With more emphasis on guitars and real drums, Woodsman continue the trend of electronic-induced psychedelia prevalent in major acts today. From Animal Collective’s tribal-like fervency to the lush “chillwave” tag associated with acts like Washed Out and Neon Indian, the most recent crop of the stylistic movement has been surprisingly accessible considering its psychedelic roots. Artists within it now sit alongside contemporary college-radio favorites like The Shins and Beach House with ease as listeners oblivious to the “chillwave” tag either find trendy nostalgic value in it or dismiss it as lo-fi rubbish, often without a clue as to what lo-fi actually is. One could argue to mesh lo-fi and electronic genres for recent artists like Washed Out, who defy lo-fi conventions by replacing tinny strats and minimal percussion with sonorous synths and booming drum loops. But even when the automated percussion is minimized, the flexibility of synth VSTs and samplers dilutes the essence of lo-fi, which is to produce quality songwriting with the bare minimum of resources. The polarizing effect on listeners of early Pavement, Modest Mouse, and later on Ariel Pink had much to do with the defiance of rock/pop expectations; radio listeners were so accustomed to artists cloaking their weaknesses through superfluously glistening production – especially by the late ‘80s and early ’90s – that many perennial lo-fi rock acts were initially questioned, regardless of how highly their songwriting is valued now.

Today, many people perceive lo-fi as anything that sounds gauzy or muddled. The thing is though, shitty production does not equate to lo-fi. The genre should be provided more as a complement than a tag for anyone with cheap recording methods and subpar songs. Woodsman seem well aware of the fact that songwriting helps define lo-fi and NOT vice versa. The Brooklyn/Colorado quartet’s full-length debut Rare Forms capitalizes on both conventions of lo-fi rock and expansive psychedelic efforts without cloaking or manipulating anything. The result is an album that does not confine itself to one approach, but rather a bevy of them completely reliant on the song’s tone and mood. There are plenty of lush, atmospheric psychedelic efforts on the album, but there are also those with heavy noise and drone influences that are potentially ear-piercing. Although repetition does get in the way of quality occasionally, Rare Forms turns out to be a fascinating listen that all artists bent out of shape on this lo-fi tag should listen to. For Woodsman, they set a nice example for weak artists attempting to write music for the lo-fi ideology, out of novelty instead of necessity.

“Dead Awake” explores the experimental path more, alternating between hazy acid-jazz and climactic percussion. When the latter fades momentarily, it resembles a room filled with the voices of distressed spirits; the chilling effect is even more gratifying once the percussion commences again and puts forth a tactfully ambitious turn, where the conventional beat turns into improv-like pit-pats. “Spectral Creatures” also sports some interesting percussion. It sounds like a mad fusion of hi-hats initially, with a constant buzzing drone in the background providing one of few melodic moments. It was obviously written as a lead-in to “I Can’t Move”, a refreshingly suave approach where glimpses of Afro-pop keys and delicate guitar strums combine for a lushly atmospheric effort. Animal Collective comparisons are abundant here, both in the Avey Tare-like vocal delivery and progression of wavy sounds. The chiming bells in the last minute represent the most delightful moment though, with smooth guitar licks gently caressing the bouncy keys with appropriate fervor.

“Future Pulls” takes the most advantage of Woodsman’s natural knack for subtleties. A twangy guitar tremolo is on double loop over vocal sound effects and clicky percussion, both of which evolve minimally to help enhance the sitar-like trance effect of the guitar tremolo. Both this and the following track, “Unnamed”, are successes for the most part, but some more variation would have helped. “Unnamed” takes a route that should be familiar to fans of The Flaming Lips’ newest album, Embryonic. Think of a more subdued, less abrasive version of “Aquarius Sabotage”. “Unnamed” is part psychedelia, noise, and post-punk as well. This percussion-heavy track works around a constant backing drone and warbled yelp of sorts. The experiment here is relatively successful, but it would be nice to see the band flesh out songs like this a tad more. There should be more body and less drone; the impressive use of percussion fortunately keeps the track upright.

After a slew of shorter releases that contained a bunch of hits and misses, Rare Forms is not the huge jump forward some fans were hoping for. Still, it is Woodsman’s most consistent and impressive release to date barring a few mundane efforts. The emphasis on repetition can become grating with a handful of thin concepts, though some tracks succeed greatly. In “Beat the Heat” there is a moment where a fluttering harmonica arpeggio enhances the overall mood of the track without sacrificing the initial presentation. In the process, it contributes an infectious quality that paces cohesively with the tones of psychedelia already present. I hope that Woodsman plant similar devices to this one on their next release, which judging from their prolific nature should not be too far off in the future.

RIYL: The Flaming Lips, Sonic Youth, Young Prisms, Kraftwerk, Mercury Rev, KeepAway, Small Black, Pill Wonder, Animal Collective, Neon Indian, Memory Tapes, Modest Mouse

Woodsman – I Can’t Move

Woodsman – Beat the Heat

Woodsman – Insects

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In my first feature of Grimes, I made the point that the music of Claire Boucher resembled conceptual art. With gauzy layers of synth that embed themselves into post-punk rhythms reminiscent of Joy Division’s “She’s Lost Control”, theatrical art-pop hooks that resembles the likes of The Knife and Björk, and subtle sampling to the effect of Kraftwerk and Burial, her music does not confine itself to one influence or genre. Instead, one experiences a meshing of several different components that combine for a sound that – while occasionally bizarre or puzzling – is thoroughly fascinating in its delivery. Boucher’s engrossing tendencies does not stop at the appearance of her style though, as her pop tendencies are present in each song. Unlike the absurdly pretentious conceptual art that offers an interesting delivery but no substance, Grimes plays like an infectiously majestic series of stylistic concoctions. Boucher makes her music align with her artwork and photos, which feature abstract shapes (usually of body parts) and a wide array of colors that give off the initial appearance of spontaneous disarray, only to reward the attentive viewer with beautifully cohesive formations that take effort to spot – but not too much to the point of becoming frustrating. Like her artwork, Grimes’ music has plenty of unconventional surprises.

Boucher’s additional talents in the visual arts were shown off wonderfully on her debut Geidi Primes, which featured songs that were as apt for artistic cinema as they were for caliginous electronica venues. I noted that a track like “Sardaukar Levenbrech” would be a great choice for inclusion in the next film by Hirokazu Koreeda, who is able to combine traditional Asian music and contemporary electronica to riveting images of resignation, loss, and isolation. Then there were efforts like “avi” that followed more catchy dance, with its reverbed percussion, pulsating bass, and gleaming of strings creating a dark but soothing atmosphere among Boucher’s flexible vocals. Her voice alternates between a subdued murmur of sorts and high-pitched flashes of enthusiasm, showing no hesitance to hold a shrill note if it sounds appropriate over gushing synth pads and austere percussion. We are merely a few months after the release of Geidi Primes, and apparently Boucher is discontent in having just one album to compete for a spot in the Top 50 of the year. Her new album, Halfaxa, was released in typical under-the-radar fashion, and it stands just as strong as its predecessor released earlier this year. To my delight, Boucher has not alternated her sound much, which she describes primarily as “goth-pop”, but with a heavy influence from “Medieval organum, R&B and hip-hop.”

Halfaxa represents, in several ways, the beginning of a transformation period for Boucher. All the songs on Halfaxa are recorded like on Geidi Primes, in DIY fashion directly through the microphone on Boucher’s computer. Change is on the horizon though, at least in regard to studio methods. It would be difficult to spot this based on the quality of her material, but quality songwriting and production always shine regardless of the medium. Ironically, directly after she wrapped up Halfaxa, Boucher realized how to record things through an interface. As a result, “Crystal Ball” – which was recorded using his new interface – did not make it to the album, but Boucher said this likely represents her “new phase”, which she looks forward due to the elimination of MIDI and the prospect of recording her synth straight into the computer. The result is not nearly as dark as her previous material, but with an optimistic glimmer that translates into a more upbeat and overall infectious effort. The percussion pattern follows post-punk as usual, with the click-clacking of minimalist percussion resembling the ominous shuffle of Joy Division. Boucher’s voice is crisper and more expansive than usual though, the variation between her high-pitched and lower vocals combining for some clever hooks. Her methodologies remain the same as various vocal melodies overlap for a sensational melodic turn-out, but “Crystal Ball” suggests we should expect a more accessible output from Boucher in the future. Regardless of whether or not “Crystal Ball” is on the album, I feel it is great enough to catch on like fire regardless. Expect to see this one posted on a bunch of blogs by the end of the year.

Moving on to cuts that actually made the album, “sagrad …” . Boucher’s ooh-ing complements a harp-like progression guided by a single snare, with the ooh-ing eventually serving as an additional synth pad as her lyrical verses emerge. The harp/mandolin-like qualities are eventually phased out in favor of an effervescent synth pad that begins to recall fastidious dance-pop in addition to the initially prevalent dubstep, a style that is present more often than not in the percussive additives alone. The structural route this song takes is extremely spontaneous, perhaps a bit too much for some, but the beauty of the track speaks volumes. The bursting effort “Dream Fortress” may appeal to those who like their structures a bit more accessible, as Boucher expands a string-drenched intro into a bouncy hustle of delicate synth whole notes. Her vocal melody here initially resembles the fantastic “avi”, but that is before the track incorporates additional string elements that border on the avant-garde. The squealing samples contrast with the strings around the two-minute mark quite remarkably though, and especially when the percussion kicks back in there is little to doubt as far as the track’s innovative appeal goes. The conclusion greets the listener with the same delicate chord progression from the beginning, albeit this time with a clanging yet fitting arpeggio that allows the song to end with its feet still on the ground.

Many of Boucher’s songs are so spontaneous and visually stimulating that length is not an obstacle. In fact, there are several five-minute tracks on here that I wished would go on longer. Tracks like “world ? princess” and “sagrad …” contain a multitude of memorable moments that bear repeating before a transition comes on too abruptly. What follows is always entertaining, but there are some greater ideas than others and it is evident that Boucher is still learning to identify these and capitalize upon them. “Weregild” does not suffer from this at all though, standing as one of the better efforts on Halfaxa in regard to mood, tempo, and general infectiousness. Like “Crystal Ball”, this should spread rapidly among fans of moody electronic music. This one specifically recalls Depeche Mode, a band that Boucher is not hesitant to express her respect for (check her shirt in the second press shot). Of course, Boucher’s voice is extraordinarily unique here as usual, and her exploitation of the various pitches she is able to emit is awe-inspiring. Check out the retrospective push of billowing synth sequences around the 02:30 mark and try not to be swept away. Most songs on Halifaxa are just as inspiring, and Boucher is the only artist I am aware of in 2010 who has released two full-lengths worthy of year-end mentions.

RIYL: The Knife, Björk, Depeche Mode, Joy Division, Kraftwerk, Marissa Nadler, Forest Swords, How to Dress Well, Prince, Black Dice, Hildegaard von Bingen, Cocteau Twins, Twin Shadow, Julian Lynch, Wild Nothing, James Blake, Autre Ne Veut, CEO, Avey Tare, Glasser, Gold Panda, Small Black, Blackbird Blackbird

Grimes – Crystal Ball

Grimes – Weregild (mirror)

Grimes – Dream Fortress

Arbutus Records

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Forest Family Records, created by the brains behind Gorilla vs Bear and Weekly Tape Deck, tends to show a penchant for timely pop music. Their previous 7″, Go Outside by Cults, had most critics gushing over its exuberant blend of twee-pop and chilled-out electronica. Their most recent offering, Gauntlet Hair, associates that same vein of hazy electronica in their material, albeit with a more anthemic and boisterous approach. Their emphasis is also on post-rock and art-rock instead of twee-pop. These two bands sound nothing like one another, but they share the characteristic of stylistic relevance. Gauntlet Hair take the hypnotic sample-driven pop of a Neon Indian or Washed Out and substitutes many of their samples and synths for fluttering vocal accompaniments and blistering guitars, with Gauntlet Hair’s adventurous songwriting sitting in a perfect place between experimentation and accessibility. This is where most of the Animal Collective comparisons are coming from, despite their techniques and actual styles differing. As they are an adventurous example of retaining innovation while attempting to write catchy songs, they are bound to get mentioned in a review of Gauntlet Hair. The label seems to pursue artists like these, and Gauntlet Hair may be their best pick-up yet.

At the very least in regard to production, Forest Family Records seems to be quite fond of artists that fit within the “chillwave” label, which also means they probably have to sort through lots of terrible stabs at the style courtesy of Apple GarageBand. Most self-respecting labels tend to stay away from automated material like that though, and in this label’s case the more organic workings of Cults and especially Gauntlet Hair show this. Gauntlet Hair were complete unknowns before “I Was Thinking…” started taking blogs by storm in April. Essentially dripping in lucid atmosphere and eruptive hooks, its evolution from gently strummed guitar chords into a series of tremolo-based alterations finds many variations along the way. There is repetition present throughout, but the accomplishments on “I Was Thinking…” are more of an intricately evolutionary nature. With muted guitars on the left side of your speaker and a full-blown tonal burst of electric energy on the other, the contrast between restrained subtlety and anthemic chaos creates for some very exciting moments on this Colorado-based duo’s debut. This song should be your first reason for checking Gauntlet Hair out.

The vocals on its follow-up “Our Scenery” are frequently compressed behind a blur of guitars and click-clacking percussion, but the shouts of “hey!” at the beginning of each main verse and the duet-of-sorts occurring in the middle before the eerie guitar interlude shows just how subtly evolving the songs are. They remain steady under a repeating beat or melody that is enhanced just before it is about to wear thin. Gauntlet Hair’s two songwriters (Andy R. and Craig Nice) seem to have something up their sleeves ever other verse or chorus. It does not matter whether this realization occurs during the final minute of “I Was Thinking…” in its escalating backing harmonics, or during the most breathtaking moment of “Our Scenery”. This occurs right before the 3-minute mark, sparing little room for excess as they beautifully come down from left-over distortion and unbridled energy with swiftness and clarity. It is an oasis in a desert of wavering unpredictability, its caressing tone holding little in terms of intricacy but contributing significantly to the track’s ebb and flow.

I am really looking forward to Gauntlet Hair’s debut full-length, which they are currently working on, because they appear to be one of the few that recognize both the goods and evils of repetition. Unpredictability can be a great thing in music, and Gauntlet Hair keep their listeners on edge for just the right amount of time. When over-ambition begins to restrain a band and it becomes unpredictable to the point where cohesiveness and memorability are absent, there is nowhere left to go. I doubt Gauntlet Hair will face this dilemma anytime soon, since these songs show a young band with an extremely firm grasp of their listeners’ desires, which is to have their ass kicked by great music that flows with grace but packs the unpredictable punch of avant-garde’s best. This duo have walked this fine line quite impressively early in the early goings, earning the rapidly growing spotlight that has shone on them this past month.

RIYL: Best Coast, Memoryhouse, Beach Fossils, Small Black, Male Bonding, Washed Out, Neon Indian, Explosions in the Sky, Brian Eno, Dum Dum Girls, Real Estate, Julian Lynch, Sleigh Bells, Titus Andronicus

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Gauntlet Hair – I Was Thinking…

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Gauntlet Hair – Our Scenery

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Cults – Go Outside

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Forest Family Records

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Claire Boucher may scoff at the idea of a conventional press photo. Conceptual art describes her sound and image better than a forced mugshot, which can potentially depict an artist as restrained or confined to conventional ideals. Great music needs no visual stimulant to prove its worth, nor does it even require a press photo of any kind. Enhancement of the apparent greatness of an effort can certainly be sought through visual additives though, and in the case of a project like Grimes it seems very ideal. The Montreal-based musician and visual artist plays with a very consistent formula on her debut album Geidi Primes, one familiar enough in its likeness of Animal Collective’s sample-laden psychedelia and The Knife’s capriciously icy electro-pop but also unique because of Boucher’s prevalent strengths as a architect of quality atmosphere. On a whole, Geidi Primes has a very dark and mysterious tone that is complemented by Boucher’s conceptual artwork. It usually consists of wacky collages with surprisingly compatible color schemes, or depictions of creatures where certain openings (mouth, eyes, nose, etc.) envelop into other creatures or objects. Her music develops much in the same way, with occasionally contrasting melodies co-existing in creative and compatible ways to pave way for effectively surprising twists.

Even when her songs pick up a notch in intensity, one of Boucher’s trademarks is her repressed vocal delivery. Much like Beach House’s Victoria Legrand, Boucher portrays an image of efficient suaveness as she shows no signs of rushing or underestimation. She recognizes this strength and often relies on little more than that on tracks like “Rosa”, where the same one-measure bass line repeats itself only to allow Boucher to let herself go. Her coo-ing and ooh-ing is organized nicely in melodic fashion, and the extra flourish of twinkling keys in the song’s final minute allows her to tread new territory in this regard. The heavy reverb of her simple croon is accentuated by the crisp representation of a more flexible and operatic accompaniment, which when combined creates some pretty beautiful sounds. The echo-y percussion, pulsating bass, and gleaming of strings on “avi” resembles gorgeous dubstep in the way the lead melody unfolds from a simplistically endearing introduction to a hauntingly memorable accomplishment with flawless accompaniment both in the instrumental and vocals. “I will take your breath away,” Boucher sings, doing just that as she shows one of the album’s subtler efforts as a masterful representation of artistic development. While quite the opposite of theoretically complex, it flourishes in its own ability to resonate within the dark and brooding atmosphere it creates through diminishing strings and an anticipatory rhythm section.

“Sardaukar Levenbrech” would be a great choice for inclusion in the next film by Hirokazu Koreeda, who is able to combine traditional Asian music and contemporary electronica to riveting images of resignation, loss, and isolation. Boucher’s electronic manipulation of sounds makes it difficult to distinguish the possible involvement of specific instruments like mandolin or koto, but that is hardly what matters. The actual source may be a combination of several instruments, but Boucher makes sure discordance is never a possibility. The sound of a bird squawking underneath the trickle of synths on “Zoal, Face Dancer” breaks up the repetitive flow of the synth arpeggio, giving more prominence to her vocals. “Everyone thinks that I’m boring,” she states over a lazily progressing melody, one that finds surprising clarity in the echo of reverb.

“Feyd Rautha Dark Heart” finds a similar effect in how the reverb actually prolongs several melodies that bear repeating, though this one is more subdued and pop-based in the hypnotizing allure of the lead lyric, “I won’t break your heart in the dark.” Call these efforts what you will: late-night driving songs, hangover antidotes, exotic lullabies… the list goes on and on. They are atmospherically intoxicating and often quite catchy, and other classifications are subjective in the sense that the listener’s personal atmosphere contributes to the reception of the music itself. While Boucher occasionally gets caught up in the repetitive build-up, her music is more sincere and unconventionally fulfilling than the masses currently attempting lo-fi bedroom electronica. For this reason, it is hard not to forget several remarkable efforts on Geidi Primes.

RIYL: The Knife, Massive Attack, Burial, King Midas Sound, Martyn, Animal Collective, Kate Bush, Sally Shapiro, Silly Kissers, Beach House, Memoryhouse, Small Black, Body Language, Horse Shoes, Tap Tap

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Grimes – avi

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Grimes – Caladan

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Grimes – Zoal, Face Dancer

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Arbutus Records

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