Videos of the Week

Friday Friiiiiday Friiiiiiiiiiiiiiday!



I love this band and this song, but man is this one of the most boring videos ever?



Bjork + Gondry = Bliss



I'm digging this funky little track.

Holy Other - Know Where from @thestankonia on Vimeo.

This video from producer Holy Other fits the song like a glove.



Awesome shot for shot remake of the LCD Soundsystem video using Legos.



Ridiculously catchy song from The Drums.

John Maus: We Must Become The Pitiless Censors Of Ourselves

John Maus
We Must Become The Pitiless Censors Of Ourselves
Rating: Tragicistani

Pretentious, juvenile, hipster, grating, annoying, amateurish, poorly produced, weak song writing; these are some of the words that come to mind when listening to John Maus' opus of horrendousness, We Must Become The Pitiless Censors of Ourselves, which by the title alone attempts to announce itself as high art. Wikipedia's entry on him is equally pretentious, noting he is working on a PHD in political philosophy, was expelled by the university for "malfeasance," and that his interests in music switched from experimental music and performance art to "Pop Music" (capitalization from the original) after working with Ariel Pink as a keyboardist. From the first mention of Ariel Pink, I should have known I was going to have issue with this record. Ariel, however, while mostly a train wreck, knows how to put together a great pop song. Maus, on the other hand, has far too many ideas and no clue how to put them together coherently. Somewhere in this mess of an album are some sparks of ideas that are screaming for a producer with a heavy editing hand, unfortunately, Maus never gives them any life whatsoever.

"Streetlight" begins with bargain basement synths and canned drum beats under moaning, distorted vocals, sounding like Peter Murphy/Ian Curtis drunkenly slurring through a megaphone at the bottom of the ocean.



And it just gets more painful there. "Quantum Leap" matches Maus' carnival freakshow vocals with screaming guitars, chunky bass, and casio keyboards. When it finally locks into sort of a groove, Maus kills it with a painful, screeching guitar solo.



Possibly the worst song of the year is the torturous ear worm that is "Matter of Fact," cribbing Munsters-style organ and keyboards over a clompy beat, and sing-songy vocals that are impossible to get out of your head due to the infantile nature of lyrics such as "pussy is not a matter of fact."



The album sounds like it was recorded in a wind tunnel, with the instrumentation mashed together like oatmeal, impenetrable and uninviting. "And The Rain" is all one tone, like cats banging on instruments.



"Keep Pushing On" feels like leftover chillwave mixed with the sound the killer makes in Friday the 13th.



"Head For The Country" takes early 80s funky synths and tinny drum machines with Maus' portentous vocals, then apparently hits the presets on his analog keyboard to use every single sound he can.



There is almost little to like on this record. The only small glimmers of hope are on the cover/remake of Molly Nilsson's "Hey Moon." Sung with Nilsson, the low-key instrumentation suits the lovely ballad, and for once, working with Nilsson's beautiful voice, Maus' voice is bearable.



"The Crucifix" has an Speak And Spell-era Depeche Mode charm to it, though Maus finds a way to ruin it with ridiculous vocals and lyrics.



And "Believer" actually has a good mix of driving bass and chiming synths that anchor the song instead of letting it fly all over the place. It is one of the few songs that actually feels like a song.



I guess I just don't "get" this record. Looking at the nauseatingly obtuse PR release from the record label, this is what I am supposed to understand:

"Unlike the last two albums, 'Pitiless Censors' looks towards the future in all its absurdity. It's a record where promise takes the lead for the first time, providing a counterpoint to John's default existential calling....
The everyday realm where our lives seem both familiar and equally strange is where John Maus resides. His surreal touch is disarming, opening our eyes to the reality outside the four walls. Perhaps we're all like "the human being who finds himself in the locker" in "Head For The Country" in that, if we surprise ourselves and open the door, we can let the light in despite the storm."

The release gets the absurd part of the record correct, that is for sure. And poor production and mixing is not a "surreal touch," and is certainly not what is the only disarming thing about this album. I like experimental music, however, it has to be done with some sense of purpose. This record has absolutely no purpose whatsoever.

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 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.

When Saints Go Machine: Konkylie

When Saints Go Machine
Konkylie
Rating: Woof Daddy

Remember during the Alan Wilder years of Depeche Mode, how with each album the band experimented with sound, meticulously pouring over each track to make something new and interesting? There was always the "Depeche Mode" sound, but they were always pushing at the boundaries, so it remained fresh. Once Wilder left, the band basically went on autopilot, focusing more maintaining their success rather than striking out in any new directions. Perhaps back in the 80s-90s bands were working with limited equipment and were having to work to create new sounds. Now, anyone with a laptop and an Internet connection can make music, and that sense of wonder and imagination has sort of faded. 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. While it is not as polarizing as the lead singer of WU LYF, it still has some definite quirks.

Konkylie doesn't sugar coat things from the beginning. Leading with one the albums most challenging tracks, Vonsild's vocals rise out of a fog of amorphous synthesizers, mutitracked into a chorus of avant garde angels, lifted by twinkling keyboards and horns.



"Church and Law" begins almost like a Renaissance ballad before the bass synths kick in for a lush mid-tempo pop number, filled to the rim with quirky synth tones.



Konkylie straddles the line beautifully between all out pop bliss and darker, edgier tracks. I am slightly more partial to the more mainstream pop tracks, as Vonsild's voice tends to work better when it is reigned in slightly. "Terminal One" is by far the most pop friendly song, Vonsild's voice in a lower register, backed by a funky backbeat and spritely synths.



"Chestnut" is darker, yet still has a more mainstream edge, Vonsild singing in a baritone, staccato bursts of electronics punctuating the liquid mix of beats and synths.

When Saints Go Machine - Chestnut by WalterHeape

"Kelly" is all sunshine keyboards and melodies, perfect for a summer day.



And "Parix" is probably the best of all When Saints Go Machine's worlds, featuring a mix of Vonsild's low-key approach with more fluttering/multi-tracked flights, lying on beds of burbling synthesizers.



This is not to say that I don't enjoy their more experimental tracks. I believe Konkylie would not be the success it is without the mix of pop songs and avant garde tracks. This mix definitely shows the band's range and depth. The whooshing synths, cooing vocals, and strange use of vocal samples on "The Same Scissors" is the perfect bridge between the two approaches.



"Jets" uses a chugging afro-pop beat over deranged synth loops, getting more and more percussive as it unfolds.



"On The Move" and "Whoever Made You Stand So Still" form almost a mini-suite of classical leaning ambient music, with Vonsild taking the most chances with his vocals.




Konkylie is endlessly inventive and fascinating; a pure joy of pop thrills and ceaseless creativity. It is highly recommended for anyone who enjoys stepping outside their comfort zone.

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 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.

Alex Clare: The Lateness Of The Hour

Alex Clare
The Lateness Of The Hour
Rating: Yeah Daddy Make Me Want It

Over the past couple of years, dubstep has slowly been infiltrating pop music and away from pure bass aggression. Artists as diverse as James Blake, Katy B, and Jamie Woon are adding dubstep textures to their music. Even the first single from Britney Spears' latest album threw in a dubstep break. It is only a matter of time before it is fully embraced by the mainstream, and one indication is the debut album from British singer Alex Clare, The Lateness of the Hour. Produced by Diplo and Switch, the album showcases Clare's soulful voice, but chooses to take the opposite route of traditionalists like Adele, and allows for more wobbly dubstep bass and other international styles, like Moombahton and Reggaton, that Diplo has soaked up over the years. The first half of the album is almost perfection, each track building off the next, taking chances, adding subtle effects and textures. The back half, unfortunately, takes a hug nosedive and never really regains control. What could have been a classic debut album merely becomes a promising one.

Leading off with "Up All Night," the album kicks into full gear with a blast of reggaeton/punk, the pounding drums pulsating under pile-driving guitars.



"Treading Water" begins several notches down, focusing on Clare's beautiful voice over cautious keyboards, before the skittering drums and wobbly dubstep bass enter the picture and take this gorgeous track to another level.



"Relax My Beloved" is the most dramatic and haunting track on the album. Tension filled and ominous, like a blues lament from hell, it clearly is one of the highlights of the album.



"Too Close" also ratchets up the drama, taking almost true hardcore dubstep bass at the chorus, making it stand out in the crowded pop music field.





"Too Close" has recently been featured in an ad for Bing and Internet Explorer.

Despite a misjudged cover of Prince's "When Doves Cry," the album continues with album highlight "Hummingbird," the simplest and most heartfelt song on the record. Minimal instrumentation never detracts from Clare's impassioned vocal.



The remainder of the album, unfortunately just doesn't live up to the first half. "Hands Are Clever" starts the downward spiral, beginning strongly with blasts of funk horns and guitar, but descending to almost comical levels on the chorus, sounding like a third rate Sly Stone cover band.



"Tightrope" and "Whispering" are fairly minimalistic tracks that oversell their dubstep trappings. And the final two tracks, the ballads "Sanctuary" and "I Won't Let You Down," suffer from being over-top and too minimal, respectively. Only "Love You" retains the magic of the first half of the record, evoking the sound of recent solo work from Jamie Smith of The xx.



Although the back half of the record lacks the immediacy of the front half, it is still undeniable that Clare is an artist to watch. It just appears that Clare might have been apprehensive about making an album that was entirely dubstep influenced, and tossed in some tracks that would make the album more palatable to a wider audience. Instead of making the album better, it just shows how the dubstep tracks support his vocals better. Based on the first half of the record, however, I am still anxiously waiting to see what else this guy can 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 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

Here are the latest videos that are wetting my whistle:

Hooray For Earth - "Sails" from Dovecote Records on Vimeo.

Amazing track from Hooray For Earth gets a great video treatment.



Another soon to be classic video from The Beastie Boys.

Pure X - "Easy" from Malcolm Elijah on Vimeo.

Dreamy song and video from Pure X.

NEON INDIAN - HEART : DECAY from gorillavsbear.net on Vimeo.

Wonky first song from the new Neon Indian album.



Although I am not a fan of the album, this single from Washed Out is one of the better tracks.

Com Truise: Galactic Melt

Com Truise
Galactic Melt
Rating: Meh

Although he works under numerous monikers, Seth Haley is best known for his work under the Com Truise name, mixing heady 80s electronic synthpop with a more overtly funky tone. His Cyanide Sisters EP brought him much welcome attention, showcasing his natural, low-key style. Galactic Melt doesn't necessarily divert from that approach, instead, choosing to refine and hone that sound, somewhat to diminishing returns.

After a brief, ominous intro track, the album kicks off with a three track trifecta that really showcases his style. "VHS Sex" is all deep bass, crisp drum programming, and cool sex appeal.



"Cathode Girls" mixes skittering bass with melting synth blasts.



And "Air Cal" sounds like a bizarre collaboration between Boards of Canada and some 80s R&B band; pastoral electronic funk.



After this brilliant opening salvo, Galactic Melt doesn't so much lose focus as suffers from a bit of monotony. Haley sticks within the same parameters which tends to make most of the tracks bleed into one another. Each song has the same enigmatic synth opening, pitch-shifted samples, funky bass synth, and crisp drum machines. "Flightwave" and "Brokendate" are almost the identical song.





"Glawio" meanders along lazily with no real sense of adventure or purpose.



And "Ether Drift" lives up to its title, drifting hazily along with twinkly keyboards; the midpoint electro break not enough to rescue the song from tedium.



"Futureworld" at least closes out on a high note, the low, funky bass lines anchoring the frenetic synth runs, echoing the work of early Future Sound of London.



There is nothing about Galactic Melt that is horrible in any way. The production is clean and crisp, and it sounds great. Haley is obviously a very talented producer, however, what worked well on his short form EP, gets a little lost in translation on a full length. With more variety and better pacing, those small issues will easily be resolved. We'll just call this a slight misstep, but still a producer to watch.

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 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.

AraabMuzik: Electronic Dream

AraabMuzik
Electronic Dream
Rating: Grrrr

AraabMuzik, Rhode Island producer Abraham Orellana, is more known for his work in hip-hop circles, crafting beats on his MPC drum machine for artists like Cam'ron & Vado, Jadakiss, Busta Rhymes and Fabolous. With the release of his mixtape Electronic Dream, AraabMuzik confounds expectations by creating one of the strangest and most eclectic collections of genre mashing. The album almost reads like a history of electronic music; breathlessly moving from hip-hop, electro, house, techno, bass music, and beyond. If there is one section you don't enjoy you need only wait a few seconds for it to transition to another genre.

The front quarter of the album leans heavily towards house music with judicious use of diva vocal samples, tweaked slightly, but punctuated with crisp, gun-shot forceful drum programming. Using a sample from Jam & Spoon's "Right in the Night (Fall in Love With Music)," "Golden Touch" slinks along on a trance bed of house beats before being cut up by his darker beats.



Utilizing DJ Nosferatu's "The Underground Stream" on "Underground Stream", AraabMuzik builds almost unbearable tension with his beats and snippets of vocal screams, before a hardcore techno breakdown takes it home.



The mid-section becomes more pronounced with rave-like movements, like the anthemic synths of "Lift Off."



While the back end of the album languidly take things home. "Feelin So Hood" could fit easily within the Brainfeeder catalog alongside Flying Lotus and Teebs. Skittering, nervous percussion playing around a Starchaser sample.



Ending track "Lost In A Maze" borrows and tweaks post-dubstep's use of pitchshifted vocals over stuttering clips and clops.



Electronic Dream speaks to me because of its restlessness and ingenuity, and while it sounds warm and inviting, it is not overproduced within an inch of its life. Also, the beats and use of odd samples always keeps you a little on edge, ratcheting up the tension then releasing it in a whirl of synths. It is an exciting album that announces a new talent to watch closely.

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 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 Horrors: Skying

The Horrors
Skying
Rating: Grrrr

The Horrors jumped onto the UK music scene in 2007 with a campy, proto-goth/rockabilly hybrid mixed with a strong visual sense of foppy clothing, dark makeup, and intricate hairstyles. After the release of and EP and their debut LP Strange House, they had seemingly reached the crossroads for their sound and image. Would they continue to head down the path of influences like The Cramps, making essentially the same record for their entire career, descending further into novelty territory, or would they set out towards different vistas. No one, least of all me, could have envisioned the tremendous leap in sound for the follow up 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.



This more accessible Horrors is evidenced throughout the record. Lead track "Changing The Rain" is all languid synths, muted beats, and droning guitars. "Wild Eyed" uses crisp drums and delicate string synths to cushion Badwan's luscious croon.



"You Said" brings in horns that balance out the ever deepening sound.

The Horrors - You Said by apartmandairesi

While this new side of The Horrors adds new depth, an entire album of this might prove to be monotonous. Skying really shines when this clarity is muddled with some of their now trademarked experimentation. "Dive In" uses chiming guitars and rollicking backbeat to draw you in gradually, to then erupt at the chorus with blasts of guitar drones.

The Horrors - Dive In by apartmandairesi

Likewise, "Endless Blue" begins with ringing guitars, delicate keyboards, and horns, sounding like a 50s era ballad before the guitars begin snaking up from the mist.



The back end of the album finds the band honing the krautrock/shoegaze sound they employed on Primary Colours. The expansiveness of the tracks allows the band to paint outside the lines. "Moving Further Away" glides and shimmers under a motorik beat, hazy synths, and a chugging bass line. Midway changing to an epic blast of guitar effects.



While closer "Oceans Burning" adds a more psychedelic bent to the proceedings. Dreamy, flanged guitars meander over ghostly chimes for the first half of the track, evolving into a raveup of driving bass, drums, and eerie guitars. The only true misstep on the album is the track "Monica Gems" which finds Badwan affecting his histrionic vocals from Strange House over a cacophony of scraping guitars. It just feels out of place on the album, and perhaps an attempt to pull back in some listeners who bolted when they changed direction with their sound.

Like the band Liars, so far The Horrors confound expectations with each release. Restless and experimental, they enjoy pushing the envelope, taking their sound in new, unexpected directions. While this is not the huge stylistic leap that Primary Colours was, Skying takes chances, especially with Badwan's vocals, pushing them forward in the mix, finding him with a supple, gorgeous voice. Skying is a perfect addition to their evolving catalog.

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 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

Shitty week. Here are the videos that made it less shittastic:



I know it's heresy, but I've always preferred The Rolling Stones to The Beatles. Love this song. Slinky and funky.



Danish band When Saints Go Machine sound like the love child of Fever Ray and Antony Hegarty. Really love the new album Konkylie.



Love this minimal track from Diskjokke.



Hypnotic video for the latest single from Hercules and Love Affair.



Interesting commentary on the use of cigarettes in the media.

Teddybears (Feat. Cee Lo & The B-52s) - "Cho-Cha" from stereogum on Vimeo.

Very strange video from Teddybears.



SBTRKT brought Drake up on stage to perform "Wildfire."

Non-Sequiturs

True Blood needs to find a way to bring back Coot. Sigh.

Continuing the sports theme from last week, here is sexy UK footballer Wayne Rooney.

Let's not forget Fredrik Ljungberg either.

Denmark is putting out some amazing bands these days. With Iceage and now When Saints Go Machine, I am overwhelmed with good music. Here is one of my favorite tracks from When Saints Go Machine's new album:



How the hell did people ever live without air conditioning?

I've been supervising a group of contract attorneys in a very very small workroom. Because they were apparently getting too rowdy, they've taken Internet access away from them, and me, when I am in there. Very annoying.

Lyrics Rattling Around My Brain

"Never could be still for long
and I could never hold a job
coupled with a weakness for cocaine and liquor
not much you can do for love

When I met you I broke the mold
I fell apart and combed my hair
whiskey shakes for ten whole days
stay off the streets at night for weeks

I don't wanna be your catholic pagan now that you're here
we're counting on each other for love, survival, and everything else."

Surfer Blood
"Catholic Pagans"

"I learned the hard way,
That life should be easy,
But I want you to know it was hard to show,
The things that I know now.

And all that's left is you and me,
And here we are,
Nowhere."

Ride
"Nowhere"

"You're locked up
You exit
You did it before
Yea I've seen it
Come outside
And breathe in
Relax your arms
And let me in

I will find a way
I'm confused, ohh
But I think I can try
I will save your life
I will try for you"

Deftones
"Risk"

"Could I write a requiem for you when you're dead?
'She had the moves, she had the speed, it went to her head'
But when she's on her back
She had the knowledge
To get her into college"

Belle & Sebastian
"The Stars Of Track And Field"

"Hypocrite opportunist
Don't infect me with your poison
A bully in a china shop
When I turn around, you stay frozen to the spot
You had the pointless snide remarks
Of hammerheaded sharks
The pot will call the kettle black
It's a drunken punchup at a wedding"

Radiohead
"A Punchup At A Wedding"

Appealing Things

Swimming at night in 88 degree pool water
Texas margaritas
Getting tickets to the M83 show
Finally passing the three kidney stones I had last week
Finally getting the junk that was sitting in my front hallway to the donation center

Annoying Things

Pepsi
My new glasses are too tight and are hurting my head
Three motherfucking kidney stones in a week
People on FB who post "Let's see who truly reads my status" status updates
People on FB who click on those annoying links that then hack their profiles
Finding out M83 is playing in Hell at the Masquerade and not Heaven
$155 fine for my speeding ticket

Mini-Reviews: Peter Murphy, Holy Other, Ford & Lopatin, and Planningtorock

Peter Murphy
Ninth
Rating: Yeah Daddy Make Me Want It

Ninth is a nice return to form for the ex-Bauhaus singer. While it is no Deep, it is his most consistent record in years. His lovely baritone is still what draws you in to this set of guitar heavy tracks. Less experimental than his most recent work, Ninth finds him putting forth rich melodies and catchy hooks, like the driving "Seasaw Sway," the stately "The Prince & Old Lady Shade," and the industrial grind of "Uneven & Brittle." He only falters on some overly melodramatic numbers like "Secret Silk Society," "Velocity Bird," and "Peace to Each." Aside from these missteps, it is a very solid record, and easily fits alongside his best work.

Holy Other
With U EP
Rating: Yeah Daddy Make Me Want It

Mining similar territory as artists like Burial and Desolate, Manchester producer Holy Other releases his first EP of stark, haunting post-dubstep. The 5 tracks each unfold slowly, usually over a deliberate percussive bed and minimal synth washes, vocal samples pitch-shifted and heavily reverbed. After the first couple of tracks, it almost feels like he has shown his cards and that you are listening to a one track pony, but by the time "Touch" appears, the gradual evolution of his sound unfolds. The songs get more aggressive and bold, featuring skittering percussion and lots of low end bass rumbles. Title track "With U" builds forcefully like a Fuck Buttons song, with the vocal samples and string synths merging into a lovely coda. "Feel Something" rounds out the EP with clanging, industrial percussion over heavily edited vocal samples. With U is a nice introduction to a new electronic artist that reminds me of the early work of James Blake and Mount Kimbie, who showed their range and experimentation on their first EPs.

Ford & Lopatin
Channel Pressure
Rating: Yeah Daddy Make Me Want It

Formerly known as Games, Ford & Lopatin is Joel Ford of Tigercity, and Daniel Lopatin, the drone artist known as Oneohtrix Point Never. As Ford & Lopatin, they focus heavily on technicolor synthpop and R&B, almost sounding like a cross between Prince, Lisa Lisa and Cult Jam, and the soundtrack from Weird Science. Channel Pressure is one weird trip, full of synthetic percussion, goofy synth lines, and slap bass, moving so fast through genres it gives you whiplash. The album is so infectious it is difficult not to crack a smile when certain tracks pop up, like the Thomas Dolby aping track "Emergency Room," the disco synth funk of "Too Much MIDI (Please Forgive Me)," or the fizzy dance track "World of Regret." The album is so bubblegum sweet, it can get cloying at times, but overall, you couldn't ask for a better summer party album.

Planningtorock
W
Rating: Tragicistani

I was very excited when I heard about Planningtorock, as performance artist/musician Janine Rostron frequently works with The Knife, and Rostron and The Knife's Karin Dreijer Andersson both enjoy creating moody, atmospheric pop with heavy use of pitch-shifted vocals. With W, all the right elements are there, minimal, slightly Asian percussion, creepy synths and keyboards, horns and woodwinds, and bizarre vocals and lyrical conceits. Unlike the work of Fever Ray, however, nothing really gels into something interesting or compelling. All you get are elements, with no connection. Not a single song on this record moved me or stayed with me. In fact, I haven't heard a record this unlistenable in a long while (this was before I heard the new John Maus album). Save your money, or be prepared to get carpal tunnel syndrome from hitting the skip button.



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 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.

30 Day Song Challenge: Day Thirty - Your Favorite Song At This Time Last Year

Day Thirty - Your Favorite Song At This Time Last Year
Robyn
"Dancing On My Own"

The best song of 2010. Robyn is amazing, and puts on one of the best live shows around. If you haven't seen her, you are doing yourself a huge disservice.

Washed Out: Within And Without

Washed Out
Within And Without
Rating: Meh

Ernest Greene, who performs under the Washed Out moniker, is a laptop producer who creates blissed out chillwave music from his rural Georgia home, about the most unlikely place you could think this kind of music would originate. Over the course of two EPs, Greene created a unique set of tracks that took vintage sounding keyboards and drum machines and molded new, sunny life out of them. It is basically impossible to listen to those tracks without getting a warm sensation flowing through your body. With the backlash against the chillwave genre, it was unclear what direction Greene would head in; would he change 180 degrees like Toro Y Moi, or subtly alter his sound like Memory Tapes? With his debut full length Within And Without, the answer is neither. He basically sticks to his same template, but brought Animal Collective producer Ben Allen to man the boards, brushing and shining the ramshackle nature of his earlier tracks into a buff sheen. Consequently, there are two effects on his sound: one, the album sounds great, full of depth and an expansiveness that wasn't there before; and two, this also, most likely unintended, gives the album a rather one-note quality. Individually, the tracks are all gorgeous and shimmering, creating a wonderful, relaxing backdrop, however, together it is difficult to tell them each apart, flowing in and out of each other with little distinction. Oddly, almost every track adheres to the same BPM and drum track, making this problem worse.

The album starts on a high note, with the lush atmospherics and treated guitars of "Eyes Be Closed," feeling akin to the opening track to The Cure's Disintegration, the song ebbing and flowing on a rising sea of building chords.



And this template serves them well when they stick to a dreamier, more upbeat sound. "Amor Fati" has a lovely, almost Caribbean lilt, which leads to a swirling, gauzy chorus.



"Before" starts out well on a bed of whirring synths, and uses some interesting vocal sampling as counterpoint to the hazy vocals.



But far too many tracks drag through somber trappings, never rising above a bland texture. It also doesn't help that Greene, whose voice is respectable but not amazing, covers most of his vocals in reverb and other effects. The majority of tracks sound like he is singing from deep in a well. "Far Away" has his vocals barely reaching a murmur.



Adult Swim single "You And I" is similarly morose and blue, with Greene's vocals a formless moan, which is further dragged down by the turgid beats.



The title track takes a light, hip-hop beat and pairs it will glacial synth washes, fading into aural wallpaper.



The final track, "A Dedication," finally emerges from the pea soup torpur of the album and injects some much needed variety and texture; adding pianos and spikes of keyboard atmospherics.



Within And Without is an album I really want to love. There are some great tracks on it and the production is impeccable, it is just like a Big Mac sandwich though, something I crave once every six months or so, then right after I have it is instantly gone from my memory until six months later. There really is nothing wrong with the record, it just doesn't leave a lasting impression. The tracks end up being too similar and fade into the background. I wish there had been more of the thrift store odd nature of his earlier EPs in order to provide some distinction between tracks. Unfortunately, what we are left with is a pleasant, but unmemorable experience.

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 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.

30 Day Song Challenge: Day Twenty Nine - A Song From Your Childhood

Day Twenty Nine - A Song From Your Childhood
Electric Light Orchestra
"Turn To Stone"

God I loved this song when I was a kid. And of course, being a kid, I thought they actually flew around in that spaceship. Sucked to find out they didn't :(

Memory Tapes: Player Piano

Memory Tapes
Player Piano
Rating: Yeah Daddy Make Me Want It

As a genre, chillwave had a very short shelf-life. There is really only so much you can do with a blissed out, sunkissed, dreamy sound that hasn't been done before. All the bands that were the stars of the scene, Washed Out, Toro Y Moi, and Memory Tapes, have released their follow ups to their defining albums and the results have been quite interesting. Toro Y Moi ditched the chillwave sound entirely, moving toward a more 70s R&B/disco vibe, which, at least for me, didn't work very well. Washed Out's first full length (after two lauded EPs) Within and Without has just been released, and I will likely review it next week, and at first listen sounds like his original work, but more expansive and with much better production values. By far the most notable member of the genre, Memory Tapes's (one man bad, Dayve Hawk) debut album Seek Magic was filled to the brim with experimentation, hooks, and a fun vibe. It was on endless repeat two years ago on my iPod. With breathless anticipation I have waited for his sophomore release, wondering where he would take his sound.

Player Piano is an interesting second album for Memory Tapes. The experimentation and hooks are still there (and it is obvious the production values are far better), but where on Seek Magic these worked off each other well, here they seem to be an odds with each other, creating a tension that is in some instances welcome, and in others in congruent. Almost all of the tracks start in one direction and then end up in a completely different place, making the album feel slightly schizophrenic. The good thing about this approach is that if a part of a song, or the album, is not to your liking, you merely have to wait a few minutes and something new will come along. In contrast, when you are digging a hook or melody, he inevitably mucks it up by taking it in a direction you don't want it to go.

When he gets it right, it is spot on. "Sun Hits" is a 3 and 1/2 minute piece of pure pop bliss, with chiming/ringing guitars and upbeat tempo, featuring the lyrical hook "Nothing's a dream if you never wake up."



"Trance Sisters" is slightly darker, but also benefits from a driving beat, fuzzy surf guitars, and funky synths.



"Offers" features a delightful use of oboes as a counterpoint effect to the lowkey instrumentation and laconic delivery of Hawk.



And first single "Yes I Know" is a complete surprise, a delicate, almost pastoral ballad, featuring lush synth strings and woodwinds to calming effect.



The problems with Player Piano are not many, but they are pretty glaring. First, on Seek Magic, Hawk only sung on a few tracks, the remainder being instrumentals. Here, he pretty much sings on every track, and his voice, which is thin and reedy, is best taken in small doses. And to mask his weak voice, most of his vocals are heavily reverbed or multi-tracked to mask his deficiencies. And second, as mentioned earlier, the songs that mutate have some diminishing returns. "Today Is Our Life" begins strongly as a midtempo electronic pop song, then midway turns into a synth-pop/country hootenanny.



"Worries," on the other hand, starts weakly with a bizarre organ churned melody and high-pitched vocal from Hawk, but erupts midway with gorgeous guitars and upbeat drumming.



The rest of the album is made up of slight instrumental passages that really don't add to the flow of the record or provide any direction to where Player Piano is going. Hawk still knows his way around a hook and how to put together sounds that you wouldn't think would go together; but where that talent was fully focused and brilliantly executed on Seek Magic, here it is mostly scattershot and unsuccessful. By trying to make himself into a "band" he has limited himself, and unfortunately his voice is just not strong enough to carry an album's worth of songs. For his next project, it would benefit him to rely more on his strengths, and to not try to be something he is not.

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 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.

30 Day Song Challenge: Day Twenty Eight - A Song That Makes You Feel Guilty

Day Twenty Eight - A Song That Makes You Feel Guilty
George Michael
"Hard Day"

This is an odd category. I am not sure a song has ever made me feel guilty per se. I'm not even how a song could make one feel guilty. I guess this song makes me feel guilty because this guy I went to college with left his George Michael CD in my apartment and I never gave it back to him.

Videos of the Week

Short work week, but felt long. Glad it is almost done. Here are the videos of the week that slapped me like a bitch:



First single from the upcoming album Skying from The Horrors. I am loving this song, and it's Simple Minds-like keyboards. I love this band, because you never really know what they are going to do next.



I am not a huge fan of the big technicolor sound that The Pains Of Being Pure At Heart adopted for their second album, but there are some really good tracks on it, "The Body" being one of them. And this video is just perfect, really making you miss childhood.


Get Real, Get Right from Asthmatic Kitty on Vimeo.

Pretty incredible stop-motion animated video from Sufjan Stevens. Really love this song.



Cell-phone shot video from one of the standouts from Kurt Vile's new album Smoke Ring For My Halo.



Interesting video from LA dreamgazers Warpaint.


Handsome Furs - "What About Us" from stereogum on Vimeo.

NSFW video from Handsome Furs.

30 Day Song Challenge: Day Twenty Seven - A Song That You Wish You Could Play

Day Twenty Seven - A Song That You Wish You Could Play
Slowdive
"Primal"

One of my favorite Slowdive songs, and one of their most powerful songs they played live. I was lucky enough to see them in Atlanta opening up for Catherine Wheel, and this song, which starts out so lovely, and builds and builds into a maelstrom of effect-heavy guitars, was one of the highlights. I've always wanted to be able to play guitar (but just never had the patience to learn) and this is one song I would love to be able to play.

30 Day Song Challenge: Day Twenty Six - A Song That You Can Play On An Instrument

Depeche Mode - Just Can't Get Enough (Music Video) from Depeche Mode on Vimeo.

Day Twenty Six - A Song That You Can Play On An Instrument
Depeche Mode
"Just Can't Get Enough"

Probably the simplest synth melody ever written. Plus, you can basically see how to perform it in the video. It's the one song I can actually play on my Roland synthesizer.

Shabazz Palaces: Black Up

Shabazz Palaces
Black Up
Rating: Grrrr

For the past year, Shabazz Palaces has been a mystery alterna-rap group releases a set of EPs that left many listeners breathless with anticipation for what they could possibly release next. This seems to be a trend this year with acts like WU LYF and The Weeknd releasing material without any press or publicity, letting the music talk for them. Of course, this being the Internet age, it doesn't take long for the word to get around, and with Shabazz Palaces, it was discovered that the mastermind behind all the trippy beats and molasses slow flow was none other than former Digable Planets member Ishmael Butler (formerly Butterfly), who now raps under the name Palaceer Lazaro. Aside from his dreamy flow, there is little link between Shabazz Palaces and his work with Digable Planets. Where the latter was all trippy dippy, jazz influenced flower power rap, Shabazz is decidedly darker and more barren, drawing from the drug haze of trip hop and more dense, troubling rap from Dalek or the Anticon label. There is a palpable sense of dread and anxiety that covers Black Up in a dark cloud, that is difficult to shake once you are inside its walls.

From the sandpaper rough via gunshot beats of "Yeah You" which takes on people who blindly follow trends,



"Youology" and its dense multitracked layers thick as mud,



to "Endeavors For Never (The Last Time We Spoke You Said You Were Not Here. I Saw You Though)" with its jittery black hole jazz and spacey effects,



Shabazz Palaces always keeps you on edge, fearful of what is around the corner. And you never quite know where the album is going, even within each song, with the flow sometimes morphing several times. Opener "Free Press And Curl" wanders at first in an opium haze of stuttering beats and gauzy synths before dropping out into an analog synth-heavy murk.



Which bleeds into the haunted house ghost moans of "An Echo From The Hosts That Profess Infinitum" whose middle section drops out with soft electronic percussion:



Not everything is overdone with menace, "Are You...Can You...Were You? (Felt)" soothes with soft strings and pianos over a hushed, drawling rap,



and "A Treatease Dedicated To The Avian Airess From North East Nubis (1000 Questions, 1 Answer)" is pure beat poetry, a disguised in the club come on,



A slight nod to the trippiness of Digable Planets comes from the jazzy guitars and drugged out beats of "Recollections Of The Wraith" with a gorgeous vocal sample cooing in the background.



Black Up is a pure headphones album; there is so much going on within each song, you need some good equipment to pick up all the subtle nuances. It is not a difficult album to listen to, despite the heaviness of the beats and music, there is always something new flying around the corner to shock and surprise. For those of you, like me, who are tired of mainstream rap and hip-hop, and lean more towards the more avant garde practitioners of the genre, Shabazz Palaces is a true find.

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 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.

30 Day Song Challenge: Day Twenty Five - A Song That Makes You Laugh

Day Twenty Five - A Song That Makes You Laugh
Consolidated ft. The Yeastie Girlz
"You Suck"

This song is very rauchy and silly, and always makes me laugh. NSFW, so either put some headphones on or listen to very quietly.

YACHT: Shangri-La

YACHT
Shangri-La
Rating: Grrrr

When YACHT was only a side project for The Blow's Jona Bechtolt, the music was mainly quirky instrumental electro pop that had its pleasures but never really grabbed my attention for long. Over the years, Bechtolt began adding various vocalists, opening his sound up to more varieety and texture. With a jump to the DFA label a couple of years ago, Bechtolt added full time vocalist Claire Evans and released See Mystery Lights, and become more full on dance oriented, mixing playful experimentation with overt pop sensibilities, and creating an album that was almost too catchy for its own good. The follow up, Shangri-La, takes things up a notch, sounding less like a laptop album, adding more varied, organic instrumentation and really sounding like a true "band." They are also tackling weightier subjects, as Shangri-La (which has sort of loose concept) takes on issues of God, heaven and hell, paradise, etc., leaning towards a view of this being the one life we have and once it's done it's done, so you might as well make heaven a place on earth.

Opening song duo "Utopia" and "Dystopia (The Earth Is On Fire)" set the tone, stating in no uncertain terms that

"We all know when we wake up
That this is what all we get,
This is what we get."

and that because of this realization we should take better care of the earth, instead of the corporations and republicans will lead the chant:

"The Earth, the Earth is on fire!
We don't have no daughter,
Let the motherfucker burn!"



And while lyrically and thematically this appears to be something overly heavy and somber, YACHT is smart enough not to take themselves too seriously, pairing their views with very catchy melodies, making what could have come across as sermonizing into something quite fun and very danceable. Indeed, musically the band recalls a lot of 80s titans, such as early Talking Heads, Laurie Anderson, Devo, and even B-52s.

"Beam Me Up" is a barn-burning number with fuzzed out guitars, driving beat, and a catchy chorus, which leads into the funky bass and cowbell laden "Paradise Engineering," which, with Evan's call and response like vocals, sounds like a modern update of "Once In A Lifetime."



"Tripped And Fell In Love With You," falls perfectly within the DFA template, a perfect four to the floor motorik beat, analog synths bleeping and blooping along with Evans and Bechtolt's intertwining vocals.



One of the best surprises is the title track which, aside from the opening twinkling keys and whooshing synths, takes on a very simple melody and more organic instruments, and becomes a fitting sing along ending to a fun album, preferring to make earth the paradise it should be, singing:

"St. Peter, don't you call me 'cause I can't go
I love my friends in hell, as above and so below
When the rapture comes, if you don't mind
I'll be waiting down here and sweating

If I can't go to heaven let me go to LA
Or the far West Texas desert or an Oregon summer day
If we build a Utopia will you come and stay?"



Shangri-La is one of the most fun albums of the summer, with track after track of booty-shaking fun. There are a few issues I have with the album, but they are fairly minor. Evans' vocals can get a little one note at times, and the middle of the record can get bogged down with some slower material. I love the wry, cynical lyrics of "Love In The Dark," however, the music almost drags the song down and the album with it. And the ping-pong blooping synths and scratchy guitars of "One Step" never gels into something more than what sounds like a mismatched collaboration between early Depeche Mode and Talking Heads. And just when I thought the album had run off the rails, "Holy Roller," which still starts off slow, kicked up steam at the chorus and even throws in some dubstep bass wobble which caught me off guard.

YACHT is really coming together as a true band, sounding less like the work of one man with some backing musicians and vocalists and more like a true collaboration, which makes them tighter and more focused. While I loved See Mystery Lights, it was always at arms-length. Shangri-La is warmer and more inviting, and, heavy subject matter aside, is one of the most fun summer albums I have heard in awhile. I whole-heartedly recommend playing at full volume with all the windows down, being indoctrinated by their views: "The future exists first in our imagination/Then in our will/Then in reality."

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 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.

30 Day Song Challenge: Day Twenty Four - A Song That You Want To Play At Your Funeral

Day Twenty Four - A Song That You Want To Play At Your Funeral
Dead Can Dance
"Persephone (The Gathering Of Flowers)"

Because I am world-renowned for my blog and music criticism, I, of course, will be widely mourned and praised by millions, and will thus need a suitably somber, tasteful, and large funeral. As my fans and followers throw themselves at my casket weeping openly and hysterically and pulling out their hair and destroying their clothes in the agony of it all, this gorgeous and haunting song shall be playing.*

* Of course, I jest. I doubt I will have anything really. I want to be cremated anyway. It is quite a lovely song, and builds to an amazing crescendo. Suitably over the top and fabulous.

Videos of the Week

Once again it is Friday, thankfully. Start to the long 4th of July weekend here in the States. Here are the videos that I was tuned into this week:



New song from Drake's upcoming album. Definitely seems like he is really adopting the sound of The Weeknd; making very minimal, ice-cold R&B.



I am not a huge fan of the SBTRKT album, but there are a couple of killer tracks on it, this being one of them.



I have very high expectations for the debut album from Alex Clare. I just wish the damn thing would come out already. Here is the latest video from him. Not my favorite song of his so far, but it is still likable enough; and of course, he is such a cute ginger bear.



Footage of Radiohead at Glastonbury performing one of my favorite songs of theirs.



New video from Magnetic Man. Although they put on one of the worst shows I saw at Coachella, I still like them.

30 Day Song Challenge: Day Twenty Three - A Song That You Want To Play At Your Wedding

Day Twenty Three - A Song That You Want To Play At Your Wedding
Sade
"I Couldn't Love You More"

Considering I will likely be dead before Georgia approves of gay marriage, there is little chance of my being married in this state. That aside, this would pretty much be the song of choice for me. And yes, I know it is shocking that I could like something this mainstream, but it's Sade, bitches. She is sublime.