It is hard enough to stand out in the music industry, both in regard to the attention one receives and how long they are able to endure standing there without recognition. It is both literal and interpretive here, as a feeling of prominence undoubtedly effects one’s willingness to remain in an industry. In regard to the industry of music, it is difficult to name many other occupations that possess more unpredictability than that one. And on that note, forget about how the country or even the region recognizes them. Getting noticed by your locality cannot simply be an assumption. It is a triumph for some bands to be written about on the back page of their local paper, while others find insufficiency in an above-average review from Rolling Stone. Most newcomers, though, will find excitement in any sort of exposure. For that, I feel some sympathy for artists residing from Brooklyn. Sure, Grizzly Bear and TV on the Radio may be the area’s most popular contemporary acts, but that statement’s arguable nature simply shows how ample Brooklyn is with great acts; it is the rare instance of a local scene being both agreeably quantitative and qualitative. But it begs the questions, could a local scene ever be overpopulated by too many worthwhile acts? After all, we do need to go to work and get the recommended seven hours of sleep.

The obstacles for artists in artistically overcrowded localities are abundant, even if the issues often are prevailed by the privilege of living in an artistic community where inspiration is vastly accessible. In an area like Brooklyn though, I could only imagine the artists being more frustrated with the press’ selection process than the sheer concept of competition. To expose the already-exposed seems to be the norm, with superfluous addition of information (their favorite food, more influences, etc.) apparently compensating for the feeling of something fresh and exciting. For a stable artist intent on just creating music, this can be quite discouraging in the face of innovation. But for an artist like Kordan, who fuses a fresh and polished style of electro-rock with an urban-like rush, these deprived circumstances can be manipulated to his favor. When you have material as great as Kordan does in a place as thriving as Brooklyn, the experienced understand that patience is all one needs to eventually obtain success. Why I think Kordan’s success is imminent certainly has something to do with his music, but perhaps more so in how he reacts to the prospect of fame even if it has not arrived yet. It must be a city thing.

Kordan could modestly note that he’s opened for the likes of Cut Copy before selling any song or release, but the low-key Brooklynite does not approach success that way. He writes on his own blog about the art of others, not how his own project is on the verge of widespread recognition. Usually treading toward the avant-garde, featured artists on the blog like Pedro Vilas-Boas and Tatsuyuki Tanaka embody both the unknown and groundbreaking in the non-musical side of art. On the more audible end, Kordan is practically their equivalent. While working on a contemporary canvas that utilizes high-end electronic production to create shimmering works of memorable pop music, the embodiment of Kordan’s work is too distinctive and layered to be singularly grouped in the vein of electronic-pop. Like the avant-garde artists he adores and features, Kordan interprets and relays music differently than others within a similar realm. These include acts along the lines of Cut Copy and Chromatics, all very respectable electronic acts that infuse similar formulas of instrumentation and production but proceed to make their work individualistic through other, more discreet means.

While some electronic-rock acts utilize samples, stylistic fusions, and other forms of thematic quiltwork to establish cohesiveness, Kordan simplifies this dramatic struggle with precision. His debut EP, Fantasy Nation, contains a mere five tracks but each one possesses a different approach that summarizes Kordan’s intent beautifully. The EP’s self-titled cut is a translucent gem that takes the swift guitar work of Cut Copy and plasters it on the ’80s new-wave-inspired vocal techniques of groups like Cut Copy, who often worked their grandiose choruses using rhythmic prominence and abruptly increased vocal reverb. “Fantasy Nation”, along with several others on the EP, seems to incorporate guitar work that is not there for intricacy or dramatics, but rather as a supplementation of sorts. The rhythm section, powerful vocals, and subtle components of the great production is what truly establishes Kordan as something special. With “Fantasy Nation” serving as an up-beat replica of this decade’s trend in electronic-rock, the following “Tokyo Tears” is eventually more resounding as a somber look back at ’80s post-punk. The brooding bass line seems to pummel through the thick wave of reverb, making Kordan’s vocals nearly inaudible above being a moody whimper. When associated with the chilling guitar work though, it plays off extraordinary as one of the most ardently effective efforts on the EP.

“Slouchy Girl”, Fantasy Nation‘s closing number, is also noteworthy for being completely different than everything else on the release. With its strings, soft acoustics, and background coo’s, it almost sounds like Voxtrot acquired a stronger vocalist and started writing better songs. It is fun and catchy to be sure, and more than assurance that Kordan is vaster than a one-trick-pony. This phenomenal EP could have told you that by itself though. Fantasy Nation is one of the most memorable debut releases of the year, and listening to it shows why Cut Copy demanded Kordan to be their opening act last year after hearing the songs on this EP. Although Brooklyn’s bustle has prevented instantaneous exposure, the imminence of Kordan’s success can be easily heard through tracks like “Fantasy Nation” and “Tokyo Tears”. With artists like these, there is no such thing as an overpopulation of quality artists. As listeners, it should be our duty to sift through them in knowing that their locale provides more inspiration than most.

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Kordan – Fantasy Nation

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Kordan – Slouchy Girl

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Kordan – Tokyo Tears

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Artists that write from a retrospective view often do it for good reason. It is a characteristic that can carry into their music, since reflecting upon one’s experiences with a modernistic mindset can provide aid for their struggles in the present. In the case of songwriters, artistic difficulties are encountered rampantly throughout one’s career regardless of their natural ability. Plenty of them have astounding potential, but an emphasized swagger and impatience can cause a disturbance in their artistic development. If an enlarged ego prevents them from reflecting upon past failures in addition to the triumphs then they will never move forward and develop fully as an artist. The name Barzin may sound foreign to most of you at the moment, but their newest release shows an artist that is wholly receptive to tackling past errors and altering them for the better. A mysteriously vague songwriter from Toronto, Barzin H. has been active since his group’s self-titled debut in 2003. He actually began writing material in 1995, but perfectionism did not allow the results to flourish until the following decade. Their debut was generally impressive, showcasing a fascination with minimalism and classical folk that seemed to beautifully complement Barzin’s ethereal vocals. His potential was blatantly evident, but the album seemed to lack the emotional depth that was intended for it. But, with Barzin as a retrospective songwriter, slight deficiencies simply gave him more material to derive his current strengths from.

Like most gifted songwriters with a knack for reflection, Barzin significantly improved upon his debut release by expanding his style of minimalistic folk into an empowering blend of indie-rock, chamber-pop, and country. My Life in Rooms, his 2006 follow-up, was melancholic like the debut. But the improvements were evident; the results were more polished and the songwriting contained clever maneuvering that made the results more unpredictable and, consequently, rewarding in a sense that most sadcore indie-rock acts strive toward. This vein of sadcore indie-rock – occupied by acts like Low, Red House Painters, and American Music Club – rewards a certain amount of emotional unpredictability, as varying ardency translates as a more realistic depiction of tragedy than melodramatics and inaudible weeping. This, along with an implementation of varying styles, allowed My Life in Rooms to flourish as a possible indicator of Barzin’s future. The release showed that he might be one of those rare songwriters, the ones that are too genuine to exploit the common emotions involved in break-ups, deaths, or other tragedies.

Barzin released another EP, Just More Drugs, in 2007 that featured re-done versions of My Life in Rooms tracks like “Just More Drugs” and “Leaving Time, but it proved to only serve as an appetizer for the main course, this year’s Notes to an Absent Lover. While not completely devoid of the somber material on his earlier releases, Barzin’s third full-length manages to inject a bit of optimism in his work to provide a cohesive balance between tear-soaked pillows and chin-up ideologies. The album’s thematic focus is still bleak, as most albums that deal centrally with break-ups are, but Barzin never attempts to exploit the topic with over-production or lyrical gripes. It would be easy to over-produce an album like this, with its wide assortment of strings and vibraphones, but Barzin instead opts for quality over quantity in building each of his songs up until additional instrumentation is beckoned for. Also, unlike the stereotype that surrounds most sadcore music, Barzin is not hesitant to tie in interweaving themes into his work. Notes to an Absent Lover is not all moping, it is an emotional journey where Barzin personally acquaints the listener with his pulsing emotional vibrancy.

“Nobody Told Me” is an apt way to open the album, basically serving as a metaphor for Barzin’s artistic growth from the time of his debut to the release of Notes to an Absent Lover. It begins somberly with nothing more than an acoustic guitar and piano, but its expansion into a full-grown accompaniment of strings, percussion, and electric guitars finds Barzin repeating one key phrase throughout the track, altering his emotional delivery each time out. “Nobody told me forgetting could be so hard,” is what he repeats, solidifying the album’s theme as he says it first in somber fashion before sounding somewhat triumphant over the gradual additions of strings. Melissa McClelland’s backing vocals are also a wonderful addition, giving the listener additional solace in Barzin’s empathetic delivery. Unlike his earlier releases, a track like this shows developmental expansion; Barzin now builds like these with the whole picture in mind, rather than simply one good idea.

“Stayed Too Long in This Place” touches the elegant moods of groups like Cousteau, placing a balmy mixture of pianos and strings as Barzin laments over the blame issued in a break-up, singing “I’m always in love, some days in despair, it’s always the same” over violins, viola, and a double bass. A perfect atmosphere for some bleak thoughts, just as Barzin intended. “Soft Summer Girls” is delicate in its instrumentation like the rest, but provides a reprieve from the typical content as Barzin instead nostalgically reflects upon the positive effects of relationships. And although he sings of times being passed and gone, he acknowledges love as a force that can aid one in life’s hardest battles. “They take me away from the one I used to know,” he sings, perhaps eluding to the outstanding capacity that Notes to an Absent Lover has to comfort those in tragedy and take them away into a realm of acceptance, emotional comfort, and quality music.

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Barzin – Nobody Told Me

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Barzin – Stayed Too Long in This Place

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Barzin – Soft Summer Girls

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Regardless of where one grows up, the role of music is prevalent enough to embed sentiments of nostalgia into one’s memory of their childhood. Whether it is predominantly exposed as cultural tradition or commercialized exploitation are the variables that depend on one’s location, but music’s cognitive effect is something that is definitive for all. Growing up in an urban, rural, or even isolated location certainly affects one’s lifestyle, but music tends to be universally relatable in that its effects have no bearing on one’s specific location. This is especially true for artists, as we have seen success stories originate from both the open countryside and bustling city streets. The artistically inclined struggle to avoid the allure of art’s impact and presence; they see its participatory effect as being either an escape from reality or a path toward the bright lights of stardom. Artistic fulfillment is derived from one’s reasoning for participating in musical practice, and whether it is to escape grim reality or to become etched in the history books is a motivational basis that tends to vary based on the individual. Pinpointing a specific artist’s true intentions for making music can be highly erroneous though, since there are so many possibilities. But if one pursues music as a gesture of adoration for the art in general, it is an act that has no geographical or cultural boundaries.

The appreciation of an art seems so sincere and instantaneous that the sociological effects appear to be either nonexistent or extremely minimal. There are certainly some implications – like how living in a wealthier area allows for more accessibility to the arts – but one’s level of receptiveness toward art is something that cannot be tampered with, regardless of where one lives. Tamara Nile grew up in a tiny cabin on Galiano Island, a British Columbian island with barely over 1,000 full-time residents. While most contemporary amenities were available to her, it is evident that living on an island has its fair share of artistic disadvantages. There is a good chance that not one decent band would inhabit an island of 1,000 people, if one band even existed at all. The lack of a music scene must have certainly subdued any artistic urges from younger residents, right? Not necessarily. As I mentioned before, I do not believe these sociological factors to have little bearing on one’s interest in art or their motivational ideology for pursuing it. Tamara Nile recently played in front of a very receptive festival audience, with the number of people in the audience being 20x more than the population of her native Galiano Island alone. She serves as evidence that not all artists are influenced by their surroundings. Some are just born to write damn good songs.

Although Nile lived on a small and somewhat isolated island, it would be unethical to not provide credit to her father, a multi-instrumentalist sidewalk entertainer. He travelled throughout North America and Australia mostly, with Nile tagging along ever since the young age of six. His influence on molding her prevalent appreciation for the arts is evident, and this in addition to her natural ability are the factors that make her one of the most impressive folk artists I have featured this year. Nile began trying her own hand at songwriting in her early teens and moved to Vancouver to pursue a music career at the age of 19. Her debut album, At My Table, was released shortly thereafter in 2006 to very positive reviews. Gems like “Trees” and “Get Together” showcased her modernistic take on folk, which combined typical acoustical folk instrumentation with unconventionally flexible rhythm sections, time signatures, and melodic accompaniments in the vein of shrieking electric guitars and howling vocals. It was a style that proved remarkably unique, treating the young songwriter to a plethora of festival appearances and awards. She was voted the “Best New/Emerging Artist” at the Canadian Folk Music Awards, indicative of her interesting take on folk music and its positive effect.

Nile’s newest release, The Cabin Song, is an EP that serves as a preview of her upcoming full-length, set to be released in early 2010. Despite being a short release, the seven songs (two of them being short interludes) on The Cabin Song are all highly impressive in their own right and do a remarkable job of showcasing Nile’s grittier, edgier, and more eclectic style of folk. There are some familiar folk elements, like the electric twang and acoustical accompaniment on “Cabin Song”, but subtleties that involve rhythmic and melodic elements are vital to the appreciation of Nile’s style. “Cabin Song” has a great feel to it with its brisk acoustics, but the throwback “Reverie” does even better with its revolving structure and sporadic percussion. “Reverie, come dance with me,” Nile pleads during the chorus, set afire by the frantic percussion. A concise banjo solo follows, and allows the old-fashioned and modernistic to fuse at least for a slight moment. This is what Nile does so well all throughout The Cabin Song though, so this is not the sole example. “Reverie” touts its heavy dub-bass line over evolving percussion and Nile’s ardent howls, but other tracks like the colorfully engaging “Sunrises” also achieve similar stylistic heights. For someone with Nile’s ability and appreciation for stylistic diversity, it is not surprising that growing up in a small town was not an obstacle in her triumphant path to success.

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T. Nile – Reverie

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T. Nile – Cabin Song

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T. Nile – Sunrises

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Urban legends and Hollywood productions certainly have a hand in molding the common perception of being in a band. Want a bowl of M&Ms in your room after the show, with all the brown ones removed? It’s on the way, sir. How about suggestively introducing some groupies to live seafood? Sounds fun. Between urban legends like these and the handful of pseudo-rockumentaries in the vein of Almost Famous, the romanticized concept of existing within a popular band has existed at least since the British invasion’s introductory use of rock ‘n’ roll stereotyping in the early ‘60s. Since that time, what these aspects of film often seem to overlook are the artistic obstacles involved in this creative process. They instead choose to focus on the overly grandiose lifestyles and unique personalities of the band members themselves, often showing artistic struggles as the result of drug addiction or non-commitment. After all, what is going to sell more: sex and drugs or watching an aging band attempt to write songs together? Commercialism tells us that it is the former, so it remains difficult to criticize these filmmakers for attempting to make the elements of existing within a popular band accessible and engaging. To deal with such expected fallacies though, looking at the reasons for the California-based Klum’s imminent success should enlighten many fans in regard to the inner-workings of a successful group more than any overly dramatized film or VH1 special.

When one looks back upon the most successful rock groups of the 20th century, it is distinctive that practically every group was based on collaborative quality. Led Zeppelin, The Beatles, and Pink Floyd all had some members that attracted the spotlight more than other members, but their mutual infusion of collaborative quality was a distinction that allowed their music to live without any major constraints that ended their careers as a group too abruptly. Many of these groups included members that could pick up nearly any instrument and start strumming away to perfection, indicative of their musical talent but also of their willingness to make communication between members as clearly as possible. Instrumental differences are a common detriment to a cumulative songwriting process, as the greatest songwriters tend to exhibit audible mastery of every instrument included in their work. Being a multi-instrumentalist or at least having a respectable grasp of a broad array of instruments makes working with others significantly easier, as their ideas can be extracted easily and fused with others to create something genuinely worthwhile. The six members in Klum are all multi-instrumentalists and it allows their songwriting to serve as a display of an extraordinarily impressive cumulative effort, reinforced by a mutual dedication to melodic astuteness and successful pop experimentation that each member demonstrates in their own unique way.

Klum’s second full-length album, We Carelessly Turned Amazingly Into Nothing, can show the band’s excellent chemistry just in the quality of the eleven songs alone, but experienced listeners will likely walk away more impressed by their ceaselessly unpredictable approach and tactful cohesiveness. Klum delivers the type of experimental pop music that hardly sounds experimental, an oddly exciting result that derives from infectious melodies, uplifting brass arrangements, and an unpredictable assortment of instrumentation and vocalists. As far as the classification of their genre goes, Klum and their efforts on We Carelessly Turned Amazingly Into Nothing are not restricted by any linear stylistic identity. “For Sale a New Life” plays like an amiable indie-pop charmer with its twinkling keys and ukulele accompaniment, while the fascinating “The Showmen” benefits from boisterous electric guitars, backing pub-like yelps, and concise brass arrangements. The former sounds like some spawn of Unicorns and The Leisure Society, while the latter finds distinctive comparisons to Elbow, British Sea Power, and art-rockers in the vein of Franz Ferdinand and Dogs. These comparisons alone suggest a vast difference in style on a track-by-track basis, which is true. But what must not go overlooked is Klum’s apparent ability to implement the stylistically diverse into a style that is honest, unique, and something that they can truly call their own.

While “For Sale a New Life” does a great job of showing off the band’s indie-pop leanings and “The Showmen” fulfills the task of successfully exposing Klum’s grittier, rock-oriented side, it is a few of the more interesting tracks on We Carelessly Turned Amazingly Into Nothing that really make it one of the most memorable debuts of the year thus far. The opening “Bashing for the Kids” plays with over-the-top guitar riffs and ardent vocal deliveries in a way that Black Kids would envy, indicative of Klum’s ability to bring out the expressively effective without appearing melodramatic. In fact, Klum seem free-spirited and fun most of the time, even during the somber chamber-pop balladry of “My Baby’s Just Stardust” and the twinkling build-up to the distorted angst of “Our Monster’s End.” Perhaps the biggest gem on the album though comes from “Nonbeliever”, an undeniably fist-pumping frenzy of a track that shows the group’s talents most prevalently. The various vocal melodies howl like wolves at the moon when the first verse is introduced, led astray over a catchy piano progression and a variety of samples that allow the song to be simultaneously haunting and infectious. The overlapping vocal harmonies of Brock Flores, Joe Fraley, and Aaron Arkenburg allow concurrent high-pitched and low-pitched vocals to supplement the brilliant intricacies of “Nonbeliever” as it flawlessly concludes the track. “Nonbeliever” should be all a listener needs to be convinced of Klum’s blatant ability, but the likes of “For Sale a New Life” and “The Showmen” also do a fine enough job. In fact, if I were forced to choose one track to represent this album, it would prove extraordinarily difficult. We Carelessly Turned Amazingly Into Nothing is too consistently memorable for such linear classifications.

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Klum – Nonbeliever

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Klum – For Sale a New Life

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Klum – The Showmen

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by Mike Mineo

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20. Ra Ra Riot – The Rhumb Line

Losing a member of a band to death can be devastating. No matter how many arguments and fistfights were initiated in the past, it is a fact that many groups tend to form a family-like bond after years and even months of touring and working together. When Ra Ra Riot’s original drummer, John Pike, was found dead on June 3rd of 2007, his former band mates were stunned. “This has felt like the unraveling plot of a tragic piece of fiction,” they said in a press release. However, about a month after Pike’s death, the band announced that they would continue the group in Pike’s memory. A string of tour dates and the eponymous EP in 2007 brought the group increased recognition as they prepared their debut full-length album, The Rhumb Line. The album itself serves as a fine example of the group’s potential, with their flashy style of art-rock serving as both an accessible and contagious interpretation of contemporary indie-rock. The New York-based group works with tinges of post-punk and punk, implementing both cellos and violins over a zealous display of dazzling guitars and tenacious rhythm sections. Vocalist Wesley Miles emits a sharp, slightly high-pitched tone that is reminiscent of vocalists in the vein of Nick Stumpf (The French Kicks) or a more subdued Hamilton Leithauser (The Walkmen). All together, it creates a very convincing sound that proves memorable despite its common originations. In addition to his role as a co-songwriter on a handful of tracks, one notable posthumous contribution from Pike on The Rhumb Line comes in the form of lyrical content. With Miles, he wrote “Dying is Fine”, a gripping track that wholly capitalizes on the group’s stellar mixture of strings and guitars. With an E.E. Cummings quotation serving as the main hook, the topic is emotionally ironic and the melody is addictively consuming. The mournful “Ghost Under Rocks” also makes excellent use of strings, guiding yet another captivating chorus as Miles yelps in perhaps his most emotionally resounding vocal performance on the album. “Here you are, you are breathing like little ghosts under rocks,” he sings, speaking of romanticized suffocation in mildly poetic form. When compared to the regretful – though dynamically vigorous – yelps and moans of “Ghost Under Rocks” and “Dying is Fine”, Miles’ vocals in “Winter ‘05” are appropriately more somber as the strings increase in intricacy and the percussion subtly adds several shuffled components. Along with a cover of Kate Bush’s “Suspended in Gaffa” making the cut, it exemplifies how The Rhumb Line serves as an enjoyably eclectic album within a fused genre that desperately needs it these days.

Ra Ra Riot – Dying is Fine

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19. Gentleman Jesse – Introducing Gentleman Jesse and His Men

One of the most appealing aspects of power-pop is the ability it has to remain untainted in a world where stylistic alteration is often inevitable. While some may argue that the genre’s apparent lack of stylistic ambition is the cause for such sturdy pop ideologies, the crafters of such music never seem to be given enough credit for their reluctance to become submissive toward what is deemed as this week’s fad in the music industry. Gentleman Jesse and His Men, a talented four-piece based out of Atlanta, employ this highly accessible form of power-pop very well, but they are also quite unique when compared to other groups in the genre. Yes, they are comparably intent on hooking in the listener with exceptionally infectious choruses and stellar harmonizing, but Gentleman Jesse and His Men happen to be significantly more nostalgic in approach. Instead of employing a formula in which an overwhelming degree of varying styles clash within a comforting power-pop aroma, the four-piece instead opts to bring back what made the genre so great in the first place. Traditional punk and garage-rock are the main forces at work here, making comparisons to the early workings of power-pop greats Exploding Hearts somewhat unavoidable. Exploding Hearts certainly infused more elements of punk into their overall sound, but the approach and level of melodic alteration remains highly comparable in the sentiment that both groups rely on amiable simplicity to elicit a uniquely engaging charm in which the songwriting and consequential hooks sound freshly invigorating despite the minimal forces of instrumentation at work. On their debut, Introducing Gentleman Jesse and His Men, frontman Jesse Smith plays the role of accessible power-pop vocalist with apparent ease, extracting a youthful tone of amateur exuberance while simultaneously allowing his commendable melodic range to flow naturally with the brisk use of guitar-led instrumentation. This is perhaps best heard on “All I Need Tonight (Is You)”, a track that would likely have been considered a classic by now if it had been released 30 years ago. From the lyrics to the lead guitar progression, the approach is extraordinarily simple but the appeal arrives in the strong melodic form that Smith conveys with the utmost confidence. In conventional power-pop form, he utilizes a callback approach in the utterly irresistible chorus before embellishing the moment with an extremely concise guitar solo. “You Got Me Where You Want Me” and “Attention” also utilize this accustomed callback approach with surprising precision. Those who view most traditional power-pop as a one-trick pony will likely state the same about Gentleman Jesse and His Men’s debut album, but anyone who enjoys fantastic hooks guided by little more than a guitar and rhythm section simply needs to check it out. Intricate it may not be, but this album’s infectiousness is downright undeniable.

Gentleman Jesse – All I Need Tonight (Is You)

Gentleman Jesse – You Got Me Where You Want Me

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18. Håkan Hellström – För sent för Edelweiss

Swedish listeners first caught a glimpse of Hellström in 2000 with his hit single “Känn ingen sorg för mig Göteborg”, with Hellström also releasing his debut album of that same name in November. Prior to the release, Hellström was only recognized as fans of the Swedish indie-pop band Broder Daniel as their drummer, a position he vacated between 1988 and 1994. He then rejoined the band in 1997 with a new role as the bassist, leaving in 2003 to focus solely on his solo career. By that time, Hellström had also released a second album, Det är så jag säger det, in 2002 and was in the midst of writing Ett kolikbarns bekännelser, his third album that released in 2005. Nåt gammalt, nåt nytt, nåt lånat, nåt blått, a compilation of b-sides, was also released the same year. After announcing that he had become a father and planned to take a short break, he emerged with his fourth album, För sent för Edelweiss, three years later in 2008. Though his first three albums exhibited a form of potential that only arrives once every so often in Swedish pop music, Hellström’s style sounded awkward with occasionally out-of-key vocals and repetitive arrangements. However, with För sent för Edelweiss, it looks as if the skilled songwriter has finally lived up to his wholesome potential. When an artist names an album after one of their own songs in particular, the conceptual intentions of the self-titled track take on lofty expectations. When it comes to “För sent för Edelweiss”, it serves as arguably the most pleasing track on both the album and throughout Hellström’s blossoming career thus far. It features the type of melody that will cause anyone – regardless of whether they understand the Swedish lyrics or not – to grin in pure delight, with the hauntingly beautiful instrumentation contrasting impressively with Hellström’s ardent vocals. The light plucking of an acoustic guitar initially finds itself underlying a graceful piano melody as Hellström’s voice quivers over the corresponding melody. When the twinkle of a new piano melody takes charge and establishes the chorus, Hellström’s voice takes on a melodic shift and crafts a devastating hook in the process. When the track concludes with a Sigur Rós-like instrumental recap over the crooning of Hellström, it simply reminds the listener just how elegantly stunning the overall result actually is. Since the title track will generally be recognized as one of the more instrumentally subdued songs on För sent för Edelweiss, first-time listeners of the track will likely be curious as to what Hellström sounds like when accompanied by increasingly noticeable instrumental fervor. As both “Kärlek är ett Brev Skickat Tusen Gånger” and “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” prove, the result is actually just as satisfying. Both songs implement guitar within a style of pop that is most reminiscent of accessible indie-rock, with “Jag Vet Inte Vem Jag är Men jag Vet Att Jag är Din” especially being resounding of the sentiment with a fury of electric guitars and reflective keys. They each remain insanely catchy in their own unique ways though, with “Kärlek är ett Brev Skickat Tusen Gånger” benefiting most from the vocal correspondence between a bluesy guitar, effervescent keys, and Hellström’s impressive vocal performance. With so many great Swedish releases each year, it is quite an indicator that För sent för Edelweiss is one of this year’s best from Sweden.

Håkan Hellström – För sent för Edelweiss

Håkan Hellström – Kärlek är ett Brev Skickat Tusen Gånger

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17. Thomas Function – Celebration

It would be premature for me to judge the chemistry in Thomas Function based on their music and online photos alone, right?. It could all just be a classic attempt to sell records. Well, considering that all pictures I have found of the members together depicts them having insane amounts of fun while at parties, playing shows, and in the studio, superficial corporate achievement seems to be the last things on their mind. In fact, It leads you to believe that these guys might even be having fun while making music together. And apart from the putting the “fun” in “function”, their music plays off just as naturally. Providing heavy doses of southern-rock and folk within a consistent showing of punk, the fact that Thomas Function are able to simultaneously provide odes to energized punk greats in the vein of Television and The Buzzcocks while delivering an array of styles related to folk and contemporary rock contributes prevalently to a style that is wholesomely unique and energetically engaging. The track that brought the four-piece arguably their biggest buzz in 2007 was “Relentless Machine”, a 7″ single that now once again has appeared on their excellent debut album, Celebration. Despite offering 13 tracks that are contained within a similar delivery, the boastful amount of hooks and instrumental variations provide for a form of excitement that most debuts only dream of. “2012 Blues” was a standout immediately for me from the first listen, as its acoustical folk origins are in stark contrast to vigorous punk-oriented gems like “Snake in the Grass” and “Conspiracy of Praise”, a style that reigns over most of the album. In a track like “Can’t Say No”, where a Pixies-like bass line is adjusted accordingly over an organ-led guitar progression that provides visions of classic Television and Velvet Underground, it almost makes for a colossal fusion of great indie-rock and punk bands who have made a significant mark in the past 30 years. The infectious “Can’t Say No” may be too hectic to make such past comparisons entirely spot-on, but the melodically charged energy that Josh Macero’s vocals convey makes the mixture of modernistic enthusiasm with past forms of punk and garage-rock a very satisfying blend. As for fans of The Buzzcocks or even Wire, one listen of “Snake in the Grass” should be convincing enough. Alongside “Conspiracy of Praise” and “A Long Walk”, it employs a concisely familiar form of catchy punk without being overly aggressive or manipulative in the process. With the rhythm section constantly impressing me with its tight coordination, the excellent guitar work making the comparisons to Television even possible, and Macero’s vocals being a constant source of hooks and youthful vibrancy, Celebration packs a very powerful punch that results in it being one of this year’s most satisfying debuts.

Thomas Function – Can’t Say No

Thomas Function – 2012 Blues

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16. Beach House – Devotion

Like many of those who immediately latched onto Beach House’s fantastic self-titled debut in 2006, I kept my admiration for the release no secret. It was an atmospherically beauteous album, flawlessly transcribing humane emotions as diverse as regret, embrace, and heartbreak into a sound that was as much accessible as it was ravishing. Beach House, a two-piece based out of Baltimore consisting of guitarist/keyboardist Alex Scally and vocalist/organist Victoria Legrand, were certainly the center of attention in 2006, as their well-received debut was an album that seemed to find its way onto everyone’s year-end list (it took a respectable #37 on mine). This year, they have reclaimed that same spotlight, with an excellent second album in Devotion that proves even more fulfilling than their debut. Though it may be subtle, Beach House’s own namesake provides for a cleverly suitable effect. Alex Scally and Victoria Legrand craft a sound that ushers the listener away from the hectic rush of complex urbanity, with their style being ceaselessly relaxing without any stylistic mundaneness. Like the location depicted in their namesake, the lushly written songs provide for an escape from petty demands and harsh realities; think of Devotion as a $15, 44-minute vacation. The exquisite “D.A.R.L.I.N.G.” is reminiscent of a lost love ballad from the ’50s or ’60s. Legrand’s vocals and Scally’s guitar progressions are seemingly able to put listeners into an entrancing state, this time being aided by a guitar soaked in reverb and a set of subdued keys. As per usual, Legrand’s vocals are beautifully chilling, being airily husky but giving off a frail sense of imagery in regard to the alluring backing instrumentation. The percussive involvement is always minute, but the lack of involvement makes the delicate nature even more suitably presented in the process. Another aspect that is revived from Beach House’s debut is Legrand’s ability to create a hook using her vocal range alone. Like “D.A.R.L.I.N.G.” and the majority of Devotion, “Gila” is aided by a guitar supplemented by a mixture of keys and organs. Though the bare instrumentation is enough to solicit immediate enjoyment, the moment when Legrand shifts her vocals into a deeper, more sympathetic range by stating, “Don’t you waste your time, no-oh-oh,” it provides for an instant realization in regard to the sheer beauty that the songwriting of Beach House conveys. With songs like these, Beach House’s Devotion is an elegantly beautiful release that sees this talented duo somehow improve upon the excellence of their self-titled debut.

Beach House – D.A.R.L.I.N.G.

Beach House – Gila

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15. Department of Eagles – In Ear Park

A good majority of people have, at one point in their lives, been forced to live with someone who does not exactly coincide with their standards of life. Roommate horror stories can be as amusing as they are appalling, but everyone recognizes that it is a part of life that most unspoiled individuals have to go through in order to live without a larger financial burden. When Fred Nicolaus and Daniel Rossen were assigned by NYU as roommates in their freshman year of college in 2000, they likely went through the usual semi-awkward introductions. The first few weeks may have passed by without much chemistry, but eventually when they found a common bonding point in music, they knew that luck was on their side. After putting out three EPs and two LPs under the name of The Whitey on the Moon UK, the roommates changed their name to Department of Eagles. Their first two full-lengths, The Whitey on the Moon UK LP and The Cold Nose, saw some moderate success with a stylistic array of electronic pop and sample-based instrumentals, but critics often felt that the releases were too disjointed and cluttered to truly capture a consistent audience. Shortly after the release of The Whitey on the Moon UK LP in 2003, Rossen joined the up-and-coming Grizzly Bear as an additional songwriter and guitarist. However, the two returned to working together shortly, recruiting drummer Chris Bear and bassist Nat Baldwin earlier this year to focus on In Ear Park, the duo’s second album under Department of Eagles. While I was personally impressed with some material that Rossen and Nicolaus have collaborated on prior to In Ear Park, this album is a major stepping stone in both of their developments as songwriters. The album itself was written partly as an ode to childhood, with Rossen making it a tribute of sorts to his recently deceased father. The actual “Ear Park” is a park in Los Angeles in which Rossen and his father used to visit, a touching point of significance when the song is being played. A lo-fi charmer, the duo shuffles through a series of intricately composed guitar arpeggios as Rossen relays his tender voice through a midst of backing strings and twinkling keys. The melody and instrumental capacity is astoundingly beautiful, especially when the subject is in consideration. The following track, “No One Does It Like You”, captures the essence of ‘60s pop in extravagant form. Backing vocals are exceptional here, simultaneously adding to both the rhythm section and enthralling melody in the deep and heightened tones, respectively. “Teenagers” is another key-led spectacle that later bursts into a consuming array of subtle horns and strings, highly indicative of the duo’s impeccably placed value on songwriting and production.

Department of Eagles – No One Does It Like You

Department of Eagles – In Ear Park

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14. British Sea Power – Do You Like Rock Music?

The “sophomore slump” is a term that has been applied a countless number of times for musicians, with indie-rock artists arguably being in that recent undesirable majority. It often proves difficult to attempt to pinpoint the cause for such drop-offs in quality, though I believe much of it can be accredited to the amount of pressure an artist receives from their label, the press, and the masses of fans who follow in their every step. In regard to British Sea Power, I admit that they initially set my expectations at a nearly insurmountable high. I consider their fantastic 2003 debut, The Decline of British Sea Power, to be one of the best debuts of this decade and I continue to give it a listen every so often. After the group released their follow-up, Open Season, in 2005, I found that the result was not something I was too personally enamored with. It was not a bad follow-up by any means, just a step back in the direction that the prevalently ambitious British Sea Power intended to go. With their third album, Do You Like Rock Music?, the album’s title seems hypothetical in relation to the brilliant content it conveys. With it, I have once again regained hope that British Sea Power could indeed be one of the most inventive indie-rock bands of the decade. It all begins suitably with “All In It”, a brooding build-up where a choral vocal accompaniment sings reflectively over the steady beat of a snare drum. Once the song begins to subtly fade out and the murmur of a church organ is the only audible presence, a burst of percussion and high-pitched guitar effects collapse onto one another, creating a monumental hook that sets the tone for the rest of Do You Like Rock Music?. The brilliant “Waving Flags” is arguably the best song that British Sea Power have written since the classic “Carrion”, crafting their trademark sound of epic, guitar-oriented rock into a state of pure bliss. Once the ardently grandiose chorus kicks in, any skeptics of the Brighton-based four-piece will likely cower away. Though the structure remains more consistent and the instrumentation more simplistic, the glimmering “Canvey Island” once again finds its strength in a explosive chorus, fully cemented by a preceding verse and bridge where the murmur of strings are presented over the slight strumming of an electric guitar. Depicting the great North Sea flood of 1953, the suitably named British Sea Power carry the song in full force, touching on feelings on disastrous disbelief as Scott “Yan” Wilkinson resoundly croons, “Don’t you think its strange, you know, the way it all works out? Brace yourself for storms and summer drought.” the beautiful “No Need to Cry” rounds off the album very nicely. Being somewhat of a new approach for British Sea Power, they pull off the sympathetic throwback love ballad with ease. Wilkinson turns his vocal intensity down a notch but compensates it with a lush assortment of guitars, subdued percussion, and cooing backing vocals. Unlike the stadium-sized intensity of the choruses in excellent tracks like “Waving Flags” and “Canvey Island”, “No Need to Cry” uses a more subtle approach in being uplifted by a simplistic sprinkling of keys. Regardless, the result is stunningly beautiful when a violin cleverly emerges from the layers of delicately crafted sound during the song’s final few moments. Do You Like Rock Music? opens, continues, and concludes in the same way: with consistent quality. So, if for some reason, the question of “Do you like rock music?” remains etched in your head, it should be quite easy to answer. In regard to this specific album, the answer is an unhesitant “yes”.

British Sea Power – Waving Flags

British Sea Power – Canvey Island

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13. The Walkmen – You & Me

Whether or not The Walkmen regressed on You & Me is a topic with two sides to it. Yes, they returned to a style that was more indicative of their first two albums with a higher emphasis on heavily distorted guitars and angular vocal melodies, but there is still a glaring aspect of You & Me that separates itself from any of The Walkmen’s preceding four releases. While percussively aided keyboards were often at the forefront on Everyone Who Pretended to Like Me Is Gone and distorted guitars and yelps comprised most of Bows + Arrows, You & Me serves as arguably the most stylistically multifarious album of their commendably consistent career. Their usual use of overpowering guitars, shimmering keys, and clashing percussion is predominant, but when looking at it by a track-by-track basis it becomes evident that efforts like “On the Water” and “Red Moon” contribute to an album whose stylistic scope remains unpredictably consuming. The swirling mixture of keys and horns in “Red Moon” creates some charmingly melodic circumstances for a topic as simple as romantic longing, while the beginnings of “On the Water” invokes the same sort of exotic imagery that songwriters in the vein of Tom Waits have been so known to generate. As the rumbling of bass underlies a glistening guitar progression, singer Hamilton Leithauser concocts a series of vividly appropriate lyrics. “All the years keep rolling, the decades flying by,” he sings as the guitars pick up pace and the track reverts from a mystical bass-led enigma into a hard-rocking fury. “But ahh, the days are long.” This lyrical realization is complemented superbly by Leithauser’s uniquely invigorating howl, an aspect that is aided by instrumentation that increases in intensity as the track progresses. “Red Moon” and “On the Water” are particularly excellent usages of the band’s tendencies to use natural imagery, an effect that supplements the occasional tranquility of both tracks superbly. In terms of each individual song, the songs are not the most structurally adventurous or melodically intimidating in the band’s catalog, but other gems like the anthemic “In the New Year” and the innovative use of percussion in “Postcards From Tony Islands” should convince listeners that the five-piece have clearly succeeded in crafting one of their most fascinatingly compelling releases to date.

The Walkmen – On the Water

The Walkmen – Red Moon

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12. Wolf Parade – At Mount Zoomer

Few bands manage to be as innovative and instantaneously accessible as Wolf Parade, the acclaimed joint project of Spencer Krug and Dan Boeckner. The most impressive thing to me about the two collaborators, however, is not the infectious melodies they create or the constant critical acclaim that comes their way, but rather the stylistic transition that both are able to make seamlessly as they jump from project to project. Both have been renowned as a few of the busiest songwriters in indie-rock and their durability throughout the past several years can mainly attributed to the unique and melodically invigorating aspects that their songwriting triggers. At Mount Zoomer will hardly feel like a sophomore album to most listeners, as both Krug and Boeckner have been employing reminiscent styles in their respective projects of Sunset Rubdown and Handsome Furs ever since Wolf Parade originated. But it is also a common belief to state that Wolf Parade’s debut, Apologies to the Queen Mary, contains the most accessible material from either artist to date, an aspect that arguably derives from intentions to promote their material to a more diversified audience. Krug’s share of material on At Mount Zoomer appears most reminiscent to his work with Sunset Rubdown, with the eerily resounding flair of “Bang Your Drum” and “An Animal in Your Care” employing much of they key-oriented formula over the yelping vocals and consistently revolving song structures that made trademark Sunset Rubdown tracks so memorable. Keeping in mind that At Mount Zoomer comprises of a similar structure in that Krug and Boeckner contribute an even number of separate tracks, I am actually more impressed with Boeckner’s efforts this time around despite Krug’s showings also being expectedly strong. This can be primarily attributed to Boeckner’s increased instrumental virtuosity, as his use of keys and synths has noticeably become more prevalent. This is best evident on “Language City” and “The Grey Estates”, both tracks that utilize an array of sparkling keys in an infectious chorus that is also guided by guitars and rhythmic additives. Despite Boeckner providing for a more consistent offering of quality songwriting, Krug offers one of the best tracks in the excellent “California Dreamer”. Krug’s skills as both a songwriter and excellent keyboardist are in full display as he shifts a minimal introduction of singular keys and backing percussion into a chorus that is the most anthemic and memorable on the album. “I’ll be round, I’ll be round, I’ll be round,” he sings prior to the bridge. “Like a teenager in town where all the other young lovers are found.” It is a moment that is aided purely by the intensifying tempo of deepened keys, a technique that makes the exceptional chorus that follows even more satisfying. A few shrill chords on keys then follow as the fully bolstered rhythm section emerges for the first time. Boeckner’s “Fine Young Cannibals” also serves as a standout, mainly due to a catchy little guitar riff that manages to sound so seductively enthralling over a soulful blend of keys (à la “It’s a Curse”). As the steady delivery of a new wave-like guitar progression eases placidly over concise percussion, it takes over two minutes for the track’s greatest hook to appear. Signaled by the brisk entry of keys, a crescendo of chords flurry over the same guitar progression and intensifying quivers. Keeping in mind that a Krug-Boeckner release without some sort of epic would feel out of place, the concluding “Kissing the Beehive” makes use of both songwriter’s ability to craft alternating song structures within a familiar melody. Though the first several listen will treat nothing to the listener but a few unexpected melodic surprises, each new listen with a better comprehension of the structure provides more in terms of infectiousness and enjoyment. As that track ends, it is easy to note that Krug and Boeckner have once again collaborated for one of the most enjoyable indie-rock releases of the year.

Wolf Parade – Language City

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11. Portishead – Third

Unlike the majority of other groups during the mid ’90s in Britain, Portishead did not become legends by releasing a masterpiece or two alongside a dozen or so middling attempts at reviving glory. Instead, the trio’s status as one of the most mystifyingly ambiguous groups to have an undeniable influence on contemporary music was granted because of sheer quality, not because of an excess of tours or releases. Prior to this year’s release of Third, the group released two albums of new material in the span of 13 years. Both of them, Dummy and Portishead will forever be considered landmark achievements in the genres of trip-hop and atmospheric alternative-pop. Clearly, unless Portishead have something worth releasing, it is not going to see the light of day. This rare ideology continues with Third, an awe-inspiring release that ranks up there with the classic Dummy as being one of the most atmospherically brilliant releases of the past 20 years. Their arrangements are often initially sparse, such as in “The Rip” where only an acoustic guitar and haunting synth pad appears to back Beth Gibbons’ quivering vocals. Like many classic Portishead tracks though, the melodic and instrumental expansion of “The Rip” is what makes the group’s ingenious level of execution so irresistible. As a bassy synth arpeggio backs a lengthily stable croon from Gibbons, a simultaneous percussive ignition occurs as the track steadily fades to black. The vocally brooding nature of “Plastic” and the ethereal, guitar-based murmurs of “We Carry On” may provide indication that Third is Portishead’s least accessible album out of their three, but successive listens will reward even those who are reluctant of the trio’s atmospherically-based talents. Sure, there are less instantaneous hooks, but Third is a grower whose genius is slowly unveiled with careful audible precision. For immediate enjoyment though, a track like the appropriately titled “Machine Gun” (with its percussive bursts) and the melodically enchanting “Hunter”, the latter which proves to be one of Portishead’s most captivating efforts. Haunting is often a common word to describe Portishead’s atmospheric brilliance, and never has being haunted been so enjoyable. A sheer piece of atmospheric perfection, Third is an album to be treasured by fans of Portishead and newcomers alike.

Portishead – Hunter

Portishead – The Rip

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The post Best Albums of 2008: #20 to #11 appeared first on Obscure Sound: Indie Music Blog.

01. Benoît Pioulard – Idyll (post)
02. Neimo – Lines (post)
03. I am Robot and Proud – Uphill City (post)
04. Horse Feathers – Curs in the Weeds (post)
05. Land of Talk – Some Are Lakes (post)
06. Jesse Sykes and the Sweet Hereafter – In the Summertime (post)
07. Thunder Power – (Why Don’t You Go) Take a Hike? (post)
08. Olga Kouklaki – How Do You Feel (post)
09. The Gentle Guest – Down at the Still (post)
10. Sparkadia – Jealousy (post)
11. Those Dancing Days – Run Run (post)
12. Vic Chesnutt – And Now (post)
13. Max Tundra – Which Song (post)
14. The Happy Hollows – Lieutenant (post)

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The post Obscure Sound: Best of September 2008 appeared first on Obscure Sound: Indie Music Blog.

First of all, I’d like to apologize for the lack of updates this week. I just moved into college and it’s been hectic (and insanely enjoyable) since Saturday. This will not be the usual though, as this should be the only week where updates are condensed. Expect the usual when Monday rolls around and classes actually begin, as I still believe that my relocation to DC will provide this site with a boatload of opportunities. After all, I was previously located in the dull area of suburban New Jersey. Anyway, one of several new bands I have been listening to lately has been one that has been generating quite a bit of hype since their debut in 2005. Previously, my discovery of new music was limited to submissions and searches on my own time. The move has allowed me to connect with some great people, a handful of which have a very commendable taste in music. Not to bash my previous town, but the tastes there were limited to an aggravating extent. A great gal by the name of Melyssa introduced me to The Hush Sound, a group she deemed “obscure enough” to appear on the site. And though it is true that The Hush Sound have been gathering enough steam to become one of the breakthrough acts of the year lately, the music certainly warrants the attention.

The roots of The Hush Sound trace back as early as middle school for its founding members. Greta Salpeter was in 7th grade when she met Bob Morris, a high school student at the time. They found a personal connection in the field of music, with Morris being a skilled guitarist in several local rock bands in addition to Salpeter’s studies as a classical pianist. They eventually began writing songs and performing together, initiating The Hush Sound in late 2004 when they felt that their material was captivating enough to display. Bassist Chris Faller and drummer Darren Wilson, previously members of Until Sundown, joined shortly thereafter to complete the quartet. The recording of their debut album, So Sudden, commenced in March of 2005 and the album was released in October. Originally released without a label, it was re-released after The Hush Sound signed to Decaydance Records in 2006. The studio in which it was recorded in was later named after the album, illustrating how quickly success was arriving for the Chicago-based four-piece. The signing to Decaydance was spurred by the support of Panic at the Disco after Ryan Ross and Pete Wentz found “So Sudden” on Purevolume. This encouraged development for their second album, one that saw the group’s success arrive even more suddenly.

Like several other bands nowadays that have latched onto the youthful surge of emotive indie-rock, The Hush Sound caught the attention of Patrick Stump for the release of their second album, Like Vines. Joining the likes of Cobra Starship and Gym Class Heroes, Stump produced the sophomore effort in a display that was more demonstrative of cohesive and accessibly infectious indie-rock. The Hush Sound’s key-driven melodies were acclaimed by the likes of AbsolutePunk, selling over 60,000 copies in the process. The following months saw them tour with the likes of Rooney, Panic at the Disco, and the previously featured Murder by Death, all bands who offered an accessible formula within a style that remained unique to their intended audiences. Following the success of Like Vines, The Hush Sound returned to the studio for a third time with Goodbye Blues. Now with a substantial fan base under their belts, the album saw immediate success upon its release in March and debuted at #75 on the Billboard 200. The most dramatic stylistic transition found on the album is based around Salpeter’s vocal usage, as she serves as the lead vocalist on 9 of the 13 tracks. Consequently, the material appears more pop-oriented when compared to the angsty vocals of Morris. It serves as one of the several reasons why Goodbye Blues is the definitive stepping stone in the evolution of The Hush Sound’s sound.

While I do admit that the first two albums from The Hush Sound were not my cup of tea, Goodbye Blues has really impressed on several fronts. Apart from the commendable utilization of Salpeter’s vocals, the stylistic approach found on the album surpasses all previous attempts substantially. A track like “Honey” may have sounded out of place on an album such as Like Vines, but the outright cohesiveness of Goodbye Blues allows the seductively intertwined key and guitar-led melodies to flow freely without any qualms. The track serves as a perfect example of The Hush Sound’s approach, with Morris’ snarling guitar communicating audibly with Salpeter’s piano. The rhythm section is also impressive, especially for a band of The Hush Sound’s pop-driven nature. “You are my love,” Salpeter croons during the breezy chorus, an enjoyable contrast when compared to the budding verses. “Medicine Man” is a grittier and equally successful attempt, driven initially by the propulsion of Chris’ bass line. A flurry of keys then emerge over some top-notch production, courtesy of Kevin Augunas. About mid-way through, it transitions into a beautiful bridge in which Salpeter’s keys glide freely over consistently engineered production. They even prove with a ballad like “Hurricane” that high-powered anthems are not the only trick up their sleeve, as the emotions channeled by Salpeter are wholesome and pure over a delicate key-driven melody. For a band of their nature, The Hush Sound have made a remarkable transition with Goodbye Blues.

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The Hush Sound – Honey

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The Hush Sound – Hurricane

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The Hush Sound – Medicine Man

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My week-long vacation of sorts turned out to be quite beneficial in several ways, with one of the most enlightening perks being the large array of releases from newer artists I had the chance to catch up to. The surplus of free time caused several promos to unearth themselves in a leisurely fashion, leading to a personal discovery of nearly a dozen or so relatively obscure acts that I feel require some well-deserved recognition. Thanks to such artists, the rest of July appears to look quite nice. Some of our vacation days may have passed by too quickly but the summer is far from over and there remains plenty of worthwhile artists churning out material that just sounds particularly cohesive when set against the sun’s blistering presence and the ocean’s calming rush. To kick off this week, I figured that something extremely accessible with a summery vibe would soothe some tense nerves. And while they are currently situated in New York City, the original roots of The Mood trace back to Fort Lauderdale, a destination whose abundance of shorelines appears appropriate for the group’s shimmering melodies; it seems as if they captured the energy of a city like NYC and fused it with a tropic touch more reminiscent of Floridian climates. Regardless of such geographical entries though, The Mood deliver a great degree of satisfaction within their highly accessible blend of power-pop and punk.

While The Mood are particularly simplistic in their conventional approach, the group’s captivating benefits arrive in the hook-filled songwriting of frontman Marco Argiro. Considering that they are fully confident in the addicting genre of power-pop, fans of the style should find great enjoyment in The Mood. After all, most quality power-pop has the sole goal to mesmerize listeners through infectious melodies and harmonies, causing The Mood to be a very worthwhile listen for anyone who does not hold the value of intricacy absurdly higher than that of smart and concise songwriting, which is just what the songs from The Mood are. Argiro is primarily responsible for such commendable attributes, though the rest of the band also lends a helping hand in several components that include the songwriting and lyrical content. Argiro’s cousin, Corinne Callen, adds backing vocals, keys, and glockenspiel in addition to writing the lyrics for a few tracks, while guitarist Kenton Langstroth, bassist Brian Karp, and drummer Chris Bunatta round out the five-piece. Already sharing the stage with artists as diverse as Simian Mobile Disco, The Nightwatchman, and This Is Ivy League, The Mood has done well in generating buzz for their latest effort, with three of their songs appearing on MTV’s Real World in addition to appearances at CMJ and SXSW and subsequent critical acclaim.

The Mood’s newest release, Synæsthesia, was produced, recorded, and mixed by the band itself in NYC. It follows up an EP, Get In, that was released in early 2007. With both releases containing 12 different songs in all, it makes me wonder why they did not just simply put out a full-fledged album. Apart from the aspect of time, something tells me that their style may have something to do with it, as I have learned over the past several days that their songs sound best in small doses. This can be applied to many respectable power-pop acts though, as the music’s appeal mainly relies on instantaneous responses rather than new components being discovered upon repeated listens. While each track on Synæsthesia is diverse enough for the highlights to stand out on their own, one can expect stylistic consistency throughout the entire duration. Argiro solidifies each track with vocals that are able to alternate between snarling punk schematics and breezy power-pop allure, backed by tight instrumentation that is often further supplemented by Callen’s harmonizing vocals. The contagious “Eskimo Scientist” is very demonstrative of this, mixing an exciting blend of keys and guitars as Argiro and Callen star in a chorus that is uplifted by their vocal duet and the vibrant instrumentation that supplements it. Like most recognizable power-pop songs, the verses are fun but the chorus is even better.

Though it is difficult to pick a favorite on a release where all the songs appear consistently infectious and stylistically analogous, “Masquerade” stood out for me during the first listen and has proven to express a boastful amount of longevity. Like “Eskimo Scientist”, it utilizes the expected formula of The Mood and other conventional power-poppers by building the song around an irresistible chorus, once again led by the duet consisting of Argiro and Callen. “Masquerade” somewhat separates itself from the linear classifications of power-pop and punk, with the vocal range presented by Argiro and structural progression of guitars and bass occasionally providing glimpses of surf-rock. Intentional or not, it works greatly to their benefit. For a band whose tracks could easily find a slot on most radio stations, “Masquerade” is arguably the most likely to capture the attention of listeners. The opening “In the Forest”, a slick track that highlights the charm of desolate nature in romantic situations when compared to urban life, sees Callen’s vocal role increased as she becomes the melodic backbone to the track’s bridge. Though not as catchy as the proceeding “Masquerade’ and “Eskimo Scientist”, it bodes well as the opener on Synæsthesia by setting a stylistic tone early and confidently. Both releases from The Mood are now available via Outright Rock Records and should quell the hunger of power-pop fans who do not demand too much apart from infectiousness.

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The Mood – Masquerade

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The Mood – Eskimo Scientist

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The Mood – In the Forest

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The post The Mood is Content appeared first on Obscure Sound: Indie Music Blog.

Attempting to follow a traditional etiquette while simultaneously bringing something fresh and innovative to the table can be a problematic maneuver for some bands. After all, if listeners have become so accustomed to a style that has nearly become set in stone, delivering material that actually differentiates itself from the masses that have already been available for years on end can be a rare and commendable achievement. Though the precise originations date back hundreds of years, the version of folk music that most of us are familiar with traces back to the 1950s. With a lyrical fixation on relatable social circumstances that were rarely defined by one specific period of time (unless a track was politically charged), both new and old folk material were ushered to the forefront in American and British music circles. Today, many bands continue to embrace the style as they incorporate the schematics of basic folk with stylistic and lyrical contemporary relevance, with the matter of whether or not the result is innovative and captivating being the primary defining factor in identifying modernistic success within the origins of a style that even most senior citizens are familiar with. It simply goes to show how timeless some genres of music can be.

A folk-laden trio based out of Ontario, Elliott Brood rightfully take pride in being a band who shows veneration for the past while bringing something new and exciting to the table. Originally a duo consisting of Mark Sasso and Casy Laforet, Elliott Brood formed in late 2002 with an energetic style of play that was difficult to classify; the band lists “urban hillbilly” and “death country” as being a few early classifications, admitting that none really did much in accurately defining the band’s energetic ideology. Their debut EP, Tin Type, saw a Canadian release in 2004 and its consequential acclaim led the duo to the beginning of what would later be a busy touring schedule that stretched from Canada to Europe. At the time, current member Stephen Pitkin was not officially a part of the band but he had the role of producer for the recording process of Tin Type. When Elliott Brood’s debut full-length album, Ambassador, was released in 2005, he joined full-time. Ambassador was nominated for the Juno award in Canada under the category of “Best Roots/Traditional Album”. After the success of Ambassador prepared them for an even larger tour alongside the likes of Wilco, Broken Social Scene, and Do Make Say Think, they began work on their new album.

In their third release and second full-length album, Mountain Meadows, Elliott Brood have delivered an album that speaks volumes in portraying the band’s high level of originality within the vein of conventional folk music. Ambassador did an excellent job in providing a good amount of lyrical variety, from entertaining throwback political commentaries like “President (35)” and “Jackson” to geographical odes like “Oh, Alberta”, “The Bridge”, and “Superior”. It also featured “Edge of Town”, a somewhat somber effort that is arguably the trio’s only conventional love song. Keeping in touch with their historical aptitude, Mountain Meadows continues the group’s emphasis on historical locations and the events that have occurred there; the title itself is a reference to the Mountain Meadows massacre of 1857. It simply stays true to their folk origins, depicting fascinating past events in a form that even the most technologically inclined could relate to. Scheduled to be released on June 24th on Six Shooter Records, it is an improvement upon the successful Ambassador in its melodic content while straying in an enjoyably similar historical realm. There is no considerable stylistic transition, but Elliott Brood continues to do some considerably innovative things within the genre of folk.

“Write It All Down For You” is an excellent example of Elliott Brood’s ability to transform even the most structurally conventional folk song into something with an ample amount of ingenuity. The simplistic progression of an acoustic guitar carries the track’s first few moments, only to be enjoyably interrupted by spurred percussion that is rhythmically backed by vocals proclaiming the end of a verse with a “hey! hey! hey!”. The snippet lasts little over one second, but the parallel it causes between the progression and Sasso’s raspy – yet uniquely powerful – vocals is considerably striking. “Without Again” is one of the album’s more predictable tracks, though the polished blend of country and folk it conveys allows the song to be every bit as infectious as preceding gems like “Write It All Down For You” and “Fingers and Tongues”. Slickly incorporating a harmonica over a varying degree of acoustical guitars, it plays the role of upbeat folksy ballad off very well. “Fingers and Tongues” is an engrossing opener that sees a rasher rock-oriented approach integrate itself into familiar folk territory. It is convincingly demonstrates Sasso’s eclectic vocal ability, one that can make the transition from distorted folk-rock to acoustical ballads with ease.

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Elliott Brood – Write It All Down For You

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Elliott Brood – Fingers and Tongues

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Elliott Brood – Without Again

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When I was 8 years old, my taste of music was generally limited to conventionally accessible acts in the vein of The Beatles, Radiohead, and Zeppelin. True, no one will deny the significance of any of those artists, but my taste had clearly not yet reached a level where people would respond with “who the hell is that?” after asking who my favorite new artists were. That being said, if an 8 year old trotted into their 2nd grade with a presentation assignment to share with the class their favorite artist, there is a chance that even teacher would be startled if the answer was someone like Tom Waits. Waits, as most of us know, is one of the most enigmatically successful songwriters of the past 30 years. Still though, how his ingenious lyrical intellect and blending of various – and often inaccessible – musical styles could capture the usually inattentive ears of an 8 year old is beyond me. Well, as it was easily apparent at an early age, Phoebe Killdeer had a natural tendency to stray outside the artistic norms. “Tom Waits got to me at the age of 8 and I’ve been a constant listener ever since,” the aspiring songwriter explains, effusively confident in her unconventionally fulfilling ways. It is easy to believe that songwriters are most efficiently groomed by stylistically analogous influences they discovered as a child. In Killdeer’s case, she was and still appears to be ahead of the pack.

Even before she became enamored with the individualistic audacities of Tom Waits, Killdeer also proved mature beyond her years when she expressed an interest in the choreography of dance. “I was fascinated with the relationship between movements and sounds and always felt that they communicated through a language I could understand,” she says. This sparked interest later prepared Killdeer for her current occupation as a talented songwriter with a potential that remains as high as the sky. Like Waits, she continues to disregard any stylistic norms in favor for her own tendencies. Is she a beatnik at heart? Sure, I guess you could call her that if the term fails to bother you, but Killdeer’s embrace of stylistic philosophies both old and new provides for an experience that is freshly stimulating. As for her influences apart from Waits, Killdeer believes that her most important influence derives from a broad level of sociology that we can all relate to. “People are my inspiration,” Killdeer says, referencing civilization as a whole instead of through specific individuals. “They are a never-ending source of emotions, feelings, reactions, disturbances, and surprises. If you sit long enough you will always catch a moment, just like a photographer who has caught a story, a thought in a snapshot.” For Killdeer, her first snapshot in the world of songwriting happens to be one of the most enjoyable debuts of 2008.

Like many young artists looking to get their share of experience, Killdeer began her musical career collaborating with artists who had been around long enough to know a helpful thing or two about the industry. Basement Jaxx, Bang Gang, and Nouvelle Vague were a few of these names, with the latter providing a surreal experience for the young Killdeer. After contributing to Nouvelle Vague’s second album, Bande à Part, she participated in a world tour with the French duo, apparently lasting 3 years. Knowing Nouvelle Vague’s leading man, Marc Collin, also helped out to a large extent in the long run; he went on to produce Killdeer’s solo debut, Weather’s Coming. To be released on April 1st, it is truly one of the most impressive debuts of the year so far. “It dramatizes the elements I love most about our little world; people and what makes us so undeniably us,” Killdeer says. “I wanted the sound of the album to be dirty enough to represent the quirkiness of these characteristics, so with Marc Collin we got some crazy horns, ghostly vibraphones, edgy guitars, and tribal drums together to capture the necessary mood.” And after six weeks of working with producer Marc Collin and mixer Oz Fritz in the city of San Francisco, Killdeer realized just as much as her listeners that her debut has the capability to be something special.

Alongside an extremely capable backing band that goes by The Short Straws, Killdeer’s outstanding debut tackles a variety of genres that include hints of rockabilly, blues, and folk. With tinges of surf, punk, and even funk also being evident, her ability to write addictive pop songs with such underlying stylistic leanings is extremely impressive. With Killdeer’s seductively swanky vocals complementing her eclectic stylistic approach, it proves to be a lethal combo. The lush “Let Me” utilizes forms of folk, soul, and even Afro-pop as Killdeer breezily glides over a twinkling set of keys. The keys have the simple job of providing chordal whole notes, with the single-handed spur of percussion supplementing the rhythm. Separate keys in a deeper tone appear after each verse, establishing a hook that mainly relies on the melodic similarities to nostalgic soul-like ballads. “He’s Gone” sees Killdeer playing more with elements of R&B and vocal jazz; the brass section provides for a refreshing alternative to guitars and keys. And for kicks and giggles, many will find the brass to be particularly reminiscent of… Tom Waits, of course.

For vocal jazz, however, nothing on the album can come close to comparing to “Big Fight”. Killdeer vocally reflects the melodic arrangements of each brass instrument, providing a “bang!” for every note during the bridge. She whispers seductively and croons like a jazz bar veteran throughout the entire track, backed by a devastatingly infectious instrumental section; the music is compliments of the outstanding The Short Straws. “I Get Nervous” is one of the most devastatingly haunting tracks I have heard so far this year. An organ leads this minimalist gem as the reverb-soaked Killdeer asks, “Why can’t love be a little easier on me? Scratch me, pinch me,” before the brooding rush of guitars and percussion. Almond also provides outstanding production, using techniques of implementing orchestral elements into pop music somewhat similarly to Matthew Herbert. Even tracks in the vein of traditional Americana and rockabilly, like “Paranoia” and “How Far” respectively, bode well. However, it is in avant-garde gems like “I Get Nervous” and “Big Fight” providing the best examples of Killdeer’s outstanding songwriting, even if “Let Me” remains the most instantaneously infectious. If you fail to pick up Weather’s Coming on April Fools’ Day, the joke is simply is on you.

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Phoebe Killdeer & The Short Straws – Let Me

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Phoebe Killdeer & The Short Straws – Big Fight

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Phoebe Killdeer & The Short Straws – I Get Nervous

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