Fiery Glasgow quartet The Twilight Sad have been making anthemic indie since '03 that trembles with dark fury, guitar clatter and a pained Scottish brogue that coats the entire concoction with a bitter glaze. The third album is expected out on Fat Cat Records later this year, but fans will be sated with a free EP of acoustic tracks. The eight tracks include music from their 2009 LP Forget The Night Ahead, last year's 12" The Wrong Car and a cover of from The Wedding Present's 1991 album Seamonsters. Download the whole mess below with the entry of your email in the widget below.
Bonus: Stream the originals of two Twilight Sad tracks and watch a video from the acoustic sessions below.
What a strange, wonderful and dramatic trip the band TV on the Radio has been. They began with humble art school beginnings releasing a shoddy, self-produced CD and created their explosive debut album Desperate Youth, Bloodthirsty Babes less than two years later. The awesome consistency of the band as a unit and the various side projects of the members culminated in their latest release a month ago. It is apparent that this band's longevity or their level of success was never their ultimate goal. Yet here we are listening to Nine Types of Light with the loftiest expectations like the previous decade of creative output of this band was not just this accidental happenstance. Taking a moment to appreciate the huge accomplishment that is TV on the Radio is a prerequisite before listening to any of their releases. The singularity in their sound and the sheer emotional content in their music is unfailingly awe inspiring. Once you put this journey of this band in context, the appreciation comes naturally.
TV on the Radio is always at their best when its avant-garde sound grinds down its retro tastes to a thorn that gets unforgettably stuck. The gradual build on opener "Second Song" tills new soil once again as the lyrics begin at a spoken word confessional that swells into a sweet groove complete with their tip of the hat to retro soul and doo-wop. "New Cannonball Blues" preaches on with end-of-the-world imagery and some well placed profanity amidst the bleating horns and electronic rhythms. Connecting to "Repetition", TV on the Radio lifts from hip hop, Kraftwerk, and The Temptations' antiwar epic "Ball Of Confusion" and throws them into the blender for a pureed glass of paranoia and chaos. The heady romantic strings over the industrial throb on "Forgotten" brings what begins as a light hearted ode to a fitting mushroom cloud finish.
The biggest pill to ingest is the emphasis on balladry on Nine Types of Light that seems to take the teeth out of their gritty sound. The two lengthiest tracks, "Keep Your Heart" and "Killer Crane" can drag in their ultimate trek for tender moments. Yet, they nail the sentiment on "You" that sways with a siding riff and perfect falsetto. Another standout slow jam is the soulful "Will Do" that deftly traverses the space between the apocalypse and Marvin Gaye. The reoccurring theme of a bleak future is common for TV on the Radio, but the emotional nature of some of the songs on Nine Types of Light is a new topic still being explored. Perhaps the long illness and untimely passing of their bass player Gerard Butler had an influence in their more positive and heartfelt reflections. The confrontational nature is still an indelible force on their newest effort. It just rides shotgun with TV on the Radio's best artistic expressions of love itself.
TV on the Radio will be headlining the Pitchfork Music Festival Sunday July 17. Tickets are still available, so you are a fool if you don't go.
Bonus: Stream samples of Nine Types of Light and download various songs below. Also, watch the corresponding movie to the album that the band is calling "a visual re-imaging of the record". Included are videos of every song directed by various artists and friends of the band.
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.
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.
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.
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.
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.
Writing a review of something that is the subject of massive promotional hype is somewhat daunting and a bit of a challenge. Over the past year there was many of those bands (Arcade Fire, LCD Soundsystem, Interpol, Radiohead) who dropped albums with a preset loftiness that could never be reached and an unattainable expectation to please everyone. Next in the sights is the fourth album from The Strokes, an oft delayed and long overdue effort from a band who gets discounted because of a holier-than-thou cool, indie boy band handsomeness and a upper class/prep school pedigree. The New York quintet is no stranger to high expectations as their debut Is This It? is often cited as one of the best albums of the past decade by journalists both from the UK and the States. Successive LP's Room On Fire and First Impressions Of Earth have sparkling moments, but suffered from comparison and The Strokes conspicuous, shrugging delivery. Being too cool to try is great for an unestablished band but is often met with equaling indifference once they reach mainstream success. Now on Angles, the guys have the perception of an outfit who needs to work at it for the first time in their tenure. Even more worrisome is the fact that from all their earnest effort they have made an album that does not achieve any more than what is found here.
Since they are trying to recapture the magic of Is This It?, it only make sense to bring back some of those proven sounds on Angles. "Machu Picchu" begins with a lazy guitar pluck and Julian Casablancas croon that apes the opener on their debut. The track then takes a surprising path into a muscular riff for the chorus where he asserts he is "just trying to find a mountain he can climb". With the first track, The Strokes have set their sights on the zenith and dig in for the long haul. "Under Cover Of Darkness" got an early free internet release and fanned the hype flames with its inarguable quality. (Read my initial review and download the song for free here.) This is the band at the height of their craft, seamlessly blending a seventies power chord strut, sock hop bass/beat combo and wail from Casablancas that reveals an emotional purpose in his delivery not seen since...well, ever. It is this track that actually reveals The Strokes as a band that could be as vital as they were a decade ago.
The Strokes decided to open up the floodgates and, for better or worse, unleash their latest bouts with nostalgia. Gratefully, the next few tracks are still strong enough to stand ably with Angles' openers. "Two Kinds of Happiness" is a early era Cars homage complete with a skinny-tied guitar and post-disco synth bedrock. The jittery strums continue on "Taken For A Fool" that employs a chorus of high stepping cadence and lyrics ripe for the sing-a-long. The high times finish at "Games" where the new-wave keys take center stage as the bass tiptoes next to another lyrical cry for something better. For the better part of this album, it seems that The Strokes might reach some of those plateaus they stumbled upon as petulant young men. "Call Me Back" is meant to be a diversion featuring plaintive voice and a lonely guitar but ends up a roadblock as Casablancas can't manage to muster any enthusiasm. The Billy Joel wannabe "Gratisfaction" is borderline offensive as guitarist Albert Hammond Jr. seems to be clutching for anything while lifting music from the 70's MOR-era of his musician father. The old-school pilfering occurs again on "Life Is Simple In The Moonlight" where this finishing touch on The Strokes return to greatness meanders under the dull performances of all the band members as if they were exhausted from trying so hard.
Separating a band from its catalog is a tall order in an album review. Although all artists are considered by their body of work, each piece stands alone as its own statement. If Angles was anything but a Strokes album, it may get a lot more love for nailing down their reflections on a laid-back, good times retro sound (Recent band Free Energy is a good example of this.) Alas, they can't escape that they are The Strokes, the guys that revived that infectious, angular punk rock sound and gushed with an overabundance of what the kids call "swag". Now it seems they want their mojo back so bad, they end up looking uncool for their efforts. Just taking a look at the difference between this classic video and this recent undertaking should make things clear. Honestly, Angles is The Strokes best LP since their first one. Yet despite some truly great moments, it is merely of collection of good and bad songs with no common thread, only ambitious attempts and missed opportunities.
Listen to the tracks below and click on the arrows to download the tracks for free. Or, you can stream Angles in its entirety on the worlds ugliest widget here.
The new album from The Strokes, Angles, will be available to the general public on Tuesday. However, the whole thing can be heard now at the band's website. Although that is the primary reason for this post, something has to be said about the incredulous mismanagement of the band's web-based efforts. Back in early February, the marketing geniuses working for The Strokes label RCA offered up the song "Under Cover of Darkness" for free for a limited time. Those who dutifully went to the site were met with a clunky construct, requests for passwords and frustrating server crashes. Although offering a full LP stream is generous, one look at the misshapen, minuscule player is enough to make any band once again question the benefits of major label support. As for the music itself, my opinion is pretty mixed so far, with most of the album suffering by comparison to the brilliant "Darkness". A full review of Angles is forthcoming. If you are too lazy to click to the get to the stream, give it a listen to a few tracks below. Bonus: Watch the fancy schmancy video for "Under Cover ofDarkness" below.
Those crazy kids from Baltimore are making it hard to wait until April 12. As stated earlier in this blog, there was a time when we thought Ponytail was no more. Springing from the ashes like a phoenix, they announced that they were indeed still intact and that their new album would be out via We Are Free Records. In addition, they have thrown us a track for free download below.
The exuberance of "Easy Peasy" is undeniable. Not unlike the music on their 2008 freakfest Ice Cream Spiritual, the track deliberately bubbles over from the effervescence of swirling synth and popcorn percussion that eventually gives way to the sweet guitar noodling. Finally the otherworldly chants take center stage and the race is on. The head bobbing and foot stomping cannot be helped. There is no standard, no coherence, no purpose here, just unadulterated joy filtered through the conduits of these willing musicians. Let hope for some fun summer concert information to be releases shortly. Bonus: Enjoy the quirky live video from an early performance of "Easy Peasy" below as well.
Battles stormed the ramparts in 2007 with their prog-metal tour de force Mirrored with a sound that attracted discerning head-bangers along with the most astute indie aficionados. In the process of creating their latest LP Gloss Drop, singer/multi-instrumentalist Tyondai Braxton left the band during the record sessions. Battles continued on as a trio, employing infamous guest vocalists such as Eye from The Boredoms and electronic godfather Gary Numan. The finished product will be available for consumption on June 7 via Warp Records with a corresponding worldwide tour beginning in April.
The first taste of Gloss Drop is the track "Ice Cream" fronted by Kompakt recording artist Matias Aguayo. The opening chugs like The Little Engine That Could, huffing and puffing until a full head of steam is achieved. The elastic track cycles through eccentric keys, bouncing bass and the vocal gymnastics as the muscular drums seal it like a care package. The sound definitely favors prog over metal, but jams nonetheless without the boiler-plate power chord pleaser. It is quirky and funky and fun leaving any guess at the overall sound of Gloss Drop a myriad of possibilities. Listen, then download the track for free on the widget below. Their tour hits Chicago on April 30 at Lincoln Hall. Get your tickets here. Bonus: if you are not familiar with Battles, check out the video for their track "Atlas". You're welcome.
Last Tuesday, the enigmatic Gold Panda dropped a digital EP for "Marriage" including four exclusive remixes. The original track can be found among the amazing songs on his 2010 debut album Lucky Shiner. (Check out my LP review complete with a full album stream and links to free downloads here.) For you committed vinyl enthusiasts, a 12" release of the single is being prepped for Record Store Day on April 16. Look to the versions by Baths and Star Slinger for the most worthy reflections on the track. In addition, Gold Panda will be playing in Chicago on March 29 at Schubas Tavern. Buy your tickets in advance here.
Bonus x 3: Listen to the entire Marriage EP below. After that check out Gold Panda's latest remix posted a few days ago of a track from Japanese recording artist Yamaan. Finally, enjoy the expressive images and global setting of the video for "Marriage" below.
Forgive me, but I am someone who does not carry fond memories of 90's music. Just the phrase itself is weighty with the tepid shrugs of a decade's tremendous potential and subsequent lost opportunities. Specifically, this is in reference to the explosion of alternative rock music in that era. So many bands from that time period, deserved or not, scooped up the benefits of the major label money grab in their desperate search for the next power chord providers for Generation X. For those listeners that dug a little deeper in our musical excavations, we knew that the best stuff never quite made it to the mainstream. Because of their independent battle scars, bands such as Dinosaur Jr., Superchunk, Sebadoh, Yo La Tengo, Guided By Voices, Teenage Fanclub, et al., all receive detailed and deserved chapters in the indie rock canon. When a band such as Yuck strolls into this modern day landscape making music accurately referencing a two decade old sound without a shade of irony, your inner skeptic may immediately bristle. If this is you, take the following words as a reassuring hand on your shoulder. This foursome of practiced youngsters from London and their self-titled release on Fat Possum is not a joke. They are a serious band adding sensible imperfection to a pristine package, giving reason for this curmudgeonly former "alt-rocker" to relive all of the great moments of my musical past.
I just discovered this band a short time ago, but they have been gathering blog support for many months on the backs of some great singles. However, their first album is a coming out party, containing a dozen songs of deep hooks of prototypal lo-fi. In fact, you can literally connect the dots from all of the cross-referencing of their source material. Opener "Get Away" is a Superchunk nugget with a Dinosaur Jr. squall and lazy chorus. "The Wall" could be a Yo La Tengo Painful era b-side that rumbles and squeals with another big crowd pleasing finish. When Yuck brings it down a notch, they still source with loving nostalgia. "Shook Down" has Teenage Fanclub harmonies and acoustic-electric dynamics. "Suicide Policemen" features cute tropicalia flourishes and male-female vocal sweetness that remind of an Evan Dando/Juliana Hatfield collab for the Lemonheads big label debut. "Operation" is a literal hogpile of the afore-mentioned bands coated with a ragged Sebadoh distortion. Finishing up with a seven minute calamity in "Rubber", the grungy memories spill from this storm of noble noise and muffled vocals like those drawn out encores for concert goers that never wanted that ear-buzzing evening of brilliance to end.
I was trying to find that line that divided Yuck from the their old school resource material. Everything is there from that era in music: lusty guitar jams, catchy hooks, sassy lyrics and the purposeful absence of studio sheen. Heck, even their moniker Yuck could have been a song name or an album title from any one of those bands. Then it struck me. The difference is identical to the ones my generation has with much of the twenty-somethings that are coming of age now. These bands of the past carried their independence like a membership card and battled the mainstream with a cynical humor and sneering skepticism that only allowed entry to the ones who are in on the joke. The songs of Yuck are bursting with an all-inclusive optimism and confidence that comes an outfit unrestrained by the constructs of yesterday. Bands are no longer marketing, recording, touring and struggling to get heard at such a weighted disadvantage to major record label interests. To that, I say good tidings to these upstarts who took the time to study their history before passing their big exam with flying colors.
Bonus: Listen to the full album below, download a couple of tracks and watch the low-budget horror flick send-up video for "Holing Out". Warning: Video is NSFW containing some nudity and graphic bloodiness.
In a short time, Baltimore four-piece Ponytail has cemented a reputation as the spazziest of all spazz-rockers. After two albums and some of the most talked about live performances, the rumors began to swirl that this vital band had called it quits after extensive touring in support of their 2008 LP Ice Cream Spiritual. Not only were the stories summarily squashed, but they have a new record ready for launch. The appropriately titled Do Whatever You Want All The Time is scheduled to drop on April 12 on We Are Free Records. At this point, there is no freebie from the new album. However, they have put together a video featuring a nameless new track that is certainly enticing. Check it out below, then give a listen to a couple of older tracks as well.
Chicago-based duo Houses did not actually start making music here. According to the bio on their website, partners in life Dexter Tortoriello and Megan Messina decided to rid themselves of the daily grind and move to a remote area of Hawaii to pursue their artistic directives. In an effort to live life simply the pair had a home with no working plumbing or electricity and were "cultivating indigenous microorganisms and learning the basics of sustainable living". Their computer ran on solar power and they used candles to conserve their precious energy. The collective adventure of a few months of solitude resulted in the 2010 album All Night. The slight nature of the acoustics throughout the LP is striking as the thick underbelly of keys and beats gives backbone to the initial fragility. Houses is presently on tour with Baths and Braids, playing the Subterranean in Chicago on February 26. Enjoy two songs from All Night and a video for non-album track "This Is War". Tip of the hat to my cousin Paul who brought Houses to my attention.
The new album from PJ HarveyLet England Shake is due out in approximately one week from this post date. However, you can stream her entire eighth album over at NPR for that week. The 12 songs feature a sparse production and much less vitriol than many of Polly Jean's previous efforts. Nonetheless, that trademark foreboding nature that is woven through her entire catalog is still a common thread here. Instead of listening to low quality radio rips, give this a listen. My first listen personal favorites are the opening title track, "The Last Living Rose", "The Words That Maketh Murder", "On Battleship Hill" and "In The Dark Places". For you lazy clickers out there, check out the listening and viewing material below.
When music historians consider the chillwave explosion over the past two years, the name that will be heading up the first chapter is Chaz Bundick (aka Toro Y Moi). His release last year, the future-is-now, zero gravity bliss of Causers Of This, became the best example of the genre. Icy beats collide with sunny melodies as the vocals straddle the wall between soul and robotics. Now one year later, the new album from Toro Y Moi entitled Underneath The Pine will be out February 22 on Carpark Records. The first leaked track "Still Sound" dropped in mid-December and a second teaser, "New Beat" is now available to whet your appetites.
Compared to Causers Of This, there is a huge shift in style and presentation on Underneath The Pine. Both tracks are deep soul grooves showcasing funk bass lines and smooth vocal performances with minimal effects. "New Beat" has a disco tempo and early 80's Prince keys that cry out for your sweetest dance moves. "Still Sound" is also slick and seductive with some falsetto balladry without the bravado typical of R&B. It seems that Chaz Bundick is making a statement with Underneath The Pine that his reach goes way beyond the composed circuitry of chillwave, arriving with a more organic and accessible sound that gives a larger tent for his growing fanbase. Listen to and download the new tracks below, then enjoy the bonus video for "Still Sound".
Columbus, Ohio three-piece Times New Viking made a lot of noise, both figuratively and literally, with their 2008 debut on MatadorRip It Off. Opting for lo-fi distortion to take the front seat over their simple garage melodies, they deftly caused the indie powers-that-be to appropriately swoon. They quickly released a follow-up Born Again Revisited in 2009 that smoothed over the rougher edges and revealed a confidence in the band's mission. After a label switch, much touring and extended studio time, the public was given the first taste of their latest work. The new LP, Dancer Equired, will be out April 26 on Merge, but the first available track and video "No Room To Live" is ready for listening, watching and downloading here.
The initial striking quality on the track is, well, the quality of it. Rather than having your ears scrape away the layers of fuzz to get to the indie pop, Times New Viking left it behind so you can relax and let the simplicity creep over you like sunlight popping out from the clouds. The accompanying video, however, is anything but simple. Looking like a moving picture version of found art, the director incorporated over 40 artists to animate and collage the video with striking works that compliments the awkward beauty of the song.
The legend known as PJ Harvey has been putting out albums with varying degrees of intensity since the early 90's. Her staying power is directly related to her uncompromising vision and deep connect to her craft. Although she released an LP with her longtime collaborator John Parish in 2009, Polly Jean grabs more interest in her solo efforts. Next year, we will be able to lavish out attentions on such an album for the first time since 2007's White Chalk. Her eighth LP, Let England Shake will be out on Island February 14. The first studio listen was revealed a few days ago in "Written On The Forehead" and it is certainly a departure.
The first striking characteristic in the new track is the muted guitar in favor of a swirling synth. The next stunner is the honey sweet lead vocals and distant chants that inspires images of the gauzy beauty of Cocteau Twins, not the Queen of Vitriol. Those who are familiar with PJ Harvey need no more explaniations. Despite my questioning listens, this is a truly lovely song, even if it isn't the heart stopping female fury for that her fans have grown so attached. It makes me all the more intrigued at what the rest of Let England Shake will bring.
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