by Lauren Tischler

The sound of Ghost Mall is indescribable. But the band, made up of college roommates Pierce, Alex, Cody, and Jimi, give it their best shot. “Garage-y ramshackle pop/ethereal,” lead singer Pierce Lightening struggles, attempting to put a label on his own music. With a lead singer named Pierce Lightening, and influences along the lines of “Babes, Springsteen, Comic Books, and Star Wars,” you are naturally drawn to the quartet. What is surprisingly more interesting than the band members themselves is the music on their first album, Goons.

The album, produced by DJ Teenwolf of Ninjasonik, features five well-done and oddly classy songs. The EP starts out with the marijuana-induced “40 Nugs”, and while I would have chosen a different track for the first, it sets an appropriate tone to the album without giving away their mysterious style. Next is “Senile Felines”, setting a dark synthesized tone that lures the listener further in. The next couple of tracks are “Young Liars”, followed by “Balloon Idea’s”, which captures an eerie essence while keeping it light; it samples a few lines from Biz Markie’s “Just a Friend” with convincing maneuvers. The final track, “Johnny Appleseed”, serves as a near-perfect ending. It is more of an anthem than anything, providing the listener with a soft sort of closure.

The album itself is a work of art, but it is clear that Ghost Mall are about performance art more than anything else. Ethan Barnett, a fan, describes a show in full detail. “The first time I saw them, it was in the basement of SUNY New Paltz. It was one of the coldest nights of that winter, but as soon as I got into the basement and Ghost Mall was about to begin their set, I began to sweat because there were about 75 people packed into a small classroom. They began their first song and the room turned into a beehive, with everyone dancing in every direction. The lead singer was lost in the crowd, and all you could see was one of his hands. By the time they began their second song, the keyboardist and guitarist were lost in the mess too. Midway through their set, Pierce was thrown up into a crowd surf, and he held onto a water pole that was soaking wet from condensation. After the final song, “Johnny Appleseed”, everyone ran out the exit covered with sweat. Head to toe.”

“I don’t know what we’re trying to achieve,” Pierce says about his band’s music. “We’re just being honest. Sometimes it’s about our specific friends, sometimes it’s about how everything should be. Mostly, our songs are about the end of the world. So maybe they’re a warning.”

You can catch Ghost Mall on September 24th at 323 Wall Street in Uptown Kingston, New York.

RIYL: Japanther, Penguin Prison, Male Bonding, Urinals, Latterman, Cloud Nothings, Abe Vigoda, Times New Viking, No Age, The Mae Shi, Parts & Labor, Psychedelic Horseshit, AIDS Wolf, Wavves, Lightning Bolt, Jay Reatard, NODZZZ, Sic Alps, HEALTH, Arab on Radar

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Ghost Mall – 40 Nugs

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Ghost Mall – Balloon Ideas

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Ghost Mall – Johnny Appleseed (acoustic version)

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Official Site

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The post Ghost Mall appeared first on Obscure Sound: Indie Music Blog.

Solo albums usually require a substantial amount of self-sufficiency. There is rarely a source of constancy apart from the main artist’s output, and external contributions can be skeptical because they are often for-hire, resulting in a false sense of sincerity that could find the release lacking in chemistry and flow. Many successful solo artists first tried their hand at releasing solo material either during or after their participation in a prominent band, conveniently allowing them to capture the attention of many listeners based on their role in a separate project alone. It hardly matters what their actual contributions were too; even if some bassist in a big rock band contributed little to nothing throughout his band’s run, he could release an embarrassing solo album and still see some respectable sales because of his status in a popular rock band. This sort of thing often causes deserving artists to get overlooked. But, as one must remember, the music industry is just as it reads: an industry. To expect quality material to result in recognition is naive, especially as I have learned throughout the years after covering dozens of outstanding artists that would get little recognition in the later years to come. But, in addition to money and reputation, experience also has a lot to do with obtaining success as a solo artist. So, when an independent songwriter like Rishi Dhir releases an excellent debut album based on his own merits and not his previous band’s status, it makes the release even more impressive.

It was merely six months ago when I covered The High Dials, Dhir’s former band. So, when I received Dhir’s first solo release under the name of Elephant Stone in the mail, I figured it was either a nice coincidence or some clever PR marketing (I would bet on the latter). I say it would be nice if it were a coincidence though because of how much I enjoyed The High Dials’ most recent album, Moon Country. Specifically, I urge you to check out my post of the band here for a sample of “My Heart Is Pinned to Your Heart”, an excellent track that proves indicative of The High Dials’ irresistible vein of indie-rock (think British Sea Power meets The Dears). Anyways, back to Dhir. He left The High Dials in 2006, so he was not with them for Moon Country, but still honed his skills with the band for six years and two albums. While with The High Dials, hes howed that he was a strikingly eclectic performer; Dhir played sitar, bass, and contributed some essential background vocals. With this though, one must keep in mind that The High Dials are a good band with a nice release this year, but they are certainly not a brand name. Therefore, what you hear from Dhir and his new Elephant Stone project is the result of his own merits and not the reputation of his past successes. In fact, perhaps one could say he was in the most ideal of circumstances; he played with a very inclined band that gave him some vital experience but they were not renowned enough to give him a false sense of pride and overbearing expectations, which are aspects that often lead to a solo artist’s demise.

After Dhir left The High Dials in 2006, it did not take long for some of Canada’s most respected indie-rock figures to take notice of his chops. Elephant Stone’s debut, The Seven Seas, was eventually produced by the widely respected Jace Lasek, who apart from heading The Besnard Lakes has produced other Canadian indie-rock heroes like Wolf Parade, Stars, and Islands. But before Dhir and Lasek came together, Dhir underwent a period of vigorous study that allowed him to expand as a musician and songwriter. He primarily focused on honing his Indian classical music chops, appearing with his sitar on releases by the Texas-based The Black Angels and Manchester-based The Earlies. This period of study obviously rubbed off on the outstanding quality of The Seven Seas, particularly in ambitious efforts like the seven-minute “The Straight Line”, where the dominant usage of a sitar paves the way for a eventual dramatic infusion of distorted guitars and a funk-based rhythm section. The track consists of little more than a sitar throughout its first three minutes, but the entry of bass and percussion right before the three-minute mark prepares the listener for a guitar-based eruption of sorts that eventually leads to a fantastic overlapping of electric guitars and sitar. To successfully infuse Indian classical music into modern indie-rock is no small feat, and “The Straight Line” serves as a stellar example of Dhir’s musical ability and his ability to implement ambitious musical ideas into styles whose partnerships are highly unconventional. The five-piece of Elephant Stone, led by Dhir, cleverly call this infusion “hindie-rock”; it is a fun term that may be indicative of the recent rise in infusing foreign musical ideas with conventional pop the past few years.

While “The Straight Line” aligns more with Dhir’s unconventionally successful ideas, that is not to say that the entirety of The Seven Seas is filled with songs that require as much patience as “The Straight Line”. In fact, there are plenty of great pop songs on here that provide for a nice tone on an album with occasional epics like the psychedelically shimmering “Don’t You Know” or the middle-eastern influenced “The Straight Line”. “How Long” is one of them, demonstrating a perfect mixture of psychedelia and alt-rock to express Elephant Stone’s style when they tend to be a bit more conventional. The song actually exceeds in sounding a bit like The Stone Roses, whose influence is echoed in this track’s general tone and perhaps literally in the band’s name (“Elephant Stone” – one of my favorite Stones Roses tracks). Although Dhir’s musical roots are Canadian, he even imitates a similarly British delivery as his reverb-drenched vocals gracefully accompany a thickly reverberating bass line with an eerie guitar progression that evolves from a haunting arpeggio to the concise use of chords. “I know that the sun lies eastward, I know where my heart belongs,” he sings during the excellent chorus. “Back home where my love lays waiting, back home where we are one.”

What “How Long” lyrically depicts is rather conventional – a man starved for his love across long distances – but the musical content and structural build-up here is what makes the running emotions so sincere and effective. After the chorus, when “day dawns” and Dhir laments that he is still not near his beloved, the reoccurring chorus several instances later sounds even more effective with its dreamy, retrospective approach. The guitar flows more capriciously with an echoing of Dhir’s vocal melody, but the lack of emphasis on additional instrumentation during this point stresses importance on the ardent vocals that give this track additional life. Overall, it is a fantastic effort that should remind listeners of the music scene in the UK during the late ‘80s with its emphasis on psychedelia and post-rock. With its soaring synth pads and crisp guitars, the equally pop-minded “I Am Blinded” achieves success more directly by a different contrast. The verses here are led by little more than the rhythm section, but the chorus is magnified considerably with the string-like synths colliding with stagnant guitars to create something that is highly anthemic. It is a word that I have used often to describe Elephant Stone’s impressive debut, but crafting anthemic indie-rock seems to be Dhir’s forte. With his added ambition on tracks like “The Straight Line”, it makes for an album with plenty of memorable moments.

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Elephant Stone – How Long

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Elephant Stone – I Am Blind

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Elephant Stone – The Straight Line

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The post Send Me Home Like an Elephant Stone appeared first on Obscure Sound: Indie Music Blog.

What artist doesn’t want attention? Many of them send out hordes of e-mails and MySpace invitations to the point where it nearly seems like spam. It may seem like a nuisance to even the most passionate music fan, but what separates these artists from the pseudo-corporations is their justification in doing this; they simply want someone to listen to their music, not deposit a couple grand into a Nigerian bank account. From hanging up self-printed ads on the street to the accessibility of e-mail, advertising without straining one’s wallet is vital to most independent musicians. Especially with this economy, most of their day-jobs just barely cover basic expenses. And if they have the choice to use their extra income on instruments and recording or advertising, most of these artists are going to go for the former. For a band of Clues’ high caliber, one would expect them to at least make an effort in self-promotion. Originating from the same Montreal experimental-pop music scene as bands like Malajube, The Dears, and Wolf Parade, Clues’ solid songwriting and unique approach make their chances of reaching similar heights quite likely. But if they have such blatant ability, one would likely wonder why they have no MySpace page or web site. It is humorous that this era makes the absence of either one seem deviant, but there is little denying the impact of such technological tools on independent music promotion.

Lack of experience is certainly not the reason for such an unconventional approach, as two of the group’s five members are from two groups that is synonymous with the Montreal music scene. In fact, one could make the argument that they are a few of the most important acts the Canadian city has had this decade. Brendan Reed was a member of Arcade Fire before they released Funeral, widely considered to be one of the best debut albums of the decade. Reed’s vocals and percussion work appeard on the album, and he later went on to join Les Angles Morts. Clues’ lead vocalist and other frontman, Alden Penner, co-founded of The Unicorns with Nick Thorburn in 2000 and remained with the group throughout its short but acclaimed career until late 2004, when Thorburn began his work with Islands and Penner started releasing solo material. The fusion of Reed’s multi-instrumental ability and the type of innovative songwriting Penner brought to the table in The Unicorns has some great results on Clues’ self-titled debut album, set to be released on May 19th through Constellation Records. Upon Clues’ initial formation in 2007, Reed and Penner played small-profile gigs around Montreal. After constructing the group’s approach, the duo expanded Clues in 2008 after Ben Borden, Lisa Gamble, and Nick Scribner joined. The additional instrumentation gave them what was necessary to create their excellent debut album, which should almost certainly achieve recognition without self-promotion.

Apart from their musical work on-stage and in the studio, the entrepreneurial Clues have devoted a large amount of time to VillaVillaNola.com, an online music store that features under-appreciated artists from Montreal and elsewhere. It is a clear indication of their love for the scene and the DIY ethic in general, also indicated by their non-existent promotional approach. Such tactics can prove admirable for a band of Clues’ stature, even if an ample amount of it was likely derived from sheer confidence. Reed and Penner have had plenty of experience with a few of the greatest bands to come out of Montreal this decade, and the three other members are honed as skilled musicians with plenty of ideas. This leaves little room for acquiring experience and ample room for producing some fantastic music, resulting in a debut album that sounds like it was created by a group that has been working together for over two years. Their approach is extremely eclectic, fusing influences of art-rock, electronica, and psychedelia that results in a sound that fits in the realm of Montreal-based experimental-pop music while maintaining the utmost originality. From the swaying, sitar-like effect throughout the exotic “In the Dream” to the excitable array of fuzzy guitars in “Remember Severed Head”, Clues is a debut that never seems tireless, unmotivated, or unfocused.

That Clues can maintain such a stylistic focus through an array of songs that generate hooks and awe-inspiring moments through varying styles of instrumentation and unpredictable structural tendencies is part of Clues’ charm. “Remember Severed Head” is under three minutes in length, but it is so brisk that it seems like several songs in one with its apt transitions. The distorted vein of post-punk in the verses grows into an ethereal, monophonic guitar melody before the thrilling verses arrive again. Penner’s vocals are excellent throughout, as is the instrumental works on all fronts; the guitars sparkle with intricately empowering progressions, while a flurry of keys and percussion combine to form a ceaselessly excitable backdrop. “Perfect Fit” takes an entirely different route altogether, allowing an old-fashioned piano to be run under Penner’s trembling vocals. “I have seen the most incredible light in your eyes,” he repeats, allowing the melody to grow upon itself with increasing percussion and an explosion of guitars and bass that concludes the song masterfully. “Crows” is also notable for its swanky mixture of guitars and horns, especially when combined with the high-pitched vocals that endure throughout. “Let’s Get Strong” is a light piano ballad that concludes Clues, serving as the most simplistic effort on the album. By this point though, Clues’ ambition is no question. Every track on Clues is a genuinely worthwhile journey with both excellent performances and songwriting. Expect this one to be talked about quite a bit.

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Clues – Remember Severed Head

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Clues – Perfect Fit

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Clues – Crows

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Constellation Records

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The post Searching for Clues appeared first on Obscure Sound: Indie Music Blog.

After I watched the commencement of spring training and witnessed the mid-point of my “spring” semester, springtime weather appeared imminent. D.C. did not really reinforce that sentiment by giving us a few inches of snow on the first day of March, but I am headed back up to New Jersey on Friday for what will be a week with minimal work and decent weather (hopefully). Spring break is nearly here and I plan to use it to my full advantage. I will be headed back up to NYC for good in the fall, transferring to a school in a city that is more comfortable and accessible to me. Also, not to knock on D.C., but I have always found the music scene much more fulfilling in NYC. Since I plan to keep Obscure Sound running for as long as I enjoy music and can afford it, the move should be beneficial in a variety of ways. Perhaps if I existed for a longer amount of time in the ’80s then my view of D.C. would be changed, but it just is not doing it for me right now.

This month’s compilation sees both familiar faces and first-timers, with a common theme of quality and stylistic innovation among them all. As usual, I try to strive for a diverse cast of featured artists, which makes me proud of this month. From the gospel-ish folk of Bruce Peninsula and chamber-pop of Brent Randall & His Pinecones to infectious electro-pop in the vein of Junior Boys and La Roux, there is plenty of balance here for fans of all genres. Also of note is Steve Kilbey and Marty Willson-Piper, two members of The Church who both released great solo albums within one month of each other. Enjoy the tunes.

01. The Leisure Society – Love’s Enormous Wings (post)
02. Cass McCombs – Twins (post)
03. Junior Boys – Sneak a Picture (post)
04. Brent Randall & His Pinecones – Strange Love (Don’t Be Lazy) (post)
05. Bruce Peninsula – Shutters (post)
06. Woodpigeon – Love in the Time of Hopscotch (post)
07. La Roux – Quicksand (post)
08. Fanfarlo – Ghosts (post)
09. Papercuts – Future Primitive (post)
10. Steve Kilbey – Wolfe (post)
11. Strand of Oaks – End in Flames (post)
12. Marty Willson-Piper – The Love You Never Had (post)
13. WhoMadeWho – The Plot (post)

DOWNLOAD ENTIRE COMPILATION>>> (62.6 MB, .RAR)

The post Obscure Sound: Best of February 2009 appeared first on Obscure Sound: Indie Music Blog.

There are few active bands that have released material as often and consistently as The Church. They have averaged an album every year or so since their 1981 debut, releasing over 20 albums and a handful of EPs over the span of 28 years. While it is impressive that the core members have remained throughout the entire duration and they continue to work well and often together, it is their consistency that has allowed The Church to be widely considered one of the best Australian bands of the past two decades. Western fans are likely to associate The Church with their 1988 hit single, “Under the Milky Way”, rather than their albums as a whole, but I urge those that are not familiar with the group’s large body of work to check out their classic albums; these include Starfish, Heyday, and their first two albums, Of Skins and Heart and The Blurred Crusade. While these four were all released in the ‘80s, The Church have released some surprisingly strong material in the ‘90s. It is practical to say that they are one of the few groups that have released albums consistently since the early ‘80s without one dud to their name. The only immediate group I can think of that resembles such success is The Pet Shop Boys, as even the greatest bands seem to have a misstep or two along the way.

Much of The Church’s consistency can be attributed to the immense talent of the three core members, Steve Kilbey, Marty Willson-Piper, and Peter Koppes. Not surprisingly, each one has seen success as a solo artist. As the lead singer, lyricist, and bassist for The Church, Kilbey’s distinctively melancholic vocals have always made him a staple of the group. For his solo work, Kilbey’s style is considerably more ambitious and prolonged than his work with The Church. His vivid lyrics have always remained prominent throughout his eight solo albums, as has some solid songwriting on albums that appear to fill the void between releases from The Church. Willson-Piper has served as The Church’s main songwriter and his songwriting chops certainly show on his solo material. Though his style serves more straightforwardly in relation to the jangle-rock of The Church, Willson-Piper’s excellent skills as a guitarist and songwriter have allowed him to craft an inventive approach to his solo material. Koppes also released a few solo albums, showcasing his catchy blend of guitars and keyboards. All three artists have also collaborated with some of the most influential musicians of the ‘70s and ‘80s, Australian or not. Kilbey was involved in the previously featured Jack Frost with the late Grant McLennan, while Willson-Piper has worked with everyone from Tom Verlaine to David Gedge. As The Church prove alone, it must be contagious to work with great songwriters.

In what appears to be an instance of extraordinary timing, both Kilbey and Willson-Piper are releasing their first new solo material in years within a month of one another. Both Kilbey’s Painkiller and Willson-Piper’s Nightjar are being put out by Second Motion Records, a North Carolina-based label that also plans to release a new studio album by The Church this spring. Kilbey’s Painkiller was released on February 17th and Willson-Piper’s Nightjar is slated for a March 3rd release. What I find so astounding is the quality exhibited on both albums, despite the different approaches that the two artists take. It should be interesting as to how fans of The Church will identify with each release. Each one boasts the strengths of both musicians and still manages to sound like a completely separate entity of The Church. On their solo albums, Kilbey’s voice sounds just as good as it did in the late ‘80s and Willson-Piper’s songwriting remains just as tasteful, but the unique properties that they add to their albums makes it a very exciting event, whether you are The Church’s most fanatical fan or have never even heard of them.

Kilbey’s solo material has often been classified as eccentric, at least in comparison to his material with The Church. Painkiller, his first solo album in seven years, continues along his adventurous path in compiling eleven songs that are indicative of Kilbey’s strengths as a lyricist, songwriter, and vocalist. Painkiller has everything a fan of Kilbey could want; there are energetically catchy two-minute gems like “Wolfe”, atmospherically blissful interpretations of Church-like pop like “Celestial” and “Crystalline Rush”, and memorable acoustical efforts like “Song for the Masking”. There is also the ambitious instrumental “File Under Travel”, a highly alternating, twelve-minute effort that shifts between heavy waves of guitar distortion and fused field sounds. Something similar can be said for the electronic soundscapes of “Not What You Say”, the 31-minute closer to the album. This track also is indication of Kilbey’s apparent fascination with field recordings, as “Not What You Say” applies only the sound of raindrops and thunder for five minutes. Overall, this album is all over the place in terms of style and lyrical content. Because of Kilbey’s immense focus and talent though, he succeeds in each format (even if some songs – like the 30-minute ambient efforts – may not appeal to everyone).The Church’s drummer, Tim Powles, also makes an appearance alongside Brian Jonestown Massacre’s Ricky Maymi to collaborate on an album that proves to be one of Kilbey’s finest.

Willson-Piper’s first album in nearly nine years, Nightjar, is considerably more tied-down affair than Kilbey’s Painkiller. However, this certainly does not imply that Nightjar is a generic and dull affair. In fact, many listeners may immediately prefer Nightjar because of its accessibility. As Willson-Piper displayed on previous solo efforts like She’s King and Hanging Out in Heaven, he has a knack for writing beautifully serene tracks that do not require elaborate instrumentation or experimental tendencies to succeed. Such can be heard on ballads like “The Love You Never Had” and “Lullaby for the Lonely”, both tracks that utilize a country-ish twang and the simultaneous croon of Willson-Piper and Swedish/Polynesian Tiare Helberg, the latter classified by Second Motion Records as a “star in the making”. The substance she adds to Willson-Piper’s already impressive sound is immense, often employing a beautiful duet of sorts that makes this Willson-Piper/Helberg combination similar to that of the Academy Award-winning duo of Glen Hansard and Markéta Irglová. Strings add to the romanticized elegance of “Lullaby for the Lonely”, while a haunting slide guitar establishes the melancholic beauty of “The Love You Never Had” as Willson-Piper sings, “I take my place in line to be alone / There are millions in front me I know.” The sheer precision of this vocal duo is outstanding, as are the majority of other tracks on the album. The ardently moving “No One”, the charming mixture of keyboards and acoustics on the poppy “Feed Your Mind”, and the exotic use of woodwinds in the coarse “Song for Victor Jara” are all highlights in their own unique ways. Like his longtime collaborator Steve Kilbey, Willson-Piper’s new solo release is filled with a variety of differing successes.

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Steve Kilbey – Wolfe

Steve Kilbey – Celestial

Steve Kilbey – Crystalline Rush

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Marty Willson-Piper – Lullaby for the Lonely

Marty Willson-Piper – The Love You Never Had

Marty Willson-Piper – Feed Your Mind

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The Church

MySpace: Steve Kilbey, Marty Willson-Piper, The Church

BUY: Steve Kilbey, Marty Willson-Piper, The Church

The post Two From The Church: Steve Kilbey & Marty Willson-Piper appeared first on Obscure Sound: Indie Music Blog.

by Mike Mineo

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20. Ra Ra Riot – The Rhumb Line

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

Ra Ra Riot – Dying is Fine

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19. Gentleman Jesse – Introducing Gentleman Jesse and His Men

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

Gentleman Jesse – All I Need Tonight (Is You)

Gentleman Jesse – You Got Me Where You Want Me

Douchemaster Records

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18. Håkan Hellström – För sent för Edelweiss

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

Håkan Hellström – För sent för Edelweiss

Håkan Hellström – Kärlek är ett Brev Skickat Tusen Gånger

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17. Thomas Function – Celebration

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

Thomas Function – Can’t Say No

Thomas Function – 2012 Blues

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16. Beach House – Devotion

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

Beach House – D.A.R.L.I.N.G.

Beach House – Gila

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15. Department of Eagles – In Ear Park

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

Department of Eagles – No One Does It Like You

Department of Eagles – In Ear Park

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

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

British Sea Power – Waving Flags

British Sea Power – Canvey Island

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13. The Walkmen – You & Me

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

The Walkmen – On the Water

The Walkmen – Red Moon

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12. Wolf Parade – At Mount Zoomer

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

Wolf Parade – Language City

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11. Portishead – Third

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

Portishead – Hunter

Portishead – The Rip

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

As many of you know, bands that I choose to feature often have a release that will or has been released in the span of a few months before or after the feature date. The goal of this site has always been to expose the newest worthwhile acts that have yet to be substantially covered, and this is still the case. However, I occasionally get the urge to mention a release that is over a year old, even if the reasoning is based purely on my own intentions to focus in on an artist who has received an undeservedly amount of exposure in regard to a release that truly deserves heaps of it. I managed to do this somewhat subtly with Jesse Sykes and the Sweet Hereafter’s 2007 release, Like, Love, Lust & the Open Halls of the Soul when featuring her new EP, The Gentleness of Nothing a few weeks ago, but it was likely prevalent to most readers that my efforts in exposing their previous album were as strong as those in exposing her new EP. It was simply convenient that they had a new release out as well, supplying me with an excuse of sorts to feature tidbits from the preceding one. I contemplated whether or not to feature Malajube for a bit, only because their most recent release was put out in 2006. For a group who possesses their level of sheer melodic ability though, I feel that would be doing a disservice in not featuring them.

As I was admittedly a bit late to the party, I first found Malajube about two months ago while perusing couple of French-speaking artists upon the request of a friend who desired quality music of that linguistically European specification. I was drawn in immediately after hearing the gleeful infectiousness of their single, “La Palat”, and followed it up by grabbing their second album, Trompe-l’Oeil. I have been listening sporadically to the 2006 release whenever I desired an exotically accessible form of indie-rock, but it was not until I featured the Montreal-based Winter Gloves earlier this week that I remembered my initial intent to feature Malajube. This five-piece is also based out of Montreal, once again reminding me how truly industrious the city’s music scene really is. Unlike Winter Gloves, Malajube’s songs are sung in Montreal’s official language, French. This has not detracted from their fanbase though, as they are commonly mentioned as one of Montreal’s most promising contemporary acts by local fans and national publications alike. Despite this level of acclaim and a few spots in prominent commercials (Rogers Wireless and Zellers in Canada, Radioshack in the USA), many still feel that this talented five-piece is not getting the attention they deserve. I happen to be one of them.

Though I may make it sound like Malajube’s level of exposure is low, they are in fact quite reputable when compared to the plethora of other artists on this site just beginning to break out. In addition to their aforementioned commercial deals, their biggest spotlight for Malajube came when Trompe-l’Oeil was nominated for the Polaris Music Prize in 2006. Nominees among the ten that year included Wolf Parade, The New Pornographers, and Broken Social Scene, with Final Fantasy’s He Poos Clouds taking home the prize. To accomplish such a feat while speaking a language that remains foreign to the United States and some audiences in their native Canada is quite remarkable. It simply goes to show how engaging their songwriting ability is; their ability to craft hooks remains arguably second to none among contemporary Francophone indie-rock acts. Their origins trace back to a high school in Sorel during early 2003, where three of the members came together. Two others joined shortly thereafter and the group was set into motion, releasing their debut Le Compte complet in 2004. After the release of Trompe-l’Oeil, “Montreal -40°C” appeared in the Rogers Wireless commercial and “Ton Plat Favori” was used in a Zellers commercial. One of my favorites, “Pâte filo”, made its American appearance shortly after on a RadioShack commercial. It was one of the few songs that I never get tired of listening to despite its appearance on TV every hour or so.

Due to the commercial exposure and complete irresistibility, a track that has brought Malajube a wide degree of recognition is “Pâte Filo”, a gem that capitalizes on their commonly prevalent usage of twinkling keys and roaring electric guitars with slide effects and vibrating tremolos. The verses prove simplistically enjoyable enough with their thunderous guitars and reflectively enhancing keys, but the chorus hits a fantastic mark when lead vocalist Julien Mineau shifts into a joyous, lyric-less yelp that contrasts the overlapping keys in beautiful form. Even listeners who do not understand a lick of French have to admire this song’s ingenious level of craftsmanship. “Montréal – 40°C” proves just as memorable in displaying the group’s astute level of harmonic vocal ability, with even the introductory moments being an enthralling display. Free imitative form begins the track as several other varying voices come are involved prior to a gleefully effervescent burst of Mineau’s “Ba-ba-ba-ba-ba-baba-ba”. The most striking moment of the track occurs toward the conclusion when the melody sees a complete and utterly brilliant ship in composure, transitioning from a guitar-led stampede into a segment of elegance that is now led by keys, resulting in a very Parisian type of sound.

“Le Crabe” and “La Monogamie” are more representative of the group’s rougher edges, with the latter exposing a wide variety of distortion over a chorus that becomes undeniably addictive once the intentionally muddled form of production clears its way through the listener’s head. “Ton Plat Favori” is also notable for its rollicking demeanor, taking on a force of its own that is unique on the album due to its female-male harmonies and excitable use of keys. Overall though, Trompe-l’Oeil is an album full of exciting surprises and enthralling moments; its high level of quality is the reason I chose to feature a release over two years old.

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Malajube – Pâte Filo

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Malajube – Montréal – 40°C

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Malajube – La Monogamie

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I do hope to travel across a wide variety of locations one day, but as a middle-class college student I understand that my resources are somewhat limited. That being said, it is a common process for me to singularly identify certain cities based on the musicians who originate from there. You can call it the result of ignorance from a young inexperienced traveler or simply the product of someone who loves music to death, but I have to say that the result is almost always complementary. After all, how else would those not too keen on geography or history identify some of the world’s more bustling and artistically productive areas? Montreal is by no means an unidentifiable city as the second-largest city in Canada, but the prosperous amount of musical activity has certainly brought more attention to the area as a ceaseless hotspot for artists who defy all stylistic and cultural boundaries. From commonly identifiable contemporary acts like Arcade Fire and Wolf Parade to legendary artists like Leonard Cohen who your parents (and hopefully you as well) can identify with, the city has been producing worthwhile artists for decades. That being said, there is little to question in whether or not one of the latest Montreal-based groups, Winter Gloves, have enough of an audience to gain exposure, as they have captured the attention of a city who is used to nothing but the utmost quality in independent music.

Capitalizing on a commonly receptive form of integrated indie-rock and synth-pop that has seen local contemporaries like Stars and Chromeo, go on to national success, Winter Gloves refine their approach by being neither intimidating nor overly aggressive. With ambitiously modernistic minds like Spencer Krug also hailing from the same city, their songs are not even remotely the most complex or intricate pieces to hail from Montreal, but the four-piece are able to emit a form of convincing infectiousness that makes their success appear nearly imminent. In support of their recently released debut album, About a Girl, they are currently wrapping up a Canadian tour that has earned them both hot press and a budding fan base. Prior to this release, however, they put out an EP, Let Me Drive, that primarily consisted of frontman Charles F.’s solo musings. Winter Gloves itself was originally intended to be a solo side project for Charles, but he found the life of a solo musician to be too restrictive for his taste. “When you record everything yourself and then you listen back to the CD, everything is a bit boring,” he said in an interview. “It’s like a talent show for you.” Seeking both an outlet for constructive criticism and stylistic expansion, the search for the proper musicians proved easy for the native of Quebec City when he returned to his native roots.

After he had spent one year overseas in Britain and had gotten a bit bored of the straightforward art-rock infesting the likes of NME, Charles F. relocated back to Montreal in hopes of gathering some like-minded musicians to complete the process of finalizing Winter Groves. First, he looked toward Vincent Chalifour, a friend who had helped him mix the debut EP. After Chalifour’s quick agreement, the two then connected with collaborators Patrick Sayers and Jean-Michel Pigeon, completing the four-piece. First, he looked toward Vincent Chalifour, a friend who had helped him mix the debut EP. Off the heat of the EP alone, the group began touring with the likes of Tokyo Police Club and Jealous Girlfriends despite not being signed to a label at the time. The critical acclaim for both their EP and live shows sent labels a knocking though, and the Toronto-based Paper Bag Records swooped Winter Gloves in anticipation for the release of About a Girl. Now on the same label with the likes of The Acorn, Tokyo Police Club, Sally Shapiro, and Stars, they look to fit well among a group of excellent songwriters and performers that capitalize in a variety of original hooks and multifarious stylistic tendencies.

Although the longest track on About a Girl is no longer than four minutes, this works to the group’s advantage in regard to their stylistic preference. For most of the tracks, if they were any longer then they would overstay their welcome, mainly due to an instrumental focus on keyboards and synths that remains consistently accessible. “I Can’t Tell You” is a fine example of their key-driven sound, often backed by a revolving array of warbling synths and a very brisk rhythm section that can be surprisingly and efficiently complex in specified areas. This is found accordingly in the chorus of “I Can’t Tell You”, where a series of twinkling synths further supplement a repeated key progression as Charles’ vocals change pitch from a series of half-spoken verses to a falsetto-aided bridge. His dynamic range allows the arrangements to flourish abundantly, perhaps overshadowing any simplistic melodic aspects that may turn off some listeners. The opener, “Factories”, is more demonstrative of their enthusiastic nature. In contrast to “I Can’t Tell You”, the track is a constant whirlwind of energy that sees a guitar arpeggio complement an already engaged series of synth lines. The lyrics are generally nonexistent during this section, as Charles opts for a melodic croon that sees his vocals substitute for any extraneous instrumental accompaniments.

I suppose you could make comparisons to a handful of Wolf Parade’s more accessible tracks – “Fancy Claps” or “Modern World” – on a track like “Let Me Drive”, though the structure without being all too predictable. The implementation of handclaps over the building bass line adds to the songs immensely, adding a sense of anticipation that should find the listener in a state of appeasement when the track reaches its conclusion. Overall, About a Girl is not the most intricately resounding thing to come out of Montreal, but it is certainly some of the catchiest material from the city I have heard so far this year.

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Winter Gloves – I Can’t Tell You

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Winter Gloves – Factories

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Winter Gloves – Let Me Drive

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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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The post The Happy Hollows appeared first on Obscure Sound: Indie Music Blog.

I hope that everyone’s memorial day weekend went well. Like every year, it marked the beginning of summer for many people (mainly students like me) and gave them a bit of a refresher as to what summer actually FEELS like. Yeah, being on the East Coast, the radical transitioning between seasons occasionally makes me forget what it feels like to walk outside without deciding first whether or not to wear a coat or sweatshirt. Since summer weather tends to arrive somewhat late over here, I still have to endure classes in the scorching heat until the end of June, but the thought of summer’s embrace is definitely enough to get me through the torturous couple of finals that await me. Unlike summer, music can be enjoyed regardless of seasonal tendencies and this month offered up a plethora of consistency. This particular compilation also demonstrates quite a bit of variation, sporting artists who dwell in anywhere from experimental rock to accessible electro-pop. If one (or hopefully several) interest you, feel free to click on the (post) beside the link. Listing the different styles in one post for this compilation would be too demanding on the eyes.

01. Pacific! – Sunset Blvd (post)
02. Wolf Parade – Language City (post)
03. White Denim – Sitting (post)
04. Cineplexx – Droga Paliativa (post)
05. Alias Pail – Sun and Rain (post)
06. Down Home Southernaires – Israelis on the Beach (post)
07. Alu – Casket Salesman (post)
08. Silje Nes – Dizzy Street (post)
09. Sparks – Lighten Up, Morrissey (post)
10. E.S.L. – Prove Me Wrong (post)
11. Frank Bango – Worm Was Wood (post)
12. Ndidi Onukwulu – SK Final (post)
13. The Little Ones – Ordinary Song (post)
14. Mates of State – My Only Offer (post)
15. The Lady Vanishes – Karen, Don’t Stop Him (post)

DOWNLOAD ENTIRE COMPILATION>>> (62.1 MB, .RAR)

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