Today was going to be a down day for me with no time to write anything of quality. Then this popped up via Listen Before You Buy. It seems too big of a deal not to share.
According to the official Joy Division/New Order website, founding member/bassist Peter Hook has taken an old track "Pictures in My Mind" from a recently recovered studio rehearsal tape from 1977 and finished it up with his vocals and some modern day mastering. The song will be released officially May 9 as part of an EP for Hook's new band The Light on his own digital label Hacienda Records. The track itself has a speedy tempo and post-punk riffs from the Warsaw era. Hook does his best Ian Curtis impression as the production has pushed his vocals upfront in a very non-Joy Division sort of way. A video of "Pictures in My Mind" will be released early next week.
Bonus: Stream some tracks from the real Joy Division below as well.
Godfather of all music electronic Brian Eno reminded the 21st century of his greatness last year with his solid LP Small Craft On A Milk Sea. Not letting the new found love slow him down, a new single is now available for stream below. "Glitch" is one of 15 songs from his upcoming release on Warp RecordsDrums Between The Bells. The hefty track sports an insistent pulse that is almost clubworthy and a synthesized reading of works from the poet Rick Holland. According to Eno's website, Drums Between The Bells features much of Holland's work, picking up a collaboration that was left off in 2003. The album is available for pre-order at the Brian Eno website.
Indie rock's love affair with adoring homages to the past and recycling retro sounds is still going strong. NYC's The Pains Of Being Pure At Heart have constructed their sound by slathering their pop nuggets with huge helpings of Brit-based shoegaze and 90's alt-rock. Their 2009 self-titled debut on Slumberland Records had the right balance with catchy songs, obscured vocals, hazy feedback and a lively tempo to get lots of attention. Two years later brings Belong featuring a squeaky clean production and a clarity that gives the band a bit of confidence to turn down the fuzz, switch up their cadence and try new methods of delivery.
The Pains put their best foot forward on Belong by lining up the hit singles right at the beginning. "Belong" is a rolling jam sourcing Smashing Pumpkins so accurately all that is missing is Billy Corgan's nasally squeal. The rockers "Heaven's Gonna Happen Now" and "Heart In Your Heartbreak" bring the goods with power chords and synth fills buoyed by the precious lead vocals. However, the rest of the album is a middling effort with each song lacking a distinct identity and most having forgettable and flimsy lyrics. One redeemable track is the surf fuzz of "Girl Of 1,000 Dreams" where they quickly make their case as serious guitar heroes but could do for a little more attitude. Ultimately, it is the super slick production that actually hinders Belong where a bit of raw energy and inspired imperfection might actually give these recordings a little more heart.
While most of us slept, Lollapalooza rolled out it's 20th anniversary lineup at midnight. Headliners include the leaked big names of Eminem, Foo Fighters and Muse along with surprise the addition of Coldplay. Alternate mainstream acts and bigger draws include My Morning Jacket, Deadmau5, A Perfect Circle, Cee Lo Green, Damian "Jr. Gong" Marley & Nas and The Cars. In addition, Perry's DJ stage will feature the talents of Girl Talk in a newly expanded and tented space.
Listed below are all of the other acts with asterisks next to the ones I think are worthy of a look. Note: No daily schedule has been released. Single day tickets go on sale June 7.
An Horse, Arctic Monkeys*, Atmosphere*, Beats Antique, Beirut, Best Coast*, Big Audio Dynamite*, Black Cards, Black Lips, Boy & Bear, Bright Eyes, Cage the Elephant, The Chain Gang of 1974, Chico Trujillo, Christina Perri, City and Colour*, Cold War Kids*, Crystal Castles*, Cults*
Dale Earnhardt Jr. Jr.*, The Drums, Death From Above 1979*, Deftones, Delta Spirit, Disappears*, DJ Mel, Dom, Electric Touch, Ellie Goulding, Explosions in the Sky, Fences, Fitz & the Tantrums, Flogging Molly*, Foster the People, Friendly Fires*, Gold Motel, Grace Potter & the Nocturnals
Grouplove, Imelda May, Iration, J. Roddy Walston and the Business, The Joy Formidable*, Julia Easterlin, Kerli, Kids These Days, The Kills*, The Kingston Springs, Lia Ices, Lissie, Local Natives*, Lord Huron, Los Bunkers, Lykke Li*, Manchester Orchestra, Maps & Atlases*
Mayer Hawthorne & the County, The Mountain Goats, The Naked and Famous, Noah & The Whale, OK Go*, The Pains of Being Pure at Heart*, Patrick Stump, Phantogram, Portugal the Man*, The Pretty Reckless, Ratatat*, Reptar, Rival Schools, Ruby Jane
Ryan Bingham & The Dead Horses, Ryan Leslie, Sam Adams, Skylar Grey, Sleigh Bells*, Smith Westerns, TAB the Band, Tennis, Tinie Tempah, Titus Andronicus*, Two Door Cinema Club, Typhoon, The Vaccines*, White Lies*, Ween*, Wye Oak*, Ximena Saritana, Young Man, Young the Giant
Perry's stage: Girl Talk*, Pretty Lights, Kid Cudi*, The Bloody Beetroots Death Crew*, Afrojack, Modeselektor*, Skrillex, PerryEtty vs Chris Cox, Chuckie, The Glitch Mob, Busy P, Joachim Garraud, Super Mash Bros., Jay Electronica, 12th Planet, Daedulus, Feed Me, Jackmaster, Collie Buddz, Savoy, Kyle Lucas & Captain Midnite, Ana Tijoux, Midnight Conspiracy*, L1ght, Lady D.
The Joy Formidable - Whirring (edit)
Sleigh Bells - Crown On The Ground
Deadmau5 - Cthulhu Sleeps
Big Audio Dynamite - Rush
Arctic Monkeys - Don't Sit Down 'Cause I've Moved Your Chair
It seems suitable that the champions of the slowcore movement to be from a region where the winter months can be longer that the other three seasons combined and where its bitter cold and quiet isolation is simply part of life. Duluth Minnesota outfit Low has been crafting their unique brand of achingly mesmerizing music for almost 20 years. In the beginning, Low albums were an exercise in caustic and somber restraint. Each plaintive guitar strum or strike of the snare drum was like a knife to the heart as their verses were exhaled as withering final breaths. Around the turn of the millennium, the band began to peel away the sobering, furrowed nature of their music in remix EP's and exploring a more emphatic sound on their later albums. Their latest effort out on Sub Pop explores another new frontier as some of the ten songs on C'mon make a cautious move toward positivity.
The lullaby opening of "Try To Sleep" stands in contrast to their previous stark and deliberate expressions. Still delicate, Low chooses tenderness over melancholy here with lovely percussion and a resonating sweetness. This edict continues as the first half of C'mon adopts an elevated and uplifting musical dialogue. The instruments and words of drummer/vocalist Mimi Parker synchronize on "You See Everything" making a compelling and uplifting hymn. Her good work continues on "Especially Me" as her potent thumps and somnambulistic chant glow with hypnotic beauty. They even rock out on "Witches" as Alan Sparhawk works through track like a sermon, preaching his lyrics and sending a guitar laden message drenched in reverberation.
C'mon's latter half travels through the more familiar territory of Low's nineties output. "Majesty/Magic" is sparse and wounded, building into a tempest from a simple raincloud. The angry lyrics on "$20" are spit out as the subtle movements fill the empty space then end with abrupt chagrin. The epic "Nothing But Heart" finally rolls out vitriol, repeating the chorus as an affirmation that swells to assertion as the slide guitar hums out the clamoring feedback until the bitter end.
Until the four year wait for C'mon, Low was incredibly prolific, releasing LP's, EP's, singles and a 3 disc compilation of non-album tracks at the rate of once every nine months since 1994. It seems unusual that their longest hiatus brought such comparatively lively music to their repertoire. Perhaps it was actually difficult for them to find inspiration somewhere other than pain. It is a comfort that Low is never complacent, always challenging themselves to explore new boundaries for their unparalleled sound.
Bonus: Check out the new video for "Try To Sleep" below.
When Radiohead stops releasing quality music, I will stop finding space to write about them so frequently.
The band released a vinyl single for Record Store Day on June 16. The two tracks "Supercollider" and "The Butcher" were outtakes from The King Of Limbs sessions, putting to bed the rumors that there is a companion album waiting in the wings. Now that the RSD excitement has calmed down, both tracks are an added bonus to those who purchased the new album through the website. If you didn't, you can give the songs a listen below. They both lean to the Kid A style of Radiohead. Heavy on the synths and paranoia, Thom Yorke's vocals drift through the mix and give them true value.
Every city has that talented band that should have been bigger than what it was and only gathered a fraction of the attention and love nationally that their hometown fans willingly give. In Chicago, there are no better candidates for this title than Eleventh Dream Day. For almost three decades, the core members of Rick Rizzo, Douglas McCombs and Janet Beveridge Bean have been exploring the boundaries of rock and roll at its most sincere. Their humble beginnings are the stuff of legend starting with the blistering microlabel breakthrough Prairie School Freakout that garnered a major label contract on Atlantic. Three albums of brilliant, yet ignored muscular music tinged with punk brought an unceremonious contractual release and the next, independent phase of Eleventh Dream Day's tenure. One album on jazz/experimental label Atavistic led to a comfortable home on Thrill Jockey where finally this battle tested trio of well traveled virtuosos gets the appropriate support and respect they deserve. For their tenth LP, and their first in five years, Eleventh Dream Day have decided to go back to their untamed roots for Riot Now! with essentially positive results.
Eleventh Dream Day are all in from the jump, reeling off three bare-boned barn burners that would make any new indie band blush with jealousy. "Damned Tree" creaks and moans from heft like a old building well past capacity. All instruments including Rizzo and Bean's confrontational duet are raw and unfiltered allowing the live energy to burst from the performance. The burning guitar work spills into the lively stomp on "Cold Steel Grey" squealing under the practiced hands of Rizzo while the dependable bass of McCombs is the concrete that holds it all together. Finishing the opening trilogy is "Satellite" that gets that extra boost from the new addition of Mark Greenberg. His storm cloud effects under the rhythm section burst like Mother Nature and punctuate the album's missive.
The rest of Riot Now! vacillates through the Eleventh Dream Day catalog like a well-eared collection of an author's best work. "That's What's Coming" and "Away With Words" are lovely expressions not unlike the lengthiest songs from Eighth, beginning with flecks of feedback that burst into Rizzo's howling riffs. The hearty Americana rock of Lived To Tell is referenced in "Divining For Water" and "Sonic Reactor" where Rizzo does his best Neil Young homage while the rest of the band stoke the fury. Although this is an Eleventh Dream Day album, Riot Now! is a Rick Rizzo showcase burning with the guitar work and guileless lyrics that made this band so beloved for a quarter of a century.
The record release party for Riot Now! is on Friday, April 22 at Lincoln Hall in Chicago with Eleventh Dream headlining the show. Tickets are still available here.
To be a fan of The Feelies, patience is a manifest prerequisite. Since their first album in 1980, the band has managed to release five full lengths in just over three decades. The act of listening to their meticulous music also takes a deliberate ear. The Feelies are much more than awkward elder statesmen of what was originally called Modern Rock. They share a direct lineage with The Velvet Underground whose monumental influence was propagated from simple mantras. Keep it simple. Take your time. Work within set boundaries. Deliver it effortlessly. 20 years after their last recording, The Feelies decide that the time is now for a new album. Even more surprising is how time has been suspended on Here Before, accurately representing the band through their more fertile years. It is the quality shines through despite the fact that The Feelies buttoned-up, yet earnest brand of music seems so unfashionable in the 21st century.
Kicking off Here Before is "Nobody Knows" where they lyrically express disbelief that they are even in the studio in 2011. The opening lines "Is it too late/To do it again/Or should we wait/another ten?" are self-aware but pinpoint accurate as they have a chuckle with their long waiting followers. The wistful lyrics throughout Here Before couple well with the branded Feelies guitar jangle, rubbery bass and crisp, purposeful percussion. "Should Be Gone" follows that lead adding some backing vocal harmony and a muted solo that could have been lifted from any of the previous works in their catalog. Continuing down memory lane are uptempo numbers "Time Is Right" and "When You Know" that remind of the high point rockers from 1988's Only Life without overextending themselves.
That jangle is what is instantly recognizable about the Feelies, but true beauty is found in their exercises in repetition and minutiae. The elemental nature of tracks such as "Later On" and "On and On" initially seem forgettable, but stick around as the infectious nature as the cyclic riff finds its place. The Feelies almost get emotional on "Morning Comes" stepping out from lyrical ambiguity and actually gritting their teeth with each annoyed pluck. "Change Your Mind" continues this trend, slowly building from restraint to a rockout coda that finishes with vitality and spark.
The concept throughout Here Before is whether or not one should move on from the past. Even the pastoral album cover looks like a idyllic place for the retirement that The Feelies left behind. Unlike the countless aged bands who are on nostalgia tours or half-assing new music just to cash-in, The Feelies did themselves a service by making a respectable and thought-out album that still works within the band's mission. They made a lot of committed and patient fans very happy as well.
Brooklyn based trio The Antlers drew a lot of notice in 2009 with their conceptual piece Hospice that addressed the relationship between a dying cancer patient and her caregiver. It is heartbreaking prose as well as contemplative music and spurned attention from all critical arenas as well as an extended worldwide tour. The follow-up album to such an emotional and inspired work is always difficult. On May 10 via Frenchkiss Records we will find out the complete results when Burst Apart hits the streets. Based on the two free tracks available below, The Antlers have found a successful formula that builds on and breaks away from the heavy nature of Hospice.
"Parentheses" crackles with an eerie falsetto and sways with pulsing keys and sensual bass that impresses more with each listen. Comparatively upbeat despite the title "Every Night My Teeth Are Falling Out", the mandolin plucks accent the atmospheric swirl that cries out for attention. There are a lot of comparisons that can be heard on these new samples from the vocal work of Wild Beasts to the arena-sized bursts that Radiohead often delivers. If the rest of Burst Apart plays like these offerings, it is undeniable that The Antlers have effectively moved past their previous success and made another inspired and obsessively listenable album.
Yes, I am aware of the bold statement I made with the title of this post. Allow me to explain.
This six-piece out of Toronto is one of the last great hopes for punk music and all it once represented. Fucked Up forges its path based on their D.I.Y. aesthetic, musicians who choose intensity first with technique running neck and neck and thoughtful, challenging lyrics delivered as a confrontational, passionate scream. Their first two full lengths Hidden World and The Chemistry of Common Life are epic and sprawling, a punch in the gut while it messes with your preconceived notions about music. It would have been already noteworthy to report on Fucked Up's forthcoming album. It appears the band has even grander plans than just a simple album release.
The 18-track LP David Comes To Life is due for a June 7 street date on Matador. The album's sprawling concept will center on a man in a fictional British town in the late seventies. To further flesh out this "rock opera", Fucked Up will be recording music for fake bands from that era to be included in another album. This faux compilation entitled David's Town will have a physical release on Record Store Day April 16. Give a listen to one of the made-up bands Animal Men and the song "Do You Feed?" below.
The first taste of Fucked Up's actual music from David Comes To Life came a couple of weeks back in the form of a free download. "The Other Shoe" features lovely female vocals juxtaposing frontman Damon Abraham's "signature" voice styling. This is the first of four teaser tracks trickling out until the lead up to the album release.
The second track was released today culminating in a free live performance/release party tonight in Palm Springs that coincides with this weekend's Coachella Festival. "A Little Death" is a true punk anthem on fire. The layers of guitars hit shoulder to shoulder with Abraham's chant for inspiration against all odds. The next two releases "Ship of Fools" and "One More Night" are due out April 26 and May 3 respectively. Who knows what publicity stunts will occur for those unveilings.
If that was not enough, after looking over the album's website it seems that there is a lot more coming including characters, prose and possible plot twists. Consider me enthralled. If they manage to pull off this grand feat, then consider 2011 as The Year of Fucked Up.
Bonus: Watch a video of Fucked Up playing live at the Viaduct Theater back in February of 2010. I wrote a review of the show that you can read here. Check out the audience participation referenced in the review at 3:55.
Just as the fans of LCD Soundsystem were done drying the tears shed during their nearly 4 hour final concert at Madison Square Garden on April 2, they receive one final parting gift just in time for Record Store Day. Scottish dance rockers Franz Ferdinand are releasing an EP of other bands covering their music including the recently retired LCD Soundsystem. Other tracks available on the Covers EP are Stephen Merritt of The Magnetic Fields, Peaches, Debbie Harry of Blondie and ESG. Give the final recording a listen below that stretches the whole experience to well over seven minutes and bring the funk to an overly synthed original. Sad to think that this will probably be my last LCD post until their 2021 reunion tour. Sigh.
Find your nearest independent record store to grab these special releases. Find the entire list here.
LCD Soundsystem - Live Alone (Franz Ferdinand cover)
Local gents The Sea and Cake have always been consistent in their efforts. Since their inception back in 1993, they have never changed record labels, never gone long without releasing new material and never needed to change or stray too far from their signature sound. When you hear a Sea and Cake track, you know it. Elements of jazz and indie intertwine into a chilled, cerebral flow of melodic guitar and snappy keys that perfectly supports the whispering vocals of Sam Prekop. Just as you were wondering where the band had gone, there is an announcement of a six song album(?) entitled The Moonlight Butterfly that will be out May 10 on Thrill Jockey. "Up On The North Shore" is the first taste and you can give it a listen below. The upbeat, airy feel on this track holds no surprises again but definitely simulates that breezy lakeside cruise along LSD. Grab the track for free by clicking on the arrow on the widget below.
Wye Oak are a duo out of Baltimore made up of Andy Stack and Jenn Wasner. Since 2006, their tenure has produced three albums, as well as last year's EP My Neighbor/My Creator, of stark and brooding music that relied heavily on the well-worn indie rock sensibility of LOUDquietLOUD. Lots of bands have built their nesteggs on that bedrock. The ones that breakthrough and leave their indelible mark on music do so with that extra intangible that keeps listeners coming back. For Wye Oak, that moment of truth comes on Civilian where they have never have to lean too heavily on harsh bluster. Instead their latest focuses on well crafted, tuneful music that moves mountains with the gentlest whispers.
The opening track of Civilian begins with the ambiance of a crowded theater setting up the anticipation of an event. Yet "Two Small Deaths" does not come off strong or heavy-handed. The simple guitar and ethereal vocals are a gentle push, building from subtlety. "The Alter" continues on this path, building momentum with a swelling tempo and throbbing organ while using the wordplay in the title to encourage the album's tangential religious theme. The first shakedown comes on "Holy Holy" where Wasner's guitar channels Sister-era Sonic Youth blasts of noise that never disturb her deadpan vocals. However, the song truly accomplishes its goal by muting the dissonance in favor of satisfying pop finish bursting to fruition. The Sonic Youth reference continues with the clatter of "Dogs Eyes" if only to prove that they can deftly traverse the avenues between harmony and discord.
The title track continues Civilian's streak of affected, anxious music with a pleasing outcome. The slow build is haunting yet ultimately alluring with outlaw riffs propelled by an insistent galloping beat from Stack. "Fish" has an ebb and flow that etches out a moment of lovely without losing any energy. It is merely the set-up before the uppercut of "Plains", where the unexpected sound blasts are stunning, but never distract from the woozy mood. By the time the awkward, lonely guitar of "Doubt" finishes Civilian, it is welcome and fitting for an album that is thick with the efforts of a band realizing their desired intention.
There is a lot of studied consideration on Civilian. The evidence can be seen in each song, perhaps an influence referenced, a vocal inflection utilized or an earnest melody found, that makes each song memorable. The ten songs are thoughtfully plotted like the elements of a treasure map where the general direction is sketched but the details are discovered during the journey. It is this kind of marked achievement that is not easily forgotten and should bring Wye Oak the attention and accolades they richly deserve.
Portland, Oregon YACHT has no shortage of twists in their sound over the years. Since 2003, Jona Bechtolt has been experimenting with the boundaries of his brand of groovy electronica. Since recruiting singer-respected scientist(!) Claire Evans for the 2009 debut on the DFA labelSee Mystery Lights, their collective star has done nothing but rise. The anticipated new album Shangri-La is being readied for release on June 21, but has teased with the track "Dystopia (The Earth is on Fire)" by playing the white label of the vinyl single live in the DFA offices a couple of weeks back. (Check out the video of the actual presentation below.)
Ripping off the infamous lyrics from "The Roof is on Fire" could be a cause for concern. However, in the very capable hands of YACHT, it passes by loving parody and tells a new tale of a scorched earth where the only thing left is, obviously, great dance tracks. The retro 8-bit keys coupled with the deadpan apocalyptic chorus makes this a must play summer jam three months early. YACHT will be at the Metro in Chicago May 5 with Light Asylum. Tickets are still available here.
Bonus: YACHT has sample mp3's from across their discography as well as instrumentals for you mash-up artistes. Grab them here.
Junior Boys has been a fixture in the world of electronica in their current incarnation since 2003. The music from this Ontario duo blends genres such as disco, garage and R&B and is influenced by artists as diverse as J. Dilla and Frank Sinatra. After career works containing three full length albums and a bevy of remixes, the Boys are readying a fourth LP of new material for release. Recorded primarily in Shanghai, It's All True will hit these shores on June 14 through Domino Records. (The UK release date will be June 20.)
A track entitled "ep" has been made available for early enjoyment. This is a slow jam for sure with no true backing beat, but still manages to be slinky and sensual. Their trademark aching synths still pulse throughout the track, yet the vocals support the funky smoothness.
The city of Manchester seems to have a never-ending stream of talent springing from the borders. The four piece City Reign is surely no exception. Their sound has a sturdy pop foundation with layers of buzzing guitars and restlessly appealing vocals. Their latest single "Daybreak" has been getting airplay both in the States and back home and will be available through their own label Car Park on May 9. It is an insistent rocker that benefits from a stomping beat, lyrics begging for a sing-along, and spotless production. Listen to the full track below along with previous release "Out In The Cold" and you will agree that the growth potential for City Reign has yet to reach the peak. Also, give a look to their cut-and-paste video below.
Lykke Li, the Swedish-born chanteuse turned heads in 2008 with her full length debut Youth Novels. It was a solid effort featuring slight instrumentation, a simple guitar pluck here, a piano plink there, eking a delicate framework for her sweet vocals. Charming and sugary, Youth Novels attracted a lot of fans and built anticipation for her follow-up. However, the persona Lykke Li inhabits for Wounded Rhymes was definitely unexpected. Gone are the cutesy coos and the come hither delivery. Like a long shadow, the stories creep over and inhabit the listener well after the album is over.
If you are a fan of The National, then you are never at a loss for new material as these guys never seem to stop putting out new music. In between their jam packed tour schedule that they have been on since the release of last year's album High Violet, they have found the time to write and record an exclusive track for a new independent film. The Thomas McCarthy-directed film Win-Win stars Paul Giamatti and Amy Ryan, is in theaters now and has gotten great reviews.
The song "Think You Can Wait" is a piano-fronted ballad featuring the backing vocals of Sharon Van Etten. The emotive whisper of Matt Berninger's baritone is the draw here, sitting firmly on the low rumble of drums and bass. Strings drift in with the chorus as once again Berninger's accepted defeat hangs heavy throughout. You can download it for free by clicking the arrow on the widget below. Bonus: You can watch the annoying video below that includes blooper footage from the filming. I am not sure who made the decision to include the laughter of the cast on the audio mix for the video, but hopefully they have had a good scolding.
NYC duo Holy Ghost! has been making waves through their 80's loving singles and busy second job as remixing guns for hire. The moment is almost here as the guys prep for their debut full length that hits the streets next week. The self titled debut will be available for purchase via DFA Records on April 26, but you can grab the first single below for free.
"Wait & See" is literally a new wave reference book, sourcing everything from Talk Talk to John Hughes movie soundtracks. The glistening pop sheen and danceability is undeniable. It is a lot of fun so grab it for free by clicking the down arrow below. Holy Ghost! will be opening for Cut Copy at the Riviera Theatre on April 8. Sadly, the show is sold out but a summer visit from Holy Ghost! seems inevitable. In addition, they will be headlining a DJ set at Smart Bar later that evening. Get your advance ticket here.
