Superfluous guitar solos and shoddy production are things that any attentive music fans despises. As fans, we tend to magnify our roles in the whole listening experience to make it seem as if the artist owes us something. As a result, we become more aware and selective in regard to our qualitative standards. Studio albums are obtained for free nowadays with a single click, so this feeling of entitlement usually arises most during live performances. The New Paltz-based group Oryan is one of upstate New York’s most renowned recent acts for their understanding of this ideology. They recognize groups that opt for unnecessary ten-minute keyboard solos or instill production that sounds like “a soundtrack for a torture victim” as projects that take advantage of their attention-demanding status. A focus on the natural and raw seem to appeal to Oryan, but not because they have little resources or motivation. Instead, they view live performances at the most natural, spontaneous, and engaging outlet for listening to music. This also ends up attributing vastly to their sound.

Composed of three Ryans and one Adam, Oryan show some tremendous work on their debut EP, The Ride. Folk, country, and alternative are the main forces at play, with no specific one dominating; all remain consistently in the picture. Vocalist Ryan Megan has a gravelly howl that is one-part Craig Finn and other-part Elvis Costello, shown beautifully in the climactic self-titled track. A country twang is present in the guitars while a slowly evolving rhythm section invokes periodical alternative-rock, led by empowering vocals that could fit in either genre. How the piano, guitars, and rhythm section all eventually coincide toward the latter end of the track shows this four-piece’s strength in its best form. Megan croons his way to emotional heights, leaving no room for the type of filler that studio albums are often so guilty of. Unlike the ten-minute keyboard solos they hate with extraneous spite, this moment is entirely necessary and additive to the track’s flow and feel.

“Manuals” is particularly interesting for its brooding, string-tinged tone of halted and commenced emotive eruptions. Megan alternates from a whisper to a growl as vigorously bustling percussion builds under a coarse guitar tone. The tone established here is clearly of distraught and somber intentions, and how it remains consistent while keeping in mind the original structure and impressive performances makes it truly a remarkable effort. Check out the last two minutes or so when strings, acoustic guitars, and electric guitars combine for one last cry for help. Truly empowering. The same can be said for “Helvetica”, a more repressed effort that features twangy country-folk in a more subdued, loose on the cause of drunkenness sort of ordeal. The flexibility here is again fulfilling though, and it sits quite well between the intense “The Ride” and brooding “Manuals”, especially when it shifts to alt-rock territory during its conclusion. Oryan usually execute introductions that last one or two minutes on each one of their songs, but this again beckons back to their on-stage ideology. They prepare listeners for their works with delicate precision, in most cases being the ushering in of a certain tone or instrumental arrangement. It always works though, and The Ride comes out feeling like a genuinely fresh EP that certainly deserves a listen.

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Oryan – The Ride

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Oryan – Helvetica

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Oryan – Manuals

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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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More often than not, categorizing Röyksopp into the subgenre of downtempo electronica can be an accurate choice. “Chill-out music” is a simplistic and linear term that some may scoff at, but there is no denying Röyksopp’s importance within the fledging music subgenre that gained prominence in the late ‘90s and early ‘00s. In 1996, Air’s Moon Safari was one of the first heralded releases to utilize this downtempo ideology without dwelling exclusively on trip-hop or IDM, opening up boundaries for electronic artists that tired of choosing between bass-pumping club mixes, percussive trip-hop, and the form of IDM that was ushered in by Warp Records in the early ’90s. They may not have been the first to revolutionize electronic music and its eventual implementation into forms of rock, pop, and other genres, but their 2001 debut, Melody A.M., broke new ground in its cohesive adaptation of electronica’s new image. They integrated the lush, synthesized ambience of Boards of Canada within the pop-minded sensibilities of Air, resulting in a style of downtempo electronica that was able to remain vivid and serene while simultaneously emitting a series of pop-centric hooks and sharp production that made their placements in clubs or commercials hardly startling. In escaping from the countless number of electronic subgenres and rash stereotypes, Röyksopp made a name for themselves with an astoundingly unique style in their first attempt at innovation.

Four years after the release of Melody A.M., the Norwegian duo underwent a considerable stylistic transition within their own previously presented form of downbeat electronica. The Understanding showcased a more restrained version of Röyksopp despite their higher emphasis on dance music. The most glaring difference between both albums, though, was the addition of vocal performances. As it turned out, this was the primary result of The Understanding’s weaker reviews, as critics often found the duo’s focus to be decreased as a result of vocal additions that often seemed forced or detrimental to a song’s structure or tone. The Understanding had its highlights, but most fans of Röyksopp yearned for an album that traced back to the instrumental tendencies of Melody A.M. while showing their new adoration for dance-like vocal accompaniments in a more cohesively expansive form. The Understanding lacked the overall ambitiousness of Melody A.M. with arrangements that were more repetitive and predictable despite their melodic nature. To release an album where the sporadic vocal highlights of The Understanding were infused within the experimental keyboard-led instrumentation of Melody A.M. would presumably be the best of both worlds for fans. And while integrating the otherworldly concepts of Melody A.M. is a certain challenge, fans should be delighted with the presentation on Röyksopp’s third and newest album, Junior.

Taking another four years between the releases of consecutive albums, Röyksopp have infused an impressive introspective within the material on Junior. Although much of the material will prove readily accessible to those that have never heard of the duo before, those considerably familiar with Melody A.M. and The Understanding will likely discover a sense of satisfaction that exceeds the initial listens of Röyksopp’s first two albums. The reason for this lies in Röyksopp’s gathered experience, which has consequently allowed them to fuse the stylistic successes of both albums together. Many longtime fans will hold “Vision One” in very high regard, as it practically epitomizes the duo’s growth in the last several years. What begins as a serene trickle of high-pitched keys eventually transitions into a dance-charged series of flexible synths, complemented by the enchanting vocals of Anneli Drecker. At this point, both phases of Röyksopp are present in their execution of vocal-led dance and synthesized experimentation. The vocal harmonies are conventional and accessible, with the plethora of accompanying synths and percussion changing virtuously in unpredictable form. After the vocals subside, shades of Melody A.M. are brought to the forefront with a series of synth solos that last for several minutes to conclude the song masterfully. Although “Vision One” is a remake of Eri Nobuchika’s “Sing a Song”, the ample amount of original content makes it one of the best representations of the album’s style.

Mixing and matching an array of past styles can potentially impact an album’s flow and diversity, which is another reason why Junior serves as a tremendous accomplishment. The outstandingly infectious “The Girl and The Robot” is perhaps the album’s most radio-ready track, bursting with sci-fi allure and arpeggiated glee. With vocals by Robyn, it is one of the efforts on Junior most reminiscent of the conventionalized vocal dance on The Understanding, but exceeds all previous attempts because of Robyn’s pure ardency and Röyksopp’s sharp production of strings, synths, and alternating timbre. “Happy Up Here”, the album’s opener and first single, is similar in its ceaselessly excitable nature, using a Parliament sample over chirping keys and buzzing synths. While a few clever alterations tend to minimize the repetitiveness of the overall effort, it proves to be fun but little more than that. In fact, it stands as one of the most linear tracks on the album, but still is a wise opener considering its accessibility and the overall depth of Junior. But when one compares either of these two tracks with the excellent “You Don’t Have a Clue”, the listener should gain an immediate perception of Röyksopp’s strength as songwriters and producers.

Contrary to the sunny-day escapades of “Happy Up Here” or the effervescent sci-fi musings of “The Girl and the Robot”, “You Don’t Have a Clue” succeeds with tonal resurgences that are haunting, exotic, and delicately interwoven. Anneli Drecker once again shows why Röyksopp keep bringing her back with a phenomenal vocal performance. Appropriate for a rainy day, the mixture of trickling keys, operatic backing vocals, and the somber strings that conclude them all craft an elegant composition with no rival on the album in terms of sheer melodic presence. When Drecker allows her vocals to become reflective of the backing instrumentation toward the conclusion of “You Don’t Have a Clue”, the hook is both chilling and profoundly brilliant. Once again, it is a remarkable display of Röyksopp’s juxtaposition of synth-pop, dance, and IDM. In addition to Robyn and Drecker’s cameos, Lykke Li also proves versatile “Miss It So Much” with her soft-spoken delivery and Röyksopp’s wise decision to make the track as similar to the highly melodic, sparkling form of Swedish electro-pop as possible. In comparison, Karin Dreijer Andersson’s tracks remain slightly reminiscent of her own projects (The Knife, Fever Ray) with a fast tempo. Unfortunately, neither “Tricky Tricky” nor “This Must Be It” stack up to the album’s other tracks due to the former’s forced demeanor and the latter’s repetitiveness. Regardless, Junior succeeds immensely due to Röyksopp’s undeniable growth as songwriters. They have always had sharp production, but the cohesive stylistic direction that Junior has taken results in it being one of the most memorable electronic releases of the year. We can only hope Röyksopp’s fourth album, Senior, will have a similar allure when it is released this fall. 8.5/10

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Röyksopp – You Don’t Have a Clue

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Röyksopp – The Girl and the Robot

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Röyksopp – Happy Up Here

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by Mike Mineo

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30. Air France – No Way Down EP

This feature may be called the “Top 50 Albums of 2008”, but the title alone does not give me enough justice to dismiss arguably the finest EP of the year in Air France’s No Way Down. Throughout the six tracks and 23 minutes that make up this fine EP, the Swedish duo crafts an audible world that is both magical and enlightening, with the effective atmospheric capabilities displayed being reminiscent of the Avalanches’ classic Since I Left You in its ambitious sample-led scope and sheer melodic aptitude. With twittering brass, sweeping strings, radiant synthesizers, and a variety of samples that are often comprised of pleasant sounds like the chirping of birds or the sounds of a seashore, No Way Down takes the listener to a world where relaxation and lighthearted innocence are at the forefront. A track like “No Excuses”, with its reflective keys and heavy chorus, sounds like it would be perfectly associated with the joyful state of a party-filled tropical island, while “Collapsing at Your Doorstep” invokes a similar fantasy world-setting that proves to be more emotionally resounding with a vocal sample and accompanying strings that are gradually accompanied by an evolving use of percussion, bass, and guitar. The prominent samples throughout “Collapsing at Your Doorstep” (taken from the ’80s TV series “Beauty and the Beast”) all feature the voices of children, a remarkably effective technique that perfectly initiates the feelings of that certain period in childhood when innocence allowed even the most trivial thing in life to utterly amaze you. The brilliant “June Evenings” sees the group increase their focus on pop music while still maintaining their atmospheric ingenuity. The instrumentation is more vigorous, but certain effects like the melodic whistling during the chorus, the subtly enriching bass line, and the calming female vocals that consume the verses make “June Evenings” one of the best tracks of the year. Forget the fact that No Way Down is too short to be a full-length; it is truly one of the most innovative releases of the year, EP or not.

Air France – June Evenings

Air France – Collapsing at Your Doorstep

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29. Sigur Rós – Með suð í eyrum við spilum endalaust

When attempting to describe the work of Sigur Rós, I have come across many people who opt to jump right into the fact that the Icelandic four-piece occasionally sing in Vonlenska, a made-up language concocted by the band’s members. Frontman Jónsi Birgisson has explained time and time again that it is purely meant to act as a melodic aid for the voice in songs where lyrical content is deemed irrelevant in comparison to the harmony and level of ardency that the vocals emit. Birgisson’s explanation is certainly a better indication of Sigur Rós’ method of success than those who only know the group for overly exposed linguistic purposes. What remains true is that Sigur Rós are one of the most emotionally demanding acts of the decade, and it is the reason why they have become so influential to western fans and artists alike who cannot understand a lick of what Birgisson is saying. This emotional leverage that the powerful instrumentation conveys is comparable to the role of classical music during the Romantic period, a very common comparison that is synonymous with the group’s classical and minimalistic influences. The group’s fifth album, Með suð í eyrum við spilum endalaust, is a continuation upon their expectedly domineering orchestral instrumentation, though it also sees them shying away from the minimalistic concepts that were so abundant during their first few albums. This is best seen on “Gobbledigook” and “Inní mér syngur vitleysingur”, where a brisk progression of keys commands perhaps the most playful melody that the group has written. Strings make their emergence during the second verse, but they are now a supplement of the keys rather than an unavoidable force. While there is certainly a heavier emphasis on brisk keys and traditional guitar progressions throughout the album, tracks like the ethereal “Góðan daginn” and the epic build-up of “Festival” are a return to Sigur Rós’ classic mold. The true beauty of Með suð í eyrum við spilum endalaust, though, is that the group is able to succeed in both new and old stylistic endeavors.

Sigur Rós – Gobbledigook

Sigur Rós – Góðan daginn

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28. Hercules and Love Affair – Hercules and Love Affair

Though his talented songwriting is worth considerable praise alone, fans of Antony Hegarty often find it easiest to distinguish the English singer/songwriter by his voice, an enjoyably unique feature that ranges several octaves and encompasses a striking delivery that is practically impossible to rival. It is the type of voice that sounds good over any style of music accompanying it, mainly because of the raw skill and emotional capacity Antony pours into it. Recognizing the vocalist’s talent, Andrew Butler wrote “Blind” and showed it to Antony in 2003 with the intent of getting him to do the vocals. The two finished the track and then pushed it aside, planning to come back to it later. It was not until a year later when the urgings of Antony encouraged Butler to revive the track and perhaps an entirely new project altogether, resulting in the eventual birth of Hercules & Love Affair. As can be heard on their eponymous debut, Butler’s emphasis on dance and disco presents wildly exciting circumstances for Hercules & Love Affair, especially considering that he has the help of Antony, who adds his vocals to half of the tracks on Hercules & Love Affair’s debut. Those accustomed to Antony’s delicate piano-laden ballads may find it initially difficult to grasp the new style, but Antony does a remarkable job throughout the release and simply solidifies the belief that his vocal delivery sounds good over just about anything. Raise Me Up”. It illustrates Butler’s sensational songwriting, Tim Goldsworthy’s sparkling production, and Antony’s invigorating vocal form in simultaneously impressive form, with the constant urging of a seductive bass line being the underlying factor of remembrance. Antony soulfully croons over the simplistically powerful rhythm section during the song’s first several moments, all until a lethal hook is introduced by the impulsive offerings of brass and keys. The chorus sees an expansion of instrumentation over a handful of vocal tracks, all being highlighted by Antony’s soaring vocals. Both the chorus and verses are equally irresistible, being reminiscent of quality disco and dance in more ways than one. “Blind” is the most recognizable Hercules & Love Affair track for good reason, with its variety being the most alluring element. For all six minutes it remains unpredictable, exciting, and bursting with an array of engaging hooks. The only repetition is intentionally done so in order to relive highlights; Butler does not waste time repeating moments worth forgetting on this remarkable debut.

Hercules and Love Affair – Raise Me Up

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27. Okkervil River – The Stand Ins

Like David Berman and Mark Eitzel, Okkervil River frontman Will Sheff has a growing reputation as one of the most poignantly effective lyricists in indie-rock. As Okkervil River’s album last year, The Stage Names, displayed with its occasional metaphorical musings regarding the correlation between life as a performing artist and life’s hardships, the topics do not always have to pertain to loneliness, regret, and unrequited love to result in success (though they have always remained common themes throughout Sheff’s work). In addition, Okkervil River’s style of play has never quite coincided with the typical output of someone as lyrically inclined as Sheff. A clever fusion of folk and indie-rock, the songs are often so infectious that the irresistible melodies may tend to overshadow Sheff’s lyrical content. As a result though, the tracks have a considerable amount of replay value for the cumulative ; it is a special aspect that is displayed once again on the group’s fifth full-length album, The Stand Ins. There is no central thematic focus on The Stand Ins when compared to the constant perceptions of pop culture throughout The Stage Names, but Sheff’s multifarious ability to write consuming songs and lyrical additives that involve real-life circumstances carries the album to similar heights. “Singer Songwriter” sees one of the band’s folkier efforts come to life as Sheff relays the expectations involved in a monetarily successful family. “You come from wealth, yeah you got wealth,” he sings. “What a bitch they didn’t give you much else.” As far as establishing classics goes, “Lost Coastlines” is one of the best efforts Okkervil River have released with its mixture of throwback pop and indie-rock. Sheff lowers the pitch of his voice slightly during a chorus that is backed heavily by a bass line that sounds like it was borrowed from some ‘60s pop classic. He brings his voice back to normal range when the energetic chorus enters and a series of “la la la” outbursts are accompanied by a fleetful guitar and later a majestic mixture of horns and strings. As usual for this consistently excellent group, The Stage Names is another enjoyable addition to Okkervil River’s glowing discography.

Okkervil River – Lost Coastlines

Okkervil River – Singer Songwriter

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26. Explorers Club – Freedom Wind

Most artists who rely on an outdated style to achieve success are often left in the dust, realizing that their primary mistake lied in not attempting any form of innovation that would uniquely captivate the listener. I doubt that you will ever read a review or feature about The Explorers Club that does not mention Brian Wilson or The Beach Boys, but the South Carolina-based seven-piece manages to pull it off so ingeniously that their own originality shines through on every track throughout their debut, Freedom Wind. “Don’t Forget the Sun” is a perfect example of why The Explorers’ Club take on nostalgic ’60s pop is one of the best interpretations of the past several years. The overlapping vocal harmonies that take place during the track resembles Wilson’s most melodically invigorating moments, with the warm clap-based rhythm section, sprinkling of keys, and sporadic bursts of brass attributing to the immediate infectiousness as well. Three members in The Explorers Club share vocal duties and they do a fantastic job all throughout the album, most notably on “Hold Me Tight”, the lush “Safe Distance”, and the twangy “In the Country”. All of them look to be in their 20s as well, making their ability to capture the greatest moments of ’60s pop and surf-rock even more impressive. Many of those who were already familiar with The Explorers Club will also recognize “Forever”, a track from their debut EP that seemed to capture the most buzz among music publications. Its contemporary take on ’60s pop makes “Forever” somewhat reminiscent of That Thing You Do! soundtrack and other somewhat recent movies whose scores are focused on an accessible vein of throwback pop, which also means that visions of The Beach Boys, The Beatles, and The Zombies remain heavily prevalent in the process. Soaring falsettos, big-time hooks, and grandiose choruses… they can all be found on Freedom Wind, one of the most delightfully consuming debut albums of the year.

The Explorers Club – Don’t Forget the Sun

The Explorers Club – Forever

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25. Xiu Xiu – Women As Lovers

When frontman Jamie Stewart announced late last year that Xiu Xiu’s sixth studio album, Women as Lovers, would be “more approachable or communicative on a basic human level” than any of the band’s previous releases, a substantial number of fans likely scratched their heads in disbelief. After all, it had always been a form of anguished unpredictability that made Xiu Xiu a contemporary staple in the genre of experimental art-rock, with additional unconventional structural techniques making compatible similarities to other artists seemingly impossible. With past lyrical content that included perverse sexual fantasies, grotesque fetishes, and descriptive violence—often supplemented by instrumentation that would be easily classified as avant-garde—Stewart has always been rightfully credited as being a poetically brilliant lyricist, with an ability to write songs that treat the listener to simultaneous feelings of heartrending romanticism and uneasiness difficult to match. Such history can beg a simple question: Just how “more approachable” is Women as Lovers when compared to Xiu’s Xiu’s past releases? The album’s most accessible and initially satisfying track, “No Friends Oh!”, serves as excellent indication of the group’s efforts to promote this new emphasis. Apart from showcasing some of Stewart’s most fulfilling songwriting of his career, the song serves as a nostalgic reminder of Xiu Xiu tracks where pop-oriented hooks reigned supreme over eerily sparse instrumental content. It beckons accessibility in the same way that “Save Me Save Me” and “I Luv the Valley Oh!” did, mixing unpredictably appealing verses with a consistently explosive chorus of epic proportions. “Tommy and Dan, you can’t hold hands”, Stewart sings in his lovably torturous croon during the chorus, enhanced by an remarkably layered brass progression that remains slightly out of key for rewarding effect. “Who cares you’re gay / But it’s your age / No friends oh”. Like the lyrical content on “No Friends Oh!”, a common theme throughout Women as Lovers appears to be the vile form of corruption that society has on the children that are forcibly exposed to it. With a chilling organ and delicate guitar progression, “Black Keyboard” relays the tarnishing effect on a child in a home of vile mental and sexual abuse. “Be free, laugh at your son / A child is nothing without hate”, Stewart sings, with a touch of sarcasm ringing in his quivering vocals. He coaxes up imagery throughout the album in tragically impressive form, whether it be of a child being pushed on a swing by a deranged mother on “Black Keys”, an infant who dies of parental neglect in “Gayle Lynn”, or the social reject who pops both Percocet and pimples on “White Nerd”. Though few would have predicted that Xiu Xiu would increase their already empowering form of ambitiousness, Women as Lovers capitalizes on it as yet another bold and consistently satisfying release in Xiu Xiu’s discography. Like its preceding releases, Women as Lovers is a grower that will warmly reward listeners who give it the time it deserves.

Xiu Xiu – No Friend Oh!

Xiu Xiu – I Do What I Want, When I Want

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24. Paul Weller – 22 Dreams

Upon reflection of Paul Weller’s respectable career, it makes little sense why he would feel any incentive to release a sprawling album like 22 Dreams, the lengthiest and arguably most stylistically diverse album of his 30+ year span as a songwriter. After all, anyone with even the slightest understanding of The Modfather’s illustrious discography as both a solo artist and frontman of The Jam and The Style Council would already recognize him as being one of the most successfully eclectic songwriters to come out of England in the past several decades; he simply has nothing left to prove. He is a passionate musician though, and thankfully for all of us he has been ceaseless in his work. Weller’s ninth solo album, 22 Dreams, manages to simultaneously capture glimpses of his stylistic past while introducing a batch of newly attempted styles to the mix. Considering that the album boasts over 68 minutes of new material that spans over two discs, there is plenty of room for it too. An accustomed format for contemporary double albums has been for one side to inherit the louder and more instrumentally involved tracks, with the other side being more depictive of an artist’s subdued side. Rather than abiding by such limited conventionalism, Weller has created a cohesive flow that allows his multifarious vision to flourish without stylistic repetition bogging it down. Weller had intended 22 Dreams to be a thematic attempt at capturing the changing of seasons and the structure alone does a remarkable job of that; the subtleties are displayed through the transitional tendencies of each proceeding track. The first several tracks commendably serve as the introductory indication of Weller’s diversified approach on the album; “Late Nights” is an acoustically charged folk ballad with Celtic ties, “22 Dreams” and “All I Wanna Do (Is Be With You)” are traditional radio-friendly Weller solo tracks in their infectious uses of R&B and traditional British rock, and “Have You Made Up Your Mind possesses an irresistible chorus that demonstrates Weller’s knack for soul and rock. In fact, if organs and keys had a more active role in “Have You Made Up Your Mind”, it would serve as the most distinctive reminder of The Style Council’s lovable flair. The latter end of the second disc takes a more experimental turn, seeing Weller turn to the workings of a piano ballad in “Invisible”, the spoken-word acoustics of “God”, and the electronic ambiance of “111”. What tracks like these have done is separate Weller from the clichéd alternative-rock that other aging artists put out shamefully these days. The difference with Weller is that he has maintained a majestic vision that is consistently worthy of production for over 30 years, a sentiment illustrated deeply on 22 Dreams Apart from being the most eclectic and resourcefully imaginative solo album of Weller’s career

Paul Weller – Push It Along

Paul Weller – 22 Dreams

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23. Nick Cave and the Bad Seeds – Dig, Lazarus, Dig!!!

If someone were to ask me to associate the word “prolific” with any contemporary artist, there is a reasonable chance that Nick Cave would be the first name that came to my mind. I am certainly not alone on this either, as the Australian songwriter has been one of the most critically acclaimed artists since his first solo release in 1984. Prior to that, his existence as the frontman for gothic post-punkers The Birthday Party proved to be merely a preview of one of our generation’s most talented and topically multifarious songwriters. This acclaim is impressive for several reasons, the most prominent being the prolific number of releases he has stringed together since the mid ‘80s. It has become a common practice for Cave to release a new album every one or two years, making it astonishing that there is not one album out of his dozen or so that can be called a failure or even mediocre. With that being said, the fact that Dig, Lazarus, Dig!!! is one of his most accomplished releases is very impressive. While it does not echo the elegant morbidity of classics like The Boatman’s Call, its sharp production and high involvement of guitars and organs remains somewhat reminiscent of another Cave classic in Let Love In. The focus of several songs coincides with Cave’s trademark scenarios of the bizarre, broken hearted, and religiously overzealous, while his fusion of rock, gospel, and blues is also at the forefront. The stylistic variation presented in each track providing the utmost suitability for the topic at hand, like in the brooding “Jesus of the Moon” where thick acoustics and menacing strings complement religious allusions that foreshadow an apocalypse of some sort, most likely pertaining to romance. In terms of livelier but just as successful efforts, “Today’s Lesson” is led by a thunderous bass line and droning keyboard that emits pure infectiousness. The topic here is an ambiguous and ironic look at prostitution, even if Cave says bluntly that the lesson is “something about the corruption of the working class”. It is all part of his charm though, and after nearly three decades of listening to his material there are only a few people foolish enough to doubt Cave’s ability.

Nick Cave and the Bad Seeds – Today’s Lesson

Nick Cave and the Bad Seeds – Jesus of the Moon

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22. No Age – Nouns

In addition to attending free gigs that are only a few blocks away, it must certainly be a thrill to be a part of fledging local music scene. After a local band becomes massively successful, I can only imagine the feeling acquired when looking back upon the days when they were performing in a friend’s garage, simply classifying the experience as something that saw a part of a group’s evolutionary process toward productivity. Those active in Los Angeles’ scene – particularly at one of the city’s most famous venus, the Smell – have experienced local success stories before, but there were few that came close to the acclaim of No Age this year. Upon releasing their second album, Nouns, the local duo began receiving glowing reviews, resulting in a massive amount of exposure and their participation in gigs with quality acts like Times New Viking and Liars. The critical success was not much of a surprise for those who had followed the band since their 2005 inception, but the amount of listens that the album was receiving proved quite shocking considering the style of music that No Age plays. While often inventively enticing, their lo-fi interpretation of noise-rock is neither accessible nor instantaneously memorable. However, lying behind the fuzz, distortion, and repeated samples throughout Nouns, hidden gems will start to emerge with each successive listen. This is likely why the album’s recognition has only hardly faded since its May release. “Teen Creeps”, despite uneventful transitions and a repetitive melody, sounds like a lost gem from a late ’80s punk compilation with its three-chord fixtures and fuzzed production. Their use of electronic elements can be seen in the excellent “Things I Did When I Was Dead”, where the duo implements a near spoken-word set of vocals over guitars and two simultaneous samples, one of which sounds like a clown honking his nose and the other like a high-pitched . The elements within the songs are often a guessing game, but the high degree of success that often occurs is not. “Cappo” proves as one of the album’s more accessible efforts with its typical indie-rock flair, sporting a guitar-led hook in the chorus that sees a cross between grunge and power-pop. “Sleeper Hold” reaps greatly from a similar aspect with an even more explosive hook, once again hidden rewardingly over a plethora of distortion and muddled rhythm. To fully enjoy Nouns is a benefit that comes with successive listens for many people, but I can assure you that this album deserves the time required of it.

No Age – Things I Did When I Was Dead

No Age – Teen Creeps

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21. Lil Wayne – Tha Carter III

Oh, what can I possibly say about this album to justify its placement? So many things were said leading up to the anticipated release of Tha Carter III that no one knew whether it was going to be a landmark masterpiece or a colossal disaster. As it turns out, neither classification applies. To be simple, Lil Wayne’s latest is simply an extremely solid collection of songs that provides a great mixture of star-studded hip-hop (“Mr. Carter”), smoothly infectious soul and gospel (“Comfortable”), and “hip-pop” (“Got Money”, “Lollipop”) . The production is sharper, the guests are brighter, and the songs are catchier than Tha Carter III’s two older siblings, but some may debate the flow and stylistic customization of the effort. To me, the range presented does nothing but show why people are primarily attracted to Lil Wayne in the first place; whatever he says – no matter when presented over synth-based hip-hop beats or suave guitar progressions – is thoroughly entertaining. Whether he raps about fixing an uncreative hip-hop track using medical metaphors over a jazzy percussive beat in the excellent “Dr. Carter” or tunes in over Betty Wright and a guitar line very typical of the ’80s in “Playin’ with Fire”, Lil Wayne is inarguably one of the most entertaining performers active today. For material more indicative of his typical hip-hop flair, it is difficult to beat something with the insatiable flow of “3 Peat” or the hooky chorus of “Mr. Carter”. Even two of Kanye West’s cuts – “Shoot Me Down” and “Let the Beat Build” – prove engaging in seeing how Lil Wayne alters his delivery over brooding bass-led pop or sample-led soul, respectively. In each case, Lil Wayne’s output remains synonymous of his typical form, with guests like Robin Thicke taking over the choruses for an additionally focused hook. As usual though, whenever Lil Wayne appears on a track, it has a sort of quality that only he can uniquely achieve through a shockingly astute grasp on pop culture. Oh, and that little thing called skill.

Lil Wayne – 3 Peat

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It is amazing what a simple change of scenery can do for some people. Many prefer the city, others find comfort in the suburbs, and some just require the comforting sight of stars above their restful heads. Regardless though, we all generate an idea at some point in our lives where we will find our living situation to be the most comfortable. Seeing as how many artists are distinctively influenced by the interactions and experiences that their daily life grants them, it is expectedly difficult for even the most talented of artists to produce their finest work in an environment that simply does not suit them. Some find the most ease in producing works within an area that they have grown to be familiar with for the larger portion of their lives, while others are able to adapt to new surroundings gradually in an attempt to discover their artistic peak. There is nothing wrong with either method and artists really have little choice in the matter, but the feeling of invigoration that one gets when they discover the perfect place of production is difficult to describe in mere words. Though it may sound a bit like a hyperbole, such an experience can open up a flow of ideas that consequently results in an artist’s grand achievement.

Sebastian Litmanovich, the brainchild behind Cineplexx, is extremely fascinating in the way he has involved both foreign and local distinctions in the path toward discovering his artistic pinnacle. Born in Argentina during the mid ’70s, Litmanovich’s musical influences were global ever since he was a young child. “The Velvet Underground were the first band that really blew my mind and I’ve been a fan of ABBA ever since I was four,” he readily admits. He grew up during a time in which early forms of punk were emerging onto the spotlight simultaneously with the beginnings of electronica. Though Litmanovich was a huge music fan ever since he could talk, it was not until he was a college student that he began trying his hand at the art itself. While studying abroad in New York City during 1996, he experienced something that would be considered an artistic epiphany. The sights and sounds of the big city invigorated Litmanovich to a point where he instantly became eager to produce music, turned on by the exotic lifestyle, language, and people that he was being introduced to for the first time. New York City gave Litmanovich the proper motivation to begin writing songs, but it was not until his return to his native Buenos Aires that he actually began implementing the sudden period of realization that he experienced.

After the return to Buenos Aires, Litmanovich formed a post-rock group by the name of the Amarena Incident. He also co-founded a design studio in the same year, showing both his undying love for music and visual art. The Amarena Incident proved to be short-lived but it provided Litmanovich with experience and knowledge that is generally required for most musicians to succeed in a world of constant competition. And thus, in 1998 with help from his brother Martin and a four-track, Litmanovich formed Cineplexx. It initially started out as an output for Litmanovich’s variety of arrangements, toying with styles that ranged from electronic pop to ambient blips and beeps. However, after 10 years and 5 full-length albums, his style has evolved graciously from an overwhelmingly unclassifiable form of electronica to a ravishingly woven array of both synthetic and electronic instrumental layers that results in something that is truly and uniquely beautiful. The name “Sebastian Litmanovich” may not ring a bell to many western audiences as of yet, but with the release of his fifth album, Picnic, it is only a matter of time. As far as familiar faces go, guests include Jad Fair (Half Japanese) on the self-titled track, the talented and previously featured Federico Aubele on bass during “Humedad” and “Entre Postales”, and Norman Blake (Teenage Fanclub) providing instrumentation on “Tiger Trap” with BMX Bandits frontman Duglas Stewart on vocals.

Despite the scattering of appearances from talented and reputable musicians, the most impressive thing of all on Picnic is Litmanovich’s singular ability to develop and execute a song within the realm of his own unique style. Comparisons to other indie musicians may be too much of a stretch to gather, but the one musician that Litmanovich most reminds me of is film composer Cliff Martinez. With their blend of sparse electronica soundscapes and subtle orchestral arrangements, both Litmanovich and Martinez are pure masters of their style. “Droga Paliativa” serves as a definitive example, even if it serves as one of the most accessible showcases. A variety of guitar tremolos, shrill keys, and percussion provide the main instrumental forces behind Litmanovich’s delicate vocal technique. As the steady propulsion of a backing synths contributes to the rhythm section, the song works upon the original melody into an expansion of several other instrumental progressions. The result is eerie but utterly irresistable, an aspect that can be applied when describing most of the tracks on Picnic. Apart from the cleverly serene “Tiger Trap”, most of Picnic is sung in Spanish. Considering the large doses of reverb involved, they serve simply as an additional instrument and it should most certainly not prevent those without an understanding of the language from listening to it.

“Novatone 500mg” is an instrumental effort that is just less than two minutes in length. Despite its conciseness, it really caught my attention the first time I listened to it. Litmanovich seems to develop orchestral-like arrangements with ease, using his electronica skills to turn it into something that is majestically memorable. A sprinkle of keys contrasts the use of strings very nicely, aided by hand claps and a murmured bass line. It would have been nice if the length was longer, but I suppose it was intentional in that it serves as a nice referesher by sitting in between the self-titled track and the outstanding “Droga Paliativa”. “A Mi Lado” works with a simplistic drum loop and the subdued backing of an acoustic and electric guitar. Litmanovich’s vocals are in full force here, constructing a haunting melody that complements the placid guitar arrangements nicely. Boasting plenty of memorable material with 15 tracks, Picnic may very well go down as one of the most uniquely engaging releases of the year.

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Cineplexx – Droga Paliativa

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Cineplexx – Novatone 500mg

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Cineplexx – A Mi Lado

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Towering over the rest of us at a height of 8’6”, Leonid Stadnyk is the tallest living man in the world. It is a record that requires little endurance and skill to achieve, mainly relying on good (or bad) fortune. Still though, one has to respect the tolerance of the record’s holders; they commendably dismiss the nuisance of speculative public eyes watching their every move, demonstrating a form of patience and understanding that most people could not even begin to fathom. I doubt that Mr. Stadnyk would take harm to the name selection (as it actually proves rather complementary), but Swedish songwriter Kristian Matsson chose a bold name for his musical project: The Tallest Man On Earth. Considering that Matsson’s height appears to be normal, the name selection more appropriately relates to his intended style. It is often a nuisance whenever a critic calls a new and young artist a “beatnik”, but I suppose that it would be a somewhat suitable classification for Matsson. Despite a fresh and wavering scene that mainly dismisses gritty folk as a component of the past, Matsson has chosen to disregard the skeptics and carry on with a style that suits him the best, similar to the individualistic ideals of his namesake.

If you had read any article concerning Matsson prior to this one, you are probably aware of one comparison that is consistently evident. Dylan-like, Dylan-esque… yeah, you get the drift – Matsson sounds a bit like the folk legend. It seems that the tag has been granted to seemingly every folk songwriter with an acoustic guitar these days, but Matsson actually makes a case for a legit comparison. Playing a varied style of acoustical folk is one thing, but Matsson’s excelled lyrical prowess is where he shines most uniquely. Providing a cohesion of metaphorical imagery and anecdotal musings, Matsson’s emphasis on nature serves as a refreshing change of pace when compared to other, somewhat melodramatic songwriters. Though the transcendentalism of Thoreau and Emerson provided us with a similarly successful literary device for two centuries, the delivery is exceptionally suited for Matsson’s music. Appropriately enough, the talented Swede sounds nothing like the indie-pop the country has been stereotypically churning out enjoyably in massive numbers (which is why it is called a stereotype). In fact, I would have taken him for an American if I had not known prior of his geographical origins. His style of folk takes plenty of dues from rootsy Americana, with his soulful croon embodying the genuine ardency that western folk music has come to be known for.

Matsson made his debut last year with a 5-song EP. Released on Gravitation Records, it proved promising and brought the Swedish songwriter a variety of online praise. Because of the considerable acclaim it got in indie-folk circles, there was a substantial demand for a full-length shortly afterwards. After nearly a year, the wait is over. Matsson’s debut album, the bleakly titled Shallow Grave, was released on March 5th . Impressively enough, it is an improvement on his EP in its integration of more varied styles into a lyrical delivery that remains just as resoundingly effective. Folk is his primary classification, but Matsson also weaves in elements of finger-picked blues (Piedmont blues) to provide a reminder of artists like Mississippi John Hurt and Curley Weaver. To make the sense of nostalgia even more suitable, Mattson utilizes a form of production that relies on both his raspy vocals and instrumental minimalism. The lo-fi approach is overwhelmingly appealing when applied to Matsson, and it mainly has to due with the fact that his lyrics are constantly invigorating. Considering they play such a large role and are impossible to avoid due to the minimalist style of production, his poetic talent provides a breath of a relief.

The fact that Shallow Grave sounds like it was recorded on a random tape machine is part of its lo-fi charm; it is the same method that made the preceding EP so uniquely enjoyable. I admit that, like Dylan or any artist in a similar vein, not everyone will find themselves growing easily accustomed to Matsson’s vocal style. It has a sense of intimacy to it that usually only songwriters that are old in age and bountiful in experience encompass, being unconventional in the most broadest sense. I personally was enamored with it the first time I heard the opening track on Shallow Grave, the fantastic “I Won’t Be Found”. Rather than simply repeating “carpe diem”, Matsson signifies the importance of treasuring every moment in life, looking upon death as an imminent circumstance that can only be enjoyed if its preceding life was lived to the fullest extent. Over a fastidiously plucked guitar progression, he sings ardently and establishes time as a component that should be treasured. “Well if I ever get to slumber just like I’m old deep in the ground, hell, I won’t be found.”

“Into the Stream” features a more simplistically repetitive progression that is excelled by Matsson’s vocal melody and the slight melodic transitioning that takes place after each verse. This time around, Matsson tackles the obstacles in turning a fantasy into reality. Using natural elements like alternating weather with metaphorical significance, the values of societal perception are also put into question, eventually settling on circumstances that are widely dependent on the individual. The thoughts can generally be pinpointed as examples of transcendentalism, even if Matsson’s skill provides for verbal jousting that is occasionally too vaguely intricate to classify with confidence. If you choose to skip past Matsson’s lyrical talents and go straight toward his instrumental talents, “Pistol Dreams” is a great example of his talents on guitar. As far as recent folk artists go, I have heard very few that compare to Kristian Matsson’s raw skill as a lyricist and songwriter.

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The Tallest Man On Earth – I Won’t Be Found

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The Tallest Man On Earth – Into the Stream

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The Tallest Man On Earth – Pistol Dreams

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Robert Moore’s 1976 film, “Murder by Death”, was a memorable spoof on “whodunit” mystery fares. Featuring an all-star cast (Truman Capote, Alec Guinness, Peter Falk) that accompanied a subtly comedic script written by the legendary Neil Simon, it remains a cult classic in the genre of satirical spoofs. At heart though, it proved to be a clever analysis of human nature. The plot saw individuals being forced to work together with associates they distrusted and generally disliked, all in an effort to find the alleged murderer and save themselves. It sounds like the plot to any conventional murder novel, yet “Murder by Death” was a unique breed at the time by mixing humor with believably linear human reactions to create an entertaining swipe at contemporary society’s greed and selfishness. Perhaps this sociological allusion is the reason why the Indiana-based four-piece Murder by Death decided to craft their name as a homage to their film. Their musical content is filled with brooding references to the state of humanity, examining the darker side of human nature with different characters and varying circumstances in each song. This is all done with eclectic stylistic form too; alternating genres of punk, alternative-country, are just a few of the mainstays. Even if treading in the dark waters of sociological evaluation is not for you, the group’s unique implementation of musical styles is alone worth checking out.

To give an idea of Murder by Death’s lauded thematic grasp, the group’s previous album, In Bocca al Lupo, tackled themes that most songwriters would consider too controversially intricate to explore in a lyrical sense. Vocalist Adam Turla was allegedly reading a variety of novels at the time, the most evident being Dante Alighieri’s “The Divine Comedy” and Edgar Allan Poe’s “Fall of the House of Usher”. Turla considered the themes of “sin, redemption, and guilt” to be invigorating when writing the album, noting that each novel was “about a different character who has either committed acts that have harmed other people.” As he described in a track-by-track analysis on the site, In Bocca al Lupo‘s transformation into a concept album was brought on by its consistent focus on sin and punishment. Turla recommended to listeners that they treat the album like “short stories in one anthology”, with the story-led brilliance in each unique track earning rave reviews and a plethora of attention by new fans and record labels alike. It was the album’s success that earned the quartet their first major label deal, signing onto Vagrant Records last October. Their fourth full-length studio album, Red of Tooth and Claw, is prepared to be released on March 4th.

Considering that In Bocca al Lupo dealt with themes that overlapped with Dante’s classic interpretation of hell and Poe’s ghastly portrayals of death and rebirth, it would be difficult for Red of Tooth and Claw to be more ambitiously tied into literary classics. Well, considering that Murder by Death have been producing engaging songs with allusions to history and classic works of literature ever since their formation in 2000, attempting to predict the nature of their material will always come across as futile. This time around, Turla describes Red of Tooth and Claw as being in the mold of a “Homer’s Odyssey of revenge, only without the honorable character at the center.” Per usual, themes of egocentricity, fate, and human nature remain prevalent, but it is now presented over an instrumental force that remains both more consistent and accessible. In Bocca al Lupo marked a transitional period of stylistic development for the band in 2006, providing less emphasis on keyboards while increasing usage of guitars. However, a factor that has remained at the forefront ever since the band’s inception has been Sarah Balliet’s cello. It alone has attributed to being a trademark instrumental aspect of the four-piece, with its involvement being so uniquely implemented that fans would likely deem it as the most singularly identifiable aspect of the band.

Since the departure of keyboardist Vincent Edwards in 2004, the guitar-laden style has attracted a larger crowd, mainly owing to the newly energized form of navigable indie-rock the group takes on in seemingly effortless form. This is not to say that the group’s stylistic diversity has suffered though; they remain generally eclectic throughout the album. This is perhaps best evidenced by the sweeping “Theme (for Ennio Morricone), a very commendable ode to the master of film scores. Using Morricone’s scores of Sergio Leone’s classic spaghetti westerns as an influential backbone, Murder by Death incorporates a variety of slick guitar progressions aided by a brooding cello and a steadfast rhythm section. When all instruments collide fluidly during the song’s concluding moments, it simply reminds us all of how brilliantly innovative Morricone actually is. If you enjoy this track even in the slightest bit and have never checked out Morricone, you have a treasure awaiting you.

Apart from Red of Tooth and Claw showcasing what is Murder by Death’s most accessible material to date, Grammy-winning producer Trina Shoemaker has given the group a more polished sound that provides in a resounding result. The album’s leading single, “Comin’ Home”, provides instantaneous enjoyment in its portrayal of Homer’s struggles to return to his point of embarkment in arguably the most concisely descriptive form. Like their past efforts, many songs on Red of Tooth and Claw utilize universally recognizable plot lines to provide an understanding of human nature. More audibly, Turla gives the listener a brief glimpse of what Johnny Cash would have sounded like if accompanied by the brisk motions of roaring electric guitars and reflective cellos, capitalizing on distinctively deep voice as a source for resounding hope and dumbfounded persistence. When the eventual entry of a kick drum signifies the simultaneous emergence of cellos and organs, the grandiose chorus recalls a form of excitement and genuine fury that Murder by Death have not exhibited before.

The lores presented throughout the album are also just as engaging as the preceding In Bocca al Lupo, with “Rumbrave” detailing the lonely travels of an immorally selfish swine. This time, Turla’s voice resembles a less flamboyant version of Morrissey, especially during the chorus in which he proclaims, “When we meet, you will see; I will destroy everything of beauty!” As the rest of the song recalls with incidents at “shanty towns full of bitter men”, it provides more evidence of Murder by Death’s ceaselessly entertaining lyrical wit. When Red of Tooth and Claw drops tomorrow, keep it in mind. Though it remains more predictable on a structural standpoint, the songwriting and production shows the four-piece at their peak. Both on a lyrical and instrumental level, it is Murder by Death’s best effort yet.

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Murder by Death – Comin’ Home

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Murder by Death – Rumbrave

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Murder by Death – Theme (for Ennio Morricone)

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We all hear that “sensitive singer/songwriter” babble all the time. Often employed as a propaganda tactic by corporate minds who hold a fraudulent regard for the actual music, it is becoming rare to find an artist who actually sounds genuine; one that does not reach for pop stardom or a financial cushion, but rather strives for a composition in music that sounds as if it came from the heart. Sappy and melodramatic it may occasionally be, it is not an excruciatingly arduous task to differentiate the artificial cash machines from the artists who actually give a damn about the symbolic nature of their released material. David Ford has the voice of a destined pop star. Based on the power of his vocal intensity alone, he could have easily found a home in the hearts of adolescents who regard the Top 40 as the only source for “quality” music. However, the factor that clashes with this avaricious ideology is simple: David Ford is a uniquely talented songwriter in his own right. Would he have had the chance to write music in his own preferred style if he signed with a company like Walt Disney Records? Of course not. I doubt Disney would favor lines in songs like “Requiem”, where Ford sings nearly aggressively, “Let us be kissed on the cheek, let us be fucked from behind.” It’s almost funny how the beautifully accompanied orchestral arrangements makes such a lyric seem almost endearing. With his overwhelming amount of talent in mind, such a bold career decision to branch off and stick with his own preferred style comes off as nothing but admirable.

Ford’s musical beginnings are traced back to Easyworld, a UK-based indie-rock trio from Eastbourne that released two albums, eight singles, and an EP from 1997 until they disbanded in 2004. Ford was the instrumental core of the band, lending his powerful vocals and illustrious piano skills in addition to some admirable guitar work. The band did fairly well during their time together, signing to Jive Records in 2002 and releasing five singles that cracked the UK Top 50. Nearly immediately after Easyworld’s disbandment, Ford began playing several lo-fi solo gigs to warm applause. His debut album, I Sincerely Apologise for All the Trouble I’ve Caused, was released a few months later in September of 2005 by Independiente and spawned the hit single, “State of the Union“. Being both a display of Ford’s multi-instrumental dexterity (he played all 12 instruments in the song) and his lyrical ambitiousness, the political-oriented single drew worthy attention from the British press. While opening for the likes of Elvis Costello, Richard Ashcroft, and KT Tunstall, his debut album was released Stateside in May 2006 under Columbia Records. Though the USA was not as quick to jump on it, Ford’s fan base continued to grow substantially.

David Ford’s newest and second album, Songs for the Road, was distributed in quite a modern fashion. Initially released as an internet exclusive download in August of this year, a hard copy will once again by distributed by Independiente come this October. Led by a single in the charmingly titled “Go to Hell”, Ford has an odd knack for making the most gruesome statements come out as something beautiful. “I can hear you say, ‘the day I fall down at your feet, go to hell,'” he sings dramatically over a plethora of strings before the rhythm section kicks in, half-mockingly stating, “I thank you for your understanding, I won’t be long.” This factor of bittersweet romanticism can be largely accredited to the sweeping instrumentation, an aspect that is consistent throughout all nine songs on Songs for the Road. While Ford does not encompass the stereotypical husky, deeply layered voice that is expected among most standards of orchestral pop, his whimsical yelps of pure, highly emphasized emotion is beneficial in regard to his own unique style. Perhaps I was caught a bit off-guard. After all, it is not everyday that I find an artist like Ford; one that has the whole package. Poetically inspiring lyrics, elegant arrangements, and impulsively fervent vocals… such an eclectic mixture makes Songs for the Road an album hard to forget.

As “Go to Hell” displays with its initially minimal string accompaniment, Ford seems content on building upon several layers of instrumentation. When the second verse is revealed after the first chorus, several newly introduced strings incorporate themselves over a freshly spurred section of percussion. Such moments, where shades of minimalism are instantaneously forced upon by larger arrangements, prove to be highly awarding from a structural standpoint. The absolutely stunning “St. Peter” utilizes this form just as exceptionally, patiently waiting until the final moments of the song to reveal an elusively hectic form of instrumentation that raises with intensity in full cooperation with Ford’s soaringly shifting vocals. The song is also an impressive lyrical piece, detailing Ford’s poetic nature as he confidently strides through brilliant progressions of guitars, harmonicas, and piano. Detailing the fear, reluctance, and avid zealousness of religious intricacy and fanaticism, Ford’s reflection on the subject is intriguing. “I throw rocks at the devil with my faith wearing thin,” he sings of his own self-doubt, “But I won’t scream down St. Peter when he don’t let me in.” It almost seems like a plea to St. Peter, the supposed keeper of heaven’s gates, to show some sympathy for guiltless skeptics who doubt religion’s validity, if it indeed turns out to be true at the end of the line. Both powerful and highly original, it is my favorite song on Songs for the Road.

I am also quite enamored by the lighter “Nobody Tells Me What to Do”, an immediately enjoyable pop song that reaps from a ravishingly infectious chorus. Though it lacks the usual lyrical and instrumental depth that the rest of Songs of the Road displays, it proves to be a nice break on an album that is scattered with outstanding songs of intricately crafted, poetically defiant ballads. “Nobody Tells Me What to Do” would be an glaringly obvious choice for a second single though, knowing Ford’s ambitious nature, it will probably end up being in the vein of the exceptional “St. Peter”. Whether it ends up being a simplistically enjoyable piano-led pop song or a deeply elaborate take on religious confidence, David Ford’s Songs of the Road will leave a lasting mark of memorability for those who give it a listen. Certainly one of the most uniquely rewarding listening experiences of the year.

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David Ford – Nobody Tells Me What to Do

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David Ford – St. Peter

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David Ford – Go to Hell

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When it comes to quality music, an originative country simply does not matter. While it is always enjoyable to see native artists revel in their homeland’s musical traditions, it is customary to find the majority of these younger artists being completely consumed by the world’s musical production as a whole, with their influences being culturally diverse both in content and approach. As one of technology’s benefits, musicians now have an even broader understanding of what contemporary music sounds like in the United States, Japan, Africa, or any other location without any laws prohibiting music (wouldn’t that be excruciating?). For better or worse, such accessibility has provided for a generalized sound in the “indie-rock” grouping regardless of the country at hand, making it more difficult each day to identify artists based on their country of origin. Regardless, even if it causes a suffrage for individuality, such valuable resources are providing for quality music. The May Fire is one of the several new bands that can attest to this. The four-piece is made up of members from three different countries but their sound remains collectively balanced enough to avoid whispers of a stylistic cultural bias.

In fact, The May Fire seems quite intent on mixing things up. Whether their sing with a melodic Pixies-influenced vibe in an early ’90s alternative tone or in Spanish with a sensuous take on throwback grunge, this San Francisco-based group seems intent on always making their songs audibly stimulating. Though all four members are veterans of the Californian scene, they all hail from different parts of the world. Lead singer/guitarist Cat Tasso was born in Chile, drummer El Pipe and guitarist Nachito both hail from Colombia, and bassist Rob Gwin is from Connecticut. Yeah, you guessed right if you thought he was the blond one. They formed in 2004, originally in Los Angeles before moving to San Francisco in 2005, upon the meeting of Tasso and El Pipe. While looking to solidify their lineup, they joined forces with Nachito and Gwin in San Fran. After releasing their debut full-length, Right & Wrong, in 2005, The May Fire began to gain a slew of national fans after appearing on MTV3’s slightly tolerable “Indie101”. During an interview on the show, the band made it well-known that they are DIY at heart – they self-manage and self-release their own material. Their most recent EP, La Victoria, is the second out of a planned series of three and was released on Wednesday. Though it only contains six songs, The May Fire’s tireless approach is what makes it sufficiently worthwhile.

All admirers of influential classic rock in the vein of Bowie and The Stooges, the four members of The May Fire are also well-learned on several efficacious bands from more recent decades. Depending on the song, Tasso’s melodically dynamic croon makes for respectable comparisons to The Pixies’ Kim Deal or and the Yeah Yeah Yeahs’ Karen O. While her vocal tone is not precisely reminiscent of such vocalists, her whimsical energy and vigorous harmonies delivered under strains of catchy guitar riffs, explosive choruses, and hardheaded angst makes the comparisons more than justifiable. La Victoria is arguably the group’s most impressive effort to date, featuring six songs with plenty of rock ‘n’ roll swagger and youthful oomph. It is also the first release from The May Fire that features a song sung in Tasso’s native tongue: Spanish. Ironically enough, it is also the best song on the EP. “Marcha” is indeed an absolute charmer; both seductively engaging and highly original. Like most songs from The May Fire, the chorus is its core strength. Whereas a bare, subdued verse featured an intentionally monotonous delivery over a simplistically layered guitar, the chorus features an immediate burst of enthusiasm as Tasso’s vocals are uplifted by the aid of vibrantly sparkling keys that some would even dare to call cute. With such an exceptional maneuver deployed over Tasso’s ceaselessly ardent vocals, the irresistible delivery makes me regret choosing French over Spanish in high school.

For those who were wondering, The May Fire actually got their name from the unconscious mind of Cat Tasso. “I dreamed about the name, it just came to me,” she said, immediately finding satisfaction in it upon awakening. “I turned on the computer and bought the domain name right then and there.” Whether they are thoughtfully dreaming, working hard in the studio, or letting their fervent presence be known on stage, songs like “I’m Sinkin'” and “They Make Me Mad” are definitive examples of The May Fire’s bursting confidence and fledging potential. While The May Fire often utilize the same instrumental tones without any complementary effects, their back-to-basics method of production makes for an experience that is wholesomely invigorating. The simple hooks, whether it be the expertly applied guitar solo in “I’m Sinkin'” or the enchanting chorus in “Marcha”, calls back on the glorified days of ’90s alternative rock. The May Fire’s core instrumental arsenal reaps from inspired ingenuity and genuine buoyancy and, with their proficient incorporation of punk and alternative rock, such throwback comparisons provide for nothing but sheer enjoyment.

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The May Fire – Marcha

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The May Fire – I’m Sinkin’

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The May Fire – They Make Me Mad

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The post This Fire is a Hot One appeared first on Obscure Sound: Indie Music Blog.

Unless you were an only child, many of us remember sibling rivalries as an aspect of childhood when a brother or sister would strive to achieve the brightest glisten in the eyes of their parents. This memorable attribute can often provide for a strenuous work environment between siblings at a later age, regardless of how much they admire or love one another. The three brothers in Brown Shoe most likely grew up under similar circumstances, worshiping the same musical idols and perfecting their instrumental talents in a synchronized atmosphere. While it would be assumed that such a childhood would equate to constant competitiveness between each of them, the three brothers chose instead to integrate their skills and work together in a musical project, pushing aside all assumptions that it would be impossible for siblings to also be a collaborative creative force. While Ryan, Aaron, and Bryson Baggaley comprise 75% of the members in Brown Shoe, the final spot is filled by Jim Mikesell, a proficient drummer who the band finds close enough to nearly consider him a fourth brother. Brown Shoe’s beginnings spouted in a garage in Folsom, California, abandoning the stereotypical upbeat surf pop sound of California for a more ambitious and darker sound more reminiscent of late 80s post-punk and mid-90s Brit-rock. The foursome released their debut full-length, The Wheat Patch, last year to receptive support from college radio stations and local fan bases. It also caught the attention of producer Duane Lundy, who helped the boys produce their follow-up album, Vanity, due for release later this year.

With all four members having a long history with one another, the resulting chemistry often plays off well with their noticeable influences and matching musical fervor. Vocalist Ryan Baggaley has a distinctively emphatic croon that compares to My Morning Jacket’s Jim James, sounding resonate and powerful through efficacious guitars, bass, keys, xylophones, and drums. While the likeness to James is certainly representable, Baggaley is not nearly as overpowering in pitch or emotional release as James, even though such a comparison is difficult for anyone to match consummately. Even if his vocals lack the raw energy or varying pitch tones of Jim James or Sigur Ros’ Jónsi Birgisson, they are passable enough to appreciate through the thickly played instrumentation. And it in is that particular instrumentation where the true strength lies in Brown Shoe. If they were to one day transform themselves into an instrumental post-rock band, you should expect me to one of the first in line for the next release in that specified style. All four members of the band play at least two instruments on the album, showing that each one is a highly practiced musician with capable understanding of rhythm, songwriting, and key transition. While Ryan Baggaley occasionally surprises with vocal melodies that lifts songs on Vanity like “Holiday in Cape Town” and “Heavy Handed” to new heights, Brown Shoe sounds most effective in an entirely instrumental atmosphere.

While the majority of songs on Vanity are accompanied by vocals, there are rare and enjoyable circumstances where the songs are almost entirely instrumental. The simplistically titled “II” is one of the few that encompasses this, being a vivid depiction of Brown Shoe’s musicianship and devotion. The song initially begins as a fairly linear guitar-led instrumentation but it is eventually picked up with a hectic rhythm section, powerfully led by the bustling drums of Jim Mikesell, posessing a similar talent to My Morning Jacket’s highly underrated drummer Patrick Hallahan. Though “II” is the only song on Vanity that is entirely instrumental, the volatile gem “Ness” . However, do not take my admiration for the more instrumentally involved tracks as an insult to Ryan Baggaley’s voice. His stylistic approach on songs like the fast-paced inaudible muttering on “Désolé” and his backing vocal accompaniment on the humorously titled “Low-Fi Audio File” are vital to the song’s enjoyable successes. Even though you will not find any radio-friendly pop songs typically derivative from Brown Shoe’s native California, their second album, Vanity, is quite an enjoyable record for fans of intricate instrumentation and soaring vocals.

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Brown Shoe – Holiday in Cape Town

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Brown Shoe – Heavy Handed

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Brown Shoe – II

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