Mapped By What Surrounded Them

Jam of the Day: Mux Mool - "Raw Gore"

2012-02-13T13:36:00.002-05:00

Mux Mool's album Planet High School sounds like my record collection from the early 80s clashed with my current collection. Modern electronica as imagined by Cameo and The Gap Band. Awesome. "Raw Gore" is a robotic funk workout.

Errors: Have Some Faith In Magic - Album Review

2012-02-13T11:10:00.001-05:00

Errors
Have Some Faith In Magic
Rating: Grrrr

Post-electro instrumental quartet Errors, from Glasgow, Scotland, have been amassing critical acclaim and bigger audiences over the years since forming in 2004. Their first two albums, It's Not Something But It Is Like Whatever and Come Down With Me, were full of spiky, hypnotic synth driven post rock that definitely earned them the title, the electronic Mogwai (in fact, the comparison is even more apt considering the band is on Mogwai's Rock Action label). Before Have Some Faith In Magic was released, there were rumors that this would be the Error's "vocal" album. While indeed the band have incorporated "vocals" into the mix, this is not like a Depeche Mode album, instead, the vocals, which are all but unintelligible, merely add another layer of texture and sound. It creates a more nuanced sound for the band and gives an indication of where the band is headed. Perhaps with more confidence, they will actually put together true lyrics and vocals for future albums. For now, however, we are left with this incarnation, and quite rightly, it is a good place for the band to be. Have Some Faith In Magic is perhaps their most cohesive and well-thought out record so far, and while there may not be the same sense of danger and wonder that their earlier albums provided, this new found focus definitely makes up for it.

The best tracks on Have Some Faith In Magic expertly straddle the line between the band's pop and experimental sides. "Magna Encarta"'s sparkly beginning morphing into a dense, bass-synth heavy excursion, with the chanted vocals featured more like a mantra than anything specific.

"Barton Spring" balances a dreamy quality with a harsh, chugging, almost industrial like beat.

Which leads into the glorious closer "Holus-Bolus," whose swirling synths and throbbing pulse climb and build expertly.

There is a thoughtfulness to the pacing and general flow of the record. Getting rid of their previous penchant for discordance and genre hopping, these tracks feel more like a proper album collection of songs than just a group of singles put together. ""Blank Media" is a dreamy, could-almost-be pop ballad, with gorgeous guitars wrapped around soaring rushes of synths.

I love the 80s new wave rush of driving beats and synthesizers on the highly danceable "Pleasure Palaces."

"Earthscore," which is probably the most eccentric track on the record, starts in a weird, tribal mode, with dense percussion and chanted vocals, but gradually flattens out into a gorgeous mix of arpeggiated synths, clipped vocal samples, then breaking down into an almost rock coda with squalling guitars.

There are only a couple of errant tracks that don't seem to work as well in the grand scheme of things. The mid-section one/two punch of "The Knock" and brief instrumental "Canon" threaten to derail things at first. "The Knock" meandering a little too far during its 6 minute run time, moving too erratically from low-fi synth bloops to an attempt to broaden the palate with a more structured middle section. By the time the song rightens itself, the momentum has already been lost a bit. Which is further continued by the short interstitial "Canon," whose almost Low-era Bowie-ism feels out of place.

These small hiccups only slightly mar this really solid album. Errors appear so focused this time around that only great things will proceed from here. For lovers of more adventurous, instrumental post-rock/electronica, Have Some Faith In Magic should definitely be on the top of your list to check out.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Skrillex - "Kyoto (Ft. Sirah)"

2012-02-13T07:35:00.003-05:00

Congrats to Skrillex for winning 3 out of the 4 awards he was nominated for at this year's Grammys.

Coachella 2012 Countdown: 59 Days! tUnE-yArDs - "Bizness"

2012-02-13T07:25:00.004-05:00

Such a unique band with an interesting mix of pop/world music/hip-hop that sometimes defies categorization. You just have to go with the flow.

Jam of the Day: Feed Me - "Embers (Ft. Lindsay)"

2012-02-12T14:02:00.001-05:00

Coachella 2012 Countdown: 60 Days! The Buzzcocks - "Orgasm Addict"

2012-02-12T06:30:00.003-05:00

Two months until Coachella! I can almost feel the unbearable desert heat. I'm hoping to catch The Buzzcocks' set this year; jammed packed with their punk hits.

Jam of the Day: Schoolboy - "Zombies Ate My Neighbors"

2012-02-11T11:09:00.001-05:00

Too sick.

Coachella 2012 Countdown: 61 Days! Sub Focus - "Acid Test"

2012-02-11T06:50:00.001-05:00

I'm definitely hoping to catch UK drum and bass/dubstep producer Sub Focus' set at Coachella. "Acid Test" is sick.

Videos of the Week

2012-02-10T07:38:00.006-05:00

My birthday week! Here are the videos this week that blew my candles out:

I'm looking forward to seeing Nero live at Coachella. Here is the latest sci-fi/dystopian future-esque video.

New video from St. Vincent, has her being quite larger than life.

Seizure-inducing video from Japanese dubstep artist Goth Trad.

Hypnotic new track from Scuba.

Punishing electro-rave from UK act Factory Floor.

Bizarre video for Neon Indian's new single, directed by the folks at Adult Swim.

Batshit crazy video from Miike Snow.

There is only one way to describe this video: bootylicious.

I can't admit to being the biggest Coldplay fan, but this is a well-shot video, and it is always a pleasure to see the smoking hot drummer/bear Will Champion.

Coachella 2012 Countdown: 62 Days! Datsik - "Southpaw"

2012-02-10T07:17:00.000-05:00

Really love this track from dubstep producer Datsik. Gets my head a bobbin'.

Non-Sequiturs

2012-02-09T09:53:00.000-05:00

I don't usually go for guys this beefy, but there is something so solid and cute about him, I will have to give him the benefit of the doubt.

My friend Jason. Such a cute furry belly.

His abs are simultaneously sexy and scary at the same time.

Take me to your leader. Oh hell, just take me.

I'm such a sucker for fur.

Perfect amount of beef and fur.

Just kind of perfect.

Woof!

Well, I guess Woof, for real.

If I look this good at his age, I am going to be thrilled.

So handsome, and lovely beard.

Something about the combination fur, nips, and harness. Drool.

He would have an all access laminate.

Just a nice, solid build. Not too flashy.

I admit I have a nip weakness.

I adore his little pooch.

Yum.

Great beard and fur.

Sir, yes Sir.

Scuzzy hot.

That belly makes me swoon.

Not an ounce of fat on him.

The right amounts of fat.

Seriously, could you ever say no to him?

Love the silver and salt and pepper.

He had me at the nips.

Back, arm, and shoulder fur are also lovely things.

Just a wow and a sigh.

This guy is just so handsome.

Fur + Belly = Drool

After Kurt and I (well, more Kurt than I) spent all day Sunday trying to install our new garbage disposal, I have come to the determination that plumbing sucks.

People who schedule meetings right before lunch or right before the end of the workday are sadists.

Today is my birthday. I enjoy birthdays, and am not one of those people who get freaked out by getting older. I would much rather be my current age then be in my 20s again. No huge plans for my birthday. Kurt and I may go see Datsik at the Tabernacle. He's opening for Steve Aoki, who I will not stay to hear.

This picture freaks me out a little.

I hate making any kind of appointments.

If you post random, drama queen things on FB like "I'm so over FB I'm going to just delete my account" or "I have a broken heart" or "Will things ever get better?" or anything that is designed to give you hundreds of comments or draw attention to you, you will just be deleted by me.

I thought Madonna's Super Bowl halftime show was fine. Nothing earth-shattering or mind-boggling, but very entertaining. Not sure I want to shell out $375 for her concert tour though.

I have no desire to go to any circuit parties or go on any of those big gay cruises.

Synthesizers are so gorgeous.

Georgia HB 683 has passed both the Senate and the House so very soon I will no longer have to deal with these garnishment issues. I am very happy with that.

No, I don't want to listen to music that you have to be high as a kite to get any appreciation out of it.

I've been trying not to use my iPhone so much when I am at home. It's been going well so far, though I do have moments where I slip. But honestly, it has been a fairly positive development. I am amazed how much more "in the moment" I am rather than looking at my phone all the time.

I'm such a sucker for these Star Wars gags.

It doesn't happen that often, but I love it when you buy a book and literally can't put it down, that it is so good you can't wait to read what happens next. Last books I read like that were the Hunger Games' trilogy, and now, Haruki Murakami's 1Q84 is just too brilliant. Fascinating storytelling.

Found out that Kool and the Gang are opening for Van Halen on their reunion tour. Can I get a WTF in here?

Sometimes, there is such a thing as too much beard.

Seriously, what parallel fucked up universe did they find these Republican presidential candidates?

Lyrics Rattling Around My Brain

"You don’t feel the same
When the fears go
You ride my time, I'll never go with you tonight
Until the party ends, until the part when we retire
Over the hill, over the hill we go

And I’ll buy you the night, and I’ll buy you the time
And we can do anything you want
Will you go there, my never, my never"

The Twilight Sad
"Sick"

"All strung out
From all that staring at the future
Some new smile
Passes me and I follow it

Ten years from now
When my memory no longer suits you
Let it disappear
I'll know when because I saw its transit

Future Sick, Ah Ah"

Neon Indian
"Future Sick"

"I dont wanna go
down to 14th st
in old new york
i'd rather be home

but its all the same
crowded bars and planes
new amsterdam
and tall rich men

and your girlfriends coming home

you got friends that are new friends
and friends that are old friends
and friends looking out for me"

Hospitality
"Friends of Friends"

Appealing Things

Installing our garbage disposal without having to call a plumber
Hanging out at Woofs with some good friends
Jock straps
Caesar salad
Two Door Cinema Club finally coming back to play Atlanta
The 9th Circuit Court of Appeals upholding the ruling that Prop. 8 is unconstitutional
Mux Mool
John Talabot

Annoying Things

Trying to figure out plumbing pipe
The parking lot at the Edgewood shopping center
Running out of coffee at the house
The slowness of our new discovery platform
The new Lindstrom album
Waiting and waiting on a new cd, and when I finally get it I don't care for it
People who use cutesy fonts for their email signature or have inspirational quotes after their signature

Coachella 2012 Countdown: 63 Days! Neon Indian - "Polish Girl"

2012-02-09T07:42:00.000-05:00

I'm hoping to check out Neon Indian this year at the festival. His new album is a wonderful mix of fractured synthpop.

The Twilight Sad: No One Can Ever Know - Album Review

2012-02-08T09:14:00.001-05:00

The Twilight Sad
No One Can Ever Know
Rating: Woof Daddy

When The Twilight Sad's first album Fourteen Autumns & Fifteen Winters came out in 2007 it was a bold updating of the shoegaze sound, taking walls and walls of squalling guitars and placing James Graham's gorgeous Scottish burr full on in front of the mix, adding a distinct humanizing aspect to the music. Their debut was so fully formed there was really nowhere for the band to really take their sound. Second album Forget The Night Ahead, while one of my top albums of 2009, still felt like the band was in a holding pattern, unsure what the next steps should be. In the interim, the band lost founding member Craig Orzel and released a few singles and an EP which continued the band's approach. By this point, I was getting a little tired of the same old same old from the band, but was willing to give them another shot. When the band headed back to the studio to follow up Forget The Night Ahead, I was intrigued by interviews with the band who mentioned that their influences for the album were Cabaret Voltaire, Public Image Ltd, Can, Liars, Autechre, and Magazine. Graham mentioned that guitarist Andy MacFarlane was utilizing more keyboards this go around, making their sound more punishing and cold. Peaking my interest was the band's hiring of Andrew Weatherall for production duties; Weatherall best known for his work on Primal Scream's classic album Screamadelica, and on Fuck Button's last album Tarot Sport.

No One Can Ever Know is a complete triumph of a band updating their sound and taking it in a fresh direction, but it still sounding like the band itself. There will be no mistaking that this is not a Twilight Sad album, Graham's voice is still front and center, bearing the emotional weight. Of course the most significant change is that keyboards and drum machines take the lead, with only a few tracks even containing guitars, and when they are in the mix, they are used in a more textural way. The album is brutal in its icy precision; beats are martial and unforgiving, keyboards are bleak and cold, with Graham's voice the only source of humaneness. Even so, the lyrics are still as haunting and disturbing as ever. Where on Fourteen Autumns & Fifteen Winters the lyrics described the effects of physical and emotional abuse while growing up, No One Can Ever Know is all about the damage later on in life. In fact, the album is almost nihilistic in its themes, the protagonists all damaged and bent sinister in their lives, with the music making it seem like all is hopeless. Fans of Pornography-era Cure will love the new direction of the band.

First song released from the album, "Kill It In The Morning," truly heralded the second coming of the band. Over a droning bed of guitar effects and dirty fuzz bass, the skittering, industrial clank of percussion stomps the production forward. Graham's voice staying low in the mix at first, keeping his rage in check, slowly rising in temper and fury. By the end of the track, when the waves of synths take over, Graham's full anger taking over, practically screaming "It's a shame she wanted more/only place that we couldn't go/what more do you need to know/it's staying here well down below."

There is an amazing, new found muscularness to their tracks, as if the reliance on guitars before were holding them back in some way. The rush of "Dead City" is aggressive and disturbing, the guitars grating and synths washing over the mix.

"Don't Move" exists in a swagger of industrial synths and chugging beats, the protagonist of the song associating love and violence, singing "I want you more than you will ever know/we were paired off in the violence."

The haunting rush of New Order-esque synths motivates the haunting single "Another Bed."

In case I have made this album sound dour and oppressive, there are plenty of songs with moments of great beauty, showing a little light through the gloom. "Sick" could easily stand among one of Radiohead's best singles from the Hail to the Thief era, antiquated drum machines underscore the gorgeous guitar work from MacFarlane and one of Graham's most stunningly emotive vocal performances. It is truly the standout song on the album.

"Nil" takes fractured synth drones and pulsating drums, slowly building up, the drums sounding like a thunderstorm as sheets of synths fall down on Graham's restrained vocal. "Not Sleeping" is also a slow-burning track with delicate interplay between muted guitars and soaring synths, which again erupts with cavernous drums and squalls of guitars, Graham's voice growing in strength and purpose.

No One Can Ever Know is a constantly surprising and intriguing work, even if sometimes its all-purpose bleakness can overshadow the album. Graham's voice, so warm and inviting, always acts as a splash of color and light, making sure things never tip over into self-parody. Few bands can overhaul their sound while still sounding like themselves, and The Twilight Sad seem to understand that you don't have to give up your purpose in order to explore and experiment. No One Can Ever Know has energized the band, and is easily going to make it into my top records of the year.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 64 Days! Justice - "Stress"

2012-02-08T07:22:00.001-05:00

Justice will likely close out the Sahara tent (and possibly the festival itself) Sunday night. I'm looking forward to catching their set, should I still have the energy.

Trailer Trash Tracys: Ester - Album Review

2012-02-07T09:45:00.001-05:00

Trailer Trash Tracys
Ester
Rating: Yeah Daddy Make Me Want It

With a name like Trailer Trash Tracys, you would think it safe to assume they would be some rockabilly/blues/alt-country style band, playing frat parties and college bars. Surprisingly, this London art-pop quartet deals more with fractured dream pop/shoegaze than anything resembling the aforementioned styles. Coming across like a hybrid between Cocteau Twins' gauzy haze, Mazzy Star's haunting blues, Portishead's gloomy trip-hop, and Sunny Day In Glasgow's sonic experimentation, TTT utilizes echoey, 60s style guitars over harsh, antiquated drum machines, and buries Suzanne Aztoria’s vocals in a thick cloud of reverb. If anything, the band's name, which apparently is getting tons of press about how awful it is, draws you in to see what they are about. Of course, whether you decide to stick around for their brand of damaged artgaze is for you to decide. For those adventurous to ride the waves of distortion, you will be rewarded with an album that evokes so many emotions and eras, and yet feels completely of the now, for those that don't take to their off-kilter sound, you will be left shaking your head as to what all the fuss is about.

Best known for their early single "Strangling Good Guys," TTT follow the shoegaze template a little too closely, marrying droning guitars with interlocking rhythm guitars and burying Aztoria's vocals deep in the mix under cavernous drums.

Being the shoegaze junkie I am, of course I immediately fell for its spell, however, I found where TTT went further with this sound, I was more entranced. "Engelhardt's Arizona" use of a pointillistic approach with its guitars drew me into the song, Aztoria's lonely vocals laid on top of the mix, evoking a torch singer in some louche bar.

One of my favorite tracks, "Candy Girl," takes a 50s girl group sound and morphs it into a pure pop song Elizabeth Frazer was born to sing. I especially love the echoing drums, guitars straight out of a David Lynch movie, and Aztoria's gorgeous vocals.

"Turkish Heights" seemingly takes the rhythm section from the Sugarcubes' single "Birthday" and slows it down to a molasses crawl, dragging guitars across the mix like a metal rake, and punishes the listener with an ever more aggressive drum machine pounding. "You Wish You Were Red," is a lush, almost pop track, that recalls Hope Sandoval without making you fall asleep in the process. The shattered guitars are particularly lovely on this track.

"Los Angered" features one of the loveliest guitar melodies on the record, and Aztoria's aching voice fits well in the track.

Where they twist and turn and add their own spin on the shoegaze/dream pop genres, TTT excels and draws you quickly into their spiraling sound. Had they used this approach on the entire record, it would have been a phenomenal debut. Too often, however, the tracks veer either to being too experimental, or not experimental enough. Album opener "Kiss the Universe" is almost 2 minutes of squonky guitar noodling and moaning vocals, that recalls Sunny Day in Glasgow at their most annoying, and definitely does not set the album up for a good start. "Black Circle" creeps and crawls with sludgy vocals, glitchy twitches of electronics, and a strangely out of place bassline. And "Dies In 55" feels like 3 separate tracks meshed together, none of which really works, the parts rubbing up and competing too much with each other instead of complementing.

Small problems aside, Ester is a strong debut that foreshadows good things to come from this band. Finding the right mix of experimentation with the right amounts of pop savvy will serve them well in the long run. Now, about that band name.......

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 65 Days! DJ Shadow - "Six Days"

2012-02-07T07:45:00.001-05:00

DJ Shadow always puts on a great audio/visual show when he performs. I was able to see him and his "sphere" at the Identity Festival, which was really amazing. I love this track off his second album, and the video directed by Wong Kar-wai is visually stunning.

The 2 Bears: Be Strong - Album Review

2012-02-06T10:05:00.000-05:00

The 2 Bears
Be Strong
Rating: Grrrr

The 2 Bears, the side project of Hot Chip's Joe Goddard and Raf Rundell, is an homage to both gay subculture (Goddard and Rundell, who are both straight, fit the "bear" description) and to the classic house music that has influenced and inspired them. Be Strong is a strong collection of house and two-step anthems that sometimes oversteps its bounds into kitsch territory, but otherwise holds its own among its peers owing to its creators' obvious affection for their influences. Through its 12 tracks, the album takes stops in Chicago, Detroit, and the Caribbean, and is a statement about the healing/loving/positive nature of dance music. But first and foremost it is a fun, frisky record. While still a side project, this is no off-the-cuff throwaway. You can feel the tenderness and affection put into each track.

The album begins with a bit of a bait and switch, with the sunny, Caribbean rhythms of "The Birds & The Bees," floating under a bed of xylophones, horns, and chirpy electronics. Its slow build getting more and more insistent as the track progresses. The subtlety of the track becomes a bit of head scratcher once it fades into the brilliant triad of "Be Strong," "Bear Hug," and "Work." "Be Strong," about the healing power of music, is a glorious mash of pounding drums and whirring synths, and Goddard's deadpan baritone playing against Rundell's deep bass.

And yes, "Bear Hug" has some of the silliest lyrics I have heard in awhile, but it's such a infectious slab of fun it is easy to overlook and just give into the beat.

"Work" uses old school house piano rolls, disco percussion, and rising strings, all coming to a head with a Detroit techno breakdown at the end.

Be Strong could have been just one house track after another, bleeding into each other, and having no real pacing or variety, however, Goddard and Rundell are smart enough to structure the album more like a pop record, allowing for palate cleansers between the house bangers, like the breezy Soul II Soul-esque track "Warm & Easy," acoustic guitar driven "Time In Mind," and the reggae tinged 2-step of "Heart of the Congos."

But of course, the focus of the album is the dance floor, and it is virtually impossible to stop yourself from bobbing your head, shaking your ass, or tapping your feet to these tracks. From the driving house of "Get Together,"

horn punctuated disco fury of "Ghosts & Zombies,"

and the throbbing pulse of "Take A Look Around," Be Strong gets the blood pumping and heart rate thumping.

Be Strong just made me smile; its party-vibe is too infectious not to. You can tell Goddard and Rundell had a blast making these tracks, and the love and care given to them is very evident. Sometimes an album doesn't have to be profound or genre-busting, it can just be a well-constructed set of songs that does what it sets out to do. Be Strong does this in spades.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 66 Days! NOISIA - "Shellshock"

2012-02-06T07:30:00.000-05:00

Looking forward to seeing NOISIA this year, or as my Coachella mate Mikey calls them, VISION upside down. Cool DnB track with a well shot video.

Coachella 2012 Countdown: 67 Days! A$AP Rocky - "Bass"

2012-02-05T06:29:00.003-05:00

Awesome track from A$AP Rocky, with a killer production from Clams Casino. The bass makes my stomach hurt.

Coachella 2012 Countdown: 68 Days! Feed Me - "One Click Headshot"

2012-02-04T06:27:00.000-05:00

Sick bass drop.

Videos of the Week

2012-02-03T08:35:00.000-05:00

We got through another week, thankfully. Here are the videos this week that shook my money maker:

Dan, one of my Coachella posse, and I never quite see eye to eye on music. We have some similar tastes, but from there we veer off wildly. On rare occasions, I can get him interested in something, or find he is interested in something that I would never in million years think he would like. Case in point, tUnEyArDs. Was very surprised he liked them. I love this song and video.

Another bat-shit crazy video from Miike Snow.

Fan made video for the Nicolas Jaar track "Materials." The song sort of echoes early Aphex Twin, while the video has some Chris Cunningham-like touches.

New track and video from Orbital. Love the time-lapse video, but the song seems sort of like a retread.

While I sort of like the track, the girl in Die Antwoord just gives me the creeps.

Hallucenagenic video from the dream pop outfit The Trailer Trash Tracys.

Hypnotic new video from Shabazz Palaces.

Coachella 2012 Countdown: 69 Days! Azealia Banks - "212"

2012-02-03T07:29:00.002-05:00

She's going to tear it up.

Non-Sequiturs

2012-02-02T09:51:00.000-05:00

Sweet baby Jebus. This is what I want my body to look like. Perfect.

Cutie bear.

I wish I had abs like him.

Slightly racier than I normally post, but that chest makes it worth it.

Just perfect.

I'm always a sucker for chest hair.

It's ok Ginger football player. Come get a hug.

I completely despise American Idol, but I might have to watch if Jason "Wolf" Hamlin makes it far.

Drool.

I have something he can fill up.

Love that sneaky grin.

Beautiful stomach.

Handsome hunk.

Why yes, yes I will.

I just want to touch Varitek's ass once. Just once.

Another beautiful furry belly.

Wet and furry.

That's just hot.

Wet and cute.

While I like a well sculpted physique, I tend to really like guys that are muscular, but with a slight belly. Bonus points for the fur.

Such a sexy pic.

More abs I want.

Perfect.

Facial hair, check. Furry chest and stomach, check. Nip piercing, check. Tatts, check. Puddle of drool beneath me, check.

Yes.

Furry and oiled up.

Le sigh.

Sexy strawberry blonde.

What are you going to say there, stud?

Gabe Crisp from metal band Whitechapel. Grrrr. Goes into my list of hot bear bassists.

Yummy. I think this guy was in a pic from Non-Sequiturs two weeks ago.

Why doesn't my body look like this?

The best for last; the most handsome man in the world.

What's better than posting these pictures of beautiful men, is all the stories I get from friends telling me which one's they have fooled around with.

Don't speak to me when I am at the urinal. It is just weird.

It cracks me up when people around my age (40+) complain about current music being too loud/harsh/noisy for them. When did some of my friends become their parents? If the music is too loud, you are toooooo old.

Who knew drone master Tim Hecker is kind of foxy.

So is Berlin-based producer Scuba.

I think donuts are the new cupcakes.

Liam Neeson has become such a badass action star.

I would like some people much better if they were outside the range of my peripheral vision.

Log Cabin Republicans puzzle me. They appear to be the only group I know who wants to be included in a club that hates them.

I was informed by my partner that I'm weird for listening to music while reading my book. Not really sure how that makes me weird. It doesn't take away from either pursuit. It really means I don't pay much attention to lyrics, which is never my main focus anyway.

Well, yeah.

If you are going to have "professional" photographs taken of you, make sure your clothes fit perfectly.

It's always interesting seeing who someone you dated ends up with and they are the complete and utter opposite of you, and then you have to say what the hell were they dating me for?

To correct some mistakes made by a client on some documents, I had to use a typewriter. That was a blast from the past. How we ever got anything done without a word processor, I have no clue.

Should I be told I have to wear contacts or go blind, I will likely go blind. I can't stand putting anything in or near my eye. Even putting eyedrops in is like torture.

Sigh, yes.

Wouldn't it be horrible if penises didn't get larger when they were hard?

I can't lift weights and have my iPod on; it distracts me too much. Although, if I am doing cardio, I have to have my iPod or I get so bored I want to kill myself.

Even Cyclops' have eye trouble.

Lyrics Rattling Through My Brain

"Calling out a wave dear
Calling out a wave will be your grave
This will last your life dear
Ocean is a boy who wastes his day."

Hospitality
"Julie"

Waiting in a car
Waiting for a ride in the dark
The night city grows
Look at the horizon glow

Waiting in a car
Waiting for a ride in the dark
Drinking in the lights
Following the neon signs

Waiting for a word
Looking at the milky skyline
The city is my church
It wraps me in its blinding twilight."

M83
"Midnight City"

"I see you look around
You're staring, staring out to sea
I feel them pulling down
You touch my hand, it all goes away
Don't hear a single sound
But I feel your breath in front of me
With every kiss, I drown,
I feel my body fading to dreams.

A Place To Bury Strangers
"My Weakness"

"There goes my girl
Into the chapel
Now she's walking down the aisle
And her man begins to smile

And I shake shake shake like a leaf
And I'm lyin' lyin' lyin' through my teeth
I'm a bowl of bruised fruit
Inside a chapel of shiny apples

Tear up the photograph!
Cause it's a bright blue sky
Tear up the photograph!
Cause it's a bright blue sky"

We Are Augustines
"Chapel Song"

Appealing Things

Shoes on clearance at DSW
1Q84
Hospitality
Errors
Getting things back on track
Sprite Zero
Cooking salmon perfectly
68 degrees in February
The utter joy and stupid fun of The 2 Bears

Annoying Things

The Stranger's Child
La Roux cancelling Coachella
The grumpy, cigar smelling man at Starbucks every morning
Being charged a $25 fee for having a prescription refilled from my doctor prior to my office visit
Projects ending abruptly
Dealing with the Lowndes County Superior Court's office; they are the pickiest people in the world.

Coachella 2012 Countdown: Porter Robinson - "100% In The Bitch"

2012-02-02T07:14:00.000-05:00

While Sunday is looking to be a massive clusterfuck of too many artists playing around the same time, I am hoping Porter Robinson will not be a casualty. I've really been enjoying his EP Spitfire.

Hospitality: Hospitality - Album Review

2012-02-01T11:21:00.001-05:00

Hospitality
Hospitality
Rating: Grrrr

As I push further into my 40s, I begin to look back at certain times of my life with fondness, sadness, and sometimes outright embarrassment. My 20s, just out of college, and far wetter behind my ears than I would like to admit, were awkward, exploratory, and full of so many mistakes I have lost count. Would I go back and change any of it? I think we all would like to alter certain things, but honestly, based on who I am today and where I am, I am ok with how things turned out. I certainly wouldn't want to go back and be 20 again, shudder. I am much more centered and at peace with myself now, that to go back would be almost too painful. Which makes me feel very paternal towards the debut album from Brooklyn three piece band Hospitality, which chronicles the day in day out goings on of twenty-somethings in New York, and all their yearnings, fumblings, and musings. You want to wrap these characters up in a blanket, serve them hot cocoa and tell them it will all be ok. The band itself, fronted by singer/guitarist Amber Papini, borrows liberally from a wide range of different bands, Belle & Sebastian, Camera Obscura, The Pains of Being Pure At Heart, and The Clientele for example, but what they lack for in originality they make up for it with superb song craft. Tight arrangements and interesting background flourishes mesh well with Papini's fragile voice and her insightful, wry lyrics.

"Friends of Friends" the girl wants to stay in alone and warm from the cold streets of New York, whose crowds and bustle only remind her that the guy she's seeing has a girlfriend coming back in town. The jaunty horns and sprightly beat hide the pain that is just beneath the surface.

"Liberal Arts" could be culled directly from the Stuart Murdoch songbook. The character ruminating about all "the trouble of a B.A. in English literature /instead of law or something more practical" and feeling aimless and adrift without benefit of a "trust fund, daddy, or doctor."

There is a wistfulness to the songs here, the characters thinking they know what they want, but changing their minds minute to minute, always in a hurry to get their life started. The dream pop of "Sleepover" perfectly suits the stars in her eyes narrator, who moves from lover, to pretend marriage, to imploring the mate to "Lock the door before you leave."

"Argonauts," one of the loveliest tracks on the record, feels like a quest to get out of a bad situation, "lock the key and throw the door away/something told me that I should leave right away/don't forget the bad, don't forget the bad."

"Eight Avenue" struts and bobs its head to a peppy beat and interlocking guitars, the song has the characters, older, but seldom wiser, looking back as I have on their 20s, but with a sweetness and fondness for their naivety.

None of these descriptions is meant to imply that the album is dour or far too serious. There are plenty of pure pop tracks. From the too brief guitar stomper "The Right Profession," the horn propelled "All Day Today," and the jangly ode to a former co-worker "Betty Wang" with the gloriously goofy way she sings "if you leave New York/I don't care/ I don't care."

But while the majority of songs on Hospitality keep a limited world and personal point of view, there are hints that the band should not be too easily pigeonholed. Papini shows a deep sense of mood and imagery in her lyrics. In "Julie," the haunting accordion, ukulele, and strummed guitars, builds slowly under Papini's whispered vocals, adding a ghostly wash of ambient synths, subtly underscores the impressionistic tale.

Hospitality is an auspicious debut for this band, showing that they already have the chops and hooks to make more than an indelible impression on listeners. There is plenty of room for their sound and vision to grow, along with what should soon be a sizable fan base.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 71 Days! The Weeknd - "Montreal"

2012-02-01T07:32:00.000-05:00

The Weeknd - Montreal (unofficial music video) from High5Collective on Vimeo.

Definitely my must see for the festival. His three mixtapes released last year are completely brilliant. Whether or not they translate well to a live setting remains to be seen as he as only performed live a few times. I love this song off Echoes of Silence, though this video is pretty disturbing, but in a well made way.

Porcelain Raft: Strange Weekend - Album Review

2012-01-31T11:55:00.001-05:00

Porcelain Raft
Strange Weekend
Rating: Yeah Daddy Make Me Want It

London by way of Rome singer/songwriter/musician Mauro Remiddi has trafficked in many musical areas; composing music for films, providing backing music for the tap dance show 'Vaudeville 2000', been in two bands (Three Blind Mice and Sunny Day Sets Fire), and now releases his debut album as Porcelain Raft, Strange Weekend. Based on some singles I had heard, and the general buzz I was getting about this release, I was really expecting a more dark take on chillwave or Balearic pop. My first few listens of Strange Weekend sort of struck an odd chord with me. There was a slightly disjointed flow to the record that kept me at arms length for the longest time, and it wasn't until after many listens where the charm of the record took hold. While the biggest touchstones are likely chillwave bands like Washed Out and Toro Y Moi, Porcelain Raft doesn't settle into any one groove throughout the album. In fact, the more closer touchstone would be dream pop bands like Beach House, who create patchworks of gauzy analog synths and hazy guitars. Remiddi's startlingly androgynous voice is another key point to the album, it being somewhat impossible at times to tell whether the voice is male or female, to the point, at first, I thought there were two singers.

The best tracks on the album mine the dream pop aspect, floating on sparkling synths, fuzzy guitars, languid vocals, and primitive sounding drum programming. "Drifting In And Out" sets the scene beautifully in a rush of airy keyboards and Remeddi's strange, lilting voice.

"Put Me To Sleep," rises from a fog of drifting synths and guitars, getting more and more insistent, building into a dense tower of sound. Guitars getting twisted and turned, the drums reaching a martial furor.

"Unless You Speak From Your Heart" could almost be a lost track from Beach House, with its chorus of analog synths and calliope-like rhythm. The song is such a quirky, inventive pop song, its charms are difficult to resist.

The remainder of the album is a mix of half-acoustic numbers like "Shapeless & Gone," "Picture," and "The Way In" that tend to bring the flow of the record to a halt. Not that they are not lovely songs and show a softer side to his work, they lacked the adventurousness and quirkiness of the more upbeat tracks.

Working better are tracks such as "Backwords" which use the acoustic backing as a base, but transcends the limitations into something starkly beautiful and haunting. The subtle electronic haze creates just the right hints of melancholy, bursting forth like a flash of light for the chorus.

"The End of Silence" brings to mind the nostalgic reveries of Youth Lagoon, vocals buried deep in the mix over a heavy mist of gentle synths and fuzzed guitars.

Strange Weekend is a very promising debut that stuck a chord with me, especially when Remuddi allowed his creativity to really shine through, balancing his more eclectic side with the pop side. That tension creates some wonderful tracks on here. But when the balance is off, you get either too quirky, or practically unmemorable, and thus the flow suffers. Given a little more time and patience, he is bound to release a classic album soon.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race

Coachella 2012 Countdown: 72 Days! M83 - "Midnight City"

2012-01-31T08:44:00.004-05:00

I will admit that even I am a little tired of this song, but damn it, each time I hear it, I still get goosebumps. Performed live it transforms the crowd into a sea of jubilant smiles.

M.I.A.: "Bad Girls"

2012-01-30T16:22:00.003-05:00

Reworked track from M.I.A which originally appeared on her Vicki Leekx mixtape. Produced by Danja, this track is set to appear on M.I.A.'s next album due sometime this summer.

Lana Del Rey: Born To Die - Album Review

2012-01-30T10:08:00.000-05:00

Lana Del Rey
Born To Die
Rating: Grrrr

They say any publicity is good publicity. Poor Lana Del Rey (the nom de plume of American singer/songwriter Elizabeth Grant) has had both sides of it. Lauded earlier in 2011 for her brilliant single "Video Games" that introduced her husky voice and laconic delivery, then blasted for apparently using her father's connections and money to get her career moving, and also for her disastrous SNL appearance and other, less than stellar live performances. But for the moment, she appears to be all anyone can talk about. Her sex kitten image, her retro, yet modern sound, her rapid rise up the music charts; it all smacks of divine intervention somehow. Is she a puppet of record label honchos, or is she truly a talent that is being pilloried because of rampant jealousy? I guess, image and personality aside, it all comes down to the music and whether she can deliver.

Does her album live up to the hype created by the singles "Video Games," "Blue Jeans," and "Born to Die?" The answer is, well, yes and no. Utilizing production from Emile Haynie (Kid Cudi, Eminem, Tinie Tempah), the album definitely has a singular vision, a "gangsta Nancy Sinatra" as Del Rey describes her sound. The songs are smoky ballads, drawing from 50's noir, touches of Morricione strings and guitar, but bounded by elements of hip-hop and trip hop. The first half of the album practically screams "classic" album, with the 4 song strong opening of the aforementioned songs and the track "Off to the Races," which is striking with its more tongue in cheek vocal turn from Del Rey, and the punctuation of hip hop drums and vocal samples. When her voice rises on the chorus into a Betty Boop squeal, it is pure genius.

But of course the true jewels are the laconic, and practically iconic tracks "Video Games" and "Blue Jeans" which perfectly encapsulate her persona and sound. Her deep, throaty voice, almost emotionless, carries such weight that you know the real story is in the details and background. The music lifts the songs to a new level, caressing her vocals, adding the perfect amount of drama and pathos.

While the rest of the album fails to scale the heights of these tracks, Del Rey still has some tricks up here sleeve. The gorgeous, sweet voiced "Radio" shows her more pop-leaning side.

Torch song "Million Dollar Man" has Del Rey channeling Fiona Apple's dusky growl, and almost cracks the icy shell she surrounds herself with.

"Diet Mountain Dew," is a sassy, half hip-hop, half R&B number that highlights her coy delivery.

And "National Anthem" with its sweeping drums and dark strings perfectly details a life of privilege and excess.

The complaints about the album are completely valid. The lyrics, aside from "Video Games" and "Blue Jeans" can come across as somewhat banal, plus the subject matter rarely transcends subjects like bad boy/bad girl love, drinks, drugs, and partying. And over the course of 12 tracks the limited palate of strings, hip hop drums, and spikes of samples, can get a little one note. But, all interview and live performances aside, the girl has some major presence. You are never bored during the record. Her voice is crystalline and perfectly suited to the material. While you may not believe what she is singing about she definitely sells it to you. Where does Del Rey go from here? Too early to tell. Her voice is so pure and classic sounding, it can hold up under any backing. Another album of modernized torch songs would pretty much put the nail in the coffin for me (cough cough, Adele, I am talking about you), but I think Del Rey is savvy enough not to allow herself to become pigeonholed too quickly. Just have to wait and see if she reveals the puppet strings or stands out on her own.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Air: "Parade"

2012-01-30T09:10:00.000-05:00

First single and video from Air's upcoming album Le Voyage Dans la Lune. The scenes in the video are from Segundo de Chomón´s "Excursion to the Moon" (1908) which is a remake of Georges Méliès "A Trip to the Moon" (1902).

Coachella 2012 Countdown: 73 Days! Yuck - "Get Away"

2012-01-30T07:30:00.002-05:00

Somehow I have missed every time this band has come through Atlanta. I am hoping to get to see them at Coachella. Love their retro-80s/90s alt-rock sound. And love the drummer's hair!

Coachella 2012 Countdown: 74 Days! Dr. Dre - "Still D.R.E."

2012-01-29T06:30:00.003-05:00

Yup.

Coachella 2012 Countdown: 75 Days! Snoop Dogg - "Gin And Juice"

2012-01-28T06:34:00.000-05:00

With my mind on my money and my money on my mind.

Videos of the Week

2012-01-27T08:00:00.002-05:00

Friday again! Yay! Here are the videos that smacked my bitch up:

The Twilight Sad were getting in a rut after two albums of brilliant shoegaze. I wasn't sure I could stick with them with a third album of the same old same old. Witness this brilliant transformation, moving away from a guitar focus to icy synth squalls, they reinvent themselves admirably. This video is the perfect accompaniment to the track, a bizarre video clerk hosts parties with dead people, tying their arms and legs with string, manipulating them like marionettes. Very disturbing.

The first official single/video from the upcoming sophomore album from Sleigh Bells. The video is a fun lark, but the song smacks a little too much of been there done that. I haven't been blown away by the new songs I have heard so far. I am hoping that the album as a whole wins me over.

Florence still has one of the most powerful voices I have ever heard, however, her latest album just left me underwhelmed. This is a typically classy live performance of her new single.

Porcelain Raft (aka Mauro Remiddi) has perfected his perfect blend of dream pop/chillwave. This is one of the highlights from his debut album Strange Weekend. Remiddi sort of reminds me of a bearish Bryan Ferry/Martin Fry.

Beautiful animated video from Kate Bush.

NSFW clip from Harlem rapper A$AP Rocky, which subverts all the usual rap video cliches. Love the production on this track from Clams Casino.

Oskar the blind cat, is so damn cute. I am so glad he has some amazing owners who have taken really good care of him.

Coachella 2012 Countdown: 76 Days! Flying Lotus - "Kill Your Co-Workers"

2012-01-27T07:31:00.001-05:00

Looking forward to FlyLo presenting his new album at the festival. So far, there is no indication what it will sound like. FlyLo is not one to sit still, so it will at the very least be very interesting. While I am only a new convert to the brilliant Cosmogramma (an album so dense and insanely ahead of its time, it took me a good year to digest it), I like FlyLo when he is tongue in cheek, like this hyper 8-bit track. The video is supremely twisted, in a cute way.

Non-Sequiturs

2012-01-26T10:47:00.002-05:00

No explanation necessary. And if I do have to explain....sigh.

My cat is addicted to beef jerky flavored dog treats.

I love cleaning, but hate to mop. Of course, after I mop, I love how the floors look.

I applied online for a personal loan from my bank in order to consolidate some debt and was turned down literally the moment I hit the apply button. Was a bit of a shock to have that occur so quickly. I am guessing I asked for too much. Oh well, back to the drawing board.

After 20 some odd years of drinking scotch, I finally switched from scotch and soda to scotch and water.

Too cute.

In the past 3 months my blog as doubled its daily viewership. I can't help but be a little proud of that.

I hate the way I sneeze.

I went into the changing room, and when I came out, nothing had changed.

Based on who "thinks" they are going to heaven, I would say this is pretty accurate.

The hypocrisy of Newt Gingrich is jaw dropping. If anyone I know actually votes for him or supports him, you are a fool and I have no time for you.

Apparently, I am known on my office floor as the "fast walker."

Although I am getting a little tired of M83's song "Midnight City," it always gives me chills.

My fingernails grow like weeds.

Seriously, can he get any more handsome?

I wish people would learn how to use breath and breathe properly, as well as awe and aww, and loser and looser.

Hey asshole! Yeah, you know who you are.

Lyrics Rattling In My Brain

"Now were spitting blood
spitting blood
like the golden sun god
golden sun god

I was born into plastic fame
read his tattoo
but it don't matter were all in the same
ship sailing to what we hold as true

I got the star of David hanging over me
But oh mother Mary I find it hard to believe
That some ones hands no different to mine
could be hung on a wall
held as divine

We are so happy
happy to see
All of our children will run blind and free"

WU LYF
"Spitting Blood"

"It's here for us to admire
If we can afford the beauty of it.
Can afford the luxury of turning our heads.
(If we tried, if we tried, if we tried!)

Adjust the $1000 smile,
and behold the creation of man.
Great words won't cover ugly actions.
Good frames won't save bad paintings!

We lack the motion
To move to the new beat."

Refused
"New Noise"

"Am I falling asleep on my feet again?
I call out, is anybody listening
and it's like I'm diving into emptiness
but at least there's something beating in my chest

can you free me from the logic that I knew
I believe it even if it is not true."

Miike Snow
"Cult Logic"

"Do I still cross your mind?
Your face still distorts the time

With heat struck afternoons long through
Those idle dreams go back to you
Was this only in my head
Just like most things go misread
When overthought."

Neon Indian
"Polish Girl"

"So this is the end of the story
Everything we had, everything we did
Is buried in dust
And this dust is all that's left of us
And only a few ever worried

While the signs were clear
They had no idea
You just get used to living in fear
Or give up
When you can't even picture your future

We walk the plank with our eyes wide open"

Gotye
"Eyes Wide Open"

"And with these humble tools, we can trigger any motion we choose
But we'll just settle to pump out repeated relics diluted with smiles

You seen the airwaves that clogged up
Rather fickle they laugh it up, laugh it up
They need to be drowned in condiments
And left to find their sense

Warm smiles, they do not make you welcome here"

Enter Shikari
"Warm Smiles Do Not Make You Welcome Here"

"I see now what your body's known
all hearts break when the light is faded
love runs faster than time
I see now what your body's known
all you wanted was what I needed
love runs faster than time"

The Big Pink
"Future This"

"I think I died this time
Suffered bullet holes
And stop wounds in my side
I think I'm solving crime
I've got a couple of clues
And a hunch that swells like a fool boy

Time, make time for us, make time for us
Can't even sing for words
You know I'm far too shameful
It's not fair

I think I've lost my math
I've got some figures and facts
And other clues that help follow your tracks
I think I've lost my legs
Knowing me they're sittin
At the bottom of the deep blue sea

Make time for us, make time for us
Can't even sing for words
You know I'm far too shameful

Ships with, ships with
Holes will sink
And I will swim"

We Were Promised Jetpacks
"Ships With Holes Will Sink"

Appealing Things

Seeing quick results from switching gym routines
Porcelain Raft
Buffalo hot wings from Kroger; cheap and awesome
Having buffalo wings three nights in a row
The Twilight Sad's new music direction
Beer can chicken
A Scottish burr
The dogs on a mini-vacation

Annoying Things

Rainy Saturdays
People who don't know what they are talking about
Soup and coffee slurpers
Downloads of less than 320 kbps
The dogs on a mini-vacation

Coachella 2012 Countdown: 77 days! Flux Pavillion - "Bass Cannon"

2012-01-26T07:23:00.001-05:00

Killer bass line.

Chairlift: Something - Album Review

2012-01-25T10:58:00.001-05:00

Chairlift
Something
Rating: Yeah Daddy Make Me Want It

I would think that having your single featuring in an iPod ad would be a mixed blessing; on the on hand, the invaluable publicity opens you up to an audience you wouldn't normally be exposed to, while, on the other hand, it puts a lot of pressure on you to follow through with an album's worth of material. Caroline Polachek and Patrick Wimberly, the Brooklyn duo known as Chairlift, had their single "Bruises" so featured and led to them getting a major label deal with Columbia Records. Their first album, Does You Inspire You, which was recently reissued, was a more cerebral/arty affair, full of obtuse lyrics married with avant-garde synthpop. Something, the follow up, shows a new found maturity, without being stuffy, or losing the oddball charm of their previous release. The album works best when it retains a little more quirkiness, but loses some ground when the arrangements become too traditional or inert.

Something starts off with the one-two punch of "Sidewalk Safari" and "Wrong Opinion." Both hit the nail on the head with pulsating synths, propulsive beats, and Polachek's unique voice. The bassline in "Sidewalk Safari" appears played by a madman, careening around, bouncing off the walls. It's a loopy, fun track, that gets more and more infectious each time you hear it.

"Wrong Opinion" utilizes ping-pongy electronic percussion and deliriously aged synth effects straight of an old Yamaha DX7. Polachek's ethereal voice floating over the melange of 80s synthtropisms. In fact, the 1980s is such a touchstone for this record, you could indeed almost feel like you pulled out an unknown collaboration between Eurythmics/Cocteau Twins/Propaganda.

Several tracks recall, for me, the gorgeous adult synthpop of bands like Young Galaxy. "Take It Out On Me" bounces on chirping keyboards and a lilting beat, with Polachek stretching the range of her voice to its limit.

"Amanaemonesia," ridiculous title aside, is a lush, catchy pop song with a great melody.

Centerpiece to the record, and one of the standout tracks is the haunting ballad "Cool As Fire." Burbling synths and off-kilter percussion propel the track forward with an anguished vocal and a lush, haunting melody.

I also enjoyed the delightful, spacey tropicalia of "Frigid Spring," with its fuzzy guitars and atmospheric rises of synthesizers.

If only they had followed those instincts that made these tracks so memorable, Something would be something very special. Too often, they wander too close to being almost faceless. Tracks like the too-ethereal-for-its-own-good "Turning" come across like a Cocteau Twins sketch that was wisely abandoned. And aside from some interesting industrial-esque percussion on closer "Guilty As Charged," just never really goes anywhere. And Polachek's voice, so distinctive throughout the record, fades into the background of noise in "Met Before," and overpowers in tracks like "Ghost Tonight."

Something is a good second record for Chairlift, retaining the quirkiness that makes them memorable, but willing to adapt those quirks into stronger song frameworks. Right now, they have yet to find the right mix of the two, and can either hit it perfectly or miss the mark completely. By listening to their instincts more, I am sure they have a classic album lurking in them. Based on the wonderful singles on this record, I believe it is a question of sooner rather than later.

Coachella 2012 Countdown: 78 Days! Radiohead - "Street Spirit (Fade Out)"

2012-01-25T07:33:00.001-05:00

Ok, I suppose if I have a Radiohead tattoo I am basically required to see their set at Coachella. What I like about them is that they are fairly unpredictable each tour. They like to change things up and make the experience interesting. While I doubt they will do the unthinkable and play "Creep," or even play more than one song from The Bends, I am still excited to see them. I am going to see them here in Atlanta about a month before Coachella, so I am curious to see the differences.

The Twilight Sad: "Another Bed"

2012-01-24T12:49:00.001-05:00

Scottish, former shoegazers The Twilight Sad have released the second single and first video from their upcoming album No One Can Never Know (out on 2/7 on FatCat Records). "Another Bed" finds the band venturing into a more post-punk, synth driven direction. I am really liking this propulsive track. The video, featuring a video store clerk using dead people as marionettes and posing them in party pictures, is slightly disturbing, but suits the dark atmosphere of the track.

The track can be downloaded for free here.

New St. Etienne track: "Tonight"

2012-01-24T11:38:00.000-05:00

Saint Etienne - Tonight by Saint Etienne

First new track from St. Etienne in over 7 years. "Tonight" can be listened to up above or on Soundcloud. And for a limited time it can be downloaded for free here at their website.

Enter Shikari : A Flash Flood of Colour - Album Review

2012-01-24T11:08:00.000-05:00

Enter Shikari
A Flash Flood of Colour
Rating: Yeah Daddy Make Me Want It

British post-hardcore/electronicore quartet Enter Shikari's third album A Flash Flood of Colour is a strange beast. Taking elements from post-hardcore, screamo, post-punk, dubstep, and Drum N' Bass, they have fashioned a Frankenstein-style hybrid that surprisingly works a majority of the time, yet falters under heavy-handed political and socio-economic sloganeering that threatens to crash and burn the album. Enter Shikari have always incorporated electronic elements into their releases, but this is the first where they take more of the spotlight. The album works best when then tone the rhetoric down, and allow the dubstep and DnB elements to work within the track and not just tacked on because it's a "dubstep" album. It's been an interesting year, seeing many bands/artists/DJs jump on the dubstep bandwagon. Sometimes it works well, but in most cases it smacks of a band trying to become relevant again, or an up and coming band trying to get noticed more quickly. I think Enter Shikari fall somewhat in a middle ground. Not every track tries to incorporate these elements, and they tend to integrate them better than most. My main issue with the record is that the songs are all over the place, never coalescing into a signature "sound" for the band, and you are left with something rather schizophrenic.

Honestly, the tracks that work best are the least "electronic" and the least overtly political. "Warm Smiles Do Not Make You Welcome Here," works an incredible melody and very subdued vocal from Roughton "Rou" Reynolds, before amping up the guitars and burbling electronics at the end. It's a catchy earworm of a song, that highlights their strengths.

Similarly, "Pack of Thieves" glides over arpeggiated synths, a driving beat, and half shouted vocals from Reynolds. The more pop elements of the track speak louder and More forcefully than when the band turns all the amps up to 10. Even the mid-song dubstep breakdown feels natural, and not just something thrown in as an afterthought.

"Search Party" is the best song Linkin Park has never written. Reigning his worst tendencies to over-emote, Reynolds' vocals are tightly coiled, allowing room for the song to breathe, while still letting go near the end under grinding guitars.

There are moments where they push the envelope while still being loud and in-your-face. "Sssnakepit" combines DnB breaks and dubstep bass over furiously raging guitars. the song whipping from electronics, pop punk, to rough hardcore. Even pausing at the end for a silly comment on how Reynolds' voice gets so low, it sounds like Louis Armstrong. Moments like this show that, despite some of the glumness of the album, they at least have a sense of humor.

Sometimes the songs never seem to find what they want to be. "Arguing With Thermometers" can't decide if it is hardcore techno vs. DnB, or scream-core, and then somewhat oddly becomes a Foals' like guitar rave-up at the chorus. It becomes truly dizzying.

Too often, the songwriting overpowers what they are trying to do, and instead of getting their point across subtly you are bludgeoned repeatedly with too many simplistic slogans and ideas. Opening duo "System..." and "...Meltdown," while sonically interesting, lose their impact by rather tepid Political Science 101 metaphors. Most egregious is the eye-rolling smug socialism of "Ghandi Mate, Ghandi," which, in addition to the lyrics, can't seem to figure out if it is a hardcore song or a dubstep track. Where this tension works in some of their songs, here it clashes too much, becoming more irritating as the song progresses.

This constant genre hopping throughout the record can be exhausting at times, and makes for a whiplash type experience until the surprisingly tender electronic closer "Constellations." While I don't like to say how a band should sound, they should do whatever makes them happy, I do think pointing out the elements and songs that work best of them is fine. In this case, Enter Shikari's voice comes through much clearer when they take things down a notch. Reynolds has a surprisingly supple voice that serves the band well in whatever context they choose, and there are several tracks that showcase this talent well. I only wish A Flash Flood of Colour had more of a signature sound and vision, and didn't try to so hard to be edgy. Based on many of these tracks, I can't say the album is a failure at all. Indeed, I find myself going back to many tracks over and over again, and am hoping that with future releases the band will see where their strengths lie, and push towards that direction.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 79 Days!: SBTRKT - "Right Thing To Do"

2012-01-24T07:40:00.000-05:00

This was one of my top singles of last year. The bass line is perfection.

The Maccabees: Given To The Wild - Album Review

2012-01-23T09:49:00.000-05:00

The Maccabees
Given To The Wild
Rating: Grrrr

Sometimes I will admit I choose not to listen to something based on what bands other people say they sound like. A friend has told me for years to check out The Maccabees, and that they sounded like a cross between Elbow, James, and Coldplay. Not that I have anything specifically against those bands; in fact, I own records from each, and have some favorite songs here and there. But they aren't necessarily bands that I return to time and again. With the beginning of the year being a difficult time getting new music across my desk, I decided to set aside my initial disinterest and give Given To The Wild a listen. While the album is not going to win any points for complete originality, indeed, it gets to be a little too much "spot the influence" at times, there is an earnestness here that is appealing, and the production work from DFA heavies Tim Goldsworthy and Bruno Ellingham is sparkling and clear. Amazingly, I had no clue they produced the album until after I heard it, and in fact, would be hard pressed to have guessed so. The album eschews their traditional post-punk disco flourishes and analog buzz for crystal clear shimmer. The production work helps the band remain focused, delivering a tight set of 13 tracks, which oddly takes a slightly more experimental
bent further into the back half of the record, which seems to set the stage for new directions for the band to take. And by experimental, I don't mean in a Kid A sense, but rather, a willingness to do different things with vocals, harmonies, and odd time signatures.

The album begins with the gorgeously building "Child," which climbs from intricate, intertwined guitars and mid-tempo beat, adding horns and atmospheric keyboards, until the song erupts into a swirling frenzy near the end.

The Maccabees - Child by MelomanoiseMusic

On many of the tracks, the band seems to recall the tight interplay of bands like Foals and Yeahsayer, working together seamlessly and with power; from the shimmering guitars and brilliant rhythm section of "Feel to Follow,"

the driving pulse and haunted vocals of "Unknow,"

and the echoing percussion, twinkling pianos, and rush of guitars and horns in "Ayla."

There is an increased willingness here for allowing songs to take their time, embracing the use of a more subtle sonic palette. "Glimmer" indulges a gorgeous falsetto over moaning guitars and atmospheric samples.

The Maccabees - Glimmer by deardeerdash

"Go" appears to borrow from the sonic adventurousness of Wild Beasts, with soaring keyboards and pulsating electronics.

Standout album track "Slowly One" is pure perfection. Haunting strings buoy the gentle percussive backing and gentle guitars. Orlando Week's vocals are quietly touching.

The Maccabees - Slowly One by deardeerdash

There really is not a weak track in this collection, each song sits strongly on its own while also carrying through with the whole. It took me one listen to be intrigued by the record, and with each subsequent listen I pick out more and more things that pull me deeper into its spell. Given To The Wild is the sound of a band getting supreme confidence in their sound and their vision. It is sure to wrap you up in its warmth and never let go.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 80 Days! Miike Snow - "Cult Logic"

2012-01-23T08:11:00.000-05:00

Miike Snow's performance at Coachella 2010 was marred by horrible sound and one of the doucheiest crowds of the whole festival. It was a shame, because they have some great songs. I am hoping their performance at this year's festival will restore my faith in them. "Cult Logic" is an amazing track.

Coachella 2012 Countdown: 81 Days! Modeselektor - "Evil Twin"

2012-01-22T10:22:00.000-05:00

Some fun electro from Berlin based duo Modeselektor.

Coachella 2012 Countdown: 82 Days!: St. Vincent - "Cruel"

2012-01-21T10:09:00.002-05:00

Her show sold out so fast here in Atlanta I was unable to get tickets, so I am thrilled she is going to be at Coachella this year.

Videos of the Week

2012-01-20T10:35:00.001-05:00

What a long week for a short work week. Ready for a nice quiet weekend. Here are the week's videos that dry humped my leg:

Sweet, electro-pop song from Class Actress.

Beautiful, emotional song from Perfume Genius with a very interesting, minimal video starring gay porn star Arpad Miklos.

First song and colorful, day-glo video from Santigold's sophomore album. I am still not sold on the song yet, but the video is interesting.

The Maccabees aren't something I would normally be into, but their new album Give Into The Wild has been on repeat on my iPod lately. Love this sweet, simple song.

I'm also enjoying the new album from Bombay Cycle Club.

Frenetic video from Modeselektor (or as my friends Mikey and Dan call them Model Selector and Modeskeletor, respectively).

UMO - Thought Ballune from Jordan Blady on Vimeo.

Completely weird video from Unknown Mortal Orchestra.

Coachella 2012 Countdown: 83 Days!: WU LYF - "We Bros"

2012-01-20T07:45:00.000-05:00

Completely thrilled WU LYF is playing Coachella. From clips I have seen they put on a very dramatic live show.

Non-Sequiturs

2012-01-19T09:05:00.000-05:00

Yes, more handsome bears:

Although I do love the fact that people seem to like the Non-Sequitur posts, it does somewhat bother me that my other posts don't get as much traffic. Oh well.

I can appreciate you not wanting people to overstep bounds and make lewd or too forward comments to you on FB if you are married/partnered/in a relationship, but, honestly, what do you expect when 90% of your pics are shirtless, in leather, or in some other sexual pose? Sometimes, you can judge a book by its cover.

Thomas Jane, if that is what you look like with your clothes off, and this is what you look like with your clothes on, we have a problem. The problem goes away as long as you keep the abs and keep your clothing to a minimum.

It's always much more appealing to be the villain than the hero.

I really must be getting old and losing my memory. I have spent the past couple of hours at work trying to remember my assistant's name.

Yes, indeed.

Can an all-electronic music act "rock"?

There are several bands out there that have critical acclaim for one or more albums that I simply just don't understand. I will never get Neutral Milk Hotel, Of Montreal, or Slint.

Evangelical Christians seem to be doing an awful lot of judging others lately. I am so glad they are without sin.

Awwwwww.

It has recently come to my attention that I love wings. Any kind, type, or flavor. Totally addicted.

There are several movies that if ever they are on, I will always stop and watch it, regardless of where it is in the movie, and what I have to do: Out Of Africa, Dr. Zhivago, Auntie Mame, All About Eve, The Devil Wears Prada, any of the three original Star Wars movies, any Harry Potter movie, any Woody Allen movie pre-Crimes and Misdemeanors, Legally Blonde, Aliens, Laura, Another Country, Valley of the Dolls, Brief Encounter, Victor/Victoria, 84 Charing Cross Road, Silence of the Lambs, Gattaca, Singin' In The Rain, Lucy Gallant, any Douglas Sirk movie....the list is endless almost.

I'm a total sucker for any rags to riches movie.

I hate that I don't even feel like finishing the book I selected for my next book club. Sigh. I guess I should finish it.

It is absolutely painful watching someone workout who doesn't use proper form. Go pay for a trainer to get the information you need to workout properly, or at least pick up a fitness magazine or look at some videos on YouTube.

Congratulations to cutie comic Todd Glass for coming out.

If a band is heralded by NME, 9 times out of 10 they supremely suck.

Never ask someone a personal question if you are scared to hear their truthful answer.

On a similar note, people can really disappoint you when you find out who they really are.

Lyrics Rattling Around My Brain

"You are my hero
my brother and my good friend
now I've been bleeding
for three and a half years
you left such an impression on me
left on the debris
now I'm all fucked up
and sometimes I forget I miss you

I wish I had, I wish I had
77 ways to say no"

The Big Pink
"77"

"In every quiet moment
In every little silence
Every small reminder
Where you find her
With every left light on
Let alone
Every little loving word
Said out of love
Going cold

Little by little by little by little
I'm laid down"

The Maccabees
"Slowly One"

"Rolling up the windows of my '96 Buick
So the rain can't get inside of it
I have more dreams than you have posters of your favorite teams
You'll never talk me out of this

It takes more than I got to hold my tongue
You shot me with a wooden gun
And though the shot won't kill me it still bruises skin
that you don't believe in what your mouth runs

Get your cannons ready, light the wick
It will take more than an argument to change my mind
So why keep trying?
Keep trying, and you will never talk me out of it"

Youth Lagoon
"Cannons"

"Give up
Come to
No
We're through

No future, no past"

Cloud Nothings
"No Future/No Past"

Appealing Things

Madonna winning the Golden Globe for best song, after pissy Elton John badmouthed her before the awards ceremony
Season 2 of Downton Abbey
Long weekends
4 hour naps
Cloud Nothings
Civil arguments
Free mixtapes
Everything for Coachella taken care of: tickets, house, flight, rental car, and festival locker
Georgia House Bill 683 making it through committee favorably

Annoying Things

Elton John's cheap weave
Elton John's cheaper attitude
Albums that start out promising then exit with a whimper
Ty-Lor being booted off Top Chef
People who are still Poz prejudiced
40 degrees one day, 70 degrees the next; make up your mind

Coachella 2012 Countdown: 84 days!: Nero - "Innocence"

2012-01-19T07:26:00.003-05:00

I got to see half of Nero do a DJ set at the Identity Festival this past summer. While that was a lot of fun, thankfully they are doing a full live set at Coachella. Can't wait to see them. Love this song.

DropxLife: Further - Album Review

2012-01-18T09:47:00.000-05:00

DropxLife
Further
Rating: Yeah Daddy Make Me Want It

DropxLife, one of the producers on The Weeknd's latest mixtape Echoes of Silence, worked on "Initiation," the standout track for me on that release; a menacing track whose use of tense production and warped vocal effects clearly showed a producer in perfect control of mood and atmosphere. The Weeknd's Abel Tesfaye recently posted a free download on The Weeknd's Tumblr site for DropxLife's debut mixtape, Further. Those expecting tracks in the same vein may be slightly disappointed, as the album veers between dark trip-hop, post-dubstep, alternative R&B, and back again. The album flows by in a haze of atmospheric electronics and disembodied vocal samples, coming across like the love child of Clams Casino and Burial. Interesting that so many current hip-hop/R&B producers can release their music without vocals or rappers and have the music stand on its own, having more in common with IDM and other electronic artists than with the hip-hop community.

The best tracks on Further retain the hint of isolation and menace that characterized "Initiation." "TripxEnt" sounds like it was recorded on the deck of a failing starship, the lurching beat and clattering percussion echo all over the place as voices moan in the background and electronics whizz and whirr around the whole.

"1stxFlr" warps and twists its synths and guitars over a clipped beat.

I enjoy the rise and fall of the different elements in "BexForever," the strings never really allowed to reach a crescendo, always put on a rise. The rumbling percussion underneath adding just the right amount of texture.

The rest of the album could easily fit in the Mezzanine era Massive Attack catalog. Full of dreamy interludes and haunting instrumentation. "NuerxOld" drifts its aching soul sample through glassy, shimmering synths.

Vocals are stretched to their breaking point in "RedxBloor" evoking a sense of frustration and loneliness.

DropxLife - REDXBLOOR by PinBoardBlog

The drawn out strings and punishingly heavy beats and bass of "StillxShots" is a gorgeous reminder of how traditional and electronic instrumentation can create an elegant tension:

My only faults with Further are that some of the tracks meander, and adhere too much to the trip-hop template, but aside from that, it is a strong introduction to this producer, who shows he knows his way around a production suite. It will be interesting to see what he does with another artist or singer, and how well his productions mesh with them. Based on his one single with The Weeknd, it could be explosive.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

GXZWJVFUSSMA

Coachella 2012 Countdown: 85 days!: The Horrors - "Sea Within A Sea"

2012-01-18T07:18:00.002-05:00

Definite must see for me.

Cloud Nothings: Attack On Memory

2012-01-17T10:05:00.001-05:00

Cloud Nothings
Attack On Memory
Rating: Grrrr

I will admit that the debut album from Cloud Nothings was unmemorable to me. I actually had to go back and listen to it again in order to try and remember what their sound was like. Cloud Nothings was 11 blasts of short pop-punk that held no personality or interest for me, and was quickly forgotten amid much stronger releases in 2011. Almost a year to the day, they return with their second full length, Attack On Memory, and whether it is owing to a new found maturity or the production work from the legendary Steve Albini, this album is tighter and full of memorable hooks, and is balls out one of the best sounding rock records of the year. Albini gives the tracks more room to breathe, which is a mere 8 tracks, feel more substantial and not as slap dash as their debut. Previously, Cloud Nothings' sound perched precariously on the edge of twee. Muscular, and more strident, these tracks are full of coiled menace, ready to attack at a moment's notice.

Lead track "No Future/No Past" doesn't even sound like the same band at first. From a mournful beginning of pianos and ringing guitars, Dylan Baldi's voice calm and regretful builds in intensity with the rest of the band, as the song erupts later into furious swell of raging guitars and screaming vocals. It is certainly one of the most striking album openers of the year.

In the past, most of Cloud Nothings' tracks barely passed the 2:00 minute mark, which is blown out of the water here with the almost 9 minute "Wasted Days." For such a long track, it is surprising that it is not a moody number, full of odd twists and turns. Instead, it is a driving force of nature that only briefly stops at the mid-point for a atmospheric bridge before launching again into a hurricane of guitars.

There really is no shortage of killer hooks to go around on this record, which recalls many of the great alternative guitars albums of the late 80s from Pixies, Sonic Youth, and Dinosaur Jr. From the tightly wound guitars and sneering vocals of "Our Plans,"

the brisk pop-punk of "Stay Useless,"

to the angular fury of "Separation,"

there is a focus and purpose that was lacking previously. There is relatively little to criticize about Attack On Memory except that there doesn't seem to be a lyrical connectivity to these tracks, and it feels more like a compilation of great singles and not a true thematic concept. It is a minor detraction from an otherwise great record. Perhaps more "tweeish" bands should have their records roughed up and spit out at the hands of Mr. Albini, he seems to have the pulse, at least with Cloud Nothings, to take raw clay and make it into something brilliant.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 86 Days!: Dada Life - "Kick Out The Epic Motherfucker!"

2012-01-17T07:20:00.001-05:00

These guys look like a lot of fun. Doesn't hurt that they are cute as heck.

Download the free mixtape FURTHER from The Weeknd producer DropXLife

2012-01-16T16:26:00.000-05:00

Download the free mixtape from The Weeknd producer DropXLife here. FURTHER is a gorgeous set of dense, trip-hop recalling future R&B.

Azealia Banks with Machinedrum: "NEEDSUMLUV (SXLAND)"

2012-01-16T11:16:00.002-05:00

New track from 2012 "IT" girl Azealia Banks made with Machinedrum. The track can be heard and downloaded for free here:

She is going to kill it at Coachella this year.

The Big Pink: Future This - Album Review

2012-01-16T11:01:00.003-05:00

The Big Pink
Future This
Rating: Grrrr

Entering the music scene fully formed with their fantastic 2009 debut A Brief History Of Love, UK shoegaze revivalists The Big Pink obviously were not content to stay a cult act for long. Tracks like "Dominoes" and "Velvet" were arena-ready, full of booming drums and killer choruses, that spoke to their ambitions. After several years of touring the album and opening for bands like Muse (who wrote the template for exceeding one's modest beginnings), The Big Pink return with, while not necessarily a rehash of their debut, a slight progression, that is enough to keep the initial fans happy while opening their sound up to new fans. Future This is unabashedly a pop album for them. Almost eschewing the grinding guitars that populated the tracks on A Brief History Of Love, The Big Pink focus more on melody and beat, relying a lot more on keyboards and samples, using guitars for punctuation and not the main ingredient.

I've read a lot of reviews that comment how opening track, and first single, "Stay Gold" sounds a lot like "Dominoes," and yes, I can see the similarities, however, to me it seems more like a continuation from the first album. Acting as a touchstone before delving into the changes that the band is making. While the journey begins at the same point, by record's end it will be completely different.

"Hit The Ground (O Superman)" takes a brilliant use of a Laurie Anderson sample over funky beats and swooning keyboards, with a majestic chorus led by Robbie Furze's anthemic croon.

After this rather familiar start to the album, The Big Pink start trying new things, adding R&B samples and funk organ to the slippery "Give It Up."

"1313" adds gritty bass and more Britpop-esque shimmering guitars to a song whose focus is all about atmosphere and mood. And also shows that the band are no longer the heartless bastards from their debut, that they too are affected by love.

"Jump Music" rolls out over whizzing and buzzing synths, kicking into a banging club track, and hitting a bread and butter killer chorus.

Another change is that the lyrics and themes seem much more personal and affecting; no longer keeping the listener at arm's length, bringing them in closer. Title track "Future This" has Furze singing "I see now what you've always known/all hearts break when the light is faded/love runs faster than time," finally seeing the damage that his previous attitude could inflict.

Which all leads to the devastating final track "77," which is about the aftermaths of addiction, whether they be drug or emotional, with Furze's voice quavering, wishing he had the will to resist. The song is a lovely track, built on an echoing, hip-hop beat, plaintive pianos, and lovely strings.

Future This doesn't take its time making its intentions known. It is a BIG record, full of skyscraping production techniques, killer choruses, and music designed to get your attention. While some have complained they record doesn't do enough to differentiate itself from its predecessor, I think there is a distinct change as the record goes forward. While The Big Pink aren't playing stadiums right now, I think the question is more when will they, rather that could they?

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 87 Days!: Wild Beasts - "We Still Got The Taste Dancing On Our Tongues"

2012-01-16T08:10:00.002-05:00

Possibly my favorite band at the moment, I am thrilled to get to see Wild Beasts again.

Coachella 2012 Countdown: 88 Days!: At The Drive-In - "One Armed Scissor"

2012-01-15T10:46:00.000-05:00

I'm very excited to see the newly reformed At The Drive-In. They always put on an intense live show.

Coachella 2012 Countdown: 89 Days!: Pulp - "Common People"

2012-01-14T07:09:00.001-05:00

I can't wait to see the recently reunited Pulp perform. This is one of my favorite songs of theirs.

Videos of the Week

2012-01-13T09:39:00.003-05:00

The videos this week that restored my faith in the universe:

Very excited about Coachella, especially when I get into a new band I haven't noticed much before. I'd heard of Scotland's We Were Promised Jetpacks (best band name ever) but had never given them a listen. Thank dog I did; this is some wonderful post-punk guitar power pop.

A Place to Bury Strangers "So Far Away" from Secretly Jag on Vimeo.

New video from noise purveyors A Place To Bury Strangers.

Swedish punk band Refused have reformed for Coachella 2012. Might have to check them out.

Funny video from Real Estate. Love this shimmering pop track.

Memory Tapes 'Trance Sisters' from Ooh Brilliant on Vimeo.

An Alphaville meets THX-1138 vibe runs through this video for standout single "Trance Sisters" off of Memory Tape's album Player Piano.

This track from Austra really showcases her unique vocals.

Coachella 2012 Countdown: 90 days! We Were Promised Jetpacks - "Medicine"

2012-01-13T07:31:00.000-05:00

I've just started listening to We Were Promised Jetpacks, and I've been surprised I haven't listened to them earlier. I love their dark, guitar pop, and I am a sucker for a thick Scottish burr.

Non-Sequiturs

2012-01-12T10:16:00.000-05:00

More random hot bears for your own musing.

Funny, I had a pic up here of some random bear that was really hot. Then coincidentally the guy friended me on Facebook. I guess I should have just asked him if I could post the pic, but I thought that might be a bit gauche.

Stupid, yet brilliant in its simplicity.

It's generally a true statement to say that if you want something done right you have to do it yourself.

This made me chuckle.

Some people need to have a translation for things they post on Facebook. I have no idea what they are talking about or trying to express.

Uh huh.

I have started my annual countdown to the Coachella Festival, which for some reason seems to annoy people when I post one video a day about it. All I have to say is, if you don't like it, there is a button called Unfriend. Thanks!

Why do all the big Bear events around the US always use the same 3-5 models for their advertising?

I was a little bit disappointed with the new episode of AbFab. It was fun seeing the characters back, but it seemed a bit long in the tooth.

I love the word vigor.

Lyrics Rattling Around My Brain

"A time to laugh, a time to cry
and beat the darkness into light
we'll write our names across the town
up is up and so is down

Forgive your lovers, but don't forget their names
and let their spirit remain
stay gold, gold"

The Big Pink
"Stay Gold"

"Sugar hiccup, hiccup, sugar hiccup
Makes the earth tough and tumble
Sugar hiccup, heavens curtsy and bow
Sugar hiccup, makes a pig soar and swoon"

Cocteau Twins
"Sugar Hiccup"

"The blinds here are so sharp and they cut
The light from a primitive sun.
You know, I really wanted her.

Society thinks so highly of
For I lost the sight of her

My man, he quietly closes the door.
Now the pharaoh has woken.
My hands, I feel like I've been here before.
She has already spoken."

Miike Snow
"Devil's Work"

"Help the aged
One time they were just like you
Drinking, smoking cigs and sniffing glue.
Help the aged
Don't just put them in a home
Can't have much fun when they're on their own
Give a hand, if you can
Try and help them to unwind
Give them hope and give them comfort
'cause they're running out of time."

Pulp
"Help The Aged"

Appealing Things

Coachella 2012 lineup being released
The Big Pink
Buffalo wings
My new Macbook Pro
Listening to new music and bands I've never heard before in anticipation of the festival
House Bill 683

Annoying Things

Fortune 500 companies with such vastly complex divisions that it takes over a week to get a check cut
Being sore again from the gym
Using the wrong guard on my beard trimmer
People who are chatty in the bathroom
"Christians" who claim they are defending the Bible’s values, when they’re only using the Bible to defend their own
No Stone Roses at Coachella

Coachella 2012 Countdown: 91 Days! The Big Pink - "Stay Gold"

2012-01-12T07:34:00.001-05:00

I'm really excited to catch The Big Pink this year. Their new album Future This is really great.

Seekae: +Dome - Album Review

2012-01-11T11:24:00.001-05:00

Seekae
+Dome
Rating: Grrrr

Finding a middle ground between avant electro/guitar based bands such as Battles and PVT, and more anchored IDM fare from Boards of Canada and Aphex Twin, Aussie trio Seekae (pronounced C.K.)locate a delicate balance of electronic experimentation and more traditional rock instrumentation. Akin to recent releases from Mount Kimbie and the LA Beat scene promulgated by Flying Lotus, +Dome is a restlessly experimental album that never fails to feed the brain while also making emotional touchstones. The album draws from a multitude of influences; there are hints of J Dilla hop-hop beats, Black Dog/Plaid style IDM layering, pastoral IDM, and a host of other genres. This is not to say the album is scattershot or schizophrenic; everything is used in service of the track and the flow of the album. The tracks are pretty split evenly from more beat heavy, dense explorations and quieter, ambient leaning compositions. While these quieter tracks balance out the more experimental nature of the album, it is these more aggressive tracks that draw me back again and again. The delicate, traditional opening guitars of "3" lead into dense layers of distorted synths and thumping beats, which then morph into an amazing crescendo of rising keyboards before the beats take over once again.

"Gnor" uses live drums to give the track and interesting edge, the deceptively quiet track ramps up the throbbing bass and keyboards at the end.

The gentle nature of most of the tracks is completely upended with grinding Beat Music scene drum programming, harsh bass buzz, and almost proto-industrial/hip-hop kick of the track "Yodel."

The more ambient, instrumental tracks have so many hidden treasures, each listen unveiling something new. The title track "+Dome" is a beautiful layering of shuffling beats, drone piano, clattering percussion and distorted vocal samples. The real drums add a nice contrast to the electronics, providing warmth and propulsion.

"Blood Bank" slides along on a trippy beat, with high-pitched synth lines and a sing-songy, manipulated vocal sample.

Seekae - Blood Bank by Machining

"Mingus" builds from a muffled beat and angelic choral synths, stepping up the beats and background atmospherics, rising into a furiously dense mix of electronics.

The pacing of the album suffers a little towards the end, when the last three tracks almost ditch the beats altogether, forming a coda of ambient washes. From the plaintive drones of "Rock's Performances," to the final acoustic guitars and hazy vocals of "You'll,"

the tracks sort of fade the album out a little too gently. I was hoping for a more bang than a whimper, however, when the soundscapes are as good as they are on +Dome, it is a minor quibble. Seekae show they definitely know how to play with their sound and take it bit by bit towards something new and exciting. There is a nice playfulness and willingness to follow their sound down whatever path it takes. While this is a hair short of being a masterful work, I see brilliant things for this talented band in the future.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Coachella 2012 Countdown: 92 Days! Amon Tobin

2012-01-11T07:28:00.002-05:00

Today starts my official countdown to Coachella 2012. If this performance clip is any indication, Amon Tobin's set is going to be a Friday highlight.

Coachella 2012

2012-01-10T14:17:00.002-05:00

Surprisingly, we received an early present from Goldenvoice and got the lineup almost a week early. Once again, the list of acts is creating lots of moaning and groaning about too many repeat acts and not enough of certain other bands. When it gets down to it, there are plenty of bands I want to see, and it is sure to be a fun festival again. Below are the bands I am anticipating seeing (subject to random and willy nilly changes and substitutions):

Friday:

Pulp, Explosions In The Sky, M83, The Horrors, Frank Ocean, Datsik, Yuck, Neon Indian, Death Grips, WU LYF, and Feed Me.

Saturday:

Radiohead, Miike Snow, fIREHOSE, St. Vincent, Sub Focus, SBTRKT, Flying Lotus, Azealia Banks, A$SAP Rocky, Buzzcocks, tUnE-yArDs, The Big Pink, and Borgore.

Sunday:

At The Drive-In, Justice, La Roux, The Weeknd, Girl Talk, DJ Shadow, Nero, Modeselektor, Porter Robinson, Santigold, Flux Pavilion and Dr. P, araabMUZIK, Real Estate, NOISIA, Metronomy, Wild Beasts, and Gardens & Villa.

Zomby: Nothing EP - Album Review

2012-01-10T10:32:00.003-05:00

Zomby
Nothing EP
Rating: Meh

Relatively mysterious UK producer Zomby moves easily between so many genres it is difficult if not impossible to peg him into any one camp. From the rave reminiscing of Where Were You In '92? or his 4AD label debut Dedication that spun densely layered beat explorations, Zomby doesn't sit still for long. Ever restless, Zomby has released Nothing, a 7 track EP made up of apparently unused tracks from the Dedication sessions, however, it mostly feels like a merging of his two most prevalent styles, the breakbeat rave compositions and his more beat intensive work. Unfortunately, Nothing comes across more like a hard drive dump than a truly cohesive collection. Many of the tracks end abruptly, harshly flow into each other, or feel like sketches that need to be fleshed out more. There are some good ideas here, but you can see why they were left off either album; they just don't fit correctly. Despite these flaws, if you listen to the tracks as just individual pieces and not part of a collective whole, you will derive a better experience.

I find I am more partial to the rave-influenced tracks. The dense beats and drum and bass breaks of "Ecstacy Versions" bring back the rush I felt when listening to Where Were You In '92? All I have to do is hear that diva wail and air raid siren to be pulled back into the hazy club atmosphere.

"Labyrinth" evokes the dreamy, ambient techno and rave of 808 State and Altern 8.

While "Sens" is all hyper break beats and skittering samples.

The more esoteric tracks would have had more impact if packaged separately. You can see their link to his work on Dedication; the more skeletal beats and programming, shimmeringly repetitive synths, and a mood less of exaltation, and more of introspection and loneliness. "Trapdoor" hypnotically weaves a pattern of modulated synths and atmospheric washes.

"Digital Fractal" builds off a stuttering 2-step beat, gently adding deep bass and layers of analog keyboards.

The two worlds semi-collide on the busy "Equinox," featuring whiplash programming, bloopy synths, and a tense feeling of paranoia.

Nothing is definitely a stopgap EP before the next full length from Zomby. It really doesn't showcase a new direction or feed off any one genre. It merely is a compilation of very disparate tracks that just never coalesce together into something unified. There is nothing wrong with this approach if the individual tracks can stand on their own. As such, these mostly sketches never really take off and bring the listener to a new place. While I can appreciate these tracks, they only make me long for a more definitive statement.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Gary Numan: Dead Son Rising - Album Review

2012-01-09T09:29:00.001-05:00

Gary Numan
Dead Son Rising
Rating: Yeah Daddy Make Me Want It

When do you stop assessing the work of a legend? Can you always hold them up to a higher standard, or does there come a time where you just have to appreciate them for what they are and leave it at that? I commented a while back that most bands/artists have, at most, 2-3 really good albums in them (of course there are many exceptions to that rule), and then they either coast along the memory of those classics, fade into obscurity, or attempt last ditch efforts to regain popularity. Gary Numan was one of the biggest innovators in the late 1970's and early 80s bringing synthpop to the masses. While a huge pop star in the UK and Europe, Numan is mainly thought of as a one hit wonder for his ubiquitous smash single "Cars." It is a pity really, because his music and icy, alien stage persona influenced many bands throughout the 80s and 90s, and even now. Without him, there would not have been the rise of alternative industrial pop music from the likes of NIN and Marilyn Manson. So giving credit where credit is due, I think we can give Numan a break and allow him to somewhat coast on his laurels for awhile, and even steal a little from the NIN playbook. The songs that make up Numan's latest release Dead Son Rising apparently were culled from many phases of his career, and updated for a more modern sheen. Back during the NIN Wave Goodbye tour, Numan made several guest appearances and reportedly worked with Reznor on some tracks. While the album is produced by Ade Fenton, most of the tracks have a heavy feeling of The Fragile about them. As such, the album breaks no new ground, but any new material from Numan is good thing, and there are plenty of good tracks on here.

Dead Son Rising starts off strongly with the brooding instrumental opener "Resurrection" which erupts into the electro-industrial stomper "Big Noise Transmission," which feeds off grinding NIN-esque guitars.

The remaining tracks flow back and forth between moodier fare, using a lot of atmosphere, and keeping most abrasion to a minimum. From the slow build of "Dead Sun Rising,"

to the gorgeously lonely piano ballad "Not The Love We Dream Of" which almost sounds like a b-side from The Fragile,

to the quiet beginnings of "When the Sky Bleeds, He Will Come," which hides its furiously dense midsection lying in wait.

The ghost of Trent Reznor haunts almost every track. It almost becomes like a parody at times, however, Numan is such a skilled artist that regardless of any intentional or unintentional bow to Reznor, it still comes out sounding like a Numan record. Tracks like "For The Rest of My Life" which borrows a typically Reznorian distorted beat, and plucked acoustic guitars, still doesn't swallow Numan whole, allowing his dispassionate delivery to shine through.

The record is very solid throughout the beginning and the middle, however, at the end, it gets mired in uninspired instrumentals like "Into Battle," or needlessly offers up bland, ambient reprises of previous tracks. The momentum that was steadily building falls apart at the seams. But, at this stage in his career, Numan can pretty much get away with whatever he wants to do. And there is enough strength in this material showing that Numan will likely be around for a long time.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Videos of the Week

2012-01-06T08:24:00.001-05:00

I'm still trying to get back into the swing of things post-holidays, and it has been difficult. Even worse is the beginning of the year doldrums where not much new material is being released. My usual stockpile of reviews has dwindled down to danger levels, so I may be scraping the bottom a while with releases from last year that never made it to my iPod. Same case with videos, there hasn't been much coming out, so there might be several things on here that are either old. But anywho, here is what caught my attention this week:

Rumored to be playing Coachella this year, WU LYF is definitely on my must see list. Here is there American TV debut on Letterman. I love the singer's hair.

Confirmed at Coachella, Azealia Banks brings out the sass. Can't wait to see her.

Another confirmed artist at Coachella, AraabMuzik looks to put on an amazing show. This live clip is incredible.

Youth Lagoon - July from Tyler T Williams on Vimeo.

The second video off Youth Lagoon's The Year of Hibernation album is another cinematic triumph. It is nice to see an artist embracing a more story-telling side to the medium instead of a standard performance clip.

I will admit I am not the biggest Scissor Sisters fan. I enjoy them, but I don't get all crazy about it. Their last album did almost nothing for me. But there is something about this song that I can't get out of my head. Total guilty pleasure.

Speaking of guilty pleasures, I love me some Rihanna.

Non-Sequiturs

2012-01-05T11:14:00.000-05:00

Some random sexy muscle bear.

Tony Sylvester, frontman for Turbonegro, plus-size fashion model, and editor for GQ UK. Hot bear!

Saying "Sorry I almost forgot" usually means "I forgot and I really didn't care to begin with."

I don't find any real satisfaction in running or riding a bike.

I hate this time of year, because there is almost no new music being released. I am almost having trouble finding things to review.

Victor Garber and his handsome partner, Rainer Andreesen.

If someone's first and last names can both be used as first names, it is inevitable that I will get them out of order, even if I have known the person for years.

We watched Tron:Legacy last night. What a pile of ridiculous garbage.

Lyrics Rattling Around My Brain

"Happiness exists, when you don't know a thing
So I hope you don't think this song is about you
And only I can know, how close you came
But baby I'm a pro at letting go
I love it when they come and go
But it could have went so many ways, so many ways it can go
Cause ain't nobody feels the way that I feel when I'm alone
So If I said that I won't call then that could come natural to me
You probably could have had it all you could have been that lonely star"

The Weeknd
"Montreal"

"Don't make me sad,
Don't make me cry
Sometimes love is not enough,
And the road gets tough, I don't know why
Keep making me laugh,
Let's go get high-
The road is long,
We carry on,
Try to have fun in the meantime

Come and take a walk on the wild side,
Let me kiss you hard in the pouring rain,
You like your girls insane

So, choose your last words
This is the last time
'Cause you and I,
We were born to die"

Lana Del Rey
"Born To Die"

"Shattered pieces on the stitches of our underfoot
you're impatient from the prophecies we undertook
our plan to sacrifice this drive
you say goodbye
goodbye

We should wait until they arrive
to open the door on another life

We've been waiting for this all our lives
we should wait until they arrive
I wont be gone

I wont be gone
we've just begun
I wont be gone"

Liars
"Houseclouds"

Appealing Things

Actually having a fun New Year's Eve
Downton Abbey
Project Runway Allstars
Coachella.com starting to post videos of this year's acts
WU LYF's lead singer's hair

Annoying Things

Partners who call you with work at 5:30 on a Friday of a holiday weekend.
Tron:Legacy
Too much work stress
Taking the dogs out when it is 20 degrees, brrrrrrr
Burning dinner

Atlas Sound: Parallax - Album Review

2012-01-04T11:55:00.000-05:00

Atlas Sound
Parallax
Rating: Yeah Daddy Make Me Want It

I hate this time of year, mainly because there is a dearth of new releases at the beginning of the year, and I am usually scrounging around looking for something to review. So, I am going back and reviewing some albums that either came out too late to really include in the end of the year posts, or albums that initially left me lukewarm, but have grown on me. Case in point, the current album from Deerhunter's Bradford Cox's side project Atlas Sound, Parallax. It has been in my playlist for a long time, and I have always enjoyed it, but it never really stayed with me afterwards. Atlas Sound used to be Bradford's more ambient/electronic, experimental outlet outside his work with Deerhunter. Over the past few years though, as Deerhunter's sound and aesthetic have changed from being abrasive and off putting to being practically refined and genteel, Atlas Sound's sound has adapted as well. Parallax is a collection of mostly guitar based pop songs, drawing from pop and rock from many different eras, from the 50s onward. As a result of this new glossy sound and production, the project looses some of its distinctiveness, however, it shows what a strong and focused songwriter Bradford has become.

The shock comes from gorgeous tracks like "Mona Lisa" which is likely the most shimmering pop tune he has ever created. His voice, reverbed and distant, a nice contrast to the jaunty beat and pianos.

"My Angel Is Broken" is a lonely, guitar driven travelogue. You can smell the miles of dirt and grime.

"Terra Incognita" is held close the vest, his voice a near whisper, over gentle, interlocking acoustic guitars.

"Lightworks" takes a stuttering, modern beat, then overlays 50s reverb heavy guitars over it, for a nice contrast.

Although there is a more refined sensibility at play here, there is still a streak of experimentation going on, which keeps the album fresh and new. "Te Amo" features lots of interplay between keyboard melodies and background atmospherics, and has a particularly striking vocal turn from Cox.

"Praying Man" has a dusty, echoing quality, that is the perfect update to 50s pop songs.

"Doldrum" hearkens back to earlier Atlas Sound, a lovely ambient track full of treated pianos and lonely vocals. Title track "Parallax" again takes the reverb guitar and places it over dense electronics.

There is still a disconnect for me with the album as a whole. A lot of the tracks drift in and out of each other, sounding more like a compilation of tracks rather than a cohesive work. Despite this, Parallax works rather well, and is always haunting the outside reaches of my mind. It will be interesting to see where Cox takes this sound next. Based on this and his current work with Deerhunter, it appears to be on a collision course.

Rating Scale:

Chilfos: masterpiece; coolest thing I've heard in ages.

Woof Daddy: excellent; just a hair away from being a masterpiece.

Grrrr: very good; will definitely be considered for my top releases of the year.

Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.

Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.

Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.

Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

Sully: Carrier - Album Review

2012-01-03T10:04:00.000-05:00

Sully
Carrier
Rating: Grrrr

Sully, a.k.a. Jack Stevens, best known for the purple-jungle hybrid "In Some Pattern," quietly released his debut album Carrier at the beginning of November last year, and it has slowly inched its way deep into my subconscious. For one, it is a record that subverts expectations, beginning with some of the most detailed garage/2-step productions of the year, then subtly making its way down the rabbit hole, ending up focusing on the darker, more experimental side of UK bass music. The record starts out firmly in garage territory, kicking off with the one-two punch of "It's Your Love" which bounces off Burial-esque blocky beats, echoed vocal samples, and dub bass,

and "2 Hearts" which ups the BPMs, and manipulates the vocals almost to siren like levels. I really love all the little details going on in the background.

After then laying down the aforementioned track "In Some Pattern," which still intrigues, with its whip-smart drum programming, and blaring synths,

the album starts taking a darker turn. From the deep, pounding basslines of "Let You,"

the creepy, paranoia of "Scram,"

or the stuttering "I Know," which takes from Burial's vocal sample manipulations but makes them jittery and claustrophobic.

The back half of the album is all nervous energy and haunting atmospheres. There really is no way to tell what direction Sully is going on these tracks. Each one is completely different, and yet, still flows together well. From the delicate longing of "Trust," whose tightly wound vocal samples contrast sharply with the gentle pianos and washes of synthesizers,

to the clunky piano rolls and drum programming of "Bonafide" which morphs quickly into a lonely mix of synths and muted bell rings,

and winding things up with the Blade Runner cribbing "Exit," featuring moaning vocal samples and Vangelis-like keyboards over skittering percussion.

Carrier is a album that has a good entry point, and then takes you the most unexpected journey. It takes awhile to get the feel of the album down, as the experimentation of the back half tends to throw off the rather crowd pleasing beginning. But for me at least, that is why I love the album so much. If Sully had continued in the vein of the first few tracks, it would have been just merely a decent album, but the adventurous second half truly makes this album a great one.

Rating Scale:
Chilfos: masterpiece; coolest thing I've heard in ages.
Woof Daddy: excellent; just a hair away from being a masterpiece.
Grrrr: very good; will definitely be considered for my top releases of the year.
Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.
Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.
Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.
Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

The Weeknd: Echoes of Silence - Album Review

2012-01-02T08:43:00.000-05:00

The Weeknd
Echoes of Silence
Rating: Woof Daddy

Capping off a whirlwind year of almost unbearable hype, two mix tapes, mysterious videos, collaborations with Drake, and a hundred different remixes, Canadian collective The Weeknd finish up their mix tape trilogy with Echoes of Silence, which can be downloaded for free here. Where House of Balloons reveled in its luxurious tales of debauchery, and Thursday almost collapsed under its industrial cacophony, Echoes of Silence is akin to the long walk home from a night of excess. More muted and, dare I say it, more accessible than the previous installments, Echoes of Silence is perhaps the easiest entry point to The Weeknd, but is still uniquely The Weeknd. The focus this time is less on sonic exploration and more on Abel Tesfaye's gorgeous falsetto. Indeed, I had never really noticed how closely his voice comes to Michael Jackson's until this release and his stunning cover of "Dirty Diana," retitled here as "D.D."

Where the original track is all stadium ready, 80s hair metal guitars, The Weeknd reign things in somewhat, adding a more industrial sheen with buzzing bass lines and booming drum machines, and of course, Tesfaye's amazing falsetto.

For the most part, this album shows a stunning restraint that gives a little insight into where The Weeknd is heading. Not to say that their sound or aesthetic is getting more mainstream, if anything, the mainstream is just now catching up to and incorporating their sound (witness the rise of artists like Drake). Their sound, if you can call it more mature, doesn't seek to shock for shock's sake, instead, letting the track unfold in keeping with the theme and mood. "Montreal" is pure gorgeousness. Over an insistent beat, lonely atmospherics and piano, Tesfaye recounts a lover's regret over a failed relationship, intoning "Cause ain't nobody feels the way that I feel when I'm alone."

Where previously, the narrator of the tracks would have absolutely no conscience about getting what they want from a woman, the song "Next" shows that somewhere deep inside the narrator does have feelings, trying to convince himself he is not in love by denigrating the stripper he obsesses over, knowing she only wants him because he's next.

This is not to say that there aren't still The Weeknd tracks of old. The most adventurous track, and actually the most exciting track, is the menacing "Initiation." Detailing the corruption of his girl into the debaucherous pleasures of drugs, drink, and sex, Tesfaye's voice is pitch shifted and twisted into demonic layers as his girl falls deeper into the well.

"XO/The Host" recounts the tale of a girl coming back to her enabler, who has no qualm with taking advantage of her, singing "If they don't let you in/You know where to find me/And if you wanna go again/You can always call me."

While I still love these kind of lascivious tracks, the most telling thing about The Weeknd is that, ultimately, they don't want to be pigeonholed into being "the band that sings about drugs, sex and booze." On tracks like the title track, what it ultimately comes down to is that people do what they do so they are not alone, and most people are too afraid to admit that to anyone, even themselves.

Echoes of Silence is the perfect ending to the trilogy envisioned by Tesfaye. I will admit I was nervous after Thursday came out because it seemed like he was taking his aesthetic too far in one direction, but it all comes back with this release, and makes my rather tepid review of Thursday seem premature. In the context of the trilogy, each album serves a single purpose that in turn illuminates the whole. Echoes of Silence is more exciting proof that The Weeknd is the artist to watch in 2012.

Rating Scale:
Chilfos: masterpiece; coolest thing I've heard in ages.
Woof Daddy: excellent; just a hair away from being a masterpiece.
Grrrr: very good; will definitely be considered for my top releases of the year.
Yeah Daddy Make Me Want It: good; definitely invites further listens and peaks one's interest for more material.
Meh: not horrible, but certainly not great; could have either been polished, trimmed, or re-thought.
Jeez Lady: what the hell happened? Just plain bad. They should hang their heads in shame and be forced to listen to Lady Gaga ad nauseam as penance.
Tragicistani: so bad, armed villagers with pitchforks and torches should run the artist out of the country for inflicting this abomination on the human race.

2011 Albums of the Year: 10-1

2011-12-29T15:24:00.000-05:00

And finally, we reach the end of the year and my 2011 Albums of the Year, numbers 10-1:

10. Belong - Common Era

I am a shoegaze addict. I admit it, and I am not ashamed of it. Generally, if I read a review and it even mentions the term, I will likely buy it. Doesn't mean I will necessarily like it; I have lost count of how many bands have been poor imitators of my heroes My Bloody Valentine, Ride, Lush, Slowdive, and Swervedriver. But the call of the genre always at least peaks my interest. I was astonished to hear that New Orleans drone duo Belong had released their follow up to October Language (a classic of ambient glitch drone) and it was a shoegaze record. Belong has been very restless with their sound; moving from ambient drones to more song based structures. Common Era wears its influences on its sleeve, but I think there is enough originality in it, especially with the more drone-like atmospheres. Besides, I just can't stop listening to it. It just beautifully encapsulates a mood for me.

9. Clams Casino - Instrumental Mixtape

New Jersey producer Clams Casino is best known for his work in the "based music" genre, usually associated with Lil' B, mixing laid back free-assocation lyrics with stoner beats, stretched out samples, and dense production work. The blueprint for this style is Lil' B's single "I'm Am God," featuring his drawled delivery over a manipulated sample of Imogen Heap's "Just For Now." Clams Casino has released a mixtape of instrumentals he has put together for artists like Lil' B, Soulja Boy, and Squadda B sans vocals; putting his music out front without the rapping is an interesting concept, one that works surprisingly well. On their own, the intricacies of his productions are more apparent, standing tall alongside releases from electronic masters like Burial, Flying Lotus, and Mount Kimbie. As with "I Am God," Clams Casino is still working with samples, folding and manipulating them into something unique and different. Whether it is taking Bjork's "Bachelorette," on "Illest Alive," cutting and elongating it, pushing it through a killer hip hop drum loop, Janelle Monae's "Cold War," taking the drama and tension of the original and looping it into a paranoid fantasy; or "Realist Alive," drawing out a sample from Adele's "Hometown Glory," turning his own piece into something gorgeous and haunting

8. Burial - Street Halo EP

It's been almost four years since the release of Burial's landmark album Untrue. Might as well be 4 decades in the electronic music world considering how fast trends and genres change and mutate. While there will likely always be imitators of his distinct sound, Burial will never be duplicated. In a flurry of activity over the past few months, Burial has released several new projects. Whether producing and advising material on Jamie Woon's debut cd Mirrorwriting, or collaborating with Thom Yorke and Four Tet on a single, he has whet people's appetite for the follow up to Untrue. If anything, these three tracks reveal that Burial is still working with the same minimal palate, but is pushing outside the framework. The songs are distinctly Burial tracks, however, there are subtle differences in approach. Still notable is how, even on three tracks, he can so easily evoke moods of isolation and darkness.

7. Active Child - You Are All I See

Active Child (Pat Grossi's one man project) follows up the Curtis Lane EP with his full length debut, You Are All I See, which streamlines the angelic dream pop of the former into a gorgeous collection of tracks that hover on the edge of precious, but always retain an edge of distant melancholy that keeps the project from becoming cloying. Grossi, harpist and former choir boy, doesn't really fall neatly into a genre at all, the songs here draw equally from chillwave, shoegaze, dream pop, fractured R&B, and gauzy electronica, all of which are bound to each other by Grossi's gorgeous falsetto (sounding like a distant cousin to Antony Hegarty) and trills of heavenly harp.

6. Tim Hecker - Ravedeath, 1972

The album cover is a striking image of the first piano drop at MIT. There is an amazing tension at play with the piano perilously perched on the edge of the building just before it plummets to the ground, shattering into a million pieces. Ambient-drone artist Tim Hecker found this photo while researching images of the tremendous amounts of digital garbage in the world: piles and piles of used up CDs, floppy disks, and other effluvia. Hecker claims "there's some connection between the computerized engineering that led to the codification of MP3s and music's denigration as an object and thus a viable means of economic survival." Thus, Ravedeath, 1972 is Hecker's comment on how music (specifically electronic music) in the digital age is becoming more homogenized, sanitized, and sterile. Hecker attempts to bring back a solemnity and purity to music, recording the album in one day in a church in Rekjavik, Iceland, using an old pipe organ as the basis for the 12 tracks. All of the pieces are dense, sculptural, and breathtakingly beautiful. The album is divided into shorter, singular tracks that are almost a battle between organic, analog elements and harsh digital effects, evoking the tension of the album cover photo; and longer suites of music that are simple and haunting.

5. Rustie - Glass Swords

Glasgow based producer Rustie's debut album Glass Swords doesn't care if you think it is the most cerebral album of the year. The motive is not the brain but the feet, and it succeeds wildly in creating its own universe of euphoric party music. Whether you want to call it rave, grime, two-step, garage, wonky, dubstep, aqua-crunk, etc., it doesn't really matter, as Rustie barely takes a breath through 13 tracks, whiplashing through every genre possible. What strikes one the most with this album is simply the exuberance of the music, the sheer joy that emanates from every pore. Every track is packed to the gills with ideas and sounds, and each time it threatens to get too cluttered, Rustie seems to instinctively know when to pull back. There is not a dull moment or weak track on this album, and is perhaps the most exciting electronic album of the year.

4. Phantogram - Nightlife EP

After touring relentlessly for the past two years in support of their debut album Eyelid Movies, New York duo Phantogram (Sarah Bartel on vocals/keyboards and Josh Carter on vocals/guitars) have returned with the 6 track EP Nightlife. There is no drastic change to their trip-hop inspired electro-pop, which they have deemed "street beat, psych pop." Street beat is sort of an apropos name to describe their sound, as it easily could be a soundtrack to late night taxi rides in Manhattan; gritty, over-saturated, world-weary. While the sound has not changed much, what has changed is the focus and breadth of the tracks. No longer does it just feel like the work of two people. There are so many details lurking within these tracks, that are revealed slowly over multiple listens.

3. Gauntlet Hair - Gauntlet Hair

Denver, Colorado art-punks Andy R. and Craig Nice are all about fractured noise. Their debut album takes heavily reverbed everything (vocals, guitars, drums, keyboards), and throws it all together, watching the various elements smash into each other, creating odd textures and sensations. Someone asked me to succinctly describe their sound and it was practically impossible. You hear snippets of Vini Reilly's pointillist guitar technique, Animal Collective's lurching, sonic experimentation, Sleigh Bell's cavernous beats, and all of the shoegaze bag of tricks. There are not a lot of stylistic changes over the course of the record; indeed, the nine tracks are all basically variations on a theme, which can be the album's curse and saving grace. Strangely, you can basically enter the album at any point and get the same impression from it. You will either fall in love with its spell, or be put off by the somewhat murky recording techniques. I have been entranced with this record from the moment I heard it. It is a record to get lost in.

2. The Weeknd - House of Balloons

At the beginning of 2011, mysterious Toronto R&B collective The Weeknd, the project of 20-year-old singer/ songwriter Abel Tesfaye, teased us with several singles, then releasing a free mixtape, House of Balloons, that can be downloaded here. The 9 songs are generally long, slow jams; creating a sustained mood of desperation, emptiness, and doubt. The music is lush and haunting, perfectly coinciding with the hedonistic tales set forth. House of Balloons is all about mood. Frequently oppressive, steeped in loneliness, the narrators in the songs searching for pleasure to compensate for the emptiness that is never filled. It is a difficult album to listen to straight through, as there is little joy or light in this dark world. This singular approach, however, works, and the production and song writing quality is so strong, it cannot be dismissed.

1. Wild Beasts - Smother

Over the course of now three records, Wild Beasts have spent their time dwelling on the romantic/philosophical/debaucherous nature of sex, particularly the debaucherous side. Their debut Limbo, Panto, dealt with themes of sexual depravity and vulnerability, lead singer Hayden Thorpe's ear-shattering falsetto playing with expectations of gender. It was a striking debut, one of the few records in 2008 that sounded like nothing else out there. Aside from a couple of more pop-oriented numbers, most of the album felt like a cabaret act on crack. It was an exhilarating listen, but also exhausting. Two Dancers, the follow up, was still sex obsessed, but charted new waters, being more subtle in their approach. The album was a major leap forward as the band reigned in their all for broke style and focused on their strengths. The most notable change was Thorpe's voice. While still one of the most distinct voices out there, he showed more control over his wild flights of fancy, even giving over several songs to bassist Tom Fleming's deep bass/baritone, which couldn't have been more different, providing a nice counterpoint to Thorpe's more distinct style. Based on the Mercury Prize nomination and widespread critical acclaim for Two Dancers, all eyes, and ears were on what Wild Beasts would come up with next. Smother finds the band in complete control, slightly altering their sound, creating a set of songs that work as a whole, yet stand alone perfectly. The album shares more with Two Dancers than Limbo, Panto, and while some fans will likely bristle at the band's neglect of its more fanciful sojourns, Smother shows a mature sound (read more complex and agile, and not boring or fuddy-duddy), placing them, in my mind, in line with Spirit of Eden era Talk Talk, forging a new path ahead for themselves. Smother is gorgeous and sensual album that unfolds like a lovers' assignation, furtive and stumbling at first, building to almost unbearable levels of passion, then over much too quickly, sending you out into the dark night, forever damaged and scarred.

2011 Albums of the Year: 20-11

2011-12-28T10:47:00.000-05:00

Getting closer to the number one album in my list of 2011 Albums of the Year. Here are numbers 20-11:

20. WU LYF - Go Tell Fire To The Mountain

In this Internet age where you can find out basically everything about anything or anyone, it is a bit refreshing when something maintains a bit of mystery. WU LYF (or World Unite/Lucifer Youth Foundation) is a gang of Mancunians who don't have a Facebook/MySpace/Bandcamp/Twitter/Tumblr page, and not much is known about them other than their live shows are practically legendary (selling out before the band had even properly released any music), they famously ignored phone calls from famous producers to work with them, and have refused to work with major labels, choosing instead to record the album in an abandoned church and self-releasing the record on their own. Whether all of this behavior is truly meant to be a way of life, or just a PR stunt, remains to be seen, but, as I am fond of saying, at the end, all that matters is the music. Go Tell Fire To The Mountain doesn't reinvent the wheel per se, as some UK critics have pontificated, but is a stirring collection of songs drawing from many disparate sources (early U2, Sigur Ros, post-punk, post-rock, etc.), but bound together by a rich solemnity and vocalist Ellery Roberts' bizarre warble, which will either intoxicate you or make you run for the hills.

19. Iceage - New Brigade

Danish punk/post-punkers Iceage draw from Wire's precise minimalism and Joy Division's icy, cathartic despair. In a spare 25 minutes, New Brigade's 12 songs never overstay their welcome, quickly getting to the point, never containing a superfluous note. While they are really not bringing anything new to the table in terms of sound, what makes this band special is the energy they bring. It brings to mind The Strokes' Is This It? in terms of pure swagger and attitude. The band's live shows are apparently extremely aggressive affairs, the audience members referred to as "victims" and photos of the aftermath of gigs are usually posted to the band's website.

18. Chad VanGaalen - Diaper Island

In addition to his solo output, Chad VanGaalen is probably best known as the producer for Women's last two albums. He records out of his home studio and infuses a homespun, earthy quality to his records, yet always throws in some curve balls, like weird synth freakouts, and use of quirky instrumentation. Diaper Island, his fourth full length, and his most fully formed, is such a shockingly well-produced record, it provokes audio equivalents of a double-take. While there is still a homey quality to the production values, the record as a whole is musch more clear and concise. VanGaalen records primarily in a low-fi, late 80s early 90s alt-rock manner, evoking artists as diverse as Pavement, Miracle Legion, Grizzly Bear, and early post-punk Cure. The album veers back and forth from gorgeous, almost country-folk ballads, and raucous guitar raveups; linked by his wry lyrics.

17. Craft Spells - Idle Labors

Craft Spells' debut album Idle Labor travels in the same territory as 80s revivalists/chillwave acts such as Twin Shadow, Memory Tapes, and Toro Y Moi. The songs all feature delightfully tinny drum machines, echoing/chiming guitars, and soaring synths, borrowing from forbearers such as New Order, The Smiths, and Echo and the Bunnymen. I don't think it is just coincidence that the album cover blatantly recalls Power, Corruption, and Lies. When they hit their heights, as on lead song "For The Ages," with its gorgeous interlocking guitars and synths, and on "Scandinavian Crush," and its sing-song melody, you get the sense that the sky is the limit for this band. This album will take awhile to grow on you, but once it does, it is impossible to get out of your head.

16. When Saints Go Machine - Konkylie

Every once in awhile, a band or artist comes around with that spark of trying something different and challenging, but working in the realm of pop music. Danish quartet When Saints Go Machine, led by otherworldly vocalist Nicholas Vonsild, don't necessarily sound like Depeche Mode, other than the fact both primarily use synthesizers, however, they share the same restless creativity Depeche Mode enjoyed during their mid-80s tenure. It is actually quite difficult to describe the band's sound. Imagine a cross between the heavily treated electro-pop of The Knife and Fever Ray, the fluttering, archly fey vocals of Antony Hegarty, and the house music stylings of Hercules and Love Affair, and you might get slightly close to their sound. Instead of spending time trying to spot the influence, it is better to just allow the waves of quirky synth-pop wash over you. Word of caution, however, you will either love Vonsild's voice or will hate it.

15. Hooray For Earth - True Loves

Sounding like a lot of bands, but commanding their own distinct sound, Hooray For Earth is rooted in the dense, lush synth-pop of the 80s, brought into a 2010s context. Each track on their debut True Loves is built on layer upon layer of gorgeous, warm synthesizers, almost tailor made to hit the cheap seats of a stadium, but intricate and emotional enough to entrance the most jaded bedsitter. Perfectly paced, with melodies like earworms, True Loves is chock full of endlessly catchy singles that get more infectious with each listen. Their self-titled debut album and subsequent EP Momo only hinted at what this band was capable of, and subsequent tours with The Pains of Being Pure at Heart and work with Twin Shadow over the past year really honed their craft, creating a truly wonderful album.

14. Young Galaxy - Shapeshifting

Canadian synth-pop duo Young Galaxy (Stephen Ramsay and Catherine McCandless) were unknown to me before the release of Shapeshifting. Having released two albums on the Arts & Crafts imprint, I was assuming they would have a similar sound to that label's two most popular acts: Broken Social Scene and The Dears. Surfing through some clips on Youtube all I found were some pleasant, yet rather dull, dream pop-like songs, that didn't give me much hope for liking the new record. Apparently, switching labels and enlisting the help of enigmatic Swedish producer Dan Lissvik of Studio has completely sparked new life into the band. The band provided Lissvik with the finished tapes of the record and he, via Skype, helped polish and mold the tracks. Throughout the album you can hear the bones of the record and how Lissvik added his warm synthesizers, thick guitars, and hazy Tropicalia to the mix. The pairing of the two together is pure genius, and they have collaborated on one of the best adult-dance pop albums of the year.

13. Arrange - Plantation

The experience of listening to Plantation, the self-released debut album from Florida teenager Malcom Lacey, is akin to rummaging around a stuffed attic, coming across old photo albums, journals, and keepsakes, being washed over by the floods of memory: the triumphs and failures, the joy and sadness, the important and the mundane. It is also an album steeped in loneliness and sadness, Lacey's voice almost a monotone, afraid to let the emotion crack the surface, less the anger break free and overtake him. The restraint fits well with these gorgeously evocative ten tracks. Despite his youth, Lacey has an amazing ear for arrangement (no pun intended) and builds these songs in layers, never adding too much or making things too bare. Plantation is truly an album that must be experienced in one sitting, as the themes and melodies flow throughout the record and with each listen, you pick up more and more, it all fitting together like pieces of a puzzle.

12. Lykke Li - Wounded Rhymes

Swedish indie pop princess Lykke Li's first album Youth Novels was a favorite of mine from 2008. Produced by Björn Yttling of Peter Bjorn and John, the album highlighted Li's odd voice, setting it up against non-traditional instrumentation and song structures, yet sometimes the songs seemed to veer too close to twee territory. With Wounded Rhymes, Li, once again working with Björn, doesn't exactly reinvent herself as much as she beefs up. Her voice is stronger and meatier (though it can still be an acquired taste), and the songs, drawing from 60s girl groups, garage rock, and the wall of sound perfected by Phil Spector, are cavernous and heavy, every note dripping with decay and dirt. Drums are deep and pounding, guitars rich with reverb, and her voice settles so well into the mix, sometimes triple and quadruple tracked. The songwriting on Wounded Rhymes is more complex and varied than its predecessor. Li shows that she still can project fragility while also showing strength within herself.

11. St. Vincent - Strange Mercy

Diminutive, angelic looking singer Annie Clark, performing under the name St. Vincent, has released two albums of slightly subversive pop songs, Marry Me and Actor, which traffic in deceptively calm surfaces, with a dark undercurrent that is always surprising and thrilling. With the release of her third album Strange Mercy, Clark completely comes into her own. While her previous albums are quite wonderful, Marry Me could feel a little cloying at times, and Actor was almost too stuffed to the gills with embellishments that cluttered rather than enhanced the tracks. With Strange Mercy, Clark laser focuses the songs, highlighting her superb, innovative guitar playing, allowing only a few embellishments throughout, which actually add to the texture and or tone of the song to give it an extra kick. Clark still sticks to her trademark song writing style, singing tales of squeaky clean perfection always hiding dirt and grime in the background despite the characters' desperate attempts to keep up appearances.

2011 Albums of the Year: 30-21

2011-12-27T17:59:00.000-05:00

Halfway to the end. Here is my continuing list of favorite albums of 2011, with numbers 30-21:

30. Mogwai - Hardcore Will Never Die, But You Will

Hardcore Will Never Die, But You Will is not necessarily a return to form for Mogwai; as they have never put out a bad album. But it is their most direct work since Young Team, and feels like it all works together as a whole, but with each song standing on its own as well. I know an album will be in my top list when I can't stop playing it over and over on my iPod. Hardcore has rarely not been played by me over the course of the year.

29. The Horrors - Skying

No one, least of all me, could have envisioned the tremendous leap in sound for The Horrors on their second album Primary Colours. Ditching the goth affectations completely, they showed a stunning mastery of post-punk, krautrock, and shoegaze, blending these and other genres into a call to arms, hereby announcing the reinvention into one of the most exciting bands of the last few years. Again, such an amazing transformation begs the question again as to where to go from here. Skying finds the band honing their sound rather than making a bold leap. That intense slap in the face you got from first listening to Primary Colours is absent here, and first listens can be puzzling, as there is really nothing new here from the band, however, over time, the strong melodies and increased confidence/maturity in their playing wins over. Produced by the band, Skying plays like a band wanting to expand and add depth to its sound. Keyboards are more prominent and bolder, drums boom and echo, and singer Faris Badwan all but abandons the tics and mannerisms used previously. First single "Still Life" is the perfect example of their new approach. Keyboards sparkle and glisten like outtakes from New Gold Dream era Simple Minds, with Badwan's vocals, understated and rich, blasting to new levels on the triumphant chorus.

28. Future Islands - On The Water

Over the course of now three albums, Baltimore via North Carolina synth-pop outfit Future Islands has gradually moved from synth spazz outs on Wave Like Air, to more modulated dance workouts on In Evening Air, and now progress even further with On The Water, taking their synth based template and toning things down, without taking away from what makes them so special. And most of that is due to Samuel T. Herring's vocals and lyrics. Let it be said, that the main entry point to Future Islands is Herring's voice. You will either be completely on board with it, or will want to turn it off immediately. It is grandiose, over-the-top, and steeped in drama; each word positively dripping with meaning and portent. But it is just so fascinating and gripping you can't ignore it, and it is what makes this such a great band to listen to. With On The Water, Herring has scaled things back a little bit, not from wanting to fit within what people want him to sound like, but more because the music and lyrics call for more restraint. This is serious album about disintegrating relationships, and love gone afoul, and the somber tone of the lyrics finds its way into the music, with less dancefloor oriented sounds and more moodier pieces.

27. Oneohtrix Point Never - Replica

What I like about electronic artist Daniel Lopatin is that he is so restless, he has several different names he creates under, so that he has a persona for each style of music he is into. Whether it is 80s pop that he performs first under Games and then as Ford & Lopatin, or synth drone music under his main name, Oneohtrix Point Never. And none of his side projects are merely throwaways, each is performed expertly and with the same amount of enthusiasm. His work as Oneohtrix Point Never is by far the more challenging and experimental side of his personality. Replica is his fifth album under the name, and like his previous album Returnal, is slowly making the sounds more accessible. Moving away from pure drone soundscapes, touches of melody and sheer overwhelming beauty wash over these tracks. There is still that edge to them though, like they could break and fall apart at any moment. This tension is what makes this record so endlessly fascinating. Where on Returnal, Lopatin sometimes used harsh textures to pull you out of the reverie, they often came at the wrong points, which tended to break the tension and harmed the flow of the record. Here, these textures are incorporated within the tracks and the constant buzzing and white noise aspects maintains a better pace. Replica has a lovely, analogue warmness that permeates the entire experience, as if a long lost Boards of Canada/AIR drone album had surfaced. But don't be put off by the word "drone," as this album transcends that genre more often than not. Using more samples and found sounds, Replica has a lived-in, antique feel that sounds like something you have heard in the corners of your mind your entire life, or recalling memories of film soundtracks from childhood you just can't place.

26. Sepalcure - Sepalcure

Praveen Sharma and Travis Stewart have found success with their solo work, as Braille and Machinedrum respectively, but seem to hit the mark perfectly with their work as Sepalcure. Mixing lots of different bass styles into one seamless whole, Sepalcure touches on 2-step, grime, juke, house, R&B and lends them all a surprising warmth. Using similar tricks from Burial, blocky beats, atmospheric synths, and manipulated vocal snippets, Sepalcure make sort of a counterpart to landmarks like Untrue, using the samples more for emotionally cathartic release, rather than emotional introspection. Not to say this album is a "happy" record, it is sufficient moody in parts, but it does, through use of analogue equipment, provide more warmth and feeling.

25. Cold Cave - Cherish The Light Years

Cold Cave have evolved their neo-gothic sound with each new release. Their first album Cremations (essentially a compilation of early singles) was almost oppressive in its dourness; bleak and humorless, every song mired in claustrophobic, icy keyboards and tinny drum machines. Leaps ahead in production value and sonic diversity, follow up album Love Comes Close almost sounds like a different band. For this album, there have been more changes and a fuller embrace of the hooks that made Love Comes Close such a success. Indeed, Cold Cave sounds larger, almost stadium ready, putting together a set of songs that play well to the cheap seats. Monolithic tracks like "The Great Pan Is Dead" and "Underworld U.S.A." give the album meat while tracks like the New Order-esque "Pacing Around The Church" and sparkling "Confetti" are the dessert. Where this approach seemed to hobble the recent release from The Pains of Being Pure at Heart, Cold Cave's use of a glossier sheen and denser production only highlights what a strong band they have become.

24. Cut Copy - Zonoscope

Cut Copy's second album In Ghost Colours, was a blast of nostalgia mixed with a modern sheen; a rush of sparkling New Order-esque synths and 80s guitars with so many sugary hooks, you got a toothache listening to them. Their latest release Zonoscope is thankfully not a verbatim repeat of In Ghost Colours, instead, it takes what was great about that album and filters it through a more mature, updated lens. While In Ghost Colours was filled with short, super poppy songs, Zonoscope allows more room to breathe. Most of the songs are north of 5 minutes in length, and experiment with more foreign textures and percussion, sounding almost like a cross between New Order, Talking Heads, and early Thompson Twins. From the brilliant build of "Need You Now," slinky rhythms of "Blink And You'll Miss A Revolution," through to the 15 minute trance closer "Sun God," Cut Copy show their mastery of their craft.

23. Nero - Welcome Reality

Nero, the duo of Daniel Stephens and Joe Ray, are one of the few dubstep acts out there right now that have attempted an actual full length record. Welcome Reality suffers from a bit of bloat, but the singles make it basically a must-have for any dubstep fan. "Innocence," "Promises," "Guilt," "My Eyes," "Me and You," and a cover of the 80s guilty pleasure "Crush On You," are too brilliant to pass up.

22. Real Estate - Days

Real Estate's debut album in 2009 was a charming mix of low-fi, sparkling pop, which sounded like it was recorded under a freeway overpass. The lack of sonic clarity wasn't enough to derail the lovely songwriting, sweet melodies, and general air of low-key charm. The success of the album and subsequent tours brought them much needed attention which was enough to make Domino Records pony up more cash for them to record the follow up properly. Days, while lacking the ramshackle nature that Real Estate provided, is another fantastic record from this band; the increase in sonics and warmth makes a monstrous difference, allowing every note to ring clearly. Their sound has not changed much on the two years since, but has become more focused. There is hardly a misstep on this record; each song sounding like you have been listening to it for years. The familiar touchstones of early R.E.M., the Byrds, the Smiths, and Felt haunt this record, illuminating their sound rather that being a direct copy. Days is a great record for a long drive through the country, with the sweep and intimate scope of the songs providing the perfect accompaniment to a journey. There is slight, melancholic feel to the record, like the narrators are all on a journey through their pasts, ruminating over their successes and failures. It makes what could have been merely a pleasant record and elevates it to something classic and touching.

21. Drake - Take Care

Canadian rapper/singer Drake has said that he was upset with how his debut Thank Me Later came out, wishing it were more polished and deliberated over. Based on the high quality of that album, Drake must be an unforgiving perfectionist. His tracks are thoughtful, unlike most high-profile rappers, relentlessly pursuing new, fresh sounds, willing to skirt the fence between pop music and more experimental textures. And his verses and rhymes, while boastful at times, are also surprisingly self-depreciating and sincere. Take Care, the follow up, continues that trend, finding Drake still dealing with becoming successful, rich, and famous, enjoying the trappings of success, but wanting more. Drake is still utilizing producer Noah "40" Shebib, but finds room to use friends The Weeknd and Jamie xx for other tracks. While there are plenty of pounding, dancefloor beats on Take Care, the majority of the album is muted and minimal, focusing on mood and nuance.