Archive for the ‘Album Reviews’ Category

Real Estate // Reality EP

Tuesday, July 27th, 2010

A lot has been said about New Jersey natives Real Estate (and arguably the best was written by Lou over at Salad Fork), and if the quartet of Martin Courtney, Matthew Mondanile, Alex Bleeker, and Etienne Pierre Duguay keeps doing what they’ve been doing the past year-and-a-half, a lot more will be said. I have to say that I’ve never shelled out twenty-five bucks for a vinyl EP consisting of six crudely recorded tracks, but when I stumbled across a first pressing of their Mexican Summer release at my local record store, I was more giddy than apprehensive about the purchase. That’s how good this band is.

Before continuing, I must confess something: I hate the beach. I hate everything about it. I easily get sunburned, so I don’t particular enjoy sprawling out on the coarse sand and feeling three different types of UV radiation do a blitzkrieg on my skin. I also loathe swimming, so much so that it was the last required merit badge I got before getting my Eagle Scout (I was the lone 16 year-old in a class of early middle schoolers). For me, the entrance to the 7th circle of hell would be Satan handing me a beach towel and saying, with a smirk on his face, “enjoy.” So when people — mind you, most of which sit at the computer 16 hours of the day — talk about how Real Estate produces quintessential beach jams, I don’t particularly view it as a positive.

Somehow though, Real Estate’s music rises above my disdain for the shore so much that I can’t help but call them my favorite band of the moment. Although evidently clear that this was one of their first releases together (background hiss on the recording, a little bit of inconsistency on the tempo, etc…), there is something endearing about listening in at such an early stage. With a solid S/T LP to come later, Reality seems more like a bedroom practice session, giving the listener an intimate look at the inspiration and song writing process of the group. Take for instance the opener “Motorbikes”: a two-minute instrumental jam featuring enough guitar tinkerings that it seems more improv than polished piece. Bleaker gives the group a solid foundation on the bass while Mondanile and Courtney shimmer in and out with whatever rip they feel like playing. Musical discovery at its inception.

Much of the album continues in the same fashion, with half of the tracks on Reality never appearing on any of the groups later releases — and none making the cut for their critically acclaimed S/T LP. For newcomers to the group, Reality is probably not the best starting point, however, die hard fans should really get hold of a copy. Thankfully, Mexican Summer has made it easier by repressed the album, so you can cop one right now at the discounted price of $19.98. To whet your appetite, check out my two favorite tracks from the vinyl as well as a video of the group from one of their performances at SXSW ‘09:

Real Estate // Dumb Luck

Real Estate // Basement

RxRy // VAEIOUWLS

Monday, July 12th, 2010

It’s been a while in internet time since we heard a peep from anon ambient electronic musician RxRy, and evidently it’s because he’s been hard at work putting together his latest LP, cryptically entitled VAEIOUWLS. Sure, there have been a couple of mp3s here and there along with a handful of geometrically dense music vids, but it’s been a full 6 months (yikes!) since his stellar debut was released to the masses for free. I remember it was only a couple of years ago when the online music community would chide an artist for his prolificacy, now in the hype-machine world we live in, we expect a constant stream of new material, putting a strain on the already over-worked/underpaid musician.

Regardless, RxRy has been able to rise to the demands of present-day bloggers, putting forth his best effort to date with VAEIOUWLS. All it takes is a single, continuous headphoned listen to the album to realize that the two months spent on “arranging these tracks, honing them in, sharpening them, and making sure they could cut” was well worth the time invested. It’s refreshing to see that in this single-centric music environment of today, someone goes the extra mile to create a complete album where each track is integral to the work as a whole. It’s musical synergy at its finest.

In my opinion, the thing that RxRy does best with his music is that he can create an incredibly vivid visual image using only auditory data. Forest at dusk (“UUAII”), riding waves on the ocean surface (beginnings of “OIUIO”), rumblings of an active sea floor (obviously “EUIEE”) are all scenes I had pictured in my head while listening to the album with headphones on. So with each track change you not only get different music, but you get teleported to a different — sometimes alien — environment.

RxRy also has a knack for making the complex seem simple and natural. For example, on casual listen, the opening two tracks “AIUIA” and “UUAII” would probably be described as “slow-tempoed”, “gently evolving”, or “ballad-like”, however when intently listening to the amount of individual layers, it’s unbelievable how much texture is present even in these relatively straightforward tracks. Similarly, fast-paced dance songs, such as “EIOAA” and “IIOYI”, contain a plethora of quick bloops/bleeps and precise intros/exits, however the tracks somehow never appear rigid or overwhelming — something that I’d imagine is incredibly hard to achieve when working with so many layers.

Following in the footsteps of his past releases, RxRy has released the entire album for free download on his website (on the sidebar), however if you just want a taste, check out two of my favorite mp3s from VAEIOUWLS below. In addition, he’s provided some stubs to some of his tracks that is sure to be fodder for any remix maestros out there. Unfortunately, no physical releases are scheduled at this time, but RxRy is certainly more than open to the idea if you’d like to help finance the undertaking (I smell a kickstarter project…).

RxRy // EIIOA (flint rasp export defect)

RxRy // IIOYI (strategy pulse feed loop)

ceo // White Magic

Sunday, July 11th, 2010

About a week ago was the release date for ceo’s White Magic, one of my most anticipated LPs of the year, and I just got around to listening to it for the first time during my recent vacation. If you don’t want to read my lengthy, unabashedly glowing review, then let me put my opinion in a nutshell: YOU GOT TO BUY THIS ALBUM.

I’ll leave a “proper” review of the album to the professionals, and instead use my time to highlight the three things that blew me away the most with Eric Berglund’s solo debut:

  • The strings: I guess it’s always been present in most of the Tough Alliance stuff (see: closing of “Something Special”, background in “New Romance”) , but the orchestral component on White Magic is certainly more ear-grabbing. The LP opens with “All Around”, a three-minute track of repeated cello-championed melodies and violin lines, and closes with “Den Blomstertid Nu Kommer”, a modern take on what sounds like a religious hymnal featuring a string quartet and a church organ — with much of everything in between including some sort of symphonic component. Surprisingly, Berglund’s blending of high-brow instrumentation with Balearic melodies and beats work out extraordinarily well. The best example of this coexistence is “Illuminata” where the driving force of the song, the oddball percussion-heavy beat, receives support during the interludes from a group of sprightly strings, creating a cheerful dance track.
  • The structure: One of the most common comments I made when listening to the album was the quality of the bridges. Any dude with Ableton Live on his laptop can create a hook or a verse, however, it takes an expert to properly connect the elements into a workable song. Track after track on White Magic showcases Berglund’s talent in this regard: the electric guitar rip on “Love and Do What You Will”, the fluttering electro-elements and spliced up samples on “Come With Me”, the river sounds swelling on “White Magic”, and on and on and on… Equal to his ability of creating these dynamic bridges is Berglund’s savvy constructions of song endings. Obviously fading the melody slowly into the blackness of in-between-track space is nothing new, but ceo songs typically introduce interesting new phrases before closing out a track. The opener “All Around” has your typical violin decresendo at the thirty-seconds-left mark, however, the song doesn’t end as simply as you’d expect. Instead, Berglund opts for starting earthly groans just as the strings finish, using these sounds to connect with the following track “Illuminata”. For ceo, endings are more important than just wrap-ups.
  • The singing: Maybe it’s just me, but there is something endearing about Berglund’s accented English and slightly strained vocals. Obviously, the lyrics are catchy, interesting, and oftentimes ironic when coupled with song’s melody, however I think it’s Berglund’s “Average Joe” appeal that makes his music so sing-song-y. I find myself belting out the chorus of “come with me / COME WITH ME” primarily because I feel like I can sing it, and not only that, but sing it well (a notion that could easily be disproven in a nanosecond with the use of a recording device).

So yeah, White Magic is Swedish dance-pop at its best and one of the best albums of 2010. You can listen to title track, and arguably my favorite song from the record, below and cop the album from either the Sincerely Yours shop or from Modular Records.

ceo // White Magic

Whitehaus Family Record Compilation

Tuesday, June 8th, 2010

The Whitehaus Family, a Massachusetts collective (yes, another one), has put out an exceptional compilation highlighting folk and experimental electro-psychedelic acts the label is known for. Already home to buzzworthy bands Truman Peyote and Prince Rama, Whitehaus also has its share of unknown gems that shine brighly on this 27-track double LP.

Two of these such acts, and my personal favorites from the record, are the jungle beats of Many Mansions and the dark Mountain Man-esque a cappella rounds of Anna Rochinski — both of which you can check out below. You can stream the entire compilation as well as order the double LP in physical or digital format (the later costing you only $5) at the collective’s bandcamp page. And while you’re at it, head on over to their online store to see if any other titles deserve attention from your wallet.

Many Mansions // Porchside Rooftop

Anna Rochinski // Burning Snowflakes

Gobble Gobble // Gobbl’d Vol. I

Thursday, June 3rd, 2010

Cecil from Gobble Gobble has to be one of the hardest working musicians out there these days. It seems that every two weeks I get an update from him concerning new songs or new projects that I can hardly keep up. Case in point, this remix tape appropriate entitled Gobbl’d Volume I set to be released in physical form by Scotch Tapes sometime in July (with cover art by Jheri over at GOTC).

Composed of tracks that he’s steadily been releasing the past couple of months on myspace under the heading GBL GBL RMX CABARET, the tape showcases not only Cecil’s talent of reconstructing a song from the ground-up but also his incredibly eclectic taste in music. I mean, I like to consider myself at least moderately informed when it comes to emerging groups and even then I find myself googling half the band names on the tape for the first time just to find out how the original sounds! If the whole “music thing” doesn’t work out — something that looks less and less likely as time goes by — there is certainly a spot for him in the blog world.

Below are two of my favorite tracks from the remix tape. If you like what you hear, for a limited time you can download the entire tape for free from Gobble Gobble’s tumblr page.

Diamond Rings // All Yr Songs (Gobble Gobble Remix)

Silly Kissers // Sweet Adrian (Gobble Gobble Remix)

Thick Shakes // Ooh Mommy

Wednesday, June 2nd, 2010

My friend Burgers introduced me to the cool jams of Massachusetts garage trio Thick Shakes a while back and recently I ran across a tight single of theirs on Weekly Tape Deck, so I figured it was high time to cop their debut EP Ooh Mommy for free from their website.

After a couple of repeat listens, I have to say that I’ve fallen head-over-heels for this group. First off, the band name is not only the best thing I’ve heard in a long time, but is strangely the best description of their sound: tasty pop gems oftentimes surrounded by viscous instrumentation (most evident in tracks like “Glass Mask”). Secondly, the songs absolutely kick ass all around. The tape opens with “(Baby) You’re a Starfish”, a track with a driving repetitive bass line and pulsating keyboard chords making it sound like the love child of Explode Into Colors and The Allah Las — which for me is always a winning combination.

“(Baby) You’re a Starfish” certainly sets the tone of the EP as the band blazes through “Glass Mask”, “Nobody’s Girl”, and “Julie K” in much of the same fashion. The second half of the release (presumably the flip-side to the Snuggle Hound Records cassette) features their most downtempo, chilled-out track in “Memory Foam” as well as two cover songs. The dark, slightly creepy, “Underwear” by the Magnetic Fields gets a face-lift with bassist Lindsay Crudele and guitarist Tim Scholl providing upbeat harmonizing vocals, striping the original track of any hint of back-alley seductiveness. The eight-song EP ends on a bit of a low point with a muddled rendition of Cuby & The Blizzards “Your Body Not Your Soul” that drags along a little too much making you long for the sharp guitar rifts of the original. Hey, 7 great tracks out of 8 certainly isn’t bad for a debut!

Check out two of my favorites from Ooh Mommy below and, if you like it, head to their website to download the whole thing at the cost of an e-mail address. Also, check out Thick Shakes’ muxtape page for some “baby demos and new songs.”

Thick Shakes // Nobody’s Girl

Thick Shakes // Underwear (Magnetic Fields Cover)

Pill Wonder // Jungle|Surf 12”

Wednesday, April 14th, 2010

It’s been a while since I’ve done a record review, but Pill Wonder’s Jungle/Surf 12”, released on the much heralded Underwater Peoples label, is just what I need to snap out of my slump. Adhering to the records appellation to a T, the vinyl is thematically split — the A-side being more “earthy” and the B-side more “beachy”, as you would expect — showcasing the diversity of these Washington experimentalists. Producing some of the most original full-band stuff I’ve heard in quite sometime, it’s hard to pinpoint (or, as bands would say, “pigeonhole”) Pill Wonder’s sound. All your left with after an initial listen is a favorable impression and the desire to spin the record on repeat.

No doubt, the vinyl’s highlights are found in the mid-section of each side. Marked by a mishmash of percussion noise and a persistent squeaky sound, which I can only describe as a distractive recorder-gone-bad, the openers of both faces on the 12” (“Foggg Eater” and “Wasted By the Screen”, respectively) certainly don’t put the band’s best foot forward. However, all is forgotten and forgiven when the needle jumps to track 2. On the A-side, “What We Know” begins with an assortment of wildlife sounds which matched perfectly the animal projections they had displayed when I caught them live back in November. After about a minute of this, the melody begins to rise up from the jungle floor and whispered vocals — the type that is more secretive than seductive — take over the track. Towards the end, the “bubbling feeling” that is present throughout the song gets manifested literally by a rapid-echo on the “AAoohhs” before seamlessly transitioning into the next track. Arguably my favorite in the bunch, “Being Bored”, with its legato couplets at the beginning and end of each phrase and its bouncy beat, is a lot of fun to listen to and, I’d imagine, a lot of fun to record.

As for the B-side, the second track, entitled “Gone to the Market”, is a verifiable jammm. Equipped with a head-bobbing intro and chant-able repeated lyrics of “and they look you in the eye”, the track will easily rouse the most arms-crossed of hipster crowds and have them singing in unison to the “AAAAOOOooohhhs” by the end. After the dancing to “Gone to Market” ends and the dust is settled, the record concludes with two of Pill Wonder’s most ballad-like songs: “Family Vacation” and “When I Look Back”. The former is a pleasant-enough track that brings the listener off their high and back to planet earth while the latter is short and sweet enough to serve as a perfect palate cleanser to an otherwise raucous record.

Give a listen to “Gone to Market” and “What We Know” below as well as check out the amazing, but mildly-NSFW, video they put together for “Wishing Whale” (the closer to the A-side). And if you like what you hear, cop the record from Underwater Peoples’s store here.

Pill Wonder // Gone to the Market

Pill Wonder // What We Know

The Letter Box Project // Memory Static

Thursday, March 25th, 2010

I’ll admit it: I’m a sucker for hazy superimposed images where I have no idea what is going on in them (however, I think I can vaguely discern a giant Curious George head in the foreground). The picture above is taken from the myspace page of one Tyler Bates, otherwise known as The Letter Box Project, whose music just so happens to parallel the foggy nature of the photo.

About a month back, Bates sent along a digital excerpt of his latest creation, the aptly titled Memory Static, which is a collection of fluidly moving songs that are sure to garner a handful of listens from Toro y Moi and Julian Lynch fans. Out of the eight tracks included in the abridged .zip, the two that stood out in my mind were the spaced-out “Flashback” and the bass thumping “Epilogue (Funeral Pyre)”.

With “Flashback”, Bates channels his inner Lindstrøm and weaves together an astronomical work filled with sci-fi bloops & bleeps and undulating synth swells — using a series of crescendo/decrescendos about as effective as his Norwegian predecessor. On the other hand, “Epilogue (Funeral Pyre)” is a slow moving head banger that’s more industrial than interstellar. With a blaring bass beat that could provide plenty of flash for a creeping rap-free ‘67 Chevy Impala (if there is such a thing!), the track evolves imperceptibly by slowly layering whole-note synth lines on top of each other before stripping them off one-by-one abruptly towards the end of the track.

Fortunately, almost all of Mr. Bates’s work is downloadable from his Sound Cloud page which houses the demo version of Memory Static, his last EP entitled Oceans, and other miscellaneous tracks. However, if you just want a sample, check out the two tracks below as well as his trippy video to the Arthur Miller-approved “Death of a Salesman”:

The Letter Box Project // Flashback

The Letter Box Project // Epilogue (Funeral Pyre)

Girls in the Eighties // Teenage Royalty

Tuesday, March 9th, 2010

Seems that while I was on break, a lot of things happened. But let’s not harp on the past, but rather dive head first into the future with, ironically, a band named Girls in the Eighties.

Now I’m not quite sure how I suddenly had a series of mp3s from this Nashville fuzzed-out group appear in my iTunes library, but thankfully it happened. Evidently, it can happen to you as well, as the band is giving away their debut, entitled Teenage Royalty, FOR FREE from their myspace page (or, for the less stingy, you can send them along $5 for a physical copy). What I like most about Girls in the Eighties’s album is how they somehow manage to mash together noise rock with mainstream pop without any blend occurring whatsoever. Just like water and oil in a bottle – together in the same container yet completely separate and distinguishable — it seems on every song you have a certain catchy-ness that you would find on the Billboard Top 100 while simultaneously blasting your ears with reverb filled vocals and staticy guitar lines. I mean, sure, we’ve heard plenty of roughed-up pop songs to go around this past year, but where The Pains of Being Pure at Hearts of the world work to blend together the elements of the two worlds, Girls in the Eighties are more keen on separation.

No track is a better example of this than their opener “Vacation”. Take away the bullhorn screamed vocals and the warbled looped sample midway through, and what you’re left with is a crystal clear pop-rock track that could be featured on Now That’s What I Call Music 33. It’s like they know that these tracks could be Grey’s Anatomy bound and are intentionally screwing them up with noise, all while giving a collective middle finger to mainstream music companies. Brilliant!

Now certainly, Girls In the Eighties bend both ways across the happy medium they found with “Vacation”. “Teenage Royalty”, for example, is much more muddled with only a discernible melody during the chorus and is frequently clouded with random electro bloops & beeps fluttering every which way. On the other hand, “Yesterday’s Don’t Mean Shit” and “Too Cool For This Crowd” venture too much into your High School Senior Class Song territory, but, fortunately, both are salvaged by their cheeky lyrics. If anything can be said about Teenage Royalty is that it’s a fun listen that’s good for a play pretty much anytime.

Here are a handful of my favorite tracks and, if you want more, just head on over to their myspace to dowload the LP:

Girls in the Eighties // Slow Motion

Girls in the Eighties // Teenage Royalty

Girls in the Eighties // Vacation

Fennesz // June

Monday, February 22nd, 2010

Found a copy at my local record of Austrian avante-garde extraordinaire Christian Fennesz’s post-Black Sea 12” single entitled “June” which was limitedly released on Table of Elements, and man is it a doozie! This vinyl must be pretty obscure since there is no record of it on his wikipedia page and there are only a few places online selling it, ranging in price from $20 to £17 + shipping — almost as bad as a Mexican Summer release! Showcasing an etching on the A-side of what looks like a cartoon dragon eating a banana, this slab of orange wax is more aesthetically pleasing to the eyes than to the ears.

Although some will balk at the price tag for an album which only houses a bizarrely constructed five-minute track, with “June”, Fennesz puts together a hauntingly droney piece that’s a natural fit with the mentally taxing Black Sea. In typical Fennesz-fashion, musical textures are front and center — although much sharper and coarser than anything off its LP predecessor. Somehow included as part of Table of Elements 15th anniversary Guitar Series (featuring a slew of limited edition single-sided 12” vinyls), the spidery concoction of string plucks Fennesz highlights on the song isn’t remotely near anyone’s notion of what a “guitar series” track should song like.

Well don’t take my word on it, you can check out an mp3 of the track below:

Fennesz // June