Have you ever felt sick but had no idea what was wrong with you? As in, your sinuses are clear, your head feels fine, but your body feels like there’s something out of whack? I’m no doctor and haven’t asked anyone for their opinion, but I feel like I’m coming down with something. It’s possible I have a fever, and there’s just a slight touch of nausea rising from my stomach. I’m not looking for a diagnosis from some helpful commenter, but really I’m just trying to reflect my current state and explain why I’m not going to mess around with this Pick Your Poison intro today. Let’s get straight to the meat and potatoes of this before another symptom arises. I’ll recommend tracks from Amanda Palmer, Anabot, Archers of Loaf, EDH, Laetitia Sadier, Patrick Watson, Perfume Genius and Super Magic Hats. In the Soundcloud section there’s good stuff from Arrange, The Hudson Branch (covering Wilco), Liam Titcomb and a Fela Kuti cover collaboration that involves tUnE-yArDs and ?uestlove of The Roots. Let’s hope I’m feeling right as rain tomorrow.
Nobody makes a record quite like Sigur Rós. Many have tried, and all have failed. This niche they have carved out for themselves puts them in a rather unique position; one where expectations are almost simply that they just make music that sounds beautiful. The consumate professionals they are though, the band hasn’t simply rested on their laurels and made the same record five times over. They’ve spent the last 15 years refining and twisting their post-rock crescendos in new and exciting ways that may not always have worked but still kept fans engaged. They earned so much credit for the brilliance of Ágaetis Byrjun that nobody even blinked an eye when they invented their own language. The point was to show how the voice is but another instrument, and you don’t need words to express your feelings if the melody already does that for you. They furthered that point by titling their 2002 record (), with a track listing that was (for all practical purposes) “Untitled #1” through “Untitled #8”. They followed that record up with Takk, an album that pushed at the edges of restraint and took on a sunnier, more explosive disposition. Yet that still didn’t quite prepare you for 2008’s Með suð í eyrum við spilum endalaust, which featured the band trying to trim the bloat of some of their grandest and most atmospheric work in an effort to fully harness those moments of pure release. The shift was both a blessing and a curse. Great as it was to hear Sigur Rós breaking out of their mold a little bit, they didn’t fully commit to the idea and the album wound up uneven as a result.
After more than a decade of the recording and touring cycle, Sigur Rós decided to take a bit of a hiatus in 2009 to spend time with family or work on other projects. Frontman Jónsi Birgisson first made an atmospheric instrumental record with his boyfriend Alex Somers called Riceboy Sleeps, then took on a legitimate solo album that was heavy on pop and light on atmosphere. The band tried to keep up with their schedule of releasing an album every 2-3 years by unleashing Inni last year, a double disc live album and DVD recorded at a couple shows the band played in London in 2008. That served as a great reminder of how the band’s catalogue has evolved over the years, though it didn’t do much to hint at where they might head next. In an interview in the Wall Street Journal late last year, band members described their new album Valtari as “introverted,” “floaty and minimal,” “ambient” and “a slow takeoff toward something.” All too often what the music makers hear versus what the music listeners hear tends to be two different things, but in this rare case the record comes as described. That can be a positive or a negative depending on how you look at it.
If you were thrilled by how Með suð í eyrum við spilum endalaust changed the game for Sigur Rós by taking them in a poppier, freak-folkish direction, Valtari will instantly feel like a betrayal of that and a step backwards. Fans of the band’s earlier material that was largely atmospheric and measured should find solace that the new album is ingrained with that same spirit. Yet it’s still missing one essential component. For years, the best word to describe Sigur Rós was “epic.” Jónsi would play his guitar with a violin bow, and the noise would be so expansive it could topple mountains and carve out canyons. The visual representations of the music are intended to be equally impactful. In their video for “Glósóli” kids jump off an oceanside cliff, and their video for “Untitled #1” has schoolkids playing outside in a post-apocalyptic wasteland while wearing gas masks and building snowmen out of ash. As a mode of contrast, the video for Valtari‘s first single “Ekki Múkk” is nearly eight minutes of grainy footage showing a boat floating through the air over the ocean. That does not lend itself well to the word “epic”, and neither does the song. So while this record might be long on mood and time, it comes up short on big moments. That doesn’t make it bad, just once again different from everything else they’ve done.
The classic Sigur Rós move is to steadily build tension within a track and then give release in an outpouring of noise. That’s the standard for post-rock in general, actually. The closest thing you’ll get to that on Valtari is “Varúð”, which develops into an ocean of loud right around the 4.5 minute mark. A track like “Rembihnútur” however, becomes loud out of sheer necessity given the number of instruments and moving parts attempting to fit into that space. Graceful orchestral swells primarily take the place of widescreen guitars, and percussion seems to be a second thought or entirely forgotten on many of the songs. Similar things could be said about Jónsi, whose vocal presence vanishes entirely from the last third of the record. As one of the band’s most unique and greatest assets, his absence is felt the most, even if he’s pounding the keys on stark piano-driven pieces like “Varðeldur” and “Fjögur Píanó” instead of singing. But such twists are part of what make Sigur Rós such a compelling band to listen to time and time again. Just when you think they’re headed into autopilot, they hang a left and take a new road.
With the consistent sonic maneuvering between records, one of these days Sigur Rós is going to turn down the wrong path. Valtari could well be start of the band’s slow decline from their mountaintop. The record’s biggest strength and weakness is its complacency. Six albums in, so many of us want more with each new release, and this album is one case where the band is giving us less. The soundtrack to the most immense and incredible natrual wonders of the world has been replaced by the experience of sitting by a lake in the woods at sunset. The way the light shimmers off the calm water is breathtakingly gorgeous, but plenty of people will shrug their shoulders and ask where the beaches and waves are. For an oft minimalist record such as this, sometimes you need to just sit back and appreciate how little it takes to craft something that’s meaningful and emotionally stirring. Sit in the dark and let the music steamroll over you, giving it your full and undivided attention for an hour. If you can’t detect the care, precision and love poured into it, perhaps this isn’t the record for you. This is one for the socially awkward, the mentally calm and the extremely artistic. It stands to be their most divisive long player to date. Whether you love it or hate it or simply feel indifferent about it, you still can’t deny this album is anything less than beautiful. From that point it’s just a matter of if that beauty goes beyond skin deep.
Did it seem like this week just flew by? That’s what a holiday on Monday will do for you. We’re back at the weekend, and that’s a great thing. A couple items of business before cashing in the chips and taking a couple days. First up, this is the weekly reminder that Faronheit has a Facebook page. If you’re looking for some extra content or simply links to all the posts that appear here on the site, do me a favor and click “Like” at the Facebook page. I’d appreciate it. Secondly, I want to briefly mention that Cory Branan, who has a new song available for download below, will be playing a show at Schubas on June 26th. Audra Mae and Briar Rabbit open the show. Tickets are $10 and can be purchased here. Check him out, I hear he’s great live, and that song below is great too. In addition to Cory Branan, there are some excellent songs today from Codeine, Crocodiles, Dent May, The Henry Clay People, Husky, Micachu & the Shapes, Sonny & the Sunsets, State Lines and They Might Be Giants. The Soundcloud section is full of gems too. Don’t miss streaming new stuff from Balam Acab, Friends, Yuck side project Parakeet, and Ty Segall Band.
Chicago has quite a large number of great local bands that haven’t hit the big time just yet, and I’m always pleased when one sends me an email introduction. I try to support the local scene as much as I’m able without distracting too much from some of the more major worldwide indie acts, and in this case here’s something fun anybody from anywhere can get involved with. Chicago band The Bears of Blue River are preparing a new 7″ single for their song “Flamingo”, and they want you to design the cover art. Feel free to submit anything, from a photo you took to something you drew/painted or even something you created on your laptop. If it’s artistic or even simple and crude, feel free to submit it for consideration. You can get your art to the band through email or regular mail, bearing in mind that if you’re submitting something digitally the image should be as large as possible to avoid distortion on the actual finished product. Digital submissions can be sent to BearsContest@rhedrholl.com. Physical submissions should be sent to Rhed Rholl Recordings, PO Box 60315, Nashville, TN, 37206. Please know that by sending in your artwork you’re giving permission to the band and Rhed Rholl Recordings to use it in whatever fashion they like. If your piece is chosen, you will receive record #1 of 250 hand numbered pink vinyl, a framed copy of your artwork, and a special thank you in the liner notes. Just for submitting something the band will also include your name in the liner notes. If you’re looking for more details on the contest, simply click here. And so you’re not creating artwork for a band you might not have heard of before, here’s an mp3 to give you an idea of what the band sounds like: The Bears of Blue River – Blue Ribbon.
Now, onto today’s Pick Your Poison. Fun stuff in this set, and I’ll recommend tracks from Big Boi & Theophilus London, James Bowers, Katie Kate, Los Campesinos!, Sea of Bees, and a classic Silver Jews song. In the Soundcloud section be sure to stream songs from Matthew Dear, Nouela and Taragana Pyjarama. Oh, and lest I forget, Blayer Point-Du-Jour & Rockers Galore, who have an mp3 below, will be playing a show at Reggie’s Music Joint on June 5th with Mr. Blotto. Cover is $5 at the door, so if you want to see a quality show in Chicago this upcoming Tuesday, that might be worth checking out.
There is a small group of artists making music today that simply cannot sit still. Their need to create is so overwhelming that it cannot be confined to simply one band or project. Take a look at Robert Pollard, who operates under no less than 10 different names as part of collaborations with different people. He’s been averaging about 2-3 full lengths a year for quite awhile now, with at least two Guided By Voices records due this year. Or examine Spencer Krug, who has been part of Wolf Parade, Sunset Rubdown, Swan Lake and currently Moonface – all within the last three years. Bradford Cox, too, hasn’t gone a full year since 2007 without releasing a record under either the Deerhunter or Atlas Sound name. Soon to be added to this elite collective might well be Kyle Thomas. In the last few years, he’s played important roles in the J. Mascis stoner metal side project Witch, odd folk band Feathers, and indie pop trio Happy Birthday. He’s also struck out on his own, releasing music under the name King Tuff. He put out his first solo record Was Dead in 2008, and finally found the time to make a follow-up this year. King Tuff appropriately made the new album self-titled, because it marks the first time most will hear his work. His debut came out on Teepee Records and was manufactured in such a limited quantity that you have to pay a pretty penny on eBay for a copy. Now signed to Sub Pop, his platform has expanded significantly, as has his sound. Where he blasted through tracks before with a ramshackle lo-fi punk style, he’s tempered that now by exploring elements of ’50s, ’60s and ’70s rock and pop. The guitars are still as fuzz-laden as ever, but the record doesn’t race to the finish line like it’s got somewhere to be. A song like “Unusual World” coasts along at a relaxed mid-tempo pace and incorporates synths and xylophone for added flavor. “Evergreen” rides on the wings of a summer breeze, drifting so lightly it almost feels like it belongs on another album. And piano ballad “Swamp of Love” comes off like an Elton John torch song filtered through Bob Dylan glasses. Outside of those softer or quieter moments, King Tuff is a whole lot of fun to listen to. “Anthem” carves out a grand place for itself as described. One of the best singles so far this year might just be “Bad Thing”, which blasts along with the speed of a powerboat and has a candy-coated chorus that will stick in your head for weeks. Meanwhile “Stranger” plays around with sounds previously reserved for T. Rex or Lynyrd Skynyrd. These record might not have a whole lot of weird experiments going for it, but what it lacks in sheer oddity it more than makes up for in strong composition. This is a collection of dynamic songs you’re supposed to enjoy and not think too much about. In other words, it’s a great record for summer. Sometimes you don’t need anything more than that.
Here’s a couple of music news items that might spark your interest. It seems that Ween have broken up. At least according to Aaron Freeman aka Gene Ween. The band was together for 25 years and made some really weird but also really fun music. They’re also innovators in their own right. Given that Freeman launched a solo career earlier this month, the timing makes some degree of sense. What fascinates me is that Mickey Melchiondo, aka Dean Ween, apparently knew nothing about the breakup, saying on Facebook that it’s “news to me, all I can say for now I guess.” Secondly, I want to briefly mention that the enigmatic Willis Earl Beal was arrested over the weekend in the Netherlands for reportedly kicking a homeless man in the face. I wouldn’t be at all surprised if that turned out to be true. If you’ve heard Beal’s excellent record Acousmatic Sorcery, you probably know he pours out his heart and soul in those songs. Performing them live must be a highly emotional experience, and if somebody’s harassing you during it, a kick to the face might feel like the appropriate response at the time. He’s now out of police custody and planning to continue his tour like normal. Anyways, those are just a couple stories from the last few days I’ve found to be the most fascinating. I hope you do too if you hadn’t heard them already. Let’s get to today’s Pick Your Poison. I’ll happily suggest downloading tracks from Candidate, Freddie Gibbs, Gemma Ray, Kandodo, Oddience, Scout (covering The Replacements) and Ty Segall Band. In the Soundcloud section don’t miss streaming tracks from Giovanni James and Merchandise.
Say hello to another new album release Tuesday. This week’s new release list is a little smaller than usual, primarily due to the holiday week scaring some artists off. Fear not though, because while there are fewer new records this week, the ones that are out today are generally bigger than normal. You might want to purchase new full lengths or EPs from Cadence Weapon, David Ramos, The Dig, Edward Sharpe and the Magnetic Zeros, Gemma Ray, Glass Widow, Julia Stone, King Tuff, Ladyhawke, Lemonade, Marissa Nadler, Public Image Ltd., Regina Spektor, Saint Etienne, Scissor Sisters, Sigur Ros, Simian Mobile Disco, Sun Kil Moon, The Walkmen and White Lung. As for some of the great things available in today’s Pick Your Poison, I’ll certainly throw some force behind tracks from Broncho, Cold Warps, El-P, GHXST, Moon Furies, Roomdance and XNY. Be on the lookout for a stream of something new from Summer Camp in the Soundcloud section too.
Earlier this year, The Walkmen celebrated their 10th anniversary of being a band by playing a handful of special shows in cities that have special significance to them. It’s a little odd to have a band celebrate an anniversary like that unless you’re, say, the Beach Boys, who are in the middle of a 50th anniversary tour at the moment. With the current hype cycle that chews bands up and spits them out over what often feels like 6 months or less, lasting even a handful of years can be considered an accomplishment. It also takes a fair number of quality records that logically evolve and grow off one another to remain vital and keep an expanding audience from becoming bored. The Walkmen have certainly accomplished that feat, and one listen through their 2002 debut Everyone Who Pretended to Like Me Is Gone along with one of their more recent records like 2010’s Lisbon will immediately hear a difference. They’re not the same scuzzy and fiery rock stars their early work suggested. Age, experience and now marriage and kids have all tempered those wilder ways, and in their place is a group of guys settled and content with their lives. For most bands that means death, as families can distract and happiness can breed boredom or laziness. It’s sort of like how many couples gain weight after getting married, in part because they’re no longer trying to sell themselves to another person. And we wonder why the divorce rate is so high. But conflict and anger are two key elements of rock music, and while they’re not essential to a great song or record, they certainly make both more interesting. What’s unsettling about The Walkmen’s new album Heaven then is just how much it lives up to the title. These guys are loving life right now, and they made a record about it. For some, that idea can come off as a little smug – as if the band is saying they have everything figured out while the rest of us continue to search for answers. The truth is they’re celebrating the things that have brought them such joy, and are encouraging us to join in on their happiness with the hope of learning and gaining it ourselves. Somehow they’re able to pull it off without sacrificing many of the qualities that made them great in the first place. Perhaps the person that has most changed on this record, even compared to the band’s previous one, is frontman Hamilton Leithauser. In the past his vocal style has best been described as whiskey-soaked and strained, but as the songs have become more tempered so has his singing. The album’s opening acoustic-strewn jaunt “We Can’t Be Beat” turns Leithauser into a crooner from the 1950’s, all smooth and dapper with effortless and lovely backing harmonies. Fleet Foxes’ Robin Pecknold does backup vocal on that song along with “No One Ever Sleeps” and “Jerry Jr.’s Tune”, the latter of which is an instrumental with humming that’s more meditative than essential. Still, his contributions enhance Leithauser’s in the sort of beautiful way you’d suspect they might. Fans of the last two Walkmen albums will certainly find their fair share of solace as well in tracks like “Love Is Luck”, “Heartbreaker” and the title track, even if none of them quite match the manic energy of classics like “The Rat” and “Little House of Savages”. Doing something that dark and rushed wouldn’t make sense with the overall feel of this record though, which tries to play up the positive and does so with more retro flair than ever. Long time fans of the band may miss some of those ragers and heavy-handed moments, but songs like “Line By Line” and “Dreamboat” bring touches of despair to an otherwise upbeat album. They’re enough to show that The Walkmen haven’t completely given up on some of the feelings they were founded upon 10 years ago. With a catalogue of such high quality records though, it seems feelings don’t matter when it comes to making great music. As Leithauser sings on “Heartbreaker”, “It’s not the singer/it’s the song.” So long as The Walkmen keep making good ones, happy or sad, we’ll keep listening.
Happy Memorial Day! I want to take a moment to thank all the men and women who fight so hard and sacrifice so much for America. It’s also important on a day like today to remember the fallen – those that gave their lives to protect citizens and certain ideals. So thanks again to all who serve, have served and will serve in the future. The world is a safer, better place because of your efforts. I hope that there are some military personnel that visit this site to discover new music, and that those discoveries help make life better or more meaningful when times get tough. Please enjoy today’s Pick Your Poison selections. Stuff you might want to check out today comes from Catcall, The Mommyheads, Permanent Collection, Pujol, Tidelands and Yeasayer. In the Soundcloud section, you definitely don’t want to miss streaming tracks from Beat Connection and Cloud Seeding. I also want to give a very warm shout out to Psychic Twin, the new project from Erin Wraight of the excellent indie pop band Headlights. They’ll have a 7′ single coming out on Lefse Records towards the end of July that you can preorder here. Stream the A side of that release below – it’s quite good and divinely retro.
If you’re an American, this is a pretty big weekend. Memorial Day is often regarded as the official “start” to the summer season, and judging by the number of cookouts and pool parties set to happen this weekend, the tradition continues. It also means an extra day off of work, something that everyone likes. As far as I know, the site won’t really be taking Memorial Day Monday off, but I might call a last minute audible on that one. We’ll have to wait and see. But no matter what country you’re from, I hope the weather’s nice by you. Maybe have some friends or family over for good food and conversation? Sounds like a plan to me. Here are some mp3s to get you through it. I’ll recommend tracks from Alberta Cross, AVAN LAVA, Infernal Devices, The Mynabirds, The Spy From Cairo, Woodpecker and The Darcys remix of Zulu Winter. In the Soundcloud section you’ll want to stream tracks from Metric, Onra, SBTRKT and Ski Lodge.
Phil Elverum has always been a bit of an odd creature. That’s not to call him difficult or some sort of an outcast, though maybe he’d prefer those descriptors. After folding up his band The Microphones almost 10 years ago, he’s operated in the most independent way with the creation of Mount Eerie. He’s foregone signing to any record label, instead starting up P.W. Elverum & Sun as a way to operate. He’s also notoriously hesitant to do any press surrounding his releases, perhaps feeling that those who want to find his music will know where to look. He lives in Anacortes, Washington, which is a somewhat remote town about an hour outside of Seattle. You’d think he’d want to be left alone, except he keeps making and releasing music. His current project is a double album of sorts, two sides of the same coin set to be released four months apart from one another. The first half of that arrives now with Clear Moon. For those that have heard a Mount Eerie or Microphones record before, there are a lot of familiar markers that have shown up in Elverum’s work before that continue on this new album. There are the short instrumental and experimental tracks that have no title other than “(something)”, there’s the gratuitous use of the “pt. 2” signifier even if pt. 1 is nowhere to be found, and let’s not forget about some similarly worded song titles. None of these things truly matter in the end, but they are part of the guy’s unique charm. The last Mount Eerie record Wind’s Poem was a small departure for Elverum, taking a new love of heavy metal to heart and bringing a new ferocity to an otherwise docile sound. Almost amusingly, though the melodies got bigger and much louder on that album, his vocals maintained his classic calm and even mumble the entire time. The paradox was palpable but engaging all the same. The metal and volume get largely shelved on Clear Moon, in favor of the more sedate, folk-based beauty that Lost Wisdom espoused. Only the brash, horn-infused “Lone Bell” pumps some serious and somewhat terrifying muscle into the proceedings. It brings forth the sort of intensity nightmares are made of, but more the kind where there’s something terribly wrong in paradise but you’re not exactly sure what. Unsettling is a great descriptor not only for that song, but the entire record. The underlying theme is all about trying to find what defines “home” for you personally. Opening track “Through the Trees, Pt. 2” has Elverum on a quest across mountains, wilderness and even the Internet to try and find things “just to remind myself that I briefly live.” That follows with “The Place Lives” and “The Place I Live,” wherein he gazes upon nature and questions his importance in the scheme of the universe. The poetic lyrics are worded precisely enough to keep you questioning whether he feels bothered or content with where he’s at. They’re also designed to probe our own consciences and provide us with some food for thought. The places we live and the homes we build for ourselves are in many ways as temporary as life. It’s a comfort to be able to settle somewhere and form a life around it, but how much of an impact on the world we have in that setting is entirely our own choice. Through beautiful bits like “Yawning Sky” and heavier dirges like “Over Dark Water”, Clear Moon does a sharp job of balancing the light and the dark so we’re not completely overwhelmed on either front. Elverum says that the other Mount Eerie record he’ll be releasing this year, titled Ocean Roar, will be darker, weirder and heavier. Let’s just hope it doesn’t lose any of the lush beauty and contemplative lyrics that this one has in spades.
If you’re not already familiar with my good friend Marissa Nadler’s work, her records are definitely worth your hard-earned money. Each of her most recent full lengths has improved on the one before it, and she hit a new peak last year with her self-titled record. When I talked to her last summer, she mentioned that she recorded around 18 songs for her album, and not all of them made the cut. It was less that they weren’t good enough and more about the way they all fit together. At the time, she also said that the extra songs would appear on an EP that’d be out in the near future. Well, it’s been about 10 months, but the Sister EP will finally be out on Tuesday. It is intended as a companion piece to her self-titled album, however it can also be enjoyed on its own. I’m pleased to be able to present a full stream of the new EP right here. Please give it a listen, and buy it if you like what you hear.
As for today’s Pick Your Poison, don’t miss downloading tracks from Anabot (covering Japandroids wonderfully), Foxygen, Ozarks, The Shrouded Strangers, The Slowdown, and Stagnant Pools.
Let me use this time in the middle of the week to play that fun weekly game where I tell you that this site has a Facebook page. There you can find links to all the posts on this site, along with additional “bonus” content that includes music videos and special Spotify-curated playlists. I’m not asking for your personal information or something, and I’m not going to spam you if you click the “Like” button. The goal is to provide another way to connect with you and keep up with the latest happenings in the music world. If that doesn’t interest you, then that’s fine too. No pressure. Let’s just enjoy today’s Pick Your Poison and we’ll take it from there. You might want to put a close ear on tracks from Beachwood Sparks, How to Dress Well, The Late Show, Rec Center, Diplo’s remix of Sleigh Bells, The Sun Parade and The Wild Rumpus. In the Soundcloud section there’s some good tracks to stream from No Joy and Teengirl Fantasy.
Every Tuesday I like providing you with a list of artists that are releasing new EPs or full length records. As this week is no exception, have a glance at the wealth of options that may or may not whet your musical whistle. New stuff this week from Amateur Love, Blue Foundation, Cold Specks, Cory Branan, Craft Spells, The Cult, The Danks, Dope Body, El-P, Exitmusic, Garbage, Gossip, Hallelujah the Hills, JBM, John Mayer, John Zorn, Kimbra, Modern Time Machines, Mount Eerie, Rec Center, Slash, Young Man and Zulu Winter. As far as today’s Pick Your Poison goes, there’s a number of good tracks worth the seconds spent downloading. Those include songs from Alan Watts, Amanda Palmer, The Broken Needles, Twin Shadow’s remix of Hooray for Earth, Jenee Halstead, Leonard Friend, Lemonade and Teenage Sweater. In the Soundcloud section enjoy streaming tracks from Dressy Bessy, Girls Names and Vince Clarke’s remix of Liars.
In the span of six years, Beach House have gone everywhere and nowhere at the same time. Their 2006 self-titled debut was met with warm embraces by virtually everyone that heard Alex Scally and Victoria Legrand’s soft and somber take on bedroom pop. The interweaving of carefully plucked electric guitar and lackadaisical keyboards next to Legrand’s emotional vocal style made for a grand base to build off of, and that’s essentially what they’ve spent their last couple records doing. Their popularity has continued to increase with each new effort, and in late 2009 they signed a new record deal with major indie label Sub Pop that only bolstered that profile more. It helped that their third record Teen Dream turned out to be one of 2010’s best, sending their subdued melodies skywards with all the grace of a freshly lit firework. The moving parts remained the same, but the dynamics had changed. It stands to reason that album put the band at a precipice, and the only way they could go from there was down. The real surprise is that their new record Bloom does nothing of the sort. If anything, the album title alone suggests that Beach House has finally blossomed into one of the most talented bands making music today. That the music is tighter and better than ever before only helps to prove that.
Perhaps the first thing you should know about Bloom is that you probably won’t fully grasp its power from a single listen alone. It’s a complicated piece best experienced in one 60 minute chunk rather than in singles or jumping around to perceived highlights. Each track is in many ways its own highlight, but together they build upon one another both instrumentally and emotionally. The main contrast with Teen Dream is that record primarily took the idea of a break-up and spent each track hashing and rehashing through the scars left behind. Great (and sad) though it was, the central idea often tried to cram too much into one song, and the consistent commentary on being mentally wounded by another person seems rather simplistic in retrospect. That was sort of the idea though, as Legrand and Scally said in interviews for that last album. They felt as if their first two records were a bit too slow moving and emotionally terse, and the idea with the third one was to open up a wider expanse with greater heft. Successful though it was, the thought of “too much, too fast” also applies quite well. Bloom seeks to smooth out those not very rough edges by keeping the big songs but trying to do less with them. They’re no longer shoving a truckload of food for thought down your throat in 3 minutes, but instead are exercising portion control.
The lyrical ideas and concepts that Legrand sings about are better organized and clearer on the whole, even as they tackle more abstract subject matter. What do you do and how do you feel about the loss of innocence in your youth? Can you hang onto those qualities that brought you such joyful moments as a kid? How does the divorce of your parents or your sibling falling victim to disease affect your life? Those aren’t lighthearted topics, but Beach House have never been a lighthearted band. Still, like any good memory bank there are thoughts on good times too; those fever dream moments that put a calm smile on your face. There’s an intimacy to them as well, because the emotional response such nostalgia triggers is unique to your own personal experience. This record does a fantastically subtle job of lending itself to become exactly what you want it to be at certain times. In that respect its brilliance lies with how much of yourself you invest in it. As a kid, did you ever have a toy or stuffed animal that you spoke to and had very personal “conversations” with? You hay have shared things with that inanimate object that nobody else knows about even today. Yet that toy or stuffed animal was manufactured in a plant somewhere and there were millions more like it shipped around the world to kids who also shared their unique hopes and fears with them. What we were looking for then was a sympathetic ear that passed no judgment and didn’t talk back. Bloom is kind of like the adult version of that. You can’t hug an mp3 (even if you can do that with a CD or vinyl record) or go on adventures with it, but you can listen carefully as Legrand’s voice draws you in and puts you at ease. Her words, though dark at times, are plainspoken and broad enough to give you the impression she’s singing to you and only you. “What comes after this momentary bliss?” she asks into the void on “Myth”. Instead of pondering that future, perhaps it’s best to simply enjoy the present.
For all the emotion and careful arrangement that went into making Bloom such a solid, singular piece of music, it winds up being Beach House’s most pop-friendly work to date. The verse-chorus-verse structure is in full effect on each track, and the hooks are hammered remarkably hard to make sure they stick in your head. Listen to the album enough times and you’ll be able to hear the chorus of almost every song in your head simply by reading its title. Strong as they all are, it’s “Wild” that earns the first spot on the mantle next to the band’s other classic tracks like “Master of None”, “Gila” and “Zebra”. Scally’s guitar work bounces off the figurative walls as the synths glide just beneath them with all the grace of a piece of ice on a hardwood floor. The drum machine motors along in classic Beach House style, and Legrand’s vocals both soar and ache at the same time. Somewhere around the middle of the record, it’s tempting to get lost in tracks like “The Hours” and “Troublemaker”, both of which don’t quite have the same effect as everything leading up to them. The purpose those songs serve though is to build towards the next peak. Like any number of post-rock bands that start a song quietly and get louder until the tension results in the bursting of a musical dam, that moment arrives in all its glory on “Wishes”. It’s a remarkable track on its own, but when paired with the couple songs leading into it there’s just a little more shimmer and sparkle in its step.
In more ways than one, shimmer and sparkle is a great way to describe Bloom as a whole. The experience of listening to it is akin to viewing a sunset on a placid lake or running through a lawn sprinkler on a hot summer’s day. Its gauzy beauty envelops you in its arms and comforts as much as it unsettles lyrically. Alex Scally and Victoria Legrand have found a way to make their already established sound come off as fresher and more gorgeous than ever before without sacrificing their best qualities. Very few artists have it in them to conjure up such a brilliant record in the direct wake of what many believed was a career watermark a mere two years earlier. This is their 1-2 punch like Radiohead’s OK Computer and Kid A or The Beatles’ Revolver and Sgt. Pepper’s Lonely Hearts Club Band. People will not only be talking about this album for the rest of 2012, but likely well beyond it too. For a record whose title and subject matter are all about the impermanence of life, love and relationships, Beach House have made something that may just last forever.
