The hottest music from Chicago & beyond

Category: music Page 171 of 188

Pick Your Poison: Wednesday 11-3-10

Among the top choices in today’s Pick Your Poison are tracks from Ben + Vesper, Eastern Conference Champions (doing a Violent Femmes cover), Hooray for Earth (featuring Twin Shadow), Lord Huron and White Mountains.

Ben + Vesper – My Father’s Eyes

Bikini – ACheerleader

Carol Bui – Mira, You’re Free With Me

Eastern Conference Champions – Add It Up (Violent Femmes cover)

Gross Relations – You Don’t Know Me

Hooray for Earth – A Place We Like (ft. Twin Shadow)

Josephine Foster and the Victor Herrero Band – Los Cuiatro Muleros

Lord Huron – Mighty

Pregnant – Wiff Of Father

Sea of Bees – Wizbot

The Suzan – Moskow Diskow (Telex cover)

White Mountains – Bells

Pick Your Poison: Tuesday 11-2-10

Happy Election Day. I hope you got out and voted today, and if you did that all of the candidates you voted for won. Today’s Pick Your Poison is a little bit larger than normal, as a reward for your hypothetical “vote”. Be sure to listen to songs from David Dondero, Flight, Martina Topley-Bird, and One Hundred Flowers. There’s also a pretty good remix of a Tame Impala song and an early demo from Yuzima.

David Dondero with Justice of the Unicorns and David Hanlon – Here Comes the Sun (Vampire Version)

Depth and Current – Don’t Go Away
Depth and Current – Calm to the Sea

Fela! on Broadway – Zombie (The Marksmen Remix)

Flight – Real Estate

Human Life – Wherever We Are (Nightriders Remix)

i and i – The Hardest Park (single edit)

Martina Topley-Bird – Poison

Michael Parallax – Man, No

Kavinsky – Nightcall (SAWAGiis Revenge Remix)

One Hundred Flowers – Three Dresses

Paper Aeroplanes – Cliche

Refried Ice Cream – Halo
Refried Ice Cream – Vampires

Tame Impala – Lucidity (Pilooski Remix)

Yuzima – Turnaround

Album Review: Matt & Kim – Sidewalks [FADER Label]

Matt & Kim have a reputation to maintain, that of an insanely happy duo making indie pop that’s sugary sweet. They’re both well beyond the days of misfit childhood where diets mainly consisted of Pixy Stix and you ran around the neighborhood with water guns and stray dogs, yet their music echoes those moments in the best possible way. It’s working on that basic of a sound that has gotten them a solid following over the course of two albums and a relentless amount of touring. They’ll charm the pants off of anyone who will listen, and their third record “Sidewalks” continues in that exact same trend.

Even if you’re not familiar with Matt & Kim, chances are you’re at least lightly aquainted with them. Their song “Daylight” has permeated a number of mediums, airing as backing music for a handful of commercials, TV shows and video games soundtracks. That’s not even counting the copious amounts of radio airplay they got for the track. They’re probably hoping for a similar buzz surrounding the first single “Cameras” from the new album “Sidewalks”. It’s only slightly unconventional for Matt & Kim, with their trademark synths/guitar/drums sound accented with some tuba and a fascinating time signature. It may not be the best song they’ve ever made, but it works in its own way. So does most of the record, with at least 8 out of the 10 tracks coming off like highly marketable singles. The real question will be what on this blissful yet brief album will they choose to focus on.

For those long-term fans of Matt & Kim though, “Sidewalks” will largely serve as a disappointment. On their last record “Grand”, the duo had real problems with both overproduction and the forcing of Kim into a severely diminished role. If those were issues for you last time, they’ll be issues for you once again. The production remains fairly pristine, thereby not properly recreating what you get in a live setting. That’s something their self-titled debut did so well, and it’s what initially earned them the right kind of attention. The lack of those little imperfections and off-kilter drum hits are missed, and with a guitar or a chime coming in at exactly the right spot there’s a certain coldness that betrays the warm pop emerging from the speakers. Again it seems that Kim is given the backseat role on this record, providing very little in the way of backing vocals and even skipping out on drums altogether for a few songs. Instead of drums there are tambourines and chimes and xylophones and drum machines/electronic beats, some or all of which Kim might be playing. So much of it feels programmed in though that it’s tough to tell if a human being is even playing these extra instruments or not. These are problems that can really diminish your liking of the album if they’re important to you.

What with the popularity of “Daylight” and a new fans gained through all the touring and festival shows, “Sidewalks” is just about the perfect album for the casual Matt & Kim lover. If you’ve only heard their last album “Grand” or even just a song or two, you have no idea what you’re missing. Close listeners and fans of the duo’s debut might notice the small, glossed over problems that pepper the album’s otherwise sweet disposition. “Sidewalks” is a delight to listen to from start to finish, but only if you treat it like a really entertaining blockbuster movie. The broad appeal is certainly there, it just lacks depth and humanity. The sad thing is that in person Matt & Kim can be some of the deepest and warmest people on Earth. Outside of the studio polish applied on this record, these songs probably move from pretty good to absolutely excellent, which is enough of a reason to go see Matt & Kim live. Since you’re unlikely to see them perform more than maybe once or twice a year, this album serves as a reasonable facsimile of that experience. Is it worth a purchase? Maybe if you’ve got the spare cash and need a fun little distraction. Other than that, you’re better off spending your time and money on something a little less disposable.

Buy “Sidewalks” from Amazon

Pick Your Poison: Monday 11-1-10

Welcome to November, one of the more interesting months of the year. Veterans Day, Thanksgiving and the ominous Black Friday are all dates of note this month, and I hope you’ll celebrate all three with the same vigor. Hot tracks in today’s Pick Your Poison come from Banjo or Freakout, Beep, Impossible Hair and Mazes. There’s also a fascinating remix of a Dale Earnhardt Jr. Jr. song that’s pretty good as well.

Banjo or Freakout – Since We Last Met (NDF cover)

Beep – Wolf Pantolones

Dale Earnhardt Jr. Jr. – Vocal Chords (Diego and The Dissidents Remix)

Electrolightz – The Future

Impossible Hair – The High Official

The Invisible Hand – There’s Room In My Will

James Yates – A72

Kuf Knotz – Fame Us
Buy Kuf Knotz music from Amazon

Mazes – Go-Betweens

Saadi – Bad Seeds

The Soft Province – I See Two Eyes
The Soft Province – One Was A Lie

Live Friday: 10-29-10

Largely in honor of the stellar double billed show of LCD Soundsystem and Hot Chip I was able to catch on Monday (show review), I thought now was as good of a time as any to feature Hot Chip in a Live Friday session. A couple days before their Chicago show, the band spent a little time at Minnesota Public Radio to do an interview and play a couple songs. Not only is Hot Chip pretty excellent in a live setting, but they’re also pretty hilarious in interviews. So the guys played three songs off their latest record “One Life Stand” and then chatted about their current tour, how some of their new material is more designed for a non-club environment, and whether or not they’re secretly making pop culture references in their lyrics. Everything is handled with smart, self-effacing humor. You can stream the interview by clicking the link below, and of course the tracks are fully downloadable which is something I encourage you to do.

Hot Chip, Live on MPR 10-21-10:
Hot Chip – Take It In (Live on MPR)
Hot Chip – Alley Cats (Live on MPR)
Hot Chip – Hand Me Down Your Love (Live on MPR)

Stream the entire interview/session

Buy “One Life Stand” from Amazon

Pick Your Poison: Friday 10-29-10

Everybody’s working for the weekend, and the good news is it’s finally here. Time for one last edition of Pick Your Poison before checking out for Halloween weekend. Hope you’ve all got some great costumes and parties to go to. Highlights today include songs from Crystal Castles (featuring the one and only Robert Smith), former Hold Steady keyboardist (and current Against Me! touring member) Franz Nicolay, and the excellent Woodsman.

Byrds of Paradise – Barefoot Generation

Chasing Kings – Dark Sunglasses 

Crystal Castles – Not In Love (ft. Robert Smith)

Dead Western Plains – Alta

Don Diablo ft. Dragonette – Animale (Datsik Remix)

Franz Nicolay – Have Mercy

Karaocake – It Doesn’t Take A Whole Week
Karaocake – Eeeeerie

Lumerians – Corkscrew Trepanation

Milks and Rectangles – Auction Block

The Shondes – Lines and Hooks

Woodsman – Insects

Album Review: Warpaint – The Fool [Rough Trade]

Topics that tend to come up when talking about the band Warpaint: 1) Wow, their drummer is really, really good. 2) Shannyn Sossamon used to be in the band, along with her sister Jenny Lee Lindberg, but is no longer in the band. 3) They have an interesting sound, and one you wouldn’t expect from a group of women. Please keep in mind that those are not things I personally have said about Warpaint, but in the handful of conversations I’ve had with people about them, those three topics seem to be universally mentioned. In the last few months, hype surrounding Warpaint has hit a fever pitch, and they became even more buzzed about for their set at Lollapalooza. They played a show the night before opening for The Walkmen that I attended, and having only heard a couple tracks from them beforehand, I walked away moderately impressed. Not nearly as excited as many others have been, but enough that their debut album “The Fool” seemed like it’d make for an interesting listen when it came out. Well, we’ve finally hit release week, and support for the band continues at a steady, if not frenzied pace.

Assuming you’ve caught wind of the Warpaint buzz, perhaps you’re now wondering if all the talk is backed up by a great debut album. A short while ago, the band toured with The xx, and naturally that exposed them to a whole other world of fans that could appreciate the dark and feminine songs they make. Many have tried to define exactly what Warpaint sounds like, and labels like shoegaze and dream pop have been thrown around a lot. The thing is, with a lack of fuzz on the guitars and generally sparse melodies, Warpaint lacks the waves of noise that typically define those genres of music. They have more in common with psychedelia largely thanks to the serpentine way their songs bob and weave for an average length of 4-6 minutes. Another interesting thing about the band is how few chords they use, choosing instead to craft most of their melodies by individual string picking, with bass and drums equally prominent in the mix. The equality of instruments brings all of them into closer focus, making standout performances that much more apparent. Now’s a good time to mention what a prize Warpaint has in drummer Stella Mozgawa, another great female percussionist in a long line of great female percussionists. Drummers aren’t always the most noticeable members of any band, but Mozgawa holds her own court in Warpaint. Nowhere is that more apparent than in the band’s live show, though in dealing exclusively with this album you still get a pretty good idea of what kind of force she is. And while the drumming may get its fair share of attention, all of these women are strong presences in their own rights.

“The Fool” is largely a record based around mystic energies, the sort of telepathical bonds some people share with one another. To many people such concepts are utter loads of crap, but we’ve all experienced those moments of deep connections, whether it’s saying the exact same thing at the exact same time as somebody else or trying to negotiate a small hallway with someone walking straight at you from the opposite direction. Yes, most of these things last but a second, but in Warpaint’s case it’s like these women work through their songs via brain waves. One part compliments another in just the right fashion, and it’s enough to turn these compositions from feeling like they’re drifting without purpose to ones that are intentionally directionless because they’ll find their own path anyways. Call it the natural course of things. Another purpose such a style serves is to create a bit of tension, the lucidity of it all hovering so close to the edge that you’re constantly worried things will come off the tracks suddenly and without warning. There’s a similar sense to the vocals, but that’s far more reliant on tonal inflections that dictate the eerieness of it all. There are lyrics that deserve a very harsh and angry vocal that simply float by in a disaffected manner, and the confounding of expectations is disturbing like a guy quietly sitting in a corner sharpening his knife. There’s no direct indication this guy is going to stab you, but at any second he might just leap to his feet and attack, right when you let your guard down. Songs like “Baby” and “Undertow” rely on these vocal and instrumental combos to creep you out in just the right way, and that’s something both unique and cool about Warpaint.

The thing about “The Fool”, and at this point Warpaint in general, is that as interesting as their sound might be, it can be both draining and lightly boring after awhile. There’s enough variation on the album’s 9 tracks to give each song its own identity, but you’re left wondering how long they can keep such a thing going. Their “Exquisite Corpse” EP mined the same sort of material as well, and with so much tension building and little to no release, listeners are bound to become frustrated with it sooner rather than later. That this isn’t an outwardly pop-oriented record hurts it too, as the lack of song structure and catchy verse/chorus payoff can make for problems when it comes to memorability. Outside of a whole bunch of listens that involve memorizing lyrics, if someone asks you to recall a specific Warpaint song it might prove difficult as your brain might register it as one big amorphous blob. That said, there aren’t enough amorphous blob bands making music these days, and these women have the talent to make it work for them. “The Fool” is a good start, but not quite the incredible surprise of 2010 many hype-peddlers might have been hoping for. At the very least it’s an overly solid introduction to a challenging band that certainly has the potential to one day become the toast of the indie world. For now though, maybe test the waters a little bit with this album should it strike your fancy even a little. Above all else though, should you have the ability, be sure to see them perform live, as they move from an intensity on record to pure transcendence on stage.

Warpaint – Undertow

Buy “The Fool” from Amazon

Pick Your Poison: Thursday 10-28-10

A new song from Crystal Stilts makes for the top highlight in today’s Pick Your Poison. The band Violens is really starting to build significant hype, and you can get a new track from them below. And Nitzer Ebb haven’t put out new material in quite awhile, and if you like their classic stuff, this fresh update should hopefully interest you. I can also recommend tracks from The Soft Moon and Teletextile.

The Billy Nayer Show – Henry Joe (ZIP)

Crystal Stilts – Shake the Shackles

The Details – The Original Mark

John Hill – Does It Still Hurt

Lonnie Walker – Summertime
Lonnie Walker – Love Turn

My Favorite Robot – Birthday Song

Nitzer Ebb – Promises

Oh No Oh My – Walking Into Me

Rubblebucket – Triangular Daisies

The Soft Moon – Tiny Spiders

Teletextile – I Don’t Know How to Act

Violens – Violent Sensation Descends

Pick Your Poison: Wednesday 10-27-10

Today’s Pick Your Poison is easily my favorite so far this week. Fujiya and Miyagi did a pretty great remix of a song by Erland & the Carnival. There’s a couple tracks from the band Hot Sugar, one of which features Aaron Livingston, who’s collaborated with RJD2 and The Roots previously. The Superions is a band that features Fred Schneider of The B52’s, and they put out a Christmas-themed album recently, a song from which is available for download below. You’ll also want to give a listen to songs from Pepper Rabbit and a new one from Girls, who’ll be releasing a new EP soon.

Arthur Nasson – Echo Garden

Big Troubles – Video Rock

Bubble Scum – Golden Gun

Daniel G. Harmann and the Trouble Starts – Dee

Erland & The Carnival – Echoing Green (Fujiya & Miyagi Remix)

Girls – Heartbreaker

Hot Sugar – Color Wars (ft. Aaron Livingston)
Hot Sugar – The Seagull

Jumpel – Edinburgh

Pepper Rabbit – Babette!

The Superions – Fruitcake

Timmy’s Organism – Pretty Stare

Pick Your Poison: Tuesday 10-26-10

Among today’s recommendations, be sure to have a listen to tracks from The Globes, Gospel Claws and Tahiti 80. The band Sex Beet will be opening for Best Coast when they tour the UK in a short while, and they’re worth checking out too.

Amy Bezunartea – All The Things We Were Supposed to Be

Eleanor Murray – Street To Ride

Englishman – Angels and Earthworms

The Globes – A Stitch Couldn’t Save The World

Gospel Claws – Walk Me Down

Juliette Commagere – Impact (Keepaway Remix)

Sex Beet – Sugar Water

The Sheepdogs – I Don’t Know

Tahiti 80 – Keys to the City

Yuzima – Bring Down This House

Show Review: LCD Soundsystem + Hot Chip [Aragon Ballroom; Chicago; 10/25/10]

Three albums apiece, each of which is critically acclaimed. Two bands, both strongly representative of everything that’s right in modern dance music. One night, with one mirrored disco ball hanging overhead. This is the setup for one of the biggest double bills of the year, and if you’ve caught Hot Chip and LCD Soundsystem on this tour prior to now, consider yourselves very lucky. They made their way to the Aragon Ballroom in Chicago on Monday night for a show that sold out so fast they added a second date tonight at the smaller Riviera (for which a limited number of tickets are still available). Both artists had already stopped in the Windy City earlier this year, with LCD Soundsystem headlining a night of the Pitchfork Music Festival and Hot Chip putting on an early evening set at Lollapalooza, but naturally, the thought of seeing these bands outside of an outdoor festival setting was more than enough to draw plenty of people in. So on a surprisingly balmy October evening that many might regard as the “calm before the storm” given the severe weather that has now struck the city, a massive crowd strapped on their dancing shoes ready for a hot and sweaty party.

As the opening band, Hot Chip was only given an hour for their set, which apparently had to be carefully timed due to somewhat strict curfew laws regarding weeknight 18+ shows. It’s a good thing they made the most of that time, blasting through songs at a remarkably fast pace while working to maximize the BPMs and keep bodies moving. Starting with “And I Was A Boy From School” was a smart move given it’s one of the strongest songs in their catalogue and is just barely quick enough to rev up the crowd for what’s to come. As one might expect, the set leaned heavily on their latest album “One Life Stand”, and about half the songs they played were from it. Earlier this year I lamented the lack of dance floor hits on that record, but the band brought new life to those songs and proved they can work just as well as the older material. So when the song “One Life Stand” was surrounded by “One Pure Thought” and “Over and Over”, there wasn’t a noticeable difference in quality, and the same goes for the 1-2-3 punch of “Shake A Fist”, “I Feel Better” and “Ready for the Floor” to close things out. It’s been three years and two albums since I last saw Hot Chip perform, and in that time they’ve only improved as a live act. The songs are tighter than ever and there’s rarely a moment when somebody doesn’t have an instrument in hand, be it a guitar, keyboard or tambourine. If that wasn’t enough to get feet shuffling, there was also Alex Taylor’s odd dancing on stage, which tends to look a lot like he’s jogging in place. He’s not exactly your stereotypical rock star, but then again neither is James Murphy of LCD Soundsystem.

So with the crowd completely warmed up both figuratively and literally, a plaid-clad, scruffy-looking Murphy came out with his band as they launched straight into “This Is Happening” opener “Dance Yrself Clean”. The song itself is a carefully considered exercise in restraint, slowly bubbling up under more intense heat until finally exploding under the pressure. As soon as that dam burst open, the entire Aragon went nuts in the best way possible. Limbs flailed, fists pumped, and the stage lighting added an extra dose of bliss to the entire thing. Moving from that into the single “Drunk Girls” only slammed things harder and everyone that knew the words sang along at the top of their lungs. If those early highlights weren’t enough, the rendition of “Get Innocuous” built to a startlingly intense conclusion that had Murphy attacking a pair of snare drums like they had just threatened his life. The guy has taken less of a role on stage fiddling around with instruments and electronic elements in order to focus on his vocals, but it was moments like when he went nuts on the drums that really stood out in a show filled with stand out moments. The triple combo of “Daft Punk Is Playing At My House”, “I Can Change” and “All My Friends” works well together, which is seemingly why they’re on every set list that way. It was during “All My Friends” though that the notoriously poor sound at the Aragon actually struck for a couple minutes, as the song headed towards its conclusion the mix got progressively muddier to the point where the entire thing was one big white noise mess, vocals included. There was only one other moment like that during the set, and that was for the intensely loud “Movement”, where the guitars rip through the head banging chorus. Outside of those two briefly annoying audio blunders, the rest of the show was surprisingly glitch-free. LCD Soundsystem chose to close their set with “Yeah”, another slow burner that builds until Murphy is screaming at the top of his lungs in dramatic and exciting fashion. And because the lyrics basically consist of repeating the song title over and over again, everyone started to yell in between jumping around like crazy. It was a pretty perfect way to wrap up the night, and had there not been an encore most everyone would have walked away satisfied. Not that the encore took away the intense feeling of satisfaction, but the band did play three songs that aren’t the most dance intensive in their catalogue. Still, songs like “Someone Great” and “Losing My Edge” are classics, so it remains a delight each time they’re played. And as a bit of a change up, the band is choosing to close out most encores on this tour with the song “Home” rather than the previous staple “New York I Love You But You’re Bringing Me Down”. The positive to that is that “Home” is a more upbeat song with a relatively healthy beat that may not inspire dancing but feels less like the band is going gently into the night. So as each band member exited the stage with a wave or a bow, the stage lights shut down one by one until just the mirrored disco ball overhead spun and the last few beats of the song faded away.

James Murphy has gone on record saying that he plans to “retire” the LCD Soundsystem moniker once he’s done touring to support the latest album “This Is Happening”. Well, that doesn’t necessarily mean there won’t be another LCD Soundsystem album or a handful of singles, really for all intensive purposes he means that he doesn’t want to have to tour anymore. Depending on who you talk to, that means this Aragon show could have been one of the band’s final two dates in Chicago. Of course since this isn’t being billed as a “farewell tour” and there’s talk of the band playing dates until next summer before officially calling it quits, there’s a high likelihood LCD Soundsystem will be back through at least once more in 2011. That is a great thing, because for a supposed “old man” and non-rock star, Murphy and his band put on a show that’s not only top notch, but seems to get better with age. The jumps in live show quality between 2007 and earlier this summer when the band headlined the Pitchfork Music Festival were huge, and even in the 3 months since then they’ve strengthened even further. If you love this music, along with an occasional dance party, you owe it to yourself to see LCD Soundsystem at least one more time before it’s all over. Given that they’re currently touring with Hot Chip that’s an added incentive to go see the show. Together they make up what’s probably the best double bill of 2010 with what just might be the best live show of 2010 as well. To my fellow Chicagoans, if you’re reading this in time, drop your plans for tonight and go see these two bands at the Riviera. Everyone else, I wish you the best of luck with tickets to a show near you if there is one. The main purpose of going to see these bands might very well be to have a great time dancing and rubbing up against other hot and sweaty bodies, but it’s also important to note that there’s a deep well of emotion hiding just beneath the music’s glossy surface and intense light show. Even if you’re the kind of laid back person that refuses to do anything more than simply tap a toe to the beat, this show has more than its fair share of wonderful moments for you as well. Let’s hope this whole retirement thing is just a momentary lapse in judgment.

Buy Hot Chip’s “One Life Stand” from Amazon
Buy LCD Soundsystem’s “This Is Happening” from Amazon

LCD Soundsystem Set List:
Dance Yrself Clean
Drunk Girls
Get Innocuous
Daft Punk Is Playing At My House
I Can Change
All My Friends
You Wanted A Hit
Tribulations
Movement
Yeah
\**ENCORE**/
Someone Great
Losing My Edge
Home

Pick Your Poison: Monday 10-25-10

I’ve taken a couple days off work this week to help properly celebrate my birthday (which is today), and though I purposely try to avoid doing anything even remotely challenging under the logic of doing only what I want, Pick Your Poison is something I kind of enjoy, despite some of the work I put into it. So enjoy today’s edition, you’ll want to be on the lookout for tracks from Animal Prufrock, Crushed Stars, Elizabeth & the Catapult, Mariage Blanc and Twins of A Gazelle.

Animal Prufrock – 0+0+0

Baby Scream – Nicole

Cashes Rivers – Our Boats

Crushed Stars – Black Umbrellas

Elizabeth & the Catapult – You and Me

Failed Novelist – Love Like A Knife

Il Gato – On Feathers & Arrows (On Burnt Pine)

Lexicon – I Wanna Be Sedated (Ramones cover)
Lexicon – Junk Food

Mariage Blanc – Rag to A Bull

Pete International Airport – 21 Days

Troy Von Balthazar – Dots and Hearts

Twins of Gazelle – Constellations

Album Review: Sun Airway – Nocturne of Exploded Crystal Chandelier [Dead Oceans]

Let’s get the obvious comparison out of the way right at the beginning – yes, Sun Airway sounds a whole lot like Animal Collective. Their debut album “Nocturne of Exploded Crystal Chandelier” holds many sonic similarities to “Merriweather Post Pavilion”, a record so many regarded as the best thing released in 2009. If there’s a band you’re going to try and imitate, at this point in time Animal Collective would be a smart move. The real challenge comes in the form of pulling it off without making a fool of yourself. There are oh so many artists out there that try to capture the zeitgeist of the times by pushing their sound in a certain direction for critical acclaim or popularity, but if it isn’t good enough there isn’t any point. Sun Airway is the duo of Jon Barthmus and Patrick Marsceill, both former members of the now-broken-up band The A-Sides. It’s taken them two long years of messing around with sounds and trying to put a record together while holding down jobs, but they’re finally done and Dead Oceans is psyched to be releasing it this week. Apparently all that time did them a world of good, because the tide is quickly rising on these guys and “Nocturne of Exploded Crystal Chandelier” is set to put them on everybody’s radar.

If you’ve gotten your hopes all high in hoping that “Nocturne of Exploded Crystal Chandelier” will be the new “Merriweather Post Pavilion”, don’t set yourself up for disappointment. This Sun Airway record is damn good, but one thing we’ve learned simply by paying close attention to Animal Collective these past several years is that such brilliance takes time to mature and fully develop. Of course every record is typically informed by the ones that came before it, so the proverbial Pandora’s Box has been opened and there’s no way to shove the flood of ideas back in. The noises that permeate and define Sun Airway’s sound are primarily electronic, from your typical bleeps and bloops to samples and beats that maintain tempo. Synths also play a huge role, as do a number of other instruments that are so varied and mixed that it’s nearly impossible to pick out each and every one. Pay close attention and you’ll catch a splattering of flute or a small dose of harp for good measure. It’s also important to note that probably 98% of the sounds that appear on the record are computer generated, meaning that they didn’t so much whip out a harp and hold a microphone up to it but instead used a program that created a “virtual harp” they could work with. Vocals aren’t really something you can fake though, so those were recorded live and the way they’re presented is one of the things that differentiates Sun Airway from Animal Collective. Barthmus is pretty much the only vocalist in the band, meaning that without an Avey Tare or Panda Bear to back him up, there’s less in the way of Beach Boys-esque harmonies. Echo effects are used with relative frequency though, to help add a nice dose of psychedelia to everything. When no vocal effects are used and Barthmus’s vocals come across with stark clarity it’s also effective in a different an unexpected sort of way.

When the vocals aren’t obscured or processed, the songs usually have strong pop elements to them, and compelling hooks are probably Sun Airway’s strong suit. Opening track “Infinity” may not have the band at their most energetic, but it serves as a strong, shimmery introduction to the record. The constant repetition of the lines “Woke up as a snowflake on an ocean/I looked over/I saw you floating next to me/drowned in the moonlight hours” works on you until it’s stuck in your head. With its toe-tappingly danceable beat and verse-chorus-verse style, “American West” is one of the catchiest songs on the entire record. It’d serve extremely well as a single, as does actual single “Oh, Naoko” which follows it. “Waiting On You” comes across as something of a cross between “Merriweather Post Pavilion”‘s “My Girls” and “Summertime Clothes”, though to call it equal to either of those tracks would make it one of the best songs of the year. Perhaps it is, but it’s going to take a little longer to fully earn that honor. Towards the end of the record second single “Put the Days Away” and “Your Moon” also are two sharply addictive tracks that really help balance things out from start to finish. In other words, half the album is packed with hooks, while the other half focuses more on beauty, mood and pure balladry.

For those that found “Merriweather Post Pavilion” a bit too challenging to fully embrace, Sun Airway’s “Nocturne of Exploded Crystal Chandelier” might just be the record that skates the balance between anti-pop and pop. The record is experimental without being too experimental, and catchy without being overtly pandering. These are the sorts of things that if done correctly, will generate the right sort of buzz for a band. There are a couple small shakier/almost flat-out boring moments on this album, but they come so few and far between that they’re relatively forgiveable given how well most everything else functions. It is those times though that prevent the record from attaining that much coveted “Album of the Year” nomination but still keeps it well within the “year-end list” range. That Sun Airway began working on this record in the fall of 2008 before anyone had heard a single note of “Merriweather Post Pavilion” just goes to show that they had the right ideas from the start, even if that album did eventually provide some sort of influence in the studio later on. Where Sun Airway will go from here, and how they might benefit from this ripe Animal Collective comparison will be determined in the coming months by the ever-fickle hype cycle. They may not be ushering in a musical revolution that will become the official “next big thing”, but they have made an album more than worth your time and hard-earned cash as we continue to hold a trend towards a strong finish in 2010.

Sun Airway – Put the Days Away
Sun Airway – Oh, Naoko

Buy “Nocturne of Exploded Crystal Chandelier” from Amazon

Live Friday: 10-22-10

My personal opinion of MGMT has been very low for quite awhile, stemming from a pretty bad show I saw them play in 2005 before anybody had heard of them. It was that show, and their subsequent rise to fame in the last couple years that really upset me, especially as they were riding on the coattails of old songs they “re-released” as a “debut” album. Still, I won’t deny that songs like “Kids” and “Electric Feel” and “Time to Pretend” are really catchy, and I expected the band to make a bunch of similar-sounding songs for their sophmore record. When that second album “Congratulations” came out and it was filled with anti-pop psychedelic insanity, my opnion of the band changed dramatically. For once, being signed to a major record label, they made something uncompromising and difficult. Good for them. So I do like their latest album, and it’s one of the reasons why I’m featuring the band on today’s Live Friday. They stopped by the WXPN studios about a week ago and played a couple tunes, including the 12.5 minute “Siberian Breaks”, which is a whole mountain to climb unto itself. (P.S. – I apologize, but hosting/bandwith issues prevent me from uploading that song directly, so you’ll need to follow the link to zShare if you want to download the 18MB file…the other two tracks are simple Right click, Save As) Anyways, the band sounds pretty good, almost the complete antithesis of how they were 5 years back, though it helps there are some more members to help flesh out the sound just right. You can also stream the interview with the band by clicking the link below. They talk a little about why they didn’t just write a bunch of hits for the new album, and a number of other things they’ve learned while rising to the eschelons of indie stardom.

MGMT, Live on WXPN 10-15-10:
MGMT – It’s Working (Live on WXPN)
MGMT – Congratulations (Live on WXPN)
MGMT – Siberian Breaks (Live on WXPN) [zShare; follow link]

Stream the entire interview/session

Buy “Congratulations” from Amazon

Pick Your Poison: Friday 10-22-10

I sincerely hope you’ve been looking forward to the weekend as much as I have. It’s been a pretty stressful week, right? Just let these songs today help get you out of that funk. Be sure to watch out for tracks from The Asteroid #4, Faun Fables, and the classic Thomas Dolby. The new Kurt Vile song is dynamite in virtually every way. Stereolab also have a new record out, and you can download an mp3 from that below. The band Ravens & Chimes have drawn a lot of comparisons to Arcade Fire in the size and scope of their songs, and their new one “Division Street” is pretty impressive on its own. Have a great weekend!

The Asteroid #4 – Ignition Slated for Eight

Boxharp – Rainbirds

Com.Dot – She Likes (Dave Owen Remix)

Faun Fables – Parade

Grey Granite and J. Brookinz – Digg It
Grey Granite – Pay Up

The Jezabels – Mace Spray

Kurt Vile – In My Time

Northern Portrait – Life Returns to Normal

Ravens & Chimes – Division Street

Rimer London – Squaring the Triangle

Stereolab – Sun Demon

This Is My Suitcase – See Love, Sea Love

Thomas Dolby – Love Is A Loaded Pistol

Page 171 of 188

Powered by WordPress & Theme by Anders Norén