans of 60s pop and psychedelia. They all decided to take after The Beatles (like most bands do) and record on a basic four-track to get things started. In Griffy’s bedroom, the three wrote dozens of promising songs, eventually performing them for several audiences in their hometown of Benton, Kentucky. The three described half of the songs as brilliant and the other half as absolutely horrible, which if accurate, is still better than most active contemporary artists. The band depicts the following years as a period of song solidification, with the three primary songwriters drastically improving the solid songs and abandoning the lackluster ones. In 2003, they finally started to consider their debut album’s final track listing. They also added four musicians to the mix, being Joe Drury and guitar, Mike Grote on drums, Marci Schneider on mellotron and castanets, Shelly Morris on vocals and percussion, and Samantha Herald on accessory percussion and vocals. Their big break came when Robert Schneider (of The Apples in Stereo) stumbled upon Ideal Free Distribution’s demos and fell in love with them. That does make perfect sense, as both artists seem to have very similar influences, being particulary fans of past decades and musical movements, from psychedelia to British invasion. Schneider helped the band get signed to Happy Happy Birthday To Me Records, a rising label in Georgia. In addition to his promotional help and playing live with the band (as seen in the photo above), Schneider mixed and pre-mastered the album with Jason Nesmith. It sure helps to have friends in the industry.

Schneider’s love for Ideal Free Distribution is certainly understood. It’s actually quite easy to fall in love, as the influences stem from the bands that people stereotypically are forbidden to dislike. Whether it’s The Beatles, The Zombies, or The Byrds, the influences that Ideal Free Distribution borrow are as clear as day. Mixing together a variety of psychedelia, folk, and traditional 60s British pop, their debut album is an easy listener. To gain full enjoyment of the album, full attention isn’t even required, which in some cases is just the right medicine for a rough day. The melodies sung by Tony Miller are rich and colorful, filled with soothing variability added by a calmative tone. “Apples and Oranges” serves as a musical tranquilizer, taking the listener through some vividly chromatic musical time machine. The beginning is led by a few organ-like keys and a steady bass line, later complemented by a few solo acoustic strums before a bridge of building percussion. Miller’s vocals are eerily reminiscent of Rod Argent’s, fitting unsurprisingly well with Ideal Free Distribution’s droning style. The chorus is pure psychedelia, as Miller stretches out the “A” in “US of A” for the majority of it. The result, as simplistic and predictable as it sounds, turns out to be extremely enjoyable. “Saturday Night” is certainly more driven and aggressive. If Ideal Free Distribution turns into some full-fledged psychedelic band in their latter careers, this will be the type of song that defines their “early career”. With a few guitar licks and solos guiding the way, Miller’s delivery is more straightforward and pop-oriented than usual until a series of keys and a complementary guitar solo make for a memorable bridge. The keys are of a similar nature to that of “Apples and Oranges”, with the organ aspect recalling that distinct psychedelic nature. You can check out the music video for “New Madrid, 1811” by clicking here. It’s another enjoyable song that focuses on Miller’s vocal “whoo”s and “bop”s over repeated guitar distortion and more alluring keys. Other highlights on the album include “Someone’s Gonna Die” and “Mr. Wilson”, which is most likely a tribute to one of their heroes, Brian Wilson. Ideal Free Distribution was released last Tuesday and I recommend it to any fans of British pyschedelia or rock in the 60s or 70s. While their originality is nothing more than a throwback, their songwriting certainly stresses an impressive amount of natural skill.

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Ideal Free Distribution – Apples and Oranges

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Ideal Free Distribution – Saturday Drive

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Ideal Free Distribution – New Madrid, 1811

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10. Jarvis Cocker – Jarvis

The definition of the word “witty” is generally defined as one who combines clever conception and facetious expression, though if you would like an enjoyable example, I would suggest listening to most songs by Pulp. Indeed, “witty” is one of the many complementary adjectives that could be used to describe Jarvis Cocker and Pulp. Ever since Cocker formed the band at the tender age of 15, the public has had eyes and ears focused on Cocker, their oddly enjoyable frontman. After some amateur but promising albums in the 80s, they propelled in the 90s as a huge success with such classic albums as Different Class and His ‘n’ Hers. In fact, they were my favorite band of the 90s. Now at the wiser age of 43, Cocker has released his first solo album with the simple title of Jarvis. While those few who disliked Pulp will probably feel the same concerning Cocker, Pulp fans and admirers of well constructed pop music should find Jarvis particulary pleasing. Cocker’s lyrical wit is still present, especially in the productive ‘Big Julie’, in which Cocker describes the perilous ordeals of an overweight girl in a superficial suburban society, only finding enjoyment in life by listening to the great joy that is music. Cocker’s descriptive lyricism manages to be hilarious, somewhat perverted, and emotionally touching all at once. In ‘Big Julie’, he motions momentum by exclaiming that Julie “knows sex is just for dummies anway, something you do when you’ve run out of things to say”, before a fury of strings build up an emotional closing. Cocker successfuly engages us in the troubled mind of someone half his age, something that other artists have often trouble doing. The diversity of Jarvis is also impressive, with the dark strings and soft vocals in ‘Disney Time’ reflecting on the loss of childhood innocence, while the rougher and more frantic pieces like ‘Tonite’ and the silly fun in ‘Fat Children’ do the album a great deal of excitement for those who prefer not to tread in melancholy. Though I was displeased at Pulp’s inactivity for the past five years, Cocker’s emergance as a solo artist is very gratifying in the grand scheme of things.

Jarvis Cocker – Big Julie

Jarvis Cocker – Disney Time

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09. Some By Sea – On Fire! (Igloo)

It’s a shame that Some By Sea will never gain much recognition outside of their native Washington. Now that the band has announced that they are no more, it means that On Fire! (Igloo) is their ode farewell. With that in mind, it’s at least a fantastic way to go out. Compared to the other artists on this list, Some By Sea is arguably the least publicized. I could take the easy route and blame whoever was their publicist, but truly I think it lied in the length of their songs. Not often do you find electric folk artists creating songs that, on average, reach over six minutes in length for each and every track on the album. That would equate to a lack of commercial radio outside of colleges in Washington, with most looking for easily accessible three-minute pop songs. Lead songwriter and singer Chris DuBray certainly has the musicianship to create memorable songs of this length, though the album is certainly not recommended to impatient listeners who take songwriting for granted on first listen. Those who are patient will almost certainly be rewarded with Some By Sea’s musical grasp, with cellos, horns, fiddles, keys, and harps being a few of the dozens of instruments that Some By Sea packages neatly in each song. ‘The Beginning Of The World Often Comes’ is a perfect example of the band’s collaborative talents, with a variation of strings leading the emotional track upwards in quality. As the song displays, their appreciation for classical music is no secret, as DuBray has the proper longetivity and passion throughout the entire album to guide even the rougher spots out of the doldrums. ‘Fables (Kentucky Social)’ is exclusively one of the accessible songs on the album, something they achieve without completely selling out. DuBray’s nasally voice gains fervor as the effective backing feminine vocals of Rachel Bowman harmonize well with her musical surroundings. Some By Sea’s larger than life songwriting ambitions may have been what tore the band apart but their fantastic music is still in tact, whether it remains undiscovered or not.

Some By Sea – The Beginning Of The World Often Comes

Some By Sea – Fables (Kentucky Social)

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08. Tokyo Jihen – Adult

Honestly, it takes quite a lot for a foreign album to place in my top ten for the year. I know that music is universal but I am one who finds lyrical comprehension to be an important aspect of a listening session. If I can’t understand them it takes a slight factor out of the decisionmaking on whether I enjoy it or not. That said, some foreign bands tend to grip you on catchy melodies and instrumental participation alone. Tokyo Jihen is one of those bands. Led by Shiina Ringo, who is genius in her own right, Tokyo Jihen is a collection of proficiently trained musicians who range in styles from blues and jazz to shibuya-kei and hip-hop. Ringo has been such a musical presence ever since being declared a musical prodigy in her teens. She is not only one of the best songwriters in Japan, but one of the most naturally gifted in the world. Those who speculate can take a look at her solo career, which always seems about ten years ahead of her time. The variation on Tokyo Jihen’s second album Adult is astonishing, with the subtle classical guitar in ‘Keshou Naoshi’ serving as example of Ringo’s natural ear for musical consistency. The backing band works incredibly well together, live and in the studio. This can be heard throughout, as most songs sound as if they were crafted by a perfectionist, giving indication for great production. Whether it’s the R&B influences in the catchy ‘Blackout’ or the intensifying blues combination in ‘Himitsu’, Ringo’s Tokyo Jihen has put together an extremely impressive selection of eleven original songs.

Tokyo Jihen – Blackout

Tokyo Jihen – Himitsu

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07. Junior Boys – So This Is Goodbye

Jeremy Greenspan and Matt Didemus both were issued large expectations for the Junior Boys’ second abum, So This Is Goodbye. The duo avoided the infamous sophomore slump with a lack of modification. Why fix something that isn’t broken? While the electronic style of some songs such as excessive trance influence in ‘Like A Child’ or the synthetic effects used in ‘FM’ are new in comparison to the acclaimed Last Exit, the new album exists in a similar world in terms of production and musical usage. Greenspan still has the slick vocals that execute perfectly with the late-night electronic sounds that Junior Boys are reputable for, with actual vocal improvement concerning the harmonics and melodical figuration in songs where Greenspan is most reliant, such as the restful cover of Frank Sinatra’s ‘When No One Cares’. So This Is Goodbye is more frantic than the debut, partly in thanks to the lively percussion, whether it be programmed claps or a robotic reverb. That is not to say the songs are particulary energetic, as the song has the mindset of a relaxing Sunday. Those who let the album take over an open mind will find it most enjoyable, unlike those who attempt to analyze every electronic component. ‘In The Morning’ and ‘First Time’ are both representitive of the surprising hooks that Junior Boys are known to create, with mastered ease and abruptly rewarding choruses that cause even the toughest critics to grin with satisfaction.

Junior Boys – In The Morning

Junior Boys – First Time

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06. Islands – Return to the Sea

Formed from the ruins of The Unicorns, Nick Diamonds and J’aime Tambeur brought the same type of musical delight to their new project, Islands’ debut Return to the Sea. While The Unicorns were lovingly aspirant in traditionally lo-fi fashion, Islands tends to be more mature and self-conscious of their surroundings. Diamonds has always shown clear aspirations in his creative touch, from The Unicorns’ unique blend of lo-fi indie pop to the rap-pop-electrohop of Th’ Corn Gangg, with Tambeur at his side for each project. Unlike old Unicorns favorites like the simplistic ‘The Clap’ or ‘Jellybones’, the leap in songwriting skill is recognizable right off the bat in Return to the Sea. The nine-minute opener, ‘Swans (Life After Death)’ teases us with a hook right after the two-minute mark before jumping back into the usual verse. With The Unicorns, one would expect the usual verse-chorus/hook-verse-chorus, but Islands tends to have a different philosophy. That hook is not used once again in the song, instead Islands capitalizes on the song’s flow and uses it to craft a series of brand new hooks, mainly evident during the distorted guitar outburst in the last three minutes. The song presents a great first impression, though all other songs on the album are of a different, more traditional nature. I mentioned in July that ‘Volcanoes’ was my favorite track of the year and that has not changed. Indeed, ‘Volcanoes’ is my favorite song of 2006. What establishes this song as a marvel is the fact that it is merely a building point for about four minutes. The third time that the chorus comes around, Islands utilizes already familiar chord changes and adds several layers of strings and keys on top of the chorus to present an explosion of sorts. The structure acts like a volcano itself, slowly showing signs of an eruption until the apparent burst. Other sensations range from the tropical ‘Jogging Gorgeous Summer’ to the light synth glaze of ‘If’. Though Tambeur has left the band, Islands has planned to carry on as usual without him. This is certainly good news, considering the band’s already evident amount of potential.

Islands – Volcanoes

Islands – Swans (Life After Death)

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05. Scott Walker – The Drift

It seems that anything Scott Walker touches, I fall in love with. From his brilliant 60s cover albums to his contemporary ambient works of art, I have enjoyed every morsel of Walker’s historically ambiguous career. It’s interesting to see the reaction of my friends when I play Scott Walker’s Tilt or The Drift. They are either stunned or completely disgusted, remarking that they could make the same type of noise by croaking and smashing pans together. While it is true that not all can embrace Walker’s unique idealization of sound, those who can have discovered that The Drift is much more than a common album. Walker’s booming vocals have not lost a touch at all since his days with the Walker Brothers, though this time instead of singing coherent popular songs on black and white television sets, he is crooning in what appears to be the darkness of his own residence. His vocals sense a rush of sadness on the verge of tears, all while propelling anger towards all his vaguely presented characters. In ‘Jesse’, Walker sounds disturbingly personal over a series of direct strings, as he asks a musical shadow, “Jesse, are you listening?”. You can almost feel Walker breathing down your neck in moments of vocal intensity like this, as disturbing as that sounds. That would make sense though, as disturbing would be one way to describe Walker’s nature. At this point, Walker claims that he just improvises every bit of each song, which is not surprising considering he has been in the industry for about fifty years. The Drift is one of the only albums that I have heard that is entirely unpredictable. Walker creeps out of the darkness with several surprises, such as the infamous “Donald Duck” vocal maneuvering in ‘The Escape’. I won’t spoil which part of the song that it appears at, though if you want to jump in your chair and you have not heard it before, I suggest playing the song at full volume. Whether the chills on my spine are due to the thought of Walker’s amazing career or The Drift itself is up in the air, but whatever it is, Walker has proved himself to be one of the most visionary songwriters of all time with his second masterpiece in a row.

Scott Walker – Jesse

Scott Walker – The Escape

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04. Sunset Rubdown – Shut Up I Am Dreaming

Spencer Krug just seems invincible these days. Wolf Parade, Frog Eyes, Swan Lake, AND Sunset Rubdown? Wow. Someone sure knows how to pick ’em. Though collaborators are involved, Sunset Rubdown is largely considered Krug’s first solo project, which is evident by the meandering production of Shut Up I Am Dreaming. Predictably, the songs aren’t that far off from the quality of Wolf Parade. Krug uses his multi-instrumental ability to play a variety of keys, harmonicas, xylophones, guitars, and compressed drums to create an album that in the end focuses on Krug’s talented ear for melody. His signature vocals now seem common in the Canadian indie scene, with murmuring and yelping being main components in matching with each song’s unique formula. ‘They Took a Vote and Said No’ is the most accessible song on the album, working around Krug’s vocal harmonization with the keys and beyond. His lyrical instincts are particulary interesting, posing questions such as, “I’ve heard of creatures who eat their babies, I wonder if they stop to think about the taste” in the rather mellow ‘Us Ones in Between’. When the music gets all too familiar, Krug always seems there to offer some sort of lyrical line that either makes you grin or scratch your head. The brightest moment on Shut Up I Am Dreaming comes in ‘The Men Are Called Horseman There’. The seven minute epic is of outstanding nature, being one of the best songs that Krug has ever written. His yelps of emotion almost echo back, “If I were the horse, I would throw up the reigns, if I was you,” taking a slight pause as the chorus reverb gathers itself, “but I am no horse and you are no angel”. The song is deliberately poking fun at those who are intimidated by anything foreign and new to them, doing so in an effectively creative stance. Krug is one of the most active songwriters at the moment, also undoubtly one of the most talented.

Sunset Rubdown – The Men Are Called Horseman There

Sunset Rubdown – They Took a Vote and Said No

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03. The Veils – Nux Vomica

The Veils’ fascinating debut The Runaway Found showed a band with a a collection of talented musicians, the promising voice of Finn Andrews and an organically unique sound. The debut displayed something incredibly promising, though it was confidence that the band lacked to break through to the elite. One would have hoped that The Veils’ second album would bring more success and live up to the promises that the band foreshadowed in The Runaway Found. After all, frontman Finn Andrews has been considered a “child prodigy” of music, ever since Columbia Records offered him a record deal at the age of fifteen. Oh, did I mention that his father is Barry Andrews of the great XTC? Of course, Finn’s childhood must have been filled with pressures of society that caused him to drop out of school at the age of sixteen to pursue his musical career. When The Veils formed two years later, they had no clue what sound to pursue. Switching back and forth between alternative, glam, folk and even New Orleans-inspired blues brought them to one final conclusion: play whatever comes naturally. Nux Vomica is the type of album that bystanders have been expecting from Andrews for years. While only ten songs long, there is not one weak track on the album. ‘Calliope!’ demonstrates a wider expansion of their sound, with Andrews’ influence of Bob Dylan present, as his quivering vocals are devastatingly effective throughout the song’s common message of motivation, with a waivering, “you’ve come such a long way, with no one to comfort you to tell you you’re needed” being the glue of the chorus and the song. The sparkling keys of ‘Advice For Young Mothers To Be’ even touches on a bit of reggae, though Andrews still manages to maintain his studious vocals in perfect fashion. Andrews’ vocals are most certainly more welcoming than in The Runaway Found, though there will always be those who dislike his unique style. The album’s ballad, ‘Under The Folding Branches’ is particulary touching as well, with a melody that is one of the most beautiful I’ve heard all year. Nux Vomica is exciting, heartbreaking, original, and… well, you get the point. It’s most certainly worth your time.

The Veils – Advice For Young Mothers To Be

The Veils – Calliope!

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02. The Divine Comedy – Victory for the Comic Muse

I have been praising Neil Hannon and The Divine Comedy all year long, so I don’t expect any of you to be taking this to a state of shock. I consider Victory for the Comic Muse to be Hannon’s strongest album in ten years, bringing a bit of everything to the table. Humor, depression, satire, and artistic appreciation are all present in the album, each separated by song. In simpler terms, it is easy to listen to Victory for the Comic Muse in any type of mood. Hannon’s powerful vocals have always shown shades of prominent frontmen like Morrissey and Scott Walker and while it is not an insult at all, Hannon has taken his vocal delivery to a different level for Victory for the Comic Muse, sounding the least linear he has in his career. The hilarious ‘To Die a Virgin’ is sung with a grin on his face and vocal flamboyancy present, recalling Hannon’s previous ‘Generation Sex’. Like Jarvis Cocker, Hannon has always been intrigued by the topic of sexuality, half-mocking society’s infatuation with the subject. The song remains true to heart though and some may even feel some sympathy for Hannon, though we can be rest assured that the song couldn’t possibly be written from his point of view. Could it? ‘Diva Lady’ is another humorous gem, this time poking fun at the celebrities who treat materialism like their own flesh and blood. “”She’s got thirty people in her entourage,” Hannon snickers, “just in case her ego needs a quick massage”. ‘Diva Lady’ also contains the line: “She’s got special needs, she wants chocolate candies, but no blue ones please”, which is an oblivious reference to Van Halen’s antics (refusal to eat brown M&Ms). Such wit often comes overrused in music, but Hannon makes it fit into each and every song with ease. Hannon’s shining moment comes in the touching ‘A Lady of a Certain Age’, where Hannon chronicles the life of a lonely widow with a husband who left her and kids who are gone and do not care for her. The setting of a dark and misty pub is relevant, as Hannon’s beautifully arranged melody is perfectly complementary to the vivid image of an old woman sitting in a pub telling her life’s story for a shot or two. The mixture of acoustics and strings do great justice to the troubling emotion conveyed, as Hannon is at his best in the entire album.
The Divine Comedy – A Lady of a Certain Age

The Divine Comedy – To Die a Virgin

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01. Xiu Xiu – The Air Force

Whether it’s the innovatively love-obsessed poetic touch that Jamie Stewart formulates into each and every song, or the eclectic instrumental fury that is touched upon in each and every musical layer, Xiu Xiu’s The Air Force is my album of the year. There is a feeling of wholeness whenever I listen to The Air Force, an album that I have been playing for the past seven months and have yet to grow tired of. This is the most diverse collection of songs I’ve heard this year, with the catchiness of ‘Save Me Save Me’ and ‘Boy Soprano’ in comparison with the edgy experimental touches of ‘Wig Master’ and ‘Buzz Saw’ are beyond me, but I do know that the album manages to flow cohesively despite the wide diversity. This time around, Stewart discusses the topics of bondage, rape, unrequited love, shielded homosexuality, racism, and various other unappealing topics. As disturbing as it may occasionally be, Stewart captures such emotion even in the barest of songs. ‘Wig Master’ is the best closer Xiu Xiu has done based on lyrical effect alone. There is nothing more than shrieking ambience in the background, but honest and sympathetic lines such as “Loneliness isn’t being alone, it’s when someone loves you and you don’t have it in you to love them back”, which details the rants of a madman envisioning an actual “night out” with someone to accompany him, is designed to offer a new perspective on loneliness and how other pathetic puppet musicians portray the feeling.

‘Save Me Save Me’ is a simple pop song, even disguised under all the complex strings and cleverly executed percussion. The shrieking chorus is played to remain stuck in your head for quite some time, forced or not. Along with ‘Vulture Piano’ and ‘Boy Soprano’, it is the one of the only tracks on the album with a predictable structure. The predictability comes at a right time for these songs though, as even Stewart recognizes when a break from the morbid is necessary. The musical verse in the intro of ‘Bishop, CA’ lasts throughout the entire song, even unknowingly as dozens of instruments and synth pile themselves on until a counted “walla-walla-hey” signals a furious onset of percussion and buzz effects, followed by some sort of odd extraterrestrial sobbing. It is these sound effects that are somehow planted masterfully into each and every song that is another impressive aspect concering Xiu Xiu’s credentials. ‘Hello From Eau Claire’ is the only innocent sounding song on the album, mainly because it is sung by the charismatic vocals of Caralee McElroy, though the lyrical content vaguely portrays a woman who is in an abusively controlling relationship. As Xiu Xiu continues to expose societal flaws in the most unpredictable ways, it seems that both poetic license and skilled musicianship are only two components of many ideas at play. Xiu Xiu has accomplished their greatest album yet, with a trend that just keeps getting better.

Xiu Xiu – Save Me Save Me

Xiu Xiu – Bishop, CA

Xiu Xiu – Boy Soprano

Xiu Xiu – Vulture Piano

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Though Petticoat, Petticoat are originally from one of the few largely populated cities in Kentucky (Lexington), the band somehow manages to create the dramatic small town feel that has been seeing success in the folk genre for years. “The city that I live in is the city I was born in,” proclaims Dickie Haydon in Petticoat, Petticoat’s ‘China Plate’. Their band name is surprisingly fitting, being almost hidden as one of the least publicized bands to come out of the recently active Lexington music scene (locals include The Apparations and Parlour Boys). Petticoat, Petticoat are also an addition to the handful of “couples” bands, where either a wife/husband or boyfriend/girlfriend duo are at the front of the band. The Rosebuds and Mates Of State seem to do fine with the idea, so how about Petticoat, Petticoat? Just as good. Dickie Haydon and lush vocalist Kristin Messina carry their lyrical approach far, demonstrating additional musical chemistry in heartwarming duets such as the catchy ‘White Love’. Petticoat, Petticoat are releasing their debut album, Every Mother’s Child.

Their small town approach is also prominently visible in ‘We’re Gonna Be Poor’, with Haydon beginning the song with a type dialogue in an exaggerated Southern slur. Messina’s voice seems to be pleasing in every song on Every Mother’s Child, along with the fact that she’s pleasing to the eyes. Even the change in styles, such as the aggressive hard-nosed rock in ‘White Love’, have a certain calm demeanor to them. Messina seems to have a variety of comparisons in hand, from Stevie Nicks to Neko Case. Her grasp on vocal melody and harmony is done very well, with catchy and odeful songs of interesting hometown topics. There is certainly a blues influence on several tracks, with quick solos in a blues progression acting as the precursor to the chorus in many songs, tipping their hat to classic folk artists. Every Mother’s Child is another pleasing debut with a band who is a good demonstration of personal and mental chemistry. I’m hoping Haydon and Messina stay together for some time, as many of their songs are great fun.

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Petticoat, Petticoat – White Love

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Petticoat, Petticoat – We’re Gonna Be Poor

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Petticoat, Petticoat – China Plate

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Will Oldham has collaborated with a large group of other musicians, such as Johnny Cash, PJ Harvey, David Pajo, and David Berman (Silver Jews). Ironically, Oldham and Berman have more things in common besides their folky musical style. Both are very talented and artistic in more ways than one. Berman is also a reputable cartoonist and poet, while Oldham was originally a rising actor and photographer, as he photographed the cover to Slint’s album Spiderland, which also happened to be his first of many musically related credits. Oldham went under a handful of aliases since his musical debut in 1992, whether it be Palace, Palace Songs, or just his plain old name. He seems to enjoy the alias Bonnie “Prince” Billy though, as he has stuck with it for several years now. Oldham seems to consistantly release at least one album every year, and this year will not be an exception when The Letting Go releases next month.

Oldham’s sound throughout the years has remained generally untouched, though higher production and several more instruments have been added to the mix of things. While Oldham’s musical career started out with nothing much more than a simple acoustic guitar, he has evolved into a multi-instrumentalist over the years. ‘Cursed Sleep’ was one of my instant favorites off of the new album. Oldham has foolishly been labeled as country in the past by people without much comprehension, but the only thing that makes the label somewhat understandable is Oldham’s natural Kentucky-bred vocals. ‘Cursed Sleep’ is accompanied by an initial light electric guitar, as strings eventually glide in gracefully over Oldham’s always thoughtful lyrics. My favorite part of ‘Strange Form Of Life’ has to be the backing female vocals. The mix between this and Oldham’s vocals are very refreshing, as they seem to echo one another, while lyrics reflect the hope of a man and of waiting for his love to find him in one big metaphor of “a dark room”. ‘Then The Letting Go’ reminds me slightly of his earlier career, with no percussion, even while the backing vocals act on their own to provide a sweet melody, though some backing vocal points sound a bit odd. The lyrics are extremely vivid, as Oldham reflects on the surprises of childhood. The album’s main theme lyrically seems to be of “letting go” of people and memories that will cause no good in the present. I’m finding The Letting Go to be an extreme grower, and I expect fans of Oldham to be ultimately pleased with the result.

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Bonnie “Prince” Billy – Cursed Sleep

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Bonnie “Prince” Billy – Strange Form Of Life

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Bonnie “Prince” Billy – Then The Letting Go

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Official Web Site

BUY

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