After delivering several albums with flashes of brilliance but a lack of consistency, mr. Gnome have taken their biggest stride with Madness in Miniature, their third full-length album. Their previous two carried a common plague, where style reigned over substance as memorable hooks failed to form with over-active arrangements or superfluous stylistic pursuits. When mr. Gnome were at their best, it usually involved post-rock explosives with vocalist Nicole Barille stretching her exceptional vocal range to the limits. Both her guitar work and drummer/pianist Sam Meister’s technical skill were always apparent, but sometimes the songs struggled in letting loose and allowing melodies to reign over virtuosity.

Madness in Miniature is a different story. Standout “House of Circles” manages to inject freak-folk into a frenzied alt-rock arsenal. Barille’s voice ascends from a moaning whimper into a confident snarl, both accompanied by a backing vocal harmony producing a ghostly yet ethereal effect; the banshee-like ‘ooh’ing is a perfect fit. A clashing between the folk-leaning verses and explosions of alt-rock guitars comes to full fruition slightly past the three-minute mark. Introduced by an epic percussive build-up that marches along in a bluesy White Stripes fashion – and complemented by a quivering Barille, who puts in one of her best vocal performances yet – the conclusion to “House of Circles” is a rampant stunner that embodies mr. Gnome’s energy and structurally innovative tendencies.

“Bit of Tongue” is structurally comparable to “House of Circles”, mainly in the evolution of softer folk verses into loud guitar-based propulsions. It’s a tactic employed throughout the album, avoiding repetition with an eclectic display of stylings in the verses, often containing offshoots of softer folk and pop.  The verses on “Bit of Tongue” float with the whimsy of ‘70s AM-pop , and also with hints of contemporary artists like Marissa Nadler and St. Vincent. Barille projects a presence quite similar to both, especially with the variation in her vocal delivery. The introduction of distortion at the two minute mark increases the tempo, allowing Barille to show off her astute abilities in reflecting rhythmic movements. Despite having such a powerful voice, her willingness to occasionally back down and let the music dictate her vocal intensity – instead of vice versa – results in some of the most memorable moments on the album.

Several interludes, most at less than a minute long, provide intuitive atmospheric flair for Madness in Miniature. “Fly Me Over” is most indicative of this. Placed between the intense “Bit of Tongue” and the straightforward rush of blues-infused power-pop contained in “We Sing Electric”, its serene and nearly religious feel provides brief serenity between two songs containing a constant rush of ideas and twists. It helps that its ending sounds like it would complement the setting of a secluded temple in a Far East mountain range. Even as “We Sing Electric” sounds initially like a straightforward rocker, by the end of the song the tremendous number of ideas is apparent. It sounds like a two-parter despite being under four minutes.

While the first few tracks show Madness in Miniature as a continuous fusion of lighter rock elements with thunderous post-rock eruptions waiting at every turn, the second half of the album contains some efforts that could be considered ballads – at least by mr. Gnome’s standards. The aptly titled “Winter” utilizes crystallized keys and high-pitched note sequences, delivering something that sounds like the alternative equivalent of Sally Shapiro’s similarly arctic-sounding work. The wavering use of tremolo in the backing keys also deliveries a dream-pop vibe typical of Beach House, especially with Barille now alternating between a soft-spoken quiver and emotive proclamations. “Now I feel so ordinary,” she sings before an absolutely gorgeous conclusion, marked by the first use of heavy percussion in the song. It’s a stunning track that fully represents mr. Gnome’s growth. Never before has the duo’s songs resonated with such rich atmospheres and beautifully interwoven hooks.

After this delicately gorgeous ballad, the immediate blast of guitars on “Wolf Girls” may catch some listeners off guard. This somewhat abrasive art-rock trip begins with a bizarre and somewhat repetitive series of animalistic noises and straightforward power-punk verses, but like most songs on Madness in Miniature it evolves into something fascinating. The guitar work in the final two minutes is some of the best on the album, with the hypnotic organ-like accompaniment at the tail-end begging for continued expansion well past its four-minute length. Well, that is until the listener is introduced to the excellent “Outsiders”, a rollicking folk-rocker with hints of Alamo-styled folk. Tempo shifts are hardly noticeable at this point in the album, as listeners have become accustomed to it. But there are no greater tempo-related moments throughout the album than “Outsiders”, to which Barille adapts flawlessly in a vocal performance that rivals “House of Circles” for best on the album. On a triumph of a release like this, rivalries like this are indicative of a generous outpouring of ideas, most of them striking.

MP3: mr. Gnome – Winter

mr. Gnome – House of Circles

mr. Gnome – Bit of Tongue

mr. Gnome – Wolf Girls

Official Site / BUY

The post mr. Gnome – Madness in Miniature (2011) appeared first on Obscure Sound: Indie Music Blog.

by Josh Taylor

The gulf has been plagued by some tragedies in the recent past. First Katrina and now the biggest oil spill in history. Yikes.  Now that I think about it, I haven’t heard of very many bands coming out of the area either. I don’t blame them; it must be tough to make music when you have other things on your mind.

Then again, there are bands like Youth Sounds, born from a devastated New Orleans and a gulf that is becoming increasingly oily. Youth Sounds are a mosaic of several now-defunct bands. The band is also a family affair, fronted by siblings (brother and sister), so you’ll find opposing influences fused together in a wordless compromise that only siblings understand.

Usually it takes band’s years to develop their style and decide on a direction, but with Youth Sounds, everything appears to be inherent. It’s almost as if, right after Katrina, the band began cooking up song ideas and making artistic decisions so that the first chance they got, they could lay everything out.  Well, as of now, the band has completed three tracks.

Those tracks – “As Strangers Would,”  “Smoke and Mirrors” and “What Is It Like” – went on to be The Bit Parts EP and display the band’s serene tranquility and downplayed driving house beats. The production is modestly polished — crisp but not too shiny. All three are striking for their cohesiveness and inventive songwriting. The band respects traditional song forms and includes instrumental dynamics at the appropriate point in their songs to make their choruses a bit grander and the bridges exciting.

“As Strangers Would,” the first track off the EP, begins with an ominous synth landing and then suddenly plunges into the driving beat the will propel the whole track forward, despite the whisper-y vocals that characterize the band’s DIY sound. The chorus is brief, and come to think of it, so are the verses, but they adequately explain the meaning of the song: two people drifting apart to the point of becoming strangers. The first time I heard Youth Sounds’ “As Strangers Would,” I thought of the Yeah Yeah Yeahs’ “Maps”; beautiful, yet a tad bittersweet.

The next and most laid back song on the EP is “Smoke and Mirrors”, with a soothing acoustic guitar intro that carries throughout the pensive and regret-filled track. Mid-song, the heavy drum beats come back into the mix and keep the song from getting too sleepy. The melodies are drawn out and mellow in the best sense of the word. Erika’s Mejia injects her vocals with a detached demeanor, complimenting the song’s reflective tone with extraordinary prowess.

The last song is “What Is It Like”, and even though the subtle melodies remain, the music is incredibly buoyant. The background melodies push the drums into the background more than the other two songs, where the beats dominate in the foreground. The lyrics are sad, but the mood of the song isn’t, lending an interesting irony to the consummate final product.

All three songs on the EP are equally attention-worthy. Of course with only three songs, there isn’t much room for filler either. The band is able to define and vary their sound a bit in those three easy-to-digest songs, all of which are lyrically engaging and striking with a theme of yearning extending throughout. When it comes to choosing an exact genre, some like indie, twee, shoegaze, downtempo, ambient are worthy candidates. But Youth Sounds will no doubt appeal to fans of other genres as well for their stylish thoughtfulness.

I hope that Youth Sounds goes on to build more momentum and is able to take their ideas and record them with success. I have a feeling that this band has more up their sleeve and are just waiting for the opportunity to create. On the other hand, maybe the brother and sister are a couple of perfectionists and are carefully crafting something special.  All I know is that after three songs, I’m hooked and I’d like more. So to Youth Sounds: Keep it coming, and tell the other band’s in the gulf to get it together. You guys are making them look bad. If you can create something so utterly wonderful in times like these, I’m sure they can too.

RIYL: Georgie James, The 1900s, Metric, Office, The Owls, The Eames Era, Headlights, Mates of State, The Broken West, Great Northern, Viva Voce, The Little Ones, The Essex Green, Imperial Teen, Dressy Bessy

——————————————————————————————

Youth Sounds – As Strangers Would

——————————————————————————————

Youth Sounds – Smoke and Mirrors

——————————————————————————————

Youth Sounds – What Is It Like

——————————————————————————————

MySpace

The post Youth Sounds Emerge From The Gulf appeared first on Obscure Sound: Indie Music Blog.

by Max Fishkin

Tokyo Police Club are a four-piece that hail from Canada, home to many indie artists such as Arcade Fire and Wolf Parade. These guys don’t have the same stigma attached as the previously mentioned bands. Instead, Tokyo Police Club are the indie garage heroes you hear about on the local nightly news, saving the world one show at a time. Joking aside, they really have grown comfortable in their own sound. Our interview with the band’s keyboardist, Graham Wright, could suggest as much in regard to their recording ideology alone. As you can see by that conversation, the reason why they are “heroes” is because they enforce a very straightforward garage-rock sound with very little pretension, contrary to the intricate electro-rock fusion of Wolf Parade or the epic anthem-like demeanor of Arcade Fire.

Such artists seem a bit inaccessible to certain listeners, who see that vein of songwriting conflicting with an innocent yearning for straightforward garage-rock. The songs on Tokyo Police Club’s previous releases, A Lesson in Crime and Elephant Shell, were relatively short and more vigorous in this garage-rock vein, while their new album Champ clocks in at 35 minutes and hosts a more mature but still energized band. When the promo copy for Champ came in the mail, I furiously ripped open the packaging and fed it into my CD player and it hasn’t moved since. For the past three weeks, I spent more time enjoying and listening to Champ than even thinking about writing this review.

The opening track, “Favourite Colour”, is a great summation of the band’s sound on this record: personal, melodic and lively. The glitchy synth intro unfolds into a spotlight on acoustic guitar and vocals. With lyrics like, “You were looking back on your days/how you spend them all in a blur/when they asked if you were for sure/let sugar melt down your throat/cuz you know its sweet getting old”, these guys are aware of taking the title of champ as they age, which is aptly depicted throughout the album. What could be better than playing in a kick-ass band and living life as you please during your ‘greatest years’, as most nostalgic parents remind us?

The single on Champ is “Breakneck Speed” and will serve as a great setlist staple while Tokyo Police Club tour with Passion Pit this summer. After catching a tight performance at All Points West last summer, I eagerly wait seeing their set at Bonnaroo this Friday. My next favorite track, “Bambi”, features a glitch-echo guitar effect that settles into a flurry of notes. Vocalist and bassist Dave Monks really understands his range and role as singer, which really lets all of the songs shimmer throughout Champ. But the track “Hands Reversed” shows a different side of Tokyo Police Club without completely making an about-face. This video, filmed about six months ago, strips the song to its core of guitar and vocals. The band’s contribution to the song on the album cut is subtle but very effective. The sluggish drums and bold synths develop the dynamics of the song, gradually building and releasing tension in rewarding fashion. The greatest part about Champ is that, in an age where most albums are half-filler and no-killer, this CD is a promise that rock ‘n’ roll will never die.

RIYL: We Are Scientists, Born Ruffians, Ra Ra Riot, Foals, Vampire Weekend, Arcade Fire, Broken Social Scene, The Maccabees, Metric, Minus the Bear, Wolf Parade, Harlem Shakes, Land of Talk, Death Cab for Cutie, Cold War Kids, Matt & Kim, Hot Hot Heat, The Futureheads

——————————————————————————————

Tokyo Police Club – Favourite Food

——————————————————————————————

Tokyo Police Club – Breakneck Speed

——————————————————————————————

Tokyo Police Club – Hands Reversed

——————————————————————————————

Official Web Site

MySpace

BUY

The post Tokyo Police Club Remain Champs appeared first on Obscure Sound: Indie Music Blog.

by Jay Mattson

I’ve always had a soft spot for Canadian bands, so when I was presented with Fixtures, the new EP by Canadian duo Courier News, I was anxious to listen. Courier News is a collaboration between Juno Award-winning songwriter Alexa Dirks (for her work with her band Chic Gamine) and Western Canadian Music Award-winning songwriter Matt Schellenberg (for his work with The Liptonians). Ethereal without being ambient, electronic without sounding techno, and emotional without becoming emo, Courier News finds a near-perfect groove in which to combine the duo’s successful backgrounds into a moving and endearing collection of tracks.

The EPs first track, “We’re on the Horizon”, sets an excellent mood to which the rest of the songs follow. Schellenberg helms the lead vocals while Dirks chimes in through the background. Originally recorded in a bedroom-turned-office, the duo was unable to use actual drums (due to noise ordinances), relying heavily on drum machines until they decided that a more organic feeling was in order and recorded the sound of a beer bottle smashing against pavement to substitute for a snare drum. Reminiscent of Broken Social Scene’s more down-tempo work, “…Horizon” is hauntingly peaceful, creating a steady forward movement with a sprinkle of synthesizers to add a different level of depth that compliments the glass-bottle snare drum perfectly. Moving into the second track, “Roses on the Wall”, glass bottles are once again utilized for background atmosphere to a more emotional song with vocals that are nimbly smeared behind acoustic melody. “Empty Clouds” might be the most powerful track on Fixtures, especially with an opening line like “What’s there to say when there’s nothing left, just clouds white on an empty breath.” Dirks’ mellow vocal style fits this song perfectly. Various vocoded background vocals lead seamlessly into a subtle electronic melody that sounds like a synth-blues fusion of epic minimalism. “Lovers” has more energy than any other track on this EP, but does not sound overbearing or muddled in its production. This track’s electronic melody is what jj n° 3 should have been. Dirks belts out the rhetorical ‘”Do I Dare” to poignantly close an EP that satisfies from beginning to end.

It’s difficult to make a down-tempo album without moments of drawn-out ambiance. Courier News manages to stay chilled-out while perpetually leading the audience into their own haunted world. After a few listens it is already addicting, both technically and aesthetically.

RIYL: Broken Social Scene, jj, Mates of State, The New Pornographers, Metric, Ladytron, Client, The Knife, Fischerspooner, Miss Kittin, Robots in Disguise, Goldfrapp, Electrocute, Freezepop, The Presets

——————————————————————————————

Courier News – Empty Clouds

——————————————————————————————

Courier News – Do I Dare

——————————————————————————————

Courier News – We’re on the Horizon

——————————————————————————————

Head in the Sand Records

BUY

The post Courier News’ Fixtures appeared first on Obscure Sound: Indie Music Blog.