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Album Review: !!! – Strange Weather, Isn’t It? [Warp]

Put on your dancing shoes, !!! (chk chk chk) are back with a brand new record. Their fourth album, titled “Strange Weather, Isn’t It?” comes after a particularly difficult period for the band. While working on this new album in late 2009, drummer Jerry Fuchs was killed after accidentally falling down an elevator shaft. It’s the sort of tragedy that can make or break some bands, and with !!!’s upbeat dance party vibe, you could understand how they might not feel like busting a move. Not just that, but most dance rock bands have trouble surviving beyond a couple albums, often falling prey to the changing tides of public opinion or simply the difficulties of maintaining the same energy and quality over an extended period of time. That !!! continues to survive and in some ways thrive is a testament to the collective’s strength and talents. Turns out that they are, as one of their new song titles suggests, “Steady as the Sidewalk Cracks”.

A steady mood also seems to be !!!’s plan when it comes to “Strange Weather, Isn’t It?”. The album’s 9 tracks skate by in a mere 40 minutes, but they all blend effortlessly into one another like some long DJ mix. That both works to the band’s advantage and disadvantage. Being able to string these songs together as one cohesive whole makes all of them better than they are individually. You’re in firm lockstep from start to finish and there’s a consistency there keeping you engaged. Yet no matter how enjoyable the album might be as a whole, it’s also lacking in memorability and true standout moments. Things appear to be going extremely well right from the start of the record, with single “AM/FM” and “The Most Certain Sure” taking you for a fun little adventure with dance floor melodies that hit harder than a lot of what was on !!!’s last album “Myth Takes”. Similarly, the 1-2 punch of “Jamie, My Intentions Are Bass” and “Steady as the Sidewalk Cracks” hit the groove sweet spots thanks to some funky bass on one (try to guess which) and a jazzy saxophone on the other. Where the record really falters is towards the end with the triple combo of “Hollow”, “Jump Back” and “Even Judas Gave Jesus A Kiss”. Those first two are unfortunately some of the most boring tracks !!! have ever put out. “Hollow” is a sparse drum and bass cut that never moves beyond the turgid tempo it starts off with. It ultimately comes off just like its title. So does “Jump Back”, which has a decent energy to it but doesn’t have the hooks or just general creativity to take it beyond a below average dance cut. What “Even Judas Gave Jesus A Kiss” does is miss out on the chance to move beyond the mid-tempo groove it settles into. Basically it hits the mark it’s looking for and stays there for the duration, which is creatively stifling and ultimately disappointing. Rescuing the end of the record from simply descending into mediocrity is “The Hammer”, a rave-up into a breakdown that’s one of the most fun tracks on the entire album. It’s deliriously great, and makes you wonder why they didn’t put more tracks like it on the record.

If you’ve been following !!! for awhile now, “Strange Weather, Isn’t It?” should come as something of a comfort food provided you liked the band’s 2004 album “Louden Up Now”. Sonically they’re two similar records, even if this new one doesn’t quite match the days of old. It’s the difference between a more guitar-heavy and expedient approach vs. cooler electro grooves and extended freak outs. While there aren’t any songs as long or brilliant as “Me and Giuliani Down By the School Yard (A True Story)”, the new album still has its highlights – pretty much the entire first half, save for maybe “Wannagain Wannagain”. Nic Offer continues his vocal schtick and for the first time Shannon Funchess takes a few choruses and such, as she’s been functioning as the replacement for John Pugh since 2007. If you’ve loved !!! in the past, there’s more to continue loving about them on “Strange Weather, Isn’t It?”. In terms of where this ranks amid the band’s catalogue, it’s not their worst record but it comes somewhat close. There’s just too many so-so songs to make it completely worth your while. If you’re going the download route though, you can save a couple bucks by just buying the handful of great songs and skipping the rest. If the album as a whole is largely forgettable anyways, all you’re going to need are the tracks that actually do have solid hooks.

Buy “Strange Weather, Isn’t It?” from Amazon

Pick Your Poison: Tuesday 8-24-10

I’m not the biggest fan of Does It Offend You, Yeah? but a whole lot of people are, so you might be pleased to learn about this (what might be considered) old song now made available for free download. You can also go to their website and download the song’s “stems” for remixing purposes, which is nice. Other good stuff today includes something new from The Ex-Girlfriends Club along with a live version of a song off Lissie’s debut album. One eskimO fans will want to grab the NEW version of the song “Amazing” below. Then there’s the Ra Ra Riot mp3 off their brand new one (which I’ll review later this week) and a fresh track from Tamaryn that’s more than worth your time.

Abner Trio – Let Go of the Dream

Ben+Vesper – Hot Thunder

Claire Maguire – The Strangest Thing (Bloodshy & Avant Version)

Does It Offend You, Yeah? – We Are the Dead

The Ex-Girlfriends Club – Hurt Me

Lissie – In Sleep (Live)

One eskimO – Amazing (New Mix)

The Phantom Band – A Glamour (Excerpt)  

Ra Ra Riot – Boy

Tamaryn – Love Fade

Victoire – A Song for Mick Kelly

Show Review: Autolux [Bottom Lounge; Chicago; 8/20/10]

There was a slight chill in the air on Friday night after what was a very hot day. Perhaps the temperature decline had something to do with Autolux being in town, their music not exactly ideal for situations of sunshine and warmth. Of course the lack of air conditioning and large collection of human bodies made it hot inside anyways, but the overhead fans were working overtime and the darkness still was a great mood-setter. Opening this triple bill was Chicago’s own psychedelic rockers Alla, who put on an energetic and strong set that they’ve become known for. Their songs might get a little long at times, but thanks to some eye-catching drum work and a solid guitar base, nothing ever got too played out or boring. The crowd seemed to like them as well.

One band the crowd had trouble with was This Will Destroy You, a post-rock instrumental band from Texas. Their heavily building yet graceful songs have shades of fellow Texans Explosions in the Sky as well as Mogwai in them, and that’s not a bad thing. And despite the heavier, shoegazey leanings of Autolux, for some reason people weren’t very taken with them. Of course post-rock isn’t exactly the easiest genre of music to love, let alone when it’s instrumental. When people in the crowd were talking amongst themselves and saying things like, “This is boring” and “Thank God this is their last song, though it’ll probably be 10 minutes until they finish it”, you get the feeling that they didn’t fully understand or allow themselves to grasp what was being presented to them on stage. That’s too bad, because This Will Destroy You put on a very captivating set if you enjoy their type of music, and it was a good sonic pairing with Autolux whether the crowd agreed or not.

Speaking specifically about the packed house for Autlux’s set, while your average show features its share of characters in the audience, they tend to be smart enough to be respectful during a headlining set. Sometimes though, whether it’s either alcohol or personality-related, certain people feel the need to insert themselves into the show by being loud and boorish. That includes yelling things at the band between songs, and singing (often off-key) at the top of your lungs to every single song. If you do things like that during a show, it’s fun for only one person unless it’s highly comedic. We all appreciate how much you love the band, but the show isn’t private and there’s a couple hundred others keeping quiet that only want to hear what’s coming out of the speakers. Loudmouth idiots can ruin a show if you let them, and thankfully the ones sabotaging the Autolux show were only bad enough to draw minor attention away from the actual show while still earning this paragraph detesting their actions. The hope is to prevent other, similar things from happening at future shows. If just one person reads this and changes their behavior for the positive while attending a concert, then this paragraph has served its purpose.

But let’s talk about what actually went down on stage during Autolux’s performance. Marching out to a pitch black room, the band started things off the same way so many bands promoting new albums do – by playing the first track from that record. The difference with Autolux is that the opening title track “Transit Transit” isn’t the most energetic or compelling piece of music in their catalogue. It’s not even close, being one of the most subdued songs they’ve ever made. It was nevertheless an artistic way to kick things off, and rolling from that into “Census” got the place electrified with rip-roaring energy that was so lacking in those first two minutes. “Census” is one of the few songs on the new record that holds up well in relation to their incredible debut album “Future Perfect”, and that proved even more true on stage. Eugene and Greg both punished their guitars and fought against amps in an effort to extract as much distortion and general noise out of what was already mayhem. Carla pounded her drums with a fury that rivaled some of the best drummers working today. They took the track for an extended couple minutes and it became one of the most revelatory moments of the entire show.

Following “Census” was the 1-2 combo of “Audience No. 2” and “Subzero Fun”, both of which were serviced properly and continued to add depth to an already strong start. Where things tripped up momentarily was on “Bouncing Wall”, a song that only partly works on “Transit Transit” and does so even less when performed live. Yes, things needed to slow down for a moment, but there were other, better song options to put there. They also could have skipped right into “Turnstyle Blues”, which more than earned its keep, as did “Supertoys” immediately afterwards. On record, “The Science of Imaginary Solutions” is one of the biggest highlights of the new Autolux album. Without the proper moody pieces that come before it along with the subtle nature of the recorded version, some of its charm is lost. Amping everything back up again was a very punk rock version of “Kissproof” that was down and dirty and over almost as fast as you could blink. Unfortunately that’s about how memorable it was too. “Robots in the Garden” was a nice and brief album-solid rendition that deserves credit for the muscle put into it. And though the quieter arrangements tended to suffer during the set, the piano ballad “Spots” somehow managed to slide by without generating any negative attention. And as another one of the great moments on “Transit Transit”, “Highchair” struck with a hurricane-force power that was extremely compelling and ear-damaging (in a good way). Closing the set with “Blanket” was perhaps the smartest choice of the night, as it’s among the best Autolux have to offer. Similar to what they did with “Census”, the band took the song to the next level and started amping up the noise and distortion to the sort of levels where it felt like the melody could break apart at any moment. Eugene slammed his fist on his bass, demanding more from it than it was prepared to give. Greg scraped his strings against the top of his amp just to add more friction. And Carla just kept going and going on the drums like the Energizer Bunny at full power. One by one they stepped away from their instruments, gave a wave, and exited the stage.

Given that they are on tour to promote their new album, it should come as little surprise Autolux’s set was completely dominated by “Transit Transit” material. They played the entire album, except for “Headless Sky”, which was quickly dispatched in the final song of the encore. Prior to that was “an oldie but a goodie” known as “Plantlife”, off the “Future Perfect” record. Both were done in about the fashion you’d expect, similar to the album versions with little to no changes. That was sort of the standard for Autolux the entire show though, which doesn’t mean it was bad, just about what was expected. The goal for any live act is to exceed expectation, which Autolux was able to accomplish a couple of times during their set. There was also plenty to watch, whether it was the impressive lighting work or Carla’s intense drumming, you were never at a loss no matter where you looked. The small things the band could really improve on for the future would have to be their on-stage energy and the way they attack the recorded versions of their songs. When, on songs like “Blanket” they chose to expand on what was already there and “rock out” just a little bit more than usual, it seemed so cathartic and impressive. If only they could capture those moments and multiply them across most of their set, it’d elevate them from a very good live band to an exceptionally great live band. As it stands, Autolux extend themselves just a little beyond most live acts, making them worthwhile to go see but not essential. Let’s hope that as time passes and they have more material to work with, their shows will only continue to improve with time.

Set List:
Transit Transit
Census
Audience No. 2
Subzero Fun
Bouncing Wall
Turnstile Blues
Supertoys
The Science of Imaginary Solutions
Kissproof
Robots in the Garden
Spots
Highchair
Blanket
\**ENCORE**/
Plantlife
Headless Sky

Buy “Transit Transit” from Amazon

Pick Your Poison: Monday 8-23-10

It’s the last full week in August, and I hope the weather is holding steady in your area of the world. Looks like Chicago has a week of sun and temperatures in the 70s and 80s, and that’s not bad in the least. Also not bad in the least? Today’s Pick Your Poison. Among the great stuff up for free download, there’s a new song from A Sunny Day in Glasgow you should pick up for sure. Three Mile Pilot and Violens also get a big thumbs up. The other stuff is pretty excellent as well.

A Sunny Day in Glasgow – Drink Drank Drunk

The Foxymorons – Say It Aloud

Jen Wood – Zeppelin

Noah’s Ark Was A Spaceship – Warm Eyes

Nottz – The 1ne (ft. Alchemist)

Quinn Marston – Can You Hear Me See Me Now

Slow Dancing Society – And to the Dust We Shall Return

Slow Trucks – Gota Move Away

Stirling Says – A to D

Symfoniorkester – Vilseslutet Remake

Three Mile Pilot – What’s in the Air

Violens – Acid Reign

Live Friday: 8-20-10

Don’t ask me where the momentum came from, because quite frankly I don’t really know, but Edward Sharpe and the Magnetic Zeros are pretty huge by indie standards today. I can’t recall a whole lot of blog love for them when their “Up From Below” album came out, but people have caught on to the band, either via the use of their songs in commercials or on the radio. They were a hot attraction at this year’s Lollapalooza, so much so that when I tried to go see them the crowd on the side stage was so big I left after 5 minutes of not being able to see anything. But this live session from them is good enough that no visual assistance is needed to fully enjoy it. The band plays a few songs from their album, including a reworked version of “40 Day Dream” that’s still pretty damn good. In some respects you could also call this an acoustic session, so if that intrigues you even more then please download away. There is a brief interview to go along with these songs, and that’s up for streaming via the link below. They talk about the film project they’re working on, how they survive life on the road in a bus, and a number of other things. Pretty solid on the whole.

Edward Sharpe and the Magnetic Zeros, Live on MPR 8-13-10:
Edward Sharpe and the Magnetic Zeros – 40 Day Dream (Live on MPR)
Edward Sharpe and the Magnetic Zeros – Home (Live on MPR)
Edward Sharpe and the Magnetic Zeros – Fiya Wata (Live on MPR)
Edward Sharpe and the Magnetic Zeros – Up From Below (Live on MPR)

Stream the entire interview/session

Buy “Up From Below” from Amazon

Pick Your Poison: Friday 8-20-10

There are a couple of great surprises in this weekend-starting edition of Pick Your Poison. It wasn’t really intended that way, but I’m not going to look a gift horse in the mouth and you shouldn’t either. The thing many of you will want to pay attention to is the new Weezer song available for download. Now that they’re back on an indie label that understands the value of allowing fans to have a song or two preview, we get this one from their upcoming record “Hurley”. Additionally I’ll recommend the Velvet Underground cover from Dashing Suns, a new song from Margot & the Nuclear So and Sos, as well as the tracks by Seeland and Small Black. All great and perfect for weekend-long enjoyment.

Dashing Suns – Billy Two (The Clean cover)
Dashing Suns – Who Loves the Sun (Velvet Underground cover)

Dead Confederate – Run From the Gun

Ira Atari & Rampue – Dance in the Rain

Junior85 – Raymondscott

Margot & the Nuclear So and So’s – New York City Hotel Blues

Night Horse – Rollin’ On

Paul and the Patients – The Way That You Are

Seeland – Local Park

Small Black – Photojournalist

Special Benny – Air Filter

Vonnegutt – Bright Eyes

Weezer – Memories

Album Review: Matthew Dear – Black City [Ghostly International]

Patrick Bateman is a sick man. As the high powered business executive main character in the book and film treatments of “American Psycho”, he is bored by the soulless world around him. It’s this boredom that drives him to the fantasy of living a completely different life, where he can seek bloody revenge on the guy who has a nicer business card, or pick up random prostitutes and sexually and physically abuse them. At a couple different points in the movie, Bateman puts on some music and talks about the Huey Lewis and the News as well as Phil Collins. While the upbeat songs were intended as darkly comical contrast to the heinous acts that he was about to commit, one might suspect that in his private time Bateman might listen to some seriously fucked up shit. If the setting of “American Psycho” was the present instead of the 80s, Bateman would probably find some delight with Matthew Dear’s explicit and predatory new album “Black City”. It’s probably one of the nastiest, grimiest albums released in recent years, but it’s also coincidentally a great dance record that will get you moving even if you feel like you need a shower afterwards.

“Black City” is something of a radical departure for Matthew Dear. He’s been releasing music since about 2003, but until 2007’s “Asa Breed” he worked with a pretty standard electronica sound. On that last album, Dear finally made the decision to add vocals to the mix, and take his rather formless dance compositions in a much more direct, lighthearted pop direction. Maintaining that pop side but completely axing the lighthearted side of it, “Black City” is dark and brooding and best experienced in the most run-down and scariest areas of whatever large urban environment you live closest to. Despite this turn towards the seedy, the move is brilliant mostly thanks to the inventive way he puts these tracks together with rough edges and odd sound combinations. Of course many may not see it that way, and be completely turned off by these unconventional arrangements. This isn’t an easy album to get into, and there aren’t a lot of hooks to work their way into your head either. That Dear doesn’t have the most conventional or best singing voice also doesn’t help matters. The good news on that end is he’s smart enough to add layers and effects to his vocals so they never harm the song.

If you don’t like “Black City”, don’t feel bad. Unlike the balearic, Italo-house leanings of glo-fi/chillwave recently, Matthew Dear deals in more straightforward electro with his own unique twist. The hyper-sexuality and general sliminess of this record can be a sharp turnoff too, especially if you like high energy build-ups and breakdowns. There’s not much on here that moves out of the darkness and into the light, but as things move closer and closer to the inevitable finish there does seem to be a more upbeat tone that takes hold to suggest hope beyond the semen-soaked streets of Whoreville, USA. Sometimes you need to hit bottom before you can start climbing back to the top. In Matthew Dear’s case, diving headfirst into the gutter has been a revealing and exceptionally creative outlet for him, turning out his best record to date. Do yourself a favor and take that same leap with “Black City”. You may not take a shine to it at first, but just try to remember – it’s only after we’ve lost everything that we’re free to do anything. Or something deep like that.

Matthew Dear – Little People (Black City)  

Buy “Black City” from Amazon

Pick Your Poison: Thursday 8-19-10

Pretty good set of songs on today’s Pick Your Poison. Most importantly to start, the Fever Ray download below, which is a Peter Gabriel cover, is only available for a few hours. Sorry, but that’s all they’ll allow. So if you go to download it and it doesn’t work, that means it’s been pulled offline. Aside from that though, which comes highly recommended, you’re also going to want to focus on the mp3s from Glasser and The Moaners.

The Black Ryder – Let It Go

Egotronic – Mehr Bass

Fever Ray – Mercy Street (Peter Gabriel cover)

Freestyle Fellowship – On This Earth

Glasser – Home

Infantree – Euphemism

Jaques La Bouchere – 2nd Long Street 

Mojo Fury – Deep Fish Tank

The Moaners – Humid Air

Rah Digga – Do Your Numbers

Salli Lunn – The First Cause

teamABC – Tangled (Your Bones)
teamABC – Service Station Feeling of Doom!

Album Review: Chief – Modern Rituals [Domino]

Is it possible to write sunny California-style melodies while living in the extreme urban jungle known as New York City? Californian Bethany Cosentino and her band Best Coast spent some time in New York writing prior to recording their debut album “Crazy For You”, and that seemed to turn out quite well in keeping a surf and sand tone. In a similar fashion, the band Chief features four members who are natives of California, but really didn’t get together and start making music until they were at New York University on the other side of the country. Most of the songs written for the band’s debut album “Modern Rituals” were penned in New York, and part of the album was recorded there as well, before all the guys moved back to Los Angeles last year. The goal might have been to create a record that captures their West Coast energy, but what they’ve done instead is craft something that has the tone and feel of the massive stretch of land in between coasts. It is, in essence, an album for the heartland, with touches of both coasts and everything in the middle.

In terms of overall sound, Chief makes music that sounds immediately familiar. They cite their influences as Neil Young and Tom Petty among others, though they easily transcend the concepts of traditional folk and alt-country. There’s also some good modern-day comparisons in sound to Fleet Foxes and Band of Horses, though it’s easy to get the impression that Chief is aiming for a sound that’s even broader and easier on the ears. There are some big melodies on “Modern Rituals” that rival the open space anthems of bands like U2, Coldplay, Kings of Leon and Oasis, though they never quite reach the astronomical levels required to be considered quite in the same league. These are songs best digested while driving down the expanse of an open road, with nothing but the horizon in front of you. It’s the lively sense of adventure and the unknown that really propels them, along with some reasonably decent hooks. And as brimming with life and sheer worldly expanse as these songs are, they’re also not particularly inventive or surprising. Once you’ve taken in the first couple tracks to wrap your head around the sound, everything else falls right in line with expectation and suddenly you’re surrounded by a series of mid-tempo rock songs that are great but can feel a little plain at times.

It’s worth noting that like a number of great bands coming around these days, Chief has populated their debut album with a wealth of vocal harmonies that turn any otherwise average song into a positively gorgeous one. It’s a smart move, and one that makes “Modern Rituals” just barely worth your time and money. If you have friends that aren’t the most adventurous music listeners, introducing them to Chief should be a pretty safe way to push their tastes just a little bit more in the right direction. And who knows? This band definitely has the potential to blow up huge and play some large venues should they get the support required to take them there. Really though, one can only hope that with this debut album Chief evolves and moves into a more experimental and challenging direction for their sophmore effort. With the potential they’ve shown on “Modern Rituals”, they may just become the toast of indie rock in a few years.

Chief – Night & Day

Buy “Modern Rituals” from Amazon

Pick Your Poison: Wednesday 8-18-10

Hope you’re surviving the week okay so far. I’m in the midst of some exciting changes at my job, which will keep me much busier for the foreseeable future. It’s all good though, hopefully the site won’t suffer at all as a result. Today’s Pick Your Poison is another good one. Be sure to check out the new song from The Black, as it’s particularly excellent. I can also recommend tracks from She Sir, Shit Robot, and XBXRX.

Andy the Doorbum – Wallet

B.A. Johnston – Taste the Shame

The Black – Love Don’t Need A Reason

Dad Rocks! – These Days (Nico cover)
Dad Rocks! – Nothing Keeps Up

Don Diablo vs. Excision and Datsik – Blow the Calypso

Lachi – Emo Children

Le VICE – Shy Guy
Le VICE – Hard to Be Ill

Regrets Brunettes – Facts & Figures

She Sir – Lemongrass

Shit Robot – I Found Love (Radio Edit)

XBXRX – I Can See

Your Youth – Diamond

EP Review: Los Campesinos! – All’s Well That Ends [Arts & Crafts/Wichita]

It’s been a mere few months since Los Campesinos! released their last album, “Romance Is Boring”, yet despite this they still feel the need to put out something as a stopgap of sorts. These kids are nothing if not productive – after all, they did release their debut full length “Hold On Now, Youngster” to critical acclaim, only to follow that up some months later with the 10-track “non-album” titled “We Are Beautiful, We Are Doomed”. This new EP “All’s Well That Ends” is in fact a legitimate, 4-song release from the band, though you’ll be hard-pressed to find it in any other format other than digital. It’s also really something for steadfast and dedicated fans of the band, as there aren’t any “new” songs in this collection. Instead, this EP features 4 songs from their last album “Romance Is Boring” redone in sparse, nearly acoustic arrangements. The tempo gets slowed down and there’s a few different vocal turns as well, allowing for certain more subtle elements of each track to really get pushed forwards.

In case you’re busy sorting through your mp3s and are too clumsy to notice the difference between these EP versions and their originals, Los Campesinos! have helpfully added a few additional words to each song title. Starting out with “Romance Is Boring (Princess Version)”, they turn the punky original into something that’s a little plodding (and quite frankly a little boring…just like romance!), but there are some nice instrumental touches with the acoustic guitars, slide guitar, piano and violin. The most markedly different (and quite frankly exciting) track on the EP is the remake of “A Heat Rash In The Shape Of The Show Me State; or, Letters From Me To Charlotte”. Here it’s retitled “Letters From Me To Charlotte (RSVP)”, and the most noteworthy change is in vocalists, where one of the girls in the band sings. Given that Aleks has now officially left the band, they don’t have a female voice that’s quite as strong as hers. That’s evident from whomever (Kim or Ellen, etc) is singing “Letters to Charlotte (RSVP)” in a duet with Gareth, though to be clear the singing isn’t bad or off-key in the least. Lacking confidence might be the best phrasing to use when describing it. Yet it’s also remarkably effective with the tragedy and general sadness of the lyrics mixed with the acoustic and violin sentiments. “Straight In At 101/It’s Never Enough” has new doubled over male vocals courtesy of Rob backing up Gareth, and it gives the whole pathetic chasing girls lyrical scenario that much more creedence. It does come off as a bit odd though, what with two guys not so much singing but more delivering that spoken word vocal without so much as a harmony. Then again, Los Campesinos! don’t really do harmonies. Where “(All’s Well That Ends) In Medias Res” shines is in the actual execution. The otherwise busy and fast-paced original track that opens the “Romance Is Boring” album may have a ton going for it, but this new quieter version allows for greater focus on the lyrics and other moody nuances.

For an EP that’s tough to find physically and essentially only for Los Campesinos! completists, the band is doing the right thing by making its availability somewhat scarce. Unlike many acoustic or stripped down records that bands tend to release, “All’s Well That Ends” isn’t quite as good or revealing as you might hope it would be. Perhaps the biggest reason for that is the very complicated and unique nature of Los Campesinos’ music in the first place. They have so much going on in each song and there’s plenty of energy that goes into each performance, so when you strip all that away you’re left with are Gareth’s lyrics, which are quite brilliant but no different than they were originally. Sure, this stripped down approach gives you a reason to focus on said lyrics amid what otherwise would have been busy arrangements, but in the world of Los Campesinos! if you listen to each regular album track enough you’ll get around to the deeper meanings and entertaining wordplay eventually. Best to view this EP as a curio, something at the very least worth hearing just to know what the band does when the chips are down and the glockenspiels are put away. Anything beyond that and you’re probably going to struggle to figure out why it was worth the few dollars you spent on it.

Los Campesinos! – Romance Is Boring (Princess Version)

Buy “All’s Well That Ends” from Wichita

Pick Your Poison: Wednesday 8-17-10

If you love the first half of the alphabet, the small surprise in today’s Pick Your Poison is that pretty much every single artist begins with a letter from that first half. Mere coincidence really, but it just so happens there’s also a number of great songs in this collection as well. If you like hip hop, Gary, Indiana native Freddie Gibbs has a new version of an old mixtape for your downloading pleasure. Also there’s a new one from Marnie Stern, who is just plain awesome. The remix of the Apache Beat song also comes pretty highly recommended.

A Classic Education – Gone to Sea

Amy Bezunartea – Doubles

Anoraak – Above Your Head (ZIP)

Apache Beat – Another Day (Blood Diamonds Remix)  

Breathe Owl Breathe – Swimming

Bubble Scum – Body 2 Body

Christopher Paul Stelling – Flawless Executioner

Dominant Legs – About My Girls

Efren – Check It Down

Freddie Gibbs – St8 Killa No Filla (No DJ version) mixtape

Lovers – Figure 8

Marnie Stern – For Ash

Album Review: Candy Claws – Hidden Lands [Twosyllable]

Creativity can be a funny thing. No matter how hard you might try to bring a sense of creative originality to your work, after awhile it becomes easy to fall into the same patterns you started out with. This isn’t always a bad thing, especially if you’ve got a particularly compelling creation in the first place. But should you get bored and worried that you’re not pushing yourself hard enough or far enough in a certain direction, there’s always drastic steps you can take to force your hand. This is what the duo known as Candy Claws did for their second album, “Hidden Lands”. Upon starting work on the album, they realized that they kept using the same guitar chords and song structures that were on their first record. Looking to diversify, they picked up an instrument they had never played before, the keyboard, and began hunting for moments that “sounded right”. The result is a densely layered and obscure record that’s equal parts fascinating and challenging.

At first glance, the layers of synths and obscure time signatures of “Hidden Lands” could bring up memories of Animal Collective circa 2004-05 in what might delicately be referred to as the “Feels” era. There’s perhaps an even stronger connection to Beach House, given the male-female dynamic of the duo and again, the synths. Yet Candy Claws never quite sound like they’ve got a firm grasp on either of those two bands, instead moving in their own unique direction that’s mainly original because Ryan Hover and Kay Bertholf don’t fully know what they’re doing. Yet it still all makes complete sense, particularly in the context of the full record. There’s actually so much going on sonically with layers upon layers, they’ve had to recruit six more people to perform these new songs live. The whole album just sort of drifts by, like a cloud floating past in the sky, with little distinction or moments that stand out. Yet it still sounds beautiful, though it’s not the most upbeat record, like when said cloud covers up the sunlight just as you’re trying to catch a tan. Two of the things that make “Hidden Lands” what it is are so subtle you might not notice them unless you were listening carefully with headphones on. It’s the faint crackle of a vinyl record and the chirping of birds, both of which give the album a natural warmth that significantly aids the mood and tone of the songs.

Lyrically speaking, the words on “Hidden Lands” are pulled from author Richard Ketchum’s novel “The Secret Life of the Forest”, but they’re not exact representations of what’s written in there. See, the band used a fun little online translator known as “Translation Party”, which translates English to Japanese multiple times in a row to show how the phrasing and meaning changes the more times you translate. So basically the lines from the book the band chose to use as lyrics are the fresh, multi-translated versions of the originals. The thing is, not much of it matters because most of the time you can’t hear or understand the lyrics clearly. They’re buried beneath the layers of synths or run through distortion programs, the main purpose being to add to the overall sound in a song rather than try to add depth or meaning. To put it another way, Candy Claws don’t want to tell you what to think, but instead are just asking you to go with the flow. Bringing it back around to the cloud metaphor, nobody can definitively tell you what a cloud “looks like”, because everybody has their own interpretation of the same thing. You might see a porcupine shape, while somebody else sees a princess crown. Whatever holds more significance to you, that’s the correct viewpoint.

Ultimately, “Hidden Lands” is something of a dream album, in the sense that’s hazy and gorgeous to listen to. The keyboards shimmer and the vocals are wispy, covering the entire record in a gloss that’s in no way grounded in reality. One of its biggest benefits (and problems) is the clear lack of standout tracks, from the formless 7 minutes of album opener “In A Deep Time” through the final five minutes of “A Strange Land Discovered”, you drift through as the titles suggest with little grasp of space and time. There’s really nothing too catchy, and the oft-indecipherable vocals help prevent much from sticking with you anyways. For album purists, this should be a delight, while single song obsessives would do best to look elsewhere for compelling tracks. They may not have known what they were doing when they started crafting a keyboard-heavy record without any prior knowledge of the instrument, but the end results are delightfully off-kilter without being too obscure. It leaves you wondering – if they can make something this good from an instrument they knew nothing about, what can they do with instruments they’re already intimately familiar with?

Candy Claws – Sunbeam Show

Buy “Hidden Lands” from Amazon MP3

Pick Your Poison: Monday 8-16-10

Blah, here’s yet another Monday that signals another start to the work week. Try to avoid getting stuck with “Garfield syndrome” and hating this day each week. Some good songs on this edition of Pick Your Poison. A new one from The Concretes should cure anybody’s early week blues. Francis and the Lights also have a track worth checking out. And hey, there’s a fresh No Age track for you to fully enjoy as well.

Betsy Franck and the BareKnuckle Band – Lowdown

The Concretes – Good Evening

Francis and the Lights – Knees to the Floor  

Heister – Fairfield

Jenny Wilson – Hardships (Gospel Version)

Juston Stens and the Get Real Gang – Lonely Lonely Night

The Lights – Puerto Escondido

No Age – Glitter

Panico – Reverberation Mambo (Joakim Mix)

Polyamorous Affair – Bright One

Seekae – Blood Bank

Pick Your Poison: Friday 8-13-10

Happy Friday the 13th. I hope no black cats crossed your path or anything of that sort. As is typical with a Friday edition of Pick Your Poison, things are a little lighter than usual on the mp3s, but there’s some solid quality today. With the announcement of a new Elliott Smith compilation coming out, there’s an old school mp3 from him available for download. The new Matthew Dear album is getting great reviews so far, and you can hear something from it below. Also of note are good things from S. Carey and Warpaint (in their 2nd mp3 this week!). Check it all out, and enjoy your weekend.

Elliott Smith – Between the Bars

Lia Ices – Grown Unknown

Marmoset – Doo Wop
Marmoset – She’s Wearing Rings

Matthew Dear – Little People

Rooftop Vigilantes – Seth No Jump

S. Carey – In the Stream

Tears Run Rings – Reunion

Turzi – Baltimore (Civil Civic Remix)

Warpaint – Billie Holiday

Yvette Rovira – I Remember Love (DJ Spinna Galactic Soul Remix)

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