Describing an Of Montreal show is like setting the scene for a circus. Literally. The amount of cartoonish yet elaborate characters, the band-built set of props, the whirlwind of energy… it is difficult to pinpoint which component of the performance merits the most mention. When it comes down to it though, like the mark of any great band, it is the music that keeps people going. For a band like Of Montreal, their set is not an illusion designed to compensate for sub-par music. Neither is frontman Kevin Barnes’ energy, which is the quite opposite of a facade and a vocal part of his music whether on stage or not. So when I saw them for the first time on Saturday night, I was not surprised by the festival-like atmosphere. I knew that would be there. What stunned me was a remarkably tight performance that somehow managed to take the best parts of the band’s music and their renowned stage presence, both of which are anything but subtle. Such immaculate management prevented an overflowing of ideas, which is always possible considering the band’s lofty scope. Fans were treated to quality with no pretentious showmanship.

The success of their performance on Saturday night, the second of a two-night stint at Terminal 5, is no surprise to fans. When you have an opener like Janelle Monáe, who is successfully attaining fame in both independent and mainstream circles, it is hard to have doubts. The little that I caught of her set was excellent, and her re-emergence during the phenomenal “Enemy Gene” later in the night brought emphatic cheering from an audience that were thankful to be given an opener that sounded like a headliner. This occurred about mid-way through Of Montreal’s setlist, which to my delight was culled heavily from their new album, False Priest (review here), and my favorite, Hissing Fauna, Are You the Destroyer? (review here). Barnes and co. were able to seamlessly navigate their way around a setlist that, despite their striking stylistic similarities (like Barnes’ falsetto or a funk-heavy rhythm section), contained appropriate variations in tempo and mood.

A rendition of “Casualty of You” was a surprising entry in the midst of jolted dance-friendly efforts like “Godly Intersex” and “Girl Named Hello”, which was accompanied with dancers in pig masks who proceeded to grind it up with Barnes. Yet, they all maintained synchronization even as breathing room got thinner. As the sole ballad-like track on False Priest, “Casualty of You” fit naturally with songs from the same album despite its emotional distance. Barnes’ piano-driven delivery reached believable authenticity despite the more vivacious preceding efforts, which was played with expected mastery by longtime members Bryan Poole, Dottie Alexander, and others. Barnes stole the show’s visual factor, but the music was a collaborative tour-de-force that contained the tightness and infectiousness demanded from funk-heavy efforts.

Performances of “Bunny Ain’t No Kind of Rider” and “She’s a Rejector” reminded me how wonderful Hissing Fauna, Are You the Destroyer? was. Even though Barnes is three years past the divorce that plagued him to write many of the exceptional but forlorn efforts on Hissing Fauna, the same intensity was there as if it happened yesterday. It is questionable whether an audience should enjoy an artist’s suffering, so perhaps these tracks sounded bouncier and more fluid than usual because the issue is not as sensitive. Or maybe it is simply that the band was on their game. The intro to “Bunny Ain’t No Kind of Rider” focused on some very interesting glitch-pop, while “She’s a Rejector” retained the same successful anthem-against-heartbreak feel as it did three years ago. These songs were fantastic additions to the False Priest-heavy set, showing more alt-rock and electro-rock than funk but achieving a similar degree of irresistible uniqueness.

These earlier efforts had little dependence on the set or scenery, which Barnes described to Spinner as being a very collaborative effort: “It’s like we’re an art collective, in a way,” he said. “Everyone in the band is contributing, everyone is the crew is contributing and this is very collaborative experience for all of us. Our bass player is responsible for building 85 percent of the props we’re going to use on tour. My brother designed all of them. All of us are involved in filming all the video content.” Seeing as how tightly involved the band’s music was, it is not surprising to see that this was a mutual effort. Barnes may steal the show on more occasions than one, but it is clear that the Georgia-based collective are blessed with additional talent beyond their enigmatic frontman.

For a tour that has seemingly been developed like an elaborate film, with costumes and sets taking the entire summer to create, it certainly lived up to expectations. I am not sure how Barnes had enough time to write a great album like False Priest AND help organize an intricate tour like this, but that is beside the fact. The band put on an exceptional show that was lively but also somewhat grounded, featuring a very accessible setlist (for Of Montreal’s standards) and not straying too far from it, apart from a few admirable Michael Jackson covers to close the night. I recommend that you listen to False Priest, fall in love with it, and check to see if the band is coming somewhere near you. If not, it is one of those tours you will regret missing a year from now.

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Of Montreal – Bunny Ain’t No Kind of Rider

Of Montreal – Coquet Coquette

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by Josh Taylor

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

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

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

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

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

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

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

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

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

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

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Julian Shah-Tayler – Everything Is You

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Julian Shah-Tayler – Wetter

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

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Impossible Things Records

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Despite what its name entails, the concept of a “super-group” is becoming increasingly relative with the gradual expansion and appreciation of emerging styles and genres. The days where unanimous and successful super-groups – like Crosby, Stills, Nash & Young and the Traveling Wilburys – sell out concerts are long gone. Trends are more important in music than ever before, so committing oneself to a super-group full of stubborn veterans that are too honorable to sell out is not exactly a big label’s dream scenario. Therefore, what is left of “super-groups” are those that specialize in very specific genres or locales. It may sound contradictory in that a group with little recognition should not be considered “super”, but acknowledgment of such a tag has now come to suggest that the artists in the respective group are literally the best in the world at their specific trade. It does not matter whether the trade is Louisiana hip-hop, Japanese rock, or elevator music. Regardless of what it is, there is always someone listening. Nowadays, these type of acts now work in a very specific niche with a very specific type of audience in mind. It has resulted in more failures than successes, but every once in awhile there is a release in this hyped-up vein that satisfies.

In terms of lush German electronic-pop, there are few groups with more credentials than Lali Puna. This is mainly due to Markus Acher, who is primarily responsible for hefty successes of The Notwist and Tied & Tickled Trio (with drummer Christoph Brandner). The Notwist are most renowned for their fifth album Neon Golden, which to me was undoubtedly one of the best electronic-pop releases of the 2000s. Its essential status is mainly propelled by its stylistic distinctiveness, which combined generally expansive hip-hop and post-rock production techniques within a minimalistic atmosphere that contained pop-oriented synths and reverb-heavy vocals. The heavy use of strings helped make the album both dramatic and infectious, showing listeners that electronic-pop does not have to be bogged down in repetitive minimalism to be successful. Like the past success of Air and the more recent breakthrough of The Knife/Fever Ray, The Notwist proved to be one of the few foreign electronic acts that were able to make a huge splash in the US and UK. You may notice that artists like Air and The Knife had few comparable contemporaries at the time of their breakthroughs. Their influence, of course, was echoed in the years to follow instead. The same looks to happen for Lali Puna, who have made one of the most gorgeous and captivating electronic releases of 2010.

Lali Puna’s fourth LP, Our Inventions, will likely do for them what Neon Golden did for The Notwist. Acher and co. have expanded upon an already-successful formula to make it better, which for experienced musicians like vocalist Valerie Trebeljahr and keyboardist Christian Heiß is a seamless process. Following upon the success of 2004’s Faking the Books, Our Inventions contains treats for both fans of Acher’s keyboard-led work with The Notwist and those that prefer the more subdued work of Lali Puna. A gem like “Remember?” employs the sparkling keyboards and thumping bass that made Notwist tracks like “Pilot” so catchy, with Trebeljahr soft-spoken vocals providing excellent accentuation to the chorus. This part enhances the initial verse with an extra gurgle of bass and outro that plays with the glitchy electro-pop that made Acher famous in Germany and elsewhere. He really works well with other musicians who deserve just as much credit though, namely Heiß (who is purported to “rip it up on keyboards” during live performances) and drummer Christoph Brandner, who provides the stellar and natural-sounding rhythmic role that many electronic-pop counterparts are missing.

“Everything is Always” is a great display of Brandner’s strengths, particularly how he is able to coordinate with Acher’s brilliantly implemented glitch effects and samples. Heiß is always there to provide a beautifully fluttering keyboard melody, best seen here and on “Remember?”. Trebeljahr’s observatory nature in “Everything is Always” really succeeds when aligned with the instrumentation, which is almost always led by a xylophone-like effect that finds itself expanded upon by various increments of both electronic and natural effects. The self-titled track is also interesting, namely because it sounds similar to recent greats like Beach House in its droning representation of dream-pop. Trebeljahr proves by this point in Our Inventions that she is a fantastic at emitting a wide range of emotions. While her actual vocal range is not noticeably limited, it is certainly not breathtaking enough to launch ships. What makes her presence so special though is her investment in every track, each responding differently depending on the mood and structure. With Acher at the helm, this makes for plenty of enjoyable experiments. Trebeljahr is a perfect fit for this type of atmospheric electronic-pop and, with her three other collaborators, has crafted an excellent album in Our Inventions.

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Lali Puna – Remember

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Lali Puna – Our Inventions

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Lali Puna – Everything is Always

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by Mike Mineo

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20. Volcano Choir – Unmap

When describing their influences, Volcano Choir throw around a variety of names like Steve Reich, Tom Waits, and other heroes of experimental music and pop. They also claim though that their most prominent influence “is music itself.” Such a statement may sound overbearing or pretentious, but one listen to Unmap, the sextet’s debut, should reveal complex layers of beauty that almost seem to concisely display each of the member’s talents in one wholesomely satisfying package. Comprising Bon Iver’s Justin Vernon and an assortment of Wisconsin-based musicians, Volcano Choir’s Unmap is one of the more naturally ethereal albums of the year in its collaborative, layer-based approach. Whether the group tackles Sigur Rós-like Gregorian chants in the sprawling noise-pop of “Dote” or turn in one of the year’s most satisfying singles in the choppily brilliant “Island, IS”, each maneuver is a success that slowly but steadily constructs Unmap as a stunning debut. “Island, IS” uses several chopped-up samples of guitars and assorted string instruments over the reverbed echo of Vernon’s somber croon. The clash between minimalism and folk is extraordinary done, with the repetition of melodic fragments colliding beautifully with Vernon’s voice and the building percussion of Jon Mueller. As one of the album’s more barren numbers, “And Gather” is appropriately titled for a style that comes across as joyous and inviting. The soft strumming of an acoustic guitar is hidden behind steady handclaps and gleeful whimpers that seem to vocally involve all six members in some way. It seems to be sitting comfortably in a campfire setting, perturbed by nothing apart from any unnatural force intent on interrupting this spontaneous creation of music. Unmap concocts a lot of imagery without even emitting distinguishable words, a sign of brilliant production and musicianship at the very least. Collaboration can be a complex maneuver in music, but Volcano Choir have crafted one of this year’s finest by involving all of its members in an equal and sophisticated manner.

Volcano Choir – Island, IS

Volcano Choir – And Gather

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19. Brazos – Phosphorescent Blues

Recorded in his reclusive South Austin home, Brazos frontman Martin Crane injects a series of classic naturalist themes in an intimate showing of folk and alternative-rock strongly indicative of both his poetic and melodic capabilities. The Austin-based trio are bound to attract enough attention with their constant wit displayed throughout Phosphorescent Blues, their first full-length after two EPs were released in 2007. While Walden showed Thoreau’s “life in the woods” as breakthrough personal meditation, Phosphorescent Blues represents Crane’s commentary on life’s most imminent and affecting tribulations in the perspective of external contemplation. Despite the chronological and reputable differences of the two works, this examination is their meeting point. Phosphorescent Blues is so easy to relate to that its exposition of intricate concepts come off in a way that is lighthearted without being offensive. You know how your best friend tends to complete your sentences? “My Buddy” covers that with wit and caressing layers of surprisingly melodic distortion. What about that person in your life who offers great sex but nothing else? “Day Glo” medicates it with humor, joined by a droning style of key-tinged folk that recalls Phoenix with its abrupt elegance. Specifically, the unique nature of each track brings out a resoundingly strong effort that should contend for one of the year’s best full-length debuts. One of the reasons for this is how the trio is able to transcribe life’s complexities into a humorous or witty vein. “I don’t mind dying when I make love to her,” Crane sings on “Day Glo” before an entry of trippy brass unexpectedly descends upon the acoustics and keys. “Close but not close, far but not too far away.” The keys that seem to dance and mingle under Crane’s quivering voice brings to mind a versatile folk artist like Andrew Bird, though Brazos do express more variation in tempo and style. Stylistic versatility, intelligent contemplation, and melodic captivation are all characteristics of Brazos, as any song on their memorable Phosphorescent Blues could tell you.

Brazos – Day Glo

Brazos – My Buddy

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18. Girls – Album

2009 has seen in much in terms of hazy, surf-rock inspired acts like Wavves and Washed Out. A movement classified by many as “chillwave” is emerging and looking good. Girls may have similar influences but they do not apply. Instead, they reclaim sunny ’70s pop and psychedelia that is crisp and coherent rather than contained in an ethereal reverbed bliss. The San Francisco-based quartet have really made a nice pop album with their debut, Album. It is so easy to got lost in the swirling guitars of centerpiece “Laura”, recalling both sunny ’70s California pop and twangy southern-rock. The result is also one inspired by the goofy but technically astute power-pop of Jonathan Richman, whose wit and simplistic ability to relate was influential in addition to his melodic prowess. The ambition on Girls’ part is blatantly apparent and the consistent throughout Album is shocking considering the band’s inexperience. It serves as one of the few debuts this year that touts quality from start to finish, serving as a true throwback in never focusing on one instrument or melodic lead. The playfully mopey vocals of Christopher Owens suggest a DIY, minimalistic feel, but prominent influences like the Beach Boys inspire rich multiple melodies. Still, a laudable effort like “God Damned” benefits heavily from its lo-fi production. One could easily envision a one-man band when listening to its raw intensity. You hear an extremely powerful melody being portrayed by Owens’ emotive vocals, backed by the shuffle of an acoustic guitar and various minor percussion elements. Its minimalistic, sure, but it packs a heavy emotional punch that is equal to more complex pop songs like “Laura” or the gorgeously epic “Hellhole Ratface”. The latter finds a fusion of acoustic and electric guitars combining with a loud bass drum, all leading up to an anticipated melodic burst that is reminiscent to Spiritualized’s better material. Such comparisons are admirable for any debut, and this is exactly the reason why Girls are receiving so much acclaim. This one may be looked back on as one of the better debuts of its decade, especially if Girls live up to their lofty potential.

Girls – God Damned

Girls – Lust For Life

Girls – Laura

Matador Records

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17. Manic Street Preachers – Journal for Plague Lovers

Manic Street Preachers had a surprisingly cohesive career after the disappearance of Richey Edwards, a talented lyricist who contributed well to the band’s sound on the classic The Holy Bible. Their ninth album, Journal for Plague Lovers, is a delayed successor of sorts, using lyrics left by Edwards and collected from his portfolio and also revitalizing a sound the heaviest and most unpredictable it has been since The Holy Bible. Lyrics by Edwards are certainly a nice novelty and contribute to the album’s sincerity as expected, but the band’s stellar performance is what prevents it from being simply a tribute album. The new material here is some of the best from the band in a decade, clearly showing that Edwards’ collection had inspired the band to great things. Oddly titled tracks like “Jackie Collins Existential Question Time”  with their fascinating . “Oh mommy, what’s a Sex Pistol?” repeats as a very jubillant series of guitar riffs present themselves. The shimmering quality of the song is bolstered by several hooks that James Dean Bradfield delivers with his usual power. Journal for Plague Lovers is not exactly a comeback since the Manic Street Preachers never embarrassed themselves, and it is pretty impressive how raw and powerful the band sounds after all these year. There is no sign of aging here, as boisterously anthemic tracks like “She Bathed Herself in a Bath of Bleach” proclaim with tumultuous guitar riffs and choppy solos. It contains the sort of unpredictable angst that made early Manic Street Preachers so satisfying and relevant. Their foray into readily accessible and radio-friendly pop songs provided some great enjoyment, as did their previous experimentation in genres of electro-pop and power-pop. Somehow though, the throwback approach done on Journal for Plague Lovers sounds the most appropriate for a band of the Manic Street Preachers’ stature.

Manic Street Preachers – This Joke Sport Severed

Manic Street Preachers – She Bathed Herself in a Bath of Bleach

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16. Richard Swift – The Atlantic Ocean

Since his sixth great uncle is famous satirist and writer Jonathan Swift, one could say that good storytelling runs in Richard Swift’s family. Naturally, his lyrical ability is wildly impressive and has been since the since the double-release of his first two albums, Walking Without Effort and The Novelist, in 2005. The primary theme of The Novelist was heavily indicative of Swift’s forte, a writer who often comes across the romanticized perspective of unheralded artists. Both albums also showed a blissful interpretation of Tin Pan Alley pop, stemming from a raw interest in pop music that developed within Swift as he sang in Quaker churches throughout his early teens. Swift’s new album, The Atlantic Ocean, appears to be his most stylistically decisive effort yet, opting for a highly enjoyable mixture of piano ballads and key-led pop, with an occasional guitar here and there providing for a touch of rock ‘n’ roll. The keys are often adorned with bouncy synths, a trait that makes tracks like “The Original Thought” and “A Song for Milton Feher” a few of the best on the album. Swift’s voice is endearing in a throwback sort of way, at times becoming startlingly reminiscent of the late Dennis Wilson and his brooding voice’s ability to sound remarkable over a piano. Swift’s material is a bit more excitable and upbeat, but a track like “Ballad of Old What’s His Name” succeeds tremendously with a spine-chilling chorus that has Swift repeating, “Please don’t you cry anymore,” he sings with a rollicking southern-rock flair. The guitar progressions are later accentuated by a beautiful horn section, which sounds stunning under Swift’s excellent chorus. The equally outstanding “Already Gone” capitalizes similarly on Swift’s ethereal vocals during the chorus, though this time it is preceded by a brooding piano as Swift takes on a nasally delivery that seems almost Elvis Costello-like. “You know I love you, so honey don’t go, too many secrets you’ll never knows,” he croons in a near-whisper over the wavering of synths and a forceful piano. “But it’s already gone.” For Swift, it is only beginning.

Richard Swift – Ballad of Old What’s His Name

Richard Swift – Already Gone

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15. Cass McCombs – Catacombs

Cass McCombs is one of the few artists that managed to first get my attention via a b-side. A psychedelic gem on the single of “Sacred Heart”, “Twins” is an underrated gem that all should check out (MP3 below). It is generally indicative of ‘60s British psychedelia with a brooding introduction that features an instrumental whirlwind of both post-punk and psychedelic influences. I find the contemporary relevance of McCombs’ specific style to be very reminiscent of Pulp’s This Is Hardcore, adding yet another British comparison to McCombs despite the fact that he is a Californian. It simply speaks to his knowledge of his targeted genre, and in “Twins” he literally does no wrong. Alternating between a whimpering croon and series of self-induced backing harmonies, McCombs continuously comes back to a chorus in which he somberly repeats, “You lied to me, you lied to me.” Underneath a spectacle of melancholic keys and thickly reverberating guitars and bass, “Twins” speaks more to McCombs’ ability than any other song I have come across. Well, that was until he released Catacombs this year. McCombs abandons the heavy reverb and psychedelic-heavy sound of past releases and opts for a crisper version of pop. His folk influences also shine through on Catacombs, which despite its stylistic differences is the best cumulative effort of McCombs’ career so far. “Dreams Come True Girl” is sweet and tender with its pleading snippets of guitar, backed by a Motown-inspired bass line that moves with McCombs’ haunting croon. “Prima Donna” reaches similar heights with little more than a guitar and McCombs’ voice, his poetic lyrics and nasally croon portraying the same traditional alt-folk as Billy Bragg. Like Bragg, the lyrics are endlessly captivating and his musical accompaniments are sweet and tender. McCombs is continuing to grow nicely as a songwriter, although letting loose once awhile to produce another track like “Twins” would not hurt.

Cass McCombs – Dreams Come True Girl

Cass McCombs – Prima Donna

Cass McCombs – Twins

Domino Records

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14. Fever Ray – Fever Ray

By the time that Swedish brother-sister duo Karin Dreijer Andersson and Olof Dreijer released their third full-length album in 2006, The Knife had already achieved a status as one of the most reputable electronic groups in Sweden. Two Grammi (the Swedish equivalent of the Grammys) nominations in 2003 brought them their first glimpse at national recognition. Their 2006 release, Silent Shout, shot the duo to internatonal fame with their dark and chilly electronica. Five successful singles came from it as well, giving the siblings a bit of career flexibility. Karin Dreijer Andersson has certainly kept herself busy with the debut of her new solo project, Fever Ray. One of the debut’s standouts, “Now’s the Only Time I Know”, is an accessible example of how Andersson has carried over her engaging techniques from The Knife throughout Fever Ray’s ten new songs, many of which are equal to or even surpass several tracks on Silent Shout. It is also one of the best examples of the way her vocals evolve throughout a given song in accordance to its instrumental accompaniment. Her first few lines are barren, reflected by a similar vocal track that is delayed by a few seconds. However, when a synth pad emerges and the percussion intensifies with an extra kick, her intensity rises and an extra dose of reverb is found alongside a chorus that works wonders with a bubbly bass line and trickling synths. “When I Grow Up” sees a more minimalistic approach, with a more consistently ardent delivery reminiscent of The Knife’s “Like a Pen”, only without the driving pulse of techno. Using a synth arpeggio as its steady heartbeat, a twinkle here and there of chirpy keys adds to the irresistibility of “Triangle Walks” in a way that, like “Now’s the Only Time I Know”, should appeal to listeners who have little to no familiarity with The Knife. Those who enjoyed any of The Knife’s prior releases, though, will find Fever Ray’s self-titled debut to be more than capable of delivering the same thrills that one of the best albums of 2006 did so effectively.

Fever Ray – Now’s the Only Time I Know

Fever Ray – Triangle Walks

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13. Kinetic Stereokids – Kid Moves

Preparing a sophomore album is always a sensitive topic. It is the band’s first exposure to a world of expectations, regardless of whether your album went gold or sold ten copies. Criticism tends to be taken more prominently for the most mature artists, as these eventually come to be perceived as free constructive criticism rather than some blowhard lamenting his biased disdain for a style he personally does not enjoy. That Kinetic Stereokids have released an epic for their second album seems like a gesture of sorts, perhaps to the critics that found their 2007 debut, Basement Kids, too inconsistent for their tastes. Sometimes it was too flip-floppy, while other times it was consistent but too mundane. The impressive qualities certainly outweighed the bad ones, but it struggled like most debuts do in attempting to capture a cohesive feel throughout the album. This often relies on thematic and melodic consistencies, which are two qualities that Kinetic Stereokids’ new album, Kid Moves, accomplishes with relative ease. Its length spans over 70 minutes, but the consistent focus on recapturing youth results in some of the freshest and most inventive material you are bound to hear this year. The opener, “Free Money”, sounds like one of those summer jams from the ‘90s with its infusion of hip-hop percussion and chirpy vocals corresponding excellently with the near-improvised distortion of several electric guitars. As the band personally clarifies, fusing the sounds of Sonic Youth and the Beastie Boys is not the worst idea in the world. “Twisted Thoughts” is not as intricately interwoven but it still packs a similar punch, contrasting an automated robot voice with naturally sweet acoustics and a natural croon that shows Kinetic Stereokids as supremely talented musicians with a great knack for melody. That it is followed by the psychedelic hip-hop of “Drugs Is a Drag” is no coincidence, as Kid Moves is an album that flows with surprising precision despite its daunting stylistic diversity. “Drugs Is a Drag” later flows into some Avalanches-like mash-up that leaves me thoroughly impressed; the incorporation of guitar solos over the samples of an operatic tenor, hazy percussion, and warbled vocals make this an effort of extreme innovation, just like Kid Moves itself.

Kinetic Stereokids – Planes with Teeth

Kinetic Stereokids – Twisted Thoughts

Kinetic Stereokids – Drugs Is a Drag

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12. Junior Boys – Begone Dull Care

For their third album, Begone Dull Care, Junior Boys have found somewhat of a middle point between both of their preceding releases. Their grasp of illustrious pop music remains strong, even as several aspects of their music have taken a more constricted approach. Ironically, this constraint proves to be beneficial on several tracks, most notably on efforts like “Sneak a Picture” and “Parallel Lines” where the use of percussion is extremely minimal compared to their previous, more hectically involved works like on “Birthday”. On “Parallel Lines”, the album’s opener, the percussion relies more on reverb and subdued flexibility than intensity. Combined with a bass arpeggio and a few percussively enabled samples, the introduction sounds surprisingly bare for Junior Boys’ standards. However, as the track later proves, its build-up is dependent on its success. When Greenspan’s vocals emerge nearly simultaneously with a brief electro-sax accompaniment and a whirring synth pad, the listener is reminded of the infectious tranquility of gems like “Teach Me How to Fight” and “Neon Rider”. While Greenspan does not turn into some gaudy diva on this album, his voice is more prevalently involved in the songs. On “Bits and Pieces”, one of the duo’s most infectiously concise efforts to date, he alternates between a falsetto and suave electro-pop flamboyance. The song’s structure is simple enough, but he brings the track to unforeseen heights during its bouncy chorus and seductively minimalistic verses. “Hazel” shows more of this vocal swagger, whether in the snappy verses or his disco-y “ooh, ooh, ooh” whimper during the club-like series of synthesized chords toward the track’s conclusion. These moments are surely excellent, but few can rival the brilliance of “Sneak a Picture”. Beautiful from its inception, both scratchy bass-like and fluttery synths collide in “Sneak a Picture” to establish an initially memorable melody that does nothing but get even better. When Greenspan’s vocals enter the picture, he is only accompanied by a squirmy synth at the end of each measure and a high-pitched arpeggio. The latter remains steady for most of the track, but the track’s brilliance derives primarily from a series of ingeniously constructed ideas that include a chorus that somehow finds the perfect meeting place between cohesiveness and precisely executed variety. Begone Dull Care was written as an ode to animator Norman McLaren, and like his genius work Junior Boys are able to create heaps of expression with minimalistic means.

Junior Boys – Sneak a Picture

Junior Boys – Bits and Pieces

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11. The Antlers –  Hospice

Rarely is an album as dense as Hospice so utterly captivating. Concept albums strive so hard to avoid pretentious themes that they often end up sounding overly hesitant as a result. Hospice is different though. This is a sincere, resoundingly dramatic album centered around a young home-care worker who falls in love with a patient. Frontman Peter Silberman is stunning as the haunting protagonist, his quivering vocals relay tales of anguished heartbreak that few albums this year could even compare to in sincerity alone. “I’d happily take all of those bullets inside you and put them inside of myself,” he sings in “Atrophy”. “I’m bound to your bedside, your eulogy singer.” Rarely do words and musical accompaniments go so well together. Hospice is like a great book in the sense that it strikes such an emotional chord that you want to share it with friends. It plays like one of the most heartfelt dramas you are likely to hear all year, backed by excellent performances that circulate from the piano-led balladry of “Atrophy” to the upbeat acoustics of “Two”. Silberman wrote this during a period of “social isolation” that must have also served as a period of rewarding contemplation. Like Bon Iver’s Justin Vernon, he prevailed to release one of the greatest albums of the year that is propelled by a unique emotional interpretations of life’s virtues and risks. Occasionally complete with horns and extravagant arrangements, The Antlers are certainly more expansive pop music but that does not detract from the intricacies. Silberman’s amazing narrative abilities are enough to behold on their own, and it makes it so easy for the listener to get lost in the hazy ethereal gaze of “Shiva” or the exuberant burst of excitement during the chorus of “Bear”. This certain burst is part of an excellent narrative detailing a 21st birthday of self-discovery, one that is clearly tragic and very personal despite the upbeat acoustics. It is an example of how The Antler are able to mix stellar hooks with some very realistic and sensitive issues, most of them universal in being recognized as unfortunate plights. The result that Hospice produces is utterly brilliant and highly recommended. The Antlers clearly have what it takes to be one of 2010’s most talked-about acts.

The Antlers – Bear

The Antlers – Atrophy

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The post Best Albums of 2009: #20 to #11 appeared first on Obscure Sound: Indie Music Blog.

I was a bit weary when Bishop Allen began their EP project, where they released an EP once every month for the entirety of 2006. Why rush artistic integrity and spoil the chances of a full-length masterpiece in the process? Many listeners probably had a similar first impression, but when hearing the type of content that the Brooklyn-based duo produced throughout these 12 EPs it began to make sense. They almost resembled lo-fi bedroom recordings with their amiable DIY dedication, their infectious indie-pop being led by an array of crackling guitars and pianos. Although the sporadic stream of releases prevented much press since most music publications would not dare review the same band every month, the concept alone generated plenty of recognition that brought acclaim for both the band’s work ethic and stylistic focus. To keep listeners coming back every month for a release that hardly varied in style was quite an achievement, and in doing this it represented the duo’s cunning songwriting ability. After the finale of this EP project, it was hardly a surprise when Bishop Allen landed a respectable label deal with Dead Oceans (which involves people from Secretly Canadian and Jagjaguwar) because of this new acclaim.

A Brief Smile are another group out of NYC attempting a similar concept, except this time without the major indie backing and promotion that Bishop Allen had. A Brief Smile has already released three EPs this year, one each on the first Friday of May, June, and July. Whereas Bishop Allen had previously established substantial recognition with a full-length debut in Charm School before undertaking this adventurous approach, A Brief Smile are generally unknowns still looking for their breakthrough. An short 7-track debut, R.E.S.T., was released in 2005 before a full-length album, Now We All Have Horns, appeared in 2007, but there remains a vague enigma surrounding this group. Each of their three EPs this year represent varying stylistic approaches, leaving a sense of unpredictability that can only be positive for a group as young as A Brief Smile, who all met while attending NYU. The estimations surrounding their next album cannot be conventionally hypothesized, as bassist John Carnes explains. “These albums are all different from one another sonically but I think if you really listen to the lyrics, you’ll find commonalities – a kind of narrative that goes from creation to destruction to creation.” This kind of stylistic multifariousness that A Brief Smile have shown despite a limited number of release is what makes them so promising for the future.

A Brief Smile’s absence from touring since August can likely be contributed to whispers of a full-length release. The five-piece is now at work on “a dance record” that uses “dark chugging synths” to pave the way for a return to the band’s pop roots, set to be released sometime in 2010. This return to their pop roots is in reference to their earlier material, which is in slight contrast to the tinge of indie-psychedelia displayed on Sunshine State, the most recent of their three EPs this year. “Animal Magnetism” shows off this psyche side quite well in addition to the five-piece’s versatility. “Do you believe in the hope of a magnetic soul?” DL Tashjian sings over impulsive stuttering of keys, assailing guitar riffs, and bursts of tuned-up bass. Tashjian’s vocals are crisp and delightful, adding melodic variations of vibrato similar to that of Jim James, though comparisons to the powerful quiver of Brandon Summers (The Helio Sequence) is more apt due to the shared uses of soaring melodies within a sparkling blend of indie-rock and electronic-rock. A track like this can be accredited to indie-rock with its conventional structure and length, but at times the soaring guitars make it feel like more of a post-rock effort. When all the instruments condense in the last minute over the hectic pattering of percussion and Tashjian’s echoed moans, it feels as if a ten-minute epic had just concluded. I mean this in the best way possible too; it is a song that makes time move slower due to its psychedelic leanings, while hardly abiding by the stereotype that enjoyment is best identified by time passing quickly.

“Bigger Lies” continues to tout its psychedelic influences like “Animal Magnetism” did, promoting its 4:20 length quite nicely. This is an extremely developmental effort, with a bass-keyboard fusion providing a leading melody that is no more than four notes. This unfolds as expected though, and judging how effective A Brief Smile are in exposing . You can just feel the anthemic section of “Bigger Lies” unfolding as the track progresses, the rhythm section hinting at possible bursts of melodic variation. Tashjian’s vocals continue to solidify any lack of variation that may occur during the track’s early goings, providing plenty of dramatic flair before interesting harmonic combinations and rhythmic appliances are utilized to establish “Bigger Lies” as one of the most convincing efforts of A Brief Smile’s career thus far. It should be the first of many monumental successes for this group . I honestly believe that this tracks will go overlooked simply because songs on 3-song EPs from unknowns generally tend to be disregarded. If these were perhaps put towards their eventual full-length then more exposure would have been imminent, but looking at these three EPs it was clear that A Brief Smile did this for their growing fanbase and not for commercialized potential. With A Brief Smile now hard at work in the studio, we have a gem like Sunshine State to tide us over until their dark, synth-savvy follow-up is released in 2010. Download a few of their EPs for free here or there until then; this level of quality is rarely distributed for free so take advantage of it.

RIYL: The Helio Sequence, Dirty on Purpose, The Happy Hollows, My Morning Jacket, Snowden, Annuals, The Main Drag

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A Brief Smile – Bigger Lies

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A Brief Smile – Animal Magnetism

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A Brief Smile – Honeycomb Shrinking

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When projects attempt to be conceptual in both their style and purpose, there arises a sensitive area where criticism has difficulty retreating from the subjective to the objective. What we define as “quality” is premeditated by our own personal taste and is primarily subjective, but a release can also reach a consensus of inarguable quality and influence that gravitates more toward the objective. This almost always occurs quite some time after the initial release, for the term “instant-classic” is rarely used properly and often exaggerated when done so. If you wish to listen to The Kilimanjaro Darkjazz Ensemble, you are probably going to have to leave any of these subjective perceptions of quality at the door. You cannot compare anything definitive to this project, another brainchild of the ceaselessly active and multifarious Jason Köhnen. He is best known for Bong-Ra, another project of his since 1996 that has emerged as one of the most respectable sources of quality breakcore, which is basically a fancy name for industrialized techno with heavy percussion and samples at high tempos. Most of his projects possess these obnoxiously non-descriptive names like breakcore, but he is obviously not to blame. In fact, when you are as constantly innovative as Köhnen, listeners have no choice but to make up sub-genres in order to express what tickles their fancy.

It is always easy to cover an artist that fits generic words like “breezy indie-pop” or “tender acoustics”, but when using these terms without further clarification it tends to be an indicative of lacking originality. Perhaps this is why I am lost when attempting to concisely describe The Kilimanjaro Darkjazz Ensemble, as their swirling assortment of influences and stylistic directions allow the listener to take a full-bodied ride into unchartered territory with touches of jazz, post-rock, electronica, and IDM without being too overwhelming. The Kilimanjaro Darkjazz Ensemble formed in 2000 out of mutual admiration for silent filmmakers that used powerful music to convey raw emotion in synchronization with visual content, an interesting influence since this concept is often lost in modern film-making for special effects and generic instrumental covers. Notable influences included F.W. Murnau, Fritz Lang , and even somewhat contemporary works by the likes of Jan Švankmajer (check out his 1988 stop-motion interpretation of Alice in Wonderland for some cool stuff). The members of The Kilimanjaro Darkjazz Ensemble were so enthused by the passion of these filmmakers that Köhnen and co. began composing scores to already existent films, arranging soundtracks to the classic likes of Nosferatu and Metropolis in order to hone their experience in the most unique way possible.

As a true pursuer of stylistic ambitiousness, such tactics are hardly a surprise for followers of Köhnen. There is no method or style that seems beyond his reach. Bong-Ra played with everything from dance-rave to avant-garde jazz, a feat that was diverse enough to receive acclaim from the likes of John Peel (who included him as one of the 125 best Peel sessions ever). I admittedly find breakcore to be a frustrating genre, often sounding cluttered due to repetitive tempo or lack of melody altogether, but Köhnen’s work tends to appeal more to the majority despite his distinctively avant-garde leanings. Although his layers may have occasionally been too complex or his ideas overly thematic to grasp, Bong-Ra showcased a variety of genres like hip-hop and jazz that did not abide by breakcore’s very specific classification. In comparison to this, Köhnen’s new foray with The Kilimanjaro Darkjazz Ensemble is more straightforward, but also packs more of an emotional punch than any of his earlier material. Whereas his previous work would have sounded best at a rave party, this work with The Kilimanjaro Darkjazz Ensemble instead sounds like the ambiance of Hades, where contemplative sorrow is displayed more than impulsive excitement. The dramatic alteration in mood is one notable aspect of the transition to Köhnen’s new project, and it is not the only one either.

The stunning parts of The Kilimanjaro Darkjazz Ensemble’s third album, Here Be Dragons, are abundant, but not in the instantaneously infectious sort of way many are used to. Keep in mind that this is the same sort of stuff that World’s End Girlfriend have done so well, where full-blown orchestras combine with jazz percussion to craft audible worlds that are bleak, serene, and chilling. Too in-depth to serve as a film soundtrack, the works of these artists are often overlooked due to the sheer complexity and scope of the project. The beautiful “Embers” is one of the more concise efforts on the album, but it still builds with collapsing thunder as brass, horns, and the ghostly vocals of Charlotte Cegarra evolve into both vocal-led emissions of fury and smoothly presented saxophone solos. The diversity on tracks like these throughout the album is absolutely extraordinary, a true landmark achievement even for an artist as eclectically inclined as Köhnen. “Embers” almost has that sort of ethereal, crystal-y feel to it that is reminiscent of Air’s Moon Safari days, especially in the way Beth Hirsch sent chills up listener’s spines on “All I Need” with her fragile croon. The parallel between the somber and free-fleeting moments of “Embers” are the best parts; the brass solos and detached vocal additions are juggled masterfully.

It would be acceptable if the rest of the album sounded like “Embers”, but any fans of the Utrecht-based Köhnen know that it is his tendency to mix things up. “Sirocco” is an amiable effort with the initial giddiness of Afro-pop keys making one of those oh-so-brilliant Köhnen mood transitions. Cegarra’s vocals appear alongside the strings, which sound very thick and reverb-heavy over a haunting melody that already portrays darker elements on its own. The percussion here is certainly influenced by his earlier works, as the industrial feel is heavily prevalent in both that and the backing atmospheric pads. “Mists of Krakatoa”, while lacking the general passion of the other two tracks, is exceptional for its sheer curiosity in blending Cegarra’s operatically inclined vocals again with strings, except unlike in “Sirocco” they collide here with a piano in minor key and the backing whirring of what faintly sounds like machines at work. This is less structurally cohesive than the others, like the fantastic opener “Lead Squid” or plucked goodness of “Caravan!”, but still retains its value through innovative sophistication and cumulative emotional expression. Some tracks on Here Be Dragons may take too long in their introduction or conclusion, but in their climaxes they will convey a type of innovation and musicianship that stands out even among the avant-garde.

RIYL: World’s End Girlfriend, Portishead, the later and more experimental years of Talk Talk

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The Kilimanjaro Darkjazz Ensemble – Embers

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The Kilimanjaro Darkjazz Ensemble – Sirocco

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The Kilimanjaro Darkjazz Ensemble – Mists of Krakatoa

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On the heels of next week’s CMJ festival in NYC, Tim Williams is exemplary of the local favorites you are bound to find there. The Brooklyn-based songwriter caught one of his first breaks at CMJ in 2004, shortly after his debut Tales of Digression, and has been riding the wave ever since. Employing a very formidable style of indie-pop, Williams’ mixture of slick guitar riffs, inventive chorus-based hooks, and ardent vocals with the occasional yelps and grunts should cater to fans of Phoenix, Ben Kweller, Danielson, and Modest Mouse. His sound has a very contemporary feel to it, due in part to the continuous sense of capriciousness that his caressing vocals and versatile guitar work collaborate to produce. As a result, Williams has always been one or two hits away from holding a similar status as these major players. He has always enjoyed little more than local success though due to his past two album’s lack of exposure and focus. Their primary gratification was the demonstration of potential rather than fully embodied talent. The songs on Tales of Digression and its 2007 follow-up, When Work Is Done, sometimes appeared rough around the edges or devoid of focus, but what they did have was an imaginative premise with expertly integrated hooks. Cohesiveness was simply the final ingredient that Williams was missing to formulate his success.

Williams’ third album, Careful Love, continues the artistic maturity that its predecessor, When Work Is Done, showed off so impressively. It is not that Williams is particularly groundbreaking or stylistically inventive; his style of indie-pop should sound familiar to anyone with an ear or two. Instead, it is what he makes of it that is so worthwhile. Listening to snippets of any given track probably will not convince anyone of his artistic merits, but what a full listen of Careful Love exposes is a sensibility that is rare amongst most contemporary pop songwriters. There is a sense of virtuosity here, which in itself is a commodity since the respective genre is one where playing it safe is often advised. Williams does a little bit of both on Careful Love, mixing imminent college-radio favorites like “I Hit Another Wall” and “Oceans” with more avant-garde efforts (at least for the realm of indie-pop) that explore varying tempos, deliveries, and styles ranging from the dab of funk in “Ozone Street” to the electro-industrial influence of the rhythmically inclined “Right All Along”. When these are supplemented every other track or so that instead contain breezy, carefree indie-pop that requires little attentiveness to enjoy, it finds a nice middle ground between overly accessible indie-pop and intimidating avant-garde.

That Careful Love falls into neither category as a cumulative effort is a feat that his previous two albums did not accomplish, though When Work Is Done came close to doing so. Williams wrote this most recent effort after he successfully underwent open-heart surgery in May 2008, wasting no time after getting out of the hospital in writing tracks that packed more sincerity and expansiveness than before. One of the reasons for this expansiveness was the addition of a full band, which make their appearance on Careful Love in fantastic form. Where previous efforts would find Williams strumming his acoustic guitar with little to no accompaniment, the heightened sense of collaboration on Careful Love also attributes to the stylistic ambitiousness that the release portrays. “Stilts” is another nice example of Williams’ inventive indie-rock, utilizing the sounds of a sliding electric guitar and reflective arpeggio as Williams . This particular vocal technique is done throughout the album, with yelps or whoo-hoos making apt appearances on entertaining choruses that also include “Right All Along”, the orchestral dramatics of “I Want to Die in California”, and “Oceans”. The latter is so serene that it almost becomes reminiscent of Coldplay with its melancholic keys or Little Joy with its bright guitar chords. The title implies relaxation and the composition strongly enforces that carefree ideology with a brisk melody and flourishes of tropical bliss.

Another interesting cut on the album includes “I Want to Die in California”, a genuinely touching closer that reminds me of David Vandervelde’s fantastic debut, The Moonstation House Band. In that album he juggled grandiose orchestral-pop with the likes of indie-rock and glam-rock, resulting in something both nostalgic and groundbreaking. This effort is quite similar, finding Williams converting his classically soothing indie-pop croon to one with a western-ish twang. It feels particularly old-fashioned with its natural pianos and strings on an album that is primarily led by guitars and electronic tweaking, but that is also part of its allure. He finds himself singing in the vein of Dennis Wilson, who was able to turn the simplest pop songs into awe-inspiring achievements of emotion with his vocal and songwriting talents. A songwriter like that is perfectly justifiable for comparison, as Careful Love shows an artist who is just beginning to recognize his own emotive skills. Williams’ songs have resulted in an album that will be looked back on as the commencement of Williams’ most prominent growth as a songwriter. When he takes the stage at CMJ this year, audiences that saw him five years earlier will likely drop their jaws at this guy’s improvement. He is still showing heaps of potential, but he has durable quality and consistency to back it up now.

RIYL: Phoenix, Ben Kweller, Danielson, David Vandervelde, Modest Mouse, Dennis Wilson

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Tim Williams – Ozone Street

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Tim Williams – I Want to Die in California

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Tim Williams – Right All Along

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

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

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

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

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

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Total Babe – Bearbones

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Total Babe – Short Stories

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Total Babe – Gary Coleman

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We are all part of a certain generation, whether it involves flower children or hair-metal. I was born in the late ’80s, so I found myself in between the phases of hair-metal and the revolution of home gaming consoles. What many of us remember so fondly about our childhoods are the hobbies that captivated us, no matter how embarrassing or odd they were. Along with baseball, playing Super Nintendo was one of mine. It is rare when something captivates parents and children alike, but being able to play complex video games in your home was something I remember amazed both my parents and I when it hit in the early ’90s. Along with the rest of the gaming world, Street Fighter was one of the games I played to death. And although I have not been interested in video games for a few years, I can still recall some specifics that made my 12-year-old mind spin with delight. Maybe this is why M. Bison were so brilliant in choosing their name. As a bunch of 20-somethings, what better way to appeal to your target audience by naming your band after a video game character that will immediately instill nostalgia to the bulk of your potential audience? A looming video game character that aspired to be the world’s next evil dictator, M. Bison was hardly the cuddliest hero from the childhoods of most kids that grew up in the ’90s. But as a band that grew up in the era, who wouldn’t want to take advantage of that?

Songwriters Brian Kinsella and Jeff Grant were friends in high school, but the commencement of M. Bison did not occur until after their college days. Both had recorded demos in the seclusion of their dorms and eventually combined to release their debut EP, Not Bad!, in late 2007 with bassist Chris Jones and drummer Daniel Braithwaite. Below are a few tracks from their debut full-length, set to be dropped in December. As the bubbly infectiousness of “All Things to All People” indicates, M. Bison’s sound is modern and accessible, with guitars empowering a polished fusion of synth-pop and indie-rock that resembles Ozma, Weezer, and other acts specializing in power-pop hooks with backings of synth-pop and indie-rock. In this track, the bridge that joins synths with guitars embodies their motive in eventually readying for utter cohesion, indicated here by the unbiased use of piano. Its catchiness is irrefutable, and should lead to some airplay on college radio as a result. “Elves Sing La La La” is too full-bodied and dexterous for that type of exposure, but in showing the group’s songwriting and performing strengths it is highly impressive. Its tireless, energetic type of spontaneous guitar-led rock reminds me of early Sparks albums like Indiscreet and Kimono My House, a testament to M. Bison’s wide array of influences from the ’60s (The Beatles) to the ’00s (Dr. Dog).

“Going Home Soon” plays to their more sincere side, using little more than an acoustic guitar and percussive hop to establish the feel-good acoustic harmonics of a Jason Mraz or Jack Johnson. It is a pretty elementary pop song but Kinsella and Grant offer some phenomenal vocal harmonics to spice things up a bit. It is probably the weakest of the samples, if only because of a song like “Samurai Showdown” shows that the group can create some majestic works that tower in comparison. This one falls along the lines of The Flaming Lips or Avalanches in their alignment of outdated clips with futuristic takes on electronic music. The latter part of this song shows this with its clips from “Kids Say the Darndest Things!” meshing with a variety of synth progressions, but prior to that it falls with ’60s pop revivalists in the vein of Dr. Dog. The middle of the track uses the flimsiness of the introduction to introduce great expansion in the form of intensified guitars and greater vocal melodies with even greater intensity. The melody is distinctively throwback, but what makes M. Bison so nostalgic is not only their name. How the same group is able to produce “Going Home Soon” and “Samurai Showdown” traces back to the days when the word “eclectic” was not used as a rare complimentary word, but rather a common characteristic of most active artists during pop’s heyday.

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M. Bison – All Things to All People

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M. Bison – Samurai Showdown

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M. Bison – Elves Sing La La La

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In an age where audible masculinity is often associated with loud guitars and aggressive screaming, you are really putting yourself out in the open (and taking a few commercial risks) by shaping your vinyl records in the shape of a heart. Sociological standards have changed just as much, if not more, than music in the past seven decades, and to associate hearts with music nowadays seems to either involve Disney’s latest abstaining sensations or overly adorable indie-pop. Thus, to expect something modern-sounding out of Drew Cohen, better known Mayer Hawthorne, might be premature. After all, this is the same guy who asked his label, Stones Throw, if they could press his debut single like Bobby Caldwell did in the early ’80s, when his vinyl was pressed into the shape of a heart. The reason? Simply because the songs dealt with love. Taking a cue from a blue-eyed soul songwriter like Caldwell seems apt for Cohen, even if his his primary influences are actually scattered throughout the ’50s and ’60s. What is amicable among these soul songwriters, though, regardless of whether they originated in the ’50s or ’80s is the prevalence of ardency, even if it takes away a lot of the masculinity that rock ‘n’ roll instills. But for those music fans that are truly fans, this should be irrelevant. In the case of Cohen, the lack of self-concern is a breath of fresh air.

Detroit’s prominence nowadays mainly arises from high crime rates, but anyone without knowledge of the city’s illustrious musical history has a lot of great acts waiting for them (most of which they probably know). In that sense, it is one of the richest cities in the nation. The city has seen plenty of great rock acts – from Iggy & the Stooges to The White Stripes – emerge over the past couple decades, but perhaps Detroit’s most embodied sense of musical history was its role during the explosion of R&B and soul in the ’50s. Motown Records, important for both its role in racial desegregation and massive corporate success, is home to Detroit, as were artists like Smokey Robinson and The Temptations. The role of Detroit in building a foundation for future soul artists was integral. As a result, you can imagine the influence it had on the Detroit kids that were growing up in the ’50s and ’60s. Being surrounded by such a stylistically invigorating phase must have been invigorating and utterly memorable. For the artistically inclined growing up in Detroit, seeing the simultaneous abundance of rock ‘n’ roll, R&B, and soul from the early ’50s toward the late ’70s must have left a unique impression, one that perhaps made their future endeavors considerably more eclectic and nostalgic than their peers.

Growing up just outside of Detroit in Ann Arbor, Cohen’s childhood was surrounded by music. And although he was born too late for Detroit’s legendary era of rock and soul (he grew up in the ’80s), his father was not. A full-time owner of an auto-parts store and part-time musician, Cohen’s father introduced Motown to him at a young age. They would listen to Motown together on his way to work, with the younger Cohen asking his father dozens of questions for each song that came on the radio. The father would gladly respond with all the answers, igniting his son’s passion for music in the process. The ’80s was not an era when Motown was being played continuously on the radio, but we can all thank Mr. Cohen for being a bit behind the times and exposing his son to music that would eventually separate him from his peers in his musical career. It is ironic how something deemed as “outdated” can lead to freshly concocted ideas years afterward, perhaps showing that influences are never really outdated at all. Cohen’s father still unsurprisingly plays in a band back in Detroit, while he has been turning heads with his Mayer Hawthorne project. Originally started for pure fun, playing soul favorites for family and friends evolved into something more for Cohen. Considering Cohen had spent most of his time prior working as a DJ for underground hip-hop group Now On, some could say that his foray into soul music was like discovering a latent talent for the first time.

A fan of everything from hip-hop to grunge, Cohen’s interpretation of neo-soul on his debut A Strange Arrangement borrows both modernistic and retro components of pop and Motown to establish a release that separates itself from contemporaries like Raphael Saadiq and Lee Fields. The self-titled track is one of the album’s most stunning, taking the signature layers of Motown orchestration to produce a smooth and heavily seductive mixture of brass, piano, and guitars incorporated into a stunning rhythm section. The rhythm sounds casual and slowly paced, but the way it leads and develops the track’s peaks under Cohen’s absolutely stunning vocals is unforgettable. The main hook, signaled by the abrupt descending of bass notes, recalls The Stylistics and other Philly soul groups that treated listeners with smooth subtleties and lavish orchestration. “But I can’t stand by while you break my heart in two,” he laments during the hook, solidifying the timeless and old-fashioned gripes of unrequited love in ways so sincere that today’s youth is hardly familiar with it. This track is extremely reminiscent of the past, but many others on the album do assume a more contemporary standing.

“Just Ain’t Gonna Work Out” was the first song completed for the album and the one that prompted Stones Throw to commission Cohen for a full album. This one applies more swiftness and gradual guitar work, with the falsetto and backing vocals being more up-to-date with modern blue-eyed soul artists like Jamie Lidell. Meanwhile, “Maybe So, Maybe No” utilizes some crisp brass incorporated with funk (à la Matthew Herbert) to showcase some very intelligent songwriting. “Green Eyed Love” is quite fascinating for its hazy keyboard lead and updated production, sounding more along the lines of a stripped-down Gnarls Barkley than a ’60s soul artist. It always works though regardless of contemporary standing, and that in itself justifiably shows why A Strange Arrangement is one of the most enjoyably accessible debuts of the year.

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Mayer Hawthorne – A Strange Arrangement

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Mayer Hawthorne – Just Ain’t Gonna Work Out

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Mayer Hawthorne – Green Eyed Love

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