Chewing Gum For The Ears

Review: The Black Keys - El Camino (4 Stars)

2012-01-14T22:30:00.000-07:00

Alright, so playing catchup here because I ACTUALLY WROTE A FULL REVIEW and then didn't put it up here.

Dan Auerbach and Patrick Carney are the hard-working rockers that could. With a modest beginning ten years ago and a steady rise to both critical acclaim and, eventually, mainstream popularity (not to mention Grammy awards), you could almost consider the Black Keys the musical manifestation of the American dream. Their determination and consistency make them easy to root for, but more importantly, they're making rock-'n'-roll that people actually listen to. Perhaps that doesn't mean much to everyone, but consider, for a moment, the bands currently occupying space on the Billboard Top 200 Chart that even remotely resemble rock music: Nickleback, Coldplay, and…Florence + the Machine, maybe? While you could argue that Jack White helps the cause by continuing to release records through his various projects, the point that popular rock-'n'-roll is scarce these days is all too easy to make. I give that context not as an excuse to continue my tradition of heaping praise upon the Black Keys, but to offer an estimation that the band's latest record, El Camino, is the perfect rock-'n'-roll album for 2011. (Continue reading @ In Review Online)

Introducing...Stepdad

2011-09-28T00:22:00.000-06:00

Formed by roommates ultramark (yes, ultramark) and Ryan McCarthy in Chicago in 2009 and later expanding to a four-person roster for touring purposes, Stepdad is an enormously fun electro-pop band that has released one of the best and most infectious EPs I've heard this year. The band's debut, Ordinaire, was first released in 2010, but this remastered and expanded version (stretched to the LP-appropriate length of 40 minutes) seems to be making the rounds more quickly - and I'm certainly glad it found its way to me.

The EP begins with the thunderous, brooding "Jungles," but from there on out you'll find brighter, more Nintendo-flavored pop tunes full of both gleeful electronic riffs and ultramark's soaring vocals. The album ranges from driving 8-bit anthems ("Wolf Slaying as a Hobby") to disarmingly sweet ballads ("Parrot") and is strong throughout, but the standout here is the oddball pop tune "My Leather, My Fur, My Nails," which best exemplifies the band's way of squeezing constant hooks from their unique electronic palette.

The real appeal of Ordinaire lies the band's ability to make sonic sugariness and geeky sentimentality not just a gimmick but a genuinely effective and enjoyable part of their pop sound. For those with a musical sweet tooth, Stepdad should hit the spot.

Listen to "My Leather, My Fur, My Nails" below and make sure to check out the band's Bandcamp page to stream/purchase the full thing.

Bandcamp

<p>&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;&amp;amp;lt;span class="goog-spellcheck-word" style="background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: yellow; background-position: initial initial; background-repeat: initial initial; "&amp;amp;gt;lt&amp;amp;lt;/span&amp;amp;gt;;a &amp;amp;lt;span class="goog-spellcheck-word" style="background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: yellow; background-position: initial initial; background-repeat: initial initial; "&amp;amp;gt;href&amp;amp;lt;/span&amp;amp;gt;="http://&amp;amp;lt;span class="goog-spellcheck-word" style="background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: yellow; background-position: initial initial; background-repeat: initial initial; "&amp;amp;gt;stepdad&amp;amp;lt;/span&amp;amp;gt;.&amp;amp;lt;span class="goog-spellcheck-word" style="background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: yellow; background-position: initial initial; background-repeat: initial initial; "&amp;amp;gt;bandcamp&amp;amp;lt;/span&amp;amp;gt;.com/track/my-leather-my-fur-my-nails"&amp;amp;amp;amp;amp;gt;My Leather, My Fur, My Nails by &amp;amp;lt;span class="goog-spellcheck-word" style="background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: yellow; background-position: initial initial; background-repeat: initial initial; "&amp;amp;gt;Stepdad&amp;amp;lt;/span&amp;amp;gt;&amp;amp;amp;amp;amp;&amp;amp;lt;span class="goog-spellcheck-word" style="background-image: initial; background-attachment: initial; background-origin: initial; background-clip: initial; background-color: yellow; background-position: initial initial; background-repeat: initial initial; "&amp;amp;gt;lt&amp;amp;lt;/span&amp;amp;gt;;/a&amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;</p>

Local Flavor: The No-Nation Orchestra

2011-09-12T09:49:00.000-06:00

Thus far, local music hasn't been much of a focus on Chewing Gum for the Ears, but when I find something special so close to home, I'm not exactly one to keep it to myself. The No-Nation Orchestra, led by multi-instrumentalist and songwriter Stephen Chai, is one group in the SLC area reminding me of the talent and creativity abundant here if you're simply willing to look around a bit.

Chai has been involved in a handful of bands over the past few years, but none more exciting than this latest project, which finds him leading a skillful quartet that blends elements of Afrobeat and Latin jazz with a melodic pop approach. The band's upcoming debut EP, entitled More More More, is set to drop later this month and serves as a convincing introduction to the excellence of the No-Nation Orchestra.

On the opener/title track (which you can hear below) Chai floats his soulful falsetto over groovy, complex rhythms and killer horn riffs, while "Holy Holy" throws in a flashy piano line and an almost sinister vocal melody you'll find difficult to get out of your head. If I had to pick, I'd say the incendiary "Find Me The Savory Sound" is my current favorite -- but that's like to change tomorrow as each of the EP's five tracks have only gotten better with every spin.

Whether you're looking for the best of what Salt Lake City has to offer or perusing the web for a genuinely inspired new band, Stephen Chai & The No-Nation Orchestra is a must-listen. Hear the single below and check out the band's homepage for pre-orders. Also, if you're a local, make sure to catch them at Urban Lounge on September 23rd for the album release show.

<p>&amp;amp;amp;lt;p&amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;a href="http://nonationorchestra.bandcamp.com/album/more-more-more"&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;More More More by The No-Nation Orchestra&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/a&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;amp;amp;amp;amp;lt;/p&amp;amp;amp;amp;amp;amp;amp;gt;&amp;amp;amp;lt;/p&amp;amp;amp;gt;</p>
http://nonationorchestra.com/

Will Stratton: When You Let Your Hair Down to Your Shoulders (MP3)

2011-06-01T21:43:00.000-06:00

Great news today! One of my favorite songwriters, Will Stratton, has a new song available for download.

Check out this Brooklyn Based post featuring the lovely new tune, "When You Let Your Hair Down to Your Shoulders," along with a brief interview with the man himself.

If you'd like to read some of my ravings on Stratton's latest full-length, you can find that here.

Concert Review: Akron/Family with Delicate Steve

2011-03-31T23:18:00.007-06:00

March 28, 2011
Urban Lounge, Salt Lake City

----------------------------------------------------

Delicate Steve

There wasn't a huge crowd at Urban Lounge to see Akron/Family perform, and before the headliners an even smaller crowd was treated to the intricate arrangements of (mostly) instrumental band Delicate Steve, an experimentally-minded but fun-loving rock group. The band bears the name of lead guitarist Steve Marion, but the set was much more than just a showcase for his excellent guitar playing. Each of the five members contributed to successfully recreate the group’s cheerfully varied rock style, with songs ranging from triumphant pop anthems to breezy, melodic jams.

The group opened modestly with a mix of tribal percussion and subtle guitar interplay, but soon broke out into some more anthemic material that encouraged a small yet enthusiastic dance session near the stage. At times Steve would show off with some flashy guitar work and at others he would fade into the mix to help the band create more restrained sonic textures. Each piece was interesting, but the audience was most appreciative of the more up-tempo numbers, especially the penultimate tune, a fiery alt-blues stomp that features some seriously impressive shredding.

For the last song, Steve took his guitar down to the small dance party on the floor while the band pounded away on stage, never missing a beat and offering a solid finale to a strong opening performance. Delicate Steve may be a young band, but the quintet played with the precision and intelligence of seasoned pros. Definitely a band worth experiencing live if you have the chance.

Akron/Family

Right from the beginning of their set, it was clear that Akron/Family was going to take their time that evening. They spent some time chatting with the crowd, extolling the virtues of an all-week weekend (this was a Monday show) before launching into a quiet, nature-sounds-infused introduction that must have lasted for five minutes as the band waited patiently for the crowd to quiet. As the noise of the audience died down, the band launched into a delicate blending of voices that demanded everyone’s attention, but the crowd really got going with beginning of the next song, “River,” which involved a great deal of audience participation in the form of clapping and chanting along.

In fact, the band members nearly demanded such participation throughout the evening. At one point guitarist Seth Olinsky lead the crowd in a group meditation session, for another song everyone was encouraged to sing along for what seemed like a ten-minute chorus. And when they weren’t interacting with the audience, the trio were feverishly playing on stage with energetic riffs, spectacular harmonies and deafening blasts of noise. Bassist Miles Seaton even managed to play the bass with his mouth for while.

But it wasn’t all just gimmicks and insanity, Akron/Family is a talented bunch that provided some great moments that night. “Everyone is Guilty” and “Another Sky” were especially electrifying, showing the band’s ability to write and perform deliriously fun pop hooks. The problem was, by 1 a.m. the band had pretty well worn out the audience, trying our patience with a few too many extended jam sessions and head-exploding bursts of noise. Even the encore was a bit of a chore in its length, but the final moments of the show were beautiful, an a capella sing-a-long that faded softly and smoothly, ending a sometimes thrilling, sometimes trying performance on the perfect note. I think it’s safe to say Akron/Family puts on a truly unique show, but be warned, it certainly requires some stamina.

Three for Tuesday: U.S. Royalty, Snowblink, Young Circles

2011-02-22T08:18:00.001-07:00

U.S. Royalty -

Up-and-coming quartet U.S. Royalty (hailing, appropriately, from Washington D.C.) have been making some waves this year with their debut album, Mirrors. Combining classic rock 'n' roll elements with bits of folk and indie rock, frontman John Thornley and company have released a solid first effort with songs ranging from Local Natives-esque anthems ("Equestrian") to fiery blues stomps ("Hollywood Hollows") to beautifully melodic ballads ("Old Flames"). Personally, I think the band is at their best when they hold to the more classic elements of their sound, but Mirrors proves U.S. Royalty has plenty of ability when it comes to crafting a variety of tunes. Definitely a group to keep your eye on.

Download:

The Equestrian (MP3)

Monte Carlo (MP3)

Snowblink -

Knowing several variations over its fairly brief existence, Snowblink currently consists only of Toronto-based Daniela Gesundheit and Dan Goldman, though the duo feature a variety of collaborators on their new record, Long Live, including members of Deerhoof and Dirty Projectors. The album's somewhat experimental folk sound is both refreshingly odd and undeniably beautiful, with some fantastic moments scattered among its brief 34 minutes. Whether patiently unfolding a winding, beguiling ballad or breezing through a triumphantly melodic interlude, Gesundheit demands your rapt attention with her lovely, warm voice and unusual songwriting. There are plenty of musicians reaching for the kind of seemingly effortless brilliance found on Long Love, but few achieve it so completely as Snowblink.

Download:

Ambergris (MP3)

Tired Bees (MP3)

Young Circles -

It's difficult to put any sort of descriptive label on Florida trio Young Circles; the band's debut EP, entitled Bones, blends more disparate elements than it has tracks. But then that's precisely what makes the album such a thrilling 23 minute journey and why this band is one you should know. Utilizing everything from moments of acoustic clarity to washes of disorienting noise to undercurrents of smooth jazz, Young Circles never let you get entirely comfortable, and if you're willing to stick with them through all the sharp twists and turns, you'll likely find this first effort to be a gripping one. Get familiar with these guys, you can bet everyone else will be soon.

Download:

Sharp Teeth (MP3)

Listen to or download the EP (free, I believe)

You Should Know: James Vincent McMorrow

2011-02-20T20:12:00.000-07:00

With a softly soulful voice and penchant for heartbroken lyrics, James Vincent McMorrow makes the Bon Iver/Justin Vernon comparisons all too easy. Even the way in which the two artists recorded their debuts is similar, in isolated houses with almost no outside assistance. But McMorrow's first effort, Early in the Morning, carves out a distinct niche for the Irish songwriter, one a little more pop friendly than Vernon's but just as emotionally powerful and beautifully eerie. McMorrow's disarming vocals will certainly draw the most attention, but his songwriting and musicianship are remarkable as well, making Early in the Morning one of 2011's best early debut's.

Recommended Tracks: "If I Had a Boat," "We Don't Eat," "Follow You Down to the Red Oak Tree"

Head over to Spinner to grab one of the album's best tracks, opener "If I Had a Boat"

RCRD LBL has another song to download, "This Old Dark Machine," though it's mislabeled as "Early in the Morning"

Check out his Facebook page for more info.

Review: Cake - Showroom of Compassion (* * * 1/2)

2011-01-31T12:40:00.000-07:00

I had pretty much lost track of Cake after their 2001 album, Comfort Eagle. I didn't even hear 2004's Pressure Chief until at least a year (maybe two) afterward, and by that time I guess I just wasn't especially interested in the band anymore. So I can't quite explain my excitement at hearing news about Showroom of Compassion, Cake's sixth album and first in seven years. Maybe I just figured Cake had good reason to return to music after such a lengthy hiatus, or perhaps I was feeling nostalgic. Mostly I was just curious to know if this record would be any good, and as it turns out, Showroom of Compassion is a fine addition to Cake's catalog, despite being a bit uneven.

If your only exposure to this record is the first single "Sick of You," you might be disappointed with how strikingly similar it is to some of the band's other popular songs. But while it's true that Cake often sticks to their established style on Showroom of Compassion, they have much more to offer than a bland rehash of their past material. "Long Time," for instance, uses the group's key ingredients--John McRae's half-sung vocals, lively bass and guitar lines, and trumpet solos--to create a funky rock tune that feels refreshingly relevant, while the admittedly familiar-sounding "Mustache Man" has a sharp combination of menace and melody that make it one of Cake's best songs to date. The eerie, synth-infused rocker "Easy to Crash" and the melancholy ballad "The Winter" are a bit more adventurous, providing some welcome variety and helping to further distance Showroom of Compassion from past albums in the group's catalog. If nothing else, fans should enjoy hearing these alt-rock veterans successfully explore some new avenues without straying uncomfortably far into unfamiliar territory.

Showroom of Compassion has more than enough solid tunes to make it easy to overlook missteps like the aforementioned "Sick of You" and the psychedelia-tinged opener "Federal Funding," though there are certainly some songs that work more convincingly than others. For example, "Got to Move" is decent, but pales in comparison to the record's best tracks and "Teenage Pregnancy" is only a mildly entertaining instrumental piece. As a whole, however, Showroom of Compassion is a fun and surprisingly strong record, a welcome return for a band that will hopefully be more active over the next seven years.

You Should Know: Way Yes

2011-01-16T09:10:00.000-07:00

I first heard Way Yes a couple months ago when I stumbled upon their excellent debut EP, Herringbone. Now, five months after that intriguing introduction, they've unveiled perhaps an even better EP entitled Walkability that has made me realize it's high time I get the word out about these guys.

Way Yes is comprised of Ohioans Glenn Davis and Travis Hall, a talented duo who combine nimble afropop guitars, subtle electronica, and smooth vocals into a sound that could be described as a blend of indie favorites Animal Collective and Vampire Weekend. But that's a rough approximation of their style, you really just have to give these guys a listen to understand how compelling their lighthearted, yet thoughtful, approach to experimental pop music can be.

Favorites from the EPs include "Johanna," "Walkability," "Gino," and "Ties"

Hear both of their EPs at their bandcamp/homepage:

http://wayyes.com

And if you need a listen right this second, go ahead and check out this free MP3 from Walkability:

Gino (MP3)

Best of 2010: Albums

2010-12-27T21:11:00.011-07:00

It's definitely time to unveil my picks for the best albums of the year. I'm just doing 25 this year (though really I think I could have done 100 if I had all the time in the world) and I'm not going to bother writing a blurb about each or finding all the artwork, mostly because I'm lazy.

If you want to read more about my top 10 picks, you can find a beautifully arranged article I wrote over at In Review Online. Also, you would do well to visit InRO for top 10 features from Sam Mac and Jordon Cronk, who are both superb writers with very unique tastes in music:

My Top 10 albums feature
Jordan Cronk's top 10 albums
Sam C. Mac's top 10 albums

And now, the moment you've all been waiting for (I'm sure):

1. Joanna Newsom - Have One On Me

2. The Tallest Man On Earth - The Wild Hunt / Sometimes the Blues Is Just a Passing Bird

3. Janelle Monáe - The ArchAndroid

4. Arcade Fire - The Suburbs

5. Will Stratton - New Vanguard Blues

6. Owen Pallett - Heartland

7. The Black Keys - Brothers

8. Mavis Staples - You Are Not Alone

9. White Denim - Last Day of Summer

10. Josh Ritter - So Runs the World Away

11. Menomena - Mines
12. Robyn - Body Talk
13. Wolf Parade - Expo 86
14. Baths - Cerulean
15. Kanye West - My Beautiful Dark Twisted Fantasy
16. Maps & Atlases - Perch Patchwork
17. Spoon - Transference
18. Big Boi - Sir Lucious Left Foot...The Son of Chico Dusty
19. Patty Griffin - Downtown Church
20. Anais Mitchell - Hadestown
21. Villagers - Becoming a Jackal
22. Woods - At Echo Lake
23. David Karsten Daniels & Fight the Big Bull - I Mean to Live Here Still
24. Sufjan Stevens - The Age of Adz
25. Cloud Cult - Light Chasers

Feel free to tell me how inspired my choices are or argue if you feel the need. Keep in mind that there are some albums I've omitted from this list because I can't stand them (Best Coast's Crazy for You, for example) and a few that I probably should have heard that I haven't yet. I guess what I'm admitting here is that these technically aren't the best albums of 2010 by any standard, just mine.

Best of 2010: Live Performances

2010-12-23T16:16:00.013-07:00

Alright! I'm back finally back with some new stuff! And I promise I'm going to try and be better about updating this blog next year. But let's get to some best of the year stuff first.

I attended between 20 and 25 concerts this past year, so I obviously can't claim this to be a comprehensive list of the best live acts of 2010, but the following bands really blew me away. Think of this as recommendations for bands to catch in concert next year, or something like that.

So, in no particular order, my five favorite live artists/bands of 2010:

Sufjan Stevens: Say what you will about Sufjan Stevens' divisive new album, Age of Adz, the guy knows how to put on a show. And by show, I mean a laser-light rock opera kind of performance including the entirety of the 25-minute epic "Impossible Soul," which resulted in a sort of awkward dance party throughout Kingsbury Hall. But through all the fuss, Sufjan kept the audience mesmerized with that beautiful voice. I've never experienced anything quite like this outrageous performance, and I doubt I will again.

The Gaslight Anthem: Talk about getting your money's worth. Everyone at this show payed only five bucks to be in attendance, but Brian Fallon and company played for over two hours and seemed thrilled to do so. Fallon sang his heart out and carried a grin the entire evening, and the band was razor sharp as they made their way through what must have been every song in their catalog. I love to see a band that so clearly understands what makes a great rock 'n' roll show.

Sharon Jones & The Dap Kings: I have never--and I mean never--seen an artist work so hard during a live performance. Sharon Jones sang, danced, gave monologues that stretched songs into 10-minute jams, ran all over the stage and invited audience members up to join in the party. She must have been up there for nearly two hours, and while I probably would have died from exhaustion, the 54-year-old soul singer just. kept. going. I'll never forget this one, I get goosebumps just thinking about it.

Thao/Mirah: Thao and Mirah sharing the stage for this one-of-a-kind tour proved to be an inspired decision and a treat for fans of either artist (so, bonus for me because I love both of them). The combination of their unique musical personalities along with the intimacy of the evening resulted in one of the more engaging shows I saw this year. They traded songs, sang beautiful harmonies and made it fun each member of the small but appreciative audience. Also, Mirah's dance-music version of "Gone Are the Days" was worth the price of admission.

Rubik: Not too many people know Rubik, the awesomely weird indie rock band from Finland, but these guys are fantastic live. They opened a show to an audience that had absolutely no idea who they were, but by the end of their relatively short set each and every person in that crowd was a convert. They blasted horns, pounded keyboards, and played with such fervor that they simply won us all over and received a standing ovation usually reserved for a headlining act. I can't wait to see them again.

Review: Black Mountain - Wilderness Heart (* * * *)

2010-11-15T20:39:00.002-07:00

Stephen McBean has never seemed particularly interested in keeping his two bands as entirely separate entities. Black Mountain and Pink Mountaintops have more in common than just their similar titles; McBean enlists many of the same musicians to play for both projects and it can be difficult to tell at times where he draws the dividing line between the two band’s. But while McBean doesn’t often vary from the basic ingredients, any direct comparison of the previous efforts by each project reveals fundamental differences in trajectory, with Black Mountain’s In the Future working through various forms of guitar-heavy psychedelia and Pink Mountaintops’ Outside Love incorporating a mellower blend of pop and experimental elements. With Wilderness Heart, however, McBean tempers Black Mountain’s more epic tendencies. (Continue reading @ In Review Online)

Concert Review: Neon Trees (SLC, Utah)

2010-11-07T19:17:00.002-07:00

My first review for The Deseret News. Read the full story here.

Provo alt-rock quartet Neon Trees has steadily built a reputation as an exhilarating live act, and the band delivered Tuesday at Salt Lake Community College.

Supporting the Rock the Vote campaign, which encourages political activity among young adults, Neon Trees gave a flashy, energetic performance showcasing the high-octane style that has the group in steady rotation on radio stations across the country.

Continue Reading

Concert Review: Jukebox the Ghost w/ Hooray for Earth, A B & The Sea

2010-10-18T10:00:00.000-06:00

Kilby Court
Salt Lake City, UT
October 7, 2010

Headliners Jukebox the Ghost were--appropriately--the highlight of the night, but both Hooray for Earth and AB & The Sea added to a thoroughly enjoyable fall evening in Salt Lake City.

San Fransisco's A B & The Sea opened to a tiny crowd, but made the most of it with a high-energy performance that ended up being a great introduction for most of the audience. The band's jangly retro-rock sound (think Dr. Dog with an extra helping of sun and sand) was easy to love, with plenty of bright melodies, smooth harmonies, hand-claps, and insanely catchy riffs putting smiles on the faces of all those in attendance. One song that stood out in particular (I looked up the title afterward) was "Yellow-Haired Girl," which is as catchy a pop-rock tune as I've heard in some time. It was an incredibly fun half-hour set that makes me feel confident in saying you'll be hearing much more about these guys in the coming months. MySpace

I had heard a little from Hooray for Earth, but I was not prepared for their awesomely strange, almost chaotic live act. Utilizing squealing guitars, spacey synth and thunderous drums, the band's songs ranged from dense, noisy rockers to otherworldly dance numbers all of which were both punishingly loud and unusually captivating. This bombastic take by the group on their comparably tamer studio material seemed to catch the crowd by surprise, but despite being the odd band out stylistically, Hooray for Earth was electrifying. The soaring finale was especially awesome, but their entire set was an impressive showcase of talent and creativity that was certainly enjoyed by those who didn't mind traveling well off the beaten path. MySpace

Download: Comfortable, Comparable (via Stereogum)

Though a fairly young band, Jukebox the Ghost were easily the veterans of the evening and it was evident immediately. Right from opener "Good Day," the trio had the crowd's undivided attention, executing each song to perfection while seeming to have a great time in the process. Dual singer/songwriters Ben Thornewill and Tommy Siegel both proved to be excellent showmen, as did drummer Jesse Kristin, whose intricate beats stole the spotlight at times. The crowd was still unfortunately thin, but that didn't stop Jukebox the Ghost from giving a performance fit for a sold-out show in this very modest setting.

Every tune was well received, inspiring awkward dance circles and plenty of clapping and singing along that seemed appropriate for the band's buoyant brand of pop. Highlights from the night included "Popular Thing," "The Stars" and the encore, "Empire," though I guess those are probably my favorites from the band anyway, so I should simply say each song was excellent and added to a hugely entertaining set. If there's any justice in this world, Jukebox the Ghost will play to a packed house next time around, these guys deserve it.

Review: Will Stratton - New Vanguard Blues (* * * * 1/2)

2010-10-14T09:27:00.003-06:00

Patience is a virtue, sure, but one that tends to slow things down and occasionally even seems completely unnecessary. Will Stratton’s third album, New Vanguard Blues, serves as a reminder that impatience can be just as valuable a trait. After offering one of my favorite records of 2009—the consistently stunning No Wonder— Stratton apparently didn’t want to bother taking the traditional route in releasing his third full-length. Recorded and mixed by the songwriter himself over the weekend of July 9th, the album was made available online only a couple weeks later, an unusual but certainly welcome decision as New Vanguard Blues is in many ways Stratton's best effort to date. Shedding the varied sonic decorations that enhanced the tunes on No Wonder, his latest is simple and stripped-down, resulting in a tighter, more focused set of songs that relies almost exclusively on his impressive guitar work for accompaniment. But the album mostly succeeds for the same reason the last one did: Stratton’s singular songwriting, which has only gotten better with time. (Continue reading at In Review Online. . .)

Review: The Thermals - Personal Life (* * * 1/2)

2010-10-14T09:22:00.002-06:00

The Thermals have always been more interesting than the majority of their pop-punk peers, mostly because they have so much to say about so many topics. Where their previous effort, 2009'sNow We Can See, focused on the purpose of life through the lens of death, and the two before that—2006's The Body, The Blood, The Machine and 2004's F****n A—were scathing rebukes of conservative American politics, the band’s latest turns inward, as its title might suggest, and takes a look at the complexity of relationships. “I’m gonna change your life/I’m gonna steal your soul” insists Hutch Harris on the first line of opener “I’m Gonna Change Your Life,” and somehow that kinda sums up the nature of the 32 minutes that comprise the remainder of the band’s fifth album. Looking introspectively through his cracked yet ultimately hopeful perspective, Harris proves that though his typically fiery indignation seems somewhat abated (or set aside, at least), his passion and lyricism remain a compelling combination. Less focused and less consistent perhaps than the band’s previous two albums,Personal Life may disappoint fans of Harris’s bigger statements, but the record has too many great moments to be ignored. (Continue at In Review Online. . .)

Daily Dose - 10/1: Twin Shadow

2010-10-01T07:56:00.000-06:00

Artist: Twin Shadow
Latest Release: Forget
Genre: Electronic/Pop/Dance

George Lewis Jr. is the lone man behind Twin Shadow, a retro pop project that's been turning some heads this year, and for good reason. Blending 80s synths with a generous dose of electro funk, Lewis' debut LP, Forget, is a stunning set of smoldering, low-key dance songs that are, well, unforgettable. Featuring production by Grizzly Bear's Chris Taylor, Forget definitely favors mind-altering arrangements and unusual electronic soundscapes to straightforward club beats, yet most of these songs are insistently danceable as well. The music of Twin Shadow has a sort of otherworldly sexiness to it that I just can't get enough of, and I highly recommended it to any adventurous electronica/dance fan.

Key Tracks: "Shooting Holes at the Moon," "Yellow Balloon," "Castles in the Snow"

Download: Castles in the Snow (via Pitchfork)

Watch: Video for Castles in the Snow

Twin Shadow - Castles In The Snow Directed by Jamie Harley from Twin Shadow on Vimeo.

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Daily Dose - 9/30: In Grenada

2010-09-30T07:54:00.002-06:00

Artist: In Grenada
Latest Release: Break
Genre: Pop/Rock/Indie

Their latest press release states In Grenada was "born from the ashes of Philadelphia's premier ukulele indie-rock band, Movable Type." I'm assuming here that most everyone who reads this doesn't follow the ukulele rock band scene all that closely, so In Grenada's debut album will likely be your introduction to the songwriting of multi-instrumentalist Jesse Leyh, who makes a great impression with his new band on their first effort, Break. The record channels the tightly wound energy of Arcade Fire and then filters it through warm pop melodies, nimble guitar lines and buoyant synth riffs that combine for an irresistible summer vibe. Intelligently composed and enormously catchy, Break is pop-rock music at its best and will hopefully put In Grenada firmly on the map.

Key Tracks: "Distance and Temptation," "It Doesn't Matter," "Beating Heart"

Download: Distance and Temptation (MP3)
[Right click to download]

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Daily Dose - 9/29/10: The Migrant

2010-09-29T07:55:00.002-06:00

Artist: The Migrant
Latest Release: Travels in Lowland
Genre: Indie/Folk/Pop

It's rare for me to stumble upon Danish artists in my constant search for great indie music, but it seems every time I do it's a fantastic experience. The latest Denmark native to catch my ear is singer/songwriter Bjarke Bendtsen, recording and performing as The Migrant, which is a somehow fitting moniker for the eclectic mix of styles and influences he incorporates into his unique folk sound. Favoring an acoustic guitar but throwing in everything from accordion to flute to violin, Bendtsen subtly shifts between genres--psychedelia and retro pop, to name a couple--while maintaining his signature aesthetic. He's created a truly absorbing record with his debut, Travels in Lowland, and you can hear/download a couple of the best tunes right here!

Key Tracks: "The Organ Grinder," "Nothing But Clues," "Lullabye (Play It On the Radio)"

Download: The Organ Grinder (MP3) In the Sun (MP3)
[Right click to save]

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Daily Dose - 9/28/10: Jump Back Jake

2010-09-28T08:03:00.001-06:00

Artist: Jump Back Jake
Latest Release: Call Me Your Man EP
Genre: Rock/Blues

Jump Back Jake was introduced to me as the side project of Jake Rabinbach, lead guitarist for Francis and the Lights, a group which may be familiar to you but didn't ring a bell with me (I've since given them a listen, however). Fortunately, Jump Back Jake's classic-style rock 'n' roll should get by just fine on its own merits as their debut EP, Call Me Your Man, certainly proves. In 13 minutes the group covers a fair amount of territory, from groovy pop to fiery southern rock, with impressively catchy melodies and a retro vibe that's hard to resist. Hopefully there will be more to come from these guys as this side project has plenty of potential. Take a listen below!

Download: Call Me Your Man (MP3)

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Daily Dose - 9/27/10: Young Man

2010-09-27T14:46:00.000-06:00

Artist: Young Man
Recent Release: Boy
Genre: Singer-songwriter/Indie

Last year, Deerhunter frontman Bradford Cox posted a song on his blog, a cover of Deerhunter's own "Rainwater Cassette Exchange" which Cox called "fantastically superior to the original." The YouTube poster behind the cover is Colin Caulfield, now recording as Young Man, and once you take a listen to his beautifully haunted music you'll understand why there's been so much buzz surrounding him this year. His debut EP, Boy, was released about a month ago, and I've had it in steady rotation ever since. His enticing harmonies and hypnotic soundscapes (created with guitar, organ and assorted digital loops and such) are reminiscent of several indie mainstays (most notably, perhaps, Animal Collective), but Caulfield is carving out a niche all his own, and you won't want to pass up the chance to discover it.

Key Tracks: "Home Alone," "Just a Growin'"

Download: Up So Fast (via Stereogum)

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Daily Dose - 9/24: Elsinore

2010-09-24T07:44:00.000-06:00

Artist: Elsinore
Latest Release: Yes Yes Yes
Genre: Pop/Rock/Indie

There's something about the title Yes Yes Yes that carries an almost overeager urgency to it, but that's not really what you get from indie pop artists Elsinore on their excellent third album. Certainly the record has plenty of energetic, even anthematic moments, yet it also bears the mark of a band that is willing to be patient in order to get the most out of their songs. Granted, the explosive hooks and sing-a-long choruses are what might draw you in initially - and for good reason, they're undeniably great. What you'll stay for however, is the consistent evidence of mature, intelligent songwriting that makes this such a beguiling pop-rock album. Yes Yes Yes has too many twists and turns to count, slowing down and speeding up often enough to keep you on your toes, waiting for the next big chorus or guitar riff but loving the gorgeously melodic ballads and unusual instrumental breaks in the meantime. Fortunately, you won't have to exercise much patience to enjoy such a fun record.

Key Tracks: "Lines," "Chemicals," "Yes Yes Yes"

Download: Lines (MP3) Yes Yes Yes (MP3)

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Daily Dose - 9/23: Lost in the Trees

2010-09-23T07:50:00.002-06:00

Funny thing, it turns out the 23rd is today, not yesterday. Now that the dates are squared away, let's get to the music.

Artist: Lost in the Trees
Latest Release: All Alone in an Empty House
Genre: Indie/Orchestral/Folk

The Genre tags you see above - I should admit - were written out of pure laziness on my part, as Chapel Hill band Lost in the Trees already refer to themselves as a "folk orchestra" anyway. But that's pretty much the best term you could think to use to describe the group after seeing them labeled as such. Their sweepingly cinematic full-length debut album veers between film score-esque instrumentals, epic indie rockers and quiet folk ballads, each an absorbing piece featuring a full string selection, horns, accordion, guitars and more. That frontman Ari Picker has a classical music background should come as no surprise as you listen to the beautifully complex arrangements, and fans of literary folksters like The Decemberists will enjoy the depth of the lyrical narratives that make All Alone in an Empty House such a notable record. There's nothing quite like this one, so listen up.

Key Tracks: "All Alone in an Empty House," "Walk Around the Lake," "Love On My Side"

Download: All Alone in an Empty House (MP3)

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Daily Dose - 9/22: Stornoway

2010-09-22T02:05:00.007-06:00

Artist: Stornoway
Latest Release: Beachcomber's Windowsill
Genre: Pop/Folk/Indie

Stornoway's debut album, Beachcomber's Windowsill, is the perfect combination of intelligent pop and emotional folk, and has served as something of a soundtrack to ease my transition from summer to fall this year. It's no wonder the English quartet (at times a sextet) found themselves a home on 4AD as they fit in quite comfortably with indie heavyweights Bon Iver, Camera Obscura and Department of Eagles. That's high but certainly appropriate praise which you're likely to understand if you give their fantastic first effort a listen. The richly detailed instrumentation, arresting vocal harmonies and singer Brian Briggs' soaring melodies are about impossible to resist. Required listening for 2010, trust me.

Key Tracks: "Zorbing," "I Saw You Blink," "Watching Birds"

MySpace

This four-song set from the 4AD Sessions is worth watching in its entirety, but here's one tune:

Daily dose - 9/17: Dale Earnhardt Jr. Jr.

2010-09-17T08:08:00.000-06:00

Artist: Dale Earnhardt Jr. Jr.
Latest Release: Horse Power EP
Genre: Electronica/Indie

Indie electronica duo Dale Earnhardt Jr. Jr. have made a great first impression on me with their debut EP, Horse Power, which combines bits of many popular indie genres to create something that feels both appropriately trendy and refreshingly unique. It's not difficult to hear contemporaries like Local Natives and past influences like the Beach Boys (they DO cover one of their songs, so that's easy) in the band's sound, but Joshua Epstein and Daniel Zott are more than just imitators. Using an unusual smorgasbord of sounds that ranges from jazzy electric guitars to shimmering synths to subtle percussion, all under a blanket of lovely vocal harmonies, Dale Earnhardt Jr. Jr. prove themselves to be a versatile and genuinely interesting band to watch.

Key Tracks: "Vocal Chords," "Simple Girl"

Download: Vocal Chords (via Stereogum)

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Daily Dose - 9/16: Clubfeet

2010-09-16T08:10:00.000-06:00

Artist: Clubfeet
Latest Release: Gold on Gold
Genre: Electronica/Dance/Indie

Having drawn comparisons to Hot Chip and Junior Boys, it's not difficult to understand why Melbourne-via-Capetown trio Clubfeet are making some serious waves this year. Darkly funky grooves, layered vocals, and soft washes of synth characterize the band's debut, which generally prefers smoldering, low-key dance-rock to explosive, club-ready anthems. Even those less inclined to dig into the indie electronica scene will likely find much to love about the band's appealing mix of alternative dance hooks and smooth pop sensibility. They certainly prove worthy of the aforementioned comparisons, but Club Feet also build a head-turning style all their own on this stellar first effort

Key Tracks: "Edge of Extremes," "Teenage Suicide (Don't Do It)," "D.I.E. Yuppie Scum"

Download: Edge of Extremes - Teenage Suicide (Don't Do It)

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Daily Dose - 9/15: Frontier Ruckus

2010-09-15T08:25:00.004-06:00

Artist: Frontier Ruckus
Latest Release: Deadmalls & Nightfalls
Genre: Folk/Americana/Indie

I've been loving Deadmalls & Nightfalls, the latest album from indie folksters Frontier Ruckus, for a few months now, so I think it's high time I spread the word. The band's intense and intelligent take on folk music is unlike anything else I've heard, an entrancing recipe of lush instrumentation (acoustic guitars, accordions, horns, drums, banjos, etc.) and singer Matthew Milia's delightfully strange and detailed narratives. Packing verses thick with vivid imagery and clever phrasing, the group's songs often take a few spins to comprehend, but exploring the frenzied highs and brooding lows of the record is an enlightening experience. A must-hear for 2010.

Key Tracks: "Nerves of the Nightmind," "Pontiac, the Nightbrink," "I Do Need Saving"

Download: Nerves of the Nightmind (via Radio Free Chicago)

MySpace

Daily Dose - 9/14: Kim Taylor

2010-09-14T08:03:00.010-06:00

Artist: Kim Taylor
Latest Release: Little Miracle
Genre: Folk/Singer-songwriter/Americana

This has been a great year for singer-songwriters, especially those of the more traditional folk/Americana variety, and though you may not have heard Kim Taylor's name mentioned in that sort of discussion yet, you should expect to soon. Her new album, Little Miracle, drops next week, and it's a stunner. Taylor's blend of folk, blues, and pop is both emotionally gripping and sonically gorgeous, with world-weary tales delivered in captivating melodies by her rich, smokey voice. The record draws you in from the start and demands your attention right through the very last chord, a rare thing indeed.

Key Tracks: "Lost and Found," "American Child," "Fruits of my Labor"

Download: Lost and Found

Homepage

Daily Dose - 9/13: Dax Riggs

2010-09-13T00:03:00.004-06:00

I've decided to try something different for my blog posts. Hopefully this will results in me being more consistent. Less words, more music, sound good?

Artist: Dax Riggs
Latest Release: Say Goodnight to the World
Genre: Rock/Blues/Psychedelia

Dax Riggs may be familiar to those who followed his underground rock and metal projects (Acid Bath being perhaps the most famous) but most of us I imagine haven't been introduced. If that's the case, take the time to check out his latest offering, Say Goodnight to the World, a dark pop-rock record that includes blues, metal, and psychedelic influences combined in a surprisingly catchy and accessible whole. It's an enjoyably sinister and consistently fun ride proves Riggs is quite capable of handling a diverse set of tracks ranging from blazing rockers to eerie ballads.

Key Tracks: "Say Goodnight to the World," "You Were Born to Be My Gallows," "No One Will Be a Stranger"

Download: No One Will Be a Stranger

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Review: Mountain Man - Made the Harbor (* * * 1/2)

2010-09-09T22:08:00.004-06:00

After a few years filled with the emergence of high-profile indie bands like Girls and Women, both of which are comprised entirely of males, perhaps we shouldn’t be at all surprised to find that a band named Mountain Man is not, in fact, a man, but three women. And really that’s a welcome surprise in this case, as such a seemingly straightforward moniker conjures thoughts of yet another sup-par songwriter attempting to follow the success of breakout acts Fleet Foxes, Tallest Man On Earth, and the like. These girls will still appropriately be lumped in with their fellow folk revivalists due to their earthy, sparse sound and nature-themed lyrics, but Vermont’s Molly Erin Sarle, Alexandra Sauser-Monnig and Amelia Randall Meath have created something uniquely lovely on their debut full-length, Made the Harbor. (Continue @ In Review Online)

Review: The Drums - The Drums (* * * 1/2)

2010-08-20T22:01:00.003-06:00

In the past, any noteworthy Beach Boys emulators seemed to hail from Southern California or somewhere similarly beach-oriented, but with the re-popularization of the surf/pop/rock genre, it’s anybody’s guess as to where new bands of that sort come from these days. Initially, with last year’s Summertime! EP, New York City’s own the Drums seemed a prime example of a young band whose sun-and-surf-obsessed songs put them at odds with their locale, especially on their most notable tune, the '60s-style pop anthem “Let’s Go Surfing.” But with the release of their self-titled full-length debut, the group incorporates a greater range of their other sonic and lyrical influences into the mix, revealing themselves to be a more complex and interesting band than we (or I, at least) might have given them credit for initially. Blending their love of sun-soaked hooks with a darker, '80s indebted vibe à la Joy Division, the boys craft a fine first effort that—while containing a few misfires—manages to build upon the promise of their early releases. (Read the rest @ In Review Online)

Review: Best Coast - Crazy for You (* *)

2010-08-05T17:57:00.002-06:00

For young writers and aspiring musicians, some of the most frequently heard advice has got to be “write what you know.” This is obvious counsel, to be sure, but true in many respects, especially in the realm of pop music where people generally respect honesty in songwriting. We like artists who share their stories with us and reveal the more intimate details of their lives, allowing us to connect with them through their experiences. But sometimes, even when a musician is eager to get personal, we find there simply isn’t much about them that we care to hear. Such is the case with the latest lo-fi, beach-pop phenomenon Best Coast, fronted by puzzlingly popular newcomer Bethany Cosentino and featuring former Vivian Girl Ali Koehler along with Bethany’s former babysitter (seriously), mutli-instrumentalist Bobb Bruno. Adrift somewhere between SBhe & Him-style balladry, polka-dotted 50s girl groups, and fuzzy, Vivian Girls-esque pop-punk, Best Coast makes music that is hazy and sun-soaked, and it’s not difficult to hear the appeal in Cosentino’s casually strong voice. But on the band’s debut, Crazy for You, Cosentino’s inane songwriting fails to engage on any level and her vacuous insights into love and loneliness reveal no depth whatsoever to her personality. (Read the rest @ In Review Online)

You Should Know: The Silver Seas

2010-08-03T20:15:00.004-06:00

It would be easy to mistake the Silver Seas as having arrived via time machine from 35 years ago rather than forming this past decade. Though the band has only been releasing music since 2004, they seem to have more in common with the likes of Steely Dan, Jackson Browne or any number of 70s pop-rock icons than with their current peers. The Nashville group navigates the pop music of their chosen decade much like The Clientele do the 60s, seeking not to combine classic influences with modern trends, but rather emulating the past right down to the instrumental flourishes and production details. Yet somehow, though the Silver seas remain firmly entrenched in a slice of musical history, their music comes across as much more than a simple copy of their obvious influences. Their third album, Chateau Revenge, is a lovely classic pop record featuring smooth grooves, fantastic melodies, and fine songwriting that makes this a must-listen in any decade.

The record covers territory from gorgeous lite-rock balladry ("Jane") to disco-tinged night music ("The Best Things in Life"), only occasionally showing signs of its more modern origin. With not even one misstep among the 12 tracks, Chateau Revenge is an album you really can't afford to let pass you by.

Key Tracks: "Another Bad Night's Sleep," "Jane," "What's the Drawback"

Download: Another Bad Night's Sleep (Zipped MP3)

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Introducing...Gold Motel

2010-07-30T19:12:00.003-06:00

Trying to get back into the swing of things with blogging, and to start I have an excellent band to recommend to you:

Gold Motel

Gold Motel is an indie pop project fronted by Greta Salpeter (who currently performs as Greta Morgan), a name some of you may remember as being associated a few years ago with The Hush Sound. I was quite fond of The Hush Sound, especially their earliest material, so news of this new band (which also includes several members of This Is Me Smiling) came as a welcome surprise recently. The music of Gold Motel is--in many ways--similar to Morgan's previous group, but she gets the mic all to herself this time around and she makes the most of the opportunity on Summer House. With infectious guitar and piano riffs, big vocal hooks and a consistently sunny vibe, Gold Motel make a great introduction and Greta Morgan proves that she can handle a leading role just fine.(MySpace)

Review: The Gaslight Anthem - American Slang (* * * 1/2)

2010-07-28T22:11:00.005-06:00

From some bands we expect consistent innovation and change. Such artists must evidence a legitimate step forward in one way or another with every album, something new and exciting which assures fans that the group remains inspired and worthy of their attention. New Jersey’s the Gaslight Anthem are not one of those bands. They represent a genre that creates an entirely different set of expectations, one centered around consistency and reliability rather than exploration. That’s not to say frontman Brian Fallon and Co. could afford to remain completely static, but it seems unlikely that they would feel the need for true reinvention at any point in their career. There’s nothing wrong with this; dependability is a value well suited to the band’s updated take on classic blue-collar rock and they’re damn good at what they do. In this light, their third LP, American Slang, is the perfect step for them to take, showing a few signs of artistic development while sticking primarily to what worked the last time around. Though the album doesn’t hit quite as hard as 2008’s The 59 Sound, it should still go some way in establishing the Gaslight Anthem as one of America’s most steadfast young rock bands. (Read the rest of this review at In Review Online)

Review: The Acorn - No Ghost (* * * 1/2)

2010-07-16T09:11:00.000-06:00

It’s a risky move releasing a concept album early in your career, but Canada's the Acorn proved quite capable of doing just that with their 2007 sophomore effort, Glory Hope Mountain. That record chronicles the life of singer Rolf Klausener’s mother (whose journey from Honduras included a great deal of drama and adventure) over the course of twelve woodsy folk songs featuring delicate harmonies and intricate guitar signatures, revealing impressive musicianship for such a young group. The songs work both as part of the whole and are engaging individually—no small achievement given the source material—and the record showed the Acorn could be ambitious without overreaching. So while Glory Hope Mountain didn’t make overnight sensations of the band, they gathered enough fans that high expectations were instated for future endeavors. Their third album, No Ghost, appears uninterested in an overarching concept, and in fact feels more modest than their previous release despite its broader stylistic range. It doesn’t quite propel the band forward or equal the considerable quality of what preceded it, but No Ghost is at least an enjoyable entry in the band’s catalog. (Please read the rest of my review @ In Review Online)

You Should Know: Steel Train

2010-07-15T20:14:00.001-06:00

Steel Train is a name that isn't completely unknown, I suppose, but I find it is mentioned less often than I would expect, at least now that I'm familiar with the band's music. Though I'd heard of the group before a couple years ago, it wasn't until the recent release of their third and self-titled album that I took the time to listen to an entire record. One time through and I was hooked; Steel Train's brand of pop rock is impossibly catchy, consistently energetic and draws from a variety of influences and styles. I haven't yet made my way through their catalog, but I'm certainly eager to after this fine introduction.

Highlights on the new record range from high-strung rockers ("Turnpike Ghost") to hook-filled drivers ("You Are Dangerous") to quirky pop numbers ("Soldier in the Army"). The album never really settles into a groove, yet somehow it's all the more enjoyable for its unpredictable nature. Smooth harmonies, infectious guitar riffs and prevailing sense of fun all add to the album's considerable appeal; it's accessible enough to engage a mainstream audience yet odd enough to gain fans from the more indie crowd as well. It may take a little time for everyone else to stop sleeping on these guys, but if you're reading this you have no excuse not to give them a listen right away.

Download: Turnpike Ghost (MP3)

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Best Albums of 2010 So Far - Top 10

2010-07-07T12:01:00.000-06:00

Before I change my mind again, here are my picks for the best ten albums of the year so far:

Top 10:

10: Wolf Parade - Expo 86

It's no secret that I love Wolf Parade. Their debut was one of my absolute favorite albums of the past decade and their sophomore effort I found to be nearly as enjoyable. Their third record, Expo 86, doesn't quite reach the heights of its predecessors, but it's perhaps the most cohesive work the band has yet created. Dual frontmen Spencer Krug and Dan Boeckner are in fine form here, still splitting the songwriting duties but blending more seamlessly together as they craft a muscular rock 'n' roll epic that reminds me exactly why I loved them so much in the first place.

9: Fang Island - Fang Island

Perhaps the best way to introduce Fang Island would be to quote the band themselves when they described their music as "everyone high-fiving everyone." Their high-energy brand of indie rock 'n' roll focuses on heavily distorted guitar riffs, progressive arrangements, and joyously chanted choruses that make for a consistently awesome time on their self-titled album. It's an unusual yet infectious combination of musical intelligence and outrageously fun attitude that makes Fang Island an excellent breakthrough album for this talented young group. (Read My Review)

8: Patty Griffin - Downtown Church

Patty Griffin is a phenomenal singer and songwriter, but for Downtown Church she focuses primarily on the former, a risky move perhaps but an inspired one. The collection of gospel covers contains many of Griffin's best vocal performances, showing her versatility on everything from beautiful traditional hymns to soulful spirituals. She even throws in a couple tunes of her own, both of which fit perfectly with the older material. It's both an engaging genre tribute and a great record by any standard, even Griffin's own considerable catalog. (Read My Review)

7: David Karsten Daniels & Fight the Big Bull - I Mean to Live Here Still

I'll admit I'm not familiar with the previous work of David Karsten Daniels, but I found his latest effort to be a fantastic introduction. Recorded with Jazz collective Fight the Big Bull, I Mean to Live Here Still features the words of Henry David Thoreau sung over an intoxicating mix of folk, big band, and experimental jazz elements. The music switches between moments of melodic gentleness and explosive, fractured instrumentals (often in the same song), and though it can be a difficult listen at times, I Mean to Live Here Still is always captivating. One of 2010's best surprises so far.

6: The Black Keys - Brothers

After a few listens I think The Black Keys' latest--Brothers-- may be their best yet, though my love for Rubber Factory makes that difficult to say with certainty. Either way, it's a great album and their most successful in some time, proving these two still have plenty of ideas left to offer without resorting to the type of collaboration that resulted in 2008's Attack & Release. It's nice to have these two back together and operating at the highest level, cementing their status as one of the best American rock bands operating today. Hopefully they'll remain this sharp for years to come. (Read My Review)

5: Janelle Monae - The Archandroid

Janelle Monae has made one of the strangest and most interesting R&B albums in recent memory, so perhaps that's why I've been so taken with a record in a genre that generally doesn't find much space on my "best of" lists. But Monae's outlandish concept album (her full-length debut) is much more than just an entertaining oddity. This ambitious newcomer has a powerful voice and a head full of ideas that she ably executes over the album's 70-minute length. From the psychedelic ballads to the soaring pop tunes to the funky soul songs, The Archandroid is as spectacular as it is weird.

4: The Tallest Man on Earth - The Wild Hunt

The Wild Hunt, Swedish singer/songwriter Kristian Matsson's sophomore effort, is the most spare of folk albums, recorded with only guitar, vocals, and piano. Yet this modest setting is the perfect one for Matsson, who manages to imbue these ten simple, melodic songs with great depth. The record is similar in many respects to his debut as The Tallest Man on Earth due to the use of the same restricted instrumental palette, but the songwriting maturity and breadth of emotion on The Wild Hunt easily make this Matsson's most compelling work. (Read My Review)

3: Owen Pallett - Heartland

For his first effort after dropping his Final Fantasy moniker, Owen Pallett offers his most stirring selection of songs yet, combining his signature violin playing over fuller, more complex soundscapes than we've heard from him previously. The results aren't as immediate perhaps as his former albums, but the richness and unique beauty of these arrangements are striking, revealing more with each listen. It's hard for me to think of any album this year (save my number one pick) that I've enjoyed exploring so thoroughly. Heartland is the result of the perfect balance of ambition and ability. (Read My Review)

2: Josh Ritter - So Runs the World Away

Josh Ritter is one of my absolute favorite songwriters currently releasing music, so take his place so high on this list with a grain of salt if you must. But I'd argue that no matter your previous experience with the artist, you need to hear his latest creation, the wonderful So Runs the World Away. It's certainly Ritter's most expansive record, even more so than the rowdy The Historical Conquests Of..., yet somehow he manages to keep the enormous scope of the album and its various stylistic facets from escaping his grasp. Whether spinning one of his typically uniquely gorgeous stories or turning up the volume for a gritty folk-rock tune, Ritter is utterly convincing.

1: Joanna Newsom - Have One On Me

Making even the longest albums on this list seem brief in comparison, Joanna Newsom's Have One On Me is--simply put--epic. Three discs, eighteen songs and over two hours of music makes for an intimidating third effort from one of folk music's most intriguing and accomplished young artists, but Newsom has crafted a masterpiece that somehow needs every last minute to fully reveal its genius. And from the fantastical, winding tales to the simply gentle ballads, she creates an entrancing musical experience that repays the listener tenfold for any patience required to comprehend the album's immenseness.

Newsom sings her often otherworldly lyrics beautifully this time around, mostly dropping the child-like whine that earned her no small amount of detractors. She also introduces a broader instrumental selection, but she retains the unique elements of her sound that made her so remarkable in the first place, most notably her signature harp playing, intriguing storytelling, and knack for stunningly original melodies. Put simply, she manages to improve upon her the considerable quality of her previous work without sacrificing any of what makes her special. It's no contest in my mind, Have One On Me is the year's best album so far. (Read My Review)

Review: The Black Keys - Brothers (* * * *)

2010-07-07T09:05:00.000-06:00

Over the past few years, Patrick Carney and Dan Auerbach have done much in the name of progress. Working with Danger Mouse to produce their 2008 album Attack & Release, providing the rhythm section for the rap-rock experiment Blakroc, and taking the time to focus on side projects last year definitely served to shake things up for a duo that was previously known more for their impressive consistency than for their innovation. Yet somehow it’s their latest record, Brothers, that feels like the most ingenuous step forward for the band in quite some time—and tellingly, with this new effort the Black Keys needed little outside assistance to accomplish that. While Brothers may be considered a return to the basics for the Akron, OH natives by some, the spread of ideas here sets the album apart from the band’s earliest material while the quality of the songs themselves makes this recent collection their strongest in some time, rivaled perhaps only by 2004's excellent Rubber Factory. (Read the rest @ In Review Online!)

Review: Jamie Lidell - Compass (* * *)

2010-07-07T09:00:00.000-06:00

Ordinarily, an artist doesn't release their breakout album after 30, but then, Jamie Lidell’s story is anything but ordinary. Formerly in experimental electronica (both solo and as half of Super_Collider), Lidell’s seemingly swift transition into soul was both surprising and totally successful—as his 2005 record, Multiply, emphatically proves. He distanced himself even further from his digital roots with 2008’s Jim, which doesn't match the explosive creative energy that defined his debut, but is a fine pop album in its own right, allowing him to flirt a little with mainstream success in the process. But if there were any who figured Lidell would attempt to complete his late-blooming transformation into a radio-ready pop icon on his third go-round, they would most certainly be wrong. Instead, we find the artist in a highly experimental mode on Compass, still churning out danceable, soulful tunes but with decidedly more exploratory edge that sometimes enhances and sometimes distracts from the quality of the songs themselves. Enlisting the help of Beck and Chris Taylor (of Grizzly Bear) as producers, along with a slew of other collaborators, Lidell’s latest is a fascinating though unfortunately not very successful effort. (Read my full review @ In Review Online)

Best Albums of 2010 So Far - Honorable Mentions

2010-06-30T19:36:00.003-06:00

It's time to take a look at the best (read: my favorite) albums of 2010 so far. It's been a great year and quite honestly, this list has changed about a dozen times in the last week, but what you see hear should give you a good idea of the best music I've heard this year.

Below are my five honorable mentions and soon I'll give you my top 10.

Honorable Mentions/11-15 (Alphabetical):

Darwin Deez - Darwin Deez

Singer/songwriter Darwin Deez's self-titled debut is a pop-rock album with little in the way of excess, getting by primarily on Deez's gift for great melodies and simply catchy riffs. It's the kind of record that many will dismiss because of its plainness, but these sunny pop tunes are consistently great and all the more admirable for their straightforward compositions. Deez shows how much he can accomplish with just the basics, and the results are both entertaining and impressive.

LCD Soundsystem - This is Happening

James Murphy's supposed last album, This is Happening, leaves things on a high note with a collection of nine diverse and engaging tracks that contains some of the artist's best material. From the introspective cuts "All I Want" and "Home" to the aggressively funky numbers like "Pow Pow," Murphy offers plenty of reasons why it pains us to see him retire from the game (you know, if that indeed is the case). Of course, James Murphy would settle for nothing less than a dramatic and stylish exit.

Maps & Atlases - Perch Patchwork

Perch Patchwork, the first full-length record from talented newcomers Maps & Atlases, is one of those rare albums that manages to successfully marry technically impressive and progressive musicianship with pop accessibility. Even through all the sudden tempo changes and impossibly fast guitar riffs, the band keeps the hooks coming and the melodies memorable. It's a fun mix of pop, folk and prog-rock that shows even the most cerebral indie rock can be enjoyed by all.

Meursault - All Creatures Shall Make Merry

Meursault could probably be counted among the large group of emotionally intense Scottish indie bands that have been so popular lately, but it's clear from All Creatures Shall Make Merry that they are anything but typical of the genre. Blending digital soundscapes and filtered vocals with acoustic guitars, Meursault's latest moves from moments of quiet loneliness to explosive outbursts of anger and noise, using unusual production to create a uniquely stunning experience.

Villagers - Becoming a Jackal

Conor J O'Brien's debut as Villagers is, I must admit, just the kind of thing I'm prone to fall in love with. O'Brien is an Irish singer/songwriter with a decidedly eerie edge to his music, which puts him in league with the likes of DM Stith or Mimicking Birds--good company to keep. But on his first album, Becoming a Jackal, O'Brien proves himself a compelling lyricist and a talented musician whose hauntingly beautiful work stands apart from that of his peers.

Introducing...Hey Marseilles

2010-06-27T19:12:00.002-06:00

I'd never heard the term "folkestra" before I saw it on indie band Hey Marseilles' MySpace page, but it's about the perfect way to describe the group's chosen genre. This Seattle collective, seven members strong, seamlessly mixes elements of both traditional folk and orchestral pop (among other things) with consistently gorgeous and melodic results on their upcoming album, To Travels & Trunks, due out June 29th. This appropriately titled debut indeed travels over a variety of musical landscapes during its hour length, ranging from soaring epics to lovely instrumental interludes and utilizing the enormous collective talent of the musicians involved. My favorites include the string-led ode to exploration "Rio," the unbelievably beautiful "Calabasas," and the multifaceted, emotional "Cannonball," which begins as an acoustic ballad before exploding into a catchy rock anthem. However, while these songs with more traditional structures will catch your ear immediately, the intimate beauty found within less usual cuts--like the meandering "Cities"--is what makes To Travels & Trunks a truly absorbing and thoroughly interesting listen.

Hey Marseilles is off to a great start here, and I'll certainly be looking for more from them in the future. Get yourself introduced right away by downloading "Rio" below, then be sure to check out the band's stellar debut as soon as possible.

MP3 Download: Rio

MySpace

Review: Delta Spirit - History From Below (* * * *)

2010-06-21T22:29:00.002-06:00

When Delta Spirit arrived on the scene two years ago, they did so with a sort of fiery retro-rock sound that was about impossible to ignore. Ode to Sunshine, their debut, was as bombastic as it was melodic, with crunchy guitars, clanging piano and singer Matt Vasquez's emphatic wail making for an enjoyably noisy racket. So subtlety wasn't part of the equation, but their lack of restraint is part of what made the record such a great listen. This time around however, with History From Below, Delta Spirit take a decidedly different approach. There are still moments of the brash rock 'n' roll that characterized the band's first effort, but the new album is generally much more subdued than its predecessor, focusing on songwriting and lyricism over instant impact. The results are less immediate, but ultimately more powerful.

Starting the record are a couple tracks that remain relatively more true to the band's initial formula. "911" rolls along with Dr. Dog-esque harmonies and a 70s rock vibe while "Bushwick" rumbles with a smoother edge than before but to a similarly successful end. But then "Salt in the Wind" takes an early detour with a lengthy ballad-style folk aesthetic featuring gentle percussion and arpeggiated piano lines. It's the first of many unusual moves for the band, including a smoldering psych-rock number ("White Table"), a deceptively gentle kidnapping tale ("Ransom Man") and a beautiful goodbye to a friend ("Devil Knows You're Dead"), all of which appear in sequence following "Salt in the Wind." Eventually the band gets back to traditional business with the fantastic rocker "Golden State," but the songs before and after that will surely be received with mixed feelings from Delta Spirit fans given the music's more deliberate pace and restrained nature. After a few listens, however, and after coming to the terms with the fact that History From Below is in no way intended to be Ode to Sunshine part II, the quality of the songwriting and breadth of ideas here ultimately proves worth the changes the band underwent to present them.

Only once does Delta Spirit truly miss the mark (the dragging "Vivian"), but there's no shortage of great tunes on this sophomore effort, and together they form a cohesive and consistent whole that reveals a remarkable amount of maturity from this young crew. The lyrical and musical growth exhibited throughout the record's 11 tracks may only serve to disappoint or frustrate some, and that's a shame not only because it produces some fantastic results, but because it's impossible to deny the good things it bodes for the band's future. History From Below is an album following a blueprint that likely won't be nearly as effective if used a second time around, and I would imagine the band will return to stompin' and hollerin' on disc three, but the risks they've taken here pay off at almost every turn.

MySpace

You Should Know: Chris Pureka

2010-06-19T11:19:00.000-06:00

A songwriter since 8 and a guitarist at 16, it still took a while for Chris Pureka to get her musical career off the ground. But a little maturity and experience seem to have payed off; since 2004 this talented musician has released three acclaimed albums, and her latest--entitled How I Learned to See in the Dark--has really made an impression on me. Pureka makes gorgeous and often haunting Americana music, relying on her expressive voice and compelling songwriting to stand out from among her many like-minded peers. At times Pureka sounds withdrawn and delicate, but these quiet spells don't last for long before she elevates her voice to a powerful croon that's truly unforgettable. Her songs are not overly earnest and they aren't often focused on traditional (or at least obvious) relationship issues, but her tunes are more compelling because of that, and with a backdrop of slide guitar, violin, and simple percussion, her lyrics are imbued with a gripping emotional energy.

The new record's highlights show Pureka's ability to provide a good deal of variety with a fairly straightforward folk approach, ranging from the dark, weighty "Wrecking Ball" to the uneasy yet beautiful "Landlocked" to the lovely ballad "August 28th" that closes the album. How I Learned to See in the Dark is a thoroughly engrossing Americana album and you should know Chris Pureka.

MP3 Download: Wrecking Ball

MySpace

Introducing: Milagres

2010-06-12T11:03:00.000-06:00

You may know the band Milagres by their former name, The Secret Life of Sofia, or perhaps--like me--you are just now getting introduced. Either way you would do well to give these guys a listen. The group recently made the name change (which is Portuguese for "Miracles") and just released their debut under the new moniker, Seven Summits, a mature and accomplished album that certainly belies the band's experience and gets them off to a great start with their updated name. The record isn't truly a "concept album," but it does have a unifying theme--mountain climbing, which stems from front man Kyle Wilson's love of all things mountain-related. The press release states the album is "part fact, part historical fiction," and truly there is a wealth of lyrical detail to discover here, but even if you're less inclined to dig into the meaning behind the words, Milagres makes truly beautiful, majestic music that's quite easy to appreciate.

My personal favorites include the epic opener "Fifty Fourteeners," the lovely ballad "Sheet Stealer!" and the intriguing narrative "Nanda Devi," though it's hard to go wrong on Seven Summits. To start, I recommend downloading the single "Outside" below, or checking out the band on MySpace to hear more. Definitely don't pass this album pass you by, it's spectacular stuff.

MP3: Outside

MySpace

Live Review: mewithoutYou/Rocky Votolato/Rubik

2010-06-10T23:48:00.011-06:00

The Avalon, Salt Lake City

June 5th, 2010

Rubik

I arrived probably earlier than was necessary at The Avalon to get a close seat for the show, but I had a feeling it would be worth it to see openers Rubik live. Granted, I had no real reason to expect they would be fantastic--I was just betting that was the case. And you know what? I wasn't disappointed in the least. Rubik hail from Finland and definitely had a very distinct sense of fashion and presentation, but there was absolutely no barrier between them and a largely uninitiated crowd when it came to the music. From the moment they began--with an ethereal introduction showcasing frontman Artturi Taira's vocals--everyone in the room seemed instantly drawn to these unusual pop performers. The band's intense energy and their obvious love for making music was infectious, to say the least, and each song drew a more enthusiastic response than the one that preceded it.

Taira led the bunch with some absolutely stellar singing and frenzied dance moves, but everyone on stage seemed to be having the time of their lives, shouting, running, and feverishly pounding their instruments. I counted at least four keyboards, plenty of drums, two trombones, and more that the band used to replicate personal favorites like "Karhu Junassa" and "Goji Berries" with the kind of emotion that can only exist in a live performance. And after a wonderful alternate version of "Wasteland," they exited the stage far sooner than any of us would have preferred to a standing ovation which was received with sincere gratitude. In fact, when Taira came back to take his mic and keyboards down, it drew another enthusiastic cheer. I've rarely seen an opening band win over a crowd with this same sort of impact, it was nothing short of spectacular. (MySpace) (Free EP Available Here)

Rocky Votolato

Rocky Votolato didn't have nearly as much to prove as Rubik certainly must have, but he still gave a remarkable and memorable performance. Being relatively well-versed in his music, it was nice to hear Votolato play music from most of his records, opening even with "Alabaster," one of the best from his breakout album, Suicide Medicine. It was also refreshing to see a musician perform with absolutely no need for a backing band--it was just him, his guitar, and a couple harmonicas. The performance's starkness contrasted sharply with both the other bands playing that evening, but not only was it a nice reprieve from the noise, it was just as captivating. His clear voice was every bit as effective on stage as it is on his recordings, and his simple instrumentation was the compliment to his world-weary tunes.

He played nearly all of my favorites, which was nice, but I felt that the material from his new record, True Devotion, was the most emotionally powerful despite the fact that I don't think the album is one of his best. "Sun Devil" especially was hypnotic, and even the high ceilings of the room couldn't distract from what was a compellingly intimate and touching performance. Of course, career highlights "White Daisy Passing," "Suicide Medicine," and "Portland is Leaving" were the best received as they were the most familiar, but no matter your previous experience with Rocky Votolato's music, his heartfelt, dynamic performance was impossible to deny that night. (MySpace)

mewithoutYou

I have less to say about mewithoutYou, but not because their performance wasn't great. In fact, they played a lengthy and consistently energetic set that kept about everyone in the audience with their eyes glued to the stage as frontman Aaron Weiss bounded about, twirling and yelling at times and then retreating to the background when the tempo died down. I've never been the band's biggest fan, but I found their show a fun, engaging experience. And, without a doubt, the highlight of the evening was mewithoutYou's encore, during which they played some of their most popular and exciting tunes and even were gracious enough to finish the final song after 20 or so people climbed on stage to provide the band with unexpected backup chanting and dance accompaniment. (MySpace)

It was the perfect ending to a long and consistently fantastic show. If anyone left unsatisfied that night, they had only themselves to blame.

Review: Band of Horses - Infinite Arms (* * * 1/2)

2010-06-04T09:15:00.000-06:00

I didn’t see or hear much about Band of Horses moving to a major label for the release of their third effort, Infinite Arms. This kind of news is often received with a heavy dose of skepticism about the effect such a transition will have on the quality of future output, but for Band of Horses it just didn’t seem to cause much of a stir. I suppose that’s probably because this move wasn’t exactly unexpected; Band of Horses seemed almost destined for the kind of post-indie fame enjoyed by the likes of Death Cab for Cutie, due to the accessible nature of the former’s music. Perhaps most figured it just wouldn’t make much of a difference in their sound anyway. In that regard, I guess it’s true that any trepidation on our part would have been unnecessary. An even with all the effort expended (the album took 16 months to complete) and band members exchanged (frontman Ben Bridwell is now the lone original member), Infinite Arms is—in many respects—very similar to the group’s first two releases. Of course, you may or may not consider that good news, and your view on that subject will probably determine your reception of the band’s latest. (Read the rest @ In Review Online)

You Should Know: Solvent

2010-06-03T22:53:00.000-06:00

Producer Jason Amm, or Solvent, isn't flying completely under the radar, but unless you're at all connected to the experimental electronic scene, it's very possible you've not heard his name yet. I only recently discovered him with the release of his new album, Subject to Shift, but it was enough to quickly make me a fan. The record is a spacey collection of electro tunes that blends bright synths, digital percussion and Amm's manipulated vocals in a way that might best be described as synth-pop, just not the kind that is so frequently associate with that term lately. Amm's genius lies in his ability to create music that is at both incredibly odd and completely engaging, so while the songs almost never go where you'd expect, you're always happy to end up where they leave you.

From the dark, club-ready bump of "Formulate" to the glitch-meets-pop swagger of "Don't Forget to Phone," Amm's songs consistently captivate, somehow melding into one another despite the often radically different stylistic approaches used. Sometimes he demands your attention as he croons a haunting electro-glam chorus, then the next moment he lets the focus rest purely on his impressive digital compositions, but whatever tools he uses, Jason Amm offers myriad reasons on Subject to Shift as to why Solvent is a name that deserves mention much more frequently in our conversations about electronic music's most talented artists.

Download: Loss For Words (MP3)

MySpace

Introducing...River City Extension

2010-05-30T23:01:00.001-06:00

New Jersey octet River City Extension makes music I'm pretty much programmed to like--a combustible mix of folk, rock, and pop that revels in big choruses and gritty lyricism. So take that for what it's worth, but I'm fairly certain their full-length debut album, ...And The Unmistakable Man, is a great record despite any bias on my part. Having eight members in a band would suggest a lot going on, noise wise, and you get what you expect in that department. Thumping drums, crunchy guitars, blaring horns and more add to the record's energetic and often riotous nature, resulting in music that is consistently fun and thoroughly entertaining. Adding to the album's appeal is the fact that River City Extension isn't playing Americana rock by the numbers; songs rarely go where you'd expect and there's a wide array of styles on display over the lengthy 13 tracks, revealing a band with plenty of ideas and plenty of talent to carry them out.

Lead singer Sam Tacon's rough tenor fits perfectly amid the brass-heavy rock style, transitioning from a unhinged yelp to a smooth croon, often within one song. This is anything but a one man show, however, ...And the Unmistakable Man sounds like the work of eight tight-knit musicians working toward one glorious goal, and achieving it. Favorites of mine from the record include the tropically-tinged rocker "Something Salty, Something Sweet," the incredibly eclectic jam "Our New Intelligence," and the surprisingly sweet ballad "Today, I Feel Like I'm Evolving." River City Extension is a fantastic new band that absolutely should NOT be ignored--a must-listen for 2010.

MySpace

Review: The National - High Violet (* * * 1/2)

2010-05-25T20:55:00.002-06:00

Any band that relegates a guest list including Sufjan Stevens and Justin Vernon to tiny font in the liner notes obviously sees no need to capitalize on the recognition recording with these artists might bring. And it’s true the National don’t need to be famous by association. These five gentlemen from Brooklyn have—in what could perhaps be described as a most traditional and unspectacular manner—transitioned into one of the indie world’s most revered rock bands. Now, with their fifth release, High Violet, they've about reached superstar status, and they’re ready for their close-ups, as it were. A quick look at the band’s two appearances on Letterman—the first to do Boxer highlight “Fake Empire” and the most recent to perform new single “Afraid of Everyone”—best exhibits what I mean. No longer does frontman Matt Berninger stand nervously clutching the mic, staring at the floor while delivering lines like he’s reading excerpts from his journal. Nowadays he gazes almost assertively outward, dressed to kill and sounding fantastic, while he and the band display previously unseen confidence as they run through a charismatic, dynamic performance. (Read the rest @ In Review Online)

Review: Sam Amidon - I See the Sign (* * * *)

2010-05-25T20:48:00.002-06:00

Given the unusual way in which Sam Amidon approached his first two albums, you might expect him to either be relegated to the smallest of niche markets or to feel pressure to write a record using more conventional methods. Instead, the young folk musician has found his unique songcraft to be quite sustainable, and he's garnered increased acclaim over the past few years—especially with 2008’s lovely All Is Well. Of course, Amidon isn’t the first person to take traditional folk tunes and reinterpret them with a personal twist, but the obscurity of his chosen songs and the lengths to which he goes to make them his own labels him as a genuinely fascinating artist. His third effort, I See the Sign, is once again a collection of covers, though as is par for the course, it’s unlikely (with but one notable exception) that you’ve heard them before—and with his often dramatic rearrangements, it would hardly matter if you had. The new record isn’t necessarily better than its predecessor, but the growth Amidon shows here in the complexity of his arrangements and in the confidence of his presentation make it his most compelling to date. (Read the rest @ In Review Online)

Reviews in Brief: Roky Erickson, Aqualung, Apples in Stereo

2010-05-23T23:36:00.000-06:00

Roky Erickson - True Love Cast Out All Evil (* * * *)

Roky Erickson's life and career have been marred by pretty severe personal turmoil (to say the least), but his latest record, True Love Cast Out All Evil, proves he's been able to put that behind him and still make great music. Recording with indie mainstays Okkervil River, the psychedelic rock legend offers a gritty, rough and ultimately uplifting set of bluesy rock tunes that appropriately focuses on such topics as faith, sorrow, love and redemption. Whether playing simple ballads ("Ain't Blues Too Sad") or upbeat rockers ("Bring Back the Past"), Erickson's songwriting and delivery are surprisingly strong, and the personal nature of these songs is easily felt and appreciated--especially for those familiar with the artist's difficult past. Okkervil River's superb musicianship helps make cuts like the spacey "Goodbye Sweet Dreams" and the gospel-esque title track absolutely riveting, meshing smoothly with Erickson's distinctive growl. True Love Cast Out All Evil a real triumph of a rock record. (MySpace)

Aqualung - Magnetic North (* * * 1/2)

I've never been particularly interested in the music of Matt Hales (known as Aqualung), but I'll admit I've found his latest effort, Magnetic North, to be a surprisingly enjoyable pop-rock record. Incorporating influences from The Beatles to Beck, Hales offers a set of tunes that is a generally upbeat, uplifting affair--one that shows his ear for infectious melodies and big, piano-centric hooks. Occasionally Hales veers uncomfortably close to mainstream piano-pop blandness, but more often he manages to be both accessible and interesting enough to hold your attention for the length of his new album. As for highlights, "Reel Me In" is a sunny, soaring number, "Fingertip" is impossibly catchy with its hand-claps and soothing vocal harmony, and "Thin Air" is a simply gorgeous ballad. This sort of earnest, straightforward approach may not appeal to those who spurn anything radio-friendly, but Magnetic North is an intelligent and charming album that has good reason to be heard. (MySpace)

Apples in Stereo - Travellers in Space and Time (* * * *)
It's once again obvious by listening to Apples In Stereo's latest record that the band has no intention of converting non-believers. What I mean is, if you liked it before you'll certainly like it now (perhaps even more so), but if haven't previously been convinced, it's unlikely you'll change your mind this time around. But speaking from the perspective of a casual fan, I can say Travellers in Space and Time is one of the best records the band has released. The eclectic, synth-driven pop tracks comprising the record are universally impossibly to resist, filled with quirky hooks and melodies that just about demand not only your attention but your best dance moves. You'll find most of the best tracks up front; the bouncy "Dream About the Future," the sexy and funky "Hey Elevator," and slinky "Dance Floor" are all excellent, unabashedly cheesy and all about having a good time. Maybe I should take that first statement back--I really can't imagine anyone not at least enjoying a few of these tunes. (MySpace)

Concert Review: Frightened Rabbit w/ Maps & Atlases

2010-05-21T19:59:00.002-06:00

Urban Lounge, SLC
May 13, 2010

I've mentioned this before, but shows at the Urban Lounge start late. Like 10 p.m. late, and sometimes after a long day of work I find myself struggling to get excited about a show on the weekdays (yeah, I'm prematurely old - alright!?). But Thursday the 13th I had no issues getting myself out of the house to see Frightened Rabbit and Maps & Atlases. I arrived and--as expected--found the place fairly full, awaiting the latter band to take the stage (I unfortunately missed what was apparently a great performance by Our Brother the Native).

Maps & Atlases

Given that Maps & Atlases have yet to release their debut LP (they have a couple EPs to their name, though, check 'em out), I was curious to know what kind of reception they would receive, and if they could get the energy going that night despite their "under the radar" status. Turns out my worry was wasted as it immediately became clear that the band had all the talent and showmanship necessary to put on a great show. Maps & Atlases, a quartet, make extremely technical music--with weird time signatures, constant tempo changes, and some seriously impressive guitar work (if you geek out about that stuff, like I do). But it's also fun music, and when the band kicked into their first number, an upbeat, percussion-heavy tune, the crowd responded almost immediately. Throughout the group's 45-minute set, the audience grew increasingly connected to these engaging performers; Maps & Atlases certainly gained some converts that night.

Behind mountain man-esque frontman Dave Davison and his nasally croon, Maps & Atlases worked their way through both bouncy indie pop tunes and fiercer rockers with apparent ease, showing off with intricate riffs and a few lengthy guitar solos without letting things devolve into an uninteresting jam session. The joyful sound they made was impossible to deny, and though their more danceable cuts were obviously the best received tunes, no matter what the guys played they seemed to get a better ovation each time. The band ended with one of their best numbers, a burning rock 'n' roll tune that went on for some time, but though they'd played a very solid and satisfying opening set--I feel confident saying we all would have enjoyed an encore, even at the expense of waiting for Frightened Rabbit to play. Maps & Atlases proved clearly that even the most cerebral, technical music can--and should--provide for an awesome show.

MySpace

Frightened Rabbit

Frightened Rabbit took the show around 11:30 that night, but even after a length sound check they had everyone's attention when they took the stage. I didn't really know what to expect from singer/songwriter Scott Hutchison, given the often dark and depressing nature of his lyrics, but he was friendly, personable, and complimentary of the group's previous experience in Utah. Then the boys launched into a slowly building introduction into "Skip the Youth" from this year's Winter of Mixed Drinks and it became obvious Hutchison isn't the withdrawn, tortured soul I half expected him to be. He sings loudly, confidently, and makes the most of the music's climactic moments. Earlier this year I was a little critical in my review of the band's new album due to the bigger, more grandiose style, but I soon was rethinking my analysis. The group perfectly replicates the more epic approach on stage, with each member contributing vocal harmony and playing a variety of instruments to do so. And with the crowd singing along at every turn, Frightened Rabbit turned in one hell of a performance.

They played about equal parts their new record and 2008's Midnight Organ Fight, with personal favorites like "Old Old Fashioned," "Swim Until You Can't See Land" and "Foot Shooter" given an extra boost by the rowdy atmosphere and increasingly intense Scott Hutchison, who seemed to get looser with each song. At times he became almost unhinged, yelling emphatically and then subsiding into a quieter passage with an equally powerful emotional delivery. The group finished with a fiery rendition of "Good Arms vs Bad Arms," but everyone knew the drill and cheered loudly until the band returned for their encore. Hutchison appeared alone at first, singing the terribly sad "Poke" with just his acoustic guitar, even removing himself from the mic for the end of the song so the audience could join in what became a drunken sing-a-long. Then the rest of the band joined for "Living in Colour" and "Keep Yourself Warm," the latter of which earned a hearty cheer when announced. It was a thoroughly entertaining and engaging finish to a concert that has set the bar high for any other shows I may see this summer.

MySpace

Three for Wednesday: Emily Jane White, In Tall Buildings, Sarah Jaffe

2010-05-19T08:45:00.001-06:00

Emily Jane White

We here at Chewing Gum for the Ears (we meaning me, of course) are always looking for those folk artists out there who deserve your attention, and Emily Jane White is one such musician. Her new album, Victorian America, is a darkly-tinged collection of Americana tunes that in no way belies her sunny California origins, but it does make very clear her gripping songwriting ability. Even at a solid hour in length and with its generally sparse aesthetic, the record remains entrancing due to White's vivid storytelling and her beautiful, emotive voice. Highlights like "The Baby" and "The Ravens" quickly make these qualities known, and she seems like such a natural in this genre you'd surely have a difficult time imagining her as frontwoman for the various metal and punk bands she performed with in college. Definitely take the time to get acquainted with Emily Jane White, who has crafted a superb folk record with Victorian America.

Download: Liza (zipped MP3)

MySpace

In Tall Buildings

When I tell you that In Tall Buildings is the solo recording project of one Erik Hall, of Nomo fame, you'll likely envision music of a considerably different type than you actually find on his first and self-titled outing. In Tall Buildings is a restrained, often acoustic affair that focuses on Hall's hazy vocals and his multi-instrumental ability, and while the differences between this and his primary gig make the album interesting, the quality of the music makes it worth noting here. Several years in the making, the eight songs sound carefully composed and--at times--intensely personal despite some tricky chord progressions and tempo changes. It's not flashy or loud, but the record consistently reveals Hall's impressive musicianship with a variety of subtle flourishes that bring to life tunes like the eclectic "The Way To A Monster's Lair" and the odd yet engrossing "Good Fences." Artists have side projects for many reasons--I think Erik Hall just knew these songs needed to be heard.

Download: The Way To A Monster's Lair (MP3)

MySpace

Sarah Jaffe

24 year-old Texas native Sarah Jaffe just yesterday released her debut LP, Suburban Nature, but I expect it won't be long before you start hearing quite a bit about her. Jaffe is a singer/songwriter who is difficult to classify, making raw, emotional music that ranges from quiet acoustic ballads ("Stay With Me") to soaring rockers ("Better Than Never") and everything in between. She proves equally adept at whatever she attempts, with her strong voice and stirringly honest lyrics immediately setting her apart from her less remarkable peers. The record's best, the driving "Clementine" and the dark, atmospheric "Swelling" would be my recommendations for where to start, but really you can't go wrong with any of the 13 tracks comprising the 45 minutes of Suburban Nature, which remarkably includes songs from as far back as Jaffe's teenage years. Keep an eye on Sarah Jaffe--you can bet everyone else will.

MySpace

Review: The New Pornographers - Together (* * *)

2010-05-18T20:07:00.003-06:00

Let’s face it: even on an off day, the New Pornographers make some pretty good music. And given that the group incorporates the collective talents of AC Newman, Neko Case and Dan Bejar, you would probably expect that to be the case. But even a great band becomes a lot less interesting when they release a by-the-numbers type record. There is something to be said for the fact that the Pornographers have album construction down to a science; and getting what you expect in terms of structure and style certainly isn’t a bad thing (especially after 2007’s Challengers disappointed many—myself not included). But while the group's latest album, Together, sees them return to the speed and form expected of them, it also sounds an awful lot like a less inspired version of albums that came before it. As a result, it plays as if it were composed by a band that’s merely coasting—and we all know the Pornographers have much more to offer us than that. (Continue Reading @ In Review Online)

Review: MGMT - Congratulations (* * 1/2)

2010-05-18T20:02:00.002-06:00

You have to hand it to any band that willfully alienates a good portion of their fan base in the name of progress, though you may wonder if the decision MGMT made was the right one. Their first album left them among the hottest rock bands in the world, receiving critical acclaim and popular attention with hook-filled tunes like “Kids” and “Time to Pretend.” It seemed only logical that they would capitalize on this success by turning in an even more radio-friendly record, but instead MGMT head determinedly in the opposite direction for their second full-length, Congratulations. Of course, given the eclectic nature of their debut, Oracular Spectacular, this decision by the band to continue exploring instead of refining their sound isn’t a complete surprise. Across the album, their ambition results in some genuinely fascinating experiments, but Congratulations more often feels like an awkward first step toward the goal than its attainment. (Continue Reading @ In Review Online)

You Should Know: Dana Falconberry

2010-05-10T22:59:00.000-06:00

Austin singer/songwriter Dana Falconberry seems to have already made a name for herself in her hometown. The Austin Chronicle even labeled her as one of the city's "most arresting female vocalists," which, considering what must be stiff competition, seems like pretty high praise. And with her most recent album, Halletts, I think she just might find a bigger audience for her stirring brand of folk music. The collection of eight tunes revisits some previous recordings and includes some new songs as well - though for me it has just served as a convincing introduction to Falconberry's simply beautiful songwriting.

With the help of a full band (for the first time), Falconberry works her way through this easy-going, yet emotionally engaging set of tunes with a spare, almost rustic approach. The presence of other musicians is obvious, with touches of banjo, ukulele, and more helping to bring these musical tales to life, but the songs stay grounded and focuses right where they should be--on her uniquely gorgeous voice. Highlights include the pleasant and warm "Blue Umbrella," the darkly tinged "Baby Blue Sky," and the lovely closing thought "Birthday Song." With Halletts, Dana Falconberry offers plenty of reasons to label her as an artist to watch--keep an eye on her going forward.

Download: "Crooked River" (not from the album, but one of the best I've heard from her)

MySpace

Introducing: Inlets

2010-05-06T20:06:00.006-06:00

So working in a band has many advantages - it provides an exchange of ideas, it offers varied perspectives, etc. - but there's also something to be said for those artists who prefer to keep their music to themselves. Getting the best of both worlds is Sebastian Kreuger, operating as Inlets, who seems to make the majority of his creative process a solitary one, but certainly isn't opposed to collaboration. The talented newcomer has recorded or performed with the likes of Fiest and DM Stith, and on his debut LP, Inter Arbiter, he gets some assistance from Beirut frontman Zach Condon and Dirty Projectors vocalist Angel Deradoorian, among others. As a result, his first record often feels like a solo project in its darkly intimate style, but these mostly quiet songs feature striking instrumental backdrops and gorgeous vocal harmonies that help make the music especially compelling.

Kreuger's voice - both beautiful and haunting - weaves between acoustic guitar, subdued horns and banjo in a way that doesn't provide for many outright hooks, yet his intricate melodies and unusual song structures are absorbing just the same. The music of Inlets is brainy, cerebral stuff, and that's where most of its appeal lies, but Kreuger manages to include an emotional edge to his songwriting that allows the music to be accessed from more than just a technical standpoint. Highlights from Inter Arbiter include the constantly shifting "Canteen," the strange and melancholy "Bright Orange Air," and the enjoyably unstable "Famous Looks." It may be his full-length debut, but Kreuger shows a remarkable amount of maturity and depth here - no doubt the result of both a generous amount of creative energy and previously refined musicianship.

Download: "In Which I, Robert"

MySpace

Three for...Wednesday: Grovesnor, JT and the Clouds, Lawrence Arabia

2010-05-05T20:44:00.003-06:00

Grovesnor -

Rob Smoughton, recording under the moniker Grovesnor, is a member of Hot Chip - though despite the connection it's unfortunately unlikely you've heard much about the guy. As Grovesnor, he makes a brand of electro-funk that seems in some ways related to the music of his other band, but Smoughton leaves behind the endearing geeky sentiment for a sleek, sexy pop approach that's just as difficult to resist on his new album, Soft Return. On cuts like the groovy "Taxi from the Airport" and the appropriately sultry "Nitemoves" Smoughton proves he's got a way with a hook and enough vocal firepower to make them effective. Thin digital drum beats and skittering electronics fill in the spaces between the keyboard riffs, with Smoughton effectively transforming himself into his playboy alter-ego over the course of the record's 11 tracks. (MySpace)

Download: "Taxi From the Airport"

JT and the Clouds -

JT Lindsay, frontman for rock 'n' rollers JT and the Clouds, had something of a late start to his music career. But he's making up for it now, especially with his excellent new LP Caledonia, which was recently released and has been in steady rotation for me over the past few weeks. Lindsay and company make breezy, melodic rock 'n' roll with classic roots and a soulful edge - showcased best on highlights "Funeral" and "How it Runs," two hook-filled rock tunes that make me wonder why I hadn't been exposed to these guys before. The band works their way through everything from earnest ballads ("I Have Heard Words") to odd pop numbers ("Grow Your Flowers") with an equal measure of style, making Caledonia a consistently infectious and fun album from a band you should get to know as soon as possible (MySpace)

Download: "Fever Dream" (zipped MP3)

Lawrence Arabia -

Lawrence Arabia is the recording and performing name of one James Milne, who's biggest claim to fame was perhaps his being a touring member of Okkervil River at one time. Thankfully, Milne decided to step into the spotlight and has now released his second solo effort, Chant Darling, a wonderfully eclectic pop album that never stays still and always manages to impress. The album's highlights show several different yet consistently entertaining sides of Milne's musical personality; "Apple Pie Bed" has a slick, danceable edge reminiscent of Of Montreal, "Eye A" is a jangly bit of pop-rock, and the appropriately atmospheric "Dream Teacher" makes for a peaceful goodbye to end the record. This New Zealand crooner not only provides some undeniably catchy tunes with plenty of variety, but shows genuine promise for anything he decides to do next. Definitely an artist to keep an eye on going forward. (MySpace)

Download: "Apple Pie Bed"

Reviews in Brief: Laura Marling, Dr, Dog, Nice Nice

2010-04-30T19:07:00.000-06:00

Laura Marling - I Speak Because I Can (* * * *)

To call Laura Marling's sophomore album, I Speak Because I Can, a sign of growth for the precocious songwriter might seem to undermine her remarkably accomplished first effort, Alas, I Cannot Swim. Yet as mature as her debut certainly was, her latest record shows a definite increase in the quality and depth of her songwriting and singing. I Speak continues Marling's penchant for emotionally weighty material, and here she has the added benefit of a more varied and intense instrumental selection, which - along with an impressive set of vocal performances - enhances the impact of her lyricism. From the fiery, Celtic-tinged opener "Devil's Spoke" to the gently rolling ballad "Darkness Descends," Marling borrows from many aspects of U.K. folk and pop music, but she never extends herself beyond her limits - another example of the considerable ability and artistic intelligence that marks I Speak Because I Can as a superb second album. MySpace

Dr. Dog - Shame, Shame (* * * 1/2)

Two songs into Dr. Dog's latest, Shame, Shame, I was convinced the record had already surpassed the band's previous release, Fate. "Stranger" and "Shadow People" are about stuffed with hooks, which I realize isn't really unusual for any given Dr. Dog song, but they somehow just seem to have more energy, more life than anything on their 2008 effort. Of course, the recipe used to create this new album is one you've heard from them (and others) before, but it's difficult to hold the group's lack of ambition against them when they're seemingly so intent on putting a smile on your face with their enjoyable retro-rock sound, which the boys have just about perfected here. There are a couple tracks here -"Later" and "Someday"- I could do without, but Shame, Shame succeeds well enough and often enough to be a valuable addition to your summer soundtrack. MySpace

Download: "Stranger"

Nice Nice - Extra Wow (* * * 1/2)

For those with short musical attention spans, may I recommend to you Nice Nice's Extra Wow. The Portland group's intensely unstable sound collages make for a consistently entertaining 51 minutes on their new record, which blends organic elements (vocals, guitars, drums) with all manner of digital wizardry in a spectacularly strange manner that is difficult to categorize or even describe. The band's eclectic, somewhat scattered approach gets a little disorienting at times, but it's never uninteresting, and the unusual way in which the songs are structured and executed should give the new album plenty of replay value for adventurous listeners. From the messy, raw "Set and Setting" to the shimmering "A Way We Glow" to the otherworldly funk of "A Little Love," Nice Nice provides ample reason to devote a the necessary time to properly dissect the inner workings of Extra Wow. MySpace

You Should Know: Linfinity

2010-04-28T18:09:00.000-06:00

Dylan Von Wagner, lead singer of newcomers Linfinity, has one of those voices - a croon so distinctive and vibrant it just about demands your undivided attention. His vocals bring to mind Antony Hegarty at times and The Mimicking Birds (also new to the scene this year) at others, but there's really nothing just like it, and it sets Linfinity's debut, Martian's Bloom, apart. The band, now several years in the making, has released a striking first effort, a genuinely interesting album that slides smoothly between styles and approaches while still establishing an identifiable sound for the band. Much of the record has a mid-tempo vibe and an almost haunting quality to it - encapsulated by the lovely title track and the floating closer "Norm's Song" - but the group isn't afraid to get a little loud on cuts like the searing "Choo Choo Train to Venice" and the relatively muscular "MSG." The variance in tempo keeps things from becoming monotonous, and it gives the artists involved a chance to show off their considerable musicianship.

Wagner won't win everyone over with his unique warble, but the music's unusual beauty is certainly its greatest selling point for those who appreciate and enjoy things a little out of the ordinary. Also Martian's Bloom is an intelligently composed and well-executed debut that readily reveals the maturity and experience of its creators, revealing more with each thorough listen. Linfinity is off to a great start, so don't be surprised if you start hearing more from and about these guys in the near future. For a taste, download "MSG" below or check out the band's MySpace for more.

Download: "MSG"

MySpace

Rufus Wainwright: All Days Are Nights: Songs for Lulu (* * *)

2010-04-28T09:30:00.003-06:00

Much has been made of the simplicity and intimacy with which Rufus Wainwright approaches his latest album, All Days Are Nights: Songs for Lulu. A spare piano/voice style is the approach chosen here, and it’s sustained throughout the record’s 48 minutes, a welcome change in a career heretofore defined by artistic excess and drama. But whRufuile the minimalism of Wainwright’s sixth effort serves as an effective reminder of his considerable talent, most everything about the record is grandiose (down to that clumsy, lengthy title), revealing the man at his most stripped-down to be every bit the ambitious, flamboyant personality we’ve come to expect over the last 12 years. This isn't necessarily a bad thing—and it isn’t entirely unexpected, as Wainwright has long shown his love of opera and theater to be a core ingredient in his work—but All Days Are Nights feels overstuffed with ideas and ultimately overindulgent, even despite its spare aesthetic. This crowds the best material and hampers both the album’s accessibility and artistic value.(Continue Reading @ In Review Online)

Review: The Tallest Man on Earth - The Wild Hunt (* * * *)

2010-04-22T12:09:00.006-06:00

Kristian Matsson, Swedish folk singer-songwriter and lone artist behind the Tallest Man on Earth moniker, is a man that appears to eschew artistic excess of most any kind, musical or otherwise. Sure, many musicians keep things simple and record on a shoestring budget because they have to, but it’s clear on his full-length sophomore record that Matsson actually prefers to operate in a limited, sparse musical setting—and it truly would be difficult to imagine his songs presented any other way. As a result, his latest effort, The Wild Hunt, sounds much like his debut (2008's Shallow Grave), with Matsson writing, recording and producing the record entirely by himself and using a limited selection of instruments (guitar, banjo, piano) to compliment his somewhat harsh, Dylan-esque voice. It’s a testament to his ability and maturity that The Wild Hunt is not only a refinement of this young artist’s songcraft, but a real step forward from his first album in terms of emotional breadth and resonance. (Read the rest @ In Review Online)

Three for...Wednesday: The Laughing, Shark Speed, Monster Movie

2010-04-21T21:00:00.002-06:00

The Laughing -

Austin-based band The Laughing make themselves a bit difficult to categorize. On their latest LP, Fever, the group makes a noisy, raucous indie rock sound starting with a traditional base of guitars, bass, drums and organ, which admittedly sounds fairly ordinary on paper. But along the way they throw all kinds of twists and turns in addition to a varying selections of instruments to a consistently entertaining and eclectic end. Singer Logan (no last names to be found) has a powerful, sometimes warbly voice that gives these tunes an almost eerie feeling, which is amplified by the dark, pulsating musical style that surrounds him. Fever's high-energy pace is infectious, and at its best - the driving "Runner," for example - these guys seem to have things down to a science, providing an experience that is both intensely emotional and consistently fun.

Download: "Runner"

MySpace

Shark Speed -

My lack of involvement in the local music scene her in Utah will be painfully apparent when I admit that I'd never heard of Shark Speed - which formed in Provo less than two years ago - until recently when I received an email about them. I took a listen to their new EP, Education, and was thoroughly impressed, then felt a bit of regret when I found I had probably been given ample opportunity to hear them much earlier. But better late than never, I suppose. The boys play seriously catchy pop-rock, with uplifting, anthematic vocals, complex percussion and jangly riffs - a simple recipe but one that serves Shark Speed exceptionally well. The triumphant opener "King of the World" and the strangely cheery-sounding "Killing Kind" prove these guys to be both talented and intelligent pop artists, an unfortunately rare breed these days.

Download: "Killing Kind"

MySpace

Monster Movie -

Monster Movie features Christian Savill of Slowdive and Sean Hewson of Eternal, which I'm sure will attract (and no doubt has attracted) some listeners - but the quality of their new album, Everyone is a Ghost, will likely impress even those unaware of the musicians behind it. The record was introduced to me as "fuzz-pop," which is probably as good a descriptor as any to explain mix of haziness and hooks that fill most of the songs and make the album both an interesting and accessible listen. Everyone is a Ghost ranges from dreamy acoustic balladry on "How the Dead Live" to dense, ambient rock on "Help Me Make it Right," though somehow Savill and Hewson are able to bring it all together into a cohesive whole. Monster Movie generally sacrifices grandiosity for an intimate, relatable simplicity, and the band's somewhat restrained approach leaves a truly lasting impression.

Download: "Bored Beyond Oblivion"

MySpace

Reviews in Brief: White Hinterland, Broken Bells, One for the Team

2010-04-19T21:48:00.009-06:00

In trying to play catch up, here's a few I've missed over the past couple months:

White Hinterland - Kairos (* * * 1/2)

Given my lack of experience with White Hinterland's previous work, I can't really speak to the differences that Kairos brings to the table, but most of what I read suggests this sophomore effort heads in a decidedly unique direction for the band. Fortunately, the album's intriguingly dark atmospheric sound feels like a natural extension of those making it - and the results of this confident approach are often striking. Simultaneously, however, it's clear that frontwoman Casey Dienel and company are enjoying exploring new territory, especially on the beautiful and spacious opener "Icarus," a clear highlight and the best example of the potential this swirling, hazy style has to offer. Not every tune is so beguiling, but the haunting harmonies and subtly thumping soundscapes create enough engaging and memorable moments to qualify Kairos as a success. (MySpace)

Broken Bells - Broken Bells (* * * 1/2)

The much-anticipated collaboration between producer Danger Mouse (Brian Burton) and The Shins frontman James Mercer could be described as one of 2010's most fashionable "indie" releases. Burton seems to have had a hand in just about everything over the past couple years (from Gnarls Barkley to The Black Keys) and The Shins remain an alt-rock staple, so of course Broken Bells has received its fair share of attention. In many ways, this new odd couple lives up to the hype - the songs are uniformly strong and pull from the strengths of both artists, even offering the occasional surprise. In short, it's mostly what you'd expect from two very talented musicians who seem to enjoy working together, and occasionally this pairing seems to be an inspired one. "The High Road," "Sailing to Nowhere" and "October" all lift the record past the the more bland moments and make the idea of more music from these two musicians a welcome thought. (MySpace)

One for the Team - Ghosts (* * * 1/2)

One for the Team may not be a familiar name to many of you, but was introduced to the group last year when they released their debut EP, and I've been looking forward to hearing their first full-length since that time. On Ghosts, the group play a somewhat noisy, unrefined variety of indie rock, one that uses many common elements (boy/girl harmonies, bright keyboards, crunchy guitars) yet still sounds fresh and inspired enough to be attention-grabbing - and it's a measurable improvement over their EP in terms of its distinctiveness and cohesion. The record's first half is easily the stronger of the two, especially the messy and muscular "Every Little Thing" and the equally loud but warmer and more melodic "Sorted Out." Ghosts doesn't hold up quite as well down the stretch, but these guys are off to a strong start and should turn some heads with this ten-track effort. (MySpace)

You Should Know: Kris Drever

2010-04-15T22:32:00.001-06:00

Known by some as the son of Ivan Drever, member of Celtic band Wolfstone, Kris Drever has now blazed a trail of his own, first as a guitarist with the band Lau (who I've admittedly never heard of) and lately with a couple of fantastic solo albums, the last of which was just recently released. 2010's Mark the Hard Earth was my introduction to Drever's enchanting folk music, though after listening I immediately sought out his debut, Black Water, which I found equally impressive. His clear, warm voice at times could be described as what James Taylor might sound like with an Scottish accent (which means, of course, that I love it), and his engrossing storytelling conjures striking imagery both modern and antiquated. Neither of his records break much new ground or aim to push boundaries, but each is thoroughly excellent and together they serve to establish Kris Drever as a noteworthy voice in the folk community.

For his latest, I recommend the bittersweet title/opening track, the bright and bouncy "Sweet Honey in the Rock" and the more lively duet "The Banks of the Nile," which has a slightly Decemberist-style edge to it. Each highlight perfectly exemplifies his seemingly natural melodic gift, his remarkable songwriting, and his most powerful weapon - that radiant and emotive tenor voice. I really can't lavish enough praise on this guy, he's incredible, so go listen!

I wasn't able to find a legit link to offer you a free download from the new record, but you can find a good selection of older songs to stream on his website and newer ones at his MySpace.

Website

MySpace.

Review: Besnard Lakes - Are the Roaring Night (* * * *)

2010-04-13T10:46:00.002-06:00

At first and even second glance, Besnard Lakes’ third effort, The Besnard Lakes Are the Roaring Night, seems strikingly similar to their acclaimed sophomore one, The Besnard Lakes Are the Dark Horses. Obviously, the title structures are quite comparable, but that’s only the tip of the iceberg: the lengths of the respective albums are within a minute of each other; the 'wall of sound' stylistic approBach is much the same on both; and the songs on each record ebb and flow with a constantly dynamic intensity. Initially, these parallels seem to result from a lack of imagination, but those familiar with the duo must assume these consistencies to be fully intentional and in the best interest of the album and the listener. For the most part, this holds true on Roaring Night, with the record’s subtle differences somehow shining brighter amid the sameness, and the band showing clear growth in their atmospheric indie-rock approach. Even when the new album occasionally does feel a little too familiar, the strengths of their unique method make such a criticisms slight at best.(Read the rest @ In Review Online)

Review: Fang Island - Fang Island (* * * *)

2010-04-13T10:22:00.015-06:00

It first seemed strange when, doing research on Fang Island, I found the band’s first two EPs filed under the "Children’s Music" section of iTunes. I doubt the label was intentional, given the band’s high volume rock‘n’roll style, but after becoming more familiar with Fang Island’s self-titled debut, the categorization does seem accurate in certain ways. The collective’s brand of indie-pop is endlessly energetic, noisy and joyful, blending soaring, chanted choruses with epic instrumentals for a deliriously fun experience the group describes as “everyone high-fiving everyone.” The music has an almost universal appeal; there's a youthful energy but also a great deal of impressive musicianship, and a unique ambition that begs attention and appreciation. To call it groundbreaking would be an overstatement; instead, Fang Island is just as fascinating and wholly successful a debut record as has been released in 2010.(Read the rest at In Review Online)

Review: Annuals - Sweet Sister EP (* * * 1/2)

2010-03-31T23:25:00.000-06:00

After a major label debut LP a couple years ago, Annuals return, not with another major release, but with a self-produced/self-released EP entitled Sweet Sister. I'm not sure if it's a precursor to a full-length later this year or simply a chance to release some material without outside influence, but Sweet Sister seems to have the free-spirited feeling and exploratory nature of the latter. The five songs of the EP are often stylistically similar to the group's previous effort, Such Fun, but an obvious influx of influences (along with total control over the end result) makes for some entertaining if unfocused detours here. So the album doesn't play as a cohesive statement or even establish a certain new direction for the band, but it's fun, lighthearted, and easily enjoyable - the perfect accompaniment to the approaching Spring season.

Beginning with the smooth, rhythmic opener "Loxtep," it's immediately clear that Annuals intended to widen their sonic palette a great deal here. With bright synth riffs, marimbas, and a sampled choir of children, the track should be a mess, and I suppose it could easily be labeled as such, but it's a really catchy mess and intelligently assembled as well. The title track blends similarly disparate influences to an effective result, but "Holler and Howl" abruptly switches gears to a horn and accordion-laden circus tune that bounces its way to a beautiful orchestral outro. With the exception of the lackluster "Turncloaking," the album is a good deal of fun if you don't mind the head-spinning flow of the thing, and with a sunny (and relatively normal) cover of Johnny Cash's "Flesh and Blood" to close, Sweet Sister is a treat for fans that should tide them (us) over until Annuals give us a full compliment of songs.

Loxtep (MP3)

MySpace

Review: Frightened Rabbit - The Winter of Mixed Drinks (* * * 1/2)

2010-03-31T22:23:00.008-06:00

Progress is—by most definitions—a game of give and take. In the music business, it’s nearly impossible to grow artistically or explore different musical avenues without leaving something behind. A clear illustration of such growing pains is exemplified in Scottish indie-rockers Frightened Rabbit, whose third record, The Winter of Mixed Drinks, comes two years after the band’s excellent breakthrough, the compelling and abrasively emotional Midnight Organ Fight.

Of course, much of what made the band unique remains—especially the intensely dramatic songwriting and singer Scott Hutchison’s thickly accented unstable tenor—but along with an expanding lineup (yes, they actually have a bass player now), Frightened Rabbit’s latest marks a decided turning point in the band’s trajectory. Their bigger, more arena-ready sound will surely prove to be an effective bid for mainstream audiences, and it shows an increased maturity and approachability, but in the process the boys have sacrificed some of the fragile intimacy that made their previous material so engaging. (Continue reading @ In Review Online)

Reviews in Brief: Drive-By Truckers, Rogue Wave, Morning Benders, jj

2010-03-29T22:02:00.009-06:00

Drive-By Truckers - The Big To-Do (* * * 1/2)

Eight albums in and the Drive-By Truckers are still going strong. The Big To-Do is a little shorter and more focused than many of the band's previous efforts, and though it's also a bit less consistent there's little to really complain about as the songwriting and musicianship are mostly top notch. "The Fourth Night of My Drinking" is a typically bleak, yet insightful Truckers song, as is the dark "The Wig He Made Her Wear," but tunes like bassist Shonna Tucker's "(It's Gonna Be) I Told You So" and the rockabilly "Get Downtown" have an unusually bouncy "pop" side to them that adds much to the record's overall appeal. Aside from a couple less-than-inspired numbers, The Big To-Do is a worthy addition to this continually spectacular Southern rock group's considerable catalog. (MySpace)

Rogue Wave - Permalight (* * *)

Zach Rogue and company have had a hard go of things over the course of their fairly brief career. But in between sickness, death and major studio issues, the band continues to remain positive and release albums on a surprisingly regular schedule. Their latest, Permalight, is a smoother, more electronically-inclined release than their last albums, but though that may sound like a poor choice of direction on paper, it occasionally works very well. Granted, critics of the band's past work may not be entirely convinced by the new approach and there's some middling material here, but songs like the strong mid-album run of spacey ballad "Fear Itself," power-pop tune "Right With You" and the schizophrenic "We Will Make a Song Destroy" are quite good and evidence that there's plenty of life left in this optimistic bunch. (MySpace)

Morning Benders - Big Echo (* * * *)

After a good first album, Morning Benders are back with a decidedly better one in Big Echo. The group's second effort takes their previously basic (and a bit bland, to be honest) indie rock style and softens the edges, rounds off the corners, and puts things slightly out of focus for an impressive effect. It's mostly sunny, inviting music, with wonderful harmonies and gorgeous layers of instrumentation enhanced by the production work of Grizzly Bear's Chris Taylor, but these intelligently constructed tunes offer more than just a breezy 40 minutes of relaxation. Over 10 tunes, the record achieves the perfect balance between easy-going and labored-over, an impressive feat for a young band. Highlights from the album include the sweeping opener "Excuses," the very Grizzly Bear-esque "Promises," and the hazily beautiful "Stitches." (MySpace)

jj - jj n° 3 (* * 1/2)

Maybe it's because the mystery is gone now, or maybe this follow-up was simply too much, too soon - but whatever the reason, jj's sophomore LP feels considerably less inspired than last year's debut. The album still has a few genuinely beautiful moments, as we would expect (the compositions on "Let Go" and "Voi Parlate, Lo Gioco" are particularly striking), it's just that the nine tracks comprising this sophomore effort don't impress as completely or as often as before. In other words, jj n° 3 isn't so much a disaster as it is, unfortunately, easily ignored. jj is a group with a bright future ahead of them, though, and the talent to provide something equally brilliant if not more so than their debut. Perhaps they need a bit more time to again create something remarkable. (Let Go - MP3)

Three for...Monday: Yukon Blonde, Anais Mitchell, Treetop Flyers

2010-03-29T00:15:00.000-06:00

Yukon Blonde

Yukon Blonde is the latest in a long line of noteworthy Canadian indie rock bands, and with their first LP I think they're well on their way to joining the upper echelon of such a group. The quartet (comprised of Jeff Innes, Brandon Scott, Adam Newton, and Graham Jones) already have an EP under their belt, and their debut full-length is even better - an eclectic and fun set of tunes that blends all sorts of genres, from folk to power-pop, but ultimately establishing a unique sound for the band that deserves a listen. Highlights like the appropriately breezy "Wind Blows," the smooth rocker "Brides Song" and the slightly twangy closer "Loyal Man" showcase the multi-layered vocal harmonies, endless hooks, and Americana-meets-indie style that makes Yukon Blonde such an appealing new outfit. I really can't imagine anyone not enjoying the music made by this talented and bunch of artists.

Rather Be With You (MP3)

Wind Blows (MP3)

MySpace

Anais Mitchell

I'll admit I first checked out singer/songwriter Anais Mitchell's latest because I noticed Justin Vernon (of Bon Iver) was involved, but there's much more to Hadestown than an impressive guest list (also including Ani DiFranco and Greg Brown, among others). Hadestown is, according to Mitchell's website, "a folk opera based on the Orpheus myth and set in a post-apocalyptic American depression era," so you know it's an ambitious project to say the least. But the quality of the storytelling, the "casting" of the different characters and the engaging songs make this a truly successful concept album. Vernon's Orpheus is lonesome yet hopeful, Brown's Hades is grimy and dark, his wife (DiFranco) is enjoyably strange, and Mitchell still manages to shine among all the star power as Orpheus' lover Persephone. Hadestown is one of 2010's most unique and interesting musical experiences, making Anais Mitchell a name you need to know.

MySpace

Treetop Flyers

Folk rockers Treetop Flyers released their debut EP in the Fall of last year, though I only heard about it recently and I think it definitely deserves mention here. The UK outfit's five song effort has a rootsy, Americana sound that I'm admittedly a sucker for, but the music's appeal will certainly extend beyond fans of the genre with its smooth melodies and excellent musicianship. Each song remarkable, but my favorites are 0pener "Mountain Song," a sweeping classic rock tune filled with big choruses and impressive riffs and solos, and "Is It All Worth It?," which shows the gentler side of the band with a tuneful acoustic ballad that is just as great. These guys may look to the past for inspiration (comparisons to any number of classic folk and rock artists are easy to make), but they're also well on their way to establishing themselves as a band to watch with a style that's all their own.

For an email address, you can download "Mountain Song" HERE (highly recommended)

MySpace

You Should Know: Mimicking Birds

2010-03-22T20:40:00.000-06:00

If you've heard anything about Portland trio Mimicking Birds, you know Modest Mouse frontman Isaac Brock played a big part in the recording and production of the band's full-length, self-titled debut. But if you've heard the band's music, you know there's much more to the group than their indie rock connections. Their dark, yet delicate indie folk sound is intoxicating, with frontman Nate Lacey's ethereal voice - conjuring both the softer side of Brock's own strange croon and the eerie vocals of Asthmatic Kitty newcomer DM Stith - floating over a sparse mix of acoustic guitar, bass, and light percussion. Though the group's sound doesn't vary a great deal over their first record's 40 minutes, they're remarkably effective at creating a consistently engaging experience with a relatively limited number of musical elements. And the best material is absolutely gorgeous; "In the Loop" drifts along slowly with an almost haunted atmosphere, "Burning Stars" is a warmer, more pop-oriented tune, and "Under and In Rocks" closes with a lovely, emotional ballad.

It's easy to hear the influences present in their style, but on their debut record, Mimicking Birds manage to stand well apart from both their predecessors and contemporaries. It's an album that I find myself returning to often and it holds up very well against the best material in this already strong musical year, so it goes without saying that I highly recommend checking out one of 2010's most promising new bands.

Download "Burning Stars" at RCRD LBL

MySpace

Reviews In Brief: Ted Leo, Ruby Suns, Portugal. The Man

2010-03-18T07:25:00.000-06:00

My schedule doesn't permit me to review everything I'd like to in full, so while capsule reviews aren't an entirely fair way to evaluate an album's strengths and weaknesses, they'll give me an opportunity to give my two cents about more of this year's music. Enjoy my first set of three:

Ted Leo & The Pharmacists
The Brutalist Bricks (* * * *)

Ted Leo and company are back in full force with their latest album, The Brutalist Bricks. Right from anthematic opener "The Mighty Sparrow," the boys sound fresh and energized, hearkening back to their best work early last decade - and over the course of 13 tracks they remain just as sharp. What's perhaps most enjoyable about the record is the way Leo so effectively and with apparent ease balances a fun-loving musical persona with lyrics that provide a good deal more emotion and insight that you'd expect from a seasoned punk-rocker. Aside from the aforementioned opener, highlights include the fierce "Mourning in America" and the rolling rocker "Where Was My Brain?," though being thoroughly stuffed with great tunes, The Brutalist Bricks is yet another accomplished effort from these rock 'n' roll mainstays.MySpace

Ruby Suns
Fight Softly (* * * *)

From what I've read around the web, indie pop outfit Ruby Suns seem to have done some alienating with their new album, Fight Softly. Granted, such a dramatic stylistic shift is sure to bring about some backlash, but I find much of the criticism of their third effort to be confusing and unfounded. True, they've lost some of the modest charm that made their previous record, Sea Lion, so likable, but in its place is a more cohesive, engaging experimental sound and songs strong enough to outweigh any negative consequences of the band's change in approach. The group blends odd song structures and spacey synthetic elements with their characteristically sharp pop hooks for some stunning results, especially the sunny and strange "Cranberry" and the ethereal "Closet Astrologer." Put simply, it's difficult to miss the old when the new is so easy to love, and Fight Softly is a definite success. MySpace

Portugal. The Man
American Ghetto (* * * 1/2)

Releasing albums at the rate of one per year for the past five years, Portugal. The Man have proved to be one of indie rock's most tireless bands, and a remarkably consistent one given their output. Once again, they offer a solid set of tunes with American Ghetto, a record that trades the sunny disposition of last year's The Satanic Satanist for a grittier, darker edge and a good deal more variety. Though the music occasionally feels a bit too familiar when compared with the band's catalog, there are enough examples of both ambition and accomplishment here to warrant a listen whether you're a fan of their other material or not. The best on American Ghetto is among the band's best - "60 Years" has an enjoyably messy groove, "All My People" is a psychedelic rocker, and closer "When the War Ends" takes a sexy page out of Of Montreal's book with excellent results. I'm already looking forward to next year. MySpace

Review: Joanna Newsom - Have One On Me (* * * * 1/2)

2010-03-17T07:32:00.002-06:00

Should you be inclined to make such a superficial judgment, you can tell quite a bit about a Joanna Newsom album by its cover. Her amazing debut, 2004's The Milk-Eyed Mender, is adorned with a colorful collage of drawings and photographs both personal and stridently quirky—the music follows suit. Two years later, much changed. Newsom’s sophomore effort (and most would claim her masterpiece), 2006'sYs, featured more refined, mature artwork: a detailed drawing of the singer-songwriter dressed in ornate, Renaissance-era garb displaying an air of confidence and grace. Fittingly, the album is much more lyrically and musically ambitious, and Newsom creates an otherworldly, fantastical listening experience. Four years on, the tradition continues. Joanna's third and most anticipated release, Have One on Me, features artwork of Newsom sprawled out on a couch, nearly obscured by a wealth of exotic furs and other assorted finery. Calling it “busy” would be an understatement—it’s a visual overload—but given the size and scope of this record, nothing less would be appropriate. (Read the rest @ In Review Online)

Three for Wednesday: Bridges & Blinking Lights, Polar Bear, Mighty Tiger

2010-03-16T23:15:00.000-06:00

Bridges & Blinking Lights -

Denton, Texas rock outfit Bridges & Blinding Lights are a difficult bunch to pin down stylistically, but of course that's part of what makes them fun. I'd say "Southern shoegaze indie rock," but there's such a wealth of influences at play here it's impossible to find the perfect descriptor. So while comparisons escape me, I'll just say that you should check out the band's sophomore effort, Heroes, Guns & Snakes as soon as possible. Behind raspy-voiced singer/songwriter Jake Wilganowski, the quartet have created a more than solid rock 'n' roll record that blends pop sensibility with gritty style for strange and compelling results - like the riff-tastic opener "Undercover," the country-tinged title track, and the smoothly rolling "Great Unknown." The musicianship throughout the album is top notch, and with way the entire thing works so cohesively is notable as well, making Heroes, Guns & Snakes one of my favorite "unheard of" records I've heard this year. Get acquainted with these guys, you'll thank me for it.

Download one of my favorites, "Undercover"

MySpace

Polar Bear -

To be honest, I don't know enough about jazz music to write about it intelligently, but I can certainly recommend to you English jazz quintet Polar Bear and their new album, Peepers. Polar Bear is led by percussionist Sebastian Rochford, and includes saxophonists Pete Wareham and Mark Lockheart, double bassist Tom Herbert and guitarist Leafcutter John. Some of those names may be familiar to you, though regardless of what you know about the musicians involved, the intriguing blend of traditional and free jazz elements on songs like the clattering "Drunken Pharaoh" and the more subtle, slinky "Want to Believe Anything" will likely excite any adventurous listener. It's definitely not easy going, but with each listen Peepers reveals further detail, and the immense talent of these musicians makes this a thoroughly fascinating set of tunes. Recommended for modern jazz fans or anyone looking for something unique and left of center.

Listen/Download the track "Peepers"

MySpace

Mighty Tiger -

Mighty Tiger, currently hailing from Seattle, is the latest in a long line of attention-grabbing indie rock bands operating out of the Northwest. Their debut full-length, Western Theater, was recently released and is an enjoyably varied indie rock record, one that showcases the band's many talents and ideas with songs ranging from the melodic piano-pop tune "33 1/3" to the Oriental-sounding ballad "Chibi Girl" to the winding rocker "The Most American Thing in America." Though the group brings to mind a number of their alt-rock contemporaries, they also seek to establish their own personality and style throughout their first record, succeeding often enough that Western Theater feels fresh and is consistently enjoyable for its 52 minutes. With plentiful harmonies, catchy riffs and intelligently constructed tunes, Mighty Tiger is one to keep an eye on - I imagine they'll continue to impress long after this solid debut.

Download "33 1/3"

MySpace

Review: Hot Chip - One Life Stand (* * *)

2010-03-16T20:26:00.003-06:00

Three albums into their career and lovable electronica nerds Hot Chip had, for the most part, stubbornly resisted maturity, but it seems they’re finally growing up; at least, if their latest record, One Life Stand, is any indication. This is clear both lyrically—with an introspective attitude toward love and its accompanying commitments—and musically, as the record presents a more focused stylistic approach. Hot Chip obviously hope to use their fourth effort to convince us of their legitimacy as indie mainstays and not simply another compelling novelty act. This isn’t meant as a critique, of course, it’s simply an observation; and it’s likely that this will greatly factor in to your reception of their new album. The band sound like themselves, only with a wider array of electronic techniques, vocal filters, and organic instrumentation combining in the service of danceable white-boy funk. Unfortunately, the more purposeful air somehow lessens the impact and personality we’ve become accustomed to with Hot Chip. In some ways this seems necessary or even preferable, but unfortunately the costs outweigh the benefits of such advancement and One Life Stand falls shy of its mark. (Read the rest @ In Review Online)

Live Review: Fanfarlo w/ April Smith & The Great Picture Show

2010-03-09T19:25:00.010-07:00

Urban Lounge, SLC
Saturday 2/27

I'd never been to a show at the Urban Lounge before, but the one thing I was told repeatedly about the venue is that the shows start late. And, true to the information I'd received, showing up at 9 o'clock means waiting for a full hour before the music begins. But time passes quickly as people shuffle for position and grab a beer from the bar - the atmosphere is relaxed and the setting quite casual. I'm curious about the opening act, April Smith & The Great Picture Show, as they've just recently crossed my radar. Having only heard a few songs and equipped with little information about the band, I'm eager to see what kind of impression they'll make to a crowd that I imagine is similarly uninitiated. The group is dressed to kill and each member look happy to be there, and after a sound check on a small stage crowded with instruments, they're ready to get things started.

Fortunately, April Smith and company waste no time and make good use of their opening slot, plunging right in to a set of jazzy pop tunes that win over the audience quite completely after only a few minutes. Smith's small frame belies a powerful voice, and she belts out bright melodies as the band transplants the venue back about 6o years with their classic, bluesy style. With each passing song the crowd loosens up a bit more, and eventually there's plenty of dancing and clapping along with the music while those on stage continue smiling and joking throughout their 40 minute set. The group's energy is infectious and their talent easy to appreciate as they play everything from a sassy, anti-valentines day song to unabashed love anthems, and it all ends far too soon even with the thought of hearing from Fanfarlo later (though it makes the parting more bearable). I'm thoroughly impressed; I make a note to check out more from April Smith & The Great Picture Show as soon as I'm home.

April Smith MySpace

Fanfarlo doesn't take the stage until well after 11, but the energy in the room hasn't dissipated - only increased along with the size of the crowd. The quintet, looking distinctly British against this very American setting, have a nervous energy about them and look somehow younger than I expected, but their music immediately makes it clear that their considerable musicianship and performing ability is going to make for a great show. Kicking off with "Drowning Man" and continuing into Reservoir opener "I'm a Pilot," the group's sound fills the room completely, making the club feel far to small to contain the anthematic choruses and gorgeous harmonies that characterize the band's style. Fanfarlo don't talk much, but they seem pleased with the good reception they're getting from the crowd and come across as warm and personable when they do speak. It's just obvious that they'd rather have the music do the communicating, and it indeed speaks volumes to this very eager audience.

Popular favorites from their debut album, "Harold T. Wilkins" and "The Walls Are Coming Down," are especially effective, though my personal highlight occurs when they play the beautifully melodic "Finish Line" halfway through the set and execute the song to perfection, and with that special energy you can only convey in a live performance. Their set feels a little short (probably 45 minutes or so), but they're quick to give an encore after a sustained and enthusiastic cheer from all of us, and given both the hour and the quality of the performances thus far, nobody feels much like complaining. I had entered this evening with high hopes and now found them surpassed as I headed for the door. One of my favorite up-and-coming bands from last year had more than lived up to my expectations, and I'd been given a fantastic introduction to an exciting new group as well. A memorable evening, to say the least.

Fanfarlo MySpace

(sorry, no good pictures from the show for you!)

You Should Know: Erland and The Carnival

2010-03-08T20:11:00.000-07:00

Singer/songwriter Erland Cooper, multi-instrumentalist Simon Tong (previously of The Verve, Blur, etc.) and drummer David Nock have recently released a very interesting album under the moniker Erland and The Carnival, and they have definitely caught my attention. The band is unusual in that many of the songs on their first record are covers of old English and Scottish folk tunes, or were at least inspired by traditional poetry, songwriting and music. I would imagine the trio retains at least some of the feeling and style that the original artists intended with their eerie, 60s-eque folk approach (though I can't say for certain, these references are fairly obscure to an American boy), but the album still manages to sound modern (and quite strange) while reaching deep into the musical past. No matter how much you know about Erland and The Carnival, however, the excellent musicianship and superb vocal performances alone make this a set of tunes anyone can and should appreciate.

Highlights are especially prevalent during the first half of the album. Opener "Love Is a Killing Thing" begins delicate and spare, but eventually swells into a climax of squealing guitar and pounding drums, while "You Don't Have to Be Lonely" and "The Derby Ram" carry their taught pace throughout, with Cooper's darkly-tinged tenor and plentiful vocal harmonies floating over musical elements both old and new. I'm finding it difficult to describe or compare to anything I've heard before, but the unique combination of folk, pop, and rock 'n' roll that defines Erland and The Carnival is thoroughly engrossing. While so many bands simply copy and paste from their influences, it's refreshing to hear a group that can craft something genuinely distinctive even as they borrow heavily from previous artists (albeit lesser known ones on most accounts). One of this year's most interesting releases, the debut album from this talented trio leaves me with the feeling that I've much more to discover if I'm willing to explore, and that's an oddly satisfying feeling.

MySpace

Three for Wednesday: Zeus, Locksley, Elaine Lachica

2010-03-03T20:23:00.003-07:00

Zeus -

Zeus, the band, was born from the longtime friendship of Mike O'Brien and Carlin Nicholson, who were/are members of Broken Social Scene member Jason Collett's touring band. Also featuring Rob Drake and Neil Quin, the Canadian rock quartet just released their debut full-length, entitled Say Us, an accomplished first effort and a really fun rock 'n' roll record. Blending all sorts of pop-rock elements - from sharp, Strokes-esque riffs to the driving piano-pop of New Pornographers - these guys create an eclectic yet somehow still focused set of 12 tracks that I've been unable to stay away from for long. Highlights include the jangly "Kindergarten," the bluesy pop tune "The Renegade," and joyfully sunny "Marching Through Your Head," but there are 12 very good reasons to hear Say Us as soon as possible.

MySpace

Locksley -

Judging by the second effort from Madison, Wisconsin natives Locksley, these guys know how to have a good time. Be In Love is a hook-filled blast of British Invasion-inspired rock that starts off with a bang and rarely slows to less than fifth gear throughout 37 minutes, providing plenty of great pop moments along the way. By design, this is fairly lightweight music - more style than depth or substance - but there's nothing wrong with that and there's no denying the talent that the boys bring to these fun-loving tunes. The energetic guitar lines, playful lyrics, and sunny harmonies make tunes like the cheery "Darling, It's True" and the enjoyably wild "The Whip" about impossible not to love. I'll be both surprised and disappointed if we don't start hearing more about these guys very soon.

MySpace

Elaine Lachica -

If her press page is to be believed (I see no reason why it shouldn't), Elain Lachica has been making music (piano, violin, and singing) since age 3. Apparently all that time and practice has paid big dividends, evident on her third and recently released effort, I Think I Can See the Ocean. Lachica is a gifted songwriter, singer and musician with an unusual, distinctive edge that sets her music apart from her contemporaries and her new album is a strikingly diverse one, a mixture of disparate elements that is not only fascinating but manages to somehow coalesce into a engaging whole. From the jazzy, piano and horn-led "Tumbleweed" to the grandiose "Jinx the Line" to loud, spacey "Rapture," Lachica never stays in one place for long, but for the adventurous, I Think I Can See the Ocean will be a great find indeed.

Bewilder (MP3)

Behind My Mind (MP3)

MySpace

You Should Know: Joe Pug

2010-03-03T12:15:00.000-07:00

So Joe Pug has been around for a couple years, but I've unfortunately been missing out on this talented songwriter until just recently when I heard his debut full-length, The Messenger. that wasn't for lack of effort on Pug's part, however. After moving to Chicago he started recording songs, sending out two-song CD-Rs (an estimated 15,000!) and has an EP available on his website for free (link below) - and people began to take notice. His musical approach is a familiar and well worn one, a simple folk style with a lyrical focus, but as Pug is a gifted musician and writer, it's surely the best way to showcase his talents.

The Messenger features a slightly more polished, produced sound than his earliest work, but Pug keeps the focus right where it belongs, on his acoustic guitar, mournful harmonica and world-weary voice. Highlights include the quiet but tense tale "How Good You Are," the banjo-led "The Door Was Always Open," and the surprising rocker that closes the record, "Speak Plainly, Diana." You'll hear echoes of many songwriting greats in Pug's vocal and lyrical style, but his music feels completely natural and true to the man behind it, so The Messenger never feels borrowed or tired. With such a strong first effort, Pug will certainly turn heads and set the bar high for himself in the future as a songwriter to watch, but that's pressure I imagine he'll handle just fine.

For an email address, you can download the In the Meantime EP for free HERE (highly recommended!)

MySpace

Review (Reposted): Patty Griffin - Downtown Church (* * * *)

2010-03-02T20:02:00.002-07:00

After a consistently impressive start to any career, an artist tends to earn enough goodwill to try something different; a concept album, an unusual collaboration or new genre, for instance. But just because you can doesn’t mean you should, and for every successful foray into the previously unexplored there have been innumerable disasters. Granted, when you consider the dependably fantastic Patty Griffin’s latest effort, a gospel record fittingly labeled Downtown Church, it doesn’t seem so removed from her previous works (especially her last album, 2007’s wonderful Children Running Through). Her country-folk straddling aesthetic and continuing progression as a singer would seem to lend itself somewhat to gospel music, but there are still risks associated with her taking an album in a direction that many might see as alienating or easy to dismiss as an indulgent gimmick. (Continue Reading @ In Review Online)

Review: Shearwater - The Golden Archipelago (* * * *)

2010-03-02T19:58:00.002-07:00

With their sixth effort, it’s unlikely Shearwater will impress many of their skeptics; The Golden Archipelago sounds a great deal like the beautifully executed albums that came before. But there’s something to be said for the refining of one’s sound rather than attempting to reinvent it, and the band has managed to create something that feels unique to their catalogue due to their continued commitment toward producing an album, as opposed to just a collection of singles. This approach is once again made evident in the perfectly sequenced ebb and flow of the songs comprising this record’s 38 minutes. It’s remarkable, then, on an album that seeks for complete harmony and cohesion, that there are perhaps more potential singles here (a relative term, of course) than there have been on any prior Shearwater release. It doesn’t have the dynamic range of 2008’s Rook, but the somewhat faster pace makes for a more immediate listen. The songs are more concise in structure, so while it isn’t actually much shorter than the group’s other records, it feels tighter and more manageable. (Continue Reading @ In Review Online)

SLC Concerts on The Yellow Stereo

2010-02-24T12:59:00.000-07:00

So Salt lake City, Utah isn't exactly the indie music capital of America, but there's more going on at the venues here than many might expect. I don't make it up for as many shows as I would like and it's difficult to keep track of who's playing where, so I was excited to come across The Yellow Stereo. It's a blog that focuses exclusively on Salt Lake concerts, specifically the indie stuff, and it has a good list of upcoming shows as well as videos, chances to win tickets, etc.

Anyway, check it out The Yellow Stereo if you're in Utah.

First up on my list to see is Fanfarlo with April Smith & The Great Picture Show. Fanfarlo is a band I fell in love with last year and April Smith is a new talent I've only just had the pleasure of hearing, but I'm expecting both to be excellent.

They're going to be at The Urban Lounge this Saturday, Feb 27th.

Fanfarlo - MySpace

April Smith & The Great Picture Show - MySpace

Movie Loves a Screen (MP3)