Merely a few months after I started this site, I deemed an album by Beach House to be “the most atmospherically beautiful debut of the year.” Although slightly rough around the edges, their debut showed a band on the brink of something special. This was back in 2006, and seeing the Baltimore-based duo grow into the masterminds behind the stunning Teen Dream has further convinced me of their rare maturity. With this, multi-instrumentalist Alex Scally and vocalist/organist Victoria Legrand may in fact have taken one of the largest leaps in music over the past several years, which is all the more respectable considering they did not significantly alter their style or image. True success is measured by sincerity and talent, so it would make little sense to toy with other genres if one is intent in their ways and already critically acclaimed. Beach House’s 2008 follow-up, Devotion, realized just this and decided to evolve from the debut as opposed to turning over a new leaf. An insatiable hunger for success, while artistically healthy, can be detrimental in its approach if it results in unnatural stylistic hesitation. Beach House’s third album, Teen Dream, is remarkable not only because of its sheer quality and consistency, but also in its willingness to stick with what Beach House are most natural at doing.

The word “natural” is often used objectively in the sciences, but in the arts it tends to pertain to an indescribable feeling garnered by witnessing both sincerity and skill from an artist. When something fits superbly in music, we tend to describe the effect as providing a “natural flow” or the artist as being “a natural”. The question then is, do so-called naturals improve their skills, acquire new ones, or do both? Teen Dream answers this in an interesting manner. Beach House have maintained their original sound, but modifications in production make their music more vividly effective than ever. There are is more emphasis on instrumental variety, crisper sounding production, and an exuberant confidence that results in monumental success, all while sounding distinctively like the duo we already know and love. There is still a sense of enjoyable ambiguity surrounding the duo though, mainly attributed to Legrand’s uniquely powerful vocals. Her voice is very fascinating in this release, emitting more confidence than on any of their prior albums. She finds rare pitch in her voice that is not relative to male or female, which is so remarkably unique that some first-time listeners may have no clue who is singing.

Beach House have always been associated with subtle brilliance, which is what Teen Dream applies well. The opening track, “Zebra”, is reminiscent of old Beach House tracks like “Saltwater” where brilliantly constructed mood reigned most. The chorus itself is not capable of much variation, unlike the explosive choruses in “Walk in the Park” or “Better Times”, but it remains a very strong effort. It does well to establish a new methodology for the group, which clearly involves crisper and less rigid efforts that rely less on droning reverb and more on melody and instrumentation. It is not waving its arms in your face, but “Zebra” quietly plays like a gem of an opener with the warmth of Legrand’s mixing cohesively with Scally’s guitar tremolos to create a trademark Beach House performance. Singles like “Used to Be” and “Norway” are richer in their sound and instrumental intricacy, specifically in the backing vocal harmonics used in “Norway” over the quickly paced guitar arpeggio. The backing vocals are very light and caressing, which makes the arrival of Legrand’s leading voice as a musky and powerful enigma that much better. “Don’t you know it’s true,” she sings, dragging out the “true” with her vocal versatility to touch nearly every pitch on the scale. The melodic variation on each track is also breathtaking; it is usually heard in the last minute or so of every track. When “Norway” succumbs to an alternate bridge in its final minute it is one of the many chills this album will place upon your spine. Like the sudden shift in the organ’s melody during the conclusion of “Lover of Mine”, the transition is so welcomed because of its precise and valuable addition.

“Lover of Mine” is fascinating specifically in Legrand’s revolving array of organs, which seems to alternate as the lead with slight percussion and muted guitar chords. The lead organ that appears in the chorus certainly has a Far Eastern vibe, making comparisons could the funk-soul experiments of Chaka Khan or the dreamy pop of Fleetwood Mac pretty agreeable. Either way, the dominance of organs and wistful melodic lore is strongly reminiscent of the ’80s synth-pop movement that momentarily took hold of the mainstream. As far as the latter comparison goes, vocal resemblances to Stevie Nicks are bound to spread with Legrand’s increased accentuation and variation throughout Teen Dream. Their pitch and emission of hooks differ dramatically, but both vocalists’ deliveries pack a stellar punch that rides on quivering seductiveness and complementary harmonics. All surprising variations are welcome, like when an entirely new organ arrangement emerges in “Lover of Mine” to masterfully conclude an effort that succeeds in both heartfelt nostalgia and contemporary relevance. The track itself is illustrative of lust and youthful fun in which consequences are of no concern. It finds a suitable reprieve between the tragic “Used to Be” and the more optimistic “Better Times”, suggesting that Teen Dream encompasses more thematic depth than it may initially let on.

Few want to listen to a break-up album past high school, but Teen Dream is a different type of ordeal. As the title may suggest, the album interprets the feelings of unparalleled triumph and obliterated desires from the perspective of one in the process of maturation. Two of the strongest Beach House efforts to date, “Walk in the Park” and “Better Times”, showcase this beautifully. The former is awashed in a shoegaze-like glow, accentuated by glistening keyboard tremolos and graceful guitar licks. This also appears as the strongest vocal performance of Legrand’s career, which is saying quite a bit. The repeating keyboard melody only makes her presence more prominent and important. She alternates between a psychedelically subdued chorus and anthemic chorus of soaring synths in a way that leaves me in awe, particularly because her variation is breathtakingly precise. Scally has a lot of fantastic ideas throughout the album like this and Legrand coordinates perfectly with them, producing a truly collaborative effort that relied on the creative genius of both members. “Better Times” is just as perfect, its inspiration being somewhat rooted in John Lennon’s Imagine with its delicate, Eastern-inspired vein of pop. Their complementary effects of these two absolutely gorgeous songs creates for great thematic tension; “Walk in the Park” values true love over all material possessions, while “Better Days” appears as the re-acquisition of this ideology after finding greener pastures.

Despite the success of every track on the album, some tracks fall shorter than others. “10 Mile Radio” is more a display of vocal power than songwriting brilliance, the latter of which most of the songs on Teen Dream have. This one seems to stutter a bit, complemented by a somewhat disappointing chorus containing a screeching synth and muted arpeggios. It has plenty of mood and anguish with Legrand’s vocals generating a demanding presence over Scally’s subtle instrumentation, but never catches up to its initial potential. Beach House have the ability to make anything sound good, even an untuned piano, so faults like these are purely through comparative songwriting. The last three songs on the album appear to emphasize the lyrical construction of the album; “Real Love” singularly employs the same piano progression for most of the song and the beautiful “Take Care” is similarly coherent in its glow of ascending synths. “10 Mile Radio” and “Real Love” are the only hiccups to speak of though, and this is just in comparison to the other spectacles of brilliance on the album. It must be hard to be a decent track on an album full of outstanding ones.

Beach House’s Teen Dream does the same thing that Animal Collective’s Merriweather Post Pavillion did to the 2009’s year in muic. Being one of the few music masterpieces of the decade, it set a climate of high expectations for the following year. Whether or not 2010 will live up to the towering Teen Dream remains the question, but what is certain is the legitimacy of Beach House’s newest as the first truly great album of the 2010s. Calling something a masterpiece always seems premature, and this stunning album’s fate will tell of that. But when looking at the sheer consistency, stylistic beauty, and pure awe-inspiring skill put into Teen Dream, I would be shocked if its fate was any different.

RIYL: Mazzy Star, Slowdive, Spiritualized, Grizzly Bear, Fleetwood Mac, John Lennon, St. Vincent, Girls, Broadcast, A Sunny Day in Glasgow, Vivian Girls

9.5/10.0

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Beach House – Walk in the Park

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Beach House – Better Times

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Beach House – Norway

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Like many college students in October, this past month – for me – has been the busiest of the year in terms of workload. As a result, I find myself being extremely grateful for how easy it was to discover such a great variety of bands in the past month. I constantly have material that is waiting to be considered for a feature, but I often have to wade through it a bit to find something that piques my interest significantly before I get to a few select choices that I feel will contribute nicely to the site. As evidenced by the quality of October’s compilation, I am very proud of the groups featured here, many of which I just stumbled upon by chance. A lot of great stuff is in this collection, whether it came from Norway, France, Montreal, or Brooklyn. With that being said, I hope you enjoy it.

01. Little Joy – The Next Time Around (post)
02. Love Is All – A More Uncertain Future (post)
03. Malajube – Pâte Filo (post)
04. Jolie Holland – Mexico City (post)
05. Peter Broderick – Below It (post)
06. Begushkin – Murderer (post)
07. Katzenjammer – Tea with Cinnamon (post)
08. Rockettothesky – Grizzly Man (post)
09. {{{Sunset}}} – Zombies (post)
10. Helios – Hope Valley Hill (post)
11. Peter Moore – Sister Sunshine (post)
12. Winter Gloves – I Can’t Tell You (post)

DOWNLOAD ENTIRE COMPILATION>>> (55.2 MB, .RAR)

The post Obscure Sound: Best of October 2008 appeared first on Obscure Sound: Indie Music Blog.

I was originally going to begin this feature by comparing Katzenjammer’s passion for music to some relentless force of nature, mainly because this Norwegian quartet practically defines in their sound and exuberance what it truly means to enjoy playing music and succeed in doing so. Sometimes though, a video can be more expressive than words, especially when applied to certain circumstances that are too unique for conventional expressions. So, when I watched the four young women of Katzenjammer perform a live version of one of their several strikingly unique tracks, “Ain’t No Thing”, on a boat floating along the Nidelva River in their native Norway (here), it was immediately noticeable to me that it would take quite a bit to deter this group’s creative vision. A surprisingly effective interpretation of post-war blues, “Ain’t No Thing” appears as a very fitting choice for the video, starring a series of bluesy riffs and howling vocals that arise in dramatically poignant form as the four-piece traverses along the riverbank. The studio version, included as a bonus on their debut Le Pop, also happens to boast a sitar, showcasing some startlingly effective usage on a track dominated by a somewhat contradictory style of blues. For potential listeners, the video serves as an aptly accurate precursor as to what to expect on Le Pop.

Not only does Katzenjammer play with a wide arsenal of styles, but they attribute unconventional instruments in appliance to each style that would easily cause longtime fans of each style to come away quite startled (check out their instrumental arsenal in pictorial form here). This is mainly because they do it so well, whether they choose to implement a sitar in the bluesy “Ain’t No Thing” or mix the banjo, upright bass, and an infectious trumpet riff in the folksy “A Bar in Amsterdam”. The diversity on Le Pop is so wildly impressive that, even upon first listen, I was enthralled immediately on a track-to-track basis just to see what they would attempt next. “Tea with Cinnamon” is easily the album’s most accessible effort, seeing the four-piece get as close to pop conventionalism as ever but still succeeding in innovation by effortlessly introducing a plethora of key-led hooks that alternate in tempo and lyrical progression as the track intensifies. “It’s so beautiful” is the phrase sang throughout the chorus, a rather simple statement which contains a more significant premise as the lead vocalist employs several emphasized harmonic transitions that see her drag out the phrase in complementary form over a glockenspiel, accordion, and balalaika. “Now it’s night and I don’t feel so bright,” the sprightly vocals warn, signaling a foreshadowed tempo change that sees the chorus conclude the track in a more elegant and more subdued form that is done to accentuate the brilliance of the initial chorus. It succeeds remarkably, as does the entire duration of this masterful track.

Though “Tea with Cinnamon” may take the honors as the catchiest effort on Le Pop, it would be difficult to argue against “Hey Ho, On the Devil´s Back” being the most artistically successful one. It succeeds on so many fronts – melodically, lyrically, and stylistically – that it should appease any concerns among the few that may initially question Katzenjammer’s stylistic decisiveness. Clearly, stylistic intuitiveness is the skill present here, not stylistic indecisiveness. One listen through Le Pop should validate this, as the fact that all 12 tracks differ dramatically from one another with resounding success is evidence enough of the group’s ability. Considering that it follows “Tea with Cinnamon” in the track listing, the contrast in styles and mood is quite remarkable. The group goes from an optimistically gleeful, glockenspiel-led bounce to a brooding tale of vengeful redemption that features a swirling collaboration of swift and forceful rhythm sections, swelling piano crescendos, and ghostly backing vocals with remarks like “save our soul” and “hey ho! On the devil’s back!” The track has plenty of thematic allusions to boot. “I met the evil devil and he offered me a ride,” the vocals begin. “He said: “you look tired, let me carry you a while.”” Desperation and positional relinquishment are reoccurring themes throughout the track, resulting in an epic of sorts that is compelled by strong instrumental accompaniments, fervent vocal usage, and drolly effective lyrics.

The self-titled track is fascinating for a variety of reasons. After rushing through a flurry of circus-like enchantments, the group transitions into a sort of girl-group mentality as they each take turns with a very melodic vocal line over a dizzying rush of keys and bass. Think about what The Pipettes would sound like if they were somehow involved in Cirque du Soleil and this fast-paced gem is the result. “Wading in Deeper” serves as the ballad of the album, being a highly emotional effort as the vocals cry out, “LaLalalala, wading in deeper,” over a steady piano accompaniment and sporadic additions of a hastily plucked mandolin, à la Morricone. The second verse in the chorus goes from “up to her knees” to “up to her waist” and then “over her head” in each successive chorus until the track concludes, ending abruptly on a rather tragic note.

“To the Sea” is a short but satisfying track with a sharp string-aided chorus, while “Play My Darling, Play” is an accurate imitation of country-folk that has become a fan favorite for good reason. “Mother Superior” sits in the same boat as “Hey Ho, On the Devil’s Back” as being an epically invigorating epic, succeeding on all the same fronts and being a flawless closer to a sensational album. As you can probably see by my enthusiasm for each and every track on this gem of a release, I personally consider Le Pop to be one of the best debuts of the year. It is also one of the most stylistically masterful, not flaunting a single dull moment as this four-piece from Norway is one of the most passionately talented groups of musicians I have heard all year.

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Katzenjammer – Tea with Cinnamon

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Katzenjammer – Hey Ho, On the Devil’s Back

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Katzenjammer – Le Pop

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The post Katzenjammer Plays Le Pop appeared first on Obscure Sound: Indie Music Blog.

Even just by reading her own personal thoughts on the art of music alone, one can easily gather that Jenny Hval is one of those literary types. By this, I refer to individuals who seem to have a personal connection with works of literature, interpreting them as if it is their own life and experiences being foretold in the process. Sure, many of these types can be pretentious, but others can be uniquely invigorating in a way that causes the people they interact with to look deeper into the thematic meanings of literature and art in general. Hval is more applicable of the latter description, fusing her love of music and literature together for the “one-woman band” of Rockettothesky. It would make sense too, as the young songwriter from Norway also happens to be an aspiring writer who has had her works published in a handful of anthologies; she describes herself as constantly being busy with “pieces of fiction, articles, essays, [and] spoken word pieces” in addition to her music. That being said, she certainly seems like a fascinating person to sit down and have a cup of coffee with. The aspect that drew me to Hval’s music, though, was not the way she looked upon the art of writing and music. Instead, I became enthralled by the way she was able to fuse the two together in producing a sound and style that is truly and distinctively her own.

In accordance to her literary ideology, I suppose that it should not be all that startling that Hval began writing songs for Rockettothesky as a “secret project” of sorts consisting of impulsive monologues for her deceased dog, Inka. In fact, in her own words, the project is “an invocation of the voices of the dead”, prompting the improvisational tendencies of Hval to be both thematically appropriate and strangely resounding. You see what I mean about how it would be interesting to sit down and have a conversation with Hval? For those somewhat intimidated by her eccentric nature though, her music proves that she is not by any means utilizing these unconventional methods for the sake of recognition or artistic desperation. In touch with her individualistic self throughout the entire duration, the ten recordings on her second album, Medea, portray a woman who is clearly in touch with the style she intends to produce. Alternating between styles such as folk, electronica, and pop, her richly extravagant vocals haunt the realms of her stylistically multifarious ability in a comparable form to Björk, a prevalent influence. A plea to the dead is a somewhat bizarre way to describe her style, but as Hval shifts from highly melodic vocal lines on sweeping orchestrals like “Grizzly Man” to percussively aided electro-pop gems like “The Dead, Dead Water Lily Thin”, one begins to get the sense that her highly ambitious style of play may be impossible to describe any better than as tribal chants directed toward the dead.

While chants and odes to the deceased may sound like a grim topic, Hval’s music actually turns out to be more enlightening than it does somber or melancholically reflective. “Grizzly Man” sounds more spiritually uplifting if anything, looking upon such aforementioned aspects of death in a manner that appears optimistic and progressively gratifying. Some tracks may be foreign to me and most listeners, but the mixture of twinkling bells and beautiful finger-picked acoustical guitar progressions in “Grizzly Man” creates a serene atmosphere that is supplemented marvelously by Hval’s extraordinary vocals. Her range defies even her melodic diversity, a spectacle in itself considering the unpredictable nature of her song’s structures and the melodic instrumentation that drives them. This astute level of instrumental diversity and consequentially experimental production is found all throughout the duration of Medea, whether it be the heavily reverbed echoes of a trickling guitar and sporadic bass in “Song in Blood” or the use of wind chimes and subtle hint of strings in the opening “Song of Pearl”. Some tracks even border a cappella form. “Chorus”, specifically, is only backed by a brooding synth pad as a variety of vocal layers overlap to give a choir-like effect that simply adds to a central message of everlasting love.

Despite being considerably more ambitious than anything you are ever likely to find on mainstream radio, “14, 15, 13, 14” serves as one of the most accessible tracks on Medea. The track is directed by a key-led beat that is very reminiscent of Middle-Eastern folk music, a very fascinating development that reveals itself as Hval transitions between melodically appeasing harmonies and spoken-word movements over a bustling trickle of backing synths. It is also one of her most straightforward tracks in terms of style and substance, especially when compared to near-ambient spectacles like “Mothering Silence” and “Chorus”. The only other track that takes a somewhat similar approach is “The Dead, Dead Water Lily Thin”. Initiated by the deep resounding pounding of percussion and a nasally synth line, Sweden’s The Knife certainly comes to mind due to the track’s ability to remain in the realm of electronic pop while maintaining the utmost sense of ambitiousness and atmospheric maneuverability. It also helps considerably that Hval encompasses vocals that fit whichever style she chooses to a startlingly effective extent, whether it be a cappella choral music, meditative orchestral arrangements, or subtly infectious electronic pop. On Medea, there is something for anyone who appreciates succeeding in a nearly inimitable format.

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Rockettothesky – Grizzly Man

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Rockettothesky – 14, 15, 13, 14

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Rockettothesky – The Dead, Dead Water Lily Thin

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The post Jenny Hval Takes a Rockettothesky appeared first on Obscure Sound: Indie Music Blog.

The difference between music awards in North America and Europe often astounds me. Sure, a “Grammy Award” is universally synonymous with quality on each side of the Atlantic Ocean, but the exposure that it provides the artist with differs dramatically. The American version of the “Grammys” tends to recently be more fixated on popular forms of rap, R&B, and bland mainstream pop, leading those genres to be the most profitable among musicians in the respective country and elsewhere. While the award is obviously not the most defining factor in attributing to a conventional music taste, it certainly plays a big role. Though I often find myself disregarding the awards to an understandable extent, I can’t help but wish that the mindless award shows in the US were more like their European counterparts, in which quality can actually have the potential to overshadow superficial aspects of melodramatic imagery and commercialism. That being said, I can’t remember the last time the American version of the “Grammy Awards” gave a prominent award in the vein of “Best Female Artist” to someone as naturally skilled as Ane Brun. It may serve as a shock to younger readers, but Brun actually won the Norwegian version in 2005 without flagrantly promoting rampant drug use, wearing revealing attire the size of a handkerchief, or producing an “accidental” sex tape. Yeah, amazingly enough, she actually won the award because of her musical skill alone; it is a stark contrast from what modernly defines commonplace talent in the US.

Though I yearn for the day were an artist like Brun wins any mainstream music award in the US, those who already enjoy her should consider the desire irrelevant. For purpose of enjoyment, if if you have the ears to recognize her impressive ability, your individualistic viewpoint should be the most important factor in identifying her as an artist to keep an eye on. Brun kicked off her songwriting career in 2003 with her debut, Spending Time with Morgan. The reception was impressive, as European audiences and critics alike fell in love with her ability to produce elegantly haunting alternative-folk with lyrics that were both descriptively revealing and emotionally charged. Considering that the likes of Feist and Neko Case have enjoyed a recent surge in popularity in America, I would not be surprised if Brun’s newest album, Changing of the Seasons, sees her success carry on to foreign shores. A 32-year-old native of Norway, Brun first picked up the guitar only 11 years ago, proving to be a quick learner when she released her debut album only 6 years later. With her debut, Spending Time with Morgan, originally only released in Europe, Brun’s second album, A Temporary Dive, was her first album released in both the US and Japan when it dropped in 2004. Like Spending Time with Morgan, it was released on DetErMine Records (Brun’s self-founded label) but was picked up by V2 for distribution in the US.

The interestingly appealing Duets was released in 2005, featuring Brun singing singing 10 duets with talented Norwegian and Swedish artists like Lars Bygdén, Tingsek, and Tobias Fröberg. Though the names will be unfamiliar to most audiences outside of Norway and Sweden, the album’s fantastic quality speaks well for the current music scene in Norway. After releasing a live album in 2007, Brun headed to the studio to work on Changing of the Seasons, which was released on March 12th. It is produced by Valgeir Sigurdsson, who is known for his excellent work with the likes of Björk, Sigur Ros, and Múm. Brun currently resides in Sweden and her musical approach fits in nicely somewhere between the contemporary pop and folk the country has become reputable for. Her instrumental focus varies between a plethora of acoustic guitars, strings, and keys on Changing of the Seasons, with each playing the role as melodic role alternatively between each song. The powerful “10 Seconds” sees Brun and a gospel-y backing vocal section glide seamlessly over the delicate progression of a piano. The chorus introduces the gradual use of strings, an instrumental feature that is used to excellent consistency throughout the album. “It is those ten seconds, those ten seconds in your head,” she sings. “When you don’t wonder if you’re alright, when you’re just hanging around with yourself – with yourself.” The chorus alone marks the point of a devastatingly haunting hook, primarily guided by Brun’s uniquely empowering vocals, the string arrangement, and the underlying twinkle of keys. It is a perfect example of Brun’s raw talent.

“The Puzzle” serves as the album’s new single, and it is a good choice on Brun’s part. It is certainly one of the more fast-paced tracks on Changing of the Seasons, especially when considering that the appeal on stunners like “My Star” and “Gillian” has a lot to do with Brun’s delicate vocal delivery interchangeably evolving over beautiful instrumentation. Commendable instrumentation is once again prevalent here, though the sense of urgency is appropriately in full form in regard to both vocal delivery and melodic instrumentation. “I walked into love. I walked into a minefield I never heard of,” she opens the song as strings build under the gentle progression of an acoustic guitar. The use of xylophones makes an enjoyably innovative entry after the introduction, providing the precise moment that Brun increases the speed of her delivery. She compares the fallacies of love to a jumbled puzzle, noting that friends and family can help put together the “corners” of the puzzle but that you have to put singular effort forth in order to “fill in the frames”. The usage of metaphors is prevalent throughout the album and it does so without being pretentious or overbearing, instead being understandable and poetically invigorating.  Brun has the lyrics to all the songs in her catalog on her site and it is well worth a look, especially given Brun’s blatant poetic ability. She may currently only be acclaimed in Europe, but given the outstanding Changing of the Seasons, I would be shocked if Ane Brun does not break out globally by the end of the year.

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Ane Brun – 10 Seconds

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Ane Brun – The Puzzle

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Ane Brun – The Treehouse Song

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The post Ane Brun Watches the Changing of the Seasons appeared first on Obscure Sound: Indie Music Blog.

When listening to music, whether you are an amateur or an apparent know-it-all, it is usually easy to recognize when an artist is on the verge of mainstream success. Providing a sense of both instant accessibility and amiability, the genre of pop (when done right) has been the most common output for this type of success. Well, due to the recent failures over the past few years of many one-hit pop wonders, it is entirely realistic to say that Evan Johansen is perhaps too good for mainstream pop. While it is common to discover a sound of guiltless radio-friendly accessibility in Johansen’s impressive arsenal of expansive pop songs, his array of executional methods in devising a brilliant hook is too original to classify him within the realm of mainstream hopefuls. Going under the name of Magnet, this does not seem to be what he is striving for either; I mean that entirely as a compliment, as most artists with conventional intentions fall flat on their faces. While Sweden has taken the crown for having arguably the largest number of underrated indie-pop artists, Norway also makes a strong case. Though the small European country does not have as large of number making a global impact, the quality of these Norwegian artists who actually do break out is nothing short of remarkable.

Born in Bergen, Norway, Johansen is one of the many aspiring Norwegian songwriters looking to make it big. Apart from the recently featured Pleasure (Fred Ball), some other names you may be familiar with include Röyksopp, Serena Maneesh, Annie, and Sondre Lerche. Apart from electronic music vets Röyksopp, all these artists are just beginning to make a name for themselves outside of their native Norway. Johansen could join this talented club with ease and, along with Annie’s catchy fusion of dance and pop, he is one of the Norwegian artists most likely to garner some serious national airplay. The foreign music critics have already started calling as well; NME has compared his musical presence to that of Jeff Buckley and Coldplay, two artists who I had never imagined would end up in the same sentence. It has been a long time coming though, as Johansen has been musically active since early childhood. His father used to tour the world as a guitarist for a Norwegian band specializing in jazz and swing, introducing Johansen to the world of music and, most importantly, rock ‘n’ roll. Though he is just beginning to break out Stateside, his first album, Quiet & Still, was released way back in 2000 under his birth name. He has released three more since; The Simple Life was the fourth of his career when it dropped in the US on September 18th. Produced by Johansen and Jørgen Træen, it is undoubtedly my favorite of his career. Johansen has finally blended his irresistible elements of pop sensibility with a sense of instrumental diversity, crafting a force that appears unstoppable.

Listening several times through to The Simple Life, it should not be hard to distinguish why it quickly debuted #1 on the charts in Norway when it first released there in March. This is a collection of alluring pop songs that combine Johansen’s raw talent with an impressive instrumental display that displays his musicianship in a richly expansive light. From the dramatic strings on the beautiful “Count” to the horns on the breezy “You Got Me”, each song is a pleasant surprise in regard to which instrument Johansen will tackle next. With this, he manages to be a dying breed in the classification of pop music songwriters. The Simple Life is not a collection of mindless fillers scattered around 1 or 2 tracks that are striving for a spot on the singles chart. This is an album where cohesiveness is just as important as singularity. Each song blends seamlessly into one another, with Johansen’s consistent comprehension of melodic eminence taking front seat. Even in his cover of Bob Marley’s classic “She’s Gone”, Johansen manages to affably incorporate the vital aspects of reggae with a croon so refined that even Marley would have likely grinned with delight at Johansen’s effort. With the relaxed twang of a guitar underlying a leading melodic whistle and stylistically appropriate percussion, it is entirely worthwhile. Who ever said that a white boy could not cover reggae?

Throughout the album, there are many gems to be found. However, upon first listen, it will not take long to discover its irresistibility. The first track, “The Gospel Song”, is one of the best pop songs of the year. While the only aspect of the song that would possible be deemed as “gospel” is the backing vocal repetition following each verse, this pop gem serves to be a nice summation of Johansen’s style. The verse thrives off a continuously plucked acoustic guitar, backed by the aforementioned backing vocal melodies. However, when the chorus is exposed, Johansen’s talents are shown more apparent. As he uses an increasingly dramatized vocal delivery, a flurry of exotic strings take course over a swift change in key that is executed without flaw. “So you say you’ll be sorry if it’s gonna help me,” he proclaims in the chorus before the apt use of a harmonica serves as the bridge, “Help myself out of this mess.” While it would be conventional to assume that “The Gospel Song” is the best Johansen has to offer, other similarly molded tracks in the vein of “Lonely No More” and “Slice of Heaven” are just as rewarding. Check out “Slice of Heaven” for some outstanding string arrangements. The collaboration of pop music and orchestral composition has most recently been exposed by the recent surge of Van Dyke Parks collaborations, though Johansen could likely become prominent for his work in this aspect alone. It makes sense too, as from an artistic perspective, a conventional thought process often results in failure. With Johansen’s colorfully enlivening pop songs, The Simple Life is a resounding success.

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Magnet – The Gospel Song

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Magnet – She’s Gone (Bob Marley cover)

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Magnet – Lonely No More

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As many of us have learned, reputation can be a vital benefactor in assisting one’s career. So, how did a 25-year old from Norway who has never released an album in his life get gracious assistance from the likes of Justine Frischmann (Elastica), Brett Anderson (Suede, The Tears), Cerys Matthews (Catatonia), and synthesizer innovator Dr. Fink? Simple. It’s all lies in a musical reputation. This aforementioned 25-year old Norwegian goes by the name of Pleasure, with his actual name being Fred Ball. He has built up quiet a following with his talented array of both production and songwriting. Actually, as he says, you would be surprised how often the rich and famous give opportunities to rookies like himself. His method was quite simple but also significantly risky. “I wanted to make an album and I started making one track after the other,” Ball said, “I got all my friends to play on it and then I started sending CDs out to a few specific people as instrumentals, ideas, sketches. I knew a friend of Justine’s, so I sent her a CD and she said sheâ€d do it. I thought sheâ€d be perfect on that track.” This eventually led to Justine Frischmann and others appearing on his debut album in 2003, Pleasure. Ed Harcourt, Cerys Matthews, and Dr. Fink were all recruited in a similar fashion after hearing that Frischmann was involved. Now, that’s what I would call a helpful reputation. The album was a success with singles like the popular “Don’t Look the Other Way” (with Justine Frischmann). Additional successes included “Stories” (with Cerys Matthews) and “From the Country to the City” (with Ed Harcourt), both showcasing Ball’s talent and innovation. After the release of his debut Ball’s aided production and songwriting efforts were also vital to the collaborations, as he co-write K.T. Tunstall’s “Universe & U” (arguably her best song), and has produced albums from Bertine, King Midas, and has just finished producing Brett Anderson’s solo debut (my review here). Now, back to his own career. Pleasure 2 is his second album, one that should certainly increase his status even more with the collection of twelve memorable songs. “I decided to call it Pleasure because of the music,” said Ball, “I just wanted to make a listenable, feel-good pop record, and I think I have.” His influences are very evident as well, citing Prince, Yes, Michael Jackson, ELO, and Van Der Graf Generator as his primary influences.

Pleasure 2 includes an all new cast of contributors, including longtime friend Brett Anderson, who lends his vocals on “Back to You”. Considering that Anderson asked Ball to produce his solo album, it’s safe to say that Suede’s former legendary frontman has his share of respect for the 25-year old. Like most of Ball’s songs, “Back to You” is layered with synths, pads, occasional guitar strums, and automated percussion. Anderson’s trademark vocal snarl is still present, sounding similar to something off of Suede’s most electronically agreeable album, Head Music. Actually, it reminds me somewhat of “Indian Strings” or “Everything Will Flow”. The arrangement isn’t startling or complex, as it is a repetition of synths that eventually get complemented by an intense addition of pads throughout the song, but Anderson’s lovesick lyrics and professional touch makes it a song with a memorable result. As far as my favorite song on Pleasure 2, I admit my choice may be a bit cheesy. That title goes to “Uptown”, a lovable dance explosion that sounds like ABBA if they took more drugs and experimented with an odd expression of synth. If Ball plays his cards right, “Uptown” could be a dancefloor sensation with a rhythm that is undeniably irresistible. True, the chorus is what makes the song, but it is so cleverly executed that one can’t help but move their feet, even if in a mobile position. “Uptown is where I belong,” the lyrics simplistically burst out, “I got all the time, I’m never gonna give it up!” “Uptown” is an example of Ball’s progression on his second album. While Pleasure played with the idea of atmospheric songs like “Stories”, Pleasure 2 is more focused on catchiness and dancefloor sensationalism. On Pleasure 2, Ball throws the atmospheric songs on the latter end of the album, such as “Eskimo Kiss”, a very capable song led by a very Eastern touch, being complemented by a slight Japanese female whisper. The same can be said for “Nightvision”, which sports a stunning saxophone arrangement over a floating touch of keys. Both songs are reminiscent of the the ambient pop of Air or Stereolab, each drawing their own desolate setting through instrumentation and graceful accompaniments. With those in mind, Ball’s tendency for emotional rapture comes clean in “Finest Thing”, a lush emotional arrangement with delicate vocals that solemnly pronounce, “And do you know that when you let go, that was the finest thing you did”. Aside from the flawed attempts at funk such as “Bite the Beat” and the pathetically linear “Silk Dream”, other successes include “Out of Love” (with Heidrun Bjornsdottir) and the probable single “Alright All Nite”. Pleasure 2 is now available in Norway and will be released throughout most of Europe by summer. A release date in the USA is currently undetermined. If you like to move your feet, Pleasure 2 is destined to be a very nice treat.

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Pleasure – Uptown

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Pleasure – Back to You (with Brett Anderson)

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Pleasure – Finest Thing

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Official Web Site

BUY

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Luke Haines is undoubtly one of my favorite musicians. Every project he has led, from The Auteurs to Black Box Recorder, has been absolutely brilliant. His solo releases have been interesting and engaging as well, to say the least. Nowadays, he is growing in age but his musical ability is not fading at all (unlike his hairline). The self-titled single off of his new album, Off My Rocker At The Artschool Bop, has the same technological disco feel as the songs on his other solo release, The Oliver Twist Manifesto. I’m not sure if Haines is going to attempt to rap again on the new album as well, but the new single is particulary impressive with a deeper sound than most songs he has released recently. The album releases on October 30th.

Luke Haines – Off My Rocker At The Art School Bop

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Yeah, I’m being completely serious. Girls Aloud‘s new single, ‘Something Kinda Ooooh’ is actually one of the catchiest mainstream pop songs of 2006. For that purpose alone, it probably won’t get as much airplay as it deserves, which might actually cause the stubborn indie kids to give it a listen. Without much competition, they are arguably the best group created from a reality television show, which includes the new (and washed up) INXS. I realize these girls don’t have that certain songwriting ability, but at least they can sing and they aren’t hurtful to the eyes. It’s included on their upcoming greatest hits compilation, The Sound of Girls Aloud, which also releases on October 30th. Check out their generic music video here, making it another superficially boring video for a catchy song.

Girls Aloud – Something Kinda Ooooh

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SuperJupiter are a trio from Norway, sounding a bit like an even more perverted Scissor Sisters. With a colorful and energetic play on their typical italo-disco, vocalist Terje shrieks his way through a chorus filled with potent synths on their debut single, ‘You Know’. The single recently scored them a record deal with a Ariola (a division of Sony BMG) and it should bring in some other nice perks in the coming months. If you’re in the mood for some glam, or disco, or flamboyant 80s pop… check out this very fun new song.

SuperJupiter – You Know

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