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

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

New and Notable: Imelda May

Last week I gave away a song (which you can find again below) by upcoming blues/jazz/rock singer Imelda May, but I feel like she deserves a more proper introduction. The talented crooner/songwriter boasts a strong, sultry voice and a great ear for melody which have earned her a spot on the Jooles Holland show, the admiration of Jeff Beck, and no small amount of converts in her native Ireland and throughout the rest of the UK. May is just now releasing her debut album in the U.S. where I imagine she will receive a warm welcome as well, combining classic blues, boogie-woogie, and plain old rock 'n' roll into a thoroughly enjoyable and entertaining set of 12 tracks for her new record.

Opener and first single "Johnny Got a Boom Boom" sets the stage, with Imelda's smoldering vocals over an active bass line and some stellar stick work. The tune is the first of many examples of May's fantastic vocal ability with both aggressive rockers and delicate ballads, but it's readily apparent that the boys in the band are just as integral to the success of the album as their fiery frontwoman. Throughout the album they conjure up the appropriate backdrop for her bluesy poetry; "Feel Me" has some jazzy piano and a sweet guitar solo, "Big Bad Handsome Man" features delightful, squealing trumpet over a swingin' beat, and "Meet You at the Moon" slows things down for a smoky lounge ballad with all the right touches. It's gritty, sexy, and fun all at once, a record that makes for one spectacular debut.

Download the single below (or watch the video), check Imelda May and company out on MySpace, and get a hold of Love Tattoo as soon as possible - you'll be very glad you did.

Johnny Got a Boom Boom (zipped MP3)

Review: Soulive - Up Here (* * * *)

Familiar to many but new to me, jazz/blues/rock trio Soulive are back with their eighth effort, Up Here, an exceptional instrumental (well, mostly) record that showcases not only the tremendous talent of the trio but the wealth of ideas the band bring to their music as well. The band members are Neal Evans (organ, piano, etc.), Eric Krasno (guitar), and Alan Evans (drums),though the guys collaborate to provide rich horn arrangements and a couple strong vocal performances by blues singer Nigel Hall. Tackling genres from acid rock ("Backward Jack" to soulful R&B ("PJ's), the group make Up Here thoroughly entertaining and consistently surprising while retaining a very accessible and effortlessly enjoyable style. Both fans and newcomers alike should be satisfied with this latest outing from these New York natives.

The tracks with vocals, like the so-sexy-it-hurts rocker "Too Much" and the James Brown-esque "Tonight" are great, don't get me wrong, but it's best when the trio allow the focus to remain on their virtuoso instrumentals. Opener "Up Right" appropriately gets it's name from the piano Neal Evans hammers on in between horn solos, while the guitar and percussion stay more in the background but are no less expertly played. "The Swamp" relies more on Alan Evans's drumming and "PJ's" is all about Krasno's weeping guitar, but the boys generally find a good balance, sometimes going the traditional jazz route and giving everyone a chance to shine on a single track (like on "Hat Trick," for example). This is fun, rockin' blues at its absolute best, and while there are a couple tracks that don't shine quite as bright as the best cuts, the record's 40 minutes contain no filler and plenty of killer.

I'm not much of a jazz junkie, but I imagine Up Here will have almost universal appeal, especially to those that appreciate intelligently composed and skilfully executed instrumental music. Even indie kids like me should have no trouble rocking out to this eclectic set. Eight albums in and Soulive show no signs of losing their edge.

Soulive on Myspace

Review: Nomo - Invisible Cities (* * * 1/2)

Though my introduction to Nomo started with their latest release, Invisible Cities, a quick foray into their back catalog reveals why many consider them to be one of the most important instrumental bands operating today. Melding an eclectic variety of styles and instruments into a progressive jazz/afro-beat sound that subtly shifts with each release, the eight-piece collective has continually impressed throughout the past ten years. The group now delves even further into traditional jazz musicianship with Invisible Cities, though the music retains Nomo's exploratory nature and unique rhythmic lines that made the band so fascinating in the first place.

The record's title and opening track kicks things off with a bang, with twisted, manipulated electronics and guitar over various forms of percussion quickly exploding into a swinging, brass-heavy jazz tune. On the surface, the virtuoso solos and driving tempo might seem a common formula, but the magic is in the details - like the swirling undercurrent of noise subtly shifting behind the melody and the way the rhythm section blends together so smoothly with its disparate elements. It's an excellent example of the more approachable and arguably best material on Invisible Cities, which includes the funky, sexy "Waiting" and the more down-tempo, afro-beat-esque "Crescent," the latter of which leaves out the horns found throughout much of the album.

The record's first half is consistently great and the second starts strong as well, though when Invisible Cities gets into messier, more abstract territory near the album's end, the results are interesting but they also break up the momentum before the gorgeous closer, "Nocturne." Fans of more avant-garde instrumental music will likely not mind the diversion, but though the quality of the musicianship remains high, the album feels less cohesive after the 42 minutes are through. Still, there's plenty of obvious tallent showcased here and Nomo creates some legitimately exciting moments that make Invisible Cities worth digging into.

Invisible Cities (MP3)

Recommended Artist: The Five Corners Quintet

Long the preferred genre of many a hipster, music geek, and...well, serious musician, Jazz is often considered the kind of music that everyone SHOULD listen to but nobody actually DOES listen to, which is a shame. I'll admit, as much as I say I enjoy jazz music and respect the musicians, I don't often sit down with a classic Duke Ellington record just for kicks; I'm usually too busy trying to get to the next big indie rock thing.

Still, when you're introduced to a band like Helsinki's The Five Corner's Quintet, it would be a real shame to just let them slip by. The group's refreshing take on traditional 'dancefloor' jazz is immediate, fun, and classy, an experience certainly worth having even if you're not fanatical about the genre. Their new album, Hot Corner, is comprised mainly of instrumental numbers, with Teppo Mäkynen (drums/bandleader), Timo Lassy (sax), Jukka Eskola (trumpet), Mikael Jakobsson (piano), and Antti Lötjönen (double bass) all contributing their solid musicianship to make for a thoughly enjoyable 45 minutes. Opener "Hot Rod" starts things off with a groovy bass line and some fantastic horn work, while "Skinny Dipping" relies on stellar drumming by Mäkynen and gives Jakobsson time for a great solo. Later on, the group gives us another pair of standouts, the funky, upbeat "Shake It" and the 70's groove of "Easy Diggin'."

The record features a number of cuts with vocalist Mark Murphy, who lends his stylish voice to liven up the mellow "Kerouac Days in Montana" and the darkly romantic "Come and Get Me." His presence shakes things up in a good way, though the group shine particularly bright when left to their own devices. Hot Corner is the kind of album that should have a particularly broad appeal, as jazz music goes anyway. The songs are varied in their tempo and intensity, and the group hits the perfect balance of a classic jazz feel and more expansive, progressive arrangements, so the record feels fresh and new without ever becoming unnecessarily abstract. Put simply, this is music made to be enjoyed by anyone and everyone.

Head over to the band's MySpace page to hear half of the new album and give these guys a chance, I'm willing to bet you'll be glad you did.