by Jay Mattson

What comes to mind when you think of the Magnetic Fields?  Is it Stephin Merritt’s haunting vocals?  Is it the band’s minimally powerful melodies? Perhaps you remember the digital-via-analog production that confounded and pleased you at the same time.  Or maybe you just think about the utter emotion poured into every song without a hint of excessive effort.  All of these sentiments are legitimate and worthy of one of the most under-appreciated independent rock bands of the modern era.  Though the band’s beginnings extend to the early 90s, it was the release of 69 Love Songs in 1999 that truly showed the world what Merritt could achieve.  Originally planned as a 100-song musical theater-esque project, Merritt himself conceded that 100 was a gargantuan number to undertake and partitioned the vision down to 69, obvious sexual connotations intact.  On a personal note, 69 Love Songs was my first exposure to the Magnetic Fields.  Being one of their best albums, I was given the best possible introduction.  It has been just over ten years since 69 Love Songs was released in all of its 3-disc glory and it still stands as one of the best albums of the past 15 years.

Stephin Merritt has expressed on multiple occasions that 69 Love Songs is not an album of actual love songs, but songs about love songs.  While this might sound a bit redundant, he makes (in a most existential way) meta-fictional societal observations that still prove relevant and inspiring to this day.  One of the best examples of this phenomenon is seen with “The Book of Love”; it is a solemn, nearly distraught explanation of the human understanding of this emotion we call ‘love.’  “The book of love is long and boring” shows how uninspired these emotions can feel, while the actual expressed idea is surging with symbolism and underlying meaning.  In fact, this song speaks such volumes that it was covered by Peter Gabriel on his album of indie covers in 2010 and prior was used as the closing track to Scrubs in the spring of 2009.  One interesting subtlety to notice is the rather conservative use of electronic manipulation. While their earlier albums were somewhat characterized by synthesizers, 69 Love Songs only employs the technique on a handful of tracks.  Perhaps Merritt preferred a more analogical approach to this opus of satire, or maybe he was just tired of the effect.  When a synth is used, Merritt does so with swelling over-the-top jaunt.  On the opposite side of this coin of relativistic meaning, we have “Fido, Your Leash Is Too Long”, the direct follow-up to “The Book of Love” and a song that epitomizes the modern-rock approach to a love song that isn’t a ballad; make it underwhelming and somewhat unintelligible.  Of course, the satire of ‘underwhelming’ makes the song excellent in it’s own right whilst still expressing the crudeness of the soft rock appeal of the 90s.  The meaning of “Fido” is, as aforementioned, somewhat unintelligible, as the traditional imagery of a leash in the romantic sense shows it being too short, as one partner keeps a tight hold on the other.

Disc two seems to revert to a simpler and more straightforward aesthetic.  The short “Very Funny” is lifted by classical strings and piano to heights nearly reaching ballad levels.  The presentation of a variety of genres is one of 69 Love Songs‘ most endearing elements.  While each song is irrefutably a work of the Magnetic Fields, they are all executed in unique ways.  Take the juxtaposition of “My Only Friend” and “Promises of Eternity”; the former a piano ensemble, the latter an electronic-assisted hyperbole about the time it takes to express one’s feelings.  And how about “Washington D.C.”?  This track alone proves how versatile this band can truly be.  A cheerleader chant opens the ethereal effort and gives way to one of the more pop-oriented melodies on any of the albums.  With lines like “It’s my baby’s kiss that keeps me coming back” allowing Claudia Gonson a freedom to just sing without pretense, instances like this are a pure delight.  “Papa Was a Rodeo” is another track that yanks at the listener’s conscience. It is a pivotal song that expresses the chaotic nature of life on the road (“never stuck around long enough for a one night stand”), how it is perceived through the eyes of a child, and why it affects that child’s life even into the fall of his life.  Recovering from a flurry of down-tempo melodies, “The Sun Goes Down and the World Goes Dancing” is upbeat and fun.  Like a gypsy jangle, Merritt sings at a higher octave to compliment the heightened mood.  Of course, the lyrical nature is still characteristically pessimistic, though it is difficult to not move your head and raise your heel to the melody while singing along.

The “lo-fi” label has been applied to indie music since the early ’90s, but few songs have achieved a lo-fi/country feeling like “I’m Sorry I Love You”, one of Gonson’s ditties about a heart-worn lover who comes to grips with a broken relationship.  Additionally, the radio-reverb friendliness of “Wi’ Nae Wee Bairn Ye’ll Me Beget” shines through as a powerfully under-produced track that still manages to convey intense meaning.  My favorite song on all three albums from 69 Love Songs is “Yeah! Oh Yeah!”, a song that literally attacks any love song ever written.  Without subtle imagery to act as a buffer, this track surges forth with the power of anti-love esteem.  “Are you out of love with me? Are you longing to be free? Do I drive you up a tree?/ Yeah! Oh Yeah!” is the opening line of this duet between Gonson and Merritt.  From there, it continues its descent into the already-dead (and now festering) relationship between lovers who have been out of love for so long, they no longer censor their feelings.  This track is meaningful in it’s disparity.  The natural follow-up track is “Meaningless”, a 50s doo-wop style track that imposes the meaningless of words of love… how they are only words and nothing more.

I could spend three full-length features outlining the nature of 69 Love Songs, one for each disc, and I still feel as though it would not be enough.  This career-defining album is full of metaphor, imagery, subtle meaning and stylistic progression more broadly than some bands achieve in their entire career (just look at Poison).  If you have heard this album before, play it for yourself again and remember why the Magnetic Fields are one of the best bands from this generation.  If you have not heard 69 Love Songs, I implore you to find time to really listen.  Do not play it while you are working, exercising, or playing a game.  Really listen to it and absorb the irony, the satire, and all the existential truths that exist below the surface.

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Magnetic Fields – The Luckiest Guy on the Lower East Side

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Magnetic Fields – My Sentimental Melody

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Magnetic Fields – Let’s Pretend We’re Bunny Rabbits

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Magnetic Fields – It’s a Crime

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Magnetic Fields – Very Funny

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Magnetic Fields – Yeah! Oh, Yeah!

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Magnetic Fields – Papa Was a Rodeo

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Releasing an album fresh out of college can be an interesting process. One arrives at the point where excitement and ambition are more prevalent than ever, not yet deterred by continuous rejection or personal crisis. All the knowledge acquired during class and work now has to be put to use using reason; this occurs as attempts to acquire and execute new ideas grow subtler and less prevalent with time. For the handful of full-time musicians that attend college, it is a time of self-discovery that puts them to the test in a very unpredictable industry. This pressure often results in imitation overriding innovation as artists become reluctant to use their own ideas, seeing a lack of resources and investments as reasons for avoiding risks. Pagoda’s 2004 debut, Dearly Departed, was a pretty impressive release in this regard, at least in the fact that the young members managed to put out a release that boasted their enthusiasm and obvious intellect in music. Polished playing and production is unlike most young DIY indie-rock acts, causing many to take note of their songcraft. Press was particularly heavy in their native Washington D.C., where they were hoping to revive a lackluster music scene. The fan response was amiable all over, though there were many that thought the band had even more to offer.

Dearly Departed was enjoyably demonstrative of a group with heaps of potential, but there was something missing. Keeping in mind the struggles of recent undergrads emitting originality, it sounded at times like a tribute album. All the songs were quite good but comparisons to influences were too abundant for the band’s own good. The album showed the genres of dream-pop and alternative-rock being nostalgically referenced to their American likenesses throughout the past few decades. The dream-pop spectrum sits well in regard to artists like Yo La Tengo, Mercury Rev, Big Star with their spacey reverbs and bursts of instrumental intricacy, while impressive guitar work and enthralling hooks show shades of alt-rock and Americana to integrate both serene soundscapes and impressive musicianship. This would probably sit well with the Elephant 6 collective, where artists like Apples in Stereo produce a likable effort that is similar in its multiple integrations. It is certainly a bunch of great artists to follow and be inspired by, and this is primarily why Dearly Departed was so well-received. But it also showed Pagoda as a band with tons of potential, enough of which would one day produce a resourceful sound that would inspire others instead.

Further maturation after the release of Dearly Departed prompted a name change for Pagoda, turning to Roofwalkers before recently setting on The Roofwalkers. The cast remains mostly the same, the only difference being Elmer Sharp replacing Kevin O’Meara on drums. Vocalist Ben Licciardi resembles both the reverbed lushness of Alasdair MacLean and multiply fronted attack of dream-pop groups like Yo La Tengo and Mercury Rev, the latter’s comparison arising most when male and female harmonizing overlaps on tracks like “Chin Music”, which is one of many impressive efforts on their new album, Roofwalkers. One of the most impressive displays of both is “Port of Call”. Specializing in slide guitar and celtic folk, its melody is washed away in a delicate reverb that ushers in the delicate vocals of Licciardi with the utmost precision. The concluding minute or so sees the band playing with various levels of guitar distortion, all while maintaining consistency in regard to the rhythm section and keyboards. The latter play a particularly prominent role with their sly twinkle, contrasting with the echoes of the guitars very nicely. “Find a way, oceans between us,” Licciardi creaks out. “Leaving the port of call, nothing left to haul.” Emotional recovery is a theme that speaks volumes throughout Roofwalkers, and under the layers of fragile reverb and evolving guitars it bodes well.

“Chin Music” is very reminiscent of The Clientele, especially in how the guitars unfold from lush atmospherics to a quickly paced arrangement with more likeness to prog-rock than shoegaze or dream-pop. The group maintains their dream-pop fixtures, but the expansion in guitar-based melody on this track brings a sort of prominence that is impossible to avoid. The dual male-female vocal leads toward the conclusion make this stylistic assimilation even easier; they both complement each other with professional courtesy and melodic richness. How the guitars unfold into a technically impressive rush is simply one instance of the unpredictable flashes of brilliance from The Roofwalkers. “Cut Every Corner” enforces that as well, showing an interesting introductory arrangement. Using muted acoustic guitars as a driving rhythmic force, various sources of instrumentation gradually compile masterful accompaniments in condensed post-rock form. Licciardi’s vocals here are slightly more lagging and drawn-back, almost resembling Lou Reed in that aspect of intentional sloppiness. The grainy guitar solos about mid-way through only establish that old-fashioned feel even more. The Velvet Underground, Television, and other technically impressive groups with a sense of early dream-pop seem to be paid in tribute here, though a track like “Cut Every Corner” still contains so many original ideas that it would be more accurately cited as an example of The Roofwalkers’ immense cumulative talent. Their new album simply boasts a newly inspired sense of originality, which brings in heaps of great ideas without sacrificing the enjoyable nostalgia of their dream-pop influences.

RIYL: Yo La Tengo, The Clientele, Mercury Rev, The Velvet Underground, Television, Apples in Stereo, Big Star

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The Roofwalkers – Port of Call

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The Roofwalkers – Chin Music

[audio:http://mineorecords.com/mp3/roof-chi.mp3]

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The Roofwalkers – Cut Every Corner

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From crocodiles to woodpigeons, I have featured a surprising number of bands that resort to their animalistic side for their namesake. Many of us have, at one point, come across the Discovery Channel to learn something that shocks us about animals. Whether it involves mating rituals or hibernation, there are certain behavioral characteristics in animals that make the human race seem dull in comparison. Perhaps this can explain why so many artists opt for an animalistic connection, one that makes their appearance seem more enigmatic and naturally inclined than the human species. Or perhaps it can be deployed in a symbolic manner, like the recently featured Bowerbirds. Unbeknownst to me before I wrote about them, the male bowerbird holds a colorful object in its beak to attract females during mating season. As it turns out, they do so to compensate for their lack of coloring, adorning their bowers with dead insects and other objects to distinguish themselves from the females. We can all agree that this tidbit is interesting, but how does it relate to an indie-rock band? For Bowerbirds, their style of instrumentation valued quality over quantity; the sparse amount of instruments was compensated for by arrangements brimming with passion, authenticity, and irresistible hooks. The group collected influences and ideas and wore them on their sleeves. Like the bird in their namesake, this distinction attracted an audience and distinguished them from their contemporaries.

For our next animal feature, we turn to a reptile with a reputation of being particularly rowdy. Who could it be kids? If you guessed Alligators, you are correct! Like Bowerbirds, this Seattle-based quintet takes pride in their name, even if the comparison to the scaly reptile is more ambiguous than that of a comparison to a bowerbird. Alligators claim that the animal in their namesake “have a peculiar mystique surrounding their existence”, citing the band’s own small-town upbringing as an example of a band that has risen out of ambiguity to hopefully conquer the nation’s attention span. Since their days in the local music scene of the greater Bremerton area in Washington, the five members in Alligators have been slowly climbing to the top. Longtime friends and collaborators, most of them were professionally trained in music and they all encompass a similar range of musical influences. They all mention Radiohead, the Beach Boys, and the Zombies most prominently, which is quite apt considering their sound borders between melodic experimentation and accessible pop. It is very typical of contemporary indie-rock, but their songwriting and ambitious song structures make their debut album, Piggy and Cups, something to get excited over.

The songs on Piggy and Cups vary in their introductory stages, ranging anywhere from the lush acoustical balladry of “If You Want To” to the rushing guitars of “Original Fear”. Regardless of where these efforts start though, they tend to almost always unfold into something highly excitable and genuinely enthralling. That may lead some to assume that Alligators are simply a continuation of the long line of generic indie-rockers that linger today, but even one listen to a creatively diverse song like “Original Fear” should calm those qualms. Joshua Trembley begins the track with vocals that appear more subdued than usual, only to introduce the listener to a falsetto-like range that coincides with increased intricacy in the guitar progressions and rhythm section. When Trembley proclaims, “When I woke up to the light of day,” the meatiest section of the track occurs, and boy is it good. The flashback to ‘90s alt-rock here is prominent, and the song’s conclusion with roaring guitars and coo-ing backing vocals is even better. Trembley demonstrates such intense emotion throughout this gem, perhaps taking away the spotlight from some great performances and intensely excelling songwriting. Repeated listens will solidify this song’s success though, and other gems on the album will be enjoyed similarly. The flow of Piggy and Cups is something that continues to impress me after a few listens; each song flows into one another more cohesively than most indie-rock groups these days, and for a group as ambitious as Alligators that is certainly an important skill to have.

Although I find too many of the songs on Piggy and Cups to contain too much structural diversity to become radio staples, there is no denying that a patient listener will surely be rewarded by the debut. It is a shame when actual intricacy and focus hinders an artist’s potential for recognition, so Piggy and Cups is yet another remarkable indie-rock debut that may be too diverse for its own commercialized good. The album’s opener and one of the more accessible efforts, “Where Does It Hide”, opens simplistically enough with linear guitar progressions and very ‘90s-like reverbed vocals, paving the way to a one-dimensional chorus that depends on halted guitars and vocal quips. However, both the verse and chorus merely end up serving as an introduction for greater things to come. After about two minutes though, we find the group resorting to electronic pop in a fashion that resembles a more wound-up Maroon 5. We find a bit of ‘70s pop present here, just like in the ending minutes of “Mama, Stop” where various vocal tracks collide to create something serene and expressive in accordance to the backing guitars. It seems that most tracks on Piggy and Cups open up with something accessible in order to prepare listeners for greater things to come, introducing anything from tinges of electro-soul to country-pop after that. After any given track on Piggy and Cups exceeds the two-minute mark, one can expect to hear a flurry of hooks and outstanding performances that provide Alligators with a lasting impression that seems more than suitable for a grand accomplishment in the vein of Piggy and Cups.

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Alligators – Original Fear

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Alligators – If You Want To

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Alligators – Where Does It Hide

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The term “musical entrepreneur” would seem to apply well to Dave Matthies, but he would likely take none of the credit. Over the past decade, Matthies has been a constant force in positively impacting the ability of other artists. He has flown under the radar in providing significant contributions to reputable artists like Phil Elverum (the Microphones, Mt. Eerie), Karl Blau, and Steve Moore (Laura Veirs, Mount Analog, Stembo), taking on various tasks that include producer, engineer, and performer in order to aid fellow talented musicians and get his ideas heard. Despite his impressive resume though, many still are unaware that he is very capable songwriter in his own right with a wide array of differing releases. Under the name of The Gift Machine, he has taken an interesting approach in using his variety of connections within the industry to enlist a wide array of talented collaborators to make each one of his releases enjoyable and uniquely memorable. In his releases under The Gift Machine, Matthies has never been particularly unconventional or experimental in his approach, often opting for the enjoyable three-minute pop song over the epically orchestrated vein of indie-rock. With his deeply solemn voice and ability to turn a simplistic melody into one that becomes unavoidably engrained in a listener’s head, his experience in the music industry has certainly allowed him to capitalize on his strengths.

As he alternates between living in Washington and California, Matthies is prominent among Washingtonians for being the owner of Vibe Control Studio, an ex-police/fire station that was turned into a recording studio. In addition to the variety of camps that were offered at the studio for aspiring musicians that wanted to know the basics of production, the studio has hosted everyone from Phil Elverum to Karl Blau, both of whom have engineered their own albums in the facility. As it makes sense since Matthies runs it, Vibe Control Studios is also the location of The Gift Machine’s recordings. Considering that he runs a respectable studio, it may seem surprising that Matthies’ new album, Goodbye/Goodluck, is the first of five releases that will actually reach the general public. The method of releasing Matthies’ past material – three full-lengths and two EPs – was basically where he gave a few copies to friends, associates, and fans at shows and was content. After all, Matthies strikes many as a musician/producer/engineer who is in it for the art form, not for the money or glory. And on Goodbye/Goodluck, these sentiments are more visible than ever. Even though Matthies is releasing this nationally through a label for the first time, he likely understands that the fantastic quality of this record has the potential to stimulate the artistic senses of those that listen to it.

Like all of his prior releases, Matthies has placed the aspect of collaboration as a high priority. He is the sole songwriter and creative engineer on the majority of songs on Goodbye/Goodluck, but the infusion of collaboration plays a heavy role on the eventual style presented on the album. Here, Matthies has enlisted the graceful vocals of Andrea Gruber. She sings in unison with Matthies nearly on every track, resulting in a beautiful male-female duet in a type of which we have all heard before, but Matthies plays with the vocal approach so well that it feels new and invigorating. This can be attributed to his style, which is a suave and subtly infectious form of pop music with audible references to psychedelia and surf-rock. The songs never appear overwhelming with their soft percussion, whimsy keys, or acoustic guitars at the forefront, but Matthies’ greatest strength appears to be his ability to make each track structurally cohesive. The melodies always start out simple, but Matthies employs a variety of hooks and melodic alterations to supplement simplicity in the best way possible. This is particularly evident on the delightful “In the Middle”, where Matthies and Gruber show off an excellent vocal contrast in Matthies’ warmly musky grumbles and Gruber’s angelically high-pitched delivery. That their contrasting voices work so well together is part of the song’s allure, but it is not the only reason for song’s satisfactory nature.

“In the Middle” begins straightforwardly with a very restrained organ and frail rhythm section, but the song serves as the perfect example of The Gift Machine’s tendency to expand upon simple pleasures. When the strum of an acoustic guitar signals the emergence of an electric guitar, the intensity in both of their voices increases before Gruber harmonizes with the backing instrumentation on her own. By the time the song ends, it will likely be hard to turn away from The Gift Machine now. Matthies’ lyrics are in the first-person on every track apart from “What Do You Require”, an apt choice considering the very personable nature of the instrumentation. The verses often take on the format of a haiku, connecting small and simple sentences together to craft something thought-provoking and genuine. The self-titled track is also indicative of the developmental nature of The Gift Machine, as what begins as little more than a single acoustical guitar eventually evolves into something with slide guitars, keys, and some clever harmonizing.

Basically, what these songs should provide is an example of why listeners should give The Gift Machine the time they deserve. Their songs may not grab you instantaneously, but listening to each song in its entirety will almost certainly reward the listener. For instance, “It Had to Be You” may even sound a bit clumsy during its first minute or so, but as it evolves the unique nature of the song results in an unpredictable and highly enjoyable effort. It is particularly impressive toward its instrumental conclusion, where a bunch of twinkling keys form over a key progression to establish a twee-pop type of feel. Goodbye/Goodluck is now available via KNW-YR-OWN Records, a Washington-based label that Matthies helped form. It is just one of the many achievements that he has to his name. Despite all of them though, Goodbye/Goodluck is of such a high quality that it may be his finest to date.

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The Gift Machine – In the Middle

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The Gift Machine – Goodbye/Goodluck

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The Gift Machine – It Had to Be You

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It was pretty startling to me that, after listening to only one track from The Happy Hollows, I was able to draw comparisons to nearly every single notable indie-rock band fronted by a woman in the past several years. Now, before you jump to any premature conclusions by declaring instantaneous comparisons to be a sign of unoriginality and a lack of ambition on the band’s part, take a , listen to “Lieutenant”. From Kim Gordon (01:06) to Karen O (01:41) and even Deerhoof’s Satomi Matsuzaki (03:52), it is easy enough to draw up some prevalent similarities on the track, but one must also keep in mind that the band’s high level of ingenuity within their own songwriting creates an atmosphere in which such comparisons are neither shameful nor condescending. After all, vocalist/guitarist Sarah Negahdari is one of those rare breeds that seem to adjust their vocal deliveries in accordance to the melodic content at hand, rather than just spontaneously churning out somewhat invariable degrees of vocalized discordances that are more irritating than melodically consuming. Backed by the tightly synchronized rhythm section of bassist Charlie Mahoney and drummer Chris Meanie, the California-based trio have been making waves ever since the release of their strong debut EP, Bunnies and Bombs, in 2006.

Though all three members now reside in Los Angeles, Mahoney and Meanie had known each other for several years prior to the formation of The Happy Hollows and all three members actually have originative ties in Washington, DC; it was a circumstance that was created primarily out of sheer coincidence. As it turned out, they all ended up moving to California for different reasons, such as graduate school for Mahoney and the pursuit of a music career for Negahdari. They had all been yearning for a career in music though, causing their reunion of sorts in California to be prompted by such aspiring intentions. Since Mahoney and Meanie had still kept in touch regularly after their move to LA, they had already begun to form what would later become The Happy Hollows. After Negahdari replied to an ad on Craigslist that Mahoney and Meanie had posted, they brought her in for an audition. Negahdari had been drawn to the fact that all of the influences listed in the ad were form groups with a heavy female-led dynamic, with names like Blonde Redhead, Sonic Youth, and the Pixies being present. The trio hit it off immediately, chatting together for nearly an hour before Negahdari even played. And when she did, things were nearly immediately set in motion.

The origin behind The Happy Hollows’ name actually traces back to Negahdari’s short-lived solo career, an outfit that lasted for about a year as she played gigs around LA under the name of The Happy Hollows. She had actually been auditioning in an attempt to find for a year and it was not until she found a bunch of fellow DC-based musicians like Mahoney and Meanie that she felt at home. After the 2006 relesae of Bunnies and Bombs, the trio began an arduously rewarding touring process that spread out over 2007, resulting in over 40 shows including opening for Deerhoof, The Silversun Pickups, Why?, and Architecture in Helsinki. Despite the fact that the touring brought them a live reputation that was both solid and acclaimed, the group considered the most important aspect of 2007 was the work they did with producer Dave Newton, also producer of the recently featured The Little Ones‘ Morning Tide. With Newton, they recorded 20 tracks that are apparently going to all be released this year in some form. The first of which are five tracks that appear on their most recent release, the Imaginary EP. Featuring the explosive “Lieutenant” as the opening track, it serves as an excitably enjoyable indicator of what is in store for The Happy Hollow and the rest of their 2008.

“Lieutenant”, as mentioned earlier, capitalizes on all the band’s strengths exuberantly. The charm is instantaneously prevalent, with a memorably simplistic guitar progression being uplifted by the powerful rhythm section upon each successive verse. When the new tonal progression occurs after a minute in, Negahdari shifts into a yelp-ish croon that is both sensual and ardently rewarding. This is just one example of what the song offers though, as the 5+ minutes all prove undoubtedly rewarding. “Tambourine”, though, may be the most consistently enjoyable on a vocal front out of all 5 tracks on the EP. Some vocalists tend to appear desperate when resorting to high-pitched squeals like the types !!!! presents in this song, but she does so in a way that complements the intensely revolving guitar progressions and rhythmic outbursts in a very satisfying manner. Just based on genuine intensity alone, this trio is a rare sight to behold due to her uniquely diverse vocal approach and the tightly impressive instrumentation devised by Negahdari’s exotically consuming guitar work, Mahoney’s infectious bass lines, and drummer Meanie’s intensely interwoven drum fills. Regardless of how these other 15 songs are released, you can be assured that the strength of this EP sparked my interest for the release of the rest of them.

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The Happy Hollows – Lieutenant

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The Happy Hollows – Tambourine

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The Happy Hollows – Big Bad Wolf

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As all music fans know, a listener’s mood can be a significant determining factor in choosing which record to pull from the shelf and give a listen to. Whether you are coming off the worst relationship of your life, partying hard on a Friday night, or cramming the night before a final exam, there is always something that just makes it seem all the better. As for an emotional state of indifference, a desire for something fascinating and memorable are often the only prerequisites, at least for me personally. A collection of varied emotional interpretations also serves nicely, depicting a wide range of moods that such a respective listener can tend to appreciate more than relate to. In such circumstances, the music of Acorn Project tends to sound best. Not only can the instrumentally eclectic group seamlessly unveil a wide range of both downcast and sprightly emotions, but they also do it in a form that is fun and consuming. Yeah, “fun” is a very linear sounding term when applied to music, but those who give a listen to Acorn Project should understand. With prevalent uses of saxophone and slide guitar making their way over a revolving array of accessibly intertwined genres, their ability to ceaselessly entertain has made them a local trademark in their native Bellingham, Washington.

Though I do believe that Acorn Project’s music seems best suited for individuals with no consistent set of emotions, this is not to say that the music of Acorn Project is for overly passive individuals. I actually say it as a compliment, as there are certainly more artists today who specify in one specific sentiment than others who dare to venture in more emotionally flexible territory. Funk and prog-rock are the most evident styles at hand, though the sextet shows a tendency to dwell on as many varying genres as emotions. They usually correlate as well, as the perky piano-led pop in the anecdotally impatient fervor of “Hello Neuman” or the chilling alt-rock progression in the brooding “Wellness” demonstrates well. These tracks derive from We’ll Be Fine, Acorn Project’s second album. The 2006 release of their debut, Odd His Sleepy Soar, brought them plenty of attention throughout the Pacific Northwest and their shows – drawing hundreds of people due to their growing reputation – did even more justice. We’ll Be Fine looks to be the album that should jump this talented group into a broader light, a more deserving placement considering their impressive diversity and esteemed level of musicianship.

Acorn Project’s swirling mixture of rock, blues, and funk serves as a cohesive format for the instrumentation of choice. Apart from the multifariously talented drummer and saxophonist Sam Lax (who is exceedingly impressive), each member specializes in an instrument in which they have clearly studied up on. To no surprise, considering that they have influences heavily derived from blues and funk, it is even prevalent on record form that Acorn Project are an exceptional live band. While infectious, radio-friendly pop and rock songs like “Hello Neuman” and “Gringo Starr” are noticeable on We’ll Be Fine, the group’s more ambitious leanings are also quite conspicuous. “Crystal Myth” features an enthralling intro that mixes the seductive croon of a saxophone with a few slick guitar licks and a more restrained execution of keys, a mere tease of what is yet to come. Along with Andy Pritiken’s apt vocals providing a structural backbone, guitar solos, sax solos, unconventional percussive fills, and sharp key changes carry the song’s success. When “Crystal Myth” shifts into an irate form of alt-rock around the 04:30 mark, listeners may be understandably caught off guard. But when the section subsides and the icy chill of a saxophone fills the air over a funky guitar progression, it becomes evident why it was put there in the first place. Shown best on the epic “Crystal Myth” and “Werner, Terner”, the ambitious nature of Acorn Project nearly always comes out successfully despite any initial judgments that listeners are inclined to make.

The aforementioned “Gringo Starr” surprisingly borrows more from folk and country than it does blues and funk. Yet another indication of Acorn Project’s eclectic nature, Pritiken muses about the merits of freedom from the perspective of some with a slightly microscopic interpretation of humanity. “That’s when I realized that this is what I need to be free,” he sings over a slide guitar and frantic variation of keys. “Free from anxiety that society brings down on me.” It is nothing short of inspiring how Acorn Project are able to incorporate their select choices of instrumentation – saxophone, slide guitar, and keys – in nearly all of their tracks despite the altering style at hand. It just goes to show that the group has made the evolution from primarily a “live band” to studio whizzes with heaps of good songwriting ideas up their sleeves. There are 3-minute radio-friendly charmers like “Gringo Starr” sitting alongside epic forces like the 8-minute “Werner, Terner” and “Crystal Myth”, with both forms finding success on their own separate terms. As is the case with most music whose origins trace back to blues and funk, the music is highly expressive, which leads us back to the sextet’s highly interpretative display of emotionalized characteristics. Whether the lightheartedly optimistic view of “Gringo Starr” or the ominous sax-led flair of “Stomp” fits your current mindset best, there is guaranteed to be something for everyone’s current psyche on the intricately resounding We’ll Be Fine.

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Acorn Project – Crystal Myth

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Acorn Project – Gringo Starr

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Acorn Project – Stomp

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I always find local labels to be something of a quaint necessity in the world of independent music. Most major labels could care less where an artist is from when they sign them, but the sense of genuine and personalized commitment that these tiny local labels put forth always proves to be a breath of fresh air when compared to other sickeningly grandiose corporate attempts at commercialism. Sure, the material may not be aided by a team of Grammy-winning producers or hired songwriters, but that is all part of the charm of a DIY local record label. Their selection process is generally limited to their surrounding state or city, with prior press coverage often being of surprising irrelevance. For the slew of good ones, bias is generally nonexistent too, with the only determining factor being the evident talent and showmanship of the artists involved. And even if none of their friends had heard the name of the record label before in their lives, any new artist who gets signed to one at least has this comforting fact to keep in mind: There is actually someone rooting for you who enjoys your music and will do their absolute best in exposing your material to an increasing audience. It may sound like a simple ideology, but sometimes all an artist needs to break through is a little bit of support from his local following.

Though I have yet to find a substantially sized label where I enjoy every single artist on the roster to a noteworthy degree, stumbling across a small label like Don’t Stop Believin’ Records should allow anyone to appreciate what a local label has to offer. With the majority of the artists signed to the label being based out of Seattle, Don’t Stop Believin’ has taken it upon themselves to reveal the best of what Washington has to offer. Out of the 10 artists on their site, only one (Casy and Brian) is based outside the state (California). To give an even better idea of the selfless ideology that a record label in their localized vein employs, several separate artists collaborate frequently with one another. Consider it an accessibly artistic atmosphere, with most artists having the intended goal to reveal Washington as a budding source for quality independent music. The band that I am enjoying most out of all the label’s offerings, The Pharmacy, also proves to be a defining example of this. The two founding members, guitarist Scott Yoder and drummer Brendan Bowers, can trace their origins back to The Terrordactyls, an entirely separate Washington-based band that is also currently signed to Don’t Stop Believin’. Whilst still in high school, both Yoder and Bowers founded The Terrordactyls in the late ’90s with Michael Cadiz and Tyrel Stendahl; the band originally consisted as a quartet before Bowers and Rubicz left the band in 2002 to form The Pharmacy. With both bands now a duo, they both carried on in commendable form.

Apart from consisting of mutual friends and being signed to Don’t Stop Believin’, both The Pharmacy and The Terrordactyls have a strong working relationship with Kimya Dawson, the ex-Moldy Peaches frontwoman thrust to the center of the spotlight after her musical contributions to “Juno”. The Pharmacy toured with Dawson in 2005, building up their reputation as capable live performers while playing as her backing band. The Pharmacy’s early goings consisted of a variety of demos during their first several years together, releasing a single or handful of demos every year or so since 2003. Just released at the end of February, their full-length debut, Choose Yr Own Adventure, is finally available. Now rounded as a trio with the addition of Stefan Rubicz on keyboards, the result is a collection of cleverly executed indie-rock songs with an involvement of guitars, strings, horns, and a variety of synthesizers. Upon first listen, their variability reminded me at times of The Unicorns, though repeated listens reveal a more consistently presented appeal that relies more on conventional structures and widely diversified instrumentation. Their ability to border on electro-pop while simultaneously churning out glimpses of deftly approachable guitar-led rock makes each song a different experience; the impressive abundance of hooks simply backs it all up.

In terms of both instant accessibility and infectiousness, there is not one track on Choose Yr Own Adventure that rivals “Tropical Yeti”. Barely exceeding two minutes in length, this concisely enjoyable indie-rock gem is best demonstrative of The Pharmacy’s potential. “In one more hour I’ll be gone, it takes too much to get along,” Yoder sings with a tugging whine, adjusting pitch accordingly in collaboration with constantly transitioning layers of guitars and keys. He is one of those vocalists that can easily craft an acceptable hook using his vocals alone, relying on melodic comprehension more so than actual range or pitch. “Little Toys on a Shelf” is a better display of the trio’s overall songwriting traits, providing more melodic variation and instrumental congruity. The organ-like keys bounce off in flawless form, with Yoder’s melodically uplifting whimpers being of an extremely enjoyable effect. “Did you drown in all your wealth?” he asks propulsively during the song’s appealing chorus, bringing up topics of superficiality and one-sidedness consistently. For additional songs like “Warm and Untorn” and “Try to Explain” that take solace in the amiable blend of keys and guitars, more of the same accessibility can be found. On the impressive Choose Yr Own Adventure, it would be difficult for the listener to select a moment on the album that proves even slightly mundane.

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The Pharmacy – Tropical Yeti

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The Pharmacy – Little Toys on a Shelf

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The Pharmacy – Warm and Untorn

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The post Choose Yr Own Adventure at The Pharmacy appeared first on Obscure Sound: Indie Music Blog.

I never thought that hobbits and the Lovecraftian milieu would find a home in indie-rock. Led Zeppelin did a fine job of revealing their admirations of such classic literature (“The Battle of Evermore”, most evidently), but the intent of contemporary indie-rock usually seems too futuristic to even attempt such literary measures. Leave it to the three boys in Dead Meadow to weave such cult works of fiction into their music, as their stylistic tone and involved themes are seemingly intent on being as innovative as the authors they admire in Tolkien and Lovecraft. Using such classic authors as inspiration, guitarist/vocalist Jason Simon, bassist Steve Kille, and drummer Mark Laughlin began crafting a fusion of ’60s psychedelia and ’70s rock when they formed in the fall of 1998. It was initially a joint operation of sorts, as the trio came together almost immediately after their previous bands, The Impossible Five and Colour, dissolved earlier in the year. With both previous acts serving as staples of the independent punk scene in Washington, D.C., Dead Meadow had a slight following before they even played their first show.

After a year of writing and touring, the trio released their self-titled debut EP in 2000, featuring 8 promising guitar-heavy songs that drew influences to Neil Young, Led Zeppelin, and Jimi Hendrix, with the mere mentioning of the latter serving as a commendable example of Simon’s exceptional guitar work. The first half of the album was filled with hazy, psychedelically intertwined rock songs that emphasized reverb and wah-wah in the midst of heavy instrumentation. The other half was filled with more subdued songs like “At the Edge of the Wood”, featuring hushed acoustical leanings and frailly consuming vocal deliveries. The stylistic transition proved to be merely the first example of Dead Meadow’s bustling potential.

Following up their commendable debut, Howls from the Hills was delivered in 2001 with similar intentions. Featuring both an array of heavy psychedelic rock and ardent acoustical arrangements, the comparative style to their debut proved to be a consistent showing that brought upon a sense of solidification toward the band’s sound. After an Anton Newcombe-produced live album, Got Live if You Want It!, was released in 2002,the band signed to Matador in 2003. Their first album for the label also happens to currently be their best; Shivering King and Others was released to critical acclaim in 2003. Though the style of heavily reverbed guitar riffs with an occasional shimmering acoustical ballad was not a structural departure from their previous works, the proficient implementation of blues and folk in Shivering King and Others found the band at their most confident in exposing the strongest songwriting of their career. Check out the breathtaking “I Love You Too”, the outstanding 7-minute opener, for an example of the quality the D.C.-based trio is able to churn out when all things are rolling. If you are looking for an album to start with Dead Meadow, Shivering King and Others is certainly appropriate. Their follow-up in 2005, Feathers, is also a very enjoyable album. It is certainly the most polished out of all Dead Meadow’s releases, showing more restraint in production while simultaneously managing to maintain the aroma of reverb-heavy stoner-rock that has built the trio into mature songwriters worthy of considerable praise.

For their fifth studio album (and third with Matador), Dead Meadow plan to release Old Growth on February 4th. For veteran fans of the trio, the album’s structure should come with little surprise. Like many of their past releases, there seems to be a nearly even mixture of woozily heavy psychedelic-rock and placidly atmospheric acoustical tracks. As they have proven in the past, it works to their advantage in providing an album that rarely becomes dull or tiring. In fact, apart from the exceptional Shivering King and Others, Old Growth has steadily become my favorite release from Dead Meadow. With chugging guitar-oriented tracks like “Between Me and the Ground” and “What Needs Must Be” transitioning impressively with psychedelically acoustical charmers like the exotic “Seven Seers”, it is difficult to resist such compassionate attempts at successful stylistic fusion. The aspect that I admire most about Dead Meadow is their ability to keep their focus on one track at a time. They feel no pressure to overwhelm the listener with an overabundance of styles in one song. Instead, they show their eclecticism proudly on a song-by-song basis, ushering each new track on Old Growth with a variety of varying approaches, whether it be chugging blues, folk-rock, or guitar-oriented psychedelia

Though comparisons to Led Zeppelin’s excellent acoustical attempts (“Over the Hills and Far Away”, The Battle of Evermore”, etc.) have been abundant throughout Dead Meadow’s career, the exotic tone in the psychedelically engaging “Seven Seers” reminds me personally of The Beatles’ “Love You To”, with the steady pulse of an exotically engineered acoustic guitar remaining prominent underneath the mumbled hush of Simon’s vocals. All it lacks is the tabla and sitar for completely eerie comparison. Regardless, it sounds as if Simon is either in a state of audible meditation or chanting some Middle-Eastern prayer that is both beautiful and ardently mysterious in effect. The song’s success comes in result of the ambitious scope of Dead Meadow’s intentions. They are truly an act who considers limitation to be an obsolete thought process. The heavily reverbed snarl of “What Needs Must Be” and “I’m Gone” ultimately proves to be more accessible and just as rewarding as “Love You To” or the chilling acoustic closer in “Either Way”, with Simon’s raspy twang and subdued hush being in successful transition, dependent on each song’s tone and atmospheric credibility. Whether you are a fan of the exotic flair in “Seven Seers” or of the more direct, guitar-laden approach of “What Needs Must Be”, there is something for all psychedelically influenced tastes on Old Growth.

**TRACKS REMOVED UPON REQUEST OF THE BAND**

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Dead Meadow – What Needs Must Be

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Dead Meadow – Seven Seers

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Dead Meadow – I’m Gone

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The post The Old Growth of a Dead Meadow appeared first on Obscure Sound: Indie Music Blog.

If you live in Los Angeles, attend parties every weekend (or weekday), and love to dance (or just listen to it), then the name Steve Aoki probably sounds more familiar than George W. Bush. Aoki has more fans, I can say that much. A part-time DJ and full-time founder of Dim Mak Records, Aoki is a staple in California under his DJ Kid Millionaire moniker. His reputation as a DJ is largely unmatched in California and his skills as a musical entrepreneur are just as impressive. Success seems to run in the family too; his father, Rocky Aoki, is the owner and founder of the Benihana restaurant chain and his half-sister, Devon Aoki, is a very popular model and actress. You may know her best as the elusive Miho in “Sin City”. Even though his family provides for some fun facts, the careers of Aoki’s father and sister is largely irrelevant to his importance in the music scene. With his natural proficiency and keen ear for quality, Aoki would have likely had this reputable status even if his childhood was unprivileged. Simply put, he knows good music when he hears it. Whether it be in his knack for remixes or discovering a soon-to-be hit artist, Let’s put it this way: If you were a music executive in California, you want DJ Kid Millionaire on your side. His record label, Dim Mak Records, is the label responsible for making Bloc Party one of the most popular indie-rock bands in the world, with newly signed artists like Klaxons, The Rakes, and Mystery Jets already making names for themselves.

I admit that I am not usually one to become infatuated with mix tapes, as I am one of those guys who always prefers the “full experience” of a cumulative album over a few select tracks . I usually see it as a clever romantic gesture though; a good mix tape always works well as a mini-Christmas gift for that special someone. The hardest thing when compiling one, though, is the mentality that the tape is not just for the compiler. It is for the intended audience, whether it be one person or 100,000. With his massive following, Aoki understands that the amount of people listening to his debut mix album, Pillowface and His Airplane Chronicles, will likely approach the 7-digit mark. Featuring guest vocalists Steve Bays (Hot Hot Heat), Mickey Avalon, Todd Fink (The Faint), and Uffie alongside crafty remixers like MSTRKRFT, Erol Alkan, Soulwax, and Weird Science, Aoki has expectedly chosen a bunch of very enjoyable remixes for his fantastic mix debut. Though tracks like Justice’s “D.A.N.C.E. (MSTRKRFT Remix)” and Klaxons’ “Gravity’s Rainbo (Soulwax Remix)” have been favorites on the blogosphere for several months now, Aoki has compiled the best remixes from the indie-electro scene of 2007.

Considering that Aoki plays dozens of the latest (and somewhat undiscovered) electro-dance hits every night, one would expect Pillowface and His Airplane Chronicles to be exceptional. They certainly will not be disappointed either, with several instrumental and vocal additions being highly notable. Steve Bays lends his whimsical whimpers to the frantic rush of Datarock’s infectious electro-funk in “Fa-Fa-Fa” and they fit surprisingly well in the process. While not a drastic overhaul by any means, it is hardly subtle either. Erol Alkan’s version of Franz Ferdinand’s “Do You Want To” sees him drag out the introductory guitar lick for about a minute, shortly supplemented by a pulsating bass synth that adds a whole new grip to the song. It manages to be enjoyable without sounding too similar to the original, yet the regained guitar licks still adds an aroma of art-rock that stands strong. When a light synth echoes Alex Kapranos’ original vocal melody in the last several seconds of the remix, it serves as quite an accomplished tease. Artists on Aoki’s fantastic Dim Mak label are also represented well, specifically Mystery Jets and Scanners. The Rilton Re-Dub mix of Mystery Jets’ “The Boy Who Ran Away” is also commendable, using a variety of glitch effects over the slight tinge of eerie synths. L.A. Riots’ remix of Scanners’ “Low Life” is just as good, being more intensely repetitive but arguably even more enjoyable than the original. Additionally, though it may be deemed as a guilty pleasure for many, Peach’s minimal vocal involvement in Weird Science’s remix of Bloc Party’s popular “Helicopter” is substantially pleasurable. Imagine that.

Though the conventional purpose of a remix is to expose a song in an enjoyable new light, some tracks on Pillowface and His Airplane Chronicles like “Low Life” and “Gravity’s Rainbo” actually exceed such boundaries and come close to or surpass the original. Thanks to DJ Millionaire for compiling this gem; apart from the screamo touch in Refused’s opening “New Noise” (it’s simply not my style), the following 16 tracks will have you tapping your feet long past dawn. Aoki seems to literally DJ every night and, though most of the dates are in California, he will be making a few shows in New York, Chicago, Washington, and Nevada in late January. Check out his upcoming shows on his MySpace. Want to see what an average show hosted by Steve Aoki looks like? Boom. Yeah, the dude knows how to make kids dance. He is able to, quite literally, be the life of a party.

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Klaxons – Gravity’s Rainbow (Soulwax Remix)

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Justice – D.A.N.C.E. (MSTRKRFT Remix)

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Datarock – Fa-Fa-Fa

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Franz Ferdinand – Do You Want To (Erols Alkan’s Glam Racket Remix)

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Mystery Jets – The Boy Who Ran Away (Rilton Re-Dub)

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Scanners – Low Life (L.A. Riots’ Remix)

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Bloc Party – Helicopter (Weird Science Remix feat. Peaches)

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The post Steve Aoki’s Pillowface and His Airplane Chronicles appeared first on Obscure Sound: Indie Music Blog.

I admit, I have not heard many successful bands with an unabbreviated name as long as this five-piece from Seattle. In fact, I was surprised to find that they fit their name on their album cover. Boasting a whole 12 syllables, Gary Reynolds and the Brides of Obscurity are out to prove that there are no lengthy limitations to success. With their name actually being the least important aspect of their overall makeup, frontman Gary Reynolds and his four talented henchmen are slowly but steadily making a name for themselves as one of the catchiest indie-rock acts to come out of the Pacific Northwest this year. Though their photos depict a group of older men who appear past the norm of a stereotypical “indie rocker” with dyed jeans and slick hairdos in their early 20s, the cumulative experience of the five band members causes their ideal artistic peak to be more in the present and future than it is in the past. Though the majority of members in Gary Reynolds and the Brides of Obscurity have been basking in a variety of musical acts throughout the past 15 years, their latest release under their current moniker is undoubtedly their best on several fronts.

Having your name preceding the title of your backing band often symbolizes a role of productive leadership and raw talent. Gary Reynolds is no exception. Though the Brides of Obscurity are faultless in their instrumental craft, Reynolds’ engaging songwriting remains the heart and soul of his promising act. He also provides for much of his material’s production process, as he engineered and produced the majority of his releases so far. It must help that he owns Electrokitty Studio, the site of Gary Reynolds and the Brides of Obscurity’s second full-length release, Santiago’s Vest. It is the follow-up to the band’s impressive 2005 debut, Instant Happiness; it was a widespread effort that drew pleasurable comparisons to John Lennon, Donovan, and other legendary British songwriters. In addition to providing lead vocals, guitar, and piano, Reynolds is joined by guitarist Don Durham, bassist Justin Friesen, organist Jeremy Manley, and drummer Perry Morgan. The group manages to execute a cohesive display of power-pop and Americana influences while constantly reminding us of their knack for irresistible hooks, often led by Reynolds’ vocals, guitar, or Wurlitzer. He has the voice of a storyteller, a deep and soulful croon that exhibits an ability to turn a chorus into a moment of absolute magnificence on vocal strength alone. Look no further than the powerful “Sleep” for a credible example; it is one of the best tracks on Santiago’s Vest that never seems to get tiring. Its dynamic chorus, fully supplemented by Reynolds’ vocals, is arguably the finest moment on the album.

Oddly enough, though Reynolds is based out of Washington, his vocals frequently remind me of several Brit-pop greats, particularly an accent-less Damon Albarn. Check out the rollicking sing-along, “Where We Go From Here”, or the harmonious Wall Eyed Girl”, a sympathetic guitar-led tale depicting the similarities between artistic and humane imperfections, for some justifiable comparisons. Though both stray in similar patterns, the repetition seems rewarding because of Reynolds’ sincere melodic recognition. The swift changes of key, particularly during “Where Do We Go From Here”, are often supplemented by a proficient guitar solo or percussive burst. It is there where the Brides of Obscurity shine, incorporating key-based instruments flawlessly with a variety of electric guitars and interlaced percussion. The overlapping approach contained in the varied instrumentation is echoed through the origination of the album’s name, Santiago’s Vest. “The concept is about ordinary things being held up like they have great worth,” Reynolds explained, relaying a story in which he used an intern’s (Santiago’s) leftover vest as a case for his trusty Wurlitzer. With guitars often being the domineering force in indie-rock and power-pop, Reynolds takes pride in using a variety of instruments that often go overlooked.

Though guitars and a steady rhythm section remain vital aspects throughout Santiago’s Vest, I have found the most uniquely beneficial instruments to be in the form of Reynolds’ Wurlitzer and and Manley’s organ. Both the infectious “Everybody’s Somewhere” and “Mrs. Lowe” are highly demonstrative of these instrumental qualities, both reaping in crafty key-oriented execution. “Everybody’s Somewhere” takes a minute or two to kick into full gear but, once it does, Reynolds’ vocals make an irresistible chorus soar. “Mrs. Lowe”, on the other hand, is just as enjoyable in its showmanship, this time showing slight shades of British psychedelia. Strains of organs and the progression of a Wurlitzer during the bridges and choruses make each song an absolute treat, much like Santiago’s Vest as a whole. In fact, the opening “Capital State” is nearly solely dominated by a Wurlitzer and acoustic guitar, being hauntingly enriching considering the lyrical content it tackles. “It looks like you’re flying at half mast,” Reynolds sings, detailing the struggle that many go through in their attempt for artistic singularity. Though the five men in Gary Reynolds and the Brides of Obscurity take nods from a variety of genres including psychedelia, Brit-pop, blues, and folk, their most readily apparent style is that of fun, hook-filled power-pop. Look for Santiago’s Vest when it hits the shelves in February. Mark it up as another great one for ’08.

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Gary Reynolds and the Brides of Obscurity – Sleep

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Gary Reynolds and the Brides of Obscurity – Everybody’s Somewhere

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Gary Reynolds and the Brides of Obscurity – Mrs. Lowe

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