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.

——————————————————————————————

Volcano Choir – Island, IS

——————————————————————————————

Volcano Choir – And Gather

——————————————————————————————

Volcano Choir – Mbira in the Morass

——————————————————————————————

Official Site

MySpace

BUY

The post Gather the Volcano Choir appeared first on Obscure Sound: Indie Music Blog.

When I read that the material of The Gentle Guest consisted of “hobo tales”, I had no clue what to think. Would I be entertained with ballads about scrounging for food or jams highlighting the intricate art of begging? As entertaining as that may have been (in small doses), The Gentle Guest’s formula is more accessible than that. With an oddly successful mixture of humor and realism, they tackle the depths of American society with a focus on the underdog and the obstacles in which they endure. Now, listening to a concise description like that so far, what would you expect the genre to be? Honestly, I doubt that anything apart from Americana would be appropriate. The collective from Eau Claire, Wisconsin likely felt the same, as their interpretation of eclectic Americana with heavy tinges of blues and folk makes their vivid storytelling come alive in superbly entertaining form. As fans of music, many of us have come across a plethora of artists who classify themselves under the genre of Americana in shameful fashion, opting to use the tag to cloak several forms of stylistic indecisiveness. The Gentle Guest, though, are true surveyors of the genre, choosing to take advantage of the style rather than to disgrace it.

While Gentle Guest does usually consist of 10 musicians during their live performances and recording sessions, the leading man is clearly Eric Rykal. As the lead songwriter and vocalist, his talents help lead a collective of musicians who are already superbly proficient in their own right. Rykal is a storyteller who allows his songwriting craft to flow freely throughout the characters and engrossing situations he creates, a feat that artists in the vein of Tom Waits and have done so influentially over the past several decades. From Depression-era ballads like “Seven Sons”, a metaphorically suicidal ode to the psychologist John Watson, to historically irrelevant romanticized pleas like the vigorous “Under the Setting Sun”, his high level of diverseness and downright intelligence as a songwriter is two of several notable qualities that cause The Gentle Guest’s full-length debut, We Are Bound to Save Some Souls Tonight, to contain some of the most innovatively riveting material I have heard so far this year. At ten tracks and a mere 32 minutes long, it is by no means an extended effort either. Rykal and the group’s other nine members allow each moment to count significantly and choose to do so with a lively historical and melodic context.

Considering the album’s intricacies and cumulative depth, I somehow doubt that Rykal wrote the entirety of We Are Bound to Save Some Souls Tonight in on one rainy weekend, as he claims. Listening to the album though while recognizing his skills as a songwriter, I would not be surprised if he simply awoke one day to find his creative juices flowing, that of which were already clearly in abundance. Written in April and recorded during late June, it is now set to be released on September 30th. To kick off the festivities, the group is hosting a CD Release Show on the 20th at The Grand Little Theater (in Eau Claire) with Nick Jaina, a previously featured artist who dwells very much in the same territory as the story-led aptitudes of The Gentle Guest. As shown best on tracks like the seductively dazzling “Darlin’ Darla”, Rykal’s vocal range embodies his ardent lyrical usage in exuberant form. The song itself covers one of the more conventional topics on the album in its allusions toward both the peak and downfall of a relationship, but the variations of brass that collide with the progressions of an acoustic guitar create circumstances that are genuinely unique. “Darla, give me your answer please, don’t make me get down and beg on my knees,” he sings after a brass solo, being both precise and authentically convincing in his melodic tone.

As the shortest track on We Are Bound to Save Some Souls Tonight, “Down at the Still” does not waste a moment in being the most excitable effort on the album. The energetic clashing of brass, intensely interwoven rhythmic additions, and vocal techniques that vary from yelping to low-pitched murmurs, the immediate comparison to be made is to that of Man Man. It is not one to be shameful of either, as few groups are able to come close to the raw power conveyed by the chaotic orchestral and gypsy-like additions of Man Man. As displayed on more subdued tracks like “Martyrdom” and “Seven Sons” though, instrumental intricacy is not required for The Gentle Guest to be successful. Some of the most memorable moments on the album are through excellent lyrics and simplistic melodies, aspects that are brought to light on the fascinating “Ship Without a Crew”. In what sounds like a bunch of sullen ghosts singing a chant on their former sunken ship, one can’t help but feel the eeriness crawling up their spine as nothing more than a paced percussion slams to the ground every measure or so. The melodic content comes barely in the seamen’s chants, but it provides more atmosphere than it does melody. The following track, “This Town Is Dead”, concludes the album is sprightly melodic form regardless, reassuring the listener of the variety they just experienced throughout the previous nine tracks. As a sure treat, be sure to check out the full stream of We Are Bound to Save Some Souls Tonight for free here. It will likely convince you to pick this gem up when it drops on the 30th.

——————————————————————————————

The Gentle Guest – Down at the Still

——————————————————————————————

The Gentle Guest – Darlin’ Darla

——————————————————————————————

The Gentle Guest – Under the Setting Sun

——————————————————————————————

Official Web Site

MySpace

BUY

The post The Gentle Guest Is Bound to Save Some Souls appeared first on Obscure Sound: Indie Music Blog.

Most of those who grow up with a brother or sister within the same age range regard sibling rivalries as just another aspect of growing up, an aspect that brings back enjoyable nostalgia and eventually ends up teaching life lessons when an adult reflects on it. This so-called “rivalry” can often be most prevalent among brothers, which is mainly due to the competitive streak that testosterone expectedly ignites. They tend to be more physically demonstrative in their thoughts and actions, failing to emotionalize before making rash decisions. But as most of us know, regardless of whether the brothers tend to be more emotionally or physically effusive, the relationship that close-knit brothers have is too intricate to describe in mere words. They are able to support each other through thick and thin, regardless of event or occupation. For example, major league baseball has hosted dozens of successful brothers in the majors, and it is easy to understand how difficult it is to even make it into the league. Jose, Yadier, and Bengie Molina are three brotherly catchers in the bigs, and all have won a world championship. Sure, their athleticism is prevalent, but all three brothers would also certainly tell you that a friendly sibling rivalry of sorts has attributed to their success. When applied to music and the arts in general, this form of subtle sibling affection is also prevalent…

I have written somewhat recent features regarding sisterly duos like Ghost Bees and groups consisting of brothers like Spiral Beach, but I had yet to feature an artist consisting of three siblings until now. The Chicago-based Needers & Givers consists of Christopher, Ian, and Dylan Hoffman. Like many brothers, one could say that their childhood was filled with a sense of rivalry that allowed each of the brothers to look out for one another, each in their creative and physical endeavors. Appropriately enough, all three of them consider music to be their biggest hobby. Ian, middle in age between the elder Christopher and younger Dylan, was the youngest to exhibit the form of musical potential that he has utilized today. He was fascinated with film scores, orchestral arrangements, and various instruments at the young age of 7, leading to adulthood where he is now a skilled multi-instrumentalist specializing in piano, guitar, trumpet, French horn, and voice. Christopher had been playing cello since age 5, but it was not until junior high that he became as interested as his younger brother. He began playing in a variety of jazz and rock bands after learning drums and bass, later studying cello and recording arts at the University of Wisconsin. Dylan played violin all throughout his childhood but it was not until he reached his 20’s that he decided to pursue another instrument. Following in the footsteps of his musically inclined father, he quickly mastered the drums.

Apart from their early musical studies, the Hoffman brothers have kept busy by performing in a variety of acts during the past decade. Ian’s first band was Kameelian and his other projects include Plaid Penmanship, Mr. Tumnis, and Little Electrode. Although Christopher currently has a teaching position in New York, he has managed to maintain gigging and recording with the likes of Ryan Adams, John Zorn, and Teddy Thompson. In addition to providing drum work on a variety of his brother Ian’s projects, Dylan has worked with Sleepy Sleepy Octopus and Surgeon General. And though all three brothers have seen their share of marginal success, it looks as if the project in which they are all together will be the most successful. Indeed, Needers & Givers capitalizes on the brothers’ varying and eclectic approaches, fusing a focus of indie-rock with degrees of jazz, electronica, and even classical music inherently contained as influences. Their debut album, The Other, will be released tomorrow. Recorded with Manny Sanchez (Zwan, Cameron McGill, Unphrey McGee) during last summer, it consists of 8 excitable tracks that serve as an enjoyable summation of the trio’s genetically capable talent. Though it barely stretches over 20 minutes long, there is plenty of material to express the sheer potential of Needers & Givers.

Even upon first listen of The Other, it is heavily prevalent that the trio exhibits a sentiment that their parents preached to them when they were younger; they share. All of the tracks on the album prove to be a group effort, with the brothers’ varying instrumental and vocal abilities providing for an diversifying and inimitably pleasurable experience. The album’s opening track, “Digging”, is a fantastic example of such allocated ideals. Like the rest of the tracks, Ian serves as the main vocalist and his vocals tremble and quiver in intentional form, subtly allowing hooks to emerge from his shivering ardency. The track’s verse transitions back and forth between a minimal acoustical progression and a rhythmically supplemented display of electric guitar. The chorus, however, sees its instrumental bulk in the use of bass, drums, keys, and synths. Dylan’s swift use of a violin provides for a commendable bridge as the track repeats once again, being just as infectious as the first time around. “The Last Time I Saw You” plays like a bouncy ‘70s pop song, capitalized by a vivacious set of keys and a reflecting guitar progression. Though it lacks the variation of “Digging” and “Teams and Colors”, the simplistic form of satisfaction is provides is worth the listen alone.

“Teams and Colors” is a more experimental attempt and resounds just as successfully, featuring a chorus that is led by a distorted charge of guitars that sounds as if the instrument is screaming in anguish. Like “Digging”, the bridge is commendably different from the other components of the song, featuring twinkling keys in contrast to the grungy demeanor the rest of the track conveys. It also features the guest work of actor Michael Pitt (also known as Tommy Gnosis!), as he contributes backing vocals and a guitar solo. “Out of Here” provides even more variation, being a ballad of sorts that uses a similar set of twinkling keys found during the bridge of “Teams and Colors”. Amidst the hectically invigorating indie-rock songs, it provides as a nice breather. In addition to the group’s impressive musicianship, Ian wrote all of the tracks and The Other with him and Christopher handling the superb production. Needers & Givers are certainly well on their way to big things, and The Other is simply an outstanding first step.

——————————————————————————————

Needers & Givers – Digging

——————————————————————————————

Needers & Givers – Teams and Colors

——————————————————————————————

Needers & Givers – The Last Time I Saw You

——————————————————————————————

Official Web Site

MySpace

BUY

The post Needers & Givers for Brothers and Others appeared first on Obscure Sound: Indie Music Blog.

As unfortunate as it sounds, contemporary artists with a strong emphasis on classical instruments continue to be a dying breed. It is difficult to argue against the fact that guitars and rhythmic supplementation are often the common melodic forces in modern songs. While musical quality is loosely defined and there are thousands of guitar-oriented songs that I enjoy immensely, there comes a yearning for a change of pace and style. While piano and string instruments are and will continue to be a prominent force in the production of contemporary music, they are often forced to take a backseat in adjustment to a youth movement that remains fixated in loud guitars, thumping bass lines, and fastidious percussion. Wisconsin’s Pale Young Gentleman (a collection of four pale gentleman and one young lady) reaps from an instrumental style that, while considered unconventional in recent years, is largely dependent on the melodic progression carried by the piano and cello. While guitars and rhythm are certainly a factor in the cumulative result, the focus on key-laden melodies with an embracing cello accompaniment creates a force that should not be reckoned with.

Pale Young Gentleman formed in the summer of 2005, with brothers Mike and Matt Reisenauer teaming up with guitarist Brett Randall in an initial trio. After adding cellist Elizabeth Weamer and bassist Andrew Brawner, they began to gain momentum by gathering hype and touring with the likes of the Clientele Beach House and The Robot Ate Me. Though their name is somewhat indicative of a lifeless, anti-social enigma, Pale Young Gentleman craft some of the most emotionally appealing music I have heard all year. With the Reisenauer brothers and Brett Randall taking control of piano, drums, and guitars, the most unique aspect of Pale Young Gentleman comes in the form of another member, Elizabeth Weamer. Like the other 5 members, she is an excellent performer but it is her instrument of trade that truly gives Pale Young Gentleman their differentiating sound. As a professional cellist, she adds a sense of elegance and singular beauty to each song on the band’s excellent self-titled debut. Such an involved profession gives the band flexibility when describing their own sound. They have done it some entertaining justice though, as their description of “Jacques Brel meets Randy Newman meets rowdy thespians” is witty and accurate enough to grab listeners on it alone.

While the ten tracks on Pale Young Gentleman are ultimately a collected group effort, the majority of upfront work was done by Mike Reisenauer. As the group’s vocalist, pianist, and songwriter, he demonstrates an extreme talent in crafting the superbly distinguished sound of Pale Young Gentleman. When I first popped in their debut, Reisenauer’s vocals appeared to be a blend of two recognizable, yet extremely different, artists: Randy Newman and Coldplay’s Chris Martin. While Coldplay has generated some substantial dislike from the indie crowd over the past several years, the hate has largely been concentrated on the band’s repetitive style. Martin’s vocals have rarely been a subject of substantiated criticism. While the vocal comparison may appear inconclusive in several tracks, there is no denying the likeness on songs with prominent piano usage like “A Shadow on the Wall” and especially the touching “As a War”. While Reisenauer delivers a similarly pleading set of vocals, the lyrical content is more suitable in the mood of a more sullen Randy Newman. “She will turn me down, but then at least know that I’m around,” he sings over a brisk piano line on the catchy opener, “Fraulein”. Even if such lyrical depiction sounds emotionally wounding when read in plain text, the agile use of keys in association with Reisenauer’s nimble vocal delivery molds “Fraulein” into a great opener that, if anything, is more optimistic than reflectively downcast.

Though the actual storytelling throughout the album is not as concentrated or metaphorically desperate as Newman’s earliest work, Reisenauer’s depiction of social characters, whether it be the “piano players” on “Fraulein” or the old-fashioned maudlin dancers on the bouncy “Clap Your Hands”, is extremely rewarding with consideration to all the dynamic instrumental aspects. The piano work on tracks like the beautiful “My Light, Maria” is yet more proof of the band’s impressive dexterity. After all, it is not everyday when a band produces an exceptional debut album with a cello and piano headlining. Oh, want another reference to that Martin comparison you are probably sick of by now? Check out the outstanding bridge on “Saturday Night”; you will not regret it. As Reisenauer moans into a near-falsetto over the steady weeping of Weamer’s cello, the notion of an impending chorus is enjoyably imminent. “Oh Saturday night, take me in your arms, I flash a smile to my friends in the car,” he sings joyously when the lively chorus finally arrives, “Oh Saturday night, what a friend you are.” Such an enthusiastic display makes me yearn for the weekend even more. One of the most pleasing debuts of the year, Pale Young Gentleman’s debut is one of a unique beauty.

——————————————————————————————

Pale Young Gentleman – Saturday Night

——————————————————————————————

Pale Young Gentleman – Fraulein

——————————————————————————————

Pale Young Gentleman – My Light, Maria

——————————————————————————————

Official Web Site

MySpace

BUY

The post Four Pale Young Gentleman and a Cellist appeared first on Obscure Sound: Indie Music Blog.

While the creation of music appears to be the most vivid hobby among the four members of The Selfish Gene, the study of classic literature is not far behind. Apart from the fact that their band name name is derived from the title of the controversial evolutionary book by Richard Dawkins, the four-piece from Wisconsin have also incorporated elements of classic literature into their actual songs. “So It Goes”, a song on their 2005 debut album, Self-Defeating Human Beings, is a nod to the memorable literary style of the late Kurt Vonnegut in Slaughterhouse-Five. From novels regarding scientific philosophy to classic works of literature surrounding themes of war and anguish, The Selfish Gene appear to be remarkably well-read. Even so, their integration of artisicism is only one aspect of their impressive presentation.

Revolving around four friends who, for the most part, met at the University of Wisconsin in 1998, The Selfish Gene are taking the expected path by improving on the sound of their debut. Their sophomore album, The Grand Masquerade, is a continuation of a sound that has become fairly typical in the vein of modern indie artists. It was released this past May. By supplementing a fondness for traditional 60s pop with a handful of contemporary production techniques, The Selfish Gene have drawn commonplace comparisons to Spoon and The French Kicks. I suppose that the guitar-based techniques utilized by The Selfish Gene have the same strum-stop patterns of earlier Spoon but that is hardly enough for me to merit an accurate comparison. The vocals of Matthew Allen appear too contumacious for such a contrast, often sounding intentionally discordant over a backing display of keys, guitars, and swollen percussion. If anything, Allen reminds me quite a bit of a poor man’s version of Beulah’s Miles Kurosky. Allen uses the best of his abilities to transform songs that are instrumentally repetitive into memorable works that are memorably dependent on strong vocal melodies.

The Grand Masquerade is an album surrounded in a cloud of stylistic consistency. The Selfish Gene have captured a style that their minimal fan base seems to adore and they implement that to craft a generally pleasing sophomore effort. The concise and jumpy electric pop songs like “Overboard” and the fantastic single “Autopilot” are scattered in numerous amounts throughout the album, with a few acoustic songs like “Idioum” and “Wonderfall” hitting the right spots for artistic diversity. While no track reaches the great heights of the utterly irresistible “Autopilot”, some efforts like “Overboard” and “Fist Fed Up” do the album some justice. Typically led by the keys of synths of Michael Weber, “Fist Fed Up” plays with a breezy piano melody backed by the strain of a distorted guitar. “Autopilot” should make my Beulah comparison appear more evident, being somewhat reminiscent of “Landslide Baby” and other gems on Yoko. While they lack the strings and brass that Beulah executed so well, The Selfish Gene plays the role of successfully traditional pop songwriters quite well.

While The Grand Masquerade suffers from the occasional pointless fillers like “Bidding War” and “Bad About It”, the seven or eight songs that do hit the right spot are mainly worth the time and effort for fans of predictably easy-going indie rock.

——————————————————————————————

The Selfish Gene – Autopilot

——————————————————————————————

The Selfish Gene – Fist Fed

——————————————————————————————

The Selfish Gene – Overboard

——————————————————————————————

Official Web Site

BUY

The post The Selfish Gene appeared first on Obscure Sound: Indie Music Blog.