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Pick Your Poison: Friday 8-5-11

So I am covering Lollapalooza all weekend long, in case I’ve not mentioned it enough. Check back to the main page for daily updates as to the good and bad of the music and other elements in place this year. Should be a lot of fun. I also want to recommend that you keep up with me on Twitter, as I’ll be giving more minute-by-minute updates with a hefty dose of snark. If you’re reading this and it’s Friday, chances are you’re not in Grant Park for the festival. If you are there I hope you have a blast. Also a blast? This weekend-starting edition of Pick Your Poison. I can give my thumbs up to tracks from The Coasts, Das Tapes, The Great Book of John, Jukebox Collective, The Pajama Club and Tiny Fireflies.

Afrobeta – As Long As You Like

The Coasts – Handshakers

CSS – Hits Me Like A Rock (Depressed Buttons Remix)

Das Tapes – Black Ferrari

Echorev – Sparks

The Great Book of John – Robin Hood

Joakim – Forever Young

Jukebox Collective – Swimming With Sharks

Leisure – Early Morning Skies

Lyrics Born ft. Sam Sparro – Coulda Woulda Shoulda (Party Ben Remix)

The Moor – Warm Winter

The Pajama Club – These Are Conditions

Paradise – Fear of Dawn

Princess Chelsea – The Cigarette Duet

Tiny Fireflies – So Sad to Say Goodbye

Tribes – We Were Children

White Shadow – I’m Killing Me
White Shadow – Born in Detroit

SOUNDCLOUD

Age of Consent – The Beach

Bombay Bicycle Club – Shuffle (Bibio Remix)

The Witch and the Robot – Fear Of Mountains

Pick Your Poison: Thursday 8-4-11

Lollapalooza starts tomorrow, and I’ve got plenty of business to take care of before then. As such, I’ll be brief. Today’s notable tracks via Pick Your Poison come from Collarbones, Girls, Kites With Lights, Rachael Yamagata, and San Cisco.

Billie the Vision and the Dancers – Summercat

Bush Doctors – Night Booty

Chappo – Bodies Coasting

Collarbones – The Ghostship

Colour Revolt – Moat (Demo)
Colour Revolt – We Are Memories (Demo)

Computer Blue – Game Boy

Dudes – Somethin’ 2 Say

Flamingo – Superpalm
Flamingo – Brown Lighter (ft. Dumbo Gets Mad)

Girls – Vomit

The Glass Cabin – Bad Teenagers (ft. Drew Zaremba)

Kites With Lights – Cosmonauts

La Chansons – Dr. + Nurse (LC Dubstep Mix)

Mapuche – She Unsaid

The Minor Leagues – Ghost Maps
The Minor Leagues – Please Don’t Throw My Love Away

Rachael Yamagata – Starlight

Red Eye Fugu – Night Runner

Remodel – This Isn’t A Love Song
Remodel – Situational Tragedy Pt. 2

Retro/Grade – Mindfighter (Blue Satellite Remix)

San Cisco – Golden Revolver

SOUNDCLOUD

Aly – Follow Me (Richard Dinsdale Remix)

Deca – Due Time

John West – Loved You Tonight

Lollapalooza 2011: A Weekend Preview Guide

Here we are everybody: the 20th Anniversary of Lollapalooza. Today begins my coverage of the 3-day festival, set to take place in Grant Park this upcoming weekend August 5-7. Most assuredly, a fun time will be had by virtually all in attendance, and this year the whole thing is SOLD OUT. If you haven’t gotten tickets, well, find a scalper or simply don’t go. This year boasts headliners that are bigger than ever before, even if that doesn’t exactly mean better. I’ll argue this isn’t Lollapalooza’s best lineup by a long shot, but who am I to judge when tickets fly off the shelves like they did this year. There’s plenty to do and see all weekend long, so I’ve written up a small little guide to help you make some more interesting music choices this weekend. If you’re not fully educated on these artists I strongly encourage you to either look into them or just take a chance by going to see their live show without ever having heard a note before. Lollapalooza is a solid way to discover new music, and with so much to choose from, good luck trying to avoid hearing something fresh. I’ll be providing you with day-by-day recaps and an overall wrap up as things progress this weekend. Until then though, please enjoy this preview, and I hope it helps when making the tough decisions the schedule sometimes throws your way.

Friday

Wye Oak (12:00-12:45)
The Baltimore duo of Jenn Wasner and Andy Stack put out their latest record “Civilian” earlier this year to strong reviews for their folk-tinged rock. The record may be great, but even greater is seeing them perform live. Wye Oak is one of the best-kept secrets in indie rock these days, but don’t expect them to remain that way.

Tennis (1:00-1:45)
Yet another male-female duo, Tennis hit the hype cycle nicely earlier this year with their debut album “Cape Dory”, a chronicle of a 7 month trip they took down the East Coast in a boat. The songs on that record are breezy and effortlessly catchy, thereby making them perfect for a summer day in the park.

Reptar (2:15-3:00)
Imagine Animal Collective reborn as a synth pop band (or crossed with MGMT), and you’ll gain some idea of what Reptar sounds like. They’ve only been around for a little over a year, and in that time have picked up a reputation for wildly fun live shows that are a mixture of upbeat pop songs and over-the-top jam sessions.

Smith Westerns (3:30-4:30)
Chicago’s own, The Smith Westerns moved from buzz band to legitimate phenomenon earlier this year with the release of their sophmore album “Dye It Blonde”. Scuzzy and catchy lo-fi melodies blended with youthful energy makes for one dangerously great combination, and it’s something these boys have in spades.

Cults (4:45-5:30)
There are few bands on the entire Lollapalooza bill that have earned more hype than Cults have in the last year or so. To think that all that internet chatter was generated purely based on one single (“Go Outside”), and that they hadn’t put out a full length until a couple months ago. Good thing their debut record delivered on that initial promise. They’re set for big things.

The Mountain Goats (5:30-6:30)
John Darnielle is a world-class storyteller. His folk songs are rich in details and emotionally strident. One might suspect that they work better in a smaller club venue than an outdoor festival environment, but thanks to a couple of strong bandmates the whole thing should get hit with an extra dose of energy and exceptionalism.

Bright Eyes (6:30-7:30)
Bright Eyes is a great band on something of a bad streak. The early records were great, when it was just Conor Oberst and his guitar, but the more full band efforts have felt much more plain and uninspired. Still, they never fail to put on an engaging live show, and they do as much justice to their classics as they do the newer stuff. Their latest album, possibly their last, seems to suggest they just might be on the right path again.

Crystal Castles (7:15-8:15)
Anyone that’s ever seen Crystal Castles live before knows that the experience is always unique. Given their time slot, it’ll be interesting to see how they cope with anything less than total darkness. Prepare for strobe lights galore, Alice Glass going beyond nuts and potentially punching somebody out. The spectacle alone would be worth going to see, but the music is really damn good too.

Muse (8:15-10:00)
If you want to know what musical excess looks like, watch Muse’s live set. They’ve gotten bigger and bigger around the world, and their pure stadium glory has followed directly in lockstep with that. I doubt Grant Park can contain the insanity they’d like to do. Also, this follows in an “anything but Coldplay” mentality. Muse is the better band anyways, despite their overblown spectacle of a show.

Saturday

Grouplove (12:00-12:45)
Here’s another secret band you’ll be rewarded with by showing up early on a Saturday. Grouplove is a band united by being world travelers, most of the members having met during a trip to Crete. But in essence they are American and make remarkably strong and pretty catchy indie rock. Their EP released last year was a great start, and their forthcoming full length hopefully holds that same strength.

An Horse (1:00-1:45)
Hopefully you like male-female duos, because here’s another solid one. An Horse are from Australia and are made up of Kate Cooper and Damon Cox. They’re sort of like a Matt & Kim but a little less smiley. They make bright, upbeat and energetic songs that can sometimes come off as formulaic but are still altogether a delight. And hey, Tegan & Sara recommend them too.

Phantogram (1:30-2:30)
While you’re on that male-female duo kick, keep up the streak with Phantogram. Their music is much darker and more haunting compared to all their similar counterparts, but that darkness comes with a sheen of cool. It’s not exactly the best soundtrack for the middle of the afternoon, but the songs are no less engaging and will stick with you.

Friendly Fires (2:15-3:00)
This is exactly what a Saturday afternoon needs. Friendly Fires are on a streak of two great dance rock records in a row, both packed to the gills with super addictive songs that you can’t help but bust a move to. Seriously, if you go see these guys and don’t dance, there’s something wrong with you. Just bring plenty of water to help avoid overheating.

Black Lips (3:00-4:00)
Black Lips have played Lollapalooza before, and while they had earned a reputation for their crazy live sets prior to then, they were on relatively good behavior the last time they hit Grant Park. Still, expect lo-fi energy and plenty of spitting, potentially some inter-band guy-on-guy making out action, and a lot of songs off their excellent new record “Arabia Mountain”.

Death From Above 1979 (4:00-5:00)
With this comes the toughest match-up of the entire festival. Death From Above 1979, reuniting for who knows how long, playing songs from their one and only album. But it was a really damn good album and exceptionally fun to dance and/or mosh to. There have been near riots at some of their shows already this year, with people getting too wild in a confined space. Expect a more organized chaos in Grant Park, but anticipate having a gloriously great time as well.

Big Audio Dynamite (4:30-5:30)
Facing off against DFA1979 is Big Audio Dynamite, and they’re freshly reunited as well but after a long and storied career. This is Mick Jones’ band created after The Clash, and despite multiple lineup changes through the years, it remains one of the more vital bands to come out of the 80s. They were ahead of their time in a lot of ways, and though they’re essentially senior citizens, they still know how to rock harder and better than the majority of bands on the festival bill.

Local Natives (5:30-6:30)
Local Natives are just a whole lot of fun. Their debut record “Gorilla Manor” earned tons of praise and wound up on so many “best of” lists last year. They’ve been touring like crazy, and if you’ve not seen them yet, the vocal harmonies alone are enough to sway you into it. That they’re also super catchy, that’s a bonus.

Lykke Li (7:15-8:15)
Oh my how this Swedish songstress has grown. Lykke Li played Lollapalooza two years ago and had a mid-afternoon slot along with an aftershow at the relatively small Bottom Lounge. Now here she is on her second album and in a pre-headliner spot along with an aftershow at the much larger House of Blues. Her songs are great, she dances on stage and it’s a blast to watch. If only she’d cheer up a bit.

Eminem (8:30-10:00)
It’s one of hip hop’s best vs. the jam band circus in the most fascinating headliner showdown of the weekend. My Morning Jacket is great, and they deliver one of the better live shows around, but they’ve headlined Lollapalooza multiple times the last few years, were just in Chicago this past June, and will likely be back again within 5 months. Eminem is on the comeback trail. His “Recovery” album has made him a vital voice in hip hop once more after dealing with some bad addiction problems. He doesn’t tour often either, so this is a somewhat rare treat. Don’t miss it if you can stand the guy.

Sunday

Gold Motel (12:15-1:00)
Chicago’s own, making us proud each and every day. They make fun and catchy indie pop songs, and they’re aided by the fact that none of the other acts (save for Lord Huron) playing in their time slot are very good. Gold Motel just have that “it” factor where you know they’re going to be big, hopefully sooner rather than later.

The Joy Formidable (1:00-1:45)
All love to Titus Andronicus, who are also playing pretty much in this same time slot, but The Joy Formidable win this match-up by a hair. Besides having a very compelling frontwoman in Ritzy Bryan, the band’s debut record “The Big Roar” is very much as the title describes. This trio is quickly building buzz and a fan base as well, so hop on their fast-moving train while you still can.

Rival Schools (1:45-2:30)
It’s fair to call Rival Schools a post-punk or maybe even an alternative rock band. They originally formed more than 10 years ago as a supergroup of sorts, featuring members of bands like Gorilla Biscuits and Youth of Today. They broke up awhile back, but got back together a couple years ago. They just put out their first album of new material in about 8 years, and they haven’t lost a thing.

The Pains of Being Pure at Heart (3:00-4:00)
It was easy to call The Pains of Being Pure at Heart a “flash in the pan” band that was more likely to get swallowed up in its own hype before establishing a solid career on it. But then came “Belong”, their second album earlier this year, and it’s no slump. Their sugary sweet lo-fi pop melodies are here to stay, and these kids are a joy to watch bring them to life on stage.

Lissie (4:30-5:15)
Of all the choices to be making here, going to see Lissie is probably the least popular one. She’s up against the dynamic and exceptionally fun Flogging Molly on one side, and a reunited-and-almost-as-good-as-they-once-were version of The Cars. Lissie is the least known and least compelling of those three. So why does she get this nod? If you know the other two bands, you already know what you’re getting into. If you’re looking for an alternative and want to see and up-and-coming female singer-songwriter with plenty of moxie, Lissie’s your girl.

Portugal. The Man (5:00-6:00)
Really it comes down to recommending these guys or Cage the Elephant, who are playing Lollapalooza for what I believe is the 3rd year in a row. I touted 3 years ago how Cage the Elephant was going to be the “next big thing”, and now that they are, it’s somebody else’s turn. Portugal. The Man are a great band and their live show is effortlessly solid. Avoid the overcrowding at the Cage the Elephant stage.

Best Coast (5:45-6:30)
Yay for Bethany Cosentino. She’s nothing short of a delight, and her sunny melodies on her “Crazy For You” debut album are well worth your time. Not only is the music great, but she’s got some killer stage banter as well. If you happen to have a joint on you, she’ll gladly take if off your hands as well (not to condone the use of…illicit substances).

Explosions in the Sky (7:00-8:00)
These Texas boys have played Lollapalooza before, and do exceptionally well with their instrumental post-rock as the sun begins to set. It’s sort of the perfect way to prepare for the rock and roll onslaught that is to come with a Foo Fighters finale. Wouldn’t you know it, the two stages are right by one another.

Foo Fighters (8:00-10:00)
If electronica’s your thing, Deadmau5 has a whole other side of the park to himself. For the rock fans though, Foo Fighters are a great way to close out a great weekend. Dave Grohl is one of the most enigmatic frontmen around, and the band is coming off of what’s likely their best album in over 10 years. If you’re ever going to see them, now’s the time.

Pick Your Poison: Wednesday 8-3-11

Today is Wednesday, and that means the start of Lollapalooza 2011 is a mere 2 days away. I’m moderately excited about this year’s lineup, so it should be a pretty great weekend as it typically is. Still, it’s completely sold out, so if you’re going expect capacity crowds every day. I’ll be publishing my guide to the music at this year’s Lollapalooza tomorrow, so hopefully it will give you a little insight in case you’re stuck with some time slot conflicts. It’s no picnic walking from one end of Grant Park to the other, so try to plan accordingly. Now then, allow me to break down today’s edition of Pick Your Poison. Highlights include tracks from Canon Blue, Forest Fire, Halloween Alaska, Sean Waterman and Tuesday Glass. Also be sure to download the new song from Icebird, a new collaborative project started by RJD2. In the Soundcloud section you’ll find new songs from Active Child and Das Racist, as well as a classic from Screaming Females.

The 3Ds – The Burrymen

Canon Blue – A Native

Der Tante Renate – Beast

Digits – Because It’s Wrong

Fops – Cheater Carolina

Forest Fire – Future Shadows

GMYL – Superhuman Happiness

Halloween, Alaska – Empire Waist

Icebird – Going and Going and Going

The Jim Jones Revue – High Horse

Justin Petertil – Elegance in Love
Justin Petertil – More Youth

Karthala 72 – Dans Le Coeur Du Feu

Sean Waterman – Enough

Something Fierce – Empty Screens

Tuesday Glass – Franklin

Youngblood Hawke – Rootless

SOUNDCLOUD

Active Child – You Are All I See

Das Racist – Michael Jackson

GDFX – Pipedream

Robbed By Robots – Maxed Out

Screaming Females – Boyfriend

Pick Your Poison: Tuesday 8-2-11

In case you are coming straight here via an external link, I’ll say this right now – Paul McCartney played Wrigley Field last night and it was AMAZING. I’m not the biggest fan of stadium shows, given the impersonal nature of it, the ant-sized people on stage, and the oft-muddy sound, but exceptions will be made on occasion for artists that really merit it. Sir Paul is one of those such people, and considering the catalogue of songs he has to work from it just made the whole night that much more thrilling. You can read my full writeup on the show by clicking here. Okay, on to today’s Pick Your Poison. Tracks hitting my ears in just the right way include ones from Amen Dunes, Brian Keenan, Get People, House of Wolves, Rubblebucket and Tin Armor.

Amen Dunes – Christopher

Brian Keenan – Sleepwalking

The Bullitts – Run & Hide (ft. Jay Electronica)

Countfleet – Stay Here

Diva – The Glitter End

everyBoy – Parachute Mind

Fiore – No Pity [Learn more]

Get People – Colour

House of Wolves – 50’s

Laura Stevenson and the Cans – Master of Art

Mad Major Melvin – Pinchero

Mighty Mouse – Between the Pavement and the Stars (Mighty Mouse’s Funkatronic Restoration Remix)

Oh My! – Kicking and Screaming (Cinematic Remix)

Rubblebucket – Came Out Of A Lady

Tin Armor – I Am Resolved

Triple Threat – Taxi

Unicorn Slut – J’arr

SOUNDCLOUD

Alberteen – A Girl and a Gun

Bonn Lewis – This Is The Bit

Flight Facilities – Foreign Language (feat. Jess)

Radio INK – Rocket (PUNCHES Remix)

Talvihorros – Gamma/Beta

Show Review: Paul McCartney [Wrigley Field; Chicago; 8/1/11]


Sir Paul McCartney is a living legend. Anybody that disagrees with that statement needs to have their head checked. You can argue (somewhat pointlessly) that The Beatles were not the greatest band of all time and absolutely get away with it, but you cannot fight against their impact on the world. John Lennon once said that The Beatles were “bigger than Jesus”, and while he was wrong on that count, he was making a salient point about the immense popularity of the band. It has been over 40 years since The Beatles broke up, and their records and merchandise still sell like hotcakes, while evolutions such as the “Rock Band: Beatles” video game and a stereo remastering of the band’s catalogue have introduced a whole new generation to the Fab Four. The tragedy is that half of the Beatles are no longer living, what with John Lennon’s unfortunate murder in 1981 and George Harrison succumbing to lung cancer 10 years ago. The two remaining Beatles of course are Ringo Starr and Paul McCartney, and it’s not tough to figure out which one has had the greater career. Sure, Ringo has been putting out album after album of solo material, but unlike the rest of the band, he’s the only one that hasn’t been inducted into the Rock and Roll Hall of Fame for his work as an individual artist. Really he’s more known for his work towards peace activism. As for McCartney, well, his post-Beatles output may be the best out of everyone’s. First as part of Wings and then eventually fully solo, McCartney’s catalogue is one few artists can match. He continues to gain significant attention and traction when it comes to generating new music, and he’s had at least two new songs get strong radio airplay in the last couple years. After re-releasing Wings’ seminal album “Band on the Run” (again) last fall and a couple of his solo albums this past spring/early summer, Sir Paul scheduled a relatively brief summer tour of U.S. ballparks in support of that. His grand show arrived at the historic Wrigley Field for two nights this past Sunday and Monday. I snagged a ticket to the second show on Monday, and it was a night filled with nostalgia and celebration of a true living legend.

If you’ve never had the privilege of seeing a Paul McCartney show before, particularly in the last 10 years or so, allow me to clue you in as to what you’re missing. This current tour is being labeled “On the Run” in easy reference to Wings, but a different way to look at it is to say it’s a “run” through 50 years worth of music in just under 3 hours. Yes, at age 69, Sir Paul is still playing 3 hour shows and with the energy of a man at least half his age. Perhaps it’s that vegan diet of his, or maybe he’s crafted a deal with the devil, but he spends so much of the time dancing around the stage and moving from various guitars to piano and back again like he’s been doing it all his life (which he has). One thing McCartney is not shy about is working the crowd, as virtually every song ended with him stepping away from the microphone and throwing his hands up in an apparent effort to encourage more cheering. Applause is the lifeblood of any performer, and even at his age it apparently still means quite a bit. Still, today’s crowds must seem passive to him compared to the heyday of the Beatles, where people would be screaming wildly through every single song. It’s that sort of fanaticism that caused the Fab Four to stop touring. The crowd at Wrigley Field for night two was likely more relaxed than night one, the thought being that the more hardcore fans snapped up tickets to the first show because the second show was only announced after the first sold out. According to a friend of mine that attended both nights, people spent far more time sitting down at the second show, something that he failed to understand given the incredible set list.

Speaking specifically to the songs played Monday night at Wrigley, the hits just kept coming one after the other. In the past, McCartney has often refrained from playing a lot of Beatles songs, preferring instead to focus on his many accomplishments since that period of his life. More recently though, it seems he has had a change of heart and perhaps has gained a greater appreciation for the Fab Four’s catalogue. If you’ve examined any of the set lists that Sir Paul has been playing as part of this “On the Run” tour, you’re aware there’s been very little in the way of variation from night to night and a clear dominance of Beatles hits. The full breakdown goes something like this:

Total songs played – 39 (counting the individual portions of the “Abbey Road Medley”)
Beatles songs – 25
Wings songs – 8
McCartney solo songs – 3
The Firemen songs – 1
Cover songs – 2 (Jimi Hendrix, John Lennon)

You can have a glance at the full set list at the very bottom of this post. Was it a perfect set list? Very few people will argue that it was, but with such a huge catalogue everybody and their mother has an idea of what constitutes perfection. Well-rounded is the best way to describe it. If you wanted to hear “Drive My Car”, Sunday night was the time to see that one. The same goes for “Day Tripper” or “Get Back”. Some of the more unique qualities in Monday night’s show compared to the night before were moments like “Got to Get You Into My Life” , “I’m Looking Through You” and “I Saw Her Standing There”. Really it was only a few Beatles songs that were exchanged with other ones that differentiated the two nights, and the main points/stage banter were nearly scripted. There was the seamless transition from “Let Me Roll It” into a brief instrumental version of Jimi Hendrix’s “Foxy Lady”, followed by a story of how McCartney went and saw Hendrix perform a couple days after the release of “Sgt. Pepper’s Lonely Hearts Club Band”, only to find out the guitar virtuoso had already learned how to play a couple tracks from that record and was impressively covering them at the show. There was one of the two moments where McCartney acknowleged his most recent releases by playing “Dance Tonight” on mandolin while drummer Abe Laboriel Jr. did everything from the macarena to the disco skywards point in the background. There were the tributes to his old friends Harrison (“Something”) and Lennon (“Here Today” and the cover of “Give Peace A Chance”), and the all-out explosive firewoked version of “Live and Let Die”. Naturally, the set came to a close with a crowd sing-along version of “Hey Jude” that absolutely sends shivers down your spine. The entire night McCartney had his immensely talented band backing him, the same band he’s been working with for so many years and has established a strong rapport with. They’re not only spot-on with their instruments, but have a remarkable knack for recreating some of the complicated harmonies of the Beatles catalogue. Considering that there’s absolutely no chance of The Beatles ever coming back, the show was about as close as one could get to the real thing.

Does it even need to be mentioned that going to see Paul McCartney perform at any time at any location is always recommended? That doesn’t just go for persons of a certain age either. While the crowd at Wrigley Field on Monday night was primarily middle-aged and older, there were plenty of younger people and even families with small children that attended the show. I’d like to think that everyone had a great time, though honestly temperatures were in the 80s and with everyone packed in like sardines the whole evening was a sweaty mess. But weather aside, you’re not going to do much better than Paul McCartney when it comes to large-scale shows these days. It is a gift that he is still making the rounds and touring no matter if it’s 2 dates or 200, and in spite of his youthful spirit one can’t help but wonder just how much longer he’s going to keep it up. He may have told the crowd on Monday night that he’d “see us next time”, but we are under no assurances that there will be one. Savor it while you can, my friends. There are very few genuine rock stars left in this hype-a-minute world, and Paul McCartney is one of them.

Set List:
Magical Mystery Tour (The Beatles)
Junior’s Farm (Wings)
All My Loving (The Beatles)
Jet (Wings)
Got to Get You Into My Life (The Beatles)
Sing the Changes (The Firemen)
The Night Before (The Beatles)
Let Me Roll It (Wings)
Foxy Lady Instrumental (Jimi Hendrix)
Paperback Writer (The Beatles)
The Long and Winding Road (The Beatles)
Nineteen Hundred and Eighty Five (Wings)
Let ‘Em In (Wings)
Maybe I’m Amazed (McCartney)
I’m Looking Through You (The Beatles)
And I Love Her (The Beatles)
Blackbird (The Beatles)
Here Today (McCartney)
Dance Tonight (McCartney)
Mrs. Vandebilt (Wings)
Eleanor Rigby (The Beatles)
Something (The Beatles)
Band on the Run (Wings)
Ob-La-Di, Ob-La-Da (The Beatles)
Back in the USSR (The Beatles)
I’ve Got A Feeling (The Beatles)
A Day in the Life (The Beatles)
Give Peace A Chance (John Lennon)
Let It Be (The Beatles)
Live and Let Die (Wings)
Hey Jude (The Beatles)
\**ENCORE 1**/
Lady Madonna (The Beatles)
Birthday (The Beatles)
I Saw Her Standing There (The Beatles)
\**ENCORE 2**/
Yesterday (The Beatles)
Helter Skelter (The Beatles)
Golden Slumbers/Carry That Weight/The End (The Beatles)

Buy Paul McCartney music

Pick Your Poison: Monday 8-1-11

Hope everyone’s weekend was fantastic. Back to the “grind”, unfortunately, but hopefully this work week isn’t too bad. If you’re headed to Lollapalooza this upcoming weekend, it’s likely a shorter week than normal for you anyways. Not only is that coming up, but Chicagoans can also enjoy a second night of Sir Paul McCartney performing at Wrigley Field should you have tickets. I’ll have a review of that show for you on Tuesday. Word on the street is it’s gonna be a great one. Speaking of great, let’s talk Pick Your Poison for Monday. I can advise you to check out tracks from Cabin Dogs, The Dig, Gauntlet Hair, Lightouts and Stuyvesant.

Cabin Dogs – New Morning (Bob Dylan cover)

Camp Radio – Turn Up the Radio

Cute Lepers – Tribute to Charlie

The Dig – You’re Already Gone

Gauntlet Hair – Top Bunk

Generationals – Greenleaf (SCHLOCK! Son of a Pitch Remix)

Jack & the Bear – Back to Despair

Lid Emba – Macedonian (Versioned by James Plotkin)

Lightouts – Faces Places

The Other Tribe – Businessman on Diazepam (Eats Everything Sub Zero Jager Remix)

Wontanara Revolution – Sabu Fanye

Seun Kuti – Rise Up (Swizz Beatz Remix)

SPEAK – Digital Love (Daft Punk cover)

Stuyvesant – Clyde

Win Win – Pop A Gumball (ft. Spank Rock)

Yelle – Que Veux-Tu (Eumig & Chinion Remix)

SOUNDCLOUD

Azari & III – Manic (Disclosure Remix)

Chromatic BLaCK – Alright (Cos Nothing Is Alright)

Example – Stay Awake (Delta Heavy Remix)

Album Review: Moonface – Organ Music Not Vibraphone Like I’d Hoped [Jagjaguwar]


Let’s take a brief overview of Spencer Krug’s musical history thus far. He first came to our attention courtesy of Wolf Parade, their debut album “Apologies to the Queen Mary” having gained enough hype and traction to earn coveted spots on plenty of year-end best of lists. Turns out he already had some irons in the musical fire though, working with Carey Mercer’s Frog Eyes for a bit, and also on some solo material under the name Sunset Rubdown. Krug would return to Frog Eyes for a brief period of time, but his more primary focus was to build Sunset Rubdown out into a full band in between Wolf Parade records. Once that task was completed, he then formed a supergroup with his friends Carey Mercer and Dan Bejar known as Swan Lake. So at this point it has reached 2006 and Spencer Krug is now officially a member of 4 different bands, not including the instrumental project called Fifths of Seven he put together back in 2005. Over the course of the last 6 years then, when you combine all those projects together, Krug has been a major part of 10 full length records and 3 EPs. If that doesn’t seem like a lot of music for one person to make, you’ve got a screw loose. The guy might as well be the new Robert Pollard. Anyways, Krug’s schedule has lightened up a bit these days, as he’s no longer working with Frog Eyes, Wolf Parade is on “indefinite hiatus” and Swan Lake is pretty much a big question mark.

Last year, Krug introduced a new, official solo project that he was calling Moonface. Unlike Sunset Rubdown, there are currently no plans to develop Moonface into something larger than just an outlet where Krug can mess around on his own terms. The debut Moonface released in 2010 was called “Dreamland EP: Marimba and Shit-Drums”, and it consisted of a single 20 minute track that was exactly as the title described. It marked an interesting experiment in utilizing relatively unfamiliar instruments and trying to compose something of substance with a clear beginning, middle and end. Krug’s truth-telling titles continue with the first Moonface full length record, “Organ Music Not Vibraphone Like I’d Hoped”. His original plan for the album was to make something more percussion-based, like the EP was, but with some vibraphone and a bit of guitar. The problem was that his attempts were not going well. So the thought eventually evolved into picking up an old double-manual organ and crafting some beautiful-sounding drone tracks with it. Nice though that may be, when you’re drawn to pop music, sometimes the catchy melody bug infects you and there’s no getting around it. Such was the case here, which explains why this record is relatively easy to like in spite of only having 5 total tracks, each lasting somewhere close to 7.5 minutes.

Every song starts with a loop. Often it’s a combination of beats and a few organ notes, all of which set the pace and provide a generous background melody to build off of. Sometimes those initial loops will disappear a short ways into the song to make room for other meandering bits or a different loop, but typically those same loops will pop up again towards the end of the song to bookend it nicely. The loops are more often than not the sole source of a hook on any individual track, even if Krug takes certain phrases and repeats them over and over and over again. On “Fast Peter”, he takes the lines “she’s the one/the one that he thinks of when he thinks of love” and repeats them a total of 4 times in a row, but there’s about 60 seconds of pure instrumental noodling in between each time. Even a line like “as she laid down the mountain” on the track “Shit-Hawk in the Snow”, which winds up being repeated 4 times in rapid succession, never comes up again later in the track. Slightly better are the lyrical moments that pop up at a few different points in the song, functioning much closer to a traditional verse-chorus-verse structure even if the rest of the song is far from traditional. “Loose Heart = Loose Plan” exhibits that courtesy of lines like “Talking Heads make me miss my friends/I’d like to see that face again”, though multiple paragraphs pass by before Krug gets around to the repeat. There’s also not a whole lot of sense to be made from most of these songs, the ultimate points obscured heavily by what appear to be random musings on life and nature and philosophy. Krug has always been a very strong songwriter, but there’s very little in the way of impressive word combinations on this record. Given that the majority of each song is instrumental and that he’s aiming for a hybrid of drone and pop, maybe lyrics were the last thing on his mind. Still, a song like “Fast Peter”, which is the rather brilliant centerpiece of the album, is also the one that makes the most sense story-wise, detailing a tough long-distance relationship.

What “Organ Music Not Vibraphone Like I’d Hoped” ultimately has going for it is a rich collection of experimental tracks with a wider appeal than expected. The organ, which is essentially the only instrument used on the entire record, gets stretched to its limits in a number of ways, particularly because after 37 minutes of it the songs start to blend together. Once “Whale Song (Instead of a Kiss)” ends, “Fast Peter” coems in and for a few moments you almost believe it’s just going to be a sped-up version of what came before it, the starting and ending notes being so similar to one another. That turns out to not be the case, but it absolutely brings forth the suggestion that coming up with a good variety of songs was a challenge in itself. Krug reportedly wrote more than twice as many songs for this album, enough for a double album, but decided to cut half of them because they weren’t up to his standard of quality. What’s left is supposed to be the cream of the crop, and while he certainly meant well, what this record fails to equal are the great moments from virtually all of his past efforts with all of his past bands. To be perfectly clear, Spencer Krug is very much a musical genius and he has yet to turn in a genuinely bad album – this Moonface full length is about as bad as he gets, and even then that’s still pretty damn good. Plus, you’ve got to give the guy some degree of credit for consistently trying to push himself in new directions whether it suits him or not. To think that we could have gotten an entire record of vibraphone is actually a little scary at this point. The good news is that what we have gotten with the organ is listenable, at times beautiful, and may send your head spinning (that’s the drone part of it). Krug has said he plans to record a bunch more music before year’s end, Moonface one-time collaborations with friends that will likely be more of a return to the percussion-based sounds of “Dreamland EP: Marimba and Shit-Drums”, but with a twist. Let’s hope whatever comes out of those sessions has more variety and intrigue than the slightly-above-average compositions that are “Organ Music Not Vibraphone Like I’d Hoped”.

Moonface – Fast Peter

Buy “Organ Music Not Vibraphone Like I’d Hoped” from Amazon

Pick Your Poison: Friday 7-29-11

Another grand weekend coming up, and unlike the last couple, if you’re in the Chicagoland area, it’s gonna be nice. Moderately hot, but still better than severe weather and a number of other issues. And hey, that also means it’ll be great out for the pair of Paul McCartney concerts going down at Wrigley Field on Sunday and Monday. I’m going to one of those shows, and am super excited about it. One could even say I’m more excited about it than Lollapalooza next weekend. But we’ve got plenty of time between now and then for my excitement to build. At the moment I’m most thrilled about this edition of Pick Your Poison. It’s yet another solid one in a long line of solid ones. Today I can give a thumbs up to tracks from Abstract Artimus, Comet Gain, The Grownup Noise, Jonathan Coulton, Magicks, Prince Rama, The Sweet Ones and Turf War. In the Soundcloud section I’ll also say that songs by Youth Lagoon and Neon Hitch are worth streaming.

Abstract Artimus – 27 Club

Alpines – Cocoon (Nocturnal Sunshine Remix)

Comet Gain – An Arcade From the Warm Rain That Falls

Canasta – Reading the Map Upside Down

Conductive Alliance – Dark Flowers

Gabriel Miller Phillips – Star Crossed

The Grownup Noise – Carnival

Jonathan Coulton – Nemeses (ft. John Roderick)

Jonny Rodgers – Swung On A Swing (Live)

Magicks – Cycles

Peg Simone – Wait for Night

Prince Rama – Rest in Peace

Sorrows – Bad Times Good Times

The Sweet Ones – Every One Marches

Turf War – Cheers to the Years

Under Electric Light – Waiting for the Rain to Fall

The Wandas – Do or Die

SOUNDCLOUD

The Cinema – Picasso

Neon Hitch – Bad Dog

Salli Lunn – Mirror Girl (Scott Solter Remix)

Youth Lagoon – July

Album Review: Little Dragon – Ritual Union [Peacefrog]


If you want to get technical, Swedish band Little Dragon has existed for 15 years now. That their recorded output has not matched that lengthy period of time is likely no fault of theirs. Call it a product of wasting away in the void of the millions of unsigned bands out there, they were signed to Peacefrog in 2007. After a self-titled record from that year and a sophmore effort “Machine Dreams” in 2009, interest in the band began to rise steadily. Still, they were viewed as almost a secret (at least in the U.S.) until they did a few high profile guest spots on a few different albums in the past couple years. Most notable among them is likely the two tracks featuring the band on the last Gorillaz album “Plastic Beach”. In fact, their work on the song “Empire Ants” impressed me so much that I named it my 22nd Favorite Song of 2010. It was primarily Yukimi Nagano’s smooth-as-silk voice that drew me in, and additional appearances on records by Dave Sitek (as Maximum Balloon) and SBTRKT only provided further evidence of Little Dragon’s worth. Suddenly the band has not only my attention, but the attention of millions more people than were aware of their last record. Striking while the iron is hot is important for any artist, which is why we’re now getting “Ritual Union”, Little Dragon’s third long player.

Having only heard Little Dragon from their guest work on other artists’ records, it’s interesting to hear what the band sounds like when the burden is fully on them. There is a reason why SBTRKT and Gorillaz were attracted to the band, and the way they handle beats and synths and other electronic elements provides that reason. They’re remarkably economical when it comes to putting together their compositions, ensuring that every instrument is utilized to its full potential without sounding overblown or understated. The sound is also remarkably smooth, and “Ritual Union” glides along on an almost futuristic track, which goes a long way towards helping to make the band’s sound relatively unique. All the elements are very familiar, it’s the way they’re put together that defies easy description. Anchored down by Nagano’s achingly beautiful vocals, there’s also an innate warmth that permeates these songs in spite of the rigidity a standardized beat structure can bring. All this without even mentioning that there are some pretty solid hooks via tracks like the title track, “Shuffle A Dream” and “Nightlight”. In fact, that opening title cut is very much the definition of what it means to start strong. One of the record’s biggest issues though is what happens after that.

There’s a certain high achieved at the very beginning of “Ritual Union”, both the album and the song, where right out the gate you’re left energized and impressed. The drop off is a steep one though, and when “Little Man” steps out next, it comes up, to turn a phrase, a little short. The song itself is likable, but it fails to fully grab you, as if there’s something slightly off about it. That pattern continues and bleeds into a handful of the album’s tracks, such as “Please Turn” and “Crystalfilm”, where you get the sense the band had the right idea and the right elements, they just were unsure precisely how to put it all together. Add to that some issues with the lyrics, in that they can tend to be on the bland or cliched side, and this record’s shiny exterior begins to lose much of its gloss. Throw in some darker and more depressing elements, and even the warmth contained in many of the songs also are pushing a stiff breeze behind them. Speaking in terms of progression, while I can’t speak for the band’s previous two records, I will say that much of this new material bears a lot of the same markings as their guest appearances with Gorillaz, Maximum Balloon and SBTRKT. At the very least they seem to know what works for them and are attempting to make this a continuation of those “featuring” roles that earned them so much acclaim and attention in the first place. It’s just a shame that when left solely to their own devices, they can never quite reach that high watermark. Perhaps if they’d brought in some guest stars of their own “Ritual Union” would have wound up with more peaks than it does valleys.

Buy “Ritual Union” from Amazon

Pick Your Poison: Thursday 7-28-11

Happy Thursday. The weekend is so close you can almost taste it. I don’t have much time today, so let me get right to the point. Tracks I can recommend in today’s Pick Your Poison come courtesy of Astronautalis, Equals, Matthew Friedberger, Sallie Ford and the Sound Outside, and Van Hunt. In the Soundcloud section you may also be interested in hearing a song from Oscar winning actor Russell Crowe, among others.

Astronautalis – Dimitri Mendeleev

Brown Shoe – Colt Rider

Cut Copy – Sun God (It’s Overture’s Street Player Edit)

DiMi Marc – Boom (ft. Mr. Harvey)

DJ Wilson – Doutro Mundo

Equals – False Light

Jenn Mierau – Hush

The M Machine – Trafalgar

Mammoth and Saber – Howler
Mammoth and Saber – JRLA

Matthew Friedberger – The Comforts of the Coffin

Mayda – Sylvia

Noxious Foxes – Heavenly Spectacular
Noxious Foxes – Doth Shalt Noth

Rodney Parker & 50 Peso Reward – Skin and Bones (Live)

Sallie Ford and the Sound Outside – I Swear

Speed the Plough – Something to Say

Tiger Waves – Fireworks

Van Hunt – June

SOUNDCLOUD

Axis of Awesome – Can You Hear The Fucking Music Coming Out Of My Car?

The Blam – Blow Wind Blow

Chris Devotion & The Expectations – A Modest Refusal

Fabian – Last Flight

Freestyle Fellowship – We Are

Russell Crowe and Alan Doyle – Too Far Gone

Pick Your Poison: Wednesday 7-27-11

Is anybody else concerned about the state of the debt ceiling right now? Better yet, how about the government? It’s less than a week before the deadline officially hits, and the two political parties appear to be holding firm to their own sides of the spectrum. I’m not here to lecture or push for my own opinions on the matter, but my main concern right now is that it just gets done. In order for that to happen though, somebody’s going to need to swallow their pride and cross some aisles. Let’s hope cooler and smarter heads prevail. Alright, let’s get on talking about today’s Pick Your Poison. Tracks I can recommend come from The Features, Fool’s Gold, Geoffrey O’Connor, Howth, No Age, Oh Minnows, Release the Sunbird and Total Babes. In the Soundcloud section there are some good ones too, in particular from The Pains of Being Pure at Heart and Widowspeak.

Baby Teardrops – I Don’t Wanna Go Home (I Wanna Go Home

Brown Shoe – Colt Rider

Colin L. Orchestra – Nothing to Say

D. Gookin – Unbraid the Knot

Fay Wrays – Painting Dollar Bills (WAV)

The Features – Content

Fool’s Gold – Street Clothes

Geoffrey O’Connor – Whatever Leads Me to You

Howth – Deep in My Heart

Jordan Bolton – Duluoz Nights

Mapuche – She Unsaid (Aborn Remix)

No Age – Male Masturbation (The Urinals cover)

Oh Minnows – You’ll Never Know Us

Paul Brill – Sunny Guy

Release the Sunbird – Always Like the Son

Right on Dynamite – Duck

Total Babes – Be So True

Valient Thorr – Sleeper Awakes

SOUNDCLOUD

Alex Winston – Velvet Elvis

Benjamin Francis Leftwich – Atlas Hands

Benjamin Francis Leftwich – Atlas Hands (Mike Skinner Remix)

Extra Arms – Powerlessness

The Pains Of Being Pure At Heart – Tomorrow Dies Today

Widowspeak – Nightcrawlers

Pick Your Poison: Tuesday 7-26-11

It’s Tuesday, and in my world (and hopefully yours), that means media release day. Go to your local store, or look online to purchase the good new music and movies being released. In terms of music, summer can be a bit difficult when it comes to album releases. This week’s pretty thin, but things I’ll make note of are records by Little Dragon, Inc. and Debbie Neigher. I’ve heard 2 out of those 3 and have featured all of them in editions of Pick Your Poison. Speaking of which, today’s edition has some great stuff from Belgrave, The Black Ghosts, Br’er, Extra Arms, St. Lucia and UME. In the Soundcloud section, there are solid tracks available for streaming from Fyfe Dangerfield (of Guillemots) and The Jezabels, among others.

Belgrave – Six Minutes

The Black Ghosts – Diamonds

Blind Willies – Soon My Work Will Be Over

Br’er – I’m A Kid Again
Br’er – Emily the Bear

David Berkeley – George Square

DJ Die – Bright Light Funk (Futurecast’s Funkafied Rockers Mix)

Extra Arms – Best Disguise Is No Disguise

The Horrors – Moving Further Away

Oreo Jones x Action Jackson – Black Fabio

Penguin Prison – Fair Warning (Disco Bloodbath Remix)

Pete and the Pirates – Winter 1 (Phewneral Remix)

Shiny Toy Guns – The Sun 2.0 (Mackintosh Braun Remix)

St. Lucia – All Eyes On You

Theme Park – Wax (Halls Remix)

Translations – I’ll Keep It With Mine

UME – Captive

Vas Vega – The Living Dead (Remix ft. Drex and Fresco P.)

SOUNDCLOUD

Binary – Dynamo (Demo)

Bird Call – Waltz In The Snow

Franc Cinelli – Burn (Acoustic)

Fyfe Dangerfield – Super Injunction (aka #QSong)

The Jezabels – Endless Summer

Will Hanson – Deathbed Conversion

Album Review: Pictureplane – Thee Physical [Lovepump United]


Did you listen to electronica back in the early 90s? This was the time when artists like Prodigy and The Chemical Brothers were making big waves around the world both for their beats as well as their unique music videos. What made these artists so popular was their ability to not simply rely on synths and other typical electronic textures, but to innovate and incorporate more elements of rock music into the mix. It’s a big reason why you heard “Smack My Bitch Up” or “Busy Child” on alternative rock radio. Unfortunately like so many trends, that sound eventually died out, and that’s part of the reason why Prodigy haven’t put out much worth mentioning in the last several years and why The Chemical Brothers are at the point where the soundtrack to a movie seems like a good idea (to be fair, they did a nice job with the “Hanna” soundtrack). There are still plenty of people nostalgic for that “90s electronica” sound, even whilst chillwave or glo-fi tries to adjust to survive. Considering that 90s garage rock has been having its own resurgence in the last couple years via bands like Yuck and Japandroids, electronica might as well have its turn. Thanks to Pictureplane, that’s more of a reality than ever. The project of Travis Egedy, Pictureplane burst onto the music scene in 2009 via the album “Dark Rift”. Songs like “Goth Star” provided some darker, more interesting twists and turns to the traditional mode of electronic music and pretty much signalled the creation of the subgenre of music known as “witch house”. The new Pictureplane record “Thee Physical” is cut from a similar but by no means the same cloth – commercial accessibility and smarter song structures take precedence, helping to make this one of the more fascinating electro albums so far this year.

The relationship between Pictureplane and the band HEALTH has been one of mutual admiration and friendship it seems, and the result of that has ultimately bettered both acts. For HEALTH’s sake, Pictureplane has served as helper and remixer on their last “DISCO” album, work that actually went a long way towards making the band’s somewhat difficult record a bit easier on the ears. In turn, HEALTH’s Jupiter Keyes played a large role by co-producing to help shape “Thee Physical”‘s sound into something more pop-friendly compared to the last album. There are far more active hooks, melodies that generally flow and loop better, and a stronger balance between the use of samples and live vocals. Egedy handles the vocals on close to every track, though often he’s not alone thanks to a number of quick one-word samples peppered in amongst the beats. With the melodies and beats carefully concocted, Egedy makes better and smarter use of his energetic but ultimately shaky vocals by placing them a touch farther into the background compared to his last album. They’re still remarkably functional and discernible, but without the potential hazard of having them appear weak or generally lacking. Yet in some cases the vocals are essential to make the track work. Opening cut “Body Mod” nearly stalls out until Egedy’s voice kicks in and propels the song in a very forward direction. Elsewhere the samples take free reign while Egedy’s singing plays second fiddle on a track like “Post Physical”, yet it does nothing to harm the song’s commercial appeal.

Not everything on “Thee Physical” works though, and those couple small issues do some remarkable damage to an otherwise solid effort. “Trancegender” contains what’s one of the strongest and most engaging hooks on the entire album, but gets bogged down in an excess of synths and beats all pushing for darkness and atmosphere. A similar darkness prevails on “Black Nails”, but while the track’s mixture of Nine Inch Nails and Depeche Mode-esque styles is compelling, the multiple layers of beats throw the main melody just a slight bit off-kilter to the point where you feel like it could have been so much more. At least the album is thematically sound, even if the subject matter tends towards the highly sexualized. One glance at the album cover’s leather-clad hand, along with song titles like “Sex Mechanism” and “Techno Fetish” should provide you with all the information you need as to what the overarching theme of the album is. Such subjects undoubtedly work well with the bump and grind of the dance floor, but not every track is built with that in mind. A couple of the songs featuring guitars, in particular a track like “Thee Power Hand” which closes the record, play closer to the rock and roll side of things, again with the 90s electronica references in place. Those minor detours create friction in the overall flow, thereby decreasing the impact an album like this could have. Taken individual track by track, there’s rarely an issue, but as a full piece there are noticeable missteps. Still, that doesn’t prevent “Thee Physical” from being a stronger and more exciting effort than Pictureplane’s debut, and the more commercially accessible pop-friendly melodies should bring a lot of new fans on board. Without a doubt, the next Pictureplane record could be the one that takes Egedy to the front doorstep of electronica’s greats.

Pictureplane – Post Physical
Pictureplane – Real Is A Feeling

Buy “Thee Physical” from Amazon

Click past the jump to stream the entire album!

Album Review: Washed Out – Within and Without [Sub Pop/Weird World]


Do you recall when people were trying to suggest that the chillwave/glo-fi sound was the future of music? The thought was that this wasn’t just another hyped subgenre but instead something that would become an evolutionary sea change. Personally, I chalked it up to more blowhards talking out of their asses, and assumed the chatter would die down like it always does, when the “next big sound” arrives. That hasn’t necessarily hit just yet, but the electronic sound with the lo-fi production is dying a slow death. Some artists, such as Memory Tapes, appear either slow or entirely unreactive to this evolution, using their most recent full lengths or EPs to hold steadfast in the same sounds they first arrived on scene with. Others, such as Toro Y Moi, have played it much smarter by upgrading to a far more clean-cut and “normal” approach. It’s a survival tactic, but it’s also a great way of showing that underneath the poorly produced exterior lies an album’s worth of highly catchy and easy to love synth-pop songs. This is where Washed Out comes in. The project under which Ernest Greene operates, Washed Out’s sound has been very much a direct indicator of what the name suggests. As such, you might expect Greene to stick with that same path for the new record “Within and Without”. The good news is that music is about so much more than just a name.

Freshly signed to Sub Pop Records thanks to two strong EPs worth of chillwave, Washed Out was given access to a professional studio and other such monetary advantages to help create “Within and Without”. The results are as you might expect – glossy and vibrant, with the synths riding up front and the vocals not much farther behind. It’s dance music, but not nearly in the traditional sense of the word. Subtlety is the name of the game, and the melodies will often slyly sneak up on you and snatch your attention when you least expect them to. There are no immediate hooks or blatant singles like “Feel It All Around” was on the “Life of Leisure” EP. Instead, a track like “Soft” may pass you by on the first go-around as being nice to listen to, but ultimately unmemorable. Then you’ll give it two more close listens, perhaps once with headphones, and suddenly that melody just won’t leave you alone. That’s just one example out of several across the album that reward multiple listens, drawing you in the more attention you devote to it. The relaxed pace is a big part of what makes “Within and Without” work as well, and there’s a certain truth contained within the album cover that features two people lying naked together in the heat of passion. Making love to things like the title track or “You and I” is perfectly sensible and nearly encouraged. But even if you don’t have somebody to get it on with while listening to this album, the sheer ambiance and warmth of it is great to put on at a party or in the background while you’re working or even after a long day where you need to relax. Despite the adjustment in fidelity, this is still CHILLwave after all, and the point is sort of missed if you don’t “chill out” while listening to it.

One of the issues this record runs into is that it might be heard as overly smooth by some, the better production values actually reducing the effectiveness of the material. There is the potential for the entire 40 minute album to slide right past without much notice, but that’s more the result of a poor attention span than it is poor content. From the small bit of cello on “Far Away” through much of the live percussion that unveils itself via a song like “Echoes”, it’s the little things that make “Within and Without” the best set of recordings from Washed Out yet. And even in spite of the better sound quality, that doesn’t make Greene’s vocals a whole lot clearer or more discernable. Between some attached reverb and the placement of the synths and other elements higher in the mix, you’ll likely still be left wanting if the hope was to comb over each and every word and the potential meanings behind them. Greene isn’t a bad singer by any means, but it’s clear that he’d like the focus to be squarely on melody. Besides, you can pretty much already discern from themes and song titles that these songs are about love and longing and summertime and the general sadness of time passing. Sometimes words don’t do those emotions justice anyways. To me, this record is the sonic equivalent of swimming underwater in a crystal clear pool on a sunny day. If that doesn’t seem like an amazing idea to you, then maybe this album or Washed Out in general just won’t click in the proper way. For everyone else, be warned that there’s only a couple months left of summer during which this album will be at its peak enjoyment level.

Washed Out – Eyes Be Closed
Washed Out – Amor Fati

Buy “Within and Without” from Amazon

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