The Trundler: May 2012

I can fall asleep to almost anything I listen to. I tend to get distracted when I’m studying if I’m listening to a new album, but can almost always happily hear the sounds of a familiar record while getting work done. Enjoyable driving music encompasses a vast selection of tunes and can be almost anything. However, one album that always requires my undivided attention is Hello Dear Wind by Page France. It’s an emotional journey through those moments when you can’t get over childhood, whether as an actual child or older. Biblical stories become vehicles for more idyllic times in the early part of the album. A junkyard becomes the stomping ground for a king and a queen to arise, a feather the lifeline by which two people remain connected for eternity. The tracks in this album all successfully analogize everyday occurrences into fond memories of youth.

Each song is carried along gently with plethora of softly strummed guitars hovering underneath Michael Nau’s soft, trembling voice. Tambourines, bells, and an xylophone comprise the majority of the percussion, never failing to deliver a hearty beat for the gorgeous sounds around to shine through. Opening track “Chariot,” featured in Grey’s Anatomy years ago, promises that “we will become, a happy ending,” only after the bridge breaks down into a variety of voices chanting “Fire come and carry us, make us shine or make us rust, tell us that you care for us, that you need to hear a word from us.”

This album is simply a wonderment of folk music, lightly touching upon deep topics while buoyed by enrapturing sounds from the band. Nau’s cadence is sweet and lively, giving the entire album an atmosphere of warmth and openness, a naïve and playful attitude that I rarely hear. A highly recommended listen for anyone who loves down tempo folk that produces moments of pure beauty.

Tuesday, May 29, 2012

Local Slice: HOYOH-Cedar Falls, IA

Recently I was given the opportunity to listen in on a jam session with Cedar Falls band HOYOH. A four piece with an ear for sharp licks and a penchant for rapid changes in both pace and tempo, HOYAH formed in summer of 2010. Comprised of Dylan Diemer on Guitar and lead vocals, David Woods on Guitar, Michael Bowman on Bass/trumpet, and Brayden Richter on the trap, the band boasts a rich, upbeat sound reminiscent of early Modest Mouse particularly on song introductions like “She’s a Wreck.”

Diemer, manning the vocals sings in a consistent nonchalant baritone that develops its own identity and personal style. Meanwhile dueling guitars swirl around each other coupled with Richter’s steady and ferocious drumming. Bowman’s bass, while not present at this session, in recorded format provides a stable, billowing sound to the spirited instrumentation above it. The song structures are adventurous, leaping and bounding without hesitation while also capable of adjusting tempo quickly. Influences are clear from the Jack White dirty blues on track “Mr. Bones” to Girls in “If You’re Weren’t My Girl,” a sunny ditty to start, that explodes into a plea for a former love to come back, but with a sadness that implies there is no happy ending.

I did not witness a personal performance by any means, as this set was a true jam session with the members innovating and expanding their songs. Discussions about parts occurred in harmony and subtle but effective changes occurred throughout. A promising band that can and should grow in the coming months leading up to a recorded release. Check them out! http://www.facebook.com/#!/pages/Hoyoh/324268607586235

2012 Favorites: Cloud Nothings-Attack on Memory

You might recall this band as the guy who recorded every part himself on his first two albums. Back then his music was very catchy, smarmy, and similar. If you weren’t a fan of this before, start afresh here. This is a GIANT step forward, due in no small part to the fact that Cloud Nothings is a full-fledged band. And if you read any reviews they keep talking about how this sounds like a band album as opposed to the last one, and this is totally accurate. In his S/T all the parts fit so well because they were played to mesh together and work as one sound. Here the various instruments actually work with and against each other; every instrument actually sounds like the work of a distinct individual.

A raw energy drifts through the background of this entire album, lending it a gritty vibe that was not present in earlier offerings by this band. Some of the edgier songs such as “Wasted Days” pummel through in three minute bursts, while others snake around well past eight minutes of pure punk rock. A great listen for anyone looking for a dose of high octane punk that brings back fond memories of middle school.

Thursday, May 24, 2012

New Grooves: Colleen Green-Milo Goes to Compton (2012)

Signed onto the same label as Best Coast, Vivian Girls, and the Drums, Colleen Green fits right into the sunny, good times vibe that all these artists convey. Her first track on the album Milo Goes to Compton, is a cover of the Descendants “Good Good Things.” Green’s version forcefully asks over fuzzy of guitars “Where were you I was in so much trouble with myself? Do you still believe in me like I believe?”

Whereas similar label mates mess around with jaunty chords and happy go lucky choruses, Colleen Green puts forth her punk influences, turning up the distortion and the crunch. Some songs are filled with great guitar licks that showcase her playing ability like the end of “I Will Follow Him.” Personal favorite, “Worship You” coos teasingly at a lover “You’ve got a long ways to go, to be the one I sleep with every night, to be the one I let tuck me up tight, to be the one I want to dream of.” Her voice skips over these notes as crunchy guitars churn underneath the mix. Overall a quick, swell listen that will please fans of the above bands mentioned.

Glossed Over: Nicole Atkins-Neptune City/Bleeding Diamonds EP (2006/2007)

I am floored that Nicole Atkins did not join the ranks of Feist, St. Vincent, Stars, and several others that blossomed in the mid-aughts. Her music drips with glowing pop gold, throwing ridiculously alluring hooks all over the album. Neptune City opens with “Maybe Tonight,” a crooner that yearns for someone to fulfill Nicole’s pleas, sung a in hearty alto with a twinkling xylophone accompanying a quickly strummed acoustic.

Track 2, “Together We’re Both Alone” explores the comfort of enjoying solitude with another person, a difficult but rewarding feat in Atkin’s words: We’ll sit up upon the bed for awhile, Together we are both alone but we don’t mind, We’ll dream of something to try and make it alright,” before exploding with violins and brass.

Each song carries a distinctive jazz touch, an clear influence of Atkins throughout the record. The back half is loaded with wonderful songs including the Title Track, Neptune City a slow burner that cascades into a wash of shimmering sounds while Nicole fantasizes about either a fictional city in the sea or maybe a place that can only be a memory now “I’m sitting over Neptune City, I used to love it, used ot be pretty, I’ll come down walk around a while, Till I’m sure that I can never go home again.” Following this is perhaps her most recognizable song, “Brooklyn’s on Fire!” Opening with bombast Nicole paints an alluring picture of Brooklyn “Ohhh Brooklyn’s on fire, And Fills July Hearts with Desire, Sleep will not come until the morn, cause tonight your memories are born.” The bridge breaks down into a cacophony of violins and background voices shouting “Fourth of! July! Brookyln’s! On Fire!,” before ceding back to Nicole’s voice and rapidly played piano hovering in the background.

I included Bleeding Diamonds EP almost exclusively for the opening track, “Skywriter” a mellow sounding song that tries to find solace and reason after a breakup: “I’m out watching the skywriters finding futures for the people below.” Her cadence and falsetto voice really carry the chorus, as it strive to ease the hurt, but unsure if it’s able. Nicole Atkins has released several collaborative and solo EP’s, along with a lovely full-length in 2011 Mondo Amore. Her debut music really caught me and I think it is a great starting point for her music.

Friday, May 18, 2012

2012 Favorites: Porcelain Raft-Strange Weekend (2012)

A fantastic listen from a bedroom project in Italy. So many familiar bands seeping through that I love; Radio Dept, Baths, Pains of Being Pure at Heart. This guy is touring with Youth Lagoon and M83 this spring, but he is much lighter than both of those bands. Very carefree, bouncy music that fits over interesting and pulsating beats like Baths has. The vocals are heavily multi-tracked, and together they sound like one Jonsi of Sigur Ros. I mean this as a compliment since Jonsi has one of the most unique and stunning voices I will ever hear.

He arranges his various voices in great harmony, and shows a wide range not just in his pitch, but also in some of the sounds he can make with his voice. Traditional sounding vocals become far more intriguing when manipulated into unorthodox singing methods, like starting a quick meow like sound only to have it loop high and into the background and return full voiced within a matter of seconds, a trick he uses a couple of times but particularly effective in I think track 7, “The End Of Silence.” Other fantastic songs like “Unless You Speak From The Heart” and “Put Me To Sleep” put a driving, danceable beat to songs about leaving the party, and refusing advances unless they mean something. Released early this year, a wonderful shoe gaze album that breezes by in a beautiful listen.

Wednesday, May 16, 2012

Tours of Note: 5/16

(Abbreviations: MI=Michigan, SF=San Francisco, SB=Santa Barbara, IA=Iowa, FL=Miami, Florida, WI=Wisconsin)

Tallest Man on Earth: http://consequenceofsound.net/2012/05/check-out-the-tallest-man-on-earth-1904/

Twin Shadow: http://consequenceofsound.net/2012/05/twin-shadow-announces-2012-tour-dates/ (MI, SF, SB)

Youth Lagoon: http://consequenceofsound.net/2012/05/youth-lagoon-adds-summer-tour-dates/ [MI, MD, OAK)

Florence and the Machine+The Weeknd: http://consequenceofsound.net/2012/05/florence-and-the-machine-announce-fall-tour-dates/ (MI, WI, FL, CA)

Sleigh Bells: http://consequenceofsound.net/2012/05/sleigh-bells-announce-summer-tour/ (MI)

Built to Spill: http://consequenceofsound.net/2012/05/built-to-spill-announces-2012-tour-dates/ (MI, WI, IA, FL, CA)

Lotus Plaza: http://consequenceofsound.net/2012/05/lotus-plaza-announces-u-s-summer-tour-dates/ (SF, IA, WI)

Yeasayer: http://consequenceofsound.net/2012/05/yeasayer-announces-summer-tour-dates/

M83: http://consequenceofsound.net/2012/05/m83-schedules-fall-tour-dates/ (FL, CA)

Lower Dens: http://consequenceofsound.net/2012/05/lower-dens-announce-summer-tour-dates/ (SF, MI)

EP Appreciation: LP-Into the Wild (Live) (2012)

Within the opening seconds this 5 song live recording emits a sense of urgency, both through the instrumentation and especially through LP’s voice. She shifts between garage rocker to poppy sweetness within notes and her wordless yelps carry as much emotion as any meaningful word could. She goes big, giving her voice as much expanse as it wants, and there is simply no limit to the manners in which she manipulates her voice.

Her quivering, breathless voice portrays a pain that invites uncontrollable shivers to run through me, as the pain in her voice is reflected back internally. It teasingly suggests a vulnerability that is quickly diminished after a fierce strength enter, as the drums kick in and the piano chords are rapidly struck. A catchy whistle melody carries the tune at various points before ceding to an explosion of sound or back to LP’s husky, Nicole Atkins like voice. This is all gleaned from Track 1, “Into The Wild”, a song that asks “Somebody left the gate open, Are we not lost on the way, hard to say, god save us a runaway train how do we how do we how do we not fade away into the wild?” in a grand moment.

A driving beat through each song churns through each song on this 5 track Live EP. “Leviator” informs a person how much they levitates her, a charming and intense love song delivered with bombast. When her voice trills out “Woooo, I give it all to you, see the way you love me love me baby, you lift me up and take me take me safely,” as a listener I feel wrapped up warmly in her words.

Overall a fantastic ep, a prelude to her forthcoming album which will include tracks like “Tokyo Sunrise” a track that features synths and percussion so arranged as to resemble oriental sounds. LP does a fantastic job of convincing the listener to change global perceptions, by her forceful performance that emulates an Oriental soundtrack. Each track showcases her voice and writing talents, both of which have been recognized by major labels as she has songwriting or feat credits on a number of hits. A thoroughly engaging listen and an album I am eagerly awaiting.

Thursday, May 10, 2012

New Grooves: The Zoltars-Should I Try Once More? (2012)

Apathy is common feeling expressed in music, and on The Zoltars debut album Should I Try Once More, an aggrieved but unhurried singer works his way through the process of falling in love again. Early highlight, “You Can Take IT If You Want,” demonstrate how beleaguered the character has become, singing “I walked down an alley and its dark and I can’t see, and you pull a gun on me, but I’m breathing easily, You’re a little bit confused, and a little bit amused, and you’re just about to shoot, but I just stare at your suit.” Sung in a voice that struggles to muster any ambition to alleviate the situation, the music suddenly swells and now the vocalist is angry that he can’t be left to his own miseries.

The album does proceed as an entire act, with each song playing as a scene in the story. The early songs flow from apathy and a struggle with numbness, to frustration and anger in the middle of finding a perfect girl and being utterly hopeless. On the title track, he asks himself whether he should try again despite past failure, the first action taken by the character thus far. By the end, he has managed to fall in love again but with the added fear of what could occur should he fail again. A fear that he finds comforting.

Musically, I’m reminded of Cloud Nothings first material. Focusing on 4/4 time, the singers of each relied heavily on emphasizing each beat, not only with the instrumentation but with the vocals as well. Smooth guitars slowly wind around the consistent drumming and simple bass lines. While Zoltars do not match the fierce energy of any Cloud Nothings work, they do have a certain style and they stick to it doggedly, a characteristic of the S/T work by CN. I would not be surprised if The Zoltars take a big step with their sound on the next album. Until then, Should I Try Once More is certainly sufficient and a fantastic listen.

Nightdrive: I'm From Barcelona

A sweet music blog run here in Miami, Nightdrive, offered me a chance to write a guest post, and I did for I'm From Barcelona's debut album Let Me Introduce My Friends. Head on over and read it if you're interested, and browse through the site as well, lot of great bands to check out!

http://nightdrivemiami.com/2012/05/08/im-from-barcelona/

EP Appreciation: The National-Cherry Tree EP (2004)

If you have heard the National, most likely you have listened to High Violet, certainly Boxer, probably Alligator. Maybe you’ve even dug deep into their catalogue for the S/T or the wonderfully titled Sad Songs for Dirty Lovers. If so, then you’ve probably at least heard mention of this lengthy EP, and it wouldn’t be a bad time to take another listen. While Boxer and Alligator are two of my favorites, High Violet didn’t do much for me. The lyrics, always a strength for Matt Berninger, wallowed in repetitiveness, and the drumming that seemed so invigorating gets stale. I think my biggest problem, though, rests in the band’s capacity to completely change its style live.

I have seen them 3 times and each show, while astounding experiences, garner a déjà vu feeling. I feel of their live shows as Bill Watterson does of Garfield: It’s consistent. I’m very entertained, I’m always taken back by the sheer passion of the band, but the complete routine developed from their shows just leave me wanting more. If it’s soft on the album, it’s getting blown UP live, and if it’s loud on the album, then it’s going to get even more intense. I think the new album delivered too many “made for the stage” songs. The good songs all hold some restraint, and live they come out strong. The mediocre ones do not do so well regardless, like “Vanderlyle”. And a song like “Terrible Love,” a shell of itself compared to the live version, explodes like no other National song since “Mr. November” (a reason for its displacement at the end of the show). Which is all fine, and even admirable that each show can produce so consistently. But the song I remember the most out of any set I’ve seen is the end of their regular set at P4k 2009, “About Today” from Cherry Tree EP.

A slow crooner, discussing a horrible day exactly how any humans would: with deep emotional hurt, a gaping hole where reason has failed, and an utter inability to possible comprehend what just happened, and what to do next. This is a theme repeated in many National songs (“Baby, We’ll Be Fine,” “Apartment Story”), but never has it been done in such gruesomely realistic fashion. And during this song the band did not blow up, didn’t explode into a cacophony of dueling guitars, rhythm march drumming and Matt prowling around the stage in utter agony, clutching the microphone like the last rung of an unsupported ladder, screaming nothings to join his band mates sounds. Instead, Matt remained, eyes closed as always (due to his intense stage fright), at the mic stand, not moving at all except for the barely perceptible swaying that accompanied particularly gut-wrenching lines. He felt this song, these lyrics, this has happened to him. It was as emotional a performance as I have ever seen, and the crowd, normally going bonkers, remained dead silent. As the last notes peeled away into the Chicago night, Matt opened his eyes the rest of the band looked up and remained in a daze for a few seconds, before slowly slouching off the stage.

Tracks like "Wasp Nest" and "Cherry Tree" affirm the idea that this was a dark time in their lives, as each of the tracks on here feels restrained, but no less powerful. "Wasp Nest" analogizes the allure of an appealing woman to the perils of messing with a wasp nest. Berninger sounds wary and resigned, knowing the risks but equally aware that he is helpless. Final track “A Reasonable Man” finds a person setting an adequate goal, to just be a reasonable man, hoping against hope that will suffice. It is a dire story, almost jauntily written however, and one that ends in a wail of violins and soft drumming, leaving behind goose bumps and a foreshadowing of the albums to come.

Wednesday, May 9, 2012

Glossed Over: David Thomas Broughton-The Complete Guide to Insufficiency (2005)

I found this album posted on a message board some years ago, and found the album cover and title very alluring, but was very turned off by the artist name. Just sounded dull, so I added it to my list and moved on. A few months ago I was browsing my list and the title caught me: the Complete Guide to Insufficiency. Reminded me of Douglas Adams’ seminal work The Complete Hitchhikers Guide to the Galaxy, so I went online and gave it a spin. Within 2 minutes it is vitally apparent that something has gone awry, as Broughton completely throws off what I expect out of not just folk music, but music in general. This is Fuck Buttons folk music.

The first song sets the tone for the whole album, as Broughton takes his time creeping along through his songs. Not at a glacial pace, per say, just a desire and execution of his music the way he wants it to be heard. I think this is an important aspect of the album to note. Broughton has some beautiful hooks, and the memorable parts of his music hinge on the melodies he is able to create. But he is not making this album for us; this is a personal reflection on a few topics of interest to him, ranging from love, war, cannibalism, and rape and each is dissected in a matter of a few gorgeously written lines. But we as listeners do not get to hear these thoughts until Broughton’s good and ready. That’s why the first few songs take 2-3 minutes of repeated chords, a single guitar looped over itself until it’s ready to burst, and then his deep, emotional voice croons in. At that point we begin to take in what he is trying to say, and on songs like Track 2, Execution, his lyrics on love are as unique and powerful as anything I’ve ever heard. The stanza: “I wouldn’t take her to an execution, I wouldn’t take her to a live sex show. I wouldn’t piss or shit on her would I, cause I love her so.” Have you ever heard a love song describing these horrid acts that one wouldn’t subject a loved one to? Yet when you’re listening to this, I know that I wouldn’t do anything of the sort to someone I loved, and I think that’s enough sometimes. While singing these lines, Broughton carries his most hummable tune for about 2 minutes, before dissolving into a wail of acoustic guitars almost as soon as the you start bopping your head along.

The entire album was recorded in one take at a church near Broughton’s house, an eerily important fact. Hear the bells at the end of Unmarked Grave. Those are supposedly church bells, not planned by Brougton but organically recorded and fitting in perfectly, without regard for key, time signature, or pace. They just work. And during the last song, Broughton tries to hit a high register while crooning out the words “in Delighttttt.” But he falters, and cuts off the word delight much shorter than I think he intended, and plays a wrong guitar note. I make this assumption based on the fact that he immediately tries again, and this time just perfectly nails the note. The album as a whole feels alive and personal because of this recording technique.

This is a beautiful album that got lost in the shuffle. Pitchfork did not review it until the year after its release year. I think it is a wonderment of folk music, simply gorgeous work by a young man grappling with difficult topics at his own pace. He is not pandering to his listener, nor is he attempting to shatter the folk world. He simply plays the music that appears in his head. And what delightfully results is an album unlike anything I’ve ever heard.

Concert Review: Beach House at Fillmore Miami

Last night at the Fillmore Miami, Beach House came through with the Bloom tour in spectacular fashion. A sizeable crowd watched earnestly as Victoria, Alex, and a younger looking drummer trooped onto the stage and launched right into new track ”Troublemaker.” Heavy organ chords rumbled through the theater as Legrand’s booming voice roared out “To simply call you troublemaker, watch you unravel, tearing everything apart” over crashing cymbals and Alex’s quick and beautiful strumming.

They quickly launched into one of my favorites, “Other People” a poppy gem off the new album. From the first two songs on it was obvious many in the audience had not heard Bloom enough to be completely familiar with the album; however that did not stop many from swaying and losing themselves in the swirling atmosphere. The first Teen Dream tracks appeared next, as “Norway” and “Walk in the Park” followed each other. Each sounded luscious and vibrant, full of spectacle and energy.

For parts of the show, a giant screen lit up behind the band with stars flashing against a black background. Other times, no lights appeared on stage, except for one backlighting the group, making halo’s of their hair. And what hair Victoria has, an essential part of any Beach House performance. Whether it lays serenely hiding across her face, or thrashing about during explosive moments, it is difficult to look away. Her hands also flit across the organ rapidly and precisely, while her fingers luxuriously caress the keys unlike anyone I’ve ever seen. Alex spent much of his time playing in the highest of frets, furiously strumming those crystalline lines that fill so many Beach House songs, all the while bobbing his head and body constantly in time.

This was the third time I’ve seen Beach House, and at the first show (Devotion era) the drummer did nothing more than act as a drum machine. Last night a different person sat on the stool and added a huge dose of bold sound to the band. Using the cymbals and Toms effectively, he created a swirling, murky element to the atmosphere, and at times helped the sound explode and crash unlike on record. The best example came during the only Devotion or Beach House song played last night and first encore track “Turtle Island.” On record a lovely number that bounces along came alive as the band expanded their sound gradually, until it swelled and enraptured the entire room. I’d never imagined hearing that song sound like it did, and it was glorious. They followed with “10 mile stereo” and finally closed their set with Bloom final track “Irene.” Each sounded grander than the last, until they finally stepped off the stage to thunderous and well-deserved applause.

Other highlights include a truncated version of “Take Care,” a wonderful 4 minutes where I felt completely warm and safe, wrapped up in Victoria’s promise “I’ll Take Care of you, If You Ask Me To.” My personal favorite was probably “The Hours,” as each word rhyming with hours was given extra vocal attention, the Rrr’s just hanging in the air, mixing in with all the other textured sound to create a sublime experience. Beach House will be touring all summer and probably in a city near you! (except Iowa)

Setlist:
Troublemaker
Other People
Norway
Walk in the Park
Wild
Lazuli
Silver Soul
Equal Mind
The Hours
New Year
Zebra
Wishes
Take Care
Myth
Encore:
Turtle Island
10 Mile Stereo
Irene

Beach House 2012 Tour Dates:

05/04 – Charlottesville, VA @ Jefferson Theatre
05/05 – Carrboro, NC @ Cat’s Cradle
05/06 – Charleston, SC @ Music Farm
05/08 – Miami Beach, FL @ The Fillmore
05/09 – Orlando, FL @ Beacham Theater
05/10 – Jacksonville, FL @ Freebird Live
05/11 – Birmingham, AL @ The Bottletree
05/12 – Athens, GA @ Georgia Theatre
05/13 – Asheville, NC @ The Orange Peel
05/15 – New York, NY @ Bowery Ballroom
05/23 – Brighton, UK @ The Haunt
05/24 – London, UK @ Village Underground
05/25 – Belgium, BE @ De Kreun
05/26 – Amsterdam, NL @ Melkweg
05/27 – Berlin, DE @ Volksbuhne
05/29 – Paris, FR @ Maronguinerie
05/31 – Dudingen, CH @ Bad Bonn Kilbi Festival
06/02 – Barcelona, ES @ Primavera Sound

06/03 – Montpellier, FR @ Le Rockstore
06/04 – Bordeaux, FR @ Theatre Barby
06/05 – Nantes, FR @ Stereolux
06/06 – Lyon, FR @ Epicrerie Moderne
06/07 – Blarritz, FR @ L’Atabal
06/08-09 – Porto, PT @ Optimus Primavera Sound

07/01 – San Diego, CA @ House of Blues *
07/03 – Los Angeles, CA @ El Rey Theatre *
07/06 – Aspen, CO @ Belly Up Aspen *
07/07 - Albuquerque, NM @ Sunshine Theater *
07/09 – Tulsa, OK @ Cain’s Ballroom *
07/10 – Lawrence, KS @ Liberty Hall *
07/11 – St. Louis, MO @ The Pageant *
07/12 – Memphis, TN @ Minglewood Hall *
07/13 - Louisville, KY @ Forecastle Festival

07/15 – Chicago, IL @ Pitchfork Music Festival

07/17 – Indianapolis, IN @ The Vogue *
07/18 – Pontiac, MI @ The Crofoot Ballroom *
07/19 – Cleveland, OH @ House of Blues *
07/20 – Columbus, OH @ Newport Music Hall *
07/21 – Pittsburgh, PA @ Mr. Small’s Theatre *
07/23 – New York, NY @ Central Park Summer Stage
08/31-09/02 – North Dorset, UK @ End of the Road Festival