Porcelain Raft: Strange Weekend - Album Review

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

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

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



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



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



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



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



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



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

Rating Scale:

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

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

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

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

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

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

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

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

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

M.I.A.: "Bad Girls"

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

Lana Del Rey: Born To Die - Album Review

Lana Del Rey
Born To Die
Rating: Grrrr

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

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



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





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



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



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



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



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

Rating Scale:

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

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

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

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

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

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

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

Air: "Parade"

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

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

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

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

Yup.

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

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

Videos of the Week

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



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



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



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



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



Beautiful animated video from Kate Bush.



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



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

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

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

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

Killer bass line.

Chairlift: Something - Album Review

Chairlift
Something
Rating: Yeah Daddy Make Me Want It

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

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



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



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



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



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



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



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

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

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

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

The Twilight Sad: "Another Bed"

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

The track can be downloaded for free here.

New St. Etienne track: "Tonight"

Saint Etienne - Tonight by Saint Etienne

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

Enter Shikari : A Flash Flood of Colour - Album Review

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

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

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



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



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



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



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



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



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

Rating Scale:

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

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

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

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

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

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

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

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

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

The Maccabees: Given To The Wild - Album Review

The Maccabees
Given To The Wild
Rating: Grrrr

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

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

The Maccabees - Child by MelomanoiseMusic

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



the driving pulse and haunted vocals of "Unknow,"



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



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

The Maccabees - Glimmer by deardeerdash

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



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

The Maccabees - Slowly One by deardeerdash

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

Rating Scale:

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

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

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

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

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

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

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

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

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

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

Some fun electro from Berlin based duo Modeselektor.

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

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

Videos of the Week

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



Sweet, electro-pop song from Class Actress.



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



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



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



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



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

UMO - Thought Ballune from Jordan Blady on Vimeo.

Completely weird video from Unknown Mortal Orchestra.

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

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

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

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

DropxLife: Further - Album Review

DropxLife
Further
Rating: Yeah Daddy Make Me Want It

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

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



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



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



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



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

DropxLife - REDXBLOOR by PinBoardBlog

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



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

Rating Scale:

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

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

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

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

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

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

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

GXZWJVFUSSMA

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

Definite must see for me.

Cloud Nothings: Attack On Memory

Cloud Nothings
Attack On Memory
Rating: Woof Daddy

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

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



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



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



the brisk pop-punk of "Stay Useless,"



to the angular fury of "Separation,"



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

Rating Scale:

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

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

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

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

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

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

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

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

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

Download the free mixtape FURTHER from The Weeknd producer DropXLife

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

Azealia Banks with Machinedrum: "NEEDSUMLUV (SXLAND)"

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



She is going to kill it at Coachella this year.

The Big Pink: Future This - Album Review

The Big Pink
Future This
Rating: Grrrr

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

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



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



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



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



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



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



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



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

Rating Scale:

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

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

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

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

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

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

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

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

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

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

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

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

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

Videos of the Week

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



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

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

New video from noise purveyors A Place To Bury Strangers.



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



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

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

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



This track from Austra really showcases her unique vocals.

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

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

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

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

Seekae: +Dome - Album Review

Seekae
+Dome
Rating: Grrrr

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



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



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



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



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

Seekae - Blood Bank by Machining

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



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



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

Rating Scale:

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

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

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

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

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

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

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

Coachella 2012 Countdown: 92 Days! Amon Tobin

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

Coachella 2012

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

Friday:

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

Saturday:

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

Sunday:

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

Zomby: Nothing EP - Album Review

Zomby
Nothing EP
Rating: Meh

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

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



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



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



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



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



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



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

Rating Scale:

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

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

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

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

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

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

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

Gary Numan: Dead Son Rising - Album Review

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

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

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



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



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



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



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



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

Rating Scale:

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

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

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

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

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

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

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

Videos of the Week

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



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



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



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

Youth Lagoon - July from Tyler T Williams on Vimeo.

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



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



Speaking of guilty pleasures, I love me some Rihanna.

Atlas Sound: Parallax - Album Review

Atlas Sound
Parallax
Rating: Yeah Daddy Make Me Want It

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

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



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



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



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



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



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



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



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

Rating Scale:

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

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

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

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

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

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

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

Sully: Carrier - Album Review

Sully
Carrier
Rating: Grrrr

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



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



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



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



the creepy, paranoia of "Scram,"



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



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



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



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



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

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

The Weeknd: Echoes of Silence - Album Review

The Weeknd
Echoes of Silence
Rating: Woof Daddy

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



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

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



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



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



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



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



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

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