Ambiguity and exposure have an interesting bond in the world of independent music. To associate one with the other immediately seems like a contradiction, but also consider that many deem the role of popularity and experimentation to be incompatible in association. For that though, we know it is not the case because true fans of music push aside both the pretentiousness or mainstream recognition components of an artist if they produce quality music. Justin Vernon, known prominently under his Bon Iver alias, may not be music’s hottest celebrity, but anyone who has read any type of music publication in the past two years is likely familiar with his material. Like a Panda Bear or Spencer Krug, he has acquired enough recent acclaim to boost any project into the spotlight with his mere presence. A brand name can sometimes bring a bigger ego than ideas, but in Vernon’s case this is clearly not the case. The sincerity, passion, and craftsmanship exhibited in his music shows that. In fact, in addition to his obvious skills being utilized, his popularity should result in the new discovery of collaborating musicians that are just as vital to this excellent new project. By listening to their excellent debut on its own, one can easily discover that Volcano Choir is more than a Justin Vernon side-project. It is the heart and soul of the six different musicians involved.

Despite what Volcano Choir’s recent emergence may suggest, the trio dates back to 2005. Years before Vernon became a household name, he and a bunch of top-notch musicians and friends formed a project that they regarded very aptly as a dedication to music itself. They throw around a variety of names like Steve Reich, Tom Waits, and other heroes of experimental music and pop as influences, but they go on to claim that “the group’s influence is music itself.” Such a statement may sound overbearing or pretentious, but one listen to Unmap, the sextet’s debut, should reveal complex layers of beautiful melodies that almost seem to concisely display each of the member’s talents in one wholesomely satisfying package. Vernon’s quivering croon is wisely evident, but there are so many other things that make Unmap one of the most impressive debuts of the year. Volcano Choir encompasses a bunch of members from one of Wisconsin’s most adored bands, bands, Collections of Colonies of Bees. Jon Mueller, Chris Rosenau, Dan Spack, Jim Schoenecker, and Thomas Wincek all lend their talents in a majestic and equatable manner, from Mueller’s experimental-noise and percussive talents to Rosenau’s glittering guitar work. Wincek and Schoenecker both were in control of Collections of Colonies of Bees’ electronics and keys, and both prove vital on a release that blends high-tech experimental production with naturally blissful pop melodies that derive from the talents of each member.

As I mentioned earlier, Vernon’s popularity should bring light to the worthwhile material of Collections of Colonies of Bees, even if their name is a bit of a mouthful. And when listeners begin to investigate both that group and the solo material of each member, Volcano Choir’s sound becomes increasingly apparent. Whether they tackle Sigur Rós-like Gregorian chants in the sprawling noise-pop of “Dote” or turn in one of the year’s most satisfying singles in the choppily brilliant “Island, IS”, each maneuver is a success that slowly but steadily constructs Unmap as a stunning debut. “Island, IS” uses several chopped-up samples of guitars and assorted string instruments over the reverbed echo of Vernon’s somber croon. The clash between minimalism and folk is extraordinary done, with the repetition of melodic fragments colliding beautifully with Vernon’s voice and the building percussion of Mueller. Mueller, while notable for his percussive accomplishments, also has some worthwhile noise material to offer on his solo page. Structurally, “Seeplymouth” is even more reminiscent of Reich-like minimalism, using the driving pulse of voice echoes and guitar twinkles to slowly establish a building melody that eventually ceases for the emergence of Vernon’s vocals. Like on his Bon Iver material, they appear omniscient in the way his vocals cohesively adjust in accordance to the lush instrumentation. Listeners are used to this sort of the thing from Vernon by now, but hearing his vocal skills under the grandiose construction of sounds from his stellar collaborators are a whole new experience altogether.

For the album’s more barren numbers, “And Gather” is appropriately titled for a style that comes across as joyous and inviting. The soft strumming of an acoustic guitar is hidden behind steady handclaps and gleeful whimpers that seem to vocally involve all six members in some way. It seems to be sitting comfortably in a campfire setting, perturbed by nothing apart from any unnatural force intent on interrupting this spontaneous creation of music. Unmap concocts a lot of imagery without even emitting distinguishable words, a sign of brilliant production and musicianship at the very least. The jazzy influence of “Mbira in the Morass” recalls Frank Zappa’s incomparable knack to turn the most avant-garde of styles of compositions into something utterly fulfilling, using sporadic hi-hat percussion, unconventionally tuned keys, and an incoherent vocal accompaniment to create something that sounds foreign in the most memorable way possible. Also, it would be foolish of me to end this feature without mentioning “Still”. Another track named perfectly, it evolves from a single synthesizer and vocal accompaniment to what sounds like a full-blown orchestral of beautiful noise-pop. What is most remarkable here is how the initial components remain strong throughout the entire duration, flowing in a majestic manner to complement the growing sense of audible relief. It is simply another example of mastery on an album any of the band’s members could call a glowing accomplishment. Collaboration can be a complex maneuver in music, but Volcano Choir have crafted one of this year’s finest by involving all of its members in an equal and sophisticated manner.

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Volcano Choir – Island, IS

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Volcano Choir – And Gather

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Volcano Choir – Mbira in the Morass

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I have little doubt that even a mere connection with Justin Vernon, better known as Bon Iver, would create enough buzz for an aspiring group to latch onto for quite awhile. As one of the newly crowned kings of contemporary folk music, his reputation continues to grow at a rapid pace due to highly ardent fusion of folk and indie-rock. Then again though, it would take at least a considerable amount of potential for a newly prominent solo songwriter like Vernon to dedicate his time and efforts toward another band that is not affiliated with his own. After all, it would take a lot to put stake on a reputation that has just been recently exposed to the masses. When applied to his production efforts with Land of Talk though, it is not hard to see which factors attributed to his choice. For the Montreal-based trio, expectations have surrounded them ever since their 2006 debut, Applause Cheer Boo Hiss. It was a somewhat minimal effort in its featuring of just 7 tracks, but their unique presentation of darkly brooding indie-rock and folk drew critical acclaim and the striking single “Summer Special” saw some substantial radio airplay. On the release, they were able to prove within their songwriting a high degree of flexibility that contained both tinges of romanticized folk and gritty indie-rock, two notable facets of their performance that appear to be Vernon’s specialty.

Ever since the release of Applause Cheer Boo Hiss, arguably the most noticeable facet of Land of Talk’s performance has been related to frontwoman Elizabeth Powell. Previously making attempts as both a solo songwriter and performer in several punk-oriented groups during the late ‘90s, her first stroke of success began after enrolling in a jazz program at Concordia University, a public university located in her native Montreal. While there, she met Chris McCarron and Mark “Bucky” Wheaton and proceeded to form Land of Talk. As a veteran of both songwriting (she started in her early teens) and the punk scene in general, an additional background in jazz from the other two members allowed them to fuse a sound that could be deemed both original and stylistically invigorating. Wheaton left the group in 2007, just over a year after the release of Applause Cheer Boo Hiss and three months after “Summer Special” reached #1 in January of 2007. With McCarron still on bass, Eric Thibodeau quickly replaced Wheaton on drums and the group set forth toward the recording process of their full-length debut album.

Impressed with their live reputation and strength of Applause Cheer Boo Hiss, the notable Saddle Creek signed Land of Talk this summer after hearing that their debut was ready for its final stages of production. Powell had revealed Vernon’s status as producer in January via a blog post on MySpace, also revealing that the album had been completed in September at a church in Montreal with Mark Lawson and Drew Mallamud in addition to Vernon. Andrew Barr, drummer of the previously featured The Slip, also added percussion to 9 of the 10 tracks. Considering many publications declared Applause Cheer Boo Hiss to be one of the most impressive debuts of 2006, it serves as no surprise that Powell has made no dramatic transition in her vocal approach. Maintaining the elegant composure of folk-tinged chanteuses in the vein of Rilo Kiley and also the angsty drawl of a more intensely presented figure like Karen O, Powell constantly serves as an extremely powerful presence with both her vocals and dynamic guitar work. On their debut full-length, Some Are Lakes there are several examples in which both impressive aspects are displayed simultaneously. “Give Me Back My Heart Attack” is a fine depiction, illustrating a series of consuming guitar work that can be either harsh or vigorously spontaneous, depending on the given moment. Accompanied by vocals that snarl, crackle, and then smoothly transition their way into the impressive ballad that is “It’s Okay”, it is a proficient display of her display as a songwriter, vocalist, and guitarist, even if the metaphorical usage of a car in “It’s Okay” sounds a tad desperate in its general context.

Despite the highly dynamic qualities of “Give Me Back My Heart Attack”, the radio-friendly flair of “Young Bridge”, and the successfully emotive tendencies of “It’s Okay”, arguably the most accessible and rewarding moment on an album full of them is “Some Are Lakes”. This is one of those tracks that generally seem destined to be a single, mainly due to the sheer success that the cumulative structure of the sound conveys. Compared to songs with rougher edges like “Death by Fire” and “Give Me Back My Heart Attack”, there is a more prevalent folk influence in both the instrumentation and Powell’s vocal delivery. “And I’ll love you like I love you, then I’ll die,” she sings somberly, but still with enough genuine intentions to truly capture the listener’s attention (though the infectious melody certainly does enough of that). This style succeeds resoundingly well for them and I can’t help but desire for more like it on the album, though I certainly cannot blame them for attempting ballads like “It’s Okay” and rock-oriented songs in the vein of “The Man Who Breaks Things (Dark Shuffle)” and “Death by Fire” due to the resounding success of all of them. As far as the aid of Justin Vernon goes, he certainly contributed to crafting this excellent full-length debut, though credit certainly has to go to a trio that is too talented to simply go overlooked. Some Are Lakes drops on October 7th and should receive plenty of buzz for all the right reasons.

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Land of Talk – Some Are Lakes

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Land of Talk – Young Bridge

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Land of Talk – It’s Okay

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Even if naming your band after a Pink Floyd song is a bit cliché, The Julia Dream have enough originality and distinction to pull it off. It also helps that “Julia Dream” was an early b-side, being one of Roger Waters’ less popular songs. At least that aspect can avoid them some hate from the baseless hipsters. The Julia Dream can most accurately be grouped in with bands like Interpol and Editors, showing a likeness for post-punk revival, often translating to radiant guitars, tight rhythms, and noteworthy melodies. However, unlike Interpol and similar modern artists, The Julia Dream have a tendency to be more focused on even darker assets, with a larger emphasis on vocal execution. Though the vocals of Vernon P. Love have a pitch that is slightly higher than most bands of the genre, his melodic incorporation and emotional involvement is similar to the unique approach of Placebo’s Brian Molko. The guitar sounds given off from Sacha Alexander are also reminiscent of such an aphotic touch, often throwing in a shimmer of lighthearted instrumental verses over the progression of several expeditious chords. The rhythm section, consisting of bassist Matt Spatial and drummer Michael Jason, is also expectedly firm. Since their formation in mid-2004, The Julia Dream have established themselves as one of the more noticable bands originating from the Atlanta area. By the end of 2004, they were named one of “Atlanta’s Top 100 Bands” by Civilian Magazine, in addition to several additional publicized compliments. After headlining at several festivals and the Atlantis Music Conference, The Julia Dream headed to the studio in late 2006 to record their first official studio release. The result was a seven-song EP, Above From Beneath, which was released in February.

Though the EP has yet to expose the band to a national variety, a big break of sorts in the near future hardly sounds too radical. With a new album from Nine Inch Nails and Placebo on the way later this year, this specific mixture of industrial, alternative, and post-punk should be gaining steam later in the year regarding radio playability and media exposure. As can be clearly heard in “Transistor”, Love’s vocals play a large role in the factor of success a song from The Julia Dream can have. While the verses express a similar Molko delivery, the powerful chorus indicates a raise in emotion and pitch. Alexander’s guitars are also very prominent, adding several guitar lines to an already lavish chorus. “Aliens All Laughing” is an even more accurate depiction of the Molko signature usage, using the same formula as “Transistor”. Yet again, Love changes his pitch as the chorus rushes onto the scene, though “Transistor” flashes more variability with the added scratching and dripping samples, all which incorporate themselves into the saturated atmosphere quite well. Following “Transistor” on Above From Beneath with it’s repercussive dripping of a faucet, “Barricade” is the most expressive on the album from it’s initial starting point, showcasing the band’s meaningful regard to all things bleak and blighted. “Build a bridge instead of burning it,” Love hints with a pleading sense of optimism, “make love instead of taking it.” Throughout this song of sensitive fury, Love begs for nothing but the returned emotions of a feeling that is ironic to his last name. Like the previous two songs, expect a memorable chorus, that even while similar, is catchy and responsive upon initial listen. For fans of the element, Above From Beneath is a worthwhile listen. Though the lack of differentiation in song structure and production stops this debut from reaching great heights, it’s a promising effort from a band whose passion is highly evident throughout their seven songs.

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The Julia Dream – Transistor

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The Julia Dream – Aliens All Laughing

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The Julia Dream – Barricade

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