Introducing...Stepdad

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

Daily Dose - 10/1: Twin Shadow

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.

MySpace

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

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)

Homepage

Daily Dose - 9/16: Clubfeet

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)

MySpace

You Should Know: Solvent

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

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

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)

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

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)

Review: Annie - Don't Stop (* * * 1/2)

That any pop artist can remain relevant by releasing only two LPs over the course of ten years is remarkable. But when you make the sort of impression that Norwegian singer Anne Lilia Berge Strand (or, Annie) did during the first half of this decade, perhaps that shouldn’t be surprising. Annie's 2004 debut, Anniemal (itself a long time coming, arriving five years after her breakthrough single), climbed the charts in Norway, becoming something of a modest hit elsewhere. And its critical reception elevated the record to almost cult-like status within the indie community, as loyal fans waited for more from this progressive-minded pop princess. Of course, the wait for her latest, Don’t Stop, wasn’t supposed to have been quite so long—label issues delayed the album’s official release by a full year. Much of the record leaked anyway, though, so those who were inclined got to listen to a first draft way ahead of time. There’s been plenty of discussion over which version of the album is better, but I only heard tracks from the early edition recently (you can find many of them on the Up All Night EP, if you’re curious), and tend to side with the official release over the bootleg. (Continue Reading @ In Review Online)

Review: Memory Tapes - Seek Magic (* * * *)

If you’ve never heard of Dayve Hawk, the lone man behind Memory Tapes, you’re sure to be in the vast majority. In fact, it almost seems as if Hawk purposefully decreases his chances at fame or any sort of personal recognition by obfuscating his name behind a variety of monikers, while producing similar music under each of them. The title Memory Tapes is itself a combination of two of Hawk’s other project names: Weird Tapes and Memory Cassette. For now it seems he’ll be sticking with this moniker, unloading a near-constant stream of musical output. You’ll nevertheless be hard-pressed to find much background info on Hawk, as even his blog is short on personal history, but it’s constantly updated with free singles, b-sides and oodles of remixes (including a version of Yeasayer’s new single, “Ambling Alp”). That music has always been consistently entertaining and interesting, but nothing ever really coalesced into a concrete album until now. His Memory Tapes debut, Seek Magic, feels both complete and significant as a true debut for this talented young artist. (Continue Reading at In Review Online)

Review: Basement Jaxx - Scars (* * *)

Felix Buxton and Simon Ratcliffe have, over the course of their ten year career, been consistently adored by fans and critics alike. And they deserve it. The duo, known as Basement Jaxx, made three stellar dance/house albums in a row, and though their 2006 effort, Crazy Itch Radio, didn’t quite earn them the number of accolades they had probably become accustomed to receiving, it seemed nobody gave them too hard a time about it either – but was it a sign of decline or simply a one-time slip? Listening to Scars, the fifth album from the dynamic duo, it would seem unfortunately more like the former, though when measured by its ability to provide a danceable good time, it succeeds well enough to avoid the feeling that Basement Jaxx is really losing their edge. In fact, perhaps the greatest strength and weakness of the album is how closely it follows the star-studded formula the band have been working within since their 2003 breakthrough, Kish Kash. And it’s still entertaining, it just seems that the returns on their approach are diminishing slightly with time.(Continue Reading...)

MySpace

Review: The Big Pink - A Brief History of Love (* * 1/2)

The Big Pink is a band following in the tradition of many a commercially successful brit-rock band. Like last year’s breakout act Glasvegas, The Big Pink have for about a year now been releasing singles (some in Japan only) and creating both a popular and critical frenzy in the process. They even won the Philip Hall Radar Award this year, the same honor Glasvegas received in 2008 at the NME Shockwave Awards, adding to the almost uncanny resemblance of the two bands' origin stories. And there are musical similarities as well; The Big Pink, comprised of multi-instrumentalists Robbie Furze and mil Cordell, make songs filled with thundering drums, walls of sound and epic choruses – though they often choose to substitute synthesizers for guitars and generally avoid Glasvegas’s melodramatic lyrical nature. I’ll stop with the comparisons; it’s obvious The Big Pink have leveraged themselves to an enviable position, making their debut album, A Brief History of Love, a release that's been almost impossible to ignore during these past few weeks. (Continue Reading...)

MySpace

Review: Soulsavers - Broken (* * * *)

For their third album, the UK production duo of Rich Machin and Ian Glover, also known as Soulsavers, once again collaborate with Mark Lanegan (of Screaming Trees and Queens of the Stone Age fame) for a dark, brooding album that takes the band's rock 'n' roll leaning even further. The guitars are more prominent, the songs fuller and richer, and Lanegan is in fine form here with his haunting baritone (something like a cross between Mark Knopfler and Nick Cave) taking the lead on most cuts, though Australian newcomer Red Ghost lends her vocals to a few tracks as do Mike Patton and Jason Pierce, among others. Soulsavers have continued to keep a fairly low profile, but they've also earned a decent amount of critical acclaim over the past few years, and Broken's gritty Americana sound seems to have earned the band more recognition this time around than ever before. It's not difficult for me to hear why; the sprawling (over an hour long) set of 13 tracks is an enthralling listen that has quickly become one of my favorite rock records this year.

Perhaps the most spotlighted tune on Broken is the epic, piano-led ballad "You'll Miss Me When I Burn," sung by Lanegan but written but alt-country mainstay Will Oldham. It definitely deserves recognition as one of the record's strongest songs, with its gently rolling piano and string combination giving the album a few minutes of unexpected poignancy, but there's plenty more to enjoy here aside from Oldham's notable contribution. After a brief instrumental opener, the album begins with two of its more aggressive numbers, the raw, smoldering "Death Bells" and the scuzzy "Unbalanced Pieces," both delightfully dark rock songs that start things off on a decidedly high note with the aforementioned ballad and the eight-minute, grandiose "Some Misunderstanding. For a duo often described as production or electronic artists, Machin and Glover give Broken a very organic quality, combining live percussion, strings, guitars, and synthetic instrumentation seamlessly and to great effect, with special attention payed to each detail. As a result, the heavier moments truly hit hard for a lasting impression while the album's many relatively delicate tracks are appropriately majestic and often quite gorgeous.

After a fantastic first half, the record flags a bit during the second, not in quality but mostly in its decidedly slower pace. A couple songs, such as "Praying Ground" have much less to offer than the album's best, and though there are no real 'weak spots' here, Broken may have been even more spectacular with a bit more editing. Still, when you consider the amount of truly impressive music on the record, it's easy to forgive its imperfections and simply enjoy the immense, absorbing monolith of rock 'n' roll that Soulsavers have constructed. It's soulful, ambitious, and exquisitely crafted - creating as genuinely satisfying a rock 'n' roll experience as I've had in some time.

Soulsavers on MySpace

New and Notable: Memory Tapes

Dayve Hawk is a new name to me, but with all the projects he's been involved in and albums he's released, I'm not sure exactly how that's possible. His new moniker, Memory Tapes, is a combination of two of his others - Weird Tapes and Memory Cassette - and from what I've been told, the music follows that same pattern. Apparently this is the first release of many as Hawk plans on dishing out two a year (next up, a psychedelic girl group album), an ambitious goal but a welcome one given this excellent introduction. Whatever the background, the New Jersey artist's first record as Memory Tapes, Seek Magic, has quickly become a new favorite of mine, a strange and exciting set of eight tracks that features stunning synthetic and organic instrumental compositions under spacey, sometimes haunting vocals.

Comparisons from LCD Soundsystem to New Order to Cocteau Twins have been thrown around frequently, and Seek Magic certainly has bits and pieces of all those and more. On "Bicycle," Hawk combines a sort of disco vibe with atmospheric indie rock and a dose of that Caribbean flavor that's been popping up everywhere lately, on "Green Knight" he gets even funkier, mixing in everything from eighties synth riffs to the squeak of shoes on the basketball court, and on "Pink Stones" he sounds something like James Murphy with a tropical twist. Everything on the album works well, though not all of it sounds like it belongs in the same place as Hawk seems determined to try anything once. Fortunately, his ambition only very slightly exceeds his grasp, and given the strength of every tune on Seek Magic, Memory Tapes has created one of this year's more accomplished debuts. Below are links to a couple tunes Hawks is offering for free through his blog. Both are from the new album and both are worth the time to check out.

Plain Material and Bicycle (MP3s via Memory Tapes blog)

Review: Bibio - Ambivalence Avenue (* * * 1/2)

Having released his third and final album for Mush Records less than six months ago, Stephen Wilkinson, the artist and producer known as Bibio, would seem to be pushing his luck by unveiling Ambivalence Avenue, his Warp Records debut, so soon - especially considering the somewhat lukewarm reaction the earlier record received. Granted, it wasn’t a bad album or even a real misstep, but Vignetting the Compost felt light on progress, continuing Wilkinson’s penchant for manipulated guitar compositions over ambient electronic noises and the occasional vocal melody, an intriguing though not entirely engaging approach. Fortunately, this latest effort shows Wilkinson updating his signature sound by both diversifying and expanding his disparate musical influences, proving himself more adept at both ambient folk and funk-infused electronica than his previous work would suggest. The result is an album that suffers from several distinct personalities, but is also more structured and satisfying on a song-for-song basis than anything else in the Bibio catalog. (Continue Reading...)

Summertime listening: Delorean - Ayrton Senna EP

Though I'm new to the band, Barcelona quartet Delorean have have been around for some time and their Ayrton Senna EP is just the latest in a danceable, electro-rock canon. I'm now determined to work my way through their older material, but this new EP is a great place to start as an introduction to the band, with four songs of blissful, sunny-day pop that are as catchy and fun as almost anything released this year. Using synthetic percussion, keyboards, and soaring vocal harmony, Delorean combine electronica, rock, and pop into a joyful and entertaining whole.

"Seasun," the single and album centerpiece, is perhaps the best place to start here. The song begins with a stadium-sized vocal loop and compelling beat and then transitions into a more structured pop anthem, with layers of carefully composed electronics giving the track its infectious energy. "Moonsoon" is similarly excellent, a more rock-based tune with driving keys and percussion that inspire an immediate dance party whenever and wherever they're heard. The happily romantic "Deli" and the funky, shimmering "Big Dipper" round out the EP well, and though they don't quite reach the height of the other two tracks, the entire experience is one worth having. Don't go through the remainder of your summer without this.

Seasun (MP3 via Pitchfork)

New and Notable: jj

Sporting a difficult-to-google name and shrouded in mystery, jj is still managing to make some waves around the 'Net with their low-impact electro-rock. Connected to Swedish label Sincerely Yours, jj has been the subject of some speculation regarding the artists behind the moniker (is it really Tough Alliance? - could be) though no official word has been written thus far - the creators apparently wanting the music to speak for itself. And that it does; the group's new album, jj n° 2, is brief (only 27 minutes long) but more than makes up it in engaging music ranging from club-ready, slow-dance jams ("Ecstasy") to acoustic ballads ("Are You Still In Vallda?") and everything in between in only nine tracks. The songs are consistently great, with especial attention to detail and a knack for pop hooks manifested in the shimmering beats and soothing female vocals.

Much of jj n° 2 has a kind of understated world music sound, like the two strong opening tracks, "Things Will Never Be the Same Again" and my favorite, "From Africa to Málaga," both featuring exotic synthetic percussion and subtle electronic layers behind angelic vocals sharing simple, but enjoyable, stories of romance and heartbreak. Throw in some acoustic guitar and soaring string arrangements and you have the recipe for a successful, attention-grabbing record that might even bring these people out of hiding eventually. Until then, anonymity is fine when the music is this excellent.

To get a preview, head over to Pitchfork to hear "Ecstasy"

Review (republished): Deastro - Moondagger (* * * *)

I already posted this review, but this one is new, improved, and just better written - full thing at In Review Online.

'Spiritual space-rock' may be odd musical terminology, but it's perhaps the best way to describe Randolph Chabot's unique brand of electro-pop. The 22 year-old prodigy recording under the Deastro moniker draws inspiration from church choirs, 80s synth-pop and any electronic or organic instrument he can get his hands on. Having created music in his bedroom from a very young age, Chabot apparently racked up quite the collection of tunes and a selection of ‘hits’ from this early material was released last year as the compilation Keepers, becoming something of a surprise success for the eMusic imprint. Now, Deastro returns as a proper band for proper debut Moondagger, a feverishly upbeat and effortlessly enjoyable blast of catchy pop music with an endearingly geeky sci-fi edge. (Continue Reading...)

Review: Discovery - LP (* *)

(Full review at In Review Online)

Combining minds from two of the more buzzed-about new indie bands may seem like an easy recipe for success, but I think we’ve all learned that collaborations and supergroups of any variety should be approached with reservation. Having said that, I enjoy both keyboardist Rostam Batmanglij’s Vampire Weekend and singer Wes Miles’ band Ra Ra Riot, so I maintained some excitement about their new project, Discovery, though I was worried a bit when I heard the two early-release singles, “Orange Shirt” and “Osaka Loop Line.” The cheesy keyboards and layers of synthetic percussion seemed harmless and fun but not especially substantial or even very interesting, so I waited with some trepidation to hear the whole record. Now, revealed in all its auto-tuned, synth-tastic glory, LP has confirmed Discovery as one of the most baffling and unnecessary side projects in recent memory. (Continue Reading...)

Review: Freeland - Cope (* * * 1/2)

Adam Freeland, DJ/Producer extraordinaire, takes a stab at synth- heavy rock 'n' roll with his latest record, Cope, bringing a host of friends along for the ride. For the band, Tommy Lee is on drums and Twiggy Ramirez on bass, with Joey Santiago of The Pixies and Tony Bevilacqua of Distillers on guitars. Additionally, while new Freeland frontman Kurt Baumann gets a few vocal cuts, Brody Dalle of the Distillers and Gerald V. Casale from Devo each get a chance to shine on the record as well. The result is an album that's made both for the openness of an arena and the intensity of a club, bold, dark, and entertaining, with some truly electrifying moments to be found within the twelve tracks.

First single and lead track "Do You" is an immediate highlight; danceable and sexy, the song should serve its simple purpose in getting you to move right from the start. "Under Control" and "Strange Things" follow suit, though they expand the lyrical content slightly, the former sounding something like an LCD Soundsystem cover, the latter a gothic-tinged rock tune. From there, the record gets a bit less consistent, with a few songs like "Mancry" adding little to the proceedings (though the drumming is quite excellent), and others, like the guest spots "Borderline" (Dalle) and "Only a Fool" (Casale) sounding fresh and appropriately fun. When all is said and done, the record as a whole comes across as intelligently produced and enjoyably decadent, with a little something for everybody to be found with in the album's nearly hour-long run time. Fortunately, as eclectic as Cope may feel to some, it also has a remarkable cohesiveness.

Allowing the focus to remain on the vocals without sacrificing the attention to detail and texture found on any decent electronica record, Adam Freeland pulls off what might have been an awkward combination of genres gracefully. Though not every song succeeds completely, Cope has the feel of a project heading in the right direction and Freeland, the band, that is, is a group I'll be excited to hear more from in the future.

Take a trip down to the Freeland website to hear the whole album and watch a video for "Do You" below:

Freeland 'Do You' UK Live Tour Video from Freeland on Vimeo.

Review: Deastro - Moondagger (* * * *)

Spiritual space-rock may be an awkward musical term, but it's perhaps the best way to describe Randolph Chabot's unique brand of electronic pop. The 22 year-old prodigy recording under the Deastro moniker draws inspiration from singing in church choirs, eighties synth-pop and any electronic or organic instrument he can get his hands on. A collection of his earliest material was released last year as Keepers and became something of a surprise hit on eMusic, which released the compilation. Now, Chabot returns with a proper debut in Moondagger, a feverishly upbeat and effortlessly enjoyable blast of catchy pop music with an endearingly geeky sci-fi edge.

What's immediately striking about the music on Moondagger is the way Chabot squeezes so much beauty and warmth out of a palette consisting primarily of cheesy synthesizers and weird electronic noises mixed with more organic guitar and drum riffs. Instead of cold, calculated beats, songs like openers "Biophelia" and "Parallelogram" hum with emotion in the midst of crashing percussion and spacey keyboard riffs. Though the record certainly has a very outlandish theme with song titles like "Toxic Crusaders" and "Pyramid Builders," it's obvious that Chabot enjoys adding a very human element to his music which keeps the subjects more relatable and personal while still providing an inimitable listening experience. Especially great are the shifting, bizarre "Greens, Grays, And Nordics" and the epic second single "Vermillion Plaza," both of which show Deastro at their quirky, explosive best.

Moondagger has a restless feel that keeps the listener alert and expecting the unexpected, and the record is better for it. Chabot's positive and seemingly endless energy compliment his strong melodies and wealth of ideas and the album keeps a full head of steam until the end of the lonely "Kurgan Wave Number One." Quite simply, Moondagger is among the better debut's I've heard this year and is a welcome and unique addition to the burgeoning electronica movement that has brought so many talented artists to the forefront of indie rock. Expect to be hearing much more from Randolph Chabot in the near future.

For some additional info on Deastro, check out this Rolling Stone piece (make sure to watch the video).

Deastro on MySpace