The importance of a first impression is something that has been stressed since humanity’s inception, with philosophers as early as Socrates noting its role in developing biases. Subsequent eras such as the Tudor period, Enlightenment, and others focused on the importance of social class emphasized the importance in keeping with appearances. This prompted a development of high culture that tended to rely on class distinctions instead of one’s origin or set of beliefs. First impressions were encouraged as a means to maintain this specific class, as the elite class tended to classify themselves not according to ideologies but instead more material things. An instance would be how salon culture during the Enlightenment practically mocked the importance of philosophers, as the upper class invited these prominent thinkers not to converse with them but rather to show off their capability in attaining them for leisure. This all relates to the importance of a first impression, as a system without hierarchy would have no need for such superficial requests. Our contemporary society remains similarly superficial, but its difference now is in how technology has made us become accustomed to instantaneous automation, leaving little room for individuals to reason beyond their first impression when discovering something new.

With this, the difficulty for an artist to differentiate their work becomes even more apparent. You can listen to hundreds of artists on this site and others, so how much time does an artist truly have to grab your attention before you move on? We now have such a broad output of available information and media that becoming more specific in our tastes is merely to be expected. But honestly, are we demanding accessibility over intricacy as a result? I hold the belief that the majority of art requires time and patience to truly appreciate, and I could not tell you how many classic albums I could have missed out on if I turned it off after the first listen. When we look at the most successful independent artists of the past decade, names like The Strokes, Arcade Fire, TV on the Radio, and Animal Collective come to mind. On the surface their styles do not possess many similarities, but they are all synonymous in creating stylistically distinctive material that packs just the right amount of accessibility to hook the listener and lure them in. Their mastery of their genres is led by the recognition of their audience, wisely seeing that their attention span in regard to new music is severely limited due to the rampant automation within our culture.

Their great songwriting and level of performance is likely enough to propel the Minnesota-based Total Babe to soaring heights. But what really alerts me about their potential is that Total Babe’s accessible frame of mind correlates with this decade’s biggest indie-rock successes in infusing innovation and accessibility. Gentle acoustic strums and hazy keys comprise the majority of this trio’s sound, establishing a breezy type of indie-pop that clashes with the grittiness of early ’90s alternative-rock to produce what sounds like a mix of lighthearted exuberance and tested experience. What brings much of this contemporary liking is Total Babe’s main vocalist, Clara Salyer. Her voice is a knockout force that maintains extreme ferocity throughout the six tracks on their debut EP, Heatwave. Think perhaps a more toned-down version of Neko Case or Karen O, as these vocalists also make extraordinary use of their femininely high-pitched vocal chords without resorting to the obnoxious twee-pop that many similar vocalists due undertake for its sheer ease. They are able to sound like a glowing angel at some points with a coo that demands affection, while also showing a transitional dependency to resort to yelps and screams in case the guitar amp is turned up a few notches. Salyer’s slurs and whispers make her delivery sound stream-of-conscious, which she uses to her advantage through invoking a sense of melodic wizardry that relies on word delivery and tone instead of its actual content.

The generally indistinguishable lyrical content could only exist in few genres while retaining success. Luckily, Total Babe’s lovely form of chamber-pop relies so much on sweeping arrangements and voracious hooks that Salyer’s incoherency actually adds some allure and mystery to the sound. Her most distinguishable phrases are often muttered in short bursts, varying from situations that are both cute and eerie. When she hums “oh me, oh my!” on “Short Stories”, it is hard not to succumb to the oh-so-cute vibe that the acoustics and subtle strings establish. The melody almost sounds like a medieval dance-about, with the ceaseless rush of alternating chords and accompanying strings providing excitement that most indie-rock rookies fail to even touch upon. “Bearbones” is more conventional in its indie-pop workings, introducing an array of twinkling organs over a basic acoustic guitar whose benefits are provided by Salyer’s reflective whimper. It is a sure winner though and I would be surprised if it is not their first single. Its main competition for that title is “Gary Coleman”, another strong effort lavished in delicate strings and strongly presented keyboard chords. The latter provide a sort of layer supplementation, making the area between acoustics and keyboard notes fuller and more satisfying. German readers may find that it sounds familiar, which is because it was featured in a German candy commercial. Tracks like these are indicative of Total Babe’s evident ability to produce top-notch indie-pop, finding a safe haven between chamber-pop and indie-rock to produce work that is strikingly memorable through its lavish hooks and outstanding vocal work.

RIYL: Field Music, Stereolab, Neko Case, Saint Etienne, Beth Orton, Pizzicato Five, The High Llamas

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Total Babe – Bearbones

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Total Babe – Short Stories

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Total Babe – Gary Coleman

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An appreciation for film is arguably the most common first step in uncovering and eventually admiring the arts. Contrary to the conventional uses of music, photography, or painting, children are exposed to both educational and entertaining films at an early age in order to maximize their general perception of morals, social interaction, and social norms. At this early age, art is hardly an afterthought. Guardians use film to make their children more socially aware, and mainly to safely occupy them without putting much effort forth. The same could be said for something like finger-painting or children’s music, but kid-centric films remain the norm in introducing children to media for the first time. The others do not have the capacity for upheld interest when the child is older. When they grow of age and begin to examine the audible and visual creations around them, film is naturally the first form of art that many gravitate towards. Complex intricacies involving camera angles, music theory, and color schemes are not found within the arts until further investigation regardless, but to capture an essence of childhood in-depth is perhaps more rewarding than an interest that peaked around one’s pre-teens, which is most often the case with music or painting. There are always exceptions, which are what most of us like to call prodigies, but there are few truly talented artists that undervalue the function of film, whether it is used to complement their music or paintings, or simply enjoyed as a hobby.

I have featured dozens of artists that got their start by scoring music for low-budget films; The Western States Motel, Camphor, and The Leisure Society are just a few that come to mind. Apart from producing stellar music, they share a common bond in the narrative appeal of their songs. All of their recent albums have been at least slightly conceptual, whether it was The Leisure Society’s fascination with occupied time or Camphor’s infatuation with wabi sabi (a Japanese conceptual belief that true greatness exists in the inconspicuous details of our world and true beauty can only be discovered in life’s imperfections). Neither of these thematic approaches relates to film, but as groups with experience in both film and songwriting they have an increased capacity to interweave various experiences to result in an enhanced narrative for their music. For filmmakers this could result in more effective sound design for their films. These artists have found the proper divide in differentiating and unifying the uses of audible and visual art, leading to results that are more frequently successful than those with a minimal externally artistic influence. Although their appreciation for film is only found through their name to the naked eye, Noah and the Whale possess the same narrative prowess that most songwriters seem to foolishly neglect.

Taking their name from Noah Baumbach’s excellent 2005 film The Squid and the Whale, Noah and the Whale profoundly express an appreciation for film’s ability to simulate dramatic real-life experiences into a comforting, occasionally humorous depiction. This is what Baumbach’s The Squid and the Whale did so gracefully, which is perhaps why the London-based quartet chose their name as an ode to its flawless approach. Their sophomore album, The First Days of Spring, also plays with a funny little thing we call human emotions in a way that relieves the heartbreak, loneliness, and general sullenness of a life without authentic fulfillment. This is also a common theme among the films of Wes Anderson, another filmmaker that Noah and the Whale have publicly displayed their adoration for. The four-piece has already caught the attention of Baumbach, so I would personally be shocked if these guys are not featured in a film by the end of next year. The First Days of Spring clarifies this sentiment entirely, as it plays like a feature film from beginning to end. It is almost like a soundtrack to one of the quirkiest, but also ardently effective, films of the year. That sounds like a film by Baumbach or Anderson to me. You can expect them to be proclaimed the next big thing when either of them features the group in a movie… it seems pretty imminent at this point.

The group’s debut, Peaceful, the World Lays Me Down, last year was undoubtedly impressive, but when listening to The First Days of Spring and looking back on it the debut seems like such a menial affair. This is such an expansive, mature release that it only vaguely resembles the group that put out one of last year’s more impressive debuts. The fascinating thing here is the album’s progression, shifting from barren folk tracks like “Our Window” to the cinematic orchestras in “Instrumental I” and “Love of an Orchestra” with precision. It does not sound forced nor desperate, but rather an example of how this is a group that clearly values conceptual themes. For a track like “Our Window”, lead vocalist and songwriter Charlie Fink puts on his best Matt Berninger impression by mumbling subtly brilliant lyrical progressions in a deep baritone that resonates with elegance over his evolving folk melodies. “I Have Nothing” and “My Broken Heart” are in the more single-worthy category with their soulful accessibility. The former is particularly reminiscent of the acoustical, pop-minded tracks of the group’s debut, recalling the melancholic practice of unfaithfulness as Fink pleads for his beloved to walk with him on “a new spring morning”. Rebirth, reconciliation, and rejection are all common occurrences in Fink’s work. “Come back to me, my darling,” he pleads. “I’d do anything to be at your side.”

“My Broken Heart” is perhaps the album’s shining moment, not wasting a moment over its five-minute span with a perfect mixture of guitars, strings, and a voice that is powerful enough to make anything sound convincing. “Broken hearts are a fickle thing and complicated too,” Fink sings. “I thought I believed in love but I’ve never seen it through.” After lamenting that he never married the girl he loved, he resorts to a technique that most songwriters in the indie-folk genre are reluctant to use: the power of optimism. “But I’ll be laughing again,” he sings before the emergence of a triumphant horn. The track picks up into an expansively rewarding evolution here, leaving room for the gracefulness of strings and eventually a guitar solo that wraps this gem up beautifully. This ingenious use of additional instrumentation, particularly the emergence of brass, is particularly reminiscent of Andrew Bird, another immensely gifted songwriter with a knack for narrative bliss. But comparisons are insulting for a band that has released something as memorable as The First Days of Spring. For as the name of this album entails, Noah and the Whale have experienced a rebirth in which their music resonates with a sense of emotional authenticity that is only believable from the mouths of children. But with music as heartfelt, genuine, and excitable as this, no one can doubt the progressive talent of Noah and the Whale.

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Noah and the Whale – My Broken Heart

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Noah and the Whale – I Have Nothing

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Noah and the Whale – Love of an Orchestra

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Urban legends and Hollywood productions certainly have a hand in molding the common perception of being in a band. Want a bowl of M&Ms in your room after the show, with all the brown ones removed? It’s on the way, sir. How about suggestively introducing some groupies to live seafood? Sounds fun. Between urban legends like these and the handful of pseudo-rockumentaries in the vein of Almost Famous, the romanticized concept of existing within a popular band has existed at least since the British invasion’s introductory use of rock ‘n’ roll stereotyping in the early ‘60s. Since that time, what these aspects of film often seem to overlook are the artistic obstacles involved in this creative process. They instead choose to focus on the overly grandiose lifestyles and unique personalities of the band members themselves, often showing artistic struggles as the result of drug addiction or non-commitment. After all, what is going to sell more: sex and drugs or watching an aging band attempt to write songs together? Commercialism tells us that it is the former, so it remains difficult to criticize these filmmakers for attempting to make the elements of existing within a popular band accessible and engaging. To deal with such expected fallacies though, looking at the reasons for the California-based Klum’s imminent success should enlighten many fans in regard to the inner-workings of a successful group more than any overly dramatized film or VH1 special.

When one looks back upon the most successful rock groups of the 20th century, it is distinctive that practically every group was based on collaborative quality. Led Zeppelin, The Beatles, and Pink Floyd all had some members that attracted the spotlight more than other members, but their mutual infusion of collaborative quality was a distinction that allowed their music to live without any major constraints that ended their careers as a group too abruptly. Many of these groups included members that could pick up nearly any instrument and start strumming away to perfection, indicative of their musical talent but also of their willingness to make communication between members as clearly as possible. Instrumental differences are a common detriment to a cumulative songwriting process, as the greatest songwriters tend to exhibit audible mastery of every instrument included in their work. Being a multi-instrumentalist or at least having a respectable grasp of a broad array of instruments makes working with others significantly easier, as their ideas can be extracted easily and fused with others to create something genuinely worthwhile. The six members in Klum are all multi-instrumentalists and it allows their songwriting to serve as a display of an extraordinarily impressive cumulative effort, reinforced by a mutual dedication to melodic astuteness and successful pop experimentation that each member demonstrates in their own unique way.

Klum’s second full-length album, We Carelessly Turned Amazingly Into Nothing, can show the band’s excellent chemistry just in the quality of the eleven songs alone, but experienced listeners will likely walk away more impressed by their ceaselessly unpredictable approach and tactful cohesiveness. Klum delivers the type of experimental pop music that hardly sounds experimental, an oddly exciting result that derives from infectious melodies, uplifting brass arrangements, and an unpredictable assortment of instrumentation and vocalists. As far as the classification of their genre goes, Klum and their efforts on We Carelessly Turned Amazingly Into Nothing are not restricted by any linear stylistic identity. “For Sale a New Life” plays like an amiable indie-pop charmer with its twinkling keys and ukulele accompaniment, while the fascinating “The Showmen” benefits from boisterous electric guitars, backing pub-like yelps, and concise brass arrangements. The former sounds like some spawn of Unicorns and The Leisure Society, while the latter finds distinctive comparisons to Elbow, British Sea Power, and art-rockers in the vein of Franz Ferdinand and Dogs. These comparisons alone suggest a vast difference in style on a track-by-track basis, which is true. But what must not go overlooked is Klum’s apparent ability to implement the stylistically diverse into a style that is honest, unique, and something that they can truly call their own.

While “For Sale a New Life” does a great job of showing off the band’s indie-pop leanings and “The Showmen” fulfills the task of successfully exposing Klum’s grittier, rock-oriented side, it is a few of the more interesting tracks on We Carelessly Turned Amazingly Into Nothing that really make it one of the most memorable debuts of the year thus far. The opening “Bashing for the Kids” plays with over-the-top guitar riffs and ardent vocal deliveries in a way that Black Kids would envy, indicative of Klum’s ability to bring out the expressively effective without appearing melodramatic. In fact, Klum seem free-spirited and fun most of the time, even during the somber chamber-pop balladry of “My Baby’s Just Stardust” and the twinkling build-up to the distorted angst of “Our Monster’s End.” Perhaps the biggest gem on the album though comes from “Nonbeliever”, an undeniably fist-pumping frenzy of a track that shows the group’s talents most prevalently. The various vocal melodies howl like wolves at the moon when the first verse is introduced, led astray over a catchy piano progression and a variety of samples that allow the song to be simultaneously haunting and infectious. The overlapping vocal harmonies of Brock Flores, Joe Fraley, and Aaron Arkenburg allow concurrent high-pitched and low-pitched vocals to supplement the brilliant intricacies of “Nonbeliever” as it flawlessly concludes the track. “Nonbeliever” should be all a listener needs to be convinced of Klum’s blatant ability, but the likes of “For Sale a New Life” and “The Showmen” also do a fine enough job. In fact, if I were forced to choose one track to represent this album, it would prove extraordinarily difficult. We Carelessly Turned Amazingly Into Nothing is too consistently memorable for such linear classifications.

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Klum – Nonbeliever

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Klum – For Sale a New Life

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Klum – The Showmen

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After I watched the commencement of spring training and witnessed the mid-point of my “spring” semester, springtime weather appeared imminent. D.C. did not really reinforce that sentiment by giving us a few inches of snow on the first day of March, but I am headed back up to New Jersey on Friday for what will be a week with minimal work and decent weather (hopefully). Spring break is nearly here and I plan to use it to my full advantage. I will be headed back up to NYC for good in the fall, transferring to a school in a city that is more comfortable and accessible to me. Also, not to knock on D.C., but I have always found the music scene much more fulfilling in NYC. Since I plan to keep Obscure Sound running for as long as I enjoy music and can afford it, the move should be beneficial in a variety of ways. Perhaps if I existed for a longer amount of time in the ’80s then my view of D.C. would be changed, but it just is not doing it for me right now.

This month’s compilation sees both familiar faces and first-timers, with a common theme of quality and stylistic innovation among them all. As usual, I try to strive for a diverse cast of featured artists, which makes me proud of this month. From the gospel-ish folk of Bruce Peninsula and chamber-pop of Brent Randall & His Pinecones to infectious electro-pop in the vein of Junior Boys and La Roux, there is plenty of balance here for fans of all genres. Also of note is Steve Kilbey and Marty Willson-Piper, two members of The Church who both released great solo albums within one month of each other. Enjoy the tunes.

01. The Leisure Society – Love’s Enormous Wings (post)
02. Cass McCombs – Twins (post)
03. Junior Boys – Sneak a Picture (post)
04. Brent Randall & His Pinecones – Strange Love (Don’t Be Lazy) (post)
05. Bruce Peninsula – Shutters (post)
06. Woodpigeon – Love in the Time of Hopscotch (post)
07. La Roux – Quicksand (post)
08. Fanfarlo – Ghosts (post)
09. Papercuts – Future Primitive (post)
10. Steve Kilbey – Wolfe (post)
11. Strand of Oaks – End in Flames (post)
12. Marty Willson-Piper – The Love You Never Had (post)
13. WhoMadeWho – The Plot (post)

DOWNLOAD ENTIRE COMPILATION>>> (62.6 MB, .RAR)

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The first group goes by the name of WhoMadeWho, a clever choice considering their broad array of influences. An initial listen will flaunt shades of ‘90s alternative-rock, specifically in a British context with groups like Blur and Supergrass serving as enjoyable constants. This is most prominent in their use of jangly guitars and the crisp delivery of both Jeppe Kjellberg’s and Tomas Hoffding, though this context certainly does not apply to every aspect of their sound. For the most part, their emphasis on more electro-influenced styles like funk, dance, and house is delivered more prominently. The result is an extremely modernistic sound that fuses the enjoyable aspects of ‘90s alt-rock with several accessible elements of contemporary indie-electronica. This description tends to place WhoMadeWho among similarly fused acts like Klaxons (whom they have toured with), though WhoMadeWho’s delivery is generally too polished to make this comparison entirely justifiable. For a stellar pop track like “The Plot”, the refined mannerisms emit more of a radio-friendly appeal than any form of angst or pettiness. As I previously mentioned, it is not WhoMadeWho’s intricacy or boldness that makes them memorable. It is the way in which they can craft a stellar pop hook using familiar influences of both the present and past, making that feeling of instantaneous captivation a frequent occurrence for the listener.

WhoMadeWho have already shared the stage with the likes of Hot Chip, Justice, and LCD Soundsystem, and such acts provide a good indication of their stylistic demeanor. WhoMadeWho’s knack to implement additional genres – which reaches back as far as ‘60s psychedelia – is also a uniquely creative component that most groups of their nature fail to succeed in accomplishing. Often one will find such indecisiveness between incorporating rock and electronica in acts like this, but the Danish trio show no hesitation whatsoever. “The Plot”, the self-titled track off of their upcoming album, begins with some standard indie-rock flair. A very prominent bass, a few guitar chords or so, and Hoffding’s slight falsetto in the chorus establish a very infectious tone from the get-go, though the track becomes more eclectic as it progresses. After the introductory chorus, the verse attempts a slight stylistic shift with a repeating synth line. The melody here is a more subdued version of the first verse, and it makes the subsequent reversion into indie-rock territory that much more seamless. With the booming bass and occasional synth lines counteracting with the hectic percussion and ardent vocals, one could make a case in saying that “The Plot” summarizes the direction that WhoMadeWho will take on their new album. If this is the case, success seems practically imminent.

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WhoMadeWho – The Plot

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WhoMadeWho – The Train

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Compared to WhoMadeWho, it would be practical to say that La Roux seem more primed for widespread recognition. Apart from already being scooped up by a major label in Polydor, the British duo have received significant airplay across the UK for irresistible efforts like “Quicksand” and will be the supporting act on Lily Allen’s upcoming UK tour. Much like The Knife (but without the brother-sister connection), La Roux are comprised of two members that both have an esteemed knowledge of electronic pop music. Elly Jackson serves as the face and vocals of La Roux, while both she and Ben Langmaid create the infectious melodies with their personal arsenal of synthesizers. Unlike WhoMadeWho, their style is strictly within the realm of electronica, but that does not hinder them from standing out from the rest. Though their songs are extremely conventional and straightforward, their material has a special flair to it that derives from both its infectious qualities and atmospheric consistencies. Jackson’s voice is one that quivers and yelps in accordance to the backing instrumentation, best evidenced by the convincingly danceable “Quicksand”.

Even at the beginning of “Quicksand”, Jackson is an immediate force. Taking advantage of consummate production and high-end technology, she shifts between several ranges and tones of production seamlessly. This track sees her delivery transition from robotic-like, tight vocals into a very flexible approach during the chorus in which she simply proclaims, “I’m in the quicksand”. Again, there are no lyrical revelations to be found or stylistic innovations, but the songwriting and production are solid and Jackson certainly has what it takes to become a memorable figure in electronic pop music. Whether this type of music is too electronically engineered for a mass audience is questionable, as the current “hot faces” in the UK like Lilly Allen and Amy Winehouse deliver a more orchestrated, expectable form of pop music. But if electro-pop becomes the mainstream genre of choice in the next year or decade, La Roux are surely primed to hit the big time. One reason to believe this is by looking at their string of song releases. Hyped electro-pop bands in the vein of La Roux often tend to release a great song or two and disappear, but considering that they have already released two electrifying singles in “Quicksand” and “In For the Kill” (the latter to be released on March 16th), it would be surprising to see their upcoming full-length disappoint.

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La Roux – Quicksand

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La Roux – In For the Kill

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When the time occurs in which technology overtakes many basic human functions and automation becomes a habit, many futurists claim that we will revert into something of a “leisure society”. John Maynard Keynes, one of the forefathers of macroeconomics, projected that most modernized countries would see a decrease in work time and an increase in leisure time, so much that in 2030 we would have more days off than at work. “We shall do more things for ourselves than is usual with the rich to-day,” he wrote in an essay from 1930, “only too glad to have small duties and tasks and routines.” As glorious as a four or five-day weekend sounds though, the chances of this arising within 25 years are quite marginal. Critics claim that Keynes failed to account for people’s relative needs, which are things that people want but are not required to have. Someone could likely live a similar lifestyle from working only three or four days per week now, but it would be very doubtful that they would have the extra expenses to buy things like iPods, stereos, and other products that are nice but not necessary. Also, in our current economic situation, there are people that would gladly take up a well-paying occupation that requires five or six days per week. This “leisure society” seems farther away than when Keynes first envisioned it, but that does not mean that some people cannot yearn for it through artistic means.

This background information can certainly be useful for discovering the origins of The Leisure Society’s name, but what it does more importantly is assist in identifying their desired sound and how they achieve it so successfully. Perhaps the group says it best in their own words, clarifying that “they strive for a time of relaxation through automation, for a moment when they can hold their table tennis bats aloft and salute modernity”. Much like Keynes, their desire for a world in which people are judged by their qualitative actions and not by how long they sit in a cubicle is prevalent. Whether one is best judged by what they do in their free time or how well they perform in a menial occupational task is an argument that cannot be won due to subjectivity. It is also an argument that everyone from economists to philosophers can jump into. As for the boys of The Leisure Society, they present their ideology quite clearly. Through glimpses of luxurious chamber-pop and melodic folk music, they present listeners with a ceaselessly soothing style that is made memorable by lead vocalist Nick Hemming’s delicate voice and naturally infectious songwriting. Simplicity is a concept that The Leisure Society proclaim throughout the album, both in their charming songwriting and lyrical content. Whether they sing of yearning for the days when “life was so much simpler” in “Love’s Enormous Wings” or the overemphasis on assigned tasks in “A Short Weekend Begins With Longing”, it is evident that this British collective value enjoyment through the simple things in life, those in which people often overlook because of demanding schedules and occupational conformity.

“Turned into stone, all the people they had known,” Hemming sings on the effervescent, string-led “A Short Weekend Begins With Longing”. “Lost on their way through a world of blank expression,” he continues. “No one made the time, everybody had their reasons.” The lines seems conventional enough under the caressing strings and gently plucked acoustic guitars, but for Hemming it is a summation of the album’s thematic approach. As they attempt to define the separation between work and leisure time (weekdays and weekends), it is impossible to avoid the sheer charm of The Leisure Society’s songwriting and general stylistic approach. What they have done so effectively is mix stellar orchestration with compatible lyrical sentiments to create an album that reaps from cohesion, resulting in a perfect mood piece. Abrasiveness is not found on one note throughout the 11 tracks on their debuting The Sleeper, showcasing the meticulous craftwork of Hemming’s songwriting. Chamber-pop may be the most readily available genre to clump this one into, but an additional emphasis on folk, country, and pop makes attempting to singularly classifying The Sleeper a futile effort. Though the lyrical focus, structural tendencies, and choice of instrumentation is consistent, longtime fans of Hemming should be hardly surprised that he has offered up enough variety to excite listeners. After all, The Leisure Society’s frontman has been around for quite awhile, and this looks to be just the thing that will lead to his recognition beyond the island of Great Britain.

Even though his best days are still ahead of him, the story of Hemming’s career is quite an interesting one. His first project was an indie-rock group by the name of She Talks to Angels, a short-lived outfit that lasted from 1990 to 1993. The interesting thing is that it featured actor/director Paddy Considine and director Shane Meadows before they became stars in the UK. Considine has starred in a few great movies like In America while being featured prominently in films like Hot Fuzz and The Bourne Ultimatum, while Meadows is considered one of the most promising directors in the UK after directing the already cult-classic Dead Man’s Shoes and the universally acclaimed This Is England. The demise of She Talks to Angels was rooted in both of their desires to pursue film, a belief that proved to benefit both of them and Hemming in the process. Since they were former bandmates, Meadows let Hemming write the music for two of his films, A Room for Romeo Brass and Dead Man’s Shoes. After spending some time in the ’90s with bands like The Telescopes and Unisex, he began constructing the initial stages of The Leisure Society. The group’s debut single, “The Last of the Melting Snow”, was released this past December to a warm reception among British radio shows. The second single, “A Matter of Time”, will be released on March 16th, precisely one week before the release of the album itself, The Sleeper.

While The Sleeper offers plenty of memorable songs, the one that most immediately captivated me was “Love’s Enormous Wings”. The bare effort of a ukulele eventually finds itself complemented by an upright bass, woodwinds, and sparkling keys, paving the way for the song’s excellent development. The melody tends to repeat itself throughout the entire track, with the instrumental additions of a new string arrangement or woodwind accompaniment establishing the subtle melodic alterations. Considering that it is so beautiful though, it is hard to complain. Hemming’s vocals carry this one with extravagance and bliss. “Oh, once life was so much simpler,” he sings. “I had a heart, she owns it now. I’ll get it back some day.” The lyrical tone is melancholic and reflective, but the arrangement suggests otherwise in its briskly infectious delivery. If anything, the track perfectly summarizes how The Leisure Society are able to craft beautiful gems using little more than conventional structures and highly melodic instrumentation. Well, let us not forget Hemming’s stellar songwriting as well. On The Sleeper, all of these forms are showcased in an accessible and memorable manner that should have listeners coming back for more, whether they are in the middle of a workday or just beginning a weekend. The Leisure Society fit nicely on both occasions, even if they tend to be partial to the latter.

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The Leisure Society – Love’s Enormous Wings

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The Leisure Society – A Short Weekend Begins with Longing

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The Leisure Society – The Last of the Melting Snow

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My week-long vacation of sorts turned out to be quite beneficial in several ways, with one of the most enlightening perks being the large array of releases from newer artists I had the chance to catch up to. The surplus of free time caused several promos to unearth themselves in a leisurely fashion, leading to a personal discovery of nearly a dozen or so relatively obscure acts that I feel require some well-deserved recognition. Thanks to such artists, the rest of July appears to look quite nice. Some of our vacation days may have passed by too quickly but the summer is far from over and there remains plenty of worthwhile artists churning out material that just sounds particularly cohesive when set against the sun’s blistering presence and the ocean’s calming rush. To kick off this week, I figured that something extremely accessible with a summery vibe would soothe some tense nerves. And while they are currently situated in New York City, the original roots of The Mood trace back to Fort Lauderdale, a destination whose abundance of shorelines appears appropriate for the group’s shimmering melodies; it seems as if they captured the energy of a city like NYC and fused it with a tropic touch more reminiscent of Floridian climates. Regardless of such geographical entries though, The Mood deliver a great degree of satisfaction within their highly accessible blend of power-pop and punk.

While The Mood are particularly simplistic in their conventional approach, the group’s captivating benefits arrive in the hook-filled songwriting of frontman Marco Argiro. Considering that they are fully confident in the addicting genre of power-pop, fans of the style should find great enjoyment in The Mood. After all, most quality power-pop has the sole goal to mesmerize listeners through infectious melodies and harmonies, causing The Mood to be a very worthwhile listen for anyone who does not hold the value of intricacy absurdly higher than that of smart and concise songwriting, which is just what the songs from The Mood are. Argiro is primarily responsible for such commendable attributes, though the rest of the band also lends a helping hand in several components that include the songwriting and lyrical content. Argiro’s cousin, Corinne Callen, adds backing vocals, keys, and glockenspiel in addition to writing the lyrics for a few tracks, while guitarist Kenton Langstroth, bassist Brian Karp, and drummer Chris Bunatta round out the five-piece. Already sharing the stage with artists as diverse as Simian Mobile Disco, The Nightwatchman, and This Is Ivy League, The Mood has done well in generating buzz for their latest effort, with three of their songs appearing on MTV’s Real World in addition to appearances at CMJ and SXSW and subsequent critical acclaim.

The Mood’s newest release, Synæsthesia, was produced, recorded, and mixed by the band itself in NYC. It follows up an EP, Get In, that was released in early 2007. With both releases containing 12 different songs in all, it makes me wonder why they did not just simply put out a full-fledged album. Apart from the aspect of time, something tells me that their style may have something to do with it, as I have learned over the past several days that their songs sound best in small doses. This can be applied to many respectable power-pop acts though, as the music’s appeal mainly relies on instantaneous responses rather than new components being discovered upon repeated listens. While each track on Synæsthesia is diverse enough for the highlights to stand out on their own, one can expect stylistic consistency throughout the entire duration. Argiro solidifies each track with vocals that are able to alternate between snarling punk schematics and breezy power-pop allure, backed by tight instrumentation that is often further supplemented by Callen’s harmonizing vocals. The contagious “Eskimo Scientist” is very demonstrative of this, mixing an exciting blend of keys and guitars as Argiro and Callen star in a chorus that is uplifted by their vocal duet and the vibrant instrumentation that supplements it. Like most recognizable power-pop songs, the verses are fun but the chorus is even better.

Though it is difficult to pick a favorite on a release where all the songs appear consistently infectious and stylistically analogous, “Masquerade” stood out for me during the first listen and has proven to express a boastful amount of longevity. Like “Eskimo Scientist”, it utilizes the expected formula of The Mood and other conventional power-poppers by building the song around an irresistible chorus, once again led by the duet consisting of Argiro and Callen. “Masquerade” somewhat separates itself from the linear classifications of power-pop and punk, with the vocal range presented by Argiro and structural progression of guitars and bass occasionally providing glimpses of surf-rock. Intentional or not, it works greatly to their benefit. For a band whose tracks could easily find a slot on most radio stations, “Masquerade” is arguably the most likely to capture the attention of listeners. The opening “In the Forest”, a slick track that highlights the charm of desolate nature in romantic situations when compared to urban life, sees Callen’s vocal role increased as she becomes the melodic backbone to the track’s bridge. Though not as catchy as the proceeding “Masquerade’ and “Eskimo Scientist”, it bodes well as the opener on Synæsthesia by setting a stylistic tone early and confidently. Both releases from The Mood are now available via Outright Rock Records and should quell the hunger of power-pop fans who do not demand too much apart from infectiousness.

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The Mood – Masquerade

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The Mood – Eskimo Scientist

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The Mood – In the Forest

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Whether you are someone who attends a concert once a year or once a week, it is easy to recognize the wide variety of benefits that such a music-oriented event can offer. The primary reason for attending, of course, is nearly always related to seeing a favorite artist perform in a more personalized capacity. But, even if some are reluctant to admit it, there is just something about the atmosphere of such an event that makes most of the show-goers seem more sociable and amiable than they do in the routine of daily life. Such approachable dispositions are usually caused by two things. For one, everyone there has something in common that they can talk about (a specific music niche), making awkward social situations generally irrelevant. Also, if someone has the time to attend a show for leisure, the amount of stress in their life at that given time is likely minimal. Great music, fun people, and no stress? Ah yes, it is the wonderful appeal of concerts. And if you are lucky, you may even meet someone who will change your life for the better. No, I am not referring to a new lover (though that is always very possible), but a partner in a more artistic vein whose apparent music interests overlap with your own. In fact, I imagine that discovering a new band mate is much easier at the proper shows, as any issues regarding opposing musical interests are obsolete.

Ever since Shaun Robinson and Rocky O’Reilly met at an Icelandic electronica show a few years ago, they have been constant musical companions. As the sole founding members of Oppenheimer, success has been mutual for the recently thriving duo. Their electronica-based meeting place unraveled both of their musical interests to one another, resulting in a sparked chemistry that involved a lust for kraut-rock, electronica, and synthesizers. Oh, and as the sound of their own project clarifies, the boys appear extremely fond of well-crafted pop music as well. Despite using a diverse array of guitars, synths, and rhythmic alterations, the result is always a cohesive and polished blend of electronic pop and rock. Over the past few months, they have been gaining extraordinary momentum. Apart from sharing the stage with the likes of Hot Chip, Regina Spektor, and They Might Be Giants, Oppenheimer’s tracks have been featured in several nationally televised series (Gossip Girl, Ugly Betty). They were able to score such prominent gigs after the release of their self-titled debut album in 2006. Released by Bar-None Records, it brought the Irish duo their first signs of recognition but did little as to hint where the duo would take listeners next. On their follow-up album, released in early June, they perfect upon a familiar sound that should please listeners both old and new to Oppenheimer.

For their second album in Take The Whole Mid-Range and Boost It, Oppenheimer has utilized an ideology that a large variety of indie-pop bands seem to unfortunately forget when writing their sophomore albums. Artists are often so eager to follow up an acclaimed debut with a release that expands upon their stylistic focus that it can backfire rather tragically, ending up as an overbearing mess. You can call it an overabundance of confidence if you like, but confidence is hardly to blame for rushed production and faulty songwriting. In terms of style, Take The Whole Mid-Range and Boost It is not a drastic change of pace from Oppenheimer; the same fresh presentation of sparkling electronic pop is present once again. The glaring difference, however, is that the songwriting is definitively stronger. Whereas Oppenheimer occasionally suffered from being overly repetitive, the 12 tracks on Take The Whole Mid-Range and Boost It vary to a commendable extent despite consisting generally of the same instrumentally fused approach. The lyrical content is as equally diverse, with topics ranging from Cate Blanchett and her following of impersonators to the joyless illegality of fireworks in New Jersey (as a resident, I can say that the ruling is quite hilarious). The track, entitled “Fireworks Are Illegal in the State of New Jersey”, acts like an impending firework display in itself, shifting from the serene gaze of light keys to a rapid explosion of synths and guitars. Indeed, if you are someone who constantly hungers for cliché love songs in their most conventional form, then Oppenheimer is not for you. This duo appears fearless in their lyrical and melodic approach.

I was immediately intrigued by “Cate Blanchett” on its name alone, as I figured that an ode to arguably the most eclectic actor in the biz today could be an entertaining one. As it turns out, the track is quite a spectacle, but not for the reasons I prematurely thought. It takes over a minute to gain true momentum, but once the hook is triggered by the entry of effervescent synths over the backing of brass, the level of enjoyment increases dramatically. The high-pitched, airy nature of Shaun Robinson’s voice could actually be mistaken for a female’s upon first listen, but the angelic tone sounds excellently implemented over the sparkling array of electric guitars, whispy synths, and soft keys. Oppenheimer has a tendency to almost reach into a vein of orchestral pop without using conventional orchestral instruments at all. And while this may sound very odd, the nature of it is due to the flexibility of synthesizers and also the highly involved intricacy of all the included instruments, all of which overlap cohesively with one another. The brisk “Look Up” is even more indicative of this, with a more fluid approach reminiscent of basic power-pop. The structure proves rather predictable but the infectiousness of the melody alone carries the track to great heights, setting up for what I believe to be a single whose future success is imminent. While the duo’s ability to produce brightly effused electronic pop may become tiring to listen to in large doses, the concise factor of enjoyment found on tracks like “Look Up” and “Cate Blanchett” should not be missed out on.

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Oppenheimer – Look Up

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Oppenheimer – Cate Blanchett

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Oppenheimer – Fireworks Are Illegal in the State of New Jersey

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First off, I hope everyone’s holidays treated them well. I took a break from the site for a week and I come back feeling relatively relaxed. After that arduous (though heavily rewarding) “Best Albums of 2007” feature, I felt that any further posts past that point for a week would be the result of complete burn-out. However, as any compiler of such lists would tell you, my list was by no means perfect; no list of that sort ever is. Several posts throughout the end of the year and January are bound to feature artists that flourished in 2007, yet that have been overlooked by me or the scene in general. There is no reason to fret though, as I will obviously continue to expose some of my favorite acts from 2008 in the process. It looks to be an exciting year, musically and otherwise.

When I was first told to check out Robert Wyatt‘s new album, Comicopera, it was near Halloween. Now, upon looking back, I regret not taking the opportunity when I was first informed of it. I just took Comicopera for its first spin this week, one week too late for the annual “Best of 2007” feature. I have to tell you though — this one would have definitely slid into the Top 30 had I listened sooner. I expect to kick myself a few times in the coming weeks for such decisions, though it is admittedly unrealistic to expect to listen to EVERY album from 2007 (though I try to tackle every good one). In regard to Robert Wyatt, I should have seen this coming from a mile away. As even his albums from the last 10 years have shown, Wyatt is one of those rare songwriters where the aspect of age is obsolete. He is an example of quality songwriting, whether it be from his time with Soft Machine in the early 60s or his own solo career (stretching over 40 years). For those who are not too familiar with Soft Machine, I recommend their first four albums, released from 1968 to 1971, as starting points. They are true classics in the field of English rock and pop, exhibiting forms of psychedelia, jazz fusion, funk, and prog-rock that were well beyond their years in the late ’60s. After contributing percussive and vocal duties, Wyatt left the band in 1971. As he began to pursue a gratifying solo career, Soft Machine could never match their early success after that.

As Wyatt has proven since his debut solo album, The End of an Ear, in 1971, his exposed instrumental prowess is as eclectic as his own musical taste. The sense of ambition gathered in a Robert Wyatt album is incomparable to most enduringly consistent acts, in which an artist usually milks one fan-led style in order to remain a prominent figure in their latter years. Wyatt instead takes considerable influence from a widespread array of genres, with several forms of freeform jazz often being the most prominent. It seems that jazz is often the genre in which age is never an aspect that hinders quality. I do not know what to pin it on, though the ceaseless dedication and sheer love for music that a quality jazz musician often conveys certainly has something to do with it. Though some of Wyatt’s songs are indeed strictly jazz, he cannot be classified solely as a jazz artist; his incorporation of world music, psychedelia, and pop has additional influence on each album; the preference of style is never mundane or overwrought with contemporary desperation. After over one dozen solo albums, Comicopera is merely a continuation of his individualized and eclectic talent. Even at his current age of 62, it is one of the best albums of Wyatt’s career too.

When speaking of Comicopera, Radiohead’s own Thom Yorke certainly was not one to hold back his emotions. Considering Wyatt one of his greatest influences, he recommended the album wholeheartedly and called the first track, “Stay Tuned”, “absolutely beautiful”. That seems to sum it up well too. Written for Wyatt by Anja Garbarek (daughter of Norwegian jazz saxophonist Jan Garbarek), it is one of the most brilliant tracks included in Wyatt’s prolific solo career. With the steady chill of the rhythm section presenting an aroma that moves leisurely at a pace that appears seemingly appropriate in contrast to the desolate soundscape that Wyatt conveys with his frailly invigorating voice, a variety of bolstering horns, keys, and cornets can be heard underneath the eventual instrumental growth. Wyatt’s vocals move with the rhythm section during the verse, but the chorus features a beautiful array of brass instruments clashing cohesively together as Wyatt utilizes the voice of a classically trained woman and his own to pull off a hook that ranks up there with his greatest. “I’ll get back to you,” he sings as the song fades into its final moments, capitalizing on the atmosphere of sheer desperation that the song expresses in full form.

The album’s instrumental epicenter, “On the Town Square”, is an absolutely delightful display of jazz fusion, with elements of African music interweaving with jazz in impressive form. With Wyatt on cornett, Gilad Atzmon on tenor saxophone, Del Bartle on electric guitar, and Orphy Robinson on steel pans, with the unique rhythm section serving up a style that gives off a vibe of tropical exoticness. Once a member of the Communist Party of Great Britain (until its abandonment in 1991), Wyatt has been known to dwell on politically active lyrics. Whether he is sharing his own views on religion, politics, or philosophy, his viewpoints – though typically controversial – are emotionally stirring and vividly intimate. “I really envy Christians, I envy Muslims too, it must be great to be so sure,” he begins on “Be Serious”. The song is generally an observatory outlook on the degree religion has on one’s individuality and how, in turn, it affects the restrictive qualities that one is able to endure. “How can I express myself when there’s no ‘self’ to express?” he ponders aloud over the raspy strain of swift electric guitars and hushed percussion. Though one of the most instrumentally linear tracks on Comicopera, Wyatt’s outlook on “Be Serious” is certainly an interesting one, regardless of the listener’s personal philosophy. It is quite an accomplishment that, at age 62, Robert Wyatt can still produce one of the best albums of his exhilarating career in Comicopera.

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Robert Wyatt – Stay Tuned

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Robert Wyatt – On the Town Square

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Robert Wyatt – Be Serious

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Ah, guilty pleasures. It is an aspect of life where the specifications are usually determined by the demographic in which it is presented to. For instance, take a look at chocolate. In Belgium, it is eaten morning, noon, and night with delight and little worry. In the United States? Well, it is just a temptation that adds some cushion to your midsection. A guilty pleasure overseas indeed, but here it is merely a staple of weight gain and guilty contemplation. I always thought it was just a self-control issue with some people. Anyway, music tends to be less culturally bounded. No matter where someone was born, they develop music tastes at their own pace and leisure, with it being their choice to embrace the social norms or go out on a whim and discover their own. The certain types can certainly be fun to poke fun at too, from the the baggy-shirt wearing hip-hop wannabes to everyone’s favorite fashion gurus: hipsters. Honestly, I usually try to avoid using the the word “hipster” at all costs. Being a web site covering independent music, the absence can sometimes be glaring. Even so, I am sure you have met at least one person in the last few years who has subtly mocked your artistic taste because it does not resound similarly to theirs. They do this while on their sixth day of non-religious fasting (to fit into those jeans!), generally contradicting any baseless stylistic opinions they throw at you. So, you know, when I heard someone like this attempt to bash Girls Aloud, I just had to prove them wrong…

Without a doubt, Girls Aloud is the most critically successful group to originate from a formulated television show. While the profitable candidates of American Idol have had their share of success due to the show’s heavily commercialization and widespread popularity, the five talented gals in Girls Aloud have an even more notable penchant for consistency and rousing success. Ever since they won the popular British television show, Popstars: The Rivals, in 2002, they have been going nowhere but up. Only three albums into their promising careers, Girls Aloud have already made the record books. They basically did the unspeakable in amassing sixteen consecutive Top 10 singles, a record-breaking effort that earned them a spot in Guinness World Records. Destiny’s Child and The Spice Girls could not even touch that. Hell, no British pop band ever could. So, this likely leads to one question you are asking yourself: Why the hell would I feature Girls Aloud if this site focuses on independent artists? Well, I truly believe that Girls Aloud is one of the few mainstream acts that deserve all the success they can get. They remain fairly unnoticed in the USA as well. Though the five girls are not participants in the songwriting aspect of their craft, only a fool would call them strictly eye-candy. They deliver a melodic comprehensibility that is difficult to compare within contemporary pop music, a dying genre that breathes a big sigh of relief when a group like Girls Aloud comes along.

Behind the pretty faces and powerful voices of Girls Aloud sits a songwriting team that could easily be classified as the most successful of the decade. Formed by writer and producer Brian Higgins, the UK-based songwriting team of Xenomania is comprised of Higgins, Miranda Cooper, Nick Coler, Niara Scarlett, Lisa Cowling, and Tim Powell. They are responsible for the majority of Girls Aloud’s tracks, notably all 16 singles that reached the Top 10. The Xenomania team first jumped on board with Sound of the Underground, Girls Aloud’s debut in 2003. Though it ran 20 weeks on the charts, it was marginal compared to the great things to come for the group. Expectedly, their next two albums, What Will the Neighbours Say? and Chemistry, were the ones that brought Girls Aloud glorified fame in the UK. With both finding rampant success in Europe by reaching a variety of Top 10 charts and end-of-year lists, massively popular singles like “The Show” and “Biology” validated Girls Aloud’s presence as a domineering force in the dance-pop industry. The Xenomania worked flawlessly with the five-piece’s melodic capabilities, churning out hits in a seemingly effortless manner. 16 Top 10 singles in less than 4 years? That speaks for itself.

As Girls Aloud seems to improve upon each release, I remain very excited for the release of their fourth album, Tangled Up, on November 19th. With the group’s sixteenth single, “Sexy! No No No…” being the first single from Tangled Up, the second was chosen wisely to be the album’s exciting opener, “Call the Shots”. With impeccable dance arrangements peaking through with synths and eruptious rhythm sections, such styles remain an enjoyable trademark of the Xenomania team. You are always likely to find an outstanding chorus supplemented by a verse and bridge that appears just as effectively. As simple as these 3 to 4 minute songs are, they are resoundingly memorable in being a few of the best pop songs of the year. Though my words may sound giddy, calling “Girl Overboard” the best pop song of the year would not be much of an exaggeration. With a series of arps and pulsating synths flowing over the steady pace of bass and percussion, the vocal work is outstanding in addition to the expertly crafted arrangement. “Girl overboard! I thought I had it but I tumbled,” the girls sing in near unison, capitalizing on an absolutely stunning chorus. Keeping in mind the extensively impressive back catalog of Girls Aloud, “Girl Overboard” is the catchiest song I have ever heard from either Xenomania or Girls Aloud. “Can’t Speak French” is up there as well, being an absolutely irresistible track that is sure to shake up the European dance floors. But hey, maybe American will start . If you are going to listen to modern pop music’s “guilty pleasures”, at least listen to the best of the best. In that particular field, there are not many better than Girls Aloud.

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Girls Aloud – Girl Overboard

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Girls Aloud – Can’t Speak French

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Girls Aloud – Call the Shots

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