Few artists can top the sheer moodiness of ’80s groups that teetered on the edge of post-punk and newly concocted electronic-pop. New Order and Depeche Mode are generally the most cited in this regard, and they are often the source of inspiration for revivalists of the movement today. These influences helped John Kunkel form the beginnings of The New Division out of his dorm room in 2005. “New Division” – the name an ode to New Order and its precursor Joy Division – shows the tremendous influence such groups had on his sound and others. The group turned into a four-piece by the end of 2006, and started playing throughout California to warm acclaim. The addition of Mark Michaslki actually gave The New Division two keyboardists, an edge that gave their live performances the type of depth that many electronic artists are unable to replicate on stage. Mirroring the key-driven emotional range of Brian Eno with an accessible rendering of ’80s inspired electro-pop, their music has grown increasingly fascinating as they build their reputation. With the arrival of their new album, The Rookie,  this year, The New Division have transformed their captivating live performances into a release just as infectiously moody as New Order, Depeche Mode, or – more accurately – Orchestral Manoeuvres in the Dark. Both nostalgic fetishists and seekers of the new and worthy will find something of value on The Rookie.

“Nocturnal” plays with effervescent synth twinkles and a roaring guitar akin to contemporary post-punk acts like ¡Forward, Russia!, with an approach of decreased harshness. Judging by the quick guitar swipes and bustling synths in the beginning, listeners may anticipate a heavier electro-rock sound comparable to White Rose Movement or She Wants Revenge. When Kunkel’s relaxed vocals come into play alongside the swiftly synthesized variations, comparisons to more polished and mature electronic-rock acts like Cut Copy and Twin Shadow are apparent instead. The nod to groups like Depeche Mode and New Order are found particularly in the percussion, like the reverbed, hollow feeling of automated snares beginning at 02:45 being not too far from “Bizarre Love Triangle”. The addition of guitars is accomplished in a more sophisticated and revised sense though. “Starfield”, a track that was highly buzzed-about at the end of last year, is a lusher effort that showcases this well, along with the gratifying layers of synths. Their slow trickles help create an aquatic feel, the whirring of a synth-bass backing them continuously as a crisply sonorous guitar riff glides effortlessly along the plane. It’s anthemic, not terribly predictable, and a creatively rewarding yet true-to-heart tribute to acts like New Order, Depeche Mode, OMD, and Echo & the Bunnymen, all of which continue to influence swarms of independent artists. The New Division are one of the finer examples.

RIYL: New Order, Depeche Mode, Joy Division, Orchestral Manoeuvres in the Dark, Brian Eno, Cut Copy, Twin Shadow, Echo & the Bunnymen, ¡Forward Russia!, Electronic, Monaco, The Human League

TIP: Download The Rookie on GroopEase at a discounted rate.

The New Division – Nocturnal

The New Division – Starfield

Official Site / MySpace / BUY / GroopEase Discount

The post The New Division appeared first on Obscure Sound: Indie Music Blog.

Things usually fare well for film geeks when they show a passion for making music. By film “geeks”, I’m not referring to that friend who can name every David Lynch or Lars von Trier film. They might know every underground film in existence, but if they have no knowledge of production or the film aesthetic than they are merely a critic (and probably a bad one at that). This is not to say that an artist cannot simultaneously be an enthusiast of his own medium, and vice versa. The potential for artistic growth is wonderfully sporadic and somewhat randomized, and when it comes to film-savvy people there tends to be a greater advantage for them to grasp the necessities of quality music. It somewhat mirrors the tendencies of a quality film after all, where atmosphere, performance, and stylistic consistency are vital aspects. In a sense, even though mise en scène is visually bound, music has its own form of it. The subtle, sometimes indescribable tendencies that take place in music set the scene, and it is reliant on the artist to formulate the proper visual and/or audible accompaniment within their medium.

John Kowalski and Rian Trench named their band Solar Bears as a tribute to famed Russian filmmaker Andrei Tarkovsky. The two had always shared a love for cinema, but it is hard to say if it ever trumped their love for music. Considering the degree of success they have experienced in the latter thus far, one could say their decision to focus on Solar Bears is in the best of their interests. When speaking about their music, their interest in film immediately emerges. “With Moroder, for instance in Scarface, some of the pieces are quite minimal but they are very effective,” Kowalski said excitedly in an interview with Dummy, who would also enforce the duo’s enthusiasm with their “ability to paint a vivid landscape with a relatively minimal palette; creating resonant textures from very little”. Judging by their colorfully atmospherically music, you get the sense they would produce something evolutionary on film… something that evolves from monochromatic dullness to a thriving gloss of colors and imagery. Their own music would be a perfect backdrop considering it can pull precisely the same thing off.

Solar Bears’ debut LP, She Was Coloured In, contains a rather apt cover image. You see a red woman crossing her hands with reflections of her by her side, all set in a different color. The colors actually reflect the three monochrome images on a TV – RGB – and the woman’s figure looks as if it is fading out against analog video noise. As one of the better electronic debuts of 2010, She Was Coloured In shows the band’s range of flexibility. They can at one point sound like a producer of lullabies, with soft sweeping synths collaborating with luxurious orchestral elements, like the lucid twinkle of arpeggios in “Solarization” or the exotic “Cub”, which dabbles in woodwind-like sounds over chirpy synth pads. That a song called “Quiet Planet” represents one of their more rambunctious works is ironic, but it certainly show their infectious works more in the vein of a Röyksopp or Ratatat. Their restrained efforts may be more impressive though, at least for those accustomed to more organic and atmospheric works by artists like Kraftwerk and Yellow Magic Orchestra.

Their music recalls Kraftwerk’s innate abilities to turn electronic sounds into consummate atmospheres, whether it be complete with lavish hooks or developmental chaos. The chiptune-like percussion maintains a steady futuristic tone, often in 4/4 and accompanied by instruments that are both organic and technological. Like the interlude in “Forest of Fountains”, around 02:19, when it goes from a funk-like trance into a soft interlude of guitars. The transition is mesmerizing, as the cohesiveness of the journey is worth listening for alone. Their bass also has a tendency to sound organic, like in “Children of the Times” where a deep bass tone resonates alongside a vocoder and soft electro-keys, and it is one component of an essentially powerful rhythm section. At least for the sound they successfully produce here. They tread an appropriate line between naturally existent field recordings and man-made electronica, pushing forth an interesting emphasis on the production of their own music in the process. The sonorous tone of the synth pad throughout “Twin Stars” has a cinematic feel to it, almost like the build-up to a frenzied battle in some sophisticated manga re-enactment. The little flicker of synths that gradually add on contribute to the pulsating suspense. With examples like these, the duo are clearly masters of believable soundscapes, and their elaborate songwriting and production really go a long way in separating Solar Bears from the masses of atmospherically-dependent electronic artists.

RIYL: Kraftwerk, Yellow Magic Orchestra, Röyksopp, Ratatat, Gauntlet Hair, Twin Shadow, Tamaryn, Candy Claws, Women, Neu!, Elektric Music, Klaus Schulze, Cluster, Tangerine Dream, New Order, OMD, Orbital, Ultravox, Front 242, Laibach, Harmonia, Yello, Telex, Depeche Mode, Can

Solar Bears – Forest Of Fountains

Solar Bears – Children of the Times

Solar Bears – She Was Coloured In

Planet Mu Records

MySpace

BUY

The post Solar Bears in Space appeared first on Obscure Sound: Indie Music Blog.

by Josh Taylor

Julian Shah-Tayler was born to make music. Putting out an EP every few months and pumping out 50-70 songs a year is no easy feat, unless you show prevalently the aspects of a well-rounded musician. His robust musicianship is responsible for his versatility as an artist. What I noticed after listening to his latest EP, Un Ange Passe, is that Julian is a songwriter who creates for his heart’s content. He strays from songwriting conventions and isn’t afraid to experiment if it amuses his untypical sensibilities.

Julian’s songs distinctly belong to their maker. Un Ange Passe is very personal and all the songs on the EP (with the exception of “Wetter”) were written for a dearly departed friend of Julian’s who tragically passed away. The literal translation of the title “Un Ange Passe” is “an angel is passing”, but is usually used when an awkward silence falls over the room. The EP tells a brief and interesting story about what happened to Christine. Julian tells it well, as the story is endearing and stripped down to the most honest details.

Instead of diving into the story headfirst, the EP begins with “Wetter.”  The songs on the EP are sandwiched by “Wetter” and the remix of “Wetter” by Karl Leiker. This song is definitely the black sheep… uptempo, naughty lyrics and electro influence. The feel of the song is great and could be a radio hit. The second song on Un Ange Passe is “Everything Is You”, serving as a good transition into the rest of the EP, which is more relaxed musically. The song begins with finger-snapping, chimes and some elusive and wandering exotic-sounding instruments. Then iit develops a direction and chooses to take on a New Order/Depeche Mode feel. The nameless exotics remain, lending a curious tone to the song. It’s almost as if they don’t belong, but are still welcomed.

“Communication” resembles the sparse feel of a desert. It’s expansive (at 5 and a half minutes) and filled with many instrumental breaks. The track lulls and winds but I don’t know that it goes anywhere. All I know is that when I listen to it, I start to space out.  If Julian wanted “Communication” to have a daydream-inducing effect, then bravo — well done, because that is exactly what happens.

“Christine” is where the EP starts to come together and the song clearly lays out what exactly happened to his late friend of the same name. Make what you want of the other songs and interpret them as you wish, but here is what happened, Julian seems to say. Musically, “Christine” brings to mind The Smiths “How Soon Is Now?” and has the same pensive inquiry.  One of the most striking and revealing lyrics is “as the kiss of the needle delivers you to the real world” followed by this lyric in the bridge “even if this life could give you all the love you need, I guess you had enough.” The verdict: overdose.

Un Ange Passe occupies a certain estranged darkness, but it is only when the listener gets to “Christine” that I feel they can go back and find its lingering presence in the background of the entire EP. Perhaps that misplaced discomfort is the awkwardness that the album title also refers to. Still, the way the song is handled is half ode, half something else that I can’t quite pin down. For a song written for a close friend the song isn’t particularly sentimental, which is odd to me. However,  I think those feelings find their way into the next song “Lullabies.”

From what I heard, “Lullabies” was written for Julian’s future daughter. But the listener is also led to believe that perhaps the song’s tender message is intended for Christine as well. The lullaby soothes the listener as well as the singer, perhaps reminding him that everything will be fine and there really is nothing to be afraid of during the night, and maybe in death…

Whatever the ultimate purpose of Un Ange Passe is, it can be listened to in many different ways. Julian is adventurous with his artistic choices and presents his subject matter though a twisted lens. This is not to say that his method is perverse, but rather aiming for artistic perfection on his own terms. Some say that’s a nifty idea. I would say it’s better than nifty, or original, or clever. I would say the whole EP is a noble effort. Too many musicians make music to turn a quick buck but lack the vision to make something worthwhile. Others write for their heart’s content, yet lack the talent to make sophisticated music. Julian, however, is the best of both. He is talented and passionate, which shows remarkably.

One last thing I noticed: None of these songs showcase Julian’s piano talents, but word on the street is that his full-length debut does. Entitled Coito Ergo Sum, it is due in the fall. So keep an eye out, or an ear rather.

RIYL: Depeche Mode, Dave Gahan, New Order, Erasure, Pet Shop Boys, Duran Duran, The Cure, Orchestral Manoeuvres in the Dark, Alphaville, David Wrench, The Human League, Gary Numan, Tears for Fears, Soft Cell, INXS, Talk Talk, A Flock of Seagulls, Naked Eyes, Blancmange

——————————————————————————————

Julian Shah-Tayler – Everything Is You

——————————————————————————————

Julian Shah-Tayler – Wetter

——————————————————————————————

Julian Shah-Tayler – In Your Room (Depeche Mode cover)

——————————————————————————————

Impossible Things Records

MySpace

BUY

The post Julian Shah-Tayler appeared first on Obscure Sound: Indie Music Blog.

The vocals on Viernes‘ debut full-length, Sinister Devices, rarely escalate beyond a whisper. This technique is a recently trendy choice within electronic music’s spreading sub-genres, many of which are renowned for a soothing, echoey sound whose structure resembles waves crashing on a beach. Apart from beach-entwined samples, the development of the songs are texturally dependent rather than being melodically entrenched in trends of commercial-seeking pop music; it resembles a shoreline in the unpredictable yet strangely cohesive pattern of waves. It makes sense that Viernes list Robert Fripp & Brian Eno’s collaborative 1973 debut, No Pussyfooting, as one of their favorite albums. Both pioneers of textural-dependent experimental music, Fripp & Eno were renowned prior to that release, which was essentially a demonstration of their revolutionary production techniques. Fripp was known for his vital work in King Crimson already, while Eno’s participation in the first two Roxy Music albums had already shown his stellar presence.

What both musicians had in common before even working together was a stubborn admiration for the unknown, particularly in the blending of pop music and textural experimentation to create a sound that echoed this ideology. Eno had issues for years with Bryan Ferry about the creative direction of Roxy Music, so both No Pussyfooting and his solo debut Here Come the Warm Jets a year later served as a culmination of Eno’s quest to find his sound. It took a few years, but now he is renowned as one of the pioneers of electronic music for good reason. No Pussyfooting was the first display of a sound called “Frippertronics”, in short for Fripp’s innovative methods of tape looping that involved two reel-to-reel tape recorders placed side-by-side. This method elicited a reverb-like effect that was particularly useful for manipulating guitar sounds. Eno had quite some fun with the method, perhaps serving as its most popular implementer in his use of it within his revolutionary vein of ambient music. Daryl Hall’s excellent solo debut, Sacred Songs, stands as one of the most accurate contemporary uses of Frippertronics. Check out the two Fripp contributions from that album – “Urban Landscape” and “NYCNY” – below.

Viernes’ Sinister Devices takes a page or two from Frippertronics, though not to the point of excluding the influence of pop music in its entirety. It implements pop in the way artists like Animal Collective or Air do, placing catchy melodies within a texturally competent recording practice to create both an infectious and atmospherically demanding product. It is easy to tell this from the opening “Glass Windows”, which manages to work a clickity-clackaty electro-drum to some surprising cohesion under a fluttering array of keys and synths. The drum machines throughout the album are used well, especially when the arrangements evolve from modest projections into epic revelations, like in the anticipatory jungle-juiced sound of “Ancient Amazon/New Fashion”. The songwriting process sounds developmentally organic, which in a style of music that is often dependent on machinery can be a daunting role to fulfill. Like their heroes Fripp & Eno though, they stand by what works and make the movement’s forefathers proud.

While tracks like “Liquid Tunnel” and “Swimmer’s Ear” are acid-induced near-instrumentals that rely on harmonizing through tape-induced vocal patterns and keys that go from whispering to squealing in tone, efforts like “Glass Windows” and “Entire Empire” offer a somewhat poppy take to invite listeners into their gauzy sound. A few straightforward guitar riffs conquer the latter’s intro, just as a trickle of keys signals the wave of eventual bliss that a buzz-saw bass and harmonically intertwined vocals will create. Although repetition sounds like a predominant factor, anyone used to Fripp or Eno’s recordings should already be a slave to details. These accomplishments are immense walls of sound that demand repeated listens and Viernes make it a lot easier on the listener by providing a moving mixture of psychedelic-pop and Frippertronic-influenced experiments, all with minor but effective details that offer a wealth of ideas.

Those that find the novelty of 20-minute electronic epics to be too overbearing yet still possess a desire for left-field electronic-pop should be enamored with Viernes. There is a lot of great stuff on Sinister Devices and the lack of pretension displayed on it for this type of music is laudable. A great audible atmosphere is not reliant on a three-second loop that sits immobile for five minutes, but rather a proper display of musical wits that can make even the most complex musical layers combine and communicate with ease. Viernes are noticeably in possession of this wit and use it to create one of the more fascinating electronic-pop albums of the year thus far.

RIYL: Brian Eno, Robert Fripp, Daryl Hall, Roxy Music, Steve Roach, David Sylvian, Aphex Twin, Here We Go Magic, Atlas Sound, Neon Indian, Teengirl Fantasy, Joy Division, New Order, Big Spider’s Back, Holiday Shores, Tanlines, The Ruby Suns, Caribou, Lemonade

——————————————————————————————

Viernes – Glass Windows

——————————————————————————————

Viernes – Entire Empire

——————————————————————————————

Viernes – Liquid Tunnel

——————————————————————————————

Daryl Hall – Urban Landscape

——————————————————————————————

Daryl Hall – NYCNY

——————————————————————————————

Kanine Records

Viernes’ MySpace

Viernes’ Facebook page

BUY

The post Viernes’ Sinister Devices appeared first on Obscure Sound: Indie Music Blog.