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

Music is one of the few ways we can revisit the past through our senses. Listeners tend to eternally place themselves in a particular emotional or social location after hearing a song, and this consequently creates a memory or impression of sorts that is often indescribable in words. It can only be accurately relayed as a series of subjective personal emotions. When we hear that specific song several years after our first listen, that emotion is bound to occur again. Whether through mere hypothetical remembrance or direct action, the impact a song or album has on us is never forgotten. In addition to audible and visual reception, taste can certainly allow this as well. The smell of warm cookies is often interpreted as homely and receptive because we often correlate it with our mothers’ tireless dedication. Songs are remembered similarly, although more subtly of course. Defined by popular culture as much as our own experiences, this instilled nostalgia can be both a positive and detrimental entity in artistic criticism. For example, comparing an artist to The Smiths has been commonplace this decade since their influence has been growing unarguably across several genres. But wherever there is a heralded artist, the existence of criticism is also imminent. Melodramatic, linear, and gimmick-y are a few words that have been used to criticize The Smiths before, so one could assume their prevalent followers would inherit the same critics and explanations for criticism, right?

Cats on Fire are one of the few groups alive that deserve individuality in this sense. They take listeners back to mid-’80s Britain with familiarly clawing jangle-pop, led by a witty vocalist that sounds part operatic and part maudlin balladeer in his somber and quivering delivery. Their familiarity to certain jangle-pop legends are evident by now, we get the point. For this familiarity to negatively impact the band’s work, though, would be an absolute crime. This is simply the music they grew up on, and for once within the stream of new artists it has nothing to do with image or commercial appeal. They obviously are going to be attractive to the hordes of Smiths fans, but this demographic is hardly their only one. Cats on Fire encompass a rare form of sincerity that should appeal to fans of outstanding pop music in general, plain and simple. Morrissey, Felt, and the Go-Betweens all show up for a cup of tea at some point throughout Cats on Fire’s second full-length, Our Temperance Movement, but none stay and chat for too long. The treatment of their influences can be integral in determining whether an artist prefers to imitate or innovate, and tending to such obvious artists more out of respect than imitation is how Cat on Fire’s evident growth in maturity is demonstrated on Our Temperance Movement.

Although there remains enough variation in tempo and tone throughout to compensate for a rather straightforward delivery of jangle-pop gems, some influences do stand strong. “Lay Down Your Arms” is more distinctively borrowing from The Smiths, playfully reminding us of Johnny Marr’s little skiffle in his acoustic arrangements and Morrissey’s witty musings on disappointed impressions. “I guess the city people never liked my pen, so it’s back to scenic pastures once again,” Mattias Björkas sings, continuing the album’s theme of emotional and geographical relocation in response to the perils of consensual disappointment. Our Temperance Movement is a rather apt title in this regard, as the four-piece traverse through a variety of stylistic compositions without ever becoming lost in excess. These are solid and impeccably arranged tracks and their precise songwriting is evident. This songwriting, a virtuous use of arpeggios, and rich melodies are the album’s biggest strengths. “The Borders of This Land” is one example of this arpeggiated mastery, which can be a tricky device for pop musicians considering its tendency to run rampantly and excessively. Remember how Aztec Camera’s Roddy Frame dropped jaws with his acoustic work on gems like “Oblivious”, or how Johnny Marr accentuated Morrissey’s sullenly unique voice to the utmost perfection with his arpeggiated chords and interesting tonal production (from simple jangle-pop to the the oscillating overdubs and slide guitar in “How Soon Is Now?”, for instance).

The guitar work on tracks like “The Borders of This Land” and “The Steady Pace” bring to mind legendary accompanists like these, but acoustics are not the only force at work. Keyboards, as any jangle-pop legend could tell us, can be just as vital. The trickle of keys toward the conclusion of “Lay Down Your Arms”, the contagious use of muted harmonics on “Letters From a Voyage to Sweden”, or the burst of triumphant awe in “Horoscope” all provide plenty of satisfying variation. “Tears in Your Cup” also makes great use of this key-based accentuation. Although its progressions are merely reflective of the acoustic guitars, the additional pitch creates graceful circumstances for Björkas’ amiable delivery. This keyboard-acoustic fusion throughout Our Temperance Movement also reminds me of The Housemartins in their more upbeat approach to the jangle-pop genre, which in my opinion makes a comparison to them more relevant than The Smiths. Although Björkas does speak occasionally of being lowered into the ground, political injustices, and the subjugation of Karl Marx, his morbidity is much more restrained than his predecessors. The group even reaches hints of optimism in tracks like a “Letters From a Voyage to Sweden”, a perkily infectious tale of a Swedish-bound cruise-liner filled with adulterers and sexual deviants. While Our Temperance Movement is certainly more catered to admirers of ’80s jangle-pop from Scotland and the UK, this Finnish four-piece has produced a modern gem that should open the genre up for others to explore beyond stereotypes (most of which involve The Smiths). It is one of the most charming and genuinely infectious pop releases of the year.

RIYL: Aztec Camera, The Housemartins, The Smiths, Felt, Belle & Sebastian, Field Music, The Divine Comedy, Another Sunny Day, The Field Mice

8.0/10.0

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Cats on Fire – The Borders of This Land

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Cats on Fire – Letters From a Voyage to Sweden

[audio:http://mineorecords.com/mp3/cfire-let.mp3]

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Cats on Fire – Lay Down Your Arms

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The post Cats on Fire – Our Temperance Movement (2009) appeared first on Obscure Sound: Indie Music Blog.

Afternoon naps are a pretty amiable thing to name your band after, even if it is hardly the most exciting. These few hours are simple but highly productive, at least in the sense that recuperation amidst a weekday’s chaos is rare, and these are the reasons why it can be so enjoyable. Although somewhat misleading, this was precisely the intention the Cleveland-based Afternoon Naps had when exposing their sound. They do not hold back that their structures are traditional, their instrumental selection is restrained, or that their influences have been making great power-pop before them. It sounds familiar and simple, just like their namesake, and this is ironically why their second full-length album, Parade, has resulted in such a success. It sounds like a product of shimmering jangle-rock, catchy ’60s pop, and richly arranged Brit-pop, all genres interconnected by a similar tendency to remain durable, accessible, and musically impressive throughout the simplest of appearances. Simplicity does not always correlate with predictability though; guitars, keys, synths, and bass were all lead instruments at some point for the greatest of these artists in their respective genres. Afternoon Maps should become notable with Parade for applying just this, which results in a remarkable sophomore effort that sounds both freshly invigorating and oddly nostalgic.

Based around songwriters Tom Dechristofaro and Leia Hohenfeld, Afternoon Naps have a very reliable formula that works tremendously on Parade. They wear their psychedelic-pop and retrospective influences on their sleeves, but tracks like “Mitten Fingers” sound all too relevant today. This marvel of an effort propels the group to pop perfection with little more than a few swipes of an electric guitar, a droning organ, and a dual male-female vocal delivery executed with precision. It begins how it ends, with a single repeating riff occasionally complemented by gurgles of synth or blobs of bass. But when Dechristofaro and Hohenfeld travel together into a truly beautiful chorus, the high-pitched pad status of the synthesizer complements the ever-continuing guitar riff brilliantly and listeners will likely be left in awe of the group’s melodic grasp. This is the type of wonderful theatrics groups like Teenage Fanclub were able to touch on, who were also another group creating shimmering power-pop from a locale with more clouds than sunshine (Glasgow). Afternoon Naps are so consistent in their unique blend of influences though that just one influence would be unjust. The xylophone twinkling over the wavering synths and acoustic guitars on “Seasons May Change” appears more contemporary with its indie-pop fixings, even if the full acoustics resemble the jangly likes of The Go-Betweens or The Smiths (with a more optimistic demeanor, of course).

Some of the finest creations on Parade are influenced by psychedelic-pop, as “Beach Bums” could easily show. Complete with its lead organ, bustling rhythm guitar, and accompanying acoustics, “Anything you want to ask of me just whisper it to the breeze,” they both sing. “I will try my hardest not to scream as waves crash on top of me.” The melodrama of ’80s British post-punk and jangle-pop is certainly evident in the lyrical content and vocal tone of both singers, but the melody is more distinctively reminiscent of psychedelic-pop with its hazy underlying production and use of reverb. Tracks more enamored with old-fashioned ’60s pop tend to treat the tradition nicely, only adding spotty warbles of synth for an updated effect. Hohenfeld takes the role of girl-pop chanteuse on “The Day We Started”, a track that would have sounded appropriate on God Help the Girl’s ’60s-inspired debut. This simultaneous emphasis on both ’60s pop and contemporary indie-pop makes the comparison to Stuart Murdoch and such aforementioned probably the most accurate you can make for Afternoon Naps “Bubblegum 45” is another fun effort, reminding me vividly of Pizzicato 5 with its fast-paced vocal deliveries (often with their “ba-da-ba-ba-ba”-ing) and vigorous woodwind accompaniments. This makes it one of the album’s most unclassifiable efforts, which sits nicely alongside more focused themes in the vein of psychedelia of jangle-pop.

Parade is certainly a colorful album with its nostalgic influences and sharp production, with most of its songs refusing to keep in a straight stylistic line. This is why it is hardly surprising that “Discoverse” goes balls-out disco with its funky synth lines and addictive bass lines. It is not the most technically impressive effort from the group, but the instrumental interlude that closes out the final minute of the song is remarkable in its imitation of a genre mostly swooped up for mockery. “Discoverse” is one of the few fun disco re-interpretations out there, even if the band manages to cloak most of the genre’s embarrassments in great pop songwriting. This is hardly hidden, however, on the majestic opener, “Plum City Fight Song”. Dramatic strings, soaring guitars, and dual vocal deliveries establish quite the presence for Afternoon Naps from the get-go. The best thing about Parade is how the group sustains its continuous excellence despite the stylistic twists and turns they may undertake. Afternoon Naps have clearly separated themselves from their peers with ingenious songwriting and production, delivering fresh excellence while never letting go of the influences that were so essential in helping them craft this album.

8.5/10.0

RIYL: God Help the Girl, Teenage Fanclub, Belle & Sebastian, Field Music, Pizzicato 5, The Lucksmiths

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Afternoon Naps – Beach Bums

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Afternoon Naps – Mitten Fingers

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Afternoon Naps – Bubblegum 45

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Melodramatics and optimists certainly do not go hand-in-hand, even if some of their ideologies appear to overlap. Both can have be flawed in thinking with their emotions, as well as dealing with certain situations in a manner that accurately reflects their subjective standards, whether it be in an unrealistically positive or negative light. It simply goes to show that no matter how different some things are, there is often a shared bond that can unite the two. It can be visual, ideological, or even audible, as is the case with a variety of musical styles that appear to clash cohesively with others that depict differing moods, styles of production, or overall instrumentation. Most classicists and experts of a certain genre tend to look down upon anything deemed a “fusion”, for it would be practically a crime to tamper with something that they are so accustomed to understanding with the utmost comprehension. However, when certain listeners are able to look past the genre tags and listen to the music for what it is, it often provides a more rewarding experience that is evidenced by the quality of music at hand. To fuse two highly contrasting styles or approaches though, it requires more than mere musicianship. For this, chemistry is key.

In the case of two longtime best friends, it could easily be attributed to luck if they were both talented musicians. Luck certainly plays a role in the evolution of any successful act, but chemistry always looms as the most prominent factor in determining whether a career will fade or sustain. Obviously, best friends should be aware of the usual implications after a fight between the two; it is healthy knowledge that originates from normative behavior. For Jonathan Pierce and Jacob Graham, knowing that they could push differences aside and reconcile was one of the lures in forming The Drums. Best friends since childhood when they met at a summer camp, they remained that way until a five-year lull found neither speaking to one another. When they reconciled though, it was apparent that their friendship was one of social and artistic value. The mutual shock and excitement over hearing a specific song or artist that they could both adore simultaneously was still there, as were comparable songwriting talents that allowed both to get down to business without deliberating about a destined style. And considering both had excelled their musical intellect over the absent years, forming a band together seemed only practical.

When living their own lives, Pierce and Graham have chosen different paths despite their shared adoration of music. Pierce fronted Elkland, a new-wave group that scored big label status with Columbia Records and their 2005 debut, Golden, drew some positive press. Elkland was short-lived though, and the four-piece split amicably in 2006. Elkland’s former guitarist, Adam Kessler, made the move with Pierce to form The Drums with Graham, who prior to this was making pleasant indie-pop with Drew Diver in Horse Shoes, not snow shoes, from aspen ski rentals. The parallels between Elkland and Horse Shoes are abundant, both producing elegant pop music with natural-sounding synths in the vein of The Tough Alliance or Air France. Horse Shoes’ “Hey Come Back!” shows this off so well that I included a sample below; the chirpy synths and angelic reverb on the vocals should be reminiscent of the recent explosion of modernistic, sample-led synth-pop in Sweden. The Drums certainly take some of this as an influence, along with two other genres that may initially come across as perplexing. Glittering synth-pop, surf-rock, and gloomy post-punk are hardly the most analogous genres, but listeners will also find the latter two in addition to the aforementioned synth-pop in The Drums’ sound. It could have resulted in something unbearably sloppy, but knowing the genuine chemistry between Pierce, Graham, and their two longtime collaborators – Kessler and drummer Connor Hanwick – should make it hardly surprising that The Drums pull off unconventional fusion quite well.

Although artists ranging from The Smiths to The Tough Alliance have influenced The Drums, they personally cited The Wake as arguably the most distinctive influence. The Scottish group released four albums throughout the ’80s and ’90s, infusing dream-pop and post-punk aesthetics to cohesively move between decades. The Drum’s debut release, Summertime!, likes to sit in similar territory. One of the more noticeable efforts, “Down By the Water”, even hearkens back to ’60s pop with its retro bass line. The bass vibrates and the percussion can be heard in soft thumps and hi-claps, with a fuzzy synth eventually complementing the bass line as Pierce croons a distinctively powerful echo. His voice commands the likes of recent acts like The Tough Alliance or Hot Hot Heat in his nasally, highly emotive delivery. Pierce, though, possesses more range than any vocalist in the aforementioned category, reaching the limits of his falsetto during a track like “Down By the Water” which also opts for deep dramatics, all of which are pulled off with the utmost precision.

“Let’s Go Surfing” recalls that surf-rock vibe in the title and content, supported by cheerful whistles and vigorous bass line that serve as a precursor to the obviously themed guitar licks. The chorus simply awaits a cheesy music video on Long Island or something; this whole youthful, invigorated tone is consistent throughout the track in a very enjoyable way. The tongue-in-cheek “Submarine” is a clear re-working of ’80s post-punk, somewhat similar to M83’s “Kim and Jessie”, with its distinctive guitar tones and forlorn calculations of a young relationship. This in particular is just so stereotypically and intentionally behind the times that its occasional flairs of modernism makes it all the better. To pull this off without sounding outdated or unoriginal requires some talent and precision, and The Drums have certainly found that here. The impressive thing about Summertime! is how The Drums are able to incorporate their varying techniques, most influenced by heroes of the past, into certain moods or content that associate well with their accompanying genre. The result is one hell of a debut.

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The Drums – Down By the Water

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The Drums – Let’s Go Surfing

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The Drums – Submarine

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Horse Shoes – Hey Come Back!

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With summer in full gear, some artists have to take a temporary backseat to the seasonal bias that is subtly prevalent in most people. For me, choosing an artist to listen to in my free time is not dependent on the weather, but rather my current emotional state and which style I feel would be most compatible with it. However, the seasons do play a role in my selections from time to time. On a beautiful summer day I would probably choose the likes of Springsteen over a gloomier group like Joy Division or The Smiths, with vice versa applying if clouds took the place of the sun. Few can argue that certain music sounds better during certain times and certain weather. With this in mind though, it is worth noting that one’s perception of a suitable atmosphere can be wildly subjective. However, it is hard to make the definition of “summer music” skewed, even if it is up to the listener’s personal taste to compile their own perfect summer mixtape. Contrary to the belief of most mainstream pop artists, a summer hit does not need to have the word “summer” in the title to achieve its status as a seasonal gem. Topics involving big waves, surfer girls, and the boardwalk could help, but it is hardly the most definitive factor.

The word “breezy” has been used time and time again to describe artists with a certain demeanor, one that defies the boundaries of pop without straying too far into hectic structural ploys. This sense of semi-capriciousness coincides with the carefree exuberance that summer often gives off, mainly due to a combination of increased relaxation time and warm weather. Listeners want something that is captivating and original, but not something that is going to detract from their relaxation time with overbearing ambition or artistic flops. The Beach Boys are a rather stereotypical example of a summer group, but also arguably the best one. The bulk of their material was accessible and melodically captivating, but hidden under their receptively good vibrations were reoccurring themes and harmonic intricacies that made their music much more than radio-friendly pop music. Brian Wilson was a songwriter who valued melodic cohesiveness as much as thematic intricacies that was present in both his musical and lyrical content. And with the concurrent themes of riding big waves and basking in the summer sun, I doubt anyone could argue against The Beach Boys being the most consummate summer-pop group of all-time.

It seems unfair to introduce a new songwriter after describing one of the greatest in Brian Wilson, but while Chris Velan does not boast the stylistic innovations or genius-level showmanship of such a predecessor, his potential for producing greatly effective summer pop music is blatant. His songs are often led by tendencies that appear outwardly conventional, like linear guitar progressions in strict 4/4 or the expected assortments of rockers and ballads. But like influences in the vein of Wilson, Velan possesses a creative peak that is unparalleled by most of his contemporaries, even if it is only subtly prevalent. On the surface, his charming blend of acoustical pop, Americanized reggae, and suave R&B may remind some listeners of Jason Mraz or Slightly Stoopid, but Velan’s material is considerably more diverse than either of them. The Montreal native can attribute his eclectic qualities to his forays in music throughout his life, doing it all from fronting a reggae band to scoring music for a film. In addition to this, Velan grew up on both his dad’s favorites (Leonard Cohen, Dylan, Van Morrison) and his sister’s cassette tapes (’80s new-wave). This put him on the path of music at an early age, even if a few pit stops along the way (the lawyer profession, in his case) put the whole solo singer/songwriter thing on hold for a bit. After two overlooked albums though, his third one appears most likely to receive exposure.

Solidago is hardly a showy album, but it deserves recognition for its consistency and melodic goodness. Velan has plenty of good ideas, and even though they are occasionally not expanded upon enough, he is able to capture them without it becoming tireless or agitated. One has to admire him for his diversity, whether it is for the twinkling indie-pop on “Oldest Trick”, the brassy mix of R& and reggae on “Pauper in a Palace”, or the cheery reggae in “Hunting Season”. The latter finds Velan channeling classic influences like Burning Spear and contemporary fusion artists like Michael Franti, with the occasional brass and rhythmic combustions adding nice flair to a genre that has too many imitators and not enough innovators. A song like “Oldest Trick” works with little more than a guitar and synthesizer, the latter arriving most prominently during the anthemic chorus. Velan’s nasally vocals here are reminiscent of Tom Petty’s, which makes for a rather nice tone under an undercurrent of acoustic guitars. It gives off a classic-folk vibe, sitting nicely on the album between the alt-rock leanings of “Wobbly Bones” and the reggae-influenced “Hunting Season”. “No one’s gonna knock on your door,” he sings during “Wobbly Bones”, one of his many comparisons of death to the desire for absolute solitude. It is one of the few showings of bitterness and melancholy throughout the album, but along with the similarly bleak “Out of Range” it shows that his usually upbeat demeanor does not detract from sentimental moments like these. They both reach extraordinary heights.

Velan’s Solidago is not a great summer album simply because it has great melodies that are often accompanied by gentle acoustic strums and Velan’s calming voice. Like Wilson, he also shows a fondness for the art of underlying pop accessibility with further intricacies that involve eclectic stylistic tendencies, thematic consistencies, and differing moods (check out the differences between an optimistic track like “House Upon the Hill” and the somber build-up of “Out of Range”; it is very enjoyable). Velan may come off like just another gifted songwriter with room to grow on the surface, but those who look more in-depth throughout Solidago should be convinced of his potential. Check it out when it is released on July 14th. Its mid-summer release date is quite apt, considering Velan clearly values the true meaning of quality summer music. If you are looking for great tunes that can be enjoyed during scenarios of both relaxation on the beach and thought-provoking conversations with friends, Solidago is the way to go. It is Velan’s finest effort yet.

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Chris Velan – Pauper in a Palace

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Chris Velan – Hunting Season

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Chris Velan – Oldest Trick

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Foreign causes are often distinctive enough to warrant recognition on their own. Food is probably the most common instance of this, with the international food industry comprising for a substantial bulk of food sales in the US. After all, restaurants that are in contrast to burger joints and other casual American delicacies offer more than just food. Atmosphere is just as important, and for exotic eateries it can be the difference in retaining a customer or turning them away. There is the actual product and then the appearance, which can either relate to the appearance of the product or the atmosphere in which the product exists. Such distinctions surprisingly overlap into the music industry as well, with the allure of a foreign product being comparable. Audiences become consumed by how songwriting techniques vary from country to country, how these international musicians present their work, and how prominently their influences are displayed (in addition to who their influences actually are). It is a change of pace, and for that audiences may become more lenient or even ignore them altogether due to their foreign status. After all, culture shock can be intimidating and this relates to numerous areas, including food and music. Although their name suggests otherwise, Foreign Born are simply a bunch of guys from Los Angeles. However, their music implies a more collective fusion of influences that makes their presentation distinctive enough for the title.

While Foreign Born’s style shows accessible shades of indie-rock that would be receptive toward most contemporary fans, the diversity presented on their second album, Person to Person, is more indicative of an eclectic fusion of influences, both domestic and international. British rock is certainly a prominent influence for this talented four-piece, citing the Happy Mondays and Echo & the Bunnymen as stepping stones for their guitar-based sound. This British style of rock is fused with classic American songsmiths like Bob Dylan, Townes Van Zandt, and Harry Nilsson. Their catchy mixture of concisely implemented guitar licks, frantic percussion, and other conventional attributes of art-rock does not exactly coincide with the folksy singer/songwriter musings of Dylan or Nilsson, but their simultaneous ability to combine memorable musical accompaniments and engaging lyrical content is something that combines the broodingly infectious form of British post-punk that dominated the ‘80s and the interpretively heartfelt lyrical content of traditional American folk songwriters. To combine characteristics of two separate genres with differing geographical origins is risky for a young group, but Foreign Born looks to finally prevail with a new album that blends their large assortment of influences beautifully.

To avoid the factor of intimidation that applies to most music with a variety of inspirations, Foreign Born’s new album, Person to Person, has the distinction of treading within a familiar style while exploring new territory in each song. Their first album, On the Wing Now suffered from a lack of cohesion despite some worthwhile standouts, serving as an example of a young band with heaps of potential but a lack of focus. Despite this though, they were proclaimed as one of the most promising groups in the LA area and earned some generally positive reviews. The most prominent aspects of the album included Matt Popieluch’s soaring vocals and Garrett Ray’s outstanding drumming ability. Foreign Born held the distinction of being a group with a capacity for anthemic heart-pumpers, and this is hardly different on Person to Person. If anything, this strength is capitalized upon even more with the expansion of the group’s instrumental repertoire, featuring an assortment of woodwinds, strings, brass, and synths. From the twinkling of synths in “It Grew on You” to the exotic, Lennon-like use of strings in “See Us Home”, there is plenty of eclectic musicianship on Person to Person. This is where the importance of Ray shines more than ever, as he is often the only steady force amongst a flurry of impressive instrumental additions. With an astute ability to turn even the simplest melodies into an intricately empowering force and the overly complex efforts into a more accessible format, Ray is largely responsible for restraining the group’s lofty ambitions to a point where their material is accessible and instantly rewarding.

Staying true to their summery interpretation of indie-pop, “Early Warnings” is a great demonstration of the group’s cumulative melodic capacity and Ray’s largely complementary role in modifying some good songwriting to make it excellent. The lead guitar has the type of twang that one would expect from Little Joy, The Shins, or any other conventionally accessible indie-pop group, but the subtle variations within the track make it a treat that would benefit from a variety of listens. Listeners with a tendency to focus on the percussive elements more than anything (drummers mainly) will likely find themselves impressed at the track’s end, as Ray has a tendency of restraining his percussion when vocals or instrumentation are at full force and knocking out an impressive solo when instrumental minimalism requires it. This results in a plethora of diversity throughout the album, both structurally and stylistically. The feel-good nature of “Early Warnings” benefits heftily from this, as the verse’s lack of frantic percussion complements the unavoidable entry of it in the chorus extraordinarily. “Blood Oranges” also offers an excellent build-up, primarily found in a stunning rhythm section led by Ray and bassist Ariel Rechtshaid. “Anthemic” was a word used often to describe Foreign Born’s debut, and Popieluch’s vocal performance here remains indicative of that as well. On the Wing Now was impressive for a debut album, but Person to Person exceeds it on most fronts in being the summation of Foreign Born’s underrated depth and potential. Merely avoiding the sophomore slump is an achievement in itself, to make an album that trumps an already-impressive debut in several ways is a rare spectacle that is hard to rival.

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Foreign Born – Early Warnings

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Foreign Born – Blood Oranges

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Foreign Born – It Grew on You

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Secretly Canadian Records

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The post Foreign Born, LA Bred appeared first on Obscure Sound: Indie Music Blog.

Starting with the more experienced, Piano Magic is a London-based collective of musicians that has revolved throughout their 12 years of existence. Glen Johnson, Dominic Chenell, and Dick Rance were the original members upon their formation in 1996, though Johnson is the only one currently remaining. He served as the lead songwriter and frontman after Chenell and Rance had left by 1999. Johnson’s leadership steered the group in a more conventional direction, as their first several years saw a higher emphasis on a style of experimental pop music that found difficulty amassing a steady fan base. At this point, the most common comparison was to that of Kraftwerk and other electronically-enabled forms of Krautrock. After Johnson took control and assembled a new lineup though, a more accessible stylistic transition was made to a highly stylized fusion of post-punk and electronic pop that brought on new comparisons to stylistics molders of the late ‘70s and early ‘80s like Joy Division and New Order. Keeping in mind that New Order derived from the demise of Joy Division, the current sound of Piano Magic reminds me most of Electronic, an offshoot of New Order that featured the superduo of Bernard Sumner (Joy Division/New Order) and Johnny Marr (The Smiths). The duo took their fans by storm in 1991 when their classic self-titled debut disclosed an infectious mixture of post-punk and electronica, two styles that Piano Magic implement flawlessly into their sound.

In maintaining their ceaselessly prolific output, Piano Magic released a new EP, Dark Horses, in October. With nine full-lengths, a handful of EPs, and a countless number of singles and collaborations under their belts, the new EP simply attests to the continuous stream of quality that the group successfully strives for. It has been a common practice for Piano Magic to recruit new vocalists for a release, as they even helped convince ‘60s folk artist Vashti Bunyan to commence her recent resurgence by supplying her first vocal recording in over 30 years for Piano Magic’s 2002 album, Writers Without Homes. As a result, I must commend Johnson for being consistent in bringing back the angelic vocals of Angele David-Guillou for Dark Horses. The Klima vocalist and solo performer had previously appeared on Piano Magic’s 2005 album, Disaffected, and contributed immensely to the beautifully melodic sound presented. Within the span of two years from Disaffected to 2007’s Part Monster, their ninth full-length, Johnson also released a solo album and the group embarked on a world tour. Somehow though, they still managed the time to write and record the very enjoyable Dark Horses EP.

Limited to 1000 copies, Dark Horses features four tracks that embody the group’s sound in extremely complementary form. “Vacancies” features an infectiously haunting mixture of jangly guitar riffs, subtle synths pads, and a continuous bass line. David-Guillou’s vocal approach here may remind some of Black Box Recorder’s Sarah Nixey, especially when considering that the backing music is rooted in swift arrangements of whispery synths and jangly guitar progressions. “Dark Horses” is noticeably darker with a predominant rhythm section. Johnson’s eerily satisfying vocals are reminiscent of Robert Forster, and The Go-Betweens comparison does not stop simply at the vocal front. This track encompasses a similar touch of dark industrial-rock with near-spoken-word accompaniments that made the legendary Australian group’s sound so memorable. “Stations” also employs an eerily nocturnal feel, once again complemented by a steady mixture of heavily reverbed post-punk guitar lines and a prominent rhythm section. For those getting first acquainted to Piano Magic, I would recommend checking out either Low Birth Weight or Artists’ Rifles. However, to get a grasp on their current sound, Dark Horses is an impressive effort that solidifies the belief that Johnson and co. are one of the most consistent groups that, for some reason, remain criminally overlooked.

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Piano Magic – Vacancies

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Piano Magic – Dark Horses

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Piano Magic – Stations

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Official Web Site

MySpace

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As I make the transition from a well-traveled group with dozens of releases and several international tours to their name to a four-piece where not even one member is of legal US drinking age, one must keep in mind the developmental process of a band. Piano Magic alternated their lineups before they became stylistically comfortable, leading to a prolific number of quality releases that any musician would respect. When listening to Braids and noticing their prevalent talent, I can’t help but wonder how they will evolve throughout the coming years together, perhaps both stylistically and personally like Piano Magic. To date, the only change they have made pertains to their name (from The Neighbourhood Council to Braids). Listening to their self-released EP, Set Pieces, though, neither their approach nor make-up would benefit from a change at this point. Whether you are referring to 19-year-olds or 49-year-olds, the material presented here is startlingly innovative enough to captivate audiences whether they have prior knowledge of the band’s teenage status or not. When given Braid’s average age, one may have a tendency to make a generalization in regard to their sound. Generic indie-rock perhaps, as an ode to those conventional pop bands that everyone knows and loves? For our sake, it is quite the contrary. Not only are the able to craft 7+ minute experimental-rock epics with ease, but the ideas, songwriting, and high quality of performance are all aspects that truly define what it means for a new act to strive fearlessly for creativity. After opening for acts like Deerhunter and Times New Viking, it seems as if a few of the most prestigious names in indie-rock feel the same.

Just like Piano Magic, Braids are beginning their young careers ambitiously with a style of experimental rock music that demonstrates their unwillingness to conform to a conventionally appealing, radio-friendly atmosphere. Luckily for them, their approach is within the same realm as adored contemporary artists like Animal Collective, Arcade Fire, Atlas Sound, and other staples of indie-rock that have found momentous success through extremely innovative means this past decade. They recorded Set Pieces live at the University of Calgary’s radio station and released it in late June, though fans are just starting to catch on after this month’s release of another EP, Live At CJSW. The opening track on Set Pieces, “Liver and Tan”, is pure 9-minute goodness. A twinkling guitar progression carries the initial strum and a steady rush of percussion eventually increases in complexity and involvement. Light piano chords supplement the onslaught until about a minute in, which is when the piano abruptly replaces the guitar as the leading force. The guitar then reverts to a series of slide patterns, leading the way for each instrumental accompaniment to become involved in equal form.

The major transition point in “Liver and Tan” occurs at 2:15, when a serene break in rhythmic instrumentation commences a three-minute build-up that later introduces several overlapping vocal melodies which brilliantly usher their way in toward the instrumental accompaniment. The vocal delivery sounds like a tribal chant of sorts, and I can’t help but saying that the vocals remind me of what it would sound like if Régine Chassagne (Arcade Fire) attempted to imitate Avey Tare (Animal Collective). There is no real imitation here though for the Calgary natives, as the entirety of Braids’ EP is sprawling with original ideas that lead me to believe that this group is easily one of the most promising out of the already-fledging Montreal music scene. Oh, by the way, check out “Lemonade” on their MySpace. It may be my favorite one yet from this promising four-piece.

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Braids – Liver and Tan

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Braids – She Brave Soul

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Braids – Vendevel

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MySpace

Since they self-release their own material, e-mail the band at theneighbourhoodcouncil@gmail.com if you want a copy of either EP.

The post The Old & New: Piano Magic and Braids appeared first on Obscure Sound: Indie Music Blog.

Emotional variability is an aspect of art that all musicians value. An artist limiting one’s self to a consistent set of emotions can be detrimental to a listener’s perception of the artist, primarily due to the fact that an entire discography consisting of sulking or romanticized longing can become repetitively dull and topically overwrought if not done correctly. You can look at some fine artists who can do this successfully – The Smiths, Mark Kozelek, American Music Club, etc. – and find that their musical styles and structures often diversify the songs enough. And if not, the vocal diction is varied enough to capture a consistent audience for decades. There will always be a small select group of people who opt to only listen to somberly reflective alt-rock or mindless sexually-driven pop music due to their linear perception of the art of music in general, but most listeners enjoy occasional doses of topical diversity in the music the dedicate a lot of time in discovering. To combat such linearly mundane approaches while simultaneously delivering a consistent theme and set of central emotions, Daniel Smith has become notable for crafting songs with rich imagery, brooding contrasting instrumentation, and – arguably most importantly – the ability to interweave the two aspect to craft tales of bleakly entertaining circumstances. Under the alias of Begushkin, his lyrical journeys prove both wildly engrossing and startlingly unique.

When Smith’s debut, Nightly Things, was released in June of 2006, critics took note of the young Brooklynite’s prevalent ability to emit a plethora of lyrically-led topics without overwhelming the listener. Lovelorn desperation, violence and angst, maddening loneliness, and self-inflicted emotional wounds were a few of the relayed emotions involved, all with a supplemented cast of fictional characters and exotic locales that would make even songwriters in the storytelling vein of Tom Waits and Lou Reed grin with approval. The release’s style was centered in folk, with a few other elements like gypsy-rock and glam making subtle appearances. Acoustics often led the melody in the unique of forms, usually in a blatant minor key due to the brooding topics and backing instrumentation involved. It was by no means a solely acoustical affair though, as strings and accordions also made cameos that added to the rich qualities of Smith’s songs in extravagant form. His vocals are on another as well; they quiver and moan with a likeness to two other Daniel’s who dwell in the realm of oddball folk: Dan Bejar and Danielson, though the latter Daniel Smith ironically has no relation to Begushkin’s Smith. The main difference between these artists and Begushkin, though, may lie in Smith’s stylistic bearings.

Treading on a path located somewhere between Middle-Eastern gypsy-rock and folk-based Americana, his wholesome sound and derived influences turn out to be wholesomely his own. For Smith’s sophomore album, King’s Curse, he has chosen to expand upon a sound that was already enticingly original enough for the acclaimed reception of Nightly Things. King’s Curse sees a larger emphasis on the shades of gypsy-rock that made Nightly Things – particularly on the bustling guitar-led “Hearth Light of Our Home” – so memorable. The emotional intensity of Smith’s quivering vocals has also heightened the aspect of zealousness that complements the increased ferociousness of his general stylistic demeanor. The self-titled track is highly representative of his newly initiated narrative approach, with this track in particular being one of the faster-paced efforts on the album. The tempo is in accordance with the song’s narrative focus, one that tells of ruthless hierarchical figures and creatures that would appear to fit well in medieval folklore. “The gypsy king at last is dead!” Smith pronounces with glee, followed shortly by the ghastly accompaniment of female vocals. “But his soul I couldn’t save and hollers like a lunatic from the diamond cave.” Such a vividly haunting conclusion is one component that makes Smith so memorable; he seems to always establish a song’s focus and carry through with it until the listener reaches an extremely satisfying conclusion.

Though King’s Curse is more expansive and ardently expressive on a superficial level, “Murderer” demonstrates his more subdued attempts at plot-based thematic involvement in excellent form. “Cranberry wine, dripping down her spine,” he begins, backed by an ethereal electric guitar progression and the faint whirring of an organ. The chorus sees the rumbling of percussion enter with a sparse melodic shift; the song actually takes over three minutes to truly build up, resulting in a monstrously successful guitar solo that sees all formats of instrumentation enhance tremendously before the track reverts to its original subdued format before the conclusion. “Refugee & the Hag” is notable for Smith’s excellent vocal delivery and the guitar usage that contrasts it. He opts to use several sliding techniques in addition to his quivering snarls, a vocal element that appears most openly effusive in both “Refugee & the Hag” and “King’s Curse”. The last two tracks on the album, “The Beat & the King” and “Gone to Hell”, are easily the album’s most structurally ambitious. “The Beat & the King” recalls vintage Sunset Rubdown with its marching-band rhythmic pattern and increasingly volatile vocal accompaniment, while “Gone to Hell” sees some of Smith’s most commendable guitar work to date. Both exceed six minutes in length, but knowing Smith’s talents as both a storyteller and songwriter, he can make time fly by seamlessly. The bulk of King’s Curse is chock full of material like this; time just flies by so quickly when entertained by a master storyteller.

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Begushkin – Murderer

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Begushkin – King’s Curse

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Begushkin – Refugee & the Hag

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Locust Music

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The post Begushkin Catches a King’s Curse appeared first on Obscure Sound: Indie Music Blog.

When describing The Lady Vanishes, Andy DeLoach chooses a method that would make most travel magazines proud. Almost making his solo music project out to be a luxurious hotel located in some exotic country, few would guess that he mainly relies on a simplistic blend of folk and pop music to perfect his craft. “The Lady Vanishes offers the most luxurious of musics for your relaxed bachelor lifestyle,” his MySpace boasts. “Qualified Songs are waiting to serve your every need and perhaps even get stuck in your head.” Such hyperbolic statements are usually meant for fun and little more than that, but the charm of DeLoach’s musical output is appealing and accessible enough to make the travel review method a rather attractive attempt at catching the attention of those already familiar with the world of contemporary folk-pop. The tour guide, Andy DeLoach, describes himself modestly in saying he is little more than an obsessive of ‘60s pop greats in the vein of The Beatles and The Zombies. DeLoach only recently turned 21 but his youthfulness does not lead to any signs of expected immaturity within his songwriting. He has been writing songs and collaborating with other musicians for years, most notably with Troy Stains (multi-instrumentalist in the recently featured gem from The Explorers Club) in a musical relationship that is continuing to blossom. “We’re trying to start a songwriting partnership that will provide songs for today’s musical scene the same way Burt Bacharach did for his,” DeLoach explains, already providing his veneration for influential artists of the past with wholesome intentions.

Such aspirations may seem a bit lofty for a 21-year-old without much credit to his name, but based on what DeLoach has offered on his self-titled EP, it may not be as farfetched as it initially seems. Based out of the “exotic locale” of Atlanta, The Lady Vanishes offers up plenty enjoyment in a simplistically appealing format. If one were keeping up with DeLoach’s hotel comparisons, calling the project something of a surprisingly affordable gem of a resort in a country with little to no western recognition would be accurate; there is more to it than meets the eye.“Karen, Don’t Stop Him” falls somewhere between the amiable lore of Simon & Garfunkel and Belle & Sebastian, guided by DeLoach’s boyish vocals and the gentle strumming of an acoustic guitar. “Karen don’t stop him, it’s only mid-day,” he sings as the subtle emergence of an organ occurs, softening the guitars in the process as a solidified rhythm section becomes prevalent. The twang of an electric guitar shortly follows, establishing DeLoach’s folk technique in which a naively pleasant melody is built upon by several other similarly laced instruments in an effort to boast a worthwhile hook. The track touches upon the common perspective of fate’s involvement in life’s routine, being an easygoing example of DeLoach slight metaphorical tendencies.

“Eliza at the Museum” is the most ambitious out of the three featured tracks, mainly due to cohesive adjustment between the “mmm”-ing backing vocals and the build-up effect of the involved instruments as they subtly increase in tempo before collapsing. DeLoach’s tends to stray inside the realm of conventional folk-pop and his ambitious nature appears to be at a halt as of now, “Wrapped in Cloth (All So We Can Love)” is more reminiscent of standard folk. Though the twinkle of bells adds for a nice touch in the conclusion, I am relatively certain that it was primarily written as a b-side or demo. Nevertheless, the unsigned DeLoan has already captured a good amount of buzz in Atlanta and his future appears quite bright, best evidenced by the affable characteristics of “Karen, Don’t Stop Him” and “Eliza at the Museum”.

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The Lady Vanishes – Karen, Don’t Stop Him

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The Lady Vanishes – Eliza at the Museum

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The Lady Vanishes – Wrapped in Cloth (All So We Can Love)

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MySpace

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I was considering devoting an entire post to Sparks before I realized that I had done so already about two years ago, shortly after this site had just gotten underway. In the post, I gathered a few MP3s from my 8 favorite Sparks albums, all of which were released during a period ranging from the early ’70s to present day. As I said a few years ago and will say again today, Sparks is easily one of the most stylistically eclectic acts of the past 40 years and most people are generally only able to count on one hand the number of bands who have achieved success for as long and as consistently as the Mael brothers. Releasing at least a few albums each decade for the past 4 decades, the longevity is impressive but what has built Sparks’ cult following mainly traces back to their form of songwriting which seems to never get old or overused. I personally prefer their first three albums to anything they did afterward but the sheer fact that I can listen to any Sparks album from any decade and find myself enjoying it impressive to me in its own right.

For album #21 in their sprawling discography, I would feel as if I were doing myself and others an injustice by not at least mentioning Exotic Creatures of the Deep. Apart from being arguably the best thing they have released since 1994’s Gratuitous Sax & Senseless Violins, it simply solidifies the sentiment that the Mael brothers have no expiration date for cranking out quality tracks. What has been very prevalent throughout their most recent releases has been an increased comedic tone, suggested merely by the title of memorable tracks like “Dick Around”, “Ugly Guys With Beautiful Girls”, and “What Are All These Bands So Angry About?”. This is a continuing trend on Exotic Creatures of the Deep, only this time being supplemented by an even more eclectic (it IS actually possible!). There is a noticeable increase in the use of guitar, a feature that should delight fans of their rock-oriented material from the early ’70s. Still though, most of the tracks are led by Ron Mael’s keys and a series of orchestral arrangements. Anyone with a comprehension of The Smiths or Morrissey should chuckle at “Lighten Up, Morrissey”, a very enjoyable effort that contains a fusion of guitars and keys that remains very reminiscent of their ’70s works. The track does not mock on Morrissey, but rather the tortured men who weep themselves to sleep every night because of a little thing called rejection. Somewhat oddly, the band considers it a tribute to Moz, as the duo and former Smiths frontman have requited admiration for one another (Morrissey’s lyrics usually stray on the unrequited side of things).

In addition to “Lighten Up, Morrissey”, other highlights include the synth-fused infectiousness of “I Can’t Believe That You Would Fall For All The Crap In This Song” and the piano-led “Good Morning”, the latter being the album’s debuting single. Both rely prevalently on melodic repetition amongst transitioning lyrical deliveries, with the topics containing plenty of witty one-liners and consequential hooks in typical Sparks fashion. Whether guitars lead the way in the contagious “Lighten Up, Morrissey”, synths carry the dance-pop flair in “I Can’t Believe That You Would Fall For All The Crap In This Song”, pianos aid a brisk progression on “Good Morning” and the hilarious mock on superficiality in “Photoshop”, or strings flow vigorously alongside all of the aforementioned instruments in “Strange Animal” and the infectious “This is the Renaissance”, Exotic Creatures of the Deep contains enough diversity to make even the most dedicated and harshest of Sparks fans contemplate deeply whether or not Sparks’ 21st studio album will land in their all-time top 10. It is certainly too early to decide such matters, but Exotic Creatures of the Deep undoubtedly serves as yet another extremely commendable feat from the talented Mael brothers.

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Sparks – Lighten Up, Morrissey

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Sparks – This is the Renaissance

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Sparks – Good Morning

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Official Web Site

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The post The Lady Vanishes; Sparks Carry On appeared first on Obscure Sound: Indie Music Blog.

When The Mars Volta emerged in 2002 with De-Loused in the Comatorium, one of the most uniquely exciting debuts of the past several years, the widespread acclaim for the release also brought attention to the originating projects of the members involved. The immediate form of exposure for the hotly anticipated Latin-American rock experimentalists had led numerous freshly faced fans to post-hardcore quartet At the Drive-In, the previous project that was led by chief Mars Volta members Cedric Bixler-Zavala and Omar Rodriguez-Lopez. When At the Drive-In split in 2001, it appeared as if the 5 members had chosen to split themselves up nearly evenly and contrastingly go their own separate ways, eventually to find success in comparable forms. Bixler-Zavala and Rodriguez-Lopez, of course, went on to form The Mars Volta in 2003. The other three members – guitarist Jim Ward, bassist Paul Hinojos, and drummer Tony Hajjar – formed Sparta, an acclaimed act that specializes in post-hardcore, similarly to At the Drive-In. Though the genre is hardly my cup of tea, it is easily recognizable that both Sparta and At the Drive-In truly excel at their intended style, with the latter being one of the most influential post-hardcore bands of the ’90s. Though originally influenced by the eclectic likes of The Smiths, Pink Floyd, and Fugazi, all 5 members gradually established themselves during their run together as At the Drive-In as durably invigorating musicians by crafting a sound that was enjoyably unfamiliar to even those knowledgeable fans who dwelled on the early punk scene in DC.

Now that both remnants of At the Drive-In have found a substantial amount of commercial success, I suppose that Jim Ward felt the current time to be the most suitable for exploring an entirely different musical style altogether. Playing an even more prominent role in Sparta as the chief songwriter and lead vocalist, his name is at an all-time peak in terms of popularity. With that in mind, his formation of Sleepercar appears poised to gather a distinctively respectable following. A solo project with a steady group of backing musicians, Ward founded the first traces of Sleepercar sometime in 2000 while touring in Japan with At the Drive-In. With the group on their farewell tour, Ward wrote “Fences Down” during a sound check. It later proved to be the first Sleepercar track ever written, touching on a style that surprisingly most resembled an accessible form of alternative-country. After stumbling upon some friends who introduced Ward to country greats like Gram Parsons, the former At the Drive-In guitarist became infatuated with the style. Sparta was formed less than a year later, eluding to a sound that was generally comparable to At the Drive-In. However, Ward also made an effort to turn his solo-led musings to audible form, heading to a west Texas studio in 2002 to record some premature demos. While there, he met future collaborator Chris Heinrich, who provided lap steel on a couple of the demos. The funny thing is, if you looked back on Ward about 15 years ago, the idea of putting a lap steel in one of his songs would probably sound like some sort of joke. Well, it is amazing how much a new sense of maturity can contribute to a songwriter’s growth, development, and sense of ambition.

This aforementioned collection of demos eventually provided to be the initial structure for Sleepercar’s debut album, the suitably titled West Texas. The majority of the album was recorded between a loft in El Paso and Ward’s home studio, with an enlistment of several other musicians that included Heinrich, pianist Gabe Gonzalez, and drummer Matthew Schmitz. Ward also brought in some familial connections to contribute on the album; his father, Jeff Ward, and his brother-in-law, Clay Anderson, provided additional bass and guitar, respectively. As is easily noticeable throughout the 11 tracks on West Texas, Ward’s ability to make a complete transition into new stylistic territory is nothing short of impressive. Considering that he is continuing as the frontman of Sparta, one can only imagine the effect of juggling two very different styles at once. However, with Ward’s apparent aspects of organization and sheer melodic skill, those who doubt his intentions clearly have not listened to his new material. Looking back now, the amount of talent that existed in At the Drive-In was undeniably ample. With fans from both At the Drive-In and Sparta becoming increasingly interested in Sleepercar, expect this album to get plenty of press by the time it drops on April 22nd. Listening to it the past couple days or so, I expect the feedback to be consistently positive.

Ward’s mixture of alternative-country and conventional indie-rock provides for a generally pleasurable listening experience on his solo debut. He recalls distinctive influences like Gram Parsons and Woody Guthrie in a way similar to that of Jeff Tweedy or Ryan Adams, though his use of conventional structures creates a sense of dependable accessibility that is more in the vein of contemporary indie-rock. In fact, the opener, “A Broken Promise”, serves as an epitome of such a style. That being said, it is also one of the most satisfyingly infectious on the album. As Ward attempts to fight off rampant pessimism with optimistic observations, he successfully provides an array of engaging hooks over guitar-led instrumentation. “Meaning everything you say, living like today’s the day,” Ward sings in a crisp tone over a series of repeating guitar progressions. “The hopelessness will fade away, you’re on your own.” The track is simple enough, but Ward finds solace in its inviting clarity. As evidenced by the more thoroughly executed “Fences Down”, the touch of alternative-country is clearly at full force during a variety of bright spots of the album. The fact that I enjoy both “A Broken Promise” and “Fences Down” to an equal extent is impressive in its own right, considering that both vary in style dramatically. Maybe you prefer the accessible indie-rock of “A Broken Promise” and “Wasting My Time”, or perhaps your taste is more suited to the country flair of gems like “Fences Down” . Either way, regardless of whether Ward is incorporating an electric or a lap steel guitar in a song, West Texas is a resounding success.

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Sleepercar – A Broken Promise

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Sleepercar – Fences Down

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Sleepercar – Wasting My Time

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Official Web Site

MySpace

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The post Sleepercar’s West Texas Roots appeared first on Obscure Sound: Indie Music Blog.