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Album Review: Maps & Atlases – Perch Patchwork [Barsuk]

The boys in Maps & Atlases may officially call Chicago home, but they consider themselves more of a regionally located band rather than a city specific one. The four of them met in Chicago while attending art school, but hail from such far-off places as Texas, Pennsylvania and Hawaii. School is over for all of them, but they’re continuing their musical education by sticking together as a band. To date they’ve released two EPs in 2007 and 2008 via Sargent House, and are now signed to Barsuk just in time for the release of their debut full length, “Perch Patchwork”.

The early Maps & Atlases material focused largely on guitar work, specifically in playing a form of math rock. They seemed to be the heirs apparent to Minus the Bear’s speedy guitar-picking sound matched with dynamite hooks, but there comes a time when every band needs to grow, and in the past couple years, Maps & Atlases have done just that. “Perch Patchwork” sees the band moving away from that sound and more towards a layered and complex indie pop that’s easy on the ears but far from conventional. While a band with such an instrumentally sound background could very well have used their first album to show off their chops, Maps & Atlases instead chose to focus on songcraft in general, creating strong and vivid overall structures that intrigue as much as they delight. Yes. there’s still a little bit of intricate guitar, particularly on the second half of the record, but there’s also so much else to focus on. Percussion is one of the many things to pay close attention to on “Perch Patchwork”, and there’s a handful of moments where the beats go from simply keeping background rhythm to booming tribal punches. “The Charm” is a great example of that, along with being a great showcase for Dave Davison’s unique singing voice. He’s got an almost frog-like warble that could hypothetically be annoying for some, but carries a tune well and proves as much on the occasions when melody goes away and he’s left to his own devices. The stark reality that Maps & Atlases do bring to the table however is that while each band member might have their own individual moments to shine, this is at its core a wholly collaborative effort. The majority of the time, and this may be in part thanks to the production work, all the instruments and pieces of the musical puzzle hold equal footing, so that one element isn’t taking precedence and you get enraptured by the song itself and not just a singluar piece of it. That’s one of the biggest things that helps this record to distinguish itself from the bands with a similar sound.

While folk or layered indie pop might be the easy way to place “Perch Patchwork” into a category, it’s clear that Maps & Atlases also like the idea of diversity in their sound. This is why they’ve taken only small bits from their earlier EPs and pieced them in amongst bigger drums and violins and a host of other elements. They’re experimenting outside of their comfort zone just a little bit and it’s refreshing, while never getting to the point where there’s too much diversity to make for a cohesive record. It’s like the elemental differences between bands like Yeasayer, Dirty Projectors and Animal Collective – Maps & Atlases have elements of each in their music, and you come to realize that at their core there’s not an ocean of separation between them. But where “Perch Patchwork” fails to deliver is on originality and hooks. This is far more lighthearted and easily digestible music than what many critically acclaimed bands have been releasing recently, and in some senses Maps & Atlases are playing it safe. They take chances, but not nearly enough to make a big name for themselves. Additionally, while avoiding risk, they fail to strike hard by leaving their lightest and most predictable songs without strong hooks. A highly memorable chorus would have taken away the sting of relative blandness a couple of the tracks exude. Otherwise though, “Perch Patchwork” is a relative delight, and serving as strong evidence that Maps & Atlases will be a band to keep a close eye on for years to come. They seem to have all the right parts towards becoming indie superstars, they just need to find the right combination of things to make that happen. As time continues to give us wisdom, hopefully this band takes it in stride and makes another significantly strong leap on their sophmore effort.

Maps & Atlases – Solid Ground

Buy “Perch Patchwork” from Amazon

Show Review: The Golden Filter [Empty Bottle; Chicago; 6-9-10]

If you’re currently living in Chicago and know anything about the sport of hockey, chances are you’re celebrating right now. The Chicago Blackhawks claimed the biggest prize in hockey last night, known as the Stanley Cup for those with zero knowledge of the sport. I may not be the biggest hockey fan in the world, but I have been supporting the team pretty solidly the last few years. What happened on Wednesday was nothing short of amazing, and I do want to wish all my fellow fans the best and offer all the players a sharp congratulations. They say you’ll always remember exactly where you were for the important events in your life, and in an odd twist of fate, I happened to be at a sports bar right across the street from the Empty Bottle. The Golden Filter were in town and I was all set to go see them, but considering I had a little time before their set, watching the end of the hockey game at a bar with televisions was simply something I needed to do. So it was with great relief and much high-fiving that I cheered the Hawks on to victory, and then crossed the street and entered a dance party where everyone was having fun and didn’t seem to know or care that this city had just won a major sport championship. Such is the life of your rabid music fan these days.

Anyways, hockey aside, I wandered into the Empty Bottle in a jovial mood and caught the last couple songs by the first opening band, Chicago’s own Brilliant Pebbles. Despite having heard of them and seeing their name on a number of different show listings around town, I had neither witnessed nor heard a single song by the band. Now that I have, I can tell you that on a bill with a band like The Golden Filter, Brilliant Pebbles more than fit in. Their 80’s inspired synth pop is built on fun and exciting melodies, and frontwoman Monika Bukowska has an energy and stage presence that grab and hold your attention. She dances, spins, skips and a number of other things while anchoring down the songs with her strong vocal presence. If the Yeah Yeah Yeahs got rid of their guitars and adopted synths and 80s dance music, they’d be Brilliant Pebbles. Pretty good stuff for the couple songs I saw, even if the crowd was remarkably thin at that point in time.

Sandwiched between the opener Brilliant Pebbles and the headliner The Golden Filter was the New York duo The Hundred In The Hands. The male-female combo released their debut EP on Warp Records last month, and their fuzzy dance anthems earned them a fair amount of praise. Again without having seen or heard a single note of this band’s music, I was not only pleasantly surprised but incredibly impressed as well. Frontwoman Eleanore Everdell handles much of the synths and all the vocals for The Hundred In The Hands, while Jason Friedman provided the basis for many of their melodies via electric guitar and bass. That’s not always apparent on their 6-track EP which features far less guitar, but there’s a fuzziness and shoegazey quality many of the songs take on when performed live that’s positively gripping. There were also hooks abound, making me think that not only is their live show great, but when their full length album is released later this year it could catapult this band into a big spotlight. If you’re not watching out for this band yet, now might be a good time to start.

Buy The Hundred In The Hands’ debut EP “This Desert” from Insound

When it came time for The Golden Filter to take the stage, the now ballooning crowd was more than ready. Dancing shoes were strapped on and there was just enough breathing room for the people close to the stage to bust a move without causing trouble for anyone who wanted to stand still. The thing is, nobody wanted to stand still, and unless you were purposely standing in the back, chances are you were at least tapping your feet. For those who’ve yet to hear The Golden Filter’s debut album “Voluspa”, it’s a cool dance record that bears similarities with artists such as Goldfrapp and Lykke Li in that many of the songs are electro-pop with breathy female vocals. That singer Penelope Trapps just so happens to be a gorgeous blonde has no bearing on those comparisons, there’s really just the sheer sonic similarity. While The Golden Filter tends to bring a dark moodiness to their songs on record, there’s a fresher energy and excitement that brings some added life to the songs when performed live. Tempos are picked up just a little bit, and thanks to some strong percussion work both using live drums and tambourines and cowbells among other things, the crowd really seemed into it. Of course there’s also the requisite clapping along with the beat, which if done right, will turn a good song into a great song live. Starting with the non-album track “Favourite Things” from the “Kitsune Maison Compilation 7”, The Golden Filter won everybody over by naturally listing “Chicago” among said favorite things. Bouncing from that into single “Hide Me” was a way to turn up the heat a little more and get people moving. “Solid Gold” sounded especially great midway through the set, and leading into the 6+ minutes of “Stardust” and the percussion heavy “The Underdogs” made for some amazing pieces of live music. After closing with “Thunderbird”, the band did come back out for one last song, which was a cover of The White Stripes’ classic “The Hardest Button to Button” (available, by the way, as a bonus track on the vinyl version of “Voluspa”). I never realized how easily that song can be manipulated into a dance track before, and The Golden Filter did it justice even without Jack White’s scalding guitar work.

Perhaps I was in such a good mood after that big Stanley Cup win, but I had a really great time watching these three bands perform. They’re all sonically similar as female-fronted electro-pop groups, but each one brought some different and compelling elements to their sets. Brilliant Pebbles has the strength of a wild singer in the form of Monika Bukowska. She really has a strong stage presence, even if there are only 2 dozen people standing around watching her band. Both Eleanore Everdell and Jason Friedman seem equally invested and strong as The Hundred In The Hands. They were the only band that used guitars, and when they did in conjunction with the synth-based melodies, magic happened. I’m going to keep my eyes out for them in the future because they’re absolutely going places. And The Golden Filter’s secret weapon was percussion, because whether it was the booming drum work on “The Underdogs” or the simiplest of clapping, the upping of the tempo during their set made the difference between a good and great performance. Nice work. There aren’t many dates left on the Golden Filter/Hundred In The Hands tour, but should you have the opportunity to see either of those bands separately or together, I’d call it an excellent idea. Now if you’ll excuse me, I’ve got some hockey-related bragging to do.

The Golden Filter – Hide Me

(US) Preorder “Voluspa” on vinyl from Insound

SET LIST:
Favourite Things
Hide Me
Look Me In The Eye
Dance Around The Fire
Solid Gold
Stardust
The Underdogs
Thunderbird
ENCORE
The Hardest Button to Button (White Stripes cover)

EP Review: The Smashing Pumpkins – Teargarden By Kaleidyscope, Vol. 1: Songs For A Sailor [Rocket Science]

Billy Corgan doesn’t care what you think. No, he’s going to do whatever he wants, whenever he wants, lovers and haters be damned. He felt it right to officially dissolve The Smashing Pumpkins when James Iha left, and that led to an unproductive and synth-laden solo record called “The Future Embrace”. Plenty of fans abandoned their support for him after that album, though in hindsight it should have been expected he’d pull a rabbit like that out of his hat. Considering that solo effort’s failure, Corgan seemed to see it coming after all, publishing a full page ad the day of the album’s release announcing he would reform the Pumpkins. The claim was that he’d ask former members of the band if they’d like to rejoin him, be it ex-bassists D’Arcy Wretzky and Melissa Auf Der Maur or guitarist James Iha. Corgan would claim that none of them wanted to come back, but they also all publicly spoke out saying that they were never asked in the first place. Former drummer and longtime friend Jimmy Chamberlain did agree to rejoin the Pumpkins, and two other “hired hands” were brought in to play guitar and bass, respectively. The return of The Smashing Pumpkins came officially in 2007, when the new album “Zeitgeist” was released. Reviews for that record were mixed, with some proclaiming it the start of a bold new era for the band and others claiming it fell far short of the legacy Corgan originally left behind. The band’s live shows became equally divisive and often included sections in which Corgan would berate the audience. They would also largely avoid past Pumpkins hits in favor of new material with extended, ego-indulgent guitar solos.

The latest goings-on from The Smashing Pumpkins camp are again wrought with oddities. Jimmy Chamberlain finally left the band, so now Corgan is the only original member, and he held auditions for a replacement before settling on 20-year-old Mike Byrne. Earlier this spring, bassist Ginger Pooley quit the band and she has since been replaced by Nicole Fiorentino. Corgan also announced last fall that The Smashing Pumpkins were embarking on a wild concept record known as “Teargarden By Kaleidyscope”, a 44-song album that would be digitally released one song at a time for free, with each batch of four songs forming a limited edition physical EP box set available for sale in stores. Each wooden box is silk screened and contains the EP on CD, a 7 inch vinyl with a brand new song plus b-side, and a hand-carved leopard stone obelisk. Tomorrow sees the release of the first of those EPs, this one subtitled “Vol. 1: Songs for a Sailor”.

Believe it or not, “Songs for a Sailor” isn’t horrible. It’s also not great. Halfway decent is probably the phrase best applied to this four song collection, and given that you can download every song for free it makes everything that much more bearable. Starting with the six minute “Song For A Son”, the Pumpkins shoot for something exciting and epic in a similar vein to 70’s classic rock, but miss the mark by a little bit. The lack of brute force behind the drum kit thanks to the absence of Chamberlain is really what hurts not only that song, but the entire set of songs in general. It’s not that Mike Byrne is a poor drummer, rather it’s that Chamberlain was so good and played against Corgan so well, any other drummer by comparison is weak. Outside of the drumming though, this EP does have its strengths and weaknesses. “Astral Planes” is the most propulsive and loud thing here, and complete with rollicking solos and distortion, it seems like it’s headed towards something huge but never quite gets there. There’s lots of build up but never a pay off. That Corgan chose to largely ignore crafting lyrics that were anywhere near good and a chorus almost altogether are what really hurt the song in the end. First single “Widow Wake My Mind” is a slice of upbeat pop rock that’s far more reminiscent of Corgan’s first Pumpkins side project Zwan. That band wasn’t particularly bad, and this song isn’t either, serving as a reminder that Corgan can still write a light and breezy song with a decent hook when he works at it. “A Stitch In Time” finishes the EP, and it returns to the 70’s for inspiration but derives its sound more from the lighter pop fare at the time. Light organ and an acoustic guitar lead the way while a sitar floats through to create added mysticism. Drums are also completely absent here, and the suggestion is that you focus more on Corgan’s voice and the guitar in this briskly paced ballad. The lyrics are again not the best, repeating plenty of phrases over and over while appearing to wax poetic about time travel. The melody, relatively catchy chorus and overall performance are what hold the track together in the end, rescuing it from being called dull and uninspired.

For the die-hard Smashing Pumpkins fan who has been worried about the band’s output of late, “Songs for a Sailor” should come as something of a relief. It’s not nearly the best thing Corgan has ever done, particularly when taking most of the 90’s into account, but there’s enough here to give you hope for the future of not only this lengthy 44-song series, but for The Smashing Pumpkins in general. Compared to the crass anti-commercial, psychedelic journey that “Zeitgeist” was, this EP feels like an exploration of potential roads the band could possibly head down. Here’s the deal though – the Pumpkins were always best when they ignored expectations and influences and chose to go their own way. You couldn’t easily label the early stuff from the band as anything other than “Smashing Pumpkins style”, and given that at least half this EP sounds like it has roots in 70’s classic rock, the lack of true originality continues to be bothersome. Whether or not Corgan and company can reclaim that spark remains to be seen, but we’ve got 40 more songs coming our way in which to find out.

Smashing Pumpkins – A Song For A Son
Smashing Pumpkins – Astral Planes
Smashing Pumpkins – Widow Wake My Mind
Smashing Pumpkins – A Stitch In Time

Buy the limited edition EP box set from Amazon

Vote For Faronheit!

Dear friends and faithful readers,

First I want to thank you for your love and support these past few years that Faronheit has been in existence. It wouldn’t exist as it does today without your presence (silent or not), so I do appreciate you stopping by and reading, downloading, commenting, etc. I try not to ask for much, but when I do I’m always grateful to those who lend a hand. If you can help me out here I’d really appreciate it.

The wonderful Lollapalooza organizers have asked the general public (YOU) to help point out some of the best music blogs in Chicago. As you may or may not know (or if you haven’t looked at my banner at the top of the page), Faronheit is a Chicago-based music blog. I’ve lived in and around this city my entire life and I love it here (despite the weather). Since Faronheit started in 2006, I’ve worked hard to bring you the best and most complete Lollapalooza coverage this side of the official festival website. If you’re a regular follower of my Twitter, you also may have seen that I revealed bits and pieces of this year’s Lollapalooza lineup before the official announcement. And when that official announcement did happen, it was my very first post on the brand new Faronheit.com after moving away from the old Blogspot location. Really I want this site to interact with Lollapalooza as much as possible, so I can continue to provide the festival coverage this city deserves.

That said, please vote for me. Follow the link, type in my web address into an open slot, and press submit. Your email address is NOT required (unless you want on to their mailing list). Whether you’re going to Lollapalooza this year or not, I’d still appreciate it if you’d help me out on this. Thanks again for your support!

Vote for Faronheit as one of the “Can’t Miss Chicago Blogs”

Lollapalooza 2010 Lineup!

Yes my friends, it’s that time of year again. Winter has ended and we’re getting into the nice thaw of spring. Soon enough, summer will officially be here, and with that comes music festival season. It’s one of my favorite times of year, being able to hang out in some large park area and listen to bands upon bands at stage upon stage. And in my hometown of Chicago, we’re privileged to have two of the world’s most predominant summer music festivals when you’re talking about rock music. Far smaller and with a distinct emphasis on the independent and up-and-coming artists, the Pitchfork Music Festival is a “boutique” version of larger fests like Coachella and Bonnaroo. Of course Chicago also has their large fest to compete with those other two American institutions, and that comes in the form of Lollapalooza. As a one sentence history of all you need to know, Lollapalooza was a traveling festival for much of the 90s and featured a large number of big-name artists all performing under one roof. Since 2005, Lollapalooza has called Grant Park its home, and it will continue to do so for at least the next 8 years. I’m happy and proud to have both these festivals become mainstays in Chicago, and if you’re a resident or merely a frequent visitor, you know that its a great music city.

Now then, enough with the stalling. At midnight, the lineup for Lollapalooza 2010 will be published on the festival’s official site. I’ve been talking it up, as I do every year, for the last couple weeks (especially on Twitter) in anticipation of this announcement. If you’ve been paying attention there, you’ll already know much of the lineup. For the rest of you, feast your eyes on this:

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