Que? Zoo and Dr. Skull is the alias for Philly-based Brandon Seawell, who recorded the six songs on Days At the Zoo in his bedroom “with two microphones, a mixer from the Back to the Future era, and my laptop.” Although he counts Sufjan Stevens as a leading influence, there’s an eloquent bleakness inherent in Seawell’s sound, more similar to Antony and the Johnsons or Wild Beasts. Seawell’s voice, which sounds like a quivering murmur slowly suffocating, is one reason. And although his vocals are certainly a contributing factor, the understated beauty of his compositions is the main reason his music is so striking.

The acoustics-and-key pairing of opener “Poem” is similar to Grizzly Bear’s ghostly presentation, and here Seawell projects a high-pitched hybrid of glee and somberness; his voice sounds like a cross between Jamie Stewart (Xiu Xiu), Ed Droste (Grizzly Bear), and Hayden Thope (Wild Beasts). The minimal percussion allows the keys and unconventional string noises to converge beautifully toward the end, very much like early Xiu Xiu material. “James Brown” is another highlight, a delicate track with heavy reliance on theatrical vocals and a gentle rhythmic push reminiscent of Wild Beasts tracks like “Deeper”. The jingling of bells adds a nice exotic touch, as well, help solidifying the brooding yet beautiful sound of Que? Zoo and Dr. Skull. Closer “Pterodactyl takes Phlight” has the soothing piano-pop of an Air track, with some jazzy flairs and hip-hop percussion. It’s a really fascinating track, and one that sums up Seawell’s avant-garde leanings nicely.

Creativity is something that Seawell values significantly, but not to the point of it sacrificing a song’s listening appeal. “I try to make music that’s fun. I like twists and turns and unexpected lines in my music.” he said. “There may or may not be anything new under this sun of ours, but I think the strife to create something that is such is a worthwhile enterprise.” The songs on Days At the Zoo make it easy to see why.

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Like perhaps the most famous of surf-rock innovators (Brian Wilson), Arthur C. Imperial does not surf. Rather, the sights and sounds of witnessing the act provide ample room for his musical talents to emerge. The Toronto-based Art Imperial depicts his swirling mixture of surf-rock and alternative aptly on the new Surf Suburban EP; a sky-blue silhouette of a beautiful woman basking in the sun takes up the foreground, backed by an image of the coastline either at sunset or sunrise. The clouds and surf are cast with a neon effect. The sun is low and glows an orange haze. No, it’s not the latest chillwave cover, but rather an excellent take on chilled-out surf-rock with doses of contemporary indie-rock, with some aspects of The Walkmen’s nasally guitar-led croon sitting alongside the shimmering rock of Surfer Blood, The Morning Benders, and other recent surveyors of surf-rock revivalism with a modern flair. Gracefully, their music is not an ode to primitive surf-rock. Rather, a better reference is to the expansive full-bodied approaches best shown on Beach Boys releases from ’65 to ’71, on classics like Pet Sounds and Sunflower.

Imperial’s vocals sit somewhere between Hamilton Leithauser’s nasally ardency and Paul Heaton’s youthful vibrato. This establishes an interesting vocal presentation, especially when set under gorgeous instrumentation that recalls the intelligent guitar-pop of Girls’ Christopher Owens, who clearly has the same set of influences as Imperial. Like Owens, Imperial’s room for growth is foreseeable. Surf Suburban EP, while not a perfect release, is a phenomenal showcase of an artist with natural pop smarts and a wonderful knack for guitar-based melodies. Plus, you can download it for free here. Recorded in his mother’s basement, the six-song EP boasts swirling guitar melodies drenched in spongy reverb and long-ranged vocal harmonies that supplement the traditional appeal of Imperial’s surf-rock roots.

Like many great surf-rock releases, Surf Suburban EP (available for free) shows off a first half of radio-friendly rock gems, with the second attempting more daring approaches veering into the avant-garde. Imperial Art never travels into territory too unknown though, staying true to the shimmering guitar-based formula of wildly accessible gems like “The Inbetweener” and “My Crystal”, the former of which excels on every level in unveiling Imperial as a consummate appreciator of surf-rock. Between the sudden yelps of exuberance after each verse and a chorus that features intensified percussion and a devastating key-led hook in its latter half, there are a handful of exceptional moments to be had on “The Inbetweener”. I suggest listeners to start here. The first two tracks are pure sunshine and fun, but the third track on Surf Suburban EP where Imperial’s innovation and infectious qualities as a songwriter shine most prominently.

“The One You Chose” is a slight departure from the illuminated ardency of the first three efforts, showing a darker and more brooding side that even touches on Smiths-inspired post-punk. A DIY punk element is found in the repeated guitar tremolo, which entrenches itself over Imperial’s nonchalant groan. His voice here resembles The Thrills’ obvious adoration for Kurt Cobain, who Imperial touts as another huge influence. That particular one is most evident on “The One You Chose”, a phenomenal effort that may be the best evidence for the great amount of depth that Imperial appears imminently destined to display. The final 1.5 minutes, particularly the beautifully moody guitar solo, should be the final convincing factor for this. This is clearly just the beginning of a successful career for Imperial. The second half of the EP’s level of slight experimentation, also found on the tinges of synth on ‘80s throwback “Young & Dangerous”, shows as much. Imperial’s talent is abundantly evident, so it understandably will take him another release or two to truly hone in on the sound that best highlights his talents.

RIYL: The Beach Boys, Brian Wilson, Girls, The Walkmen, Surfer Blood, The Morning Benders, The Housemartins, The Stills, Nirvana, The Smiths, Wavves, Best Coast, The Explorers Club

Art Imperial – The Inbetweener

Art Imperial – The One You Chose

Art Imperial – My Crystal

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It is mainly a personal thing, but NFL kickoff is when I consider it fall. The official calender date has no relevance to me. There are more autumn MP3 compilations out there than one could count, so I figure that recommending some autumn-suitable albums instead of songs would be more productive. Some will have been heralded, others will be relatively unknown. Some old, some new. Regardless, each is recommended listening in full. Mediafire, Rapidshare, and Google can help you out there, but I also included some tracks below that I feel best represent their respective album’s high points. So, enjoy the weekend and impending presence of fall. There is plenty of great music to celebrate its arrival with.

Click here to download this compilation as a streaming playlist.

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Hall & Oates – Abandoned Luncheonette

Hall & Oates will forever be ridden in ’80s-bound stereotypes, which they were certainly guilty of to some degree. The cheesy hooks and dismal fusions took pace after their masterpiece, Abandoned Luncheonette, which embodies itself as an overwhelming collection of quality soul-pop that – to many – sounds distant to the duo’s subsequent material. While “She’s Gone” is always included in their Greatest Hits, tracks like “Lady Rain” and “I’m Just a Kid (Don’t Make Me Feel Like a Man)” are severely overlooked. Sure, “Lady Rain” might sound a bit out of place i its vintage southern-rock and blues lure, but when Darryl Hall applies his soulful croon over the accentuated and drawn-out guitar twang, the listener embraces a tasteful fusion that, for Hall & Oates, occurred too infrequently after this landmark 1973 release. The power of “Lady Rain” and the breezy, autumn-laced acoustical sensibilities of “Las Vegas Turnaround” and “I’m Just a Kid (Don’t Make Me Feel Like a Man)” is hard to overlook when given the chance. Just throw the future failures and aligning stereotypes out the window for a second… Abandoned Luncheonette is one heck of an album.

Hall & Oates – Lady Rain

Hall & Oates – Las Vegas Turnaround

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Van Morrison – Veedon Fleece

Van Morrison’s Veedon Fleece was like the last mile of a triumphant marathon performance. As usual for the Irish legend, he showed no signs of weariness either. After the release of this classic in October of ’74, he took a three-year hiatus. Three years today is pretty typical; if a group like Radiohead released an album religiously every three years, no one would complain. But for Van Morrison, who released seven classics in seven years prior to that point,it was the end of one of the most productive creative streaks in 20th century music. Said by many to be the counterpart to his legendary 1968 release, Astral Weeks, Veedon Fleece shows one of his best vocal performances, which resound in an unrestrained and unprecedented artistic delivery completely unique to Morrison. “Cul de Sac” is an amazing example of this. In regard to the album, Bill Janovitz said “one of the least known is one of his best … definitely autumnal in tone,” before calling “Cul de Sac” one of his best “gospel-soul-folk tunes.” “It still has that bit of melancholy, even though you might not have any idea what he is singing about or even the very words he’s singing,” he said. “It’s all about capturing the vibe, the spirit, the mystic.” I could not put it better myself.

Van Morrison – Cul de Sac

Van Morrison – Come Here My Love

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Neil Young – Harvest

Neil Young’s 1972 album, Harvest, is an understandably popular inclusions on lists like these. Sure, the amber-ish album art and title bring to mind a brisk autumn sensation before even playing a track, but once the songs start pouring out we are again reminded of Young’s inimitable talent. To be fair, this along with his consistent style allows for most of his albums to be nice autumn list inclusions. Harvest just has the right tinge of thematic relevance to make it work here though. Fitted with an orchestra, the album is lush in presentation but with a quivering emotional charge in songs like “A Man Needs a Maid”, which confines misunderstood sentiments in a piano-laden grace before a majestically trill orchestra permits Young to stretch out his coyly invigorating vocals. Most Young albums contain a fine diversity of quality southern-rock and variations of folk, and this one is no different. With “Alabama”, a fully-charged effort that could be a “Southern Man”s cousin, we hear his infectious tendencies prevalently with a distorted Southern-cooked guitar and a sprinkle of keys that create a numbingly memorable verse. Ohhh Alabama… this anthemic gem has little to do with fall, but Neil Young is always one of the go-to’s on a brisk autumn day.

Neil Young – A Man Needs a Maid

Neil Young – Alabama

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Magenta Skycode – IIIII

Magenta Skycode’s IIIII was my favorite debut album from 2006. The group from Finland stunned me on first listen, with a unique sound that bordered between eerie and mystical. As I wrote when including this as #11 on The Best Albums of 2006, it is ironic that the band has an interest in monochromatic photography, as their music is anything but colorless. In fact, it’s incredibly vibrant and colorful, all while maintaining to be serene and enjoyably atmospheric. Sounds like autumn to me. With an assortment of synths and gentle guitars, Magenta Skycode utilize the natural art of clapping as percussion whenever they can. It is in perfect form for IIIII, not being overused or underestimated. “Go Outside Again” is a good example of the execution, being my favorite on the album.The song initially works around a building guitar-led verse, as some beautiful synth complements the surroundings before the ascent into a enigmatically catchy chorus. Magenta Skycode never got the attention they deserved, but they seem to have a new full-length on the way. I imagine a feature in the near future is imminent for that. But in the meantime, enjoy these great sounds from the band’s debut, IIIII. In addition to being the most impressive debut of 2006, it is a great album for autumn.

Magenta Skycode – Go Outside Again

Magenta Skycode – People

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Twin Shadow – Forget

I initially thought Twin Shadow was a prank. I remember someone showed me this, on Hipster Runoff of all places, and you could see with the grainy video quality, ’80s jangle-pop in the background, and George Lewis Jr.’s throwback hair-do why I thought it was a spoof. But then the music kept going, and it was obvious that Twin Shadow is not a joke at all. In fact, his album Forget is damn impressive. Lewis shows appreciation for many artists, from Scott Walker and Morrissey to Neu! and Joy Division, but his utterly infectious songs arise from appreciation, not derivation. His original vein of songwriting, sitting somewhere between post-punk and art-rock, perfectly suits his deep and melancholic vocals. Like any album by Joy Division, The Smiths, or Ariel Pink’s Haunted Graffiti, Forget is a wonderful album for the autumn because of its delicate pop songwriting. The high-pitched vocals over the echoey keys in “When We’re Dancing” brings to mind a hundred or so lost ’80s classics simultaneously, with tracks like “Shooting Holes at the Moon” demonstrating a funky sort of electronic/post-rock fusion that is only possible from an artist able to separate himself from today’s repetitive trends. The hype for Lewis is just beginning, and I imagine it should increase exponentially this fall. A pretty perfect time considering the vein of music, don’t you think? This one would likely not sound out of place on a Halloween mix either.

Twin Shadow – We’re Only Dancing

Twin Shadow – Shooting Holes at the Moon

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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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by Mike Mineo

Despite ambition’s positive impact on art in general, an artist can face a large obstacle in managing to present this ambition without an ill effect on the work itself. This is applied specifically to artists that are consummate individualists, opting to record every instrument and aspect of production in their basements. These artists are trailblazers of personality on record, a stark opponent to the corporate-bound machines of today. Ariel Pink is certainly a personality on record. He is a rare exhibition of DIY recording with a technical likeness to artists that excelled in this personalized format; there are many examples of this ideology – from Todd Rundgren and Joe Meek to R. Stevie Moore and Jandek – even if their sounds are not remotely comparable. As such examples show, reclusive behavior and enigmatic presences are common characteristics of so-called “outsider artists.” Pink’s personality is much too boisterous for this grouping though, and this is why it becomes such an essential part of his music, for better or worse. His whimpers and yelps have no regard for conventional tone, his arrangements are almost never in ABA form, and his style of production emphasizes a demeanor that is both earnest and painfully personal. These aspects are usually indicative of avant-garde leanings, and while Pink is certainly avant-garde, he possesses a rare knack for melody that is superior to his peers. His songs manage to be infectious or, at the very least, interestingly successful even in the face of anticipated ambition. His utilization of home recording and resourceful songwriting creates an impression that is rare for DIY artists, being that of an inimitable likeness early in their career.

There is little for me to expand upon in regard to Pink’s background (since I did so here), but if there was only one word of advice I could give someone about his material, it would be to focus on the music more than the demanding personality on record. One could go on about his influence on emerging genres like chillwave, and that is certainly a fine point, but I hope that aspects like this and his audible personality do not overshadow the music for some people. When listening to any of Pink’s previous albums it can be an initially daunting task to focus on such, especially considering Pink’s mixture of mouth-beat percussion and cassette-like production that remain far from conventional polish. How they add to a dizzying array of musical styles, from the whimpering ’60s pop of “Among Dreams” to the brooding post-punk of “Haunted Graffiti” and “Gray Sunset”, is consistently exceptional. And these are only examples from his breathtaking debut album, The Doldrums. The releases that followed brought more of the same innovation and variation, his gauzy production being the only constant in a thunderous unveiling of creative techniques and melodic wizardry.

Ariel Pink’s Haunted Graffiti represents Mr. Pink (real name: Ariel Rosenberg) and his backing band, which until the recent release of Before Today was not utilized with the utmost precision in a studio environment. Here, he pushes aside his tendency of working alone and strikes up collaboration with a very proficient band and producer. The results, as expected, are a far cry from Pink’s earlier material, production-wise. ’60s cover “Bright Lit Blue Skies” eases listeners into this sharper production with an extraordinarily catchy song, even if it is precisely the same as the original. If anything, the accessible is a great lead-in to “L’estat (Acc. to the Widow’s Maid)”, the first true test as to whether Pink’s ambitious songwriting can fit seamlessly into clarified production. “Bright Lit Blue Skies” is a stark contrast to what listeners expect from Pink, as it utilizes a very predictable structure, yet its appearance is almost essential in allowing the constant variation of “L’estat (Acc. to the Widow’s Maid)” to flow and flourish.

Anyone who was fortunate enough to focus on the actual music of Pink’s past material should not be surprised that this song, and several others on Before Today, do not suffer from increased clarity. In fact, many benefit from this. Pink demonstrates precisely the same amount of quality here as on predecessors like The Doldrums and House Arrest. Unlike the lukewarm response of those though (which I respectfully disagree with), the critics are due to eat this one up because it represents what they have been anticipating: a version of Ariel Pink that retains his unparalleled ambition, but with a greater sense of clarity that is implemented efficiently enough as to not dilute the creativity that has built his reputation up to this point. The most fearful qualm I had about Before Today was that it would be an example of over-production, like if Steve Albini produced for a band that relied on mellow keyboards as opposed to roaring guitars. The production team of Pink, Rik Pekkonen, and Sunny Levine (Quincy Jones’ grandson) work magic here though, and the delicate transitioning from humble lo-fi bedroom pop to glossy sleekness could not have been conquered better. Pink did not write music different for a different mode of production, and his own confidence in his songwriting is what makes Before Today a commendable feat.

As reviewers have already mentioned, a prior introduction for Before Today is not necessary unless you wish to experience the production transitioning. This album is no sequel per say, which could have been argued for any of his prior releases. Before Today seems like a new step altogether, even if Pink threw in a handful of old songs on the album. One of these, “Beverly Kills”, is inferior to its original, and this has nothing to do with the quality of production. Like the original, the chirpy synths complement Pink’s alternating falsetto and spoken-word with a successfully vintage ’80s feel. However, the hook here – “can’t stop the press!” – is significantly less ardently spoken than the original and probably does not even require the exclamation point in this instance. The plan was to add more subtlety to a track with some swift melodic moves, but it instead dampened its biggest punch. And while the re-workings of “Can’t Hear My Eyes” and “Revolution’s a Lie” are nice, they are mainly unnecessary and the latter is the dullest effort on the album. As for the other re-working (if you can even call it that), “Round and Round” is probably known to you already as one of the best songs of 2010. A far cry from its original “Frontman/Hold On (I’m Calling)”, it finds the perfect balance between suave lo-fi electronica and soaring rock anthems. It is generally faultless and I wish more pop artists would follow suit in making pop songs both infectious and adventurous. One cannot foresee the track’s structural future despite accurately and enjoyably singing along. How could a pop song be better? For Ariel Pink, it can’t.

Two of the most interesting new songs are “Butt-House Blondies” and “Menopause Man”, which in their titles alone evokes Pink’s tendency to hold nothing back; as long as it fits within the context of the song, it is fair game. “Butt-House Blondies” lives up immensely to its name by being arguably the most rocking song in Pink’s discography, recalling grunge specifically but also Queens of the Stone Age’s blend of hard-rock and neo-psychedelia. Pink’s coarse verses clumsily find their way over repeating guitar riffs, preparing for an energetic chorus that finds a little more than a groan accompanying extreme distortion. It works surprisingly well for Pink, who has touched upon elements of rock in songs like “Haunted Graffiti” but never quite in the hard-rocking vein of “Butt-House Blondies”. Easily the song’s best moment comes around the minute-and-a-half mark, where one of the finest guitar solos I have heard in from a new artist in years takes place. These type of solos are a dying breed in ambitious rock music, and when someone like Pink decides to tackle it and achieve extraordinary success you can’t help but yearn for the days when such solos were customary. Now, it usually appears as extraneous filler that simply reflects the vocal melody, but not for Ariel Pink. His ambition is too ahead of that, and on “Butt-House Blondies” it shows over the grunting of a sexually pleasured woman. Hey, and while Pink is far from a sex symbol, concisely excellent guitar solos can make some women do almost anything.

“Menopause Man” is easily the most reminiscent of Pink’s early material. A placidly thumping bass line and sporadic scattering of keys help churn out one of his metaphysical tales of gender transformation, as listeners again find unique topics and understated production go hand-in-hand. “Rape me, castrate me, make me gay,” he sings after the soul-tinged chorus. “Lady, I’m a lady from today.” When he cries out “make me menstrual!” you probably won’t even be surprised, simply because the first reaction is usually toward the music. The verses, while subdued, usher in an exceptional chorus that borrows some elements of soul in its falsetto-bearing loop. This track is quite exceptional, and addictive enough that even homophobes will shout out “Rape me, castrate me, make me gay!” with gleeful confidence. Reminiscences” is somewhat of a throwaway and “Hot Body Rub” is more for suave feel than melody, but their instrumental additions are not a detriment to the album. In fact, nothing here is really a detriment apart from the dull “Revolution’s a Lie”. So you can simply pretend the album is 12 tracks instead of 11 and have little reason to skip over anything.

Ariel Pink’s emergence has been a slow but steady process over the past decade. With Before Today he has solidified his impending importance this coming decade, thanks mainly to the attentiveness of the Pink/Pekkonen/Levine production team. It was clear this album is not more polished sounding because Pink wants more radio airplay; if he did, there would be more songs in the vein of “Bright Lit Blue Skies” included. Here, his songwriting is as innovative and unpredictable as ever, except with a more cohesive vision and style of production that allows this ambition to flow freely and without restraint, which even with great songwriting was sometimes the case with the weaker moments of his previous material. To Ariel Pink fans there was never potential to fulfill, since that fulfillment was already accomplished immediately with the ever-durable The Doldrums. Still, to elicit a serious response there was acknowledgment that a more polished product would be demanded, one that did not sound like bedroom demos despite how seamlessly that technique fit within his songs. Before Today is a nearly flawless representation of an artistic transitioning, all while retaining the quality aspects that provided the artist with recognition in the first place.

9.0/10.0

RIYL: Washed Out, Neon Indian, Frank Zappa, John Maus, R. Stevie Moore, Nite Jewel, Ducktails, Panda Bear, Wavves, Ganglians, The Chameleons UK, Todd Rundgren, Joe Meek, The Smiths, Caribou, Interpol, Phantom Power, Memory Cassette, Real Estate, Girls, Memoryhouse, Animal Collective

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Ariel Pink’s Haunted Graffiti – Round and Round

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Ariel Pink’s Haunted Graffiti – Bright Lit Blue Skies

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Ariel Pink’s Haunted Graffiti – Beverly Kills

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The post Ariel Pink’s Haunted Graffiti – Before Today (2010) appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

The intimidation of Ariel Pink is notorious. His ambition is not necessarily what arouses such feelings, as quality melodies and upfront hooks are always present through a wide array of styles. Rather, it is the quantity and breadth of his work, a trait that can be attributed to his incessant tendency to write music. Pink has recorded hundreds of songs that sound nothing alike, their dates of origin varying between the mid ’90s and late ’00s. Despite tackling a comprehensive range of styles throughout this somewhat extensive span, he showcases a remarkably consistent presence in his approach that makes an Ariel Pink song immediately known despite its context or genre. After he had dropped the jaws of Animal Collective’s four members (who also run Paw Tracks Records), Pink worked at a rapid pace releasing material under their label. Much of the ideas came from material he wrote in either the ’90s or early ’00s, modifying them with precision until they were presentable. New ideas arose during this time as well, but unloading the extensive Ariel Pink vault was certainly a necessity that contributes to enjoyment of his current endeavors and appreciation for his recent influence. Otherwise, it would be difficult to accurately recognize him as one of the most essential influences in the recent “chillwave” movement, where artists like Washed Out, Neon Indian, and Memory Cassette have paid subtle tribute to Pink’s incredible past work.

Many consider the release of The Doldrums in 2004 to be what ignited recognition for Ariel Pink’s Haunted Graffiti outside of his native Los Angeles. The album has a very understandable cult-following, which feeds on Pink’s eccentric personality and general presence. That this personality sheds through so prominently of his music is more reminiscent of the past, where artists like Michael Jackson or Mick Jagger could have few effective copycats simply because their stage presence alone was so groundbreaking and original. This album encompassed a very creative period for Pink (real name: Ariel Rosenberg), from around 1998 to 2003, where he could churn out a few quality songs per week if required. This came with a prerequisite knowledge that the style of production was going to be traditionally that of Pink. Lo-fi bedroom recordings were a description often used for him, which is true in a way. Some critics brushed him off as a quantity-over-quality artist as a result, but those who gave his music found a practically unlimited source of ambition that few songwriters of the decade could match. Some parts were out of key, others had pops in the recordings or awkward transitions, but his talent was evident in more ways than one. This would understandably make him a perfect source of enjoyment for the avant-garde faithful like Animal Collective, but Pink’s grasp of rock music and synth-pop always made him appear like a more natural fit for those seeking adventurous pop music in a nostalgic vein, rather than an approach fixated on the future developments of electronica.

This made his eventual role as one of chillwave’s biggest influences fairly accidental, at least in the sense that even Pink likely did not expect to spur perhaps this decade’s first relevant stylistic movement in indie-music. The critics that initially dismissed him would be even more surprised. Well, now that his influence is utterly undeniable, it might be time to give Pink a little more credit. This feature is written as a vital introduction to Ariel Pink’s work, which is often more inaccessible than it should be. His discography is intimidating at a mere glance, so I will attempt to make it easier. Pink himself actually did a great job of this on Grandes Exitos, a self-released 2009 tour EP that served as a greatest hits of sorts for Pink’s career up to that point. The 23 tracks there are great selections, and I urge everyone to check it out. Pink has yet to release a flawless album per say, but I find this is the closest one can get. Apart from the questionable omission of “Haunted Graffiti”, “Gray Sunset”, and “Let’s Build a Campfire There”, I consider it an outstanding introduction. It is hard to argue about the omission of certain songs though for a songwriter as greatly consistent as Pink, since even his occasional flourishes of mediocrity are fascinating. What I am saying is, check out Grandes Exitos first. The compilation is so accessible that it makes the subsequent journey through Pink’s discography that less intimidating. Then listen to The Doldrums and go from there.

Animal Collective’s accessible Merriweather Post Pavilion did wonders for their reputation. Like that, Ariel Pink’s newest album, Before Today, could finally prompt some well-deserved recognition. It is his first attempt at “slick production”, which essentially means he is using a drummer as a percussionist instead of his mouth and recorded in a decent studio. It will certainly appeal to those begging for a crisper display of Pink’s songwriting, but many will also wonder about the album’s cohesiveness. It is an acceptable thing to ask too, considering Pink is more impulsively creative than most songwriters would dare to be. One thing that tied everything from Pink’s post-punk fixations to his forays into ’70s soul was the traditionally lo-fi presence of his voice and backing instrumentation; he was heavy on bass, scratchy guitars, and organ-like stabs of synth, with various layers of any instrument taking lead when necessary. The quality itself was occasionally muddled, but never to the point where it obscured the melody too much. The melodies are too strong to blur in.While generally intentional, it was also a technique that supplemented his songs beautifully. His stylistic preferences often were of that vintage sort, from the ’60s pop of “Interesting Results” to the Scott Walker/Depeche Mode hybrid “Envelopes Another Day”, so it created feelings of nostalgia but also excitement when considering that his career just starting. It is a rare feeling to feel like you are listening to a classic from an artist who is not even in his prime yet, and this is precisely the feeling many received when listening to The Doldrums or any of his other releases.

A review of Before Today will be published closer to its release on June 8th, but in the meantime I feel an obligation to prepare you before that time. I believe that many will be anticipating this album quite a bit if they give these songs, or any on Grandes Exitos, a chance. It may sound a bit out there first, but I strongly stress to keep listening. “For Kate I Wait” is easily one of his most popular songs, also sounding the most modernistic with its glossy layers of synths and whiny, romanticized croon. It is a great example of Pink’s exhilarating harmonizing ability, which hits full stride toward the end when he flaunts a Michael Jackson influence with a series of high-pitched additives. It is very hard to not get lost in this song, and is highly recommended for nighttime listening (along with most Ariel Pink songs) due to its pulsating richness and serenely brilliant use of bass. The moody “Gray Sunset” should bring to mind The Cure, Echo & the Bunnymen, and other somber post-rockers in the best way possible, Pink’s vocals reaching incredible range in establishing moods that could simply not be produced successfully past the ’80s. He pulls it off though. Pink’s ability to interweave a variety of his own vocal melodies contributes immensely to his success, and it is notable and most of his songs. It works especially well on “Envelopes Another Day”, where he collides his highest and lowest pitch in a chorus that brings back the ominous allure of gloomy synth-pop.

Apart from ’80s throwbacks, Ariel Pink also has an obvious fondness for ’60s pop and ’70s music in general, specifically a Funkadelic-like fusion of funk, soul, and jazz. The incredibly vintage “Life in LA” shows this off well, its swaying mixture of brass and bass combining perfectly with a deadpan delivery that shows off a series of witty verses that collide with the romanticized view of Los Angeles. The mood of the song is what works best though, and the last three minutes or so are the best with its free-jazz impersonation. Moments like this make comparisons to Frank Zappa abundant, and even if Pink and Zappa tread in different stylistic territory most of the time, it would not be entirely crazy to compare their ambition. After all, Zappa became an unintentional influence as well after listeners finally caught on. I feel that similar circumstances will occur for Ariel Pink. He just needs a push from the media to expose his music to a wider audience. Hopefully Before Today will accomplish that when it releases in June. From the sound of it so far, I would not be surprised. The album’s opener, “Hot Body Rub”, brings Funkadelic to mind instantly in the catchiest way possible. All I will say is, it is a great way to start a very interesting album.

Many of Ariel Pink’s most accessible songs are in the vein of ’60s pop or folk, like “Every Night I Die at Miyagis”, the girl-group pop of “Among Dreams”, and an excellent cover of The Centimeters’ “Interesting Results”. These are all outstanding songs and boast some of Pink’s most melodic songwriting (the covers are not his own obviously, but his personality bleeds even onto them). “Let’s Build a Campfire There” is ridiculously addictive and in this same ’60s folk vein, sounding like a cross of Devendra Banhart or Animal Collective (even though this Pink wrote this song before either came into the public eye). The twinkle of the keys in the chorus, followed by the quick guitar lick, gets me every time. It is anticipatory though, as the most shining moment is the bridge where the melody changes dramatically, inducing a spontaneous burst of emotion that makes his deadpan approaches that much more enjoyable. This is not one of his most inventive efforts, but it is easily one of his most melodic. The most beautiful thing about Ariel Pink’s work is the diversity of efforts. Some tracks are experimental forays into free-jazz and others are instantly accessible re-interpretations of ’60s pop or ’80s synth-pop. You never know what to expect with Ariel Pink, but when quality is this consistent then taking risks as a listener requires less reluctance. Just give him a chance with these songs, Grandes Exitos, and The Doldrums Take it from there, and I can almost guarantee you will fall in love. After all, at this pace he may unexpectedly emerge as one of the most important artists of the decade.

RIYL: Washed Out, Neon Indian, Frank Zappa, John Maus, R. Stevie Moore, Nite Jewel, Ducktails, Panda Bear, Wavves, Ganglians, The Chameleons UK, The Smiths, Caribou, Interpol, Phantom Power, Memory Cassette, Real Estate, Girls, Memoryhouse, Animal Collective

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Ariel Pink’s Haunted Graffiti – Let’s Build a Campfire There

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Ariel Pink’s Haunted Graffiti – Interesting Results

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Ariel Pink’s Haunted Graffiti – Among Dreams

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Ariel Pink’s Haunted Graffiti – Gray Sunset

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Ariel Pink’s Haunted Graffiti – Haunted Graffiti

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Ariel Pink’s Haunted Graffiti – For Kate I Wait

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Ariel Pink’s Haunted Graffiti – West Coast Calamities

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Official Web Site

MySpace

BUY

ARIEL PINK DOWNLOADS (scroll down  a bit)

Other recommended tracks: “The Drummer”, “Envelopes Another Day”, “Helen”, “Alisa”, “Hardcore Pops Are Fun”, “Are You Gonna Look After My Boys?”, “Want Me”, “Lover Boy”, “Can’t Hear My Eyes”, “Beverly Kills”, “She’s Gone”, and many more.

The post Ariel Pink: An Essential Introduction appeared first on Obscure Sound: Indie Music Blog.

Eric Littman is a complete unknown at this point. Little more than a paragraph of information is available online about his project, Phantom Power, and I actually do not know how it got in my hands in the first place. It could have put on my hard drive yesterday or last year… I’m not really sure. In fact, I listened to it based on the fact I had no clue what it was. Expectations were relatively low since a quick Google search turned up nothing on the artist or tagged album (Phosphophobia), but this is one of those fresh discoveries that should find its place on several blogs after this feature. While there is not even an official online source for Phantom Power (or even anywhere to buy their material), perhaps this impending exposure should inspire Littman to make his material have a more accessible online presence. The tracks on Phosphophobia are pretty damn stellar, so I will gladly try to help him out. After all, this chillwave movement is gaining an ample amount of exposure but there are not enough quality artists to support the initiative. A project like Phantom Power suggests there are many inspiring efforts on the horizon though, specifically from young musicians specializing in a lo-fi craft. I mean, the name alone (Phantom Power) probably derives from the power method used most commonly for bedroom recording.

Phosphophobia is little more than a bedroom recording, but the ideas Littman has are revealed with impressive precision in regard to his style’s structural appeal. He laces on plenty of reverb like Washed Out, Neon Indian, or Memory Tapes, but unlike them his songs are led by guitars as opposed to synthesizers. Phantom Power’s production, with its drowned-out vocals and cheap shots of percussion, is very likable in the backdrop of these songs. Littman has prevalent melodic ability, and his ability to weave in multiple layers of guitars with intricate grace should not be underestimated. A track like “Nutcracker Punch” recalls the droopy guitars of late ’80s post-punk, showing shades of both The Chameleons’ ominous and anticipatory croon and The Smiths’ glistening array of guitar arpeggios. Standout “Chaz Doesn’t Write on the Beach” recalls this period even more with its bass line, as its deep presence over a variety of rhythmically-aided guitar progressions provides a serene feeling of nostalgia mostly associated with post-punk’s later days. At least for me, the role of instrumentation and general production throughout Phosphophobia is an immediate throwback to both the college-rock and post-punk of the late ’80s.

Littman himself does not have a particularly empowering voice, but like Caribou’s Dan Snaith I would not be surprised if he transforms his so-called imperfections into a product of stylistic singularity. He is already showing that sort of potential on “Since When Were You a Nihilist?”, one of Phosphophobia‘s more lighthearted efforts. His deep vocals recall Interpol’s Paul Banks or Magnetic Fields’ Stephin Merritt, both artists unsurprisingly fond of flaunting past influences. This track contains a crisper and more playful melody compared to the rest, so it is a nice breather placed in the middle of the release. “Tunnel Vision” only contains a slight hint of Littman’s vocals, but like the fade-out approach employed on Interpol’s “The New” his vocal presence becomes obliterated by bursts of guitar that are exceptionally vital to the track’s atmospheric and melodic success. This fade-in of guitars and gradual fade-out of vocals is a common technique for post-punk revivalists like Interpol. Littman showing a great grasp of neat little genre-based staples like these despite his young age is impressive. He is simply a college student working on writing songs, but his stylistic vision is remarkably strong considering the movement he so effectively mimics was largely gone by his birth date. No worries though; we now have skilled artists like Littman to remind us to remember what is worth remembering.

RIYL: Washed Out, Neon Indian, The Chameleons UK, The Smiths, Caribou, Interpol, Memory Tapes, Magnetic Fields, Real Estate, Girls, Memoryhouse, Animal Collective

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Phantom Power – Tunnel Vision

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Phantom Power – Chaz Doesn’t Write on the Beach

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Phantom Power – High on the Highline

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Phantom Power – Nutcracker Punch

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Phantom Power – Drinking in the Park

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Ariel Pink’s Haunted Graffiti – Round and Round (Phantom Power remix)

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The post Phantom Power appeared first on Obscure Sound: Indie Music Blog.