Review: DM Stith - Heavy Ghost (* * * * *)

When you think 'graphic designer,' 'musician' is not usually a word you would immediately associate with the term, but that's exactly how DM Stith (first name, David) got his start in the music biz. While working in Brooklyn, Stith befriended Shara Worden (My Brightest Diamond) and eventually ended up providing some design and recording help for her album Bring Me The Workhorse. In fact, Stith's creative journey centered much more around visual art and writing for the majority of his life, and though he is part of a very musically-inclined family and a gifted musician himself, it was only after writing some music around the time of Worden's recordings that his fascination with music returned and his debut album, Heavy Ghost, began to take shape. After Worden discovered his musical ability, she encouraged David to share his music with Asthmatic Kitty Records. Stith was invited (and coaxed) to write and record a full album after previewing just two songs, but I bet it would only have take one.

It's hard to imagine how anybody could have possibly kept such musical genius under wraps for so long. Stith's debut is a wonderful mix of the grandiosity of Sufjan Stevens with the intimacy of bands like Grizzly Bear and Shearwater, though he creates a sound all his own. The record's first single, "Pity Dance," is a good representation of his style, with his delicate voice somehow working its way through subtle, yet complex arrangements of guitar, strings, piano and layers of ethereal backing vocals. It's intriguing and inspiring all at once, and the album continually impresses with highlights like the eerie "Pigs" and the orchestral epic "Fire of Birds." With a little help from his friends (Stevens and Worden both contribute), Stith gets just about everything right here, with not a single weak moments among Ghost's twelve tracks and something to love at every turn. "Morning Glory Cloud" keeps things more simple, with warm acoustic guitar providing most of the background to Stith's captivating poetry before shifting into a noisy, haunting piano solo, and opener "Isaac's Song," (one of many Biblical/religious references) crashes menacingly and haphazardly around in a brief, but riveting narrative.

Even Stith's more abstract moments are much more than just interesting distractions. "Spirit Parade" is a fascinating mix of nonsense lyrics and messy instruments swirling around in a claustrophobic climax of noise, and "GMS" is a beautiful piano piece packed with more emotion than some artists get out of an entire album. "Wig" closes the record with a hazy bit of blurred violin and faint vocals that provides a beautiful end to a debut that is easily the most impressive I've heard this year. As shy as Stith seems to be, he confidently tackles a variety of song structures and arrangements without ever overreaching or seeming pretentious. His lyrics, which often center around his personal struggles with religious and ethical beliefs, are gripping and poignant, adding to the fragility of his music. Put simply, this guy is operating on another level.

Unpredictable, gorgeous, and endlessly enjoyable, Heavy Ghost is nothing short of a musical masterpiece and what we should hope is the first of many from DM Stith. If my ranting hasn't convinved you, check out his MySpace to hear some of my favorites from the album or his homepage to hear demos, singles, and more.

Review: Animal Collective - Merriweather Post Pavilion (* * * * *)

You've probably been able to form your own opinions about Animal Collective's soon-to-be-released Merriweather Post Pavilion as the album leaked several weeks ago. But, for those of you who haven't heard it yet or who look to me for musical guidance and leadership (right...), let me sum the album up right here with a few adjectives; stunning, captivating, essential. Seriously, if you haven't yet, the time to buy into the hype is now. "Merriweather" is an album worth hearing not just because you'll feel out of the loop if you don't, but because you would be missing out on something truly remarkable.

Although not a radical departure from their previous efforts, "Merriweather" has a smoother, more polished feel than even 2007's Strawberry Jam. Less yelling and screaming - more melody and breathtaking vocal harmony, fewer jarring stylistic shifts - more subtle and expansive transitions. I don't mean to make it sound as if the band have stopped innovating, the record still includes plenty of trippy, odd pop moments fans will love (like the Tigger-esque bouncing bass on "Lion in a Coma"); Animal Collective just sound more purposeful and direct this time around. This is also the most engaging and approachable the group have ever sounded, creating a collection of themes and sounds that is much more often inviting than it is alienating.

Album opener, "In the Flowers," has a droning, ambient intro before exploding into a joyous, upbeat celebration with Avey Tare singing lines like "we could be dancing and you'd smile and say 'I love this song'" over scattered percussion and chirping electronics. It's one of many smile-inducing, dance-inspiring moments. Following is another highlight, "My Girls," an explosion of harmony, arpeggio synths, and tribal percussion combined in one of the album's most immediately enjoyable tunes. "Summertime Clothes" and especially "Brothersport," with Panda Bear's arena-sized chanted chorus provide additional instant pop-oriented gratification.

While the more anthematic tracks will likely receive the most attention, "Merriweather" should be recognized for some of its more subtly fantastic moments as well. The gentle, shimmering "Bluish" and the perfectly restrained "No More Runnin" give the album much-needed variety but are also great songs independently, showing Animal Collective's more (for lack of a better word) sensitive side. Elsewhere, "Guys Eyes" builds slowly, adding layer upon layer of vocals and percussion in a psychedelic wall of sound while "Daily Routine" shifts gears from an off-beat electro-pop song into a simple, sonic vocal feature by Avey Tare. I could go on, but I'm running out of tracks. Simply put, it's all great.

I realize I'm only helping to hype an already uber-hyped album, but when it's as good as Merriweather Post Pavilion is (which is to say, spectacular), I can't help but go with the flow. Do yourself a favor and give this one a shot, because this is the kind of groundbreaking, genre-shattering, musical revelation that should be experienced.

Concert Review: Fleet Foxes (* * * * *)

Since hearing their stellar debut earlier this year, I've been dying to see Fleet Foxes in concert. I was a little worried that my high expectations wouldn't quite be met, but that fear proved to be unfounded as I was totally blown away by this young band's performance. The venue, a small, crowded music club called "In The Venue," seems an unlikely place to have a transcendent musical experience, but it was packed full of people hoping for just that.

First though, we were all treated to the twangy, blues folk of opener Frank Fairfield. If I didn't know better, I would say Frank had arrived via time machine directly into the club from somewhere in the deep south circa 1940. His carefully parted hair, slightly antiquated dress, and worn instruments (banjo, fiddle, guitar) combined with his muddled, howled vocals made for a truly unique show. It was clear Frank was extremely talented and sincere, though his delivery and his voice became a bit grating after a few tunes. I probably haven't captured the experience well, so check out his MySpace page for live concert videos. Trust me, it's worth a look.

As Fleet Foxes made their way from the back of the club to the stage, two things crossed my mind: 1. Whoa, Robin Pecknold just brushed my shoulder! and 2. Maybe Frank picked these guys up on his way here as he flew through the 70s. Sporting mountain-man beards and long hair, Fleet Foxes looked a little like an old folk-rock band on a reunion tour. After a few minutes of noodling around with the equipment, they starting singing their A Capella opener "Sun Giant" to the eager crowd. I was stunned, amazed, absolutely blown away that four guys (guitarist Skye Skjelset is the only one who doesn't get a mic, or a beard for that matter) could harmonize so well. It was only a couple minutes long, but it was worth the price of admission.

After that, the band continued with the full-bodied "Sun It Rises," and "Drops In The River," sounding just as unified with the two guitarists, drummer Joshua Tillman, bassist Christian Wargo, and keyboardist/mandolinist Casey Wescott all proving themselves more than able. At no point did the band ever seem anxious, uncomfortable, or jittery, though they did all look a little road-weary. Some highlights include "White Winter Hymnal," "Mykanos," and my personal favorite of the evening, "Ragged Wood," which showcased Robin Pecknold's impressive vocal ability (There's nothiiiiiiing, I can dooo-ooo-ooo-ooo!).

Though each band member seemed crucial to the Fleet Foxes' unique sound and presentation, credit should be given to Pecknold, who gave an obvious 110 percent throughout the set. He sang with such fervor that his voice started to get just a touch scratchy by the end of the show. On two occasions the band took a breather while Pecknold played a couple solo numbers, including the gorgeous "Oliver James" and an old folk tune called "Katy Cruel," both of which were exceptional. This young singer/songwriter just about oozes talent.

The band played through most (if not all) of their catalog, throwing in a couple covers and a new song (which was amazing, of course) and the set lasted for an hour and twenty minutes or so. I know I've raved about the performance to the point of exhaustion, but this was a truly special experience. Make it a priority to see these guys play as soon as possible; you'll be glad you did.


Set List
Sun Giant
Sun It Rises
Drops In The River
English House
White Winter Hymnal
Ragged Wood
Your Protector
Crayon Angels (Judy Sill cover, Pecknold Solo)
Oliver James (Pecknold Solo)
Quiet Houses
He Doesn't Know Why
Mykonos
Katy Cruel (Old folk song cover, Pecknold Solo)
Tiger Mountain Peasant Song (Pecknold Solo)
(New Song!)
Blue Ridge

Review: TV On The Radio - Dear Science, (* * * * *)

In 2006, TV On The Radio exploded in a big way with their critically (and I would imagine somewhat commercially) successful Return To Cookie Mountain. It was deemed an instant classic, an album to which all other albums were measured against that year. It was unique, fascinating, visionary, and I didn’t really like it. I know, I know. Maybe it was just beyond my capacity to understand and appreciate. Whatever the reason, the album didn’t do it for me. I decide to give TV On The Radio another shot with Dear Science (I'm going to leave the comma out of the album name for punctuation's sake), one of the most anticipated releases of the year and an impossible one to ignore. It completely blew me away and has immediately become one of my favorite albums this year.


Dear Science marks TV On The Radio’s foray into modern pop music territory. I realize that might sound scary to some, but with the plethora of ideas and amount of experience the band brings to the table, nobody should be worried. While borrowing from a variety of bands and styles (“Golden Age” sounds like it was co-produced by Beck; “Crying” has all the funk and falsetto of Prince), TV On The Radio never sound derivative, providing their unique signature to each song. Credit should go to multi-instrumentalist and producer David Sitek for giving the album a warm, full sound and finding the balance between familiarity and experimentation. The menacing horns on “Red Dress” make for a danceable apocalyptic party tune, strings and keys add to the poignancy of “Family Tree,” and “DLZ”s distant thundering percussion is gripping and intense.


Of course, the true test of any album is not the production, but the songwriting, and Dear Science passes with flying colors. Lyricists and singers Tunde Adebimpe and Kyp Malone are in fine form here; using their melodic and emotional voices to great effect. The beautiful harmonies and catchy choruses often belie very serious lyrical undertones dealing with death, change, and fighting the powers (Bush, probably) that be. Even if the tracks are easy to enjoy on a more superficial level, the depth of the writing makes the album truly special. The songs are both immediately accessible, and immensely rewarding upon subsequent listens.


Blending an eclectic mix of styles, cultures, and sounds, TV On The Radio have created what should once again serve as a measure for albums made not only this year, but well into the future. Dear Science is a triumphant testament to the vitality of pop music.


Favorite Tracks: “Golden Age,” “Red Dress,” “Crying”

Hear the full album on their MySpace Page

The year in review so far: Folk Music

I love folk music and I think it's a shame that many people's understanding of this fantastic genre starts with Jack Johnson and ends with...Jack Johnson. There's so much more out there, but it can be hard to find.

So, in order to educate my readers (it sounds much more official than, "that one guy who accidentally came across this blog"), I am going to give some short review of the folk albums that I've purchased this year. All reviews are out of five stars.

Bon Iver - For Emma, Forever Ago (*****)


It's hard to describe how amazing this album is, or exactly what it's so absolutely captivating, but it has become one of my favorites for the year. It's actually just one man, Justin Vernon(?), who apparently went to his father's cabin in Wisconsin and brought some guitars along for the ride. Who knew that isolation could be such a great muse?

The music is fairly simple, generally using just guitar and vocals. Vernon's double-tracked voice, often in falsetto, is his strongest weapon, breaking every heart within range even when you can't understand what exactly he's talking about. The songs are soft and quiet, but carry an emotional weight. This is what loneliness sounds like, and it's beautiful.

Favorite Tracks: Re: Stacks, Skinny Love, Lump Sum

Fleet Foxes - Fleet Foxes (*****)

They hail from Seattle, but you might picture the members Fleet Foxes living in a cabin in the woods, making friends with the animals and wearing homemade clothes; yearning for a time when horses were the primary mode of transportation. I'm exaggerating, but it's rare to hear music this removed from popular culture. It sounds both as old as the hills, and like nothing you've heard before. Fleet Foxes have made some serious musical magic on their debut album.

The band, while still very young (the singer/songwriter is 21) have made a remarkably mature set of songs that channel the sounds of the Beach Boys, The Byrds, and CSNY (the list is incomplete, add your own references). Somehow, while Fleet Foxes remind me of so many familiar musical styles, they sound completely unique and just plain wonderful. The songwriting here focuses mostly on nature; painting pictures of tall grasses waiving and suns rising, while the gorgeous harmonies and beautiful music bring it all to life. This is one of the best albums of the year so far.

Favorite Tracks: White Winter Hymnal, Your Protector, He Doesn't Know Why

The Dodos - Visiter (****)

The Dodos are a drum/guitar duo very much the opposite of groups like The White Stripes, and The Black Keys. The make music frequently referred to as "freak folk," which I think is a fairly accurate genre title. I purchased "Visiter" (yes, that is spelled correctly) on a bit of a whim after hearing a few songs and hoping for the best; I was not disappointed. What I got was a surprising mix of well-crafted melodies and creative execution.

"Visiter" starts with with the lovely "Walking," lulling you with gently played guitar and banjo, before jumping into a more frantically paced set of tracks with pounding drums, acoustic guitar, and eager, sometimes shouted, vocals. The songs rarely go where you expect, pulling tricks on your ears and making your head spin. The melody holds everything together, so even when things get too over-the-top, you can still enjoy the ride. If you're looking for something a little on the experimental side of the folk genre, The Dodos might just hit the spot.

Favorite Tracks: Walking, Red and Purple, Winter

Whoa, that's a long post already. I'll give some brief reviews of last three albums in a couple days.