Hercules and Love Affair: Blue Songs

Hercules and Love Affair
Blue Songs
Rating: Grrrr

Hercules and Love Affair's first album was a such a blast of updated 70s disco fun, that it was a foregone conclusion that leader Andy Butler would take his time working on the follow up. Sophomore albums are always a tricky business; on the one hand, you don't want to stray too far from the sound that made you popular in the first place, but you also don't want to do a direct copy as then you end up in a place of stasis. So now we have Blue Songs to ponder. It is definitely not Hercules and Love Affair Part II, but it is also not some left field total change of sound. Because of that, I can understand why people are not going to fully embrace this album like their debut. But I also think they are going to miss out on a beautifully crafted album.

Blue Songs is a hybrid of 70s disco meets late 80s Chicago house music, with a dash of Detroit techno. Gone are the haunting vocals of Antony Hegarty and Nomi Ruiz, as is the production duties of DFA stalwart Tim Goldsworthy. Andy adds vocalists Aerea Negrot, Shaun Wright, and Kele from Bloc Party, and production from Mark Pistel, who in the past has worked more with hip-hop and industrial acts like Disposable Heroes of Hiphoprisy, Meat Beat Manifesto and Consolidated. While these changes are immediately noticeable, and will for some be a deal breaker, Blue Songs is worth listening to with an open mind, and will reveal its many pleasures over time.

Butler still knows his way around a killer hook, and first single "My House," is no exception:



Using a killer bass line and sexy, icy drum machines, the track moves like a Porsche on the Autobahn, sleek and swift.

He similarly uses Kele to great effect on "Step Up," creating another classic four to the floor dance hit.



Butler also utlizes space and silence in a new way for him. Echoing the dub experiments of Grace Jones and Sly & Robbie, "Answers Come In Dreams," "Lenora," and "Visitor," use a more minimal approach, conjuring up images of coke-addled, paranoid evenings on the dance floor of Studio 54.





Much commentary has been made of the two middle tracks on the album, and how they "derail" the flow of the songs. Both "Boy Blue" and "Blue Song" are haunting electro-ballads, that do take things down a notch or two in the driving force of the album, but I think they show a brave willingness to try new things. I for one, think the two tracks are sublime.





This is not to say that Blue Songs is without its problems. Some of the more disco-esque tracks never really make it off the ground. "Falling" is practically generic. And their cover of Sterling Void's house classic "It's All Right," reimagines it as a beatless ballad, that drones on for almost 6 minutes. Meant to be a show stopping closer to the album, it practically derails all the good will built up before.



Blue Songs is likely to be a polarizing album, in that most fans will want to hear more of the sound from Hercules and Love Affair. I, for one, am glad Butler is expanding his sound and trying new things. It makes for an exciting album, and makes Blue Songs worth the time and effort to get to know, and love.

Rating Guide

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 albums 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 trimmed or polished.

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

Another Friday is thankfully upon us. Here are the latest videos that are massaging my brain:



Video for the No Age single "Fever Dreaming," which was one of my top singles of last year. What appears to be a static shot at first grows more and more sinister, until the final shot which is quite shocking.



As most of you can tell, my friends and I are getting excited about our upcoming trip to the Coachella Music Festival. The majority of videos I am putting up for the next few weeks will be from bands playing the festival. Sort of my way of getting pumped up for it. Australian duo Presets, is one of the bands I am looking forward to seeing. This is an amazing song from them, with a surprisingly emotionally compelling video.



Love this song. As Kurt says, it's got the wubz.



Gorgeous reworking of this song from their last album, replacing Alice Adams' ghostly vocals with The Cure's Robert Smith, which gives the song added pathos.



Smooth track from dubstep supergroup Magnetic Man, featuring Benga, Skream, and Artwork.



Gorgeous song from Menomena. I just love the lyrics for this song.



I can't wait to see Rye Rye at Coachella. She looks like her show will be a lot of fun. This is a kick-ass track.



Really fun song and video from these dance-punk heroes.



Another recent find that is also playing Coachella. Based on this video and this song, it looks like it will be a fun set.

Non-Sequiturs

Coachella 2011 is fast approaching. Only 78 more days until I am in the beautiful Palm Springs area, sweating and having a wonderful time. Surprisingly, the festival is already sold out less than a week after the three-day passes went on sale directly (I was able to buy a ticket on layaway back in December, so I was all set). Usually the festival doesn't sell out until close to the actual date. Oh well, I was smart enough to get my ticket early, so I won't be missing out.

Kurt is being a sweetie and is helping to redesign my blogsite. In the next month or so, you will be seeing some pretty big changes in the look and feel of the site, so stay tuned.

This dress from the Givenchy 2001 Spring Collection just made my jaw drop. So damn beautiful. It amazes me that people can design garments like this. A total work of art.

Lyrics That Are Rattling Around My Brain

"A burning flame goes by and by
Visible love stands side by side
It comprehends
Beginnings never end

Into the cycle of the here and now
We take our fears and disappear somehow
As we ascend
Beginnings never end

Twin flames in our hearts
As we move towards our very start
Twin flames in our minds
When we move emotions multiply"

Klaxons
"Twin Flames"

"Well I was joking with my lemonade
I told him to get fucked and then get laid.
Now what do you say to a man who's got no taste,
who's really got no potential
except to procreate so inessential.

and what I, and what I found is that we
we're all just sleeping around.

All we really want to do is love."

Braids
"Lemonade"

"You penetrate my space
And now I'm looking out of place
And you're making it hard for me
I need air"

Magnetic Man
"I Need Air"

Appealing Things

Getting my Coachella tickets early before the festival sold out
Turning my friends on to music they normally wouldn't listen to
Seeing two amazing bands, Baths and Braids, at Masquerade for my birthday for only $8!
Beautiful pink, red, and orange clouds during this morning's sunrise
Working out at 5am

Annoying Things

Women who put their suitcase size purses up on the counter when they are paying for something and prevent anyone else from getting anywhere near
Drivers who don't use their turn signals or who talk on their cell phones while driving 20 miles under the speed limit
People who add you as a friend on Facebook and never say anything to you
The fucktards that work at Kurt's office
Kings of Leon

Wire: Red Barked Tree

Wire
Red Barked Tree
Rating: Grrrr

Post-punk legends Wire are still making music almost 40 years into their career, and even better, are still making relevant music. Neither a mere pastiche of their older material, nor too experimental, Red Barked Tree is a welcome addition to their vast catalog. Now down to the trio of Colin Newman, Graham Lewis and Robert Grey (Bruce Gilbert declined to appear on this album, as well as on 2008's Object 47), Wire takes a more streamlined approach this go around, making full use of crystalline production tools to buff and shine the material.

The first four tracks on Red Barked Tree are all classic Wire, and at first, I thought I was listening to another masterpiece from them. "Please Take," uses Wire's almost overtuned guitar sound paired with extremely acerbic lyrics:

"Fuck off out of my face
You take up too much space
Move! You're blocking my view
I've seen far too much of you

Please take your knife
Out of my back!
And, when you do
Please don't twist it!"



"Now Was," is a jaunty, guitar heavy track with a crisp, driving beat:



And where Wire steps into new areas outside their normal strengths, they succeed wildly, as in the delicate and gorgeous ballad "Adapt," with its lovely acoustic guitars and haunting electronics:



And tipping their hats back to their original, minimal aesthetic, "Two Minutes," blazes by with more of the updated guitar roar from their Read and Burn ep series:



After this brilliant series of tracks, the album loses its way a little bit, featuring too many tracks that have the same plodding beat ("Clay" and "Bad Worn Thing")and uninventive guitar work ("Smash").

But when they return to their strengths, they hit on all cylinders. "Moreover" and "A Flat Tent," bring back more of the buzzy Wire of old, featuring driving beats, and brutal guitars that can wound and cut.





And saving the best for last, Wire get well outside their comfort zone, with "Down to This," my favorite track on the album. Recalling a mixture of the icy textures of An Ideal Copy and the quirky synth and electronic excursions of A Bell Is A Cup, Until It Is Struck, the track moves on a pulsating bed of atmospheric synths and drill bit guitar.

The final title track shows the softer side of Wire, a side I didn't real think existed. Basically a call to ecological arms, the song is built on lovely acoustic guitars and a subtle, monochromatic vocal, moving from stasis to purpose. The drums skitter and become more insistent, with stronger guitars and touches of electronics.



Red Barked Tree is a fascinating album from the always fascinating Wire. It is amazing that this late in their career, they still have the desire and drive to make challenging, modern music. While it is not in line with their classic string of albums in the 70s and 80s (Pink Flag, Chairs Missing, 154), it is still worthy of being mentioned alongside those masterpieces. For those that have followed Wire throughout their career, you will not be disappointed by this release, and if you are new to Wire, it is a good introduction to one of the great innovators of the modern era.

Rating Guide

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 albums 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 trimmed or polished.

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.

White Lies: Ritual

White Lies
Ritual
Rating: Yeah Daddy Make Me Want It

White Lies is a complete pain in my side. Kurt and Dan raved about them when their first album To Lose My Life came out and, on paper at any rate, it sounded like a foregone conclusion that I would enjoy them as well. I genuinely tried about 1000 times to listen to it and like it, but there was something off putting to me about the way singer/guitarist Harry McVeigh's voice; it just got on my nerves. It didn't help that the lyrics were quite frequently histrionic and over the top, to the point where I thought it was possibly a joke. The music also was a tired rehash of in the moment bands like Editors and Interpol, and did nothing to make them stand out in an already crowded field. So, needless to say, I conveniently forgot about them, until their second album Ritual came out, and I sat there staring at it, dreading having to listen to it.

Right out of the gate the same elements were there, McVeigh's baritone deeply intoning his overwrought lyrics. But something had changed a little bit, the music was slightly different. Focusing more on electronics and driving beats, the songs had a sense of urgency that was lacking on their debut. I found myself returning again and again to the album, really caught up in all the hooks.

First single "Bigger Than Us," has a killer chorus and brilliant sense of drama:



"Strangers," rushes through on a dense bed of synths:



The band, although not completely toning things down, does tend to operate in a subtler way, favoring texture over beating you over the head. "Peace and Quiet," is a lovely midtempo ballad, that has hints of early Tears for Fears:



"Turn the Bells," builds on a bed of pulsing, droning keyboards, adding the right contrast to McVeigh's voice, working with it and not against it. The chorus is completely gorgeous:



"Come Down," with hints of Ultravox and Heaven 17, is a dramatic end to the album with icy keyboards and murky electronic percussion:



There are a few tracks that fall back into what made To Lose My Life such a slog for me. "The Power and the Glory," plods along with a weak melody and more ridiculously pompous lyrics:



and "Bad Love," never really catches fire, and almost sounds like a power ballad from the 80s that Whitesnake would do:



Aside from a few grievances, Ritual is a vastly superior album to their debut. They still have a way to go in order to make their sound their own, and not sound quite so derivative, but if they keep making music this hook-filled and catchy, I have every hope they will come into their own soon. File this under supremely addictive guilty pleasure.

Rating Guide

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 albums 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 trimmed or polished.

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.

Cut Copy: Zonoscope

Cut Copy
Zonoscope
Rating: Grrrr

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 hooks, you could hang meat on 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.

The album opens with the droning, pulsating "Need You Now," which erupts into a barn burning finale full of driving beats and twinkling synths:



"Take Me Over," features some lovely new wave guitars over an almost calypso beat:



And first single, "Where I'm Going," is probably their most straightforward song, mixing Beach Boys harmonies with a Beatlesque backbeat:



The album is the perfect mix of standard Cut Copy killer dance tracks, filled with moments of beautiful experimentation; and when the two meet, it is sublime.

"Pharoahs and Pyramids," rides along on a bouncing bass synth line and whooshing synths, moving almost into deep house territory:



"Corner of the Sky," takes a simple chanting vocal and dense patchwork of buzzing synths, building into a delicious guitar raveup:



And it all culminates with the 15 minute trance epic "Sun God,"



Of course, what generally draws listeners to Cut Copy is their brilliant way with a pop song. Although Zonoscope slants a little more to an experimental release, there is no shortage of great singles.

The bouncy, Thompson Twins meets Juan Maclean "Blink and You'll Miss A Revolution," gets by on its dreamy swagger:



And three beautiful guitar centric pieces, the hauntingly lovely "This Is All We've Got," which almost borders on shoegaze, "Hanging Onto Every Heartbeat," a delicate psychedelic tinged ballad, and the delightful "Alisa," with its effect heavy guitars and lush string-filled chorus:







Zonoscope is the perfect follow up to a hit album. It retains enough of the charm of In Ghost Colours without seeming like a retread, but also offers enough experimentation and expansion of their sound to challenge the listener and bring in new converts. Each listen brings new discoveries, and makes the album a difficult one to stop listening to.

Rating Guide

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 albums 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 trimmed or polished.

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

Once again we reach the hallowed halls of Friday. Here is a roundup of the latest videos that are the greatest thing since sliced bread:



I about peed in my pants when I was looking at the Coachella 2011 lineup and saw that Suede is playing. Only thing is, I have no idea if Bernard Butler is in the lineup or not. Oh well, regardless, it will be a fun, glammy, sleazy show. Here is one of their classic singles.



Coachella 2011's lineup is a bit weird for me. There are not many headliners I want to see, but there are many smaller acts I am really interested in. As a guilty pleasure, I would love to see the Chinese band New Pants. They look gloriously silly.



Mogwai's brilliant new album Hardcore Will Never Die, But You Will, has almost too many good singles on it. "Rano Pano" is one of the best, and here is the odd video that accompanies it.


ATIBA EVANS Panasonic GH2 Skate from skatefairy on Vimeo.

New single from the upcoming album from Panda Bear.



Awesome cover of the Willow Smith track.



From jj's mixtape Kills, a really great song with an excellent use of "Still D.R.E," as a sample.

Coachella 2011

Well, after weeks of agonizing torture and teasing us with the potential lineup, Goldenvoice finally has relented and given us the lineup for 2011. I will say that on first glance I was not that impressed with the bands chosen. The headliners are especially wanting. Kings of Leon? Seriously? Ok, Arcade Fire I suppose is a good choice, but I am still on the fence about them and I will only see them if there is nothing conflicting. And I will admit, that I would love to see Kanye West, so 1 1/2 out of 3 headliners is not too bad. However, after looking through the lists for the 3 days I have found lots of bands I am excited to see; although Saturday looks to be a pretty dry list of bands for me. Below is a list of the bands I am going to check out each of the days. Bands in bold are must sees.

Friday:

!!!, A-Trak, Cold Cave, Crystal Castles, Cut Copy, Excision, Glasser, Interpol, Klaxons, Magnetic Man, Monarchy, Mount Kimbie, Nosaj Thing, Robyn, Skrillex, Sleigh Bells, Tame Impala, Chemical Brothers, The Drums, The Morning Benders, The Pains of Being Pure at Heart, Warpaint

Saturday:

Animal Collective, Arcade Fire, Big Audio Dynamite, Broken Social Scene, Erykah Badu, Foals, Gayngs, Scissor Sisters, The London Suede, Mary Ann Hobbs, The Radio Dept., Wire

Sunday:

Best Coast, Caspa, Death From Above 1977, Delorean, Duran Duran, Joy Orbison, Kanye West, Kode9, Leftfield, Lightning Bolt, MEN, Menomena, Phantogram, PJ Harvey, Ramadanman, Ratatat, Terror Danjah, The National, The Presets, The Strokes, Trentemoller, Twin Shadow

Mogwai: Hardcore Will Never Die, But You Will

Mogwai
Hardcore Will Never Die, But You Will
Rating: Woof Daddy

Oh Mogwai! What a strange career you have had. Bursting onto the music scene with 1997's masterpiece of noise and controlled chaos Young Team, you have never quite scaled those heights again. Which isn't to say that you have ever put out a substandard album. You have just varied your sound slightly for each new release, not really knowing how to take it to the next level. To be honest though, Young Team was such a perfect album, there really was nowhere left to go but down a little bit.

The perfect thing about Young Team was that from moment to moment, you never knew what path the band was going to take. It was never a template of slow build, catharsis, slow outro; the songs could whiplash you with their odd time signatures, and blast your ears with loud, Sonic Youth noise experiments. Hardcore Will Never Die, But You Will (which is up for album title of the year) is not Young Team, but it is by far their most dynamic album since then.

Starting with the delicate motion of "White Noise," Mogwai show they are still one of the tightest bands out there. The song moves effortlessly from its slow beginnings, with each instrument moving with the others into a cohesive blast of noise. Which then moves into album highlight "Mexican Grand Prix," with its motorik beat, driving guitars and pulsing keyboards, featuring the rare vocal.



The album is perfectly paced, with each song fitting well into the song cycle. "Rano Pano," the first single, and best track on the album, is perfect Mogwai. Guitars start normal and then switch into heavy effects, building into a maelstrom of sound. This will definitely be the song to experience live.



The album is not all about carefully controlled noise and bursts of sound, Mogwai also find time to slow things down and create beautiful instrumental passages. From the delicate "Death Rays;"



and the haunting pianos and sad slide guitars in the lament "Letters to the Metro:"



But of course, the standout tracks are always the songs with the trademarked Mogwai driving force and carefully crafted builds. "San Pedro," is one of Mogwai's most forceful, straightforward rockers, with a tight, controlled rhythm section, and an assault of amazing interlocking guitar parts;



and "Too Raging To Cheers," featuring hypnotic synths, organ, and piano, buffeted with electronic percussion, building majestically into a drone of guitars and strings:



The best thing about Hardcore is that with each listen you find something new; an interesting guitar part, a keyboard line buried in the mix, or an odd use of samples or auto-tune, as in the closing track "You're Lionel Richie:"



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 in the last few weeks. I hope you find it as intoxicating as I do.

Rating Guide

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 albums 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 trimmed or polished.

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.

Skream Presents The Freeizm Album

Skream
Skream Presents The Freeizm Album
Rating: Yeah Daddy Make Me Want It

And you thought I couldn't possibly have more free music for you, right? Well, you would be wrong. Skream, one of the godfathers of dubstep, continues his habit of putting out unreleased material for free. Freeizm is an interesting cross section of material from him. The album doesn't necessarily work as an "album" per se; the tracks are not that cohesive. With that said, however, the songs are not mere sketches or unpolished demos, but are completed tracks that didn't fit within the confines of his album last year, Outside the Box.

While the majority of tracks on Freeizm are typical dubstep material, skittering beats, and the omnipresent bass wobble, Skream does venture into other territory, noticeably drum and bass, downtempo, and even a slight excursion into beatless ambient land. Strangely enough, it is these excursions that stand out more on the album, like on the drum and bass highlight "Emotional Shizzle:"



the drill n bass workout "Krazy Snares" with it's almost annoying use of a cell phone vibration as percussion:



the jazzy, downtempo of "Cold Outside," which works in Skream's penchant for 808 State style sax:



or the dreamy, dub influenced "Minor:"



But of course, most people will want to listen to Skream's dubstep output, and his fans will not be disappointed, as there are plenty of tracks featuring his trademark bass wobble. Highlights include the skittering "Lightning VIP:"



the unrelentingly brutal bass wobble of "Commercial Sellout:"



and the aptly named "Skwelcha:"



What I liked about a lot of these tracks were that, although they stuck to the requisite dubstep template, Skream would add just enough of his own personality into the songs to make them interesting, either through a bizarre piece of percussion (as noted with the use of a cell phone vibration) or some unexpected breakdown towards the middle of a track.

Freeizm is a nice overview of what Skream has been doing over the back end of 2010. What it lacks for in cohesiveness, it definitely makes up for in breadth and depth. And it is free, so what are you waiting for, download the damn thing.

http://www.liveforthefunk.com/2010/12/merry-christmas-skream-presents-freeizm/

Rating Guide

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 albums 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 trimmed or polished.

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

I'm a bit discombobulated this week owing to the bizarre snow/ice storm Atlanta was subjected to, and my days have gotten completely screwed up. I didn't even realize it was Thursday yesterday and forgot to do a Non-Sequiturs post. Oh well. Such is life. At any rate, I am back on target and am now posting my favorite videos of the week that warmed the cockles of my snowed in heart.



Dom sort of sounds like a more synth heavy Passion Pit with a better lead vocalist. This song is supremely silly, but is ridiculously catchy.



Banging dubstep track from Starkey is paired with a very bizarre video. They match up perfectly.



Trippy video from Eskmo combining equal parts MC Escher, the movie Inception, and Terry Gilliam-like animation.



Hypnotically impressionistic video from The Radio Dept. Fits the mood of the song very well.



1990s one hit wonder, but what a fabulous song. The rest of his output is so bad, it is amazing he was able to put this together.



I'm hoping these guys play Coachella this year, because they know how to put out a blistering live track.



Slinky, jazz/funk tune from Destroyer, with a completely batshit crazy video.

Geotic: Mend

Geotic
Mend
Rating: Grrrr

The free music keeps appearing this year. I think it is fantastic that a lot of artists are allowing listeners better access to their works. Geotic is the ambient side-project of electronic artist Will Wiesenfeld, a.k.a. Baths. Unlike Baths, with its heavily programmed beats and dense musical arrangements, Geotic is beatless, featuring a lot of acoustic, treated and looped guitar arrangments, augmented by washes of gauzy synths and piano.

Most of Mend reminded me of the ambient half of one of my favorite albums of all time, David Sylvian's Gone To Earth, but without its fractured take on ambient music and overreliance on samples. While each track sticks to a fairly rigid template, Wiesenfeld's keen ear for melody keeps the listener consistently engaged.

Whether it is the looping guitars of "Beaming Husband,"



the stark, icy synths of "Time Passes In A Slow Sundown,"



the dreamy, wistfulness of "Get Held,"



or the gorgeous, treated guitars on "Our Awe,"



Wiesenfeld has a way with making beautiful music. The fact that he wrote and recorded all 14 tracks in 4 days, is also completely amazing, as it sounds like it has been meticulously poured over. Again, this release is technically free, as you can download it and pay whatever you would like. Throw him a bone though and put in a few dollars to make sure he continues to put out amazing music.

Further fun fact, the album cover is a Optomap Retinal Photo of his left eye.

http://www.angelfire.com/indie/postfoetus/geotic.html

Rating Guide

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 albums 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 trimmed or polished.

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.

jj: Kills

jj
Kills
Rating: Grrrr

Continuing the trend of amazing free music being released this January, enigmatic Swedish pop duo jj unleashes their mixtape Kills. A couple of years ago, the icy, hip-hop loving duo released their debut album jj no. 2, which featured a captivating mix of Baleric and indie pop mixed with hip-hop beats, and the terrific single "Ecstacy" which was basically a semi-cover of Lil' Wayne's "Lollipop." Barely 8 months after their debut, they released jj no. 3, which almost killed their forward momentum. The album was a half-baked batch of aimless, new agey meanderings, with none of the lightness and beauty of their debut. This, coupled with one of the worst live shows I have ever witnessed, was about all I could take of them, and I wrote them off.

Around Christmas, I heard word that jj were back with a new mixtape that was meant to recapture the sound that I found so entrancing to begin with. And low and behold, Kills meets and even exceeds my expectations. Mixtapes are an interesting phenomenon, usually taking samples of other songs and adding the artists' own personal stamp to them, either through a bizarre juxtaposition or new lyrics. jj takes their love of American hip-hop and marries it with their cold, Scandinavian pop sensibilities.

On "Still" they take Dr. Dre's "Still Dre" and use the repetitive strings and guitars of that classic to echo the pain of a bad relationship:



They completely reinvent several very popular songs, whether appropriating M.I.A.'s "Paper Planes" on "Kill You," or taking the hook from "Empire State of Mind," for "New Work"





turning the former into a twisted revenge tale, and the latter into a fond nostalgic trip to when youth seemed so promising.

While this is not considered a proper follow-up to jj no. 3, it does serve to show that jj do know what they are doing and that jj no. 2 was not a fluke. The joy and skill they show in picking the right hooks and samples to perfectly match the sentiment of the lyrics is practically genius. As long as they use that skill to this effect, I am hopeful their career can get right back on track.

As I mentioned, Kills is a free download, so here is the link so you can download it for yourself.

http://www.gorillavsbear.net/2010/12/23/download-jjs-kills-mixtape/


Rating Guide

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 albums 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 trimmed or polished.

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.

Duran Duran: All You Need Is Now

Duran Duran
All You Need Is Now
Rating: Grrrr

Growing up during the 70s and 80s, I was one of the witnesses to the transition from radio to music video, and how Duran Duran were one of the first bands to understand and exploit the new medium. Of course they were pretty, wore fabulous clothes, and appeared in exotic locations for their videos, but none of this would have mattered much unless they had the music to back it up. Rio is one of my all time favorite albums, and it is literally jam packed with hit singles and hooks that you can hang buffalo carcasses on. The follow up, Seven and the Ragged Tiger, was a bit more scattershot, seems the band had a case of the, we want to be taken seriouslys, but still had some killer tracks. Since that one/two album punch, the band has imploded, spilt into factions, rejoined, but have never been able to capture that spark they once had.

Around the time of Rio/Seven, Duran Duran appeared infallible and ahead of the curve, laying the path ahead instead of following it. Since then, they seem to be trying to stay apart of the latest trends. They have still made some wonderful music in the last two decades, however, their pop smarts seemed to have taken a back seat.

After a rather misguided collaboration with Timbaland and Justin Timberlake on Red Carpet Massacre, Duran Duran has teamed up with producer Mark Ronson, who seems to have been a stern taskmaster with the band, forcing them to play to their strengths, the result being their best album since Rio. I was worried at first based on the advanced buzz of the album that the band was going to try and ape their previous sound, but instead of making a carbon copy, they have referenced Rio, but have created something fresh and new, and some of the best pop music of the year.

Lead track and first single "All I Need Is Now," begins in a rush of industrial percussion and keyboards, leading into a fantastic chorus:



The albums nine tracks rush by at such breakneck speed, it takes awhile to get a full appreciation for the craft and skill that has gone into the songs. Whether it is the motorik crunch of "Blame The Machines," the almost "Plant Earth" new romantic thrill of "Being Followed," or the glamtastic "Girl Panic," Duran Duran actually sound like they are enjoying making music again, and their joy shows through each track.

And I love all the subtle, and not so subtle references to Rio, from the lovely "Save A Prayer" like ballad "Leave A Light On" with its aching acoustic guitars and whooshing synths,



to taking the tinny drum machine programming from "The Chauffeur" on the atmospheric "Before the Rain," and also echoed in one of the best tracks on the album "The Man Who Stole A Leopard":





and referencing the slinky, updated 80s disco vibe of Rio tracks like "My Own Way," on the tracks "Runway Runaway" and "Safe" (featuring Ana Matronic of Scissor Sisters):





All You Need Is Now is not going to change the world with its songs, but it is something necessary at the moment: a well-produced, and just plain fun record to start out 2011. It's such a pleasure to see a band still be able to put out great music over thirty years into their career.  Be sure to check it out.  It is sure to stay on constant repeat on your player.

Rating Guide

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 albums 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 trimmed or polished.

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.

James Blake: James Blake

James Blake
James Blake
Rating: Meh

Last year, 22 year old wunderkind James Blake released 3 stunning EPs (The Bells Sketch, CMYK, and Klavierwerke) that announced a major new talent in the electronic music world. Each EP was distinct, yet clearly from the same artist, moving effortlessly from dense, stuttering dubstep, to pitch-shifted vocal sampling a la Burial, and onto a more bluesy, vocal-based sound. All of these brief EPs whet my appetite for his debut full length album.

And now, James Blake has been released, and I am a bit of a loss as to how I feel about it. Based on his output from last year, I was expecting another giant leap forward with his sound, and yet, James Blake finds Blake in a bit of a holding pattern. Drawing more from the Klavierwerke EP as well as his late 2010 single "Limit To Your Love," which is included here, the album is comprised of 11 tracks focusing heavily on muted beats, piano, and Blake's gorgeous voice. Until "Limit For Your Love," Blake hadn't sung on any tracks, and finding he has such a supple, honeyed voice was a true revelation.



"Limit To Your Love," is by far the standout track here. A gorgeous cover of the Feist song, it shows a wonderful use of minimal sounds and space to create an aching and longing. Listening to the song, you almost sit on the edge of your seat, intoxicated by the warm production.

Instead of building from that template, James Blake gets stuck in a rut early and rarely ventures out of that limited palate. Most songs feature Blake's voice front and center, with few beats and mostly minimal organ or synth drones and piano as accompaniment. After the 4th or 5th track, the songs begin to blur and are hard to distinguish from each other.

The album starts promisingly with the quiet piano and stuttering, glitchy beats of "Unluck," with Blake's fragile voice auto-tuned and pitch shifted almost beyond recognition.



But the album then gets almost immediately bogged down with a string of tracks that border on somnolence, coming to a crashing halt with the auto-tuned duo of "Lindesfarne I" and "Lindesfarne II." When "Limit To Your Love" finally erupts afterwards, it is like a shot to the face how stunning the track is. Its beauty made me go back over and over to the first half of the record to make sure I was having the right reaction. Unfortunately, "Limit To Your Love," just made the previous tracks seem more wanting.

Unfortunately, the following tracks don't do anything to up the ante. "Give Me My Month," an almost acapella song, at 1:54 is the shortest track, and yet feels the longest. "To Care (Like You)" almost expands the template, with pingy percussion, and a sampled female vocal interwoven with Blake's voice, but feels almost like a sketch that hasn't been fleshed out enough. "Why Don't You Call Me," is another piano-based vocal piece, that, aside from some cut and paste glitches, really meanders pointlessly.

"I Mind" is truly the only song that gave me hope on the album. Feeling like a logical progression from the EPs, it draws from the dense dubstep of The Bells Sketch sessions and marries it perfectly with the piano based vocals of Klaiverwerke, erupting at the end with a gloriously loopy voice sample, twisted and turned into its own instrument. Risks like this would have been far more welcome than the rest of the turgid offerings.

I am harder on this album than most debut albums based on the brilliance of the EPs Blake released last year. They were truly stunning in their scope, range and execution. Based on those records and Blake's obvious talent, I am not willing to write him off just yet. Blake obviously does not like to repeat himself and is always changing his sound, challenging himself to do new things. I just don't think the songs on James Blake were the right direction for him to go.

Rating Guide

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 albums 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 trimmed or polished.

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

Once again we converge on a Friday, which means it is time for my weekly roundup of videos that altered the alignment of the planets for me:



The always reliable Scottish band Mogwai keeps releasing phenomenal albums of post-punk instrumentals. While you are never going to get a shocking change in their sound, you will always find something to like. I am really liking the new album, Hardcore Will Never Die, But You Will.



First official video from the new Hercules and Love Affair album which is taking its sweet time being released. I love this song and the video is hysterical, especially if you, like me, grew up in the 80s and watched all those horrible dance shows like American Bandstand, Dance Fever, and Soul Train.

Discodeine feat. Jarvis Cocker - Synchronize from Here Comes The Flood on Vimeo.

Sleazy and dark video from the DFA label band Discodeine. Jarvis Cocker lends his vocals and world weary stature to the proceedings.



I am still shocked that this kid is only 16. What an amazing voice and a really great songwriter. I am expecting big things from this guy.



Interesting cover of the Beyonce song from Sweden's ceo.



Stuttering and clipped song from one of my favorite albums last year. The video is a chopped up sample of their tour from last year.



Fun video for the synthpop act. Love the costumes.

Klaxons: Landmarks of Lunacy

Klaxons
Landmarks of Lunacy
Rating: Yeah Daddy Make Me Want It

The end of 2010 and beginning of 2011 has seen a flurry of bands releasing free music, from Gorillaz releasing a full album and M.I.A. putting out a mixtape, and now Klaxons releasing an EP of 5 songs. The songs were recorded in 2008 with James Ford, of Simian Mobile Disco, during sessions that were scrapped for the follow up to their debut album Myths of the Near Future.  Prior to those sessions, Klaxons had already recorded a full set of songs influenced heavily by dubstep, prog rock, and psychedelia, that their label refused to release as being "too experimental."  Apparently, the sessions with Ford were intended to bring their sound back down to earth, however, the usual "creative differences" were cited and Klaxons moved on to Ross Robinson, and Surfing the Void was the end result.

Because it is such a short EP, I have tackled each of the songs individually and provided a link to the songs to listen to as well.  At the end of the review, there is also a link to Klaxons website where you can download the entire EP for free if you like what you hear.



"The Pale Blue Dot," has a lovely vocal and meandering guitar part, which erupts into a muted metal riff, which echoes the direction they would take with Robinson on Surfing.  The lyrics, as in most of their songs, are an indecipherable mishmash of Sci-Fi themes, but are still gloriously goofy.



"Silver Forest" picks up the tempo a bit, featuring an intertwined guitar motif that flows in and out of the verses.  The song features some lovely harmonies, and a slight psychedelic feel.  Strangely, most of the songs seem to veer far away from their original "nu-rave" sound, and almost forgo keyboards altogether.



"Ivy Leaves" is the moody centerpiece of the EP, with the guitars droning over a hushed, muffled drum pattern and washes of organ, slowly building into a cavern of gorgeous noise.



"Wildeflowers" sounds almost like a funeral march, with somber drumming, pianos and organs, buffeted with 50s Sci-Fi synths.  Jamie Reynold's vocal is particularly fragile and haunting.



"Marble Fields" is the longest song on the EP, clocking in a just over 7 minutes, and sounds the most like Klaxons from Myths, with a reverb heavy guitar part, fuzzy drone bass, and bar-room piano.  Again, the lyrics make little to no sense, which is still part of their charm.  The chorus is one of their best, almost a sing-a-long.

Based on these 5 songs, it was an interesting time for Klaxons.  Unusually subdued, the tracks are all fairly somber and mid-tempo, showing none of the dance floor influence of Myths nor the hard-edged experimentation of Surfing.  You can definitely sense that band really had no idea where to head with their sound.  Landmarks of Lunacy is an intriguing listen based on the differences between their first two albums.  An even more intriguing listen would be to hear the unreleased "experimental" songs to see how drastically different they turned out to be.

Download the EP at the Klaxons website: http://klaxons.net/

Rating Guide

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 albums 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 trimmed or polished.

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.

M.I.A.: Vicki Leekz Mixtape

M.I.A.
Vicki Leekz Mixtape
Rating: Grrrr

M.I.A. had a difficult year last year, igniting a shitstorm by tweeting the phone number of a journalist that wrote an unflattering portrait of her in the New York Times Magazine, and releasing MAYA, an album of unbridled electronic noise and agitprop, that was met with complete and utter indifference by her audience and critics. I was one of the few people that saw through the clutter and felt MAYA was an underrated success, it being a critique of our society's over-stimulation by the media and technology, and how all these new tools at communication and connection only serve to make us more isolated.

Continuing in that same mode, M.I.A. releases the free Vicki Leekz Mixtape, as a tribute to the Wikileaks controversy. Working with almost all the same producers she worked with on MAYA (Diplo, Switch and Blaqstarr; Rusko has been mentioned, however, he has since tweeted that he was not involved), the album is another set of politically contradictory rhymes and rants from M.I.A. set to a blitzkrieg of electronic beats and synths. If you disliked MAYA, there will obviously be a predisposition to dislike this mixtape, but while there are similarities there are more differences that should be taken into account.

For one, this a much more focused release, it is barely over the 30 minute mark and goes by quickly and easily, and hones a lot of MAYA's ideas down with surgical precision. The release is way more beat heavy, with lots of detailed programming and interesting textures, which makes this a lot more "fun" listening experience. And it is less in your face and agitated, being almost a pop-leaning series of tracks.

I can't really speak to the political side of the record, as I really can't pin down what M.I.A. is truly pissed about or what she is trying to comment on. Just as you think you are getting a handle on it, she changes her mind and goes down another path. Half the record seems to be about censorship and government control, then it becomes about too much communication and technology; you can't win with her it seems.

Murky political commentary stances aside, Vicki Leekz is truly a fun listen, the beats are challenging and interesting, and it rushes by at such a frenetic pace you don't have a chance to get bored or lose interest. Plus, the damn thing is free, so what are you complaining about?
Download it for yourself and come up with your own opinion.

Here is a link to the free download:

http://prettymuchamazing.com/reviews/albumreviews/vickyleekx

Rating Guide

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 albums 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 trimmed or polished.

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.

Gorillaz: The Fall

Gorillaz
The Fall
Rating: Yeah Daddy Make Me Want It

Even I will admit that this album is pretty impossible to review from a "major release" standpoint, because it is not a major release from Damon Albarn and Company. Written and recorded on their North American tour using only apps found on the iPad, The Fall is more of curiosity than an album to fawn over and curl up with.  With that out of the way, it is definitely an album to sift through and find something to enjoy.  The Fall is pretty much split down the middle with simple ballads and electronic experimentation.  While I enjoyed the looseness and "let's try this to see what happens" attitude, I definitely find myself drawn to the more fleshed out songs.  "Revolving Doors" is a standout, featuring another lovely, fragile vocal turn from Albarn:



His voice always pairs well with acoustic guitars laid over a bed of analog synths and drum machines. 

Another key track is "Amarillo," with its stuttering drum programing, twinkly synths, and Albarn's haunting cry "Put a little love into my lonely soul."



Bobby Womack shows up again on one track, "Bobby In Phoenix," giving a wonderfully restrained vocal over a blues guitar background



The middle of The Fall features "Shytown," with it's swirling keyboards and falsetto vocal from Albarn, which segues into "Little Pink Plastic Bags," all droning bass synth and chanting vocals, which really makes the point of the album come into focus, that it is like leafing through Albarn's tour journal, getting patches and snippets of life on the road, his impressions of the United States, some more thought out while others are just fragments.





The rest of the album is a bit hit or miss to me, as it is mostly made up of instrumental, impressionistic sketches, some of which are more fleshed out than others.  Lead track "Phoner to Arizona," glides by smoothly, surfing on a 50s Sci-Fi wave of bloopy keyboards



"Detroit," pays homage to the techno scene which formulated there with a light and breezy Carl Craig like track:



The remaining pieces give a nice feel for the time and place in which they were made, but most don't leave an indelible impression.  Luckily, Albarn was wise to make most of these tracks very short.

The Fall is a interesting curio from the always fascinating Damon Albarn, and it being free is a nice bonus.  And for being recording using only iPad apps, it sounds remarkably polished and well produced, with almost no indication of low quality.  I doubt that this will be the wave of the future for other bands or for Gorillaz, but as a keepsake from their journey and experience touring the states, it is a lovely Christmas gift from Albarn.

Rating Guide

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 albums 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 trimmed or polished.

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.