by Lauren Tischler

It is safe to say that hip-hop prodigy Scott Mescudi, better known as Kid Cudi, has a lot going for him. His debut album Man on the Moon: The End of Day sold 104,419 copies in the span of a week, he stars in HBO’s “How to Make it in America,” and has collaborated with hip hop greats such as Common and Kanye West. The rapper, singer, and actor is on the top of his game after a few short years, and the much awaited release of his newest album Man on the Moon II: The Legend of Mr. Rager tells us he’s not stopping anytime soon.

Considering the amount of success that Kid Cudi’s breakthrough album had in 2009, it was instantly obvious that the follow-up had to meet some high expectations. Whether the album meets these standards is debatable. The album opens with the rapper crooning promising lyrics. “You are now in the world I am ruling,” he expresses, followed by a soulful chorus sung by Gnarls Barkley’s Cee-Lo Green. The song is seemingly a prelude to an album that we believe will be somewhat like Cudi’s first work: refreshing and youthful. What follows, “REVOFEV”, meets our anticipations with a mysterious, psychedelic drum beat and instrumental track.

While the first two tracks of Man on the Moon II are convincing, the rest of Kid Cudi’s album proves to be wary. The tracks are unmemorable and seem to blend together as the album progresses. “Don’t Play this Song” is a dull composition with monotonous lyrics, and while Mary J. Blige is featured on the track, even she fails to impress. “MANIAC” featuring St. Vincent and Cage, and “Erase Me” with Kanye West again prove that even an impressive line up of guest vocalists does not attribute considerably to success of any kind on Cudi’s album.

Although Man on the Moon II is not Kid Cudi’s most outstanding work, it shows us a side of the artist we have not seen in his earlier music. Since Kid Cudi’s first album, he has become a father to a little girl named Vada and has been arrested for criminal charges and drug possession. The artist has also, in the past year, opened up about a heavy cocaine addiction. Though we should not hand Cudi a free pass because of these trials, it is unquestionably a factor to be taken in when considering his newest album. Man on the Moon II is blatantly dark and exemplifies these problems in Cudi’s life. This effect can be seen, for example, in “Wild’n Cuz i’m Young”. Kid Cudi speaks of how his father’s smoking and drinking habits influenced him over an eerie synth line. “These Worries” is another cryptic narrative. The album closes with “Trapped in my Mind”, and while the track is not catchy or noteworthy, Cudi’s lifeless delivery provides a surprisingly fitting conclusion to the album.

So despite the fact that Kid Cudi’s new album won’t be perpetually blasting from my stereo in contrast to his early release, it serves another purpose. Man on the Moon II: The Legend of Mr. Rager introduces us to an intimate artist named Scott Mescudi, rather than the pop culture icon Kid Cudi we know and see everyday.

Kid Cudi – Scott Mescudi vs. The World (ft. Cee-Lo Green)

Kid Cudi – REVOFEV

Official Site / MySpace / BUY

The post Kid Cudi’s Follow-Up appeared first on Obscure Sound: Indie Music Blog.

by Matt Keefer

Frontman Wayne Coyne approaches the tour at his own pace.

Few could predict that an indie punk group from Oklahoma City would have such an innovative presence in the music world. At 49, Wayne Coyne and his quartet of space-a-delic freaks, including bassist Michael Ivins and drummers Steven Drozd and Kliph Scurlock, have earned a Grammy, covered Pink Floyd’s “The Dark Side of the Moon” in its entirety, and toured relentlessly across the world. Currently on tour for their first double-album Embryonic (excluding Zaireeka, their 1997 four-album experiment), the self-deprecating Coyne delivers about the not-so-glamorous side of touring, as well as about future projects.

Matt Keefer: Thanks for your time. Do you mind if I record the interview?

Wayne Coyne: Sure. I don’t expect you to write it all down and remember it. I’m not doubting your ability to remember, but, see, I just talk. It might be a lot easier for you to say, ‘Nah, that fucker goes on too long.’

M: At 27, being 49 seems like a long way to travel.

WC: I remember when I was 27, I would think about someone who’s almost 50 years old: ‘Dude, are you alright?’ I don’t ever get the feeling that I’m any different. It’s only when I look in the mirror sometimes that I think, “oh wow, I look like a weird old guy.” I don’t feel different to myself. It’s a strange phenomenon.

M: How’s your tour for Embryonic going so far?

WC: We’re never really on tour for very long. We’ll go out for maybe about ten days, play some shows, then we’ll go home for ten days… we’re always doing everything at the same time. Since we’re playing some shows in the summertime, you always run into other groups, and we ran into a group, Trombone Shorty, just last night. They’re almost into their third consecutive month of playing. That can beat you down. I already did that several times – when I was your age – and it can be such a mind-fuck, you’re so torn away from your life that you’re trying to build, the people that you knew. Like I said, I’m 49 years old, and the other guys, they’re not as old as me, but they’re not in their early 20s. I think they don’t want to be taken away from their families and their lives for that long. And you can almost go endlessly the way we’re going. You can almost never stop, because we’re going full-time. Doing the Flaming Lips tour is kind of like working at Target: it just kinda is. It’s not too hard, you just get up and go to work.

M: I know some musicians that have kids, and touring must be rough on them.

WC: Especially for musicians. The reason I say musicians is that they have a sensitivity about them, or they probably wouldn’t like music. And all these things that play into human dramas and emotions are just a little bit more, either enjoyable, or a little bit more painful. Sometimes I think groups try to say ‘we’re going to play for six months straight,’ and then take three years off. You know, that’s easy to say, but a lot of things happen to people in six months that you cannot reverse. Especially if you have young children. Six months, they’ll be completely different little creatures by then. We don’t want that. We want to make our music, do our performances, do all these things because we love what we do, not put one thing that we love on hold so we can have another. We want to have it all at the same time.

M: On the positive aspect of that, do you have any good tour stories?

WC: (Laughs) I don’t know, a lot of times there’s not that much crazy shit going on. When we played at Bonnaroo about a month ago, you play into the night pretty long, and there’s a lot of young people there that are doing drugs and stuff. So those [gigs] always play more into the good old rock and roll stories. After we got done, it was about ten minutes after three in the morning, I went over to the LCD Soundsystem stage, where they had just started their set – and I sort of Tweeted about it the day afterward – but this big, naked guy sort of attacked the stage.  Me and, what’s this comedian’s name, Aziz Ansari? – this giant, freaked-out naked guy, had to be doing some acid or something, simply attacked the stage, and we sort of had to hold him down until the security guards could take him away. It was a very strange, charged moment, where that doesn’t happen to you every day. You know, where you’re suddenly assailed by a 300-pound, naked guy, and he’s all sweaty and he’s drenched. That’s probably the last phenomenal rock-and-roll moment that happened to us.

M: I guess at that moment you’re glad that you pump iron five times a week.

WC: I don’t do that much, but I do yoga almost every day. So, yeah, you’re glad that you have energy and you can react and you don’t feel intimidated. I know you’re saying that jokingly, but I mean it. To be in a group, and to do all these things; you wouldn’t want to do it if you don’t have a lot of enthusiasm. So yeah, I jumped right to task. We didn’t really want to. The guy was very strong but he was pretty slippery, because he was so sweaty. The slipperiness made it impossible to grab him. It’s a good trick. If you’re ever going to run from the cops, strip yourself naked and be slippery.

M: Sure. I should probably carry some cans of grease, too.

WC: (Pauses) Then their only solution is to tase you.

M: You’ve also toured Europe and around the world. Any places you’ve enjoyed outside of the US?

WC: It’s all pretty great when you’re a group like the Flaming Lips. Most everywhere that we would go nowadays, we’re invited to play by a group of enthusiastic ‘freaks.’ We just recently went to Croatia, and we played the Glastonbury Festival (in UK) and got to see Snoop Dogg, meet Mick Jones from the Clash. Hang out with Damien Hirst. There’s a lot of great things that can happen to you simply because you’re just traveling the world all the time. But the other side of it is that you spend a lot of time in airports and on airplanes. Sometimes you get done playing at two-o-clock in the morning, and you have to get to the airport at four-o-clock in the morning. Running from one show to the next, everything is ‘hurry hurry hurry’ all the time. Sometimes I think it’s too many experiences. It’d be like having to eat twenty meals in one day. There’s just no way you can enjoy all the things that are happening.

M: Do you have anything new on the horizon?

WC: We’re always – I don’t know if ‘contemplating’ is the right word – but you’re always considering new musical ideas, new things that you want to play into. We’re always doing little movies and little videos. I just shot an ending of a video for a song on Embryonic called “See the Leaves”. We were shooting this guy on the north side of Oklahoma City who has a big acreage where he’s burning a bunch of his brush that he had chopped down. So we saw this giant fucking bonfire. We shot for an ongoing piece in our storyboard there. So it’s always a kind of combination of everything: new music, and new movies, new videos, new things for our website, new toys, new t-shirts. Everything is a Flaming Lips creation. The great range of things that you can do readjusts your focus on music.

M: Last question: Karen O of the Yeah Yeah Yeahs made a brief appearance as a frog on Embryonic.  Would you consider a fuller collaboration with her?

WC: These are definitely collaborations of a sort. I don’t know. For me, I’m more comfortable doing these types of collaborations, where I have the song written, and I have the arrangement, and I just simply call Karen and say ‘All you have to do is be you, and I’ll do all the work.’ A lot of artists don’t really want to collaborate in the sense that people think they do. The art is a lot of times just made very intensely. You simply say, ‘I like this and I don’t care what you think.’ That is in a lot of ways how art is made. And when you’re collaborating with someone that you love and admire, the way that I was working with Karen O, it’s not so much a collaboration, as it’s me giving her a format for her to be her pure self. And that’s different than us writing a song or writing lyrics or writing an arrangement together. So, I don’t know. If whoever called me up and said, ‘Hey, do you want to do this,’ I would always be open for it. I’m open to new experiences and new failures or successes. But I could understand how a lot of people wouldn’t be. It’s nerve-wracking; it’s not always very pleasant. I try to make ours as easy, as quick, and as pleasant as possible. They simply can do this little thing, and be part of this bigger thing. That’s why most artists would want to do it in that way, more than a ‘Hey Henry (Rollins), why don’t you write a song today?’ A lot of people will do that to us. I’ll say ‘not really, but I will, if that’s what we’re doing.’

M: You’re definitely right: you talk a lot. But it works with interviews.

WC: (Laughs) I know I paint it like it’s going to be torture, but I’m trying to give you as much a lay of thinking about me as you can. Make me sound cool.

The Flaming Lips will be playing on 10/10 in Austin, TX. You can buy tickets here.

The Flaming Lips – Race for the Prize

The Flaming Lips – Fight Test

The Flaming Lips – It’s Summertime

Official Site

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The post Interview with The Flaming Lips appeared first on Obscure Sound: Indie Music Blog.

Describing an Of Montreal show is like setting the scene for a circus. Literally. The amount of cartoonish yet elaborate characters, the band-built set of props, the whirlwind of energy… it is difficult to pinpoint which component of the performance merits the most mention. When it comes down to it though, like the mark of any great band, it is the music that keeps people going. For a band like Of Montreal, their set is not an illusion designed to compensate for sub-par music. Neither is frontman Kevin Barnes’ energy, which is the quite opposite of a facade and a vocal part of his music whether on stage or not. So when I saw them for the first time on Saturday night, I was not surprised by the festival-like atmosphere. I knew that would be there. What stunned me was a remarkably tight performance that somehow managed to take the best parts of the band’s music and their renowned stage presence, both of which are anything but subtle. Such immaculate management prevented an overflowing of ideas, which is always possible considering the band’s lofty scope. Fans were treated to quality with no pretentious showmanship.

The success of their performance on Saturday night, the second of a two-night stint at Terminal 5, is no surprise to fans. When you have an opener like Janelle Monáe, who is successfully attaining fame in both independent and mainstream circles, it is hard to have doubts. The little that I caught of her set was excellent, and her re-emergence during the phenomenal “Enemy Gene” later in the night brought emphatic cheering from an audience that were thankful to be given an opener that sounded like a headliner. This occurred about mid-way through Of Montreal’s setlist, which to my delight was culled heavily from their new album, False Priest (review here), and my favorite, Hissing Fauna, Are You the Destroyer? (review here). Barnes and co. were able to seamlessly navigate their way around a setlist that, despite their striking stylistic similarities (like Barnes’ falsetto or a funk-heavy rhythm section), contained appropriate variations in tempo and mood.

A rendition of “Casualty of You” was a surprising entry in the midst of jolted dance-friendly efforts like “Godly Intersex” and “Girl Named Hello”, which was accompanied with dancers in pig masks who proceeded to grind it up with Barnes. Yet, they all maintained synchronization even as breathing room got thinner. As the sole ballad-like track on False Priest, “Casualty of You” fit naturally with songs from the same album despite its emotional distance. Barnes’ piano-driven delivery reached believable authenticity despite the more vivacious preceding efforts, which was played with expected mastery by longtime members Bryan Poole, Dottie Alexander, and others. Barnes stole the show’s visual factor, but the music was a collaborative tour-de-force that contained the tightness and infectiousness demanded from funk-heavy efforts.

Performances of “Bunny Ain’t No Kind of Rider” and “She’s a Rejector” reminded me how wonderful Hissing Fauna, Are You the Destroyer? was. Even though Barnes is three years past the divorce that plagued him to write many of the exceptional but forlorn efforts on Hissing Fauna, the same intensity was there as if it happened yesterday. It is questionable whether an audience should enjoy an artist’s suffering, so perhaps these tracks sounded bouncier and more fluid than usual because the issue is not as sensitive. Or maybe it is simply that the band was on their game. The intro to “Bunny Ain’t No Kind of Rider” focused on some very interesting glitch-pop, while “She’s a Rejector” retained the same successful anthem-against-heartbreak feel as it did three years ago. These songs were fantastic additions to the False Priest-heavy set, showing more alt-rock and electro-rock than funk but achieving a similar degree of irresistible uniqueness.

These earlier efforts had little dependence on the set or scenery, which Barnes described to Spinner as being a very collaborative effort: “It’s like we’re an art collective, in a way,” he said. “Everyone in the band is contributing, everyone is the crew is contributing and this is very collaborative experience for all of us. Our bass player is responsible for building 85 percent of the props we’re going to use on tour. My brother designed all of them. All of us are involved in filming all the video content.” Seeing as how tightly involved the band’s music was, it is not surprising to see that this was a mutual effort. Barnes may steal the show on more occasions than one, but it is clear that the Georgia-based collective are blessed with additional talent beyond their enigmatic frontman.

For a tour that has seemingly been developed like an elaborate film, with costumes and sets taking the entire summer to create, it certainly lived up to expectations. I am not sure how Barnes had enough time to write a great album like False Priest AND help organize an intricate tour like this, but that is beside the fact. The band put on an exceptional show that was lively but also somewhat grounded, featuring a very accessible setlist (for Of Montreal’s standards) and not straying too far from it, apart from a few admirable Michael Jackson covers to close the night. I recommend that you listen to False Priest, fall in love with it, and check to see if the band is coming somewhere near you. If not, it is one of those tours you will regret missing a year from now.

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Of Montreal – Bunny Ain’t No Kind of Rider

Of Montreal – Coquet Coquette

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Official Site

MySpace

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The post Of Montreal: 09/18/10 @ Terminal 5 appeared first on Obscure Sound: Indie Music Blog.

by Josh Taylor

Julian Shah-Tayler was born to make music. Putting out an EP every few months and pumping out 50-70 songs a year is no easy feat, unless you show prevalently the aspects of a well-rounded musician. His robust musicianship is responsible for his versatility as an artist. What I noticed after listening to his latest EP, Un Ange Passe, is that Julian is a songwriter who creates for his heart’s content. He strays from songwriting conventions and isn’t afraid to experiment if it amuses his untypical sensibilities.

Julian’s songs distinctly belong to their maker. Un Ange Passe is very personal and all the songs on the EP (with the exception of “Wetter”) were written for a dearly departed friend of Julian’s who tragically passed away. The literal translation of the title “Un Ange Passe” is “an angel is passing”, but is usually used when an awkward silence falls over the room. The EP tells a brief and interesting story about what happened to Christine. Julian tells it well, as the story is endearing and stripped down to the most honest details.

Instead of diving into the story headfirst, the EP begins with “Wetter.”  The songs on the EP are sandwiched by “Wetter” and the remix of “Wetter” by Karl Leiker. This song is definitely the black sheep… uptempo, naughty lyrics and electro influence. The feel of the song is great and could be a radio hit. The second song on Un Ange Passe is “Everything Is You”, serving as a good transition into the rest of the EP, which is more relaxed musically. The song begins with finger-snapping, chimes and some elusive and wandering exotic-sounding instruments. Then iit develops a direction and chooses to take on a New Order/Depeche Mode feel. The nameless exotics remain, lending a curious tone to the song. It’s almost as if they don’t belong, but are still welcomed.

“Communication” resembles the sparse feel of a desert. It’s expansive (at 5 and a half minutes) and filled with many instrumental breaks. The track lulls and winds but I don’t know that it goes anywhere. All I know is that when I listen to it, I start to space out.  If Julian wanted “Communication” to have a daydream-inducing effect, then bravo — well done, because that is exactly what happens.

“Christine” is where the EP starts to come together and the song clearly lays out what exactly happened to his late friend of the same name. Make what you want of the other songs and interpret them as you wish, but here is what happened, Julian seems to say. Musically, “Christine” brings to mind The Smiths “How Soon Is Now?” and has the same pensive inquiry.  One of the most striking and revealing lyrics is “as the kiss of the needle delivers you to the real world” followed by this lyric in the bridge “even if this life could give you all the love you need, I guess you had enough.” The verdict: overdose.

Un Ange Passe occupies a certain estranged darkness, but it is only when the listener gets to “Christine” that I feel they can go back and find its lingering presence in the background of the entire EP. Perhaps that misplaced discomfort is the awkwardness that the album title also refers to. Still, the way the song is handled is half ode, half something else that I can’t quite pin down. For a song written for a close friend the song isn’t particularly sentimental, which is odd to me. However,  I think those feelings find their way into the next song “Lullabies.”

From what I heard, “Lullabies” was written for Julian’s future daughter. But the listener is also led to believe that perhaps the song’s tender message is intended for Christine as well. The lullaby soothes the listener as well as the singer, perhaps reminding him that everything will be fine and there really is nothing to be afraid of during the night, and maybe in death…

Whatever the ultimate purpose of Un Ange Passe is, it can be listened to in many different ways. Julian is adventurous with his artistic choices and presents his subject matter though a twisted lens. This is not to say that his method is perverse, but rather aiming for artistic perfection on his own terms. Some say that’s a nifty idea. I would say it’s better than nifty, or original, or clever. I would say the whole EP is a noble effort. Too many musicians make music to turn a quick buck but lack the vision to make something worthwhile. Others write for their heart’s content, yet lack the talent to make sophisticated music. Julian, however, is the best of both. He is talented and passionate, which shows remarkably.

One last thing I noticed: None of these songs showcase Julian’s piano talents, but word on the street is that his full-length debut does. Entitled Coito Ergo Sum, it is due in the fall. So keep an eye out, or an ear rather.

RIYL: Depeche Mode, Dave Gahan, New Order, Erasure, Pet Shop Boys, Duran Duran, The Cure, Orchestral Manoeuvres in the Dark, Alphaville, David Wrench, The Human League, Gary Numan, Tears for Fears, Soft Cell, INXS, Talk Talk, A Flock of Seagulls, Naked Eyes, Blancmange

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Julian Shah-Tayler – Everything Is You

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Julian Shah-Tayler – Wetter

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Julian Shah-Tayler – In Your Room (Depeche Mode cover)

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Impossible Things Records

MySpace

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The post Julian Shah-Tayler appeared first on Obscure Sound: Indie Music Blog.

In a bit of a twist, this compilation encompasses both December and January. The “Best Albums of 2009” featured last month was a lot of fun, as was the three-week break I took after it was published. I am always exhausted after that feature every year, but I still used the vacation time to discover some great music. The difference is that during the holidays I can listen without being persuaded to write about it. It is a change of pace for me, considering that by nature I am compelled to share something great if I hear it. During winter break though, family and friends were usually the victims of my music recommendations… whether they liked it or not. I usually cannot contain excitement for too long, so kicking off the new year is always slightly overwhelming. There is so much to get excited about, disappointed over, or fall in love with. Regardless of the disappointments though, there are triumphs every year. When there are several triumphs released in the first month of a year, I would consider that a pretty good sign, and this compilation is indicative of that.

Since updates resumed a few weeks ago there has been little to complain about. I regard 2010 as an excellent year already; Beach House’s Teen Dream kicking off the year in grand fashion combined with highly anticipated releases on the horizon should create plenty of anticipation and delight. Much like the release of Merriweather Post Pavillion at the beginning of 2009, we already have a genuine class kicking off the year. Solid albums thus far from Yeasayer, Citay, and Shearwater tell us this may not be an isolated trend. Several reviews – notably the Yeasayer and Shearwater – were written by a new contributing writer, Jay Mattson. He has a great writing style and plenty of acts to expose, so I am glad to offer another opinion on this site in addition to my own. A one-man site is restrictive in the sense that bias can not be prevented, regardless of its subtleties. As the site expands and grows I hope to find talented writers like Jay to continue our search for great independent music. For now, check out the best new artists we featured over the past two months. Enjoy it, and don’t forget to watch LOST tonight.

01. Beach House – Walk in the Park (post)
02. Yeasayer – Ambling Alp (post)
03. Big Spider’s Back – Warped (post)
04. Citay – Dream Get Together (post)
05. Shearwater – Black Eyes (post)
06. The Nightgowns – Buoy (post)
07. Jaga Jazzist – Banafleur Overalt (post)
08. Dumas – Dans Un Rétroviseur (post)
09. Beach House – Better Times (post)
10. Dragon Turtle – Island of Broken Glass (post)

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The month of October always seems to root out the Album of the Year contenders, making this and November one of the most active months in new music releases. Similar to the several months preceding the Academy Awards for film, many marketing agencies and labels are thrusting out the last of their ’09 products before focusing on the new year. This includes everyone from veterans (The Flaming Lips) to newbies (Surfer Blood), each providing their fanbase with an early gift for the holidays. This month provided everything from infectious electro-pop (UltraChorus, Midnight Juggernauts) and ambitions psych-rock (The Flaming Lips, Her Vanished Grace) to indication of several stylistic revivals in the vein of surf-rock (Surfer Blood) and psychedelic electronica (Washed Out). Even unclassifiable artists like The Kilimanjaro Darkjazz Ensemble  and Lymbyc Systym provided focused and memorable efforts this month, making October 2009 unsurprisingly a month where artists of all different genres find a meeting point in their qualitative nature.

01. Surfer Blood – Take It Easy (post)
02. Washed Out – Belong (post)
03. Total Babe – Bearbones (post)
04. Midnight Juggernauts – This New Technology (post)
05. The Flaming Lips – Convinced of the Hex (post)
06. Tim Williams – Ozone Street (post)
07. A Brief Smile – Bigger Lies (post)
08. UltraChorus – Bestin the Farther (post)
09. Her Vanished Grace – Blue (post)
10. The Kilimanjaro Darkjazz Ensemble – Embers (post)
11. The Library – Tomorrow Is Better (post)
12. Aficionado – The Myth About Real Life (post)
13. Lymbyc Systym – Ghost Clock (post)

DOWNLOAD ENTIRE COMPILATION>>> (52.3 MB, .RAR)

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

I was a bit weary when Bishop Allen began their EP project, where they released an EP once every month for the entirety of 2006. Why rush artistic integrity and spoil the chances of a full-length masterpiece in the process? Many listeners probably had a similar first impression, but when hearing the type of content that the Brooklyn-based duo produced throughout these 12 EPs it began to make sense. They almost resembled lo-fi bedroom recordings with their amiable DIY dedication, their infectious indie-pop being led by an array of crackling guitars and pianos. Although the sporadic stream of releases prevented much press since most music publications would not dare review the same band every month, the concept alone generated plenty of recognition that brought acclaim for both the band’s work ethic and stylistic focus. To keep listeners coming back every month for a release that hardly varied in style was quite an achievement, and in doing this it represented the duo’s cunning songwriting ability. After the finale of this EP project, it was hardly a surprise when Bishop Allen landed a respectable label deal with Dead Oceans (which involves people from Secretly Canadian and Jagjaguwar) because of this new acclaim.

A Brief Smile are another group out of NYC attempting a similar concept, except this time without the major indie backing and promotion that Bishop Allen had. A Brief Smile has already released three EPs this year, one each on the first Friday of May, June, and July. Whereas Bishop Allen had previously established substantial recognition with a full-length debut in Charm School before undertaking this adventurous approach, A Brief Smile are generally unknowns still looking for their breakthrough. An short 7-track debut, R.E.S.T., was released in 2005 before a full-length album, Now We All Have Horns, appeared in 2007, but there remains a vague enigma surrounding this group. Each of their three EPs this year represent varying stylistic approaches, leaving a sense of unpredictability that can only be positive for a group as young as A Brief Smile, who all met while attending NYU. The estimations surrounding their next album cannot be conventionally hypothesized, as bassist John Carnes explains. “These albums are all different from one another sonically but I think if you really listen to the lyrics, you’ll find commonalities – a kind of narrative that goes from creation to destruction to creation.” This kind of stylistic multifariousness that A Brief Smile have shown despite a limited number of release is what makes them so promising for the future.

A Brief Smile’s absence from touring since August can likely be contributed to whispers of a full-length release. The five-piece is now at work on “a dance record” that uses “dark chugging synths” to pave the way for a return to the band’s pop roots, set to be released sometime in 2010. This return to their pop roots is in reference to their earlier material, which is in slight contrast to the tinge of indie-psychedelia displayed on Sunshine State, the most recent of their three EPs this year. “Animal Magnetism” shows off this psyche side quite well in addition to the five-piece’s versatility. “Do you believe in the hope of a magnetic soul?” DL Tashjian sings over impulsive stuttering of keys, assailing guitar riffs, and bursts of tuned-up bass. Tashjian’s vocals are crisp and delightful, adding melodic variations of vibrato similar to that of Jim James, though comparisons to the powerful quiver of Brandon Summers (The Helio Sequence) is more apt due to the shared uses of soaring melodies within a sparkling blend of indie-rock and electronic-rock. A track like this can be accredited to indie-rock with its conventional structure and length, but at times the soaring guitars make it feel like more of a post-rock effort. When all the instruments condense in the last minute over the hectic pattering of percussion and Tashjian’s echoed moans, it feels as if a ten-minute epic had just concluded. I mean this in the best way possible too; it is a song that makes time move slower due to its psychedelic leanings, while hardly abiding by the stereotype that enjoyment is best identified by time passing quickly.

“Bigger Lies” continues to tout its psychedelic influences like “Animal Magnetism” did, promoting its 4:20 length quite nicely. This is an extremely developmental effort, with a bass-keyboard fusion providing a leading melody that is no more than four notes. This unfolds as expected though, and judging how effective A Brief Smile are in exposing . You can just feel the anthemic section of “Bigger Lies” unfolding as the track progresses, the rhythm section hinting at possible bursts of melodic variation. Tashjian’s vocals continue to solidify any lack of variation that may occur during the track’s early goings, providing plenty of dramatic flair before interesting harmonic combinations and rhythmic appliances are utilized to establish “Bigger Lies” as one of the most convincing efforts of A Brief Smile’s career thus far. It should be the first of many monumental successes for this group . I honestly believe that this tracks will go overlooked simply because songs on 3-song EPs from unknowns generally tend to be disregarded. If these were perhaps put towards their eventual full-length then more exposure would have been imminent, but looking at these three EPs it was clear that A Brief Smile did this for their growing fanbase and not for commercialized potential. With A Brief Smile now hard at work in the studio, we have a gem like Sunshine State to tide us over until their dark, synth-savvy follow-up is released in 2010. Download a few of their EPs for free here or there until then; this level of quality is rarely distributed for free so take advantage of it.

RIYL: The Helio Sequence, Dirty on Purpose, The Happy Hollows, My Morning Jacket, Snowden, Annuals, The Main Drag

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A Brief Smile – Bigger Lies

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A Brief Smile – Animal Magnetism

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A Brief Smile – Honeycomb Shrinking

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Continuing with the recent theme of atmospheric pop music that Washed Out and Neon Indian showed us, Her Vanished Grace deliver a similar sort of layer-based sereneness that differentiates itself through dark and moody Brit-rock instead of chilly electronica or sample-based experimentation. By most accounts, Blue is their tenth release of new material since their debut, State of Grace, was released in 1991 with a promising take on atmospheric pop that revolved around assorted guitars and keyboards. Her Vanished Grace’s actual number of releases is somewhat debated due to their cult-like following, which has manufactured many assorted mixtapes and compilations in itself. If one thing is for certain though, it is the rare capability that this band has to remain interesting as time goes on. As their tenth release Blue shows us, it does not take a precise discography for a listener to witness Her Vanished Grace’s maturation. Their initial career reaped from interesting use of post-rock, noise, and shoegaze, wearing influences like Sonic Youth and My Bloody Valentine on their sleeves despite noticeably lo-fi production that prevented the New York-based group from reaching widespread recognition. Their work still touts those prestigious influences today, but now they infuse more of their originality in an effort to differentiate themselves. So far, so good.

The most recent incarnation of Her Vanished Grace commenced in 2000 with Colors Vols. 1 & 2, when the founding husband-and-wife duo of Charles and Nance Nieland disbanded the initial workings of Her Vanished Grace and combined forces with bassist Maria Theodosiadou and drummer Brian Haarer to form a more full-bodied version of their initial group. A vigorously talented rhythm section and higher-budget recording methods in addition to the songwriter-guitarist husband-and-wife duo paved way for their most successful period in the early to mid 2000s. Five new albums were released after Colors, the most recent being the excellent Blue. Although their success to date has been gaining momentum for several years now, Blue may be the knockout punch that propels this band from obscurity to unanimous acclaim. Charles and Nance met at New York’s Metropolitan Museum of Art about two decades ago, and ever since then they have been working together to pursue their dream of musical success. Time is only relative for artists, and many may consider success occurring after attributed experience is better than success prior to experience, for it is a factor that is a monumental factor in determining an artist’s durability.

Durability is synonymous with Her Vanished Grace, at least in the sense that longtime fans have yet to be disappointed with the four-piece. Billy Loose has since replaced Haarer on drums but the original duo along with Theodosiadou are still there along with their ambitions. In terms of stylistic exploration, Blue has little to offer in terms of breakthroughs, but their blending of familiar styles like power-pop and shoegaze into one beautiful audible landscape make up for any lack of stylistic innovation. To enjoy Blue one must push aside any stylistic biases regarding shoegaze, as common stylistic elements like reverb and gushing guitars are abundant but not utilized in a conventional manner. Since the melodies are crisp and polished in the form of modern indie-pop instead, the regressing influence is not exposed in the way one might expect. The excellent self-titled track instead reaps from an infectious blend of power-pop and post-punk, being grounded in production techniques involving heavy doses of reverb, thick tremolos, and heightening guitar arpeggios that clash with a bustling rhythm section to consume the listener through both pop-minded appeal and atmospheric vision. Like predecessors in the vein of Sonic Youth and Ride, Blue marks Her Vanished Grace’s true emerging period as a group putting their ambition to accessible use without sacrificing the ingenuity that got them there in the first place.

Although both Charles and Nance contribute vocal duties on Blue, Charles is primarily used due to the way his brooding vocals accentuate the retrospective and forlorn aroma of post-punk and shoegaze most commonly attributed to Her Vanished Grace. The band employs their differing vocal styles well, allowing each specialty to reap from their eclectic use of instrumentation. For instance, Charles is lead on the empowering “Blue”, where a brilliantly moody chorus provides awe-inspiring embrace in washed layers of guitars and synth pads. Its strength is dependent on darkening mood and evolving versatility, growing from an emotive guitar-driven piece to one guided by distinctive layers of sound that accompany a versatile croon that goes from low-pitched to an ethereal chant of sorts with heightened pitch. Charles’ presence is felt in the album’s darker tracks, leaving room for Nance to take control of more lighthearted efforts like “Rush”. With a better grasp of bubblegum-pop or lighthearted indie-pop in the vein of Metric or Mates of State, “Rush” works by using a bunch of repeating guitar chords before exerting itself into a chorus that reminds me of 90s Brit-rock in the vein of PJ Harvey, Black Box Recorder, or even less absurd Morrissey efforts like “Reader Meets Author” with its swirling sort of guitar-based simplicity. Although it strains itself from too much repetition, it is a nice reliever from Her Vanished Grace’s more emotionally complex efforts like “Blue and “Remember”, as enjoyable as they are.

The latter is narrative in approach as Charles and Nance participate in a duet, again retracing their steps to the amiable type of alt-rock that was abundant throughout the ’90s. With Charles’ vocals at times sounding like a cross between Gruff Rhys, Morrissey, and Hayden Thorpe (Wild Beasts), his versatile approach does wonders to this respective style along with the band’s tendency for anthemic hooks. Nance’s contributions contrast somewhat in terms of style, but the parallel creates very refreshing circumstances that are simply a testament to the group’s valuable chemistry. The diversity between efforts like “Blue” and “Rush” summarize the album’s success quite well, as Blue serves as an enjoyable release that relies on the band’s gathered experience in the spectrums of pop music and layer-based atmospherics. Without the experience of nearly two decades I would be surprised if Blue would have even been possible, but Her Vanished Grace have undoubtedly reached an artistic peak by doing so without sacrificing what got them here in the first place.

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Her Vanished Grace – Blue

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Her Vanished Grace – Slip Away

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Her Vanished Grace – Remember

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The post Her Vanished Grace appeared first on Obscure Sound: Indie Music Blog.

When projects attempt to be conceptual in both their style and purpose, there arises a sensitive area where criticism has difficulty retreating from the subjective to the objective. What we define as “quality” is premeditated by our own personal taste and is primarily subjective, but a release can also reach a consensus of inarguable quality and influence that gravitates more toward the objective. This almost always occurs quite some time after the initial release, for the term “instant-classic” is rarely used properly and often exaggerated when done so. If you wish to listen to The Kilimanjaro Darkjazz Ensemble, you are probably going to have to leave any of these subjective perceptions of quality at the door. You cannot compare anything definitive to this project, another brainchild of the ceaselessly active and multifarious Jason Köhnen. He is best known for Bong-Ra, another project of his since 1996 that has emerged as one of the most respectable sources of quality breakcore, which is basically a fancy name for industrialized techno with heavy percussion and samples at high tempos. Most of his projects possess these obnoxiously non-descriptive names like breakcore, but he is obviously not to blame. In fact, when you are as constantly innovative as Köhnen, listeners have no choice but to make up sub-genres in order to express what tickles their fancy.

It is always easy to cover an artist that fits generic words like “breezy indie-pop” or “tender acoustics”, but when using these terms without further clarification it tends to be an indicative of lacking originality. Perhaps this is why I am lost when attempting to concisely describe The Kilimanjaro Darkjazz Ensemble, as their swirling assortment of influences and stylistic directions allow the listener to take a full-bodied ride into unchartered territory with touches of jazz, post-rock, electronica, and IDM without being too overwhelming. The Kilimanjaro Darkjazz Ensemble formed in 2000 out of mutual admiration for silent filmmakers that used powerful music to convey raw emotion in synchronization with visual content, an interesting influence since this concept is often lost in modern film-making for special effects and generic instrumental covers. Notable influences included F.W. Murnau, Fritz Lang , and even somewhat contemporary works by the likes of Jan Švankmajer (check out his 1988 stop-motion interpretation of Alice in Wonderland for some cool stuff). The members of The Kilimanjaro Darkjazz Ensemble were so enthused by the passion of these filmmakers that Köhnen and co. began composing scores to already existent films, arranging soundtracks to the classic likes of Nosferatu and Metropolis in order to hone their experience in the most unique way possible.

As a true pursuer of stylistic ambitiousness, such tactics are hardly a surprise for followers of Köhnen. There is no method or style that seems beyond his reach. Bong-Ra played with everything from dance-rave to avant-garde jazz, a feat that was diverse enough to receive acclaim from the likes of John Peel (who included him as one of the 125 best Peel sessions ever). I admittedly find breakcore to be a frustrating genre, often sounding cluttered due to repetitive tempo or lack of melody altogether, but Köhnen’s work tends to appeal more to the majority despite his distinctively avant-garde leanings. Although his layers may have occasionally been too complex or his ideas overly thematic to grasp, Bong-Ra showcased a variety of genres like hip-hop and jazz that did not abide by breakcore’s very specific classification. In comparison to this, Köhnen’s new foray with The Kilimanjaro Darkjazz Ensemble is more straightforward, but also packs more of an emotional punch than any of his earlier material. Whereas his previous work would have sounded best at a rave party, this work with The Kilimanjaro Darkjazz Ensemble instead sounds like the ambiance of Hades, where contemplative sorrow is displayed more than impulsive excitement. The dramatic alteration in mood is one notable aspect of the transition to Köhnen’s new project, and it is not the only one either.

The stunning parts of The Kilimanjaro Darkjazz Ensemble’s third album, Here Be Dragons, are abundant, but not in the instantaneously infectious sort of way many are used to. Keep in mind that this is the same sort of stuff that World’s End Girlfriend have done so well, where full-blown orchestras combine with jazz percussion to craft audible worlds that are bleak, serene, and chilling. Too in-depth to serve as a film soundtrack, the works of these artists are often overlooked due to the sheer complexity and scope of the project. The beautiful “Embers” is one of the more concise efforts on the album, but it still builds with collapsing thunder as brass, horns, and the ghostly vocals of Charlotte Cegarra evolve into both vocal-led emissions of fury and smoothly presented saxophone solos. The diversity on tracks like these throughout the album is absolutely extraordinary, a true landmark achievement even for an artist as eclectically inclined as Köhnen. “Embers” almost has that sort of ethereal, crystal-y feel to it that is reminiscent of Air’s Moon Safari days, especially in the way Beth Hirsch sent chills up listener’s spines on “All I Need” with her fragile croon. The parallel between the somber and free-fleeting moments of “Embers” are the best parts; the brass solos and detached vocal additions are juggled masterfully.

It would be acceptable if the rest of the album sounded like “Embers”, but any fans of the Utrecht-based Köhnen know that it is his tendency to mix things up. “Sirocco” is an amiable effort with the initial giddiness of Afro-pop keys making one of those oh-so-brilliant Köhnen mood transitions. Cegarra’s vocals appear alongside the strings, which sound very thick and reverb-heavy over a haunting melody that already portrays darker elements on its own. The percussion here is certainly influenced by his earlier works, as the industrial feel is heavily prevalent in both that and the backing atmospheric pads. “Mists of Krakatoa”, while lacking the general passion of the other two tracks, is exceptional for its sheer curiosity in blending Cegarra’s operatically inclined vocals again with strings, except unlike in “Sirocco” they collide here with a piano in minor key and the backing whirring of what faintly sounds like machines at work. This is less structurally cohesive than the others, like the fantastic opener “Lead Squid” or plucked goodness of “Caravan!”, but still retains its value through innovative sophistication and cumulative emotional expression. Some tracks on Here Be Dragons may take too long in their introduction or conclusion, but in their climaxes they will convey a type of innovation and musicianship that stands out even among the avant-garde.

RIYL: World’s End Girlfriend, Portishead, the later and more experimental years of Talk Talk

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The Kilimanjaro Darkjazz Ensemble – Embers

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The Kilimanjaro Darkjazz Ensemble – Sirocco

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The Kilimanjaro Darkjazz Ensemble – Mists of Krakatoa

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The post The Kilimanjaro Darkjazz Ensemble appeared first on Obscure Sound: Indie Music Blog.

It would be nice if all New Yorkers were given next week off for the sake of new music. CMJ’s Music Marathon is already intimidating enough with hundreds of artists on the roster, so with classes and work getting in the way it would be pretty nice to devote a whole week to new music instead. This nutty but alluring proposal aside, many of the groups playing next week are getting their first big break, a treat for audiences to be involved in. As a result, those attending will likely be more receptive to the potential and effort the artist may display or put forth, rather than instantaneous quality. Yesterday’s feature of Tim Williams was exemplary of an artist who put his first taste of CMJ exposure five years earlier to good use. Although he has yet to become a brand name, watching an artist live that you hypothesize to be prominent in a few years provides a unique feeling that is only rivaled by the discovery of a release produced under similarly deprived circumstances. Artistry is one of the few aspects of humanity that permits hunger and desire as beneficial forces and, although we never want well-deserved artists to go by unnoticed, we assume an unspoken role as listeners to spread the word about quality music. This site itself is a representation of that attempt, and comprehensively accessible festivals like CMJ are able to provide the wonderful feeling I get after writing about a band that I am positive will be adored by most that pass by this site.

Another great thing about CMJ is the amount of related e-mails I get for it. Since the majority of these groups are simply looking for exposure, the amount of invitations I receive is a nice source of entertainment for awhile, even if it makes me somewhat weary. Not so much because it is flattering, but instead due to my own time constraints and the many artists that have the potential to be breathtakingly original (if they have not reached that point already). To miss out on one because my inbox is full would be quite unfortunate. I have no clue what to attend during CMJ on the days I actually am available, so going through and listening to the artists beforehand is really the only form of judgment I and others can go by. This is what I do regardless though, so stumbling across a group like Midnight Juggernauts thanks to a CMJ invitation demonstrates how live appearances have both a direct and indirect effect on an artist’s exposure. Even if I were to not attend due to disinterest or personal conflicts, the mere fact they are appearing in the festival led me to their latest release, an EP by the name of This New Technology. Judging by the concise but impressive showing of the EP, perhaps I should clear my schedule for one of their CMJ shows.

Quite simply, Midnight Juggernauts are worth it. The title of their EP is good indication of their advanced stylistic trends, simultaneously emitting a fury of dance-rock in the vein of Cut Copy and hazy ’90s alt-rock reminiscent of early Suede or Manic Street Preachers, when drugs were influencing a sound influenced by both psychedelia and glam. Drug use is hardly advised but in some artistic instances it can serve as a beneficial supplement, shown throughout the recording of Suede’s Dog Man Star or even The Beatles’ transitional stage into works later classified as psychedelia. You can find a similar sort of revised psychedelia in the work of Midnight Juggernauts, even though they remain more sample-friendly and uptempo than many of these predecessors. Their pulsating bass work is more reminiscent of layered synths than anything, but the interesting decision to implement organs, varied guitar work, and a vocal delivery that would fit more aptly in the world of arena-rock make Midnight Juggernaut something of an unconventional success. Their debut, Dystopia, showed their blend of synth-pop and alt-rock for the first time in 2007, serving as one of the few electro-rock debuts that were polished full of confidence. The Tough Alliance and Cut Copy come to mind for this decade, but since the days of Massive Attack and Depeche Mode electronic-rock has dwindled into a more predictable entity that allows considerably more room for error.

Midnight Juggernauts defy such limitations on This New Technology, starting with the gorgeous self-titled cut. “This New Technology” already made a big splash in the blogosphere in late September, but this should do well in tiding you over until the EP’s release in November. A jaw-dropping effort, its integration of bubbly synths into chirps of brass and reverbed guitar licks may sound on paper like another typical indie-rock effort that mocks Cut Copy, but the advances this trio has made here makes for more than that. On Dystopia the group were often criticized for making their song structures too predictable, with verses often relying on vocals and choruses using more melodic forces of instrumentation. “This New Technologhy” rides on similar utilization of bass as the debut, but the interaction between guitars and organs here is what establishes it as a uniquely phenomenal effort. The vocals are also noticeably more empowering than on the debut, and the group’s newly acquired experience with structural alteration truly shows here as it makes the seamless transition between punchy dance-rock and hazy psychedelia. “Fantastic Valleys” is strictly instrumental but goes far in showing the listener even more stylistic growth, as the percussive intricacy and avant-garde keyboard work are new improvements for the trio. I am not quite sure whether it would sound more appropriate for the Goonies soundtrack or a film set in 2500, but those keys sure bring out feelings of both elusiveness and futurism in their unpredictable placement and synthetic tone. Midnight Juggernauts have made obvious improvements that should drive plenty of hype in anticipation for their forthcoming full-length album, set to be released sometime in early 2010. At the very least, they made me and others want to clear their busy schedules for a few CMJ appearances.

RIYL: Cut Copy, Manic Street Preachers, Suede, Giorgio Moroder, Scissor Sisters, Air, The Rapture

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Midnight Juggernauts – This New Technology

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Midnight Juggernauts – Fantastic Valleys

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Midnight Juggernauts – This New Technology (Emperor Machine Remix)

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The post The Technology of Midnight Juggernauts appeared first on Obscure Sound: Indie Music Blog.