We are producers. We make music for you. This is what UltraChorus convey on their web site, almost sounding like they cater to artists more than listeners in doing so. Such circumstances have the likelihood of create hazardous listening barriers, but in the realm of electronic-pop music it can actually make the process more seamless and enjoyable. Their “for-artists, by-artists” approach primarily relates to the handful of remixes the Minnesotan duo has released thus far, the artists including Phoenix, The Presets, and Daniel Merriweather to name a few. It would be easy to call UltraChorus – and other recent acts focused on remixing – a desperate plea for artistic individuality in the skewering of one’s work to compensate for your own lack of creativity, which is of course true for some. But in UltraChorus’ case, their first full-length release of original material shows how their experience with remixing contributed to an enjoyably individualistic sound that undoubtedly benefited from both practiced working and listening methods.

Electronic music, like any genre, requires practice and trial-and-error to increase one’s skill. However, considering that the genre relies on more intricate technology, one could make the argument that a melodic ear and great songwriting craft are not as prioritized as one’s technological grasp. In experimental music this can easily be the case, but when keeping in mind the implementation of pop music there remains a sense of simultaneous attentiveness that would result in generic placidity if ignored. Hot Chip, Chromeo, and Phoenix are a few examples of artists that maneuvered these waters successfully, and UltraChorus follow their footsteps in relaying a fun and infectious form of electro-pop that blends seductive R&B with tinges of art-rock and dance. This blend has been mashed together before, but UltraChorus’ prior familiarity with the practice of remixing leads to certain components that one would be hard-pressed to find in most other electronic acts. With this arises a question of whether UltraChorus or more electro-pop (Hot Chip) or art-rock (Phoenix). Perhaps certain technology at their disposal can reveal this.

Vocoders have been damned to hell by most “savvy” listeners by now. I agree with them for the most part, except when an artist executes it like UltraChorus have done on Ultra-Def. An example like this brings to mind how it is not the technology we detest that results in failures, but rather the culprits that misuse a device or method and provide it with a negative stigma. Listening to Ultra-Def in full will reveal UltraChorus as one of the good guys, using the vocoder not as a means to disguise melodic flaws but rather as a stylistic additive and songwriting tool. The opening “Scarlet Eyes” is shrouded in disco-infused bass lines and fragile piano progressions, making the vocoded element somewhat of a flash toward modernity. Like Pet Shop Boys, UltraChorus are able to turn electronic-pop into a meshing of several decades, this case being a fusion of ’70s pop and general balladry. The vocoded element is subtle and used somewhat sparingly in accordance to the track’s respective hook, and when it is utilized it provides a surprisingly refreshing take on electronic-pop without sounding too desperate for commercial attention.

Fans of the previously featured Pacific! are bound to fall in love with UltraChorus. That same sort of Swedish electro-pop wizardry with its glistening synths and heavily danceable rhythm section is prevalent, even if these two guys are from Minnesota. The same simultaneous focus on technical and pop-minded ideologies is evident though, as the diversity on Ultra-Def can show. “Bestin the Farther” tends to expand into flourishes of strings over its rigid keyboard progression; the vocoder is again featured to spice up the chorus’ emphasis on synthetic constructions. The subsequent bridge, featuring sped-up vocals over warbled synths, also tend to benefit from the device in its translation to a rhythmically complementary component. Swanky efforts like “Yucatan Peninsula” and “HouseParty5” benefit from sparse keyboard arrangements that are complemented by occasional bursts of bass, which always seems to be at its lowest tone possible. How the high pitches of twinkling synths collaborate with the lower resonates of bass is outstanding in crafting a serenely supreme atmosphere, paving the way for plenty of hooks in the process. “Hope that someday we’ll meet at that little cafe at the end of the street,” the vocals hopefully implore during the track’s final moments, attempting to make the daydream less of a dream by subsequently asking cream or sugar. The musings are simple and easy to understand, but the music resonates deeper than expected.

Although a mere three tracks are sampled here, I would strongly recommend all fans of electronic-pop to pick up Ultra-Def by Ultrachorus for the rest. What may sound like just another vocoder-aided electro-pop act will provide a treat upon extended listens. This is the rare type of pop music that emerges most prominently after familiarity reigns. Once you become accustomed to the album’s efforts, the element of predictability seems to coincide beautifully with the album’s concept of straight-laced hooks, simple-minded relations, and irresistible bouts of infectiousness. Ultra-Def is a remarkable effort by a Minnesotan duo that is poised for success.

RIYL: Pacific!, Hot Chip, Phoenix, Squeeze, Chromeo

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UltraChorus – Scarlet Eyes

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UltraChorus – HouseParty 5

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UltraChorus – Bestin the Farther

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Another day, another elusive electronic artist from Sweden. It seems like I have come to expect the small country to dominate the realm of innovative electronic-pop, mainly due to its roster of impressive acts that show no hesitation to incorporate sampling and stylistic multifariousness into gorgeously intricate, yet accessible electronic music. Some Swedish artists, like Sally Shapiro and Pacific!, chose a throwback approach that capitalized upon the italo-disco explosion in Europe during the ‘80s. Others, like The Tough Alliance and The Knife, churned out a more modernistic style of electronic-pop that found its sentiments more rooted in updated techniques like sampling, genre manipulation, and the glorification of youth. I classify these groups rather broadly due to their separable enigmas; their success is independent of one another due to styles that are undoubtedly their own (even if they are occasionally indebted to styles of the past). One of the most buzzed-about Swedish groups last year was Air France, a group that took sampling and electronic-pop to extraordinary heights with an EP that retained its summer-y vibe similarly to that of another landmark electronic album from this decade, Avalanches’ Since I Left You. Its ability to incorporate sampling, irresistible pop hooks, and unconventional production techniques was echoed in Air France’s No Way Down EP, serving as an indicator of just how great Sweden has treated the emerging genre of sample-based electronic-pop since its emergence.

Despite consistent successes that range from Sally Shapiro to Air France, there is often a divide between throwback electro-pop artists and those that opt for modernisitically stimulating techniques like sampling in their sound. Both types of artists have shown tremendous staying power in Sweden and abroad, but there are not many artists that are able to simultaneously capture heartfelt nostalgia and contemporary sparkle in Sweden and elsewhere. To successfully infuse these two styles together would undoubtedly result in something big, as the buzz surrounding artists like Air France and Shapiro was big enough alone to warrant their reputable statuses. Perhaps it is a coincidence that most of these Swedish electronic artists play the shy card, leaving little personal information for fans to swallow and enjoy. A simple discography is often the only thing that coats their official site, as is the case with JJ. I admit that I have little information regarding this Swedish whiz, but what I can offer are a few tracks that show JJ as one of the supreme forces in current Swedish electronic-pop. With that in mind, it is no surprise that JJ sits aside similarly entitled artists like The Tough Alliance and Air France on one of Sweden’s best and most consistent labels, Sincerely Yours.

One aspect that artists on Sincerely Yours seem to share is a vibe that is distinctively reminiscent of summer. The Tough Alliance’s infusion of reggae into electronica on tracks like “Looking for Gold” or Air France’s sampling of ocean waves and childish laughter over spright synths certainly attributes to this, but both artists’ sense of capriciousness within an accessible and determinably innovative style is more responsible for this enjoyable vibe. JJ unsurprisingly captures similar sentiments, leaving little room for balladry or rockers with a presentation that sits in between the throwback pop of Sally Shapiro and the contemporary electronica of artists like Air France or The Tough Alliance. JJ’s new album, JJ N° 2, also explores territory that shows an appreciation for world music, evident in the African percussion in the aptly titled “From Africa to Málaga”or the twinkling allure of Afro-pop inspired vocal minimalism over the fluttering acoustics and keys in “My Love”. The expansion of horizons is one reason to enjoy JJ N° 2, but its primary allure is in the cumulative stylistic brilliance presented on the album. The vocals are almost always present, more reminiscent of throwback electronic-pop than sample-based pop experimentation. Here, though, it works wonderfully with female vocals that are lush enough to echo the Cocteau Twins but ardent enough to resonate within fans of Sally Shapiro or even ABBA.

When one combines the lush but ardent vocal performances of JJ with each and every song’s grace and beauty, it results in an album that will undoubtedly receive praise as one of the most accomplished electronic releases of the year. I am hard-pressed to call an album flawless, but the album’s faultless style and short length leave little room for mistakes. The 27-minute run time makes it seem too short, even though the nine tracks pack enough punch to keep listeners captivated for quite awhile. The opening “Things Will Never Be the Same Again” shows this off quite well, sporting strings and African-inspired percussion over twinkling keys to establish a glittering glimpse into a tropical paradise where only the inspired roam. For the less serious, “Ecstasy” is a cover of Lil’ Wayne’s “Lollipop” that finds JJ turning an excitable track into an ethereal and subdued experience; this is the type of cover that does not detract from the album one bit though, exposing JJ’s style as one that does not require specific cliches within the genre of ethereal electronic-pop in order to be successful. The reflective “Intermezzo” is also a deserving standout, truly serving to its name in being an instrumental that gracefully represents JJ’s style and presence as one that cannot easily be forgotten.

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JJ – Things Will Never Be the Same Again

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JJ – From Africa to Málaga

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JJ – Intermezzo

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Sincerely Yours Records

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The post JJ Explores the World appeared first on Obscure Sound: Indie Music Blog.

Now that Flight of the Conchords have achieved immense and well-deserved success stateside, a brighter light has shined upon New Zealand’s prosperous music scene. Quantity has never really been an issue for the island in the Pacific, but finding success there can be very arduous when applied to the obstacles of touring and getting in touch with proper international marketing. Due to the limited resources and geographical constraints, there is little room for acts that fail to meet a certain standard since there is little use in investing in high-risk options. However, when artists as innovative as Flight of the Conchords or The Mint Chicks emerge, it is certainly not a major surprise to see a major label or international television network swoop them up. In the case of The Mint Chicks, one has to be impressed at the recognition they have received thus far. Although they remain far from Flight of the Conchords status, this is another excellent new act from New Zealand that has substantial staying power and a style that should undoubtedly appeal to western listeners. And although The Mint Chicks’ steady rise to fame is not as glamorous or instantaneous, one can be assured with their new album, Screens, that widespread recognition is not far off.

Like many aspiring groups regardless of location, The Mint Chicks began as a half-serious high school band that mainly used their status for parties and whatnot. Eventually though, Kody Nielson got an itch for the real thing and began writing songs. He ended up showing a few tracks to his brother Ruban, who came away so impressed that the whole songwriting thing started to interest him as well. When they started to attend Orewa College, the brother’s now-mutual artistic urges rubbed off on bassist Michael Logie and drummer Paul Roper. The two joined The Mint Chicks shortly thereafter and this prompted the rise for the quartet. After a few impressive performances, they were picked up by one of the most respected New Zealand indie labels in Flying Nun Records. They released their first EP, Octagon, Octagon, Octagon, in 2003 and followed it up with another, Anti-Tiger, the following year. These two EPs propelled The Mint Chicks to a highly reputable status in New Zealand, paving the way for their first two full-lengths, Fuck the Golden Youth in 2005 and Crazy? Yes! Dumb? No! in 2006, to appear on the New Zealand charts at #28 and #23, respectively. And in addition to appearing on the charts, even though The Mint Chicks had done everything from touring with the Yeah Yeah Yeahs to annually appearing at New Zealand’s Big Day Out festival, the group hungered for more.

Although the premise of New Zealanders moving to the US to find fame in the music industry has been covered commendably by HBO, The Mint Chicks also figured that the best opportunity to spread their music would be in America. And although Portland, Oregon is not quite comparable to the bustling nightlife of New York City, The Mint Chicks have found it to be a great location to be in for the past year-and-a-half. Ruban Nielson calls the Portland scene “very non-competitive but stimulating.” “We feel really welcome there,” he said. “People seem to find it really amusing and interesting that we’ve had some success in New Zealand and choose to bury our heads in the Portland scene in relative obscurity.” Relative obscurity may have described The Mint Chicks a few months ago, but the new release of Screens already has been greeted with the most recognition out of all their releases. The album’s current peak position on the New Zealand charts is #10, and judging by the consistent infectiousness throughout the album I would not be surprised if it goes higher or lingers for some time. Although The Mint Chicks have remained somewhat consistent with a mixture of power-pop and electro-rock that they label “troublegum”, Screens also marks significant leaps in focus, consistency, and songwriting for the band.

After The Mint Chicks moved to the United States in late 2007, bassist Michael Logie opted to stay behind. This created a challenge for the trio, as specializing in any style of power-pop or electro-rock practically requires bassy reverberations. However, as Screens shows, they are able to do just fine by incorporating low-pitched guitars and bass-like keys. “I Can’t Stop Being Foolish”, the album’s first single, shows tremendous organization despite the unconventional rhythm section. With its multiple layers of synth arpeggios, shrill keys, and screeching guitars, the trio constructs a brilliantly energetic anthem that benefits most prominently from the swift hooks that Kody Nielson’s whimsical vocals are able to flawlessly concoct. Rarely do the songs on Screens exceed three minutes and “I Can’t Stop Being Foolish” shows why this is perfectly justifiable, as The Mint Chicks are able to audibly emit so much energy that it’s hard to even imagine what their shows are alike. Well, with the brothers’ tendencies to hang from lighting rings and climb across stage equipment, it shouldn’t be surprising (yes, this photo shows Kody playing Cirque du Soleil during a show). When the trio tends to subdue themselves slightly though, their best material seems to come through. “Red, White, or Blue” is a hazy assortment of bubbly synth pads and heavily reverbed vocals that retain images of both ‘80s shoegaze and Animal Collective’s art-rock renown, while “Hot on Your Heels” capitalizes on little more than a handful of fuzzy guitar chords and handclap-percussion to achieve something very memorable.

“What a Way” is a particularly interesting example of The Mint Chicks’ multifarious nature. Coming directly after the excitable and hit-worthy “I Can’t Stop Being Foolish”, “What a Way” sounds like it was written at some murky carnival with its tenacious guitar progression and shrill synths that mimic the feel of an accordion. Kody Nielson’s vocal approach here is outstanding as well, as he shows his flexibility as a vocalist and songwriter with his brooding shrieks and ability to adjust to the many subtle melodic alterations within each track on Screens. As far as the other highlights on the album go, “Sweet Janie” succeeds like “Hot on Your Heels” with its guitar-based minimalism and “Don’t Sell Your Brains Out, Baby” proves memorable by being one of the few songs out there that use auto-tune without ruining the premise entirely. “2010” tends to stumble on its repetition and ambition, but all other efforts are fantastic representations of so-called “troublegum” and its clever fusion of power-pop, electro, and indie-rock. Such a classification may sound a bit odd, but when one is able to craft a style as inventively delightful as The Mint Chicks, they should earn that right.

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The Mint Chicks – I Can’t Stop Being Foolish

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The Mint Chicks – Red, White, or Blue

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The Mint Chicks – What a Way

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Ever since the emergence of California-based surf-rock instrumentalists like The Surfaris and Dick Dale & the Del-tones in the early ‘60s, it has become an overused practice to describe pop music originating from California by using adjectives like “summery” and “breezy”. When The Beach Boys popularized the format by adding some of the best vocal harmonies in the history of modern music, the stylistically evolving use of surf-rock had reached its pinnacle and evolved into something that was more characteristic of the era’s irresistible display of pop music. Later proving to be a trademark of popular music in America, the legacy of surf-rock continues to thrive to this day, even if such aforementioned adjectives make the genre appear much more linear than it truly is. Such lazily worded assumptions attribute to a challenge that many California-based pop songwriters face. In separating themselves from the stereotypes of surf-rock and ‘60s pop in general, stylistic desperation often becomes prevalent in attempts to diversify themselves on a critical stage. Many artists succumb to how easy it is to be too generic within a very receptive style, but others choose to capitalize on the fundamentals of traditional Californian pop music while simultaneously involving other styles that derive far from the coast of the Pacific Ocean.

At their heart, Carl Jordan’s songs recall a form of infectious simplicity that would have most fans of ‘60s pop quite enamored. His works are instantly memorable and highly melodic, two components that contemporary pop music often shuns for rampant displays of creativity that often turn out to be overwhelming and detrimental to the accessibility of a given song or album. Jordan’s California origins aside, his songs are essentially what many would envision when told of a contemporary indie-pop act from California. His vocals are smooth and tranquil, backed by a revolving array of acoustic guitars, bass, and twinkling synths. While his playing style is too lively and his instrumental arsenal is too focused on real-time rhythm sections and guitar progressions to be grouped within a vein of electronic-pop, his fusion of technology into his sounds allows his songs to flourish even more vividly. This brightly effused interpretation of electronic and acoustic pop is not the most stylistically startling or innovative in the world of contemporary pop music, but Jordan’s project, The Western States Motel, reaps most greatly from one very important aspect: the songwriting. Though his new EP, Painted Birds Flying in the Orange Mirror Sun, contains a mere five songs, there are enough hooks and flawlessly executed moments to compensate for a full-length album.

Not very surprisingly, Jordan apparently wrote most of his lyrics to his self-titled debut album while he overlooked the Pacific Ocean. Alternating between San Francisco, Monterey, and Santa Cruz, his musical career at that point proved to be as reliable as his residence at the tie. Passing freely between friends’ apartments, he took any sort of hospitality to heart as he continued to pursue his musical intents of releasing something under his name. This opportunity came in January of 2007, when he released The Western States Motel under Firebird Field Records. Recorded in a spare bedroom with a few cheap but sentimental items (a $15 acoustic guitar was one), Jordan used his experience from a few recording classes he took at UC Santa Cruz to construct a debut album that proved to be surprisingly memorable for someone with such low financial means. Quality music has a funny way of getting out though, regardless of how much extra cash the artist has in their back pocket. In fact, it can occasionally prove even more respectable if an artist is able to produce exposure without any extraneous expenses at all. For someone with such a DIY mentality close to their heart, Jordan’s songs contain a plethora of both melodic and instrumental alterations. Any questions regarding his skills as either a songwriter or multi-instrumentalist should immediately be put to rest upon hearing either his debut, new EP, or by attending one of his shows (which are backed by a full band, staying true to his expansive repertoire as a tactful multi-instrumentalist).

After Jordan’s original intent to make The Western States Hotel a project designed specifically for scoring local films was relinquished upon the release of his self-titled debut in 2007, he began to recognize that writing pop music was an arguably more accurate embodiment of his influences and aspirations. After all, the album proved so enjoyable that praise among peers and several publications (Spin, LA Times) prompted Jordan to begin working on a continuation to the debut. Like his debut, the process for creating Painted Birds Flying in the Orange Mirror Sun was long and required quite a bit of patience. 18 months resulted in five songs, but these five songs are definitively the best material that Jordan has put out. The excellent “Oh World” is led by an acoustical arpeggio during the verses, complemented by a sprinkling of high-pitched synths at the end of each measure. With its slick incorporation of both electroncia and acoustical pop, the chorus sits somewhere between the indie-pop flair of The Shins and the melodic amiability of Coconut Records. “So many days that just got lost in a haze,” he sings wistfully. “I should be changing my mind. I should be changing my ways.” The track treads no experimental territory, but there is no need for it either way with such brilliant usage of synthesizers and acoustic guitars.

The utterly infectious nature of “Oh World” remains synonymous with Jordan’s pop-oriented DIY intentions, as is also seen on a track like “A Moment in the Sun” where he employs a ‘60s vibe on his keyboards over automated, electro-like percussion. The chorus sees him transition to power-pop territory as a distorted guitar and synthesized strings establish yet another stellar hook on a release full of them. A fascinating instrumental snippet occurs around 01:50 for about 15 seconds, seeing two very snappy synths collide over a bustling rhythm section. This moment in particular reminded me of electronic experimentalism in the vein of Matmos’ recent Supreme Balloon, though the rest of the track and album consists of amiable pop that should be extremely likable upon first listen for many of those exposed to Jordan for the first time. Additionally, the opening “Stampede” deserves a mention for an excellent utilization of those aforementioned synthesized strings during the chorus. The track is also an excellent display of Jordan’s structural tendencies, with “Stampede” being the most varied he has released. As it transitions from a solely acoustic melody to a grandiose string-aided chorus and then back again into a series of dramatically differing melodies that consist of alternating instrumentation, I could not help but get excited about the potential of this young songwriter. Before one of his tracks appears on some esteemed teenage drama and pushes him into some well-deserved exposure, get a grasp of Carl Jordan’s songwriting prowess. You certainly will not regret it.

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The Western States Motel – Oh World

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The Western States Motel – A Moment in the Sun

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The Western States Motel – Stampede

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As all music fans know, a listener’s mood can be a significant determining factor in choosing which record to pull from the shelf and give a listen to. Whether you are coming off the worst relationship of your life, partying hard on a Friday night, or cramming the night before a final exam, there is always something that just makes it seem all the better. As for an emotional state of indifference, a desire for something fascinating and memorable are often the only prerequisites, at least for me personally. A collection of varied emotional interpretations also serves nicely, depicting a wide range of moods that such a respective listener can tend to appreciate more than relate to. In such circumstances, the music of Acorn Project tends to sound best. Not only can the instrumentally eclectic group seamlessly unveil a wide range of both downcast and sprightly emotions, but they also do it in a form that is fun and consuming. Yeah, “fun” is a very linear sounding term when applied to music, but those who give a listen to Acorn Project should understand. With prevalent uses of saxophone and slide guitar making their way over a revolving array of accessibly intertwined genres, their ability to ceaselessly entertain has made them a local trademark in their native Bellingham, Washington.

Though I do believe that Acorn Project’s music seems best suited for individuals with no consistent set of emotions, this is not to say that the music of Acorn Project is for overly passive individuals. I actually say it as a compliment, as there are certainly more artists today who specify in one specific sentiment than others who dare to venture in more emotionally flexible territory. Funk and prog-rock are the most evident styles at hand, though the sextet shows a tendency to dwell on as many varying genres as emotions. They usually correlate as well, as the perky piano-led pop in the anecdotally impatient fervor of “Hello Neuman” or the chilling alt-rock progression in the brooding “Wellness” demonstrates well. These tracks derive from We’ll Be Fine, Acorn Project’s second album. The 2006 release of their debut, Odd His Sleepy Soar, brought them plenty of attention throughout the Pacific Northwest and their shows – drawing hundreds of people due to their growing reputation – did even more justice. We’ll Be Fine looks to be the album that should jump this talented group into a broader light, a more deserving placement considering their impressive diversity and esteemed level of musicianship.

Acorn Project’s swirling mixture of rock, blues, and funk serves as a cohesive format for the instrumentation of choice. Apart from the multifariously talented drummer and saxophonist Sam Lax (who is exceedingly impressive), each member specializes in an instrument in which they have clearly studied up on. To no surprise, considering that they have influences heavily derived from blues and funk, it is even prevalent on record form that Acorn Project are an exceptional live band. While infectious, radio-friendly pop and rock songs like “Hello Neuman” and “Gringo Starr” are noticeable on We’ll Be Fine, the group’s more ambitious leanings are also quite conspicuous. “Crystal Myth” features an enthralling intro that mixes the seductive croon of a saxophone with a few slick guitar licks and a more restrained execution of keys, a mere tease of what is yet to come. Along with Andy Pritiken’s apt vocals providing a structural backbone, guitar solos, sax solos, unconventional percussive fills, and sharp key changes carry the song’s success. When “Crystal Myth” shifts into an irate form of alt-rock around the 04:30 mark, listeners may be understandably caught off guard. But when the section subsides and the icy chill of a saxophone fills the air over a funky guitar progression, it becomes evident why it was put there in the first place. Shown best on the epic “Crystal Myth” and “Werner, Terner”, the ambitious nature of Acorn Project nearly always comes out successfully despite any initial judgments that listeners are inclined to make.

The aforementioned “Gringo Starr” surprisingly borrows more from folk and country than it does blues and funk. Yet another indication of Acorn Project’s eclectic nature, Pritiken muses about the merits of freedom from the perspective of some with a slightly microscopic interpretation of humanity. “That’s when I realized that this is what I need to be free,” he sings over a slide guitar and frantic variation of keys. “Free from anxiety that society brings down on me.” It is nothing short of inspiring how Acorn Project are able to incorporate their select choices of instrumentation – saxophone, slide guitar, and keys – in nearly all of their tracks despite the altering style at hand. It just goes to show that the group has made the evolution from primarily a “live band” to studio whizzes with heaps of good songwriting ideas up their sleeves. There are 3-minute radio-friendly charmers like “Gringo Starr” sitting alongside epic forces like the 8-minute “Werner, Terner” and “Crystal Myth”, with both forms finding success on their own separate terms. As is the case with most music whose origins trace back to blues and funk, the music is highly expressive, which leads us back to the sextet’s highly interpretative display of emotionalized characteristics. Whether the lightheartedly optimistic view of “Gringo Starr” or the ominous sax-led flair of “Stomp” fits your current mindset best, there is guaranteed to be something for everyone’s current psyche on the intricately resounding We’ll Be Fine.

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Acorn Project – Crystal Myth

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Acorn Project – Gringo Starr

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Acorn Project – Stomp

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It’s hard to believe that half of the year is already over. I still consider it too early to accurately determine my favorite releases of ’08, but it is still late enough to reflect on what the first 6 months have treated us to. I personally have found the year to be favorable in regard to the strength of music releases, though there has yet to be an album that has definitively become my annual favorite. Personally, that form of decision-making usually does not occur for me until November at the earliest though, as there is always a handful of initially dismissed albums that grow on me and end up ranking high on my list. So, we’ll see what the rest of the year brings. June’s compilation brings us more great artists, several of which should generate some grandiose buzz. Dr. Dog have delivered yet another fantastic album for the second year in a row, while Paul Weller has released arguably the finest solo album of his illustrious career. From old faces to new ones, it’s been enjoyable.

Also, since summer marks the conventional arrival of such events, I’ll be away on vacation for a week. Perhaps I will update occasionally if I get the chance, but I can’t promise anything. Expect some more great artists when updates resume on 7/14. In the mean time, I hope you enjoy the compilation.

01. Dr. Dog – The Ark (post)
02. Plej – Freaks (post)
03. Paul Weller – Push It Along (post)
04. Thomas Function – Can’t Say No (post)
05. The Black and White Years – Evil Ape (post)
06. Camphor – The Sweetest Tooth (post)
07. Jong Pang – Small Cut Sensations (post)
08. Setting Sun – How Long (post)
09. The Fling – Lonely Fool (post)
10. Eksi Ekso – Killing Texas (post)
11. Moscow Olympics – Cut the World (post)
12. Elliott Brood – Write It All Down For You (post)
13. Ex Reverie – The Crowning (post)
14. Queen Victoria – The Endless Night (post)
15. Arborea – Black Mountain Road (post)

DOWNLOAD ENTIRE COMPILATION>>> (60.7 MB, .RAR)

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

I hope that everyone’s memorial day weekend went well. Like every year, it marked the beginning of summer for many people (mainly students like me) and gave them a bit of a refresher as to what summer actually FEELS like. Yeah, being on the East Coast, the radical transitioning between seasons occasionally makes me forget what it feels like to walk outside without deciding first whether or not to wear a coat or sweatshirt. Since summer weather tends to arrive somewhat late over here, I still have to endure classes in the scorching heat until the end of June, but the thought of summer’s embrace is definitely enough to get me through the torturous couple of finals that await me. Unlike summer, music can be enjoyed regardless of seasonal tendencies and this month offered up a plethora of consistency. This particular compilation also demonstrates quite a bit of variation, sporting artists who dwell in anywhere from experimental rock to accessible electro-pop. If one (or hopefully several) interest you, feel free to click on the (post) beside the link. Listing the different styles in one post for this compilation would be too demanding on the eyes.

01. Pacific! – Sunset Blvd (post)
02. Wolf Parade – Language City (post)
03. White Denim – Sitting (post)
04. Cineplexx – Droga Paliativa (post)
05. Alias Pail – Sun and Rain (post)
06. Down Home Southernaires – Israelis on the Beach (post)
07. Alu – Casket Salesman (post)
08. Silje Nes – Dizzy Street (post)
09. Sparks – Lighten Up, Morrissey (post)
10. E.S.L. – Prove Me Wrong (post)
11. Frank Bango – Worm Was Wood (post)
12. Ndidi Onukwulu – SK Final (post)
13. The Little Ones – Ordinary Song (post)
14. Mates of State – My Only Offer (post)
15. The Lady Vanishes – Karen, Don’t Stop Him (post)

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

Thanks in part to the stimulating effect that the collaboration of audible and visual content in art can occasionally grant a viewer, many music fans (more often critics) have grown accustomed to classifying albums that somehow correlate to a certain season. Some people simply recall the season in which they got hooked into the respective album for the first time, but the more interesting of participants generate some sort of thought based on the actual melodic content and stylistic delivery involved. For instance, calling The Beach Boys’ Pet Sounds a “summer album” would provoke little to no argument. Any band who produces a similar form of surf-rock have often fallen into the same grouping too. Despite lyrical content that often depicts a much darker picture, similar bands who deliver such upbeat melodies in the realm of traditional surf-rock or power-pop occasionally seem to be practically begging for that “summery” label. With that in mind, I imagine that any group who puts out brooding post-punk like Interpol or barren electronica like The Knife is setting themselves up to be compared to a season that is visually seen to be less optimistic (“wintry”?), an attribute that is shunned away from in fear of sounding far too much like a criticism. I tend to shy away from such seasonal comparisons due to it being a sign of descriptive laziness for the majority of the time, but some bands just give off a vibe that is too appropriately seasonal to shun away from.

The Little Ones are surveyors of a style that holds little complication and even less intimidation. The five-piece have even admitted themselves that an accurate description for their sound would be “happy”, even if there are a number of other enjoyable variables involved. “The gist of it is we’re here to have fun,” guitarist Ian Moreno says, an admirably surefire critic of bands who are in it purely for the fame and loot involved. Alongside the recently featured likes of The Explorers Club, this ideology coincides rather nicely with the amiable nature of their brightly enthusiastic style. However, instead of tackling the likes of surf-rock, The Little Ones tread in waters that are more reminiscent of expected contemporary indie-pop. For this repetitively aforementioned “summery” feel, their percussive uses of hand claps and tambourines can attribute to it somewhat, though the defining factor lies in the melodies and methods of vocalization that the LA-based five-piece is able to convey. “The imagery and overall vibe is more of a summer album,” Reyes says, stating the enjoyably obvious. Their West Coast roots are most prevalent in Edward Nolan Reyes’ vocals, an enjoyable aspect that often shows traces of a commendable falsetto within glimpses of group harmonizing that appears reminiscent of ’60s pop music. In appropriate form, their noteworthy debut album, Morning Tide, will be released this summer. With a bountiful array of hooks and melodic additives, it is just one of those albums that sounds best when complemented by sunshine, a cool breeze, and the mere sight of a beach.

The formative process of The Little Ones involved a variety of past collaborators, current lovers, and childhood pals. Moreno and Reyes originally formed the first stages of The Little Ones after a band they had both participated in broke up, leading to an urge to form something new and greater. While searching for members, Ian happened to find out that his girlfriend’s brother was proficient at both the keyboards and bass. Avoiding any awkward moments due to their instantaneous music-based connection, Moreno convinced Lee LaDouceur to join him and Reyes. After that, however, the search for the next member lasted almost a year until Moreno received a call from a childhood friend, Greg Meyer, who was moving out to Los Angeles from San Diego. Already familiar with Meyer’s skills as a drummer, he was quickly recruited. Looking for another member to aid in LaDouceur’s efforts as both a keyboardist and bassist, Moreno brought in his brother Brian to play whatever instrument LaDouceur wasn’t during live shows. After David Esau replaced Meyer on drums, the five-piece was finally complete. The Little Ones’ first big break came in 2006 when solo artist Matt Costa scored the boys a gig at the Bowery Ballroom, giving those outside of the West Coast a chance to hear them live at a prominent venue for the first time. The Sing Song EP followed in February 2007 and the recent Terry Tales and Fallen Gates EP was released this past April. Drawing comparisons to other bright indie-pop bands in the vein of The Shins and The Delays from pleased critics, the slow but steady rise to recognition brought them into supporting Kaiser Chiefs and We Are Scientists on tour during the last several months of 2007.

Like many young bands who have been recognized as having heaps of potential, The Little Ones had to experience the obstacles of dealing with a major label in appliance to the release of their debut. Astralwerks released the Sing Song EP in 2007 but voided The Little Ones’ record contract in the beginning of this year. “”We already had an album in the can, and it was supposed to be released in April, then we were told that we had been released from our contract,” Reyes explained. “But the good thing is they were gracious enough to get the masters back.” The recovery of the masters means that Morning Tide should finally see a release this summer. I honestly have little clue as to why Astralwerks dropped them, but I imagine it will not be hard at all for The Little Ones to find another label. After all, one listen to the infectious “Ordinary Song” should have them lining up in masses. Apart from “Ordinary Song” being incredibly radio-friendly, it utilizes the group’s self-proclaimed Uncle Lee’s Rule of Feet, which states that a song is deemed appropriate for release “only if each of the Little Ones’ feet could shuffle” when listening to it. Thanks to the impeccable harmonizing, the eclectic arrangement of glistening keys and guitars, and the devastatingly memorable hook that the chorus conveys, my feet personally respond quite well to it. When Reyes sings, “I met you on the radio, radio,” during the fluttering chorus, I would be surprised if you did not have the same reaction. Though an official release date has yet to hit the horizon, Heavenly Records has recently swooped up this talented group to make the summer release date imminent for Morning Tide.

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The Little Ones – Ordinary Song

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The Little Ones – Boracay

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The Little Ones – Gregory’s Chant

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The post Watching The Little Ones appeared first on Obscure Sound: Indie Music Blog.

One Jens Lekman lyric that remains so humorously memorable to me was a line on “The Cold Swedish Winter” which remarked that many people have assumed his native Sweden to consist of nothing but “porn and gonorrhea”. Regardless of how accurate it may have appeared though, it is inarguable that many western music fans have formed a new perception of the small Northern European country over the past decade or so, mainly due to the astonishing number of new artists from the country who are generating quality material by the hundreds. I have spoken about my high regard for the Swedish music scene already, so I will not bother going into further depth regarding it. However, with the plethora of conventional Swedish indie-pop that has been featured here by the likes of Håkan Hellström, Pelle Carlberg, and Salem Al Fakir, what I and many other people have somewhat forgotten are a few other genres that are being shamefully neglected by listeners seeking out the “next big thing” from Sweden. Synth-pop has been a revered genre in Sweden since its global emergence in the ‘80s, with the Swedish group Page being the first to bring electronic pop music to the country during the same period. What has followed them has been a variety of underrated acts operating in the same vein who have been overlooked by seemingly everyone apart from the respective scene. However, with the likes of Sally Shapiro, Private, and The Legends bringing a modern touch to Swedish synth-pop, it has opened up expectations for a new contemporary edge on electronica from a country that has already made irresistible pop hooks a standard in their music.

Another Swedish electro-pop group who appears imminent to break out is Pacific!, a duo comprised of Danny and Bjorn, two 35-year-olds from Gothenburg who have known each other since the age of 7. They take their influences from both their Swedish and international counterparts, incorporating an infectious display of nostalgically romantic synth-pop with contemporary interpretations of funk and disco. Sound familiar? If the French duo Air came to mind, it would make sense. “We were definitely influenced by the whole French contingent,” Danny said. “We love their music and vibe.” They also reference the brilliant pop harmonies of the Beach Boys and other forms of West Coast psychedelia as being defining influences, an aspect that may be best heard in the “woo hoo”-ing backing vocals of the irresistible “Sunet Blvd”. Their name choice derives from the duo’s admiration for the South Pacific and Asia, specifically Japan, a country that Pacific! appears indebted to for their “small but very dedicated” following. Audiences did not have much material from Pacific! apart from three 12″ EPs until recently, when they released their debut album Reveries. It proves that Pacific has the potential to be much more than simply a great singles band. With 5 tracks emitting a glowing form of quality within a genre whose formula still maintains a certain sort of freshness and mystique, Reveries is definitely worth the look.

“Sunset Blvd” is one of the several tracks from Reveries that has already garnered some substantial buzz. A prime example of the group’s seductive synth-pop flair, it is guided by a collaboration of synthesized chords, twinkling bells, and a bass line reminiscent of ‘70s funk. The nostalgic quality it emits can be attributed to both the melodic content and the vocal usage throughout, an aspect that varies between the reverbed appeal of the lead vocals and a series of surf-y backing vocals that appear to signal the re-entry of the sparkling chorus alongside the thumping bass line and backing percussion. There are plenty of reasons why I believe that “Sunset Blvd” will be one of the most popular tracks this summer among dance-pop niches, but the primary one is simply the infectiousness that this talented duo is able to deliver in such simplistically charming form. The track holds little structural variation within itself, which is only indication that Danny and Bjorn’s inherent knowledge that the initial melody is strong enough to carry the track on its own. The chorus simply builds upon the initial chord-based melody with the ample twinkles of keys and thrust of rhythm, leaving the listener’s joints in a state of lovable anticipation as their memory becomes diluted into consisting substantially of the melody. Pacific’s implementation of both funk and dance is heavily prevalent and it resounds with absolute success on the nearly flawless “Sunset Blvd”, a track that should jump the duo into international stardom.

Another highlight on Reveries is the more subdued “Break Your Social Tension”. This one drifts placidly under the haze of bass and airy synth, rapid percussion, the gentle murmur of a guitar, and plucked strings, providing a serenely invigorating form of synth-pop. “Can’t you see you’re not the only one,” they sing delicately under the whirring of a synth pad during the chorus. The loop of the initial plucked string progression is then repeated for emphasis as a slick guitar riff begins to concludes the song, once again halted by a synthesized bass as it gradually concedes into silence. I am also a fan of “Sunrise”, a track that serves as the most beautifully tranquil on the album. The vocals remind me of Wayne Coyne, a comparison that makes the orchestral touch on their serene rush of electronic pop even more satisfying. Their western influences are really on full display here and it is one of the most subtly impressive examples of a beautifully woven electronic pop track I have heard in quite some time. Not to leave out “Sunset Blvd” though, as I seeing it as being a wildly successful single by the end of the year. Reveries is currently available to import and it is highly recommended for fans of synth-pop with an enjoyably futuristic touch.

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Pacific – Sunset Blvd

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Pacific – Break Your Social System

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Pacific – Sunrise

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The post Sailing the Pacific! appeared first on Obscure Sound: Indie Music Blog.

It is a rare when a month does this, but I cannot recall a moment in April where I did not have something new and enjoyable to listen to. Whether I found myself humming to southern-rock, Swedish pop, intricate shoegaze, or sample-led electronica, both the diversity and quality presented by this month’s featured artists did not fail to please. I didn’t really appreciate the consistency of quality this month until I compiled this month’s compilation, featuring releases by the likes of My Morning Jacket, Quiet Village, The Explorers Club, and Bryan Scary that are already a few of my favorites for the year. If you have not been following the posts for the past few months, I hope these tracks find as much enjoyment for you as they did for me.

01. My Morning Jacket – Two Halves (post)
02. The Explorers Club – Don’t Forget the Sun (post)
03. Quiet Village – Pacific Rhythm (post)
04. Håkan Hellström – För sent för Edelweiss (post)
05. Bryan Scary & The Shredding Tears – Flight of the Knife (Part Two) (post)
06. Centro-matic – Quality Strange (post)
07. Chin Chin – Miami (post)
08. This Is Ivy League – London Bridges (post)
09. Cinderpop – Cinnamon Winter (post)
10. Soundpool – The Divides of March (post)
11. Russian Red – Nice Thick Feathers (post)
12. Bravo Johnson – Are You Dreaming? (post)
13. Bill Priddle – Like to Smoke (post)
14. Years Around The Sun – Failing At Art (post)
15. Needers & Givers – Digging (post)

DOWNLOAD ENTIRE COMPILATION>>> (55.3MB, .RAR)

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